Painting. the ideas of his countrymen in general, both by precept and example, as Velasquez. As a Painter, indeed, of a natural style, he has rarely been surpassed by the greatest masters; while we may add, that his just distinction of distance, his brilliancy of effect, and the beauty and harmony of his colours, entitle him to a still less qualified approbation in the ornamental branch of the Art. With regard to the peculiar gracefulness of his touch, we need only quote the words of Raffael Mengs: "the pencil," he says, speaking of a Picture by Velasquez, seems to have no share in execution here, it seems as a simple exertion of the will."

His pupils.

School of Seville.

Louis de Vargas.

Paul de

Cespedes.

Herrera.

66

Martinez del Mayo, a Portrait Painter and Painter in water colours, was one of his pupils, as was J. Carreno de Miranda, a Painter of History in fresco, who also excelled in Portraits, and was in many respects a most successful imitator of his master. It is observable, that many Historical Pictures, and those, too, chiefly works in fresco, were produced about the middle of the XVIIth century, in Madrid, Valladolid, and other great towns, by Matthew Cerego, and Claude Coello. Of this last, who was greatly patronised at the Royal Palace, it is said by the Spaniards, that he united the design of Cano to the brilliant effects of Velasquez, and the colouring of Murillo; thus combining the excellencies of the chief heroes of the Spanish School. He is considered as being the last of the better class of Painters belonging to Madrid.

There is preserved in the Cathedral at Cordova a small picture of the Annunciation, painted upon wood by one Pietro, a native of Seville, and bearing the date of the year 1500. This is, however, merely a matter of curiosity; and though some other names of the same period are preserved, they only serve to prove that Painting was rudely cultivated in these parts even at that day. The first person of note of whom we have any account is Louis de Vargas, who was living at Seville in the former part of the XVIth century. He had made a voyage to Italy, it seems, and studied there under Perino del Vaga; and such was his proficiency in the line of History, that there are those among his zealous countrymen who compare him to Raffael. We have honourable mention made, too, of Paul de Cespedes, who was born at Cordova in 1538, and became eminent as a Sculptor, an Architect and a Painter in fresco. He went too, as others did in his day, to improve himself in his Art, by studying in Italy, and placed himself under some of the followers of Michael Angelo; and there are specimens of his pencil yet to be seen in some of the Churches at Rome. In 1577 he returned to Spain, on the occasion of being appointed to a Canonry at Cordova; and it was between this city and Seville that he subsequently divided the remainder of his days. L. de Vargas certainly possessed a more Classical turn of mind than any of the other Spanish artists, and we cannot deny him the merit of being a good colourist. But in speaking of the Spanish School, we must regard with still greater feeling of interest those who never had recourse to foreign study, and who formed themselves with a truly national spirit, from resources purely their own. One such Painter we find at Seville, in this period, namely, Fr. Herrera, (the elder,) many of whose Historical works are to be seen in the Churches at Seville. And though, as has been already related, Velasquez disdained him as an instructor, the traveller in Spain recognises in him a degree of skill and talent which

does honour to his country. It was his son who was Spanis patronised by Philip IV., and, though professedly a School Painter of History, was so successful in still-life pieces, particularly fish, &c., that he obtained the name of Il Spagnolo delli pesci.

Alphonso Cano was born at Grenada in 1601, and Care. lived and painted chiefly at Seville, though there are few Churches or Convents in Madrid, Grenada, or Cordova, that do not possess some specimens of his pencil. He studied in Italy; and it is not uncommon to hear his works in Sculpture compared to those of Michael Angelo, and his Pictures to those of Albano; and from these expressions, though we may not be prepared to admit the justness of the application, we may yet be enabled to form some idea of his style and manner in those two lines of Art. We must also add, that, like some of the Florentines, he studied in a third department, and was a Professor of Architecture. He left behind him a very numerous band of scholars, and certainly must be considered as having greatly contributed to the success of the Arts in Spain. Michel Jerome Cieza is the one of his scholars who comes nearest to his master's style.

Fr. Zurbaran, the Spanish Caravaggio, as he is Zurbar called, was born in 1598, and formed himself chiefly by copying the Pictures of that master which were to be seen at Seville, for he never travelled to Italy. His chief works are, the Pictures over the high altar in the Church of St. Thomas at Seville, the Paintings for the Convent of the Carthusians at Xeres, and the Labours of Hercules for the Retiro at Madrid. Barnabi d'Arzala, and the Polancos, were among his best scholars.

P. Moya was born at Grenada in 1610, and first Mopa. learned the principles of his Art at Seville; but in the course of his journey to Flanders, he saw some of the works of Vandyke, and thenceforth would study no other master; he even went to England, in order to place himself under his instruction. Some of his works are in the Churches at Grenada, for he was a Histori cal Painter; and there are many others in the hands of individuals both in Spain and England. J. Athanasius Bocanegra came nearest of any succeeding Painter to the style of Moya and Vandyke.

Barthelemy Esteban Murillo however is the chief Male. glory of the School of Seville. This great artist, for such he is universally allowed to be, was born in the year 1618. With regard to his earlier studies it is worthy of remark, that he did not, as his predecessors had done in general, form himself upon the Italian model, but turned his attention to the Flemish Painters, or rather, as the last-mentioned artist had done, addicted himself to the principles of Vandyke. It is said, in fact, that it was from the visit of Moya to Seville, that he first gained an idea of what might truly be called excellence in Art; or, in other words, that line which he followed was the only one wherein were displayed those peculiarities which were congenial to his own natural ideas. Launching into the world without money or even friends, we see this young man sitting down and painting a few pieces of canvass, which he sold to a hawker to be carried out to the Indies, and with money thus raised he went to Madrid, and introduced himself to Velasquez. Velasquez was at this time a great man about the Court; but, far from being offended with his conduct, or feeling as a more vulgar mind might have done on such an occasion, he received him at once with kindness and even fami

ting liarity; taking care to lay open to his inspection all the choicest works in the Palace of the Escurial. In consequence of the advantages thus offered to him, we learn that Murillo staid there three years, and, from his studies and diligence so unremittingly pursued at the Capital, started at once as a finished Painter. This kind act of Velasquez was a moral lesson to Murillo, which he never suffered to be obliterated from his mind, and he, too, in his turn, when afterwards he had risen to eminence, always showed a generous readiness of disposition to every young artist who was presented to his notice. He it was, indeed, who first formed the project of establishing an Academy of design at Seville, which he finally succeeded in accomplishing, in spite of the great opposition with which he met. Murillo exhibited great talent, both in Historical composition and in the more homely figures of common life. As to style of design, he is one of those whom the Italians call a naturalista, that is, without any pretensions to Classical grace; but the truth and strength of character that pervade his Pictures, give him with the world in general a higher recommendation; to this he added a force and richness of colour equal to the best productions of his mighty prototype. The greatest and most perfect Painting by Murillo is said to be the St. Antony of Padua, which is placed in the Cathedral at Seville, and for which he received no less a sum than 10,000 rials from the Chapter. Some of his Pictures are to be met with in the Royal Palaces in Spain, and almost every collection of note throughout Europe will afford some example of this great master. It may be said that no artist, if we except Rubens, ever had the reputation of painting so many Pictures as Murillo.

pils.

of

L

Of the pupils of Murillo whose Pictures are often confounded with his, it will be sufficient to mention the names of Antolinez, Villa Vicencio, Tobar, Menesco, Osorio, &c. Sebastian Gomez is, perhaps, still more successful in his imitations.

We

Another follower of the style of Vandyke and Rubens was Nino de Guevara, who also lived in the XVIIth century; if, indeed, it is fair to introduce any such person as a parallel to the name of Murillo. may close our account of the School of Seville with the names of P. Camprobin and J. Arellano, Flower Painters; Joseph Antolinez, (scholar of Ricci,) a Painter of Landscape, and Henri des las Marinas, as his title imports, a Painter of Sea-pieces.

Nicholas Factor (le béat,) the Painter of Madonne, is the first name on the catalogue, in point of time, at Valencia; he lived early in the XVIth century. Of still more note, in regard to the degree of skill which he attained, was the Pere Nicholas Borras, who filled the walls, cloisters, altars, &c. of the Convent of St. Jerome di Gaudie at Valencia with his Paintings. He seems to have been indebted for his greatest proficiency in the Art to his acquaintance with the celebrated Vincent Joanes, a person of whom it is our duty next to take notice. Joanes, who is the glory of the School of Valencia, was born in 1523. He studied in Italy for some time, according to the fashion of the day, and there he learned to imitate, and not unsuccessfully, the manner of Raffael; so much so that some have supposed him to have been his pupil; the date of his birth however renders this impossible. The piety of his feelings deserves to be recorded, as well as his skill; for the same fact is related of him as of Louis Vargas, namely, that before entering upon a sacred

School.

subject he invariably prepared himself for the task by Spanish taking the Sacrament. At the Palace at Madrid are six magnificent Pictures by Joanes, representing the History of St. Stephen; and many of his works are to be seen in the Churches at Madrid, Segovia, Valencia, &c. His manner of. Painting is not altogether free from restraint, but still there is so much of energy, such skill in foreshortening, and such a flow and fulness in his draperies, as to make ample amends for this fault, and banish the imputation of poverty or servility from his style: his colouring, as might be expected, savours much of the Roman School. He had a son, Vincent Jean de Joanes, who must not be confounded as a Painter with his father, to whom he was greatly inferior in talent.

Matarana and Yavarri were also respectable Painters of Historical subjects at that day, and chiefly in fresco. There were, too, three Historical Painters at Valencia of the name of Zarinena.

His

The Venetian style and manner of Painting seems at all times to have had great attractions for the Spanish artists; but there are few, if any, amongst their number who were more successful in seizing its peculiarities than Petro Orrente, of Montalegre, in Murcia. favourite master was Bassano, and it was after his fashion that he used to paint both Historical subjects and those of common life. Examples enough are to be met with at Toledo, Madrid, Cordova, Badajoz, Valencia, and in his native Country; those which gained him the most admiration are eight designs from the Book of Genesis, in the possession of the family of De Huertas: he lived in the latter part of the XVIth century. Contemporary with Orrente was the Augustan friar, Leonardo, a Painter of History, Portraits, and Battle pieces. He received a commission from the General of his Order to decorate with Paintings his Convent at Madrid; and he was employed also in many works at Toledo, Cordova, Valencia, &c.

Francis Ribalta was born in 1551, and chancing Ribalta. during his state of pupilage to fall in love with the daughter of his master at Valencia, and being refused the honour of her hand, he betook himself to Rome; probably as much for a diversion of his thoughts, as for the purpose of making himself considerable by his talents. There he employed himself in copying the standard Pictures of Raffael, the Caracci, and more particularly those of Sebastian del Piombo; and at his return, so gratified was his master by the talent he displayed, and so satisfied that he would make his way in the world, that he freely gave him his daughter in marriage. His colouring is rude, but in Drawing and composition he is excelled by few; and so much are his Pictures esteemed at Valencia, that the citizens of that place very unwillingly part with any of his works. He painted also for many of the Churches at Madrid, Valencia, Segovia, &c. Castaneda and Bausa were his His pupils best scholars. His son, too, Johan Ribalta, equalled his father, though he exerted his talent in a different branch of the Art, confining himself almost wholly to Portrait Painting. Hyacinthus Jerome de Espinosa also is said to have been a pupil of Ribalta, born in 1600; he painted Sacred History in good style; but there are three other Painters of this name and family, who were also Historical Painters. Stephen March, or March des S. March. Batailles, so called from the usual subjects of his pencil, acquired great fame from the bustle and spirit of his designs, as well as from their colouring, which

Painting resembled that of the Venetian mode. He had a pupil, named Sotomayor, of considerable merit in the same line.

Mathieu Gilarte a Painter of History, was a pupil of one of the Ribalta School, who served to keep alive the memory of that great artist: his Pictures are in most of the Convents of Murcia, Toledo, and Madrid; he was born in 1648. We must not omit the name of Augustus Gasal, who was formed in the School of Carlo Maratta at Rome, and whose heavy manner he followed his Paintings are to be found chiefly in the Convents and Churches of Valencia, where he died at the beginning of the XVIIIth century. Don Vincent Victoria (the Canon) was a scholar of the same, and many of his Pictures, both in Italy and in Spain, pass under the name of that master.

FRENCH SCHOOL.

The art of staining glass with a variety of permanent colours was, as we have before mentioned, the invention of a Frenchman, William of Marseilles; but except in works of this description, which, however beautiful in themselves, are of a totally distinct nature from the usual studies of a School of Painting, little or no progress appears to have been made in France before the day of Francis I. We find, indeed, the name of Jean Cousin, who was born at Soucy near Sens in 1462, the author of certain Treatises on Art, and a few samples of whose practical talents are preserved by the engraver. We have also the name of F. Clouet or Janet, a Portrait Painter, and, in the Historical department, those of Dubreuil and Freminet, who were flourishing towards the middle of the XVIth century. But with the reign of Francis I. was introduced a new and more brilliant æra of Art. That monarch commenced his patronage by inviting Italian artists of high reputation to reside at his Court, Rosso, Nicolo del Abate, and Primaticcio; their style was captivating, and became fashionable; and thus, through a rage for Italian study and Italian taste, was developed the latent germ of native genius in France. The first Painter of eminence who was thus brought forward was Simon Vouet, the son of a Painter at Paris, born in the year 1582. He was fortunate enough to meet with the patronage of the French Ambassador to Turkey, by whom he was carried to Constantinople, and afterwards sent to Italy, where he remained upwards of fourteen years; and let it be observed, that, though a Frenchman, his talents were such as to acquire for him even in that great seminary of Painters no ignoble name: the Picture of The Assumption, for the Chapel of the Chapter of St. Peter's, is reckoned one of his best works there are many others, however, which have become familiar to the Public by the hands of the engravers. In the School of this artist were formed His pupils. Valentino, Le Brun, Le Sueur, Dufresnoy, Mignard, Testolin, La Hyre, and many others, who in their day Jacques did honour to their Country. Jacques Blanchard was Blanchard. a contemporary of Vouet, but far inferior to him in originality and talent: he, nevertheless, gained a great reputation from his successful imitation of the Venetian style, his compositions abound with female forms, and he gained the name of the French Titian.

Vouet.

Nicolas Poussin.

A still greater artist next appeared, namely, Nicolas Poussin, who was born at Andely in Normandy in 1595. The greatest part of his life was passed at Rome; and by his unceasing application, during his

School

residence there, he formed for himself a more truly French Classical and learned style than any other Painter upon record, scarcely excepting Raffael himself. Still, it was not a cold or tame and lifeless grace which his figures exhibited, but a full nervousness of expression, that showed the deepest knowledge not only of the external and anatomical movements, but also of the inward emotions of the human heart. We have in England, in the collection of the Marquess of Stafford, some of his most perfect pieces, namely, The Seven Sacraments: engravings of his other more celebrated pieces, such as The Deluge, The Philistines smitten by the Plague, The death of Germanicus, and The discovery of Moses, are in the hands of all amateurs, and give a better idea of his style than any words can express. N. Poussin had no actual scholars under his charge, but there are few Painters of France of his day who were not indebted to him for advice; and still fewer of any day who have not profited by his example: we may safely say, indeed, that his manner gave the turn and fashion in France to all the artists that came after him; in short, the Poussinesque style is as truly the characteristic of the French School as the Raffaelesque is of the Roman.

We may mention Jacques Stella of Lyons, a friend of Stella Poussin, as one who closely and successfully imitated his manner of composition; he was patronised by Cardinal de Richelieu. Many of the first People of the Court seemed to have imbibed a taste for Art from the example set them by Francis I., and there was no want of patronage to a young artist who displayed at this period any symptoms of talent.

Francis Perrier, a native of Burgundy, born in 1590, Pernet. went to Italy, and placed himself for a while under Lanfranc; but his unfortunate instability of disposition became his ruin, and he painted but very few Pictures, being at this day known in the world chiefly as an engraver. Francis Blanchard, of Paris, is recorded F.Ba as a Painter of History about this period, and a very respectable if not a great one. He too studied in Italy, and followed the manner chiefly of the Venetian School. To these we may add Jean le Maire, a Painter of per spectives, and Jean Mosnier, a glass Painter. They also went through their course of study in Italy; for it seems as if fashion had now made this journey an absolutely necessary part of almost every Painter's educa

tion.

The next person whom we shall mention is one who did honour to his foster Country, and who deserves to be remembered by all his countrymen for his talent; the traveller in Italy will recognise very beautiful Painting from his hand, which has the honour of a place in the collection at the Vatican Palace. His name is Moise le Valentin, or Valentino, as he was called more usually Va by the Italians; he was born at Coulomiers in 1600; it appears that he left the School of Vouet, at Paris, in order to study in Italy, where he became a great admirer of M. Caravaggio, and after his fashion painted his figures in a strong, forcible style upon a dark or rather black background. His Concert, Judith with the head of Holofernes, and some few other of his Pictures, are well-known.

J. Bapt. Mola, or Mola da Francia, for he too was 3 Frenchman born, was another of those who abandoned the School of Vouet for those of Italy: he may be remarked, however, as having adopted a style directly opposite to the last-named artist, becoming a follower of the graceful and soft Albano; many of his Pictures are, indeed, often

Mala

nting. passed under the name of that great master. Jacques Callot, also, whose little military pieces, the Temptation t. of St. Anthony, &c., are so universally admired, was of this day, and, like the others, studied in Italy. We might mention, too, Ferdinand Elle, who as a native of Malines rather belongs to the Flemish School, yet constantly resided at Paris, and is but little known elsewhere. He painted Portraits chiefly. He left a son behind him in the same line, usually known under the name of Ferdinand the younger.

Up to the time of which we now speak, the Painters in France seem generally to have exercised all the several branches of the Art of design; this appears evident upon considering the very various specimens sent by them as their contributions to the earlier exhi1 Aca- bitions of the Royal Academy of Paris. Many diffiof culties, it seems, here, as in other Capitals, stood in the way, and much was to be done before this establishment was settled on a proper foundation. The name of the Academy, indeed, existed as early as the year 1648; but, notwithstanding, it is quite clear, that it was not till seven years afterwards, that letters patent were obtained for its formation under Louis XIV. In his reign it received great encouragement, its funds were large and numerous, and Chairs and Professorships, and honours of various sorts, were accorded to it. A most important addition was afterwards made to it, by the establishment of a second Royal Academy of France, in the seat of the Arts, at Rome itself; where young French artists, who were deserving of patronage, might be received and assisted in their studies. This plan was not finally accomplished until the year 1765. The Palazzo Medici on the Monte Pincio, having then been purchased for this purpose, is the present residence of the young Frenchmen during their period of study at Rome.

eur,

Le Sueur, one of the most zealous partisans of the Academy, and who uniformly supported its interests against those who were adverse to its formation, was born in the year 1617; and his name is commonly mentioned by the French writers with more than ordinary delight, as affording the best specimen of what pure, native French talent has been able to effect. It is true, indeed, that he never studied in Italy, but at the same time it is evident to the most casual observer of his works, that he must have formed himself chiefly by attention to the works of Italian Painters; and though there are few who have been provided with a greater stock of invention and natural feeling, yet, again, there are few who exhibit in their compositions such strong lineaments of imitative Classical study. His colouring is not forcible, but still possesses a certain degree of harmony, which soothes the eye of connoisseurs, and makes them forget his faults. Harmony, indeed, and milder affections of the soul seem alone to be natural to Le Sueur; but still he was sufficiently powerful to excite, by the manner of his design, a strong interest in the mind of the spectator, and may be fairly classed among the best of those whom a Roman would place at the head of the Transalpine School. He died at the age of thirty-four, but left even in this short life many works to attest his ability and skill; of these we may mention the Life of St. Bruno, St. Paul preaching at Ephesus, The Martyrdom of St. Laurence, Our Saviour with Mary and Martha, Our Saviour carried to the Sepulchre, and Alexander receiving the cup from the hands of his Physicians; most of which have been made known to the public by the labour of the engraver. Nicolas

Colombell, of Sotteville, was his only scholar who attained any great name.

French School.

Claude.

The name of Claude Lorrain has of late years been inserted in the catalogue of French Painters, but they have little claim to this great man, since his native province was not yet annexed to France: it does not appear indeed that he ever set his foot within the limits of the French Monarchy, and his style was formed where his life was almost wholly passed, namely, at Rome. The name of Dufresnoy is known rather from his Dufresnoy. Poem on the Art of Painting, than from the specimens of his pencil, and therefore may be passed over in this brief History of the Art; but the next name occurring on the catalogue, is that of one of the most distinguished French artists, namely, Sebastian Bourdon. Bourdon. He was one of those instances of precocious talent whose life, contrary to vulgar prejudices, was prolonged so as to enable him to justify the promise of his early years: he was born at Montpellier in 1616, and at the age of fourteen designed and executed in good style, as it is said, a plafond in the house of a gentleman near Bourdeaux. In a later period of his life, after his return from Italy, we find him equally happy in his composition in all the three chief branches of the Art, in History, Landscape, and Portrait; while it may fairly be said, that his imitations of Poussin, Caracci, and Sacchi, are of a nature to deceive the eye of even an experienced connoisseur. Jacob carrying away the idols of Laban, The Virgin and Child, The Seven Labours of Piety, and some others, have been engraved; and a beautiful Landscape, given by the late Sir G. Beaumont to the National Gallery in London, is familiar to the public.

Owing to a reputation which was enhanced beyond its due merit, by the favour and partiality of the Court of France, there are few Painters of that Country whose names have a more extensive reputation than that of Le Brun. He had some talent, certainly; but he will Le Brun. be quoted always by the judicious connoisseur, as affording a sample of the worst style of Historical Painting that ever forced itself upon the public notice; Le Brun peint a nos yeux le fier et le terrible, says the Poet, nor can we characterise his style better than by these two words: and yet it is not that sort of fierceness and terror which interests us in looking at a Picture, it is one continual bustle, that distracts the attention, and offers no rallying point for the Imagination or the feelings. Repose is a quality utterly banished from his works; and though he represents, in some of his Pictures, the Passions of the Soul, and even wrote a Treatise upon the subject, it is only in their vulgar and most staring forms that they are ever depicted by him on the canvass. No one is farther removed from the Poetic dignity of the Art, which alone enables it to interest and ennoble the mind. He gives the most perfect sample of that deficiency of sedateness and grandeur of style, which the Classical Winckelmanu describes, by borrowing from the Ancients the term parenthyrsis.

Verdier, Houasse, and Audran, were the scholars and His pupils. assistants of Le Brun, whose style they imitated with but too much servility: indeed, it may be said, that in consequence of the splendour of a name honoured as his was by Court favour, his style not only became the fashion of his own day, but has stamped a character on the French School, which it retains in great measure even to this time; and in spite of the ingenuity of modern declamation and the judgment developed by modern

Mignard.

Painting. connoisseurs, the annual exhibitions at the Louvre savour more strongly of the fierceness and audacity of Le Brun, than of the chaste energy of Poussin. Peter Mignard and Nicolas Mignard, two brothers, born at Troyes, and both distinguished Painters of Portrait and History, flourished during the earlier part of the XVIIth century. Peter, however, who studied for many years in Italy, was the more celebrated of the two: he succeeded Le Brun in his place of Chief Painter to the King of France, and some splendid specimens of his talent are still to be seen in the Royal Palace at Versailles; where the connoisseur will observe, that if he fail in force and dignity of expression, there is yet a softness and harmony of composition, and freshness of colouring, demanding our admiration.

Lenains.

The two Lenains, Louis and Antony, were excellent Portrait Painters, and they have left behind them also some groups of figures, designed in a picturesque style, which are remarkable for their freshness of colouring, and happy facility of expression: they died about 1648; little else is known of their history.

Philip de Philip de Champagne belongs, by birth at least, to the Champagne Flemish School, but he passed the greater part of his life at Paris; and his Portraits, or compositions containing few figures, possess great merit.

Bourguig

non.

Parrocel.

Coypel.

De Lafosse.

Pesne

Jouvenet.

Sophie Cheron.

Jacques Courtois or Bourguignon, (as he is usually called,) is well known from his spirited Battle pieces; he passed the best of his days, and painted his best Pictures, in Italy. He left behind him a successful imitator, in his countryman, Joseph Parrocel, who, upon his return from his studies in Italy, obtained employment at the Court under the reign of Louis XIV.; this was at the time, too, that Vandermeulen had long enjoyed the chief favours of his Majesty, and was regularly retained by him to detail with his pencil the military glories of the day.

A. Coypel was one of the best Historical Painters of Paris towards the end of the XVIIth century; in his Pictures we first trace the appearance of French faces and French manners in the personages represented on his canvass; a fault which afterwards became very common amongst the secondary Painters of the French school: Athaliah, Jephthah, Solomon, Susannah, Venus, &c., are all so many French men and French women in disguise, as may be seen in the engravings after his works. There were four artists, however, of some note belonging to the family of Coypel; nor were the stocks of Hallè, Boulogne, and Detroit, much less prolific in Painters, though their fame is not very much extended beyond the limits of France.

De Lafosse deserves our notice for the neatness of his colouring; some of his chief works were his Paintings at the Palaces of Versailles and the Trianon, and he was also much employed in England by the family of the Duke of Montague. His nephew, Ant. Pesne,was a respectable Portrait Painter, who established himself in the service of the King of Prussia at Berlin, where he finished his days.

Jean Jouvenet is celebrated for his Picture of the Descent from the Cross, which is said to be one of the best compositions of the French School: many other of his works have been engraved, and it must be confessed, that he is not devoid of originality or greatness of manner: he died in 1717.

At the same time flourished Sophie Cheron, who attained a high and deserved reputation in her day: her style of design was tasteful, and her colouring

Another French artist, who found employment in England at that time, was Nicolas de Largillière, who even at the early age of eighteen surprised the King, Charles II., by the vigour and freedom of his pencil: he did not live in England, however, but went back to his native Country, where he attained the favour and applause of his brother Academicians, though he cannot be said to have been honoured by the patronage of the Court.

Louis Cheron.

Nicolas d Larguere

Hyacinthe Rigaud, a native of Perpignan, gained Rid great admiration at Paris, for the beauty of his Portraits. Rigaud is the Vandyke of the French School, as J. B. Monnoyer is their Van Huysum: there are, per- More haps, few men who have attained greater reputation in this line: he was generally assisted in his labours by his relative and scholar, De Fontency, who perhaps DeFee painted with more truth and fidelity, if with less of Poetical spirit than his master.

The Pictures of Watteau, whose name next occurs Watten. in the list, are bouquet-like in point of the exquisite effect of their colouring: though, perhaps, they enchant us still more by the lively comic grace of his figures, and the spirit of his design.

Le Pautre, La Fage, Le Maire, Le Moine, Cazes, Raoux, Nanteueil, L. Ferdinand, &c., as Painters of Portrait or History; Petitot, as an Enamel Painter, J. Forest, J. Rousseau, his pupil, Meusnier, and P. Patel, as Landscape Painters, and many other artists of a secondary rank, were flourishing about the end of the XVIIth century, and beginning of the XVIIIth, at a time when the Court had shown a most indulgent spirit of patronage for the Art, and almost every great officer of State, every farmer-general of the finances, every prelate of the church, or even every banker of eminence, became anxious to signalize his wealth or his taste by becoming a purchaser of Pictures, and an amateur of

the beaux arts.

Some of the best works executed at this time at Paris were the architectural pieces of Servandoni, a native of Florence, and pupil of P. Panini: and of those of the native Painters, we may mention the Brazen Serpent by P. Subleyras, a Picture which displays talent of a high Sublet order. Some other valuable Paintings by this artist are now to be seen in the Louvre.

Of merit scarcely inferior are the Historical composi tions of Fr. de Troy; his Salmacis and Hermaphro- De T ditus, Solomon and the Queen of Sheba, &c. Those of Restout, also, (in spite of an almost tedious mab- Resta nerism, displaying itself in a certain precision and angularity of design,) are pictures of merit.

Fr. Boucher, a scholar of Le Moine, gained also a Bosch great name at Paris; and there are few artists whose works have been more largely made known than his have been by the assiduity of the engravers; but his reputation was chiefly obtained by the facility with which he represented the graces of the female sex, and by scenes in which their unveiled charms might be exhibited to advantage; he sought, in fact, to allure purchasers by exciting their passions, because he was unable to produce any admiration by his taste or skill. He had many