Mythological Subjects. 269. The Triumph of Flora. This subject is taken from the fabulous stories of the individuals metamorphosed into flowers, who are here represented as engaged in those acts which preceded their change. In the centre of the group are Narcissus and Echo; the former is bending over a vase of water, sighing with love of his own image; the latter sits by, gazing on him with enamoured eyes. Beyond these is Clytie viewing with rapture the God of Day pass in his refulgent chariot through the heavens. On the left is Ajax, disappointed in his ambition, perishing on his own sword. In the opposite side is Smilax lying on the lap of Crocus; and a little retired from these is the young huntsman, Adonis, with a spear in his hand, and two dogs near him; and still more remote stands the beautiful Hyacinthus. In the midst of these, Flora is seen dancing in exulting triumph, scattering flowers over the pining lovers around her. Several cupids, linked hand in hand, are behind the goddess, and a solitary one lies close to the front with a bunch of flowers in his hand. The scene exhibits the parterre of a garden surrounded with bowers. This excellent picture was painted for the Cardinal Omodei. Engraved by Audran. 4 ft. 6 in. by 6 ft. 5 in.-C. Now in the Dresden Gallery. 270. The Choice of Hercules. The hero is represented standing erect, with his Nemaan mantle hanging across his arm, and his right hand placed on the top of his club; his attention is fixed on a female personating Wisdom, who stands on his left in an attitude of persuasion, pointing upwards, indicative of the future glory which awaits those who follow her councils. In the opposite side is a beautiful woman, the emblem of Pleasure, lightly clad, and by her look and gesture Mythological Subjects. appears to be inviting him to follow her flowery paths, in which she is seconded by the God of Love, who is offering him a sprig of roses. The subject is introduced in the foreground of a rocky country adorned with trees. Engraved by R. Strange. Now in the collection of Sir Richard Colt Hoare, Bart. 271. Hercules destroying Ignorance. This expressive allegory exhibits the hero animated with rage; one foot is advanced, and his club, grasped with both hands, raised ready to strike a mortal blow at Ignorance, personified by a female seated on an elevation before him, caressing an ass, and into whose lap Fortune is emptying her horn of abundance. Various books, together with the palette, pencils, and the hammer and chisel, emblems of literature, painting, and sculpture, lie neglected at her feet, infant boys being suffered to play with and contemn them. The noble intention of Hercules is, however, frustrated by Envy, who has glanced behind, and seized his arm with one hand, while with the other she is endeavouring to cover his eyes. Two cupids, soaring above, bear a wreath to crown his brows. This picture was intended as a satire upon three indifferent painters, namely, Simon Vouet, Le Mercier, and Fouquier, who intrigued against him when he was engaged in decorating the Louvre and Fontainbleau, and were the cause of his returning to Italy. There is an outline of the picture by Madame Linger. 272. Midas and Bacchus. This subject exhibits the avaricious King of Phrygia, attired in a blue vesture and a yellow mantle, bending on one knee, supplicating Bacchus to take back the power with which he had endowed him, of changing Mythological Subjects. whatever he touched into gold. The deity stands near, holding a cup in one hand, while the other is compassionately extended towards the suffering king. Silenus is recumbent near them, and a beautiful nymph lies naked asleep on the foreground, with an infant by her side. Beyond this group are three fauns, one of whom is seated drinking, a second is playing on a double pipe, and a third is gathering fruit. In addition to these, on the left, may be noticed two boys playing with a goat, and more remote are a recumbent river god and a youth; the latter is kneeling on the bank of a stream. The surrounding country represents a beautiful Arcadian scene. This excellent picture may fairly be estimated at 800 gs. 3 ft. by 4 ft. 2 in.-C. Now in the Public Gallery at Munich. 273. Mount Parnassus. Apollo is seated on the sacred mount, and the nine muses standing on his right; the attention of the diety is directed to a poet, who is bending before him and placing a volume on his lap, and to whom in return he is presenting a cup of water from the Pierian spring; one of the muses is about to crown the bard with a wreath of laurel. On each side of the mount, and close to the front, stand a number of poets, each carrying a book, and crowned with a chaplet; to these, two genii are presenting cups of water taken from the stream which flows in the centre of the foreground; on the farther bank of which, a beautiful nymph reclines on a vase, the emblem of the sacred fount. Above are seen several cupids flying among the branches of the ever-verdant trees, from which they are either gathering branches to compose chaplets, or have them in their hands: one of them carries a violin on his shoulders. This capital picture is engraved by Dughet, and anonymous. Allegorical Subjects. 274. Venus, Love, Bacchus, and Mercury, dancing in a ring to the music of a lyre. This beautiful allegory exhibits the harmony of the pursuits and pleasures of human life. Mercury, the god of commerce, is in the centre, holding the hands of Venus and Bacchus, and their hands are entwined with those of Love; the whole, in the most graceful attitudes, are dancing gaily in a ring, to the inspiring sounds of a lyre, played by the God of Music, who is seated under a clump of trees at the side. The various emblems which distinguish the several deities are appropriately introduced, and the surrounding landscape represents a tasteful Arcadian scene. Engraved by J. J. Avril. ALLEGORICAL SUBJECTS. 275. Union, or Strength. Illustrated by a female with light hair, which is partly concealed by a scarf, standing erect, with her left hand placed on the Roman fasces, and the right holding the hem of her pale blue mantle. 276. Charity (companion to the preceding). Represented by a beautiful woman, attired in a yellow vesture and a white mantle, standing in a profile view; she has an infant at the breast, and holds the hand of another by her side; a third babe stands in front, fondly clinging to her mantle. 11 in. by 7 in. (oval.) Now in the Palace of the Hermitage, at St. Petersburgh. Allegorical Subjects. 277. The Arcadian Shepherds. This beautiful moral lesson of the transitory nature of all sublunary enjoyment, is poetically illustrated by three shepherds and a nymph, who are thoughtfully reading, and moralising on the inscription of a tomb,-" ET IN ARCADIA EGO;" one of the former is bending on his knee, and significantly tracing his finger over the letters; a second is also bending forward; and while pointing towards them, looks round to invite the spectator's attention to the ominous sentence: the nymph stands by the side of the latter swain, looking gravely on. Engraved by Picart, Niquet, Mathieu, and Rundel. 2 ft. 8 in. by 5 ft.—C. Valued by the Experts du Musée, Now in the Louvre. 1816. . 50,000 fs. 2000l. 278. The Arcadian Shepherds. This excellent picture differs from the preceding, both in shape and composition. The subject is here composed of two shepherds, a nymph, and an emblematical figure of a river; one of the shepherds, with his back towards the spectator, and his face in a profile view, stoops forward, and is passing his finger over the last letters. of the inscription; the other stands on his left, and the nymph is at the extremity of the group. The significant inscription, "Et in Arcadia Ego," has excited in each of them pensive reflections. The river god is recumbent asleep, close to the front, with his hand on a vase. Engraved by Ravenet. 3 ft. 4 in. by 2 ft. 7 in.-C. Now in the collection of the Duke of Devonshire. 279. An Allegory of Human Life. This picture, as well as the two preceding, and also many others noticed in the |