Mr. Montenero then pointed out some exquisite pieces by this artist, and spoke with enthusiasm of his genius. I perceived some emotion, of which I could not guess the cause, in the countenance of his daughter; she seemed touched by what her father said about this painter or his pictures. Mr. Montenero concluded his panegyric on Cano’s genius by saying, “Besides being a great genius, we are told that he was very religious, and, some few peculiarities excepted, very charitable.” “You are very charitable, I am sure,” said Miss Montenero, looking at her father, and smiling: “I am not sure that I could speak so charitably of that man.” A sigh quickly followed her smile, and I now recollected having heard or read that this painter bore such an antipathy to the Jews, that he considered every touch of theirs as contamination; and, if he accidentally came in contact with them, would cast off and give away his clothes, forbidding the servant to whom he gave them, on any account to wear them. Miss Montenero saw that I recollected to what she alluded--that I had a just feeling of the benevolent magnanimity of her father’s character. This raised me, I perceived, in the daughter’s opinion. Though scarcely a word passed at the moment, yet I fancied that we felt immediately better acquainted. I ventured to go and stand beside her, from doing which I had hitherto been prevented by I know not what insurmountable difficulty or strange spell. We were both opposite to a Spanish copy of Guido’s Aurora Surgens. I observed that the flame of the torch borne by the winged boy, representing Lucifer, points westward, in a direction contrary to that in which the manes of the horses, the drapery of Apollo, and that of the dancing Hours, are blown, which seemed to me to be a mistake. Berenice said that Guido had taken this picture from Ovid’s description, and that he had, with great art, represented, by the very circumstance to which I objected, the swiftness of the motion with which the chariot was driven forward. The current of the morning wind blowing from the east was represented by the direction of the hair of Lucifer, and of the flame of his torch; while the rapidity of the motion of the chariot was such, that, notwithstanding the eastern wind, which would otherwise have blown them towards the west, the manes of the horses, and the drapery of the figures, were driven backwards, by the resistance of the air against which they were hurried. She then repeated, in a pleasing but timid manner, in support of her opinion, these two beautiful lines of Addison’s translation: “With winged speed outstrips the eastern wind, And leaves the breezes of the morn behind.” I need not say that I was delighted with this criticism, and with the modest manner in which it was spoken: but I could not honestly help remarking that, to the description immediately alluded to in Ovid, Addison had added the second beautiful line, “And leaves the breezes of the morn behind.”