Page:A tribute to W. W. Corcoran, of Washington City (IA tributetowwcorco00boul).pdf/71

the contents of the vase, numbering a hundred or more delicate blossoms, all of one kind, yet varying in the hues of lilac, pink, groseille, and white, comprise the natural portion of the picture. The vase has more than brimful measure, as the flowers running over hide the heads of the saucy little "gods of love,"—a charming place to nestle, say they, where the wild blossoms revel in beauty. Some single colored sprays have fallen on the white drapery, serving to make tis purity the more observed, and one green leaf has found a resting place at the foot of a miniature article of vertu—a little gilded figure, set a few inches distant from the vase. the colors in this picture are truly beautiful, and in a powerful light, anything less than a young and strong eye might be pained by their brilliancy. No. 28. The Coquette. Artist unknown. There is some witchery in this picture, and if the personal attractions of the young lady win us over to admiration, we must still admit that some of the fascination is lost in the thought of the delusive spell that binds the lover. A soft, white, little hand steals aside to deliver a billet-doux to a negress hard by, who understands for whom it is meant. The ebony face wears a broad grin at the treachery of fair woman, and we ourselves are wondering at the credulity of man. No. 39. "The Flagellation of Christ," by Van Dyck. Turn we now to this solemn and painful subject, which will not only call forth profound emotion and sorrow for the indignities and sufferings heaped upon the Saviour of mankind, but being the work of one of the most celebrated masters of the Old World, will make us add to that tenderest of all sympathies a silent tribute to the hand that has long since mingled with the dust. No. 40. Life size Figures at the Well, by Vely, 1873, selected by W. T. Walters. "Le puits qui parle" is