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tures of this Venetian nobleman's life. The whole series has been elaborately drawn up by the Duke de la Valliere, the celebrated bookcollector, who dwells on the detail with the curiosity of an amateur*.
In a rich frontispiece, a Christ is expiring on the cross; Religion, leaning on a column, contemplates the Divinity, and Hope is not distant from her. The genealogical tree of the house of Magius, with an allegorical representation of Venice, its nobility, power, and riches: the arms of Magius, in which is inserted a view of the holy sepulchre of Jerusalem, of which he was made a knight; his portrait, with a Latin inscription : “ I have passed through arms and the enemy,
amidst fire and water, and the Lord conducted me to a safe asylum, in the year of
The portrait of his son, aged seven years, finished with the greatest beauty, and supposed to have come from the hand of Paul Veronese ; it bears this inscription : “ Overcome by violence and artifice, almost dead before his birth, his mother was at length delivered of him, full of life, with all the loveliness of infancy; under the divine protection, his birth was happy, and his life with greater happiness shall be closed with good fortune."
* The duke's description is not be found, as might be expected, in his own valued catalogue, but was a contribution to Gaignat's II. 16. where it occupies fourteen pages. This singular work sold at Gaignat's sale for 902 livres, It was then the golden age of literary curiosity, when the rarest things were not ruinous ; and that price was even then considered extrordinary though the work was an unique. It must consist of about 180 subjects, by Italian artists.
A plan of the isle of Cyprus, where MAGIUS commanded, and his first misfortune happened, his slavery by the Turks—The painter has expressed this by an emblem of a tree shaken by the winds and scathed by the lightning ; but from the trunk issues a beautiful green branch shining in a brilliant sun, with this device“ From this fallen trunk springs a branch full of vigour."
The missions of Magius to raise troops in the province of la Puglia-In one of these Magius is seen returning to Venice; his final departure,a thunderbolt is viewed falling on his vesselhis passage by Corfu and Zante, and his arrival at Candia.
His travels to Egypt— The centre figure repre
sents this province raising its right hand extended towards a palm-tree, and the left leaning on a pyramid, inscribed “ Celebrated throughout the world for her wonders." The smaller pictures are the entrance of Magius into the port of Alexandria ; Rosetta, with a caravan of Turks and different nations; the city of Grand Cairo, exterior and interior, with views of other places; and finally, his return to Venice.
His journey to Rome—the centre figure an armed Pallas seated on trophies, the Tyber beneath her feet, a globe in her hands, inscribed Quod rerum victric ac domina" Because she is the Conqueress and Mistress of the World.” The ten small pictures are views of the cities in the Pope's dominion. His first audience at the conclave, forms a pleasing and fine composition.
His travels into Syria—the principal figure is a female emblematical of that fine country ; she is seated in the midst of a gay orchard, and embraces a bundle of roses, inscribed Mundi deliciæ--" The delight of the universe.” The small compartments are views of towns and ports, and the spot where Magius collected his fleet.
His pilgrimage to Jerusalam, where he was made a knight of the holy sepulchre—the principal figure represents Devotion, inscribed Ducit. 66 It is she who conducts me.” The compartments exhibit a variety of objects, with a correctness of drawing, which are described as belonging to the class, and partaking of the charms, of the pencil of Claude Lorraine. His vessel is first viewed in the roadsted at Venice beat "by a storm; arrives at Zante to refresh; enters the port of Simiso; there having landed, he and his companions are proceeding to the town on asses, for Christians were not permitted to travel in Turkey on horses-In the church at Jerusalem the bishop, in his pontificial habit; receives him as a knight of the holy sepulchre, arraying him in the armour of Godfrey of Bouillon, and placing his sword in the hands of Magius. His arrival at Bethlem, to see the cradle of the Lord--and his return by Jaffa with his companions, in the dress of pilgrims; the groups are finely contrasted with the Turks mingling amongst them.
The taking of the city of Famagusta, and his slavery—The middle figure, with a dog at its feet, represents Fidelity, the character of Magius who ever preferred it to his life or his freedom, inscribed Captivat—" She has reduced me to slavery.” Six smaller pictures exhibit the different points of the island of Cyprus, where the Turks effected their descents. Magius retreating to Famagusta, which he long defended, and where his cousin, a skilful engineer, was killed. The Turks compelled to raise the siege, but return with greater forces—the sacking of the town and the palace, where Magius was taken.-One picture exhibits him brought before a bashaw, who has him stripped, to judge of his strength and fix his price, when after examination he is sent among other slaves.-He is seen bound and tied up among his companions in misfortune again he is forced to labour, and carries a cask of water on his shoulders.-In another picture, his master, finding him weak of body, conducts him to a slave merchant to sell him. In another we see him leading an ass loaded with packages; his new master, finding him loitering on his way, showers his blows on him, while a soldier is seen purloining one of the packages from the ass. Another exhibits Magius sinking with fatigue on