Thus rose and fell Masaniello, the avenger of public oppressions and the saviour of his country. Though the people had suffered his body to be thus ignominiously and barbarously treated, a sense of their obligations to him soon excited their sorrow and repentance. The day succeeding his death, July the 17th, they convened a general assembly, and resolved, that Masaniello deserved the greatest honours, as head and captain-general of Naples." Accordingly, his corpse, preceded by five hundred priests and religious persons, followed by forty thousand men in arms, and as many women with beads in their hands, was carried through the public streets. As they passed the palace, the viceroy sent eight pages with torches to accompany the corpse, and ordered the Spaniards, then upon guard, to lower their ensigns and salute it as it passed. He was buried in the cathedral church, amidst the tolling of all the bells in Naples, while the women bedewed his grave with their tears. Thus, in the short period of three days, this illustrious and strenuous asserter of human liberty was honoured like a monarch, murdered like a ferocious beast, and lamented as a saint. Such is the versatility of popular favour! J. M. T.

THE BATTLE OF GRANICUS.

(Painted by Le Brun.)

Alexander the Great, after having paid great honours to the memory of Achilles, and caused games to be celebrated around his tomb, departed for Ilion and joined his army, encamped at Arisba, crossed Percote, the river Praxie, Hermote, Colone, and arrived, in order of battle, upon the banks of the Granicus.

The Persian cavalry, arranged on the opposite side, formed a considerable line, to occupy the passage in its widest part.

Parmenion, and many other captains, advised Alexander to encamp upon this spot, that his troops might rest themselves; and to pass the river early on the following morning, since the enemy would be then less able to oppose them. They represented to him that the river was deep, and the shores rocky-that the enterprise was dangerous-and that, if he failed of success, every thing was at stake. These arguments made no impression on the mind of Alexander. He replied, that he should be overpowered with shame if, after having crossed the Hellespont, he should stop before a rivulet; so contemptuously he spoke of the Granicus.

Alexander then mounted his horse, and ordered his principal officers to follow him. He commanded the right wing, and Parmenion the left. He had previously caused a large detachment to push across the river, when he ordered the left wing to advance. At the head of the right he immediately plunged into the stream, and was followed by the rest of the troops, trumpets sounding, and with the acclamation of the whole army. After having stemmed the rapidity of the river, and overcome every obstacle that awaited him

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on the opposite shore, he repulsed the enemy, became master of the field, and, animating his soldiers by his presence, gained one of the most glorious victories which this conqueror has left to the remembrance of posterity.

The picture of the pass of the Granicus is painted upon canvass-it is sixteen feet high, by thirty wide. It was ordered by Louis XIV. to decorate the Gallery of Apollo, at the Louvre. The action is represented with great spirit, the movements are noble and animated, the drawing in a grand style, and the groups artistically distributed. The disorder of a battle is well expressed, but without confusion. Alexander preserves, in the hour of danger, the calmness of a hero accustomed to victory.

This fine painting, in which the costume is well preserved, a perfection rarely observed in the time of Le Brun, would be beyond criticism, if the figures were less round, and if the touch had all the firmness which might be expected from so energetic a painter.

ST. GENEVIEVE DES ARDENS.
(Painted by Doyen.)

This picture, which has been for a considerable length of time held in very high estimation, as being one of the most exquisite of the modern school; has been restored to its former condition, and brought back to the church of St. Roch, of which, in times past, it was held to be one of the most important ornamental decorations, and adorned it as the altar-piece of a chapel therein, dedicated to St. Genevieve des Ardens."

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St. Genevieve, the patroness of Paris, was called upon in supplication by the parties residing in that city, at the time an infectious distemper was prevalent, distinguished by the name of the feu sacré, with which its inhabitants were afflicted, during the reign of Louis VI. in the year 1120.

The painter has laid the scene before the door of an hospital; a female, whose apparel pronounces her of distinguished birth, upon her knees, seems to put her infant under the protection of the saint, of whom the contagion is on the point of depriving her. On the right hand, and behind the group of women that support her, a diseased person, whom her attendants would restrain, employs her remaining strength to effect her escape;-and extending her arms towards heaven, endeavours to unite in public prayer. Above the clouds, St. Genevieve is perceived soliciting the blessing of heaven, surrounded by angels, bearing their proper attributes.

The fore-ground of the picture presents another scene of grief. A youth, in the prime of his age, expires in the arms of an old man; beside him are extended several victims who have fallen under this calamity.

This work, the composition of which is as energetic as the subject is interesting, has been executed in a proportion larger than nature; it is regarded as the chef-d'œuvre of Doyen.

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