THE NATIONAL GALLERY OF ART 
55 
money can not but seem important to any one who weighs our 
means against our wants, and the gain in time gives a longer 
period of public benefits. 
“This collection contains some of the best works of nearly 
every engraver of much celebrity. There is one portfolio of 
the works of Albert Durer, containing twenty engravings on 
copper and two on iron, by his own hand, and among them, 
most of his best and rarest works; about sixty fine copies on 
copper, including the famous seventeen by Marc Antonio; 
thirteen different portraits of Durer, and a large number of 
wood cuts engraved by him or under his inspection. Another 
portfolio contains a large collection of the etchings of Rem- 
brandt, including some of his most beautiful pieces, particu- 
larly the ‘Christ Healing the Sick,’ an early and fine impression. 
There is a portfolio of two hundred engravings and etchings, 
by Claude Lorraine, Hollar, and Bega; a portfolio of superb 
portraits by Nanteuil, Wille, Edelink, and others, among them, 
a first impression of the ‘Louis XIV in Armor,’ by Nanteuil; a 
portfolio of prints from the old Italian masters, comprising 
many that are extremely rare; and another from the old German 
masters, containing about one hundred prints, many of them 
scarce and of great beauty. There are besides, five portfolios 
of sheet engravings, including very choice prints. Among 
them are thirty-one which are valued by Longhi, at fifteen 
hundred dollars. 
“Among the galleries and published collections, are the 
‘Musee Royal,’ in two volumes folio, proofs before the letter, 
a superb copy; Denon’s ‘ Monumens des Arts du Dessin,’ in 
four volumes folio, of which only two hundred and fifty copies 
were published; Baillie’s Works, one hundred plates, folio; 
Thorwaldsen’s Works, four volumes, folio; Hogarth’s Works, 
folio, and the German edition in quarto; The Boydell Gallery, 
two volumes, folio; Boydell’s ‘Shakspeare Gallery,’ a remark- 
ably good copy, containing many proofs before the letter, 
numerous etchings and several progressive plates; Claude’s 
‘Liber Veritatis,’ an original copy, three volumes, folio; 
The Houghton Gallery, two volumes, folio; Chamberlain’s 
Drawings in the Royal Collection, one volume, folio; Rem- 
brandt’s Drawings, one volume, quarto; Da Vinci’s Drawings, 
