n the wall, is a large slab of red
porphyry, circular at the top and surrounded by an elegant inlay of
Sienna verd, antique border surrounding the whole figure of the Saint,
and has a most rich effect; it is difficult to believe that the Sienna is
not gold. The light descending from above gives that fine effect which
sets off statues so much. On the left hand of the figure is a picture by
Pietro Perugino, which for centuries was in the Cathedral of Sienna,
having been painted for that building and never removed till Mr. Beckford
(I suppose by making an offer too tempting to be resisted) succeeded in
obtaining it. It is the Virgin and two pretty boys, admirably drawn,
very like Raphael, and in as fine preservation as the St. Catherine. The
execution is masterly, and though not so free as the Raphael still it is
forcible. The figure of the left hand boy is very graceful, face
beautiful and sweetly dimpled. Opposite are a Francesco Mola and a
Steinwych. The Mola is exceedingly fine, the sky and landscape much like
Mr. Beckford's Gaspar Poussin in colour and execution; the Steinwych,
interior of a Cathedral, one of the most wonderful finished pictures I
ever beheld. This picture was painted for an ancestor of Mr. Beckford's.
Here there is a little cabinet full of rare and curious manuscripts. We
were shown a small Bible in MS., including the Apocrypha, written 300
years before printing was introduced, and a very curious Missal.

We then entered a gorgeous room containing pictures and curiosities of
immense value. Its proportions seem exactly the same as the one on the
floor below, and decorations with its furniture pretty similar. The
windows in both are in one large plate, and the shutters of plain oak.
The colour of curtains and carpet crimson. In these rooms are a portrait
of the Doge out of the Grimaldi Palace, purchased by Mr. Beckford from
Lord Cawdor, who got it out of the Palace by an intrigue; this is a
splendid portrait; he has on the Dalmatica and the Phrygian Cap worn by
the Doges on occasions of State, and two lovely Polembergs, infinitely
finer and more like Claude than anything I ever saw; in fact, they were
ascribed to Claude by the German Waagen, architecture grand, foliage
light and elegant; the figures are by Le Soeur. Two fine portraits by De
Vos, wonderfully painted, execution and colouring reminded me of Vandyke,
particularly the latter, and not unlike the Gavertius in the National
Gallery.