The preface continues to state, that this new exhibition unites the most esteemed productions of the florentine, venetian, and roman schools. Some from the palace of Pitti, at Florence, and some from Turin. Specimens are presented of the works of artists unknown in Paris, and perhaps in many parts or Europe. Such are the Hunters, by St. Jean de St. Jean; the Virgin, the infant Jesus, and the infant St. John, by _Lorenzo Sabbatini_; and the _Ecce Homo_, of _Cigoli_; to which is added, a valuable picture of various animals, by J. Weeninix, lately bought by the minister of the interior, at the sale of _Paillet_ and _Coclers_, and united to the collection of the _Musée Central_, which, as the catalogue well observes, will become the most magnificent of Europe, if acquisitions are thus made of those productions, which are still wanting to complete it. I shall conclude this account, by mentioning the pictures of the celebrated masters. PAUL VERONESE. No. 44. “Les Nôces de Canna,” or the Marriage in Cana, by Paul Veronese, is a large picture, in which he has introduced all the dresses and extraordinary characters of the age in which he lived. It is one of the four _cenes_, or feasts, and was exhibited in the refectory of the monks of _St. George the great_, at Venice. The artist received for this interesting picture only 90 ducats, or 675 _livres tournois_.—The second _cene_ is called “le Repas,” or the Repast at Simon’s, and was in the refectory of the friars of St. Sebastian, at Venice. It is now in the _Musée_.—The third is the Repast at _Levi’s_, which forms the number 45 in this collection; and the fourth, in which Paul Veronese paints our Saviour at the Pharisee’s, has long been at Versailles, in the _Salon d’Hercule_, having been given to Lewis XIV by the republic of Venice. “Ainsi,” says the catalogue, in the style of french gasconade, “graces au génie de la Victoire, la publique aura bientôt la jouissance de voir ces quatre magnifique compositions réunis dans le Musée Central[53].” No. 45. Is the Repast at Levi’s, mentioned above. 46. Is the Virgin, St. Jerom, and other saints.—One of his best pictures, taken from the convent of St. Zacharia, at Venice. 47. The Martyrdom of St. George, taken from the principal altar of the church of St. George, at Venice, esteemed the finest work which Paul Veronese left in his own country. The _Musée_ has the same work in little.