proved in the Baronet's
career, a surprising foil to the madness of party.

11. Landscape and Cattle. The former by _Barrett_, the latter by
_Gilpin_. Cunningham calls Barrett "an indifferent dauber;" rather a
harsh term in connexion with this picture.

18. Rape of the Lock. A picture of merit, by _Henry Wyatt_.

21. Death of Oedipus. One of _Fuseli's_ most tragical creations.

31 and 33. Landscape and Figures. _Morland._

34. Diana and Calista. _Wilson._ A beautifully poetic composition: yet
the painter lived and died nearer to indigence than ease.

35. Alexander Pope and Martha Blount. _Jervas._ Of comparatively
little interest for its pictorial merit; though Pope has enshrined the
painter in elegant couplet. If poetry and painting be sister arts,
they are rarely twin.

41 and 227. Dead Game, &c. _Blake._ Among the finest compositions of
their class. It is worth while to compare these pictures, with what
Smith, in his Life of Nollekens, tells us of Blake's colouring: "his
modes of preparing his grounds, and laying them over his panels for
painting, mixing his colours, and manner of working, were those which
he considered to have been practised by the early fresco painters,
whose productions still remain in many instances vividly and
permanently fresh. His ground was a mixture of whiting and carpenters'
glue, which he passed over several times in the coatings; his colours
he ground himself and also united with them the same sort of glue, but
in a much weaker state; he would in the course of painting, pass a
very thin transparent wash of glue-water over the whole of the parts
he had worked upon and then proceed with his finishing."

43. The Captive, _Jackson._ One of the finest pictures in the room. In
colouring it approaches the olden school nearer than any recent
specimen.

44. Carnarvon Castle, Moon-rising. _E. Childe._ A clever picture, and
altogether an interesting scene.

53. Portrait of the late Queen Caroline, and the Princess Charlotte.
_Lawrence._ One of the painter's early productions. The attitude of
the Queen beside a harp is majestic, and her figure is not of such
bulky proportion as she attained in after-life; the features are, too,
more intelligent than many beneath a crown: the figure of the darling
Princess in sportive mood, half clambering and reclining upon a chair,
is pretty. Indeed, the picture, as well from its characters as from
its merit and size, must command considerable interest