the Birdcage," but no such story occurs in the Decameron of that writer. Engraved by J. B. Quilley; and by C. H. Jeens for the "Turner Gallery." On canvas, 4 ft. h. by 3 ft. w. Exhibited at the Royal Academy, in 1828. TURNER COL LECTION. No. 508. ULYSSES DERIDING POLYPHEMUS. "Now off at sea, and from the shallows clear, Hear me, oh Cyclop! hear, ungracious host! 66 Cyclop if any, pitying thy disgrace, Ask who disfigur'd thus that eye-less face? Ulysses, far in fighting fields renown'd, Before whose arm Troy tumbled to the ground. "Thus I: while raging he repeats his cries, With hands uplifted to the starry skies." Pope's Odyssey, B. ix. The whole picture is illumined by the golden and crimson light of a brilliant sunrise; the gorgeous galley of Ulysses is on the point of putting off from the island where the Cyclops Polyphemus dwelt. Close in shore are the remains of the fire in which Ulysses and his companions heated the olive staff of the giant, and with which they put out his one eye when asleep. The monster himself is seen sprawling his huge bulk on the top of the cliff, tearing his hair with one hand, and stretching out the other, his whole body convulsed with impotent rage. Engraved by E. Goodall. On canvas, 4 ft. 3 in. h. by 6 ft. 7 in. w. Under glass. Exhibited at the Royal Academy, in 1829. TURNER COL LECTION. No. 509. THE LORETTO NECKLACE. The necklace appears to have been placed by a peasant on the neck of a girl, seated by his side, under the shade of some trees on the left; the Basilica and a portion of the town of Loretto are seen on the right, on the summit of a hill, the sloping side of which is covered with olive trees. In the distance is a view of the Adriatic. The Basilica of Loretto contains the JOHN SIMPSON was born in London in acquired reputation as a portrait painter many pictures at the Royal Academy from inclusive, and during the latter years Sir Thomas Lawrence was employed as cincipal assistant. Several portraits persons left incomplete by Sir Thomas Simpson. He painted the picture of the wick in the Waterloo Gallery, for Willia painted that king himself several times. 1 went to Lisbon, where he was appointed 21. Ordinary to the Queen Donna Maria II., be had the honor of sittings from He sers of her court. In the Royal Aca 27 1835 he had portraits of Donna Maria Talmella Admiral Sir Charles Napier, Br Facon, and Lied Howard de Walden. F res in Carlisle House, Soho, where he die Na. 383 HEAD OF A NEGRO. Life siz JISSUE Axx Star, a painter in water :: Wapping Street, London, May the 30th .: London on the 16th of October 1859, miad Cemetery His name does 3. Jsemy Ocalignes No. 676. A T OF PAUL'S WH 75's Cubedal in the back-ground. Towing in water colours eircular, 15 i Sepmothed in 1881 Mr. Richard F 1 at odions of the catalogue th "Santa Casa di Nazarette," that is, the House of the Virgin Mary at Nazareth, which in 1294 was, according to the legend, miraculously transported across the sea to Italy, and was finally securely located at Loretto, where the “Sagrosanta Basilica" was built over it. This Basilica was further celebrated for its collection of Majolica or Raphael-ware, so called from its having been painted by Raffaello Ciarla, the "Boccalajo" of Urbino, who has been confounded with the great Raphael. This fine earthenware was presented by the Duke Guidobaldo of Urbino. It has not been shown for many years, but is stowed away in cupboards and utterly neglected.* On canvas, 4 ft. 4 in. h. by 5 ft. 9 in. w. Engraved by C. Cousen. Exhibited at the Royal Academy in 1829. TURNER COLLECTION. No. 510. PILATE WASHING HIS HANDS. "And when Pilate saw he could prevail nothing, but that rather a tumult was made, he took water and washed his hands before the multitude, saying, I am innocent of the blood of this just person; see ye to it.”—Matthew xxvii. 24. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Exhibited at the Royal Academy in 1830. TURNER COLLECTION. No. 511. VIEW OF ORVIETO. A brilliant landscape, the town is seen in the distance; women washing at a fountain, in the foreground. On canvas, 3 ft. h. by 4 ft. w. Engraved by S. Bradshaw. Painted in Rome in 1829. Exhibited at the Royal Academy in 1830. TURNER COLLECTION. No. 512. CALIGULA'S PALACE AND BRIDGE. BAIE. BAY OF “Bajarum medium intervallum Puteolanas ad moles ponte conjunxit." Suetonius. "What now remains of all the mighty bridge Caligula, but massy fragments left As monuments of doubt and ruined hopes On the left are seen the ruins of extreme right in the distance, Baiæ. with goats in the foreground; the sun Fallacies of Hope. the palace, and on the Children are sporting rising behind the ruin. * See Murri, Relazione istorica delle prodigiose tralazioni delle Santa Casa di Nazarette ora venerata in Loreto. Sm. 8vo, Loreto 1825; with reference to the Majolica, see T. A. Trollope's Lenten Journey in Umbria and the Marches. 8vo London, 1862. Caligula, in order to confute a prophecy of Thrasyllus, a mathematician, that he would no more be emperor than he could drive his chariot across the Bay of Baiæ,* had constructed a bridge of boats from the mole at Puteoli across the bay to Baiæ, upwards of three Roman miles, and he both rode and drove over it. Of the ancient mole, constructed on arches, and completely restored by the emperor Antoninus Pius, thirteen piers are still visible above the water at Pozzuoli. The bridge of Caligula was necessarily temporary, but Turner has assumed a structure similar to that of the mole to have been continued completely across the bay. Engraved by E. Goodall. On canvas, 4 ft. 8 in. h. by 8 ft. w. Exhibited at the Royal Academy in 1831. TURNER COLLECTION. No. 513. THE VISION OF MEDEA. "Or Medea, who in the full tide of witchery Had lured the dragon, gained her Jason's love. Had fill'd the spell-bound bowl with son's life. Yet dash'd it to the ground, and raised the poisonous snake And in the fired palace her twin offspring threw." Fallacies of Hope. Medea is performing an incantation; on the ground by her side are the three Fates; immediately above and behind them appears to be her dragon-chariot with her twins, the chariot is also represented in the clouds above to the left, where Medea is again seen in the act of throwing her children into the fired palace below. On canvas, 5 ft. 8 in. h. by 8 ft. 2 in. w. Painted in Rome in 1829. Exhibited at the Royal Academy in 1831. TURNER COLLECTION. No. 514. WATTEAU PAINTING. Study by Du Fresnoy's Rules. "White, when it shines with unstained lustre clear, May bear an object back, or bring it near." On wood, 1 ft. 3 in. h. by 2 ft. 3 in. w. Art of Painting, v. 445. Exhibited at the Royal Academy in 1831. TURNER COLLECTION. * "Non magis Caium imperaturum, quam per Bajarum sinum equis discursurum."-Suetonius, Caligula, iv. 28. |