He divides his work into the Venetian,
    Roman, Florentine, Bolognese, and Ancient and Modern Flemish
    Schools:  according to the different chambers or apartments.  This
    catalogue is a mere straight-forward performance; presenting a formal
    description of the pictures, as to size and subject, but rarely
    indulging in warmth of commendation, and never in curious and learned
    research.  The preface, from which I have gleaned the particulars of
    the History of the Collection, is sufficiently interesting.  My friend
    M. Bartsch, if leisure and encouragement were afforded him, might
    produce a magnificent and instructive work—­devoted to this very
    extraordinary collection. (Upon whom, NOW, shall this task devolve?!)

[147] See the OPPOSITE PLATE.

[148] The truth is, not only fac-similes of these illuminations, but
    of the initial L, so warmly mentioned at page 292, were executed by M.
    Fendi, under the direction of my friend M. Bartsch, and dispatched to
    me from Vienna in the month of June 1820—­but were lost on the road.

[149] Lord Spencer has recently obtained a copy of this exquisitely
    printed book from the M’Carthy collection.  See the AEdes
    Althorpianae; vol. ii. p. 192.

[150] [I annex, with no common gratification, a fac-simile of the
    Autograph of this most worthy man,

    [Illustration]]

[151] He has (now) been dead several years.

[152] ECKHEL’S work upon these gems, in 1788, folio, is well known. 
    The apotheosis of Augustus, in this collection, is considered as an
    unrivalled specimen of art, upon sardonyx.  I regretted much not to
    have seen these gems, but the floor of the room in which they are
    preserved was taken up, and the keeper from home.

[153] It will be only necessary to mention—­for the establishment of
    this fact—­the ENGRAVED WORKS alone of M. Bartsch, from masters of
    every period, and of every school, amounting to 505 in number:  an
    almost incredible effort, when we consider that their author has
    scarcely yet passed his grand climacteric.  His Peintre Graveur
    is a literary performance, in the graphic department, of really solid
    merit and utility.  The record of the achievements of M. Bartsch has
    been perfected by the most affectionate and grateful of all
    hands—­those of his son, Frederic de Bartsch—­in an octavo volume,
    which bears the following title, and which has the portrait (but not a
    striking resemblance) of the father prefixed:—­“Catalogue des
    Estampes de J. ADAM de BARTSCH, Chevalier de l’Ordre de Leopold,
    Conseiller aulique et Premier Garde de la Bibl.  Imp. et Roy. de la
    Cour, Membre de l’Academie des Beaux Arts de Vienne.” 1818. 8vo. pp.
    165.  There is a modest and sensible preface by the son—­in which we
    are informed that the catalogue was not originally compiled for the
    purpose of making it public.