of prostrate people in the background. Other pieces were disfigured by glaring anachronisms in time and dress. The artist evidently had drawn his inspiration, not from the _Bible_, but from the _Cathedral_. The Apostles in some cases had the faces of monks, and looked as if they had divided their time betwixt Liguori and the wine-flagon. Several Scriptural personages were attired in an ecclesiastical dress, which must have been made by some tailor of the sixteenth century. But there is one picture in that gallery that impressed me more than any other picture I ever saw. It is a painting of the Crucifixion by Guido. The background is a dark thundery mass of cloud, resting angrily above the dimly-seen roofs and towers of Jerusalem. There is "darkness over all the land;" and in the foreground, and relieved by the darkness, stands the cross, with the sufferer. On the left is John, looking up with undying affection. On the right is Mary,--calm, but with eyes full of unutterable sorrow. Mary Magdalene embraces the foot of the cross: her face and upper parts are finely shaded; but her attitude and form are strongly expressive of reverence, affection, and profound grief. There are no details: the piece is simple and great. There are no attempts to produce effect by violent manifestations of grief. Hope is gone, but love remains; and there before you are the parties standing calm and silent, with their great sorrow. It so happened that the exhibition of the works of living artists was open at the time, and I had a good opportunity of comparing the present with the past race of Italian painters. I soon found that the race of Guidos was extinct, and that the pencil of the masters had fallen into the hands of but poor copyists. The present artists of Italy have given over painting saints and Scripture-pieces, and work mostly in portraits and landscapes. They paint, of course, what will sell; and the public taste appears decidedly to have changed. There was a great dearth of good historical, imaginative, and allegorical subjects; too often an attempt was visible to give interest to a piece by an appeal to the baser passions. But the living artists of that country fall below not only their great predecessors, but even the artists of Scotland. This exhibition in Bologna did not by any means equal in excellence or interest the similar exhibition opened every spring in Edinburgh. The statuary displayed only beauty and voluptuousness of form: it wanted the simple energy and the chastened grandeur of expression which characterize the statuary of the ancients, and which have made it the admiration of all ages.