upon me. A knowledge of the difficulties to be overcome in the
material part of painting is undoubtedly an unsuspected element of
much of the pleasure we derive from it; and for this reason, probably,
this tapestry appeared to us better than paintings executed with equal
spirit in oils. We admired it exceedingly, entirely careless what
critics might think of us if they knew it.

Another room was hung with Gobelin tapestry representing the whole of
the tragedy of Medea. First you have Jason cutting down the golden
fleece, while the dragon lies slain, and Medea is looking on in
admiration. In another he pledges his love to Medea. In a third, the
men sprung from the dragon's teeth are seen contending with each
other. In another the unfaithful lover espouses Creusa. In the next
Creusa is seen burning in the poisoned shirt, given her by Medea. In
another Medea is seen in a car drawn by dragons, bearing her two
children by Jason, whom she has stabbed in revenge for his desertion.
Nothing can exceed the ghastly reality of death, as shown in the
stiffened limbs and sharpened features of those dead children. The
whole drawing and grouping is exceedingly spirited and lifelike, and
has great power of impression.

I was charmed also by nine landscapes of Zuccarelli, which adorn the
state drawing room. Zuccarelli was a follower of Claude, and these
pictures far exceed in effect any of Claude's I have yet seen. The
charm of them does not lie merely in the atmospheric tints and
effects, as those of Cuyp, but in the rich and fanciful combination of
objects. In this respect they perform in painting what the first part
of the Castle of Indolence, or Tennyson's Lotus Eaters, do in poetry--
evoke a fairyland. There was something peculiar about their charm for
me.