We have said much to the credit of many pious, zealous, charitable, and good personages of the several orders, and will conclude with an anecdote creditable to Art; and the more willingly, as it brings us gently down to our own times--for we believe anecdotes of similar generosity may be told of many living men of the profession. Annibal Caracci, suffering from illness and disappointment, and tempted by the promise of two thousand crowns, accepted an order from a certain Don Diego Herrera, to paint a picture in honour of a saint, in a church. He was, however, so ill that he could not perform the task. His pupil Albano nursed him, comforted him, cheered him; and between his attendances on his sick master, ran backward and forward to the church, and painted the frescoes with the greatest care--as they were to pass for the work of the master. Annibal every now and then rose from his bed and retouched and in part finished the painting. Don Diego refused the payment, as the work was not all by Annibal's hand. But the work being greatly admired, he consented to pay the two thousand crowns. And here a generous contest arose between the master and pupil; and this we give in the words of Mrs Jameson:-- "Annibal insisted on giving twelve hundred crowns to Albano, and keeping only four hundred for himself, which he said overpaid him for the little he had executed, and a few sorry drawings, (_miseri disegni_) not worth the money. Albano, not to be outdone in generosity, absolutely refused to take anything; saying, that he was only his master's creature and disciple, working under his orders, and profiting by his instructions. At length they agreed to submit to the arbitration of Herrera, who decided that the sixteen hundred crowns (four hundred had been paid,) should be divided between them. Even then it was with the greatest difficulty that Annibal could be persuaded to receive his share; and when he did, it was with a certain air of timidity and bashfulness--_mostrando in certo modo temersene e vergognarsene_." In taking leave of Mrs Jameson's volume, the third of her series, we do so with the hope that she will speedily fulfil her promise and bring out the fourth part, relating to the Madonna, as connected with art. The whole series we strongly recommend to the connoisseur at home as to the traveller abroad; for as the best pictures in the world are of subjects treated of by her, it is most desirable to have such a key to them as she has given, and promises further to give. The woodcuts and etchings are excellent, and maintain her reputation for judgment shown in the selection, and her skill as an artist. LAVENGRO.[23]