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 7) (London: Smith and Son, 1836)

REM BRANDT VAN RIIYN.

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New Testament Subjects.
over the head, and a female friend (probably intended for
Silome) and one of the disciples (both of whom are near her)
are bewailing their loss ; Joseph of Arimathea, a venerable
man with silver locks, is also affectionately bending at the side
of the corpse, and raising the right hand; and in addition to
these are an aged woman at the feet of the Saviour, and a
youth standing at the foot of the cross, looking sorrowfully
on. The remaining person consists of one of the assistants,
who is still on the ladder placed against the cross. This
capital picture is distinguished for the depth and solemnity
of its effect, and for the awful pathos which characterises the
several persons. It is painted in the broadest and most
accomplished style of the master, and may justly be ranked
among his finest works. Signed, and dated 1640.
5 ft. by 5 ft. 6 in.— C. (about.)
Exhibited in the British Gallery in 1835.
Now in the collection of the Marquis of Abercorn.

96. The Descent from the Cross. This exquisite gem of art,
although little more than a finished study, possesses qualities
of the highest order. In this composition, the body of the
Saviour appears to have been just lowered from the cross, and
is extended on the ground, with its head on the lap of the
Virgin, who, overcome with grief, has sunk down in a swoon,
and while in this state, two female friends are assisting her;
several disciples of the deceased Saviour surround his body,
deeply impressed with their loss. The two malefactors still
remain on the crosses, and the spectators have quitted the
mournful scene, over which twilight sheds its solemn hues.
Engraved by Picart, at which time the picture was in the pos-