The other doubtful points are comprised in the following lines, which have every appearance of significance; and which, I have not the least doubt, bear as close application as those already explained: but, as yet, I must acknowledge an inability to understand the allusions. After Venus has entered Gemini—

"Within the gate she fled into a cave: Dark was this cave and smoking as the hell; Nat but two paas within the gate it stood, A natural day in darke I let her dwell."

A. E. B.

Leeds, March 17.

CHARLES THE FIRST AND BARTOLOMEO DELLA NAVE'S COLLECTION OF PICTURES

Among some miscellaneous papers in a volume of the Birch MSS. in the British Museum (Add. 4293. fol. 5.) is preserved a curious document illustrative of the love of Charles I. for the fine arts, and his anxiety to increase his collection of paintings, which, as it has escaped the notice of Walpole and his annotators, I transcribe below.

"Charles R.

"Whereas wee vnderstand that an excellent Collection of paintings are to be solde in Venice, whiche are knowen by the name of Bartolomeo della Nave his Collection, Wee are desirous that our beloved servant Mr. William Pettye, should goe thither to make the bargayne for them, Wee our selues beinge resolved to goe a fourthe share in the buyinge of them (soe it exceed not the sōme of Eight hundred powndes sterlinge), but that our Name be concealed in it. And if it shall please God that the same Collection be bought and come safelye hither, Then wee doe promise in the word of a Kinge, that they shall be divyded with all equallitye in this maner, vidt. That, they shall be equallie divyded into fower partes by some men skillfull in paintinge, and then everie one interested in the shares, or some for them, shall throwe the Dice severallye, and whoesoever throwes moste, shall chose his share first, and soe in order everye one shall choose after first, as he castes most, and shal take their shares freelye to their owne vses, as they shall fall vnto them. In wittnes whereof wee haue sett our hande, this Eight daye of July, in the Tenth year of our Reigne, 1634."

The individual employed by Charles in this negotiation is the same who collected antiquities in Greece for the Earl of Arundel. He was Vicar of Thorley, in the Isle of Wight, and is believed to have been the uncle of the celebrated Sir William Petty, ancestor of the Marquis of Lansdowne. It would be curious to learn the particulars of the "bargayne" made by him, and how the pictures were disposed of after their arrival in England. Were the Warrant and Privy Seal books of the period (still remaining among the Exchequer records) easily accessible, no doubt some information on these points might be gained. That this collection of Bartolomeo della Nave was a celebrated one, we have the testimony of Simon Vouet, in a letter to Ferrante Carlo, written from Venice, August 14, 1627, in which he speaks of it as a "studio di bellissime pitture" (Bottari, Lettere Pittoriche, vol. i. p. 335.: Milano, 1822): and that it came over to England, is asserted repeatedly by Ridolfi, in his Vite degli illustri Pittori Veneti, the first edition of which appeared at Venice in 1648. He mentions in this work several paintings which were in Della Nave's collection, and which it may be interesting to refer to here, in case they are still to be traced in England. In vol. i. p. 107. (I quote the Padua edition of 1835) is noticed a painting by Vincenzio Catena, representing Judith carrying the head of Holofernes in one hand, and a sword in the other. In the same volume, p. 182., a portrait of Zattina by Palma il Vecchio, holding in her hand "una zampina dorata;" and at p. 263. several sacred subjects by Titian among which is specified one of the Virgin surrounded by Saints, and another of the woman taken in adultery, with "multi ritratti" by the same. Again, at p. 288., a head of a lady, supposed to be the mother of the artist Nadelino da Murano, one of the most talented pupils of Titian; and at p. 328. a painting by Andrea Schiavone, and some designs of Parmigiano. In vol. ii. p. 123. are mentioned two paintings by Battista Zelotti from Ovid's Fables; and at p. 141. a picture of the good Samaritan, by Jacopo da Ponte of Bassano. For these references to Bottari and Ridolfi, I own myself indebted to Mr. William Carpenter, the keeper of the department of engravings in the British Museum; and, probably, some of your readers may contribute further illustrations of Bartolomeo della Nave's collection of pictures, and of the purchase of them by Charles I. I do not find this purchase noticed in Vanderdort's list of Charles's pictures, published by Walpole in 1757.

F. Madden.

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