The hands of Vandyke’s portrait have the purity and coldness of marble. The colour of the face is such as might be breathed upon it by the refreshing breeze; that of the Marchioness of Guasto’s is like the glow it might imbibe from a golden sunset. The expression in the English lady springs from her duties and her affections; that of the Italian Countess inclines more to her ease and pleasures. The Marchioness of Guasto was one of three sisters, to whom, it is said, the inhabitants of Pisa proposed to pay divine honours, in the manner that beauty was worshipped by the fabulous enthusiasts of old. Her husband seems to have participated in the common infatuation, from the fanciful homage that is paid to her in this allegorical composition; and if she was at all intoxicated by the incense offered to her vanity, the painter must be allowed to have ‘qualified’ the expression of it ‘very craftily.’ I pass on to another female face and figure, that of the Virgin, in the beautiful picture of the _Presentation in the Temple_, by Guido. The expression here is _ideal_, and has a reference to visionary objects and feelings. It is marked by an abstraction from outward impressions, a downcast look, an elevated brow, an absorption of purpose, a stillness and resignation, that become the person and the scene in which she is engaged. The colour is pale or gone; so that purified from every grossness, dead to worldly passions, she almost seems like a statue kneeling. With knees bent, and hands uplifted, her motionless figure appears supported by a soul within, all whose thoughts, from the low ground of humility, tend heavenward. We find none of the triumphant buoyancy of health and spirit as in the _Titian’s Mistress_, nor the luxurious softness of the portrait of the Marchioness of Guasto, nor the flexible, tremulous sensibility, nor the anxious attention to passing circumstances, nor the familiar look of the lady by Vandyke; on the contrary, there is a complete unity and concentration of expression, the whole is wrought up and moulded into one intense feeling, but that feeling fixed on objects remote, refined, and etherial as the form of the fair supplicant. A still greater contrast to this internal, or as it were, _introverted_ expression, is to be found in the group of female heads by the same artist, Guido, in his picture of the _Flight of Paris and Helen_. They are the three last heads on the left-hand side of the picture. They are thrown into every variety of attitude, as if to take the heart by surprise at every avenue. A tender warmth is suffused over their faces; their head-dresses are airy and fanciful, their complexion sparkling and glossy; their features seem to catch pleasure from every surrounding object, and to reflect it back again. Vanity, beauty, gaiety glance from their conscious looks and wreathed smiles, like the changing colours from the ring-dove’s neck. To sharpen the effect and point the