Sacred Subjects.

ample mantle of a blue colour, kneeling on her vanquished enemy, a monstrous and terrific dragon, and with extended arms and smiling countenance, receiving the reward of her victory from the hands of two angels, one of whom is about to place a chaplet on her head. The figures are of the size of life, and the production is in the artist's finest style. Engraved by C. F. Chauveau.

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

Exhibited in the Louvre in 1814, and claimed and restored in 1815.
Now in the Royal Palace at Turin.
Worth 500 gs.

157. St. Cecilia. Full length size.

A picture so described, is mentioned by Cumberland as being in the King of Spain's collection at Madrid.

158. St. Francis Xavier raising the deceased Daughter of a Japanese. The principal group consists of eleven figures, in the centre of which is the deceased lying on a couch, and a beautiful young woman bending affectionately over her head, while a second at her feet seems eager, with extended arms, to embrace her. The saint stands on the farther side of the couch, with his hands united, and his countenance directed upwards, where the Saviour is seen seated on clouds between two ministering angels. Engraved by S. Gantrel and P. Drevet. Painted for the altar of a church.

Now in the Louvre.

159. The Martyrdom of St. Cecilia. The scene exhibits the interior of a handsome temple, in which are assembled fourteen persons, the whole of whom have their attention directed to the martyred saint. She is seen lying on the

Sacred Subjects.

marble pavement in the centre, with her head reclining on a chair. Two men are near, one of whom kneels at her feet with a vase of ointment; the other, also kneeling, is at her side; the attention of both of them is directed to a priest, who appears to be pronouncing a requiem on the deceased saint. Above is seen an angel descending, bearing a wreath and a palm. Engraved by Baroni.

160. St. Matthew writing his Gospel. The apostle is represented in profile view, seated in the foreground of a landscape. He has an open book lying on his lap, and a pen in his hand, his attention being directed to an angel, who stands by dictating to him. Engraved in outline by M. Poitevin.

161. Revelation and Mental Darkness. This subject is allegorically exemplified by a female of great beauty having wings, and clothed in ample robes, standing with one foot on a pedestal, holding with the left hand a large book which rests on her knee, and in the other hand a pen, ready to record whatever inspiration may dictate. Her wings, and the beauty of her form, indicate her celestial nature, and the figure is an admirable personification of Revelation. The opposite character is also delineated by a female, who stands on the left, with her face and the whole of her person covered with drapery, holding with much ceremony a sphynx in her hands; this object, and the covering of the eyes, is intended to represent the darkness of unassisted nature. Above is seen the symbol of the great first cause, who, with outspread hands, is dispelling the mental darkness, and again pronouncing the omnipotent fiat;-"Let there be light." Engraved by Mellan, from a drawing done for the frontispiece to the Bible.

ANCIENT HISTORY.

162. THE Discovery of Achilles among the Daughters of Lycomedes. The subject is composed of six figures, grouped on the foreground, three of whom are the daughters of the King of Scyros; one of them, attired in robes of yellow and scarlet colours, is kneeling by the side of a coffer containing jewels and trinkets, and in the act of turning round, discovers with surprise her disguised companion, bending one knee, drawing a sword from its scabbard, and viewing with glistening eye the shining blade. This circumstance is observed by the wily Ulysses, who, with his companion, is kneeling by the side of the casket. Ulysses wears a white turban, and a blue mantle with yellow sleeves; the attention of his friend is directed to two other ladies, who stand opposite to him, and to one of whom he is handing a looking-glass, while the other is pointing to some object in the box. A helmet lies on the ground in front, and a yellow mantle is thrown on a wall at the side, against which grow clusters of trees. On the opposite side is seen a small portion of the portal of a house. by Pesne.

3 ft. 2 in. by 4 ft. 3 in.-C.
Collection of the Prince de Conti,
Welbore Agar Ellis, Esq.,
John Knight, Esq.,

Engraved

1777. 3700 fs. 1487. 1807..

4507.

1819. .

. 143 g

gs.

Now in the possession of Stephen Jarrett, Esq.

163. The Discovery of Achilles. The composition of this picture differs in every way from the preceding; for the

Ancient History.

disguised hero is here bending with one knee on a shield, holding a drawn sword in his hand, and, having a helmet on his head, is viewing himself with apparent delight in a glass. Ulysses and his friend stand together, a little beyond him, observing with pleasure the effect of their stratagem. Three of the daughters of Lycomedes are seated round the casket choosing jewels, and a fourth woman, who has the appearance of a domestic, stands behind them. The distance is composed of a lake surrounded by well-wooded hills, on the summit of which stands a noble palace. Engraved, anonymous.

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

A picture representing the above subject was sold in the collection of Sir Gregory Page Turner, Bart., 1815, for 95 gs.

164. Theseus discovering his Father's Sword and Sandals. This picture exhibits a portion of a beautiful temple, near which, and close to the front, is the young hero in the act of raising a ponderous stone, under which are concealed his father's sword and sandals; his mother, Æthra, stands by leaning on the shoulder of a young maiden, apparently directing him in the discovery. Engraved, anonymous.

A repetition of the preceding picture, painted in the artist's best period, is in the Florence Gallery.

3 ft. 1 in. by 4 fl. 2 in.-C.

165. The Testament of Eudamidas. This singular and interesting story, of Grecian origin, is exemplified in this

Ancient History.

picture with unaffected truth and simplicity. The dying man is seen extended on a couch, summoning his remaining strength, while dictating his last will, by which he shows his firm confidence in the fidelity of his friends, in bequeathing to them his mother and daughter. "I leave," said Eudamidas, "my mother to Arcteous, that he may support her; and to Charexenes, I bequeath my daughter, that he may see her married, and give her as large a portion as he can; and if either of my two friends should die, I expect that the legacy I leave him shall descend to the survivor." His aged parent is seated at the foot of the bed deeply affected, and his daughter sits at her feet, reclining her head on her lap, with her face bathed in tears. The proctor, an old man, is seated on a stool in front, recording the will; and the physician stands on the farther side of the couch with one hand on the bosom of the dying man, and the other placed on his own, apparently counting the throbs of healthful life and approaching death. This excellent work of art is well engraved by Jean Pesne. 3 ft. 2 in. by 5 ft. 4 in. -C.

A study for the preceding picture is in the collection of Paul Methuen, Esq., at Corsham.

166. The Preservation of Pyrrhus. The subjects represents the moment when the few faithful adherents of acides, having escaped from the city of Epirus during an insurrection, bringing with them the infant Pyrrhus, are arrived at the bank of a river. Having no means of crossing the stream, and unable to make themselves heard by those on the opposite shore, they inscribed the royal infant's name on two pieces of bark, one of which they stuck on a spear, the other they attached to a stone: two of the party are in the act of