Landscapes. is a group of three persons, two of whom are shaking hands. Painted, in 1644, for the Cardinal Giorio. Engraved by E. Goodhall. 3 ft. 3 in. by 4 ft. 3 in.-C. Purchased in 1800 of M. Panné, and then estimated at 50007. Purchased in 1823, of John Julius Angerstein, Esq., together with many other fine pictures, for the National Gallery. 44. The Artist drawing from Nature. The scene is distinguished by a high road leading from the right of the foreground, in an oblique direction, over a bridge and up a hill to the entrance of a town, enclosed by walls, and fortified with towers; a cluster of trees and bushes are on the top of the hill, beyond which, and the walls of the town, are seen the masts of vessels, indicative of a seaport, a portion of which is visible on the right, bounded by distant hills. At the foot of the bridge in the foreground are three men, two of whom are seated; one of the latter, intended for the painter, is drawing the surrounding scene: a woman on a mule is ascending the bridge, followed by a man and woman on foot; behind whom are two travellers going in an opposite direction. Some logs of wood and fragments of architecture lie on the foreground. Etched by the artist. Painted for M. Perochet. See also No. 95. Now in the collection of the Marquess of Exeter, at Burleigh. A duplicate of the preceding, said to be original, was put up at sale by Mr. Christie, in 1807, and knocked down for 19957. 45. The Punishment of Marsyas. This mythological subject is represented as passing in the precincts of a shady grove, situate on rising ground occupying the left of the picture. On the opposite side, the eye looks over a rustic Landscapes. bridge to a bold and abrupt hill in the centre of the view, having on its summit a cottage, surrounded by a few trees; clumps of bushes adorn its sides, and a river flows at its base. In remote distance is seen a temple, with a pyramid on each side of it; beyond are the receding hills. The principal group, composed of Apollo and three other persons, one of whom, representing Victory, holding a chaplet over his head, is placed on a bank near the entrance of the bridge; the former is seated extending his hand, apparently giving orders for the punishment of the presumptuous satyr, who is attached to a large tree, while the executioner is kneeling and sharpening his instrument. Two women driving a sheep and two goats, are passing over the bridge; and two women, a man, and a child, are seen within the grove, watching the passing scene.Painted for M. Perochet.-See also No. 95. 3 ft. 3 in. by 4 ft. 4 in.-C. Worth 15007. Now in the Palace of the Hermitage, at St. Petersburgh. 46. A Hunting Party. The view represents a flat country on the sea coast, and isr emarkable for a building with a high tower, standing in the centre, and close to the sea. On one side, the water flows in a channel, forming a kind of basin in the second distance, where boats and vessels may lie secure from storms. At some distance off, on the left, is a large castle with towers at its angles, a portion of which is hidden by a clump of trees; a similar cluster on the opposite side aids the composition. On the foreground are a young lady and a gentleman on horseback; the latter is pointing to the castle. These are followed by a youth, also mounted, and accompanied by two attendants on foot carrying guns, and attended by two couple of dogs; beyond them are seen goats and sheep browsing on the bank of the basin: in the extreme Landscapes. distance are descried many small vessels on the sea. Painted for Pope Urban VIII. 47. The Finding of Moses. The subject is composed of eight females, grouped on the bank of a river; three of them are occupied with the newly-found infant, respecting whom, the daughter of Pharaoh appears to be giving orders; three attendants are behind her, one holds up her train; beyond these is a cluster of buildings with a high tower and a few trees growing near it; adjacent is a bridge composed of several arches. In the distance is a walled city, beyond which the view terminates with mountains. This picture may further be identified by a youthful shepherd lying on his back asleep on the foreground, and a goat reposing near him. Painted for the King of Spain. Upright form. A picture, representing the same scene as the preceding, in which is introduced the subject of a Reposo, corresponding with that described in No. 88, is in the collection of Lord George Cavendish. 48. Women depositing a Dead Body in a Sarcophagus. The view is taken from the vicinity of Rome, and exhibits, on the left and front, four women depositing the body of a female in a stone sarcophagus: retired from these, are two other females standing near the ruins of a temple, consisting of four columns, of the Ionic order, and a portion of the Coliseum, in addition to these may be discovered various other remains of ancient edifices. On the foreground lie scattered fragments of architecture. This picture was also painted for the King of Spain as a companion to the preceding, and is now in the Royal Museum at Madrid. Landscapes. 49. The Embarkation of St. Paula from the Port of Ostia. This view exhibits a seaport, remarkable for the beauty of its surrounding palaces and other buildings, and is rendered additionally attractive by the appearance of a fine summer's morning. The foreground is composed of a spacious quay, of stonework, having a descent of steps, down which the saint, accompanied by a page and followed by females, is stepping to embark on board a boat, three of which, with sailors in them, lie alongside the quay. Several persons are assembled to witness the ceremony. A little retired on the left stands a palace of rusticated architecture, only a small portion of which is visible; and beyond this is a cluster of trees and a lofty round tower. On the opposite side are two columns of some noble building, a palace, and a beacon tower. Several vessels, chiefly galliots and small boats, complete the interest of the scene. Painted for the King of Spain, and now in the Royal Museum at Madrid. Spanish, 7 ft. 51⁄2 in. by 5 ft.—C. A picture corresponding in description with the preceding, was sold in the collection of N. Desenfans, Esq., 1802, for 200 gs. 50. Tobias and the Angel. The view represents an open country, divided by a river in the centre, which flows among broken banks to the second distance, and is crossed in a narrow part by a bridge, near which stands a lofty round tower. Some distance from this, on the right, a house is visible among trees. In the opposite side and near the spectator is a fir tree rising from a bank amidst a few bushes and a broken tree. The apocryphal story is introduced in the foreground; it represents Tobias bending over a large fish, and the angel standing by apparently directing him what to do. Painted for the King of Spain, and now in the Royal Museum at Madrid. See Nos. 65, and 160. Landscapes. The 51. The Angel delivering St. Peter from Prison. scene represents the interior of a large prison, in front of which is the saint, sitting with one foot in the stocks, and his attention directed to an angel, who stands on a stone seat by his side, holding him by the garment, and apparently explaining the object of his mission. A little retired on the left, is seen one of the sentinels asleep. Painted for the Cardinal Giorio. 52. Two Herdsmen in Conversation. This picture exhibits a somewhat hilly country, with a river flowing obliquely through it to the left of the front ground, where it is crossed by a rustic bridge, near which is a clump of umbrageous trees, and a slender one bending down with the weight of its branches; from this part a line of bushes appears to skirt the river, concealing a portion of an ancient edifice. On the right the view is extended over a river to a broken and diversified country, terminating with hills. On the same side, and close to the front, are two herdsmen, one of whom sits at the foot of a tree, the other stands before him, with his hand extended. The attention of a man and woman who are going towards the bridge, is arrested by an elderly man behind. A herd of oxen and goats are passing over the bridge, and in advance of these are people conducting a large drove of cattle, consisting of camels and goats, &c., along a winding road skirted by a clump of trees. Painted for Cardinal Giorio. Etched by the artist, and in the Lucien Buonaparte Gallery. 2 ft. 2 in. by 2 ft. 10 in.-C. (about.) Collection of Lucien Buonaparte, by Mr. Stanley 1816 (bought in), 410 gs. Now in the collection of the Right Hon. Lord Ashburton. 53. A Shepherd and Shepherdess listening to a Rural Concert. This view offers a scene of considerable extent and |