he painted steadily on, finished his picture,
sent it out by his servant, and received a small rouleau in return. This
he broke open in the presence of his visitors, and throwing ten gold
doubloons on the table, said, "Learn of me how gold is to be made; I do
it by painting, you by serving his majesty--diligence in business is the
only true alchemy." The officers departed somewhat crest-fallen, neither
relishing the jest, nor likely to reap any benefit from it.

RIBERA'S SUBJECTS.

His subjects are generally austere, representing anchorets, prophets,
apostles, &c., and frequently of the most revolting character, such as
sanguinary executions, martyrdoms, horrid punishments, and lingering
torments, which he represented with a startling fidelity that
intimidates and shocks the beholder. His paintings are very numerous,
and his drawings and etchings are highly esteemed by connoisseurs.

RIBERA'S DISPOSITION.

The talents of this great painter, seem to have been obscured by a cruel
and revengeful disposition, partaking of the character of his works. He
was one of the triumvirate of painters, who assassinated, persecuted, or
drove every talented foreign painter from Naples, that they might
monopolize the business. He was also a reckless libertine, and,
according to Dominici, having seduced a beautiful girl, he was seized
with such remorse for his many crimes, as to become insupportable to
himself; and to escape the general odium which was heaped upon him, he
fled from Naples on board a ship, and was never heard of more. This
story however is doubtless colored, for, according to Palomino and
several other writers, Ribera died at Naples in 1656. See page 132 of
this volume.

SINGULAR PICTORIAL ILLUSIONS.

Over a certain fountain in Rome, there was a cornice so skilfully
painted, that the birds were deceived, and trying to alight on it,
frequently fell into the water beneath. Annibale Caracci painted some
ornaments on a ceiling of the Farnese palace, which the Duke of Sessa,
Spanish ambassador to the Pope, took for sculptures, and would not
believe they were painted on a flat ground, until he had touched them
with a lance. Agostino Caracci painted a horse, which deceived the
living animal--a triumph so celebrated in Apelles. Juan Sanchez Cotan,
painted at Granada a "Crucifixion," on the cross of which Palomino says
birds often attempted to perch, and which at first sight the keen-eyed
Cean Bermudez mistook for a p