. The Civil engineer and architect's journal, scientific and railway gazette. Architecture; Civil engineering; Science. 1843.] THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. which occupies the medallion, may be noticed, as a violation of pro- bability. A being to cleave the air, should not be selected from the most heavy and awkward of animals. It is undoubtedly intended for d'esprit, and is quite in the spirit of the antique. The ancient frescos are full of such whimsical combinations, but always, as in the present instance, occupying a subordinate place. No. 6 is worthy of an attentive ex
. The Civil engineer and architect's journal, scientific and railway gazette. Architecture; Civil engineering; Science. 1843.] THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. which occupies the medallion, may be noticed, as a violation of pro- bability. A being to cleave the air, should not be selected from the most heavy and awkward of animals. It is undoubtedly intended for d'esprit, and is quite in the spirit of the antique. The ancient frescos are full of such whimsical combinations, but always, as in the present instance, occupying a subordinate place. No. 6 is worthy of an attentive examination ; the lower part is ex- tremely fanciful, and well adapted to its purpose. For his principal object the artist has chosen the Diana of Ephesus, with her attributes, forming, with some arbitrary deco. Fig. rations, a remarkably well balanced composition, of which the recti- linear shapes contrast in the hap- piest manner with the flowing lines above. The Diana constitutes a foreground, behind which rises a slender tree. There is nothing more graceful throughout the whole series than the branches of this tree, and the winged boys who sport among them and enjoy the fruit. (Fig. 7.) Equally graceful are those who gather barley from the Cornucopia, and grapes from the loaded trellis above. No. 7 is one of the most remarkable of the series. In this the artist has ventured, and with the most perfect success, to discard every thing conventional, and to represent a natural tree, balancing its irre- gularities of ramification and foliage by the numerous birds which occupy the branches, where they may be supposed to have been col- lected by the call of the bird-catcher, who is concealed in the under- wood with his bird-call in his mouth. (See Plate I, Fig. 1.) One bird, fettered by a limed twig, is about to fall into his hands. It is impossible to admire too much the skill with which this simple motivo is worked out. The arabesque of the side pilaster is one of the best of t
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