ST MARY MAGDALEN

TAKEN UP TO HEAVEN.

When a convent or fraternity ordered a picture to decorate the altar placed under the auspices of their patron; when a private person wished to place in his oratory a representation of the saint for whom he had a peculiar devotion; it was often the result of a dream, the remembrance of which was sought to be perpetuated.

This composition probably arose from such a cause. St. Mary Magdalen borne up to heaven by angels is an allegory, in which is indicated the reward granted by the Almighty to those, who during their lives, have given proofs of an ardent love towards him. See Nos 19, 97 and 115.

Delicately touched in all its parts, this picture has the advantage of presenting charming figures, and an equally agreable landscape. At first it passed for Simon Catarini's, called Pesarese, which was most certainly an error; it was then attributed to Dominichino. A more attentive examination has justly determined it to be from the pencil of Cesare Giuseppe d'Arpino, called the cavaliere Giuseppino.

After having ornamented the collection of the prince Prosper de Sinzendorf, this picture at present, forms a part of M. Gruttner's collection, at Vienna.

Height, 2 feet 5 inches; breadth, 1 foot 10 inches.

ÉCOLE ITALIENNF.000.000. JOSEPIN. ******** CABINET PARTICULIER.

SAINTE MADELEINE

ENLEVÉE AU CIEL.

Lorsqu'un couvent ou une confrérie commandait un tableau pour décorer l'autel placé sous l'invocation de leur patron, lorsqu'un particulier voulait mettre dans son oratoire une représentation du saint auquel il avait une dévotion particulière, souvent c'était le résultat d'un songe dont on cherchait à perpétuer le souvenir.

Cette composition est probablement dans ce cas. Sainte Marie-Madeleine enlevée au ciel par des anges est une allégorie dans laquelle on doit voir la récompense que Dieu accorde à ceux qui pendant leur vie lui ont donné des preuves d'un ardent amour. Voyez les nos 19, 97 et 115.

Ce tableau, gracieux et délicatement touché dans toutes ses parties, a l'avantage de présenter des figures remplies de charme et un paysage également agréable. Il a d'abord passé pour être de Simon Cantarini, dit le Pesarèse, mais c'est bien certainement une erreur; il a été ensuite attribué au Dominiquin. Un examen mieux approfondi le fait regarder avec raison comme du pinceau de Joseph-César d'Arpina, dit le cavalier Josepin.

Après avoir orné le cabinet du prince Prosper de Sinzendorf, ce tableau fait aujourd'hui partie du cabinet de M. Grutner, à Vienne.

Haut., 2 pieds 4 pouces; larg., 1 pied 9 pouces.

ALCUNI BAMBINI.

CHILDREN.

It would be difficult to determine positively what was Murillo's idea in this picture, and we are tempted to think, that it is one of those studies which painters are in the habit of making to keep in their ateliers some heads or expressions of figures that have struck them, and the reminiscence of which, they are glad to find, when they may have occasion for them.

On the left are seen three children who seem to have just come out of school, and are still occupied studying, together their lesson, whilst a fourth, a keen looking fellow, reminds us of one of those boys, who, as soon as they can escape from the master's superintendence, are ready to engage their companions in some scheme of juvenile mischief: he holds under his arm a piece of bread, which would seem to indicate that study is not his favourite occupation.

The figures in this picture are of the natural size; and it is impossible to refrain admiring, with what justice, the painter has rendered nature, as well in the expression as in the colouring, and the chiaro obscuro, which have an astonishing effect.

This picture has never been engraved; it is in one the antechambers of marshal Soult, duke of Dalmatia.

Breadth, 3 feet 5 inches; height, I foot 9 inches.