The New York Herald Newspaper, September 25, 1871, Page 8

~ ART IN 11S UNVERSALISY, The American Exposition in the Institute Fair, New York. The International Exhibjtion in London. AR Tis Refiing Influences, Industyial Stimulns and World-Wide Lessons, nary WHAT OUR ARTISTS ARE DOING. RATIONAL INDUSTRIAL EXHIBITION. Amortean Art, the Institute Fair. Vf the Intelngent feteigner ona visit to our city ‘were to base his jucwment of the state of art in America from whayts to be seen in the American Anstitute Pair he weuld return to its own country with very ‘alse 20tions On an important subject. Ncan seareety ve pretended cat any branch of Awerican industry is fully representedan the depart- mentsof the Institute; but m no instance rs the Tepresentatior $6 poor as iu the domain of art, We ‘Go nei underake to assign any cause Jor the appa- rent want of iaterest in the tmportant matter of art adeplayed by the managers of the fair; for we as- enme that tke fault hes in great part with them, Were proper gallery accommodation provided for THE BSMABITION OF PAINTING AND SCULPTURE ‘we haye BO doubt that the artists would he de- Mghied so exhibit their works for the amasement and instrection of the pubic, But with the space “&l present devoted to fine art it 1s notto be expected Abat anything approaching to an exhibition of Weaiummg or of sculpture would be attempted. No joubt the promoters of the Lustitute look upon the ve arts as beiwg more ornamental than useful, and Mave designed the Fair more asa purely industrial *how than an es osition of the mantfold forms of na- Wonal skiil, But, it may be safely asked, are not panting and sculptare of as much national Im- portance as children’s toys and matters of that kind Which Occupy not a litte space in the Fair? We are of opinion that, even from a mercantile point of view, they are of much more importance, and we fre Just as badly 1p need of the development of NATIVE SKILL fn these higher branches of industry as we can be ip the merely mechanical pursuits, Itis Impossibie to Wacder through the spacious Huildng where the exhibidion is held and not be strack with how much it represents the American ebaracter, If the examples of high art be absent we al least fad some compensation in the presence of what is useful. Whatever can contribute to aid man mm his rude struggle with Nature here is found m extraordinary development, Great machines are & motion, and we listen to THE MUSIO OF THE WHEELS as they sing their ceaseless whirring song, and we tan almost imagine we recognize the burden pro- claiming the (riamph ef inventive genius over the opposing forces of tuerua with which Natare would bar the path to progress. Mighty pumps are busy Uhrowing out countiess gallons of water at a rate fquai to the flow ofa small river. Wonderful saws are culting the dalutiest shapes im wood with the delicacy and accuracy that alaay mignt display making fancy saapes in paper; or some PONDEROUS-JAWED INVENTION, ike one of those monsters of ancient fable, crushes the hara quartz with a grating noise and with as much ease as though the lumps of rock had been peas, Seemingly endless inventions have been pat. ented for hemming, sewing apd stitching, and, In fuct, every one of the gentler and daily useful arts O1 life seem to have received aia from the INVENTIVE GENIUS OF THE NATION. Whatever cunld contribute to the ease of life or the Increase of material wealth nas engaged the at- tention of an emiventiy practical penpio, to the exciu- ion Of mereiy wsthetic pursuits, Hitherto our young nation has not had the leisure necessary to the development of deep art feeling. But the love of the beautiful finds expression slowly and cer- tainly as the accumulated gains of ages of rude in- dustry leave time and opportunity to the fortunate 0 cultivate whatever there may of esthetic in their @ature, Indications of progress in the less preten. Uous but useful branches of ART WORKMANSHIP are not wanting. Iniaid furniture, mirrors and arnanenis exhibit some taste and skill, bat are far trom being in a satisfactory state. These industcies are #0 Closely allied to pure art that it 1s almost im- Possible that they should reach, unaided, their aighest development, 1tis, therefore, not astonish- 4bg that a certain crudeness is visible in most of ‘@hese works, and that a want of tone is especialiy Seay where colors are used, a disposition 10 he lavish use of gold ornament displaying some of Mhe tendencies of barbaric art, The want of appre- wiation of the right use of color is evidenced in the ‘arrangement of the exhibition itself, which, viewed from we art galiery, presents A SCENE OF GAUDY MAGNIFICENCE, Entering we art galiery from the large hall we ‘Grd ourselves confrontea by a number of photo- graphs which remind us strongly of the shop fronts ef some popular artist of portraiture, There seems o be no special reason why this collection of very or+ Ginary photographs should occupy #0 much space in an art gallery, anless advertisement may bave some- thing to do With if. Some absolutely WORTHLESS PAINTINGS constitute a Most unworthy representation of Ameri- can skill in this branch of tudustry. Not one of tne well known painters has contributed, and,findeed, we would not be going too far 10 say that not one Amer- dean “painier” has exbivited. Things are % litue better In the sculpture department, to which rs, the statuette sculptor, aud Miss Vinme Ream have contributed some of their works. The coilection of ROGERS’ WORKS t® almost complete, and, though there is visible a deal of Inequality both in the conception and execution of his groups, the general impression is exceedingly favorabie. As touching and graphic illustrations Of the uational life at the most critical oo of our history, the little groups which Mr. Rogers lias executed possess peculiar interest. He has told the tale of war with wonderful fidelity and torce, and his little men apd women are strongly and typically American, Considerable dramatic power has also been displayed in the composition of the groups, cnd this, added to the truthfulness of detail, gives to these works a charm which WINS OUR ADMIRATION at sight, What lends still greater importance to these realistic compositions 1s their freshness. They eee purely Dative art, aud can lay claim to more Org~maiity of design than most modern work, Afr. Rogert oe, also overcome one of the great difMi- culties of modern sculpture im lis treatment of modern costs He has shown that it ts possible to make men loo. ‘not ungracesul in the somewhat Scant garments of OU» day, and has given some- thing of DIGNITY TO THE RagGEDNE! ‘of some of hls subjects, We colireas, however, that we don't much adinire the introduction of rags, by far too realistic, into sculpture. Murllloa “Beggar Boy" 1s saved from offensiveness by the wonderful arrangements of color, which clothes the subject in a certain tiystery. But when rags are mtroduced Juco sculpture lt inust be at the cost of broken and jagged lines. For then there is nothing to soften the intense realism, and there 1s a total absence of THE POBTRY OF DIRT which is mixed up in our minds with the notion of vaggedness, There can be no question as to the high va'ue of sach works as “Taking the Oath,” “The Returned Volunteer,” “One More 3 Maul a ee iy | the Union Vote, latter k and “THe Returned Volunteer would of themselves be suMeieut to stamp Mr. Rogers as an artist of coustaerable power and unusual fertility of fuvenuion, Not alone has he succeeded In ead Great dramatic expression into the persouages of the groups, bat he has displayed ability to arrange of no mean order, O1 his arger work, "Lhe Augel’s Whisper, we cannot speak so biguly, AS Well as we couid see it, in the absy - position im which i | 1,1 appoars*to us waullog im force + IM fact, {tis altogether & POOR CONCEPTION. Artisis who have gaiued fame in miniature work dom einerge successiuily from the path im t ‘raed. ‘The qualiications for miniature Work difer so materially im those required in i@rge Compositions that the artist ad customed to small work finds himself at sea and onanie to preserve due proportion in the iarger scare, Vinnie Ream has placed on view her “Miriam,” “Ap Ideal Bust of America” and the bust of the Lincoim statue, with two smaller idealized portrait busts. hese works are in marble, aud are n direct contrast to the miniature groups of Mr. Rogers. ag the Work of @ Jady they are specially WORTHY OF ATTENT as showing bow wide a field there is open to fc male enterprise, even tp the present subjected state oc the sex. A few rellevos complete the Bne art sources and the number of her popul: | marbie, NEW YORK RBERALD, MONDAY, SEPTEMBER 25, 1871.—TRIPLE SHEET. LITERATU ton,and com- pare them with the poor resutt m @e fine art de- ent of a Nationai Exhibition, we cannot —~ j ‘hat the natiun is unwisely neglectful of al Jeast one bianoh of THE HIGHRST INDUSTRY. Fs ‘There is abroad a mistaken notion tat art has no usefulness beyond ministering to the pleasure of the rich, and that, therefore, it 18 not necessary to cuitivate 1%. | Buta little reflection on ‘the manifold imfuences which art exerts in numerous and tm. portant brauches of mechanical industry will serve to aisoel this idea, Without art skill @ nation 1s certain to be beaten in productions even of the necessaries Of life by more highly cultivated peoples. If we were fully cognigant of the immense sums of money which America pays yearly te the aifferent countries Where art skill is encouraged and culti- vated for ubjects of luxury, we would promptly recognize tné necessity of developing among us & higher art education, INTERNATIONAL EXHIBITION AT LONDON, LONDON, Sept. 6, 1871, Some twenty years have elapsed since the first International Exhivition awakened the people of Europe te the importance of becoming more gen- erally aequainted with each other’s thoughts aud skill, as manifested in wiumphs of mechanical ap- pliance, or in the crystallized beauties of thought in works of high art, Thus international exhibi- tions became to people of refined taste the highest achievement of modern progress, In them the tan- gible EXPRESSION OF THE BEAUTIFUL and sublime tm tie aspirations of all nations found aresting place, a home, where the arts, like the graces of old, vied with each other for that real golden apple—popular admiration. They lifted the thoughts of the art world from the slough of contentment with mere local fame, and bade the artists and the workmen to struggle for worid-wide renown. But better than this, they riv- eted ihe attention of the student of the beautiful on the higher attributes of art as seen In their rare per- fection isolated in great and differently moulded minds, Until the international exhibitions brought them together the brain workers had been almost strangers to each other, though kinared in them- selves, The bringing together and comparing of the works and thoughts of the great minds of the age Was fraught with the best results, not alone to the artist, but to the people. And there grew a notice. able development of love for the beautiful in the minds of the great mass who have an ART LOVE WITHOUT KNOWLEDGB, @n appreciation of conceptions of beauty, without the power of critical discrimination. When the exhibition of twenty years ago was over, and its Walls had fallen, and the fairy-like structure had, “hke some insubstantial vision, faded and left not a wreck behind,” there was danger that it would in Ume disappear from the public remembrance aud only remain as an interesting memory in the minds of the art community. As there are feelings which cannot be expressed in words, so there are SUBTLE SECRETS in art, which can only be learned by sight and sympathy. They come to us and dwell within us as love does, but whence derived we know not. ‘This trath had been overlooked, and what hada been gained by one exhibition was well nigh lost before the next was projected, for they came to us like the visits of angels, few and far between. Once more a palace of industrial art rises among ‘us like a fairy home; but now as a permaneat insti- tution, and henceforth every year the gifted of the earth shall assembie by the muddy waters of the ‘Thames to stimulate progress and encourage art, Whether the present exhibition hes fulfitied ail the higher requirements of such an undertaking is open to doubt, and from a variety of causes it is perhaps more just to regard it as @ promise of something better in the years to come, than as an accomplished fact catling for judgment, Until encouraged by a few years of “WHITE-WINGED PBACE’? and encouraged by the fostering hand of public support the experiment of international ex- hibitions cannot produce all the good which it 43 possible te derive from them, We may reasona- bly hope for better things when again the selected art of the world shail speak to us from the wails, Preaching the noble lesson of human progress and bidding us ceaselessly march on higher aud higher, Piercing the mists and uncertainties that surround ‘his lower itfe, until we reach unto perfect trath. What nobler purpose cau man propose tw Uluuselst But thougn the present exhibition falis short of our perfect ideal, it still possesses epough of what is good and excellent to entitle it and its promoters to the warmest applause. Comprebending all nation- alities bere all race 1s lost, and in place of narrow, arbitrary distinctions of clime and country we look upon humanity. Here, in @ sense, we bebold bat ove people— THE CHILDREN OF INDUSTRY. We feel one paramount principle, the brotherhood of mankind, All the nations are biended into one great entity, in which differences of race and clime are merged, as colors blended in a painting, in one general tone, and produce @ universal harmony. Whatever can interest or instruct here finds a place, The eye may wander from the stuffed Lapiander to the triumphs of the sculptor’s art, from the painted toy to the breathing picture that arrests you with a magic power, and bids you worship before the shrine of art until fatigued with an infiniude o1 beauties, Whatever could amuse or instruct, all that could adorn or ennoble, has found a resting piace in this WILDERNESS OF WONDERS. Where a statue could not be placed flewers are made to biossom; where painting would have been lost mechanism throbs with its mighty torce, and where the hacen f senses, overpowered by the sight of endless wonders, flag and droop, the visitor is wooed by the cool wind to the open balconies, There, amid flowery perfumes and SAGE, NODDING TREES, we may watch the sportive fountains play, flinging up their spray, white as the fieecy clouds scudding over the blue vault of heaven, or rising like streams of liquid gold in the bright sunlight. Wearying of Arcadia, We anay stray away to listen to the inspired Strains of Meyerbeer or Beethoven, rendered by the most accompilshed artists. Whatever way we turo some new wonders awake surprise, tll, Worn out with fatigue, one sinks down and {s in danger of be- coming a critic. Even the prosaic, work-a day World must be moved by some of ihe feelings of through the picture ts very admirable and ¢ part is but a complement of an earnestly connect whole, Great mastery ia shown over color, though sometimes it is a litte crnde and blotchy. The heads, however, have been carelully painted aud are very fine, Marshal Prim, by the same artist, a man of iron Whi, reigning up @ powerful, restive war borse, is @ Magniscent example of grand portrait painting. Prim is turned slightly in the saddle and looks sternly out from the picture, while the restive horse, chafing under restralat, prances. An avalanche of mave 1s thrown, tu PICTURESQUE GRANDEUR, over the proudly arched neck of the charger, and we can almost see the dust rise from the hoof-strokes ‘on the ground, It is impossible to convey vy words the force of thts grand composition. Prim’s face 13 splendidly painted, with the sweat of anxiety upon the weary and pallid brow. A xed purpose dwells about the lips, and from the eyes look courage and stern strength, The painting of the head 1s a noble example of chiavo oscuro treatment, On a few feet of canvas the artist has written THE LIFE OF HIS SUBJRCT. He is equally happy in his accessories, In the background we behold the armed people—peasanta, soldiers and students—marching en masse to liberty under the leadership of the strong, bold man, Who 13 the great feature of the scene. Quitting for a moment the galleries of paint- ing we shall pause before this colossal figure thas, with band outstretched, seems to command our at- tention, It isa woman—the daughter of a strange land, child of @ god, for no earthly woman has so much majesty and force. “The Daughter of Sion’ Js @ noble conception, with POWER IN BVERY LINE and passion in every iD, Seated, she leans silghtly forward and rests her chin 1n the nollow of her leit hand, while the right ts thrust energetically torward, Her brow 1s contracted, aud large, expres- sive eyes seem fixed m intense thought, and her tick, protruding lips seem to move with suppressed passion. The wi composition breathes bitter, ‘unrelenting rate, and the face is lighted up with a mobue expression of the thoughts that are buramg ‘within, re 18 a momMeNnbor AGONIZED I ISION, and an instant may decid@ that face whether to weep orto slay. She 13 no’ @ Judith—she is too grand—nor the daugiter of any man; but she is the daughter of a representative of an op- pressed nation, ‘Tfe outstretched arm gives great Strength to the composition, and in a happy manner reveals the eres, pleading assertion of her rights. Without showing tuteantional breadth the drapery is broadly and successfully treated; here and there 1t ts touched judiciously and with thorough knowl- edge of etfect. ll is greatly to be regretted that the generous rivalship which agitate tne actual com- batants whose works mutely contest for THE PALM OF VICTORY. We can even fancy some of the mammon worship- pers looking oh regreiiclly and longing to be able to struggle In an arena where neither gold nor interest cau purchase importance. Looked at Irom the dry- est commercial point of view these exlubitions are @ benefit to the community. The inventor and the artist whose genius turns the vast wilderness of brick aud mortar into a palace of wonders may be neglected, but the hope of ban ons} @ place amid the great aciievements of the world will be the best encouragement to the brain workers who toil for fame. Over the future of international exhivitions and the influence for good which they are destined to exert we might grow eloquent, but that prophecy is not considered legitimate nuwadays; vesides tue present furnishes us with a theme sufficiently ab- sorblng without adventuring unto THE SHADOWY FUTURE. Before us to-day the huge structure looms up, & source Of wealth, & liberalizer of the mind, aa index to civilization, assembling and contrasting the achievements of ten thousand lives. It stands a warning against self-pride, a leveller of national prejudices, teaching us to respect, if not love, our neighbors, eare puzzied where 10 give expression to our admiration. While it 1s permitted to us to tak generaiities we may run on in rhapsodies of praise or censure, saying Much, but explaining jittle, Hilinj the horizon with confused light and shadow, an leaving to the imagination and taste of the individ- ual mind to shape out its own iove, Where there is. so much to invite admiration It 18 dimcult to deter- mine with whom to rest first, and waom to visit next, To imspect by number and not by incHuation, moving {from object to ob- ject, Were as tedious a8 uninteresting, and we prefer to wander round these galleries, without guide Or catalogue, stopping oat where excellence arrests, Fora moment we shall halt in our prome- nade, and look upon “An execution in @ Moorisit palace.” Fallen at the tawny executioner’s feet some unhappily offending Moor lies decapitated. The head, with the ashy hue of death stealing over the yet warm face, has rolled down the palace steps, the bloody beard smearing and splashing the white A pool of viood, with THE GLOW AND HEAT OF COLOR Jn it, has dribuled down from beneath the trunk, Whose further horrors are artistically concealed by making the arm of the Sialn fal) so as to hide tne heck and its severea artert The abandonment in death, the shrinking away of the life that was lately tuere, are strangely manifest in the prosirate Ligure just stricken, aod looking as if death had come ere life had quite departed, And the transi- tion from life to What is yet scarcely death 13 derfully realized. Im a kind of vague grandeur, Which contrasts powerfully with the fallen wretch, rises the figure of the brawny siave, WIVING HIS SWORD in his short robe. jHe looks down with lis eyes ouly, regarding his work with the satisfaction of in- diference, but Without any expression of miaitve or pity. We have the character of this unrefecting lool of @ tyrapt renceres to perfection; the ara wing of the figure is very large and correct, in pose natural, with (he drapery well painted and artisticany hung. The background assorts well with the tnter+ est of the drama, or rather scene, for there is no colieelion. When we consider (ie position occupied aw ie Wyld by Bangeige We Sala Wt ere story told, nor do we seem to Want one. Between the two men the interest is well kept, and no ac. Can oraye OE BUOWEG 19 WUCTTERS PAE ating al fesh modeiling is wanting in finish, and too little attention bas been paid tothe SELECTION OF FORM. Traces of common nature meet the eye constantly, In the execution of this peporiens part of his work the artist falls far below the general conception, Which 1s grand and powerful. In Watts’ (the celevrated young painter) glorions bust, “The Dying Clytie,” we find embodied all that 4s required to make a truly great work. it embodies the lines from Moore's beautiful song— As the sunflower turns to hex god when he sets ‘The same look which she turned when be ross. lt places Watts on a footing with Myron, and, Were Lhe figure enare and as grand to completion, it would place him on an equality with the greatest sculptors of the past. Clytie’s purely classic head 18 vurned jorcibly away over her shoulder, which is drawn up and forwards in that natural action which gives such advantage to the sculptor for pro- ducmng THE EFFECT OF SOFTNESS, by dimpling the breasts, but strains the neck away from its more feminme character, But the action ives a power of passion to the love-longing watch- Ing of her god to the last which 1s absolutely terri. ic. Italso, besides gre the story, gives the one opporsanity to the artis, for anatomical dis- p ay, beautifully utilized, Without ever josing entirely the fleshy indistinctness of the female form, and yet snowing the muscles almost from their origin to their insertion, by that dimMcult process of ‘losing and finding,” the arust has revealed the two. attachments of the mastoides to the clavicle, skilfully avoiding the thinness of disease on the one hand and the coarseness and vigor of masculinity on the other. The breasts are splendidly modelled, revealing THE WEALTH OF WOMANHOOD, combined with refmed and classic treatment. Nor nas he been less successful in the handing of the meaner appendages of the story, and displays considerable originality m the {innovated leaves, whose peculiarity of design help the beauty ofthe work. Mr. Watts has lilted ideil bast modeliing out of the pit of conventionalism and dis- eased sentiment, een it_@ vehicle for the finer passions of the soul. In presence of Clytie tne Maudiin languor of passioniess perfect work be- comes distastetut, Our minds are strongly moved in presence of Mr, Watts’ conception and our affec- tuons are attraeted to a fellowship of anxiety, so fonenany 1s the story rendered and so grandiy has er sorrow been breathed into this marble poem— for @ poem living and breathing 1t 1s, STUDIO NOBES. Most of our landscape artists are away in the mountains or-by the coo! lakes in close communion with mother Mature, and no doubt they will come book otrengthened IM DOdy and ecuriched in mind from thetr summer excursions. So far very few have ‘been able to make up their minds to return to the dull monotony of the town and settle down to close work, in addition to the natural tndisposition to quit the charming haunts which none know go well asthe artist how to findout. Besides, nature be- gins to change her garment, and the brilliant colors of the summer graduaily give place to the ricner and mellower tints of autumn. lt is the moment when the landscape painter who delights in the sofier glories of the flelds and forests issues forth in search of foliage golden brown and woods full of warm shadow. Every hour the artistic attractions tn- crease, so that we may not hope to see our most in- dustrious workers among us until the leaves begin to tall, and the cold winds give notice of winter's cruel approach. Bieratadt 1s away in California, where he has been making sketches during the summer. He 1s not ex- pected to return before October, when it 18 antici pated he will come laden wita spoils trom the Pacific slope. Van Elten has flown across the water, and Is away in Holland, that chosen land of sea painters, He ig making sketches on the Dutch coast, but will re- turn In November. E. L. Henry is away in France in search of roman- tic old structures and quaint landscapes. As his genius leads him to prefer ruins as the subject of his paintings, France will just now furnish nim with an unlimited supply. Cassilear is wandering in the White Mountains, and is so well pleased with their beauties that he will not return before November. 8. R. Gidord is 1a Hudson directing the erection of @ large studio in that place, where he means to settle down. He bas been away in the Rocky Mountains, and has brought back many interesting studies. Warrington Witherldge also has selected the Rocky Mountains as his bunting ground, and is now in full chase after the sublime. R. Hubbard ts away by tue cool shores of Lake George. William Hayes, the animal painter, has also taken up his quarters in this delighvfal region. It is to be regretted that Mr. Hayes did not go to the Rocky Mountains and bring back a few grizzlies—on canvas. Aaron Shattuck 1s sketching in the nejghborhooa of Farmingdale. Conn. E, W. Perry has invadea New Hampshire and in- tends bringing all its beauties to New York. Church 1s at Hudson, M. Wilson is at Lake George portrait painting, as the ladies like best to be put on canvas when under the influence of the strengthening country alr. WwW. ard has returned from Miiford, Pa., and resumed work, He is at present engaged on a picture of @ number of bears in a patch of water- melons. | The formidable looking creatures seem to be enjoying their feast hugely, This work 1s bein executed for Dr. F. N. Olls, This artist's wel mnowe work, “The Flaw in the Title,” is being en- graved, Willlam De Haas has also returned to labor. Dur- ing the summer he was busily engaged making sketches on the coasts of Maine and New Hamp- shire, and returns with quite @ wealth of studies from nature in pencil and in oll, Some of the sketches trom Mount Desert and the Isle of Shoals are charming seaside studies, This artist displays praiseworthy industry, and 13 already utilizing his sketches, Several coast pictures aré laid in, and one, “The Lighthouse on White Island,” 18 jh an advanced state, and promises to be a pretty “‘sea- scape.’’ It represents the sea after a storm. Mr. F. li. De Haas has not been ont of town, but has devoted the summer to pushing forward two important works. One, an immense canvas, rep- resents a sunset on the coast of New England. The arust calls it “A Praise Meeting on the Coast of New Engiand."’ Upon a bold rock to the right In the middle (istance a group of people are assembled. The rock and the group are fliuminated by the mel- low red light of the setting sun, which tinges the clouds with gold and deep crimson hues. His other work Is a scene at Granville, on the coast of France, A nobie ship, aismantied, 18 driven ashore, and, as she lies heiplessiy a prey to the waves, the dazzliog spray breaks over her bows in silver showers, The artist is still ab work on both these pictures, J. B, Irving las just finisued a littie gene picture, a study of infantile life, It is pleasing incolor, A portrait of a lady in white by this artist/is quietly treated; (he flesh treatment 18 soft and natural, J.J, Guy is engaged in close conscientious work on @ pretty Cabinet picture which he calls “A Knot Jn the Skeip.” It is alamplight effect. The princi. pal Ogure, @ young lady dressed in red, forms the centre ani motive of the composition. ‘Tne artist is endeavoring to paint the scene so as to preserve the locai colors as well a8 the and yet produce harinony of tone, Not @ lituie success has already attended his efforts, His picture is far re- Bovey from Wy ordinary Vulgar, Wisky Glgyig yf the artificial i ti The tone Of this paint. Ing is very rich, De ning™ The fone oF this Pal Foreign Art Notes. Little Injury has been done during the civil war to the museums and art treasures in Yaris, The Gaiérie @tapollon suffered the principal damage. Nearly all the art galleries in Paris remain closed, Only a few of the French schoo! being open. ‘The celebrated French Salon Carré has not yet been opened to the public. The art gems of the Louvre collection had been removed for safety before the civil war to Brest. fad the French government announced this tact the lovers of art through the world would have been spared much anxiety. Among the irreparable losses we have to regret through the civil war 1s the magnificent library of the Louvre, Its treasures had been removed to a Place of safety before the siege; but on the conciu- sion of the armistice orders were given to the cura- tor to restore them. Unfortunately the order was too promptly obeyed, and they perished iu the de- struction of the Tuileries, Juvenal des Ursin’s beautiful missal, purchased for 60,000 francs by M. Ferman Didot and presented to the city, was destroyed in the buruing of the Hotel de Ville, The porcelain manufactory at Sevres received but slight damage during the siege, Last year the subscriptions to the Art Union of Great Britain reached the large amount of £10,171, A cast of Novle’s statue of the Lord Protector, Oliver Cromwell, has been temporarily placed in & plot cf garden ground opposiie Palace Yard. It 1s said the bronze statue will be erected in Manchester, Cadart and Luce, of Paris, huve published two very mteresting sets of etchings, lustrating the effects of the stege and civil strife in the French capital. The authors of these works are already well known to fame, and brought to their work an almost uorie Vallod skIU, Great Iaeaer aera these ecohings, which are treated wi atristic power, au in the strictest sense, historical art, “Baris Theendir, by A, P. Martial, 1g Tull of dramatio power; while the “Souvenirs Artistiques du Siége de Paris” are re- markable for the keen observation of what was passing around, and though wanting in the dra- matic effects of Martial’s more tragic sketches, are full of curious observations, trutniully and artistic. ally rendered, MUSICAL REVIEW. Ditson & Co., New York and Boston, publish the following:— “Polka de la Reine.” Ratt, This 1s a very hana- some republication of tits well known work, which has been for years one of the gems of the concert hall, Alfred Pease and other pianists iu this city have played it frequently in public, and it has al- ‘ways becn received with the most marked favor. “Ob, Sing to Me the Auid Scotch Songs” Ballad. J. F. Leeson. A very pleasing melody, and charac- teristic of the music it is supposed to represent, “First Impromptu,” Max Schrattennoltz. Bril- ant and effective, with a vein of Chopin running through it “IL Penseroso.” Stephen Heller. An exquisite little gem, in wich the theme ts played by tne left hand, ana 1s {ramed in beautiful passages of arpeg- gio of a peculiar character. . “There isa Green Hill far Away.’? Sacred song, Gounod. The melody is of a broad, serious char- acter, and with the exception of some intrusive a@rpeggii in @ part of the accompaniment which mar the subject, the music ts of the highest standard we Would expect from such’ @ composer. The words partake of the nature of @ nursery rhyme. “If Doughty Deeas.” Song. A. S. Sullivan. Thisis one of Mr. Santley’s favorite selections. It 18 a fine, vigorous theme, something of the martial order. “My Sweetheart when a Boy.” Song. Wilford Sor- gan. A very charming melody, fresh and full of vigor. “May Song.” Duet. Abt. One of this gifted song Writer's best melodi ea “Ship Boy's Letter.” Ballad. Virginia Gabriel, A rather pretty contrairo seng. “Tne Day is Cold, and’ Dark ‘and Dreary.”” John Blockeley. So 1s the music of the song. “Ah! DoT Love Thee?” Song. A. Blumenstengel. A melody possessing much tenderness and expres- sion, che modulations and changes of key being par- ticularly artistic ip their handing, “The King ana 1’ Song. Henriette. This 1s an- other of Mr. Santey’s pidees de résistance. Its ‘well Bdspted tv 4 Atte, sonvrous Daritone voice, “Morning in the Woods.” Caprice. Ketterer. Briluant, and possessing to an eminent degree the characteristic dash of the composer. ‘‘Saltarelle.” by the same composer, is ‘a very interesting speci- men of the quaint old dance of the same name. William A. Pond & Co, publish the following: — “Rippling Rivulet,"’ plece de sation, J. Ernest Per- Ting, is One Of those light, airy works with a charm- ing theme and evidences of @ master hand in every measure of it, Itis sure to become a favorite in concerts, “Break o’ Day Galop,” for four hands, by the Duet, same com: r, has brilliant, fresh themes, and evinces skill in the arrangement of them, Henr' publishes a work by Litolff, Fourth avenue, Henry Schroeder, director of the American Conser- vatory of Music. Iti called “Think of Me,” and as a morceau éégant is admirably adapted for the use ot pupils. It is not dificult nor ambitious, but has @ quiet grace and finish of its own, William Hall & Son publish * of Beings Shoes,’? a song and chorus, by Theodore M. Brown. It has'a smooth, fouwing melody of the popular order, ‘rremolo.”? Gotischalk. If the composer were living he would certainly curtail this work one-half, at least, a3 the conslant repetitions of the same theme in “Tremolo” make it very monotonous, It is good, however, as an exercise of the wrist, and by judicious pruning 1¢ even recommends itself to the concert hall. Ernest Reinking, Fourth avenue, has the foliow- lug pubiications of Leuckart; Bresla “Invitation & la Polka” an ‘Mazurka Im- promptu,”’ Hans von Bilow. Two more character. istic specimens of the “music of the future,” in which eccentricity 18 considered preferable to orthodoxy, could scarcely be found, The composer seems to delight in puzzling the player and the listener, dart- ing off every moment into the queerest kind of episodes and watdering at will outside the bounds of legitimate music, There 1s remarkable power and originality, however, in every page, despite the eccentric noulons that arrest the attention of the earer. “Wilkommen,” “Tyroler Heimaths-Klinge,”? “Unter grinen Linden,” ‘Ein Tag in Hainbach,” “Ein Morgen in Luzern’ and “Der Travum des Polen.” ‘These six works are of the idyile order, and were composed by Johann Kafka, They are all comparatively simple in construction; but the melo- dies, without exception, are very beautiful, and for conservatory pupils they are eminently useful, “Le Diable & Quatre.” Galop. A Loeschom. Very brilliant and effective and only marrea by a want of continuity in some of the themes, Lee & Walker, Philadelphia, publish the follow- 1g — “Come, My soul, Thy Suit lan Trio for 8, A. B. By W, 0, Ewing, Musical pleading of tis Kind will hardly succeed in gaining the suit, It is dull and uninteresting. “Don Giovanni.” Pot-pourri. Pierre Latour. at roa for very small fingers aud no attempt made at pI ‘angement, “ fa Sunshine.” E, Mack. This ts one of the “aulé of Prague” order of nuisances and can hardly be classified under the name of music. To attempt a description of thunder, lightning, hall, &c., by a few notes on the plano 18 not the province of @ good musicia “Dew Drop.’ E. Mack. with passable themes, “Glissando Mazurka.” P, Latour. The glissando should be too sparingly used in playing to warrant @ piece being written for tts especial beneht, “Wild Flowers.” E, Mack. A pretty little waltz. “Glorious Things of Thee Are Spoken.’’ Anthe: From @ Moravian manuscript, arranged by E. P. Bates, One of the ordinary kind of church hymns, with uninteresting themes, “Saviour, Like a Shepherd Lead Us.” Tenor solo with quartet, arranged by W. OC. Ewing, The same remarks wiil apply here, “Needie Gun Galop.” F, Kammer. Commonplace in the extreme—machine music. “Pall Mall Waltz.” Charles J. Miers. A very in- teresting work, with pretty subject, and adapted to even the smaliest players, “Popsy-Wopsy Polka.” ©. J. Miers. Good for beginners. same musician nas also cleverly ar- ranged the well known duet from Offenbach’ “Lischen and Fritzchen.”? id “The Amateur,” publisned by the same house, is @ readable collection ol interesting mu ical sketches and anecdotes, and contains in each number a couple of sa/on works or songs, Cory Brothers, Providence, publish the follow- Dg — “Kescne Polka Mazurka.” Sidney Lambert. A An ordinary mazurka light, pleasing work, unpretending in its siyle. A “Three Lite Violets.” Song. untley. “Coming Twilight Polka,’’ Redowa, A, Mercier. A fair dancing tune, “Evening Shadows Polka,” fF, Berger, Very Polka," by A. Mercier, Snow.” l. introduced Pat- the minstrel hall, 10is sung nighuly at Newcom fine lithographic likeness of Miss Ida Lewis, the melody is pretty, but the arrangement and accom- and commonplace. “seaside.” Reverie, A. Hennes, A charming pretty and adapted tor the ballroom. Redington & Herne, Syracuse, publish a very de- J. N, Pattison & Co, have alread on sory Ino Aiungion’s, ous hag byem secgived wiih great fa i heroine of Newport, 1s on the title page. The paniment are very crude. F, Berger, Trivial “Evening lary.” work of its kind, graceful and flowing in its melody, ‘The same may be said about the “Dotty Dimple Nghtful song by A. J. Goodrich, called “Under the tison'’s beautiful song, “Shut the ; ‘Oy b Reviews of New Books. Crsartne Dierrica, By George Sand. "/ranslated by Edward Stanwood. Boston: James k, Osgood & 0., 1971, 8VO. pp. 138, i ‘This 18 @ powerful, finely writteh, fascinating, yet perpiexing story. Tn¢ plot is simple, free from Startling sensations, yet occasionaty baMing com- pletely the conjectures of the reader as to how the characters are to be extricated from the last grave situation, The book is full of that subtle charac- termzation which abounds in the novels of this writer, As in most of her books, there is little of deseription of incident, the cnief mterest centering in a few of the more suriking characters, who are made to draw their own portratis in a large degree by the play of dialogue and occasional correspond- ence. ‘The centril figures in the scene are Cesarine Dietrich, the heroine; an accomplished, beautiful, imperious and strikingly intellectual young lody; her companion and teacher, Pauline de Nermont, who is made to narrate the whole story; her nephew, Paul Gilbert, a strong well- balanced, well furnished intellect; Marguerite, his pretty and good-hearted mistress, whom he afterwards married; the Marquis de Rivon- nigre, @ polished and cultivated mam’ of fortune, lover of Mlle. Dietrich, and Mons. Dietrieb, pee, who is a rich, retired merchant, very proud of Cesa- rine, his brilliant, seif-willed daughter, and very much attached to her. There are haif a dozen subordinate characters; butthe onief mterest con- tres around these, The heroine (Cesarine Dietrich) 1s one of those extraordmary, independent, ngh- spirited, magnetic natures which Mme. Dudevant 90 much delights in painting, She is represented as possessing @ keenness of perception or strength of wil, &@ grasp and comprehension of all eudjects, when yet but a mere child, such as almost never falls to the lot of the maturest. Where in real life does George Sand find such youthfu: paragons of intellectual force among young wome.i of society as she depiots in Cesarine Dietrich? Does she project out of her own experienced and accomplishel career the elements that make such characters? Think of a faahionabie young lady of eighteen talking to her governess after this fashion:— “We are too plebeian for you,” she said, “and I am not surprised at it; for my own part I find our numerous family very insipid, They have, indeed, tried to make distinctions among themse!ves and to follow different careers; but Ithink my young cousin the painter as vuigar and as commercial in his in- Stincts as my old cousin the paper hanging manu- facturer, and that my cousin, who is a composer of music, has no more of the sacred fire than my John Bull uacie who runs @ cotton factory. Ihave heard Ton say that there are no longer any marked dis- Iuctions between the various elements of modern society, and that Working people talk upon art aud Mterature a3 well as artists speak of industry or of science appited to industry, It seems to me that none of my dear relatives have any ideas at ill, and I seek in -vain about me for something original or inspired. My mother knew better how to fill her nals. If she admitted a few of our famlly who now surround us she also drew in others who added distinction und real elegance to the society. When papa allows me to retura to society without going Out of his house you shall see a coi- lection of people better chosen and more interest- LF gid who do not come to approve and ap- plaud, bas to dines and appreciate ten srtiste- real tes, travellers, 8, diplomat - tclans. When I am mistress of this Brent house I shail be placed in circumstances which will require tact, attractive conversational powers, real know- Jedge and solid talents, and what I have failed to have thus far, fixed opinions. Let us work, my dear friend; make me work, My mother, contented herself with @ charming woman; bit I believe I have a more dificult rd/+ to play than to show off elegant diamonds, fine tresses and beautiful show! dera, I must exhibit a nobler spirit and a char ter worthy of study. Let us work. My father will be pleased, and he Will learn yet that the hatte of life is easy to one who has been prepared for tt, even without the help of struggie and privation at home.’? Of similar high-reasoned and self-conscious anat- omy the book is full; yet the interest never fags. ‘The characters are played off against one another with such consummate art, their various opposite qualities are so skilfully brought out that the reader 1s fascinated into the close pursuit of their develop: ment. The great secret of George Sands’ power as & novelist les in her abutity to delineate character. Every person has a certain intense individuality. In her metaphorical analysis she 18 the most sub- tle and far-reaching of all writers of fiction. Yet these seemingly elaborate effects are reached with Luc exponditare of offort. With a few light and masterly strokes the finished result is before us, She has the genius to delineate a character by a phrase, and to reveal an 1dlosyncrasy by an epithet. And there is united with all this power a certain pitiless realism, which prevents her from ever be- coming, as so many novelists do, morbid sensa- tonal or flighty and romantic. Here 1s a bit of philosophy from Cesarine Die- trich’s treatment of her lover:— ‘two days afterward the Marquis brought a fine saddle horse, which he nad promised Cesarine to procure for her, He had kept it in his stable for a month to try it ana train it. He would keep it for himself, he said, if it did not please her. esarine ran to put on her riding dress and then mounted the horse, whici she rode admirably. In fifteen minutes she dismounted lightly, saying to M. ae Rivonniere, who had been waiching her with rapture, ‘This horse 1s an exquisite machine; but he ts too highly tramed. He has nether will nor instinct; he 1s too mechanical. If he suits you keep him; he bores me with his tameness,"’ «There’s a very simple way,’ satd the Marquis, “to make him less manageable; that 1s to let him forget a little of what he has been taught by turning be into @ pasture, 1 will agree to make him more ery. “Oh, it isn’t the lack of fire lcomplain of. He has no originality. It 18 with horses as with human beings; education stunts natures which have not Mmexhaustible resources. I prefer a savage beast, which may possibly kin me, to a well-regulated ma- chine which makes me as sleepy as itseli.”” The all-conquering intelligence of this remarkable herome has one fatal drawback. She is deficient at the last on the moral side, and those she attempts to rule and mould to her will and her desires rise su- perior to her. ‘The lesson of the novel 1s a wholesome one, and It 18 unexceptionable on the side of morality. The translator has done his work, well, and this tale, which is among the latest of its illustrious author’s productions (having appeared as a serial in the Revue des Deux Mondes within two years) is dis- Unguishea by the graceful and flowing style which might have been, but 18 not, spoiled in the render- ing into English, PARIS UNDER THE CoMMUNE; OR, THE RED Re- BELLION OF 1871, A second reign of terror, murder and madness. By L. P. Brockett, M. D. Illustrated, New York: H. S. Goodspeed & Uo., 8V0.; pp. 170, This book hardly redeems the promise of the pre- face. Starting out with a complaint of the “con. fused and contradictory reports and letters in the daily papers concerning the insurrection in Paris,’ it holds forth the purpose of supplying “a clear and succinct account” of the whole struggle, “freed from contradictions and discrepancies,” and stating the objects of the anarchists, “what they wanted, or for what they were fighting.” ‘The author sets out in his work without giving any introduc- tory account, however succinct, of the origin of the war, or of the rapidly succeeding events which brought about the surrender of Paris and the reign of the Commune. This is o capital omission, as nothing can be more important to the general reader, for whom alone this summary history ts prepared, than to start out with the great outlines of the eventful year’s history that led to the Com- mune fixed clearly in his mind. The writer takes a strongly unfavorable view of the leaders of the rey- olutionary government, and depicts the cruel ties and outrages committed under them in strong colors, though none too _ stron; for the dire reality. The full text of the final treaty of peace between Germany and France of May 1, 1871, ts Riven (as the author assures us) for the first time tn fall in English, The work is handsomely printed on large, clear type and good pa. per, and has numerous woodcut Mlustrations of seenes and public bul idings In Parts, AMERICAN SEASIDE Resorts; @ Handbook for Health and Pleasure Seekers. Edited by Charles L. Norton, New York: Taintor Brothers; 16 mo., pp. 190, This useful little manual supplies the want of a specialty among books of travel devotea to our sum- mer resorts, It is made up of fresh materials, and although very succinct, is crowded full of informa on, LITERARY CHIT-CHAT. W. 8. LInpsay, the English member of Parliament aud shipowner, 1 preparing a comprehensive his tory of the shipping of all nations. Proresson R. W. Raymond, Ph. D., United States Commissioner of Mining Statistics, 1s pre- paring a new and extensive work on the great “Miping Industry of the Rocky Mountains and the Pacific Slope.’ J.B. Liprincorr & Co. announce the “Memoira of dyho Quincy Adams,” edit Ly Chagige FyAUCl, | Saas A@-ains. ‘The work comprises MF. Adams? diary for @ berlod of fifty-three years, beginning with his ap- Polngment py President Washington as Minister ta the States of Holland in 1795, and tacludes sixteen years Of his dipiomatic service in that country, in Prassta, Russia'and Great Britain, and'ta the nego- tation of the Treaty of Gtient, It likewise em- Draces the whole of Mis later Iapors in posta of tha highest respons:bflity at home, down to the zermi- nation of his carecr in the hail of Congress on the 220 of February, 1848, } Messrs. LIPPINCOTT are. also hurrying forward their new and revised edition of Chambers’ Encycloe pedia, Seven volumes have been already com-' pleted. “THE LAND GF LORNE,” @* poet's adventures in the Scottish Hebrides, by Robert Buchanan, 1s an- nounced by Francis B.Felt & 00, The book 1s de- scribed a#a most fascinating and delightful volume, and the fact that it 1s « icased by express per- miasion to the Princess 7 though not in the best taste, when done vy a writer of Mr. Buchanes’s abilities, will hardly make it less interesting, 3 “PALACES AND PRISONS” tg the name of M 8, Stephens’ new novel, now tn press, anil to Ushed in a few ays by T. B. Peterson & Philadelphia. We do not know what Mrs, #mn's, ‘Stephens’ “new novel” will be like, but the pubiish- ers have @ word to say about it which is particularly juicy. They assert that “it wit! command a very large sale, for ‘Palaces and Prisons’ is an entire new novel from the pen of this talented American au thoress,”? Messrs. E. P. Duron & Co. have nesrly ready another beautiful book by the author of “Evening Amusements,” and called “My Young Days.” ‘The new book is profusely tilustrated by Konewka, The Same house has also a new work on Quba, written by W. M. L. Jay, the author of “Shiloh.” THE “POLITICAL AND PERSONAL RECOLLECTIONS OP A¥ OLD-TiME PoLiTiciaN,” which have been for some Ume appearing in series In the Boston Journal, are by Hon, William Schouler, late adjutant General,of Massachusetts and once editor of the Boston tias and Cincinnati Gazette, Colonel Schouler knewa how to make his reminiscences interesting, and they will make a better book than Golonel Forney’s “Anecdotes of Public Men.” Tag Besr.Boox on Honaary in English is Mr. Ar- thur J. Patterson’s—“The Magyars; their Country and Institutions” —just published in London, in two volumes, THB DEFEATED FRENCH GENERALS in the late war are fighting thetr battles over again in print. Tne latest brochures are General Faldherbe’s ‘Campagne ae PArmée du Nord en 1870-71," and General Chanzy’s “La Deuxiéme Armée de la Loire."? BERLIN 1s to have a new English Quarterly, vo be entitled “The German Quarterly Magazine.” It will @ive translations of the scientific lectures of those distinguished Berlin protessors, Gnelst, Vichow, Haeckel, &c., and will doubtless become a welcome visitor to English and American scholars. BJORNSTJBM BJORNSON, the Norwegian novelist, is the happy recipient of an income of $6,000 a year from his books, besides being pastor of a village church in Norway. Tue London Publishers’ Circular, in. criticising the BookseUer for its confession that it “never heard of Thomas Nast as nu artist,” saya:—“Mr. T. Nast ia widely celebrated—and has been so for years—as the John Gilbert or Gavarni of America, Studenta of art will nouce in the thin delicate lines of Ameri. cana draughtsmen on wood an approach ratner to French than to English art.” THE STRASBURG LIBRARY contributions go ou apace,’ The Kbnigsberg University has contributed 40,000 volumes, (So say the London journals, but is it not & misprint for 4.000?) The collection will reach 200,000 volumes, it 19 thought, before the close of the year, which will make it numerically much larger than before 1t was burned, ALEXANDRE Dumas, Ja, has postponed the funeral service of Alexandre Dumas, pére, until the evacu- ation by the Prussians of the Department of the Aisne, in which the last resting place of the author of ‘Monte Cristo” 18 fixed. Vicrok Huco has his version of the defeat and dis grace of France nearly ready for the press, under the title of “L’Année Terrible.” Melodramatic to the last! MAX VON SCHLAGRL, the novelist, was one of the German correspondents m France during the war. He was taken prisoner and shut up in the strong fortress of Bitsch, concerning which and his other experiences he has printed a book entitled * Gefan- gen und Belagert.” ITaLy had’ tweaty-elgnt public Mbraries in 1870; Napies has five, Florence three and Turin one. That these institutions do not grow very fast is evinced in the fact that the sum total of books added to all the Ilbraries of Italy in the last year was but 11,706 volumes, Three American libraries have each addea Glarger number of books during the same year— namely, the Boston Public Library, the New York Mercantile Library and the Library of Congress at Washington. A Mr. OHRISTIE has undertaken the whitewashing of the first Earl of Shaftesbury—Charles we Second’s Shaftesbury—whom nearly all the world have been agreed in considering a paragon of baseness. And the Saturday Rev/ew thinks that the biographer amt had rather indifferent success In his task. THR last number of the Saturday Review contains notices of no less than sixteen new French om the Commune and the sicge of Paris, It calle M. Clére’s work, ‘‘Biographie des Hommes de la Com. mune,” “the Almanach de Gotha of democracy tun. wild.” Tue BRITISH RED RIVER EXPEDITION OP 1870 has found its historian in Captain G. L. Hugsbe, who gives a full account of Riel’s rebellion against Gov~ ernor MacDougal, and describes the whole country concerned. A NEW WORK ON THE PARTHENON, by A. Michaelis, 1g published in Germany, and collects all the mate- rial on the subject with a completeness hitherto un- known, THB SATURDAY REVIEW reviows Dr. J. W. Draper’s “History of the American Crvil War,” and, true to its Southern sympathies, telis its readers that “the bombardment of Fort Sumter was in reality an act of self-defence, forced on the South by Mr. Lincoln’s determination to re-enforce the garrl- gon.” So, we presume, Louis Napoleon's attempted invasion of Germany was an act of self-defence, forced on the Emperor by the obstinate conduct ot the Prussian government in provisioning and mau- ning its fortresses on the French border. AN IRISH GENTLEMAN in the poetic line has turned the Kilkenny cats into Greek. Translated, this new version of an old song reads thus:— / There wanst wus two cate at Kilkenny, Each thought there was one cat too many; fo they quarrelied and tt, hey scratched and they bit, Till, excepting their nails Aud the tips ot their tails, Tnstead of two cate there warn't any. Tae WiFs OF AN EMINENT LITTERATEUR thinks it very nice to have an author fora husband. When- ever she feels restiess he reads her something he has written, and in a few minutes she is in a sound and refreshing slumber, THE Saturday Review, RIDICULING the idea that Mills’ “Political Economy” is an unfit text-book ror young women, because it treats the doctrine o Providence as unscleutific, commends the Darwin. jan theory, and favors caster divorce laws than now prevail iu England, says:—“Tue only way t® meet the views of these objectors would be to rearrange both subjects and their treatment for we oxprvas use of young ladies; to give them knowledge 1 &. pap-boat, the book of nature In an expurgated edl- tion, and the milky skimmings only of the philoso. phy of human lite.’’ Tne London Eraminer, in an article on “The Novel-reading Disease,” talks thus of the young lady of the pertod who has developed the last stages of the complaint:— ea de his stoge the unhappy patient can no more go without her novel thau can a confirmed dipso- maniac without his dram, The smaller circulating libraries, which lend out very second hand novels indeed at @ penuy a volume, are put under contri. bution, and any amount of garbage is swallowed wholesale, It is no uncommon thing for a young lady In whom the complaint has assumed @ chronic form to have read the whole of Scott, the whole of Thackerey, the whole of Dickens, the whole of ‘Trollope, the whole of Annie Thomas, the whole of Mrs. Kos Church, tae whole of Miss Braddon, the whole of Lawrence, and, into the bargain, the whole Of four or five hundred novels by less famous hands, When the disease is thus confirmed the dropsical habit of. mind becomes apparent. ‘The conversation of the patient becomes dabby and limp, Her in- terest i eg 9 subjects—except, pernaps, the jJatest fashions or the more scandalous poruons of evidence iu the Tichborne case or the marriage of the Princess Beatrice—fickers feebly in the socket and finally dies ou The last stage—that of absolute Imbecility—is now, unless very powerfa) Fomedien ARE CXIMMINGA, A MerY ALLER OF Mune,