T RAV

147f.JippO;~jt~.,~lititb.~ ;i,p~~r;v~ntion of the. period of thirty y~ars does the ip­'Jllates of this one and the same city., considered as previous and su.ba~quenttheretq. 'Vhatever man .may bebrought to in advance, it isimpO;ssible "to.briqghhn back towhat he was.If he cannot do it (or'bimsel:t~ihpwis.hetp dp it, ,for others? Yet we will speculate !Buttor~~"'l~n t().Jh~ .arts. He.l;e is Dq!v..the wOH.der of the pencil-The Transtig",ration.'See.the.olilservatiops .qn t.hat .of Nll..estra Senora clel Pe:z~))Vihereis the iman bold enough Jo cond.emn himself by.a l'eprobationQf tthe ,wbole ,imagination, t.he cODccptionof this idolized picttlrenowtb.ere? .Que av.pws.4iuts~lfso,goingfurther in that direction than the ableJQr,l!t~lCt,Wl~()Se OtQscJZMations,behas extracted *. Having frankly avowecl1?husttllluch,he.wiU:ablitaiq trPklbl,iqgothers wit.h specifications of a de~t~cription:iheyareby ·UOfme~ijS tinc~ine,d,t9 listen tQ; but. ~.urJ;lt~Lh~o:workspfthe present day, enQngh to itIlmoJ,'talize any painter, and:almost ;be,YfO;:u.~,ihe hand of.tbe artist.whq \\'Tought then1, eveq Dav.id:,.,...The Interposition·ofthe Sabine "Vomep,i;l,pJLeonidas the Evening·befme the;Battle,of\Marathon. Wb;at suliljewtstoselect !. what taleIlts to:eJfeet! Thisl,artist has the sil1gtllarone ofgiving il1visibility to his canya§s:,thefigper6s pre8entthems~lves,'Jbutwhat they are.done on xemains tO,ibeiguessed. ~Ehe;Spr:boune, formedythei;uidusof pedantry, anddeserv~