[]CATALOGUE OF PAINTINGS IN THE NEW PALACE.

Titian. Two large pictures of Siſyphus and Prometheus in their torments: the figures above hu⯑man ſize: They were painted by this maſter in Spain, and are fi⯑gures of great force, colouring and expreſſion. The manner of treat⯑ing the Prometheus much reſembles that of a celebrated picture on the ſame ſubject at Kimbolton Caſtle: As the noble owner has no deter⯑mined tradition of its author, I ſhall hazard a conjecture, that it [17] was painted by Rubens upon the idea of this figure of Titian's, after that artiſt had viſited Spain.

Titian. Four half-length pour⯑traits of Women, not in his bright⯑eſt manner.

Titian. Four pourtraits of Men, ſeemingly of the ſame period; one of which is a pourtrait of the great artiſt himſelf in his advanced age; a grand and venerable piece.

Titian. A pourtrait of a Boy, full length. Correct and beautiful nature.

Titian. Two fancy compoſi⯑tions, companions; the figures half length: One, two Bacchants; the other a Venus, admiring herſelf in a [18] Mirror, which Cupid holds up to her face. With one of her hands ſhe preſſes her boſom, which is un⯑covered, and the action is delicately expreſſed. Theſe pictures hang level with the eye on each ſide of a door fronting the great entrance; the effect is remarkably ſtriking, the relief bold, and the colouring nature itſelf; but perhaps the exe⯑cution has not that finiſhed delica⯑cy, which many of his earlier com⯑poſitions have: The characters, both of one and the other, are cer⯑tainly of a wanton caſt; the per⯑ſon half-uncovered, half-concealed, with ſuch a ſtudied negligence of dreſs, and ſo much playfulneſs of expreſſion and attitude, that the draperies ſeem introduced ſor no [19] other purpoſe but to attract the at⯑tention more ſtrongly to the charms they do not ſerve to hide.

Titian. Venus preſents a cup to a Nymph: Two Satyrs in the back ground with baſkets of fruit: This, like the former, is the Venus laſciva. The contraſt of hues between the prominent figure and the Satyrs in ſhades is managed with maſterly addreſs.

All who are converſant in the works of this maſter will better conceive the ſtriking effect of theſe three compoſitions, than any de⯑ſcription of mine can convey: In whatever collection they hung, they would certainly be very dangerous neighbours to moſt other colouriſts who came in contact with them.

Titian. Adam and Eve in Pa⯑radiſe; the ſize of life; a very ca⯑pital picture, upon a large canvaſs; both figures of conſummate beauty, and of a ſublime and chaſte charac⯑ter; their attitudes ſimple, natural, without any trace of the Academy in their diſpoſition: The carna⯑tions are not florid, and the whole hue of the piece rather duſkier than is uſual with this maſter: The back-ground preſents a noble land⯑ſcape; the ſcenery finely character⯑ed, and in beautiful harmony.

Rubens. A copy of the above on a cloth of the ſame ſize; this copy hangs between the windows in an unfavourable light, and op⯑poſite to the original. It is a maſ⯑terpiece of colouring, and though [21] it has miſſed the delicacy of the model, I am inclined to think it has ſurpaſſed it in force and effect. It is evident that Rubens has put his whole ſtrength to the work, and as his efforts have been decidedly ad⯑dreſſed to the colouring, his figures have a broader nakedneſs (if I may ſo expreſs it), than they have in the original; whereas there is a purity in Titian's nakedneſs, which is in character with the ſubject, and fully correſponds with the moſt refined conceptions of human nature in it's primitive ſtate of innocence and beauty: When we contemplate Titian's Adam and Eve, we are convinced they never wore cloaths; turn to the copy, and the ſame per⯑ſons appear to have laid theirs [22] aſide, and expoſed themſelves to ſhame for the credit of the painter.

Tintoret. Two noble compoſi⯑tions from ſacred hiſtory, compa⯑nions. The one a Judith, with the head of Holofernes; the other, a Martyrdom of Saint Urſula and her companions: The characters in both are of great grandeur, finely conceived and executed with pecu⯑liar brilliancy and ſpirit.

Paul Veroneſe. Two charming pictures, and the ſubjects beautiful. One, a Venus and a Sleeping Ado⯑nis; the other, Cephalus and Pro⯑cris, both natural ſize.

Juan Labrador. Two flower-pieces of the beſt maſter Spain ever [23] produced in this ſtile of painting. Theſe pieces are held in high eſ⯑teem; and, though in company with works of a ſuperior caſt, will attract the admiration of the be⯑holder. It has never been my chance to meet with any paintings of the like ſort, which I have thought comparable to theſe of La⯑brador. He died at Madrid in 1600, at a very advanced age. (See Anecdotes, vol. i. p. 151.)

Pedro Orrente. A Nativity; a capital compoſition: This picture was removed from the chapel de los Reyes nuevos, belonging to the ca⯑thedral of Toledo. Orrente was a familiar of the Inquiſition, and died in 1642, very old. He was a diſ⯑ciple of Baſſan; and greatly ſa⯑voured [24] and employed by the mi⯑niſter Olivares: ‘"He coloured in the ſtile of his maſter, but in his choice of nature did not imitate his vulgarity of taſte; in correct⯑neſs of drawing, he has rarely been exceeded. He was buried at Toledo, where he died, and is deſervedly to be numbered amongſt the moſt eminent Spa⯑niards of his profeſſion." (See Anecdotes, vol. i. p. 193.)’

Baſſan. Nine pictures of this maſter, viz.

• Adam, naming the brute crea⯑tion.
• Noah, introducing them into the Ark, its companion; both charm⯑ing pictures.
• Two upon ſcripture ſubjects.
• [25] Four of rural and domeſtic ſcenes.
• One, very beautiful, of Orpheus harping to the beaſts.

Theſe pictures have been drawn from the great collection of Baſſans in the Buen Retiro; but it does not appear to have been a very ju⯑dicious ſelection, for they have certainly left many there of a ſupe⯑rior merit to theſe; particularly ſome upon hiſtorical ſubjects in a great ſtile, and which are probably the moſt capital of their maſter any where to be met with.

Velaſquez. Five magnificent pourtraits, by this greateſt of all the Spaniſh maſters, adorn this ſtately [26] chamber: It is altogether one of the moſt ſtriking ſpectacles that can meet the eye; few ſcenes are to be found, that can better repay the curioſity of a traveller, and a ſtran⯑ger to the works of this great paint⯑er. The magnitude of theſe ob⯑jects, the force and vigour of their colouring, the proud character they are diſplayed in, the profuſe ſplen⯑dor of the draperies, and (more than all) the ſtately horſes, on which they are mounted, dreſſed out with ſuch redundancy of embel⯑liſhment, conſpire to produce an aſtoniſhing effect; of theſe pour⯑traits, four are of royal perſon⯑ages, viz.

Philip III. and IV. and their re⯑ſpective Queens.

[27] The laſt and beſt is the pourtrait of the Conde Duque de Olivares, miniſter of Spain and patron of the artiſt. There are etchings of all theſe pourtraits, copies of which I brought over from Spain.

Rubens. Philip the Third on horſeback: A very noble pour⯑trait.

Vanlo. Philip the Fifth on horſeback, and Queen Iſabella on foot. The inferiority of this artiſt is rendered very conſpicuous by the contraſt of the capital pictures a⯑bove-mentioned.

Rubens. Four compoſitions of this maſter hang over the doors, viz.

• A Hercules reſting from his la⯑bours.
• The Judgment of Paris.
• Pluto in his car.
• Apollo in his courſe; capital pieces.

The ſculptures in this, and the anti-chamber above deſcribed, are numerous and fine: In the former there is a remarkable buſt of Sene⯑ca by Bernini; and in this ſeveral of Roman emperors and empreſſes, antique; an infant Hercules ſleep⯑ing, of exquiſite workmanſhip, &c. &c.

Velaſquez. The famous Family-piece of the Infanta D^a Margarita of Auſtria, afterwards empreſs of [29] Germany, with various other per⯑ſons in different employments; a large group: The painter has intro⯑duced two dwarfs, and (what adds greatly to its value) he is repre⯑ſented in perſon in the act of paint⯑ing the Infanta, whoſe pourtrait ap⯑pears upon the eaſel. ‘"It is related of this picture, that King Philip, with his own hand, painted the order of Santiago upon the dra⯑pery of Velaſquez's figure, which order he was not till then poſſeſſ⯑ed of. When Charles the Se⯑cond of Spain ſhewed this pic⯑ture to Luca Jordano, he ex⯑claimed with rapture and ſurprize, Sen̄or, eſta es la Theologia de la pintura." (Anecdotes, vol. ii. p. 37.)’

[30] A copy of this famous picture, upon a ſmall ſcale, was taken for the late Lord Grantham, when he was ambaſſador in Spain, and brought over by his Lordſhip to England. It is to be hoped his ſucceſſors in that ſtation will follow his example, and obtain copies or drawings of other capital pictures in that kingdom.

Titian. Charles V. in complete armour; his lance in his hand, his vizor up, and himſelf mounted on a beautiful horſe; he is preparing to paſs his troops over a river, which is deſcribed in the ſcenery of the back-ground, of the ſize of life, upon a very large canvaſs: This picture ſets all deſcription at de⯑fiance, [31] at leaſt all ſuch deſcription as I can attempt: I cannot doubt its being the moſt capital pourtrait of the maſter, and has been ſo eſ⯑teemed by the beſt judges, who have ſeen it; there is reaſon to believe that Titian rated it as ſuch him⯑ſelf.

In the countenance of the mo⯑narch we read his hiſtory, or (which perhaps is nearer to truth) recol⯑lecting his hiſtory, we acknowlege the agreement of character in every line, and in the reflection of his features we find the painter has re⯑corded the annals of his life: Ne⯑ver was more expreſſion of a mind committed to canvaſs. A penſive dignity prevails, traced with marks of pain and bodily decay: He is [32] deep in thought; his eyes gloomy and ſevere, the lids heavy, inflated and remarkably low over the eye⯑balls; the under-lip projecting, and the mouth characteriſtic of revenge and reſolution: He is advancing to give battle to the unfortunate Elec⯑tor of Saxony and the Landgrave, thoſe oppoſers of his power and of his faith; external objects have no ſhare in his attention; the whole man is engroſſed by the deepeſt meditation: His lance is poiſed pa⯑rallel with the ground, and ranges along the ſide of his horſe, with the point advanced beyond its breaſt; the action of the animal harmonizes with the character of his rider, ſlowly and compoſedly ſtepping forward, the head low [33] and ſubmitted, and the eye expreſ⯑ſive of the moſt reſigned obedience to his imperial maſter: All is calm and ſtill in the ſcene, no flutter or diſturbance in the objects; the co⯑louring, drawing and perſpective are the life itſelf; the whole is ſuch perfect nature, that art ſeems extin⯑guiſhed by its own excellence.

Titian. Philip II. in armour, his infant Son raiſed in his arms, whom he is devoting to Fame, which is repreſented as deſcending from the ſkies, in the act of crown⯑ing the new-born prince with a wreath of palm: On a ſcroll are theſe words—Majora Tibi.—The artiſt has put his name to this pic⯑ture in the following words— [34] Titianus Vecellius, Eques Caeſaris, fecit.

Vandyke. The Infant Don Fer⯑dinand, on horſeback.

Caſtiglione. Gladiators; very fine and ſpirited. This picture is doubt⯑fully aſcribed to Caſtiglione, but my catalogue gives it to him with⯑out any remark.

Cavallero Maximo. Gladiators; its companion.—Theſe two pictures hang over the doors, and have both great merit.

Titian. Venus and Adonis, and Europa on the Bull, its companion.—Theſe alſo hang over the doors; and are beautiful pic⯑tures: Every ſpectator muſt regret that they are not brought down [35] nearer to the eye; but theſe and many other inſtances occur of over⯑ſights in the hanging of this collec⯑tion, which I am informed was ar⯑ranged by Mengs, and, as it ſhould ſeem, with ſome partiality to his own performances.

Velaſquez. A group of Spaniards carouſing. Theſe ruſtic Bacchana⯑lians are evidently ſketched from nature: Bacchus is introduced ſit⯑ting on a caſk, putting a garland on the head of a Peaſant, who kneels at his feet: On his left hand is a group of five other ruſtics, one of which holds a goblet of wine, ano⯑ther a can, and another has a lea⯑ther bag ſlung acroſs his ſhoulder; [36] their faces are groteſque and ſavage, and ſtrongly marked with the Caſ⯑tilian caſt of features: On the right hand of Bacchus are two fi⯑gures attendant upon him; one of theſe is naked, and ſits at his back, leaning on one elbow, and in the other hand holding a narrow-bot⯑tomed drinking glaſs with wide lips; the other is in ſtrong ſhade in the fore-ground, his face turned from the ſpectator, in a crouching attitude, embracing a large earthen amphora, which ſtands on the ground; both theſe figures are crowned with wreaths of vine; and the God, who has a mantle looſely thrown over his waiſt, has his whole head covered with a large cluſter of broad vine leaves, [37] in a grand and pictureſque ſtile: His countenance is ſtrongly charac⯑tered in the Mooriſh or Andaluſian caſt, with a broad noſe, full lips, wide mouth, and black ſparkling eyes: The figures are of the ſize of life. A very capital compo⯑ſition.

Velaſquez. A compoſition on the ſubject of Mercury and Argos: Its companion.

Velaſquez. The Forge of Vul⯑can. The Cyclops are at work, and Apollo is introduced, who is diſcloſing to Vulcan the intrigues of Venus with Mars. The painter has here choſen a ſubject, which enables him to diſplay his art in its ſulleſt extent, and he has per⯑ſormed [38] it with conſummate addreſs. The effect of light and ſhade from the reflection of the forge, and the ſparks which fly from their ham⯑mers, produce a ſtriking effect. The athletic forms and duſky hues of the Cyclops are artfully contraſt⯑ed with the beautiful proportions and fine tints of Apollo's perſon: The character of Vulcan is finely conceived, the ſtory well told, and the group diſpoſed with great judgment.

Velaſquez. The celebrated pic⯑ture of the Tapeſtry-workers, or women weaving tapeſtry; a won⯑derful repreſentation of nature in the beſt ſtile of the maſter, and of his cleareſt colouring.

Velaſquez. The famous Aqua⯑dor, or Water-bearer of Seville. One of his earlieſt productions, (See Anecdotes, vol. ii. p. 6.)

Velaſquez. Two pourtraits of Dwarfs, ſitting on the ground. Theſe Dwarfs belonged to Philip IV. One has a large volume be⯑fore him, and is turning over the leaves; by his ſide are pen and ink and a common-place book. A correct reſemblance of deformed nature.

Velaſquez. A full-length pour⯑trait of an Old Man with papers in his hand, ſaid to be the Alcalde Ronquillo.

Velaſquez. Two full-length [40] pourtraits of dignified characters. Very fine.

Theſe compleat the number of ten pictures by this maſter here brought together, and though there may be ſuperior pictures of Velaſ⯑quez in this palace, in the Eſcorial, and particularly the Dead Chriſt on the Croſs, in the monaſtery of San Placido, yet there can no where be ſeen ſuch a collection of his works under one view; and whatever lover of the art ſhall enter this room, I am perſuaded he will not depart from it without a very high reſpect for this illuſtrious Spaniard.

Murillo. Two large and fine compoſitions on ſcriptural ſubjects, viz.

• The Annunciation, and
• The Nativity.

Murillo. Two ſmall ditto, very delicately touched, and finely co⯑loured, viz.

• The Eſpouſals of Ma⯑ry the Mother of Chriſt, and
• An Infant Jeſus ſleeping.

Murillo. A Jeſus with St. John the Baptiſt, in his laſt and beſt manner: An exquiſite piece; mid⯑dle ſized.

Murillo. A Holy Family, large ſize.

Murillo. A Virgin half-length, with the Infant Jeſus entire, ſtand⯑ing.

Lanfranc. An Aſſumption, with a Glory of Angels; ſmall ſize; very beautiful. Ponz, in his Di⯑rectory, calls this a Guido.

Vandyke. Two pourtraits of La⯑dies of the Auſtrian houſe, in the religious habit of the Royal Carmel⯑itiſh convent: One of them appears to be the Infanta Don̄a Margarita: Both half-lengths.

Titian. Three half-length pour⯑traits of noble perſons.

Spagnolet.

• Saint John,
• Saint Bartholomew,
• Mary Magdalene, and
• Mary of Egypt.

Exquiſite ſamples of a maſter, whoſe merit cannot be fully known but to thoſe who have ſeen his works in his native country.

Luca Jordano. The Flight into Egypt.

[43] Abraham ſacrificing his Son, its companion.

David Teniers. Four landſcapes, with a great variety of figures; ex⯑cellent.

There is alſo a picture, by a maſter unknown, in the Flemiſh ſtile, a compoſition of great labour and minuteneſs, after the manner of Brughel; repreſenting a cabinet ſurniſhed with a variety of pictures, ſtatues, flowers, and articles of dif⯑ferent ſorts, highly finiſhed.

Mengs. A Nativity, the figures of the ſize of life.

This is his celebrated picture, which the king has covered with a magnificent plate of glaſs: It was painted at Rome, and ſent from [44] thence to Madrid. In the perſon of one of the Shepherds, the artiſt has introduced his own pourtrait: The whole is laboured with amaz⯑ing care and ſtudy, and very ten⯑derly coloured: His miniature-edu⯑cation is conſpicuous in this per⯑formance, and the Infant is remark⯑ably diminutive and delicate: The ſubject perhaps precludes origina⯑lity, and it does not ſeem to be attempted. It is ſcarce neceſſary to add, that this picture is a great court-favourite; all the works of Mengs are generally extolled in Spain, and this the moſt: I have obſerved, however, that the opi⯑nions of mankind at large, with re⯑gard to his rank in the liſt of artiſts, run much into oppoſite extremes; [45] and this is generally the fate which eminent men experience in the judgment of their contemporaries: This does not ſeem to proceed from any want of preſent capacity to aſ⯑certain the degrees of merit in men, before Time has pronounced upon them with more authority, but is rather owing to the good and evil paſſions of mankind, to their lik⯑ings and their antipathies, to an affectation of ſingularity, and a vanity to be thought a leader in taſte, and a diſcoverer of latent merit; ſurpriſed by theſe motives into ſudden applauſe, we commit ourſelves to it with a warmth which, though it frequently cools, we dare not diſavow, and thus become par⯑ties [46] in the reputation we are pledg⯑ed to ſupport.

Mengs. An Incarnation, its companion: This alſo was painted in Rome, and tranſmitted from thence.

Teniers. Twenty-four pictures of this much-admired maſter, ſmall in ſize, but of admirable execution, hang in this room, and form of themſelves a moſt valuable collec⯑tion.

Two of theſe are ſatirical and lu⯑dicrous allegories on the ſubject of the Arts.

Two others are much in the ſame [47] ſtile, and repreſent the temptations of Saint Anthony.

The reſt are landſcapes of vari⯑ous ſorts, with figures and cattle: Of theſe I ſhall not offer any de⯑ſcription, which ſcenes of this ſort do not admit of like pictures upon hiſtorical ſubjects. The eye of the artiſt will dwell upon them with de⯑light. If we may ſuppoſe for a mo⯑ment that this whole magnificent collection was at ſale, perhaps theſe pictures of Teniers would be a⯑mongſt the very firſt that modern virtuoſi would reach at.

Wouvermans. An exquiſite picce: The landſcape a moſt beautiful country, with men and women, dogs and horſes, and all the concomitants [48] of a rural wake and merry-mak⯑ing.

Segers. A grand Flower-piece.

Brughel. Eight beautiful pic⯑tures: Three of theſe are Flower-pieces; the other five, ſmall fabu⯑lous compoſitions, with nymphs adorned with garlands of flowers, and various embelliſhments, rich and luxuriantly coloured: The whole a moſt captivating collection of a favourite maſter.

In this cloſet is a painted Cabi⯑net, which would demand longer examination than I could devote to it; it is by a Flemiſh hand, but the maſter's name has eſcap⯑ed me, and my manuſcript cata⯑logue does not mention it: It [49] is eſteemed a maſter-piece in its kind.

Alonzo Cano. A Dead Chriſt, ſupported by an Angel.

This noble Spaniard may be ſtyled the Michael Angelo of Spain; for he was architect, ſtatuary, and paint⯑er, and excelled in each. For his life, which is curious, See Anecdotes, vol. ii. p. 72, &c.

Murillo. Head of an Ecce Homo.

D^o of a Madona; both ſmall pieces, very fine.

A ſingle figure of the tutelar Saint James to the knees; excel⯑lent; [50] in his beſt and brighteſt man⯑ner.

Spagnolet. Saint Francis de Aſis, half-length.

Saint Geronimo, a companion.

Amongſt all the works of this artiſt, whether here or in the Eſco⯑rial, I have not met one, which did not engage my admiration; and I was ſurpriſed to find him as great a maſter of grace and beauty, as he is of effect.

Cavallero Maximo. A Magda⯑lene, half-length.

Mengs. A Holy Family, large ſize.

Baroccio. A Laſt Supper, ſmall, and of exquiſite delicacy.

Leonardo da Vinci. Herodias with the head of John the Baptiſt; half-length, ſmall ſize, very fine; but its originality doubtful.

Luca Jordano. A Madona, half-length, with the Child ſleep⯑ing; Saint John kiſſing his feet, and Saint Joſeph in the back⯑ground: An oval, painted in the manner of Raphael; a charming piece. A very curious ſample of the imitative powers of this inge⯑nious painter.

Joſeph de Arpino. The Martyr⯑dom of Saint Ines; a glory, with Saints and the Bleſſed Virgin in the clouds. Clement VIII. made this painter a knight of Chriſt, and Louis XIII. of France gave him [52] the order of Saint Michael: He died at Rome in 1640, aged eighty years.

This chamber being only a paſ⯑ſage-room between the dreſſing-room and bed-chamber, is lighted only from the glaſs doors, and very unfavourable to the excellent pic⯑tures it contains.

Mengs. The king has here ſtrongly marked his predilection for Mengs, by admitting none but his paintings to hang in this cham⯑ber. Theſe conſiſt of ſix compoſi⯑tions of the ſize of life, and two ſmall ones, viz.

• A Deſcent from the Croſs; both the Marys and Saint John are re⯑preſented: [53] The air and expreſſion of the head of Saint John very ca⯑pital, but cloſely copied from the Elder Mary, in a painting of Van⯑dyke's on the ſame ſubject, which was long in Mengs's hands, and now in my poſſeſſion. In my opi⯑nion this compoſition is far the beſt of all his paintings in oil, that are in this palace.
• The Eternal Father, enthroned amongſt the Angels in heaven: This hangs over the picture above-mentioned.
• Chriſt praying in the Garden;
• Chriſt appearing to Mary Magda⯑len;
• Chriſt falling under the Croſs;
• Chriſt ſcourged. Theſe four hang over the doors.

[54] Two ſmall pictures; one a Saint John, the other a Magdalen; highly finiſhed and well coloured. Of the pictures over the doors I cannot ſpeak in commendation.

Vandyke. Pourtrait of a woman; ſmall ſize.

Guido. An Ecce Homo; a head, very fine.

Velaſquez, A Boy, full-length, with a dog.

Peaſant Boys, eating and drink⯑ing, of the ſize of life; half-length: In the back-ground a clear and beautiful landſcape.

Paul Veroneſe. Two ſmall pour⯑traits.

Titian. Two ſmall pourtraits.

Pouſſin. An old Bacchanal; ini⯑mitable: A landſcape in the back-ground.

Brughel. A moſt beautiful col⯑lection of landſcapes with hiſtorical figures, eight in number; amongſt theſe there is a Venus and Vulcan, very fine.—The Arts.—A Saint John the Baptiſt preaching, ca⯑pital.—The Baths of Diana; the ſcenery moſt charming.

Teniers. Twenty ſmall compo⯑ſitions of this maſter, which, with the others above mentioned, make this cabinet ineſtimable.

Berbedel. A ſmall picture of a Dead Chriſt; very fine.

Lanfranc. A large and capital compoſition repreſenting a Royal Funeral, ſuppoſed to be that of A⯑lexander, whoſe body is laid out in ſtate, and in front a fight of Gladia⯑tors, of the ſize of life.

Lanfranc. The Election of a Succeſſor, in which is introduced another combat of Gladiators: Both noble performances, in the beſt ſtile of the Maſter.

Lanfranc died at Rome in 1647, aged 66 years.

Guido. Love and Avarice, per⯑ſonified in the characters of two Boys; very beautiful.

Pouſſin. A very celebrated com⯑poſition, repreſenting a grand Bac⯑chanalian Sacrifice; prieſteſſes per⯑forming rites at the altars of Bac⯑chus and Priapus: The landſcape undeſcribably rich and fine; a large-ſized picture.

What a noble ſubject had this been for our late incomparable Woollet! What a ſtudy for Ar⯑tiſts! a picture formed to captivate all beholders.

Jordaens. Two allegorical Paint⯑ings over the doors, viz.

• Wantonneſs, in the character of a Fawn.
• Plenty, deſcribed by ſundry fe⯑male figures bearing fruits and flowers; very like Rubens.

Titian. Philip the Third, of Spain;

A Venetian Cavalier; two excel⯑lent pourtraits.

Paul Veroneſe. Pourtrait of a Lady.

Youth, between Virtue and Vice; very fine.

Vandyke. Pourtrait of a man, full-length.

Velaſquez. Two pourtraits of Buffoons, full-lengths.

Alexander Andriens. Four ſmall pictures of Still Life, highly fi⯑niſhed.

Corrado. Original Sketches of the Ceilings of the Grand Staircaſe and Ball-Room.

Luca Jordano. Four compoſi⯑tions from the Hiſtory of Samp⯑ſon.

Three d^o of the Elements.

One large Hiſtorical Piece on the Subject of Solomon.

A ſmall compoſition of Hercu⯑les drawn by Centaurs.

A Companion, on the Story of Cephalus and Procris.

Rubens. A large and capital compoſition, on the ſubject of Or⯑pheus harping to the Brutes.

This is truly an ineſtimable pic⯑ture, giving ſuch a diſplay of co⯑louring as can hardly be conceiv⯑ed: It was painted by him in Spain, in his beſt age and manner.

Flemiſh, Painter unknown. Three landſcapes, and one large d^o.

Lanfranc. Julius Caeſar haran⯑guing his Soldiers, large ſize: This picture does honour to the ſchool of the Caraccis.

French School (Painter unknown.) Two large compoſitions; a public entry, as it ſhould ſeem, of ſome ambaſſador.

Luca Jordano. Eſau ſelling his birth-right to Jacob.

Bathſheba in the bath.

Carlo Maratti. Two half-lengths of women with baſkets of flowers; very beautiful.

Cavallero Maximo. A ſacrifice for Bacchus.

Andrea Vaſari. The Life of St. Catherine, in four compoſitions.

A Magdalen.

Spagnolet. A Saint Barthole⯑mew, half-length; horribly fine.

Corrado. Two original Sketches of Freſcos.

Two large Landſcapes over the doors, of great merit.

Brughel. Two moſt charming Flower-pieces.

Jordaens. A capital compoſi⯑tion of Fruits and Flowers, with a Female Figure to the knees.

Luca Jordano. The Martyr⯑dom of St. Lawrence, large ſize; four compoſitions from the Hiſtory of the Bleſſed Virgin.

A Saint Peter.

A Mary Magdalen.

A Transfiguration.

A Saint Michael, being the ori⯑ginal deſign for the great alter-piece in the King's chapel.

A Battle-piece.

Vaſari. Two ſmall compoſitions from the Story of Saint Cay⯑etan.

Corrado. Three original Sketch⯑es of Freſcos.

Teniers. An Armoury; very fine.

Teniers. A very curious and ca⯑pital picture, in which the Artiſt has drawn himſelf ſitting in his painting-room, where is a grand collection of ſtatues, pictures, and deſigns; which, without doubt, is a pourtrait in all particulars.

Of all the pictures of Teniers, I have ever ſeen, this I think the moſt to be coveted and admired: Another excellent ſubject for an engraving.

Brughels. Four fine Sea Pieces.

Two Landſcapes.

One d^o, of a large ſize.

Three ſmall Flower-pieces; a very valuable collection.

Titian. A full-length pourtrait of the Emperor Charles V. on foot, with a large maſtiff, painted at Bo⯑logna before Titian entered into his ſervice, and as he was on his way to Rome. To this pourtrait Titian applied his utmoſt art, and his ſucceſs paved the way to the favour, in which he was ever after held by the Emperor.

Zelma, a Spaniſh Artiſt of great merit, has engraved this pourtrait very finely: It is bound up with the new publication of Sepulveda's Works; in which is contained the Hiſtory of Charles V. written in pure Latin, with other matters, hiſtorical and miſcellaneous, of a [65] very curious nature: This work is compriſed in four quarto volumes, and was publiſhed whilſt I was in Spain.

Titian. Philip the Second of Spain; a capital pourtrait.

Pourtrait of a man, half-length.

D^o of a woman, d^o.

Rubens. The Rape of Proſer⯑pine; a capital compoſition.

A Garden Scene, in which he has introduced his family; the fi⯑gures ſmall.

A magnificent compoſition, ex⯑hibiting a very fine Landſcape, in which he has introduced a prieſt in the act of carrying the viaticum to a dying perſon: The prieſt is [66] mounted on a horſe, which is led by a count of Augſberg.

This is one of the many ca⯑pital pictures of this maſter to be found in Spain, which have con⯑ſpired to impreſs me with the high⯑eſt veneration for his talents. Per⯑haps I have already tired the reader with too many attempts at deſcrib⯑ing objects, which intereſted my feelings upon the contemplation of them; and therefore, altho' few occaſions can offer, which might better warrant the endeavour, I ſhall venture upon nothing more than to recommend it to the tra⯑veller, who ſhall viſit this collec⯑tion, if he condeſcends to take this Directory in his hand, to ſtop at this picture; and if he beſtows his [67] attention upon it, I am perſuaded he will not withhold his admi⯑ration.

Velaſquez. Four capital pour⯑traits, full-length, viz.

• Margaret of Auſtria.
• Philip the Second.
• Philip the Third of Spain.
• An African commander, ſuppoſ⯑ed to be the famous Barbaroſſa.

Luca Jordano. Four great Hiſ⯑torical Pieces, on the ſubject of Solomon.

Three ſabulous compoſitions, viz. Pluto in his car; Jupiter; and a Daedalus.

Jordaens. Still Life; Fruits, and various Viands.

Corrado. Sketches of emblema⯑tic Figures; Juſtice, Peace, &c.

Flemiſh. Two large and fine Landſcapes.

Vandyke. Chriſt betrayed and ſeized by Judas and his followers, a night-piece.

Mengs, in his Obſervations upon the Royal Collection, particularizes this picture; and ſays it is painted with great taſte, and coloured to as great a perfection as the ſcene, which is by night, will admit of. Undoubtedly it merits the warmeſt admiration, and is a very capital picture of the maſter.

Luca Jordano. Four, Hiſtories from the Life of St. Anthony.

Two, from that of Solomon.

Two, of the Bleſſed Virgin.

Two, of St. Nicholas de Bari, and St. Francis Xavier.

Two others, of the Incarnation.

Pedro Orrente. Orpheus harp⯑ing to the Brute Creation; very fine.

Of the School of Guido. Chriſt laid in the Sepulchre.

Vaſari. The four Cardinal Vir⯑tues.

St. Roſalia, ſupported by An⯑gels.

Carlo Maratt. St. Anthony ador⯑ding the Infant Chriſt; a very [70] charming picture; a cloſe copy of his maſter Andrea Sacchi.

Paul Veroneſe. A capital Paint⯑ing of Suſanna and the Elders.

Luca Jordano. Four ſmall Pic⯑tures; two of which are Battle⯑pieces; one, a Rape of the Sabines; and the other, a Curtius leaping the gulph.

A Seneca expiring in the bath, dictating to his diſciples in his laſt moments.

I believe the picture at Burleigh is a fac-ſimile of this; but I did not carry it ſufficiently in mind to be ſure of the aſſertion.

Velaſquez. St. Anthony converſ⯑ing in the Deſart with St. Paul the Hermit;

A celebrated figure of the God Mars; both capital.

Spaniolet. Eſau ſelling his Birth⯑right, finely treated, with great ef⯑fect of light and ſhade, and ſtrong expreſſion of nature.

Lanfranc. Two magnificent De⯑ſigns, viz.

• A Naval Combat in an amphi⯑theatre;
• A Pagan Sacrifice; in which a Roman Emperor is officiating in perſon; maſterly and bold compo⯑ſitions; large.

Rubens.

Mercury and Argos.

Satyrs.

School of Rubens. A Triumph, in which is introduced a combat of Gladiators, male and female.

Two compoſitions upon the Al⯑legories of the Senſes and Ele⯑ments.

Jordaens. A Pomona; the ſce⯑nery very beautiful.

Velaſquez. Vulcan at his Forge.

The Prince of Spain mounted on a beautiful Spaniſh Jennet, in full ſpeed. The ſpirit, which the paint⯑er has thrown into this pourtrait, and the truth, with which it is drawn and coloured, render it a moſt admirable piece of art. I have an etching from this pour⯑trait.

Velaſquez. A grand and cele⯑brated piece of hiſtory, upon a very large canvas, repreſenting the fa⯑mous General Peſcara receiving the keys of a Flemiſh citadel from the Governor of the place; the groupe of Generals, Soldiers, Citi⯑zens, Horſes, &c. and the ſtriking effect of the town and landſcape in the back-ground, all in the moſt harmonious perſpective, have eſta⯑bliſhed the fame of this noble pic⯑ture, in the opinion of judges, as one of the firſt, if not the very firſt, production of the maſter. Mengs ſays decidedly that it is the chef⯑d'oeuvre of Velaſquez, and has pro⯑nounced it to be faultleſs, except in the circumſtance of the ſoldiers' lances, which he criticiſes as being [74] too long: Surely this is a very trivial remark, to fall from the pen of ſo great authority, and, trivial as it is, there is great reaſon to doubt if it is founded in truth. Af⯑ter all, if the painter has enlarged upon the actual height of Peſcara's lances for the purpoſe of effect, who would expect that any eminent critic, after pronouncing the com⯑poſition faultleſs in every noble part, would ſeriouſly ſtate this re⯑mark as a ſingle exception? Let us therefore admit, with Mengs, that Velaſquez has taken a wrong mea⯑ſure of Peſcara's lances; but at the ſame time let us take his word for the perfection of the picture in every other reſpect. If any lover of the art, who reſorts to this col⯑lection, [75] ſhould at the ſame time diſ⯑cover that there is one foot in the famous Paſmo de Sicilia more than can be accounted for, I hope for his ſake it will not abate the rap⯑ture he would elſe receive in the contemplation of ſuch unrivalled compoſitions.

Velaſquez. Philip the Second of Spain;

Philip the Third; both full-length pourtraits, by the ſame great maſter; and both very fine.

Two full-length characters, of Aeſop one, and the other of Mae⯑nippus; of the ſtrongeſt expreſſion, and in a great ſtile. Of theſe two I have etchings.

Two half-length pourtraits; one [76] of which is a very intereſting and curious picture of the unfortunate Antonio Perez: It hangs near the pourtrait of Philip the Second.

A View of the Palace of the Par⯑do, in which he has introduced the perſons of Philip IV. and the Prin⯑ceſs Margaret of Auſtria. This compleats a liſt of ten paintings by Velaſquez in this chamber; few apartments can be more royally furniſhed.

Pedro Mazo. A perſpective View of the City of Saragoſſa, with the courſe of the river Ebro, and a group of figures; a fine and ela⯑borate piece.

Titian. Six pourtraits; four of men and two of women, all half-lengths.

Titian. An Orpheus; this pic⯑ture is highly celebrated: Of his beſt age and manner.

Tintorett. Judith and Holofernes; capital.

Solimena. Six hiſtories of Solo⯑mon, over the doors.

Murillo. An Old Woman ſell⯑ing grapes;

A Country-fellow ſelling wine; both half-lengths.

Theſe are reputed to be the moſt finiſhed heads Murillo ever painted; they are the nature itſelf, coloured to a miracle.

The Infant Don Gabriel has co⯑pied them in ſifted cloth with great truth and exactneſs, and has hung [78] them in his lodge at the Eſcorial. There are alſo good engravings of them taken in Spain, of which I have copies.

Antony Coypel. The Elders ac⯑cuſing Suſanna.

Spagnolet. A ſmall copy from Raphael.

Wouvermans. Two moſt beau⯑tiful Landſcapes; companions.

Teniers. Two Alchymiſts; very fine:

Two ſmall Paintings; compa⯑nions.

A large and moſt capital Land⯑ſcape.

Brughels. Two charming Land⯑capes, with variety of animals.

Teniers. Eight ſmall Sketches; two of them Landſcapes.

Brughels. Eight Flower-pieces.

Ten ſmall Landſcapes; ſome with fabulous ſtories introduced.

Pedro Orrente. Four Landſcapes with figures; eſteemed very ca⯑pital.

Murillo. An Old Woman peel⯑ing a lemon; half-length: A very natural character; much admired.

Corrado. Four Sketches of de⯑ſigns in freſco.

Vato. Two Landſcapes with fi⯑gures, perſonating Peace and Plenty.

Flemiſh. Still life; Fiſh and ſundry Viands.

Raphael. The celebrated pic⯑ture called PASMO DE SICILIA, purchaſed by Philip the Fourth of the Monks of Palermo, and by him termed La Joya, in preference to all others! An annual-rent of one thouſand ſcudi was the price at which the king purchaſed it of the monks of our Lady dello Spaſimo; and hence it got the name of Paſmo de Sicilia. Vaſari, and the cele⯑brated canon of Valencia, Don Vi⯑cente Victoria, and in late times Mengs, have all written largely in teſtimony of its unrivalled excel⯑lence; and there ſeems a general [81] concurrence amongſt the judges of the art to ſet it down as the maſter-piece of Raphael. In my ſecond volume of the Anecdotes of Spaniſh Painters I have collected ſeveral cir⯑cumſtances relating to this famous picture, and attempted a deſcription of it, which, if the reader is diſpoſed to, refer to will be found in vol. ii. from page 172 to 182, incluſive.

Rubens. The Adoration of the Magi.

This picture, like the Laſt Supper of Titian in the Refectory of the Eſcorial, is the ſtandard work of its maſter. It was begun in Flanders; enlarged, retouched and finiſhed during his embaſſy in Spain; no⯑thing that his art, genius and in⯑duſtry [82] could effect is omitted: In grandeur of deſign, diſplay of colour⯑ing, dignity of character; in com⯑poſition, drawing, perſpective, har⯑mony, it is a model of excellence: Rubens, in putting his laſt hand to it, has inſerted his own pourtrait amongſt the groupe of the Magi; the nobleſt ſignature that could be ſet upon his canvaſs.

The figures are the ſize of life.

Rubens. A Holy Family; a groupe of Female Saints and Boys in vari⯑ous employments: The ſcenery and embelliſhments of this rich and noble compoſition are admirable.

Vaſari. Five hiſtorical pieces, taken from the Story of Saint Caye⯑tan; companions.

Murillo. A large Holy Family; the Mother and Saviour to the knees.

Spagnolet. A celebrated picture, repreſenting the Martyrdom of Saint Bartholomew; a maſter-piece of ana⯑tomical art and terrible expreſſion.

A Saint Benito, and a Saint Ge⯑ronimo, both penitential characters, finely deſigned, and of the tendereſt expreſſion; a ſtriking contraſt to the Saint Bartholomew.

A Mary Magdalen; a touching and moſt delicate deſign, conceived and executed with all the grace of the Italian ſtudent, and all the na⯑ture of the Spaniſh maſter.

The genius of Spagnolet, like his fortune, ſeems always to be engaged on ſubjects either of terror or of pity; [84] he never draws but with a tragic pencil, and ſo truly, that he gives the nature itſelf upon his canvaſs: In melancholy grace and penitential beauty he is equal to Guercino; in anatomical ſcience and muſcular correctneſs he ranks with Leonardo de Vinci, and in the ſublime and terrible approaches to Michael An⯑gelo. The examples of his art, which he has left in Spain, if they were generally known, would, I am per⯑ſuaded, warrant what I now venture to ſay; and for his life and misfor⯑tunes, which are very intereſting, I beg leave to refer once more to the Anecdotes, vol. i. page 197.

Andrea Sacchi. A Nativity; a large and capital compoſition.

Mengs. A Nativity; large ſize.

Luca Jordano. An Incarnation.

A Flight into Egypt.

Vandyke. A Mary Magdalen, ſmall ſize, under a groupe of Angels in the Clouds.

An hiſtorical compoſition from the Story of Saint Roſalia.

Pouſſin. A Saint Cecilia; full length.

Titian. An Ecce Homo; alſo A Mater doloroſa; capital heads.

Gerard Sepez. A Virgin, with Flowers thrown round, in a frame.

Albert Durer. A Virgin, dead; the Apoſtles are introduced as miniſter⯑ing on the occaſion. A very curious and claborace piece of art.

Leonardo de Vinci. A Madona and Child, half-length; alſo

A Madona with the Child, full-length and erect; very fine.

Andrea del Sarto. A Madona, ſomething more than half-length, with the Child entire.

A ſmall Holy Family, from Ra⯑phael.

Vaſari. A Nativity; ſmall.

Brughels. An Adoration of the Magi; alſo

The Deſcent into Egypt, compa⯑nions, ſmall ſize.

A Madona, with Chaplets of Flowers, in frame-work, highly eſteemed.

Palma. A Madona and Child; a perſon is introduced who preſents [87] his family in adoration of the Infant Saviour; a capital picture.

Juan Antonio Regilio, called Bor⯑donon. A Madona and Child; vari⯑ous Saints adoring; half-length; very fine.

Pedro Cortona. A Magdalen, ſize of life.

Carlo Maratt. A Saint Roſalia, ſize of life.

Salvator Roſa. A Madona and Child, with Saint Joſeph; a capital picture.

Luca Jordano. A large Altar-piece; Our Saviour bearing his Croſs; alſo

Two Side-pieces, viz. an Annun⯑ciation, and Nativity.

Andrea del Sarto. A Holy Fa⯑mily, very beautiful.

Daniel Criſpio. A Dead Chriſt ſup⯑ported by his Mother, an Angel weeping over the body; a large piece.

Raphael. A Madona, of ſmall ſize, embracing the Child.

Corregio. Chriſt praying in the Garden;

A ſmall picture, but of inexpreſ⯑ſible beauty, and magical effect of colouring. It has been particularly celebrated by Mengs in his Remarks. The figure of Chriſt receives its light from a Glory; the ſcene is by night; a reflected light from the Sa⯑viour [89] ſtrikes on the Angel, who is attending for his conſolation: The manner in which this emanation is reflected and diffuſed through the piece to the extremities of the back⯑ground, and the exquiſite gradations obſerved in its diſtribution, are in the higheſt degree characteriſtic of the maſter. Mengs remarks, that Chriſt and the Miniſtering Angel are the only figures which meet the eye upon a firſt view; a cloſer examina⯑tion brings forward many other ob⯑jects and much beautiful ſcenery. This is truly obſerved; for the Troop that come to ſeize our Saviour, the Apoſtles ſtanding aloof under the ſhade of Trees, the Foliage of the Grove, the Herbage of the Garden, a Crown of Thorns, a Croſs fixt in the [90] earth, and ſeveral other emblematic objects ſuitable to the action, come by degrees into view, and ſtart up like viſions created by the fancy of the ſpectator rather than by the pencil of the artiſt.

Corregio. A Madona and Child, with Saint Joſeph at a diſtance.

Mengs obſerves that this may be called a ſketch, as it plainly appears that the attitude and action of the Mother and Child have undergone ſeveral alterations in point of diſpo⯑ſition; by a peculiar management of the middle imperceptible tints in this ſmall, yet ineſtimable paint⯑ing, there is produced a very won⯑derful effect of ſize and grandeur, from figures which do not meaſure [91] two inches. Mengs pronounces that Corregio poſſeſt this art of treating lights and ſhades in the firſt degree; Velaſquez in the ſecond to Corregio, and Rembrandt next to Velaſquez: He adds, that the Child in this ſketch is a model of conſummate excel⯑lence, not only from the incom⯑parable management of the Clear-obſcure, but alſo from the colour⯑ing, character, drawing and divine grace. Of the outline he ſpeaks with rapture, and remarks that Corregio, in this moſt difficult branch of his art, was never equalled by any but the great Michael Angelo and Ra⯑phael Urbin.

Corregio. A Head of Saint John; of a ſweet character, and beautifully treated.

Leonardo de Vinci. A Madona and Child, ſmall ſize;

A Holy Family; alſo

A Madona and Child, and Saint John; beautiful ſamples, and in fine preſervation.

Rubens. Two Heads of Old Men; ſketch-like and very grand.

Andrea del Sarto. A large Holy Family, from Raphael.

Julio Romano. A Holy Family, the ſize of life; conſiſting of a Ma⯑dona and Child, Saint John and Saint Joſeph. The compoſition and drawing is attributed to Raphael, the finiſhing to Julio Romano.

Vaſari. Two ſmall hiſtorical pieces, from the Story of Saint Cayetan.

Velaſquez. A large and noble com⯑poſition, repreſenting the Crowning of the Holy Mother of Chriſt.

Titian. Saint Margaret and the Dragon, large ſize; a brilliant com⯑poſition; alſo

Mary worſhipping Chriſt, in his firſt ſtile.

Guido Rheni. Saint Denis with his Croſs; a large and capital piece.

Mengs. A Flight into Egypt; large ſize.

Claudio Coello. Saint Fernando worſhipping the Virgin, who is ſeated on a Throne, with the Infant Jeſus, in a rich and ſplendid Apartment; a beautiful Landſcape is diſcovered in the back-ground: A large and fine compoſition, painted with great [94] expreſſion and effect, in the beſt manner of the maſter.

This painter was a native of Spain, out of which he never tra⯑velled; a diſciple of Franciſco Ricci, and royal artiſt in the court of Philip IV. His pictures are highly eſteemed in Spain, and I have met ſome admirers of them, who do not ſcruple to prefer him to Murillo, Spagnolet, and even to Velaſquez. His maſter-piece is the great picture in the ſacriſty of the Eſcorial, upon which he expended ſeven years la⯑bour: Of this, and many other anecdotes of his hiſtory, I have given an account, vol. ii. page 130, &c.

Paul Veroneſe. Jeſus diſputing with the Doctors in the Temple. This [95] I conceive to be a picture of great beauty, majeſty and effect; the com⯑poſition is full and finely diſpoſed; the characters ſublime and majeſtic, marked with ſtriking diſcrimination and contraſt: The architecture is ſuperb; the colouring clear and of a moſt captivating brilliancy: The character of Chriſt is divinely con⯑ceived, and of matchleſs beauty. The picture is of large ſize, and a moſt capital performance of the maſter.

Rembrandt. Cleopatra receives the Cup of melted Pearl from the Hands of a Female Slave. An in⯑eſtimable picture, in his fineſt ſtile; large ſize.

Spagnolet. A Combat of Gladi⯑ators. This picture is eſteemed one of the very beſt of the maſter; it is a ſtudy for an Academy. The atti⯑tudes of the Combatants, the ſpirit of their characters, and the great truth and correctneſs of drawing, cannot be too much admired. The ſubject was well choſen to diſplay the ſcience of the painter in the muſcles and proportions of the hu⯑man figure, naked and in the ſtrongeſt exertion of manly vigour.

Murillo. A Judith with the Head of Holofernes; a Female Servant with a Light; half-length: This is managed with great ſkill and effect; it is a ſtudy from nature admirably executed.

Titian. Two moſt capital com⯑poſitions, celebrated through Eu⯑rope, and juſtly recorded by Mengs as the moſt conſummate models of beauty. One repreſents a group of Boys and Cupids; the other of Bac⯑chanals; companions. ‘"The figures in each are of the third part of the natural ſize: In the fore-ground of the group of Bacchanals there is a young Female Reveller ſleep⯑ing, of which Mengs ſpeaks in rap⯑tures of admiration, and concludes his remarks on this picture by ob⯑ſerving, that all the harmonious accompaniments of Sky, variegat⯑ed Ground, with deep and tender ſhades of the Trees, form ſuch an aſſemblage of beautiful objects in nature perfectly imitated, that he [98] does not think the world poſſeſſes a better picture in this ſtile. The Boys and Cupids in the other piece are grouped with wonderful variety of attitudes; they are en⯑gaged in puerile ſports under a Grove of Apple-trees, the fruit of which they have ſcattered on the ground, and are playing with it in the moſt gay and natural manner. It is equally excellent with its companion. Theſe pictures were formerly in the Ludovici palace at Rome, and were a preſent to the king of Spain. Sandrart re⯑ports of this group of Cupids, that it ſerved for a ſtudy to Do⯑meniquino, Pouſſin, and Flameneco; Albano has taken part of it into a compoſition of his painting, and [99] there are copies of both theſe com⯑panions by Rubens in the palace: Of theſe Mengs ſays, that they are like an elegant author tranſlated into Dutch, where the ſentiments of the original may be gueſſed at, but all the grace is vaniſhed." (Anecdotes, vol. i. p. 60.)’ What ſubjects for an eminent engraver!

Titian. Three pourtraits, half-length, one of a Man, another of a Woman, and a third of a Girl.

Leonardo de Vinci. Three exquiſite pourtraits, three quarters. One of theſe is of Ann Bullen, exceeding beautiful, but of a wanton, ſly cha⯑racter: The other two are alſo of Women.

Rubens. Two capital and full-ſized Landſcapes; in one of which he has introduced his own Family; the ſcene a Garden.

Two ſmaller ditto; in one a Diana in the Chace, companions; extreme⯑ly fine.

Brughels. Two ſmall Landſcapes; one repreſenting an Allegory of Love and War; the other of Love protecting the Arts.

A third ſmall Landſcape, with a variety of Animals.

Luca Jordano. A large compoſi⯑tion on the ſubject of Love and War, in the ſtile of Rubens, whom he has introduced in the act of painting the very picture in queſtion. A valuable and very curious picture.

Paul Veroneſe. Moſes ſaved by Pharaoh's Daughter; a ſmall piece, of great beauty and maſterly com⯑poſition.

Mengs. Four pictures over the doors; viz. Morning, Noon, Even⯑ing, and Midnight.

Teniers. Two capital Landſcapes, companions.

Mengs. Four pourtraits; viz.

• The Reigning Sovereign;
• The Prince of Aſturias;
• The Princeſs of Aſturias;
• The late Queen.

Vanlo. Three pourtraits (copies) viz.

• The Infant Don Philip;
• [102] Queen Iſabella;
• The Conſort of Don Philip.

Antonio Ynza. Four pourtraits, viz.

• The Infanta Donna Joſepha;
• The Infant Don Gabriel;
• The Infant Don Antonio; and
• Don Franciſco Xavier.

Rubens. Six ſmall ſketches of his famous tapeſtry deſigns, repreſenting the Triumph of the Church.

Albert Durer. Three curious pourtraits; viz.

• Calvin,
• Luther, and
• His own.

Titian. A moſt lovely pourtrait of a Boy.

Baſan. Two ſmall compoſitions; one of the Adoration; the other, Chriſt praying in the Garden; both admirable.

Wouvermans. Two ſmall land⯑ſcapes with figures, companions.

Luca Jordano. The miraculous Draught of Fiſhes;

Chriſt purging the Temple;

Abſalom caught by the Hair;

David and Abigail.

Four Battle-pieces, ſmall ſize: In one of theſe he has repreſented Francis I. of France taken Priſoner.

[104] A compoſition, emblematic of the Four Quarters of the Globe.

Rubens. A large and capital pic⯑ture upon the Story of Marſyas and Apollo, Pan and Faunus in the group.

The Story of the Centaurs; very capital.

Two companions; viz.

• Saturn, and
• The Rape of Ganymede; ſmall ſize.

Two ſmall pictures, companions; viz.

• An Icarus and Apollo, and
• A Narciſſus; beautiful.

A large compoſition on a ſcrip⯑tural ſubject, of which there is a copy by Murillo.

Villa Vicenzi. A Scriptural Com⯑poſition, companion in ſize with the above, in the ſtile of Murillo. The name of this painter was Pedro Nu⯑n̄ez, a diſciple of Mathias Preti, commonly called El Cavellero Ca⯑labrès. He died at Seville in 1700.

Flemiſh. A beautiful group of Fruits and Flowers; painter un⯑known.

Mazo. Philip IV. with his Queen and Dames of Honour: Mazo was a diſciple of the famous Velaſquez.