The talents of this great painter, seem to have been obscured by a cruel and revengeful disposition, partaking of the character of his works. He was one of the triumvirate of painters, who assassinated, persecuted, or drove every talented foreign painter from Naples, that they might monopolize the business. He was also a reckless libertine, and, according to Dominici, having seduced a beautiful girl, he was seized with such remorse for his many crimes, as to become insupportable to himself; and to escape the general odium which was heaped upon him, he fled from Naples on board a ship, and was never heard of more. This story however is doubtless colored, for, according to Palomino and several other writers, Ribera died at Naples in 1656. See page 132 of this volume. SINGULAR PICTORIAL ILLUSIONS. Over a certain fountain in Rome, there was a cornice so skilfully painted, that the birds were deceived, and trying to alight on it, frequently fell into the water beneath. Annibale Caracci painted some ornaments on a ceiling of the Farnese palace, which the Duke of Sessa, Spanish ambassador to the Pope, took for sculptures, and would not believe they were painted on a flat ground, until he had touched them with a lance. Agostino Caracci painted a horse, which deceived the living animal--a triumph so celebrated in Apelles. Juan Sanchez Cotan, painted at Granada a "Crucifixion," on the cross of which Palomino says birds often attempted to perch, and which at first sight the keen-eyed Cean Bermudez mistook for a piece of sculpture. The reputation of this painter stood so high, that Vincenzio Carducci traveled from Madrid to Granada on purpose to see him; and he is said to have recognized him among the white-robed fraternity of which he was a member, by observing in the expression of his countenance, a certain affinity to the spirit of his works. It is related of Murillo's picture of St. Anthony of Padua, that the birds, wandering up and down the aisles of the cathedral at Seville, have often attempted to perch upon a vase of white lilies painted on a table in the picture, and to peck at the flowers. The preeminent modern Zeuxis, however, was Pierre Mignard, whose portrait of the Marquise de Gouvernet was accosted by that lady's pet parrot, with an affectionate "_Baise moi, ma maitresse!_" RAFFAELLE'S SKILL IN PORTRAITS. Raffaelle was transcendant not only in history, but in portrait. His portraits have deceived even persons most intimately acquainted with the originals. Lanzi says he painted a picture of Leo X. so full of life, that the Cardinal Datary approached it with a bull and pen and ink, for the Pope's signature. A similar story is related of Titian. JACOPO DA PONTE.