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Wh-PRICE OF CATALOGUE, TEN CENTS-91 7- COMMMEE.

JAbIFS COllMAN. MLSSiiS. _lI. '° EDWARD PEIRKINS. _X. GEORGE W. WALE"S.

(6 B. S. ROTCII.

44 C. F. SIIIMMIN.

DIRECTOR-J. HARVEY YOUNG. STATUARY.

Nos. Subjects. Owners.

1 Copy of the Head of Apollo Belvidere. Dlrs. II. Greenough. 2 Bust of Raphael. Presented by Hon. T. 11. Perkins. Athena um. 3 Bust. R. S. Greenough. 4 Hobe Ganymede, by T. G. Crawford. C. C. Perkins. and " 5 Statue of Ceres. 6 Bust of Rubens. Presented by Hen. T. IL Perkins. Athenaeum. 7 Bust of a Vestal, by Canova. C. C. Perkins. 8 Cast of the Laoroön. Atliena; um. 9 Bust of a Child, by T. Ball. 10 Bust of W. Allston, by Clevenger. Athenaeum. 11 Anacreon, by Crawford. Athenaeum. 12 Cast of the Apollo Belvidere. Athenamin. 13 Bas-relief, CGSperauza, " by W. W. Story. 14 Bust of Judge Story, by W. W. Story. 15 Statue of a Venue at the Bath. Athenaeum. 16 Cast of the Statue of Diana hunting. Athenaeum. 17 Bas-relief. Athenaeum. 18 Bust of Napoleon. Mrs. 11. Greenough 19 Cast from the Statue of the Vatican Mercury. Athenaeum.

" The god appears standing, with a characteristic inclination of the head, musingly regard- ing the affairs of mortals. A palm-stem, which serves the figure for support, seems to indicate that lie is conceived as the director of the Pal: cstra. There is no other symbolic sign where- by he may be known, as both arms are broken of£, and the attributes lost with them. No drapery veils the symmetrical and wonderfully harmonious development of the organization. The light chlamys, used frequently as a shield for the left arm, as well as a covering for the body, is thrown over the shoulder, with one end wound around the fore-arm. The sublime serene rest which the whole figure presents, indicates the spiritual superiority with which the god administers his office. Here appears no sign of passionate emotion in the soul, although every feature indicates the highest tension of the whole spirit-life. This is with all his power repressed, which gives an appearance of rigidity. The beautiful image is inscrutable, as the inner oracle of a truly great and matchless man. The realm of art scarcely possesses a monu- ment of like excellence and completeness? '-' Kunst-Jlytlaologie, ' by Dr. Emil. Braun. "Among the statues of Mercury, the Hermes of the Belvidere has by far the first place, - the same that went, strange to say, under the name of ' the Antinoüs of the Vatican. ' It is an ever-young prototype of the body ennobled through athletic exercise, as the broad, glorious But breast, the strong yet delicate limbs, the light, quiet pose, plainly indicate. over the whole figure rules a truly godlike spirit, which perfectly subordinates every special attribute. It has, I might say, a more lofty, eternal presence than all mortal athletes, in whom the effect of a, completed or the preparation for a coming exertion, is conspicuous. And what a wonderful head 1 It is not only the amiable, gracious Ilernmes, but truly lie ' dear to supernal and infernal gods, ' the Mediator between two worlds. Therefore a shade of sadness rests upon this youth- ful countenance as becomes the undying Marshal of the Dead, who sees the going down of so much life. The sweet, youthful melancholy, which is so equivocally nixed in the Antinoiis, is here expressed with perfect purity. "-BurclJiardt. STATUARY. 3

Nos. Subjeots. Owners.

20 Cast of an antique fragment of a Statub of 'Hercules, called The Torso. Athenoeum. 21 Casts of the celebrated Statues, called Day and Night, by Michael Angelo. Athena; um.

The originals of these casts (which form a part of the monument erected in honor of Juliau in St. Lorenzo Florence, di .Medici, the church of at ) tire universally considered among the most sublime and poetical conceptions of Michael Angelo. For minute criticisms of this triumph of modern art, we would refer the reader to the description, by Vasari, and the opinions of other distinguished writers on the Arts. The casts were presented to the late Col. T. Ii. Perkins, by our townsman, Horatio Greenough, when residing in Florence, and have recently been presented to the Athcinxum by the executors of the former.

Extract from "historical Sketches of the 0141Painters. " Michael Angelo deeply deplored the unhappy state of Florence. The lines written by him, under the figure of Night, are expressive of the state of his feelings. Though the softer elements of his character had not been fostered by maternal kindness, there was not wanting a deep spring of sensibility, which circumstances sometimes caused to overflow. Under the celebrated statue of Night, which had been intended for the tomb of Julian di Medici, Baptist Strozzi wrote the following lilies: - " Night whom thou seest so calmly sleeping, Was by an angel formed, Though by this marble held in keeping, By life the figure's warmed. Yet, should thy mind of doubt partake, Thou need'st but speak, and she '11 awake.

"Michael Angelo shortly after observed the writing, and with an emotion which fully evinced his sensibility, wrote this reply in the person of Night. " Grateful to inc is this repose; More grateful still to be of stone, While o'er any country evil flows, To sec nor feel is peace alone. Then let me sleep o'er ills forgot; Speak low II pray thee, wake nie not. "

Day's eyes are breaking hold and passionate Over his shoulder, and will flash abhorrence On darkness, and with level lotiks meet fate, When oucc loose from that marble Jilin of theirs : The has dreams in her " -Night wild sleep. " Casa Guidi II"indomes."-31ns. BROW SLNG.

22 Cast from the Bas-relief of Antiopa. Atliena um. 23 The Shipwrecked Mother and Child, by E. A. Brackett. 24 Cast of the Bust of the Colossus of the Quirinal. Atheneum. 25 Cast from the Statue of the Venus of Milo. Athena um.

11The statue of Aphrodite, which was found at the beginning of this century on the Island of Melos, presents to us an ideal of this goddess of such august features, that the skilful, by close examination and reflection, are brought to the conclusion that this type must have been Greeks, the birth of a time in which the conception of Venus in the plastic imagination of the was not yet fully u-1-ought out, and, indeed, only prefigured. One can easily conceive that the age, which had brought to ripeucss in a surprisingly short time the artistic ideal of Zeus, of 4 STATUARY

Nos. Subjects. Owners.

Athene, of Here, and of Poseidon, could not be exactly in a position to Incarnate a presentment of the Deities wholly opposite to these in idea. Everything must bide its time. Mythological ideas, than time for their development. The Aphrodite Melos is more all others, need , of a pe- culiar illustration of this fact. Indeed, the thought forces itself upon its, that we must place this in a different category from all other known statues of Aphrodite, and consider it as a prophecy only of the ideal of Praxiteles. We are constrained to this conclusion if we begin, after the manner of modern criticism, with an abstract consideration of the features. But things, assume another appearance if we retire a little and contemplate the work as a whole. Then the forms of the body so truly impressive and fill], and, at the same time, so tender aid alluring, and the attitude and keeping of the whole figure permit us to think only on Aphrodite. drapery, This proceeds not only from the disposal of the from the pose and' the motion, but from every single sweep of the noble outline. Over all we see the glory of feminine culture brought to the fragrant fulness which announces the perfect flower. Every spark of self Is ex- tinguished, and she gives herself to the ether, into which she yearningly gazes. This moment of life's May is so rich, so great, so moving, that all three factors of earthly existence seem to unite in it, and that, in this wonderful vision, as it were, the whole future so announces itself that there were neither need of any further revelation, nor that we should have to wait for the ripening of the fruit in order to possess the true and complete Avatar. "-Dr. Braun's ' Kunst Mythologie. '

26 Bust of Daniel Webster, by Powers. Athena um. 27 Cast, from the Statue of the Piping Faun. Atlenaum. 28 Little Nell, by Ball Hughes. Atlienxuni. 29 Bust of Loamini Baldwin, by Powers. Heirs of Loanuni Baldwin. 30 Cast of IIoudon's Bust of Franklin. Atheneum. 31 Cast of Venus at the Bath. Atheneum. 32 Cast of Achilles' Shield, by Flaxman. E. N. Perkins. 33 Cast of the Venus of the Capitol. Atli ena,,uin. 34 Cast from IIoudon's Bust of Lafkyette. Athenaeum. 35 Bust of Lyman Beecher, D. D. 36 Cast of the Colossal Bust of Antinoüs. Athenanim. 37 Marble Group, by IT. Greenough. 38 Cast of a Bust of Beethoven. C. C. Perkins. 39 Bust of Wendell Phillips, by J. A. Jackson. Athenaeum. 40 Cast of the Bust of Marcus Aurelius. Athenmini. 41 Statue of' Venus Victrix, by H. Greenough. Athenaeum. 42 Bronze Statue of Boy and Eagle, by It. Greenough. Athenaeum. 43 Cast from the Statue of Boy extracting a Thorn from his Foot. Athentwn. 44 Cast of the Bust of Charlotte Cushman, by S. Wood. Athenwum. 45 The Shepherdess, by T. G. Crawford. R. M. Mason. 46 Statuette of' Dante, by Dupre. C. C. Perkins. 47 Cast from the Statue of Menander. Atlienteuni.

" This Statue, grand, yet facile in style, is the most beautiful of the seated and draped por- trait-statues known to us. It was found on the Viminal. '-Cataloyae of the 1-aticata. " Amongst the draped, sitting statues, those in the Vatican of the comic poets Mcnaider and Posidippus have a conspicuous place; especially the former, who, so graceful in mien and pose, 80 earnest and at the saute time so genial, seems prepared to appear as a bufroon or as a genius, according determine. "-IIurcxkhardt. as circumstances shall , STATUARY. 5

Nos. Subjects. Owners.

48 Bust of Napoleon, by T. Ball. 49 Orpheus, in Marble, by T. G. Crawford. Athenmum.

Orpheus having charmed Cerberus to sleep, presses on with straining sight through the dark cavern to the realm of Pluto.

50 Cast of the Colossal head of Juno. Athena im. 51 Cast from the Statue of Minerva Polias. Atllenxum.

Cast from the statue of Minerva Polias, (commonly called the Giustiniani Minerva. ) " The most famous and beautiful of all the statues of Pallas which have come down to us, is in its formerly Giustiniani that one, -so admirably preserved essentials-which graced the col- lection, and now has a prominent place among the glories of the Braccio Nuovo, in the Vatican. The common but erroneous title of ` Minerva Medica, ' arose from the fact that a serpent lies at her feet. This symbolic attribute had, in all probability, a more comprehensive. signification than the snake of Asklepios, and suggests rather the serpent which was preserved on the Akropolis in the temple of the protecting goddess, Athene Polias, as a sacred pledge. ** I As well as protector of the olive-tree, she was also worshipped as the Goddess of Peace, and as such is she represented in this statue. 11The expression of her august features is mild and lovely; but the concentrated, earnest look announces clearly the firmness with which she knows how to defend peace and order, should these priceless benefits to her favorite state be at any time endangered from without. "The spiritual power which Pallas represents, seems in this sculpture to reach its highest expression. She reveals herself as poetical Wisdom, and illustrates in the most perfect man- ner the lofty conception which the Ancients had of the higher economics. While Zeus reigns in heaven, Minerva is his vicegerent on earth. The father of gods and men is the central motive power of integral humanity, while Pallas assumes the protectorate of individual states, as well as elect heroes, and is helpful and propitious to all those which are the repositories and patrons of Ifcllenic culture; while all those which are barbaric, rude and overbearing, are her aver- sion. What sentiments and feelings are well-pleasing to her, a glance at this image-so earnest, so exalted, and yet so gracious-teaches. "-'Kunst-JTythologie, ' von Dr. Find. Braun.

52 Cast from the Statues of Antinoüs. Athenaeum. 53 Cast of a Colossal Head of Jupiter. Athenaeum. 54 Innocence, by Bien-aime. R. Al. Mason. 55 Cast of the Statue of Silenus with the Infant Bacchus. Athenmum.

This is numbered among the most celebrated productions of ancient art. "The Borghese Silenus is, beyond question, the noblest of all the images of the Instructor of Bacchus which have come down to us. It is one of those glorious, purely-human representa- tions which perfectly content the eye, the understanding, and the feelings. The invention, ar- rangement, purity of the outlines, and consummate elegance of the forms, equally demand praise and excite astonishment. From the workmanship generally, and from the hair in par- ticular, we may infer that this work belongs to the most flourishing period of art. It may also be reckoned among those which have been admirably well preserved. It was found among the " ruins of the garden of Sallust. In regard to the statue, Visconti remarks ***" Images which represent the primitive Silenus are rare. Although the poets and writers of satires travesty him as old, very fat, and pot-bellied, resembling a wine-skin, de- formed, as Lucian caricatures him, and as lie is often represented on bas-reliefs, in the Bacchic scenes, upon Sarcophagi, so common in museums, still the original character of Silenus is much more noble, since he is understood to have bred and educated Bacchus or Dionysus, in whom Is personified the uncivilized state of the world, and its passage from a rude to a more cultivated condition. *** In the more ancient Theogony, Silenus was regarded as the depository of

-- 6 STATUARY.

Nos. Subjects. Owners.

Instructor, he science, which, in his capacity of communicated to Bacchus, who made use of it to civilize mankind, still in a rude and savage state. "'Phis figure, which falsifies all the erroneous notions entertained of Silenus, shows him in his original character as the foster-father and instructor of Bacchus. Now this latter, taken in a moral sense, is nothing more than a symbol of the refinement of the world from a state of barbarism, and the former is a symbol of the knowledge which had nurtured, guided and as- his foster-child, lie is his is sisted hins. Like naked; aspect noble and afl'ectjonate, as suitable to the educator of a god, whom he holds in his arms and presses to his bosom. The child is caressing him in turn, and gracefully extends his. hand. - to the other's cheeks. His head is bald; the goat-ears, -denoting an origin in common with the Satyrs and Panisci, and partak- ing of the bestial and the Iuunan, -and the panther's skin, upon the left arm, are attributes which show that Sileaus possesses two natures, a mortal and a divine, a material and an intel- lectual. His nose is that, his face broad, and the expression composed of hilarity, benevolence and sagacity. The wreath of ivy-leaves and icy-berries around the head of earth, tells of the perpetual youth of Bacchus, and the strength and sweetness of the bonds with which barbar- ism binds the minds of men"-Rotes to Lodge's tresnslatiouof lr'iaclclmau's History of Ancient Art.

56 Cast from a Statue of an Athlete. Atltenxum. "The Athlete, a semi-colossal statue, was found in the Vicolo delle Palme in the Trastevere. So admirably had this statue been preserved, that although one arm and both legs were broker., none of the pieces were missing, and the only restoration necessary was a small fragment of the nose, which has been carefully added by rirofessor Tencrani. It is of Greek marble, and represents a wrestler, or athlete, In the act of cleaning his arm with a 'strigil. ' Signor Canina, the director of the excavation in which it was found, and the Roman artists generally, regard declare it as a work of the highest art, and it to be the production of Lysippus (B. C. 325), 'to which is said, by Pliny, in the 34th book of his Natural History, have so pleased Tiberius, that the Emperor caused it to be transported from the baths of Agrippa to his own palace. To the objection that Pliny's description applies to works in bronze, and not to works in marble, Canlna replies, that it may be a repetition of a bronze by Lysippus, whose well-known boast that lie represented men not in their perfect forms, but such as they appeared, is considered to this figure. If this hypothesis be the Is very applicable correct, statue the first work of Ly- is sippus which has come down to us, and additionally interesting as being one of the few men- tioned by I'liny. Whatever be its origin, it is the only example which has yet been found, in statuary, of an Athlete smoothing or cleaning his skill with a strigil, though many pictures of such figures may be seen on Etruscan vases. The present statue is holding the strigil with his left hand, and is polishing with it his right arm which lie holds extended for the purpose. His countenance is ideal; his head is rather small, his neck rather thick, and his shoulders show vigor and force, while his legs hardly surpass the natural size. This apparent incongruity is by the Roman indicating that the explained artists as sculptor wished to represent not only a wrestler but a runner; his strength being shown by the size of his shoulders, his small head, in the Hercules; his and his short neck, as statues of while lightness and quickness in running are shown by his legs, which are strong, nervous, and rather long. "-Vurray.

57 Cast from a Statue of the Barberini Faun, asleep. Atlien eum. " The beautiful Barberini sleeping Faun is no ideal, but an image of simple, unconstrained nature. "- lFbickelmann. " The sleep in which he lies sunk after fatigue, and the relaxation of all the muscles of the limbs, are expressed in a manner which cannot be improved; it is, indeed, inimitable. We can hear the deep how the how almost respiration, see wine swells the veins, the excited pulses beat. "

58 Cast from the Statue of Demosthenes. Athenoeum. Greece is in " The great orator of represented this figure with all the nobility and perfection Art, above all, in the expression the of which appears, of countenance and in the anatomy of the left arm. It was found in the Villa Aldobrandini, at Frascati. "- Vatican Catalogue. STATUARY. 7

Nos. Subjects. Owners.

59 Cast of the Statue of Sophocles. Atheneum. 60 Cast from the Statue of the Fighting Gladiator. Athena3um. 61 Cast firohi the Statue of Discgbolus. Atllenjeum. 62 Cast from the Statue of Discobolus. Athena um. 63 Cast from the Statue of the Dying Gladiator. Athenaeum.

Dlontfauton and Maffei supposed that it is the Statue by Ctesilaus, the contemporary of Phidias which Pliny describes as "a wounded man dying, who perfectly expressed how much life was remaining in him. "-11urray. One of the most accurate of critics, John Bell, describes the anatonny of the dying Gladiator as perfect in every respect. " It is, ' he says, "a most tragical and touching representation, and no one can meditate upon it without the most melancholy feelings. Of all proofs this is the surest of the efrcct produced by Art. Although not colossal, the proportions are beyond life, perhaps seven feet; and yet front its symmetry it does not appear larger than life. The forms are full, round, and manly; the visage mournful; the lip yielding to the effect of pain; the eye deepened by despair; the skin of the forehead a little wrinkled; the hair clotted in thick, sharp-pointed locks, as if from the sweat of fight and exhausted strength; the body large; the balance shoulders square; the well preserved by the hand on which lie rests; the limbs firmly rounded; the joints alone are slender and fine. No affectation of anatomy here; not a muscle to be distinguished, yet the general forms perfect as if they were expressed. The only anatom- ical feature discernable is that of full and turgid veins, yet not ostentatiously obtruded, but seen slightly along the front of the arms and ankles, giving, like the clotted hair, proof of violent exertion. The singular art of the sculptor is particularly to be discerned in the extended leg; by a less skilful band the posture might have appeared constrained; but here, true to nature, the limbs are seen gently yielding, bending from languor, the knee sinking from weakness, and the thigh and ankle joint pushed out to support it. The forms of the dying Gladiator are not Apollo; it is ideal or exquisite, like the all mature, all feeling! It was found at Porto d'Anzia, by Cardinal Albuni, about 1-,-, 0, and was for some time in the galleryat the villa Ludovisi, from which it was purchased by Clemept XI1. "-1furray. "I see before me the Gladiator lie: He leans upon his hand - his manly brow Consents to death, but conquers agony, And his drooped head sinks gradually low - And through his side the last drops, ebbing slow From the red gash, fall heavy, one by one, Like the first of a thunder-shower; and now The arena swims around him - he is gone, Ere closed the inhuman shout which hailed the wretch who won.

lie heard it, but he heeded not - his eyes Were with his heart, and that was far away; lie reeked not of the life lie lost, nor prize. But where his rude but by the Danube lay, There were his young barbarians all at play, There was their Dacia n mother - lie, their sire, Butchered to make a Boman holiday. All this rushed with his blood-shall lie expire, And unavenged? Arise, ye Goths, and glut your ire! " -Childe Harold. 64 Bronze Cast from the Mask of Napoleon's Face. Atheneum. 65 Venus di Medici. Presented by Mrs. Geo. G. Lee. Athcnaum. 66 Diana, by G. Al. Benzoni. J. Davis. 67 Rebecca at the Well, by C. B. Ives. J. Davis. 68 The Pet, by J. Gott. J. Davis.

0 PAINTINGS ON THE STAIRCASE

[OWNED BY THE ATIIE\. F. li)I. ]

Nos. Subjeots. Artiste.

1 The Angel warning Joseph to flee into Egypt, after A. Caracci. 2 Holy Family, after 111urillo. 3 The Indian Captive. R. W. Weir. 4 King Lear. Benjamin «rest. 5 The Cottage Grandfather. Russell. 6 Judith with the Head of Holofernes, after Guido. 7 Playing at Marro. 8 Hagar and Ishmael. 9 The Angel appearing to the Shepherds. T. Cole. 10 Christ curing the Blind 11 St. Paul. 12 Daniel Webster. C. Harding. 13 Chief Justice Marshall. C. Harding. 14 Gov. Winthrop. 15 Jacob at the Well, itfter Murillo. 16 The Archangel binding Satan, after Guido. Chatelaine. 17 Landscape. 18 Storm and Shipwreck. Ilue. 19 Sheep. 20 Flaying of Marsyas. Lucca Giordano. 21 Landscape. 22 Patrick Lyon. Neagle. 23 Judith with the Head of Holofernes, after C. Allori. 24 The Garden of Love. 25 Holy Family. 26 New York Scenery. A. Fisher. 27 Garden Scene. Watteau. 28 Portrait of Guido, after Guido. 29 Magdalen. 30 Fruit and Flowers. Peter Boel. 31 Flowers. 32 Washington. PýI1 TINýS IN THE GALLERY. . [OWNED BY TIIE ATIiEN1F. CrL]

Nos. Subjects. Artists.

33 Landscape. J. R. Brevoort. 34 Playing the Guitar, after Metzu. J. G. Chapman. 35 Playing the Violin, after Terriers., J. G. Chapman. 36 Portrait of Vandyck, by himself. 37 Christ and the Wotan of Samaria. 38 The Student. Allston. 39 William Smith Shaw. Stuart. 40 Martha Washington. Stuart. 41 Washington. Stuart.

"A letter of Stuart's, which appeared in the New-York Evening Post, in 1833,attested by three gentlemen of Boston, with one from Washington, making the appointment for a sitting, proves the error long current in regard both to the dates and the number of this artist's original portraits of Washington. Ile there distinctly states that he never executed but three from life, the first of which was so unsatisfactory that he destroyed it; the second was the picture for Lord Lansdowne; and the third, the one now belonging to the Boston Atheneum. The finish- ing touches were put to the one in September, 1795, to the other, at Philadelphia, in the Spring of 1796. This last, it appears by a letter of Mr. Custis, which we have examined, was undertaken against the desire of Washington, and at the earnest solicitation of his wife, who wished a por- trait from life of her illustrious husband, to be placed among the other family-pictures, at Mount Vernon. For this express purpose, and to gratify her, the artist commenced the work, and Washington agreed to sit once more. It was left, intentionally, unfinished, and when subse. quently claimed by Mr. Custis, who offered a premium upon the original price, Stuart excused himself, much to the former's dissatisfaction, on the plea that it was a requisite legacy for his children. "-Putnam's Magazine, 1855. 42 Gilbert Stuart. Neagle. 43 William Wirt. H. Inman. 44 Head of a Jew. Allston. 45 William Tudor, after Stuart. T. Sully-. 46 James Perkins. Stuart. 47 Martyrdom of St. Sebastian, after Guido. 48 Landscape, with Figures. Ruy sdael and Berghem. 49 Isaac of York. Allston. 50 Hannah Adams. C. Harding. 51 Rammohun Roy. R. Peale. 0 " 10 PAINTINGS.

Nos. Subjects. Artists.

52 The Independent Beggar. L. L. Waldo. 53 Benjamin West. Allston. 54 Landscape with Figures, after Cuyp. 55 The Young Artist. T. M. Burnham. 56 Horatio Greenough. J. G. Chapman. 57 Benjamin West, after Sir T. Lawrence. C. R. Leslie. 58 Sortie at the Siege of Gibraltar. Trumbull. 59 Count Eberhard, of Wurtemberg, lamenting over the body of his son.

The youthful Count wields his heroic blade with lion heart. Wild terror flies before him; behind him loud laments and shrieks are heard. Death falls on every side. But woe I all, woe! upon his neck descends the heavy sabre's blow. On the instant they spring from the ranks around to save him-but all in vain. Ills eye glares, and sense is fled in death. Over- whelmed, they pause in the career of victory! grief checks both friend and foe. When loud is is heard the father's shout-My son but a man, like you -On, Children, to the foe! " Now return we to the camp with joyful sound of horns, -our wives and children sing the song of victory, -and with the clank of beakers and the dance's merry whirl they celebrate our feats. But the old Count! it-hat does he now? The prostrate body of his son before him, $te sits alone in his tent, and, while his eyes are fined with tears, he thinks upon his son. " See Schiller's Ballad of Count Eberhard, the Weeper of \Vurtemberg. 60 The Arch of Octavius. A. Bierstadt. 61 Mount Washington. W. A. Gay. 62 Picture Gallery, containing Views in Modern Rome. Pauini. 63 Holy Family. W. Page. 64 Ecce Homo. 65 Interior of a Chapel. Frazer. 66 Capture of a French Ship by Lieut. Hull. Salmon. 67 Rembrandt, after Rembrandt. 68 Head of Annibal Carracci. 69 Portrait of Rembrandt. 70 Commodore Hull. Stuart. 71 Priam receiving the dead body of Hector. Trumbull. 72 Lawrence Washington. 73 Interior of St. Peter's. Panini. 74 Landscape. Boquet. 75 Miniatures. Saunders.

" TIIE DOWSE COLLECTION.

[OWNED BY THE ATIIGN. CU: 11.]

Nos. Subjects. Artists.

76 Portrait of Thomas Dowse. Df. wight. 77 Holy Family. 78 Holy Family, after Raphael. 79 Marriage of St. Catherine, after Parmigiano. Ilodgson. 80 Christ appearing to St. Peter. A. Caracei. IIodgson. 81 The happy Shepherds, after Berghem. Craig. 82 Girl with a IIorn-book, after Schidone. Tomkins. 83 Landscape, after Claude. Craig. 84 Madonna and Child, after Correggio. Tonikins. 85 V illage Festival, after Wouvermans. 86 Nativity, after Gnirlaud

Nos. Subjects. Artists.

107 I-Iead of a Girl. M. Grenze. 108 Infant Christ, after Guido. Violet. 109 Meeting of Mary and Elisabeth, after S. Del Piombo. Toulkins. 110 Madonna and Child, after Raphael. Hodgson. 111 Landscape and Figures, Mid-day, after Claude. Craig. 112 Madonna, Infitnt Christ, and St. John, after An- drea Del Sarto. Tonikins. 113 Diana and Acteon, after Titian. Violet and Tomkins. 114 Landscape and Figures, after Claude. Craig. 115 Portrait of Himself, after G. Dow. Craig. 116 Lot and his Daughters, after Guido. Tomkius and lrodgsou. 117 Madonna, Infant Christ, Elizabeth, and St. John, after A. 1)el Sarto. Tomkins. 118 St. Amand receiving St. Babo, after Rubens. Uwins. 119 Samuel and his Mother, after Hembrandt. Violet. 120 The Smokers, after Terriers. Strutt. 121 Christ in the Sepulchre, after Guercino. Violet. 122 Landscape and Figures, after P. Potter. Craig. 123 Interior of a. Cottage, after Ostade. Strutt. 124 The Story of Calisto, after Poussin. 125 Rachel secreting the Household Gods of Laban, after Murillo. Craig. 126 Christ calling Peter and Andrew, after Domenichino. Hodgson. 127 Vision of St. Augustine, after Garof'olo. Hodgson. 128 Baptism of Christ, after Dometiichino. 129 Jesus led from the Garden of Gethsemane by the High Priest, after Guerciuo. 130 Fruit. L. Hysum. 131 Madonna and Child. 132 Sunset. 1; 3 Flowers. Specekaert. l: t1 Head of a Girl. Grimani. PAINTINGS LENT TO THE SANITARY FAIR EXHIBITION.

Owners. Nos. Subjects. Artists.

135 Rembraudt's Family. Mrs. S. Blake. 136 Landscape. Salvator Rosa. Oliver Brewster. 137 Sir Walter Scott. C. R. Leslie. George Ticknor. 138 Lady Temple. Stuart. R. C. Winthrop. 139 Lady Temple's Daughter. Stuart. R. C. Winthrop. 140 Epos Sargent, 1756. Copley. .T. J. Dixwell. 141 Belshazzar's Feast. Allston. Mrs. Allston. 142 Portraits. A. Kauffman. R. L. Apthorp. 143 Mrs. C. Osborne, 1764. Copley. J. J. Dixwell. 144 Jan Van Olden Barnevelt. l?lirevelt. W. C. Green. 145 (L The Cardinal. " Quentin Matsys. C. R. Codman. 146 Battle Piece. Unknown. A. C. Baldwin. C. G. Loring. 147 Madonna del (, ran Duca. After Raphael. 148 Nativity. Carlo Maratti. W. C. Green. 149 Magdalen. Carlo Cignani. Mrs. S. Cabot. W. C. Green. 150 Triumph of' Love. Albano. J. M. Beebe. 151 Rarriage of Cana. P. Veronese. 152 Roman Ruins. 1lfommers. W. C. Green. 153 Charity. Schidone. AV. C. Green. 154 Madonna. P. del Vaga. J. M. Codman. 155 Candle-light. Schalken. J. M. Codman. 156 Interior Hotel do Ville, Ghent. J. Breughel. J. M. Beebe. C. G. Loring. 157 Madonna and Child. C. Maratti. G. W. Wales. 158 Marriage of Tobias and Sara. Viliverti. 159 A Musical Party. Jean le Due. J. M. Beebe. R. R. Apthorp. 160 Marriage of St. Cathel"ine. After Corregbio. 161 Ecee Homo. Solario. R. C. Winthrop. 162 Louis XIV. P. Mignard. A. C. Baldwin. R. C. Winthrop. 163 Repose in f; gypt. Domenichino. 164 Venetian Girl. Unknown. Miss Cleveland. 165 Roman Ruins. Moimners. W. C. Green. 166 Holy Family. Raphael Mengs. George Ticknor. 167 Holy Family. Ghirlaudajo. P. C. Brooks. 168 St. John. A. del Sarto. P. C. Brooks. 169 Eternity. Calvert. G. W. Wales. 170 The Mountebank. Canaletti. Ignatius Sargent. 171 Holy Family. Palma Vecchio. T. G. Appleton. Mrs. P. Jackson. 172 Lorenzo and Jessica. Allston. 14 PAINTINGS.

Nos. Subjects. Artists. Owners.

173 Sunset. Allston. J. M. Colman. 174 Valentine. Allston. George Ticknor. 175 The Sisters. Allston. Wm. Gray. 176 Beatrice. Allston. Mrs. S. A. Eliot. 177 Italian Landscape. Allston. Mrs. S. A. Eliot. 178 The Coquette. G. S. Newton. Will. Gray. 179 The Mantilla. G. S. Newton. Wni. Gray. 180 The Importunate Author. G. S. Newton. E. N. Perkins. 181 Cattle Piece. W. de Heres. Mrs. Hayward. 182 Cattle Piece. Berghem. C. G. Loring. 183 Moonlight. Vanderneer. C. G. Lorin-. 184 Landscape. Ruysdael. I. Sargent. 185 The Market. Demarne. Ogden Codman. 186 Landscape. D. Teuicrs. J. M. Codinan. 187 Landscape. Ruysdael. J. Al. Codman. 188 Sheep and Goats. J. Vander Does: J. 11. Codman. 189 Marine. Vandervelde. R. Codman. 190 Cattle Piece. IV. de IIeres. Dirs. Hayward. C. 191 Halt of Cavaliers. Le Prince. R. Codman. 192 Village Festival. Teniers. Ignatius Sargent. 193 Village Inn. Ostale. C. R. Codman. 194 Camp Scene with Prince of Orange. V"andermculen. IV. C. Green. 195 hunting Sceue. P. de Laer. R. C. Wintlin; jp. 196 Chapeau Blanc. Grenze. 197 Musicians. LTnl. nown. Dr. Alifllin. 198 Hunting Party. \Vy uants. S. Blake. 199 Lady. Torburg. G. 1V. Wales. 200 Children in a Tub. A. Vaccaro. A. C. Baldwin. Ignatius Sargont. 201 Canal - Holland. 202 The Flower Girl. Unknown. D. Scars, Jr. 203 Sybil. Unknown. Ignatius 204 Female Head. Grenze. J. M. Codman. 205 Rustic Scene. Teniers. Ignatius Sargent. 206 Village Inn. Ostale. J. M. Beebe. 207 Landscape. Ruysdaei. R. Codman. 208 Interior of Cabaret. D. Teniers. 0. Codman. 209 The Guitar. Pater. R. Codman. 210 Still Life. Dc IIcem. 0. Codnul. 211 Girl's Mead. Grenze. Ignatius Sargent. 212 Boy's Head. Unknown. Dr. Dlifflin. 213 Sheep and Fowls. Van Severdouck. T. IV, igglesworth. 214 Scene from 'The Barber of Seville. ' B. Jov. T. Wigglesworth. 215 Deer at Gaze. IIiacklev. T. Wigglesworth. 216 Love-letter. A. Le Baron. Ignatius Sargent. 217 Italian Scenery. A. A'crtnnni. P. C. Brooks. 218 The Drawing Lesson. J. Patrois. II. J. Gardner. 219 Winding the Skein. Ed. Frere. H. J. Gardner. 220 The Reading Lesson. J. Patrois. H. J. Gardner. 221 Landscape. F. Church. 11. D. Clary. PAINTINGS. 115

Nos. Subjects. Artists. Owners.

222 Horses at the Ford. S. F. Jones. W. II. Gardner. 223 English Lake Scenery. C. R. Stanley. AV. II. Gardner. 224 Roman Peasant W. IIunt. T. Lee. 225 Landscape. W. Williams. Mrs. Hayward. 226 The Letter. P. Seignac. Ignatius Sargent. 227 Beverly Shore. Kensett. C. G. Loring. 228 Lake of Nerni. Tilton. George Ticknor. 229 Mountain Pets. G. Earl. A. Adams. Morrill. 230 The Terrier. II. D. Morse. 231 The Little Coquette. L. Buhler. H. J. Gardner. T. J. Coolidge. 232 Sheep and Cows. Van llarcke. 233 Twilight: New England. F. Church. T. J. Coolidge. 234 " Noche Triste. " Rotliermel. Mrs. Hayward. 235 11The Winnower. " R. Lehntann. G, H. Shaw. 236 Roman Fruit Seller. R. Lehmann. T. B. Wales. 237 English Girl. Herbert. Ignatius Sargent. 238 A Cow. Lobbe. A. C. Baldwin. 239 The Little Rogue. L. Buhler. 11. J. Gardner. 240 Berchtesgarten, Bavaria. Rolluran. A. Adams. 241 Setter Dogs. I Iiuckley. 0. Brewster. 242 Venetian Barque. Tilton. C. C. Perkins. 243 Beverly Shore. Kensett. C. G. Loring. 244 Landscape. Innes. T. J. Coolidge. Sears, 245 Cattle and Landscape. Hinckley. D. Jr. W. H. Gardner. 246 View on the Avon. C. R. Stanley. A. C. Baldwin. 247 Loch Awe and Iiilehren Castle. P. Weber. 248 The Dr. and Love-sick Lady. Jan Steen. J. Al. Beebe. 249 Maternal Love. Unknown. A. hardy. 250 The Vintage. Chapman. G. W. \Vales. 251 Return from Hunting. Montpezat. II. J. Gardner. Ignatius '252 Sterne and the Grisette. C. R. Leslie. Sargent. H. J. Gardner. 253 Interior of Castle. Diddeart. 254 Portrait of A. Kauffinann. Unknown. R. E. Apthorp. 255 The Imneachment of the Five Mein- bens by Charles 1st in Parliament. Copley. Public Library. 256 Lord Lyndln"st. Mrs. Greene. 257 Commodore Mill. Stuart. Atheneum. II. J. Gardner. 258 Interior of Inn. Linnig. 259 Katherine and Petrucliio. E. N. Downard. Ignatius Sargent. 260 The Morning Drive. Montpezat. II. J. Gardner. 261 The Bride. L. Lang. Mrs. Wm. Shimmin. of G. W. Wales. 262 Barca with Peasants Procida. P. Lehmann. 263 Commodore S. Decatur. Copy of Stuart. Coni. Decatur, U. S. N. 264 The Dancing Leeson. IIcilbuth. II. J. Gardner. 265 The Veiled Lady. Filardenn. A. Hardy. 266 Marine View. Hamilton. T. D. 5himmin. Loring. 267 Cow and Calf. SStucl: s. C. U. 268 The Rehearsal. Budemann. J. M. Beebe. Nos. Subjects. Artists. Owners.

269 Somebody's Coining. R. M. Staigg. R. 'AT.Staigg. 270 Bringing in the Deserter. C. Hunt. T. lV i ggl es wo rt h. 271 Anglers. R. M. Staigg. R. AT. Staigg. 272 The Castle. Stanfield. Ignatius Sargent. 273 Farm-yard. Herring. Mrs. B. D. Green. 274 Afternoon. Humbert. T. D. Shim-imin. 275 Roman Bride. Vallati. W. R. Lawrence. 276 Landscape. Doughty. T. D. Shinunin. 277 Chapeau de Paille (Rubens). Woppus. Mrs. Rollins. 278 " La Purissima Concepcion. " murillo. F. Cunningham. 279 St. Cecilia. `V oppus. Mrs. Rollins. 280 The Gleaner. R. Fox. Ignatius Sargent. 281 Mary and Martha. C. R. Leslie. T. J. Coolidge. 282 Campagna Scene. Schweinfurt. G. W. Wales. 283 Beer Drinking. Unknown. A. Hardy. 284 Attendant at the Old Inn. Passmore. T. Wigglesworth. 285 Scene from Woodstock. Passmore. T. Wigglesworth. 286 Dutch Interior (Lace-making). After Slingelandt. G. W. Wales. 287 Going to Church. Ortelli. A. Hardy. 288 The Page. After Couture. A. C. Ballwin. 289 Farm-yard. Fisher. Dr. Dlifllin. 290 Dante and Beatrice. A. Schaeffer. C. C. Perkins. '291 Coast Scene. Ileade. T. Wiggleswortli. 292 Italian Girl. Toemer. E. N. Perkins. 293 Winter. Ed. Frere. G. H. Shaw. 294 The Prophecy of the Flower. Bell Smith. 1. Sargent. 295 The Farm-yard. Herring, 1. Sargent. 296 Hawthorn Gathering. Charles Lewis. I. Sargent. 297 Coasting Craft. Curtis. T. Wigglesworth. 298 Beatrice Cenci. Römako. A. Adams. 299 The Alps. Gay. G. B. Upton. 300 Coast of Amalfi. Vertamui. P. C. Brooks. 301 The Sultan. Hinckley. 0. Brewster. 302 Welch Landscape. I). Sears, Jr. 303 Martha Washington, from the original in Arlington IIouse. Engraving. B. B. Russell. 304 Cathedral in Normandy. Vautin. Mrs. Willard. 0 305 View in Boston. Mrs. J. Willard. Mrs. Willard. 306 The Vintage. Cipriani. I. Sargent. 307 Last Hours of the Abbess. Toemer. C. G. Perkins 308 The Returned Crusader. Toemer. C. C. Perkins. 309 Landscape. Schwanevelt. G. Ticknor. 310 Adam & Eve after the Expulsion. C. Blaas. C. C. Perkins. 311 Christ in the Temple. A. Hardy. 312 Descent of the Holy Ghost. Luca of Leyden. C. C. Perkins. 313 Roman Bridge on the Campagna. Benouville. C. C. Perkins. 314 Very Old Tapestry representing Spring. W. C. Green. 315 Monastery of Madonna del Sesso. Weber.