Fancy Subjects.

representing Moses striking the rock, now in the Bridgewater Collection. It exhibits, in the most impressive manner, the qualities of maternal affection and gratitude. The former is strikingly portrayed by a well-formed woman, clothed in a blue vesture and a yellow mantle, sitting on the ground, giving drink from a vase to a thirsty child, who is kneeling by her side, while a second, a fine chubby boy, having already partaken of the refreshing beverage, is now reclining on his parent's lap. The grateful father of these infants is on his knees, and with his hands untied, appears to be pouring forth his heartfelt thanks to the bounteous giver of the timely relief. Three more groups are seen in succession in the receding landscape.

1 ft. 7 in. by 1 ft. 5 in.-C.

Now in the collection of the Marquess of Westminster.

294. Cupids Playing. The scene is an umbrageous grove remarkable for a cluster of lofty trees growing luxuriantly at the side; under the shade of these are four cupids, one seated, and another lying playfully on the ground; three other little fellows are flying among the boughs of the trees, with wreaths of flowers in their hands. This picture has become exceedingly dark by time.

3 ft. 4 in. by 2 ft. 4 in.-C.

Now in the Palace of the Hermitage, at St. Petersburgh.

295. Cupids amusing themselves with the Hounds of Adonis. This picture is composed of four infants; one near the front is holding a dog by the collar; a second is blowing the horn of the huntsman; and the other two are playing ⚫ with the spear and a dog.

2 ft. 2 in. by 1 ft. 8 in.-C.

Now in the Palace of the Hermitage, at St. Petersburgh.

LANDSCAPES.

296. PARADISE.

This beautiful exemplification of the vernal season embodies so nearly, both in its composition and colour, the glowing description given by Milton, that one might easily imagine the painter had studied the poet.

"Where delicious Paradise,

Now nearer, crowns with her enclosures green,

As with a rural mound, the champaign head

Of a steep wilderness, whose hairy sides

With thicket overgrown, grotesque and wild,
and over head up grew

Insuperable height of loftiest shade,

Cedar, and pine, and fir, and branching palm,
A sylvan scene; and, as the ranks ascend
Shade above shade, a woody theatre

Of stateliest view;

Of goodliest trees, loaded with fairest fruit,
Blossoms and fruits at once, of golden hue,
Appeared, with gay enamelled colours mixed;
so lovely seem'd that landscape."

In the foreground of this resplendent scene are introduced our two first parents. Adam is seated with his back to the spectator, and Eve kneels by his side, pointing to the Tree of Knowledge, whose

"Fruit, burnish'd with golden rind, hung amiable."

Around is seen a variety of birds and beasts; many of the former kind, with their rich plumage, inhabit the upper

Landscapes.

hemisphere, where is also introduced the human symbol of the Divinity buoyant on a cloud, and apparently quitting the terrestrial Paradise. This picture was painted about the year 1664, for the Cardinal Richelieu. Engraved by J. Audran, and in the Musée Français.

3 ft. 7 in. by 4 ft. 10 in.-C.

Now in the Louvre.

297. Ruth and Boaz. The artist has here chosen one of the most pleasing and interesting portions of the history of a Jewish family, recorded in sacred writ, to illustrate the solstitial season of the year. The scene exhibits a cornfield of vast extent, in which numerous persons, of both sexes, are seen engaged in harvesting: some reaping, others binding the corn in sheaves, and some superintending the treading out of the grain. Boaz, the wealthy owner of the farm, stands close to the front, with his arms extended, apparently addressing the fair and affectionate daughter-in-law of Naomi, who is bending on her knees before him, acknowledging his kindness. Behind her stands a youth leaning on a spear, and bowing to the orders of his master, relative to Naomi. The distance terminates with hills surrounded by buildings. This excellent picture was painted about the year 1664, for Cardinal Richelieu. Engraved by Pesne, and in the Musée Français. 3 ft. 8 in. by 5 ft.-C.

Now in the Louvre.

298. The Jewish Spies. This subject is also borrowed from sacred history, and most appropriately serves to exemplify the autumnal season. The landscape exhibits a view over an open country, finely varied with hills and dales, and has the

Landscapes.

appearance of great fertility. The two spies are represented passing hastily along the foreground, bearing between them an enormous bunch of grapes, as a sample of the richness and abundance of the soil of the "promised land." A little retired from them, is a woman on a high ladder, gathering fruit; another, carrying a basket full on her head, is on the right; and a man angling, is seen at a more remote distance. This was also painted for Cardinal Richelieu, and is engraved by Pesne, and in the Musée Français.

Now in the Louvre.

3 ft. 8 in. by 5 ft.-C.

299. The Deluge. For a description of this sublime picture, which figuratively represents the winter season.See No. 1 of the catalogue.

3 ft. 6 in. by 4 ft. 9 in.-C.

Now in the Louvre.

300. The Bier of Phocion. No one knew better than Poussin how to combine the nobler qualities of the art with the grand and beautiful effects of nature, so that the eye and the mind may dwell on the picture with increasing delight. The scene under notice exhibits a view over a level tract, of a broken and varied surface, intersected by a winding road leading to the city of Athens, whose buildings and exterior walls stretch along the extremity of the middle distance, appearing to occupy in part the acclivities and summits of the most remote hills, and having a river flowing along the base of the ramparts. With this conceived representation of the city of arts and learning, the painter has combined an event which characterises the natural disposition of the inhabitants -jealousy, perfidy, and cruelty, towards their most illustrious citizens. Among these, one of the most distinguished, was

Landscapes.

the noble and virtuous Phocion, who, after a long life spent in the service of his country, was condemned to drink the fatal poison, and his body to be deprived of funereal rites. History and the Arts, have, however, combined to immortalise his memory, and the pencil of modern genius has here represented the mortal remains of the noble Athenian, borne on a bier by two men, who are approaching a road which traverses the foreground of the picture. Beyond this object is seen a shepherd tending a flock of sheep; and still more remote, is a man driving a waggon drawn by oxen: many other figures are appropriately introduced, to animate the more distant landscape. Engraved by St. Baudet.

301. Diogenes. The landscape exhibits a country of singular beauty and richness, composed on either side of hills, with their sides and summits partly clothed with clusters of trees, or adorned with buildings. An extensive lake occupies the centre, and a rugged bank, covered with bushes, amidst which rise a clump of trees, forms part of the foreground. On the margin of a stream, which flows along the base of the bank, stands the cynic philosopher, moralising on the luxury of man, and the really fewness of his wants, in consequence of seeing a peasant (who is close by him) kneeling by the side of the brook and drinking the water from the hollow of his hand this act has induced him to cast away his cup as a superfluous thing. This capital picture is painted in the finished style of the master. Engraved by Baudet, Bouvenet, and in the Musée Français.

4 ft. 8 in. by 6 ft. 63 in.-C.

Valued by the Experts du Musée, 1816. 120,000 fs., 48007. Now in the Louvre.

302. The Death of Eurydice. This story is introduced on the rocky foreground of a landscape, and represents the event as occurring during the time that her husband, Orpheus, is