Salvator at first received her proposition as a joke; but perpetually teased by her reiterated importunities, and provoked by her pertinacity, he at last exclaimed, "Well, Madonna, I have resolved to comply with your desire; but with this agreement, that, not to distract my mind during my work, I desire you will not move from your seat until I have finished the picture." Madonna, willing to submit to any penalty in order to obtain an honor which was to immortalize her charms, joyfully agreed to the proposition; and Salvator, sending for an easel and painting materials, drew her as she sat before him, to the life. The portrait was dashed off with the usual rapidity and spirit of the master, and was a chef d'oeuvre. But when at last the vain and impatient hostess was permitted to look upon it, she perceived that to a strong and inveterate likeness the painter had added a long beard; and that she figured on the canvas as an ancient male pilgrim--a character admirably suited to her furrowed face, weather-beaten complexion, strong lineaments, and grey hairs. Her mortified vanity vented itself in the most violent abuse of the ungallant painter, in rich Tuscan Billingsgate. Salvator, probably less annoyed by her animosity than disgusted by her preference, called upon some of her guests to judge between them. The artists saw only the merits of the picture, the laughers looked only to the joke. The value affixed to the exquisite portrait soon reconciled the vanity of the original through her interest. After the death of Madonna Anna, her portrait was sold by her heirs at an enormous price, and is said to be still in existence.--_Lady Morgan._ SALVATOR ROSA'S RETURN TO ROME. At the time of Salvator Rosa's return to Rome says Pascoli, he figured away as the _great painter_, opening his house to all his friends, who came from all parts to visit him, and among others, Antonio Abbati, who had resided for many years in Germany. This old acquaintance of the poor Salvatoriello of the Chiesa della Morte at Viterbo, was not a little amazed to find his patient and humble auditor of former times one of the most distinguished geniuses and hospitable Amphitryons of the day. Pascoli gives a curious picture of the prevailing pedantry of the times, by describing a discourse of Antonio Abbati's at Salvator's dinner-table, on the superior merits of the ancient painters over the moderns, in which he "bestowed all the tediousness" of his erudition on the company. Salvator answered him in his own style, and having overturned all his arguments in favor of antiquity with more learning than they had been supported, ended with an impromptu epigram, in his usual way, which brought the laugher's on his side. SALVATOR ROSA'S LOVE OF MAGNIFICENCE.