The Garden of Eden, by Best-land. The Trial of Shylock, by Bond. The Totness Mail overturned, by Broke-ye down (Brockedon). Rural Conversation, by Chat-field. Study of a Mince Pie, by Christmas. A Favourite Pig, by Bacon. Front of a Public Building, by Backhouse. Roasted Game, by Cock-burn. Belshazzar's Feast, by Daniel. The Peacock Plundered, by Daw, (Dawe). The Beau-ideal, by Fudge. The Distressed Artist, by Few-sell-I, (Fuseli). Spanish Grandee, by Hey! Don? (Haydon). The Asthmatic Patient, by A cough man, (A, Kauffmann.) Portrait of myself, by Me, (Mee). Harvest Home, by Merry-field, (Merrifield). Portrait of Randall, by Mill a chap, (Millichap). Bust of Oliver Cromwell, by Noll I hen, (Nolleken). The Shoemaker in a Pickle, by Owing, (Owen). Prometheus chained, by Peck. The Morning Chronicle lampooned, by Perry gall, (Perigal.) Breaking Cover, by Hunt. Eve tempted, by Pick it, (Pickett). Going down Stairs, by Stepping off, (Stephanoff). The Musician outwitted, by Sharp. Jupiter and Leda, by Swan felt her, (Schwanfelder.) The Gipsey Party, by Strolling, (Stroehling.) Tantalus, by Thirst on, (Thurston.) Harry the Eighth, by Tudor. Pease Blossom, by Beans, (Behnes.) The Shipwreck, by Tempesta. A whole length of West by West all, (Westall.) The Locksmith, by Will key, (Wilkie.) Statue of a Dandy Supreme, by Waste my coat, (Westmacott.) The Tide out by Water low, (Waterloo.) Sun Set, by West. The Dandy Lover, by Smirk, (Smirke.) Design for a Ball Room, by Dance. Dead Game, by Partridge. TRAJAN'S COLUMN. THIS column was erected by the senate and people of Rome, in honor of the Emperor Trajan, in the Forum which that Emperor built at Rome, after the designs of Apollodorus of Athens. The shaft of this column is embellished with bassi rilievi, representing the expedition of Trajan against the Dacians, and which run spirally twenty-three times round the column. A gold medal struck in memory of the erection of this column, shews that it was formerly surmounted with a statue holding in one hand a sceptre, and in the other a globe, in which were deposited the ashes of this prince, after his death, vid. Casalius Par. i. c. 11. A spiral staircase, of one hundred and eighty-five steps, runs up the interior and receives light from sixty-three openings in the shaft. Before Pope Sextus V. repaired this column, the bronze balustrade and statue were wanting, but were restored by an iron balustrade and a statue of St. Peter, by the Chevalier Fontana. A greater absurdity than placing the representation of a peaceful apostle over the warlike representations of the Dacian war, can scarcely be conceived. The bassi rilievi on the Trajan column have been several times engraved and described, particularly by BARTOLI in his Colonna Trajani, Rom. 1702. PIRANESI Colonna Trajanee Antonini, Rom. 1760. Vasi's, Falda's, Desgodetz Antiquities of Rome, &c. THE JUPITER OF PHIDIAS. : PHIDIAS, being asked how he could conceive that air of divinity which he had expressed in his face of the Olympian Jupiter, replied that he had copied it from Homer's celebrated description of him. Now all the personal strokes in that description relate to the hair, the eye-brows, and the beard: and indeed to these it is that the best heads of Jupiter owe most of their dignity for though we have now a mean opinion of beards, yet all over the east a full beard carries the idea of majesty along with it; and the Grecians had a share of this Oriental notion, as may be seen in their busts of Jupiter, and the heads of kings on Greek medals. But the Romans, though they held beards in great esteem, even as far down as the sacking of Rome by the Gauls, yet in their better ages held them in contempt, and speak disrespectfully of their bearded forefathers. They were worn only by poor philosophers, and by those who were under disgrace or misfortune. For this reason Virgil, in copying Homer's striking description of Jupiter, has omitted all the picturesque strokes on the beard, hair, and eye-brows; for which Macrobius censures him, and Scaliger extols him. The matter might have been compounded between them, by allowing that Virgil's description was the most proper for the Romans, and Homer's the noblest among the Greeks. THE GENIUS OF SALVATOR ROSA. ONE of Salvator Rosa's etchings, is curious, as being a sort of allegorical portrait, or moral delineation, of Salvator himself. It is known to collectors by the name of "the Genius of Salvator Rosa.” The scene represents a wooded spot, with a fragment of fine architectural ruin, shaded by cypress trees, before which stands the dignified figure of a philosopher habited in the Roman toga, and holding in his hand the old Roman balance. Near him stands a satyr, with an arch and demoniac look, holding a roll of paper in his hand, which he points to the balance: at the feet of both reclines a figure, who carelessly rejects the treasures which wealth pours before it from out her cornucopia, while a dead dove lies on its bosom, and its eyes are turned on a fine representation of Liberty, who presents her cap. Painting appears in the back-ground leaning on an entablature sketched with a human form; underneath, Salvator has engraved the following distich: Ingenius, liber. Pictor, succensor et æquus, Speretor opum, mortisque, hic meus est genius. NORWICH CHURCHWARDEN AND THE ALTAR PIECE. A WORTHY citizen of Norwich, whose taste as an upholsterer had long been considered of the first-rate order, being chosen churchwarden of St. |