No. 60. The Ghost of Samuel.—This picture, brought from Versailles, is on cloth. TINTORET. No. 67. Saint Mark freeing a Slave. From the fraternity of St. Marco, at Venice. One of the best pieces of Tintoret, and one of the three to which he affixed his name, in this manner, “Jacomo Tintor, F.” 68. St. Agnes bringing to Life the Son of a Prefect, at Rome. Taken from the church of _la Madona del Orto_, at Venice. TITIAN. No. 69. The Martyrdom of St. Peter, the Dominican.—The wonderful recovery of this precious picture I have before mentioned. It is now in high preservation. The colours are rich, and the whole perfect. No. 70. The Portrait of the _Marquis del Guasto_.—This picture is painted on cloth, and was in the old collection. 71. The Virgin, the infant Jesus, St. John, and St. Agnes. From the old collection. 72. The Holy Family, called the Virgin with the Rabbit. From the old collection. 73. The Pilgrims of Emmaus.—This picture, painted on cloth, was brought from Versailles. 74. Titian and his Mistress.—This valuable picture comes from the old collection. 75. The Picture of a man. From the old collection. 76. The Portrait of Cardinal _Hippolytus de Medici_, in a military dress. From the palace of Pitti. VAN DYCK. No. 84. Francis de Moncade, Marquis d’Aytone, on cloth. From the palace of prince Braschi, at Rome. LEONARDI DA VINCI. No. 37. The Virgin and St. Ann, on wood. From the old collection. GUERCINO (GIO FRANCESCO BARBIERI.) No. 33. St. Petronelle. The chef-d’œuvre of Guerchini. Taken from the pontifical palace, at mount Cavallo, at Rome, where it ornamented the chapel called _Pauline_. L. CARRACCI. No. 19. The carrying away the Body of the Virgin. 20. The Apostles at the Sepulchre.—These two pictures came from Placenza, where they were seen in the cathedral. Painted in 1608, when Carracci was far advanced in life. “The Transfiguration,” by Raphael, is undergoing the same process as the pictures mentioned in the beginning of this letter; and will, probably, when this is finished, obtain all its former celebrity. I make no apology for this long account; for knowing your curiosity about paintings, and the general taste for such subjects in England, I thought it an indispensible duty to give you the full particulars of this new exhibition, which, though on a smaller scale, is perhaps superiour, in point of real merit, to the larger collection.