d'artiste, the full dress of elegant society, and surrounded by groups of his noble friends, and amidst the gayest conversation, he would, in a brief half hour, execute a sketch that in form and feature would throw a professed artist into despair. His ambition naturally grew more confident with his unlooked for success, and he began to contemplate loftier flights. Buckling on his pallet, he approached with steady brush the enduring canvass, where he hoped to leave imperishable proofs of his devotion to art. After sufficient practice, which genius abridged by years of vulgar toil. he selected for his essay in portraiture, the striking lineaments of his friend Lord Brougham. He felt that his success would carry him, from the celebrity of his subject, at once to the topmost round of his aspirations, though it was a perilous undertaking for an artist so newly fledged. The result was an inimitable likeness; not merely a cold transcript of the feature of the world-renowned lord, but overflowing with that vivacity and significance of expression which is at once his great mental and personal characteristic. At the request of all the friends of Lord Brougham, this admirable portrait was sent to the Exhibition of the Royal Academy, and, for the first time the public was made aware of the artistical genius of the celebrated Count D'Orsay. Their incredulity was amusing. Accustomed to look upon him as "the glass of fashion and the mould of form," to admire his exquisite taste in dress, in equipage, and mode of life, they were not at all prepared to find him thus suddenly abandoning the dolce far niente of luxurious habits for the severe discipline of a laborious art. It surprised them more than all to discover in his first public performance none of those crudities which, from time immemorial, have been so indulgently conceded to amateur artists, and more especially when, as in this case, of noble rank. The work which boldly challenged their criticism was there confronting them in all its maturity of merit, perfect in colour and design, faultless in likeness, and overpowering in expression. As their astonishment subsided, their admiration grew, and groups, day after day, assembled round this matchless portrait, to shower down their praises and plaudits to the forgetfulness of more established names.* Count D'Orsay continued from this time to garnish his private gallery with the portraits of many of his most esteemed friends and relatives. Lord Lyndhurst, Prince Louis Napoleon, his sister, the Duchess of Grammont, the Indian Prince Dwy Tanjore, all in turn flitted across his faithful canvass, leaving such indelible expressions of their second. selves as startled by their resemblance, and charmed by their execution. The Duke of Wellington at last took up his position, and calmly met, as he had done so many other fiercer fires, the ardent gaze of the inspired artist. The result was a portrait which will perpetuate the fame of both hero and painter. It were impossible to lavish too much panegyric on this best of the innumerable sketches of "the Duke." It is the more interesting from its preserving one of the last phases of the person of this wonderful man. The pallor of advanced age, the shrunken cheek, the falling shoulder, the stoop of near fourscore years contrasting with the still martial carriage, the steady regard, the stubborn will, as revealed in the eye and lip, all convey a vivid and speaking image of this victor of a hundred fights, that will live for ever in the memory of the spec tator. But the pictorial triumph of Count D'Orsay is on every side pronounced to be his peerless painting of Her Majesty the Queen. There have been various attempts of late years at the likeness of Her Majesty, but of them all we may say with Macbeth, “the attempt and not the deed confounds us." With the exception, perhaps, of the painting of our American Sully, there is nothing at all worthy of the royal subject or of high art which has been produced, till this splendid work of Count D'Orsay. A great deal of flourish was made two or three years since about a picture of the Queen by Winterhaller, which, to enhance the effect, was exhibited in a dark room, artfully lighted up in the middle of the day. It was full of pretension and trick, garish in color, bad in drawing, and without that dignity characteristic of the subject, or likely to * We don't know whether this portrait of Lord Brougham bas ever been engraved, but are sure such a fac-simile of this great statesman would be highly popular in this country. impress the beholder. It was cried up for awhile by the zealous friends of the artist, but has been already forgotten. An anecdote touching the origin of Count D'Orsay's portrait of the Queen has reached us, which we insert among the on dits of the day. He was regretting on some occasion the absence of even a creditable resemblance of Her Majesty, and carelessly said, "that he believed he could paint from memory a better likeness of the Queen than any that had been done with sittings." A noble friend of his, standing by, who never loses the chance of a bet, replied, "I'll wager that you can't for a thousand guineas." "Done," responded the Count, and he set to work the next day. The secret of his marvellous ccess in the likeness cannot be better explained than in his own words. In a late letter from him, he remarks:-" In general an artist, who is permitted to paint the Queen, is allowed two or three sittings at the most, during which he is nervous and in haste; whereas I have had, I may say, one hundred and fifty sittings; for my box at the French Theatre, as you remember, is directly opposite that of Her Majesty's; so, after contemplating her features by stealth, I returned each morning to their portrayal. In this way it happens that I have managed to content so highly all the frequenters of the Court, who have declared to me a hundred times, that they prefer this picture to all the other portraits of the Queen: besides, the general opinion has pronounced most flatteringly in its favour, for among the thousands who visited it at Griffiths' Rooms, not one dissentient voice was heard." The rumour runs that the Earl of Cd was the first to acknowledge the wager won; but the public at large, as well as the world of art, have been much the largest gainers. We shall attempt no criticism of this noble painting, which in likeness, in artistical skill, in spirit and power, is a study for our artists, and a fit subject of contemplation for every person of taste. The Quoen, herself, was delighted with it, and Prince Albert, who is a distinguished amateur, lauded it in the strongest terms. Landseer, the finest painter of animals in Europe, Horace Vernet only excepted, pronounced the horse "a matchless work of art;" and Turner, the celebrated English painter, has commended warmly the beauty and execution of the landscape. The coming of the picture to this country arose from the simple fact of an American friend of Count D'Orsay's seeing it at his house last May, in London, when he entreated him to allow it to be exhibited in this country. The Count expressed some apprehension that a royal portrait might not be a popular subject in our republican land; but he was assured, that the Americans knew how to draw distinction between politics and art; and that the painting of a lovely woman would not be the less admired in despite of her being a queen. The fidelity of the likeness alone, it was urged, would be a great source of attraction, and its cordial reception by all classes was unhesitatingly guaranteed. There need be no fear that American taste was overrated, for crowds are daily flocking to see it, whose admiration knows no bounds. We learn the picture will return to England in a few months; meanwhile no small curosity is felt in London to know in what manner it has been received here: it may be inferred, that neither the painter, nor the royal subject, are indifferent to American criticism. It would be unjust to the versatile genius of Count D'Orsay not to make mention of his remarkable skill in the sister art of sculpture. His well-known equestrian statuettes of Napoleon and Wellington, are the admiration of London, and the theme of foreign commendation. His fine statuette, also, of O'Connell, is admitted on all hands to be the most life-like representation of the great Agitator that has ever been given to the public. We cannot forbear mentioning the honorable motive which led to its creation. When the afflicting accounts reached England last winter of the famine in Ireland, the Count bethought himself of the novel and and benevolent idea of executing this statuette, which he sent along with the mould to Dublin, and its rapid sale added considerably to the resources of the Relief Committee. This admirable gem of art, together with the bust of the Countess of Blessington, is on exhibition at the Gothic Hall, with the picture of Queen Victoria. NATIONAL ACADEMY OF DESIGN.-Pictorial art, though equally unwanting for materials, to whatever sphere of existence directed, has entered but slowly and successively on each. The mystic and symbolic, the historic, and the tragic, physical or descriptive, character-individual and social-have one by one, as though independent, taken isolated possession of the canvass at different and distinct periods. But though time is the hour in which art must work, it has no rightful dictator but nature, who still dresses herself from the wardrobe of ages. While art swerves not from the adoration of nature, she shall have power to reproduce all expressions, to embalm thought, and save the lineaments of changing beauty, embodying the same in forms which the soul may love and the mind ponder forever. This thought came to us as we surveyed the above promiscuous collection from the hands of living artists; for in this day all departments are united.. The primary principles of art, though great, are simple, and so, capable of universal appliance. Here is to be seen the calm and sanctified loveliness of some of the ancient masters(a passage of praise, for it is one thing to copy, another to transcribe the features of their genius)—the blending of many of truth's best conceptions, individual forms waiting, as it were, for life, lustrous compositions and exact delineations, often more charming, of scenery. We rejoice to find our artists less restrained by old forms, and avoiding, to such degree, the union of studied attitude with natural beauty. An instance of this fault is presented by the May Queen, No. 140. We point this out not from any carping disposition, but the rendering a service, the production having much distinguishing merit. The Blind Pilgrim, by Wm. Fisher, and the Blind Harper, by C. Mayr, to which the importation of a graceful mood was most difficult, are complete triumphs in this respect. Of compositions, that of Sunset, by A. Andrews, and Solitude, by T. Doughty; and of exist ing scenes, Franconia Notch, N. H, by W. W. Wotherspoon, deserve, with others, high commendation. The department of animals is eminently represented by the works of J. W. Audubon. His attainments cope with those of Landseer. The English mastiff and the startled deer, on a sporting expedition, once seen, will hardly be forgotten. There is in these an accuracy and a freshness, a delicacy of touch, with the exhibition of perfect vigor. Though we might not be able, in a lengthened critique, to give unqualified praise to other than a fraction of the exhibition, we would, nevertheless, have opportunity to bestow on all hands most abundantly. The committee have evidently exercised vigilance in seeking to exclude what was wretched in design or devoid of feeling-probably applying as a test natural arrangement and power of expression. Though several manifest a doubtful taste, few are frigid. Some simple compositions have strong effects-intelligible truths which leave a pleasing and calm reflection on the mind. Nevertheless there is more indication than genuine exhibition of creative power. We are confident, that with increased devotion and loftiness of aim, far more might be achieved by the same hands. For this creativeness, an intense, pure, and unchecked flow of thought is needed. We have long wished to see an essay on the alliance of virtue with art. If it be not written, it may be exemplified. In renewing this collection, we have been won to the love of many sincere and ardent spirits. To those who ask us where to direct their thoughts and how to worship, we exclaim-behold truth, which is beauty! It lodges everywhere. Would you evoke it? Do so by inward feeling. Would you embody it? Let it not for a moment pass away, but remain a quickening portion of yourself. Intensity of action is not essential to a grand production. What is great and noble may often be developed in a soft and sweet radiance. Merit will not, for want of gaudy appliances, be unappreciated. The American heart is as fully attuned to the sentiment of the beautiful, and as delicate as any other. We wish to see the American school of painting independent of all other, and marked chiefly by an intimate converse with nature. It is a matter of congratulation that our artists, though not wanting in the display of warm and bright tints, steadily avoid the profusion of light and cumbrous splendor of the French school. NOTICES OF NEW BOOKS. THE HISTORY OF THE TEN YEARS, 1830-1840; or, France under Louis Philippe. By Louis Blanc. Complete in two volumes. Lea & Blanchard, Philadelphia. This is a most welcome publication at a moment when France is disturbed by the falling crash of the dynasty, the nature and policy of which M. Blanc has so faithfully portrayed. The views of M. Blanc are those of the Communist philosophy, and it is in accordance with this doctrine that the events of this history are measured. The great merit of the work, and that which has raised the reputation of the author, is the variety and authenticity of the information he imparts in detail, on all the changes of French politics since the fall of the Empire. The facts, anecdotes, sayings and doings, connected with the actors in all the political intrigues of twenty-five years of French history, are genuine, and highly instructive. It must be remembered, however, that M. Blanc, like all the prominent men of France of the present day, is one of those who has been fortunate enough to gain the public ear, and to make himself conspicuous by the strangeness of his doctrines and the thoroughly reckless and dishonest demagoguism with which he abuses the confidence reposed in him, by a people not accustomed to think much for themselves. This meretricious reputation has, in a moment of turmoil, raised him, in common with others of similar character, to memberships in the provisional government of France. Accordingly, the principles which run through this "history of ten years," are those which are now governing France. The leading one is to array labor against capital. The theory of M. Blanc, as expressed in his history, is, that the Revolution of July was in favor of the Bourgeoise, or possessors of capital, against aristocracy, and that the present Revolution is of the people, or those without capital, against the Bourgeoise. As giving a key to the views of the present government, which has in its hands the des tinies of France and of the cause of human freedom in Europe, the volumes are of the highest interest. THE MINSTREL PILGRIM. By J. W. Field. Clark, Austin & Co., 205 Broadway. This is a very tasteful volume, containing a collection of poems of considerable merit. THE SKETCHES. Three Tales by the authors of "Amy Herbert," "The Old Man's Home," and "Hawkstone." D. Appleton & Co., 200 Broadway. The popularity of these writers is of itself a guarantee for the excellence of these sketches, which are accompanied by six pictures. It appears, from the preface, that these pictures were first sketches, and the tales subsequently written to weave the scenes into a connected story, and the three tales illustrate the same sketches. THE THOUSAND AND ONE NIGHTS. Illustrated by 600 beautiful designs on wood. Harper Brothers. This is the 2d number of the most beautiful and convenient form in which these popular tales have been produced. The gorgeous and attractive scenery of Eastern life that they portray, is well calculated to dazzle the imagination of the young, as well as to convey pretty accurate ideas of Eastern social life. THE CHILDREN OF THE NEW FOREST. By Capt. Marryatt, R. N. Harper Brothers. This is a tale of the English Revolution, and of the perils of Charles I., in the year 1647, and bears the impress of the genius of "Jacob Faithful." THE MILITARY LIFE OF JOHN Duke of MarLBOROUGH. By Archibald Alison, F. R. S., author of the History of Europe. Harper Brothers. The late discovery and publication, after a lapse of more than 100 years, of a batch of the despatches of the Duke of Marlborough, is stated by the author of the present work to have been the cause of his labors. The author tells us, that in reading those despatches he became impressed with the great military skill of the duke, as compared with that of modern generals, with whose exploits he had become familiar in writing the history of Europe. The total inaccuracy of Mr. Alison as an historian, and his admitted utter incapacity to understand military matters at all, induce a smile at the selfsatisfied manner in which he undertakes a military biography. As far as the facts are derived from authentic documents they are doubtless matter of interest. Neither the honesty nor the judgment of Mr. Alison are to be trusted in any reasoning, either upon interested politics or the rights of the people, against aristocratic rulers. Mr. Alison seems always to be laboring under the horror of being haunted with the spectre of democracy, and invariably ascribes all the misfortunes, natural or artificial, which overtake a nation, to the degree in which the people have a voice in the management of their own affairs. I. RIVER AND HARBOR IMPROVEMENTS..... II. THE DUTIES OF THE STATE TO ITS CITIZENS.... III. BANK CIRCULATION. 1st. Vindication of the Free Banking System; Investigation of the principles IV. MY STUDY. PAGE .483 ..493 499 BY ANNA LEWIS...... 510 V. EMILIA GALOTTI; A Tragedy in Five Acts. Translated from the German of 511 IX. DEATH OF THE MARSHAL CONCINI, OF FRANCE. Translated from the French, by "Juvenis.". 541 X, FRANCE BEFORE THE REVOLUTION. Letters from Paris........ 545, XI. POPULAR PORTRAITS WITH PEN AND PENCIL.-MAJ. GEN, GAINES.... 549 |