no footman, took a lamp himself to light his guest to his carriage, who said to him, "I am sorry for you, M. Poussin; you have no footman!" "And I," said Poussin, "am still more sorry for your Eminency, because you have so many!"

A person of quality having shewn him a picture of his own painting, Poussin said to him, “Ah, my lord, you only want a little poverty, to become a good painter."

THE CELEBRATED PICTURE OF THE VISION OF ST. JEROME BY PARMEGIANO.

(Belonging to the British Institution.)

VASARI says, the picture painted for Donna Maria Buffalini, was intended to be placed in the Church of St. Salvator del Lauro, in a chapel near the door. He adds that when Parmegiano left Rome, he deposited it with the Frati della Pace, in whose refectory it remained several years. It was removed by Guilio Buffalini to the church of the family at Citta di Castollo.

Affò, after relating these facts, adds that it remained in the refectory of the monastery of St. Maria della Pace till the time when Biondo wrote; that it was removed by Guilio Buffalini, and doubtless placed in the chapel of that noble family, in the church of the Augustines; but in consequence of the little care which was taken of it, the Buffalini

family caused it to be transferred to their palace, in which it remained in his (Affò's) time, and though considerably injured, was regarded as a treasure.

This picture was purchased by the late Marquess of Abercorn, who sold it to Watson Taylor, esq., at whose sale it was purchased in 1824, by the Rev. Holwell Carr, at the price of 3,050 guineas, for the Directors of the British Institution, whose property it now is.

LORENZO LIPPI'S PORTRAIT OF SALVATOR ROSA.

SALVATOR ROSA once calling upon Lorenzo Lippi, found him preparing a canvas, while Malatesti read aloud to him, and Ludovico Seranai the astronomer, read the MS. of his poem of the Sphynx. Salvator, with a silent step, took his seat in an old gothic window, and placing himself in a listening attitude, with a bright light falling through stained glass upon his fine head, produced a splendid study, of which Lippi, without a word of his intention, availed himself; and he executed with incredible rapidity, the finest picture of Salvator that was ever painted. Several copies of it were taken with Lippi's permission, and Ludovico Seranai purchased the original at a considerable price.

In this picture Salvator is dressed in a cloth habit, with richly slashed sleeves, turnovers, and a collar. It is only a head and bust, and the eyes are looking towards the spectator.

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INTRODUCTION OF GRINLING GIBBONS, TO CHARLES THE SECOND.

JOHN EVELYN, the amiable author of the Sylva," was the first to notice the talents of Grinling Gibbons, and introduced him to Charles II. His meeting with this admirable artist, is thus noticed in his diary :-This day I first acquainted his Majesty with that incomparable young man, Gibbons, whom I had lately met with in an obscure place, by mere accident, as I was walking near a poor solitary thatched house, in a field in our parish near Say's Court. I found him shut in ; but looking in at the window, I perceived him carving that large Cartoon or Crucifix of Tintoret, a copy of which I had myself brought from Venice, where the original painting remains. I asked if I might enter? He opened the door civilly to me, and I saw him about such a work as, for the curiosity of handling, drawing, and studious exactness, I never had before seen in all my travels. I questioned him why he worked in such an obscure and lonesome place? He told me, that it was that he might apply himself to his profession without interruption, and wondered not a little how I had found him out. I asked if he was unwilling to be made known to some great man, for that I believed it might turn to his profit; he answered, he was yet but a beginner, but would not be sorry to sell off that piece: on demanding the price,

he said, one hundred pounds. In good earnest the very frame was worth the money, there being nothing in nature so tender and delicate as the flowers and fes→ toons about it, and yet the work was very strong; in the piece were more than a hundred figures of men, &c. I found he was likewise musical and very civil, sober and discreet. Of this young artist, and the manner of finding him out, I acquainted the king, and begged that he would give me leave to bring him and his work to Whitehall; for that I would adventure my reputation with his Majesty, that he had never seen any thing approach it, and that he would be exceedingly pleased, and employ him. This was the first notice he had of Mr. Gibbons.

HOW TO JUDGE OF MODERN PICTURES.

THERE are many circumstances that favour the paintings by the old masters, that are entirely separate from any merit appertaining to their respective authors; and to judge fairly of pictures recently painted, these circumstances should be known, and borne in mind, or justice cannot be awarded to the genius and talent of our contemporary painters. There are many amateurs who might discover this by a little reflection, although not practically acquainted with the arts, the great multitude, however who visit exhibitions, should be made acquainted with these facts, as it is not likely that they

should ever find them out. To the public in general we then address these observations.

Pictures, be it known, painted upon a pure and legitimate process, like genuine wines, improve by age. A competent judge will consequently pronounce certain wines choice or excellent, and anticipate their future value; whilst the great mass of wine drinkers can only appreciate their superior qualities when brightened and mellowed by time. In viewing a gallery like this then, of pictures fresh from the easel, it is due from the public to their respective painters, to make allowance for the absence of those improving qualities, which time can alone supply.

There are certain crudities in painting newlywrought that arise out of the very nature of oil paint, namely from their want of time to harden. The impurities of oils and varnish decrease as the colours become indurated, until the picture acquires a general texture of surface, which the utmost skill of the painter in laying on his colours, be they ever so pure or finely levigated, cannot at first produce. Vandyke's incomparable pictures, we know from indubitable testimony, were comparatively raw and crude when recently finished; so much so, indeed, that those who lived to a great age many years: after his death, expressed their surprise on beholding the change which time had wrought upon them, they being then mellowed, and glowed with harmony.