A scene from the "Jerusalem Delivered" by Carracci's contemporary, Tasso. Erminia from the beleaguered city of Jerusalem had beheld the Christian knight, Tancred, whom she loved, wounded in conflict. Disguised in the armour of her friend Clorinda, wearing a dark blue cuirass with a white mantle over it, she stole forth at night to tend him. The sentinels espy her and give her chase. But she outstrips them all, and after a three days' flight finds herself amongst a shepherd family, who entertain her kindly. The old shepherd is busily making card-baskets, and listening to the music of his children. Their fear gives place to delight as the strange warrior, having dismounted from her horse and thrown off her helmet and shield, unbinds her tresses and discloses herself a woman-- An old man, on a rising ground, In the fresh shade, his white flocks feeding near, Twig baskets wove; and listen'd to the sound Trill'd by three blooming boys, who sat disporting round. These, at the shining of her silver arms, Were seized at once with wonder and despair; But sweet Erminia sooth'd their vain alarms, Discovering her dove's eyes and golden hair. "Follow," she said, "dear innocents, the care Of heaven, your fanciful employ; For the so formidable arms I bear, No cruel warfare bring, nor harsh annoy To your engaging tasks, to your sweet songs of joy." From Landseer's _Catalogue_, p. 214. This picture has sometimes been ascribed to Domenichino; as the latter was occasionally employed by Annibale to execute his designs, both masters may have had a share in the work. 91. VENUS SLEEPING. _Nicolas Poussin_ (French: 1593-1665). _See_ 39. 93. SILENUS GATHERING GRAPES. _Annibale Carracci_ (Eclectic-Bologna: 1560-1609). _See_ 9. Silenus in a leopard skin, the nurse and preceptor of Bacchus, the wine-god, is being hoisted by two attendant fauns, so that with his own hands he may pick the grapes. This and the companion picture, 94, originally decorated a harpsichord. 94. BACCHUS PLAYING TO SILENUS.[92] _Annibale Carracci_ (Eclectic-Bologna: 1560-1609). _See_ 9. A clever picture of contrasts. The old preceptor is leering and pampered, yet with something of a schoolmaster's gravity, "half inclining to the brute, half conscious of the god." The young pupil--like the shepherd boy in Sidney's _Arcadia_, "piping as though he should never be old"--is "full of simple careless grace, laughing in youth and beauty; he holds the Pan's pipe in both hands, and looks up with timid wonder, with an expression of mingled delight and surprise at the sounds he produces" (Hazlitt: _Criticisms upon Art_, p. 6).