Classical Romance.

distraction of the light), I remember turning from it with disgust, and should not have looked a second time, if I had not been called back to a closer inspection; I then indeed found, what we may always expect to find in the works of Poussin, correct drawing, forcible expression, and just character; in short, all the excellencies which so much distinguish the works of this learned painter."

This picture was formerly in the possession of Sir Peter Burrell, from whom it passed to Lord Gwydyr, and was then estimated at 900 gs. At the sale of that nobleman's collection, by Mr. Christie, in 1829, it was sold for 100 gs., and bought by the Writer. It was again brought to auction in the collection of the Honourable George J. Vernon, in 1831, and sold for 70 gs.; but notwithstanding this depreciation from the original estimation, the opinion given of it by Sir Joshua, is, in the Writer's view, a correct one.

5 ft. 5 in. by 8 ft.-C.

Now in the possession of George Stanley, Esq.

286. Rinaldo and Armida. This delightful picture owes its origin to the fourteenth book of Tasso's "Jerusalem delivered."

"Now fired with vengeance, issuing from the wood,

The false enchantress o'er the warrior stood;

But when she view'd intent his manly face,

His features glowing with celestial grace;
Rapt in suspense, beside the youth she sate,

And as she view'd, forgot her former hate.

Low bending o'er his charms she hangs amazed."

The hero, Rinaldo, is seen clad in splendid armour, reposing after his toils at the foot of a tree; and while thus absorbed in sleep, the enchantress has issued from the neighbouring grove,

Classical Romance.

and, armed with a dagger, is bending cautiously by his side, prepared to strike the fatal blow; her eye, however, has encountered the beautiful countenance of the youth, and love has withheld the intended blow. This idea is happily illustrated by a cupid, who has alighted behind her, and is holding the arm of the hand which contains the weapon, the other hand is advanced to press the sleeping warrior's. This is a production of the artist's best period. Engraved by J. Audran. 2 ft. 7 in. by 3 ft. 7 in.-C.

Now in the Dulwich Gallery.

Worth 500 gs.

287. Rinaldo and Armida. The composition of this. picture differs very much from the preceding; for the beautiful enchantress is here bending affectionately over the sleeping hero, with her hand placed on his breast. Two cupids attend at his head; a third is playing with his shield, which lies by him; and a fourth is on the farther side of a bank a little retired from the rest. In the opposite side are introduced emblems of fertility and abundance; these consist of a river god, seated, holding up a streaming urn in his arms; and behind him is an infant creeping from a fallen vase, close to which lies a cornucopia. The splendid car of Armida, with its spirited coursers, which are held by two nymphs, is seen on a cloud at a little distance. Engraved by Sanders. 3 ft. 1 in. by 4 ft. 6 in.-C.

Now in the Palace of the Hermitage, at St. Petersburgh.

288. Rinaldo and Armida. This picture represents the enamoured enchantress, clothed in a yellow mantle, bearing away the sleeping hero. She supports the head of her lover,

Classical Romance.

while four cupids bear up the body and legs, and a fifth is winging his way before them towards a river. In the opposite side are introduced three emblematic figures; one represents an aged man reclining on the ground, with a reed in his hand, personifying a river; the others are two dryades, or nymphs, having reference to the woods or groves. At some distance are seen two warriors near a column; one is seated, leaning on his shield. This is painted in the artist's most esteemed manner, and is unusually brilliant in its colouring. Engraved by Chasteau, and anonymous.

This excellent picture was claimed and removed from the Louvre in 1815, and is now in the Public Musée at Berlin. 3 ft. 10 in. by 4 ft. 9 in.-C.

289. Rinaldo and Armida. The enchantress is represented sitting naked, on the foreground of a richly-wooded landscape, attended by three nymphs, one on her knees by her side, and another arranging her hair; while the hero stands before, holding up his shield to serve for a mirror. Two cupids complete the composition; one is near the front, discharging an arrow at the warrior, the other floats in the air above the heads of the lovers.

4 ft. 10 in. by 6 ft. 10 in.-C. Now in the collection of the Earl of Scarsdale.

290. Tancred and Erminia. The picture represents that part of the story where Erminia and Vafrino, while journeying together, discover Tancred lying wounded and senseless on the ground: they have dismounted from their steeds, and the squire is kneeling at the head of the knight, tenderly

Classical Romance.

removing his armour, while the distracted Erminia stands by, severing with his sword a lock of her hair to staunch his wounds:

"Love taught her various arts untried before,
Her locks she cut, with these she gently dried
The clotted blood; the bandage these supplied."

At some distance is seen Argante, the antagonist of Tancred, lying dead on the ground. Engraved by Sanders.

2 ft. 6 in. by 3 ft. 3 in.-C.

Now in the Palace of the Hermitage, at St. Petersburgh.
Worth 500 gs.

The above is, perhaps, the picture which was sold in the collection of Sir James Thornhill, and then purchased by W. Lock, Esq., and is highly commended by Richardson, in his work on art.

FANCY SUBJECTS.

291. NYMPHS Bathing.

A picture so described is mentioned by Felebien as having been painted for the Maréchal de Crequy, and was subsequently in the possession of the Sour Stella.

292. Infantine Pursuits. This excellent little picture is composed of five naked children playing together on the grassy foreground of a richly-wooded landscape. Two of them, occupying the centre of the group, are recumbent, fondly caressing each other; a third is seated, eyeing with delight a butterfly, which he holds up in his fingers; a fourth is in pursuit of a similar insect; and the remaining one is bending over a basket of fruit. The surrounding verdure and smiling flowers, like the happy infants, sparkle with the freshness of the vernal season. Engraved by G. Mariette, ex.; Wm. Baillie, in oval; E. Smith, for the Forster Gallery; and R. Woodman for Tresham's Gallery.

1 ft. 9 in. by 1 ft. 13 in.-C.

Collection of M. de Nyert,

1772. 1550 fs. 627. M. Randon de Boisset,. 1772. . 7101 fs. 2847. W. Ellis Agar, Esq., sold by private bargain. Now in the collection of the Marquess of Westminster.

293. The Grateful Father. The composition of this picture is borrowed from a group, in a capital work by Poussin,