Ancient History.

effects of virulent poison. On one side of him is seated his disconsolate wife, Agrippina, bathed in tears, and near her are three of his children; the youngest is in the arms of a female standing behind. Around his couch stand a number of his faithful soldiers, deeply affected at the approaching dissolution of their beloved general; to these he is turning his dying countenance, and appears, by the motion of his hand, to be recommending his wife and children to their protection. This excellent picture was painted for the Cardinal Barberini. Engraved by Chatillon, Coelmans, and twice anonymous, one of which is in mezzotinto.

177. The Death of Philemon. The Greek poet is represented sitting at the exterior of a building, with his hands clasped, his countenance greatly excited, and his whole frame apparently convulsed with laughter, at seeing an ass eating figs from a basket, which stands on a pedestal at the side. A young man, the owner of the beast, stands on the farther side pointing to some distant object.

This picture was formerly in the collection of M. Dufournay.

178. The Plague of Athens. It is, perhaps, impossible for art to depict with greater pathos or more solemn effect, a subject so heart-rending as this picture exhibits. The view is a street of the splendid city of Athens, over which numbers of the plague-stricken inhabitants are distributed; some extended on the ground, others prostrated at the portals of the temples and public buildings. Among a group of the afflicted, in the foreground, are three women, two of them lying on mattresses, and the third seated at the side; near the latter

Ancient History.

stands a man in a state of distraction, wildly tearing his hair with both hands; close to this person are two men and a woman sitting by the side of a dying female, whose noisome stench compels them to close their nostrils: with this group is an infant standing by the side of its deceased parent. It would be harrowing to describe all the scenes of misery and dismay, which meet the eye in every part of the picture; the very air appears pregnant with pestilence, and death, in his most horrible aspect, reigns triumphant throughout. Engraved by J. Fittler.

Now in the collection of Peter Miles, Esq., Leigh Court. This picture was formerly in the possession of Horton Langstone, Esq., whose father received it from Cadiz, and is, perhaps, the same which was knocked down in a public sale by Mr. Christie, in 1804, at 1000 gs.

179. The Conquest of Jerusalem, and Spoilation of the Temple by the Romans, under the command of the Emperor Titus. The composition represents a scene of confusion consistent with the subject; but, amidst the tumultuary movement, the victorious Emperor is seen receiving the homage of the Jewish citizens; and several Roman soldiers bearing away the costly vessels, and other treasures of the Temple, are conspicuous. Presented by the Cardinal Barberini to the Prince d'Echemberg.

180. The Conquest of Jerusalem by the Emperor Titus. This picture is said to be composed of much fewer figures

Ancient History.

than the preceding, and was perhaps intended as a companion, as they were both painted for Cardinal Barberini. The former was presented by him to the Prince d'Echemberg, then Ambassador at Rome, from the Court of Vienna; and this picture was many years in the possession of La Duchesse d'Aiguillon, from whom it passed into the cabinet of M. de Saintot.

181. Roman Charity. This affecting instance of filial affection, is represented by a beautiful young woman, who appears to be seated, bending forward, administering to her aged and famishing father nourishment from her breast. The face, seen in a profile, exhibits signs of apprehension, and the old man supports himself by placing one hand on her shoulder. Half-length figures. Engraved by J. Pesne.

(98)

MYTHOLOGICAL SUBJECTS.

182. THE Nurture of Jupiter. This admirable picture represents the infant deity in the arms of a nymph, who is crouching on the ground, giving him drink from a silver vase; while her companion, who is seated by them, is in the act of turning round to take from a hive some honey to nourish her charge. The former female is clothed in yellow and blue drapery, and the latter in a white vesture. On the opposite side of the picture is a faun bending on one knee, holding the goat Amalthæa, in readiness to foster the child. At the extremity of the group stands a decayed tree with the vine growing around its branches, and adjacent to this are some hives on the summit of some rocks: the distant landscape exhibits a hilly scene. Engraved by Castellus, and anonymous. 3 ft. 2 in. by 4 ft. 3 in.-C. Now in the Royal Museum at Berlin.

Worth 500 gs.

183. Jupiter and Calisto. The god, under the form of Diana, is represented sitting on a shady bank, embracing the beautiful nymph, who sits by his side with a spear in her hand; seven cupids are sporting around them, one of which, while flying, is discharging an arrow from his bow; a second is playing with the hounds of the supposed huntress; a third holds up the blazing torch of love; and two others, buoyant among the trees, are casting flowers on the heads of the lovers. graved by Frey and Daullé.

4 ft. 1 in. by 5 ft. 4 in.-C.

En

Collection of M. Le Baron Holback, 1789.

4950 fs. 1987.

Mythological Subjects.

184. Jupiter and Antiope. The deity, under the form of a satyr, is bending on one knee by the side of the beautiful Antiope, who lies asleep naked on the margin of a stream, with her arm under her head and her hands folded on her bosom. Two cupids are present; one of them stands by with a lighted torch; the other, hovering above, is about to discharge an arrow from his bow. Engraved by Picard, jun.

This is probably the picture which was sold in the collection. of Sir Simon Clarke, Bart., and George Hibbert, Esq., 1802, for 147 gs.

185. Jupiter and Leda. The artist has supposed the nymph as about to enjoy the cooling freshness of a stream, and she is accordingly sitting naked on some stonework at the side, ready to enter; while thus prepared, her attention appears to be arrested by the approach of the wily deity under the form of a beautiful white swan, who with graceful movements is skimming along the liquid element, attended by two cupids, and has nearly reached the steps of her seat, where a third cupid stands, ready to remove the last light covering of the nymph. A large drapery is suspended to some trees behind her, and above are seen three winged boys, one of whom is discharging an arrow from his bow. Engraved by Vangeliste, and anonymous.

186. Apollo and Daphne. This picture is composed of eleven figures, grouped on the confines of a wood and the borders of a stream, and represents the moment when the lovesmitten god has overtaken the fugitive nymph as she enters the arms of a river deity; the latter is recumbent on the ground, embracing her knees. Beyond them are seen two