- Account of the M. arquis of Stafford’s Gallery of Pictures. ! 
Hic seems to have adopted a style between 
Poussin and Salvator Rosa, which cer- 
tainly shews considerable. taste, but 
which is less finished than the works of 
those eminent masters. Whenever he in- 
troduces figures (of which he is generally 
very sparing), they are always well dis- 
posed, and contribute much to the gene- 
ral effect. There is frequently too great a 
blackness in his shadows, which, had he 
studied from nature in the open air, he 
might have learned to avoid. As we ob- 
served before, it is upon his excellence as 
an historical painter that his merit chiefly 
rests. 
41 Landscape he Figures, by Claude Lor- 
rain. 
This small picture represents a view of a 
most romantic country at day-break : the 
morning rays of the sun steal gradually 
over the second distance of the piece, 
and in a most harmonious manner illumi- 
nate the tufted trees, which invest the 
mountain side. Thedewy moisture of the 
morning and the hazy blue of the distant 
mountains are so delicate as make all 
imitation impossible. The figures on the 
forecround, ‘and ‘cattle, have a most ex- 
cellent effect, and contribute their share 
to the general beauty: the trees have all 
the freshness of spring, admirably tem- 
pered by the. shades belonging to the 
time of day, by which means their over= 
brightness 1s properly and judiciously sub- 
dued, The clouds and sky partake of the 
morning light, which spreads itself charm- 
ingly over the whole, the buildings and 
other objects being in perfect harmony 
with the scene. It has often been ob- 
served, that Clau@ did not succeed 
well in ee therefore when they are 
well executed, asin this picture, it is to 
be supposed that they were inserted in 
the landscape by some other artist, as he 
is known to have kept several employed 
constantly for that purpose. For cattle 
however he had no substitute, and was 
obliged to exercise his own pencil——a cir- 
cumstance much to be lamented} yet they 
are always placed in good situations so 
as to aselst the picturesque and rural ef- 
tect, 
Landscape, by Claude Lorrain. 
A Woodland scene interspersed with 
groups of trees and catile. The style of 
painting is rather thin, washy, and deti- 
eient in firmness; the adrial perspective 
is weil observed, and the masses of sha- 
dow bold and striking: the effect would 
perhaps have been stronger if the 
pamter had agapted a brishter mode of 
colouring, which certainly partakes too 
b 
‘f 
t 
621 
much of adusky-grey hue. Theeffect afitie 
water (ag usual with Claude Lorrain) ‘is 
admirable; and the high finishing of the 
weeds, plants, and reeds, is such as could 
only be obtained by a patient and careful 
perusal of nature. There isa want of build= 
Ing, and architecture in this piece, in 
which he was calculated particularly to 
shine, from his excellent knowledge of 
contrast and perspective. The  land- 
scapes of Claude owe much of their heau- 
tiful effect to a vista, or opening through 
the trees, which often terminates in some 
pleasing object; an artifice which has 
often been used by gardeners, and those 
who lay out pleasure. grounds, although 
few painters, except Claude and Patel, 
have adopted it in painting. Poussin and 
Salvator seem to have been wholly unae- 
quainted with it, as well as Wilson; it is 
an arrangement, however, which very 
much aids:a natural’ light, by confining 16 
principally to one point. 
wo Landscapes, by Claude Lorrain. 
The same ‘remarks as those already 
inserted will apply to these two charming 
landscapes; but the introduction from 
the heathen mythology, of several figures 
in one of these pieces, converted into 
trees, forming an .unnatural object, is 
highly to be disapproved of, as a matter 
of taste. The proper province of land- 
scape painting consists in that which is 
natural and possible; but to observe the 
arms of men and women branching out 
into trees, with leaves growing from their 
fingers, forming altogether a most ridicu- 
ee and absurd image, is, indeed, painful, 
3,it derogates entirely from the dignity 
of the scene. The licentia poetica of 
Ovid, and the licentia pictoria, are to be 
-moulded by different principles; and . 
they ought to have been represented ei- 
ther as men or as trees; for in such case 
the improbability would not be so fla~ 
grant. 
A Landscape, by Sulvator Rosa. 
This charming landscape is of an oval 
form, and represents a rocky promontory 
projecting into the sea with different ves- 
sels and figures, which diversify in a very 
pleasing manner the various parts of the 
scenery. here is melancholy wildness 
and sublimity in the works of this paine 
ter, which remind the spectator ef many 
of the most striking passages of Milton, 
dark Cimmerian deserts, caverns andiow- 
brow’d rocks; such are the chief objects 
of the aa i Over the deserted scene, 
scarcely a tree or shrub sheds its p: artial 
verdure. In such places he frequently 3 In= 
trodyces banditti er a group of sooth. 
Sayers, 
