Paris as It Was and as It Is Part 13

ANDREA SQUAZZELLI (his pupil.)

N ( ) _Christ laid in the tomb_.

This capital picture is not in the catalogue.

GIORGIONE DEL CASTEL-FRANCO.

N 32. (Saloon.) _A Concert containing three portraits_.

This master-piece is worthy of t.i.tIAN.

GUERCINO.

N 33 (Saloon.) _St. Petronilla_.

This large picture was executed for St. Peter's church in the Vatican, where it was replaced by a copy in Mosaic, on being removed to the pontificate palace of Monte Cavallo, at Rome.

In the great Gallery are exhibited no less than twenty-three pictures by GUERCINO: but to speak the truth, though, in looking at some of his productions, he appears an extremely agreeable painter, as soon as you see a number of them, you can no longer bear him. This is what happens to _mannerists_. The dark shades at first astonish you, afterwards they disgust you.

ANDREA SACCHI.

N 65. (Saloon.) _St. Remuald_.

This picture was always one of the most esteemed of those in the churches at Rome. It was the altar-piece of the church of St. Remuald in that city.

ALBANO.

N 676. (Gallery.) _Fire._

677. _Air._

678. _Water._

679. _Earth._

In the Gallery are twenty-nine pictures of this master, and all of them graceful; but the preceding four, representing the elements, which were taken from the royal Cabinet of Turin, are the most remarkable.

BAROCCIO.

N 686. (Gallery.) _The Virgin, St Anthony, and St. Lucia._

688. _St. Michaelina._

These are the best pictures of BAROCCIO already exhibited. His colouring is enchanting. It is entirely transparent and seems as if impregnated with light: however, his forms, and every thing else, bespeak the _mannerist_.

ANNIBALE CARRACCI.

N 721. (Gallery.) _Christ dead on the knees of the Virgin._

723. _The Resurrection of Christ._

728. _The Nativity of Christ._

730. _Christ laid in the tomb._

Of the CARRACCI, ANNIBALE is the most perfect. He is also remarkable for the different manners which he has displayed in his works. They appear to be by two or three different painters. Of more than twenty in the Gallery, the above are the best of his productions.

MICHAEL ANGELO DA CARAVAGGIO.

N 744. (Gallery.) _Christ laid in the tomb._

This wonderful picture, which was brought from Rome, is, for vigour of execution and truth of colouring, superior to all the others by the same master. Every one of his works bears the stamp of a great genius.

DOMENICHINO.

N 763. (Gallery.) _The Communion of St. Jerome._

This picture, the master-piece of DOMENICHICO, comes from the great altar of the church of _San Geronimo della Carita_, at Rome. It will appear incredible that for a work of such importance, which cost him so much time, study, and labour, he received no more than the sum of about 10 sterling.

N 769. (Gallery.) _St. Cecilia_.

This capital performance is now removed to the drawing-room of the First Consul, in the palace of the _Tuileries_.

After RAPHAEL, DOMENICHINO is one of the most perfect masters; and his _St. Jerome_, together with RAPHAEL'S Transfiguration, are reckoned among the most famous _chefs d'oeuvre_ of the art of painting.

GUIDO.

N 797. (Gallery.) _The Crucifixion of St. Peter_.

800. _Fortune_.

These are the finest of the twenty pictures by that master, now exhibited in the CENTRAL MUSEUM. They both came from Rome; the former, from the Vatican; the latter, from the Capitol.

GUIDO is a n.o.ble and graceful painter; but, in general, he betrays a certain negligence in the execution of several parts.

LUINI.

N 860. (Gallery.) _The Holy Family_.