BLUNDERS OF PAINTERS.
Tintoret, an Italian painter, in a picture of the Children of Israel gathering manna, has taken the precaution to arm them with the modern invention of guns. Cigoli painted the aged Simeon at the circumcision of the infant Saviour; and as aged men in these days wear spectacles, the artist has shown his sagacity by placing them on Simeon’s nose. In a picture by Verrio of Christ healing the sick, the lookers-on are represented as standing with periwigs on their heads. To match, or rather to exceed, this ludicrous representation, Durer has painted the expulsion of Adam and Eve from the Garden of Eden by an angel in a dress fashionably trimmed with flounces. The same painter, in his scene of Peter denying Christ, represents a Roman soldier very comfortably smoking a pipe of tobacco. A Dutch painter, in a picture of the Wise Men worshipping the Holy Child, has drawn one of them in a large white surplice, and in boots and spurs, and he is in the act of presenting to the child a model of a Dutch man-of-war. In a Dutch picture of Abraham offering up his son, instead of the patriarch’s “stretching forth his hand and taking the knife,” as the Scriptures inform us, he is represented as using a more effectual and modern instrument: he is holding to Isaac’s head a blunderbuss. Berlin represents in a picture the Virgin and Child listening to a violin; and in another picture he has drawn King David playing the harp at the marriage of Christ with St. Catherine. A French artist has drawn, with true French taste, the Lord’s Supper, with the table ornamented with tumblers filled with cigar-lighters; and, as if to crown the list of these absurd and ludicrous anachronisms, the garden of Eden has been drawn with Adam and Eve in all their primeval simplicity and virtue, while near them, in full costume, is seen a hunter with a gun, shooting ducks.