117. "The Duel and Death of the Earl." The Earl discovers the infidelity of his wife, and, attempting to avenge it, is mortally wounded by her lover. The Countess implores forgiveness from her dying husband; while the lover tries to escape by the window, but is arrested by the watch. The scene, a bedroom, is illuminated from a wood-fire.

118. "The Death of the Countess." The guilty wife takes poison in the house of her father, the London Alderman, upon learning that her lover has been executed by "Counsellor Silvertongue's last dying speech," which lies upon the floor by the empty bottle of laudanum. The old nurse holds up the child to its dying mother. The apothecary scolds the servant who has procured the poison; the doctor retires, as the case is hopeless. The father, with a mixture of comedy and tragedy, draws off the rings of the dying lady. A half-starved hound takes advantage of the confusion to steal a "brawn's head" from the table.

78. Sir J. Reynolds. The Holy Family-a graceful but most earthly group. Charles Lamb says, "For a Madonna Sir Joshua has here substituted a sleepy, insensible, unmotherly girl.”

789. T. Gainsborough. Mr. J. Baillie of Ealing Grove, with his wife and four children.

80. Gainsborough. The Market Cart.

681. Sir J. Reynolds. Portrait of Captain Orme, standing leaning on his horse.

311. Gainsborough. Rustic Children.

* 760. Gainsborough. Portrait of Edward Orpin, the parish clerk of Bradford in Wiltshire.

182. Sir J. Reynolds. Heads of Angels-being studies from the head of Frances Isabella Ker Gordon, daughter of Lord and Lady William Gordon.

107. Sir J. Reynolds. The Banished Lord—a head.

312. George Romney, 1734—1802. Lady Hamilton as a Bacchante. "The male heads of Romney were decided and grand, the female lovely; his figures resembled the antique; the limbs were elegant and finely formed; the drapery was well understood. Few artists since the fifteenth century have been able to do so much in so many different branches."-Flaxman.

111. Sir J. Reynolds. Portrait of Lord Heathfield, ob. 1790. One of the noblest portraits of the master. The gallant defender of Gibraltar stands before the rock, which is shrouded in the smoke of the siege. He is represented grasping the key of the fortress, “than which imagination cannot conceive anything more ingenious and heroically characteristic."

• Barry.

This portrait carries out to the full the theory of the master—“A single figure must be single, and not look like a part of a composition with other figures, but must be a composition of itself."

“We cannot look at this picture without thinking of the lines given by Burns to his heroic beggar—

"Yet let my country need me, with Elliott to lead me,

I'd clatter on my stumps at the sound of a drum ’—

lines that may have been written while Reynolds was painting the picture."-Leslie and Taylor's Life of Sir J. Reynolds.

188. Richard Wilson, 1713–1782. The Villa of Mæcenas at Tivoli. 128. Sir J. Reynolds. Portrait of the Rt. Hon. W. Wyndham, Secretary at War during Fox's administration.

Room VIII.

725. Joseph Wright of Derby, 1734-1797. An Experiment with an Air Pump-upon a Parrot.

306. Sir J. Reynolds. Portrait of Himself.

133. John Hoppner, 1759-1810. Portrait of "Gentleman Smith" the actor.

325. Sir T. Lawrence. Portrait of John Fawcett the Comedian. 144. Sir T. Lawrence. Portrait of Benjamin West the Painter, in his 71st year-executed for George IV.

675. W. Hogarth. Portrait of his sister, Mary Hogarth, 1746. 302, 303. R. Wilson. Scenes in Italy.

723. J. S. Copley, 1737-1815.* The Death of Major Peirson, killed in an engagement with the French at St. Helier, Jersey, Jan. 6, 1781. The figures introduced in the picture, which represents the carrying the body of Major Peirson out of the fight, are all portraits.

143. Sir J. Reynolds. Equestrian portrait of Field Marshal Lord Ligonier, who fought at the Battle of Dettingen, and is buried in Westminster Abbey. Sir Joshua could not paint a horse.

100. 7. S. Copley. The Fatal Seizure of the great Lord Chatham in the House of Lords, April 7, 1778. The fifty-five peers represented are all portraits.

Outside, on the stairs.

786. B. R. Haydon, 1786–1846. The Raising of Lazarus. Most spectators will feel this, intended to rival the Lazarus of Sebastian del Piombo, to be a hideous picture; yet who that has read in "Haydon's Autobiography" the story of the hopes, and struggles, and faith in which • The father of the Chancellor Lord Lyndhurst.

it was painted, can look on it without the deepest interest? After it was finished he wrote, "If God in his mercy spare that picture, my posthumous reputation is secured."

795. G. Cruikshank. “The Worship of Bacchus," or the Results of Drunkenness.

We now turn to the Foreign School of Painting.

Room IX. (beginning on the left), chiefly devoted to the works of Claude and Poussin.

62. Nicolas Poussin, 1594—1665. A Bacchanalian Dance.

N. Poussin was a native of Normandy, Court Painter to Louis XIV. "No works of any modern have so much the air of antique painting as those of Poussin. Like Polidoro, he studied the ancients so much that he acquired a habit of thinking in their way, and seemed to know perfectly the actions and gestures they would use on every occasion." -Sir. J. Reynolds.

* 31. Gaspar Poussin, 1613—1675. A Landscape-from the Colonna Palace at Rome. The (entirely subservient) figures introduced represent Abraham and Isaac going to the sacrifice. One of the best works of the artist.

164. Nicolas Poussin. The Plague at Ashdod.

42. N. Poussin. A Bacchanalian Festival-painted for the Duc de Montmorenci.

"The forms and characters of the figures introduced are purely ideal, borrowed from the finest Greek sculptures, more particularly from the antique vases and sarcophagi; the costumes and quality of the draperies are of an equally remote period; the very hues and swarthy complexions of these fabled beings, together with the instruments of sacrifice and music-even the surrounding scenery-are altogether so unlike what any modern eye ever beheld, that in contemplating them the mind is thrown back at once, and wholly, into the remotest antiquity.”—Sir J. Reynolds.

61. Claude Gelée de Lorraine, 1600-1682. A Landscape of exquisite finish. This little picture belonged to Sir George Beaumont, and was so much valued by him that, after his magnificent gift of his pictures to the nation, he requested to be allowed to keep it for life, and always carried it about with him.

161. G. Poussin. An Italian Landscape-from the Colonna Palace. 6. Claude. Landscape with figures, supposed to represent David and his companions at the Cave of Adullam. One of the soldiers has just brought the water from the well of Bethlehem. The figures are

stiff, the quiet landscape glorious. This picture, painted for Agostino Chigi in 1658, is called the "Chigi Claude."

12. Claude. Landscape with figures-shown, by the inscription on the picture, to be intended to represent the marriage festival of Isaac and Rebekah, painted 1648. It is an inferior repetition, with some differences, from "Claude's Mill" in the Palazzo Doria at Rome.

* '479. J. M. W. Turner, 1775—1851. The Sun rising in a Mist. The position of this beautiful picture results from a conceit in the will of the artist, who bequeathed it, with its companion, to the Nation, on condition of their being permitted to occupy their present position between the two great Claudes.

478. Turner. Dido building Carthage-painted in the style of, and in rivalry with, the Claude by its side.

* 14. Claude. The Embarkation of the Queen of Sheba-a glorious effect of morning sunlight on quivering sea-waves. This picture, painted for the Duc de Bouillon in 1648, is known as "the Bouillon Claude." No one can compare it with the picture by its side without feeling that the English painter has failed in his rivalry.

198. Philippe de Champagne, 1602-1674. Three portraits of Cardinal Richelieu, painted for the sculptor Mochi to make a bust from. Over the profile on the right are the words-De ces deux profiles ce cy est le meilleur.

36. Gaspar Poussin. The Land-Storm.

2. Claude. Pastoral Landscape. The figures represent the reconciliation of Cephalus and Procris-painted in 1645.

30. Claude. A Seaport, with the Embarkation of St. Ursulapainted for Cardinal Barberini in 1646—a lifeless specimen of the master. 903. Hyacinthe Rigaud, 1657—1743. Portrait of Cardinal Fleury. 206. Jean Baptiste Greuze, 1725-1805. Head of a Girl.

Room X.

200. Giovanni Battista Salvi, called, from his birthplace, Sassoferrato, 1605-1685. The Madonna in Prayer.

93, 94. Annibale Carracci. Silenus gathering Grapes, and Pan teaching Bacchus to play on the Pipes. These pictures are thoroughly Greek in character. Lanzi speaks of the Pan and Bacchus as rivalling the designs of Herculaneum.

22. Giovanni Francesco Barbiere, called, from his squint, Guercino, 1592-1666. Angels bewailing the dead Christ-from the Borghese Gallery.

127, 163.-Antonio Canal, called Canaletto, 1697-1768. Views in Venice.

174. Carlo Maratti, 1625-1713. Portrait of Cardinal Cerri.

271. Guido Reni, 1575-1642. "Ecce Homo."

88. Annibale Carracci. Erminia taking refuge with the Shepherds -from the story in Tasso.

21. Cristoforo Allori, commonly called Bronzino, 1577-1621. Portrait of a Lady.

246. Jacopo Pacchiarotto, b. 1474.

Madonna and Child.

84. Salvator Rosa, 1615-1673. Landscape, with Mercury and the Dishonest Woodman.

"Salvator delights in ideas of desolation, solitude, and danger; impenetrable forests, rocky or storm-lashed shores; in lonely dells leading to dens and caverns of banditti, alpine ridges, trees blasted by lightning or sapped by time, or stretching their extravagant arms athwart a murky sky, lowering or thundering clouds, and suns shorn of their beams. His figures are wandering shepherds, forlorn travellers, wrecked mariners, banditti lurking for their prey, or dividing the spoils."-Fuseli.

214. Guido Reni. The Coronation of the Virgin-the hard outlines indicate an early period of the master.

645. Mariotto Albertinelli, 1471—1515. Madonna and Child. 177. Guido Reni. The Magdalen-often repeated by the master. 704. Bronzino. Portrait of Cosimo I., Duke of Tuscany. 193. Guido Reni. Lot and his Daughters leaving Sodom. 29. Federigo Barocci, 1528-1612. A Holy Family called "La Madonna del Gatto," from the cat which is introduced in the picture. 268. Paul Veronese. The Adoration of the Magi-painted in 1573 for the Church of San Silvestro at Venice, where it remained till 1855. 740. Sassoferrato. Madonna and Child—a picture interesting as having been presented by Pope Gregory XVI. to the town of Sassoferrato, at once his own native place and that of the artist, G. B. Salvi.

196. Guido Reni. Lancellotti at Rome.

Susannah and the Elders-from the Palazzo

228. Jacopo da Ponte, commonly called Bassano from his native place, 1510-1592. Christ expelling the Money-Changers.

Room XI. (the Wynn Ellis Gift).

978. Vandevelde. Sea Piece-artists will observe the invariable lowness of the horizon in the works of this admirable master.

974. Quintin Matsys, the "Smith of Antwerp," 1466-1530. The Misers-a theme often repeated by the master; this edition is unpleasant, but full of power.