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houses, I mean the simple Bourgeoise ; for the noble ladies have magnificent terrasses that communicate with their apartments, and which are shaded in the most convenient manner, with Gilk awnings, and alleys formed of orange and lemon trees, in tubs. -We have destined to morrow for seeing palaces and pictures. I shall leave the customs and man, ners of the Genoese to my last letter from this place, in order to be as full as I can upon those subjects. We never let pass an opportunity of procuring information from those we converse with, in order to compare and judge of the truth by their differing or agreeing upon the same matter, &C. There arrived here yesterday two English gentlemen of our acquaintance * * * * * This has been a very agreeable circumstance to us.

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November the Sth.
I E have visited two palaces only; the days
VV being short, and the sky overcast, it was
not possible to see more pictures than these con-

tain, namely, that of Giacomo Balbi, and the Giacomo other (situated in the same street that bears their Balbi Pa- no

.name) Marcellino Maria Balbi. In both are a lace. Marcelli. great many paintings worthy the attention of the no Maria Balbina curious; but there are some few in the first, which lace.

I think Cochin says more of than they merit.

One is a St. Sebastian, large as Nature, by VanVandyke. dyke; it wants lífe, is fat, and, I think, alto

gether, one of the worst pictures I have seen by the hand of this great master —Another, representing a poffeffed woman, two old men, and a child; so very black, that I think I could safely

defy a connoisseur to shew me its merit.-A Tinto Resurrection, by Tintoretto. The ascending

figure very heavy, and poorly attempted. -- A wretched little picture (in my opinion), said by

Cochin to be une Esquise finie de Rubens, and much Lucca commended by him.-In the first faloon is a large

'picture, by Lucca Giordano, representing Diogenes seeking a man. There are two incomparable faces in the group, and a dog, who, putting him




self in a posture of defence between his master and Diogenes, shews his teeth to the latter.--A Magdalen, by Andrea del Sarto, as they pretend; Andrea

del Sarto. but I was so stupid as to mistake it for a family portrait. — Two family portraits, by Vandyke, Vandyke, large as life, of a senator of Genoa and his wife; they are very good, but resemble each other so strongly, that I was on the point of crowning one Sottise with another, by asking the Conceirge, whee' ther they were not brother and sister?-Two large landscapes, by Rubens. He has placed the point Rubens. of view so high, as to discover a greater extent of prospect than can generally be seen in Nature. One is the representation of a fat country; in the other, is a rainbow, which by its weight, and want of glow in the colouring, falls very far short of its brilliant original, -A picture of Dives and Lazarus, said to be by Jacopo Bassano.-A Car- Jacopo dinal in conversation with Luther and Calvin ; a Ballano. very fine picture; the keeping admirable, and the personages wonderfully natural. It appears to be the production of Gulio. Romano; but the Con. Gulio

Romano. ceirge attributes it to Sebastien del Piambo. There is a fly so well painted on this picture, that stran- Piambo. gers always attempt to brush it off, although it is uncommonly large, and placed in the most conspicuous part of the piece.-— The portrait of a Nun, very beautiful; (I think) by Capucino.- Capucino. Two little pictures, by Brughel, on copper, re- Brughel. presenting Adain and Eve. They pleased me much more than they did Cochin; their nice pro


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portions, the dignity and manly expression in the
face and limbs of Adam; the delicacy, softness,
and beautiful simplicity, blended with the inno-
cence which our first mother here expresses (for
probably the moment the painter chose was prior
to her acquaintance with the devil), renders the
character of this picture so amiable, that you may
look at it a considerable time, nor find its merit
diminish by the most rigid examination. Cochin
says, these pictures are highly finished; but cold,
and of a colouring void of freshness : in all which
criticism, the height of finishing excepted, he ap-

pears to be totally mistaken.--A very large picLuc. Gi- ture, by Luc. Giordano. The colouring is fine, ordano. the drawing false in many of the figures. By the

horror and agitation, with distortions, strongly ex-
pressed in the female figures, confused among the
Roman soldiers, the picture struck me, at first,
as representing the Murder of the Innocents; but,
upon a nearer examination, I perceived it to be
the Rape of the Sabines. There are two of these
Sabines, whose figures are strikingly well exe-
cuted: one, whom a soldier is lifting up from the
ground with great violence; her fright, disordered
hair, dress, and countenance are so expressive,
that I could have fancied I heard her screams: an-
other, whose back is turned to the spectators,
loses no expression by not shewing her face; her
distress is to be read in the countenance of the fol-

dier, who is forcing her away, and who discovers
· more feelings of compassion upon the occasion


than any of the others.--- Opposite to this piece is one by the fame hand; the subject, Perseus conquering his enemies, by turning towards them the Medusa's head, fixed in his shield: they transform into marble at that horrible aspect; and the painter has very ingeniously tinted these warriors, so as to represent the gradual metamorphose, from great stiffness of muscles to absolute hard marble, the carnation of the Aesh declining through the de. grees of paleness to transparent whiteness, with a variety in the effect that is admirable ; such as, one man attempting to fly, having caught a glance of the Fury's face, his features, and part of his body, are already hardened into marble, whilst his legs are endeavouring in vain to aid him to escape the petrifying power. Another, aiming a stroke of a sabre at the shield, has just time to Thew in his countenance, his horror and amazement at the coldness and impotessy of his whitening arm. -- Another, by the same author; the subject, Jezebel devoured by Dogs. This picture may not be inferior to the other two; but the history it represents is so horrible, that although I am perfectly convinced one might, on considering it, have discovered great merit, yet, after a curfory view, I could not bring myself to dwell upon the representation of a catastrophe attended with so many disgusting circumstances. There is a man on horseback in this picture, no doubt Jehu, who by his paleness, and the expression of his features, looking on at this frightful piece of justice,




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