538 Account of the Marquis of Staford's Gallery of Pictures. [Jan.1, 
rably represented, and present to the 
astonished eye one of the finest pictures 
of the greatest painter who ever lived. 
Christ with his Disciples, by Sebastian del 
Piombo. 
This piece is animated, and the group- 
ing of the figures is well composed, ac- 
cording with the general manner of the 
Italian school. 
Madonna, by Sasso Fezzato. 
The Adoration of the Shepherds, by Pe- 
TUZ2B. 
This picture is painted in a pleasing 
manner, the characters well delineated 
and contrasted: the whole forming a 
pleasing and interesting group. 
The good Shepherd, by Murillo, a Copy 
by Grimou. 
This certainly, as a copy, may be said 
to possess much merit: it would be a 
more pleasing circumstance, however, in 
such a noble collection, to have to notice 
originals only. 
The entombing of Christ, by Daniel de 
Volterza. 
An interesting and well arranged sub- 
ject. The anatomy of the figures, and 
arrangement of the drapery, 1s worthy of 
the school of Bassan, in whose manner 
it is painted. 
St. Gregory.—Danaé. Both by Anibal 
Carracct. 
Tt would be a pleasure to us to praise 
the above. pictures; but the attraction 
does not equal what might be expected 
from the name. It has been much the 
fas}iion to admire the works of Annibal 
Carracci; but what are their merits? 
There is neitherthe drawing of Raphael, 
the colouring of Titian, or the expression 
of Correggio; but in the place of all 
these stands a force of effect, which is 
‘unable to supply their place, and which 
has been superseded and excelled both 
by Rembrandt and Spagnoletti. 
A dead Christ, by L. Carracci. 
A picture in which all the parts are 
well disposed; the anatomy and drapery 
are well divided, and the lights ably ma- 
naged, The colouring also is excel- 
lent. 
Jacob and his Flock, by Salvator Rosa. 
Although this picture is-a genuine spe- 
eimen of the master, there is little to be 
praised or extolled. The drawing of the 
figure is not sncb as we snould have ex-~ 
pected from his pencil; and the sheep 
appear very formally placed im the road, 
as if disposed into ranks. It willbe a 
greater pleasure to speak hereafter in 
praise of his landscapes. 
St. John preaching, by Mola. 
An animated picture, and worthy of 
the master. The lights are well ma- 
naged, and the subject altogether harmo- 
niously coloured. 
Birth of Hercules, by Julio Romano. 
Infant St. John sleeping, by A. Carracci. 
There is nothing in these two pictures 
which particularly engages the attention 
of the spectator. The lights, however, 
are well managed. 
Cupid making his Bow, Pormegiano. 
This is a fine anatomical study, full of 
grace and expression. He is placed with 
his back to the spectator, but he archly 
turns his head round, as if conscious of 
the intended mischief. The colouring is 
in a very sober style, and does much cre- 
dit to the master. The contour and out- 
line is admirable throughout. 
The Holy Family, by Parmegiano. 
Although this picture ranks much 
above mediocrity, yet there is such a de- 
ficiency in the drawing of the parts, that 
we are compelled to place it much behind 
the school of the Carracci, or even that 
of Carlo Maratti; we shall therefore pass 
it by, and move on to the next, which is, 
The Death of Adonis, by Cambiasi. 
The drawing in this picture is very 
fine, and the foreshortening well con- 
ceived; the colouring, also, and design, 
is chaste, and well expressed. Thisis a 
picture which the connoisseur cannot 
pass without particular notice. 
Lhe Repose in Egypt, by Annibal Car- 
raccl. 
A very pleasing piece, and well ar- 
ranged. ‘The colouring is harmonious in 
all its parts, and the landscape suitable 
to the subject, bold, and masterly. 
St. Jerome—after Correggio, by Carracci. 
In this picture we must not look for 
the silver tenes of Correggio, or for his 
graceful style of shadow: however, con- 
sidered as the copy of a most valuable 
picture, and by a painter who was him- 
self an eminent artist in historical repre- 
sentation, we cannot help admiring the 
truth of the outline, and the forcible ex- 
pression of the draperies. The original 
has been much admired, and is now in 
the possession of the French government. ~ 
The deiicate expression of the flesh, in 
which Correggio particularly excelled, 
must be looked for in vain. In this in- 
stance, on the contrary, a hardness pre- 
‘ dominates 
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