CATALOGUE.

Hall.

No. 1.

RUBENS.

THE CONVERSION OF SAINT PAUL.

⚫ And Saul, breathing out threatenings and slaughter against the disciples of "the Lord, went unto the high priest."

"And desired of him letters to Damascus to the Synagogues, that if he found any of this way, whether they were men or women, he might bring them "bound into Jerusalem."

"And as he came near Damascus, suddenly there shined round about him, a
"light from Heaven."

"And he fell to the earth, and heard a voice, saying unto him, Saul, Saul,
why persecutest thou me ? . . . I am Jesus."

This Picture was formerly the property of M. de Montesquieu, who was one of the victims of the French Revolution. It was selected by the Commissary appointed by Government to search for objects of Science or Art, worthy of being admitted into the National Museum of France; and, having been restored to his family by virtue of the law in favour of condemned persons, was afterwards purchased, and brought to England, by M. de la Hante, who disposed of it, with the celebrated "Candle Light," by the same Master, to Mr. Hastings Elwyn. The latter Picture was purchased by Charles Duncombe, Esq. for two thousand two hundred guineas; and the St. Paul was sold, at the same time, for four thousand pounds, to Richard Hart Davis, Esq. by whom it was subsequently transferred to the present proprietor.

Of the productions of this ornament of the Flemish School, this Collection has three: but, such is the estimation of his talents, that it would be difficult to find any Collection of celebrity without some of his Pictures. Highly gifted by nature, and improved by education, he was distinguished no less as a Scholar and a Statesman, than as an Artist. He studied painting in the School of Otho Venius, from whose literary acquirements and professional excellence he derived great advantage. Rubens painted an incredible number of Pictures for public edifices in the Low Countries; and although many of his designs were forwarded by Vandyke and Snyders, who were his pupils; yet, in no Painter's works, do we discover so little of the labour of others.

Saloon.

No. 2.

CLAUDE.

THE LANDING OF ÆNEAS.

From the Altieri Palace, and Companion to No. 7.

Posterity, as well as the age he lived in, has assigned to this Master the precedence of all others in the department of Landscape Painting. He discovered no early indications of genius; but having accepted an offer to accompany some young artists to Italy, he appears, soon after his arrival at Rome, to have entered into the service of a Landscape Painter, principally with the view of preparing his colours. In this humble employment, he became acquainted with the rudiments of his art; and by continued application, he was at length enabled to maintain himself by his productions. The resources of literature were totally unknown to him; but, animated with the love of independence, he proved that a determined resolution to excel, will generally conquer the obstacles which circumstances have placed in the way. His early efforts were the effect of infinite labour, and he frequently re-painted his Pictures, again and again, until they appeared to his satisfaction.

It is worthy of remark, that the Panoramic Art, which has been so successfully followed in this country, was first practised by Claude, on the walls of a nobleman's saloon, at Rome. In this work, he introduced every variety of object and form calculated to inspire ideas of grandeur and magnificence, and the whole became one entire connected prospect.

It was the practice of this Master to insert in a book, drawings of all his Pictures, inscribing, on the back of each, the name of the purchaser of the Picture from which it was taken. One of these celebrated depositaries, called "Liber Veritatis," is now in the possession of the Duke of Devonshire, and contains two hundred drawings, which have been admirably imitated by Mr. Earlom. Many of his principal works have been engraved by Woollett, Vivares, and other eminent artists.