While the nearer parts are thus teeming with brilliancies of thought and execution, the island of Crete is dimly seen at a distance across the sea; and further on in the picture—that is to say, between the foreground and the margin of the bay-the figures of the principal group re-appear-the two attendant maidens leading Europa and the Bull, while Cupid floats in the air above, performing the part of a pilot. It is here observable, that the admonishing matron has disappeared, as if she had absolutely refused to be of the bull party, and had returned to Tyre. Now what would our late learned professor have said to this? He who has aphoristically pronounced "duplicity of moment" to be "inadmissible?" Paul is here either under his lash, or, gloriously offending, has risen to a fault true critics dare not mend.

And what will our readers say, or think, here? We cannot tell. We can only say what we think ourselves. We think that there are exceptions even to this dominant, or dogmatical, rule. And, if such exceptions are ever to be tolerated; and if the telling of a story be (as the same authority has declared it to be)-the first virtue of an historical painter;— according to these premises, we say, that the re-introduction of Europa and the Bull, is not, in the present instance, excommunicable, because the sequel toward which it leads the imagination is important; and if that sequel could be suggested while the commencement of the drama was under representation, we see none but a merely scholastic reason for excluding the suggestion, or for not cutting a Gordian knot. From the rape of Europa is said to be derived the denomination of one of the great divisions of the globe. Jupiter seduced and abducted, or carried her off, from

the flowery plains of Phenicia to the margin of the sea, and there swam with her over to Crete. If the painter felt, thought, or knew, that he could convey these ideas-all of them, and more especially this latter idea-by not only representing Europa mounting the bull, but also showing the transfigured God in progress with his fair burthen; and if he has boldly and at once overcome all scruples of repugnance, and done so-Minerva forbid that we should sign his proscription! Let who will "throw the first stone" at this woman taken in the act of elopement.

The reader will expect at least a few words on the technic merits of this capital work. In composition, it is, we believe, perfectly original; and, to our taste, eminently successful. On whatever scientific rules it may be planned or constructed, those rules are effectually hidden in their own successful application. The spectator is sensible of the painter's magic, yields willingly to its influence; but perceives not his spell. The figure of Europa-indeed those of all the Phenician maidens-is" full, and round, and fair;" or embon-point (as our transmarine neighbours say)— like the generality of the females of the Venetian school. She is attired in a variegated robe of white broidered with gold; a rich mantle, lined with light crimson heightened with white, in the true transparent Venetian taste, is thrown over it with superb effect this too is embroidered on the outside (of which little is seen) with Tyrian purple and gold. A dark metallic zone, such as were anciently worn in Phenicia and Greece, is beneath her beautiful and voluptuous bosom, which sets off the bust of Europa to most inviting advantage. She wears pen

dant eardrops, her fair and braided hair is decked with jewels, and her sandals are Chaucered (as an antiquary would write) with amethysts; her hands, arms, and face-(of the appropriate and fine expression which is superinduced on the bland features of the latter, we have treated above ;)—her hands, arms, and face, are delicately drawn and pencilled, and— where foreshortening is needed-ably foreshortened. The carnation tints throughout are exquisite: true to the nature of fair and feminine complexions, yet sympathising deliciously with the pink mantle of Europa and the creamy white of the bull, so as to stir the optic sense, or that part of the connoisseur's imagination that is connected therewith, with the most delightful emotion. Indeed the painting of the nudities throughout, is of the true pulpy Venetian texture, having all the firm softness of flesh in its ideal beauty, such as it would require the pen of Anacreon to describe. If the Cupid of Parrhasius was fed on Cyprian roses, the Europa of Paul Veronese must have banqueted on the "butter and honey" of the prophet Isaiah, or of her native land—that land of promise from whence she was seduced.

As the vicinity of Tyre is the scene represented, the rich dresses which are introduced, in no degree militate against the remote antiquity of the transaction. Jewelled ornaments from Tyre and Sidon were worn by the heroes of the Iliad, and the rakam, or embroidery, of Babylonia, was famous in Western Asia, even before the time of " Joseph's coat of many colours." A piece of this Venetian or Tyrian drapery (for Tyre was the Venice of antiquity) lies on the ground, and leads off the light leftward from the principal group; which mass of light on the bull

and principal figures, is broad, central, and broken into picturesque shapes. This drapery also contributes to the expression of space, by keeping back the distant island and the sea, and consequently to the general effect of the picture.

One of the attendant maidens is habited in light blue and white, and the others in rich crimson, orange, and purple. Beyond this charming group, and between it and those darkly-verdant trees of the mid-ground, which conduce so happily to the brilliancy of the lights, is a reddish brown cow, which contributes to harmonize the colours, while her presence is well accounted for by that passage of the legend which says, that the transformed deity mingled with the herds of Agenor. The head of another cow peers into the picture from the left side, but seems too much isolated from the rest of the composition. This is en passant.

The casting of the draperies throughout, is bold and decided, yet careful and tasty, as those from the easel of this artist always are. He appears to have painted them with a well replenished pencil, a light hand, and a ready and playful fancy. The glittering heightenings of these draperies, and of other lively and principal parts that are susceptible of such touches-both of the Europa and the St. Nicholas— are sometimes presented to us pure, and sometimes seen through a thin glazing of transparent colour, which is frequently a rich lake, orpiment, or Venetian green, and appearing, as they do, to partake of the nature of light itself, constitutes one of the powerful charms of the Venetian (as of the Dutch) school, and is by no artist more successfully revealed, concealed, or displayed, as occasion admits or requires,

than by Paul Veronese. Ingenuous virgin blushes are scarcely more charming than these fascinating tints and touches, when thus transparently employed.

If this picture of Jupiter and Europa has a fault, beyond that which we have hinted at above, of the lonely cow's head, it is—as we presume to think— that, considering the southern latitude of the scene, and the genial nature of the subject, the sky would have admitted of a little more cheerful warmth, without abating the general harmony.

THE HOLY FAMILY.

FEDERIGO BAROCCIO.

In the course of his education as a painter, Baroccio studied the style of Coreggio ere he formed his own, but has alloyed with prettiness, the vigorous and sterling truth of his master. It is however "delightful (according to Lanzi) to see the great variety of colours Baroccio has employed, so exquisitely blended by his pencil; and there is perhaps no music more finely harmonized to the ear than his pictures are to the eye." By his biographer, Bellori, this artist is spoken of as a religious man, whose pencil was constantly engaged on pious and exemplary subjects, with the exception of a few portraits, and two pictures which he painted of the burning of Troy. Bellori's words in this place, stand in such curious contravention to the painted moral of the Holy Family before us, that we submit them (as rendered into English by Mr. T. Roscoe) to the reader's notice.

"Excepting on these occasions (says the Italian)