m-house at Venice; he enters the
house of his father; the old man hastens to meet him, and embraces him.

One page is filled by a single picture, which represents the senate of
Venice, with the Doge on his throne; Magius presents an account of his
different employments, and holds in his hand a scroll, on which is
written, _Quod commisisti perfeci; quod restat agendum, pare fide
complectar_--"I have done what you committed to my care; and I will
perform with the same fidelity what remains to be done." He is received
by the senate with the most distinguished honours, and is not only
justified, but praised and honoured.

The most magnificent of these paintings is the one attributed to Paul
Veronese. It is described by the Duke de la Valliere as almost
unparalleled for its richness, its elegance, and its brilliancy. It is
inscribed _Pater meus et fratres mei dereliquerunt me; Dominus autem
assumpsit me!_--"My father and my brothers abandoned me; but the Lord
took me under his protection." This is an allusion to the accusation
raised against him in the open senate when the Turks took the Isle of
Cyprus, and his family wanted either the confidence or the courage to
defend Magius. In the front of this large picture, Magius leading his
son by the hand, conducts him to be reconciled with his brothers and
sisters-in-law, who are on the opposite side; his hand holds this
scroll, _Vos cogitastis de me malum; sed Deus convertit illud in
bonum_--"You thought ill of me; but the Lord has turned it to good." In
this he alludes to the satisfaction he had given the senate, and to the
honours they had decreed him. Another scene is introduced, where Magius
appears in a magnificent hall at a table in the midst of all his family,
with whom a general reconciliation has taken place: on his left hand
are gardens opening with an enchanting effect, and magnificently
ornamented, with the villa of his father, on which flowers and wreaths
seem dropping on the roof, as if from heaven. In the perspective, the
landscape probably represents the rural neighbourhood of Magius's early
days.

Such are the most interesting incidents which I have selected from the
copious description of the Duke de la Valliere. The idea of this
production is new: an autobiography in a series of remarkable scenes,
painted under the eye of the describer of them, in which, too, he has
preserved all the fulness of his feelings and his minutest
recollections; but the novelty bec