CUPID AND PSYCHE.

THIS highly finished gem is an intaglio on cornelian, in the possession of Mr. Charles Townly. In regard to its execution, it may justly rank with the first among those that are called miracles of art. It is one of those gems that seem to vie with nature in her production of the more minute parts of creation, such as we examine by the aid of the microscope. Equally excellent in the separate parts as perfect in the whole, we admire the contrivance of the subordinate objects, which, without taking the eye from the principal figures, assist the general expression. Considered as a source of grace and beauty, it has already appeared among the elegant forms of Cipriani and Angelica Kauffman, whose best pictures are designed upon the model of the antique statues, gems, and bas-reliefs. Many are entire copies, with the addition only of colours and scenic decoration. This gem is the work of Pamphilos, who is said to have been a disciple of Praxiteles*.

CUPID BOUND.

THIS stone is a convex jacinth, and in Mr. Tassie's catalogue is said to be in the possession of Mr. Dutens. A beautiful simplicity characterizes this emblem, in which nothing seems forced or extraneous. An indication of emotion with the ancients was considered as sufficient: nor were any of the passions, even the most violent, expressed as in extremes, or obscured by complex allusions. The turn of the head with the face toward the butterfly is particularly beautiful, and points out at once the peculiar sufferings of the Cupid, and the object of his regard.

* Possibly the Praxiteles who lived under Pompey, Cæsar, and Augustus, probably some later artist. PLIN. 1. 33. c. 12.

CUPID EMBRACING PSYCHE,

Is a cameo. It was brought to England by the Marquis Selini, who permitted Mr. Tassie to add a cast of this (with several others) to his collection.

There are many gems on this subject, in which the figures appear standing, and of equal height. We have selected this for its novelty. The action is highly expressive of affection, and the forms are natural and elegant. If the story of Cupid and Psyche has employed the pens of many learned and ingenious writers among the moderns, it has been no less frequently the subject of the pencil and the graver. Raphael has pursued this story, through all its interesting parts, in a series of paintings; and it would be a copious catalogue of paintings of the old masters, which should enumerate all that have been executed in illustration of this subject. But to come home to our own times and country, we must not omit to mention a most beautiful and classical picture, by Sir Joshua Reynolds. He has chosen the point of time when Psyche, holding the lamp, discovers the beauty of her sleeping spouse.

This picture is in the possession of Mr. Rogers*. There is a cabinet, painted with designs on this subject by Smirke, for Mr. Beckford, of Font Hill. The performance does great credit to the artist, and gives us an opportunity of admiring the versatile powers both of his pencil and of his imagination.

* The well-known author of that beautiful poem, "The Pleasures of Memory."

HEAD OF PSYCHE.

To give interest to a head, or single figure, requires often more skill and knowledge of the art than where the subject admits of a greater variety.

This Head of Psyche is taken from a cast in Tassie's collection. It is said to be engraved on cornelian; but in whose possession it is not mentioned.

From the delicacy of the work, as well as the form of the features, we have no doubt of its antiquity. The profile is perfectly Grecian. There are several copies after this head, which shew it to have been in much estimation. It is highly characteristic (both from the expression and action) of softness and sensibility. The thought of placing the butterfly, a symbol of the soul, on the bosom of the female, is impressively beautiful, and the situation considerably assists the composition.

THE VIGNETTE

CONTAINS the following gems, illustrative of the subject of Cupid and Psyche, and expressive of the influence of love upon the soul.

CUPID EMBRACING PSYCHE, (HALF LENGH FIGURES)—is a cameo, an elegant antique fragment, in the Florentine Museum.

CUPID BURNING A BUTTERFLY AT AN ALTAR.-A cornelian in the possession of Mr. Crusius. On many gems Cupid is represented as taking pleasure in the torments he inflicts. This exhibits signs of remorse, by his turning away his head from the object of his torture. It is probable that gems were made

F

and presented on particular occasions, of which were it possible to give the particulars, the interest we take in them, divested of such locality, would be doubled.

CUPID SEATED ON A SHELL, HOLDING A BUTTERFLY. THIS is, or was some years since, the property of Lord Algernon Percy. The attitude and action of this figure is very beautiful; and we can trace its form in the boys of Guercino, Cipriani, and Bartolozzi. Ogle, who published a quarto volume of rude outlines taken from gems, speaking of this figure, supposes it to symbolize the elevation of the soul by the sublime agency of love.

CUPID PURSUING A BUTTERFLY.-The soul endeavouring to fly from the pursuit of intemperate desire, appears to be typified in this elegant design. There are several gems where the butterfly is seen feeding on the rose, which may convey an idea of the purity of that essence which should serve to nourish the immortal spirit.

THE subject of the gem before us is, above all others, calculated to excite our liveliest sympathies-not only when we regard it as an elegant representation of a ceremony most interesting to our strongest affections, but when we reflect that the gem itself was probably an important instrument actually employed in the happy ratification of a contract, which, near two thousand years ago, consigned a beauteous female to the arms of an enraptured lover. Male and female friends of either party, called pronubi and pronubæ, arranged the marriage articles, wrote them carefully on tablets, and sealed them with the annulus signatorius-the seal ring. The seal was sometimes engraven on the metal of the ring, with the peculiar device of the wearer; either his own head, or the countenance of his mistress, or the busto, figure, or symbol of some higher, but not more adored divinity. See Montfaucon, ch. 11. p. 224. Pliny and Plutarch mention an iron ring, sent by the bridegroom to his destined bride, which contained no gem, called pronubum, the origin of which custom is noticed in our Introduction. Thus Juvenal:

Digito pignus fortasse dedisti.

The iron discipline and artificial barbarism of Sparta excluded even from the marriage rite all delicacy, gaiety, and elegance; but through Greece in general, the native region of the Graces, the nuptial ceremony was adorned with every adventitious charm which vivid fancy could devise, or taste arrange, or art unrivalled execute. The animated picture of the Grecian marriage, in chap. 77. vol. 6. of the Travels of Anacharsis, will afford abundant information, and no less delight, to any one who may wish to pur

G