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BRUTUS AND HIS SONS.

(Painted by David.)

THE subject of this picture has in all ages furnished materials for the poet and novelist. The idea of a father condemning his own children to death, for a violation of the laws which he had sworn to execute, belongs to the highest order of tragic conception. The citizens of Rome had expelled the Tarquins, and chosen Brutus the first magistrate of the republic, and, as might be expected, the banished rulers sought, by every means in their power, to regain their former authority. The law enacted the severest penalties against those who should in any way hold correspondence with the fallen dynasty; despite which, the sons of Brutus conspired to effect their return to power; but the plot being discovered, they were brought to trial, and sentenced to death, their father presiding at the fatal tribunal.

David has delineated Brutus at the moment after the execution, when, returning to his home, the rigour of the consul gives way to emotions of paternal regard alone, seated at the foot of the statue of Rome, Brutus holds in his hand the written evidence of the guilt of his sons. The bodies of his sons are at this moment consigned to the family sepulchre, and the noise of the mournful ceremony enters the open chambers of his soul. At the sight of the mangled fragments, his wife rises from her seat, one of the daughters fixes her eyes upon the dreadful spectacle, and the other swoons away in her mother's arms. Behind this group, a servant covers her face with a veil.

It was only in the power of a great painter to treat such a subject in a manner worthy of its importance, and the aspect of Brutus wears the expression of a sorrow too deep for words. His figure, insulated and placed in the shade, produces the grandest effect. The group of women offers beauties of another kind; the design is pure and elegant; and the disposal of the three figures, presents a whole, which young artists would do well to study. The execution of this celebrated work corresponds with the grandeur and energy of the subject. Napoleon, who valued it highly, ordered it to be placed in the Tuileries on his elevation to the consulship, where it now remains.

THE DEATH OF PHOCION.

(Painted by Odevaere.)

WHAT a lesson, unless the heart of man has become changed, does this work of art give, to all generations, of the ingratitude of the populace! Phocion had done the state much service; he was a bold and skilful general, and hitherto had enjoyed the confidence of his countrymen. But a daring attack had been made upon Athens, of which he was the governor; the city was starved; and Phocion, with his friends, was condemned to pay with his life the penalty imposed by the Athenians upon defeat. At the moment of dissolution, the old Greek temper, which wreathed the skeleton with flowers, breaks forth. The executioner refused to fill the often-emptied bowl without being paid for it, on which Phocion turned to a bystander, and requested to be furnished with the coin, observing, "In Athens men are not even permitted to die without paying for it."

The design of the picture is well conceived, the details are ably executed, and exhibit much talent on the part of the artist, who was a pupil of David.