house of his pleasing garden, in the suburbs, is a fine collection of admirable casts, executed at Paris; beside one marble statue by Danekker, surpassing anything in modern sculpture. It is an Ariadne seated on a lion, in an attitude of great difficulty of execution, but easy and graceful in the highest degree. She is reclining on one side her right elbow supported on the lion's shoulder, her head turned with a pensive graceone drooping hand holds the clue of thread, while the other lightly supports her right foot. The position is so involved, that nothing but the most consummate art could have reconciled it with nature. It is one of the happiest conceptions of grace that an artist's imagination ever hit upon. The figure is the perfection of feminine beauty, with none of the pomp of the goddess, reclining in the soft graces of a voluptuous but simple form. The marble seems, from the exquisite truth of execution, to have a warmth, and the contours are rounded and soft as those of Titian. The lion is a majestic beast, worthy of the load he bears. The statue stands on a pedestal, turning on a pivot, for the convenience of viewing it in various lights. Danekker had this admirable statue fifteen years in hand he executed it for Mr. Bethmann, and received one thousand guineas for his inimitable labours: Mr. B. has since been offered for it nearly

three times that sum.

The artist is now employed

for him on another work to match it.

OPINIONS ON PORTRAITS.

WHEN Martin Luther was shewn a portrait of Erasmus, the ascetic reformer observed, "Were I to look like this picture, 1 should be the greatest knave in the world!" so much for prejudice.

Physiognomists observe in the visage of Erasmus the strongest indications of good sense, wit and benignity.

Luther was implacable in his resentment, and bitter in his sarcasm; ardent and sincere in his great work of reformation, he would keep no terms with those who would not go the whole length of his zeal. Erasmus and the pious Augustine monk

had once been friends.

The rare talents of Erasmus burst forth "when learning was emerging out of barbarism." He was one of the first who ventured to attack superstitions which he had not the courage to relinquish. His cupboard, which, to the honour of the age, was entirely filled with plate, presented to him by the most illustrious men, as an offering to his talents and private worth, excited suspicions of his too great devotion to the good things of the world, and furnished the independent spirit of Luther with subject for invective.

The mild Erasmus had said, "We must carry ourselves according to the times; and hang the cloak according to the wind."

Sentiments, however honestly meant, not likely to square with the straight forward temper of the great apostle of Protestantism.

Rubens in his portrait of Martin Luther, introduced in the group of his celebrated picture of the Woman taken in Adultery, has given us a visage without a single trait, which even the devotion of bigotry could convert into a christian or cardinal virtue. John Calvin, too, is a prominent figure in the group, conceived in the same spirit of hatred to the reformed religion. The mild and amiable demeanour of Melancthon and Erasmus compared with the impatient rudeness of Luther, and the outrageous violence of Calvin, certainly afforded the Romanists ample materials to paint that contrast to physiognomical excellence, which marks the expression of these extraordinary men, joint labourers in the same meritorious work. Luther married a nun. We are not informed whether she was a saint, but she must have been meek indeed to have borne with the lordly humour of this holy hermit. Yet he could be playful at times. "Patience," said he, "is necessary in most things. I must have patience with the Pope; I must have patience with heretics and seducers; I must have patience with babbling courtiers; I must have patience with my

servants; I must have patience with my WIFE KATE!"

In allusion to his wife KATE, Erasmus says, in a letter to Melancthon, "I really thought that Luther's marriage would have softened him a little ;" and, referring to his abuse, adds, "It is hard for a man of my moderation and of my years, to be obliged to write to defend myself against a savage beast and a furious wild boar." Luther had openly reviled him, declaring that he was "an enemy; a picture and image of an epicure and of Lucian."-" He was stained and poisoned at Rome, and at Venice, with epicurism !"

Melancthon, who had also been in friendship with Luther, being himself actively engaged in the Reformation, complains of his hasty temper, and adds that he had, when disputing with him on theology, frequently received a slap on the face.

It must be ascribed to the goodness of Heaven alone that the disciples to the new doctrine were so much better disposed towards each other than the great chiefs in this religious warfare. Never did. pilgrims, bound to the same holy shrine, differ more obstinately as to the right road, or wrangle more inveterately upon the way, than did the redoubtable leaders, Martin and John; and it is all but a miracle that they had not to go to the end of their pious journey alone.

· Calvin in his egotistical spleen, insists more than

once, "that if the devil has some influence with the Papists, he has quite fascinated the Lutherans ; and that he cannot imagine why they attack him more violently than every other person, unless it is that Satan, of whom they are the veriest tools, instigates them more against him, as the fiend sees his labours more useful to the well being of the church than those of Luther." He too compliments himself on his forbearance, saying, “It is merely the worthlessness of the subject that has alone furnished me with all the abuse that I have given way to; and I have suppressed much more than was at my tongue's end," adding, in the genuine spirit of party-feeling, which never can be wrong, "After all, however, I am not sorry that these stupid fellows have felt my sting!"

WORKS OF LIVING ARTISTS.

From "Annals of the Fine Arts.”

A PUNNING collector of works of living artists, and who will have some connection between the name of his artist and his subject, proposes to open his collection to the inspection of the connoisseurs and amateurs. Among the principal works which decorate his chief room are the following:

A study of a foot by Ah! toe, (Artaud). The Dandies' Tailor, by Beau-repair, (Beaurepair).