LITMIR.BIZ

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are full of these pictures; and, what renders the view of them more delectable, is, the Catalogue:--printed in the English language, and of which a German is the reputed author.

      My attention, upon first running over these pictures was, unluckily, much divided between them and the vehicle of their description. If I turned to the number, and to the description in the printed catalogue, the language of the latter was frequently so whimsical that I could not refrain from downright laughter.29 However, the substance must not be neglected for the shadow; and it is right that you should know, in case you put your travelling scheme of visiting this country, next year, into execution, that the following observations may not be wholly without their use in directing your choice--as well as attention--should you be disposed to purchase. Here is said to be a portrait of Arcolano Armafrodita, a famous physician at Rome in the XVth century, by Leonardo da Vinci. Believe neither the one nor the other. There are some Albert Durers; one of the Trinity, of the date of 1523, and another of the Doctors of the Church dated 1494: the latter good, and a choice picture of the early time of the master. A portrait of an old man, kit-cat, supposed by Murillo. Two ancient pictures by Holbein (that is, the Father of Hans Holbein) of the Fugger family-- containing nine figures, portraits, of the size of life: dated 1517 and deserving of notice. An old woman veiled, half-length, by J. Levens: very good. Here are two Lucas Cranachs, which I should like to purchase; but am fearful of dipping too deeply into Madame Francs's supplemental supply. One is a supposed portrait (it is a mere supposition) of Erasmus and his mistress; the other is an old man conversing with a girl. As specimens of colouring, they are fine--for the master; but I suspect they have had a few retouches. Here is what the catalogue calls "A fuddling-bout. beautyful small piece, by Rembrand:" nº. 188: but it is any thing but a beautiful piece, and any thing but a Rembrandt.

      There is a small picture, said to be by Marchessini, of "Christ dragged to the place of execution." It is full of spirit, and I think quite original. At first I mistook it for a Rubens; and if Marchessini, and not Otho Venius, had been his master, this mistake would have been natural. I think I could cull a nosegay of a few vivid and fragrant flowers, from this graphic garden of plants of all colours and qualities. But I shrewdly suspect that they are in general the off-scourings of public or private collections; and that a thick coat of varnish and a broad gilt frame will often lead the unwary astray.

      While I am upon the subject of paintings, I must take you with me to the TOWN HALL … a noble structure; of which the audience room, up one pair of stairs--and in which Charles V. received the deputies respecting the famous Augsbourg Confession of Faith, in 1530,--is, to my taste, the most perfectly handsome room which I have ever seen. The wainscot or sides are walnut and chestnut wood, relieved by beautiful gilt ornaments. The ceiling is also of the same materials; but marked and diversified by divisions of square, or parallelogram, or oval, or circular, forms. This ceiling is very lofty, for the size of the room: but it is a fault (if it be one) on the right side. I should say, that this were a chamber worthy of the cause--and of the actors--in the scene alluded to. It is thoroughly imperial: grave, grand, and yet not preposterously gorgeous.

      Above this magnificent room is the PICTURE GALLERY. It is said to receive the overflowings of the gallery of Munich--which, in turn, has been indebted to the well known gallery of Dusseldorf for its principal treasures. However, as a receiver of cast-off apparel, this collection must be necessarily inferior to the parent wardrobe, yet I would strongly recommend every English Antiquary--at all desirous of increasing his knowledge, and improving his taste, in early German art--to pay due attention to this singular collection of pictures at Augsbourg. He will see here, for the first time in Bavaria--in his route from the capital of France--productions, quite new in character, and not less striking from boldness of conception and vigor of execution. Augsbourg may now be considered the soil of the Elder Holbein, Hans Burgmair, Amberger, and Lucas Cranach. Here are things, of which Richardson never dreamt, and which Walpole would have parted with three fourths of his graphic embellishments at Strawberry Hill to have possessed. Here are also portraits of some of the early Reformers, of which an excellent Divine (in the vicinity of Hackney church) would leap with transport to possess copies, wherewith to adorn his admirable collection of English ecclesiastical history. Here, too, are capricious drolleries, full of character and singularity--throwing light upon past manners and customs--which the excellent PROSPERO would view with … an almost coveting eye!

      But to be more particular; and to begin with the notice of a curious performance of John, or the ELDER HOLBEIN. It is divided, like many of the pictures of the old German masters, into three compartments. The Nativity occupies one; the Assumption another: and the decapitation of St. Dorothy the third. In the Assumption, the Trinity, composed of three male figures, is introduced as sanctifying the Virgin--who is in front. Below this group is the church of "Maria Maior," having two bells in the steeple; upon one of which, in the act of being tolled, is the date of 1499: upon the other, in a quiescent state, are the words HANS HOLBEIN: with the initial L.B. to the right. To the left, at bottom, is the inscription HIE LITBE GRA; to the right, below, on a piece of stone, the initial H. The third piece in this composition, the death of St. Dorothy, exhibits a sweetly-drawn and sweetly coloured countenance in that of the devoted Saint. She is kneeling, about to receive the uplifted sword of the executioner; evincing a firmness, yet meekness of resignation, not unworthy the virgin martyrs of the pencils of Raphael and Guido. Her hair is long, and flows gracefully behind. A little boy, habited in a whimsical jacket, offers her a vase filled with flowers. The whole picture is rich and mellow in its colouring, and in a fine state of preservation.

      Another piece, by the same uncommon artist, may be also worth particular notice. It is a miscellaneous performance, divided into three compartments; having, in the upper part of the first, a representation of the Agony in the Garden of Gethsemane. Our Saviour is placed in a very singular situation, within a rock. The comforting angel appears just above him. Below is the Pope, in full costume, in the character of St. Peter, with a key in his left hand, and in his right a scroll; upon the latter of which is this inscription: "Auctoritate aplica dimitto vob omia pcta"30 The date of 1501 is below. This picture, which is exceedingly gorgeous, is in the purest state of preservation. Another compartment represents our Saviour and the Virgin surrounded by male and female martyrs. One man, with his arms over his head, and a nail driven through them into his skull, is very striking: the head being well drawn and coloured. To the left, are the Pope, Bishops, and a Cardinal between St. Christopher and a man in armour. One Bishop (St. Erasmus) carries a spit in his left hand, designating the instrument whereby he suffered death. This large picture is also in a very fine state of preservation.

      A third display of the graphic talents of the Elder Holbein (as I should conceive, rather than of the son, when young--as is generally believed) claims especial notice. This picture is a representation of the leading events in the Life of St. Paul; having, like most other performances of this period, many episodes or digressions. It is also divided into three compartments; of which the central one, as usual, is the most elevated. The first compartment, to the left, represents the conversion of St. Paul above, with his baptism by Ananias below. In this baptism is represented a glory round the head of St. Paul--such as we see round that of Christ. Before them stands a boy, with a lighted torch and a box: an old man is to the left, and another, with two children, to the right. This second old man's head is rather fine. To the left of the baptism, a little above, is St. Paul in prison, giving a letter to a messenger. The whole piece is, throughout, richly and warmly coloured, and in a fine state of preservation. The central piece has, above, ["Basilica Sancti Pauli."] Christ crowned with thorns. The man, putting a sceptre in his hand, is most singularly and not inelegantly clothed; but one or two of the figures of the men behind, occupied in platting the crown of thorns, have a most extraordinary and original cast of countenance and of head-dress. They appear ferocious, but almost ludicrous, from bordering upon caricature; while the leaves; and bullrush-like ornaments of their head-dress, render them very singularly striking personages. To the right, Joseph of Arimathea is bargaining for the body of Jesus; the finger of one hand placed against the thumb of the other telling the nature of the action admirably.

      Below this subject, in the centre, is St. Paul preaching at Athens. One of the figures, listening

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