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has unfortunately turned quite dark. A Christ, by Guido, is broadly and spiritedly touched in his finest silver tone.

“ There is an exquisite little gem by Claude Lorraine. In a soft evening light, a lonely shepherd, with his peaceful flocks, is playing the pipe. Of the master's earlier time, admirable in the impasto, careful and delicate, decided and soft, all in a warm, golden tone. In the Liber Veritatis, marked No. 11. Few pictures inspire like this a feeling for the delicious stillness of a summer's evening.

“ A landscape by Nicolas Poussin, rather large, of a very poetic composition and careful execution, inspires, on the other hand, in the brownish silver tone, the sensation of the freshness of morning. There is quite a reviving coolness in the dark water and under the trees of the fore-ground.

** Two smaller historical pictures by Poussin, of his earlier time, class among his careful and good works.

os Of the Flemish school there are a few, but very good, speci

mens.

“ There is a highly interesting picture by Rubens. During his residence in Mantua, he was so pleased with the triumph of Julius Cæsar, by Mantegna, that he made a fine copy of one of the nine pictures. His love for the fantastic and pompous led him to choose that with the elephants carrying the candelabra ; but his, ardent imagination, ever directed to the dramatic, could not be content with this. Instead of a harmless sheep, which in Mantegna is walking by the side of the foremost elephant, Rubens made a lion and a lioness, which growl angrily at the elephant. The latter, on his part, is not idle, but, looking furiously round, is on the point of striking the lion a blow with his trunk. The severe pattern which he had before him in Mantegna has moderated Rubens in his usually very full forms, so that they are more noble and slender than they generally are. The coloring, as in all his earlier pictures, is more subdued than in the later, and yet powerful. Rubens himself seems to have set much value on this study ; for it was among the effects at his death. During the revolution, Mr. Champernowne brought it from the Balbi Palace, at Genoa. It is three feet high, and five feet five inches wide.

“ The study for the celebrated picture, the Terrors of War, in the Pitti Palace, at Florence, and respecting which we have a letter in Rubens' own hand, is likewise well worth notice. Rubens painted this picture for the Grand Duke of Tuscany. Venus endeavors, in vain, to keep Mars, the insatiable warrior, as IIomer calls him, from war; he hurries away to prepare indescribable destruction. This picture, one foot eight inches liigh, and two feet six and a half inches wide, which I have seen in the exhibition of the British Institution, is, by the warmth and power of the coloring, and the spirited and careful execution, one of the most eminent of Rubens' small pictures of this period.

6 Lastly, there is a Moonlight by him. The clear reflection of the moon in the water, its effect in the low distance, the contrast of the dark mass of trees in the fore-ground, are a proof of the deep feeling for striking incidents in nature which was peculiar to Rubens. As in another picture the flakes of snow were represented, he has here marked the stars.

“I have now become acquainted with Rembrandt in a new department; he has painted in brown and white a rather obscure allegory on the deliverance of the United Provinces from the union of such great powers as Spain and Austria. It is a rich composition, with many horsemen.

One of the most prominent figures is a lion chained at the foot of a rock, on which the the tree of liberty is growing. Over the rock are the words, “Solo Deo gloria.' The whole is executed with consummate skill, and the principal effect striking.

“ IIis own portrait, at an advanced age, with very dark ground and shadows, and, for him, a cool tone of the lights, is to be classed, among the great number of thein, with that in the Bridgewater Gallery ; only it is treated in his broadest manner, which borders on looseness.

“ A landscape, with a few trees upon a hill, in the fore-ground, with a horseman and a pedestrian in the back-ground, a plain with a bright horizon, is clearer in the shadows than other landscapes by Rembrandt, and, therefore, with the most powerful effect, the more harmonious.

Among the drawings, I must at least mention some of the finest. - RAPHAEL.-- The celebrated Entombment, drawn with the utmost spirit with the pen. From the Crozat collection. Mr. Rogers gave one hundred and twenty pounds for it.

"ANDREA DEL SARTO. —Some studies in black chalks, for his fresco paintings in the Chapel del Scalzo. That for the young man who carries the baggage in the visitation of the Virgin is remarkably animated.

“ LUCAS VAN LEYDEN.--A pen drawing, executed in the most perfect and masterly manner,

for his celebrated and excessively rare engraving of the portrait of the Emperor Maximilian I. This wonderful drawing has hitherto been erroneously ascribed to Albert Durer.

" ALBERT DURER.—A child weeping. In chalk, on colored paper, brightened with white; almost unpleasantly true to reality.

Among the admirable engravings, I mention only a single female figure, very delicately treated, which is so entirely pervaded with the spirit of Francisco Francia, that I do not hesitate to ascribe it to him. Francia, originally a goldsmith, is well known to have been peculiarly skilled in executing larger compositions in niello. How easily, therefore, might it have occurred to him, instead of working as hitherto in silver, to work with his graver in copper, especially as in his time the engraving on copper had been brought into more general use in Italy, by A. Mantegna and others; and Francia had such energy and diversity of talents that, in his mature age, he successfully made himself master of the art of painting, which was so much more remote from his own original profession. Beside this, the fine delicate lines in which the engraving is executed indicate an artist who had been previously accustomed to work for niello-plates, in which this manner is usually practised. The circumstance, too, that Marcantonio was educated in the workshop of Francia, is favorable to the presumption that he himself had practised engraving.

“ Among the old miniatures, that which is framed and glazed and hung up, representing, in a landscape, a knight in golden armor, kneeling down, to whom God the Father, surrounded by cherubim and seraphim, appears in the air, while the damned are tormented by devils in the abyss, is by far the most important. As has been already observed by Passavant, it belongs to a series of forty miniatures, in the possession of Mr. George Brentano, at Frankfort-onMaine, which were executed for Maître Etienne Chevalier, treasurer of France under King Charles VII., and may probably have adorned his prayer-book. They are by the greatest French miniature-painter

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of the fifteenth century, Johan Fouquet de Tours, painter to King Louis XI. In regard to the admirable, spirited invention, which betrays a great master, as well as the finished execution, they rank uncommonly high.

“i An antique bust of a youth, in Carrara marble, which, in form and expression, resembles the eldest son of Laocoon, is in a very noble style, uncommonly animated, and of admirable workmanship.

In particular, the antique piece of the neck and the treatinent of the hair are very delicate. The nose and ears are new ; a small part of the chin, too, and the upper lip, are completed in a masterly manner

in wax.

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“A candelabrum in bronze, about ten inches high, is of the most beautiful kind. The lower part is formed by a sitting female figure holding a wreath. This fine and graceful design belongs to the period when art was in its perfection. This exquisite relic, which was purchased for Mr. Rogers in Italy, by the able connoisseur, Mr. Millingen, is, unfortunately, much damaged in the epidermis.

Among the elegant articles of antique ornament in gold, the earrings and clasps, by which so many descriptions of the ancient poets are called to mind, there are likewise whole figures beat out in thin gold leaves. The principal article is a golden circlet, about two and a half inches in diameter, the workmanship of which is as rich and skilful as could be made in our times.

“Of the many Greek vases in terra cotta, there are five, some of them large, in the antique taste, with black figures on a yellow ground, which are of considerable importance. A flat dish, on the outer side of whicli five young men are rubbing themselves with the strigil, and five washing themselves, yellow on a black ground, is to be classed with vases of the first rank, for the gracefulness of the invention, and the beauty and elegance of the execution. In this collection, it is excelled only by a vase, rounded below, so that it must be placed in a peculiar stand. The combat of Achilles with Penthesilia is represented upon it, likewise, in red figures. This composition, consisting of thirteen figures, is by far the most distinguished, not only of all representations of the subject, but, in general, of all representations of combats which I have liitherto seen on vases, in the beauty and variety of the attitudes, in masterly drairing, as well as in the spirit and delicacy of the execution. It is in

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the happy medium between the severe and the quite free style, so that in the faces there are some traces of the antique mar

The estimation in which the venerable poet is held, as a judge of art, may be inferred by the following extract from a letter addressed to him by Sir David Wilkie, under date of Constantinople, 30th December, 1840 :

- Without any claim for this invasion upon your valuable time, other than being in this distant capital in presence of so many objects which your knowledge of life and materials for art would so enable you to appreciate and put upon record, you will yet, perhaps, excuse the few ideas I try to put together, wishing only that I had your eyes to see, with your taste and judgment to select what were best to note down, and what most worthy to remember."

After conduling with him on the loss of Lord Holland, whom he had last met in company with Moore and Rogers, Wilkie proceeds :

“ Could I see you in quiet, as in Brighton and in St. James' Place, and in a suitable frame of mind for lighter subjects, what a deal the journey we have made would suggest for discussion! Mr. William Woodburn, who is with me, frequently speaks of you ; and your name was often mentioned, as we passed in review at the Hague, Amsterdam, at Munich and at Vienna, the richest stores of European art; among which we saw in those places two great masters, almost in their greatest triunphs -- Rubens and Rembrandt; and we scarcely know any one who could better judge of their splendors than yourself."

It should not be forgotten that Rogers was one of the few who stood by Sheridan in bis last days; supplying his pecuniary needs to a great extent, and manifesting a timely sympathy towards him. It was discovered, after Sheridan's death, that sums of money which had been supposed to come from other high quarters to minister to his by no means slender wants were in reality conti'ibuted by Rogers.

From an article entitled Gore House, published in the New Monthly Magazine, in 1819, we transcribe a passage of gossip, that may pass for what it is worth :

“ The number of guests was not yet complete. They arrived in the following order :

Slowly, with the foot of age, his head bent forward and his hands extended, cams Mr. S R—, endowed alike with the

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