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 3) (London: Smith and Son, 1831)

vi

PREFACE.

of the facility of its attainment; but an impartial exa-
mination will show the error of such a supposition, and
perhaps convince the uninformed that, in reality, there
have been fewer painters of eminence in that department
of the art than in any other.
The following summary notice will elucidate, to a
certain extent, this opinion ; and probably satisfy the
impartial reader of its truth :—
The portraits by Raffaelle justly take precedence of
those of every other painter; in them are seen grandeur
of form, expression of intellectuality, and a fine historical
character ; the position of the figure and the apper-
taining accessories are always arranged with taste and
judgment; and the whole picture is finished with deci-
sion and delicacy, so that it always exhibits a work of
the most perfect and beautiful description.
Those by Sebastian del Piombo, Giulio Romano, and
Parmigiano, are remarkable for an affected grandeur
of style, energetic character, and an imposing effect;
but they are destitute of the grace and refinement inse-
parable from the portraits by Raffaelle.
Titian claims distinction by a noble and dignified
physiognomical expression, a fascinating glow of colour,
and captivating effect. In the countenances of his
portraits are discovered the proud Venetian senator, the
stern and daring warrior, and the erudite scholar. His
female portraits are more to be admired for the splen-
dour and beauty of the colouring, than for any superior
elegance of form or delicacy of position.
Other Italian painters of eminence essayed portraiture
with considerable success, though none reached the
excellences of those enumerated. Among the most