Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 1) (London: Smith and Son, 1829)

xxii

INTRODUCTION.

the true painters, as any attempt to the contrary would
have been exposed, and a stigma cast upon the judg-
ment of the writer; in cases of doubt, the picture was
classed under the head Attribue.
The ancient Dutch, Flemish, and French collections
were composed (with few exceptions) of pictures painted
by the first-rate masters; and, in several of the Dutch
cabinets, the very choicest only of their works were
admitted: the Linden, Van Slingelandt, Lubbeling,
Lormier, Bisschop, d'Acosta, Van Heteren, Bicker,
Van Zwieten, Van Wassenaar, Cauwerwen, Verhulst,
Van Winter, Robyn, Braamcamp, De Smeth, Gelder-
meester, Van Leyden, the Countess de Verrue, Randon
de Boisset, Gaillard de Gagnat, Blondel de Gagny,
Choiseul, and Praslin, may be adduced as instances.
The present work is confined to the first-rate and
most-esteemed masters only of the several schools
already noticed; those of the second class are men-
tioned incidentally, as imitators, or analogous painters.
The introduction of a work exclusively confined to
the arts, affords an opportunity to the writer to indulge
in a few observations, upon the state and progress of
painting in this country, and of its importance in a
political view; and although this subject has already
attracted the notice of several able writers, yet it will
still admit of being revived and reconsidered, and the
more frequently this is done, the more correctly will
the true weight and measure of its utility be ascer-
tained.
England may be considered as the last among civilized
nations that has encouraged the arts, by fostering