Claude, although he painted only the most beautiful appearances of nature, diversified his effects by the finest discrimination. Sea-ports such as these were among his most favourite subjects; and there are none in which he more excelled: yet perhaps it is with his pastoral subjects that we are most completely gratified. The Arcadia of the poets seems to be renewed in the pictures of Claude. In the general character of his genius, Claude bears a strong affinity to Titian. He resembles him in power of generalization, in unaffected breadth of light and shadow, and in that unostentatious execution which is never needlessly displayed to excite wonder, and which does its exact office, and nothing more. But the similitude in colour is still more striking. The pictures of both are pervaded by the same glowing warmth; and exhibit the true brilliancy of nature, in which the hues of the brightest objects are graduated and softened by the atmosphere which surrounds them. The colours by which both produced their wonderful effects were for the most part simple earths, without any mixture of factitious compounds, the use of which has been always prevalent in the infancy, and the decline of art, administering as it does to that unformed or degenerate taste which prefers gaudiness to truth. Claude’s success raised a host of imitators. He was accustomed, on sending home the works which he had been commissioned to paint to make a drawing of each, which he inscribed with the name of the purchaser, as a means by which the originality of his productions might be traced and authenticated. He left six volumes of these drawings at the time of his death, which he called his Libri di Verità. One containing two hundred designs is in possession of the Duke of Devonshire; these have been engraved by Earlom, and published by Boydell under the title of Liber Veritatis. Another of these books was purchased a few years since in Spain, and brought into this country; where it came into the possession of Mr. Payne Knight, and was bequeathed by him to the British Museum. Some of Claude’s pictures have been finely engraved by Woollet. There are twenty-eight etchings extant of landscapes and seaports, by Claude’s own hand, executed with the taste, spirit, and feeling which we should naturally expect. England is rich in the pictures of Claude, some of the finest of which were imported from the Altieri Palace at Rome, and from the collection of the Duc de Bouillon at Paris. There are ten in the National Gallery: the two to which we have adverted, that of St. Ursula especially, he has perhaps never surpassed. The little picture of the Death of Procris is also singularly beautiful. The Earl of Radnor’s Evening, or Decline of the Roman Empire, is one of the most exquisite of Claude’s works. The Marquis of Bute’s collection at Luton, is also enriched by some of the finest specimens of this artist in England.