done.

feems to be as much fhocked as an indifferent fpectator could be fuppofed to be.-A St. John Guercino. Baptift, by Guercino; a good picture.-A Holy Rubens. Family, of Rubens, with a cradle. The Virgin is homely; the other figures very well. I think Cochin fays more of it than it deserves, although he does not think it by Rubens, but rather a beautiful copy by a fkilful painter. — Venus and Paris Bor- Cupid, by Paris Bordone. (Cochin attributes it to Tiziano.) The Venus appears to be very old in this picture, a circumstance so inconfiftent with every idea attached to this goddefs, that it nearly destroys by its abfurdity its pretenfions to merit.A Beggar, who holds a book, and is laughing Efpagni immoderately, by Efpagnioletto. Admirably natural, and very comic; although it wants an explanation, and feems to have been painted on fome particular occafion.-A large picture; very indifferent. By obfcurity of the fubject, it feems allegorical; a woman attended by her maids.-A Hero, a Fury, a Tiger, &c. This Luc.Gior piece of confufion is by Luc. Giordano. A pic

oletto.

dano.

ture which ftruck my fancy, as being very good,
though not mentioned by any of the travellers
whom I have read; it reprefents a beautiful wo-
man, preparing to ftab a fleeping warrior; but a
Cupid fufpends the affaffination, by feizing her
arm. There is great correctnefs of defign, par-
ticularly in the Cupid and the woman; the latter
is finely draped in white, and full of
grace. The
colouring has much of Guido's, a light olive and

white, fhaded to grey. Here are fome other pictures which I omit, not being fufficiently interefting to require particular notice.

Balbi.

The palace of Marchefe Francefco Maria Balbi Palace is one of the finest in Genoa; it confifts of two noble apartments on the fecond floor; under which are open galleries: pillars of the Doric order encompass these galleries, and ferve to fupport the above apartments. This architecture has a fine effect.-The firft pictures that ftrike you on entering the apartment, are a Family-portrait, finely executed by Vandyke, and a large piece by Vandyke. Capacino, the fubject Jofeph explaining the Capacino, dreams of Pharaoh's butler and baker. This is a great and capital picture; Jofeph's figure, attitude, and face are truly expreffive of his character; in the latter, the features, without being fo regular as to form perfect beauty, convey the idea of vaft fuperiority of genius above his fellowfufferers, as well as magnanimity and greatness of mind, which strongly distinguish him from his unhappy companions. The butler, who is liftening with eagerness to Jofeph, does not neglect to give a proper degree of attention to a basket of grapes, the juice of which he is preffing out with his hands. This fubject is treated in a manner that makes it very interefting; the infide of the prifon, and the infignia proper to fuch a place, have not been neglected, the colouring is agreeable. The cieling, painted by Valerio Caftelli, Valerio is a miferable performance: was I the owner of Caftelli.

this palace, I would have it white-washed over.→ Giacopo In the firft faloon, a Market, by Giacopo Baffano, Baffano. not as well as other pictures I have feen of this Tiziano, mafter. master. A large picture A large picture by Tiziano; fubject, the Adoration of the Magi. The perfonages finely

done, their colouring worthy of the author; but it is to be lamented, that he understood nothing of trees, landscape, or perspective; a most surprifing chaos occupying the back ground. A Sarzano. Baccanale by Sarzano: a fingular idea, but tolerably well executed. Andromeda chained to the

Lucio
Maffari.

Guercio Rock, by Guercio da Cento: but indifferent. A da Cento. feast given by fhepherds to Tamar; not much better. Sufanna tempted by the Elders, by Lucio Maffari the old gentlemen perfectly in character, and as much variety in their perfons and attitudes as the uniformity of their wishes admits of. As for the fair Sufanna, fhe is rather too robuft to be beautiful, and fufficiently Coloffal to have amply defended herself against the affaults of her aged admirers. In the second saloon, the Portrait of a Vandyke. Lady, by Vandyke: the face is good, the hands and drapery but indifferent. St. Francefco d'AfAnnibal fifi, by Annibal Caracci: an excellent picture; Caracci. the Saint is penetrated with the most lively devotion. A St. Jerome with Angels, by Agostino Agostino Caracci: not equal to the former. A Danae, by Paris Bor- Paris Bordone: this picture poffeffes no great merit. A Bambino and Madona: there is much foftness and roundness in the picture: but it is more amiable than great: the fampler and balls

Caracci.

done.

of

A

lando.

of worsted on a table, are well imitated. St. Catherine and two Priefts, mentioned in the catalogue as Opera Belliffima del Tiziano. I believe he would be much mortified, did he know this pic-. ture was imputed to him. Our Saviour in the Garden, attributed (as falfely) to Michael Angelo Buonarroti. A Nativity, by Luca d'Olando: the Luca d'OVirgin is red haired, pale complexioned, and homely. In a basket near her, is a cushion and bobbins, with fome lace begun, and a pair of pattins near. A Venus with two Cupids, marked in the catalogue, Opera Rara di Annibale Caracci. I believe rare enough; for he certainly was not capable of producing upon canvas such a coarse, vulgar wench, with a couple of sturdy brats. Flagellation, by Tiziano: this is so blackened by Tiziano. time or accident, that it is difficult to difcern how very fine it has been; by the little that remains you may still judge of its fuperior merit. A Portrait of a young girl, by Annibal Caracci: this is Annibal a perfect representation of the most beautiful nature. Two Ovals, which are placed to great difadvantage in the angles between the windows and doors; they are heads, one of a man, the other of a woman; the latter in particular is extremely good. They are by Gulio Cefare Proccacino.- Gulio CeIn the third faloon, a large picture; the fubject cacino. the Conversion of St. Paul. The representation of fo extraordinary a miracle has given the painter full scope for the display of his utmost abilities. St. Paul is fallen to the ground, with both his

hands

Caracci.

fare Proc

gio.

hands he partly covers his face, and expreffes more, if poffible, than had his whole face appeared; at least, the imagination fupplies the

reft better (perhaps) than could have done the Michael pencil of the famous Michael Angelo de CaraAngelo da vaggio; although he is fuperlatively great in his Caravagfigure of the Centurion, whofe amazement is excited by different motives from that of St. Paul; as the ftarting of the horse, the fall of the Saint, and the loudnefs of the thunder; for his countenance plainly indicates a total unconscioufnefs of the heavenly vifion. A blafphemous reprefentation of God the Father; this disgraces the whole picture. Befides the abfurdity of the manner of fupporting this impious reprefentation (which the attempt to reprefent is abfolutely forbid), the perfpective, or keeping, is totally wanting. However, the light is finely thrown, and the heavenly brightness oppofes and furpaffes that of the day; fo that the clare obfcure is expreffed as it were by two different lights, the former being tranfcendently more glorious than the latter. A St. Joseph Capucino. and Infant Jefus, by Capucino: the child is but Vandyke. poorly done. An Ecce Huomo, by Vandyke: a very fine picture. A Blackmoor in the background ftrikes you with horror; the painter having affembled together in this countenance all the cruelty, malice, and envy that can be expreffed in a black face, accompanied with a hideous grin. A Madona and a fleeping Bambino on her lap; a garland of flowers enclofes the figures: the child

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