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Here are A fine Landscape, by Cuyp. Orlando and Olympia, a noble picture, by Hannibal Carracci.

Naaman's Story; the joint composition of Mompert, Teniers, Old Banks, and Brueghel. The composition of this picture is good, and the distant mountains fine; but altogether it is harsh, and the colours are too vivid.

A small beautiful landscape, by C. Lorraine.
An Holy Family, Raphael; probably a copy.

The Woman anointing our Saviour's Feet, by Benedetto Luti; a painting of which it is not possible to speak in terms of praise too high. Opposite to this is an equally successful effort by the same artist, the subject Cain and Abel; in which the chain of light is powerfully fine, and the terror and remorse of Cain after the murder, horribly natural.

Virgin and Child, by Parmigiano.

Sleeping Cupid, by Guido.

In the Library, over the chimney, is one of the finest productions of the pencil of Rembrandt; the subject Daniel interpreting Belshazzar's Dream. The solemnity of Daniel's figure; the attention and alarm in the different faces; the grandeur of the king; and the splendid light emanating from the mithra, or emblem of the sun, behind the king's

throne, are all indications of transcendent genius and skill.

Diogenes, a powerful figure, by Luca Giordano. Shakespeare, a copy by Vandyck. It would have been desirable to ascertain from what picture this copy was made, since commentators have not differed more on the abstruse passages of our immortal bard, than collectors have done as to the originality of heads called Shakespeare. It was for some time determined that there was no original portrait of him, but that Sir Thomas Clarges, soon after his decease, caused a painting to be made from a person nearly resembling him; then came Mr. Walpole, (whose deep researches in all questions connected with the arts justly entitle him to the character of an arbiter) with an opinion that Mr. Keck's picture, engraved by Vertue, was original; since that time a variety of heads have been discovered, and the names affixed without hesitation. Obiit 1617, Æt. 53.

Nathaniel Lord Scarsdale, and Catherine his wife, by Stone.

Old Man, half-length, by Salvator Rosa; very fine and spirited.

Andromeda, by Guido; grave in the figure, but a want of expression in the countenance.

Holy Family, by Nicolo del Abbatte.

Here are also seven copies of antique busts. The Saloon is a circular room crowned with a dome; forty-two feet diameter, twenty-four feet to the cornices, fifty-five feet to the top of the cupola, and sixty-two to the extremity of the sky-light; with four alcoves or recesses, and as many doors, the whole painted and ornamented with white and gold. The pillars that support the ceiling are of Scaglioni marble, an imitation of the verd antique, by Bartoli. Over the four doors are as many paintings by Hamilton, of Ruins; and over the alcoves four chiaro-obscuros, by Rebecca. In each of these recesses is a stove of bronze, relieved with classical representations, inclosing a grate of beautiful pattern and highly-polished steel. A chandelier, branches, and exquisite stucco-work by Rose, complete the decorations of this room, which may be pronounced to be one of the most elegant apartments in Europe.

From hence we were conducted to the south front, the idea of which is taken from the arch of Constantine at Rome; the entablature supported by four Corinthian pillars; the face of the portico ornamented with two vases, and some good reliefs; and the whole is surmounted by this liberal and hospitable motto " A. D. 1765. N. Baro "de Scarsdale amicis et sibi."

Here we took a view of the southern division of the park, which is seven miles round, and stocked with oaks of enormous magnitude, some measuring twenty-four feet in girth and one hundred and eighteen feet in height, Returning into the antechamber, we found a fine St. John, by Carlo Maratti; and a Landscape, by Heusch.

In the dressing-room, wardrobe, and principal bed-chamber, are

Lord and Lady Scarsdale, by Stone.

Ruperta, natural daughter of Prince Rupert, by Madame Hughes, an actress; by Kneller.

James Duke of Ormond, by Lely; an active character in the reign of Charles I. by whom he was nominated lord-lieutenant of Ireland; and faithfully attached to his son, whom he followed into exile; for which he was, on the Restoration, again appointed to the government of Ireland, and enjoyed other places and honours. He was created a duke 1682, and died 1688.

Of

Henry Jermyn Earl of St. Alban's, by Lely, was second son of Sir Thomas Jermyn, of Suffolk. the many who evinced their attachment to the unfortunate Charles, no one appears to have more readily risqued life and fortune than this personage; whose zeal has indeed been construed into something more than mere loyalty, as he is re

ported to have been early favoured by, and finally married to, Queen Henrietta Maria: on whom, during the troubles of her husband, he faithfully and diligently attended, through great perils and danger, for which he was rewarded with the title of Lord Jermyn; and was, for continued services to the family previous to the Restoration, created Earl of St. Alban's by Charles II. to whom he was appointed chamberlain. If he were distinguished by his courage and intrepidity in the troubled reign of Charles I. he was not less able to shine, from the elegance of his person and manners, in the licentious court of his successor; therefore we are not surprised to find mention of him in Grammont's Memoirs.

Charles I. by Vandyck.

Nathaniel Baron Crewe Bishop of Durham, one of the most despicable characters in the annals of James II. by whom he was selected as grand-inquisitor of the ecclesiastical commission, at which he rejoiced, "because it would render his name fa"mous [he might more properly have said infamous] in history." On the reverse of fortune. which deservedly attended that misguided prince, this obnoxious prelate, hoping to cancel the remembrance of his former offences, basely deserted the sovereign who had raised him, and affected to

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