1828.) Old Pictures. 29 
life. Perhaps the finest practical contrast that was ever presented in 
reference to matters of this kind, is to be found (by pure accident, we 
imagine) in the above-named picture, and that which hangs in imme- 
diate contact with it—< The Spanish Courtesan’—as it is somewhat 
pompously and affectedly styled in the catalogue. It is a picture (a 
portrait it must be, for nothing so absolutely true to life was ever yet 
created by the pencil) of a young woman, leaning (/olling is the word, 
but it is a vulgar one, like the thing) out of window, and smiling, 
with a sort of modest impudence, at some (supposed) passer by, in the 
street below ; while another female, much older, is half-retiring behind 
the half-open shutter, and laughing outright, but trying to stifle the 
sound of her laugh with her handkerchief. The contrast (as we have 
hinted above) between these two “ladies of easy virtue;” and she above 
them, whose “virtue,” we may be sure, whatever else it might be, was 
anything but “easy”’—between the Courtesan and the court beauty— 
is, beyond expression, interesting and instructive ; for the truth of deli- 
neation is equal in the artists—Murillo being to uncourtly nature pre- 
cisely what Vandyke was to that of the court. This exceedingly fine 
specimen of one of Murillo’s styles—and his finest—is probably a new 
importation from Spain, as it belongs to Lord Heytesbury. It is an 
admirable work, having that look and sentiment of nature about it 
which, we will venture to say, was never achieved in absolute perfection, 
in connexion with this class of subject, by any artist whatever, except 
Murillo. 
No.5. Innocent the Tenth. Veuasquez.—This is another most won- 
derful portrait. Those who would see embodied in one form the united 
spirits of popery and witchcraft, may go and gaze upon this portrait. 
We wonder how “some persons” dare to sit for their pictures: but the 
reason is, that they are as shallow and short-sighted as they think them- 
selves sagacious and profound. Above all, they are believers in maxims, 
which are as often “the foolishness of nations” as they are its “ wisdom ;” 
and there are among all nations maxims which indicate that “there is 
‘no trusting to appearances.” Now the truth is, there is no trusting to 
any thing else. He is a shrewd hand who said, that “language was 
given to man to conceal his thoughts.” And truly we have need of 
some such instrument, seeing that.that dumb orator, the face, unlike all 
other orators, always speaks the truth, whether asked or not, and never 
speaks any thing else. But let us turn our thoughts to “metal more 
attractive.” 
No. 6. Hippomanes and Atalanta. Gu1po.—No. 7. Landscape, with 
Catile and Figures. Cuavups.—The first of these is one of the most 
exquisite little gems we have ever seen. It is of miniature size, and is 
all made up of “airs and graces ;” but they are the airs and graces of 
nature, or at least of that divine mythology which grew out of a pro- 
found love for nature. What is still more remarkable in this picture: is 
the grandeur of effect which results from a steady.contemplation of it. 
In this respect, it differs scarcely at all from one of gallery.size. And 
the reason in a great measure is, that grace and expression (which are 
the essences of which this picture is composed) have nothing whatever 
to do with size. They are things which address themselves to the mind 
alone—which knows nothing of size except through the medium of the 
touch. Toa person born without the faculty of touch, the sight of a 
mountain and a mole-hill would produce much the same impression. 
