ex-King of Bavaria gave 7,000l. for the portrait presumed to be of Raffaelle himself, and engraved as such by Raphael Morghen, but which is really that of Birdo Altoviti. The "Garvagh" or "Aldrovandini Madonna was secured for the nation two years ago for 9,000

guineas.

Everybody that has been at Dresden remembers the Madonna di San Sisto, so disappointing at first-so at least it was to myself-so fascinating afterwards. Augustus III. secured this gem beyond all price from a convent at Piacenza for 17,000 ducats (about 8,000l.), and a copy of the picture. In 1846 there was discovered at Florence, in what had been the refectory of the house of the sisters of St. Omofrio, but at that time occupied by a carriage varnisher, a fresco of the Last Supper, upon which was discovered this inscription in gold letters, almost obliterated-"Raphael Urbinas, 1505." A fragment of a very early engraving of this fresco is in the print-room of the British Museum. This fresco was purchased by the Tuscan Government for the Ducal gallery for 13,000l. The exquisite Correggio in the National Gallery, "La Vierge au Panier," though only thirteen inches by ten inches, cost us 3,800l.; his two other great pictures in the same collection, "Ecce Homo," and "Education of Cupid," 10,000 guineas. The five splendid examples of the work in the Dresden Gallery were obtained from Francis III. Duke of Este, for "130,000 zechinos which were coined in Venice." One of these is the "Reading Magdalen," so well known by Longhi's beautiful engraving. Some years ago there was a sale of pictures at Rome when a water-colour was knocked down for a few scudi. The fortunate purchaser was a Signor Valati, who, on carrying it home, found an oil painting underneath the water-colours-a replica of the "Reading Magdalen." The former owner, on hearing of this, brought an action for its recovery; and after long and most vexatious proceedings, the law courts decided, on the principle I suppose of "not guilty, but must not do it again," that Signor Valati was to keep the picture, but must pay 2,000 scudi in addition to the purchase-money, and promise not to let the picture leave the country. But promises, like piecrusts, are notoriously made to be broken, and thousands, no doubt, have seen this very picture in the gallery which Lord Ward-now Earl Dudley-so generously opened to the public at the Egyptian Hall, Piccadilly. Lord Ward, it is said, gave 1,6007. for it, but I have heard nearly double that sum mentioned as the purchase-money.

The grand picture by Sebastian del Piombo, one of the chief treasures of our National Gallery, deserves a few words. Besides the intrinsic value as a painting, it is especially interesting for its connection with the rivalry between Raffaelle and Michel Angelo. Michel Angelo was too proud to condescend himself to a trial of skill with his rival, and put forward his friend Sebastian as a worthy competitor. But when the Cardinal Giulio de' Medici, by way of testing their respective merits, commissioned Raffaelle to paint the " Transfiguration," he at the same time

ordered the "Raising of Lazarus" from Sebastian. Michel Angelo knowing that Sebastian was very deficient in many points both of design and drawing, made several sketches for the picture; many of which were in Sir T. Lawrence's collection. When Raffaelle heard of it, he said, "Michel Angelo has paid me a great compliment in thinking me worthy to compete with himself and not with Sebastian." Both the pictures were intended for the Cathedral of Narbonne, to the archbishopric of which the cardinal had been appointed by Francis I. But unwilling to take both these masterpieces away from Rome, he only sent Sebastian's picture to Narbonne. Here it remained till purchased by the Regent Duke of Orleans for about 1,000l. When the Orleans collection came to England, Mr. Angerstein bought this picture for 3,500 guineas. Mr. Beckford was very desirous of possessing it, and offered, it is said, 15,000l. for it, but Mr. Angerstein insisting on guineas, the negotiations were broken off. When the French had carried off the "Transfiguration" to the Louvre, they were anxious to unite the two pictures once more, but fortunately were unsuccessful; and when the Angerstein Gallery became the property of the nation, and the foundation of our National Gallery, this picture was still its most valuable treasure.

Passing by Titian, of whom I don't find any particular examples as having occurred for sale lately, I come to the fine Paul Veronese, "The Family of Darius before Alexander," which was secured in 1856 for our National Gallery from Count Vittore Pisani of Venice, for an ancestor of whom it was painted, for 13,6501.

I must only mention one more name of the Italian school-Annibale Caracci. Lord Carlisle secured the well-known picture of the "Three Maries" for 4,0007. ; and the National Gallery has "Christ and St. Peter " for 8,0001.

His

Of the French school perhaps Claude's name may suffice. "Italian Seaport at Sunset," formerly in the Angerstein Gallery and now in our National collection, and one of the artist's chef-d'œuvres, was valued in 1860 at 5,0001. Two others in the same collection, "The Marriage of Isaac and Rebecca," and the "Embarcation of the Queen of Sheba," cost Mr. Angerstein 8,000l. The same sum is said to have been offered for the "Morning" and "Evening," now in the Grosvenor Gallery.

Of the Flemish and Dutch schools, Cuyp, Hobbima, Wouvermann, &c., command large prices. A specimen of Isaac Ostade-" A Winter Scene cost Sir. R. Peel 4,000l. And as a curiosity I may add that a tiny little picture by Mieris, nine inches by seven, produced at Mr. Wells's sale 4931. 10s. Rubens's exquisite portrait of Mademoiselle Lunden, better known as the "Chapeau de Paille," would fetch now more than Sir R. Peel paid for it, 3,500l. His "Rainbow Landscape," now in Hertford House, cost 4,5501. Sir Culling Eardley refused 7,000l. for the portrait of the "Duchess of Buckingham and Family."

Of Rembrandt's pictures George IV. gave 5,250l. for the "Master

Ship-builder," from the Schmidt collection at Amsterdam; Mr. Angerstein 5,0001. for the "Woman taken in Adultery," now in the National Gallery; whilst the picture just secured for the same collection from the gallery of M. Sweenardt-" Christ Blessing Little Children "-cost 7,000/

But it is to the Spanish school we must go to find the largest sum paid in modern times for a picture. Of the thirteen Murillos which Marshal Soult managed to collect in Spain, one of them, an "Immaculate Conception," at the Marshal's sale in May, 1852, was bought by the French Government for 23,4401.! We have an amusing story of the circumstances under which Soult secured his prize. In his pursuit of Sir John Moore he overtook two Capuchin friars, who turned out, as he suspected them to be, spies. On hearing that there were some fine Murillos in the convent to which they belonged, he ordered them to show him the way to it. Here he saw the Murillo in question and offered to purchase it. All to no purpose, till the prior found that the only way to save the lives of his two monks was to come to terms. "But," said the prior, "we have had 100,000 franes offered for the picture." "I will give you 200,000 francs," was the reply; and the bargain was concluded. "You will give me up my two brethren ?" asked the prior. "Oh," said the Marshal, very politely, "if you wish to ransom them, it will give me the greatest pleasure to meet your wishes. The price is 200,000 francs." The poor prior got his monks, and lost his picture.

One word about miniatures.

We have had some famous men in that

branch of art; as, for instance, the one mentioned by Donne

A hand or eye

By Hilliard drawn, is worth a history
By a worse painter made.

One of his miniatures-of Lady Jane Grey-was sold at Lord Northwick's sale for 125 guineas. Another very beautiful one of Lady Digby, by P. Oliver, fetched at the same sale 100 guineas. Probably the highest price given for such a work in modern days was that for the Duke of Wellington by Isabey, which was purchased by the Marquis of Hertford in 1851 for something more than 4401.

My subject would be incomplete without some mention of drawings. By far the finest collection of drawings by the old masters was that made by Sir T. Lawrence. The sum he spent amassing them is variously estimated at from 40,000l. to 75,000l. At his death the collection was to be offered to the British Museum for the sum of 20,000l. But, thanks to the exertions of Lord Grey and Sir M. A. Shee, this generous offer was not accepted. Whilst the subject of the purchase was under consideration, Sir C. Eastlake took some of the drawings to Lord Brougham, then Lord Chancellor. Lord Lansdowne and Talleyrand were with the Chancellor; and Talleyrand said, "Si vous n'achetez pas ces choses lá, vous êtes des barbares." But to our everlasting disgrace we did not. The collection. was then broken up. The King of Holland had first choice, and bought VOL. XVI.-No. 93. 16.

to the amount of 20,000l.; though his speculation, by the way, does not seem to have been very successful, for at his sale in 1850 they only realized 7,500l. Another very interesting portion, containing seventynine by Michel Angelo and 162 by Raffaelle, was secured for the University of Oxford, at the expense of 7,000l., of which the largest portion was munificently contributed by Lord Eldon.

Of single drawings, I may mention one of Michel Angelo, "The Virgin, Infant Christ, and S. John," sold for 200 guineas; and the same sum, or more, was obtained at Christie's for another interesting drawing of his, the heads and upper parts of the principal figures in a picture by Seb. del Piombo,-"The Salutation of Mary and Elizabeth," which is or was at Farly Hall, in Berkshire. Of drawings by Raffaelle, "Jacob's Dream" has brought 200 guineas; and a portrait of Timoteo della Vite, 320 guineas; "The Entombment," from the Crozat collection, at Rogers's sale, 440 guineas; and "Christ at the Tomb," the finest in the King of Holland's collection, 550 guineas. It was purchased for the Louvre. The British Museum secured the drawing of the "Garvagh Madonna,” at Dr. Wellesley's sale, for 6001.

Of modern water-colour drawings, six by Turner fetched, at Mr. Wheeler's sale, 1864, 3,500 guineas; one of them alone, 27 inches by 154, bringing 1,350. The Bicknell sale in 1863 furnished a marvellous instance of successful speculation in three drawings of Copley Fielding-“ Bridlington Harbour," "Rivaulx Abbey, evening," and "Crowborough Hill." The original prices were 36, 42, and 25 guineas; they sold for 530, 600, and 760.

315

"Off for the Holidays: "

THE RATIONALE OF RECREATION

Ar this time of the year recreation is uppermost in the thoughts of nearly all classes. The farmer alone, looking over his fields as they spread their ripeness under the summer sun, thinks joyfully of work. For most of us harvest-time brings a different but still glorious fruition to the labours of the year. Our dreams at night are of the rest we have earned, and our thoughts by day are of mountain-tops, of rushing streams, and of the open sea. Into the dreary "chambers" these gleams of sunshine have made their way, bringing a message of the fields. The cosy study, such an attractive workshop in other seasons, looks dull and heavy now, and the backs of the books are persecuting in their too familiar aspect, for the sunshine which opens all the flowers shuts up these blossoms of the human tree. The roar of the street comes in through the open window with the distant whistle of the trains, and it suddenly strikes us how like the one is to the boom of the sea, and what a sound of country travel there is in the other. In society, too, the talk is of journeys, and even the children just home from school are full of thoughts of flight. A happy restlessness is on us; a peaceful flutter pervades the household-a quiet agitation makes itself manifest. There is a buzz of travel in the air, domestic and social life has a provisional character, and all the ties of society seem to be loosening. It is the holidays, and we are "breaking-up." Duty stands aside, care is content to wait, routine is thrown gaily off, business and ambition put the yoke from their shoulders, and even divinity assures itself that "there is a time to play."

Perhaps it may be true, as many a paterfamilias is saying, that holiday travel is, in the present day, pushed to an extreme. But there is the best and profoundest reason for a custom which has so thoroughly incorporated itself with modern civilization. There is in human nature a necessity for change; and the more intense is the life we live, the stronger and more imperious does that necessity become. The habits of a vegetable are only possible to those who vegetate, and a certain stolidity of mind and feebleness of character almost always characterize the vegetating portion of the race. It is the wonderful intellectual activity of the age which produces its restlessness. A highly developed nervous system is usually connected with a somewhat restless temperament; but the tendency of intellectual activity is to give an undue development to the nervous organization at the expense of the muscular tissues. In comparison with our great grandfathers, we are highly nervous, restless, and