but I am not much disposed to admire the style of execution of our hero.  It is a stiff, formal, and severely executed picture.  Assuredly the present school of French portrait painters is most egregiously defective in expression; while ours, since the days of Reynolds, has maintained a most decided superiority.  I believe I have now noticed every thing that is more particularly deserving of attention in the Collection of Mr. Quintin Craufurd ...  But I cannot retrace my steps without again expressing my admiration of the local of this little domain.  The garden, offices, and neighbourhood render it one of the most desirable residences in Paris.[189]

As I happen to be just now in the humour for gossiping about the fine arts, suppose I take you with me to the collection of paintings of the MARQUIS DE SOMMARIVA, in the Rue du Bas Rempart?  It is among the most distinguished, and the most celebrated, in Paris; but I should say it is rather eminent for sculpture than for painting.  It is here that Canova reigns without a rival.  The early acquaintance and long tried friend of the Marquis, that unrivalled sculptor has deposited here what he considers to be the chef-d’oeuvre of his art, as a single figure.  Of course, I speak of his Magdalen.  But let me be methodical.  The open day for the inspection of his treasures is Friday.

When I entered, not a creature was in the rooms.  The general effect was splendid and imposing.  I took out my memorandum-book, and went directly to work; noticing only those subjects which appeared, on one account or other, to be more particularly deserving of attention.  There is a pretty picture of CUPID AND PSYCHE, by Carlo Cignani; the simple and quiet effect of which is much heightened by being contrasted with the very worst representation of the same subject, which I ever saw, by David:  painted last year at Brussels.  How the Marquis can afford so many square yards of his walls for the reception of such a performance, is almost marvellous.  It is, throughout, in the worst possible taste.  The countenance of Cupid, who is sitting on the bed or couch with the vacant grin of an ideot, is that of a negro.  It is dark, and of an utterly inane expression.  The colouring is also too ruddy throughout.  Near to this really heartless picture, is one of a woman flying; well drawn, and rather tenderly coloured.  Opposite, is a picture of Venus supported in the air by a group of Cupids.  The artist is Prudhon.  In the general glare of colour, which distinguishes the French school, it is absolutely refreshing to have the eye soothed by something like an attempt, as in this picture, at a mellow chiaro-oscuro.  It has undoubted merit.  It is, upon the whole, finely coloured; but the countenance of Venus is so pale as to have an almost deathly effect.  It is intended to represent her as snatched away from the sight of her dead Adonis.