holding Apollo and Diana in her arms; another of the neck and arms of a figure rising out of the sea, called Hyperion, or the rising Sun; and a torso of a male figure with drapery thrown over one shoulder. The metopes represent the battles between the Centaurs and Lapitha, at the nuptials of Pirithous. Each metope contains two figures, grouped in various attitudes; sometimes the Lapithæ, sometimes the Centaurs victorious. The figure of one of the Lapitha, who is lying dead and trampled on by a Centaur, is one of the finest productions of the art, as well as the group adjoining to it of Hippodamia, the bride, carried off by the Centaur Eurytion; the furious style of whose gallopping in order to secure his prize, and his shrinking from the spear that has been hurled after him, are expressed with prodigious animation. They are all in such high relief as to seem groupes of statues; and they are in general finished with as much attention behind as before.

They were originally continued round the entablature of the Parthenon, and formed ninety-two groupes. The frieze which was carried along the outer walls of the cell offered a continuation of sculptures in low relief, and of the most exquisite beauty. It represented the whole of the solemn procession to the temple of Minerva during the Panathenaic festival; many of the figures are on horseback, others are about to mount, some are in chariots, others on foot, oxen and other victims are

led to sacrifice, the nymphs called Canephora, Skiophoræ, &c, are carrying the sacred offering in baskets and vases; there are priests, magistrates, warriors, deities, &c. &c. forming altogether a series of most interesting figures in great variety of costume, armour, and attitude.

From the Opisthodomus of the Parthenon, Lord Elgin also procured some valuable inscriptions, written in the manner called Kionedon or columnar. The subjects of these monuments are public decrees of the people, accounts of the riches contained in the treasury, and delivered by the administrators to their successors in office, enumerations of the statues, the silver, gold, and precious stones deposited in the temple, estimates for public works, &c.

CARRACCI'S OPINION OF CORREGGIO'S
ST. JEROME.

CARRACCI speaks of this celebrated picture in terms almost amounting to adoration, and his eulogy is fully corroborated by Mengs. After apologizing for the common anachronism of making St. Jerome contemporary with Christ, this artist critically investigates the merits of the piece. "It represents," he observes, "the blessed Virgin and Child, with St. Jerome in the act of offering his writings to the infant Jesus. Between the infant and the saint is an angel, pointing to some passage in the book, St. Jerome himself is represented

with a violet drapery, carelessly thrown over his shoulders; and the naked parts of the body are depicted with a perfect knowledge of anatomy, and the highest beauty of colouring. At his feet is his majestic emblem, the lion. On the opposite side is Mary Magdalen, bending to kiss the foot of Jesus, with a countenance expressive at once of respect, love and adoration; and nearly behind her, is an angel smelling to a vase, to indicate the offering made by her of the box of precious ointment, mentioned in scripture. This picture merits a high place among the most beautiful paintings of Correggio, and may be justly compared with the small Magdalen and the celebrated Nótte. It exhibits a body of colour unexampled in richness, and, at the same time, the almost incompatible quality of equal clearness. With this the tints are bright and varied, yet so intimately blended, that they appear infused into each other, like wax melted on the fire." Mengs adds. Although the whole composition is wonderful, yet the head of the Magdalen is fine-eminent in beauty; and he who has no seen it, is ignorant of the effects which the pencil ca produce."

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This picture was given by the purchaser to the church of St. Antonio Abbate, at Parma, in the year 1528. One of the Abbots having entered into a treaty for its sale to the King of Portugal, at a considerable price, the community appealed to

the sovereign, the infant Don Philip, by whose order it was transferred to the cathedral. In 1756 it was placed in the Academy of Painting, which he had then instituted. It was removed by the French, in the plunder of Italy, and was one of the most conspicuous ornaments of the Louvre. When the spoils of nations were again wrested from France, it was restored by the Allied Powers to its original situation, and still attracts to Parma, the admirers of Correggio, and the lovers of the fine arts.

GÖETHE'S OPINION OF ARCHITECTS. GOETHE in his Wahlverwandschaften, says of the profession of the architect in modern times, that "he is employed in lavishing all the luxuriance of his fancy upon halls, from which he is to be for ever excluded, and displays his ingenuity in bestowing the utmost convenience upon apartments he must not enjoy."

MORLAND S COMPLIMENT TO A FEMALE SITTER.

THE lady who is before mentioned in this volume, under the name of Mrs. Wheedle, one day prevailed upon George Morland to take her likeness, and after two sittings, he succeeded so well in pourtraying a half-length resemblance of her, that nobody could possibly mistake it. She was in the act of examining the fac-simile of her own darling presence, and comparing it with the original by the glass, when two friends of the artist's

came into the painting room; and after she had exhausted all her common-place cant of critical nonsence; Morland was censured by one of the party for not having given Mrs. Wheedle colour enough. "Colour enough!" replied the painter; 86 you must be mistaken; it is impossible to give her more colour, except you think I could make her blush.” "Certainly," replied his friend, "nothing can be more becoming; surely, George, you can make the lady blush." "There, you're mistaken again," replied our facetious painter; " for by G-d I tried, and we all tried, as you ought to know, for more than an hour the other day without the least success; and I verily believe, Mrs. Wheedle never did so foolish a thing as to blush in her life." The lady received the latter part of the painter's assertion as a very flattering compliment, and declared Mr. Morland was perfectly right, for she never saw or did any thing in her life that could make her blush.

THE MODERN SCHOOLS.

THE English school of painting, says Mrs. Graham, in 1824, though far inferior to either the first or second splendid periods of Italian art, is now the best in Europe. It has fewer faults. For the truth of this the Academy may appeal with confidence to the thousands of Englishmen who have lately visited the Continent, and looked im