My next objection relates to a somewhat more important point.  I think the face and figure do not seem to belong to the same human being:  the former is shrunken, ghastly, and indicative of extreme constitutional debility:  the latter is plump, well formed, and bespeaks a subject in the enjoyment of full health.  Can such an union, therefore, be quite correct?  In the different views of this figure, especially in profile, or behind, you cannot fail to be struck with the general beauty of the form; but this beauty arises from its fulness and just proportion.  In gazing upon it, in front, you are pained by the view of a countenance shrunk almost to emaciation!  Can this be in nature?  And do not mental affliction and bodily debility generally go together?  The old painters, even as far back as the time of illuminators of books, used to represent the Magdalen as plump, even to fatness,—­and stout in all respects; but her countenance usually partook of this vigour of stamina.  It was full, rosy, and healthful.  The older artists sometimes placed the Magdalen in a very awkward, and perhaps impossible, situation; and she was even made to be buried up to the bosom in earth—­still exercising her devotions.  Canova has doubtless displayed great pathos in the wretched aspect, and humiliated attitude, of his Magdalen; but he has, at the same time, not been inattentive to beauty of form.  I only wish she appeared to be in as good condition as the torso indicates.  A fastidious observer might say the figure was not quite balanced, and that she must fall backward—­if she retained such an attitude for a quarter of an hour.  But this is hyper-criticism.  The date of the execution of this figure is 1796:  and parts of it clearly indicate that, if the sculptor were now to re-execute it, he would have paid even yet more attention to the finishing of the hair.  Upon the whole, however, it is a masterly effort of modern art.

It is almost fixed that we leave Paris within a week or ten days from hence:—­and then, for green fields, yellow corn, running streams, ripened fruit, and all the rural evidences of a matured summer.

[164] It was translated into English, and published in this country on a
    reduced scale, both as to text and engravings—­but a reprint of it,
    with a folio volume of plates, &c. had appeared also in 1802.  At the
    time, few publications had such a run; or received a commendation, not
    more unqualified than it was just.  See an account of this work in the
    Library Companion, p. 442. edit. 1824.

[165] [M.  Denon DIED in 1825, aged 78.  The sale of his Marbles, Bronzes,
    Pictures, Engravings, &c. took place in 1826.]

[166] [It was sold at the sale of M. Denon’s pictures for 650 francs, and
    is numbered 187 in the Catalogue.]

[167] [One of these pictures brought 1,400, and the other 220 francs: 
    prices, infinitely below their real worth.  They should have been sold
    HERE!]