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ts figures; the landscape is by Titian, and Dr. Waagen says, justly, that "it is, without comparison, the finest that up to that period had ever been painted,"--and we would add, few finer have been painted since.
Meanwhile Sir Charles Eastlake has obtained a picture by Mantegna, and another by Bellini, both of which rank very high among the works of these masters, and both in excellent condition. And Mr. Alexander Barker, whose collection is becoming one of the best selected and most interesting in England, has purchased several pictures of great value, especially one by Verocchio, the master of Leonardo da Vinci, which Dr. Waagen speaks of as "the most important picture I know by this rare master." Mr. Barker has also made an addition to his collection so recent as not to be described even in this last volume of the "Art Treasures," but which is of unsurpassed interest. He has purchased from the Manfrini Gallery at Venice, a gallery which has long been famous as containing some of the best works of the Venetian school, eighteen of its best pictures, and was lately in treaty for a still larger number. He has already secured Titian's portrait of Ariosto, Giorgione's portrait of a woman with a guitar, and other works by these masters, by Palma Vecchio, Giovanni Bellini, and other chief Venetian painters. We trust that he may bring to England (if it must leave Venice) Bellini's St. Jerome, a picture of the most precious character.
This catalogue, long as it already is, by no means completes the list of the last three years' gains of pictures for England. Such a record shows how compact with treasures the little island is becoming. And meanwhile, what is America doing in this way? The overestimate of the importance and value of Mr. Belmont's collection in New York shows how far the American public yet is from knowing its own ignorance and poverty in respect to Art.
No praise can be given to the execution of Dr. Waagen's book. His descriptions of pictures are rarely characteristic; his tone an