Italian copy of a Madonna and Child, with Saints, by Hemling.

Copy, by Poussin, of Titian's Bacchus and Ariadne, now in the National Gallery in London.

Titian. Sketch for his picture of Paul III. (Farnese) and his Nephews, now in the Borbonico at Naples. Vandyck. Virgin and Child, with Saints. In his Italian manner, while under the influence of Titian. Palamedes. Troops preparing to start; trumpeter in the foreground.

Titian. St. Jerome.

At the end of the Hall,

Vernet. Landscape.

Salvator Rosa. Landscape. And next it, also by him, Cats' Heads Squalling.

Pietro di Cortona. Copy of Raffael's Triumph of Galatea in Farnese Palace.

Salvator Rosa. Landscape.

Down the next wall,

Vernet. Sea piece.

Spagnoletto. St. Jerome.

Honthorst. A Singer, not unlike Beatrice Cenci.
Paul Veronese. Vanity.

Vandyck. A Lady of the Stewart Family.

'G. H. Harlow, 1818.' Wolsey receiving his Cardinal's Hat at Canterbury, from the hands of the Archbishop.

Bassano. Shepherds hearing of our Lord's birth.
Guido. Cupid. With a hard blue sea.

Titian's Vanity. And just below, also by Titian,
A little head of the young St. John. Very nice.
Claude. A beautiful view of Genoa 'La Superba.'

In the same room, beyond the two columns,

Cavaliere d'Arpino. A small Andromeda.
Bonifacio. St. Agatha.

Pietro di Cortona. St. Stephen, canonized King of Hungary.

Titian. Portrait of a Lady. With a little Bolognese lap-dog; the Skye-terrier of that day.

The Portrait Room

Contains few portraits of much interest or merit.

That of John Gibson is an exception.

Thorwaldsen, too; though his bust (also here), by Tenerani, the most eminent of his pupils, is more worth looking at.

There is above all a beautiful fresco of Raffael's, in fair preservation. Left by Wicar, a French artist, whose portrait hangs just above, and somewhat resembles George IV. The attitude and the drawing of Raffael's boy is charming; very natural and very beautiful. The face, too, is spirited, and the whole most taking.

The Third Room,

With Guido's Bacchus and Ariadne on the ceiling, contains the best pictures here; some from the secret cabinet at the Capitol.

Velasquez. Innocent X. (Odescalchi). A very fine portrait; the modelling of the face given with great spirit. Even the velvet is a choice bit of painting.

Titian. Calisto Discovered. There are no nymphs in the picture merely six fat women, well-coloured, but some of the flesh too like rainbow tints. The subject and its treatment both strongly indelicate.

Guido's Fortune. Very celebrated, but flimsy in colour. Copy of Titian's Tribute Money, now in the Dresden Gallery.

Concha. A Female Wisdom.

Guido Cagnacci. A very fine picture, by one of Guido's best pupils. The colouring is beautiful, and there is no immodesty. The action is unexaggerated: though, for the sake of beauty, her face has too much repose. Perhaps it is right she is a Roman and pure matron.

Guercino. Venus and Cupid. Fine, though the colouring is monotonous.

On the wall on the opposite side is an unfinished picture by Raffael: St. Luke Painting the Virgin. Certainly nothing more than the drawing can be by the great

master, except some touches in the infant's and perhaps in the Virgin's face.

Paul Veronese. Susanna and the Elders.

Giorgione. A Portrait of Admiral Cornaro. The face entirely re-painted, and the whole showing no traces whatever of Giorgione, except, perhaps in the armour.

There is another picture, attributed to Tintoretto.