person; he is doubtful about the whole proceedingnot because he has examined for himself, but because the thing has been done without his being consulted.

Reverting now to that side of the composition where our observations began, the eye rests on the athletic figure, who is leading in a ram-another intended offering to the imaginary Jove and Hermes. He is of that class termed by the Romans victimarii, whose office it was to provide victims for the altars. He also wears a garland; as did all who officiated in the sacrifices, in order to recommend themselves to the gods. His stooping attitude is natural, and necessary to secure the animal, and prevent its struggling, which was regarded as an ill omen; besides which, however, the composition required some such inclined object in this situation, to contrast with and give support to the tall upright figures of Paul and Barnabas. The timid glance of respect, which this person directs upward towards the apostle, is-as, doubtless, it was designed to be much more expressive of belief in the reality of a divine presence, than the formal gravity of the flamens.

A charming incident in this work, and one which

greatly contributes to its delightful variety, is presented by the children at the altar. Lamenting the errors, and carried away by the impetuous passions of men, the mind finds agreeable repose in the innocent carelessness of childhood. The foremost of these blameless ministers "of rites unholy,"—he who so gracefully holds the thurarium, or box containing incense for perfuming the smoke of the altar -seems, for an instant, to forget his function, while, with the feeling natural to his age, he admires and compassionates the unconscious victim, which so patiently abides its fate. His companion, a boy of equal but differently characterized beauty, the auletes or flute-player of the occasion, heeds nothing but the soft notes, which, in honour of the immortal visitants (as they are deemed) of his native city, he breathes through his biformed instrument, the favourite musical accompaniment of the Greek and Roman sacrifices.

It

Nor is the altar itself unentitled to notice. shows, at least, with how much patient labour the greatest of artists condescended to finish inanimate objects. Its proportions, as well as the exquisite beauty of the execution, are worthy of his hand.

The entire background of this picture is painted with even more than the usual care, bestowed by Raffaelle on this part of his works. It is not, indeed, strictly Greek-pure Greek architecture was very little known in Raffaelle's time, even in Italy. But it is no less magnificent, and more various and picturesque, than if it had been pedantically and coldly correct. Besides, there can be no doubt, but that in the first century of the Christian era, most cities of Asia Minor contained buildings in the comparatively composite taste in use among the masters of the world.

Notwithstanding every disposition to compress what we desired to say, within the most compendious limits, we have now occupied a disproportionate extent of our pages with the description of this Cartoon, while yet much remains unsaid: but we will not be tempted to proceed. Here, then, we dismiss the intended Sacrifice at Lystra, recommending it to the reader's peculiar attention, as one of the finest in a matchless series of productions

"A labour worthy of eternal youth."