posture); Lucy, second wife of the second Duke of Rutland. These portraits were all painted by Sir Peter Lely. The figure in black is said to have been painted by Van Dyck.

Passing through the dressing-room, (21 feet by 10,) we come to the

BOUDOIR OF THE LATE DUCHESS,

To this sweet apartment,

left precisely in its original state. it was the custom of the lamented Duchess to retreat, whenever an intermission in the demands of her elevated rank permitted her to indulge in pursuits congenial to her highly cultivated mind. And a more appropriate retreat can scarcely be imagined. The oriel window commands a view of those splendid masses of foliage on Blackberry-hill, in the formation of which, her own creative taste was so eminently distinguished. And amidst this beautiful scene, which she loved so well in life, it was her anxious desire to rest in death. The two silver firs, whose tops may be distinguished above the surrounding foliage, mark the spot which she had chosen for her resting-place, and the site of the mausoleum where her remains are interred.

From the other window, the landscape, though greatly varied, is, if possible, still more beautiful. The eye, passing over the foliage on the terraces immediately below the Castle, is refreshed by a beautiful expanse of water; immediately beyond which, is rising ground covered with plantations. The village of Woolsthorp, in the valley, a little to the left, with the spire of its simple church, is sufficiently distant to form a sweet feature in this scene of rural repose. At a more remote distance, the magnificent mansion of Mr. Gregory forms a terminal point for the eye to rest upon, near the horizon of the landscape.

The internal character of this room is rather that of simple elegance, than elaborate decoration. It is 22 feet 4 inches long, by 19 feet 6 inches wide; the length being increased by the depth of the bay, 6 feet 3 inches more. The ceiling is coved, and decorated with gilded mouldings and cornice. Beneath the latter there is a series of classical designs, bronzed on a warm, salmon-coloured ground, emblematic of the elegant taste, and accomplishments, and useful pursuits, of the Duchess:-Apollo and the Muses; Minerva, and female attendants with fruit and flowers; Mercury, accompanied by females holding various emblems of commerce. There are also, in single panels round the room, many repetitions of Venus and Cupid.

There are a few first-rate gems of the pictorial art in this room, intermixed with others, whose principal value is of a domestic kind.

A view of Belvoir Castle. Wright. This view gives the south-east and north-west sides, which includes the tower, in which this room is situated.

The present Marquis of Granby. Ferneley. The marquis is represented as a child on a grey pony, attended by a groom (Akerman) with dead hare and greyhounds.

Battle-piece. Van der Meulen. On panel; about 7 inches by 6. £10.

ANTHONY FRANCIS VAN DER MEULEN, born at Brussels, in 1634, was a disciple of Peter Sneyers, an eminent battle painter, under whom he improved with extraordinary rapidity. While he was pursuing his profession at Brussels, it happened, that some of his works were taken to Paris, and shown to the minister, Colbert, who was so pleased with them, that he invited him to Paris, on very honourable and advantageous conditions. His talents as a battle painter recommended him to Louis XIV., whom he always accompanied in his campaigns. He designed on

the spot the most remarkable events, and the views of the cities and fortresses which had been the scene of the most memorable victories; and from these sketches he composed the paintings, which were to perpetuate the remembrance of the king's successes. Such opportunities enabled him to attain that perfection in his art, of which his numerous works give such evidence. They are distinguished by truth to nature, excellent colouring, freedom of touch, and the happiest distribution of light and shade. No painter excelled him in designing the motions and attitudes of horses; and this induced his friend Le Brun, whose niece he married, to give to him the execution of the horses in his celebrated paintings of the battles of Alexander the Great. Van der Meulen painted, also, landscapes and other subjects with equal excellence. His principal works are at Paris; but many of his easel pictures are preserved in England, France, and Flanders. He was chosen member of the French Academy of Painting, in 1673. He died in 1690, at the age of fifty-six years. His most celebrated scholar was I. Van Huchtenburg, battle painter to Prince Eugene.

Peasants dancing. Ferg. On copper; 16 inches by 13. £40.

FRANCIS PAUL FERG, born at Vienna, in 1689, had different masters; Hans Graf, Orient, and, lastly, Alexander Thiele, painter to the court of Saxony, who invited him to Dresden, to insert small figures in his landscapes. Ferg went thence into Lower Saxony, and painted for the Duke of Brunswick, and for the gallery of Saltzdahl. He afterwards passed over to England, where he married, became involved in his circumstances, and, according to report, was found dead at the door of his lodgings, apparently exhausted by cold, want, and misery. He formed a manner of his own from various Flemish painters, though resembling Poelenberg most, in the enamelled softness and mellowness of his colouring: but his figures are greatly superior; every part of them is sufficiently finished, every action expressive. He painted small landscapes, fairs, and rural meetings, with most exquisite truth; his horses and cattle are not inferior to Wouvermann's; and his buildings and distances seem to owe their respective softness to the intervening air, not to the pencil. He

passed twenty years in England, but little known, and always indigent; unhappy in his home, and sometimes in prison: the consequence of his sufferings was dissipation. He died in the year 1738, leaving four children.

Landscape. Unknown. On panel; 13 inches by 9. Conversation-piece. Mortimer. On canvas; 13 inches by 16 £35. Soldiers, a woman, child, fish, &c.

Conversation-piece. Mortimer. Companion to the above. A pilgrim in conversation with a man and woman, who appear to be selling oysters.

Adoration of the Wise Men. Unknown. This is a small picture, of octagon shape, exquisitely finished, and sweetly coloured. In the midst of a lovely landscape are ruins of a classical character, near which is seen the group of figures. There are camels in the distance.

Landscape, with Sea and Shipping. Unknown. On panel; 11 inches by 8.

Christ feeding the Multitudes. Ferg. On copper; 23 inches by 15. £50. In the middle distance, Jesus is seen blessing the bread; assembled round him, are numerous figures, in various attitudes, on the ground. The conception, grouping, and colouring of this little gem, are first-rate. The landscape and foliage are in perfect keeping.

Ernbretstein. Sachtleven. This is a sweetly painted picture, representing the ancient fortress of Ernbretstein, on a rocky elevation, at the foot of which runs the Rhine, whose banks are enlivened with figures occupied in various ways with their boats. £30. There is marked on the back of the copper upon which this landscape is painted—“ Ernbretstein, 1660; Herman Sach Leven, Utrecht."

HERMAN SACHTLEVEN was born at Rotterdam, in 1609, and instructed in the art by John Van Goyen, a very celebrated

painter of landscapes; yet he did not confine himself to the manner of that master, but also studied the style, taste, and touch of other eminent artists. He determined, however, principally to attend to nature, as being the best and most unerring director; and, for his improvement, made abundance of sketches, drawings, and designs, which are accounted not the least valuable of his works. But the views of nature in the Low Countries, where he was born, were by no means suitable to the taste of Sachtleven, as they could not furnish him with a competent variety, there being no mountains or rocks in that tract, to diversify the scene. He therefore went to study nature on the borders of the Rhine. It is also affirmed by some writers, that he likewise visited Italy, where he improved himself considerably. He took pains to finish his pictures with extraordinary neatness; and by a light, free touch, as well as by a skilful management of the aerial perspective, he gave to his distant hills, grounds, and trees, a very happy and pleasing effect. His skies and distances are generally clear; and all his objects recede with perspective truth. Although many of the scenes which he copied from nature were not very striking, from that point of view where he stood to design them, yet he had the skill so greatly to improve, vary, and enrich them, by figures and buildings, that he made them agreeable subjects in his paintings, still preserving the appearance of the real place which he designed. The pictures of Sachtleven, painted in his best manner, are not very common, and are highly esteemed. They may be known without much difficulty, by a neatness of touch in the figures and buildings; by an endeavour to express the vapour between the eye and the objects that are remote, like Berghem and Wouvermann; and by a pleasing bluish tint in his distances. He died in 1685, aged seventy-six.

Landscape with Figures. "V. Hyde" marked at the left corner. On panel; 11 inches by 92. £35. A woman, with an ass and panniers, is proceeding to some buildings. Near a stream running between rocks, are men with nets and baskets. This little gem is in excellent preservation; the colouring is cool and refreshing; and every part is highly finished.