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 2) (London: Smith and Son, 1830)

RUBENS.

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Collection of Hastings Elwyn, Esq. 1806. 950 gs.
Now in the collection of Lord Feversham.
Panneels has etched a print, entitled Cursus Mundi, representing
an old woman, with a broken pitcher in one hand and a lighted
candle in the other, at which a boy is about to light a whole one.
A skeleton is seen in the back-ground.
There is a picture of a similar subject to the preceding, but of
very inferior merit, in the Dresden Gallery, which was engraved by
Wyngaerde, in 1631 ; and also by Basan and Boece.
The same subject, with the addition of two boys, is engraved in
mezzotinto by Smith.
771. A Sketch for a Portrait of Helena Forman.
Collection of Sir William Hamilton, 1801.52A
772. A spirited Sketch of a Boar Hunt, and the Death os
Meleager.
Collection of Edward Coxe, Esq. . 1807. 65 gs.
773. Abraham sending away Hagar. Sarah, who is repre-
sented as the chief mover in this dismissal, stands at the door
of the house, with her left hand placed on her hip and the
right raised in an attitude of addressing herself forcibly to
Hagar, who is quitting the presence of her offended mistress.
The patriarch stands within the door of the house.
2 st. 4<in. by 3st. 4s in.—P.
Engraved in Young’s Grosvenor Gallery.
Collection of Welbore Ellis Agar, Esq. 1807.
Now in the collection of Earl Grosvenor.

774. The Conversion of St. Paul. This magnificent pic-
ture offers a composition of extraordinary grandeur. The
principal group consists of four horsemen, and six figures on
foot, the whole of which are thrown into confusion by the super-
natural appearance of the Saviour in the heavens. Saul, the
object of this visitation, struck with terror, lies prostrate and
senseless on his back in the fore-ground, with one leg on the
horse’s back, which has fallen forwards upon its knee; at the