head; 11 inches by 19. £50. This is an extraordinary picture, in which the darkness from the sixth to the ninth hour is admirably represented by the natural colour of the slate.

Ponte Mola. Borgognone. On canvas; 19 inches by 15. £20. In the foreground are figures on horseback, in animated action; Ponte Mola, in the middle distance; and a hilly country in the background. The invention is excellent, the execution free; but the colours are coarsely laid on. I should judge that this picture was painted in his latter period, after he had been admitted into the order of Jesuits at Rome.

JACOPO CORTESI BORGOGNONE, called from the place of his birth, Borgognone, was born in 1621, in the city of St. Hippolite, in Burgundy (Ital. Borgogna). His father, Giovanni Cortesi, was a painter of sacred subjects, and very successful in his way. Owing to an accidental temptation, Jacopo went into the army for three years; after which he returned to his art, and studied at Bologna, where Guido, then at the height of his fame, was residing. Guido happening to see a picture by Borgognone in a window, inquired into his circumstances, and took him home with him; which, during the remaining six months that he stayed in Bologna, afforded him a fine opportunity of improving his colouring. Here he occasionally saw Albano, from whom, among other things, he learned this maxim-“That a painter, before setting to work upon any subject, should recall to mind something which he had seen in reality;" a saying, which Jacopo kept constantly in view. Baldinucci, having invited him to his house many years after, to see some of his own pictures, which he had purchased, asked him in a burst of admiration, "how he had given his battles so much truth, with expression so just, and accidents so various?" He replied, that all he had painted, he had really seen. Borgognone subsequently realised a handsome independence, and visited his native country for three years; but returned to Italy, and painted for a considerable time in Florence, with great reputation. In 1655, he conceived himself under a call to renounce the vanities of the world; and accordingly went to Rome, and begged to be admitted into the order of Jesus, and was received as a novice. During his noviciate, he

painted, at the suggestion of his fellow-monks, pictures of sacred subjects, but could not abstain entirely from such as suited his peculiar style. His religious profession did not make him idle, and he worked as vigorously as ever. He died of apoplexy, November 14, 1676. As he painted with great facility and rapidity, his pictures are very numerous. His execution was in dashing strokes, the colour laid on thick, and therefore better suited to a distant than a close view.

Holy Family.

"Bartolomeo Schidone" marked in the centre of the foreground. On panel; 10 inches by 14. £100. This is a valuable little picture for colouring, chiaroscuro, and the graceful beauty of the Virgin and children; whose flesh is of a warm, dark golden, transparent tone. Joseph is represented as very old.

BARTOLOMEO SCHIDONE was born at Modena, in 1560; and learned design and colouring in the school of the Caracci; but when he quitted that academy, he devoted himself entirely to study the manner of Correggio, and imbibed so strongly the graces and delicacies of that wonderful artist, that none ever imitated his style and lovely ideas more happily than Schidone. He was soon taken into the service of Ranuccio, Duke of Parma, and had the distinction of being appointed his principal painter. He finished for that prince several compositions of sacred subjects, and some taken from the Roman writers, extremely in the taste of Correggio; but his principal employment was, to paint the portraits of his patron and all his family; which, with those of the princes of the house of Modena, caused him to be numbered among the best masters of Italy. Most of the works of this master are in Modena and Placentia. done was noble and elevated; his style of painting is exceedingly elegant; his touch light, delicate, and admirable; and, though he is not always critically correct in his outline, yet the air of his heads is remarkably graceful, and all his pictures are finished in an exquisite manner. His paintings, as well as his designs, are exceedingly scarce and valuable; and when they are to be met with, are as frequently taken for the works of Correggio or Parmegiano. Unhappily for himself, and every lover of the art, he grew passionately fond of gaming, and indulged that appetite

The genius of Schi

so far, as to consume abundance of his time unprofitably in that amusement; to which error the great scarcity of his works is generally imputed. It is asserted, that having in one night lost a very large sum of money, much more than his fortune could bear, it affected him so violently as to occasion his death, in 1616. In the church of St. Francis, at Placentia, is preserved a capital performance of Schidone, representing the Virgin attended by several saints and angels.

Walker, the Painter, by himself. £30. He is represented as holding a drawing in his hand. This is an admirable painting, by one of the best of our portrait painters. There is a good engraving from it by Lombart, a French artist of considerable talent, who appears to have been in England in the time of Oliver Cromwell.

ROBERT WALKER, a portrait painter, contemporary with Van Dyck, is said to have derived considerable benefit from the study of the works of that master. This, however, is much to be doubted; as it is nowhere positively said, that Walker studied in the school of Van Dyck; and his manner is evidently his own. He was principal painter to Oliver Cromwell, whose portrait he painted several times. There are two capital portraits of this person by Walker, at Burleigh, one of which is said to have been presented to the Earl of Exeter, by Cromwell himself. There is another of the celebrated usurper, by the same artist, in Warwick Castle. Walker painted the portraits, also, of the principal officers of the republican army. The most memorable circumstance in the life of this master is, that one of his portraits of Cromwell was accidentally sold for five hundred pounds, to the Duke of Tuscany's resident in London; but whether he paid that immense price out of compliment to the pride and power of Oliver, or to the merit of the performance, may easily be conjectured, when it is considered that the transaction happened while the power of the usurper subsisted. Walker painted in one picture, the portraits of Cromwell and his son Richard tying his sash an idea which is borrowed from Van Dyck, in his portrait of Lord Goring. Walker died in 1658.

Landscape. Elzheimer. £15. This is a small picture,

representing, as the most conspicuous feature, a ruinous church on a rocky, partially wooded elevation. A female in the foreground is driving some goats. To highly finished execution, and warm light, there are added extreme clearness and delicacy in the gradations, especially in the intense blue sky, and the deep masses of foliage.

ADAM ELZHEIMER, or ELSHEIMER, was born at Frankfort, in 1574, and, according to the most probable accounts, died in 1620; but the statements of writers on the subject differ extremely. He became a pupil of Philip Uffenbach; but as he, in a very short time, proved a much better painter than his master, he determined to complete his studies at Rome; where he soon formed an intimacy with Pinas, Lastman, Thomas of Landau, and other eminent painters. Having carefully examined the curiosities of Rome, and the works of the greatest artists, both ancient and modern, he resolved to adopt a style of painting peculiar to himself: this was the designing of landscapes with historical figures on a small scale; which he finished in so exquisite a manner, that he was not only far superior to all his contemporaries, but is probably unrivalled in his own line by any artist of subsequent times. He designed entirely after nature; and a most retentive memory enabled him to recollect every thing that had struck him, and to make the most judicious use of it in his compositions. It is scarcely possible to speak in too high terms of the rare union of excellencies in the works of Elzheimer. He is equally admirable for the fine taste of his design, the correct drawing of his figures, the lightness, spirit, and delicacy of his touch; the beauty of his colouring; the high finishing of his works, so that the minutest parts will bear the closest inspection; and, above all, his admirable management and distribution of light and shade, and perfect knowledge of the principles of chiaroscuro; which was manifested in his pieces representing scenes by torch or candlelight, moonlight, sunrise, or sunset. Even during his life-time, his pictures bore a very high price, which was considerably increased after his death. It is lamentable to add, that he was unable to acquire affluence, or even comfort, by the exercise of his talents. He had a large family; and though he received very high prices for his works, he spent so much time and labour upon them, that he could not

subsist by what he earned. He was at length cast into prison for debt; and, though very soon released, the disgrace even of that short confinement preyed on his spirits, and he sank under his misfortunes. The Italians, who highly honoured and esteemed him, deeply regretted his untimely death; and his friend, Thomas of Landau, was so grieved at his loss, that he could no longer bear Rome, but retired to his own country. Old Teniers and Bamboccio were indebted for great part of their excellence to their study of the works of Elzheimer.

Portrait of Charles, fourth Duke of Rutland. Sir Joshua Reynolds. He is represented in the robes of the garter. A beautiful landscape in the distance, adds to the striking effect of this painting.

THE CHAPEL.

Visitors are not generally taken into the body of the Chapel; but are permitted access to it, either by the folding doors from the regent's gallery, and from this point they are enabled to have some conception of the altar-piece, by Murillo ;—or to the gallery over the altar-piece, from the private passage ;-and from this point, besides obtaining a general notion of the architectural details of the chapel, a splendid view is opened to the visitor, through the folding doors opposite, to the very extremity of the regent's gallery, or a distance of more than 160 feet. As my object, however, is to give a more permanent impression of the character of the chapel, than can be obtained from either of these points of view, we will descend to the guard-room gallery, and by a door on the north-west side enter a long passage, which conducts us to the antechapel, 19 feet 6 inches long, 18 feet broad, by about 12 feet high. This is appropriated to the accommodation of the domestics in