Another example, by Guercino (Cathedral, Cento), is cited by Goethe as an instance of that excellence in the expression of the natural and domestic affections which characterized the painter. Mary kneels before her Son, looking up in his face with unutterable affection; he regards her with a calm, sad look, "as if within his noble soul there still remained the recollection of his sufferings and hers, outliving the pang of death, the descent into the grave, and which the resurrection had not yet dispelled." This, however, is not the sentiment, at once affectionate and joyously triumphant, of the old legend. I was pleased with a little picture in the Lichtenstein Gallery at Vienna, where the risen Saviour, standing before his Mother, points to the page of the book before her, as if he said, "See you not that thus it is written?" (Luke xxiv. 46.) Behind Jesus is St. John the Evangelist bearing the cup and the cross, as the cup of sorrow and the cross of pain, not the mere emblems. There is another example, by one of the Caracci, in the Fitzwilliam Collection at Cambridge. A picture by Albano of this subject, in which Christ comes flying or floating on the air, like an incorporeal being, surrounded by little fluttering cherubim, very much like Cupids, is an example of all that is most false and objectionable in feeling and treatment. (Florence, Pitti Pal.) The popularity of this scene in the Bologna school of art arose, I think, from its being adopted as one of the subjects from the Rosary, the first of "the five Glorious Mysteries;" therefore especially affected by the Dominicans, the great patrons of the Caracci at that time. * * * * * The ASCENSION, though one of the "Glorious Mysteries," was also accounted as the seventh and last of the sorrows of the Virgin, for she was then left alone on earth. All the old legends represent her as present on this occasion, and saying, as she followed with uplifted eyes the soaring figure of Christ, "My Son, remember me when thou comest to thy kingdom! Leave me not long after thee, my Son!" In Giotto's composition in the chapel of the Arena, at Padua, she is by far the most prominent figure. In almost all the late pictures of the Ascension, she is introduced with the other Marys, kneeling on one side, or placed in the centre among the apostles. * * * * *