charms have sunk deep into our minds; we wish to see it once more, that we may confirm our judgment and renew our vows. The Susanna and the Elders, at Mr. Angerstein's, was one of those that came upon us under these circumstances. We had seen it formerly, among other visions of our youth, in the Orleans collection-where we used to go and look at it by the hour together, till our hearts thrilled with its beauty, and our eyes were filled with tears. How often had we thought of it since; how often spoken of it! There it was, still the same lovely phantom as ever-not as when Rousseau met Madame de Warens, after a lapse of twenty years, who was grown old and wrinkled-but as if the young Jewish beauty had been just surprised in that unguarded spot-crouching down in one corner of the picture, the face turned back, with a mingled expression of terror, shame, and unconquerable sweetness, and the whole figure shrinking into itself, with bewitching grace and modesty! It is by Lodovico Caracci, and is worthy of his name, from its truth and purity of design, its expression, and its mellow depth of tone. Of the Elders, one is represented in the attitude of advancing towards her, while the other beckons her to rise. We know of no painter who could have improved upon the Susanna, except Coreggio, who, with all his capricious blandishments, and wreathed angelic smiles, would hardly have given the same natural, unaffected grace, the same perfect womanhood."

The differences here of susceptibility and of opinion, between two public writers, both men of taste, learning, and of some experience in the Art, will not escape

the critical reader, or even the tyro in matters of taste. To the latter it may constitute, no uninstructive lesson. According to Ottley," the head of the female is deficient in expression:" according to Hazlitt, it has "a mingled expression of terror, shame, and unconquerable sweetness." Excepting for the old and well-founded adage, it must needs appear

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Strange that such difference should be."

But anon, comes a third critic, who wishes also to be descriptive and explanatory, (as is stated in his titlepage:) And what does he say? Why, he says, that the innocence of Susanna is too pure for her to be conscious of the full extent of her danger; and that this innocent purity, with its concomitant modesty, combined with a certain individual peculiarity, constitutes the real charm, and the just adaptation of this fine female countenance.

Are these mental impressions reconcileable? Not quite, perhaps. But we may remark, that Mr. Ottley has not said that the head of Sussanna is deficient in character; and as the expression of terror, if it be there at all, is but just faintly dawning, quite in its incipiency, and amounting to scarcely more than apprehensiveness; here is if we grant (as, with sound critical philosophy on our side, we surely may) that Hazlitt has set down that "unconquerable sweetness" to the account of expression, which properly belongs to character.-Here is, we say, in this case, a point of approximation between the three opinions, which may perhaps fall in with that of the reader; perhaps, also, with the intention of Lodovico Caracci. There is something, too, calling for allowance, in

Hazlitt's" first love." The peculiar character of this fine female countenance, has fallen in with his feelings of the beautiful, though not with Mr. Ottley's.

Of Lodovico's picture, no more at present: but we shall conclude this article with a little plain speaking, which will, perhaps, be endeavoured to be canted into personality-that seems to be the conventional stigma, or brand, that is just now employed against those who call down deserved blame upon the vocabulary ignoramuses, with whose unsound pretensions we conceive it to be part of our public duty not to seem to acquiesce, but rather to treat, here and there, with a little honest exposure: we say here and there -for to have followed them through the National Gallery, wherever they have mistated facts, or set forth blunders as criticism, would more than have filled our book.

Mr. Ottley, as we have ventured to notice above, has totally mistaken the painter's choice of moment; and into this error, and into the mistake of blue for green drapery-as into that of Bethany for Jerusalem in del Piombo's picture-has Mr. Valpy's apothecary, most punctually followed his physician's prescription, though without acknowledgment, having shown merely the finesse of clothing some of Mr. Ottley's ideas in other words. His affectation of wonder at the comparative circumscription of the powers of modern artists,--whom no person not grossly deficient in observation, as well as reflection, would thus indiscriminately mass together-comes with peculiar grace, and extraordinary brilliancy of effect, to be sure, after such palpable displays of the hollowness of his own critical craft; and then, as if to clinch his anonymous carelessness and incom

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petency, immediately follows-as information given to the public-the fib, that " Raphael died at thirtythree,” when it has been so often repeated that he lived to be thirty-seven.

The Susanna was one of Mr. Angerstein's pictures, and, as we have intimated above, was formerly in the Orleans collection.

ST. PETER AND THE APPARITION OF CHRIST.

ANNIBALE CARACCI.

THIS is not a scriptural subject, but a depicted tradition, or legend, of the Romish church. Peter, says the Catholic legend, had escaped from Rome, in order to save himself from impending martyrdom, and was hurrying along the Appian way, when he was met by his master, bearing his cross. "Lord! where goest thou?" inquired the surprised saint: to which the Saviour replied, that he was going to Rome, to be crucified a second time, finding his disciples feared to attest the truth of his mission with their blood.

Mr. Ottley says, "This picture is one of the most studied and highly finished performances of Annibale; and is especially admirable for the consummate skill displayed by him in the foreshortened figure of Christ; which has been long considered as one of the most perfect specimens of the kind, and almost seems to walk out of the canvass; an effect, which is not more the result of the correctness of that figure in respect of outline and lineal perspective, than of the judicious arrangement of its lights and shadows. The figure

of St. Peter is not of equal merit. The landscape in the back-ground is beautiful."

The landscape is good, and shows that St. Peter must have stolen away from Rome very early indeed in the morning, or not have advanced far on the Appian way; but it is yet more likely that he was fast asleep in his bed: but there is this objection to be made to the landscape, that though the day is breaking over the distant hills and pediment on the right hand, there must be another sun somewhere out of the picture on the left hand, since the cast shadows from St. Peter and the Saviour, fall directly to the right, which corresponds with the light and shade on their figures. This, however, may be a sort of miraculous left-handed anticipation of Campbell on "coming events." The difference is appropriate, or, as Mr. Cunningham would technically write" in keeping;" since, as the announced event of the re-crucifixion, did not come, the shadows are here turned aside.

"The figure of St. Peter (says Mr. Ottley) is not of equal merit,”—meaning, to that of Jesus Christ. "Neither ought it to be so: the principal part of every picture, should be, in all respects, the best part. We would allow, however, that his right foot came a little too low in the picture, if—as Mr. Cunningham has well conjectured he might not be supposed to be about to kneel, or, at least, to bow the knee. His marvelling looks, and held-up hand, testify the impression made upon him.'

Yes. This latter is also a just remark. There is a fine expression of surprise, on the part of St. Peter; he is clad in blue and dark yellow draperies; and the all-important keys hang from his girdle.