in the line which appears to be his forte, by quoting his description of the painting above referred to:—­“On entering the temple, my attention was attracted by a picture representing the story of Europa, in which sea and land were blended—­the Phoenician Sea and the coasts of Sidon.  On the land was seen a band of maidens in a meadow, while in the sea a bull was swimming, who bore on his shoulders a beautiful virgin, and was making his way in the direction of Crete.  The meadow was decked with a profusion of bright flowers, to which a grateful shelter was afforded by the dense overhanging foliage of the shrubs and clumps of trees, which were interspersed at intervals throughout its extent; while so skilfully had the artist represented the appearance of light and shade, that the rays of the sun were seen to pass here and there through the interstices of the leaves, and cast a softened radiance on the ground underneath.  A spring was seen bubbling up in the midst, and refreshing the flowers and plants with its cool waters; while a labourer with a spade was at work opening a fresh channel for the stream.  At the extremity of the meadow, where it bordered on the sea, the maidens stood grouped together, in attitudes expressive of mingled joy and terror; their brows were bound with chaplets, and their hair floated in loose locks over their shoulders; but their features were pale, and their cheeks contracted, and they gazed with lips apart and opened eyes on the sea, as if on the point of uttering a cry half-suppressed by fear.  They were standing on tiptoe on the very verge of the shore, with their tunics girt up to the knee, and extending their arms towards the bull, as if meditating to rush into the sea in pursuit of him, and yet shrinking from the contact of the waves.  The sea was represented of a reddish tint inshore, but further out the colour changed to deep azure; while in another part the waves were seen running in with a swell upon the rocks, and breaking against them into clouds of foam and white spray.  In the midst of the sea the bull was depicted, breasting the lofty billows which surged against his sides, with the damsel seated on his back, not astride, but with both her feet disposed on his right side, while with her left hand she grasped his horn, by which she guided his motions as a charioteer guides a horse by the rein.  She was arrayed in a white tunic, which did not extend much below her waist, and an under-garment of purple, reaching to her feet; but the outline of her form, and the swell of her bosom, were distinctly defined through her garments.  Her right hand rested on the back of the bull, with the left she retained her hold of his horn, while with both she grasped her veil, which was blown out by the wind, and expanded in an arch over her head and shoulders, so that the bull might be compared to a ship, of which the damsel’s veil was the sail.  Around them dolphins were sporting in the water, and winged loves fluttering in the air, so admirably depicted, that the spectator might fancy he saw them in motion.  One Cupid guided the bull, while others hovered round bearing bows and quivers, and brandishing nuptial torches, regarding Jupiter with arch and sidelong glances, as if conscious that it was by their influence that the god had assumed the form of an animal.”