POLYMNIA.

One of the nine muses: usually the eighth, and yet, as she presides over lyric poetry, she ought to precede Erato, muse of amatory poetry, and perhaps also Thalia and Melpomene.

The ancients have represented Polymnia enveloped in a mantle and rapt in meditation, thereby indicating the workings of the mind which should direct the studies of poetry. Canova has deviated from this mode; but he has seated his figure, which equally indicates the need of study and mental quiet to blend historical reminiscences with flights of the imagination. He has not placed on her head a chaplet of flowers, which is one of her attributes; but as put is has an accessory on the arm of the chair she sits upon, and near her is beheld a scenic mask, to indicate the connection of Polymnia's pursuits with those of Thalia and Melpomene.

Height, 4 feet 3 inches.

L'une des neuf muses; elle est ordinairement la huitième, et cependant, puisqu'elle préside à la poésie lyrique, elle devrait être placée avant Érato, muse de la poésie érotique, et peut-être aussi avant Thalie et Melpomène.

Les anciens ont représenté Polymnie enveloppée dans son manteau et méditant, pour indiquer les opérations de l'esprit qui doit diriger les études de la poésie. Canova s'est écarté de ce mode; mais il a placé sa figure assise, ce qui indique également le besoin de l'étude et de la tranquillité d'esprit nécessaire pour faire coordonner les réminiscences historiques et les effervescences de l'imagination. Il n'a pas mis sur sa tête la couronne de fleurs qui est l'un de ses attributs; mais cependant il l'a placée comme un accessoire au bras du siége sur lequel elle est assise, et près d'elle se voit un masque scénique, pour indiquer les rapports qui existent entre les occupations de Polymnie et celles auxquelles président Thalie et Melpomène.

Haut., 4 pieds.

SAINT MAGDALEN.

We have already given an account of Mary Magdalen, at n° 19, and stated that it was an error to have confounded her with the penitent sinner the Evangelist speak of, without mentioning the name. It is certain, besides, that it can only be Mary, one of the holy women, who, to accompany Jesus Christ in a journey through Judea, abandoned Galilee and all she possessed there, to follow her divine master. It could indeed be scarcely credible that Jesus would have admitted amongst his followers, and into the society of the Virgin and apostles, a woman whose previous conduct had been so reprehensible, and who consequently would have been a subject of scandal for the Pharisees.

All the painters, however, have represented Mary Magdalen as a repentant sinner, and in the present picture Corregio exhibits her extended on the ground, the head supported by her hand, and holding a book, in which she, doubtless, seeks consolation, and the hope of forgiveness for her transgressions.

The Magdalen's body is covered with a blue drapery not very gracefully cast, but the bosom is bare, and discovers charms too young for the usual age of repentance.

This little picture, painted on copper, his highly finished and admirably executed; it belonged to the princess of the house of Est, and was then in a silver frame ornamented with precious stones; it adorned their bed-chamber, and when they travelled was put into a case and placed in their own carriage. When the king of Poland became possessed of it, he had another frame and glass, that locked, made for the picture, which is now in the Dresden gallery. Engraved by Daullé, Morghen and Niquet.

Breadth, I foot 6 inches; height, I foot 2 inches.