Page:A tribute to W. W. Corcoran, of Washington City (IA tributetowwcorco00boul).pdf/77

which her own impending doom is hastened―the burning pyre with Pollio to share her painful death. No. 50. The Village Doctor, by Venneman, 1850. A choice little piece admirably well executed. The nervous patient who is being manipulated for some ill of the flesh, near the region of the eye, is an object rather of merriment than condolence in the regard of the jolly lookers on. It very forcibly illustrates the truth of the saying, "We are not physically hurt ourselves, when laughing at the expense of others." No. 51. Virgin and Child, by Murillo. The tone of this picture is decidedly mellow, whether from age or after the subdued style of the artist, it matters not, but there is a character and a dignity given to the subject, which impresses and grows upon the spectator more than would be produced by the brilliant tints so generally employed. The face of the Madonna, with dark eyes and hair, is of a melancholy type, but its sweetness cannot be denied. Floating as it were in circuambient air are the angels, and although more than half enveloped in cloud, they impart that cherubic influence which the old masters rarely lose sight of in works of this description. No. 52. The Portrait of Napoleon Bonaparte, 1815. This is very valuable, having been painted from life. How much interest clings to the name of the great hero who held nations in his grasp, and upon whose banner victory was writ in never fading characters! No. 58. Sunset, by Emile Breton, 1869. Selected by Mr. W. T. Walters. We behold a landscape whereupon no adverse criticism could rest. Here is nature in her dark green livery, deepened almost into gloom by the strong contract of the lurid sky, and the brilliant orb of day sinking away in crimson splendor. Involuntarily to our minds come these beautiful lines―