This picture, commonly distinguished by the appellation of the _St. Jerome_ of CORREGGIO, is undoubtedly his _chef d'oeuvre_. In the year 1749, the king of Portugal is said to have offered for it a sum equal in value to £18,000 sterling. N° 756. (Gallery.) _The Marriage of St. Catherine_. 757. (Gallery.) _Christ taken down from the cross_. This last-mentioned picture has just been engraved in an excellent manner by an Italian artist, M. ROSA-SPINA. The grace of his pencil and his _chiaro oscuro_ place CORREGGIO in the first class of painters, where he ranks the third after RAPHAEL and TITIAN. He is inferior to them in design and composition; however the scarceness of his pictures frequently gives them a superior value. Poor CORREGGIO! It grieves one to recollect that he lost his life, in consequence of the fatigue of staggering home under a load of _copper_ coin, which avaricious monks had given him for pictures now become so valuable that they are not to be purchased for their weight, even in _gold_. No collection is so rich in pictures of CORREGGIO as that of the CENTRAL MUSEUM. PAOLO VERONESE. N° 44. (Saloon.) _The Wedding at Cana_. 45. (Saloon.) _The Repast at the house of Levi_. 51. (Saloon.) _The Pilgrims of Emmaüs_. These are astonishing compositions for their vast extent, the number and beauty of the figures and portraits, and the variety and truth of the colouring. Nothing in painting can be richer. ANDREA DEL SARTO. N° 4. (Saloon.) _Christ taken down from the cross_. ANDREA SQUAZZELLI (his pupil.) N° ( ) _Christ laid in the tomb_. This capital picture is not in the catalogue. GIORGIONE DEL CASTEL-FRANCO. N° 32. (Saloon.) _A Concert containing three portraits_. This master-piece is worthy of TITIAN. GUERCINO. N° 33 (Saloon.) _St. Petronilla_. This large picture was executed for St. Peter's church in the Vatican, where it was replaced by a copy in Mosaic, on being removed to the pontificate palace of Monte Cavallo, at Rome. In the great Gallery are exhibited no less than twenty-three pictures by GUERCINO: but to speak the truth, though, in looking at some of his productions, he appears an extremely agreeable painter, as soon as you see a number of them, you can no longer bear him. This is what happens to _mannerists_. The dark shades at first astonish you, afterwards they disgust you. ANDREA SACCHI. N° 65. (Saloon.) _St. Remuald_. This picture was always one of the most esteemed of those in the churches at Rome. It was the altar-piece of the church of St. Remuald in that city. ALBANO. N° 676. (Gallery.) _Fire._ 677. _Air._ 678. _Water._ 679. _Earth._ In the Gallery are twenty-nine pictures of this master, and all of them graceful; but the preceding four, representing the elements, which were taken from the royal Cabinet of Turin, are the most remarkable. BAROCCIO. N° 686. (Gallery.) _The Virgin, St Anthony, and St. Lucia._