Walks in London, vol. 2

Hare, Augustus J. C.


Chapter I: Trafalgar Square and the National Gallery.

Chapter I: Trafalgar Square and the National Gallery.


Let us find ourselves again at , which forms the south-eastern angle of , a dreary expanse of granite with granite fountains, intended to commemorate the last victory of Nelson. Its northern side is occupied by the miserable buildings of the ; its eastern and western sides by a hideous hotel and a frightful club. Where the noble Jacobian screen of (which was so admirably adapted for a National Portrait Gallery) once drew the eye away from these abominations by its dignity and beauty, a view of the funnel-roof of Railway Station forms a poor substitute for the time-honoured palace of the Percy's! In the centre of the square is a Corinthian pillar of Devonshire granite, feet in height, by , erected in . It supports a statue of Nelson by ., a very poor work, which, however, does not much signify, as it can only be properly seen from the top of the Duke of York's column, which no ascends. The pedestal of the column is decorated by reliefs.


North. The Battle of Nile by Woodington.

South. The Death of Nelson by Carew.

West. The Battle of St. Vincent by Watson and Woodington.

East. The Bombardment of Copenhagen by Ternouth.

The noble lions at the foot of the column were added by in . Only of them was modelled: a slight variation in the treatment adapted the others to their pedestals. Their chief grandeur lies in their mighty simplicity.


At the south-west angle of the square is a statue of Sir C. S. Napier by ; at the south-east angle a statue of Sir Henry Havelock by On a pedestal at the north-west corner is an equestrian statue of George IV. by , intended to surmount the when it stood in front of Buckingham Palace. The corresponding pedestal is vacant, and likely to remain so: there has never been a pendant to George IV.

On the east side of is its ornament. Here, on a noble basement, approached by a broad flight of steps, rises the beautiful portico of the


. It is the masterpiece of (-), and is the only perfect example of a Grecian portico in London. The regular rectangular plan on which was laid out was abandoned simply to bring it into view; yet, in , the Metropolitan Board of Works, for the sake of giving uniformity to a new street, seriously contemplated the destruction of the well-graded basement to which it owes all its beauty of proportion, and which is of the chief features of a Greek portico. However, Parliament happily interfered, and the portico survives.

Beautiful for situation, elegant in proportion, and perfect in construction, it is precisely the kind of building that the angle of Trafalgar Square requires. It is thoroughly in its place, is in harmony with all its surroundings, and lends more grace than it receives to the finest site in Europe. From whatever point it is seen, it impresses the beholder as a work of art, impelling him to draw nearer and examine it in detail, and unlike many other architectural structures it does not disappoint upon examination.-Morning Post, Feb., 1877.

The building of is commemorated in the lines of Savage--

O Gibbs! whose art the solemn fane can raise,

Where God delights to dwell, and man to praise.

But its portico is its best feature, and the effect even of this is injured by the tower, which seems to rise out of it. The sides of the church are poor;

in all,

as Walpole says,

is wanting that harmonious simplicity which bespeaks a genius.

The vane on the handsome steeple bears a crown, to show that this is the royal parish. In its upper story is preserved a

sanctus bell

from the earlier church on this


site; it was rung at the point when the priest said

Holy, Holy, Holy, Lord God of Sabaoth,

that the Catholic population outside might share in the feeling of the service.

The existence of a church here is mentioned as early as . Henry VIII. was induced to rebuild it by the annoyance which he felt at the funerals constantly passing his windows of on their way to , and his church, still really

in the Fields,

to which a chancel was added by Prince Henry in , became a favourite burial-place in the time of the Stuarts. It may be called the artists' church, for amongst those interred here were Nicholas Hiliard, miniature-painter to Elizabeth, ; Paul Vansomer, painter to James I., ; Sir John Davies the poet, author of

Nosce teipsum,

so much extolled by Hallam and Southey, ; Nicholas Laniere the musician, ; Dobson, the eminent portrait-painter of English birth, called

the English Vandyke,

; Nicholas Stone the sculptor, ; and Louis Laguerre, . The Hon. Robert Boyle (), the religious philosopher, author of many theological works, was buried here, and his funeral sermon was preached by Bishop Burnet, who was his intimate friend. of the tombs from the ancient church, those of Sir Thomas Mayere, physician to James I. and Charles I., -, and of Secretary Coventry, , are preserved in the vaults of the present edifice. The register of the church records the baptism of the great Lord Bacon, born hard by at York House, in . It has been said that Prince Charles Edward renounced the religion of his forefathers here.[n.4.1] 

Amongst those who were buried in the churchyard was () the beautiful Mrs. Anne Turner, who was hanged at Tyburn for her part in the murder of Sir Thomas Overbury, and who,

having been the


person. to bring yellow starched ruffs into popularity, was condemned by Coke to be hang'd in her yellow Tiffiny ruff and cuffs,

the hangman also having his bands and cuffs of the same,

which made many to forbear the use of that horrid starch, till it at last grew generally to be detested and disused.

After he had lain in state, the murdered body of Sir Edmund Berry Godfrey [n.5.1]  was buried in this churchyard in , with an immense public funeral, at the head of which walked clergymen of the Church of England, in full canonicals; John Lacy, the dramatist, was buried here in ; Sir Winston Churchill, father of the great Duke of Marlborough, in ; George Farquhar, the comedy-writer and friend of Wilkes, in ; and Lord Mohun, killed in duel with the Duke of Hamilton, in . In Hogarth and Reynolds here followed Roubiliac to his grave, which was near that.of Nell Gwynne, who died of an apoplexy in her house in in , being only in her year.. She left an annual sum of money to the bell-ringers which they still enjoy. Archbishop Tenison, who had attended her death-bed, preached her funeral sermon here with great extolling of her virtues,


a fact which, repeated to Queen Mary II. by the desire of his enemies to bring him into discredit, only drew from her the answer,

I have heard as much. It is a sign that the unfortunate woman died penitent; for if I can read a man's heart through his looks, had she not made a pious and Christian end, the doctor would never have been induced to speak well of her.

The parish of , now much subdivided, was formerly the largest in London. Burnet speaks of it in as

the greatest cure in England,

and Baxter tells how its population consisted of persons more than could find room in the church. The labyrinthine alleys near the church, destroyed in the formation of , were known as

the Bermudas;

hence the reference in Ben Jonson-

Pirates here at land Have their Bermudas and their Streights in the Strand. Ep. to A. of Dorset.

In the time of the Commonwealth was a shady lane with a hedge on either side. It was open country as far as the village of . In a proclamation of , Henry VIII. desires to have

the games of Hare, Partridge, Pheasant and Heron,

preserved from the Palace of to in the Fields. In Faithorne's Map of London, , is the western boundary of the town. At time the Lane was the especial resort of artists, and in of its entries, , was the house of the Royal Academy. Sir James Thornhill lived in the Lane, at No. ; Sir J. Reynolds lived opposite , before he moved to ; Roubiliac lived in Peter's


Court in ; Fuseli at No. in ; and the interior of a room in No. is introduced by Hogarth in the .[n.7.1] , on the left of , commemorates the old house of the Cecils, created Earls of Salisbury in , and took its name from their title.

The ambition of London tradesmen might justly feel encouraged by the almost European reputation which was obtained in his own day by Thomas Chippendale, a cabinet. maker of , and which has not diminished, but increased, since his death. He published here, in , that exceedingly rare work, the

The north., of what is now is the place where the king's hawks were kept in the time of Richard II. Sir Simon Burley is mentioned as keeper of the falcons

at the meuse

The word mew was applied by falconers to the moulting of birds: it is the French word mue, derived from the Latin mutare, to change.


Charing Cross


The site was occupied by the Royal Stables from the time of Henry VIII. to that of George IV., when they gave place to the , built - from designs of The handsome portico of the Prince Regent's palace of Carlton House has been removed hither, and in spite of the wretched dome above it, if it were approached by steps like those of , it would be effective: as it is, it is miserable.[n.7.3]  The, till lately, fine view from the


portico has been utterly ruined by the destruction of .

This unhappy structure may be said to have everything it ought not to have, and nothing which it ought to have. It possesses windows without glass, a cupola without size, a portico without height, pepper-boxes without pepper, and the finest site in Europe without anything to show upon it.-All the Year Round. 1862.


The National Collection of pictures originated in the purchase of Mr. Angerstein's Gallery on the urgent advice of Sir George Beaumont, who added to it his own collection of pictures, in . It has since then been enormously increased by donations and purchases. A sum of . is annually allotted to the purchase of pictures. The contents of the gallery were rehung in


, when many new rooms were opened, which allow an advantageous arrangement of the pictures, but are full of meretricious taste in their upper decorations, and of tawdry colour injurious to the effect of the precious works of art they contain. The collection (according to the numbers attached to the Rooms) begins with the specimens of the British school; but alas I the curators are only beginning to realise the truth of Ruskin's advice that-

It is of the highest importance that the works of each master should be kept together; no great master can be thoroughly enjoyed but by getting into his humour, and remaining long enough under his influence to understand his whole mode and cast of thought.

It is impossible to notice all the pictures here: they will be found described in the admirable catalogues of Mr. Wornum which are sold at the door. But

in a picture gallery,

as Shelley says,

you see

three hundred

pictures you forget for


you remember,

and the object of the following catalogue is to notice only the best specimens of each master deserving attention, or pictures which are important as portraits, as constant popular favourites, or for some story with which they are connected. Such works as be considered , even when compared with ,foreign collections, are marked with an asterisk. When the painters are mentioned the dates of their birth and death are given.

A fine gallery of pictures is like a palace of thought.--Hazlitt.

The duration and stability of the fame of the old masters of painting is sufficient to evince that it has not been suspended upon the slender thread of fashion and caprice, but bound to the human heart by every chord of sympathetic approbation.--Sir J. Reynolds.

Painting is an intermediate somewhat between a thought and a thing.--Coleridge.

At the foot of the Staircase on the left are-

Statue of Sir David Wilkie, 1785-1841, by S. Joseph--his pallet is inserted in the pedestal.

Bust of Thomas Stothard, 1755-1834, Weekes.

Bust of W. Mulready, 1796--863, Weekes.

Relief of Thetis issuing from the sea to console Achilles for the loss of Patroclus--. Banks.

Troilus and Cressida, painted in 1806 by John Opie, 1761-1807.

Manto and Tiresias, painted by Henry Singleton, 1766-1839.

The Collection is supposed to begin in the room farthest from the head of the Staircase. We may notice (beginning on the left) in--

Room I.

430. E. M Ward. Dr. Johnson waiting neglected for an audience in the ante-room of Lord Chesterfield.

*604. Sir E. Landseet, 1802-1873. Dignity and Impudence - a bloodhound and a Scotch terrier looking out of the same kennel.

449. Alexander Johnston. Tillotson administering the sacrament to Lord and Lady William Russell at the Tower on the day before his execution.

432. E. M. Ward. The South Sea Bubble, a Scene in Change Alley in 1720--a picture full of excitement and movement


*621. Rosa Bonheur. The Horse Fair--a repetition from a larger picture.

810. Charles Poussin (Modem French School). Pardon Day on the fete of Notre Dame de Bon Secours at Guingamp in Brittany--a multitude of peasants in costume, in a sunlit wood.

616. E. M. Ward. James II. receiving the news of the landing of William of Orange in the palace of Whitehall, 1688.

425. J. R. Herbert. Sir Thomas More with Margaret Roper watching the monks of the Charterhouse led to execution from his prison window.

620. Frederick R. Lee. A River with low-lying banks: the cattle by T. S. Cooper.

427. Thomas Webster. A Dame's School-full of nature and charm.

410. Sir E. Landseer. Low Life and High Life -two dogs.

615. W. P. Frith. The Derby Day, 1856-a gaudy and ugly, but popular picture.

411. Sir E. Landseer. Highland Music-an old piper interrupting five dogs at their supper with his bagpipes.

609. Sir E. Landseer. The Maid and the Magpie -the story which was made the subject of Rossini's Opera, the Gazza Ladra.

447. E. W. Cooke. Dutch Boats in a Calm.

422. Daniel Maclise, 1811-1870. The Play-Scene in Hamlet.

*608. Sir E. Landseer. Alexander and Diogenes -a group of dogs.

*606. Sir B. Landseer. Shoeing.

Room II. (turning left).

369. Joseph Mallord William Turner, 1775-1851. The Prince of Orange landing at Torbay, 1688.

407. Clarkson Stanfield, 1793-1867. Canal of the Giudecca, Venice.

397. Sir Charles Eastlake, 1793-1865. Christ lamenting over Jerusalem.

688. James Ward, 1769-1859. A Landscape with Cattle-painted in emulation of the Bull of Paul Potter at the Hague, at the suggestion of Benjamin West.

374. R. P. Bonington, 1801-1828. The Piazzetta of St. Mark's at Venice.

394. William Mulready, 1786-1863. Tipsy Men returning from a Fair.

452. Frederick Herring, 1794-1865. The Frugal Meal - an admirable specimen of this great horse-painter.

898. Sir Charles Eastlake. Lord Byron's Dream--a beautiful Greek landscape.

388. Thomas Unvins, 1782-1857. Le Chapeau de Brigand -a little girl who has dressed herself up in a costume found in a painter's studio during his absence.

*600. Joseph Laurens Dyckmans (Flemish School). The Blind Beggar--bequeathed by Miss Jane Clarke, a milliner in Regent Street.

404. C. Stanfield. Entrance to the Zuyder Zee, Texel Island.

412. Sir E. Landseer. The Hunted Stag.

Room III.

340. Sir Augustus Caltcolt, 1779-1844. Dutch Peasants returning from Market.

689. John Crome, Old Crome, the Norwich Painter, 1769-1821. Mousehold Heath, near Norwich.

338. William Hilton, 1786-1839. The meeting of Eleazar and Rebekah-beautiful in colour, but without expression.

897. J. Crome. The Chapel Fields at Norwich.

327. John Constable, 1776-1837. The Valley Farm.

121. Benjamin West, 1738-1820. Cleombrotus banished by his father-in-law, Leonidas II. of Sparta.

How do you like West? said I to Canova. Comme ça. Au moins, said I, il compose bien. Non, monsieur, said Canova, il met des modèles en groupes.--Haydon's Autobiography.

130. J. Constable. The Corn Field.

300. John Hoppner, reg="1759">1759-1810. Portrait of William Pitt the Prime Minister.

894. Sir David Wilkie, 1785-1841. The Preaching of John Knox before the Lords of the Congregation, June 10, 1559

345. Sir A. Callcott. The Old Pier at Littlehampton.

813. Turner. Fishing Boats in a stiff breeze, off the coast.

99. D. Wilkie. The Blind Fiddler--a charmingly dramatic picture, painted for Sir G. Beaumont.

126. Benjamin West. Pylades and Orestes brought as victims before Iphigenia-one of the earliest and best pictures of the master.

22. D. Wilkie. The Village Festival.

922. Sir Thomas Lawrence, 1769-1830. A Child with a Kid,

241. Sir D. Wilkie. The Parish Beadle.

785. Sir T. Lawrence. Portrait of Mrs. Siddons, bequeathed by her daughter.

119. Sir George Beaumont, 1753-1827. A Landscape in the Ardennes, with Jacques and the Wounded Stag, from As You Like It.

120. Sir William Beechey, 1753-1839. Portrait of Joseph Nollekens the Sculptor.

317. Thomas Stothard, 1755-1834. A Greek Vintage.

171. John Jackson, 1778-1831. Portrait of Sir John Soane, the architect of the Bank of England. Jackson was the son of a tailor, whose genius for art was awakened by seeing the pictures at Castle Howard.

370. Turner. Venice, from the sea.

371. Turner. Lake Avernus--quite imaginary.

372. Turner. The Canal of the Giudecca, Venice.

183. Thomas Phillips, 1770-1845. Portrait of Sir David Willde in his 44th year.

Room IV.

Is entirely devoted to Sketches by Turner. Here are all the sketches in brown for the Liber Studiorum, executed in 1807 in imitation of the Liber Veritatis of Claude. Norham Castle, and the Devil's Bridge, near Andermatt, are perhaps the best. The other sketches are often mere indications of form, or splashes of colour, but in both the most salient points are given. Those of Venice will bring its sun-illumined towers and glistening water most vividly to the mind: those of Rome are heavier, and less characteristic.

*41. The Battle of Fort Rock, in the Val d'Aosta, painted in 1815 --a tremendous struggle of the elements above harmonizes with the battle below.

*35. Edinburgh from the Calton Hill--a noble drawing; the castle and town are seen in the golden haze of a summer sunset.

560, Chichester Canal--a very powerful though unfinished sketch in oils

Room V.

682. Sendamin Robert Haydon, 1786-1846. Punch and Judy, or Life in London. The scene is in the New Road, near Marylebone Church.

229. Gilbert Stuart, 1755-1828. Portrait of Benjamin West.

792. Thomas Barker, the Bath painter, 1769-1847. A Woodman and his Dog in a storm.

131. Benjamin West. Christ healing the sick in the Temple. Greatly admired when first exhibited.

188. Sir T. Lawrence. Portrait of Mrs. Siddons-presented by her friend Mrs. Fitzhugh.

217. Gilbert Stuart. Portrait of William Woollett the engraver.

793. John Martin, 1789-1854. The Destruction of Herculaneum and Pompeii.

Passing, in the entrance, a group of by , we reach-

Room VI., entirely devoted to the great works of Turner, which he bequeathed to the nation. Amongst so many, attention may be especially directed to-

*524. The Fighting Temeraire tugged to her Last Berth. She was an old 98, captured at the battle of the Nile, and, commanded by Captain Harvey, was the second ship in Lord Nelson's division at the battle of Trafalgar, 1805. She was broken up at Deptford in 1838.

516. Childe Harold's Pilgrimage, an imaginary Italian Landscape--the bridge is that of Narni; second period of the master.

505. The Bay of Baiae.

511. The Distant View of Orvieto, 1830.

508. Ulysses deriding Polyphemus (1829)-a gorgeous golden and crimson sunrise. The sky is perhaps the finest Turner ever painted: the picture is a grand specimen of his second manner.

*492. Sunrise on a Frosty Morning.

483. London from Greenwich.

*497. Crossing the Brook--the valley of the Tamar looking towards Mount Edgecumbe.

496. Bligh Sand, near Sheerness.

458. Portrait of Himself, c. 1802.

*472. Calais Pier, 1803. In point of date this is the earliest masterpiece of the artist. It is a grand picture, but the shadows are exaggerated in order to render the lights more powerful.

501. The Meuse, an Orange-Merchantman going to pieces on the bar.

480. The Death of Nelson at the Battle of Trafalgar, Oct. 21, 1805.

476. The Shipwreck-fishing boats coming to the rescue. 1805.

470. The Tenth Plague of Egypt.

495. Apuleia in search of Apuleius--a beautiful hilly landscape.

528. The Burial of Wilkie. Sir David Wilkie died June I, 1841, on board the Oriental Steamer off Gibraltar, and was buried at sea.

Room VII.

*112. William Hogarth, 1697-1764. His own portrait.

The feigned oval canvas which contains this characteristic portrait rests on volumes of Shakspeare, Milton, and Swift, the favourite authors of the artist: by the side is his dog Trump. The picture, executed in 1749, remained in the hands of Hogarth's widow till her death in 1789, when it was bought by Mr. Angerstein.

*307. Sir Joshua Reynolds, 1723-1792. The Age of Innocence.

129. Sir T. Lawrence. Portrait of John Julius Angerstein the Banker, and the collector of the Angerstein Gallery, which was the foundation of the National Gallery.

162. Sir J. Reynolds. The Infant Samuel--a picture frequently repeated by the artist.

79. Sir J. Reynolds. The Graces decorating a terminal figure of Hymen. The Graces are Lady Townshend, Mrs. Gardener, and Mrs. Beresford, daughters of Sir William Montgomery.

754. Sir J. Reynolds. Portraits of the Rev. George Huddesford and Mr. John Codrington Warwick Bampfylde: the latter holds a violin.

684. Thomas Gainsborough, 1727-- 1788. Portrait of Ralph Schomberg, Esq.

*113-118. W. Hogarth. The Marriage A la Mode, or Profligacy in High Life.

Hogarth was a writer of comedy with a pencil, rather than a painter. If catching the manners and follies of an age living as they rise, if general satire on vices and ridicules, familiarised by strokes of nature, and heightened by wit, and the whole animated by proper and just expressions of the passions, be comedy, Hogarth composed comedies as much as Moliere; in his Marriage a la Mode there is even an intrigue carried on throughout the piece. . .. Hogarth had no model to follow and improve upon. He created his art; and used colours instead of language. He resembles Butler, but his subjects are more universal, and amidst all his pleasantry, he observes the true end of comedy, reformation; there is always a moral to his pictures. Sometimes he rose to tragedy, not in the catastrophe of kings and heroes, but in marking how vice conducts insensibly and incidentally to misery and shame. He warns against encouraging cruelty and idleness in young minds; and discerns how the different vices of the great and the vulgar lead by various paths to the same unhappiness.-Walpole, Anecdotes of Painting.

No. 113. The Marriage Contract. The gouty father of the noble bridegroom points to his pedigree, as his share of the dowry, while the rich merchant who is father of the bride is engrossed by the money part. The betrothed couple sit side by side on a sofa, utterly indifferent to one another, and two pointers chained together against their will are emblematic of the ceremony they have been engaged in. The attentions which young Counsellor Silvertongue is bestowing upon the bride already indicate the catastrophe.

114. Shortly after Marriage. The young wife, who has spent the night in playing cards, is seated at the breakfast table. Beyond is seen the card-room with neglected candles still burning. The husband comes in, and flings himself down listlessly after a night's debauch: a little dog sniffs at a lady's cap in his pocket. The old steward leaves the room disconsolate, with a packet of bills.

The Visit to the Quack Doctor. The young libertine quarrels withsa quack and a procuress for having deceived him. The girl, who is the cause of the dispute, stands by with indifference.

116. The Countess's Dressing-Room. By the death of her father-in-law the wife has become a countess, and the child's coral on the back of her chair shows that she is a mother. But she is still plunged in the most frivolous dissipation. Her morning reception is crowded, and amongst those, present we recognise Silvertongue, the young lawyer, lounging on a sofa. He presents her with a ticket for a masquerade, where the assignation is made which leads to the last two scenes.

117. The Duel and Death of the Ear. The Earl discovers the infidelity of his wife, and, attempting to avenge it, is mortally wounded by her lover. The Countess implores forgiveness from her dying husband; while the lover tries to escape by the window, but is arrested by the watch. The scene, a bedroom, is illuminated from a wood fire.

118. The Death of the Countess. The guilty wife takes poison in the house of her father, the London Alderman, upon learning that her lover has been executed by Counsellor Silvertongue's last dying speech, which lies upon the floor by the empty bottle of laudanum, The old nurse holds up the child to its dying mother. The apothecary scolds the servant who has procured the poison; the doctor retires, as the case is hopeless. The father, with a mixture of comedy and tragedy, draws off the rings of the dying lady. A half-starved hound takes advantage of the confusion to steal a brawn's head from the table.

78. Sir J. Reynolds. The Holy Family--a graceful but most earthly group. Charles Lamb says, For a Madonna Sir Joshua has here substituted a sleepy, insensible, unmotherly girl.

789. T. Gainsborough. Mr. J. Baillie of Ealing Grove, with his wife and four children.

80. Gainsborough. The Market Cart


681. Sir J. Reynolds. Portrait of Captain Orme, standing leaning on his horse.

31. Gainsborough. Rustic Children.

*760. Gainsborough. Portrait of Edward Orpin, the parish clerk of Bradford in Wiltshire.

182. Sir J. Reynolds. Heads of Angels-being studies from the head of Frances Isabella Ker Gordon, daughter of Lord and Lady William Gordon.

107. Sir J. Reynolds. The Banished Lord--a head.

312. George Romney, 1734-1802. Lady Hamilton as a Bacchante. The male heads of Romney were decided and grand, the female lovely; his figures resembled the antique; the limbs were elegant and finely formed; the drapery was well understood. Few artists since the fifteenth century have been able to do so much in so many different branches.-Flaxman.

*111. Sir J. Reynolds. Portrait of Lord Heathfield, ob. 1790. One of the noblest portraits of the master. The gallant defender of Gibraltar stands before the rock, which is shrouded in the smoke of the siege. He is represented grasping the key of the fortress, than which imagination cannot conceive anything more ingenious and heroically characteristic. Barry.

This portrait carries out to the full the theory of the master- A single figure must be single, and not look like a part of a composition with other figures, but must be a composition of itself.

We cannot look at this picture without thinking of, the lines given by Burns to his heroic beggar-- Yet let my country need me, with Elliott to lead me, I'd clatter on my stumps at the sound of a drum-- lines that may have been written while Reynolds was painting the picture.-Leslie and Taylor's Life of Sir J. Reynolds.

188. Richard Wilson, 1713-1782. The Villa of Maecenas at Tivoli.

128. Sir J. Reynolds. Portrait of the Rt. Hon. W. Wyndham, Secretary at War during Fox's administration.

Room VIII.

725. Joseph Wright of Derby, 1734-1797. An Experiment with an Air Pump--upon a Parrot.

306. Sir J. Reynolds. Portrait of Himself.

*33. John Hoppner, 1759-180. Portrait of Gentleman Smith the actor.

325. Sir T. Lawrence. Portrait of John Fawcett the Comedian.

144. Sir T. Lawrence. Portrait of Benjamin West the Painter, in his 71st year-executed for George IV.

675. W. Hoggarth. Portrait of his sister, Mary Hogarth, 1746.

302, 303. R. Wilson. Scenes in Italy.

*723. J. S. Copley, 1737-1815.The father of the Chancellor Lord Lyndhurst. The Death of Major Peirson, killed in an engagement with the French at St. Helier, Jersey, Jan. 6, 1781. The figures introduced in the picture, which represents the carrying the body of Major Peirson out of the fight, are all portraits.

143. Sir J. Reynolds. Equestrian portrait of Field Marshal Lord Ligonier, who fought at the Battle of Dettingen, and is buried in Westminster Abbey. Sir Joshua could not paint a horse.

100. J. S. Copley. The Fatal Seizure of the great Lord Chatham in the House of Lords, April 7, 1778. The fifty-five peers represented are all portraits.

Outside, on the stairs.

786. B. R. Haydon, 1786-1846. The Raising of Lazarus. Most spectators will feel this, intended to rival the Lazarus of Sebastian del Piombo, to be a hideous picture; yet who that has read in Haydon's Autobiography the story of the hopes, and struggles, and faith in which it was painted, can look on it without the deepest interest P After it was finished he wrote, If God in his mercy spare that picture, my posthumous reputation is secured.

. . or the Results of Drunkenness.

We now turn to the of Painting.

Room IX. (beginning on the left), chiefly devoted to the works of Claude and Poussin.

62. Nicolas Poussin, 1594-1665. A Bacchanalian Dance.

N. Poussin was a native of Normandy, Court Painter to Louis XIV. No works of any modern have so much the air of antique painting as those of Poussin. Like Polidoro, he studied the ancients so much that he acquired a habit of thinking in their way, and seemed to know perfectly the actions and. gestures they would use on every occasion.-Sir. J. Reynolds.

*31. Gaspar Poussin, 1613-1675. A Landscape--from the Colonna Palace at Rome. The (entirely subservient) figures introduced represent Abraham and Isaac going to the sacrifice. One of the best works of the artist.

164. Nicolas Poussin. The Plague at Ashdod.

42. N. Poussin. A Bacchanalian Festival-painted for the Duc de Montmorenci.

The forms and characters of the figures introduced are purely ideal, borrowed from the finest Greek sculptures, more particularly from the antique vases and sarcophagi; the costumes and quality of the draperies are of an equally remote period; the very hues and swarthy complexions of these fabled beings, together with the instruments of sacrifice and music-even the surrounding scenery--are altogether so unlike what any moder eye ever beheld, that in contemplating them the mind is thrown back at once, and wholly, into the remotest antiquity.-Sir J. Reynolds.

*61. Claude Gele de Lorraine, 1600-1682. A Landscape of exquisite finish. This little picture belonged to Sir George Beaumont, and was so much valued by him that, after his magnificent gift of his pictures to the nation, he requested to be allowed to keep it for life, and always carried it about with him.

161. G. Poussin. An Italian Landscape--from the Colonna Palace.

6. Claude. Landscape with figures, supposed to represent David and his companions at the Cave of Adullam. One of the soldiers has just brought the water from the well of Bethlehem. The figures are stiff, the quiet landscape glorious. This picture, painted for Agostino Chigi in 1658, is called the Chigi Claude.

12. Claude. Landscape with figures-shown, by the inscription on the picture, to be intended to represent the marriage festival of Isaac and Rebekah, painted 1648. It is an inferior repetition, with some differences, from Claude's Mill in the Palaizo Doria at Rome.

*479. J. M. W. Turner, 1775-1851. The Sun rising in a Mist. The position of this beautiful picture results from a conceit in the will of the artist, who bequeathed it, with its companion, to the Nation, on condition of their being permitted to occupy their present position between the two great Claudes.

478. Turner. Dido building Carthage-painted in the style of, and in rivalry with the Claude by its side.

14. Claude The Embarkation of the Queen of Sheba--a glorious effect of morning sunlight on quivering sea-waves. This picture, painted for the Duc de Bouillon in 1648, is known as the Bouillon Claude. No one can compare it with the picture by its side without feeling that the English painter has failed in his rivalry.

198. Philippe de Champagne, 1620-1674. Three portraits of Cardinal Richelieu, painted for the sculptor Mochi to make a bust from. Over the profile on the right are the words-De ces deux profiles ce cy est le meilleur.

36. Gaspar Poussin. The Land-Storm.

2. Claude. Pastoral Landscape. The figures represent the reconciliation of Cephalus and Procris-painted in 1645.

30. Claude. A Seaport, with the Embarkation of St. Ursula-painted for Cardinal Barberini in 1646-a lifeless specimen of the master.

903. Hyacinthe Rigaud, 1657-1743. Portrait of Cardinal Fleury.

206. Jean Baptiste Greuze, 1725-1805. Head of a Girl.

Room X.

200. Giovanni Battista Salvi, called, from his birthplace, Sasso-Ferrato, 1605-1685. The Madonna in Prayer.

93, 94. Annibale Carracci. Silenus gathering Grapes, and Pan teaching Bacchus to play on the Pipes. These pictures are thoroughly Greek in character. Lanzi speaks of the Pan and Bacchus as rivalling te designs of Herculaneum.

22. Giovanni Francesco Barbiere, called, from his squint, Guercno, 1592-1666. Angels bewailing the dead Christ--from the Borghese Gallery.

127, 163.-Antonio Canal, called Canaletto, 1697-1768. Views in Venice.

174. Carlo Maratti, 1625-1713. Portrait of Cardinal Cerl.

271. Guido Reni, 1575-1642. Ecce Homo.

88. Annibale Carracci. Erminia taking refuge with the Shepherds --from the story in Tasso.

21. Cristoforo Allori, commonly called Bronzino, 1577--1621. Portrait of a Lady.

246. Jacopo Pacchiarotto, b. 1474. Madonna and Child.

84. Salvator Rosa, 1615-1673. Landscape, with Mercury and the Dishonest Woodman.

Salvator delights in ideas of desolation, solitude, and danger; impenetrable forests, rocky or storm-lashed shores; in lonely dells leading to dens and caverns of banditti, alpine ridges, trees blasted by lightning or sapped by time, or stretching their extravagant arms athwart a murky sky, lowering or thundering clouds, and suns shorn of their beams. His figures are wandering shepherds, forlorn travellers, wrecked mariners, banditti lurking for their prey, or dividing the spoils.-Fuseli.

214. Guido Reni. The Coronation of the Virgin--the hard outlines indicate an early period of the master.

645. Mariotto Albertinelli, 1471-1515. Madonna and Child.

177. Guido Reni. The Magdalen-often repeated by the master.

704. Bronzino. Portrait of Cosimo I., Duke of Tuscany.

193. Guido Reni. Lot and his Daughters leaving Sodom.

29. Federgo Barocci, 1528-1612. A Holy Family called La Madonna del Gatto, from the cat which is introduced in the picture.

268. Paul Veronese. The Adoration of the Magi-painted in 1573 fox the Church of San Silyestro at Venice, where it remained till 1855.

740. Sascoferrato. Madonna and Child--a picture interesting as having been presented by Pope Gregory XVI. to the town of Sassoferrato, at once his own native place and that of the artist, G. B. Salvi.

196. Guido Reni. Susannah and the Elders--from the Palazzo Lancellotti at Rome.

228. .acopo da Ponte, commonly called Bassano from his native place, 1510-1592. Christ expelling the Money-Changers.

Room XI. (the Wynn Ellis Gift).

978. Vandevelde. Sea Piece-artists will observe the invariable lowness of the horizon in the works of this admirable master.

974. Quintin Matsys, the Smith of Antwerp, 1466-1530. The Misers--a theme often repeated by the master; this edition is unpleasant, but full of power.

970. Metsu, b. 1615. The Drowsy Landlady.

930. School of Giorgione. The Garden of Love.

966. Vander Cappelle, c. 1650. Shipping.

990. Ruysdael. A Wooded Landscape, very fine.

937. Canaletto and Tiepolo. The Scuola di San Rocco at Venice, with the procession on Maundy Thursday.

0005. Paul Potter, 1625-1654. An old Grey Hunter.

952. David Teniers, 1601-1694. A Village Fete.

9500 Teniers the Elder, 1582-1649. Conversation.

1019. Greuze. Head of a Girl.

1010. Dirk Van Deelen, c. 6670. An Apotheosis of Renaissance Architecture.

1020. Greuze. . Head of a Girl.

959. Jan Both. Landscape.

951. Teniers the Elder. Playing at Bowls.

940. Canaletto. Ducal Palace, Venice.

986. Vandevelde. A Calm at Sea, with a vessel saluting.

957. Jan Both, 1610-1656. Landscape and Cattle.

*961. Albert Cuyp, 1605-1691. Milking-time at Dort--a most beautiful work of the master. The contrasts between Cuyp and Hobbema prove with what different eyes artists can behold the same type of scenery.

965. Pander Cappelle. River Scene with a State Barge.

10O1. Van Huysum. Flowers.

Jan Van Huysum's bright and sunny treatment entitles him to the name of the Correggio of flowers and fruits.-Kugler.

928. A. Pollajuolo. Apollo and Daphne--a small picture, full of quaint conceit and richness of colour.

929. Rafaelle (?) Madonna and Child.

943. Memling, c. 1439-1495. His own Portrait.

Room XII. The Dutch School.

It was the subjects of common life around him, and the widely. spread demand for such pictures which arose from all classes, which furnished the chief occupation of the Dutch painter, and that to such an extent that, considering the limited dimensions of the land itself, and the comparatively short time in which those works were produced, we are equally astonished with their number as with their surpassing excellence. .... In all these pictures, whatever their class of subjects, two qualities invariably prevail; the most refined perception of the picturesque, and the utmost mastery of technical skill. Animated, also, by the instinctively right feeling which told the painter that a small scale of size was best adapted to the subordinate moral interest of such subjects, we find them almost exclusively of limited dimensions. These, again, were best suited to the limited accommodation which the houses of amateurs afforded, and thus we trace the two principal causes which created in Holland what may be called the Cabinet School of painting.-Kugler.

805. D. Teniers. An old Woman in her cottage peeling a pear.

*896. Gerard Terburg, 1608-1681. The Congress of Munster, assembled May 15, 1648, in the Rathhaus of Munster, to ratify the treaty of peace between the Spaniards and the Dutch, after the war which had lasted 80 years. The chef-d'oeuvre of the master.

797. Cuyp. A Male Portrait, 1649.

175. Vanderplaas, 1647-1704. Portrait called, without foundation, John Milton.

155. D. Teniers. The Money-Changers.

207. Nicholas Maas, 1632-1693. The Idle Servant, painted in 1655-a cat is going to steal a duck ready for the spit, while the cook is asleep.

50. Antony Vandyck, 1599-1641. The Emperor Theodosius refused admission by St. Ambrose to the Church of San Vittore at Milan-a copy of the picture by Rubens at Vienna.

242. D. Teniers. Players at Tric-trac--a Dutch interior.

291. Lucas Cranach, 1472-1552. Portrait of a Young Lady in a red dress--from the Alton Towers Collection.

51. Rembrandt. Portrait of a Jew Merchant.

71. Jan Both. Landscape, with mules and muleteers.

140. Vander Helst, 1613--1670. Portrait of a Lady.

59. Rubens. The Brazen Serpent--a frightful picture, from the Marana Palace at Genoa; a duplicate exists at Madrid.

46. Rubens. Peace and War. This picture is interesting as having been presented to Charles I. by the painter as typical of the pacific measures he recommended when he was sent to England as accredited ambassador in 1630. In the king's catalogue it is called Peace and Plenty.

53. A. Cuyp. Cattle in the sunset.

757. Rembrandt (?). Christ blessing Little Children--the children of Dutch peasants.

209. Both. A Landscape, with figures, representingthe Judgment of Paris, by Cornelius Poelenburg.

166. Rembrandt. Portrait of a Capuchin Friar.

737. Jacob Ruysdael, 1625--1681. A Waterfall.

264. Gerard Vander Meire, 1410-1480. A Count of Hanegau. with St. Ambrose, his patron saint.

654. Roget Veander Weyden the Younger, 1450-1529. The Magdalen.

747. Memling. St. John Baptist and St. Lawrence.

716. Joachim de Patinir, c. 1440-1524. St. Christopher carrying the Infant Christ.

*664. Roger Vander Weyden the Elder, c. 1390--1464. The Entombment--a wonderful picture, with all the spirit and feeling of the best Italian art.

774. Hugo Vander Goes, c. 1440-1482. Madonna and Child enthroned.

686. Memling. Madonna and Child enthroned in a garden.

709. Memling. Madonna, with the Child on a white cushion.

653. Roger Vander Weyden the Younger. Portraits of the Painter and his Wife.

783. Dierick Bouts, c. 1391-1475. The Exhumation of St. Hubert, Bishop of Liege--from the Fonthill Collection. A picture of wonderful expression and exquisite finish.

295. Quintin Matsys. Salvator Mundi and the Virgin.

710. H. Vander Goes. Portrait of a Dominican Monk.

656. Jan Gossaert, called, from his birthplace, Mabuse, c. 1470-1532. Portrait of a man dressed in black.

245. A. Direr (?), 1471-1528. Portrait of a Senator.

278. Rubens. The Triumph of Julius Caesar.

49. Vandyck. Portrait of Rubens--from the collection of Sir J. Reynolds.

*243. Rembrandt. Male Portrait.

45. Rembrandt. The Woman taken in Adultery-one of the finest of Rembrandt's cabinet pictures. The sorrow and repentance of the woman are vividly expressed, though she is a great lady repenting in a train. Painted for Jan Six, Heer van Vromade, in 1644.

*52. Vandyke. Portrait of Cornelius Vander Geest--a vigorous decided portrait with tender eyes, the outlines drawn in red, from the Angerstein Collection.

66. Rubens. The Chateau of Stein, near Malines--from the Palazzo Balbi, at Genoa--the residence of the painter in the rich wooded scenery of Brabant.

Seldom as he practised it, Rubens was never greater than in landscape. The tumble of his rocks and trees, the deep shadows in his shades and glooms, the watery sunshine and the dewy verdure, show a variety of genius which are not to be found in the inimitable but uniform productions of Claude.-Horace Walpole.

194. Rubens. The Judgment of Paris--a picture greatly studied by artists. In allusion to the evils which resulted from the Judgment, the figure of Discord appears in the air.

*672. Rembrandt. Portrait of the Artist at the age of thirty-two.

158. D. Teniers. Boors merry-making.

192. Gerard Dow, 1613-1675. His own Portrait.

154 . D. Teniers. A Music-Party.

*190. Rembrandt. A Jewish Rabbi-remarkable for its golden tones of light. The anatomy of the head may be easily traced.

221. Rembrandt. Portrait of the Artist as an old man-painted in a full light, very unusual with the master.

817. D. Teniers. Chateau of the Artist at Perck.

775. Rembrandt. Portrait of a Lady of eighty-three-painted in 1634.

47. Rembrandt. The Adoration of the Shepherds--the light, as in the Notte of Correggio, proceeds from the infant Saviour: the lantern of the shepherds fades before the Divine light.

239. A. Vander Noer, 1613-1691. Moonlight scene, with shipping.

159. Nicholas Maas. The Dutch Housewife, 1655.

212. Theodore de Keyser, 1595-c. 1660. A Merchant with his Clerk.

794. Peter de Hooghe, seventeenth century. Courtyard of a Dutch House.

685. Vandyke. Sketch for the Miraculous Draught of Fishes.

Room XIII. Italian School.

908. Pietro delta Francesca of Borgo San Sepolcro, 1415-c. 1495. The Nativity. Five angels are singing and playing vigorously on guitars in honour of the Holy Child, who is lying on the Virgin's mantle in the front of the picture. The angels have no shadows. In the ruined shed behind are an ox and an ass. Joseph is seated on the ass's saddle, with two shepherds near him. The picture is unfinished, but exceedingly characteristic of the all-powerful artist, who was the master of Perugino and Luca Signorelli. It belonged to the family of Marini-Franceschi at Borgo San Sepolcro, the native town of the artist.

668. Carlo Crivelli of Venice, c. 1440-1493. The Beato Ferretti (an ancestor of Pope Pius IX.-Mastai Ferretti) at prayer beholds the Virgin and Child in a vision. The rustic details are given with wonderful care.

275. Sandro Botticelli of Florence, 1447-1510. The Virgin and Child, with St. John Baptist and an angel. A circular picture which once belonged to the famous architect, Giuliano di San Gallo.

286. Francesco Tacconi of Cremona. The Virgin Enthroned, 1489 --a very simple and beautiful picture in the style of G. Bellini.

*667. Fra Filippo Lippi of Florence, ob. 1469. St. John the Baptist seated on a marble bench, between SS. Cosmo and Damian--beyond these, on the right, are SS. Francis and Lawrence; on the left SS. Anthony and Peter Martyr.

911. Bernardino di Betto of Perugia, commonly called Pinturicchio, 1454-1513. The Return of Ulysses to Penelope. She is seated at her loom, with a maid winding thread on shuttles; a cat is playing with it, and four suitors are in attendance. To her enters Ulysses from the ship which is seen in the distance. This picture, so curious in costume and movement, came from the Palazzo Pandolfo-Petrucci at Siena.

589. Fra Angelico da Fiesole (Giovanni Guido), 1387-1447.

703. Pinturicchio. Madonna and Child.

598. Filppino Lippi of Florence (son of Fra Filippo), 1460-1505. St. Francis in Glory.

771. Bono da Ferrara, fifteenth century. St. Jerome in the Desert.

904. Gregorio Schiavone, fifteenth century (School of Padua). Madonna and Child enthroned, with saints. One of the best pictures of the master.

736. Francesco Bonsignori of Verona, 1455-1519. Portrait of a Venetian Senator, 1487.

916. Sandro Botticelli. Venus Reclining-Cupids sport around with fruit and flowers,

776. Vittore Pisano of Verona, early fifteenth century. St. Anthony-marvellous for expression--with his staff and bell and his attendant pig, and St. George in silver armour, with a large Tuscan hat upon his head. The wood of bays behind is thoroughly Veronese. This curious picture, from the Conestabili Collection at Ferrara, was presented in memory of Sir Charles Eastlake, Director of the National Gallery (ob. 1865) by his widow. Inserted in the frame are casts from the medals by Pisano.

770. Giovanni Oriolo of Ferrara, fifteenth century. Portrait of Leonello d'Este, Marquis of Ferrara-signed.

673. Antonello da Messina, c. 1414-c. 1495-who first introduced the Flemish system of oil-painting into Italy. Salvator Mundi-signed in a cartellino.

591. Benozzo Gozzoli of Florence, 1420-1478. The Rape of Helen --from the Palazzo Albergotti at Arezzo.

*666. Fra Filippo Lippi. The Annunciation. An angel with glorious peacock wings (They were full of eyes within ) kneels to a Virgin of exquisite humility, and follows with his eyes the Holy Dove which is floating towards her: the lights are heightened with gold. Painted for Cosimo de' Medici, and long in the Medici Palace. An exquisitely beautiful lily between the Virgin and the angel springs from a vase strangely out of drawing.

910. Luca Signorelli of Cortona, fifteenth century. The Triumph of Chastity (maidens cutting the wings, and breaking the bow of Cupid) --a fresco, from the Palazzo Petrucci at Siena, not a worthy representation of this glorious master.

663. Fra Angelico. Christ adored by the Heavenly Host. This is that predella of the altar-piece m St. Domenico at Fiesole, of which VasariVite dei Pittori, iv. 29. wrote that its numberless figures truly breathed of Paradise, and that one could never be satisfied with gazing upon it.

727. Francesco Pesellino of Florence, 1422-1457. A Trinità from the Church of the Santissima TrinitA at Pistoja.

737. Carlo Crivelli. The Annunciation--from the Church of the SS. Annunziata at Ascoli. St. Emidius, the patron of Ascoli, attends the angel.

292. Antonio Pollajuolo of Florence, more celebrated as a sculptor than a painter-c. 1429-1498. The Martydom of St. Sebastian. This picture, considered by Vasari as the masterpiece of the artist, was painted in 1475 as an altar-piece for the Pucci Chapel in the Church of the SS. Annunziata at Florence: Gino di Ludovico Capponi is immortalised as the saint.

*902. Andrea Mantegna (School of Mantua), 143-15006. The Triumph of Publius Cornelius Scipio-i.e. his being chosen, in accordance with the Delphic Oracle as the worthiest Roman citizen, to receive the image of the Phrygian Mother of the Gods when brought to Rome c. B.C. 204. Painted in monochrome for the Venetian, Francesco Cornaro, who claimed descent from the Gens Cornelia --from the Palazzo Cornaro at Venice. The drapery is nobly painted, and the figures full of varied expression.

807. Carl& Crivelli. The Virgin and Chilld enthroned, with St. Francis and St. Sebastian: the donor, a Dominican Nun, kneels by St. Francis-signed, 1491. Observe, in this and all subsequent pictures of Carlo, the apples and pears constantly introduced by this fruit-loving master.

909. Benvenuto da Siena, 1436-c. IS15. Madonna and Child enthroned, with two angels.

766. Domenico Veneziano, fifteenth century, Florentine School. Head of a Monk-fresco.

631. Francesco Bissolo of Venice, early sixteenth century. Portrait of a Lady--a poor specimen of this delightful artist.

781. Poilajuolo. The Archangel Raphael and Tobias.

692. Lodovico da Parma, early sixteenth century. Head of St. Hugh of Grenoble.

762. Domenico Veneziano. Head of a Saint.

*698. Piero di Cosimo, 1462-c. 1521. The Death of Procris. A Satyr has discovered the maiden lying dead near the shore of an estuary like the upper part of the Bristol Channel. The hound Lelaps, the gift of Diana, sits near her. An admirable example of this great master of mythological subjects.

*726. GiovanniBellini (?) of Venice, 1427-1516. The Agony in the Garden. An angel bearing the cup of the Passion appears to our Lord; in the foreground are the disciples deeply sleeping (St. John's is the sleep of suffering); in the background Judas is guiding the Jews to the garden. The sunset sky is glorious.

597. Marco Zoppo, fifteenth century, School of Padua. St. Dominic, Institutor of the Rosaryo

181. Pietro Vanucci, called, from his city, Il Perugino, c. 1446- 1524. The Virgin and Child, with St. John-signed on the hem of the Virgin's mantle.

906. Carlo Crivelli The Madonna in Ecstasy--from the Malatesta Chapel at Rimini.

*788. C. Crivelli. An altar-piece, which belonged to the Church of St. Domenico at Ascoli. In the lowest stage are the Virgin, St. Peter, St. John Baptist, St. Catherine, and St. Dominic. In the second stage are St. Francis, St. Andrew, St. Stephen, and St. Thomas Aquinas. In the third stage are St. Michael and St. Lucy, with St. Jerome on the right, and St. Peter Martyr on the left-a rich specimen of the master: the ornaments are raised and studded with jewels.

758. Pietro della Francescas Portrait of a Lady, supposed to be a Contessa Palma of Urbino.

592. Filippino Lippi. The Adoration of the Magi.

724. Carlo Crivelli. Madonna and Child enthroned, with St. Jerome and St. Sebastian. The swallow which is introduced has given this picture the name of La Madonna della Rondine -from the Franciscan Church of Matelica.

773. Cosimo Tura of Ferrara, fifteenth century. St. Jerome in the Wilderness beating his breast with a stone.

802. Bartolommeo Montagna of Vicenza, c. 1480-1523. Madonna and Child--an unworthy example of a most interesting master.

*812. Giovanni Bellini. The Death of St. Peter Martyr, 1252, in a wood of bay-trees (at which the woodmen, disregarding the murder, continue to cut)-such as one still sees in some of the old Italian villas. Peter, regarded as a martyr by the Roman Catholic Church, was really murdered, to avenge his fiendish cruelties through the Inquisition as General of the Dominicans, and to prevent their continuance.

915. Sandro Botticelli. Mars and Venus. Mars is sleeping deeply, one little satyr is shouting through a shell to wake him, others are playing with his armour.

247. Niccolo Alunno of Foligno, late fifteenth century. Ecce Homo.

585. Pietro della Francesca. Portrait believed to represent the famous Isotta da Rimini, wife of Sigismondo Malatesta. Her costume is very curious, especially the jewelled head-dress and jewel-edged veil.

602. Carlo Crivelli. Pietà.

665. Pietro della Francesca. The Baptism of Christ. The dreary character of his native limestone Apennines is portrayed by the artist--from St. Giovanni Evangelista at Borgo San Sepolcro.

Room XIV.

779, 780. Ambrogio Borgognone, sometimes called Ambrogio da Fossano from his birthplace, late fifteenth century. Family groups, kneeling (their faces much alike), probably at a tomb-fragments of a standard in the Certosa at Pavia.

751. Giovanni Santi, the poet painter of Urbino, father of Raffaelle, late fifteenth century. Madonna and Child--the view from Urbino forms the background.

*298. Borgognone. The Virgin and Child enthroned. The Child presents a ring to St. Catherine of Alexandria, whose wheel lies at her feet: St. Catherine of Siena--a noble figure-stands on the other side with her lily--from the Chapel of Rebecchino near Pavia.

*179. Francesco Raibolini of Bologna, commonly called Francia, 1450--1517. The Virgin and St. Anne are enthroned. The Child, on its mother's knee, stretches to take an apple from St. Anne, the very type of a grandmother, whose aged face--the noblest in the picture-is full of playful affection: on the left are St. Sebastian and St. Paul, on the right St. Lawrence and St. Romualdo. Beneath the pedestal is inscribed Francia Aurifex Bononensis P. A lovely little St. John is bounding with the scroll of Ecce Agnus Dei.

*180. F. Francia. A Pieta. The Madonna, of most touching expression, holds the dead body of Christ upon her knees. At the sides are two (greatly inferior) angels. This was the lunette of the preceding picture, which was painted for the Cappella Buonvisi in the Church of St. Frediano at Lucca.

623. Girolamo Pennachi, commonly called, from his birthplace, Girolamo da Treviso, 1497-1544. The Virgin and Child enthroned. The donor is presented by St. Paul: St. Joseph and St. James stand by. Painted for the Cappella Boccaferri in St. Domenico at Bologna.

*288. Pietro Perugino. An altar-piece in three parts. The Virgin, full of reverential awe, kneels as if in thanksgiving for the Holy Child, an innocent babe supported by an angel. Three angels float tranquilly in the deep blue sky above, with scrolls from which they will probably sing. Daylight is sinking behind the distant sea and a still beautiful Umbrian landscape. On the left is a noble triumphant St. Michael, with wings half scaly, half feathered: the scales with which he weighs souls hang on a tree beside him. On the right, St. Raphael leads the young beautiful Tobias, who carries his fish, through a flowery meadow. This picture belonged to an altar-piece in three parts painted for the Certosa of Pavia. One of the upper parts remains there still, the other compartments are supplied by copies. The portions here were purchased for the comparatively small sum of £ 3,571.

753. Altobello Melone of Cremona, late fifteenth century. Christ and the two Disciples on the way to Emmaus-painted for the Church of St. Bartolommeo at Cremona. Christ is a pilgrim with his staff, and a cockle-shell in his hat.

*274. Andrea Montegna. The Virgin, a peasant maid, is enthroned with the Child under a red canopy backed by orange and citron trees of wondrous execution. The Magdalen and St. John Baptist stand at the sides: the latter is a noble figure with floating hair and drapery, and a speaking face which says, Ecce Agnus Dei, ecce qui tollit peccata mundi. On the inner side of his scroll is the artist's signature -Andreas Mantinia, C.P.F. Nothing can exceed the exquisite finish of the plants and stones in the foreground.

*296. Pollajuolo. The Madonna, such a figure as Isotta da Rimini, adores the Child, who looks innocently up at her as it lies across her knee eating a raspberry. Of two angels, one looks indifferently out of the picture: the other gazes in rapturous awe at something beyond the group. Such strange rocks as are introduced here may be frequently seen in the Apennines at La Vernia. The ethereal glories here are peculiar to Florentine masters of this period. The profession of Pollajuolo as a goldsmith comes out in the beautiful old jewelled ornaments worn by the Virgin and one of the angels.

629. Lorenzo Costa of Ferrara, 1460-1535. Madonna and Child enthroned, with saints and angels--a beautiful picture hung too high for study. From the Oratorio delle Grazie at Faenza.

806. Boccaccio Boccaccino of Cremona, c. 1496-1518. The Procession to Calvary--a coarse but powerful picture. From the Church of St. Domenico de' Osservanti at Cremona.

282. Giovanni di Pietro of Spoleto, commonly called Lo Spagna (the Spaniard), early sixteenth century. The Virgin enthroned. The Holy Child upon her knees looks down to a human child beneath, who is about to serenade Him. From the Palazzo Ercolani at Bologna.

293. Filippino Lippi. A grand weird picture. The Virgin and Child are in a wild Apennine landscape between St. Jerome and St.. Anthony--a noble figure with his book and lily. Behind St. Anthony the simple hermit life of the mountain is portrayed. Behind St. Jerome, his lion defends his lair against the pig (a wild boar) of St. Anthony. This picture, in its marvellous finish, introduces the peculiar flowers of the high mountains in Tuscany. In the predella is St. Joseph of Arimathea supporting the dead Christ between St. Francis and the Magdalen. The arms of the family indicate the picture having been painted for the Ruccellai Chapel at Florence, where it long remained in the Church of St. Pancrazio.

735. Paolo Morando of Verona, commonly called Cavazzola, 1484- 1522. St. Roch and the Angel-splendid in colour. St. Roch is always represented with the ulcer in his leg, which resulted from his devotion to those sick of the plague at Piacenza, but which caused him to be exiled from the haunts of men for fear of infection: in his solitude he was supported by his little dog, which brought him bread from the city. From the Cagnoli altar in Santa Maria della Scala at Verona.

*18. Bernardino Luini. Christ disputing with the Doctors-a very beautiful picture injured by restoration. The Saviour is twenty-four, not twelve.

748. Girolamo dai Libri of Verona, 1472--1555. St. Anne with the Virgin and Child seated under a lemon-tree (the especial characteristic of the master), and three angels serenading. Behind is the wattled fence of reeds so common in Italy still, entwined with roses. From the Church of Santa Maria della Scala at Verona.

734. Andrea da Solario (Milanese School), 1458-1516. A noble Portrait of Giovanni Cristoforo Longorio, painted in 1505. The background is most beautiful.

728. Giovanni Antonio Beltrafio of Milan, 1467-1516. Madonna and Child--the Virgin is no peasant, but a noble Milanese lady backed by a rich green curtain wrought with gold.

700. Bernardino Lanini of Vercelli, sixteenth century. Madonna and Child--the child playfully shrinks from the smiling St. Catherine. St. Paul gives it an apple; St. Gregory and St. Joseph stand in the background.

*27. Raffaelle. Pope Julius II.-a repetition of the well-known picture at Florence.

24. Sebastiano Luciani of Venice, generally called Sebastian del Piombo, from his being keeper of the Leaden Seals, 1485-1547. The Portrait of a Lady, supposed to be Giulia Gonzaga, painted as St. Apollonia (as is indicated by the pincers). Called a divine picture by Vasari.

* 10. Antonio Allegri (commonly called II Correggio from his birth. place), the great artist of Parma, 1493-1534. Mercury teaching Cupid his letters, while Venus holds his bow. Purchased by Charles I. from the Duke of Mantua in 1630, but sold with the rest of the royal collection and purchased by the Duke of Alva, from whom it passed into the collection of Godoy, Prince of the Peace. When his collection was sold at Madrid during the French invasion, it was bought by Murat and taken to the royal palace at Naples. Queen Caroline carried it off with her to Vienna, and it was bought from her collection by the Marquis of Londonderry.

The figure of Venus is of slender, fine proportions; the attitude of the beautiful limbs of the most graceful flow of lines, with all the parts at the same time so modelled in the clearest and most blooming colours, that Correggio may here be called a sculptor on a flat surface.-Dr. Waagen.

Those who may not perfectly understand what artists and critics mean when they dwell with rapture on Correggio's wonderful chiaro-oscuro should look well into this picture; they will perceive that in the painting of the limbs they can look through the shadows into the substance, as it might be into the flesh and blood; the shadows seem mutable, accidental, and aerial, as if between the eye and the colour, and not incorporated with them; in this lies the inimitable excellence of this master.-Mrs. Jameson.

1024. Giambattista Moroni of Bergamo, 1510-1578. Portrait of a Lawyer--a most astute man.

650. Angelo Bronzino (School of Florence), 1502-1572. Portrait of a Lady.

15. Correggio. Christ presented by Pilate to the People--a picture full of intensest anguish of expression: once in the Colonna Gallery at Rome.

The expression and attitude of Christ are extremely grand; even the deepest grief does not disfigure his features. The manner in which he holds forward his hands, which are tied together, is in itself sufficient to express the depth of suffering. On the left is a Roman soldier of rude, but not otherwise than noble aspect, and evidently touched by pity: on the right, Pilate looking with indifference over a parapet. The Virgin, in front, is fainting, overpowered by her grief, in the arms of the Magdalen: her head is of the highest beauty. The drawing in this picture is more severe than is usual with Correggio.-Kugler.

670. Bronzino. A Knight of St. Stefano.

17. Andrea Vannucchi of Florence, commonly called Andrea del Sarto, from his being the son of a tailor, 1487-1531. The Holy Family--a dark powerful picture. The Virgin holds the laughing Child, to whom St. Anne turns, her face in deep shadow. St. John Baptist leans against St. Anne and watches the Holy Child, his scroll and staff thrown on the ground.

*287. Bartolommeo Veneziano. Portrait of Lodovico Martinengo (1530), in the picturesque costume of the Compagnia della Calza. One of the only three known pictures of the artist. Bought from the heir of Count Girolamo Martinengo.

624. Giulio de' Gianuzzi, called Giulio Romano, 1492-1546. The Infancy of Jupiter. The landscape, with its quaint vine wreaths and flowers heightened with gold, is supposed to be by Giambattista Dossi.

669. Giovanni Battista Benvenuti of Ferrara, called L'Ortolano, from his father's occupation as a gardener. St. Sebastian, St. Roch, and St. Demetrius.

651. Bronzino. Venus, Cupid, Folly, and Time--a foolish, ugly, inexplicable picture.

272. Giov. Antonio Licinio, called Il Pordenone, from his birthplace, 1483-1539. An Apostle.

649. Jacopo Carucci, called, from his birthplace, Jacopo da Pontormo, 1494-1556. Portrait of a Boy in a crimson and black dress.

674. Paris Bordone of Treviso, 1500-1571. Portrait of a Contessa Brignole of Genoa-part of the palace at Genoa is seen in the back. ground.

41. Giorgio Barbarelli of Venice, called, from his beauty, Giorgione, 1477-1511. The Death of St. Peter Martyr--a doubtful picture in a hideous English frame.

*294. Paul Veronese. The Family of Darius at the feet of Alexander after the Battle of the Issus, B.C. 333. This, long one of the most celebrated pictures at Venice, was painted for Count Pisani, and contains many portraits of the Pisani family. It was purchased in 1857 for 113,650.

255. Giulio Romano. Assumption of the Magdalen.

299. Alessandro Bonvicino. Portrait of Count Sciarra Martinengo of Brescia. While still a boy, the services of his father to Francis I. caused him to be received into the household of Henry II. as page, and in his eighteenth year he was made knight of the Order of St. Michael, the most coveted of French honours. There gleamed in his eyes, says Rossi,Elogi Historici dei Bresciani Illustri, 1620. an indomitable desire for glory, and on his brow might be read a soul unmindful of death or danger. While at the French Court, he received the news that his father was murdered by a vendetta of Count Alovisio Avogadro. He flew to Brescia and fell upon Avogadro as he came out of church: the murderer escaped in the scuffle, but one of his kinsmen was slain. The adventures of Martinengo's later life and his numerous duels are recounted by Brantême, who describes him as the sweetest-tempered and most gracious gentleman whom it was possible to meet with, and a sure friend when he gave his promise. In 1569 he was killed under the walls of La Charit6 on the Upper Loire, whilst reconnoitring the place for an assault. In his portrait we see on the brim of his hat an inscription in Greek characters through excessive desire, his father's last words, which he always wore to remind himself that his vengeance was still incomplete.

*742. Moroni. Portrait of a Lawyer-beautiful at once in colour and quietude, on a simple grey background.

3. Titian. The Music Lesson. Purchased by Charles I. from Mantua.

16. Tintoretto. St. George and the Dragon. The whole story is told, but the horse of St. George will inevitably plunge over the precipice and be lost in the lake, on the edge of which the Dragon is waiting.

218. Baldassare Peruzzi, the architect of Siena (?), 1481-1536. The Adoration of the Magi--a very doubtful picture.

26. Paul Veronese. The Consecration of St. Nicholas, Bishop of Myra.. This picture, which shows the master's thorough knowledge of chiaro-oscuro, is from the Church of San Niccolo de' Frari at Venice.

* 697. Moroni. Portrait of a Tailor.

699. Lorenzo Lotto of Treviso, 1480-1558. Portraits of Agostino and Niccolo della Torre.

* 34. Titian (P) Venus and Adonis. Venus vainly endeavours to hold back Adonis from the chase, for Love is asleep in the background. From the Colonna Palace at Rome, a copy of the picture at Madrid.

32. Titian. The Rape of Ganymede. An octagonal picture, probably intended for a ceiling, from the Palazzo Colonna.

The effect of the handsome boy, coloured in the fullest golden tone, every part being carefully rounded, contrasted with the powerful black eagle which is flying away with him, is admirable.-Waagen.

1023. Moroni. Lady in a red dress.

224. Titian. The Tribute Money.

* 625. Alessandro Bonvicino. St. Bernardino of Siena with St. Jerome, St. Joseph, St. Francis, and St. Nicholas of Bari. The Virgin and Child appear above, with St. Catherine and St. Clara. At the feet of St. Bernardino are the mitres of the three bishoprics which he refused-Urbino, Siena, and Ferrara. He holds the monogram of I.H.S., which appears over all the gates of his native Siena,

When preaching St. Bernardino was accustomed to hold in his hand a tablet, on which was carved, within a circle of golden rays, the name of Jesus. A certain man who had gained his living by the manufacture of cards and dice went to him, and represented to him that in Consequence of the reformation of manners, gambling was gone out of fashion, and he was reduced to beggary. The saint desired him to exercise his ingenuity in carving tablets of the same kind as that which he held in his hand, and to sell them to the people. A peculiar sanctity was soon attached to these memorials; the desire to possess them became general; and the man who by the manufacture of gaming-tools could scarcely keep himself above want, by the fabrication of these tablets realised a fortune. Hence in the figure of St. Bernardino he is usually holding one of these tablets, the I.H.S. encircled with rays, in his hand.--Jameson's. Monastic Orders.

1025. Il Moretto. One of the noblest and simplest Portraits of the master.

4. Titian. A Holy Family, with a Shepherd (a shepherd of Friuli) in adoration.

637. Paris Bordone. Daphnis and Chloe.

*1. Sebastian del Piombo. The Resurrection of Lazarus-the master-piece of the artist, and one of the most important pictures in England. It is especially interesting as having been executed by Sebastian for Cardirial Giulio de' Medici, afterwards Pope Clement VII., as an altar-piece to the Cathedral of Narbonne, of which he was then Archbishop. It was to be the rival and companion of the Transfiguration of Raffaelle, which was ordered by the same patron for the same cathedral. Sebastian had already enlisted himself as a partisan of Michel Angelo in his rivalry with Raffaelle, and it is generally believed that in this instance the greater master-il dio di disegno-furnished the drawing of some of the figures, if not the design of the whole composition. Raffaelle is said to have heard of this, and to have exclaimed, I am graciously favoured by Michel Angelo in that he has declared me worthy to compete with himself instead of Sebastian. In the year of Raffaelle's death, 1520, the rival pictures were exhibited together at Rome: the Transfiguration was kept there, and the Raising of Lazarus sent to Narbonne, whence it was bought by the Regent Duke of Orleans in the last century. It was purchased, on the sale of the Orleans Collection, by Mr. Angerstein, who refused a large offer for it from the French Government, which was anxious to bring it once more into juxtaposition with the Transfiguration, when that great picture was in the Louvre. The picture is inscribed--Sebastianus Venetus Faciebat.

In the figure of Lazarus, who is gazing upwards at Christ, while at the some time he endeavours to disengage himself from the bandages, the expression of returning life is wonderfully given. The Christ himself, a noble form, is pointing with his right hand to heaven, while the miracle just performed is told in the grandest way in the various expressions of the bystanders. The execution is of the greatest solidity, and the colouring still deep and full.-Kugler.

635. Titian. The Virgin and Child, with St. John.

20. Sebastian del Piombo. Portraits of Cardinal Ippolito de' Medici and the Artist--from the Borghese Palace.

*1022. Moroni. A noble Portrait of a Warrior who has taken off his armour. Except in the face, the picture is almost entirely painted in back, brown, and grey.

297. Girolamo Romani, of Brescia, called Il Romanino, 1480-1560. The Nativity. On the left are St. Alessandro, martyr of Brescia, and St. Filippo Benizzi; on the right St. Jerome and St. Gaudioso, Bishop of Brescia. An altar-piece, finished in 1525, for St. Alessandro of Brescia. A very noble picture.

*234. Giovanni Bellini. A most glorious picture, which illuminates the whole side of the gallery. The Madonna (her indifferent expression the only blemish in the work) holds the Holy Child. St. Joseph stands by, his rich brown robe sunlit yet dark against the glowing sky and, a lovely landscape like that of the Apennines near Pietra Santa. One of the Magi, in armour, kneels in adoration of the Child, while an attendant, in deep shadow, holds his horse behind a low parapet wall, beneath which a charming little dog is seated. The well-known studio property of Giovanni Bellini, the green drapery with a red edge (which is seen in the adjoining picture as the background of the Virgin) is here stretched upon the ground as a carpet.

280. Giovanni Bellini. A Madonna and Child often repeated by the master, but an unpleasing specimen.

750. Vittore Carpaccio of Venice, 1450-c. 1524. The Madonna enthroned, with the Doge Giovanni Mocenigo entreating her intercession in the Plague of Venice of 1478, and her blessing upon the remedies in the golden vase before her throne. Behind the Doge stands his patron, St. John Baptist; behind the Virgin is St. Christopher, with the infant Christ upon his shoulders.

634. Cima da Conegliano, c. 1480-1520. Madonna and Child.

816. Cima da Conegliano. The Incredulity of St. Thomas-painted for the Church of St. Francesco at Portogruaro.

803. Marco Marsiale of Venice. The Circumcision--a curious and expressive picture, painted in 1500 for the Church of St. Silvestro at Cremona. It bears the painter's monogram and an inscription in a cartelino.

749. Niccolo Giofino. Portraits of the Giusti Family at Verona.

300. Cima da Coneglzano. Madonna and Child.

695. Andrea Previtali of Bergamo, early sixteenth century. Madonna and Child.

804. Marco Marziale. Madonna and Child enthroned; on the right, St. Gallo Abate and St. John Baptist; on the lelt St. Andrew and St. James of Compostella. From the Church of St. Gallo at Cremona.

*599. Marco Basaiti. The Virgin, with the Child deeply and most sweetly sleeping on her knee, sits in her blue robe and white veil in a meadow on the outskirts of such a tower-girdled town as Spello. Snowy clouds float across the quiet blue sky. The railings are of the simplest Italian construction. The flowers of spring are out, but the trees have scarcely begun to bud. On the one side a cowherd lies amongst his cattle; on the other a peasant woman is keeping her cows and lop-eared sheep. At the foot of a tree a stork is fighting with a snake, while an eagle looks down from the leafless branches.

589. Fra Filippo Lippi (I). An Angel presents the Holy Infant to the Virgin.

Room XV.

755. Melozzo da Forli. Rhetoric (?).

636. Titian. A noble Portrait, said to be that of Ariosto.

808. Giovanni Bellini. St. Peter Martyr.

*213. Raffaelle. The Vision of a Knight--a lovely miniature in oils, painted on wood, from the Aldobrandini Collection. A female figure stands on either side of the sleeping youth; one, in a crimson robe, offers him a book and sword; the other, richly dressed, tempts him with the flowers of life.

269. Giorgione. This most interesting painting, bequeathed by Rogers the poet, is a study for the picture of St. Liberale in the altarpiece of Castelfranco, and is evidently a portrait of Matteo Costanzo, son of Tuzio Costanzo of Castelfranco, a noble free-lance who fought for the Republic of Venice, and died at Ravenna in 1504.See Crowe and Cavalcaselle.

595. Battista Zelotti of Verona, 1532-C. 1592. Portrait of a Lady.

270. Titian. The Appearance of Christ to the Magdalen in the Garden. Bequeathed by Rogers the poet.

The Magdalen, kneeling, bends forward with eager expression, and one hand extended to touch the Saviour; He, drawing his linen garment around him, shrinks back from her touch-yet with the softest expression of pity. Besides the beauty and truth of the expression, this picture is transcendent as a piece of colour and effect; while the rich landscape and the approach of morning over the blue distance are conceived with a sublime simplicity.-Jameson's Sacred Art.

* 35. Titian. Bacchus and Ariadne. Returning from a sacrifice in the.island of Naxos, attended by Silenus, with nymphs and fauns, Bacchus meets with Ariadne after her desertion by Theseus, wooes her, and carries her off in triumph. One of three pictures painted c. 1514 for Duke Alfonso of Ferrara.

Is there anything in modern art in any way analogous to what Titian has effected, in the wonderful bringing together of two times in the Ariadne of the National Gallery? Precipitous, with his reeling satyrs around him, re-peopling and re-illuming suddenly the waste placed drunk with a new fury beyond that of the grape, Bacchus, born in fire, fire-like flings himself at the Cretan. This is time present. With this telling of the story, an artist, and no ordinary one, might remain richly proud. Guido, in his harmonious version of it, saw no further. But from the depths of the imaginative spirit Titian has recalled past time, and made it contributory with the present to one simultaneous effect. With the desert all ringing with the mad cymbals of his followers, made lucid with the presence and new offers of a god--as if unconscious of Bacchus, or but idly casting her eyes as upon some unconcerning pageant, her soul undisturbed from Theseus, Ariadne is still pacing the solitary shore, in as much heart-silence, and in almost the same local solitude, with which she awoke at daybreak to catch the forlorn last glances of the sail that bore away the Athenian.-Charles Lamb. Thee seeking, Ariadne, Bacchus young Hurries with flying steps the shores along. Before his path the Satyrs madly prance, The gay Sileni, Nysa's offspring, dance; Wild sporting round him range the frantic rout, And toss their brows, and Eve, Evae! shout. Some brandish high their ivy-covered spears; Some tear the quivering limbs from mangled steers; Some round their waists enwrithing serpents tie; Some with their stores from ozier caskets ply Those fearful orgies, that high mystic rite That's ever hid from uninitiate sight; Some their lank arms on echoing timbrels dash; Some from the cymbals their thin tinklings clash; Some wake the trumpet's hoarser blast of strife, Or the sharp note of the discordant fife. Catullus. Trans. by G. Lamb.

277. J. Bassano. The Good Samaritan.

222. Van Eyck, c. 1390-1440. Male Portrait in black fur, with red drapery on the head, 1433.

So highly finished that the single hairs on the shaven chin are given.- Waagen.

290. Van Eyck. Male Portrait.

638. Franda. Madonna and Child, with saints.

*186. Van Eyck. Portraits of Jean Arnolfini and his wife, Jeanne de Chenany, 1434. This picture belonged to Margaret of Austria, and afterwards, in 1556, to Mary, Queen Dowager of Hungary, who gave a pension of one hundred guilders as a reward to a banker who presented it to her. Observe the marvellous beauty of the chandelier, mirror, and other details introduced, and the scene in the room as reflected in the mirror.

658. Martin Schongauer. The Death of the Virgin.

809. Michel Angelo Buonarrotti, 1475-1564. The Virgin and Child, with St. John Baptist and angels--in tempera, unfinished.

923. Andrea di Solario. Portrait of a Venetian Senator.

*744. Rafaelle. The Holy Family, known as the Garvagh Raffaelle, from the family from whom it was purchased in 1865, having originally come from the Palazzo Aldobrandini at Rome. The Madonna, a graceful and lovely figure, holds the Child upon her lap, who is giving a pink to the infant St. John, who holds a cross in his right hand.

*168. Raffaelle. St. Catherine of Alexandria, painted c. 1507- from the Aldobrandini Collection. St. Catherine, having successfully discussed theology with fifty heathen philosophers, was condemned by the Emperor Maximin, 310, to be broken on the wheel, but the wheels were miraculously broken in pieces. The saint was eventually beheaded, but the broken wheel is her attribute. Raffaelle's first idea for this picture, drawn with a pen, is at Oxford; the Duke of Devonshire has a more finished study.

777. Morando. Madonna and Child, with St. John Baptist and an angel.

790. Michel Angelo. The Entombment--from the collection of Cardinal Fesch.

*690. Andrea del Sarto. Portrait of Himself.

His life was corroded by the poisonous solvent of love, and his soul burnt into dead ashes.-Swinburne.

*23. Correggio. The Holy Family-called La Vierge au Panier, from the basket in the left corner. From the Royal Gallery at Madrid.

This picture shows that Correggio was the greatest master of aerial perspective of his time.-Mengs.

Never perhaps did an artist succeed in combining the most blissful, innocent pleasure with so much beauty as in the head of this Child, who is longing with the greatest eagerness for some object out of the picture, and thus giving the mother, who is dressing it, no little trouble. But her countenance expresses the highest joy at the vivacity and playfulness of her child. In the landscape which forms the background Joseph is working as a carpenter.-Waagen.

169. Mazzolino da Ferrara, c. 1481-1530. The Holy Family, with St. Nicholas of Tolentino.

*189. Giovanni Bellini. Portrait of Leonardo Loredano, Doge of Venice from 1501 to 1521. Loredano sat repeatedly to Bellini; but this finished with marvellous detail, is the best of his many portraits.

626. Tommaso Guidi, commonly called Masaccio, 1402--1443. Portrait of Himself.

*694. Giovanni Bellini. St. Jerome in his Study--a picture of exquisite beauty and finish, from the Palazzo Manfrini at Venice. Ascribed by Crowe and Cavalcaselle to Catena.

756. Melozzo da Forli. Music (?)

Central Hall.

639. Francesco Mantegna. Christ appearing to the Magdalen.

769. Fra Carnovale of Urbino, fifteenth century. St. Michael and the Dragon.

912-914. Pinturicchio. The story of the patient Griselda. A peasant girl is married to the Marquis of Saluzzo, and after thirteen years of honour, having been deprived of her children, is sent back divorced to her father's cottage, but recalled thence to work as a servant m the castle, for her husband's new marriage. Submitting to all these trials in obedience and patience, she is restored to her children and reinstated by her husband in her former honours.

729. Bartolommeo Suardi of Milan, called Bramantino from his master Bramante, early sixteenth century. The Adoration of the Magi.

691. Lo Spagna. Ecce Homo.

768. Ant. Vivarini. St. Peter and St. Jerome.

641. Mazzolino da Ferrara. The Woman taken in Adultery.

648. Lorenzo di Credi. The Virgin adoring the Holy Child.

778. Pellegrino di San Daniele. The Donor is presented to the Virgin by St. James. St. George is on horseback, with the dead Dragon at his feet.

640. Dosso Dossi of Ferrara, 1480-1545. Adoration of the Magi.

593. Lorenzo di Credi. Madonna and Child.

718. Heinrich de Blas, c. 1480-1550. The Crucifixion, with angels receiving the blood.

*33. Parmigiano. The Vision of St. Jerome-painted, by order of Maria Bufalina, in 1527, for the Church of San Salvatore in Lauro at Citta di Castello. Though the artist was only in his twenty-fourth year when he executed it, this is a most noble picture. It is supposed to be that which so absorbed the painter's attention during the siege of Rome by the Constable de Bourbon, that he was unaware the city was taken till some German soldiers, bursting in to plunder his house, were overwhelmed with its beauty, and not only spared, but protected him.

81. Benvenuto Tiso, called Garofalo from the pink with which he marked his pictures, 1481-1559. The Vision of St. Augustine. He is warned by a child that his efforts to understand the mystery of the Trinity must be as futile as attempting to empty the ocean with a spoon. St. Catherine, the patron saint of theologians, stands near him, gazing up at the Virgin and Child surrounded by angels: the little red figure in the background represents St. Stephen, whose life and acts are set forth in the homilies of St. Augustine. From the Corsini Palace at Rome.

8. Michel Angelo. A Dream of Human Life.

693. Pinturiccho. St. Catherine of Alexandria.

632. Girolamo da Santa Croce of Venice, sixteenth century. A Saint reading.

671. Garofalo. The Madonna and Child enthroned; on their left St. Francis and St. Anthony; on their right St. Guglielmo and St. Chiara.

702. Andrea di Luigi of Assisi, called L'Ingegno, fifteenth century. Madonna and Child in glory.

633. Girolamo da Santa Croce. A Saint.

Room XVI. Peel Collection.

864. Terburg. The Guitar Lesson.

889. Sir J. Reynolds. His own Portrait.

834. Peter de Hooge. Dutch Interior.

*887. Sir J. Reynolds. Portrait of Dr. Johnson.

835. P. de Hooge. Courtyard of a Dutch House.

823. Cuyp. Cattle.

841. W. Van Mieris of Leyden, 1662-1747. A Fish and Poultry Shop.

*849. Patul Potter, 1625-1654. Landscape with cattle.

865. Vander Cappelle. Fishing Boats in a Calm.

830. Hobbenna. The lopped Avenue, with a dyke on either side, leading to the dull brick town of Middelharnis, the reputed birthplace of the artist.

845. Gaspar Natscher of Antwerp, 1570-1651. A Lady spiunuig.

839. Gabriel Metsu. The Music Lesson.

852. Rubens. The Chapeau de Poil.

863. Teniers. Dives--Le Mauvais Riche.

867. Vandevelde. The Farm Cottage.

888. Reynolds. Portrait of James Boswell.

870. Vandevelde. A Calm.

892. Reynolds. Robinetta.

Room XVII. Early Italian art-indifferent specimens.

568. School of Giotto. The Coronation of the Virgin.

564. Margaritone d'Arezzo, 1216-1293. The Virgin and Child, with scenes from the Lives of the Saints. From the Ugo Baldi Collection.

65. Giovanni Gualtieri of Florence, called Cimabue, 1240-c1302. Madonna and Child enthroned--from the Church of Santa Croce at Florence. Retouched.

215. Taddeo Gaddi of Florence, c. 1300-1366. Saints.

567. Segna di Buonaventura of Siena, early fourteenth century. A Crucifix.

579. Taddeo Gaddi. The Baptism of Christ.

566. Duccio di Buoninsegna of Siena, 1261-c. 1339. Madonna and Child, with angels and saints.

580. Jacopo di Casentino, 1310-c. 1390. The Assumption of St. John the Evangelist and other Saints.

570-578. Andrea di Cione Arcagnuolo, called Orcagna, 1315-c. 1376. Scenes from the Life of Christ.

630. Gregorio Schiavone, fifteenth century, School of Padua. Madonna and Child, with saints.

276. Giotto, Florentine, 1276-1336. Heads of SS. John and Paultom the Church of the Carmine at Florence.

586. Fra Filippo Lippi. Madonna and Child, with angels and saints --supposed to have been painted by the artist in his twenty-fifth year for the Convent of Santo Spirito at Florence.

248. Fra Filippo Lippi. The Vision of St. Bernard-supposed to have been painted for the Palazzo della Signoria at Florence.

583. Paolo di Dono, called Paolo Uccello from his love of birds, 1396 -1479. The Battle of Sant Egidio (?), July 7, 1416, in which Carlo Malatesta, Lord of Rimini, and his nephew Galeazzo, were taken prisoners by Braccio di Montone. The beautiful young Galeazzo is distinguished by his floating golden hair.

227. Cosimo Rosselli of Florence, 1439-c. 1506. St. Jerome in the Desert and other saints, painted for the Ruccellai Chapel at Fiesole.

284. Bart. Vivarini of Murano, fifteenth century. The Virgin and Child, with St. Paul and St. Jerome.

772. Cosimo Tura. Madonna and Child enthroned, with angels.

Room XVIII. Chiefly Spanish.

184. Antonij Moro (Sir Antonio More), 1512-1.581. Portrait of Jeanne d'Archel, of the family of Count Egmont.

176. Bartolomi Esteban Murillo of Seville, 1618-1682. St. John and the Lamb. The St. John is a Spanish peasant boy.

*13. Murillo. The Holy Family-painted by the artist at Cadiz, when sixty years old, for the family of the Marquis del Pedroso.

*230. Francisco Zurbaran, the Spanish Caravaggio, 1598-1662. A Franciscan Monk--a most weird picture, in which, after it is long gazed upon, the eyes come out and take possession of the spectator. From the gallery of Louis Philippe.

74. .Don Diego Velazquez de Silva of Seville, 1599-1660. A Dead Warrior-called El Orlando Muerto.

244. Spagnoletto. Shepherd with a Lamb.

232. Velazquez. The Nativity.

*74. Murillo. A laughing Beggar Boy.

*197. Velazquez. A Boar Hunt of Philip IV. The groups in the foreground, especially the dogs, most admirable. The dreary space in the centre destroys the interest of the picture as a whole. From the Royal Palace at Madrid.

745. Velasquez. Portrait of Philip IV.

195. Portrait of a German Professor, 1580.

It was near the entrance of the Park from that the Royal Academy Exhibition of Pictures was held. Hogarth's and and Reynolds's were amongst the pictures exhibited there.


[n.4.1] Walpole's Letters to Sir Horace Mann.

[n.5.1] Macaulay and others write the name Edmundsbury. But in the cloisters of Westminster Abbey there is a monument to a brother of Sir Edmund, where he is designated as Edmundus Berry Godfrey. The best authority, however, is Sir Edmund's father. The Diary of Thomas Godfrey of Lidd, in Kent, says, My wife was delivered of another son the 23rd of December, 1621, who was christened the 13th January, being Sunday. His godfather was my cousin John Berrie, his other godfather my faithful loving friend and my neighbour sometime in Greek Street, Mr. Edmund Harrison, the king's embroiderer. They named my son Edmund Berrie, the one's name, and the other's Christian name.

[n.7.1] See Rev. W. G. Humphry's History of the Parish of St. Martin's in the Fields.

[n.7.3] The National Gallery is open to the public on Mondays, Tuesdays, Wednesdays, and Saturdays: on Thursdays and Fridays it is open to students only. The hours of admission are from 10 to 5 from November to April, and from 10 to 6 in May, June, July, August, and the first fortnight in September. During the last two weeks of September and the whole of October the Gallery is closed.