"The foreground of the picture of 'the Mill' is a piece of very lovely and perfect forest scenery, with a dance of peasants by a brook-side; quite enough subject to form, in the hands of a master, an impressive and complete picture. On the other side of the brook, however, we have a piece of pastoral life; a man with some bulls and goats tumbling head foremost into the water, owing to some sudden paralytic affection of all their legs. Even this group is one too many; the shepherd had no business to drive his flock so near the dancers, and the dancers will certainly frighten the cattle. But when we look farther into the picture, our feelings receive a sudden and violent shock, by the unexpected appearance, amidst things pastoral and musical, of the military; a number of Roman soldiers riding in on hobby-horses, with a leader on foot, apparently encouraging them to make an immediate and decisive charge on the musicians. Beyond the soldiers is a circular temple, in exceedingly bad repair; and close beside it, built against its very walls, a neat water-mill in full work; by the mill flows a large river with a weir across it.... At an inconvenient distance from the water-side stands a city, composed of twenty-five round towers and a pyramid. Beyond the city is a handsome bridge; beyond the bridge, part of the Campagna, with fragments of aqueducts; beyond the Campagna the chain of the Alps; on the left, the cascades of Tivoli. "This is a fair example of what is commonly called an 'ideal' landscape; _i.e._ a group of the artist's studies from nature, individually spoiled, selected with such opposition of character as may insure their neutralizing each other's effect, and united with sufficient unnaturalness and violence of association to insure their producing a general sensation of the impossible."--_Ruskin's Modern Painters._ "Many painters take a particular spot, and sketch it to perfection; but Claude was convinced that taking nature as he found it, seldom produced beauty. Neither did he like exhibiting in his pictures accidents of nature. He professed to pourtray the style of general nature, and so his pictures were a composition of the various draughts which he had previously made from beautiful scenes and prospects."--_Sir J. Reynolds._ 18. Pietà: _Ann. Caracci_. 23. Landscape, with the Temple of Apollo: _Claude Lorraine_. 26. Portrait: _Mazzolino_. 27. Portrait: _Giorgione_. 33. Landscape, with Diana hunting: _Claude Lorraine_. At the end of this gallery is a small cabinet, containing the gems of the collection:-- 1. Portrait of a "Letterato:" _Lucas V. Leyden?_* 2. Portrait of Andrea Doria: _Sebastian del Piombo_.* 3. Portrait of Giannetto Doria: _Bronzino_.*