closed on every side, in order that her cries might not be heard, and in this state she was led to punishment. The friends of the priestess had permission to follow her. The procession moved on slowly, and with the utmost silence. The day was regarded by the people as unfortunate, and they refrained as much as possible from being upon the road when this dreadful cavalcade was passing along.

Arrived at the gate of Collina, the Vestal was delivered into the hands of the executioners upon the tomb destined to receive her. This tomb was a subterraneous cavity, of the form of a long square, into which the offender was compelled to descend by means of a ladder; and having placed her on a bed, adjoining which was a table, a lighted lamp, a small quantity of oil, bread, milk, and water; they closed the opening to the vault, and covered it with earth. Such was the ceremony of these horrid executions. The painter of the picture before us has followed the descriptions given of this barbarous custom by various authors, with much interest and effect.

BELISARIUS.
(Painted by David.)

Belisarius, who had so frequently led to victory the troops of the Emperor Justinian-who concluded an honourable peace with Cabades-took Carthage -defeated the Vandals-returned conqueror to Constantinople, and numbered among his prisoners a rebellious prince, whom he caused to increase his triumph-this very Belisarius, who, after having successively steered his fleet to the coast of Sicily, taken possession of Catanea, Syracuse, Palermo, and Naples-opposed the successor of Theodates-refused the crown offered by the vanquished to the victor-fought Chosröes king of Persia, whom he put to flight—fled to the succour of Rome, besieged by Totila the Gothic king, and preserved the city from destruction: the saviour, in short, of the empire, whose name and achievements the people of Constantinople venerated and extolled:-This hero, worthy of a better fate, fell a victim to the jealousy of the great, or rather to the weakness of a mistrustful and cruel emperor. Reduced to the most deplorable condition, deprived of his sight, he presents, in the picture before us, where in that miserable state he is recognized by a Roman soldier who had served under his banners, a sad example of the inconstancy of fortune, and of the ingratitude of mankind.

Historians by no means agree as to the last epoch of the life of Belisarius ; but after this manner it was offered to the pencil of the artist, and M. David has omitted nothing that could give tenderness to the scene. It is, however, to be remarked, that we are still in possession of the medals of Justinian, representing, on one side, the emperor receiving Belisarius, conqueror of the Goths, and on the reverse, the image of Belisarius, with these words, Belisarius gloria Romanorum. What a contrast do these exhibit to those circumstances which tradition has preserved, and which it is pretended that Belisarius displayed from the walls of his prison, to move the pity of those that passedDate obolum Belisario! This inscription David has placed in his picture, the subject of which it would fully explain, could it, in so fine a painting, be in the least degree equivocal.

This celebrated work was executed at Rome, and exhibited at Paris in the year 1782. The etching is not sketched from the picture, but from the engraving by Morel, in which the author made some alterations, under the direction of the painter. The figures in the picture are of the natural size.

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MAHOMET II.

AHOMET II., called the Great, succeeded his father Amarat in 1451, He was the most fortunate of all the infidel princes. Making war upon the Greeks, he took the city of Constantinople in 1453; conquered twelve kingdoms, and took above two hundred towns. Besieging Belgrade, he received a wound and retired. The famous John Hunniades and John Capistran, had a share in that victory. Scanderbeg beat him out of Albania in 1457; but he was afterwards conquered in Hungary, Persia, Mysia, Bornia, Wallachia, Transylvania, and Albania. Besides these, all Peloponesus was likewise conquered, together with Carinthia, Stiria, Sinopi, and other places; but as he was preparing to carry the war into Egypt, he was seized with illness, which carried him off at Nicomedia, on the 3rd of May, 1481, in his fifty-second year.

In features and person, Mahomet was handsome and well formed, and possessed of wit and courage. He spoke Greek, Latin, Arabic, and the Persian languages fluently, and had great skill in astrology. Yet he was a debauchee, of no religion, and as little probity. He was cruel and barbarous, and at the storming of Constantinople, he treated our Saviour's image with great disrespect and indignity.

THE DESCENT FROM THE CROSS.
(Painted by Rubens.)

However transcedent the genius of the painter or the poet, a fit opportunity does not always present itself for either to display the treasures of his art. Without a felicity in the choice of subject, a consideration highly important, no success can be complete. How many pleasing subjects have been undertaken by artists without any previous reflection on their talents; and how often has the dignity of the arts been debased by such presumption.

But when a painter, of speculative endowments, conceives a grand or pathetic design, he produces one of those extraordinary efforts of genius, which is not only the object of the student's veneration, but beyond the power of his contemporaries, or of posterity to imitate.

Such is the famous Descent from the Cross, by Rubens, which raised his reputation in a very eminent degree. The admirable manner in which this subject has been treated, is manifest in this simple sketch. What solicitude is visible in our Saviour's followers, as they take from the Cross his sacred and inanimate body! What grief pourtrayed in the countenance of the Virgin! What tender attachment in the action of Mary Magdalene; The most beloved disciple of Christ is characteristically depictured as bearing the greatest part of his hallowed remains. These are the poetical beauties of the picture: it is no less excellent in point of execution. The lights and shadows are distributed with such magic touches, that the eye of the spectator is ever directed to the principal object. The figure of Christ is, perhaps, the finest that has been ever drawn; while the position of the head, and the reclining posture of the body, describe the heaviness of death, so as to interest the feelings in a surprising manner.