L. RIQUIER. 41. MALO OF NAPLES.-In front of this large and magnificent painting is a group of Neapolitan fishermen; at the right hand side lies a man surrounded by his children; one of them approaches him to caress him; a girl is industriously engaged in spinning; at the left is the mother of this happy family, with her little children on her lap; at her side is a babe playing with a bottle; the dog lies reposing, and various fishing utensils are laying around. On the left several fishermen are drawing their nets; farther off others are seen bathing, etc.; in the background is the City of Naples, with its steeples and towers, and many anchored vessels. The sun is setting gloriously, and its beams gild some dark clouds coming up on the horizon. The fine grouping and the minute execution of this painting make it one of the best productions of this Artist. 44. A MARINE SCENE AT SUNSET, NEAR CALAIS.The sun is setting among clouds in its glory, and throws its yellow beams on a French bark, steering westward. In the foreground is a fisher-boat reefed in and drawing the net; different vessels are on the water, whose beautiful true color, in contrast with the yellow clouds, produce a striking effect. THE SAME. 45. THE ENTRANCE TO THE PORT OF CALAIS IN HEAVY WEATHER.-Buffeting with the impetuosity of the element, a fisher-boat is trying to reach the harbor; a cutter behind her is trying the same; a brigantine is to be seen farther off. To the right hand is the harbor, with a mass of people assembled on its ramparts. This picture is one of the finest compositions of the Artist; the color and shape of the clouds and the waves are extremely true and beautiful. THE SAME. 46. CALM ON SEA.-A French brig, with a small brigantine on her side, as well as a small boat in the foreground, are slowly gliding and rocking with the slight current, on the quiet surface of the waters. The sinking sun throws its last beams on the vessels and the water. The calm in air and sea is admirably represented. THE SAME. 47. LANDSCAPE NEAR ROTTERDAM, ON THE MAAS.-In the foreground are some brambles and a float, to the left hand are some houses near shore and bordered with trees; farther behind are some vessels near the village, and in the background are some Dutch windmills, with a perspective in a pleasant landscape. True and broad style of painting form the merit of this painting. THE SAME. 48. A FRENCH BRIGANTINE RE-ENTERING PORT UNDER FULL SAILS.-A very pleasant clear picture, admirably executed. DE BRAEKELEER, JR. 49. This picture represents the interior of a Hollandish Inn, whose peculiarities are minutely rendered. In the foreground is an old burgher, who settles his account, rather surprised at what he is charged with. The young hostess smiles rather cunningly at his tardiness. The background, lighted from different windows, shows some burghers busily engaged in smoking their pipes and reading the newspapers. Love. To guide in life, assist, console, There is a link, 'bove nature wrought, Ah! flesh and blood, say, what are they? Nor death dissolves, is love sublime; ABBE ROUQUETTE. THE SAME. 50. THE INTERIOR OF A PRIVATE MANSION IN HOLLAND. The husband and his lady are in the first room, through whose high window the morning sun shines brightly. Divers objects of amusement are laying by prepared to be used in turn. The husband, his back turned towards the window, is reading the news, curling up the smoke from his clay pipe after breakfast, whilst his wife is busy in working fine laces. There is a second room to be seen behind, on whose floor the sun is reflecting the window, and behind this, still farther off, a kitchen. We beg the spectator to observe the reflection which is thrown on the face of the husband from the paper which he reads, and further, the accuracy of all the dresses, utensils, instruments, the perspective of the rooms, their furniture, and the whole interior of a Dutch house. 51. THE STUDIO OF AN ARTIST.-Copy of the picture of GERARD DOW, in the Museum of Brussels. 52. Copy of the "DESCENT FROM THE CROSS," by P. P. RUBENS, in the Cathedral of Antwerp. "It is to this painting that artists of every country make pilgrimage, and bow before a work said to be worthy of the throne of art. While gazing on this sublime masterpiece, the admiration of the beholder is not less called forth by the grandeur of the conception and the sublimity of the design, than by the simplicity and purity of the style in which this subject is represented. The placid yet deathly appearance of our Saviour, the concentration of interest towards this one object, the looks of horror and commiseration all drawn to this common focus, the agony of the Holy Virgin, the tears of the Magdalen, even lovely in her grief, the affliction of St. John, are all brought before you in the strongest, the most forcible manner, but without the slightest approach to exaggeration." 53. COPY OF THE SAME. STATUARY. J. VAN KERCKHOVEN. 54. A CUPID, (marble.) The Color of Love. I CAN nor tell nor sing the bliss of loving, It is a joy to think of-not to speak, Words, Symbols, Lyres, Seraphic Trumpets are too weak |