GAP

St.Gabriel’s, a church which stood opposite to Cullum street, the middle of Fenchurch street, in Langbourn ward; but being destroyed by the fire of London and not rebuilt, the parish was annexed to the church of St. Margaret Pattens.

Gainsfordstreet, Horselydown lane.†

Gallard’sAlmshouse, in Golden lane, was founded by Richard Gallard of Islington, Esq; for thirteen poor men and women, who were to receive only two pence a week each, and a load of charcoal yearly amongst them all. By this small allowance, it appears that this house must be of a very ancient foundation.Maitland.

Gapyard, Stepney Causeway.

Gardenscourt, 1. Baldwin’s gardens.☐ 2. St. Botolph Bishopsgate church yard.☐ 3. Clement’s Inn.☐ 4. Clifford’s Inn.☐ 5. Furnival’s Inn.☐ 6. Lincoln’s Inn.☐ 7. Middle Temple.☐ 8. Petticoat lane.☐ 9. Serjeants Inn.☐ 10. Sion College.☐ 11. Staple’s Inn.☐ 12. Star street, Wapping Wall.☐ 13. Thavie’s Inn.☐

Gardenrow, 1. Inner Temple.☐ 2. Lower street, Islington.☐ 3. Unicorn alley, Shoreditch.☐

Gardeners, a company incorporated by letters patent granted by King James I. in the year 1616. They are governed by a Master, two Wardens, and eighteen Assistants; but have neither hall nor livery.

Gardiner’scourt, Gardiner’s lane, King street, Westminster.†

Gardiner’sground, Collingwood street.

Gardiner’slane, 1. High Timber street. 2. King street, Westminster. 3. Maiden lane. 4. Neathouse lane. 5. Petty France, Westminster. 6. Willow street.

Gardiner’srow, Chelsea.

Garlandalley, Bishopsgate street.

Garlandcourt, 1. Ocean street, Stepney. 2. Trinity lane.

Garlichill, Thames street; so called from the garlick market formerly held thereabout.Stow.

Garratstreet, Cock lane, Shoreditch.†

Garret’sAlmshouse, in Porter’s fields, and in the liberty of Norton Falgate, was founded in the year 1729, by Nicholas Garret, Esq; citizen and weaver, for the accommodation of six poor members of his company, each of whom has also an annual allowance of 8l., a chaldron of coals, and dozen and a half of candles.Maitland.

Garret’srents, Coleman street.†

Gartercourt, Barbican.*

Garteryard, Ratcliff Highway.

Gasson, a village in the parish of Blechingley, in Surry, at the source of the river Medway.

Gatehouse, Tothill street, Westminster, is so called from two gates, erected there in the reign of Edward III. Here is a prison for debtors and criminals.

Gatestreet, Lincoln’s Inn fields.

Gatton, a very small borough in Surry, eighteen miles from London, under the side of a hill in the road to Ryegate. This is a very ancient town; and from the Roman coins and other antiquities found there, is supposed to have been well known to the Romans; but though it is a borough by prescription, and has sent members to parliament ever since the 29th of Henry VI. and though it was formerly a large and populous place, it nowresembles a very mean village; it having only a small church, and neither a fair nor market. The members are returned by its constable, who is annually chosen at the Lord of the manor’s court. This parish is famous for a quarry of white stone, which, though very soft, will endure the fire admirably well; but neither the sun nor the air; on which account it is much used for glass houses, and by chemists and bakers.

Gaunt’skey. Thames street.†

Genevarow, Tyburn road.†

Gentee’spassage, Nibb’s Pound.†

Georgealley, 1. Aldgate street, within.* 2. Bishopsgate street.* 3. In the Borough.* 4. Coleman street.* 5. Field lane, at the bottom of Holborn hill.* 6. George street, York buildings.* 7. Holles street, Clare market.* 8. King Tudor’s street.* 9. Lombard street, Gracechurch street.* 10. Lower Shadwell. 11. St. Margaret’s hill.* 12. New George street, Spitalfields.* 13. Rotherhith.* 14. Saffron hill.* 15. Shoe lane, Fleet street.* 16. Stony street.* 17. In the Strand.* 18. Thames street.* 19. Turnmill street.* 20. York buildings.*

George and Vulturealley, Cornhill.*

S. Wale delin.Elliot sculp.Bloomsbury Church.

Georgecourt, 1. Bennet’s hill.* 2. Coleman street.* 3. East Smithfield.* 4. George street, Conduit street.* 5. Georgestreet in the Mint.* 6. Gravel lane.* 7. Hatton Wall.* 8. St. John’s lane.* 9. Little St. Thomas Apostles.* 10. Near Newington Turnpike.* 11. Prince’s street, Spitalfields.* 12. Seacole lane, Snow hill.*

George Innyard, in the Borough.*

Georgelane, St. Botolph lane.*

George’sbuildings, 1. Catharine Wheel alley, Whitechapel.† 2. Near Rosemary lane.† 3. Jermain street.†

St.George’sBloomsbury, is one of the fifty new churches appointed to be built by act of parliament within the bills of mortality. The name of St. George was given to it in honour of his present Majesty; and it received the additional epithet of Bloomsbury, from its situation, to distinguish it from others of the same name.

The portico through which you enter the church stands on the south side, as is represented in the print. It is of the Corinthian order, and makes a very good figure in the street, but has no affinity to the church, which is very heavy, and would be better suited with a Tuscan portico. The tower and steeple at the west, is a very extraordinary structure. On the top standing on a round pedestal or altar, is a colossal statue of the lateKing, supported by a pyramid. At the corners near the base are alternately placed the lion and unicorn the British supporters, with festoons between: these animals being very large, are injudiciously placed over columns very small, which makes them appear monsters. The under part is heavy enough, but not connected with the church. The introduction of figures and other pieces of sculpture into steeples, which are so much the work of fancy, and where the artist is not so much confined as in the other parts of the building, if managed with taste and propriety might be made elegant ornaments, and would make a fine variety with the architectonic ones with which the city already abounds.

This church was erected at the public expence, and consecrated in January 1731. A district for its parish was by authority of parliament taken out of that of St. Giles’s, and the sum of 3000l.was given towards the support of its Rector, to which being added 1250l.by the inhabitants of St. Giles’s parish, both sums were ordered to be laid out in the purchase of lands, tenements, &c. in fee simple, as a perpetual fund for the maintenance of the Rector and his successors; but the poor of this parish andthat of St. Giles’s in the Fields, are to be maintained by the joint assessment of both parishes, in the same manner as before their being divided.

St.George’sBotolph lane, is like all the other churches of this name, dedicated to St. George of Cappadocia, the martyr and tutelar saint of the English nation, and is situated on the west side of Botolph lane, Thames street. The old church was destroyed by the fire of London in 1666, and the present edifice built in its stead. It is enlightened with a single series of tall windows, and the steeple consists of a plain tower ornamented with vases at the four corners.

This is a rectory in the gift of the Crown; and to this parish that of St. Botolph’s Billingsgate is united by act of parliament.

St.George’sfields, a large space between Lambeth and Southwark, where have been found many Roman coins, chequered pavements, and bricks, it being the center of three Roman ways. Since the building of Westminster bridge, a new road has been made across these fields, which leading into the Borough forms a communication between the two bridges.

St.George’sHanover square, is situated on the east side of George street, near thesquare, whence it had its additional epithet. This is one of the churches that were found necessary, upon the great increase of public buildings in this part of the town; for the church of St Martin’s in the Fields being at too great a distance from the new streets, and too small for the inhabitants, the Commissioners for the fifty new churches gave orders for erecting one in the skirts of the parish, on which this august pile arose, and was consecrated in 1724.

This church, considering the extent of the parish, is too small. It has a plain body with an elegant portico: the columns, which are Corinthian, are of a large diameter, and the pediment has its acroteria, but without farther ornament. It has a tower, which, above the clock, is elegantly adorned at the corners with coupled Corinthian columns that are very lofty. These are crowned with their entablature, which at each corner supports two vases, and over these the tower still rises till it is terminated by a dome crowned with a turret which supports a ball, over which rises the weather-cock.

This church is a rectory; the parish at first consisted of the two out wards of that of St. Martin’s in the Fields; butit has now four wards, named Conduit street, Grosvenor street, Dover street, and the out ward. The advowson is settled upon the Bishop of London and his successors. The profits arising to the Rector, are said to amount to about 600l.per annum. Lieutenant General Stewart gave the ground on which this church was erected, and some time after bequeathed to this parish the sum of 4000l.towards erecting and endowing a charity school in it.

St.George’sMiddlesex, situated on the north side of Ratcliff Highway, is another of the churches occasioned by the increase of buildings in a part of the town opposite to the former. The Commissioners for erecting fifty new churches caused the foundation to be laid in the year 1715, and the structure was finished in 1729.

This is a massy structure, erected in a very singular taste. The floor is raised a considerable height above the level of the ground; and to the principal door, which is in the west front of the tower, is an ascent by a double flight of steps, cut with a sweep, and defended by a low wall of the same form; but what is most singular in this structure, is, there are two turrets over the body of the church, and one on the tower, which last is in themanner of a fortification, with a staff on the top for an occasional flag. The author ofThe Review of the Public Buildingscalls this edifice a mere Gothic heap of stone, without form or order.

The parish is taken out of that of Stepney; and by act of parliament the hamlet of Wapping Stepney is appropriated to that purpose, and in all respects rendered independent of Stepney parish. Towards the maintenance of the Rector and his successors, the parliament gave the sum of 3000l.to be laid out in the purchase of lands, tenements, &c. in fee simple; and as a farther provision, the churchwardens are annually to pay him the sum of 100l.to be raised by burial fees. The advowson of this rectory, like that of Stepney, is in the Principal and Scholars of King’s hall, and Brazen nose college, Oxford.

St.George’sQueen square, also arose from the increase of buildings. Several gentlemen at the extremity of the parish of St. Andrew’s Holborn, having proposed the erecting of a chapel for religious worship, Sir Streynsham Master, and fourteen of the other neighbouring gentlemen, were appointed trustees for the management of this affair. These gentlemen in the year 1705, agreed with Mr. Tooley to give him 3500l.for erecting a chapel andtwo houses, intending to reimburse themselves by the sale of pews; and this edifice being finished the next year, they settled annual stipends for the maintenance of a chaplain, an afternoon preacher who was also reader, and a clerk, giving to the first and second a salary of 100l.each, and to the last 50l.But the Commissioners for erecting fifty new churches resolving to make this one of them, purchased it, caused a certain district to be appointed for its parish, and had it consecrated in the year 1723, when it was dedicated to St. George in compliment to Sir Streynsham Master, who had been Governor of Fort St. George in the East Indies.Maitland.

This church is a plain common building void of all elegance; it is however convenient and well enlightened. The rectory, like that of St. Andrew’s, is in the Duke of Montague’s gift.

St.George’sSouthwark, is situated at the south east corner of St. Margaret’s hill. There was a church in this place before the year 1122, which in 1629, was repaired and beautified within. This edifice was preserved by its situation, from the dreadful conflagration in 1666; but the decays of age rendered it necessary to takeit down in 1734, when the present church was begun, and finished in 1736.

To this church there is an ascent by a flight of steps, defended by plain iron rails. The door case, which is Ionic, has a circular pediment, ornamented with the heads of Cherubims in clouds; and on each side of this pediment, which reaches to the height of the roof, the front is adorned with a ballustrade and vases. From this part the tower rises plain, strengthened with rustic quoins, as is the body of the building, and on the corners of the tower are again placed vases. From this part the diminution is too great; and from hence are raised a series of Ionic columns supporting the base of the spire, which has ribs on the angles, and openings in all the faces. The top is crowned with a ball from which rises the vane.

This church is a rectory in the gift of the Crown; the profits of which to the Incumbent amount to about 220l.a year.English Architect.Maitland.

St.George’s Hospital, near Hyde Park Corner. This undertaking was set on foot soon after Michaelmas 1733, by some gentlemen who were before concerned in a charity of the like kind in the lowerpart of Westminster. This house they judged convenient for their purpose, on account of its air, situation, and nearness to town; they therefore procured a lease of it, and opened a subscription for carrying on the charity here, which increased so fast, that on the 19th of October they were formed into a regular society, and actually began to receive patients on the first of January following.

Here are admitted the poor, sick, and lame, who are supplied with advice, medicine, diet, washing, lodging, and some of the miserable with cloaths also. The Physicians visit their patients on Mondays and Fridays, and on all intermediate days whenever occasion requires; but the Surgeon attends every day; and on every Friday morning there is a general consultation of all the Physicians and Surgeons. No security for the burial of the patients is required, nor any money, gift, or reward taken of them or their friends, on any account whatsoever. Those who die, if their friends are unable to bury them, are interred at the charge of the society. And the money collected in the poor box at the door, is kept as a separate fund for furnishing those with some little sum of money, whose distance from their habitations,or other particular necessities, require it.

The apothecaries, who are Governors, are appointed to attend by rotation as visitors, to see that the apothecary of the house takes due care of the medicines and patients. Two visitors are chosen weekly out of the subscribers, to attend daily, and take care, by examining the provision and patients, that the orders of the society are punctually observed, that the patients are treated in every respect with order and tenderness, and to make a report in writing of their observations.

Prayers are read daily to the patients; a sermon is preached every Sunday, the communion is administered every month, and the chaplain attends at other times to catechize and perform other religious offices, as often as their cases require; and when the patients are discharged, religious tracts are given to each of them, for their farther edification.

A board of Governors meet every Wednesday morning, to do the current business of the hospital, to receive and examine the reports of the visitors, to discharge and admit patients, to receive the complaints and proposals of all persons, and to prepare such matters as are properfor the consideration of general boards. A general board of the Governors meet regularly five times a year.

The Governors are in number upwards of three hundred. No person receiving salary, fee, or reward from the hospital, is capable of being a Governor; but every other gentleman subscribing 5l.a year, or upwards, or giving one benefaction of 50l.although he be not an annual subscriber, is thereupon put in nomination to be a Governor, and at the first general court, which is held one month afterwards, is accordingly ballotted for by the Governors. The subscriptions are received by the Treasurers, at the weekly board, held every Wednesday morning in the hospital.

The other rules and regulations of this excellent hospital, are as follow:

I. No person is to be admitted a patient, except in cases of accidents, without a note from a Governor or contributor, specifying the name and place of abode of such patient, and that he or she is a proper object of this charity.

II. All recommendations are to be delivered every Wednesday morning, by nine of the clock.

III. In case any out-patients neglect coming two weeks successively on the dayand hour they are ordered to attend, such out-patients shall be discharged for irregularity, except they have had leave from their Physician.

IV. No person discharged for irregularity is to be ever again admitted into the hospital, upon any recommendation whatsoever.

V. No patient is to be suffered to go out of the hospital without leave in writing; and to avoid giving offence, no leave is to be given to any patient to go into St. James’s Park, or the Green Park, called Constitution hill, upon any pretence whatsoever.

VI. No Governor, officer, or servant, must at any time presume, on pain of expulsion, to take of any tradesman, patient, or other person, any fee, reward, or gratification of any kind, directly, or indirectly, for any service done, or to be done, on account of this hospital.

VII. No person subscribing less than two guineas a year, can recommend more than two in-patients in the year.

VIII. When there is not room for all the patients recommended at one time to be received into the hospital, those are taken in whose admission the board are of opinion, will most effectually answer the end of the charity; and the rest, if properobjects, are admitted out-patients, till there is room for them in the hospital. Most consumptive and asthmatic cases are more capable of relief as out-patients, than as in-patients.

By this noble foundation, there have been discharged from the hospital, since its first receiving of patients on the first of January 1733, to the 27th of December 1752, 60,188. Those in the house on the 27th of December 1752, amounted to 273. The out-patients in the books at the same time were 645, which in all made 61,106.From the account published by the General Board.

This hospital enjoys a fine situation, and has all the benefit of a clear and pure air: it has the advantage of being a very neat, though not an expensive building; and though it is extremely plain, it is not void of ornament. It has two small wings, and a large front, with only one door, which is in the middle, and to which there is an ascent by a few steps. On the top of this part of the building is a pediment raised above the rest of the edifice, and under this ornament is a stone with an inscription, expressing the noble use to which this structure is applied.

St.George’scourt, Newington causeway.

Georgestairs, 1. Deptford.* 2. Shad Thames.*

Georgestreet, 1. Cambridge Heath.* 2. Foster lane, Cheapside.* 3. Hanover square. 4. Little Chapel street. 5. In the Mint.* 6. Near Tothill side. 7. Pall Mall. 8. Ratcliff highway. 9. Tyburn road. 10. White row, Spitalfields.* 11. Windsor street. 12. York buildings. SeeGreat Georgestreet.

Some of the new streets of this name, were thus denominated in honour of King George I. and II.

A list of the pictures belonging to General Guise, at his house in George street, Hanover square.

On the left hand of the staircase.

A piece of architecture, rather large, adorned with many small figures very graceful. The architecture, by Viviani. The figures, in his best manner, by Sebastiano Ricci.

Two heads in one picture, a little smaller than life. They exhibit two caricaturas, by Spagnoletto.

A portrait of some Spanish nobleman, half length, after the life, nobly painted and well preserved, by Moriglio.

A head with part of the shoulders, and it seems to be the portrait of some great man. In his first manner, by Titiano.

A picture, with many figures two feet high, representing Solomon’s judgment. The invention, disposition, and colouring are equally wonderful, by Pasqualini Romano, disciple of Andrea Sacchi.

A representation of our Saviour on his doleful way to Calvary. The figures almost as big as the life, by Andrea Mantegna.

Mantegna was Correggio’s master, and this picture was in the collection of King Charles the First.

The rape of the Sabines. A picture of great merit both for invention and colouring, the author unknown.

A figure as big as the life, of particular beauty, exhibiting St. Jerome fervently praying, by Domenichino.

A head with part of the shoulders, as big as the life. It is the portrait, painted by himself, of Francesco Mola.

A small sketch representing a sacrifice, with the temple of Diana. The figures are many and wonderfully well disposed, by Pietro da Cortona.

It goes about in print.

A small sketch in light and shadow, with many figures representing a Saint, ready to suffer martyrdom, drawn with great liveliness and taste, by Ant. Vandyke.

A small octagonal picture on a black stone, representing our Saviour carried to the sepulchre, by Annibal Caracci.

A picture containing several figures about three feet high, exhibiting St. Laurence’s martyrdom, by Tintoretto.

A landscape with figures one foot high, representing the martyrdom of St. Peter Martir. The figures, by Agostino Caracci. The landscape, by Gobbo de Caracci.

A sketch representing a victorious Prince carried in triumph. The figures are many, a foot and a half high, and many of them allegorical, by Giordano d’Anversa.

A large piece of architecture with figures. In his first manner, by Nicol. Poussin.

A picture, containing some half lengths a little bigger than the life, exhibiting Faith that gives her sword to a General, by Pietro della Vecchia.

The portrait of a General, half length, a little bigger than the life. It is believ’d to be a copy from Titian, by Luca Giordano.

A figure very artfully foreshorten’d, representing our Saviour dead, as big as the life, by Lodovico Caracci.

A picture exhibiting a battle, full of figures about one foot high; and oneof the noblest performances of Bourgognone.

Apollo and Marsyas. The figures about three feet high, by Sebastiano Ricci.

In the first and second rooms of theground floor.

In the first and second rooms of the

ground floor.

A large picture containing some half lengths as big as the life, and representing the taking our Saviour in the garden, by Giacomo da Bassano.

A piece containing many half length figures as big as the life, representing the prodigal son received by his father. A famous performance of Guercino da Cento.

Sophonisba dying with grief in the arms of her damsel on receiving doleful news. The figures are half lengths as big as the life. A celebrated piece, by Domenichino.

Our Saviour known by the two disciples in the breaking of the bread. The figures bigger than the life, by Lodovico Caracci.

The flight into Egypt. The figures as big as the life. A noble work, by Guido Reni.

The heads of St. Andrew and St. Paul, bigger than the life. A valuable performance, by Andrea Sacchi.

St. Elizabeth with St. John when a babe,musing on a cross made of reeds. The figures smaller than the life. A renowned piece, by Leonardo da Vinci.

Judith holding Holofernes’s head. A half length, very beautiful, by Francesco Salviati.

Our Saviour’s nativity. The figures a little more than one foot high, finished with extreme diligence. A rare work, by Baldassare Peruzzi.

Our Lady contemplating her babe. The figures about two feet and a half, wonderfully well done after Correggio’s manner, by Francesco Mazzuoli, commonly called Parmigianino.

A half length, as big as the life, representing a naked woman, by Titiano.

It is thought that this is the portrait of the woman that was Titian’s model, when he drew the famous Venus now existing in the room calledLa Tribuna,in the Medicean gallery at Florence.

Our Saviour taken down from the cross. The figures a little more than one foot high, by Daniele da Volterra.

This appears to be the sketch from which Daniel made the large famous picture, that is now in one of the chapels of the church calledLa Trinità de Monit,at Rome.

An oval picture representing Medusa’shead, bigger than the life, painted with astonishing expression, by Rubens.

A holy family. The figures one foot high, compleatly finished, by Annib. Caracci.

Our Saviour crowned with thorns. The figures a foot and a half high. One of the best works in his first manner, by Correggio.

Our Lady with the two babes Jesus and John laying hold of a lamb, and two angels devoutly looking on them, by Fran. Mazzuoli, called Parmigianino.

It was formerly in Charles the First’s collection.

Socrates and Alcibiades. Half lengths of about a foot and a half, by Giorgione da Castelfranco, who was Titiano’s master.

A small picture representing our Lady’s assumption, and the apostles, by Francesco Naldini.

This was the sketch of a celebrated picture now in Florence.

Our Saviour’s circumcision. An original sketch, by Polidoro da Caravaggio.

A picture in light and shadow, representing Diana and her nymphs in the bath, changing Acteon into a stag. An original beautiful sketch. The figures one foot high, by Nicolo dell’ Abate.

A small sketch for a ceiling in light and shadow, by Correggio.

Our Saviour’s supper, a small and most beautiful performance, by Innocenzo da Imola.

Innocenzo was one of Raphael’s best disciples.

A Venetian history, by Paolo Veronese.

This is an original sketch of one of the large pictures painted by Paolo in theSala del Consiglio,at Venice.

A boy’s head, as big as the life, by Annibal Caracci.

Diana’s head, as big as the life, by Camillo Procaccini.

St. Catharine, a foot and a half high. A celebrated and well preserved performance, by Benvenuto da Garofolo.

A landscape exhibiting the hunting of the hare, a beautiful work, by Gobbo de Caracci.

Adam and Eve driven out of paradise by the angel. The figures one foot high. A famous and well preserved work, by the Cavaliere Giuseppe d’ Arpino.

The head of a woman smiling, smaller than the life, by Leonardo da Vinci.

A child’s head, smaller than the life, by Fra. Bartolomeo di San Marco.

The pale of an altar with figures bigger than the life, representing St. Lucy,

St. John the Evangelist, St. Humphrey, and St. Francis. A famous performance, by Correggio: except St. Humphrey’s figure, which having been left unfinish’d by Correggio, was afterwards finished by Spagnoletto.

The family of the Caracci’s, represented in a butcher’s shop, and those celebrated painters in butchers dresses.Annibalis weighing some meat to a Swiss of the Cardinal of Bologna’s guard.Agostinois shaking a nail and trying if it holds fast, that he may hang on it a leg of mutton which he holds in his left hand. TheGobbois lifting up half a calf to hang it on a beam, andLodovicostoops down killing a sheep. The mother of them is represented as a servant-maid that comes to buy some meat. The likenesses are traditionally said to be wonderful; and the whole of this no less odd than beautiful picture was the most celebrated performance of Annibal Caracci.

Three half figures as big as the life, representing three ladies diverting themselves with music, and a gentleman listening to them. In all probability they were portraits, by Titiano.

A sketch of one of the most capital pictures in Venice, and preserved there ina church. It represents our blessed Lady with St. Peter and St. Francis, and a Venetian General of the Capello’s family come back victorious from a battle against the Turks, who offers the standard and the trophies of his victory to the altar of our Lady. The whole Capello family is exhibited in this picture. A celebrated work, by Titiano.

A landscape with figures. It represents part of the country near Bologna, by Domenichino.

A woman representing Simplicity, with a dove in her hand. A half length as big as the life, by Francesco Furino.

The good Samaritan. The figures are two feet high. A valuable picture, by Sisto Badalocchi.

Our Lady with her babe, about two feet high, painted much after Correggio’s manner, by Sebastian Ricci.

The head of a youth, a little smaller than the life, by Raphael.

Two small pictures, exhibiting two different martyrdoms of two saints, by Giacomo del Po.

A small sketch, by Ciro Ferri, a disciple of Pietro da Cortona.

A picture exhibiting our Saviour’s nativity. The devotion and maternal affectionof our blessed Lady looking on her babe, is prodigiously well expressed. St. Joseph stands admiring the compunction of two shepherds contrasted by another that takes care of the ass. Of two other shepherds, placed at some distance, one holds a light in his hand and shows the other the manger, expressing a pious wonder. Further off there is a most beautiful angel in the clouds proclaiming the birth of our Saviour to the other shepherds. No picture ever surpassed this most elaborate performance of Titiano.

It was one of King Charles the First’s collection; and there are two prints of it, an ancient one in wood, the other in copper-plate.

Another nativity, painted likewise with his usual delicacy and noble expression, by the same Titiano.

Our Lady with her babe in her arms, near as big as the life, standing on the clouds, supported and attended by cherubs and angels. Under it there is a sight of the town of Bologna, and adjacent villages, all painted in his best manner, by Annibal Caracci.

Susan tempted by the two old men, boldly and vigorously painted as big as the life, by Agostino Caracci.

The slaughter of the innocents, containing nineteen figures as big as the life. A master-piece both for composition and colouring, by Valerio Castelli.

Two children bigger than the life, representing holy Love the conqueror of profane Love; one of the best performances in his first manner, by Guido Reni.

A lively figure of an Italian buffoon, drinking merrily, an half figure, as big as the life, by Annibal Caracci.

The portrait of some Nobleman, a little more than a half length, by Francesco Torbido, commonly called, il Moro Veronese.

This painter was much admired by Titian himself.

A nativity of our Saviour. The figures about one foot high. The effect of the light that shines out of the babe, and irradiates the whole picture, is astonishing. This is a celebrated piece, by Cavalier Cavedone.

A head as big as the life, representing our Saviour, painted in a bold manner, by Agostino Caracci.

Apollo in the attitude of slaying Marsyas. The figures about two feet high, by Andrea Sacchi.

Two small pictures, the one representing a mountebank drawing a tooth to aclown, surrounded by many spectators; the other exhibiting many people playing at balls upon the ground. Tho’ both these pictures are copious in figures, yet there is none of them but has some posture or meaning most lively and naturally expressed, by Michelangelo delle Battaglie.

A small picture, containing our Lady and her babe, St. Joseph, and St. Catharine, half figures, finely painted, by Bartolomeo Schidone.

A small picture, representing an angel that contemplates with a most afflicted look one of the nails with which our Saviour was crucified, holding it up in his hand, by Correggio.

A most beautiful sketch, representing our Saviour laid in the sepulchre, with the Virgin who has swooned and is supported by the three Marys, by Giacomo da Bassano.

Four small pictures, containing some figures two feet high, most masterly painted, by Francesco Mazzuoli, called il Parmigianino.

A small picture with many figures, representing our Saviour shewn to the people by Pilate. A noble performance, by Federigo Barocci.

A small picture, representing our Saviour appearing to Mary Magdalen in thegardener’s form, by Raphael’s master Pietro Perugino.

The infant Jesus and St. John embracing. An excellent performance and well preserved, by Raphael. Three heads in water colours, bigger than the life, by Raphael.

A head of Joseph of Arimathea, as big as the life, by Federigo Barocci.

Pictures in the rooms of the first floor.

A half length, a little smaller than the life, representing St. Catharine. A rare ancient picture, by Vettori Carpacio.

Our Lady with her babe and St. John. The proportion of the figures two feet high. An incomparable performance of Andrea del Sarto.

A small picture representing a father with his two children praying, by Giovanni Holbens.

A Nativity of our Saviour, containing eighteen figures two feet high. The posture of our Lady that offers her breast to her babe, and that of the babe itself, are most graceful; St. Joseph with them completes one of the best groups that the art of painting ever produced; and equally graceful is another group of three angels playing upon musical instruments. Two other angels descend from heaven in an attitude ofadoration. Many more beautiful attitudes of devotion are those of the shepherds, that fill up the left side of this astonishing performance of the immortal Raphael.

There are two fine prints of this picture.

Our Lady with her babe, St. Catharine and St. Francis. The proportion of the figures two feet. An excellent and well preserved performance of Paolo Veronese.

The view of a noble temple, our Saviour coming out of it, meets with Magdalen, who is by him converted in the presence of some other women. An excellent and well preserved performance, done in his first manner, by Andrea del Sarto.

Two half lengths as big as the life of two women, one the mistress, the other her maid. The mistress was probably a portrait. She holds the looking glass with one hand, and with the other adjusts her head, listening to the maid that speaks to her. This is one of the best works of Domenichino.

Our Lady with her babe, the Magdalen, St. John, and St. Jerome. The figures are about three feet high, painted with the greatest gracefulness, by Francesco Mauzzoli, called il Parmigianino.

A Cupid drawn by two doves in a golden carr, and two other Cupids playing about him encircled by a flower garland. A picture extremely well preserved, as well as masterly done by Domenichino.

A copy of the famous nativity known under the name ofCorreggio’s night; the figures two feet high, by Carlo Cignani.

Diana in the bath converting Acteon into a stag, with her nymphs about her. An elegant composition nobly coloured, the figures a foot and a half, by Tintoretto.

The communion of the Apostles, the figures a little above two feet. There is a kindled lamp in this picture, which has a striking effect, and the whole is painted with great vigour, by Tintoretto.

St. John preaching in the desart, beautified with many well-disposed figures, by Gobbo de Caracci.

The fable of Erictonius delivered to the nymphs to be educated. Their fear and wonder in spying the boy’s serpentine feet, and their different attitudes, are most beautifully expressed. Each figure is about half the bigness of nature,and painted with great spirit, by Salvator Rosa.

A landscape, exhibiting Moses delivering from the snares of the shepherds, the daughters of Reuel the Priest of Midian, that came, to give drink to their cattle, by Domenichino.

Another small landscape, exhibiting some fishermen, and women washing linen, by the same Domenichino.

A youth little less than the life, that plays upon the guitar, with a boy behind that listens with pleasure to him. By the celebrated Spanish disciple of Titian, Fernandos.

A half length, representing our Lord tempted in the desart, by Titiano.

Two most beautiful Cherubs heads as big as the life, by Domenichino.

A St. John’s head with a lamb, as big as the life, in his best manner, by Guercino da Cento.

Marsyas and Apollo, with Mydas that sits as their judge. The figures about a foot high. A fine performance both for invention and colouring, by Andrea Schiavone.

A copy of the famousCorreggio’s Cupidas big as the life, by Annibal Caracci.

An Ecce Homo, as big as the life,painted with great force of expression by Lodovico Caracci.

Our Lord laid in the sepulchre, the figures a little more than a foot, another noble work of Lodovico Caracci.

St. Francis in a vision supported by Angels. The proportion of the figures about two feet high, admirably well painted, by Annibal Caracci.

A little landscape, adorned with some pretty little figures, and it looks as if painted after nature, by Gobbo de’ Caracci.

A Venus and Cupid as big as the life. An astonishing performance, by Titiano.

A copy of one of the celebrated pictures of Raphael in the Roman Vatican. This represents an achievement of the Emperor Constantine. This copy appears to be the work of some great painter of the Florentine school, being done in the most masterly manner.

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