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architectural design; and wonderful studies of perspective to the
right and left, in the long lines of receding groups. On the whole,
it is a most skilful piece of work; but to my taste much like a
theatrical decoration,--pompous without being animated.

A beautiful composition by Francia I must not pass over.[1] Here, to
the left of the picture, the Virgin is seated on the steps of a ruined
temple, against which grows a fig-tree, which, though it be December,
is in full leaf. Joseph kneels at her side, and behind her are two
Arcadian shepherds, with the ox and the ass. The Virgin, who has
a charming air of modesty and sweetness, presents her Child to the
adoration of the Wise Men: the first of these kneels with joined
hands; the second, also kneeling, is about to present a golden vase;
the Negro King, standing, has taken off his cap, and holds a censer
in his hand; and the divine infant raises his hand in benediction.
Behind the Kings are three figures on foot, one a beautiful youth in
an attitude of adoration. Beyond these are five or six figures on
horseback, and a long train upon horses and camels is seen approaching
in the background. The landscape is very beautiful and cheerful: the
whole picture much in the style of Francia's master, Lorenzo Costa. I
should at the first glance have supposed it to be his, but the head of
the Virgin is unmistakably Francia.

[Footnote 1: Dresden Gal. Arnold, the well-known print-seller at
Dresden, has lately published a very beautiful and finished engraving
of this fine picture; the more valuable, because engravings after
Francia are very rare.]

There are instances of this subject idealized into a mystery; for
example, in a picture by Palma Vecchio (Milan, Brera), St. Helena
stands behind the Virgin, in allusion to the legend which connects
her with the history of the Kings. In a picture by Garofalo, the star
shining above is attended by angels bearing the instruments of the
Passion, while St. Bartholomew, holding his skin, stands near the
Virgin and Child: it was painted for the abbey of St. Bartholomew, at
Ferrara.

Among the German examples, the picture by Albert Durer, in the tribune
of the Florence Gallery; and that of Mabuse, in the collection of Lord
Carlisle, are perhaps the most perfect of their kind.

In the last-named picture the Virgin, seated, in a plain dark-blue
mantle, with the German physiognomy, but large browed, and with a very
serious, sweet expressio