1828.] Old Pictures. 33 
© 96. A Cavalier on Horseback. Wouvermans.—There is something 
quite extraordinary in the effect of this little picture. At a little dis- 
tance you can see nothing but the cavalier and his bonny boy, passing 
_ (for they actually seem to pass) along the extreme edge of the picture in 
front, against the light grey sky. But, on looking closely, you find a 
distance that changes the whole, from a mere figure, into a perfect scene. 
Nothing can be more striking than the effect of this—especially when 
et observe the slightness and simplicity of the means which pro- 
uce it. 
' 80. A Village Feast. Tenrers.—Notwithstanding the infinite variety 
of the “ Village Feasts” of this artist, they are all (like their originals) so 
much alike—* each being another, yet the same”—that they will not 
bear describing now-a-days. The present is one of the most delightful 
and characteristic that can any where be seen. In lightness and elegance 
of truth, and sweetness of colouring, it is equal to Murillo ; and in tone 
it is clear as a bell. 
83. Cattle in a Landscape. Cuyp.—The effect of light in this admi- 
rable picture is perfect. It is not one of those exquisite effusions (so to 
speak) of this artist’s, where every thing—the clouds, the sky, the trees, 
the figures, the ground, even the stones themselves—seem saturated 
with sunshine ; but one of those in which the light seems to lie upon the 
surface of every thing, ready to disappear in a moment, on some cloud 
passing over the source of it. 
The ten pictures, from 98 to 108, will bear and repay the most minute 
examination. We have seldom, if ever, seen, within the same space, so 
many exquisite little gems. Passing them over with a mere glance, we 
hasten to that work which strikes us as being, beyond any comparison, 
the finest in this collection. Indeed, for our own parts, we are disposed 
to look upon it as the very finest production of its kind that we have ever 
beheld ; and finer in various particulars, no less than as a consistent 
whole ;—finer in conception, in design, in colouring, and, above all, in 
the intense poetical power and beauty of its general effect—We 
allude to 
/ 112. The Nursing of Hercules. Tirnrorrt.—We had previously seen 
some things by this master which indicated a very extraordinary degree 
of what may be called the poetical power of painting, but none which 
led us to look for so noble an effort of that power as the one before us. 
The fable is no doubt well known to our readers ; and we will venture to 
7 that even the imaginations which created that fable, and the host of 
others which make up the beautiful mythology of those times, never 
formed a more triumphant conception of the subject in question than the 
one which is here embodied into a visible form, answering in all respects 
to that conception. We must not venture even to begin a description of 
‘this picture, as it would lead us far beyond our limits. Indeed, if there 
were no other reasons for our silence as to its details, we should remain 
so, in despair of doing any thing like justice to our feelings respecting 
them, without incurring the charge of extravagance. We will, however, 
not shrink from saying that we think the female figure a more trium- 
phant specimen of art (as a single figure) than any thing else that we are 
acquainted with—not excepting Titian’s very best ofa similar kind, which 
form portions of the Blenheim Gallery. 
120. The Return from the Chase. Wouvermans.—This is a work 
combining, with all the ordinary qualities of Wouvermans’ style, others 
M.M. New Series.—Vou. VI. No. 31. F 
