A gen

A Wouvermans, the best I ever saw. tleman and lady on horseback; he has an umbrella in his hand, and he is talking to another horseman, who has his hat off: a man before them playing on a bag-pipe, followed by a man and woman dancing; behind, at a distance, other figures dancing to another musician, who stands elevated against a great tree.

A Landscape, by Adrian Vandervelde; very fine. A View of a Church, by Vanderheyden, his best; two black friars going up steps. Notwithstanding this picture is finished as usual very minutely, he has not forgot to preserve, at the same time, a great breadth of light. His pictures have very much the effect of nature, seen in a camera-obscura.

The inside of the Great Church at Antwerp, by Peter Neefs.

A Landscape, by Adrian Vandervelde; the Outside of a Garden: the highest and most successfully finished picture that perhaps there is in the world, of this painter; it is beautifully coloured, and has vast force. The cattle are finely drawn, and in very difficult attitudes.

A View of Campo Vaccino, by Linglebach.

The Death of Cleopatra, by G. Lairesse. Her figure is well drawn and in an attitude of great grace; but the style is degraded by the naturalness of the white satin, which is thrown over her. A woman lies dead at the foot of the bed. This picture is as highly finished as a Vanderwerf, but

in a much better style, excepting the drapery, which is not equal to Vanderwerf. Vanderwerf painted what may be truly called drapery; this of Lairesse is not drapery, it is white satin.

A Dead Stag, by Weeninx.

An Oyster-feast, by J. Steen, in which is introduced an excellent figure of Old Mieris, standing with his hands behind him.

A Woman reading a Letter; the milk-woman who brought it, is in the mean time drawing a curtain a little on one side, in order to see the picture under it, which appears to be a sea-view.-Metzu.

A large and capital picture of Backhuysen.

Three pictures of Vanderwerf; a Magdalen, Lot and his Daughters, Christ and St. Thomas. The drapery of St. Thomas is excellent; the folds long-continued, unite with each other, and are varied with great art.

A Woman at a window, with a Hare in her hand; bright colouring, and well drawn: a dead cock, cabbage, and carrots, lying before her. The name of Gerard Douw is written on the lantern which hangs on one side. The space under the window is filled with the bas-relief of boys with a goat, which he so often painted, after Fiamingo. This part is at least equally well painted with the figure.-G. Douw.

An Old Man, by Mieris, with a glass of wine and shrimps on the table; a woman behind, scoring the reckoning; a fiddle lying in the window.

Christ asleep in the Storm, by Rembrandt. In

this picture there is a great effect of light, but it is carried to a degree of affectation.

The Assumption of the Virgin, by Vandyck; a faint picture, at least it appears so in comparison of those contiguous; it unluckily hangs near a Rembrant. She is surrounded by little angels; one of them is peeping archly at you under a bundle of drapery, with which he has covered himself: this comicalness is a little out of its place. -There is a print by Vorsterman.

THE CABINET OF M. GART.

This house is full of pictures, from the parlour to the upper story. We begin at the top.

Two fine pictures of Terburg; the white satin remarkably well painted. He seldom omitted to introduce a piece of white satin in his pictures. As I reprobated the white satin in the picture of the Death of Cleopatra, by Lairesse, and make no objection here, it must be remembered that the subject of Lairesse's picture is heroic, and he has treated it in the true historical style, in every respect, except in his white satin; but in such pictures as Terburg painted, the individuality and naturalness of the representation makes a considerable part of the merit.

Dead Swans, by Weeninx, as fine as possible. I suppose we did not see less than twenty pictures of dead swans by this painter.

A Harvest, by Wouvermans.

A Canal, by Vanderheyden, highly finished, and finely coloured.

Snick and Snee, by Jan Steen.

A Butcher's Shop, an ox hanging up, opened, by Rembrandt: a woman looking over a hatch, So richly coloured, that it makes all the rest of the picture seem dry.

The Pillaging of a Village by Turks, a soldier driving off the cattle; well composed and finely coloured.-Weeninx.

A Trumpeter at a Window, by G. Douw; his face in shadow: his hand receives the principal light: admirably drawn and coloured.

St. Peter and St. Paul curing the Lame Man, by Eeckhout. Some parts of this picture are so exactly like Rembrandt, that a connoisseur might without disgrace at first sight mistake it for his.

An Old Woman with a large book before her, looking up at a bird in a cage, by Metzu: one of the best of this master.

Travellers resting on the road, their galled horses grazing by them: a Wouvermans. Two Hondekoeters.

A Conversation of portraits, by Vanderhelst..
Cattle, by Adrian Vandervelde.

Bacchanalians, by Jordaens.

Drinking and Gaming, by J. Steen, a large composition of about twenty figures, well drawn and coloured: one of the women, who has thrown her leg over a bagpipe-player, has a great degree of beauty.

- Still-life, by Van de Hende, a wonderful instance of patience in finishing, particularly a globe, of Europe.

on which is seen the map

Flowers, by V. Huysum.
A Bamboccio.

An admirable Portrait, by Rubens.

A Portrait, by Frank Hals.

A Portrait, by Rembrandt.

THE CABINET OF M. LE BRUN.

Dead Hare, &c. by Weeninx.

Tobias taking leave of his Father: his mother with a spinning-wheel.-Victor.-School of Rubens. A Fresh Gale, by Everdingen; like Backhuysen, but the light mellower.

A Woman pouring milk from one vessel to another: by D. Vandermeere.

Cattle, by Vander Does; admirable, with great facility.

A Nativity, by Poelemberg.

A Linglebach, a Vanderheyden, and a Crabache. A Group of Ships, by Vandervelde; a calm; admirable.

Flower-pieces, by Rachel Roos.

A View of a Country-house, by Berkheyden: a little harder than Vanderheyden.