PRINTED BY THOMAS DAVJtSOK, WEUTEFRIARS

A CHRONOLOGICAL HISTORY

Dictum tig #* ®toat Jtettr*

SINCE THE FRENCH REVOLUTION.

BY W. BUCHANAN, ESQ.

" La chute du trdne de Constantin porta dans I'ltalie les debris de l'ancienne
Grece; la France s'enrichit a. son tour de ces precieuses depouilles."

LONDON:
PRINTED FOR R. ACKERMANN, STRAND.

&#!*.*> ■^mmamm-mi-(--J^ ■■ ft*--"***

In the years 1797�8 the French army in-
vaded Italy, and encountered no force adequate
to resist with effect the conquest of that fine
country. Buonaparte, well knowing the con-
sequence which attaches to a conqueror from the
acquisition of objects of art, and the eclat which
he should obtain in the estimation of the French
Nation, by transmitting to their capital those
works which had formed the glory and pride of
the Princes of Italy, from the time of the Medici
family to the period of his conquest, took care to
reap the first fruits of his victories by levying
contributions of these works from the churches,
monasteries, and public galleries, where such
were deposited, and he employed men who were
competent judges to make the necessary selection.

2 MR. DAY'S COLLECTION.

In his progress through Italy, Buonaparte
made a parade of justice in confining the con-
tributions of works of art to what might be con-
sidered as the public property of the states, which
fell under the dominion of his arms, but at the
same time he levied heavy sums in money on
the Princes and nobility of the different states
who had opposed his arms, and when he saw
that these were paid, he renewed his demands for
further supplies so long as he found that the pro-
prietors of works of art still retained their ancient
treasures : hence it was that the Princes Colonna
Borghese, Barberini, Ghigi, Corsini, Falconieri,
Lancellotti, Spada, &c. with many of the noble
families of Rome, were forced (as an act of pru-
dence) to dispose of their pictures, in order to prove
that they had no longer the means of supporting
these heavy and continued contributions.

Among those who profited in the first instance
by the sale of these precious objects, were the com-
missaries of the French army and the bankers,
and moneyed men residing in Rome itself. These
again re-sold them to agents from France and Eng-
land, or secreted them until a more favourable
moment should arrive for disposing of them to
advantage, and their banking houses became the
principal depositories whence were drawn in

MR. DAY'S COLLECTION.

succession many of those objects which afterwards
reached England.

By the year 1800 a few fine pictures, which had
formerly adorned the walls of the Roman palaces,
had found their way to this country, among
which were those exhibited for sale by private
contract, at Mr. Tresham's rooms in Lower Brook-
street, and which were brought over by Mr.
Day, one of the English artists who happened
to be in Rome at the time the French army
rendered themselves masters of that city.

This small collection contained some works of
the first class, several of which were purchased by
Mr. Angerstein, and now form part of the col-
lection which has lately become the property of
the nation.

BY PRIVATE CONTRACT,

AT 20, LOWER BROOK STREET,
IN THE YEARS 1800�180],

FROM THE COLONNA GALLERY.

1. Titian�Venus and Adonis.

2. Titian�Ganymede.
8. Gaspar Poussin.

These three pictures were sold to Mr. Anger-
stein for 6000 guineas ; and considering the high
importance of the pictures themselves, being
all capital and celebrated performances of these
masters, they may be regarded as having been
sold much under their real value. They now
form part of the pictures lately purchased by
the Earl of Liverpool for the British nation, a
purchase which will hand down the name of his

MR. DAY'S COLLECTION.

lordship to posterity, as having occurred during
his administration, and added a bright ray to the
glory of his present majesty's reign.

4. Titian�Herodias�valued at 1000 gui-

neas�Lord Northwick, afterwards in
the possession of Lord Radstock.

5. Guido�A Magdalen�valued at 800

guineas�sold to Lord Radstock.

6. Guido�St. Jerome�sold to G. Hib-

7. Bronzino�The Holy Family with St.

8. Guido�The Madonna, Infant Christ,

FROM THE ALDOBRANDINI CABINET.

9. Leonardo da Vinci�Christ disputing

with the Doctors�valued at 3000 gui-
neas�Lord Northwiek^-now in the
possession of the Rev. Mr. Holwell
Carr.

10. Raphael�The Madonna, Infant Christ,
and St. John�valued at 1500 guineas
�Lord Garvagh.

11. Annibal Caracci�Christ and St. Peter

� valued at 2000 guineas�Lord
Northwick, now in the possession of
Thomas Hamlet, Esq.

This is one of the most capital cabinet pictures
of this great master.

0 MR. DAY'S COLLECTION,

FROM THE ALDOBRANDINI VILLA.

12. Andrea Mantegna�The Birth of
Christ.

13. Titian�The Madonna, Infant Christ,
and Saints�valued at 1000 guineas�
sold to G. Hibbert, Esq.

14. Giacomo Bassano�The Angel appear-
ing to the Shepherds.

15. Giorgione�King David instructing a
pious man in his devotions.

16. Baroccio�Madonna and Child.

17. Ancient�The Maid of Orleans.

18. Garofalo�The Conversion of St.

19. Paris Bordone�Susannah and the
Elders.

PICTURES TAKEN BY THE FRENCH AT ROME,
DESTINED FOR THE MUSEUM AT PARIS,
AND FOUND AT GENOA.

20. Annibal Caracci�A Saint and Angels
�valued at 2500 guineas�St. Gre-
gorio.

This magnificent picture is now in the Stafford
gallery. It was always considered, and with
great justice, to be one of the most capital pic-
tures of this master which was at Rome. It was
in the church of St. Gregorio, and is a chef-
d'oeuvre of art.

MR. DAY'S COLLECTION. 7

21. Guido�-St. Cecilia and Saints, after
Raphael.

This copy, made by a great master, is mentioned

FROM THE BORGHESE GALLERY.

22. Raphael�St. Catharine�valued at

^2,500�Lord Northwick.
A most graceful picture in the best manner of
his second period�now in the possession of
William Beckford, Esq.

23. Ludovico Caracci.�Madonna and

24. Domenichino. �Cupid and Psyche�
valued at 200 guineas.

A beautiful little example of this master.

FROM THE COLONNA GALLERY.

25. Gaspar Poussin�Small Landscape�
sold to the Duke of Bedford.

26. Gaspar Poussin.�Landscape�its com-

FROM THE ALDOBRANDINI VILLA,

2?. Annibal Caracci�The Holy Family.
28. Domenichino�St. Jerome�the Rev.

Mr. Holwell Carr.
29- Schidone� A School Girl �- Lord

MR. DAY'S COLLECTION.

Although there were some importations from
Italy of works of less value than those just men-
tioned, yet as Mr. Day's small collection contained
several works of the first consequence, so it is here
given first, as being one of the most important
which was introduced into the country so re-
cently after the French invasion of Italy had
thrown open the doors of the palaces to the acquisi-
tion of those high works of art, which were pre-
vious to that time absolutely unattainable, and
which had been always considered to confer
more consequence on their possessors than any
other branch of their wealth.

In estimating the relative value of collections
in which the works of the great masters are to be
found, the amateur will not allow himself to be
led astray by name or numbers. Few private
collections possess many works of the first class,
but it must be remembered that the works of
the first class which they do possess are those
which alone give real consequence, while the
remainder carry but little weight in the scale.
The importance of the present collection, there-
fore, is not to be regarded as dependent upon
numbers, but upon the real excellence and intrinsic
value of several of the pictures themselves. It
came to this country at a period when works of
the high Italian masters were very rarely to be

MR. DAY'S COLLECTION.

met with, and it attracted that notice of which it
was worthy. The late Mr. President West used often
to remark to the proprietor of it, that after having
visited his Rooms in Brook-street, where the col-
lection then was, he used to march home as if
he felt himself some inches taller. Such is the
moral effect that works of a high class produce
in elevating the human mind, from a feeling of
raising the powers of man above himself.

Another remark of the same gentleman may
also be here cited, as it carries with it force and
truth, namely, that every picture of a high class
drawn from abroad, is worth two of equal value
which we possess at home, for the simple reason,
that the one is already our own, and most pro-
bably will remain so, while the other tends to add
to the general stock of those treasures of art which
we can already boast of, and, as the works of
the great masters are exotics to our own climate,
and not always to be obtained, we should secure
them while we have it in our power.

Among other capital pictures which Mr. Day
has been the means of sending to this country
may be mentioned that of the Coronation of the
Virgin, by Annibal Caracci, formerly in the Aldo-
brandini palace at Rome, and which also may be
regarded as a chef-d'oeuvre of the master. The
science with which this fine picture is composed,

IV MR. DAY'S COLLECTION.

the fine drawing, the suavity of colouring of the
figures, and the sublimity of sentiment in the
principal characters, render it one of the leading-
works of the Bolognese school.

This collection, which succeeded that of the
Orleans Italian pictures, may be considered as the
av ant-courier to the many capital works which
were afterwards imported from Italy, and to the
importation of which the author of these sketches
may say, " Et quorum ego magna parsfui."

THE UDNEY COLLECTION,

SOLD BY MR. CHRISTIE,
25th ArniL, 1800.

Another small collection of pictures which came
to this country in the same year as that of Mr.
Day, and which was sold at a public sale by Mr.
Christie in April 1800, was that which had been
purchased by Mr. Consul Udney in Italy, and
transmitted to his brother Robert Udney, Esq.
of London. It must be here remarked that this
collection was different from that sold by Mr.
Christie in 1804, which was the private col-
lection of the late Robert Udney, Esq. in his house
at Paddington, formed for his own amusement
and gratification, and which likewise had been
principally purchased abroad for him by Mr.
Consul Udney during his residence in Italy.
The present small collection was one formed in
Italy in consequence of the more recent events
which had occurred in that country; and although
the objects of which it was composed could not be
put in competition with the small collection that
Mr. Day had formed, still it contained several
pictures of importance, and is therefore worthy of
being here noticed.

COLLECTION OF ITALIAN PICTURES,

BY JOHN 5JDNEY, ESQ.,

SOME TIME CONSUL OF H. B- M. AT LEGHORN, DURING IIIS
RESIDENCE IN ITALY.

1. John Both.�Landscape, with cattle and figures.

% Ditto, its Companion.�The figures in these two

, landscapes are painted by his brother Agostino.

Colonel M'Donald. 4|

3. Augustus Tasst.�Fine Landscape, with an historical

subject.�This painter's works are little known in
. this country, although they are held in considerable
esteem in Italy.

4. Liviano.�Disciple of Rembrandt.�The Head of a

Rabbi, in a bold style. Colonel M'Donald. 3

5. Mompart.�Sea View, with many figures.

6. Ditto, its Companion. Simpson. 4

7. Coypel.�Two small figures of a Bacchant and Bac-

chante. Price, Esq. 1

8. Alexander Veronese.�The Judgment of Solomon.

�A fine picture of the master. Lord St. Helens. 10

9. Beccafumi. � The Birth of our Saviour. � This

THE UDNEY COLLECTION. 13

painter died in 1549; he studied Michael Angelo
and Raphael. Devaynes. 5

10. Momfart.�Landscape with figures, Devaynes. 4

11. Salvator Rosa.�Small Landscape. Neave. 6|

12. Jaques Stella.�Singers, small figures.

13. Jean Miel, called Giovanni Dellaviti.�Mounte-
bank dispensing his Remedies. Devaynes. 3

14. Ditto, its Companion. Devaynes. 31

All the following Pictures were purchased from out qfilw

15. Mutiano.�St. Jerome at his Devotions.�This
painter was of the Venetian school, and died in 1590.

16. Nicolo Poussin.�Capital Landscape, with a thun-

der storm.�Engraved. Elwin. 12

17. Paul Bril.�Beautiful Landscape, the figures by

Annibal Caracci.�Very fine.

Colonel-McDonald. 25

18. Domenichino.�Female Head, a study.�Fine and
pure. Devaynes. li-

19. Guido.�Sketch for his large Picture, in the Church
of St. Gregorio near Rome.�Very fine, and pure.

Colonel M'Donald. 47

20. Carlo Cignani.�The Birth of the Virgin.

21. Barroccio.�The Portrait of Annibal Caracci.
�Most highly finished in this painter's delicate
manner. Robertson. 27

22. Diego Velasquez.�The Portrait of Clement XIII.

in a grand and capital style.

Colonel M'Donald. 90

14 THE UDNEY COLLECTION.

23. Michael Angelo Caravaggio.�Friars healing

the Blind, very capital.�This painter died 1609.
His works were much studied by Guido, Guercino,
and several of the Bolognese painters.

24. Annibal Caracci.�Finished model for his large

picture of Europa in the Farnese Palace at Rome.
�Very fine and pure. Colonel Murray. 37

25. Carlo Dolce.�The Portrait of a Nobleman in a

Spanish dress.�Highly finished. Nesbit. 30

26. Nicolo Poussin.�Upright Landscape, being an

extensive bird's-eye view of a grand scene by this
great master. Colonel Murray. 47

27. Domenichino.�The Portrait of Cardinal Colonna

(three quarters).� In the most delicate style of this
elegant painter. It may be fairly asserted, that no
portrait ever exceeded, or approached so nearly to
Nature as this exquisite performance.

Colonel M'Donald. 31

28. Michael Angelo Caravaggio.�Three Gamesters.

�This is one of the most capital works of the master.

29. Claude Lorrain.�Beautiful small Landscape, with
many figures, historical, of Moses striking the Rock.
�The figures evidently touched by another hand,
possibly FelippoLauri, who often assisted this painter
in the early part of his life. Colonel Murray. 39

30. Titian.�Holy Family, with a fine Landscape.�
Pure, and in his very finest manner: one of the
finest of the cabinet works of this great master.

Colonel M'Donald. 110

31. Bronzino.�Small Model of the Adoration of the

Shepherds, for his celebrated picture in the Church

THE UDNEY COLLECTION. 15

of St. Lorenzo at Florence.�A grand composition,
most highly finished. There is a fine print of it
the size of the picture. It is on pannel. This
painter was one of the Florentine school, and died
in 1580. Colonel M'Donald. 73

32. L. Cauacci.�The Angel appearing to Joseph and
the Virgin.�A beautiful small picture, which, in the
family catalogue, is said to be by this master, but it
may be a high finished work of Albano.

33. Claude Lorrain.�Fine pure Landscape of this
master, in his very clearest manner. Davidson. 330

34. Idem, its Companion; they represent morning and
evening.�They were painted for the Colonna fa-
mily, in which they have continued in their original
state, and are as perfect and pure as the day they
were painted, and more brilliant and clear than
many of his pictures. Davidson. 340

35. Guido.�The celebrated picture of St. Cecilia.�In
his grandest style, which he painted for Prince Co-
lonna, as mentioned in the catalogue of the pictures
of that palace, where it has remained untouched till
it was purchased by the present owner. Its merit
and perfection will speak for themselves.

36. Raphael.�The Virgin and Child.�One of this
master's very finest and most highly-finished easel
pictures. It was always placed over the communion
table of the Princess Colonna, and not so frequently
seen as the larger picture of Raphael in this collec-
tion, and possibly is one of the last pictures he painted
for particular families; as there are none existing in

16 THE UDNEY COLLECTION.

his grandest style, such as the Transfiguration, ex-
cept the Madonna della Sedia, and four or five in
the Royal Collection of Spain; he being entirely
employed during the latter years of his short life in
public works, which fortunately cannot be removed.

The following Pictures came from the Florence Gal-
lery, and that of Capo di Monte belonging to the
King of Naples, and were all of the Parma Collection,

37. Tempest a.�Sea Storm.�A grand work of this
celebrated master, Avhose finest pictures are not
known in this country. This was from Capo di
Monte, and may be ranked among the fine works
of the greatest masters in Landscape.

38. John Breughel, called Velvet Breughel.�
Landscape, with an infinite variety of insects and
flowers.�The figures in it are by Rottenhamer, in
his finest style. This is a curious picture of the
master, and as pure and bright as when first painted ;
as it never has been in any other collection than that
it came from. On copper. Robertson. 0,6

39. Parmigiano.�Sea Nymphs.�This beautiful pic-

ture was in the catalogue of the Parma pictures said
to be by Parmigiano; but whether it be painted
by Francesco Mazzuoli, or by Jeronimo Mazzuoli,
seems doubtful: as the proprietor does not wish to give
them to wrong authors, he leaves the decision to the
connoisseurs. They are both equally fine, and no-
thing can surpass the elegance and colouring of this
fine picture and its companion. By their form, they

THE UDNEY COLLECTION. 17

must have been an additional ornament to some

great work of one of these wonderful masters, in the

Parma collection : are on thick pannel, and have the

seal of the family on the back of them. Davidson. 43

iO. Idem, Companion to the foregoing. Davidson. 30

41. Jeronimo Parmigiano.�The Portrait of a Lady,

with the following inscription, Giulia Orsina delli

Sig^ri. di Viccovaro Sposa di Pauolo Jaccovacci, del

anno 1561, alii 27 Febraro.�This is a most beautiful

production. Colonel McDonald. 24

4& Schidone.�Holy Family.�One of the grandest

. pictures of this master; it was at Capo di Monte.

43. Albano.�St. John in the Wilderness, a small figure,

in an uncommonly grand style for this master, and
a fine Landscape.�This picture is equal to most of
the works of his master, Annibal Caracci.

44. Annibal Caracci.�A capital Landscape.�As
clear and highly finished as Claude, with all. the
grandeur of this master. , Colonel Murray. 185

45. Idem, its Companion.�N. B. These two pictures

were painted for the Parma Gallery, and have the
seal of the family on them. Colonel Murray. 170

46. Guercino.�David with the Head of Goliah, half
length, in his finest manner.�-There is no work of
the master superior to this picture: it was also of the
Parma collection, and companion to the celebrated

. picture of the Magdalen, by Guido.

47. Guido.�-Magdalen.�It is unnecessary to make any

encomium on this wonderful picture, as it is un-
VOL. II. C

18 THE UDNEY COLLECTION.

doubtedly one of the finest this master ever painted,
both for grandeur and sublimity of character.

48. Annibal Caracci.�Venus, Satyrs, and Cupid,
large life.-�The celebrated picture, which he painted
as a companion to the Magdalen by Titian, in the
Tribune at Florence, and on which he has put his
name and date: it was painted 1585, and is un-
doubtedly one of the highest finished works of the
master, and in which he attempted to put himself
in competition with the Venus of Titian, which
hung vis-a-vis. Colonel Murray. 105

49. Schidone.�Girl learning the Lord's Prayer by
Heart.�This picture, from its singularity and in-
nocent simplicity of expression, has ever been ad-
mired, and is well known by all who have been at
Capo di Monte. It was one of the Parma collection,
is on thick pannel, and has the seal of the family on it.

Earl of Ashburnham. 200

50. Polidore, da Carataggio.�The Judgment of
Paris.�A fine work of this master, who is little
known in this country. It is an excellent specimen
of him, and is equal to any of the small works of
Raphael. On pannel; and was likewise of the Parma
collection, having the family seal. Hope, 60

51. Parmigiano.�Boy learning his Horn Book, which
he has under his arm.� A beautiful and spirited
sketch. N. B. All those from Naples have the
Parma arms on them. Nesbit. 40

52. Ludovico Caracci.�Repose.�This most elegant
and graceful composition is carried to the greatest
degree of perfection the art of painting is capable

THE UDNEY COLLECTION. 19

of, and is the most exquisite specimen of the genius
and sublime expression of this master. On a thick
pannel; was painted for the Parma family, and has
their seal on it. Colonel Murray. 1100

53. Raphael.�Holy Family, a Repose.�One of the
most elegant compositions of this great master, pure
as when first painted, and is so well known, that
further description of it is unnecessary, as it had
been in the Colonna Palace upwards of two centuries.
There is a fine etching of it by Buonasoni, but it has
never been engraved, as the family woud not allow
a drawing to be made from it; nor is there any du-
plicate of this picture known by any of his disciples:
and he was so much employed during the short time
he lived, that it is not believed in Italy, he ever re-
peated any of his own pictures. Davidson. 650

Although the above collection contained but
few pictures of a high class, still as being formed
by a man of good taste, and at a period which
became interesting in the history of art, it is here
given as rendered in the catalogue.

THE OTTLEY COLLECTION.

This collection was formed by William Young
Ottley, Esq. in Rome, about the end of 1798 or
beginning of 1799, when the principal families
of that capital were, from the circumstances
which have been already noticed, obliged to part
with their collections. It was brought by Mr.
Ottley to England in 1800, and sold by Mr.
Christie in May, 1801.

The following catalogue will show from what
palaces the pictures came which were then brought
to England. Many of them were of very con-
siderable importance, in particular two capital
pictures by Salvator Rosa, from the Colonna
palace, one of which was sold to the late Sir M.
M. Sykes, Bart., and has been recently purchased
at Mr. Christie's, for the National Gallery, Christ
crowned with Thorns, a picture by Annibal Ca-
racci, which was purchased by Earl Fitzwilliam.
A Parmigiano from the Borghese palace, pur-
chased by the late Mr. Morland. An Annibal
Caracci of the Infant Saviour asleep, attended by
Angels, purchased by G. Hibbert, Esq.; with
others which will be found particularly described
in the catalogue itself.

PURCHASED BY W. YOUNG OTTLBY, ESQ. AT ROME,

DURING THE YEARS 1798 AND 1799,

SOLD BY MR. CHRISTIE MAY 16, 1801.

1. Sassoferrato.�Madonna. Head and hands highly
finished�size 1 foot 2 inches by 1 foot 5^ . 40

%. Nicolo Poussin.�Landscape and Figures; with
a distant view of Olivano, in l'Abruzzo, in the state
of Naples, where Nicolo frequently studied land-
scape�2 feet 5 by 2 feet 9 . .47

3. Claude Lorrain.�Landscape and Figures�
Evening. A View on the Tiber near Rome,-�from
the Palace Colonna; mentioned in the printed cata-
logue of the pictures of the Palace Colonna (No.
378) . . . . .58

4. Scarzallino di Fehrara.�Nymphs awaked by

Cupid. A fine example of this esteemed painter,
who united in a high degree the Venetian colouring,
with the grace and clair-obscure of the Lombard
school, and was styled the Paulo of Lombardy�1
foot 7^ by 14J inches . . .57

5. Francisco Vanni.�The Repose in Egypt. One
of the best cabinet pictures of this master, who was
the most successful follower of Baroccio, and head

THE OTTLEY COLLECTION.

of the Sienese school at the period in which he lived
�2 feet 4$ by 2 feet 10. . . .95

6. Sodomo de Sienna.�Madonna, with the Infant
Christ, and St. John. Probably the only picture in
England of this great master, who was the first of
the Sienese school, and a worthy concurrent of Ra-
phael : his cabinet pictures are extremely rare, even
in his own country�1 foot 6 by 2 feet 2 . 170



	32
	32	THE ALTIERI CLAUDES.
		THE ALTIERI CLAUDES.

It has at all times been difficult to obtain per- mission to export works of a high order from the Roman State. While the French army was in Rome that difficulty was greatly diminished ; but in general, as being attended with the risk of seizure of the property itself, works of that de- scription were often obliged to be sent away to the nearest port, as opportunity might offer, and some- times forwarded to this country without the proper documents or advices accompanying them. In the present instance, the ship by which these pictures was sent to England arrived at one of the out-ports without the proper advices having ac- companied them, and they were lodged in the Custom-house until they should be regularly claimed. Some time had elapsed without this being the case, and it became a question as to selling them for the purpose of paying the necessary ex- penses, &c. The pictures were accordingly put up for sale, and they were actually bought for the sum of �12100 sterling, before the real proprietors, or their agents, had received advice of their having arrived in this countiy. They were, however, of too much importance, even in the eyes of the un- learned in art, to pass long unnoticed, and those acting for the proprietors having come to a know- ledge of their situation, gained possession of their property, and had them transmitted to London,



		33
	THE ALTIERI CLAUDES.	33
	THE ALTIERI CLAUDES.

where they soon attracted the notice of one of the most intelligent connoisseurs of England, who purchased them along with a few cabinet pictures of the Italian school, which accompanied them, for the sum of ten thousand guineas. These celebrated pictures for a considerable length of time were the principal ornaments of the Fonthill collection. They afterwards became the property of Richard Hart Davis, Esq. M. P. by whom they were ceded to their present proprietor, J. P. Miles, Esq. of Leigh Court, near Bristol. Not having seen these pictures for several years, the author of this work will not here attempt to give a particular description of that which has been considered as the most capital, and which will be found engraved in the Liber Veritatis as the Altieri Claude; he shall only here say that it has always held the same high rank among the land- scapes of this fascinating master, as the Bouillon picture purchased by the late Mr. Angerstein, and now the property of the British nation, has among his Marine Views; both are chefs-d'oeuvre of art. The Bouillon Claude possesses a richness of colouring, and an effect of sunlight on the surface of the water, which is truly surprising; the Altieri Claude is, on the other hand, painted in a clear and silvery manner, with a pure and light atmo- sphere, through which the eye is carried to an VOL. II. D



	38
	38	ROBIT'S COLLECTION.
		ROBIT'S COLLECTION.

2. Albano�painted on copper�14\| inches high by 18^ broad. Another picture in a more severe style but still graceful, representing the Virgin holding the sleep- ing Infant Jesus ; behind this group are two angels, one of them with clasped hands in token of ad- miration. No. S3 of Bryan's catalogue. George Hibbert, Esq. 8. Nicholas Eerghem�painted on canvas �31 inches by 25. A rich landscape representing a mountainous and rugged country, in the centre of which is a lake that falls in a cascade over picturesque rocks. The foreground is enriched with all the attributes to such a scene, in which a number of villagers and cattle of various kinds are seen, and, among these, a woman standing near a cow, giving orders to a young man who is sitting down by a copper milk-can. The works of Berghem rank high among the Dutch masters. A flowing spirited touch, with a transparency of colouring, are among the charms which his pictures disclose to the con- noisseur. The celebrity of the above picture is authenti- cated in the life of the master, and in the descrip- tion of the magnificent cabinet de JPresk, where it



		39
	ROBIT'S COLLECTION.	39
	ROBIT'S COLLECTION.

was for many years. No. 129 of Bryan's catalogue. George Hibbert, Esq.�300 guineas. 9. Nicholas Berghem�painted on wood� 16^ inches by 13. This picture, which is of a striking effect, is painted with a firm, and, at the same time, a light and beautiful handling. In the middle ground are some fine ruins, adjoining a bridge, which passes over a cascade; on the left two villagers are con- versing together, and near them are three cows and a goat. The distance is relieved by the happy effect of a clear and beautifully-clouded sky. No. 721 of Bryan's catalogue. This picture was valued at 300 guineas, and is now in the possession of Sir Simon Clarke, Bart. 10. Berghem � painted on wood � 111 inches by 9- A small picture, highly finished, with the effect of a fine summer's evening. It represents a land- scape which is richly wooded: the foreground is occupied by a shepherd who is conducting two beautiful cows and a goat. This picture was for- merly in the possession of George Hibbert, Esq., and now belongs to Sir James Erskine, Bart. 11. The Companion. Under an arch, formed by rocks, a female is seen seated on an ass, conversing with a shepherd



	40
	40	ROBIT'S COLLECTION.
		ROBIT'S COLLECTION.

who drives two cows and a sheep. This beautiful picture is of the same high finishing as the pre- ceding. It was one of those selected by Mr. Hibbert, and was afterwards in the possession of Richard Creed, Esq. These two pictures are Nos. 58 and 59 of Bryan's catalogue. Valued at 300 guineas. 12, Berghem � painted on canvas � 18 inches by 30. The subject of this picture is a stag-hunt, in a rich landscape, indicating the entrance of a forest. On the left are several horsemen hunting on the dogs in pursuit of a stag and doe, which are shot at by one of the sportsmen. The fore- ground is enriched with trees, the foliage of which is admirably relieved by a clear and brilliant sky. This picture, which is of a spirited and light touch, formed part of the valuable collection of Heer Subling of Amsterdam. At the sale of Robit it was sold for 2714 francs, and is No. 97 of Bryan's catalogue. 13. Jean Both�painted on canvas�27-J- inches by 24. A beautiful mountainous landscape intersected by different roads, where, to the right and left, large masses of trees are beautifully interspersed among the rocks.


	*wmmm*
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!

		LONDON: PRINTED BY THOMAS DAVJtSOK, WEUTEFRIARS



		MEMOIKS

	OP PAINTING.

In the years 1797�8 the French army in- vaded Italy, and encountered no force adequate to resist with effect the conquest of that fine country. Buonaparte, well knowing the con- sequence which attaches to a conqueror from the acquisition of objects of art, and the eclat which he should obtain in the estimation of the French Nation, by transmitting to their capital those works which had formed the glory and pride of the Princes of Italy, from the time of the Medici family to the period of his conquest, took care to reap the first fruits of his victories by levying contributions of these works from the churches, monasteries, and public galleries, where such were deposited, and he employed men who were competent judges to make the necessary selection. VOI,. II. B



			CATALOGUE OP MR. DAY'S PICTURES, EXHIBITED FOR SALE BY PRIVATE CONTRACT, AT 20, LOWER BROOK STREET, IN THE YEARS 1800�180],

		FROM THE COLONNA GALLERY. 1. Titian�Venus and Adonis. 2. Titian�Ganymede. 8. Gaspar Poussin. These three pictures were sold to Mr. Anger- stein for 6000 guineas ; and considering the high importance of the pictures themselves, being all capital and celebrated performances of these masters, they may be regarded as having been sold much under their real value. They now form part of the pictures lately purchased by the Earl of Liverpool for the British nation, a purchase which will hand down the name of his



		0 MR. DAY'S COLLECTION, FROM THE ALDOBRANDINI VILLA. 12. Andrea Mantegna�The Birth of Christ. 13. Titian�The Madonna, Infant Christ, and Saints�valued at 1000 guineas� sold to G. Hibbert, Esq. 14. Giacomo Bassano�The Angel appear- ing to the Shepherds. 15. Giorgione�King David instructing a pious man in his devotions. 16. Baroccio�Madonna and Child. 17. Ancient�The Maid of Orleans. 18. Garofalo�The Conversion of St. Paul. 19. Paris Bordone�Susannah and the Elders. PICTURES TAKEN BY THE FRENCH AT ROME, DESTINED FOR THE MUSEUM AT PARIS, AND FOUND AT GENOA. 20. Annibal Caracci�A Saint and Angels �valued at 2500 guineas�St. Gre- gorio. This magnificent picture is now in the Stafford gallery. It was always considered, and with great justice, to be one of the most capital pic- tures of this master which was at Rome. It was in the church of St. Gregorio, and is a chef- d'oeuvre of art.



		MR. DAY'S COLLECTION. 7 21. Guido�-St. Cecilia and Saints, after Raphael. This copy, made by a great master, is mentioned by Malvasia. FROM THE BORGHESE GALLERY. 22. Raphael�St. Catharine�valued at ^2,500�Lord Northwick. A most graceful picture in the best manner of his second period�now in the possession of William Beckford, Esq. 23. Ludovico Caracci.�Madonna and Child. 24. Domenichino. �Cupid and Psyche� valued at 200 guineas. A beautiful little example of this master. FROM THE COLONNA GALLERY. 25. Gaspar Poussin�Small Landscape� sold to the Duke of Bedford. 26. Gaspar Poussin.�Landscape�its com- panion. FROM THE ALDOBRANDINI VILLA, 2?. Annibal Caracci�The Holy Family. 28. Domenichino�St. Jerome�the Rev. Mr. Holwell Carr. 29- Schidone� A School Girl �- Lord Northwick.



		IV MR. DAY'S COLLECTION. the fine drawing, the suavity of colouring of the figures, and the sublimity of sentiment in the principal characters, render it one of the leading- works of the Bolognese school. This collection, which succeeded that of the Orleans Italian pictures, may be considered as the av ant-courier to the many capital works which were afterwards imported from Italy, and to the importation of which the author of these sketches may say, " Et quorum ego magna parsfui."



			THE UDNEY COLLECTION, SOLD BY MR. CHRISTIE, 25th ArniL, 1800.

		Another small collection of pictures which came to this country in the same year as that of Mr. Day, and which was sold at a public sale by Mr. Christie in April 1800, was that which had been purchased by Mr. Consul Udney in Italy, and transmitted to his brother Robert Udney, Esq. of London. It must be here remarked that this collection was different from that sold by Mr. Christie in 1804, which was the private col- lection of the late Robert Udney, Esq. in his house at Paddington, formed for his own amusement and gratification, and which likewise had been principally purchased abroad for him by Mr. Consul Udney during his residence in Italy. The present small collection was one formed in Italy in consequence of the more recent events which had occurred in that country; and although the objects of which it was composed could not be put in competition with the small collection that Mr. Day had formed, still it contained several pictures of importance, and is therefore worthy of being here noticed.



			CATALOGUE OF THE COLLECTION OF ITALIAN PICTURES, FORMED BY JOHN 5JDNEY, ESQ., SOME TIME CONSUL OF H. B- M. AT LEGHORN, DURING IIIS RESIDENCE IN ITALY.

		Guineas 1. John Both.�Landscape, with cattle and figures. Mr. Vickery. 4 % Ditto, its Companion.�The figures in these two , landscapes are painted by his brother Agostino. Colonel M'Donald. 4\| 3. Augustus Tasst.�Fine Landscape, with an historical subject.�This painter's works are little known in . this country, although they are held in considerable esteem in Italy. 4. Liviano.�Disciple of Rembrandt.�The Head of a Rabbi, in a bold style. Colonel M'Donald. 3 5. Mompart.�Sea View, with many figures. Price, Esq. 3 6. Ditto, its Companion. Simpson. 4 7. Coypel.�Two small figures of a Bacchant and Bac- chante. Price, Esq. 1 8. Alexander Veronese.�The Judgment of Solomon. �A fine picture of the master. Lord St. Helens. 10 9. Beccafumi. � The Birth of our Saviour. � This



	THE UDNEY COLLECTION. 13

Guineas painter died in 1549; he studied Michael Angelo and Raphael. Devaynes. 5 10. Momfart.�Landscape with figures, Devaynes. 4 11. Salvator Rosa.�Small Landscape. Neave. 6\| 12. Jaques Stella.�Singers, small figures. A. G. Maire. 10 13. Jean Miel, called Giovanni Dellaviti.�Mounte- bank dispensing his Remedies. Devaynes. 3 14. Ditto, its Companion. Devaynes. 31 All the following Pictures were purchased from out qfilw Colonna Palace. 15. Mutiano.�St. Jerome at his Devotions.�This painter was of the Venetian school, and died in 1590. Woodburn. %\ 16. Nicolo Poussin.�Capital Landscape, with a thun- der storm.�Engraved. Elwin. 12 17. Paul Bril.�Beautiful Landscape, the figures by Annibal Caracci.�Very fine. Colonel-McDonald. 25 18. Domenichino.�Female Head, a study.�Fine and pure. Devaynes. li- 19. Guido.�Sketch for his large Picture, in the Church of St. Gregorio near Rome.�Very fine, and pure. Colonel M'Donald. 47 20. Carlo Cignani.�The Birth of the Virgin. Woodburn. 6\| 21. Barroccio.�The Portrait of Annibal Caracci. �Most highly finished in this painter's delicate manner. Robertson. 27 22. Diego Velasquez.�The Portrait of Clement XIII. in a grand and capital style. Colonel M'Donald. 90

		/



			14 THE UDNEY COLLECTION.

		Guineas 23. Michael Angelo Caravaggio.�Friars healing the Blind, very capital.�This painter died 1609. His works were much studied by Guido, Guercino, and several of the Bolognese painters. Captain Bader. 36 24. Annibal Caracci.�Finished model for his large picture of Europa in the Farnese Palace at Rome. �Very fine and pure. Colonel Murray. 37 25. Carlo Dolce.�The Portrait of a Nobleman in a Spanish dress.�Highly finished. Nesbit. 30 26. Nicolo Poussin.�Upright Landscape, being an extensive bird's-eye view of a grand scene by this great master. Colonel Murray. 47 27. Domenichino.�The Portrait of Cardinal Colonna (three quarters).� In the most delicate style of this elegant painter. It may be fairly asserted, that no portrait ever exceeded, or approached so nearly to Nature as this exquisite performance. Colonel M'Donald. 31 28. Michael Angelo Caravaggio.�Three Gamesters. �This is one of the most capital works of the master. Robertson. 31 29. Claude Lorrain.�Beautiful small Landscape, with many figures, historical, of Moses striking the Rock. �The figures evidently touched by another hand, possibly FelippoLauri, who often assisted this painter in the early part of his life. Colonel Murray. 39 30. Titian.�Holy Family, with a fine Landscape.� Pure, and in his very finest manner: one of the finest of the cabinet works of this great master. Colonel M'Donald. 110 31. Bronzino.�Small Model of the Adoration of the Shepherds, for his celebrated picture in the Church




	M E MOIRS

		OF

A I N T I N G.



		THE UDNEY COLLECTION. 15 Guineas of St. Lorenzo at Florence.�A grand composition, most highly finished. There is a fine print of it the size of the picture. It is on pannel. This painter was one of the Florentine school, and died in 1580. Colonel M'Donald. 73 32. L. Cauacci.�The Angel appearing to Joseph and the Virgin.�A beautiful small picture, which, in the family catalogue, is said to be by this master, but it may be a high finished work of Albano. Robertson. 30 33. Claude Lorrain.�Fine pure Landscape of this master, in his very clearest manner. Davidson. 330 34. Idem, its Companion; they represent morning and evening.�They were painted for the Colonna fa- mily, in which they have continued in their original state, and are as perfect and pure as the day they were painted, and more brilliant and clear than many of his pictures. Davidson. 340 35. Guido.�The celebrated picture of St. Cecilia.�In his grandest style, which he painted for Prince Co- lonna, as mentioned in the catalogue of the pictures of that palace, where it has remained untouched till it was purchased by the present owner. Its merit and perfection will speak for themselves. Davidson. 340 36. Raphael.�The Virgin and Child.�One of this master's very finest and most highly-finished easel pictures. It was always placed over the communion table of the Princess Colonna, and not so frequently seen as the larger picture of Raphael in this collec- tion, and possibly is one of the last pictures he painted for particular families; as there are none existing in



			16 THE UDNEY COLLECTION.

		Guineas his grandest style, such as the Transfiguration, ex- cept the Madonna della Sedia, and four or five in the Royal Collection of Spain; he being entirely employed during the latter years of his short life in public works, which fortunately cannot be removed. Davidson. 480 The following Pictures came from the Florence Gal- lery, and that of Capo di Monte belonging to the King of Naples, and were all of the Parma Collection, 37. Tempest a.�Sea Storm.�A grand work of this celebrated master, Avhose finest pictures are not known in this country. This was from Capo di Monte, and may be ranked among the fine works of the greatest masters in Landscape. Colonel Murray. 43 38. John Breughel, called Velvet Breughel.� Landscape, with an infinite variety of insects and flowers.�The figures in it are by Rottenhamer, in his finest style. This is a curious picture of the master, and as pure and bright as when first painted ; as it never has been in any other collection than that it came from. On copper. Robertson. 0,6 39. Parmigiano.�Sea Nymphs.�This beautiful pic- ture was in the catalogue of the Parma pictures said to be by Parmigiano; but whether it be painted by Francesco Mazzuoli, or by Jeronimo Mazzuoli, seems doubtful: as the proprietor does not wish to give them to wrong authors, he leaves the decision to the connoisseurs. They are both equally fine, and no- thing can surpass the elegance and colouring of this fine picture and its companion. By their form, they



		THE UDNEY COLLECTION. 17 Guineas must have been an additional ornament to some great work of one of these wonderful masters, in the Parma collection : are on thick pannel, and have the seal of the family on the back of them. Davidson. 43 iO. Idem, Companion to the foregoing. Davidson. 30 41. Jeronimo Parmigiano.�The Portrait of a Lady, with the following inscription, Giulia Orsina delli Sig^ri. di Viccovaro Sposa di Pauolo Jaccovacci, del anno 1561, alii 27 Febraro.�This is a most beautiful production. Colonel McDonald. 24 4& Schidone.�Holy Family.�One of the grandest . pictures of this master; it was at Capo di Monte. Bryan. 130 43. Albano.�St. John in the Wilderness, a small figure, in an uncommonly grand style for this master, and a fine Landscape.�This picture is equal to most of the works of his master, Annibal Caracci. Davidson. 70 44. Annibal Caracci.�A capital Landscape.�As clear and highly finished as Claude, with all. the grandeur of this master. , Colonel Murray. 185 45. Idem, its Companion.�N. B. These two pictures were painted for the Parma Gallery, and have the seal of the family on them. Colonel Murray. 170 46. Guercino.�David with the Head of Goliah, half length, in his finest manner.�-There is no work of the master superior to this picture: it was also of the Parma collection, and companion to the celebrated . picture of the Magdalen, by Guido. Colonel Murray. 240 47. Guido.�-Magdalen.�It is unnecessary to make any encomium on this wonderful picture, as it is un- VOL. II. C



			18 THE UDNEY COLLECTION.

		^v Guineas doubtedly one of the finest this master ever painted, both for grandeur and sublimity of character. Davidson. 310 48. Annibal Caracci.�Venus, Satyrs, and Cupid, large life.-�The celebrated picture, which he painted as a companion to the Magdalen by Titian, in the Tribune at Florence, and on which he has put his name and date: it was painted 1585, and is un- doubtedly one of the highest finished works of the master, and in which he attempted to put himself in competition with the Venus of Titian, which hung vis-a-vis. Colonel Murray. 105 49. Schidone.�Girl learning the Lord's Prayer by Heart.�This picture, from its singularity and in- nocent simplicity of expression, has ever been ad- mired, and is well known by all who have been at Capo di Monte. It was one of the Parma collection, is on thick pannel, and has the seal of the family on it. Earl of Ashburnham. 200 50. Polidore, da Carataggio.�The Judgment of Paris.�A fine work of this master, who is little known in this country. It is an excellent specimen of him, and is equal to any of the small works of Raphael. On pannel; and was likewise of the Parma collection, having the family seal. Hope, 60 51. Parmigiano.�Boy learning his Horn Book, which he has under his arm.� A beautiful and spirited sketch. N. B. All those from Naples have the Parma arms on them. Nesbit. 40 52. Ludovico Caracci.�Repose.�This most elegant and graceful composition is carried to the greatest degree of perfection the art of painting is capable



		THE UDNEY COLLECTION. 19

				Guineas

	of, and is the most exquisite specimen of the genius and sublime expression of this master. On a thick pannel; was painted for the Parma family, and has their seal on it. Colonel Murray. 1100 53. Raphael.�Holy Family, a Repose.�One of the most elegant compositions of this great master, pure as when first painted, and is so well known, that further description of it is unnecessary, as it had been in the Colonna Palace upwards of two centuries. There is a fine etching of it by Buonasoni, but it has never been engraved, as the family woud not allow a drawing to be made from it; nor is there any du- plicate of this picture known by any of his disciples: and he was so much employed during the short time he lived, that it is not believed in Italy, he ever re- peated any of his own pictures. Davidson. 650

Although the above collection contained but few pictures of a high class, still as being formed by a man of good taste, and at a period which became interesting in the history of art, it is here given as rendered in the catalogue.

			c 2



			CATALOGUE OP PICTURES PURCHASED BY W. YOUNG OTTLBY, ESQ. AT ROME, DURING THE YEARS 1798 AND 1799, SOLD BY MR. CHRISTIE MAY 16, 1801.

		Guineas 1. Sassoferrato.�Madonna. Head and hands highly finished�size 1 foot 2 inches by 1 foot 5^ . 40 %. Nicolo Poussin.�Landscape and Figures; with a distant view of Olivano, in l'Abruzzo, in the state of Naples, where Nicolo frequently studied land- scape�2 feet 5 by 2 feet 9 . .47 3. Claude Lorrain.�Landscape and Figures� Evening. A View on the Tiber near Rome,-�from the Palace Colonna; mentioned in the printed cata- logue of the pictures of the Palace Colonna (No. 378) . . . . .58 4. Scarzallino di Fehrara.�Nymphs awaked by Cupid. A fine example of this esteemed painter, who united in a high degree the Venetian colouring, with the grace and clair-obscure of the Lombard school, and was styled the Paulo of Lombardy�1 foot 7^ by 14J inches . . .57 5. Francisco Vanni.�The Repose in Egypt. One of the best cabinet pictures of this master, who was the most successful follower of Baroccio, and head



		THE OTTLEY COLLECTION. Guineas of the Sienese school at the period in which he lived �2 feet 4$ by 2 feet 10. . . .95 6. Sodomo de Sienna.�Madonna, with the Infant Christ, and St. John. Probably the only picture in England of this great master, who was the first of the Sienese school, and a worthy concurrent of Ra- phael : his cabinet pictures are extremely rare, even in his own country�1 foot 6 by 2 feet 2 . 170 7. Michael Angelo Buonarotti.�The Samaritan Woman at the Well. The preparation for a picture, perhaps intended to have been finished by himself. M. Angelo is generally believed to have painted only two or three pictures in oil: those small ones we so frequently see ascribed to him, are all painted by his scholars, from his designs; many have been painted from his drawings, which formerly had a place in the collection of the King of Naples, at Capo di Monte�1 foot 11\| by 2 feet 7�on pannel 28 8. Rafaelle D'Urbino.� Cartoon for the horse's head in the fresco, of Heliodorus in the Vatican, much finer than in the picture which was executed by Rafaelle's scholars: from the Palace Albani 40 9. Titian.�Holy Family, with Saints. A finely pre- served example of the master, whose pictures of the cabinet size are very rarely met with�1 foot 9^ by 1 foot 6 . . . . .180 10. Rafaelle D'Urbino.�Martyrdom of Saints. A very early picture of this prince of painters, executed before he left the school of his master Perugino; from the Palace Borghese�1 foot 4^ by 10 inches 115 11. Mazzolino di Ferrara.�Christ disputing with the Doctors. The pictures of this master, who was



		23
	THE OTTLEY COLLECTION.	23
	THE OTTLEY COLLECTION.

Guineas fellow-disciple with Benve-nuto Garofalo, under Lo- renzo Costa, are, as may be supposed from the cir- cumstance of their extraordinary finishing, extremely scarce. This picture is particularly mentioned by the Abbe Lanzi in his Storia Pittorica, as one of the finest of the very few examples of them to be met with. It is from the Villa Aldobrandini: for a car- dinal of which name, this picture was painted by Mazzolino�on board, 1 foot by 1 foot 5� ■ . 180 12. Benvenuto Garofalo.�Holy Family, with Saints. A highly preserved picture in the finest manner of the master, easily to be distinguished from the many pieces painted by others in his school, which gene- rally pass as Garofalcfs own performance: from the Colonna Palace�on board, 1 foot 4\| by I foot 1 240 IS. Titian.�The Daughter of Herod, with the Head of St.- John the Baptist. A highly-coloured picture of the master; in his Giorgione manner: from the Guarda Roba of the Palace Doria of Rome; 2 feet 5 by 2 feet 10 . , . . . 140 14. Nicholas PoussiN:�^:L-andscape, with the distant view of ari ancient tawny and figures reclining on the foreground after sunset. A moment which Ni- cola frequently preferred, as agreeing with the idea of solemnity,�the great characteristic of his landscapes�3 feet 8 by 2 feet 5 . «... , ... 170 15. GuidoReni.�St, Jerome�Head and Hands. From the Albani Palace. An extraordinary proof of the powers of pencil which this artist is universally allowed to have possessed in his latter time, in a degree surpassing every other Italian painter�1 foot 10\| by 2 feet 3 ' . . . .180



		24 THE OTTLEY COLLECTION. Guineas 16. Ludovico Caracci.�The Entombing of Christ. Style of Correggio: the management of the effect is most extraordinary�on board, 1\| foot by 1 foot 4^ 280 17. Schidone.�The Repose in Egypt, with Angels. A cabinet picture of this master, perhaps unique, giving upon a small scale an idea of his large works at Capo di Monte: from the Colonna Palace�on board, 1 foot 1 by 1 foot If . . 280 18. Annibal Caracci.�Magdalen. One of the most studied and highly finished pictures of this great master; engraved of the same size in the celebrated work of the Scuola Italica, published in Rome by the late Mr. Gavin Hamilton: from the Borghese Palace�on copper, 1 foot 1\|- by 10^ inches . 270 19. Correggio,�Virgin and Child. An early perform- ance of the master, upon a gold ground, in which the native grace of Correggio is not lost by its par- ticipating a little of the style of his master, Andrea Mantegna: engraved by Cunego�on board, 1 foot 1\| by 1 foot 5 . . . .290 20. Gaspar Poussin.�Landscape, with Figures. The entrance to L'Arrici, near Rome. This picture and its companion, when in the Corsini Palace, were esteemed the finest small examples of the master in Rome�2 feet 2 by 1 foot 7\| . . 240 21. Gaspar Poussin.�The Companion to the former. A woody scene, a shepherd leading his flock�2 feet 2 by 1 foot7i ... . 240 22. Domenichino.�Repose in Egypt, in a Landscape. Extremely rare. Domenichino painted so few land- scapes, that this may be considered almost unique: from the Corsini Palace�1 foot 9 by 1 foot 4y S20



		25
	THE OTTLEY COLLECTION.	25
	THE OTTLEY COLLECTION.

Guineas 23. Claude Lorrain.�Landscape, with Pastoral Figures�'Afternoon. View on the Tiber, in his finest manner, and in the highest preservation: a cabinet picture from the Corsini Palace�I foot 9 by 1 foot 4.....370 24. Nicholas Poussln.�Large Landscape, with Figures. In his great style: from the Falconieri Palace�5feet 9 by 4 feet 1 . . . .180 25. Giorgione.�Holy Family and Saints. A capital picture, the colouring even richer than Titian: from the private apartment of the Prince Colonna�on board, 2 feet 8 by 2 feet 1 . . 440 26. Mazzolixo hi Ferrara.�Ecce Homo. A chef- d'oeuvre of the master: from the Villa Aldobrandini � 1 foot 5 by 1 foot 9^ 429 27. Rafaelle.�Warrior sleeping, and two allegorical female figures. A most exquisite and finished pro- duction of the master, at an early period: from the Borghese Palace�6^ inches by 6^ .. . 470 28. Albano.�Venus attired by the Graces. A capital picture of the master, and very remarkable for its preservation . . . 199 29. Guido Reni.�St. Peter�Head and Hands. In his strong manner; painted at the same period as his celebrated picture of St. Peter and St. Paul at Bologna, which is justly esteemed Guido's chef- d'oeuvre : from the Aldobrandini apartments of the Borghese Palace�2 feet 9\| by 2 feet 1^, purchased by Sir Mark M. Sykes, Bart. . .580 30. Annibal Caracci.�Susannah and the Elders. A capital picture, with the name of the master, in his grandest style : from the Villa Aldobrandini�3 feet 7 by 5 feet 3. J. Humble, Esq. . i 560



		26 THE OTTLEY COLLECTION. Guineas 01. Claude Lorrain,�Landscape. The composition remarkably fine. Scene before sun-rise in the spring, with the story of Ascanius killing Silvia's stag. On the back of the picture is inscribed, " Quadro per lTll^mo sig. Contestable Colonna questodi 5 Ottobre 1681." This is supposed to be the last picture painted by this great master, who died at the ad- vanced age of 82 years. From the Colonna palace �4 feet 111 by 3 feet 11 . .440 32. Gaspar Poussin.�Landscape and Figures. A View of Nemi, near Rome,�capital. From the Colonna palace�5 feet by 3\| feet . . TOO 33. Giacomo Bassano.�The Journey of Jacob and his Family. A most remarkable example of the master, both as to subject and execution; the colouring equal to Titian�8 feet 9 by 5 feet 5 . .420 34. ParmigiAno.�His own Portrait. Always so called when in the celebrated collection of the King of Naples at Capo di Monte : effect prodigious� 2 feet 2 by 2 feet 11. Afterwards in the possession of Lord Radstock .... 650 35. Guercino.�A Warrior in Armour, said to repre- sent Scandeberg. A capital picture, in his most forcible manner, and in the highest preservation; late one of the most esteemed pictures in the Albani Palace ^-3 feet 5 by 3 feet 11 . . 600 36. Guido Reni.-^-Madonna; Dolorata. A head, in the painting of which Guido has exerted all his powers to render it worthy a place in the closet of Pope PauL. V. where it formerly hung. From the Borghese Palace�on copper, 1 foot 3\|- by 1 foot 71. After- wards in the possession of the late William Mor- land, Esq. ... . . 380



			THE OTTLEY COLLECTION. 27

		Guineas 37. Paul Veronese.�The Marriage of the Virgin. This picture, if not considered with respect to its size, but to the study and excellence displayed in every part, added to the beauty of the subject and composition, may in truth be deemed one of Paul's most important works, and is certainly, of his cabi- net pictures, the chef-d'oeuvre. From the Corsini palace�2 feet 4 by 2 feet 7\|-. Now in the posses- sion of W. Wells, Esq. of Redleaf in Kent 560 38. Titian.�The Holy Family, with the Shepherd's Offering, in his Giorgione manner. A capital picture from the Borghese palace, painted at the same period with the celebrated picture of Profane and Divine Love, in the Borghese collection�4 feet 8 by 3 feet 5� . . . , 700 39. Salvator Rosa.�A Landscape. A Rocky Scene, with a distant View of a Volcano. In the foreground are figures representing the finding of Moses by Pharaoh's daughter. This picture, whether we con- sider the grandeur of conception, powers of execu- tion, or unparalleled preservation, may justly be deemed one of the most wonderful efforts of the pencil. From the Colonna palace�6 feet 7 by 4 feetl.....150O 40. Claude Lorrain.�Dido and iEneas, with a View of the Port of Carthage. We have here the fresh- ness of the sea-breeze happily combined with that purity of the Italian atmosphere which Claude, and Claude only, knew how to give. This picture is so exquisitely finished in all its parts, that a near and repeated contemplation of it can alone impress a just idea of its excellence. From the Colonna palace� 4 feet 10 by 3 feet 10. This picture was afterwards



		28 THE OTTLEY COLLECTION. Guineas purchased by W. Morland, Esq. It is now in the possession of Mr. Erard of Paris . . 800 41. Sassoferrato.�Virgin and Child, with Cherubs. This picture, universally considered as the chef- d'oeuvre of the master, is not less remarkable for its extreme brilliancy of colouring, than the most extraor- dinary delicacy with which it is finished, and was probably painted for a private chapel. Its effect, by candlelight, surpasses that of, perhaps, any other picture. From the Corsini palace�2 feet 9 by 2 feet Hi . . . . .750 �2. Annibal Caracci,�The Infant Jesus sleeping, at- tended by Angels. One of the rarest and most finished productions of this great master, in his Roman manner. From the Borghese palace�1 foot 8 by 2 feet 2. This picture was afterwards purchased by George Hibbert, Esq. . . 700 4S. Titian.�Madonna, Child, and St. Catharine.� Painted at the period when the bold pencil of Titian produced, with a few touches, that truth of effect which the united efforts of all succeeding artists have in vain endeavoured to rival. From the Borghese palace�3 feet 9 by 5 feet 5 . .1150 44. Caracci.�Christ crowned with Thorns, In this most extraordinary picture the painter seems to have displayed the whole powers of his mind and pencil in depicting the agony, resignation, and dignity of the divine sufferer. Considered as a work of art, we shall find united in this picture the correctness of outline of the Roman school, the delicacy and finish- ing of Leonardo Da Vinci, with the clair-obscure and harmony of the divine Correggio. From the



		THE OTTLEY COLLECTION. 29 Guineas celebrated collection of the King of Naples, at Capo di Monte�2 feet S� by 1 foot 11\|. Purchased by the Earl Fitz william . . .1100 45. Parmigiano.�The Marriage of St. Catharine. This picture undoubtedly ranks the highest of the few cabinet pictures of this celebrated painter, and as such was selected by the late learned and much esteemed connoisseur and artist Mr. Gavin Hamilton, for his celebrated work of the Scuola Italica. The lovers of art must lament that so few pictures of this rare master exist, he having dedicated the greater portion of his short life to drawing and alchemy. From the Borghese palace�board, 1 foot 10^ by 2 feet 5{-. Purchased by W. Morland, Esq. 1550 46. Salvatoh Rosa.�Landscape, representing a solemn woody scene, with water beneath, in which are in- troduced the figures of Mercury and the Woodman. A chef-d'oeuvre from the Colonna palace�6 feet 7 by 4 feet 1 inch. Purchased by Sir Mark Sykes, Bart. . . . . .1550 47. Benvenuto Garofalo�The Vision of St. Au- gustin, with the Madonna and Choir of Angels in the Clouds. The majesty and sweetness of the Virgin, the variety and exquisite beauty of the celestial group, contrasted with the dignified severity of the St. Augustin, to which may be added the richness of colouring, and delicacy of its finishing, render this justly-esteemed picture the very finest production of Garofalo. From the Corsini palace�2 feet 8^ by 2 feet 1*. This picture was purchased by Lord Radstock. It was afterwards in the possession of Lord Kinnaird, and it is now in the collection of the Rev. Mr. Holwell Carr . . . 1000



		30 THE OTTLEY COLLECTION.

	Guineas 48. Nicholas Poussin.�Noah's Sacrifice after he quitted the Ark. It is almost needless to expatiate on the merits of this celebrated picture, which has ever been considered as one of the finest of Nicholas' Italian pictures: in it he has united the majestic grandeur of Michael Angelo, and the colouring of Titian, with the judicious distribution of his figures, which was Nicholas¹ exclusive excellence�4^ feet by 2 feet 3\|. In the collection of Sir M. Mastermann Sykes, Bart. 1000 49. Titian.'�Danae. Mentioned by Vasari, edit, di Firenzi, torn. 3, as seen whilst painting, and was much praised by Michael Angelo and Vasari. This picture was purchased at Venice, 1750, by the late Sir W. Young, grandfather to the proprietor of the present collection, and has never to this time been out of the family. It is the only picture in this catalogue not brought from Italy during the late re- volution . . . . .110

It may be said of this collection in general, that it was selected with taste and judgment, and con- tained several very fine examples of the works of the great masters.



			IMPORTATION OF THE ALTIERI CLAUDES INTO ENGLAND.

		It is at all times interesting to the lovers of art to know all particulars regarding the importation of works of a superlative class into their own country, since a single work of that description carries with it more weight, as tending to improve general taste, and promote the views of a School of Art, than many works of a secondary order, which, although they may be regarded as orna- mental, can never make the same lasting impres- sion upon the mind of the judicious observer, and are seldom of real consequence in point of national utility. The celebrated pictures known by the name of the Altieri Claudes, from having so long adorned that palace in Rome, were acquired by some English artists during the period that the French army was in Rome, and the late Mr. Fagan and Mr. Grignon, who had so long resided in Italy, had an interest in them.



			34 THE ALTIERI CLAUDES.

		extreme distance; the composition of it is rich and highly classical, and the whole is finished in the most enamelled style of penciling. It may truly be said to be a model of art for all landscape painters to imitate. In considering the relative beauties of these two very celebrated pictures, the connoisseur is staggered to which he is to give the preference. The splen- dour of the Marine takes the observer by surprise, and for a while rivets him to the spot; the more classical and chaste composition of the other, the purity of the air in it, which one would wish to breathe, the freshness of a fine morning in spring, where the meadows are adorned with a verdant foliage of wild plants and shrubs, next demands his attention, and excites a comparative and ana- logous sentiment, that if the one possesses the splendour of a Titian, the other enjoys the purity and chastity of a Raphael. Would it not be a triumph for the arts if such pictures could be placed vis-a-vis to each other ? a matter certainly worthy of the attention of those who know how to value works of this superlative class.



		COLLECTION

	OF THE CITIZEN ROBIT, SOLD AT PARIS, BY PUBLIC SALE, IN 1801.

This collection was one of the finest which the French capital at that period possessed; it con- tained some of the best examples of the Flemish and Dutch schools, and also a few pictures of a high class of the Spanish and French schools. The late Mr. Bryan, who was ever active in his researches after works of art, especially those of the Flemish and Dutch masters, of whose pro- ductions more particularly he was an excellent connoisseur, communicated to Sir Simon Clarke, Bart., and to G. Hibbert, Esq. M.P., that a favour- able opportunity occurred of securing the fine col- lection of the citizen Robit, which was advertised to be sold in Paris by public sale, in the year 1801; and he informed these gentlemen that it might be purchased by them upon the same prin- d2



		36 ROBITS COLLECTION. ciple as the Orleans had been by the Duke of Bridgewater, &c, with a view of enabling them to possess some capital pictures at a reasonable rate by a sale of others of the same collection. Mr. Bryan, having engaged Sir S. Clarke and Mr. Hibbert to furnish him with credits for the purpose of acquiring the collection of Robit, set off for Paris for the purpose of attending the sale, and of making a selection of the finest jrictures which were in that collection. The collection of Robit was sold in Paris in 1801, and Mr. Bryan became purchaser of the greater proportion of pictures which were of a fine class. It is not the intention here of giving an account of the collection of Robit further than as regards those pictures which were purchased for England; but as there was a very explicit and in- teresting catalogue raisonnS thereof, so a transla- tion is here given of those articles which apply to the pictures purchased by Mr. Bryan, with the sizes of the same, taken in French measure, for the purpose of proving identity. The pictures are classed alphabetically as ren- dered in the catalogue raisonne itself, and the number in which each individual picture stood in Mr. Bryan's catalogue when he afterwards ex- hibited these pictures in the winter of 1801-2, at his gallery and the old academy room in Pall



			ROBIT'S COLLECTION. 37

		Mall, is here also subjoined. The collection of pictures, as then exhibited by Mr. Bryan, formed one of the most select and interesting of works of the Flemish and Dutch schools which had been presented to the public eye; and as it contained other pictures, selected from distinguished cabinets, besides those of Mr. Robit, the short catalogue of the pictures of which the same was composed, as then presented to the public, is subjoined to the more detailed articles of Robit's celebrated collec- tion. The pictures of the Robit Collection which came to England were as follows :. 1. Albano�painted on canvas�20 inches high by 26 in breadth. This subject represents Diana accompanied by her Nymphs, who disarm Cupid while asleep. A composition of twelve figures, forming different groups, as varied as they are agreeable; the figures are graceful, and are relieved by a beauti- ful background landscape. It would be difficult to offer to the amateurs a more captivating picture, either for the bright colouring or the high finish- ing, which is so much admired in this master's works. No. 143 of Bryan's catalogue. Sir Simon Clarke, Bart.�300 guineas.