If I were to plan a new Dresden gallery, the Madonna del Sisto and the "Notte" should each have a sanctuary apart, and be lighted from above; at present they are ill-placed for effect. When I could move from the Raffaelle room, I took advantage of the presence and attendance of Professor Matthaï, (who is himself a painter of eminence here,) and went through a regular course of the Italian schools of painting, beginning with Giotto. The collection is extremely rich in the early Ferarese and Venetian painters, and it was most interesting thus to trace the gradual improvement and development of the school of colourists through Squarcione, Mantegna, the Bellini, Giorgione, Paris Bordone, Palma, and Titian; until richness became exuberance, and power verged upon excess in Paul Veronese and Tintoretto. Certainly, I feel no inclination to turn my notebook into a catalogue; but I must mention Titian's Christo della Moneta:--such a head!--so pure from any trace of passion!--so refined, so intellectual, so benevolent! The only head of Christ I ever entirely approved. Here they have Giorgione's master-piece--the meeting of Rachel and Jacob; and the three daughters of Palma, half-lengths, in the same picture. The centre one, Violante, is a most lovely head. There is here an extraordinary picture by Titian, representing Lucrezia Borgia, presented by her husband to the Madonna. The portraits are the size of life, half-lengths. I looked in vain in the countenance of Lucrezia for some trace, some testimony of the crimes imputed to her; but she is a fair, golden-haired, gentle-looking creature, with a feeble and vapid expression. The head of her husband, Alphonso, is fine and full of power. There are, I suppose, not less than fourteen or fifteen pictures by Titian. The Concina family, by Paul Veronese, esteemed his finest production, is in the Dresden gallery, with ten others of the same master. Of Guido, there are ten pictures, particularly that extraordinary one, _called_ Ninus and Semiramis, life size. Of the Carracci, at least eight or nine, particularly the genius of Fame, which should be compared with that of Guido. There are numerous pictures of Albano and Ribera; but very few specimens of Salvator Rosa and Domenichino. On the whole, I suppose that no gallery, except that of Florence, can compete with the Dresden gallery in the treasures of Italian art. In all, there are five hundred and thirty-four Italian pictures. I pass over the Flemish, Dutch, and French pictures, which fill the outer gallery: these exceed the Italian school in number, and many of them are of surpassing merit and value, but, having just come from Munich, where the eye and fancy are both satiated with this class of pictures, I gave my attention principally to the Italian masters.