; Ul Ss oie or 
~ Reet are 5 Nis i 
622 Account of the M arguis of Stafford’s Gallery of Pictures. 
gayers, who prognosticate from the flight 
of birds, the issue of future events, Such 
characters are highly appropnate, and in 
union with such scenery; and therefore in 
this particular walk of the art, he has In- 
therto remained without a rival, until our 
much lamented countryman, the inge- 
nious Mortimer, adopted for himself a si 
milar choice of nature. Asa landscape- 
painter, Salvator has this pecuhar excel- 
jence, that. his figures are all admirable 
and finely introduced, whereas most) of 
those who have excelled in landscape, 
have im that respect failed, as Claude, 
Wilson and Poussin. Hisdraperiesare al- 
ways dignified by a multitude of tolds; 
his skies have a character of wild gran- 
deur, by the clouds being formed large, 
round, and massy. The reflected lights 
and shadows of the water are well ad- 
justed, and in perfect harmony ; and the 
picture itself is one of the most remarka- 
ble in the collection for its superior ex- 
ellence and fine preservation, 
A Landscape, by Salvator Rosa. 
An extremely fine picture, and second 
only to the above; the rapid boldness of 
his pencil, and the general effect of the 
lights, are admirable! 
. A Landscape, by Gaspar Poussin. 
TIn'this picture is a great richness of fo- 
liage and depth of shadow. The con- 
trasted forms of the clouds, trees, and 
racks, are adjusted and measured by the 
hand of taste. leaving on the mind a high 
impression of his genius. 
A Landscape, by Gaspar Poussin. 
A Landscape. 
A view from an eminence of a very 
Jarze and estens.ve valley, by the same 
artist, who, in this noble scene, has 
shewn the utmost efforts of his art: no- 
thing could be more diilicult to express, 
and nothing could be better performed, 
The coup d@eil is delighttul. ‘To those 
who have never visited the beautiful 
vale of Clwydd, in North Wales, this 
landscape may serve as a complete substi- 
tute: it has frequently been denominated 
the Arcadia of Britam, and it well de- 
serves that denomination. A pile of 
mountains, of majestic height, envelopes 
‘ each side of this beautiful and interesting 
spot, which seems to be secluded from 
the rest of the world by the particular 
hand of nature. Upon their peacetul 
sides, which are clothed with grass to the 
summit, innumerable flocks and herds, 
at diferent distances, are seen to repose; 
and the fields in the centre form a com- 
plete image of fertility and plenty, Such 
oe ‘ Ta Rios ae =a} Me Sd 
5 . wea Whe t 
a 
a 
ee 
is the view from Denbigh Castle, whose 
ancient towers rise in the front of the 
scene, and uniting with broken rocks 
“and bushes, form # foreground of the ut- 
most richness; whilst. at the utmost dis- 
tance the Irish sea steals upon the sight, | 
with its small distant vessels, dimly dis-— 
cernible, 2 
Where the prospect opens wide, 
Where the evening gilds the tide; 
How small and close the hedges lie ; 
W hat streaks of meadows cross the eye! 
_It is highly probable, that, as Gaspar 
Poussin generally derived his subjects 
from feal views, that some such scene 
exactly resembling. the above, exists in 
Italy; perhaps in the classical grounds of 
Tivoli or Frescati, Let the spectator 
here pause and contemplate the roman- 
tic beauties of the whole, for we may 
safely pronounce that the art of painting 
cannot go much farther, either in the 
choice of the objects, or in the truth of the 
colouring. ’ 
‘We shall now proceed to speak of that 
eminent artist, Cuyp, a native of Flan-. 
ders, but equal, in the exceilent effect of 
his sunsets, te Claude -himself. By a 
patient invesugation of the evening tints, 
he succeeded in, giving a warmth to his 
skies and scenery which is hardly to be 
described; the lucid eifects of his water, 
its transparency, and the admirable 
drawing of his cattle and figures, -have 
placed his merits in the highest rank of 
artists, whilst the careful and judicious 
arrangement of the foliage heightens the 
effect of the whole. . 
Two Landscapes, by Cuyp. 
These two small landscapes possess 
great biilhancy of colouring, and harmo- 
ny of tints, which enliven the appear. 
ance of each object contained in them 
with a sunny lustre, remarkable m the 
works of tuis master, The’style of his 
buildings is generally ofthesame class with 
the Flemish school, clumsy and ill select- 
ed; but the cattle, figures, and land- 
scape, and, above all, the astonishing 
force and justness of tone, overcome, in 
the opinion @f every liberal critic, these 
trifling errors. ‘The gradation of the sky, 
from the warm orange to a eradual blue, 
without the intervention of gréen or a 
dusky blackness of tmt, seems to have 
beena seeret with Cuyp which few other 
painters were acquainted with. Letit be 
observed, that Berghem never could: at- 
tain to it, although he endeavoured. to 
hide this fault by the artificial interven- 
tion of objects. ‘That Claude, however, 
was 
v 
