ted, as in
the well-known Riposo by Correggio, where the Virgin is dipping a bowl
into the gushing stream, hence called the "Madonna _della Scodella_"
(Parma): in another by Baroccio (Grosvenor Gal.), and another by
Domenichino (Louvre, 491).

[Footnote 1: The site of this fountain is about four miles N.E. of
Cairo.]

In this fountain, says another legend, Mary washed the linen of the
Child. There are several pictures which represent the Virgin washing
linen in a fountain; for example, one by Lucio Massari, where, in a
charming landscape, the little Christ takes the linen out of a basket,
and Joseph hangs it on a line to dry. (Florence Gal.)

The ministry of the angels is here not only allowable, but beautifully
appropriate; and never has it been more felicitously and more
gracefully expressed than in a little composition by Lucas Cranach,
where the Virgin and her Child repose under a tree, while the angels
dance in a circle round them. The cause of the Flight--the Massacre
of the Innocents--is figuratively expressed by two winged boys, who,
seated on a bough of the tree, are seen robbing a nest, and wringing
the necks of the nestlings, while the parent-birds scream and flutter
over their heads: in point of taste, this significant allegory had
been better omitted; it spoils the harmony of composition. There
is another similar group, quite as graceful, by David Hopfer.
Vandyck seems to have had both in his memory when he designed the
very beautiful Riposo so often copied and engraved (Coll. of Lord
Ashburton); here the Virgin is seated under a tree, in an open
landscape, and holds her divine Child; Joseph, behind, seems asleep;
in front of the Virgin, eight lovely angels dance in a round, while
others, seated in the sky, make heavenly music.

In another singular and charming Riposo by Lucas Cranach, the Virgin
and Child are seated under a tree; to the left of the group is a
fountain, where a number of little angels appear to be washing linen;
to the right, Joseph approaches leading the ass, and in the act of
reverently removing his cap.

There is a Riposo by Albert Durer which I cannot pass over. It is
touched with all that homely domestic feeling, and at the same time
all that fertility of fancy, which are so characteristic of that
extraordinary man. We are told that when Joseph took up his residence
at Matarea in Egypt, he provided for his wife and Child by exercising
his trade as a carpenter. In this compositio