barefoot, thus enters with it into Jerusalem. In this work are many admirable qualities, and various merits in the attitudes, all of which are worthy of consideration. Among other things, the vestments worn by the female attendants of the Queen of Sheba will be found to deserve praise; they are treated in a pleasing manner, which was then new. There are, besides, many portraits from life which exhibit great animation, with a range of Corinthian columns, the proportions of which are absolutely perfect; and a peasant, who, leaning with his hands on his spade, stands listening to the discourse made by St. Helena, while the three crosses are in process of being disinterred, with an attention which is expressed so perfectly that it would not be possible to improve it. The dead body which is restored to life at the touch of the cross is also very well executed, and the joy felt by St. Helena is equally well expressed, as is the arrangement of the bystanders, who prostrate themselves in adoration. But, superior to all besides, whether for conception or execution, is the representation of Night, as given by this master: in this picture is an angel; the figure, admirably foreshortened, is descending with the head downwards, bearing the insignia of Victory to Constantine, who is sleeping in his pavilion, watched by a chamberlain, and guarded by armed men, whose forms are obscurely seen in the darkness. These figures, with the tent, and all within a certain distance, are illumined by the light which proceeds from the angel himself, and which is managed with the utmost care and judgment. In this work, Piero della Francesca has shown the importance of copying things as they really are, and of taking nature and reality for the models; this he has done excellently well, and has thereby given later artists the opportunity of profiting by his example, and in doing so to arrive at the high position Avhich they have attained in our day. In the same work is a battle, in which fear, animosity, force, dexterity, and other passions and qualities exhibited by the combatants, are expressed with extraordinary truthfulness. The occurrences of the struggle are equally well represented, and fearful scenes of carnage; the wounded, the dying, and the dead, are depicted with great animation. Piero has likewise found means to imitate in this fresco, the erlitterinsr of the arms for which he well merits praise; and no less for
