iece of sculpture. The reputation of this
painter stood so high, that Vincenzio Carducci traveled from Madrid to
Granada on purpose to see him; and he is said to have recognized him
among the white-robed fraternity of which he was a member, by observing
in the expression of his countenance, a certain affinity to the spirit
of his works.

It is related of Murillo's picture of St. Anthony of Padua, that the
birds, wandering up and down the aisles of the cathedral at Seville,
have often attempted to perch upon a vase of white lilies painted on a
table in the picture, and to peck at the flowers. The preeminent modern
Zeuxis, however, was Pierre Mignard, whose portrait of the Marquise de
Gouvernet was accosted by that lady's pet parrot, with an affectionate
"_Baise moi, ma maitresse!_"

RAFFAELLE'S SKILL IN PORTRAITS.

Raffaelle was transcendant not only in history, but in portrait. His
portraits have deceived even persons most intimately acquainted with the
originals. Lanzi says he painted a picture of Leo X. so full of life,
that the Cardinal Datary approached it with a bull and pen and ink, for
the Pope's signature. A similar story is related of Titian.

JACOPO DA PONTE.

Count Algarotti relates, that Annibale Caracci was so deceived by a book
painted upon a table by Jacopo da Ponte, that he stretched out his hand
to take it up. Bassano was highly honored by Paul Veronese, who placed
his son Carletto under him as a pupil, to receive his general
instructions, "and more particularly in regard to that just disposition
of lights reflected from one object to another, and in those happy
counterpositions, owing to which the depicted objects seemed clothed
with a profusion of light."

GIOVANNI ROSA.

Giovanni Rosa, a Fleming who flourished at Rome in the first part of the
seventeenth century, was famous for his pictures of animals. "He painted
hares so naturally as to deceive the dogs, which would rush at them
furiously, thus renewing the wonderful story of Zeuxis and his Grapes,
so much boasted of by Pliny."

CAV. GIOVANNI CONTARINI.

This artist was a close imitator of Titian. He was extremely accurate in
his portraits, which he painted with force, sweetness, and strong
likeness. He painted a portrait of Marco Dolce, and when the picture was
sent home, his dogs began to fawn upon it, mistaking it for their
master.

GUERCINO'S POWER OF RELIEF.

The style of Guercino displays a strong contrast of light an