Landscapes.

stretching round into the extreme distance, and forming the bay. The herds of Agenor browse on the verdant shore in the foreground. The aspect is that of a bright and serene morning. Painted in 1658, for M. Courtois.-See also Nos. 111, and 136.

1 ft. 10 in. by 2 ft. 7 in.-C.

Imported into England by M. Laneuville, 1831, and sold for 6001.

Now in the collection of James Morrison, Esq., M.P.

145. David at the Cave of Adullam; or, as the subject is now styled, Sinon brought Prisoner to Priam. The view exhibits a wide extent of country, of a hilly and broken surface, and abundantly interspersed with tufts of bushy trees. A rocky cliff, of a broken and picturesque form, scantily sprinkled with bushes, is on the left, reaching the top of the picture, having a rude entrance at its side into the cave: near this stands David, or Priam (the writer inclines to the former), then a young man wearing a diadem; his attitude denotes that he is addressing three soldiers, the middle one of whom holds his helmet, containing the water, which, under the protection of the other two, he has couragely fetched from the wells of Bethlehem. A youth, together with about five soldiers, are behind David; two others are seen approaching; a third is at the side of a tree growing on the edge of a fosse, near the centre, in which are perceived several more of the King's followers keeping guard: from hence the eye looks over a valley, in which are a number of men, probably intended for a company of Philistines, to a castle situate on an eminence at the side of a rock, the base of which is partly concealed by bushes. The distance terminates with

Landscapes.

a large bay. This capital picture is signed, and dated 1657. Painted for Prince Don Augustino, and afterwards in the Ghigi Palace.

3 ft. 9 in. by 6 ft. 2 in.-C. Collection of Walsh Porter, Esq., 1810.

2750 gs.

Now worth 3500l.

Bequeathed, with a fine collection of excellent pictures, by the Rev. Holwell Carr, in 1831, to the National Gallery.

146. Queen Esther. The subject is introduced in the open court of a palace, only the portal and a portion of one of its. angles, are visible on the left. The queen, wearing a diadem, and accompanied by six female attendants, is represented passing the court towards the palace, preceded by an elderly man (perhaps intended for Mordecai). An armed guard stands at its entrance; and three more women are ascending some steps on the right to attend the queen. From hence the eye looks over a dwarf wall and a shrubbery, in which is a beautiful temple, to a royal palace of vast extent, built on an eminence, and entered by a noble flight of steps. A watch-tower stands at one of its angles, and a river flows round its base. A bridge, composed of several arches, crosses the water at the foot of the tower, beyond which is seen an open country fertilised by a winding river, at the extremity of which may be discovered a small town backed by the distant hills. Painted in 1662, for the Bishop of Montpeglier.

147. Jacob bargaining with Laban for his Daughter Rachel. The view represents a country adjacent to the sea, a branch of which forms a spacious bay in the distance, and thence passing through the midlands, flows under a bridge,

Landscapes.

composed of four arches, to the right of the foreground; the opposite side is embellished with a cluster of trees growing amidst bushes on the bank of a river, on the farthest side of which is a castle, approached by a walled passage. The subject above quoted, is introduced near the centre of the foreground, where the venerable Laban is seen making his mercenary contract with Jacob; the latter has a crook in his hand, and stands by the side of Rachel, between whom and Laban is Leah. A flock of sheep is close to them. Painted for Mr. Delamart, in 1659.-See also Nos. 134 and 188.

10 in. by 1 ft. 13 in.-(Cop.)

A picture corresponding with the preceding description, was sold by Mr. Nieuwenhuys to Edward Gray, Esq., in 1830. This perhaps is the same which is now in the possession of M. Martini, at Paris.

148. The Israelites worshipping the Molten Calf. The composition of this picture agrees very nearly with one described in No. 129. The landscape also is very similar in its general forms. The principal distinctive differences are, that, on the left of the centre figure kneeling with a child by her side, are only two women, with a youth between them; and among the worshippers near Aaron, is one extending both arms above his head: a box with some vessels for the sacrifice, lie on the foreground: both the clusters of trees on the left, and the one on an eminence on the opposite side, are also very unlike those already noticed. Instead of a river, the distance presents a succession of hills, and Moses and the angel are on a rock close to the side. Painted in 1659, for M. Golu; afterwards in the possession of Sir R. Child.

Landscapes.

149. Juno confiding Io to the care of Argus. In front of a cluster of trees and bushes, on the left, is the jealous goddess, standing by the side of a white cow (Io) addressing Argus, who receives her injunctions on his knees, holding a staff in one hand, and placing the other on his breast. Several cows and goats are feeding near them. The right of the scene is composed of a river, flowing in an oblique direction, to the foreground, and rippling in eddies over its uneven bed. A rustic bridge crosses the water, in the middle distance, the road from which leads to a small town, situate at the foot of the distant hills. Painted in 1660, for M. Batteson. Engraved in the Choiseul Gallery, and sold with the companion,

No. 150.

1 ft. 10 in. by 2 ft. 2 in.-C.

Collection of Walsh Porter, Esq., 1803. (separately) 700 gs. Exhibited in the British Gallery in 1832.

Now in the collection of Charles Hanbury Tracey, Esq.

150. Mercury lulling Argus to sleep with the Music of his Pipe. The subject is introduced in the foreground of an open and finely-undulated country, distinguished by the remains of a temple of the Doric order, composed of several columns, and situate among trees on the right: in front of this are seen the wily god, bending on one knee, playing on his pipe, and Argus lying on the ground before him, listening to its somnific and dulcet sounds. Io and two goats are reposing near them, and other cattle are in the adjacent meadow. On the left stands a beautiful chestnut tree; beyond which the view extends over a hill to a river, bounded by mountains. The appearance of a fine clear morning gives additional charm to the scene. Painted for M. Bafont. Etched, with variations, by Claude; and engraved No. 1 in the Choiseul Gallery. See also Nos. 92 and 278.

VOL. VIII.

1 ft. 10 in. by 2 ft. 2 in.—C.

T

Landscapes.

Sold, with No. 149, in the collection of M. Gallard de Gagny, in

1762.

Collection of Duc de Choiseul, 1772. (with comp".)

1800 fs. 727.

6750 fs. 270l.

7900 fs. 3167.

2550 fs. 1027.

. . 6501.

Now in the collection of William Wells, Esq., at Redleaf.

151. Christ and the two Disciples going to Emmaus. This admirable picture represents on the left several architectural ruins standing amidst bushes, in front of which rises a fine cluster of trees, of richly varied foliage. On the opposite side the eye looks over a purling stream, to a hill speckled with sheep; and from hence are discerned several buildings on the bank of a river of wide expanse, and bounded by the distant blue hills. The historical occurrence is introduced in the centre of the foreground, and the Saviour, habited in a blue mantle over a pink vesture, is in the rear of the disciples, who appear to have halted to attend to His discourse. The breezy freshness of a fine morning pervades the scene. Painted for M. Downton, and subsequently in the possession of the Count Nossé. Engraved by Prestel. Taken from the Hesse Cassel Gallery by the French. Presented to the Empress Josephine; and, lastly, purchased by the Emperor Alexander, at Malmaison, in 1815.-See also Nos. 125, 213, 227, and 327.

3 ft. 3 in. by 4 ft. 4 in.--C. Worth 2500 gs. Now in the Palace of the Hermitage, at St. Petersburgh.

152. A Herdsman, seated, playing on a Pipe. This elegant pastoral scene represents, on the left, a mass of rocky cliffs, the sides of which are richly clothed with bushy trees, extending to the opposite side, where they connect with a ruin,