arrival at Paris, are the Thuilleries and 
he Louvre: in the latter is deposited 
the finest collection of paintings and of 
ftatues in the world. Into this noble 
nuseum we areimmediately introduced. 
9 one who has not had the good for- 
ie to see this gallery, can aeee 
ow powerful is the impression, how 
sublime and delightful is the sensation 
_ produced on entering this saloon, thir- 
teen hundred feet in Jength; and on the 
yalls of which are suspended one thou- 
id paintings, many of them of very 
‘dimensions, the workmanship of 
ael, of Rubens, of Guido, of Ti- 
n, of ‘the Carracci, of Leonardo da 
inci, of Corregio, of Albano, Dome- 
ino; in that. of all the first masters 
the French, Flemish, German, and 
ian schools. The perspective is most 
achanting !. The attention, however, is 
on dissipated among the splendor and 
“multiplicity of the paintings, and the 
" ifficulty of fixing it on a few select 
ieces is by no means inconsiderable. 
lur author seems to have felt this diff- 
; Ity, notwithstanding the administra- 
Giscnct the musée has so judiciously ar- 
_ ranged the painters; particularly those 
ae of history, following the chronological 
order of their birth, that the pictures of 
each master are as much as possible col- 
ected together, and the comparison of 
school with school, of master with mas- 
»and of the same master with himself, 
very muchfacilitated ; he felt this dii- 
f imate and has given us much too brief 
__ and general an account of the gallery. 
4 “> ‘The Saint Jerome of Domenichino, with 
which he seems to have been so particu- 
tly struck, is, indeed, an extraordi- 
ary production; we perfectly recollect 
the countenance of the .dying old man. 
_ Arrived at the age of ninety-nine years, 
and seeing his last hour approach, Saint 
Je erome’ caused himseif to be carried into 
| the church of Bethlehem, where he had 
been accustomed to celebrate the holy 
mysteries. ‘There, placed at the foot of 
the altar, he summons all his strength, 
order to receive, on his knees, the 
ticum, but exhausted by fastings, 
, and illness, it is unequal to the last 
- Vainly does he attempt to raise 
arms; that he may clasp his trembling 
mds; the coldness of death hasalready 
ed his extremities, the relaxed mus- 
ele and the stiffened joints areno lonzer 
A ROUGH SKETCH OF MODERN PARIS. 
83 
obedient ; his arms are motionless, his 
knees bend, and sinking under the weight 
of his body, he again falls backw ardé. 
In this state of feebleness and agony, 
the little life which yet remains to him, 
seems altogether concentrated in his 
eyes, and on his lips, that eagerly im- 
plore the sacrament which the priest is 
preparing to administer. He, cloathed 
in the sacerdotal habit of the Greek 
church, advances towards the holy man, 
in order to communicate ; with one hand 
he holds the host on the patine, and with 
the other he strikes his bosom, as he pro- 
nounces the sacramental service. Near 
him the deacon, standing, in the dalma- 
tic vestment, bears the chalice, ready to 
present it when he shall have received 
the eucharist: and before him the sub- 
deacon on his knees, h olding in his hands 
the missal. The assistants particip: ate in 
this pious ceremony: one supports be- 
hind the fainting old man; another, on 
his knees before, wipes away the tears 
which his situation has extorted. On 
his left hand Saint Paulina prostrates 
herself, in order to kiss his hands: all 
seem moved by the affecting scene.— 
The composition is completed by a 
group of angels hovering above in ado-’ 
ration.* 
From the gallery of paintings we are 
conducted into the statue gallery. Our 
author thinks that the Apollo ‘Belvidere 
is not now seen to the greatest advan- 
tage, the room not being’ either high or 
large enough, and too many. statues be- 
ing crowded together. We are of opi- 
nion also that the Apollo is not seen to’ 
the greatest advantage, but for a differ- 
ent reason: as the Apollo i is not a colos- 
sal statue, the room seems to be quite 
lofty enough, and large enough for the 
purpose; nor is its effect hy any means 
diminished by surrounding statues, cver 
which it is elevated by a » pedestal ona 
perron, two steps high, so that it pro- 
duces. a: striking impression - even from 
the hall of the Laocoén, The Apoilo,. 
indeed, is by no means crowded by 
other statues. The further end of the 
saloon, if our memory does not decei elve 
us, is railed off from side to side; in 
front.of the railing, and near to it, there 
are but four statues; by the-left wall 
stands the Mars Victor, of Pentelican 
marble; to answer this, on the opposite 
side stand the Hercules and Telephus, or 
Ewe have translated this description from the ** Notice des Pabléaax: » S&olwhich is sold: 
at the gallery: it is interesting in itself, and serves to'shew the nature ot that catalogue. 
G2 
‘ 
