and beautiful, it is almost temerity to attempt to select,
but if I might be permitted to name those which pleased me most, I
should particularize the Ecce Homo, by Cigoli Ludovico Cardi.

The breast of the mild and benevolent Saviour, striped with the bruises
of recent punishment, and his heavenly countenance, benignly looking
forgiveness upon his executioners, are beautifully delineated.
L'Annonciation, by Gentileschi, in which the divine look of the angel,
the graceful plumage of his wings, and the drapery of the virgin, are
incomparable. La Sagesse chassant les Vices, which is a very ancient and
curious painting, by Andrea Mantegna, in which the figure of Idleness,
without arms, is wonderfully conceived. Les Noces de Cana, by Paul
Veronese, which is considered to be the best of his works. It is the
largest painting I ever beheld. The figures which are seated at the
banquet, are chiefly the portraits of contemporary royal personages of
different nations. From this room we passed into the gallery of the
Louvre.

I cannot adequately describe the first impressions which were awakened,
upon my first entering it, and contemplating such a galaxy of art and
genius. This room is one thousand two hundred feet long, and is lined
with the finest paintings of the french, flemish, and italian schools,
and is divided by a curious double painting upon slate, placed upon a
pedestal in the middle of the room, which represents the front and back
view of the same figures.

The first division of this hall contains the finest works of le Brun,
many of which are upon an immense scale. L'Hyver ou le Deluge, by
Poussin, is truly sublime, but is unfortunately placed in a bad light.
There are also some beautiful marine paintings, by Verney. Les
Religieuses, by Philipe de Champagne, is justly celebrated for the
principal figure of the dying nun. Vue de Chevet d'une eglise, by
Emanuel de Witte, is an exquisite little cabinet picture, in which the
effect of a ray of light shining through a painted window, upon a
column, is inimitable, and the perspective is very fine. There are here
also some of the finest works of Wouvermans, and a charming picture by
Teniers. La Vierge, l'enfant Jesus, la Madeleine, et St. Jerome, by
Antoine Allegri Correge, is considered to be a picture of great beauty
and value. There are also some glorious paintings by Reubens. I have
thus briefly selected these pictures from the rest, hoping, at the same
time, that it w