in a modern painting of ’Christ riding into Jerusalem;’ it was amongst a group of Jews, and next to a likeness of Voltaire.  I believe the painter intended to contrast the countenances of the Christian and infidel poets, and thus pay a handsome compliment to the former; but the taste that placed the ancients and moderns together, remind me of a fine old painting of the Flemish school; a ‘David with Goliah’s head,’ in the fore-ground of which were a number of fat Dutchmen, dressed in blue coats and leather breeches, with pipes in their mouths.”—­“Raphael,” says a little French work on painting, in my possession, speaking of unity of time, “A peche contre cette regle, dans son tableau d’Heliodore, ou il fait intervenir le Pape Jules 2 dans le Temple de Jerusalem porte sur les epaules, des Gonfalonniers.”  The same work notices a breach of the unity of design in Paul Veronese, “qui dans la partie droite d’un de ses tableaux, a represente Jesus Christ benissant l’eau, dont il va etre baptise par St. Jean Baptiste; et dans la partie gauche notre Seigneur tente par le diable.”—­Upon the celebrated “Transfiguration” of Raphael, I heard an artist remark, “undoubtedly it is the first picture in the world, yet the painter has erred in these respects:—­the upper portion of the picture is occupied by the subject, but the lower and fore-ground by the Healing of the Demoniac.  Now that event did not happen until after the transfiguration, and we infringe upon our Saviour’s ubiquity by supposing it to occur (contrary to the sacred story) at the same time. He may, indeed, as God be omnipresent, but as man, the New Testament no where asserts that the Incarnate Presence was in different places at the same moment.”  Instances of erroneous judgment are frequent in those who illustrate holy writ.  Some have attempted to embody Him, “whom no man hath seen at any time.”  Some have filled their skies with beings as little aerial as possible, or apotheoses of the Virgin and sundry saints.  Angels, as some represent them, even in whole lengths, are by anatomists regarded as monsters; but what then are the chubby winged heads without bodies, with which some artists etherealize their works.  Some err by mingling on the same canvass the sacred and profane; scripture characters and the non-descripts of heathen mythology.  Nor is poetry free from the latter error, as is exemplified in the major and minor epics, &c., of many Christian poets.  The drawings of the monks, splendid in colouring and beautiful in finish, are mostly ludicrous in design, from glaring anachronisms, erroneous perspective, &c.  I saw a print in Montfaucon, where fish were gamboling like porpusses on the surface of the sea, and one or two were visible through the paddles of a boat.  In the same volume was a print of the apotheosis of St. Louis, from an illumination.  The holy prince was represented dying in the fore-ground, but over head were a couple of angels flying away with his soul, (under the figure of a wretched infant, skinny and naked, save the glory that covered his head,) in a kind of sheet, or rather sack.