My attention, upon first running over these pictures was, unluckily, much divided between them and the vehicle of their description.  If I turned to the number, and to the description in the printed catalogue, the language of the latter was frequently so whimsical that I could not refrain from downright laughter.[29] However, the substance must not be neglected for the shadow; and it is right that you should know, in case you put your travelling scheme of visiting this country, next year, into execution, that the following observations may not be wholly without their use in directing your choice—­as well as attention—­should you be disposed to purchase.  Here is said to be a portrait of Arcolano Armafrodita, a famous physician at Rome in the XVth century, by Leonardo da Vinci.  Believe neither the one nor the other.  There are some Albert Durers; one of the Trinity, of the date of 1523, and another of the Doctors of the Church dated 1494:  the latter good, and a choice picture of the early time of the master.  A portrait of an old man, kit-cat, supposed by Murillo.  Two ancient pictures by Holbein (that is, the Father of Hans Holbein) of the Fugger family—­containing nine figures, portraits, of the size of life:  dated 1517 and deserving of notice.  An old woman veiled, half-length, by J.  Levens:  very good.  Here are two Lucas Cranachs, which I should like to purchase; but am fearful of dipping too deeply into Madame Francs’s supplemental supply.  One is a supposed portrait (it is a mere supposition) of Erasmus and his mistress; the other is an old man conversing with a girl.  As specimens of colouring, they are fine—­for the master; but I suspect they have had a few retouches.  Here is what the catalogue calls “A fuddling-bout. beautyful small piece, by Rembrand:”  nº. 188:  but it is any thing but a beautiful piece, and any thing but a Rembrandt.

There is a small picture, said to be by Marchessini, of “Christ dragged to the place of execution.”  It is full of spirit, and I think quite original.  At first I mistook it for a Rubens; and if Marchessini, and not Otho Venius, had been his master, this mistake would have been natural.  I think I could cull a nosegay of a few vivid and fragrant flowers, from this graphic garden of plants of all colours and qualities.  But I shrewdly suspect that they are in general the off-scourings of public or private collections; and that a thick coat of varnish and a broad gilt frame will often lead the unwary astray.

While I am upon the subject of paintings, I must take you with me to the TOWN HALL ... a noble structure; of which the audience room, up one pair of stairs—­and in which Charles V. received the deputies respecting the famous Augsbourg Confession of Faith, in 1530,—­is, to my taste, the most perfectly handsome room which I have ever seen.  The wainscot or sides are walnut and chestnut