reeminent above all others; and
although some of these have suffered by injudicious cleaning, still they
are by Correggio. In the works of Titian, Raffaelle, Lionardo da Vinci,
Parmiggiano, Andrea del Sarto, the Caracci, Guido, &c., it holds also a
high place; while it is rich in the works of the Flemish and Dutch
masters. Of the works of Reubens there are, 30; of Vandyck, 18; of
Rembrandt, 15; of Paul Potter, 3; of David Teniers, jun., 24; of Philip
Wouvermans, 52; of Adrian Ostade, 6; of Gerard Douw, 16; of Francis
Mieris, 14; of Gabriel Metzu, 6; of Berghem, 9; of Adrian van de Velde,
5; of Ruysdael, 13; and others by the Dutch masters. Tho entire
collection contains 1010 Flemish and Dutch pictures, and 350 pictures of
the Italian schools, the principal part of which, particularly the
pictures of Correggio, etc., belonged formerly to the Mantua
collection, and were purchased by the Elector Augustus III., afterwards
King of Poland.

PAINTING AMONG THE EGYPTIANS.

The antiquity of painting, as well as of sculpture, among the Egyptians,
is sunk in fable. Yet it is certain that they made little or no progress
in either art. Plato, who flourished about 400 B.C., says that the art
of painting had been practiced by the Egyptians upwards of ten thousand
years, and that there were existing in that country paintings of that
high antiquity, which were neither inferior to, nor very different from,
those executed by the Egyptian artists in his own time.

Before the French expedition to Egypt, a great deal had been written on
the subject of Egyptian art, without eliciting anything satisfactory.
Norden, Pococke, Bruce, and other modern travelers, speak of
extraordinary paintings found on the walls of the temples and in the
tombs at Thebes, Denderah, and other places in Upper Egypt; and
Winckelmann justly regrets that those curious remains had not been
visited by artists or persons skilled in works of art, "by whose
testimony we might have been correctly informed of their character,
style, and manoeuvre." The man at last came, and Denon, in his _Voyage
dans le Basse et Haute Egypt_, has set the matter at rest. He has given
a curious and interesting account of the paintings at Thebes, which he
reports to be as fresh in color as when they were first executed. The
design is in general stiff and incorrect; and whatever attitude is given
to the figure, the head is always in profile. The colors are entire,
without blending or d