Landscapes. a hilly and well-wooded scene. In the centre may be noticed a bridge, composed of a single arch, over which travellers are passing; from hence the eye discovers several buildings on a hill; beyond which is a large river or bay. Three deer are feeding on the foreground, and a herd of cows browse in the surrounding meadows. Painted in 1668, for the Count Waldestain. 3 ft. 3 in. by 4 ft. 3 in.-C. Now in the Munich Gallery. Worth 15007. 174. The Angel appearing to Hagar and Ishmael in the Desert. The subject is introduced on the foreground of a wild and hilly country, and the forlorn handmaid of Abraham is represented on her knees, with her hands on her bosom, in the presence of the angel, who, apparently, is giving her assurance of present protection, and future prosperity in her son, the latter of whom, in an exhausted state, is lying on the ground beyond them. The scene on this side is composed of a beautiful cluster of trees, growing on a high bank, and adjacent to a rocky cliff; from hence the eye looks to a distant bay, speckled with small vessels. The opposite side extends over a dell, to a river, beyond which the view is bounded. by rocky mountains. The effect exhibits the close of a fine day. Painted in 1668, for the Count Waldestain. Engraved in aquatinto. For the same subject, see Nos. 106, 133, 140, 187, and 340. Worth 800 gs. 3 ft. 3 in. by 4 ft. 3 in.-C. Now in the Royal Gallery at Munich. 175. Dianna and Nymphs reposing after the Chase. This view exhibits a classical scene, composed on the left of a ruin, Landscapes. beyond which are two small but beautiful edifices, of Grecian architecture, situate on a lake: these are perhaps intended for the temple and bath of Diana; they are sheltered by a high hill, surmounted by a castle, beyond which, are faintly perceived the distant mountains. The opposite side of the picture is distinguished by a shady grove, within the recess of which are cattle. In this secluded spot, the huntress is seen sitting at the foot of a tree, in the centre of the foreground, attended by four of her nymphs, one of whom bends on her knee by her side; another is seated, and the remaining two stand. Their dogs, five in number, and hunting implements, are near them. Painted in 1669, for the Constable Colonna. Engraved by Poretta, and Charles Duttenhofer. Now in the Royal Museum at Naples. 176. A Herdsman driving Cattle through a River. This agreeable rural scene is chiefly remarkable for a large river, which flows in an oblique direction from the right, and thence, passing round a large cluster of trees and bushes, extends to the base of the distant hills, where it is crossed by a rustic bridge, not far from which may be noticed a round tower and other buildings on the side of a hill. There is also on the right a ruin of a beautiful edifice, of the Corinthian order, standing amidst trees; and in the opposite side and front, is a herdsman, with a stick, driving ten cows and oxen through a fordable part of the stream; beyond him are seen two peasants reclining at the foot of a tree. Painted in 1670 for Signor Francesco Piapiera, counsellor, at Ratisbon. Engraved by Vivares. Etched, with variations, by Claude. 1 ft. 11 in. by 2 ft. 10 in.-C. Landscapes. This picture was afterwards in the possession of John Barnard, Esq., and Walsh Porter, Esq.; and is now in the collection of Peter Miles, Esq., of Leigh Court. 177. An Old Man, with a Woman and a Child, listening to a Herdsman playing on a Pipe. The view represents an open country of great extent, with mountains on the left; on an acclivity of which are buildings of a simple construction; one of them is of a round form; near these is a rustic bridge, over a cascade, the lower part of which is concealed by a row of bushes, extending to a cluster of trees growing in the centre of the scene. A portion of a temple, composed of two Corinthian columns, stands on the right; from hence the eye looks over a beautiful valley to a distant river. In the foreground are a youth, sitting on a bank playing on a pipe, and an aged herdsman, together with a woman and child standing before him, listening to the music. Cattle of various kinds are distributed in the surrounding meadows. Painted in 1671, for Signor Bernis, an amateur, in Denmark. 178. Priests conducting a Victim for Sacrifice. In this splendid composition, a temple of great beauty, of the Corinthian order, arrests the attention on the right. Under a noble portico, ascended by a flight of steps, stands a statue, apparently of Venus, before which are assembled a number of votaries to pay adoration; others surround the steps. Clusters of trees grow in an adjoining enclosure, and conceal the greater portion of an ancient tower; from hence the view extends to a large bay bounded in part by mountains. The left of the picture is adorned with clumps of trees, of various Landscapes. kinds, rising from a bank overgrown with low bushes; in front of this are seen issuing from among the trees, three priests, one of whom leads a sacrificial bull; the others bear implements for the ceremony; they are preceded by a youth, or a female, playing on a double pipe, in advance of whom are two women, one carries a tazza, the other has a basket on her head. Painted in 1672, for the Constable Colonna. Engraved, with variations, by Pardoni.-See also No. 182. 179. Æneas with his Father and Son visiting Helenus, at Delos. This interview between these distinguished individuals of antiquity, is represented as passing on a terrace, in front of the portal of some noble palace, on the left of the picture; three of them stand in a group, and Helenus, having his back to the spectator, points to some distant object; from hence the view, in a direct line, encounters a magnificent temple, dedicated to Apollo; adjacent to this building is a fort, with towers, situate on the bank of a seaport, the entrance to which is marked by a beacon, and commanded by a round tower Several vessels are in the harbour. On this side and front, is a bridge, composed of a single arch, over which a woman, with a basket on her head and leading a child by the hand, is passing. This admirable picture was painted for M. de Passy le Gout. 3 ft. 1 in. by 4 ft. 2 in.-C. Collection of the Countess de Verrue, 1737. Viscount Fontspertius. 1743. Now in the collection of Jeremiah Harman, Esq. Landscapes. 180. Æneas shooting Deer. This picture represents a view of a fertile country adjacent to the sea, and is composed on the left of a series of hills clothed with trees and bushes, and in the opposite side by a creek of the sea, into which the fleet of the Trojan hero has entered, and lies securely sheltered by a mass of rocks. Eneas, accompanied by his friend Achates, stands near the centre of the foreground, in the act of aiming an arrow from his bow at a deer, many of which lie slaughtered in the adjacent field, and others are bounding away to the woodlands. The effect exhibits a clear and fresh morning. Painted for Signor Paulo Francesco Falconieri.-See also Nos. 240 and 293. 3 ft. 7 in. by 5 ft. 1 in.-C. Collection of M. Lapeyrière, Exhibited in the British Gallery in 1836. 12,000 fs. 4807. 181. Jacob wrestling with the Angel. The scene offers a mountainous country, under the appearance of the dawn of day. On the left is a river, crossed by a bridge composed of four arches, the lower parts of which are concealed by bushes; a lofty tree grows at its side; from hence the ground rises in broken forms, and terminates in an abrupt hill in the centre, on the summit of which stands a temple of a circular form, and at its base are the ruins of ancient edifices. The historical event, which more particularly identifies the picture, is introduced near a cluster of trees on the right of the foreground; it represents the moment when the angel has ceased to struggle with Jacob, in consequence of the approach of daybreak, indications of which are visible in the East. At some distance may be perceived the family and servants of the patriarch, passing with their flocks and herds over the hills. Painted in |