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woman is urging him to be more generous. Four effects of light, 
by Schalken, and a portrait by Holbein, are likewise worthy of 
attention. Nine pieces by Wouverman are easily distinguished 
by the white horses, representing skirmishes and country scenes. 
Seven pictures by Mieris are to be known by their fine keeping. 
Three pieces are by G. Douw, one by Slingelandt, and five by 
Metzu. A landscape by Ruisdael, and two by Hobbema, attract¬ 
ed my particular attention, as well as eleven pieces by Vande- 
velde, representing sea-pieces, landscapes, and views of several 
cities of Holland; two of the latter are finished by him and Van- 
derheyden jointly; I observed likewise, four very fine pieces by 
Vanderwerff, one of them representing the Roman Mercy, the 
other a concert, the third Lot with his daughters, and the fourth 
two children. 
The collection is likewise rich in paintings of animals; there 
are four capital works by G. Potter, one of them representing 
two hogs, as true as if they were living. A piece by Hondekoeter, 
representing a chicken, belongs likewise to this class, as well as ten 
pieces by Cuyp, in which the landscapes are very well finished. 
Among these I enjoyed particularly a camp-scene with a horse¬ 
man in the fore-ground, engaged in currying his horse. Six very 
good pieces, by Berghem ought not to be omitted, nor a hand¬ 
some sea-piece by Buckhuizen, with a view of Briel in the back¬ 
ground. 
Besides these pieces, there is a good collection of other paint¬ 
ings of the same school, but it would lead me too far, to mention 
them all. From other schools there are but a few and of less 
value. A landscape with sheep, by Titian; Christ taken down 
from the Cross, by Michael Angelo and Venusti, and another piece 
by Gonzalez. Among the paintings of modern times, I found 
the portrait of Garrick and his wife, by Hogarth; a domestic 
scene, by Greuze, and several pieces of an Italian painter, Zoffani. 
One of them, which has become more generally known by the 
copperplate of Bartolozzi, represents the Royal Academy of Lon¬ 
don, and the other the Gallery of Florence, with the portraits’of 
several Englishmen of note, who sojourned at that time in Flo¬ 
rence. By the same artist I saw two pieces, representing the in¬ 
terior of two royal palaces, with the children of George III. and 
their mother. These tasteless pieces, compared with the before- 
mentioned elegant paintings, make an unpleasant impression. I 
saw eight pieces by Sir Joshua Reynolds, among which his own 
portrait and two full-size portraits of the Portuguese Chief Mar¬ 
shal Count von der Lippe, and of the English General Marquis 
of Granby. These two pieces are masterly works, and full of ex¬ 
pression. You distinguish in the countenance of Count von der 
Lippe and in his whole posture, his profound and enterprising 
