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Mary, is green, and brings forward the freshness of the carnations. In placing the City of Lyons in demitint, Rubens has given to the gilding of her car, and to her attire, (the colours of which are purple and violet) an air of solidity without making this part of the picture vie in splendor with the principal group. The lions, the eagles, and in general all the accessaries, are depicted with a firm and vigorous pencil. The design is judicious and correct.

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THE ASSUMPTION OF THE VIRGIN.

TITIAN.

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The Virgin rises to heaven, supported by clouds, and encircled by cherubim. She views, with a look of benevolence, the apostles grouped around the tomb, who express by their attitudes admiration and respect.

This composition is one of the finest productions of Titian. The figure of the Virgin is noble, correct in point of drawing, and the head is extremely graceful. Those of the apostles have much expression and great propriety of character. The execution is dignified and easy, the colouring soft and harmonious. The carnations, in general, appear rather dark, but this defect is the work of time; and it is not to be doubted but that the picture had originally a freshness, which it now appears to be deprived of.

On this head the following remark of Sir Joshua Reynolds, in one of his excellent lectures on painting, is particularly applicable : “ we ought rather to contemplate what the pictures of the great colourists have been, than what they are, if we would render to the painters the justice which is due to them; and convince ourselves that they have not usurped their reputation."

This picture, the figures of which are of the natural size, was placed in one of the chapels of the cathedral church at Verona.

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