an exquisite work. The saint, in a rich red mantle, by a praying-desk and chair, both draped in the same color, is receiving from angels the paraphernalia of a bishop. The mantle of the nearest angel is in burnt sienna, and these warm red hues, relieved by cool whites, are repeated throughout. There is a group of six angel heads composed in an ellipse, and, in the air, a Virgin, with that bevy of fluttering angels about that take the place of clouds in landscape. The minor heads, painted chiefly from the same model, are full of sweetness and intelligence.
Arteaga has a noble St. Thomas; José Juarez, a quaint couple of child martyrs, Saints Justo and Pastor, who trudge along hand-in-hand like a pair of burgomaster's children (the scenes of their martyrdom shown in the background), while angels rain down upon them single pinks, roses, and forget-me-nots, carefully painted. A younger Baltazar Echave, and Juan and Nicolas Rodriguez, are of almost equal force.
A second period begins with Ibarra and Cabrera—the latter very much the better—at the end of the same century. They are without the same distinction. Their figures have a bourgeois air. They aim to be pictorial instead of decorative. The crude red and blue garments with which we are monotonously familiar in religious art come in with them; and the draperies, in smooth, large folds, are apparently made up out of their heads.
The foreign gallery boasts many excellent works of the school of Murillo, and an original each of Murillo, Ribera, Carreño, Leonardo da Vinci, Teniers the elder, and Ingres, with also probable Vandycks and Rembrandts.
A collection has also been formed of works of merit, contributed to the regular biennial exhibitions, and purchased by the Academy to illustrate modern Mexican
