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 8) (London: Smith and Son, 1837)

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CLAUDE LORRAINE.

induced him to change his original intention of re-
turning to Rome, and, on quitting Venice, he bent
his course towards his native country, taking a cir-
cuitous route, by the way of Germany, in order to
see and study the beautiful scenery of the Tyrol, and
other places of picturesque interest, in that direction.
This journey was, however, far from being propitious,
as, in addition to his being taken ill on the road,
he was robbed of the little property he had, while
confined to his bed; and after much delay he arrived,
wearied and discouraged, at Lorraine, where he re-
mained but a short time, and then went on to Nantes.
During his residence in the latter city, he received a
visit from a relation, who was also an artist, and at
that time extensively engaged for the Duke de
Lorraine. This person no sooner learnt that Claude
was also a painter, and saw some of his productions,
than he invited him to his house, and made him ad-
vantageous offers, to induce him to assist in a work
he had undertaken. Claude, with some difficulty,
and under certain conditions*, accepted his propo-
sitions, and remained with him above a year, working
conjointly with his relation on several pictures, most
* Baldinucci gives rather a different version to this statement; for
he says that “ Claude’s relation introduced him to one Carlo Derwent,
painter to the Due de Lorraine, and Knight of Portugal: with this
person he entered into an engagement, the conditions of which were,
that he should be employed to paint the figures in the several pictures,
as he was anxious to improve himself in that department of the art;
but long before the year was elapsed, he was compelled to paint the
architectural portions of the decorations.”