Below this subject, in the centre, is St. Paul preaching at Athens.  One of the figures, listening to the orator with folded arms, might have given the hint to Raphael for one of his figures, in a similar attitude, introduced into the famous cartoon of the same subject.  Before St. Paul, below, a woman is sitting—­looking at him, and having her back turned to the spectator.  The head-dress of this figure, which is white, is not ungraceful.  I made a rude copy of it; but if I had even coloured like * * * I could not have done justice to the neck and back; which exhibited a tone of colour that seemed to unite all the warmth of Titian with all the freshness of Rubens.  In the foreground of this picture, to the right, St. Peter and St. Paul are being led to execution.  There is great vigour of conception and of touch (perhaps bordering somewhat upon caricature) in the countenances of the soldiers.  One of them is shewing his teeth, with a savage grin, whilst he is goading on the Apostles to execution.  The headless trunk of St. Paul, with blood spouting from it, lies to the left; the executioner, having performed his office, is deliberately sheathing his sword.  The colouring throughout may be considered perfect.  We now come to the remaining, or third compartment.  This exhibits the interment of St. Paul.  There is a procession from a church, led on by the Pope, who carries the head of the Apostle upon a napkin.  The same head is also represented as placed between the feet of the corpse, in the foreground.  There is a clever figure, in profile, of a man kneeling in front:  the colouring of the robe of a Bishop, also kneeling, is rich and harmonious.  A man, with a glory round his head, is let down in a basket, as from prison, to witness the funeral.  But let me not forget to notice the head of an old man, in the procession, (coming out of the church-door) and turning towards the left:—­it is admirably well touched.

I shall now give you a notion of the talents of HANS BURGMAIR—­a painter, as well as engraver, of first-rate abilities.  I will begin with what I consider to be the most elaborate specimen of his pencil in this most curious gallery of pictures.  The subject is serious, but miscellaneous:  and of the date of 1501.  It consists of Patriarchs, Evangelists, Martyrs, male and female, and Popes, &c.  The Virgin and Christ are sitting, at top, in distinguished majesty.  The countenances of the whole group are full of nature and expression:  that of the Virgin is doubtless painted after a living subject.  It exhibits the prevailing or favourite mouth of the artist; which happens however to be generally somewhat awry.  The cherub, holding up a white crown, and thrusting his arm as it were towards the spot where it is to be fixed, is prettily conceived.  Upon the whole, this picture contains some very fine heads.