with slow and hesitating steps, approaches the bed of her new lover; but still with the countenance of a mother, or rather of a sacred vestal. In the profile of her face you may read shame mingled with gentle resignation to the will of her lord. She has the softness of her sex, the majesty of a queen, an awful submission to the sacred ceremony, and all the sageness required in so extraordinary and delicate a situation. Dressed with a masterly skill, the artist, from the colour of her cloaths, may learn how to paint the purple of the ancients; for it is not generally known that it resembled fadeing, ruddy, vine-leaves[54]. Behind her stands the King, dressed in a darker habit, in order to give the more relief to the Queen, to spare confusion to her, shame to the Prince, and not to interrupt his joy. Expectation and acquiescence are blended in his face, which is taken from the profile of his best coins. The Prince, a beautiful half-naked youth, sitting in his bed, has some resemblance of his father; his pale face bears witness of the fever, that lately had raged in his veins; but fancy sees returning health, not shame, in that soft-rising ruddiness diffused over his cheeks. The physician and priest Erasistratus, venerable like the Calchas of Homer, standing before the bed, is the only speaker, authorised by the King, whose will he declares to the Prince; and whilst, with one hand, he leads the Queen to the embraces of her lover, with the other he presents him with the diadem. Joy and astonishment flash from the Prince’s face on the approach of his Queen ——_darting all the soul in missive love_: though nobly restrained by reverence, he bends his head, and seems to comprise his happiness in a single thought. The characters indeed are distributed with so much ingenuity, that they seem to give a lustre and energy to each other. The largest share of light is displayed on Stratonice: she claims our first regard. The priest, though in a weaker light, is raised by his gesture: he is the speaker, and around him reign solemn stillness and attention. The Prince, the second person, has a larger share of light; and though the artist, led by his skill, chose rather to make a beautiful Queen the chief support of his groupe than a sick Prince, He nevertheless maintains his due rank, and becomes the most eminent person of the whole, by his expression. His face contains the greatest secrets of the art, _Quales nequeo monstrare & sentio tantum._ Juvenal. Sat. VII. Even those motions of the soul, which otherwise seem opposite to each other, mingle here with peaceful harmony; a timid red spreading over his sickly face, announces health, like the faint glimmerings of the morn, which, though veiled by night, announce the day, and even a bright one. The genius and taste of the artist shines forth in every part of his work: even the vases are copied from the best antique ones; the table before the bed, is, like Homer’s, of ivory.