Landscapes. a hilly site to the distant mountains. A number of cattle feed on the surrounding pastures. Painted in 1666, for Signor Falconieri, and afterwards in the possession of Mr. Davenant. -See No. 196. 167. Cupid and Psyche, or Clytie. The beautiful scene here represented, was doubtless intended by the artist to portray the abode of bliss, to which Cupid is said to have conveyed his beloved Psyche; they are seen enjoying together the cooling freshness of a pellucid stream, which flows along the verdant woody banks of a hilly country. The right is composed of clusters of trees, of varied foliage, growing amidst bushes; beyond which the eye encounters a handsome temple, and other adjacent buildings, partly concealed by bushes, and backed by a distant hill. A clump of young trees grow on a bank in the centre of the view; and close to the left, are a satyr and a herdsman, sitting together at the mouth of a cave, while their herd of goats reposes around them. The two lovers are in the stream near the front, and Psyche is extending her arms and looking towards the source of light in the east. Painted in 1666, for the Constable Colonna, and afterwards in the possession of Dr. Chauncey. 3 ft. by 4 ft. 11 in.-C. Collection of Lord Berwick, . 1825. (Mr. Phillips.) 11107. (Ditto) Michael Zachary, Esq., 1828. Now in the collection of Frederick Perkins, Esq. 1550 gs. The preceding is probably the picture sold in the collection of M. de Calonne, 1795, for 500l., and was then the companion of "The Enchanted Castle." 168. Carlo and Ubaldo embarking. A bay of great extent is here presented to the view, having on the left a fine cluster Landscapes. of trees growing amidst bushes on a rocky eminence, beyond which are two temples: from hence the eye views a succession of mountains sweeping round to the centre of the scene; at the base of which, and adjacent to the water, may be perceived a tower. Still more remote are discerned a beacon, and the island of Capria. The two heroes, Carlo and Ubaldo, stand together in the centre of the foreground, armed for their enterprise, and ready to enter a handsome boat lying near the shore, in which stands their virgin guide waiting to receive them. The general effect is that of a fine morning. Painted in 1667, for Signor Falconieri; and afterwards in the possession of the Duke of Kent, the Earl of Hardwick, Lady De Grey, and now in the collection of the Earl De Grey. Engraved by Canot in 1744. 4 ft. 6 in. by 5 ft. 1 in.-C. 169. Jacob and Rachel at the Well, called "The Noon of the Day." The view exhibits a country of great extent, over which are distributed, with admirable taste, the various objects that give beauty and picturesque effect to landscape scenery, The subject above noted is introduced near the centre of a verdant meadow, forming the foreground of the picture. Rachel and her sister are seen standing together; the former attired in a gray vesture and blue mantle; their attention is directed to Jacob, who is before them, leaning on a staff, and pointing to a flock of sheep which surround two wells on his left. A little beyond this group stands a lofty pine, amidst other trees of lesser growth; and on an elevation on the left, is the ruins of a once handsome edifice. Still more remote are other buildings among trees. On the opposite side the eye looks over a fertile and well-watered country, bounded by mountains. The general appearance is that of the noon on a Landscapes. fine clear day. Painted in 1667, for some one at Antwerp; afterwards in the Hesse Cassel Gallery; from whence it was taken in 1806, by the French, and presented to the Empress Josephine, at Malmaison. Engraved by Von Schlotterbeck, and also by C. Haldenwang. 3 ft. 8 in. by 5 ft. 11⁄2 in.-C. Bought in 1815, by the Emperor Alexander. Worth 2000 gs. Now in the Palace of the Hermitage, at St. Petersburgh. 170. Mercury and Battus. This excellent little picture offers on the left a river, flowing in an oblique direction round a woody bank; and thence, receding through the middle, appears to pass to the opposite side. At the extremity of the river is a bridge, composed of a single arch, abutting on either side against high banks, and its lower part concealed by bushes. Still more remote is seen a second river, bounded by hills. Battus is here represented sitting on a rocky eminence in the centre of the foreground, playing on a pipe; a number of goats, a sheep, and two oxen, are browsing around him; and at a little distance, on the right, is Mercury driving away four of his oxen. On this side the meadow is bounded by a hedge, amidst which rises a beautiful tree, and also others of a younger growth. The effect is that of a fine. clear morning. Painted in 1666, for Mr. Barine; afterwards in the possession of Thomas Walker, Esq., Sir Eliab Harvey, and now the property of the Rev. Wm. Tower, 1835.-See also Nos. 128, 131, and 159. 1 ft. 8 in. by 2 ft. 2 in.-C. 171. Demosthenes on the Seashore. This highly classical production represents a view over a spacious bay, bounded on Landscapes. the right by a chain of hills, on which side, and close to the front, stands a lofty ruin of some noble edifice, composed of four columns, of the Composite order. On the farther side of this, are two vessels riding at anchor, from which the sailors are discharging their cargoes into boats, one of which, containing three men, is passing near the shore in front. In the opposite side the eye encounters a mass of rocks jutting into the sea, on whose sides and summit grow clusters of trees of rich and varied foliage; and at their base may be observed, a boat containing two men: two herdsmen are also perceptible sitting in the shade, guarding a number of oxen and other cattle, which are browsing on the adjacent shore in front. Additional interest and effect is given to the scene, by the introduction of a tall aged man, supposed to be intended for Demosthenes, clothed in ample raiment, having his head uncovered; one hand is placed on his breast, the other contains a scroll, and he appears to be pacing with stately step along the foreground towards the ruin. The effect is that of a serene morning, and the surrounding hemisphere glows with the warmth of the rising luminary of day, whose beams flicker on the surface of the rippling waves, while agitated by a gentle breeze. This very admirable picture was painted in 1667, for M. Bourlemont; it afterwards became in succession the property of Mr. Clarke, the Hon. Mr. Bouverie, the Duke of Bridgewater, the Marquess of Stafford, and is now in the splendid Gallery of Bridgewater House, Lord Francis Egerton. 3 ft. 9 in. by 4 ft. 11 in.-C. 172. A Shepherd playing on a Pipe. This beautiful scene displays in the centre a fertile valley, of vast extent, intersected by a winding river, crossed in the middle distance by a bridge, Landscapes. and terminating in a spacious bay. The left of the picture offers a woody site, composed of clusters of low trees and bushes, covering the foreground, and extending over the sides of a mountain, whose high summit is crowned with the ruins of a castle. A clump of trees, of rich and ample foliage, stands on the opposite side, near which is seated a lonely shepherd, dressed in a blue mantle, playing on a pipe. A group of five goats repose near him, and about seven others are browsing in the surrounding meadow. A herdsman is also seen driving some cattle down a woody dell at the foot of the mountain. The luminary of day, declining in the west, sheds his refulgence over the surrounding scene, and the cooling dews of evening succeed departing day. This admirable picture was painted in 1667, for an amateur at Palermo. Engraved by Dubourg. 1 ft. 9 in. by 2 ft. 33 in.-C. Collection of Lord Kinnaird (bought by Mr. Glover), 10007. John Glover, Esq., 1830. (bought in). 700 gs. Now in the possession of the author. 173. Abraham sending away Hagar and Ishmael. The artist, in portraying this subject, has chosen to imagine, that there sidence of the patriarch was of the Grecian style, and he has therefore represented him, together with Hagar and her son, standing, with their hands united, in front of a building of that description; adjoining to which is the remains of a beautiful temple of the Corinthian order, only two colums of which are seen, with a tree growing among them. Abraham appears to be speaking to Hagar and giving her some bread, and at the same time points to some distant object, as if he were directing her where to go. The surrounding country exhibits |