280 THE STORIES OF NOTED PAINTINGS. 



taken to the mouth of the harbor where he threw a ring into the 

 sea. Various and costly state galleys, called Bucentaurs, had 

 been built for this magnificent ceremony. The last, which is 

 represented in this painting, was constructed in 1725, the gilding 

 alone costing more than $40,000. It was destroyed when the 

 French took possession of Venice in 1797 ; and the custom 

 ceased with the loss of its two hundred oared galley and at the 

 same time of its naval power and independence. 



JOSEPH AND POTIPHAR'S WIFE. 



By Gio. BILIVERTI (1576-1644). It is called the Joseph of 

 Biliverti, and is one of the most observed paintings of the Uffizi 

 Gallery in Florence. This scene reminds us that there are two 

 sides to every story. Joseph said : "As he went into the house, 

 she caught him by his garment, and he left the garment in her 

 hand and fled and got him out." She said : " The Hebrew ser- 

 vant came in unto me to mock me. And it came to pass as I lifted 

 up my voice and cried, that he left his garment with me and fled 

 out." The woman's story, as is generally the case, was believed ; 

 and Joseph was cast into prison. It would be more orthodox and 

 no more than fair that the next Bible illustration should repre- 

 sent Madam e's side of the question. 



UNE REPETITION DE LA TRAGEDIE DE MIRIAME CHEZ 

 LE CARDINAL DE RICHELIEU. 



By ADRIEN MOREAU, of Paris. Cardinal Richelieu was the 

 greatest statesman of his age, perhaps of any age. He aspired 

 to be thought equally great in literature. In his younger days 

 he had written two dramas, really quite indifferent productions, 

 one of which was this tragi-comedy of Miriam, the sister of 

 Moses. It was the great desire of the Cardinal to make this 

 piece a public success. He had put it on the stage at his own 

 expense, but success did not come. The private rehearsal of it 

 before the aged author and the courtiers and princesses who 

 formed his court is one of the most suggestive and best executed 

 subjects of modern painting. 



