Schalcken, Godfrey. His small candlelight half-lengths, 2501. G. 250l. 547. De Gagny. Schut, Cornelius, 621. Seghers, Gerard, 150l. G. 621. 411. 377. G. 150l., fallen to 167. 121. 81. Slingeland, Peter Van, 500%. 201. 127. * Sneyders, Francis, 166. G. 1667., singularly fallen in France. I have seen his chief works sold at from 87. to Teniers, David (old), 50l. 331. 201. 51. 31. 27. 17. *Teniers, David (young), 12507. G. 12501. Sale of De Gagny, No. 81. 12087., being "The Works of Mercy." This picture was first in the collection of Gontaut, then of Cressent, No. 75. of his catalogue. It belongs now to the Gallery of France. It was sold in the Gaignat catalogue for 3021., in the Choiseul for 3971., and in the Conti one for 4167. G. It is not one of the best works of Teniers. B. *Terburg, Gerard, 6667. G. 6667. 1507. 4167. 1167. 1497. 2007. 2437. 1627. 2157. 1297. 1247. 2007. Catalogues Conti, Choiseul, Poulain, Gagny, Pange, Julienne, Boisset. 1027. Perriere, No. 60. Thulden, Theodore Van, 250l. G. 2501. 831. 201. 51. G. 621. 81. 31. 21. 1997. 2117. 1581. Catalogues Gagny, Julienne, Mariette, Boisset, Conti, Trouard. 2087. Perriere. Velde, William Van Den, 8331. G. 8331, 521. 335l. 131l. 70%. 1127. 751. Catalogues Choiseul, Conti, Boisset, Poulain, Pange, Boileau, 1779. 375l. Perriere. Waterloo, Anthony, same as Everdingden. Weenix, John Baptist, 5007. G. 2501. 3007. 751. Catalogues Menars, Boisset, Poulain. Weenix, John, 600%. G. 6007. 4167. 627. 127. Werff, Adrian Van der, 1500l. G. 15007. 1051. 2501. 5217. 3337. 2197. 2497. 2467. 2871. Catalogues Choiseul, Conti, Brunoy, Poulain, Gaignat, Julienne. Werff, Peter Van der, 5001. G. 5001. 411. 2501. 201. G. 8751. 831. 8251. 4991. 607. 6957. 4447. Catalogues Boisset, Julienne, Gaignat, Choiseul, Conti. 3917. 4837. Perriere, Nos. 64. 66. Wouvermans, Peter, 201. G. 201. 127. 81. 61. G. 411. 201. 127. G. 417. No. 54. of Boisset's Cata logue, 4167. and No. 69 and 70 of Perriere's. 2547. 1487. Z. Zacht-Leeven. Herman, 1667. G. 1661. 1257. 411. 2017. Zorg, Henry Rokes, 1251. G. 1257. 417. 251. I have seen admirable pictures of his. They may be estimated at from 40%. to 50%.-G. CHAPTER XV. OF THE DIFFERENT METHODS THAT MAY BE USED TO CLEAN PICTURES, AND THE PRECAUTIONS TO BE TAKEN IN LINING OR RESTORING THEM. SECT. I. The Necessity of every Amateur learning to clean his Pictures. NOTHING can be more useful to an amateur than to be able to clean his pictures himself; nor can any thing give him more lively enjoyment than to see reviving under his hands a beautiful production of the art to which his operations give a second life. But from ignorance of the means, and the difficulty of procuring instruction in it, through the pains taken by those who make a business of it to conceal the process, or what they call their secrets, the greater number of amateurs are reduced to the necessity of placing themselves in the hands of others in this matter. Even amongst those who have been fortunate enough to learn some good method, there are a great many to whom the knowledge of it becomes unproductive, from their timidity, or from the ill success of their first attempts, through want of practice. Others again, having through misplaced confidence, made trial of injurious or dangerous processes, vaunted by charlatans, or cried up in books, have become disgusted for ever by having spoiled their pictures, for which, alas! their regret comes too late. It is true, I admit, that without some practice, and a little prudence, the best methods are not without danger. But that need not frighten the amateur. He will get practice by making his first attempts on some worthless picture. He will learn from me all the precautions useful to him. His interest, the delight of success, and the fear of injuring objects that he cherishes, will do the rest so effectually, that his pictures will soon find, in his hands, a security not always to be found in those of mercenary operators, where they miss the superintending eye of the master, and where they are treated all the more cleverly, because if any thing is rubbed out, it can be cunningly concealed by a plaster, which a veil of varnish masks to the proprietor, until time discover it by the blackening of the colours. The amateur, moreover, will expect in vain to find in another the patience of labour which he will himself exhibit, animated as he will be by his anxiety to preserve the gem that he loves, and pleased with the opportunity to dispose so agreeably of the time he may have on his hands. Besides, subjected continually to disagreements and to exorbitant demands on the part of those whom he employs, and often obliged, for want of cleaners in the place where he resides, to expose his pictures to the risks of transport in sending them to a distance, how can he be otherwise than charmed with the power of emancipating himself from all ex |