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whole is executed with consummate skill, and the principal effect striking.
“His own portrait, at an advanced age, with very dark ground and shadows, and, for him, a cool'tone of the lights, is to be classed, among the great number of them, with that in the Bridgewater Gallery; only it is treated in his broadest manner, which borders on looseness.
“A landscape, with a few trees upon a hill, in the foreground, with a horseman and a pedestrian in the background, a plain with a bright horizon, is clearer in the shadows than other landscapes by Rembrandt, and therefore, with the most powerful effect, the more harmonious. . . .
“Among the drawings I must at least mention some of the finest.
“RAPHAEL. The celebrated Entombment, drawn with the utmost spirit with the pen. From the Crozat collection. Mr. Rogers gave. £120 for it.
“ ANDREA DEL Sarto. Some studies in black chalks, for his fresco paintiugs in the Chapel del Scalzo. That for the young man who carries the baggage in the visitation of the Virgin is remarkably animated.
“Lucas Van LEYDEN. A pen drawing, executed in the most perfect and masterly manner, for his celebrated and excessively rare engraving of the portrait of the Emperor Maximilian I. This wonderful drawing has hitherto been erroneously ascribed to Albert Durer. .
“ALBERT DURER. A child weeping. In chalk, on colored paper, brightened with white; almost unpleasantly true to reality. "
“ Among the admirable engravings, I mention only a single female figure, very delicately treated, which is so entirely pervaded with the spirit of Francisco Francia, that I do not hesitate to ascribe it to him. · Francia, originally a goldsmith, is well known to have been peculiarly skilled in executing larger compositions in niello. How easily, therefore, might it have occurred to him, instead of working as hitherto in silver, to work with his graver in copper, especially as in his time the engraving on copper had been brought into more general use in Italy, by A. Mantegna and others; and Francia had such energy and diversity of talents that, in his mature age, he successfully made himself master of the art of painting, which was so much more re mote from his own original profession. Beside this, the fine delicate lines in which the engraving is executed indicate an artist who had been previously accustomed to work for niello-plates, in which this manner is usually practiced The circumstance, too, that Marcantonio was educated in the workshop of Francia, is favorable to the presumption that he himself had practiced engraving.
“ Among the old miniatures, that which is framed and glazed and hung up, representing, in a landscape, a knight in golden armor, kneeling down, to whom God the Father, surrounded by cherubim and seraphim, appears in the air, while the damned are tormented by devils in the abyss, is by far the most important. As has been already observed by Passavant, it belongs to a series of forty miniatures, in the possession of Mr. George, Brentano, at Frankfort-onMaine, which were executed for Maître Etienne Chevalier, treasurer of France under King Charles VII., and may probably have adorned his prayer-book. They are by the greatest French miniature painter of the fifteenth century, Johan Fouquet de Tours, painter to King Louis XI. In regard to the admirable, spirited invention, which betrays a great master, as well as the finished execution, they rank uncommonly high.
“An antique bust of a youth, in Carrara marble, which, in form and expression, resembles the eldest son of Laocoon, is in a very noble style, uncommonly animated, and of admirable workmanship. In particular, the antique piece of the neck and the treatment of the hair are very delicate. The nose and ears are new; a small part of the chin, too,
and the upper lip, are completed in a masterly manner in wax.
“A candelabrum in bronze, about ten inches high, is of the most beautiful kind. The lower part is formed by a sitting female figure holding a wreath. This fine and graceful design belongs to the period when art was in its perfection. This exquisite relic, which was purchased for Mr. Rogers, in Italy, by the able connoisseur, Mr. Millingen, is, unfortunately, much damaged in the epidermis.
" Among the elegant articles of antique ornament in gold, the earrings and clasps, by which so many descriptions of the ancient poets are called to mind, there are likewise whole figures beat out in thin gold leaves. The principal article is a golden circlet, about two and a half inches in diameter, the workmanship of which is as rich and skillful as could be made in our times.
“Of the many Greek vases in terra cotta, there are five, some of them large, in the antique taste, with black figures on a yellow ground, which are of considerable importance. A flat dish, on the outer side of which five young men are rubbing themselves with the strigil, and five washing themselves, yellow on a black ground, is to be classed with vases of the first rank, for the gracefulness of the invention, and the beauty and elegance of the execution. In this collection, it is excelled only by a vase, rounded below, so that it must be placed in a peculiar stand. The combat of Achilles with Penthesilia is represented upon it, likewise, in red figures. This composition, consisting of thirteen figures, is by far the most distinguished, not only of all representations of the subject, but, in general, of all representations of combats which I have hitherto seen on vases, in the beauty and variety of the attitudes, in masterly drawing, as well as in the spirit and delicacy of the execution. It is in the happy medium between the severe and the quite free style, so that in the faces there are some traces of the antique manner.”
It remains only to add, that Mr. Rogers has embellished his works with the same exquisite taste as his house. They are splendid specimens of typography, and are rich in the most beautiful designs by Stothard and Turner, from the most celebrated burins of the day. I believe more than fifty thousand copies of them have been circulated.
THOMAS MOORE. The author of Lalla Rookh, like most of the race of genius, is one whom his own genius has ennobled. The man who has not to thank his ancestors for what he enjoys of wealth, station, or reputation, has all the more to thank himself for. The heralds, says Savage Landor, will give you a grandfather if you want one, but a genuine poet has no need of a grandfather; he is his own grandfather, his own shield-bearer, and stands forth to the world in the proud attitude of debtor to none but God and himself, the shield-bearer and the grandfather of others. Thomas Moore was born in a humble house in Dublin, the son of humble but respectable parents. He has made his own way in the world, and given to those parents the honor of having produced a distinguished son. That is as it should be. People should honor their parents, it is rarely that parents can honor their children. They can not bequeath their genius to them; it is not always that they