ASSEMBLY OF DRINKERS.

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subjects that he could represent in half-length figures, and which did not demand a correct delineation of the nude. His saints and heroes are the representatives of the porters who served him for models, and which he never thought it necessary to attempt to ennoble. It must, however, be admitted, that his works possess wonderful force, and that the distribution of light and shadow is conducted with admirable intelligence. His principal works at Rome are, the Crucifixion of St. Peter, in the church of Santa Maria del Popolo, and the Entombing of our Saviour, in the Chiesa Nuova. At Naples, in the church of St. Domenico Maggiore, there is a fine picture by him of the Scourging of Christ, and in St. Martin's is one of his most admired works, representing Peter denying Christ.

Caravaggio was as singular in his temper as in his gusto of painting; full of detraction, and so singularly contentious, that his pencil was no sooner out of his hand, but his sword was in it. He treated his contemporaries very contemptuously, Gioseppino, his former master, particularly, whom he used to make a jest of publicly; which, however, brought him sometimes into danger. Thus one day, in a dispute with Gioseppino, he run a young man through the body, who was for adjusting the affair between them; upon which he was forced to fly to the Marquis Justiniani for protection. Justiniani obtained his pardon from the pope; but he was no sooner at liberty, than giving loose to his passions, he went to Gioseppino, and challenged him. The latter answered, "He was a knight, and would not draw his sword against an inferior. Caravaggio, nettled at this answer, hastened to Malta, performed his vows and exercises, and received the order of knighthood as a servingbrother. While he was there, he painted the Decollation of St. John the Baptist for the great church, and the portrait of the grand master De Vignacourt. When on the point of quitting the island, he insulted one of the principals of the order, and was thrown into prison, from whence he escaped at the risk of his life. Pursued by the guard, he was fired at, and wounded, and again imprisoned. But his courage was undaunted; he perforated the walls of his dungeon, and was enabled to escape. A felucca conveyed him to the shores of Italy; but, on his landing, he was surrounded by a guard, and seized as a pirate. The error was soon discovered, but in the contest, he lost the little treasure that he possessed. So many accumulated misfortunes plunged him in a state of despondency: abandoned, and without resources, he wandered for some time about the country, when, finding himself attacked by a violent fever, he reached with some difficulty Porto-Ercole, where he died in his fortieth year.

ASSEMBLY OF DRINKERS.
(Painted by B. Manfredi.)

J. M. T.

THE figures of this picture, at half length, are of the natural size. This is one of those familiar compositions which is divested of those three great principles of the art-invention, grandeur of design, and sublimity of expression. Michael Angelo de Caravaggio was the founder of a school which rivalled that of the Caracci, although the talents of those celebrated masters were of a superior kind. Despising the study of the antique, and scrupulously disposed to follow nature, Caravaggio delineated, with scarcely any previous intention, yet with surprising energy, whatever she presented to his pencil. The Venetian artist Saracino, Valentino, Joseph Ribera.

called Spagnoletto, and Manfredi, followed the style of M. A. de Caravaggio, exhibiting in their works a portion of his beauties and defects.

Manfredi, one of his disciples, most happily succeeded in this species of imitation: the truth of colouring and vigour of pencil which characterize his productions, have caused them often to be confounded with those of his model. In the pictures of Manfredi, as in those of Caravaggio, we discover incorrectness of drawing, nature without discrimination, and bad taste. These defects, however, are less offensive in familiar compositions than in the higher branches of the art.

History furnishes but few details of the life of Bartholomew Manfredi. He was born at Mantua, and studied painting under Pomerancio, before he entered the school of Caravaggio. Like his master, he delighted in representing-Bodies of Soldiers-Concerts-Fortune-tellers-and Gambling parties. He also painted historical subjects. His frequent excesses injured his reputation and shortened his life. He died at Rome, at an early age. The paintings of this artist are rarely to be seen or purchased.

THE JUDGMENT OF SOLOMON.
(Painted by Poussin.)

Among the several pictures that have been painted on this subject, this noble and expressive composition of Poussin has been particularly distinguished.

Solomon is discovered seated upon his throne. He appears at that period of his life when he received the gift of superior wisdom. He orders one of the soldiers to divide the body of the infant claimed by the women, fixing, at the same time, his eyes upon them to ascertain which is really the mother. The parent extends her arms, and seems to speak-her looks, her attitude announce the excess of her affliction. The ferocious joy is well pourtrayed on the livid cheek of the unnatural mother. Some Israelites, astonished at a decree apparently so inhuman, regard the king with peculiar attention; while two females, one of whom is a mother, evince very forcibly the horror and pity which the scene inspires; and the soldier, by his action, appears to partake of their sensibility.

24 And the king said, Bring me a sword. And they brought a sword before the king.

25 And the king said, Divide the living child in two, and give half to one, and half to the other.

26 Then spake the woman whose the living child was unto the king, for her bowels yearned upon her son, and she said, O my lord, give her the living child, and in no wise slay it. But the other said, Let it be neither mine nor thine, but divide it.

27 Then the king answered and said, Give her the living child, and in no wise slay it she is the mother thereof.

The figures of this picture are admirably drawn. Poussin has, perhaps, assumed a liberty in representing the soldier half naked. The figure has, moreover, the air of a Greek warrior, rather than that of one of the guards of the King of Israel.

The draperies are adjusted with that fine taste which bespeaks a study of the antique, for which Poussin was so remarkable. The picture is considered very beautiful both in harmony and expression.