The breast of the mild and benevolent Saviour, striped with the bruises of recent punishment, and his heavenly countenance, benignly looking forgiveness upon his executioners, are beautifully delineated. L'Annonciation, by Gentileschi, in which the divine look of the angel, the graceful plumage of his wings, and the drapery of the virgin, are incomparable. La Sagesse chassant les Vices, which is a very ancient and curious painting, by Andrea Mantegna, in which the figure of Idleness, without arms, is wonderfully conceived. Les Noces de Cana, by Paul Veronese, which is considered to be the best of his works. It is the largest painting I ever beheld. The figures which are seated at the banquet, are chiefly the portraits of contemporary royal personages of different nations. From this room we passed into the gallery of the Louvre. I cannot adequately describe the first impressions which were awakened, upon my first entering it, and contemplating such a galaxy of art and genius. This room is one thousand two hundred feet long, and is lined with the finest paintings of the french, flemish, and italian schools, and is divided by a curious double painting upon slate, placed upon a pedestal in the middle of the room, which represents the front and back view of the same figures. The first division of this hall contains the finest works of le Brun, many of which are upon an immense scale. L'Hyver ou le Deluge, by Poussin, is truly sublime, but is unfortunately placed in a bad light. There are also some beautiful marine paintings, by Verney. Les Religieuses, by Philipe de Champagne, is justly celebrated for the principal figure of the dying nun. Vue de Chevet d'une eglise, by Emanuel de Witte, is an exquisite little cabinet picture, in which the effect of a ray of light shining through a painted window, upon a column, is inimitable, and the perspective is very fine. There are here also some of the finest works of Wouvermans, and a charming picture by Teniers. La Vierge, l'enfant Jesus, la Madeleine, et St. Jerome, by Antoine Allegri Correge, is considered to be a picture of great beauty and value. There are also some glorious paintings by Reubens. I have thus briefly selected these pictures from the rest, hoping, at the same time, that it will not be inferred that those which I have not named, of which it would be impossible to offer a description without filling a bulky volume, are inferior to the works which I have presumed to mention. The recording pen must rival that matchless pencil, which has thus adorned the walls of the Museum, before it can do justice to such a magnificent collection. This exhibition is public three days in the week, and at other times is open to students and to strangers, upon their producing their passports. On public days, all descriptions of persons are here to be seen. The contemplation of such a mixture is not altogether uninteresting.