like shed, with a star in the apex, receiving the homage of the kings, who have traveled upon camels and elephants in true Eastern style. A “Madonna and Child" on the opposite wall is now attributed to Leonardo da Vinci, but was purchased as the work of Lorenzo di Credi. A singular little half-length "portrait," by Pinturrichio, is sometimes called the likeness of Raphael in his youth. He has a pink dress, blue cap, and long brown hair of most uncompromising straightness. Another odd composition, by Francia Bigio, shows us “Bathsheba” publicly bathing in full view of King David and his courtiers; while in the background is delineated the whole history of Uriah. Lodovico Carracci's small "Repose in Egypt” is a charming group, in the midst of a very pretty landscape. The Holy Child is sleeping; an angel is earnestly conversing with Joseph; but the mother, looking up to heaven, beholds the cross and the sad instruments of the Passion. Albani gives us the same subject, quite as gracefully but not so poetically.

Correggio's exquisite "Reading Magdalene" is the special gem of the second cabinet. She lies leaning on her elbow, her blue drapery contrasting with the deep brown and green background. Her eyes are bent upon her book, and her pale golden hair ripples over bust and shoulder. This little picture, painted on copper, was once inclosed in a heavy frame of silver gilt, set with pearls and turquoises ; but was stolen in 1788. The offer of a large reward eventually recovered the painting, minus the jewels. Very near it hangs Correggio's portrait of his “Physician,” a calm, dignified likeness. Think of the favored country towns which possessed such physicians and such artists!

The Bolognese Cabinet which follows displays Guido's wellknown" Ecce Homo," and "Christ crowned with Thorns;" also a riotous boy" Bacchus," drinking wine from a bottle. Here, too, are several of Albani's classical works, thronged with the customary rosy Cupids; Annibale Carracci's fine " Head of Christ;" and Cignani's "Joseph flying from Potiphar's Wife," in which Joseph's terror and dismay are almost ludicrously rendered. The succeeding room boasts, among other Venetian beauties, of the three fair " Daughters of Palma Vecchio;" and of Titian's "Christo della Moneta," or Christ replying to the Pharisees who question him about the tributemoney. The face of the cunning, malignant Pharisee who represents all his sect is marvelously expressive, while the most distinguished critics have vied in their praises of the head of our Lord.

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Only a few French landscapes are owned by the gallery. Best of these are two by Claude Lorraine, one of which gives us the "Flight of the Holy Family" in a very subordinate group; the other depicts the "Coast of Sicily." Plenty of similar German, Dutch, and Flemish compositions are contained in "the remaining cabinets. Wouverman's rustic and hunting scenes, each with the inevitable white horse, are particularly abundant. The elder Teniers, Nicholas Berghem, and Adrian Van de Velde, have also left characteristic specimens. Paul Potter has but two or three pastorals. Jan Both's deep golden sunlight attests his love of Italian atmosphere; and Ruysdael's matchless " Monastery," "Chase," and "Jewish Cemetery "bring us to the climax of Northern landscape art.

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Dutch and Flemish genre paintings likewise exist in great perfection. These are frequently preserved under glass. The younger Teniers has many "Rural Fêtes,' 'Peasants," "Interiors," " Incantation Scenes," and "Temptation of St. Anthony." Among the works of Gerard Dow we especially notice the “Hermit kneeling before an Open Bible;" a 'Young Girl at a Window," holding a candle, and gathering a bunch of grapes; a Schoolmaster" mending a pen; an "Old Woman" looking for the end of her thread; and the artist's own portraits, drawing in a book, and playing the violin. Gerard Terburg appears here as elsewhere as the "painter of white satin." Jan Steen has a comical little domestic piece of a mother feeding the Dutchest of Dutch babies with a spoon. Frans von Mieris's “ Artist's Studio” and “Young Girl listening to an Old Woman are remarkably well done. Metsu's "Poulterers" and "Lace-Maker" are his best pictures. Netscher's "Portrait of Madame de Montespan" is interesting, and his ladies at their " Music Lesson," almost as richly dressed as Terburg's elegant females; while Van der Werff's Magdalene" and 'Abraham sending away Hagar" exhibit all his elaborate softness and minuteness of finish. 66 Candlelight Scenes," by Schalken ; Dead Game," by Weenix; "Interiors," by Neefs and Van Steenwyck; "Breakfasts and "Bouquets," by De Heem or Van Huysum; and "Cocks" and "Chickens" by Hondekoeter, fill up the spaces between more pretentious paintings.

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In the last cabinet are gathered a number of ancient specimens, including a large and quaint "Adoration of the Kings," by Mabuse, where the figures are grouped among the ruins of a sumptuous tem

ple; and many portraits, ascribed to Holbein, Cranach, Memling, Dürer, Pourbus, and others.

The upper story is a mélange of all the schools, generally second rate in merit. A few small and very old Byzantine and Italian pictures are here preserved, such as a dark and dismal "Madonna and Child," enthroned in a chair, by Giunta Pisano; an “Assumption," and a 66 Crucifix," of the Siennese school; a "Miracle of St. Zenobius," by Botticelli; a “Pietà" by Squarcione; and a “Presentation of the Virgin" by Cima da Conegliano. The Germans are more favorably represented. Specimens by Lucas Cranach abound-all carefully and brilliantly painted. Several are compartments of antique altar-pieces. Others, less grave, are very curiously conceived. There is, for instance, a Dutch “Daughter of Herodias," presenting the head of St. John Baptist to her father, who wears a plume in his cap and looks like Henry VIII. Then an Ill-Assorted Union," in which a toothless old woman is embracing a young husband; "King Solomon" enticed to idolatry by a band of North-German wives; and the Saviour blessing a company of innocent, moon-faced German children. Rooms beyond are supplied with many landscapes by Poussin, Poelemburg, Swanevelt, Saftleven, Bril, Berghem, and Velvet Breughel. Genre pieces by Breughel are more rare; but his brother Höllen Breughel gives us a view of the infernal regions, and a "Sodom and Gomorrah," lit by lurid and flaming color.

Passing to later times we have Angelica Kaufmann's 'Vestal Virgin," and less graceful "Sibyl;" together with a "Magdalene," and a couple of other oil-paintings by Raphael Mengs. But Mengs's most celebrated works-his own portraits, that of his father, and "Cupid sharpening his Arrow"-must be sought among the pastel pictures on the lower floor. The same collection of pastels possesses Liotard's Chocolate-Girl," and an excellent series of portraits by the charming Venetian lady, Rosalba Carriera. Near these we find Canale's and Canaletto's views of Venice and of Dresden; a room entirely devoted to the productions of Christian Dietrich, once courtpainter of Augustus III. of Saxony; a small cabinet of miniatures ; and a large hall of magnificent engravings and drawings.

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The Dresden Gallery also comprises a saloon containing some fifty pictures of the modern German school, which may eventually develop into a valuable museum of contemporary art.

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THE GALLERY OF MUNICH.

MUNICH, which has been called the German Athens, is the special guardian of Northern, as Florence of Southern art. Though its gallery is not so extensive or magnificent as that of Dresden, it is a better and clearer exponent of the genius of the Northern schools; while its unique assemblage of ancient German pictures gives us the very essence of early art-culture in Flanders and in the provinces of the Rhine.

Of modern pictures in Munich we shall not at present speak, but confine ourselves to the collection of the Old Pinakothek, which contains about fourteen hundred paintings from all parts of Germany, Italy, France, and Spain, most appropriately lodged in the splendid building founded by Ludwig I., and finished in 1836 under the title of the "Royal Pinakothek." The pictures are arranged in nine large saloons and twenty-three cabinets, and the succession of the schools has been quite rigidly observed.

The order of time, however, does not begin with the saloons, but with the first six cabinets, where we find the greatest part of what is styled the "Boisserée Sammlung," a small gallery of primitive German paintings of the fourteenth, fifteenth, and sixteenth centuries, gathered from old convents, churches, and castles, by the brothers Boisserée, and now passed from their private ownership into the property of the nation. These are as curious and fantastic as the most zealous antiquarian could desire. Their subjects are generally sacred and quaintly traditional, and their style suggests the Byzantine origin of mediæval art. Like Greco-Italian panels, they are executed on wood-frequently on a gilt ground—and exhibit the old Byzantine stiffness and splendor, but with greater preponderance of blue, red, or pale-gleaming green color, and more sweetness and softness of expression. The true German mildness of countenance replaces the severe and repulsive Oriental type. Such as are ascribed to Meister Wilhelm and Meister Stephan, of Cologne, and to the master of the "Lyversberg Passion," are most interesting. Their favorite themes are legendary incidents in the life and death of the Virgin. Many are wings or centres of dismembered altar-pieces. Among the remains of the Netherlands are a few compositions of the school of Van Eyck; a rich Adoration of the Kings," by Van der Weyden; several figures of “St. Barbara;” and a celebrated picture by Memling,

entitled The Seven Joys of the Holy Virgin," which is in fact a number of miniature scenes from the life of Mary, with the landscape of Jerusalem in the centre, inclosed in one frame. Its companionpiece, "The Seven Sorrows of the Virgin," is at Turin. A portrait of "Martin Schön " rather contradicts his right to the appellation of "Bel Martino." Hans Holbein the Elder and the Younger, Michael Wohlgemuth, and Albrecht Dürer, are best represented in the first saloon; though in the cabinets are Dürer's serene, intellectual likeness of himself, and his portraits of his father and his teacher Wohlgemuth.

The divided wings of a Bavarian altar-piece, hanging here and there in the first saloon, furnish us with ample specimens of the dry, formal manner of Holbein the Elder. The works of his more gifted son are not so authentic. A "Martyrdom of St. Sebastian" is usually considered one of his earliest altar-paintings, completed while still under his father's tuition. A large composition of the Adulteress before Christ" illustrates the method of Lucas Cranach. Michael Wohlgemuth's hard, grotesque figures of the Saviour and saints give little promise of his great pupil's excellence. A very singular panel by Wohlgemuth will be found in the fifth cabinet, under the title of the "Twelve Apostles going forth to evangelize the World." The most famous examples by Dürer are the pendants known as "The Four Temperaments." These are two long, narrow pictures, the first portraying "St. John and St. Peter,", gazing upon the same book; the second "St. Paul and St. Mark," with the sword and the gospel-roll. Their marked and peculiar characteristics caused them to be regarded as types of temperaments.

Later German and early Dutch paintings are collected in the second saloon, especially some naïve and stiff compositions by Gerard van Haarlem, Engelbrechtsen, Martin Schaffner, and Mabuse. This comprehensive apartment contains farther on several landscapes by Dietrich, and portraits of Raphael Mengs and Angelica Kaufmann. The next hall introduces us to the Italian sunsets of Jan Both; the genre painters of Holland; several fine portraits and sacred pieces by Vandyck, especially a Madonna and Child; three "Pietàs," and "Susanna at the Bath;" Van der Helst's portrait of old "Admiral Van Tromp;" a richly-dressed "Turk," with a couple of other heads, by Rembrandt, and effective Old-Testament scenes by his pupils; an "Interior of a Cottage," uncommonly broad

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