*33. Parmigiano. The Vision of St. Jerome-painted, by order of Maria Bufalina, in 1527, for the Church of San Salvatore in Lauro at Citta di Castello. Though the artist was only in his twenty-fourth year when he executed it, this is a most noble picture. It is supposed to be that which so absorbed the painter's attention during the siege of Rome by the Constable de Bourbon, that he was unaware the city was taken till some German soldiers, bursting in to plunder his house, were overwhelmed with its beauty, and not only spared, but protected him.

81. Benvenuto Tisio, called Garofalo from the pink with which he marked his pictures, 1481-1559. The Vision of St. Augustine. He is warned by a child that his efforts to understand the mystery of the Trinity must be as futile as attempting to empty the ocean with a spoon. St. Catherine, the patron saint of theologians, stands near him, gazing up at the Virgin and Child surrounded by angels: the little red figure in the background represents St. Stephen, whose life and acts are set forth in the homilies of St. Augustine. From the Corsini Palace at Rome.

8. Michel Angelo. A Dream of Human Life.

693. Pinturicchio. St. Catherine of Alexandria.

632. Girolamo da Santa Croce of Venice, sixteenth century. A Saint reading.

671. Garofalo. The Madonna and Child enthroned; on their left St. Francis and St. Anthony; on their right St. Guglielmo and St. Chiara.

702. Andrea di Luigi of Assisi, called L'Ingegno, fifteenth century. Madonna and Child in glory.

633. Girolamo da Santa Croce, A Saint.

Room XVI. Peel Collection.

864. Terburg. The Guitar Lesson.

889. Sir J. Reynolds. His own Portrait.

834. Peter de Hooge. Dutch Interior.

*887. Sir J. Reynolds. Portrait of Dr. Johnson. 835. P. de Hooge. Courtyard of a Dutch House.

823. Cuyp. Cattle.

841. W. Van Mieris of Leyden, 1662-1747. A Fish and Poultry Shop.

* 849. Paul Potter, 1625–1654. Landscape with cattle.

865. Vander Cappelle. Fishing Boats in a Calm.

830. Hobbema. The lopped Avenue, with a dyke on either side, leading to the dull brick town of Middelharnis, the reputed birthplace of the artist.

845. Gaspar Natscher of Antwerp, 1570-1651. A Lady spinning. 839. Gabriel Metsu. The Music Lesson.

852. Rubens. The Chapeau de Poil.

863. Teniers. Dives-"Le Mauvais Riche."

867. Vandevelde. The Farm Cottage.

888. Reynolds. Portrait of James Boswell,

870. Vandevelde. A Calm.

892. Reynolds. Robinetta.

Room XVII. Early Italian art-indifferent specimens.

568. School of Giotto. The Coronation of the Virgin.

564. Margaritone d'Arezzo, 1216-1293. The Virgin and Child, with scenes from the Lives of the Saints. From the Ugo Baldi Collection.

565. Giovanni Gualtieri of Florence, called Cimabue, 1240—c. 1302. Madonna and Child enthroned - from the Church of Santa Croce at Florence. Retouched.

215. Taddeo Gaddi of Florence, c. 1300-1366. Saints.

567. Segna di Buonaventura of Siena, early fourteenth century. A Crucifix.

579. Taddeo Gaddi. The Baptism of Christ.

566. Duccio di Buoninsegna of Siena, 1261-c. 1339. Madonna and Child, with angels and saints.

580. Jacopo di Casentino, 1310-c. 1390. The Assumption of St. John the Evangelist and other Saints.

570-578. Andrea di Cione Arcagnuolo, called Orcagna, 1315-c. 1376. Scenes from the Life of Christ.

630. Gregorio Schiavone, fifteenth century, School of Padua. Madonna and Child, with saints.

276. Giotto, Florentine, 1276—1336. Heads of SS. John and Paul— 1om the Church of the Carmine at Florence.

586. Fra Filippo Lippi. Madonna and Child, with angels and saints -supposed to have been painted by the artist in his twenty-fifth year for the Convent of Santo Spirito at Florence.

248. Fra Filippo Lippi. The Vision of St. Bernard-supposed to have been painted for the Palazzo della Signoria at Florence.

583. Paolo di Dono, called Paolo Uccello from his love of birds, 1396 -1479. The Battle of Sant Egidio (?), July 7, 1416, in which Carlo Malatesta, Lord of Rimini, and his nephew Galeazzo, were taken prisoners by Braccio di Montone. The beautiful young Galeazzo is

distinguished by his floating golden hair.

227. Cosimo Rosselli of Florence, 1439-c. 1506. St. Jerome in

the Desert and other saints, painted for the Ruccellai Chapel at Fiesole.

284. Bart. Vivarini of Murano, fifteenth century. The Virgin and Child, with St. Paul and St. Jerome.

772. Cosimo Tura. Madonna and Child enthroned, with angels.

Room XVIII. Chiefly Spanish.

184. Antonij Moro (Sir Antonio More), 1512-1581. Portrait of Jeanne d'Archel, of the family of Count Egmont.

176. Bartolomé Esteban Murillo of Seville, 1618-1682. St. John and the Lamb. The St. John is a Spanish peasant boy.

* 13. Murillo. The Holy Family-painted by the artist at Cadiz, when sixty years old, for the family of the Marquis del Pedroso.

* 230. Francisco Zurbaran, "the Spanish Caravaggio," 1598-1662. A Franciscan Monk-a most weird picture, in which, after it is long gazed upon, the eyes come out and take possession of the spectator. From the gallery of Louis Philippe.

741. Don Diego Velazquez de Silva of Seville, 1599-1660. A Dead Warrior-called El Orlando Muerto.

244. Spagnoletto. Shepherd with a Lamb.

232. Velazquez. The Nativity.

* 74. Murillo. A laughing Beggar Boy.

197. Velazquez. A Boar Hunt of Philip IV. The groups in the foreground, especially the dogs, most admirable. The dreary space in the centre destroys the interest of the picture as a whole. From the Royal Palace at Madrid.

745. Velazquez. Portrait of Philip IV.

195. Portrait of a German Professor, 1580.

It was near the entrance of the Park from Charing Cross that the first Royal Academy Exhibition of Pictures was held. Hogarth's "Sigismunda" and "Siege of Calais” and Reynolds's "Lord Ligonier" were amongst the pictures exhibited there.

FR

CHAPTER II.

THE WEST-END.

ROM Trafalgar Square, Pall Mall, the handsomest street in London, leads to the west. Its name is a record of its having been the place where the game of Palle-malle was played-a game still popular in the deserted streets of old sleepy Italian cities, and deriving its name from Palla, a ball, and Maglia a mallet. It was already introduced into England in the reign of James I., who (in his "Basilicon Doron ") recommended his son Prince Henry to play at it. Charles II., who was passionately fond of the game, removed the site for it to St. James's Park.*

66

It was across the ground afterwards set apart for Pallemalle, described by Le Serre as near the avenues of the (St. James's) palace-a large meadow, always green, in which ladies walk in summer," that Sir Thomas Wyatt led his rebel troops into London in 1554, passing with little loss under the fire of the artillery planted on Hay Hill by the Earl of Pembroke, and forcing his way successfully through the guard drawn out to defend Charing Cross, but

* Curious details as to the game are given in "Le Jeu de Mail, par Joseph Lanthier," 1717. It was played with balls made from the root of box, which were gradually attuned to the stroke of the mallet, and were always rubbed with pellitory before being put away after use.

only to be deserted by his men and taken prisoner as he entered the City.

The street was not enclosed till about 1690, when it was at first called Catherine Street, in honour of Catherine of Braganza, and it still continued to be a fashionable promenade rather than a highway for carriage traffic. Thus Gay alludes to it

"O bear me to the paths of fair Pall Mall!

Safe are thy pavements, grateful is thy smell!
At distance rolls along the gilded coach,
Nor sturdy carmen on thy walks encroach;
No lets would bar thy ways were chairs deny'd,

The soft supports of laziness and pride;
Shops breathe perfumes, through sashes ribbons glow,
The mutual arms of ladies and the beau."

Trivia, bk. 11.

Club-houses are the characteristic of the street, though none of the existing buildings date beyond the present century. In the last century their place was filled by taverns where various literary and convivial societies had their meetings: Pepys in 1660 was frequently at one of these, "Wood's at the Pell-Mell." The first trial of street gas in London was made here in 1807, in a row of lamps, on the King's birthday, before the colonnade of Carlton House. Amid all the changes of the town, London-lovers have continued to give their best affections to Pall Mall, and how many there are who agree with the lines of Charles Morris *

"In town let me live, then, in town let me die ;
For in truth I can't relish the country, not I.
If one must have a villa in summer to dwell,

Oh! give me the sweet shady side of Pall Mall.”

The genial wit, of whom Curran said, "Die when you will, Charles, you will die in your youth."