The New York herald., 1874-09-12

! The famous "Lo StregozZo,n or "Sorceress," OF
Veneziano, is In one OF the cases in very excel
lent condition. 1t appears to be one OF those i'm
pressions not signed with the initials OF the en-
among the coonosce,,ti as to whether the design Is
/ by Raphael or Michael Angelo and whether the
Bartisch, who is an authority in these ms tiers
however, has given the design TO Raphael and the
work to Agosiino, and there we win leave It, This
! Is considered his finest work; although as mas
ter OF the BURN he never equalled Marc Antonio,
stll mis- later efforts reveal great taste and periec-
There Is also portrait OF Barbarossa, tur-
eaned IKE Turk, with decidedly wsrlke pro-
I nie. This and the PHILOSOPHY" after design by
Raphael, are In excellent condition and state.
-, Lucas Van Leyden is also well represented.
Lazarus" "rne Virgin and Chlld," adam and
Eve After the Expulsion" and the melancholy
! portrait OF Lucas Van Leyden himself. Duerer,
when he was making one OF his grand tours, called
! upon him. admired his work. ana in his letters
home spoke very touchnsy Of the %
OF this talented engraver ana IN the purity OF the
lines. In the wonderful delcacy and taste OF the
/ contours, and in the soulful expression OF the
figures and faces the works or this engraver OF the
fifteenth century have never been surpassed.
The etchers-Dutch, French and Engifsh-are
! here In toerable lorce. For instance, there are
seven from Ostade, including some Of his BEST
in very respectable Impressions.
This Dutca delineatOr OF low iile-includng under
/ tnat term drunken Doors, charatans street musl-
clnas servant girls, beggars and farm iaborers-
was, nevertheless, q very thoughtful artist T0ere
| Is world OF HneSSe and truth in those scratchy
passions and vices vi the humble 6utchmen of the
! seventeenth century. scarcely dozen strokes
with his etching needle, and tnere stands before
OF that period, who spends half his life beneath the
smoky raiters OF the hosiery, and cares for no
! higher pleasure than. seated upon wooden STOOL
TO play cards, drink as often as his neghbor VIII
J pay, pass the jug, dance on the earthen door and
leer with his Dleared eyes at the women, who look
as much like him as one pea resembles another
Only genius can tell so deep story In such lew
! lines.
| There has always been much doubt whether
David Ieniers ever etcned at all; but We notice
! couple OF sheets from this master and with his
! name IN full upon them rs though to settle the
doubt One IL called "lhe Dance OF the Boors,"
and the otner ''rhe front OF Cabaret" What
has just been said of Ostade Will apply equally
well to his French contemporary.
There IS a a beautiful copy of Claude Lorrane's
seaport" and the departure for the Fields"
With what matchless grace the lines curve IN his
lanascapes, how bright IS the the rising sum- how far
And yet 1t is all produced upon piece OF paper
one OF the decided features of the collection,
J however, Is the number OF states in which Toschi
is represented. Pablo Toschi was pupil oil
Bernie, and is incontestably the most brilliant
print well known to collectors, but
saa as sdsrea rare Is
This 'Te7nd7Qale" is sometimes an unfinished cor
ner, rs IN one OF AnderlOm's. or a ''scrol." or
aIerward removed and its place supplied with the
dedication or the name of the plate.
~, mere Is tne lannon's Maaonna deia Scala," with
and almost rich in color Also ''rhe Descent from
the Cross" with the cross unfinished.
The most interesting sneet Is, perhaps, the cele-
brated "LO SpasimO," after Raphael which Is
proof before the coat-of-arms and the dedication.
This is the fourth, out OF eight states OF tns plate
The original painting formed part OF the booty
which the great Napoleon picked up in the
tour he made through Europe, when ne
was playing at tenpins with the crowned heads.
Toschl saw II IN Paris, made his drawing from 1t
hs Wss G n s In s and tas
the reputation. also, OF having penetrated deeper
into the spirit OF Raphaels WORKS than any other
r. n i'm VI rYht M oil t1vfnr
time, II the Qattdnurc Is correct whom we quoted,
that Raphael Is simply consulted out OF curiosity.
are the Second Group OF the Apostles,' ''St.
Agatha. "The TWO Deacons' and the Madonna
del Veto" commenced by LOnghi and finished,
after his DEATH by Toscni.
or all modern engraveIs Giuseppe Longhi was
| the only one who combined the highest technical
skill with the knowledge that this power OF exc
cution must always be subordlnaled to the subject
ne Is reproducing ana IN giving, also, the
Here is his "Readlng Magdaien' after Corregio
lie gives the effect oil the blue robe which covers
tn the lower part OF the figure BY q certain manner
fully the renex lights the tints Of the nesn, the
Changing shadows. and the round, full form OF
beauty are all produced with the burin
Upon the catalogue this sheet Is described as
an artIsts proof before All letters But we per-
ceive that 1t mas been cut down close to the en-
craving and then mounted upon nice White
carton. TINS. to say the least is very suspicious
circumstance. Tor we certainly think that not even
crazy Engllshman would cut the margin entirely
more PURPOSE OF Framing IT, Se rSe %
preston, however. is quite orlllant There are
gooa asO from Wooet Strange,
since the days OF Lon2hi, Edenck aud Morghen,
no engraver has shown such extraordinary talent
wonderful brilliancy in his Sheets and sorness of
some of his hnes-as IN the chair Madonna-has
made him rival OF MOrghen. II he has q fault it
is that he Is too anxious to reproduce the color Of
his subjects. The madonna Cole stelle' is here
seen with the 'Te4narQue," the three unfinished
stars. This, one of the most famous OF Carlo
Dolces Mad0nnas Is fortunate In possessing so
gifted translator as Mandel.
The "Great Eector." from the same artist, ie a
unique impression. having been taken from q pri-
At The end of the gallery is an artists proof Of a
steel plate engraving, BY Hool living English
engraver 1t Is like q statue OF Rogers beside the
beautiful remnants OF the Parthen0n IN compar
son with even an engraving by Durer. Art has
! somehow got crushed between the wheels of
modern civilized machinery, and what we have
left is almost caricature Of What has been.
Before leaving the building. however, we must
trHe tas Sady e
interesting display. There are quantities of people
VINO do not care lor either paintings. engravngs
or sculpture but who do like to surround them-
selves with quaint cabinets, Mosaic inlald tables,
artlstically designed table plate, sumptuous
etageres and here are rare and costly samples OF
the same. Tiffany Co. have contributed some
silver vase worked IN Arabesque, q bronze bust of
Cleopatra, very beautiful pair OF Japanese vases,
sHu hands the Japa With
| bronze groups OF fine artistic workmanship.
Sypner ~ 90. contribute marble DuStS, lnlald card
| tables and old Dutch CLOCKS Of venerable memory,
while exhibited by the natives are cabinets or
the renaissance Bohemian glass-china cups and
saucers IN possession OF the family ever since the
children OF Israel refused to make bricks without
straw in the land OF Egypt, and bric-d-brac in pro-
side by side with a copy OF 'Virgil" OF 1888. and
the famous dialogue OF Satileo, which brought
| down the velvet claws Of the Vatican upon him,
can be seen here together with Martin Luther's
"ExplanatlOn OF the Ten commandments"
And at the end OF this room, are couple Of busts
OF the latest American sculptor, NJ. Ezekiel q pu-
pill OF the Royal Academy OF Berlin, and one who
has just obtained munifcent order from his
brother Israetes OF the East, the order to make
a gigantic figure OF "Religious Tolerance" for the
coming Centennial.
But the immortal Francis cried, "anOn,
anon, sir"
| NARY aRQVER P0IIND