Come with me, now, to a very different exhibition:  to a unique collection, of its kind:  to a collection, not frequently visited:  as little known; but undoubtedly well deserving both of being often visited and described.  It is of the Collection of Paintings belonging to MR. QUINTIN CRAUFURD, living in the Rue d’Anjou, no. 21, that I am about to speak:—­the fruits of a long residence (upwards of thirty years) in France; during the alternate commotions of republicanism and despotism.  A letter of introduction procured me every facility of access to make repeated examinations of these treasures; and during my sojournings I fancied myself holding converse alternately with some of the grandees of the time of Francis I. and Louis XIV.

Such a collection of French portraits—­almost entirely of characters who have cut a figure in history—­is no where else to be seen in Paris.  In my estimation, it is beyond all price.

Facing you, as you enter, stands—­firmly upon his legs, and looking you manfully in the face—–­ the gallant and faithful Comte De Brienne, Grand Master of the Ceremonies to Francis I. and Henry II. A fine picture; and quite perfect.[180] To the left, is a charming whole length portrait, by Velasquez:  a tender and exquisitely careful specimen of art.  Of other whole lengths, but subordinately executed, you should notice one of Christine, Duchesse de Savoie, daughter of Henry II. and Catherine de Medicis; very curious, and in perfect preservation.  There is a duplicate of this picture in the Louvre.  A much more curious picture is a whole length, supposed to be of Agnes Sorel, mistress of Charles VII.  One minute’s reflection will correct this designation of the portrait.  In the time of Agnes Sorel, portrait painting, in oil, was unknown—­at least in France.  The costume betrays the misnomer:  for it is palpably not of the time of Agnes Sorel.  Here is also a whole length of Isabella, daughter of Philip II. and Governess of the Low Countries.  There are several small fancy pictures; among which I was chiefly, and indeed greatly struck, with a woman and two children by Stella.  ’Tis a gem of its kind.

[Illustration:  COMTE DE BRIENNE,

From an original Painting in the Collection of the late Quintin Crauford
Esq.

London, Published June 1829, by R. Jennings, Poultry.]

Leaving this room, you turn, to the left—­into a small room, but obscurely lighted.  Here is a Virgin and Child, by Sasso Ferrato, that cannot be surpassed.  There is a freedom of design, a crispness of touch, and a mellowness of colouring, in this picture, that render it a performance very much above the usual representations of this subject.  In the same room is a spirited, but somewhat singular, picture of the birth of Venus.  It exhibits the conception and touch of a master.  The colouring is very sober.  The name of the artist is not