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Chap. XII.
ROYAL PICTURE GALLERY.
189
hundred years since, by the King of Denmark. Copies
of it exist in the Borghese Gallery, as well as in the
Palace of Hampton Court. Add to this the picture of
“ Cadmus sowing the Dragon’s Teeth,” by Salvator
Rosa—a work highly esteemed, though more to be
admired for the excellence of its painting than
interesting in itself; a second, by the same master, of
“Jonah preaching to the Ninevites,” executed by order
of Christian IV. for the chapel of Frederiksborg; a
“Murder of Abel,” by Luca Giordano; and some
heads by Carlo Dolce,—and you now know what in the
gallery is best worth looking at of the Italian school.
When Cardinal Valenti brought over his pictures
from Italy to Antwerp, art was at a discount; after
his death the collection was disposed of by his heirs,
and the cream of the Dutch school I am about to
describe were chiefly purchased at his sale. The “ Christ
at Emmaus,” by Rembrandt, which has been engraved by
Jean de Frey, is highly thought of; but I have never
as yet been able to see it in a good light, so cannot
judge of its qualities; the portrait of a young
Dutchman of rank, called in the Nagler catalogue “ his own
portrait,” by the same author, in velvet toque and
sunny locks, is admirable.
The “Judgment of Solomon,” by Rubens, is the
glory of the gallery; but, as often occurs in large
easel pictures, the one half, containing the bad mother,
the soldier, and living child, is so infinitely superior
in composition to the rest of the picture, that Solomon,
in all his glory, is, together with the real mother,
thrown quite into the shade; added to which,-in the
bad mother you recognise the sweet features and fair
form of your old acquaintance Helena Formann. The
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