the carnations lively; the clear-obscure magical; and the colouring of the greatest vigour. P.; H. 17 in.; B. 12 in.

In VERY SMALL FIGURES of two inches and under, observe chiefly if they appear to be made of nothing, as it is called, and with a touch intelligent, firm, and easy, and whether their movements indicate life. In figures of a little larger size, particularly when they are the principal object of the picture, note above every thing the touch, in order to make certain whether it be intelligent (spirituelle), clean, and expressive, or of precious finish; having an eye at the same time to the design, the expression, the attitudes, and the harmony of the colours.

Example.

No. 9.-POELEMBURG (CORNELIUS).

Dutch school. Born 1585, died 1660. Pupil of Abraham Bloemaert.

The Adoration of the Shepherds. A very important picture, and a chef-d'œuvre of this master; the composition of which, as happy as it is learned, presents as many as fifty-five figures in a very small space. (See Plate.)

The middle of the foreground exhibits a crib, on which lies the infant Saviour, upon a linen cloth, very artistically cast, which the Virgin re

moves, in order the better to show the divine infant to a crowd of shepherds of every age and sex, who crowd around her. A lamb is lying at the foot of the crib. Joseph, seated upon a rock, with a book before him, turns his head to admire the celestial glory which is seen above. The other planes present shepherds who are coming up. The sky is filled with clouds, and a multitude of angels and cherubim. Rocks, with a bit of sky of an azure colour, and very brilliant, terminate this delightful composition.

Poelemburg has here surpassed himself by the exactness of the design, and the fine form of the figures. He has carried to the highest degree their gracious and simple expression. The picture is not less distinguished for the attractive effect of light well distributed, for harmony, and the clearobscure, for the agreeable and sweet tone of the proper colours, and for that truth in the draperies to which none of his disciples attained, and which must have contributed not a little to the esteem the great Rubens had for his works. The figures are six inches and a half in height.

Copper; H. 16 in.; B. 13 in.