Landscapes. ground near the middle, which cross each other in their trunks; under the shade of these are four peasants, two of whom are seated, and a third stands with one arm extended, as if in the act of speaking. A river flows on the right, on which is a boat with two persons in it; from hence the eye looks over an open country varied with clusters of trees and buildings. The opposite side is composed of high rocks with buildings and trees at their base; and close to the front, are three goats browsing on the edge of a bank. 200. Jonah. The view represents an inlet or bay of the sea, having on the left high broken banks partially covered with clusters of trees, under the shade of which are cattle grazing, and near these lies an empty boat. The opposite side is composed of a lofty ruin, consisting of two columns and a pilaster, of the Corinthian order; beyond which is seen part of the city of Nineveh, built on an eminence. The Prophet appears to have just landed, and is advancing along the foreground towards the ruin, and the sea-monster is seen at some distance off, returning to the ocean. Painted for M. Bourlemont. Landscapes. The following one hundred descriptions were written from the prints in the Third, or Supplementary Volume, improperly called the Liber Veritatis. These, like the preceding, were also engraved by Richard Earlom, after drawings by Claude, many of which are merely compositions, or slight studies from nature, and not copies from pictures, as are the preceding two hundred.-Observe, the number inserted at the end of each description corresponds with that of the print in the book. 201. The Travellers. A landscape with clusters of trees on the verge of a hill of a broken form, extending along the whole of the view. On the left of the foreground are two travellers walking together, one of whom carries a bundle on his shoulder.-No. 1. The original drawing, together with the following thirtyseven, were bequeathed by Richard Payne Knight, Esq., to the British Museum. 202. The Ponte Mola. The scene represents a view on the banks of the Tiber, showing, in perspective, the celebrated Ponte Mola, composed of five arches, and having on its farther side a lofty building, which commands its entrance. foreground are four sheep grazing.—No. 2. In the 203. A Herdsman keeping Cattle. The view here exhibits a scene in the neighbourhood of a forest, and is distinguished by a row of four trees along the foreground, and a cluster at the side. Upon a bank, near the latter, is seated a herdsman his cattle browse on the farther side of some rising ground on the left. Signed, and dated 1663.-No. 3. Landscapes. 204. A Landscape with a Large River on the left, which runs in rapid eddies through the scene, and flows along the foreground. A high bank surmounted by bushes is on the right, and a few trees grow around it; and on the further side of the river, in the centre of the view, are a clump of buildings adjoining a pyramid. This picture may be further identified by three men on a bank in front, one of whom stands leaning on a stick, and a second lies on the ground; a fourth man is in a boat close to them.-No. 4. 205. A Cascade, falling from the sides of rocks and running in a rapid stream along the foreground, intercepted in its course by two fragments of rocks.-No. 5. 206. Jupiter and Europa. The scene represents a spacious bay bounded on the left by rising ground, the nearest part of which to the spectator is a meadow, divided from the more distant hills by a bridge and a cluster of trees; near these are several ships riding at anchor, sheltered by a distant mountain. The subject already stated, is introduced in the centre of the foreground, and represents Europa seated on the back of her lover, holding her veil with one hand and the horn of the bull with the other; two of her maidens lead the beast, and a third is behind, holding her drapery. At the foot of a tree on the right are four more of Europa's attendants. At a little distance on the opposite side, are seen four oxen and a calf browsing together. The drawing is signed and dated, Claude, Roma, fecit, 1670.-No. 6.See also No. 111, 136, and 144. 207. Vulcan's Forge. The interior of a rocky cavern, in which are three men working at the anvil. These are over Landscapes. looked by Vulcan, who is seen on an elevation in a recess beyond them; at the same time a figure, like Mercury, bearing a caduceus, is entering.-No. 7. 208. Rebekah and Eliezer. The view exhibits an open bald country, with only a few trees on the ridge of a distant hill. On the left and front is a well, at the side of which stands Rebekah, holding her pitcher with both hands, and at the same time listening to Eliezer, who is on her left; three camels, one of which is drinking at a trough, are near them. Two women are approaching from the opposite side. Signed Claudio, fecit in Roma, 1675.-No. 8. 209. Mount Helicon. The sacred hill is here placed on the right of the picture, and represents a richly-wooded scene, with the fountain Hippocrene streaming from its side and rippling along the front. Apollo sits conspicuous in the centre, playing on a violin, and the Muses are grouped on either side of him: the nearest of these to the spectator are Urania, Clio and Calliope, the former of whom stands leaning on a bank; the latter is seated. Within the recesses of the grove may be perceived Pegasus bounding over the hill.No. 9. The same subject occurs in Nos. 126, 193, and 195. 210. A Young Man holding a Dog. This simple scene exhibits a woody country with a river flowing along the extremity of the foreground; beyond it the view extends along two-thirds of the picture, and is bounded by a wood; the remaining part opens to a very distant city. A youth is Landscapes. seated on the bank of a river, in front, holding a large dog, and on the farther side of the water is a boat with two men in it. No. 10. 211. Cattle Watering. The view offers an open flat country with a large pond in the centre, crossed by a rustic bridge in front, on the farther side of which is a herd of cattle watering; and at some distance off, on the left of the field, are two herdsmen in conversation. A tree, a few bushes, and a hill, bound the view.-No. 11. 212. A Landscape, representing a bird's-eye view of an open bald country, of an undulated surface, having a low house in the centre of the scene, and a few small trees on either side of it; part of a second house is seen on the right, and a large tree is on the opposite side.-No. 12. 213. Christ and the two Disciples going to Emmaus. Close to a tree on the left of the foreground of the picture, is the Saviour standing between the two disciples, the whole of whom have their backs to the spectator, and appear to be looking at a city occupying an eminence, at the extremity of the second distance. An armed man is at the same time riding up full gallop from the opposite side. Signed Roma, 1668.-No. 13. See also Nos. 125, 151, 227, and 327. 214. The Landing of Eneas. The subject is introduced in the foreground of a seaport, and represents three men walking together, one of them, probably intended for Anchises, leans on a stick, and the middle one is pointing to two vessels |