nently distinguished. Numberless trees on the plain are comprised within the small limits of the picture, and in the remote back ground rise the towering peaks, white with the "virgin snow," untrodden in that lonely and lofty isolation. This is the original sketch for the large picture engraved at the expense of the American Art Union, some years since. No. 12. The Adoration of the Shepherds, by Raphael Mengs, was brought to the United States by Joseph Bonaparte. It is one of the largest pictures in the gallery, and is considered a chef d'œuvre. The infant Christ wrapped in swaddling clothes, is supported on his humble bed of straw by the Virgin, whose uplifted eyes are filled with an expression of blest content. Her drapery of blue forms the most important coloring in the painting. A beautify silvery light envelops these two figures, and the dawn is breaking in the East with a new glory that shall wake the world to the consciousness that the "Prince of Peace" is born. The shepherds are gathered near, wearing a blended look of rhapsody and awe, and several strive to manifest their joy through that expressive medium—the hands raise aloft, or half clasped. One adorer has dropped his crook, and fallen upon his knees at the feet of the Virgin, with head bent low, whilst the angels in an ecstasy scarcely less demonstrative are hovering within the humble abode—beautiful messengers sent from God with blessings for the "new-born king." The artist was born in Bohemia, and died at Rome in 1779. His works won for him warm admirers in various cities of the old world. At the early age of seventeen, he was appointed court painter, by the King of Poland. Some of his best pieces are preserved in Spain, Italy and England. He was also a writer upon art subjects, and described notable pictures with great ability. Nos.
