GEMS" 
 
 DtlSSELDORF GALLERY; 
 
 PHOTOGRAPHED FROM THE ORIGINAL PICTURES 
 
 A. A. TURNER, 
 
 AND REPRODUCED (for the first time) UNDER THE SUPERINTENDENCE OF 
 
 B. FRODSHAM. 
 
 Ito iTcrti: 
 
 D. APPLETON & CO., 443 & 445 Broadway. 
 1863. 
 
HISTORICAL SKETCH 
 
 OF THE 
 
 DLTSSELDOEF SCHOOL OF 
 
 AET. 
 
 The advent of the Diisseldorf Collection of Paintings formed an era in American Art. It came like a sudden 
 revelation, bearing "good tidings" to the lovers of the Beautiful; while to the Art-taste of our common country it gave 
 a new inspiration, a nobler endeavor, a diviner appreciation of the mission of the painter. Hence, from the first opening 
 of the Gallery up to the present moment, the Diisseldorf pictures have not only elicited a ceaseless attention, but also 
 have visibly affected the taste of the public, by giving to all a higher and purer conception of the office of the artist. 
 Of such an instrumentality the casual observer and the student desire to know more ; and we therefore give a brief 
 sketch of the rise and character of the now renowned "School" of Art at Diisseldorf. 
 
 It is somewhat strange that Diisseldorf, the capital of the inconsiderable Duchy of Berg, in the Ehenish provinces 
 of Prussia— a town of little note, dignified by no historical associations, situated on the monotonous flats of the Rhine, far 
 below the region of its grandeur and enchantment, with nothing to boast of in the way of palaces, churches, theatres, 
 or ruins— the great staple of continental cities— should, nevertheless, be the seat of a school of painting, perhaps the 
 most conspicuous on the Continent, and which has aided in giving stability and strength to the most important move- 
 ments in the history of modern art. It is true that a famous collection of pictures once adorned the walls of the 
 Electoral palace; but the palace was destroyed in 1794 by the French, and the pictures were removed to Munich. It 
 was long after their removal that the school began to flourish and became prominent. It seems to have found some 
 congenial influences which are hidden from common observation, and make up for the apparent deficiencies of the place. 
 Perhaps the artists who have congregated in so unromantic a locality have been urged to greater efforts after ideal 
 beauty by the very presence of the natural barrenness which surrounds them. 
 
 Cornelius, to whom belongs the honor of the foundation of the School of Diisseldorf, was a native of the town. 
 Though little known in this country, his name stands at the head of the modern German painters, especially of those 
 who, in immediate connection with him, broke through the conventional mannerisms by which the genius of artists was 
 trammelled and the spirit of art degraded, and, in opposition to academies and professors, sought a freer field for the 
 exercise of "the gift and faculty divine" of which they were the possessors. Of these men, Cornelius, Overbook, and 
 Schadow, were the most distinguished. They met at Rome, whither they had gone for a common purpose— that of 
 seeking among the works of the greatest masters for the truest inspiration. They regarded themselves as the martyrs of 
 the modern absurdities and insipidities which usurped the places and authority of art. Overbed had, in fact, been 
 expelled from the Academy of Vienna, for exercising that independence of thought which never fails to excite the horror 
 of old "foundations." He had taken refuge from the academicians, among the grand memorials of the early painters of 
 Italy. He found kindred spirits in his countrymen, banished like himself by the puerilities and pompous absurdities of 
 the German schools, and, like himself, in quest of a purer standard of taste, and a more congenial field of labor. 
 
 Under such circumstances, it was very natural that they should go from one extreme to the other-from the ultra- 
 modern to the ultra-medimval-from the over-loaded ornaments and artificial redundancies of painting which were nearest 
 to them in point of time, to the simplicity and sincerity which were farthest off— even beyond the period of highest 
 excellence, quite back to the infancy of the revival of Art. Equally natural was it that they should have found in 
 their new associations controlling motives of life higher than the standards of artistic taste. The old masters led them 
 to the old faith. They exchanged the cold formalities of German Lntheranism for the more vivid ritual of that Church 
 
I 
 
 4 
 
 I 
 
 over whose altars, and in whose aisles, and sacristies, and cloisters, they had studied the works of the masters of their 
 adoption, and found in their pure and simple creations not less the inspiration of genius than the fervor of unaffected 
 faith. Cornelius was born a Soman Catholic. A large number of his fellow-students in Borne, including Overbeck and 
 Schadow, were converted to Eomanism, and, as a matter of course, went far beyond him in devotion to their new faith. 
 Their fanaticism, however-for with some it reached that point-gave new ardor to the zeal with which they devoted 
 themselves to their art. 
 
 A school of painters formed under such influences, and animated by such inducements, could not have failed of 
 success. Their extravagance was not of a kind to interfere with their progress; for it was the extravagance of 
 simplicity and adherence to the real forms of nature. It was the imitation of a former style, it is true, but that was 
 better, as a foundation, than conformity to any modern standard. 
 
 The King of Bavaria visited Borne about 1820, during the residence there of these new enthusiasts of the old 
 school. He adopted their notions of art, and, what was more to the purpose, adopted a great number of the artists 
 themselves, and proved a constant and munificent patron of their labors. To him, more than to any other man, 
 Germany is indebted for the success of modern art, Munich is full of the pictures of Cornelius and his disciples, 
 painted under the auspices and directions of Louis of Bavaria. Soon after the consummation of the new movements at 
 Borne, and the accession of King Louis, Cornelius was established at Munich, and Schadow, his co-worker, was appointed 
 Director of the Dilsseldorf Academy, to which he immediately communicated the spirit and style which they had both 
 adopted, and by means of which a new impulse had been given to German art. 
 
 It was thus that the Dilsseldorf School derived the distinctive peculiarities which characterize its works of sacred 
 art, Schadow, since he has been at its head, has devoted himself almost exclusively to the painting of purely religious 
 pictures; and some of the best productions of the Academy have been of this description. The school, however, has 
 been by no means confined in its labors, or in its reputation, to this department of art. Some of its most distinguished 
 artists are painters of historical pictures, landscapes, and still life. Many of them are Protestants and ultra-Protestants ; 
 the religious opinions of both sides of the school being sharpened by contact with each other. At the head of the latter 
 class stands Lessing, who has acquired a great reputation for his pictures of the scenes and heroes of the Eeformation, 
 and who is looked up to as the head of the Protestant branch of the Academy. His "Martyrdom of Huss," now in 
 this gallery, is one of the greatest of all modern paintings, and has served to place not only the artist upon the records 
 of Immortals, but also of the School of Art, under whose inspiration he loves to work. 
 
 The characteristics of the School are, perfect fidelity to nature, in form, color, and expression ; minuteness in detail, 
 delicacy of finish, and perfectness in rendering the language of every subject. All this implies the most exclusive study; 
 for the licenses and extravagances of genius once discarded, nothing except the power of truthfulness is left. But, though 
 their ordinances are so severe, no formality, nor coldness, nor barrenness, can attach to the School. The great variety 
 in the paintings which form this collection, shows that the loftiest and the lowliest subjects alike are rendered with 
 success ; history, allegory, landscape, fruit, animals, humor and pathos, piety and enthusiasm, poetry and passion — all have 
 here their most noble and exquisite interpretation. No art-collection in this country ever embraced more excellence in 
 the way of diversity of subject, 
 
 Following the great artists named, we have Hildebrandt, Carl Clasen, Hansenclever, Becker, Achenbach, Leu, 
 Camphausen, Steinbruck, Puliau, (in architecture,) Kohler, Sohn, Leutze, Lessing, See., &c. — the list embracing some of 
 the most eminent artists of modern times— all of whom have contributed toward the large collection. For years agents 
 watched the artists' studios, taking, at great prices, in many instances, pictures fresh from the easel. Thus were won 
 the immortal "Martyrdom of Huss," the " Germania," "Madonna and Child," "Othello and Desdemona," "Adoration of 
 the Magi," "Diana and her Nymphs," "The Fairies," "Henry VTH. and Anna Boleyn," &c, <fec, &c. European 
 connoisseurs and agents of galleries interposed many obstacles to prevent such pictures from leaving Europe for 
 America, but the collector pursued his purposes successfully, as the present collection shows — two hundred and thirty 
 thousand dollars being absorbed in the purchases. 
 
 This is a history, in brief, of the rise and progress of the Dilsseldorf School, which is now exerting such an 
 important influence in the world of modern art. The collection is by far the finest exposition of the School in the 
 world, nothing in Germany equalling it in this specialty. 
 
LIST OF PAINTINGS. 
 
 DUS8ELD0RF GALLERY, ...... 
 
 DUSSELDORF ARTISTS, 
 
 THE MADONNA AND CHILD, 
 
 WEAVER OP SILESIA, 
 
 DIANA AND NYMPHS, 
 
 THE WINE TESTERS, 
 
 THE BLIND FATHER'S FAREWELL BLESSING, . 
 
 OTHELLO, . . 
 
 THE CASCADE, 
 
 RUDOLPH OF HAPSBURG, WHILE HUNTING, DOING HOMAGE ) 
 TO A PRIEST CARRYING THE SACRAMENT, . . \ 
 
 A PORTRAIT— CONSCIOUS WOMANHOOD, .... 
 ENTRANCE INTO SCHEVENINGEN, .... 
 
 MALYOLIO, 
 
 DUTCH CHATEAU ON A SWAMP, .... 
 
 THE MAGDALEN, . . 
 
 BATTLE OF ASCALON, . . . 
 
 NORWEGIAN SCENERY, 
 
 A CASTLE INVADED BY PURITANS, .... 
 THE LITTLE FLOWER GIRL, ...... 
 
 GERMANIA— AN ALLEGORY, 
 
 LUTHER THROWING HIS INKSTAND AT SATAN, 
 STAG BESET BY WOLVES, . 
 
 THE SERENADE, 
 
 BOSER. 
 
 BoSER. 
 
 MuLLER. 
 
 HuBXER. 
 
 SOHN. 
 
 Hasexclever. 
 Julius Schrader. 
 Hildebraxdt. 
 
 LlXDLAR. 
 
 Carl Clasex. 
 
 Bewer. 
 Achexbach. 
 
 SciIRODTER. 
 
 Carl Hilcers. 
 
 Deger. 
 
 Campiiausex. 
 
 GUDE. 
 
 Camphausex. 
 
 BOSER. 
 
 Koiiler. 
 Ghashof. 
 Lachexwitz. 
 
 WOUICK. 
 
LIST OF PAINTINGS. 
 
 CATTLE, . ....... 
 
 SlMMLEK. 
 
 FERRY-BOAT ON THE RHINE, .... 
 
 SoNDERLAND. 
 
 FALSTAFF MUSTERING HIS RECRUITS, 
 
 SciIRODTEE. 
 
 HORSE, SHEEP, AND GOATS, ..... 
 
 SlMMLER. 
 
 THE YOUNG COUPLE'S FIRST QUARREL, 
 
 HuBNEE. 
 
 CORDELIA AND KING LEAR, ..... 
 
 HlLDEEEANDT. 
 
 THE SPORTSMAN, ....... 
 
 C. ScHEUEEN. 
 
 THE EVENING SONG, ....... 
 
 KoHLER. 
 
 THE FIRST FROST, ....... 
 
 De Leuw. 
 
 THE CITY HALL— GHENT, ...... 
 
 PULIAN. 
 
 THE DEPARTURE OF THE STUDENT FOR THE UNIVERSITY, 
 
 Hasenclevee. 
 
 THE RETURN OF THE STUDENT, .... 
 
 Hasenclevee. 
 
 THE STUDENT'S EXAMINATION, ..... 
 
 Hasenclevee. 
 
 LANDSCAPE, WITH SHEEP AND GOATS, 
 
 SciIEUREN. 
 
 TYROLEANS TRAVELLING 
 
 Cantex. 
 
 WINTER SCENE, . . ... 
 
 G. Saal. 
 
 COLUMBUS ENTERING BARCELONA, .... 
 
 Pluddeman. 
 
 SCENE NEAR DRESDEN, 
 
 PULIAN. 
 
 THE OBSTRUCTED WELL, 
 
 Carl Hubnee. 
 
 NORWEGIAN SCENERY, 
 
 Gl'DE. 
 
 THE INFANT CHRIST 
 
 Andeeas Mullee. 
 
 THE YOUNG MARRIED COUPLE, .... 
 
 Hubner. 
 
 THE END OF THE LITIGATION 
 
 Hubnee. 
 
 ALPINE LANDSCAPE, 
 
 Pulian. 
 
 AUTUMNAL STORM, 
 
 SCHIRMEE, 
 
 THE DEATH OF THE POACHER, .... 
 
 Hubnee. 
 
 STORM IN AUTUMN, WITH STAG HUNT, 
 
 Lance. 
 
 THE WOOD STEALERS, 
 
 Hubner. 
 
 THE CONFIDENTIAL FRIENDS, 
 
 Boser. 
 
THE DtJSSELDORF ARTISTS— PREPARING FOR THE 
 
 EXHIBITION. 
 
 The scene of this Tableau is the Exhibition Room of the Gallery 
 at Dusseldorf. The picture of "Hagar and Ishmael" is well known, 
 both from engravings and from the small copy exhibited in New 
 York some short time since. "The Wine Testers," which we also 
 find there, needs no comment, as it has an immense popularity on 
 this side the Atlantic ; but the one included in this picture is only a 
 small replica, and not the original, which is still in the New York 
 collection. This work embraces portraits of most of the leading men 
 of the school. To give a key, with a description of each separately, 
 would encroach too much upon our space and limits. The small 
 figure to the left is that of M. Preyer, whose fruit pieces stand 
 unrivalled, and never fail to find ready purchasers in Europe, as well 
 as in America. 
 
THE DUSSELDORF ARTISTS -LUNCH TIME IN THE FOREST. 
 
 (By BOSER.) 
 
 This is a work of great interest, and contains portraits of most 
 of the " representative men" of the Busseldorf School of Art. The 
 landscape is by Lessing, Boser having the honor of the portraits, 
 which, for their truthfulness, render the picture of inestimable 
 value. The scene is " lunch time" in the forest — a favorite resort 
 of Lessing and his brother artists. The figure standing in the 
 centre is Lessing — the cup which he has gained as a prize is being 
 offered to him by Schrodter. Ebcrs stands next, with his hand upon 
 Lessing's shoulder. The kneeling figure, with the basket of prizes 
 to be awarded to the best shots, is Hitter ; just above him — 
 with rifle on his shoulder— Prof. Sohn, the painter of the "Diana 
 and her Nymphs ; " and next to him is Steinbruck, the author of 
 " The Adoration of the Magi." The little dwarf is Lehnen, a painter 
 of still life, one of whose works is in the collection. Space will 
 not permit a more lengthy description of the picture so as to point 
 out each portrait separately. A list of the names of those who 
 are included in the work, is appended : 
 
 Pl'Of. HrLDEBRAND, 
 MUCKE, 
 
 Dir. V. Schadow, 
 Leiinen, 
 
 KoilLER, 
 
 Frederich, 
 Kretzschner, 
 
 J. Bensen, 
 
 SoNDERLAND, 
 
 Pluddeman, 
 Prof. Scihemer, 
 Jordan, 
 Schrodter, 
 Ebers, 
 
 Lessing, 
 
 Steinbruck, 
 
 Prof. Sohn, 
 
 Ritter, 
 
 Leutze, 
 
 Blanc, 
 
 Prof. Weegmann, 
 
 Stelke, 
 
 V. Norm ann, 
 
 Pose, 
 
 Canton, 
 
 Camphausen, 
 
 schrader, 
 
 Boser. 
 
THE MADONNA AND CHILD. 
 
 (By CARL MULLEE.) 
 
 This beautiful picture is of the size of life. Muller and Deger 
 are two of the Diisseldorf artists who have the greatest reputation 
 for painting sacred subjects. 
 
 When this work was exhibited in Diisseldorf, it obtained the most 
 unqualified approbation. It was ordered to be engraved on copper, 
 at the express request of the Diisseldorf Academy. 
 
 " The Virgin, descending on clouds, shows to the world the Holy 
 Infant, who in his left hand holds the globe redeemed by the Cross, 
 and with his right hand blesses it. The face of the Infant Jesus is 
 not only very beautiful and sweet, but divinity is unmistakably im- 
 pressed upon his forehead." 
 
 In painting the Virgin Mary, the artist has had reference to the 
 Revelation of St. John, Chap, xii., v. 1 : 
 
 "And there appeared a great wonder in heaven; a woman 
 clothed with the sun, and the moon under her feet, and upon her 
 head a crown of twelve stars." 
 
THE POOR WEAVERS OF SILESIA, AND THEIR EMPLOYERS. 
 
 (By CARL HTTBNER.) 
 
 Immediately on the completion of this picture, it was sent to 
 Berlin to be exhibited, in which city at the time great political 
 excitement was raging, the masses holding secret meetings, whose 
 object was the dissemination of political opinions diametrically opposed 
 to those of the government and the nobles, by whom they deemed 
 they were oppressed. The manufacturers, too, being heavily taxed 
 themselves, determined to reduce still lower the wages of their 
 work people, till at last Berlin was filled with "curses, not loud 
 but deep." 
 
 The exhibition of this picture of Hubner's, gave rise to the 
 display of so much feeling amongst the working classes, that the 
 police issued an order that it should be immediately withdrawn 
 from the public gaze. 
 
 It tells its own story so plainly, that further description is un- 
 necessary. 
 
DIANA AND HER NYMPHS SURPRISED AT THE BATH 
 
 BY ACTEON. 
 
 (By SOHN.) 
 
 This work remained in Sohn's studio in an unfinished state for 
 seven years, when at last it was completed and forwarded to America : 
 and though coveted by connoisseurs and princely patrons of art, no 
 offer prevailed to prevent its being added to this collection, where for 
 the past few years it has charmed the multitudes who have gazed 
 upon it. 
 
 The goddess of the chase, with her attendant nymphs, is bathing 
 in a secluded pool, in the forest of Boeotia, when the rustling of the 
 branches discovers the hunter, Acteon, gazing upon the forbidden 
 sight. The queen-goddess turns indignantly upon the intruder, and 
 stretching forth her right arm, she pronounces upon Acteon the 
 curse which turns him into a stag, to be hunted down by his own 
 hounds. The artist has seized upon the moment of the imposition 
 of the sentence. The intruder, very properly, is out of sight; for 
 it were impossible to represent the metamorphosis. Diana is " mag- 
 nificently indignant." Pier affrighted nymphs shrink from the sight. 
 It has been conceded, by the most exacting criticism, that the artist 
 has given the occasion and the circumstance a fitting interpretation. 
 The Diana is full of power and passion, yet it is still the embodiment 
 of chastity and gentleness. In flesh coloring Solm has been pronounced 
 without an equal amongst living artists. 
 
THE "WINE TESTERS. 
 
 (By HASEN CLEVER.) 
 
 The celebrity gained by this picture, both in Europe and 
 America, has been obtained, in a great measure, from the exhibi- 
 tion of the engraving. There are hundreds of European cities in 
 which it has never been seen, but where it is as well known as it 
 is by the inhabitants of New York — and, we may say, of this Con- 
 tinent. 
 
 The expression of the faces are so varied, as to render each 
 countenance a perfect study. With what gusto they seem to enjoy 
 the fruit of the different vintages, and all, without doubt, of the 
 choicest too. The ceUarman, we can see, has just announced that 
 he has reserved for the last, as a " bonne bouche" one bottle of a 
 certain scarce and curious wine that shall eclipse all they have as 
 yet tasted. The look of the Bon-vivant, who has raised his hand in 
 deprecation of such an announcement, is most amusing, and the 
 twinkling of the eyes of the figure with hat on head, is wonderfully 
 expressive. For this work large sums have been repeatedly offered 
 and refused; it is coveted much in Germany, and several artists 
 there would be glad to secure it if possible for that country. 
 
THE BLIND FATHER'S FAREWELL BLESSING. 
 
 (By JULIUS SCHRADER.) 
 
 The blind father being led forward to bless his son ere he 
 departs for the wars. Such is the subject of this work — one of this 
 artist's happiest efforts. 
 
 * * * "Where, where art thou, 
 My son, my son? 
 
 On. which tall trembler shall the old man lean ? 
 Which chill leaf shall lap o'er him when he lies 
 On that bed where in visions I have seen 
 Thy filial love \ or, when thy father dies, 
 Tissue a fingered thorn to close his childless eyes % 
 
 Aye, where art thou ? Men, tell me of a fame 
 Walking the wondering nations ; and they say, 
 When thro' the shouting people thy great name 
 Goes like a chief upon a battle day, 
 They shake the heavens with glory. Well — away ! 
 
 From Sydney Dobelta K A Herd's Grave.' 1 '' 
 
OTHELLO AND DESDEMONA. 
 
 (By HILDEBRANDT.) 
 
 This picture was painted for the late King of Prussia, and when 
 completed, the artist took it to Berlin for delivery. At this time the 
 revolution broke out, and he returned to Dusseldorf without being 
 able to place it before His Majesty. 
 
 In conformity with the Germanic idea that Othello was an Ethiop, 
 Hildebraadt has made " the jealous Moor " of Shakespear a negro, and 
 but for this defect, the picture would be almost faultless. The Immortal 
 Bard must have been well aware of the distinction between the two 
 races, the Moorish and the Ethiopian. 'Nov can there be the least reason 
 for supposing he ever intended Othello to be represented as a negro. In 
 the " Titus Andronicus," too, he does not apply the term negro to the 
 character of Aaron, but continually speaks of both Aaron and Othello as 
 Moors. "With the Ethiopian race the Venetians had nothing to do; 
 whereas with their neighbors the Moors, they were brought into 
 continual contact. The heads of Desdemona and her father, Brabantio, 
 are without doubt the finest portions of the work. ~Nor is the gaping 
 wonder of the little page, who bears away the wine, a whit less true 
 to nature. 
 
 This picture has ever been an immense favorite with those who 
 have visited the gallery during the past few years, and still retains its 
 deserved and acknowledged popularity. 
 
THE CASCADE. 
 
 (By LINDLAR.) 
 
 " All the day long, 
 
 With a ceaseless song, 
 
 And the whole night through, 
 
 Down its path of blue, 
 A cascade falls o'er rocky walls, 
 In a far off wood where the giant trees 
 Wrestle with storms or the passing breeze, 
 Where never a banner has floated high, 
 Or a glittering spire looked up to the sky, 
 Where the sunlight softly flickers down 
 Through the summer's green and the autumn's brown, 
 And the cold bright light of the winter night, 
 And the tender sheen of the springtime green, 
 In changeful beauty glow and fall 
 Where the cascade sings o'er its rocky wall." 
 
 From " Sybelk? by L. 
 
RUDOLF OF HAPSBURG, WHILE HUNTING, DOING HOMAGE 
 TO A PRIEST CARRYING THE SACRAMENT. 
 
 (By CARL CLASEN.) 
 
 " Forth to the chase a hero rode, 
 
 To hunt the bounding chamois-deer ; 
 
 With shaft and horn the squire behind ; — 
 
 Through greensward meads the rivers wind, 
 A small, sweet bell they hear. 
 
 Lo, with the HOST, a holy man, — 
 
 Before him strides the sacristan, 
 
 And the bell sounds near and near. 
 
 The noble hunter down-inclined 
 His reverent head and softened eye, 
 And honored with a Christian's mind 
 The Christ who loves humility ! " 
 
 Sehiller's Rudolf of ITt^sbtirij. 
 
■i^HHHMHHHHHHHHHHHi 
 
A PORTRAIT— CONSCIOUS WOMANHOOD. 
 
 (By B EWE R. ) 
 
 It would be difficult to find in the whole collection, a more 
 exquisitely colored picture than this. A beauty, conscious of her 
 graces, and proud of them too. 
 
 Aud yet, at times, within her eye there dwelt 
 Softness that would the sternest bosom melt ; 
 A depth of tenderness which show'd, when woke, 
 That woman there, as well as angel, spoke. 
 Yet well that eye could flash resentment's rays ; 
 Or, proudly scornful, check the boldest gaze ; 
 Chill burning passion with a calm disdain, 
 „ Or with one glance rekindle it again. 
 
 # # * # -X- ft ft ft 
 
 * * * Such in her combined 
 
 Those charms which round our very nature wind ; 
 Which, when together they in one conspire, 
 He who admires must love — who sees, admire. 
 
 Chnrhs Fbnnc Hoffman. 
 
FISHING SMACKS RUMING INTO SCHEVENINGEN. 
 
 (By ACHENBACH.) 
 
 A fine specimen of wave painting; the sea is positively alive with 
 its motion; the pier head is most wonderfully truthful; the attitudes 
 and actions of the figures, which we think cannot be excelled, convey a 
 good idea of the fisherman's busy life, which Sir Henry Bishop's old 
 glee capitally illustrates— 
 
 Merry boys, away, away, 
 
 Market shall bur toil repay ; 
 
 None so happy, then, as we, 
 
 Who draw our treasures from the sea. 
 » « * * * 
 
 But when the breeze springs up, 
 
 Each takes a cheering cup — 
 
 Then hoist the sail, to meet the gale, 
 
 And all in hurry, bustle, noise, 
 
 We skim upon the deep, like nierry boys. 
 
 Then, haste we home whilst distant thunders rise, 
 And soon the tempest rolls, and rolls along the skies. 
 Thus we all live so happy together, 
 In spite of the chances of weather ; 
 With our messmates, our children, 
 Our sweethearts and wives, 
 That no lives are so happy 
 As Fishermen's lives. 
 
MALVOLIO. 
 
 FROM "TWELFTH-nGHT: OR, WHAT YOU WILL." 
 (By SCHRODTEE.) 
 
 This subject is taken from the scene in the 2d Act of Shakspeare's 
 " Twelfth Eight," where Sir Toby Belch, Sir Andrew Aguecheek, 
 and Fabian, overhear the conceited steward, Malvolio, boasting of 
 the favor shown him by Olivia, and where they witness his ridiculous 
 antics as he reads the letter : 
 
 "Soft, here follows prose: — If this fall into thy hand, revolve. In my stars I am 
 above thee j but be not afraid of greatness : some are born great, some achieve greatness, and 
 some Time greatness thrust upon them!' ******** 
 
 " I do not now fool myself, to let imagination jade me ; for every reason excites to this, 
 that my lady loves me. She did commend my yellow stockings of late, she did praise my leg, 
 being cross-gartered." 
 
 Seem V., Act H. 
 
DUTCH CHATEAU ON A SWAMP. 
 
 (By CARL HILG-ERS.) 
 
 An old Dutch Chateau on the flats. It is one of the best works of 
 this much admired artist. The landscapists of America have found much 
 in it to study. There is a warm, rich tone pervading the picture — not 
 often found in this school of art — that renders it most pleasing to the eye 
 of the connoisseur. « The figures— crossing the bridge leading to the cha- 
 teau—are intended to represent the noble proprietor, with his lady wife 
 and servants, returning from the chase." They are forcibly introduced, 
 and add much to the value of the work. We say no more.— Shakespeare 
 admonishes us — 
 
 My beauty, ****** 
 Needs not the painted flourish of your praise ; 
 Beauty is bought by judgment of the eye, 
 Not uttered by base sale of chapmen's tongues. 
 
THE MAGDALEN. 
 
 (By DEG-ER.) 
 
 A work of great purity, and full of feeling. Deger ranks in 
 the highest class of the religious painters of this school. 
 
 Blessed, yet sinful one, and broken-hearted ! 
 The crowd are pointing at the thing forlorn, 
 
 In wonder and in scorn ! 
 Thou weepest days of innocence departed ; 
 Thou weepest, and thy tears have power to move 
 
 The Lord to pity and love. 
 
 The greatest of thy follies is forgiven, 
 
 Even for the least of all the tears that shine 
 
 On that pale cheek of thine. 
 Thou didst kneel down to Him who came from heaven, 
 Evil and ignorant, and thou shalt rise 
 
 Holy, and pure, and wise. 
 
 Win. CttUen Bryant, 
 From the Spanish of Bartolomco Leonardo tie Artjensola. 
 
THE BATTLE OF ASCALON, A. D. 1099. 
 
 (By CAMFHAUSEN.) 
 
 The moment ' seized upon by the artist for his subject, is when 
 Godfrey of Bouillon is rushing on to conquer the Saracens, under the 
 battle-cry "Deus lo volt" ("God wills it"). 
 
 Fear him are the banners of the Holy Cross and of Jerusalem; 
 and he is followed by the Archbishop, carrying the Holy Lance. 
 
 In the foreground, on the left, is seen old Raymond of Toulouse, 
 and on the right, Tancred of Tarentum, in deadly conflict with 
 Ethiopian foot soldiers. 
 
 This is a most spirited work, and full of great power. The 
 anatomical drawing of both man and horse is worthy the study of 
 the artist as well as the connoisseur. 
 
 In such scenes Camphausen stands unrivalled, and is acknowl- 
 edged to be one of the first in this great school of painters. 
 
LANDSCAPE— NORWEGIAN SCENERY. 
 
 (By G-UDE.) 
 
 The immense forests of hardy firs, the lofty mountains, a-down 
 which we see the torrents rushing with impetuous force, the cold 
 gray sky — all these most faithfully portray the features of a northern 
 landscape, where solitude reigns paramount. 
 
 "Dear solitude, the soul's best friend, 
 
 That ruau acquainted with himself doth make, 
 And all his Maker's wonders to intend. 
 
 With thee I here converse at will, 
 And would be glad to do so still, 
 
 For it is thou alone that keep'st the soul awake. 
 *###**** 
 
 * * beloved rocks, that rise 
 
 To awe the earth and brave the skies ! 
 From some aspiring mountain's crown 
 
 How dearly do I love, 
 Giddy with pleasure, to look down ; 
 
 And, from the vales, to view the noble heights above." 
 
 # ## *###* 
 
 Charles Cotton, 
 From Bands Household Book of Poetry. 
 
A CASTLE EJYADED BY PURITANS IX THE TIME OF 
 
 CHARLES I. 
 
 (By CAMPHAUSEN.) 
 
 This is an admirable composition, and full of life-like and 
 startling contrasts, representing " a scene in the civil war of Charles 
 I. of England, at the moment of the capture of a Cavalier's strong- 
 hold by the Roundheads." It would be a difficult task to point out 
 which portion of this work deserves the most -praise. It is well 
 worthy of attention and study, and is so full of the spirit of the 
 times — as handed down to us by tradition— that we can scarcely 
 conceive its emanating from a German school of art, as neither in 
 tone, nor treatment of the subject, does it evince its paternity. 
 
THE FLOWER GIRL. 
 
 (By B O SEE,) 
 
 One of the most popular paintings in the whole collection. It 
 is, indeed, a little gem. Many connoisseurs have made large and liberal 
 offers for this work, which have been constantly refused. Remarks 
 on its various merits would almost seem superfluous, as from the 
 very great care (and which has been fortunately rewarded by success) 
 that was expended upon its reproduction, it has, perhaps, proved the 
 most striking copy of all, and tells its own story. 
 
 The eyes are speaking; the flowers appear so real, that they 
 lack neither form nor color; whilst the rounded form is excellently 
 portrayed. 
 
 Boser holds a deservedly high position in this School of Artists. 
 
GERMANIA-AN ALLEGORY. 
 
 (By KOHLER.) 
 
 In the year 1848, the struggle of the German people to throw 
 off the bondage of their oppressors afforded the artists of that country 
 many subjects for the employment of their pencils. Kohler — a warm 
 admirer of the patriots who sought to render Germany free — painted 
 this picture as his humble tribute to the goddess of Liberty. He 
 thus interprets his work : 
 
 " Gerniania, the goddess of Germany, (sleeping on a bear's skin,) is awakened by Justice, 
 accompanied by Liberty, (the latter represented by a young girl,) when with her right hand she 
 grasps the Sword, and with her left lays hold of the Imperial Crown, chasing away the demons of 
 despotism and discord." 
 
 Mr. Schadow, the Director of the Dusseldorf Academy, pronounced 
 the painting to be "one of the most masterly productions of this 
 school," and furthermore added, "I do not believe there exists an 
 artist in Europe capable of reaching the grand and noble style of 
 the old Venetian masters so thoroughly as Kohler here has done." 
 
LUTHER, THROWING HIS INKSTAND AT SATAN. 
 
 (By GEASHOP.) 
 
 The Elector, Frederick the Wise, of Saxony, caused Luther, 
 who had been outlawed by the Diet of Worms, to be carried to 
 Wartburg, an ancient mountain castle, half a league from Eisen- 
 ach, belonging to the Grand Duke of Saxe Weimar. Here Lu- 
 ther lived from May 4th, 1521, to March 6th, 1522, engaged in 
 the translation of the Bible, and during his stay there, according 
 to popular tradition, is represented to have encountered Satan. It 
 is the moment of this rencontre that the artist has chosen for his 
 work. The room in which Luther labored is yet to be seen. 
 
A STAG BESET BY WOLVES. 
 
 (By LACHENWITZ.) 
 
 A winter scene, painted with a Lapland coldness. The animals 
 are most spiritedly executed. The ferocity of the wolves, and the 
 pain and terror of the stag are impressively depicted. It is life-like, 
 and Ml of feeling. One can almost fancy hearing the baying of those 
 wolves mingling with the howling of that one on the right, and which 
 has evidently been badly wounded. 
 
 How expressive is the face of the poor brute thus hunted to the 
 death; whilst, with distended nostril, and teardrop starting from its 
 eye, it combats 'gainst the fearful odds. 
 
 Few who gaze upon this picture fail to have their warmest sympa- 
 thies enlisted in behalf of the poor stag, whose ultimate fate is so 
 powerfully foreshadowed. 
 
THE SERENADE— VENICE. 
 
 (By WODICK.) 
 
 Look out upon the stars, my love, 
 
 And shame them with thine eyes, 
 On which, than on the lights above, 
 
 There hang more destinies. 
 Night's beauty is the harmony 
 
 Of blending shades and light; 
 Then, lady, up — look out, and be 
 
 A sister to the night ! — 
 
 "Sleep not!— thine image wakes for aye 
 
 Within my watching breast ; 
 Sleep not ! — from her soft sleep should fly, 
 
 Who robs all hearts of rest. 
 Nay, lady, from thy slumbers break, 
 
 And make this darkness gay, 
 With looks whose brightness well might make 
 
 Of darker nights a day." 
 
 Edward Coates Pinkney, 
 From Dana's Household Book oj Poetry. 
 
CATTLE. 
 
 (By SIMMLER) 
 
 This work is a joint composition; the animals being painted by 
 Simmler, and the landscape by Andreas Achenbach ; thus giving it a 
 double interest. There is much knowledge and vigor evinced in the 
 drawing of the animals. We would especially call attention to the 
 foreshortening of the head and neck of the drinking cow. The 
 landscape is in excellent feeling, and adds greatly to the value of 
 this work, which is thoroughly Dutch in character and treatment, 
 
FERRY-BOAT ON THE RHINE. 
 
 (By SONDERLAND.) 
 
 This artist possesses a fund of quiet humor, which— although at 
 times approaching closely to the absurd and ridiculous— never descends 
 to vulgarity. 
 
 This is an excellent specimen of his powers. The group in the 
 boat endeavoring to secure that unruly pig — whoso squealing we can 
 almost fancy that we hear— is indeed not to be surpassed for composi- 
 tion and effect. How natural the attitude of the young girl who 
 stands at the porch ; so too with the younger one in the centre of the 
 picture. There is a positive weight in that basket which we really 
 seem to feel ourselves. 
 
 The spot is a well-remembered one, and is within a short distance 
 of Dusseldorf. 
 
FALSTAFF MUSTERING HIS RECRUITS. 
 
 (By SCHRODTER.) 
 
 In scene the 2d, act the 3d (2d part) of Shakspeare's Henry 
 IV., Schrodter has found a subject admirably adapted to the display 
 of his great talents. 
 
 This work has long been acknowledged as the artist's master- 
 piece. In color it has been considered undoubtedly one of the best 
 figure pieces in the collection. The chiaro-oscuro of this work is 
 very fine, and the whole scene is full of exquisite humor. 
 
 The burly knight's attitude, his rollicking manner, and the im- 
 pudent expression of his eye, are excellently portrayed. 
 
 It needed not the scissors to tell the trade of the " Woman's 
 tailor." 
 
 The management of the light in the recess behind the figure of 
 Falstaff, and the introduction of the little page with the sword, are 
 fine points in the work, which is one of admirable keeping and rare 
 completeness. 
 
HORSE, SHEEP, AND GOAT. 
 
 (By SIMMLER.) 
 
 Like the companion picture in this collection, the above is a 
 joint work— the cattle being painted by Simmler, and the landscape 
 by Andreas Achenbach. The old Dutch mill, in the far distance, 
 denotes most clearly that the scone is in Holland. 
 
 The grouping of the sheep and goaf is perfect— the varied at- 
 titudes are thoroughly natural, and the texture of their woolly coats 
 it were impossible to excel. There are few, if any, in the Diissel- 
 dorf School of Art that- surpass Simmler as a delineator of animal 
 life. He has a great facility for retaining the especial character of 
 the animal he paints, and this is fully proven in the above work, 
 for who can see it and doubt the old white horse is a portrait 
 from the life. 
 
THE YOUNG COUPLE'S FIRST QUARREL. 
 
 (By HTJBNER.) 
 
 There is great knowledge of the human character displayed 
 in this work. The young people seem to have had a quarrel, which 
 has, on the part of the husband, settled into sulkiness, and on that 
 of the wife into a feeling half relenting and half regretful. He, it 
 seems, desired to visit the fair, (now taking place in the village 
 below,) the young wife has negatived the proposition, and has hidden 
 away both his hat and coat ; on finding which, he goes out to smoke 
 his pipe in a humor not the most amiable. It is evident she repents 
 of her act, and is seen bearing to her husband the before-named 
 hat and coat, no doubt anxious to " make it up." The half reluctant 
 disposition to make the first advances on her part is well portrayed, 
 whilst the stolid indifference he assumes is finely delineated. The 
 landscape of the picture is one of Hubner's happiest efforts. 
 
CORDELIA AND KING LEAR 
 
 (By HILDEBRANDT.) 
 
 This fine picture is by the same hand as the " Othello and 
 Desdemona." The subject is taken from the German translation of 
 Shakespear's King Lear, by Schlegel and Tieck, in Act 4th, Scene 
 7th, in which the King, not recognizing his child, "Our Dear Cordelia," 
 exclaims : 
 
 "You do me wrong to take her out of the grave; 
 Thou art a soul in Hiss, but I am bound upon a wheel of Are, 
 That mine own tears do scald like moulten lead." 
 
 The artist's aim has been to represent the filial love of Cordelia, 
 who, although disinherited and disowned by her father, clings to him; 
 whereas his daughters Goneril and Regan, upon whom he bestowed 
 his blessing, have driven him to despair and madness. Upon the King's 
 recovering from one of his fits, Cordelia speaks to him, full of love 
 and humility, and he looks upon her as a spirit from the other world. 
 King Lear, starting up in great trepidation, stretches his right hand 
 toward Cordelia, as if hesitating to touch her, while his left is 
 pressed convulsively upon his heart. Cordelia bends down over 
 him with compressed hands. Behind the King's chair his physician 
 seems to observe with great care his condition. These three figures, 
 in full light, constitute the chief attraction of the picture. At some 
 little distance from Cordelia stands the faithful Earl of Kent, in the 
 habit of a servitor and messenger, looking anxiously at the scene 
 before him. 
 
THE SPORTSMAN. 
 
 (By C. SCHEUREN.) 
 
 A work of much power and beauty ; one feels a longing desire 
 to roam in some such scene, and to exclaim, with truth : 
 
 " The silent wilderness for me ! 
 
 Where never sound is heard 
 Save the rustling of the squirrel's foot, 
 
 And the flitting wjng of bird, 
 Or its low and interrupted note, 
 
 And the deer's quick, crackling tread, 
 And the swaying of the forest boughs, 
 
 As the wind move3 overhead. 
 
 "Alone, (how glorious to be free!) 
 My good dog at my side, 
 My rifle hanging on my arm, 
 I range the forests wide." 
 
 Ephrmm Peaboth/. 
 
THE EVENING SONG. 
 
 (By KOHLER.) 
 
 " Two fair maidens, whose faces are expressive of the worship 
 m their hearts, as they raise to Heaven their Evening Song." 
 
 " O Thou, whose power o'er moving worlds presides, 
 Whose voice created, and whose wisdom guides, 
 On darkling man in pure effulgence shine, 
 And cheer the clouded mind with light divine. 
 Tis thine alone to calm the pious breast 
 With silent confidence and holy rest : 
 From Thee, Great GOD, we spring; to Thee we tend; 
 Path, motive, guide, original, and end." 
 
 From the Latin of Boethius. 
 
THE FIRST FROST. 
 
 (By DE LEUW.) 
 
 In many respects this painting has no superior in the collection. 
 The clear, crisp air, is felt; the just frozen lake is as bright as a 
 mirror : 
 
 "The keen, clear air — the splendid sight — 
 We waken to a world of ice ; 
 Where all things are enshrined in light, 
 As by some genie's quaint device. 
 
 '"Tis winter's jubilee — this day 
 
 His stores their countless treasures yield; 
 See how the diamond glances play, 
 Iu ceaseless blaze, from tree and field. 
 
 "The cold, bare spot where late we ranged, 
 The naked woods, are seen no more ; 
 This earth to fairy land is changed, 
 With glittering silver sheeted o'er." 
 
 Andrews Norton. 
 
THE CITY HALL OF GHENT.— INAUGURATION OF A BURGOMASTER IN 
 THE TIME OF THE SPANIARDS. 
 
 (By PULIAN.) 
 
 In the School of Architectural Painting, Pulian has probably no 
 equal in Europe. He stands pre-eminent. In this picture he obtained 
 the assistance of his friend and fellow artist, Carl Clasen, to paint the 
 figures, which add greatly to the beauty and value of the work; 
 for well, indeed, has Clasen executed the portion allotted to 
 him. There is charming feeling, great action, and excellent com- 
 position in these various groups of figures which are standing around 
 the public fountain and the corner of the street to view the proces- 
 sion, as it marches on in stately pomp. And how full of truth the 
 attitudes of the two dogs in the foreground. They carry the eye 
 straight up to the figure of the Herald, who is ascending the 
 steps of the City Hall, marching before the Band, who, in their 
 turn, are followed by a troupe of young children, scattering 
 flowers before the great and mighty Burgomaster elect, of Ghent. 
 The perspective, drawing, and coloring of this picture leave nothing 
 to be desired. 
 
M 
 
 8 
 
THE DEPARTURE OF THE STUDENT FOR THE UNIVERSITY. 
 
 (By HASENCLEVER.) 
 
 This is one of the Tliree subjects taken from the popular Ger- 
 man poem called the " Jobsiad," caricaturing the career of a German 
 student, and German universities, sixty years ago. These works of 
 Hasenclever are full of merit, more so than is usual with German 
 painters, who succeed better in the grotesque than in the humorous. 
 The three pictures, in this collection, illustrative of the university 
 student's career, are remarkable for keen satire, and nice discrimina- 
 tion of character. 
 
 The famous German drollery, called the Jobsiad ; or, 
 
 THE LIFE, OPINIONS, ACTIONS, AND FATE OP 
 
 HIERONIMUS JOBS, 
 is too lengthy for quotation here. It sets forth — 
 
 " How lie whiloni won great renown, 
 And died as night-watch in Schildeburg town. 
 
 ****** 
 Adorned throughout with wood-cuts numerous, 
 Finely wrought and very humorous ; 
 A faithful history, neat and terse, 
 Writ in new-fashioned doggerel verse." 
 
THE RETURN OF THE STUDENT. 
 
 (By HASENCLEVER.) 
 
 The third of the series, which consists of " The Departure," 
 " The Examination," and this — " The Return." Were it not for the 
 great length of the German poem, we would wish to give it entire ; 
 it is full of humor, and a quiet vein of satire on the Student's life 
 runs throughout the whole. One portion — being a letter from the 
 father of the young man — we think worthy quotation, inasmuch as 
 the reception, in idea, was evidently very different from the reception 
 in reality, and the picture and lines will tell the whole story. 
 
 "Thy "brothers and sisters all send their greeting, 
 In the joyful hope of a speedy meeting; 
 
 They are glad to hear of thy health and success ; 
 And with wishes for thy happiness, 
 I remain, 
 Thy Father (in course of natur), 
 Hans Jobs, pro tempore Senator. 
 
 P.S. — Write again, at an early day, 
 
 But spare thy allusions to money, I pray." 
 
THE STUDENT'S EXAMINATION AT THE UNIVERSITY. 
 
 (By HASENCLETEE.) 
 
 " The Professors express great gratification, 
 Only they hope I will use moderation, 
 And not wear out in my studiis, 
 Philosophicis and theologicis. 
 
 "It would savor, dear parents, of self laudation, 
 To enter on an enumeration 
 Of all my studies — in brief, there is none 
 More exemplary than your dear son. 
 
 " My head seems ready to burst asunder, 
 Sometimes, with its learned load, and I wonder 
 Where so much knowledge is packed away : 
 (Apropos ! don't forget the ducats, I pray !) 
 
 " In the pidpit soon I shall take my station, 
 And try my hand at the preacher's vocation ; 
 Likewise I dispute, in the college hall, 
 On learned subjects — with one and all." 
 
 (Tup; JobSIADS.) 
 
 Extract fi 'otn a letter from Ilieroninuts Jobs. 
 
LANDSCAPE, WITH SHEEP AND GOATS. 
 
 (By SCHETJREN.) 
 
 This painting portrays a peaceful shepherd's life — the honest 
 simple character of which Shakspeare has given us a description in 
 the third Act of " As you like it." Thus wrote the immortal bard : 
 
 " Sir, I am a true laborer ; I earn that I eat, get that I wear ; owe no man hate, envy 
 no man's happiness ; glad of other men's good, content with my harm ; and the greatest of my 
 pride is, to see my ewes graze, and my lambs suck." 
 
 ".As you like iV," Act III. 
 
 I 
 
TYROLEANS TRAVELLING. 
 
 (By CANTON.) 
 
 This is a companion picture to "The Halt by the Well" (also by 
 Canton), and many prefer it to that work. In subjects of this charac- 
 ter, Canton has earned for himself some renown, and not without fully 
 deserving it. 
 
 The peculiarity of his coloring renders it extremely difficult for 
 the Photographic Art to reproduce the rich, warm browns he throws 
 into all his works. The composition of this picture, which is all we 
 can convey by the copy now before us (color, we feel, being more 
 missed in this than perhaps any other in the entire collection), is 
 really excellent, and it has always been a decided favorite with both 
 the artists of America and the public visiting the gallery. 
 
WINTER SCENE. 
 
 (By G-. SAAL.) 
 
 This work has been pronounced by judges, one of the best 
 specimens of the master. The air of frigidity is over it all, and 
 the fox appears to realize most fully the desolation of the scene. 
 The sombre background is in keeping with the wintry presence. 
 
 Winter is come again, * * * 
 
 * * * and the strong earth 
 Has laid aside its mantle to be bound 
 By the frost fetter. * * * 
 
 * * * And there is laid 
 An icy finger on the lip of streams, 
 And the clear icicle hangs cold and still, 
 And the snow-fall is noiseless as a thought. 
 ****** * * 
 
 It is a season for the quiet thought, 
 
 And the still reckoning with thyself. * * 
 
 * * * * * It is well 
 
 That winter with the dying year should come. 
 
 P. Willis. 
 
■ 
 
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ENTRANCE OF COLUMBUS INTO BARCELONA AFTER HIS 
 DISCOVERY OF AMERICA. 
 
 (By PLUDDEMANN.) 
 
 About the middle of April Columbus arrived at Barcelona, 
 where every preparation had been made to give him a solemn and 
 magnificent reception. The beauty and serenity of the weather in 
 that genial season and favored climate, contributed to give splendor 
 
 to this memorable ceremony. 
 
 * * » » » * * » -» # ft * 
 
 His entrance into this noble city has been compared to one of 
 those triumphs which the Romans were accustomed to decree to 
 conquerors. First, were paraded the Indians, painted according to 
 their savage fashion, and decorated with their national ornaments of 
 gold. » 
 
 After this, followed Columbus on horseback, surrounded by a 
 brilliant cavalcade of Spanish chivalry. The streets were almost 
 impassable from the countless multitude ; the windows and balconies 
 were crowded with the fair ; the very roofs were covered with spec- 
 tators. It seemed as if the public eye could not be sated with gazing 
 on these trophies" of an unknown world, or on the remarkable man 
 by whom it had been discovered. * * * * * 
 
 And the majestic and venerable appearance of the discoverer, 
 so different from the youth and buoyancy generally expected from 
 roving enterprise, seemed in harmony with the grandeur and dignity 
 of his achievement. 
 
 Washington In'inff's Zifc and Voyages of Christopher Cohtmbus, Book V., Chap. VI. 
 
SCENE NEAR DRESDEN 
 
 (By FULIAN.) 
 
 It is full of life. The busy women washing their clothes in 
 the running stream ; the young urchins, driving into the brook yon 
 flock of geese, whose cackling noise has brought out their owner 
 from his work, and who stands there vowing vengeance on their 
 heads, and shaking his stout cudgel, which he longs to lay across 
 their backs, is capitally introduced. His Frau, leaning over the 
 balcony, is evidently speaking to the friend below, who stands 
 with upraised head, and her back turned to the spectator. 
 
 There is a truth to nature in the whole of this picture that 
 cannot be excelled, and which has earned for its author, the un- 
 qualified praise, of both artist and connoisseur. 
 
THE OBSTRUCTED WELL. 
 
 (By CARL HUBNEE.) 
 
 A quaint and quiet bit of rural flirtation. Two young maidens 
 have sought the spot to fill their pitchers from the well, when 
 suddenly they find themselves prevented from doing so by a rustic 
 swain, who quite clearly is demanding a toll— of a kiss, no doubt- 
 prior to permitting them to complete their mission. The old 
 grandfather— fondly nursing his favorite grandchild— looks admir- 
 ingly at his young male friend, and it is not very difiicult to read 
 in the old man's face that "there were days" when he, too, had his 
 jest with the best of them. The attitude of that sturdy buxom girl 
 in the foreground is capital— one can almost hear her replying to 
 the banter and the jest of the gallant youth, while her companion 
 stares at him as if amazed at his boldness. This painting displays 
 the great versatility of Hubner's talents. 
 
Hi) 
 
 LANDSCAPE— NORWEGIAN SCENERY. 
 
 (GUDE.) 
 
 This is a painting which at once arrests attention, and challenges 
 criticism. By connoisseurs it has been pronounced one of the best 
 landscapes in the country. The Albion remarked: "The treatment 
 is masterly. The aerial perspective ; the vapor from the falling 
 water ; the quiet tone of the foreground ; the sense of solitude, 
 befitting the scene, despite Bruin ; and a pathway running upward 
 by the stream — here is a combination of excellence that makes up 
 a very perfect picture." The two bears — one coming down the 
 rocky pathway, the other lying down, licking his paws — add to the 
 feeling of loneliness and grandeur which pervade the scene. 
 
 My pictures are landscapes, unfading and true, 
 Each set in a frame of magnificent blue ; 
 The Master who painted retouches them still; 
 No mark of His pencil hut tells of Sis skill; 
 Each moment they change, and new "beauties unfold: 
 Now tinted with lead, and then burnished like gold' 
 I view them at morning, night's curtain undrawn, 
 The lake and the mountain, the wood and the lawn, 
 When gently the breath of the murmuring breeze 
 Comes laden with fragrance from blossoming trees; 
 When slowly the sunlight retires in the West, 
 And sweet to the lab'rer comes coolness and rest, 
 The moon lights each scene with her silvery ray — 
 The night has a glory unknown to the day; 
 When bright in the meadow the fire-flies glance, 
 And look, through the leaves, like the stars in a dance, 
 While spirits unseen whisper Hope in my ear, 
 And earth is so lovely that heaven seems near. 
 
 IVm. Denton. 
 
 s 
 
 1 
 
THE HOLY CHILD. 
 
 (By ANDREAS MULLER.) 
 
 The exact size of the original painting, which is a perfect gem. 
 This artist must not be confounded with Carl Muller, the painter of 
 the " Madonna and Child " (also in this collection) ; their works are 
 totally different in feeling, color, and manner of handling or execu- 
 tion. Andreas Muller ranks with the highest names in the Diissel- 
 dorf school of painters who make religious subjects their special 
 study. His works are much sought after, and command very large 
 prices. Whilst in Diisseldorf in 1860, we saw a picture by him, of 
 about twice the size of the one under notice, for which one thousand 
 dollars was demanded, and we have learned, since our return, it has 
 been purchased by the King of Prussia. 
 
 "Peacefully He sleepeth — all hallowed be His rest, 
 Enibower'd amid the summer bloom of Elysium the blest." 
 * * * * * * * 
 
 JOHN P. CURRY. 
 
THE YOUNG MARRIED COUPLE. 
 
 (By HUBNER.) 
 
 The Honeymoon is scarcely over, and all is sunshine in the sim- 
 ple home of "The Young Married Couple." German-like, the man is 
 enjoying his pipe, whilst the busy wife is working at her needle, 
 listening perchance, with cheerful heart and smiling face, to him, her 
 lover-husband, who now recalls some happy scene of those bright 
 days when first they met, and meeting, loved. 
 
 The youthful faces in this picture are fidl of hope and happiness. 
 
■ 
 
 41 I 
 
THE SETTLED LAWSUIT ; OR, A WINE-GROWING PEASANT AND HIS 
 PETTIFOGGING LAWYER. 
 
 (By HUBUEE.) 
 
 It is one of the cleverest bits of humor ever painted by this 
 talented artist. The Pettifogger is a model of his tribe ; the cunning 
 leer of his eye is admirably rendered, whilst the perfect satisfaction 
 and content depicted on the face of the simple-hearted chent could 
 not be excelled. There are many larger works of Hubner's for which 
 we would not exchange this little gem — that is, were we the fortu- 
 nate possessor thereof. But we rejoice in being able to announce the 
 fact that it is now placed in the same collection as "The Wood 
 Stealers," also by this artist. 
 
AN ALPINE SCENE. 
 
 (By PTTLIAN.) 
 
 This work has always been highly esteemed by connoisseurs, 
 and deemed a good representative specimen of Pulian's powers. The 
 scene is full of life; the effective treatment of both light and shade 
 is most excellent : nor is the harmony of tone which pervades it 
 the least worthy portion of the work. 
 
 It is deeply to be deplored that the fine Gallery of which this 
 once formed a part, and that was located in our midst for so many 
 years, shoidd now, owing to these sad and troublous times, have 
 been broken up, and the pictures sold, and thus become scattered far 
 and near, many of the best having found their way back to Europe. 
 
 "When this work was commenced, there was no probability of 
 such being the case. It will, however, render still more valuable 
 this collection of photographs (taken directly from the originals), as 
 they are the only means left to us by which we can renew from 
 time to time our acquaintance with most of the principal works of 
 the famous " Diisseldorf Gallery " of New York — an institution now 
 passed away. 
 
AUTUMNAL STORM. 
 
 (By SCHIRMER.) 
 
 THE FOREST LOOM. 
 
 Through the woods the wind is flying, 
 
 Like a shuttle through the loom, 
 Weaving garlands from the dead leaves, 
 
 For the dead, red Summer's tomb : 
 
 Weft of black, and brown, and golden, 
 
 Weirdly whirling, as it weaves 
 On this forest loom so olden, 
 
 Chill, fantastic pall of leaves. 
 
 And the trees, like mighty spindles, 
 Whence the warp and woof are rolled, 
 
 Vibrate grimly in their bareness, 
 And seem human in the cold. 
 
 And the autumn shrubs, like red men — 
 
 Tawny sons of grove and gloom — 
 Shrug aneath the motley garments 
 
 Woven on the forest loom. 
 
 And the earth is chill, yet swarthy; 
 
 And the red sun seems more red, 
 As an eye unused to weeping ; 
 
 And the streams sob, " Summer's dead." 
 
 JOHN SAVAGE, 
 
 Auihor of " Sybil; 
 
 a Tragedy. 
 
THE DEATH OF THE POACHER. 
 
 (By CARL HTTBNER.) 
 
 One of the most popular works of this celebrated artist, and was 
 intended as a satire on the justice of the forest-rights, or manorial 
 privileges, held by the nobles of Germany. Mr. John Savage, a gen- 
 tleman well known for his literary talents on both sides of the Atlan- 
 tic, has favored us with the following original lines, which are full 
 of feeling, as well as fine descriptive power: 
 
 THE DEATH OP THE POACHEE. 
 
 Athrough the crunching underwood the wild boar madly came, 
 With lashing tail, and gleaming tusks, stiff mane, and eyes of flame. 
 
 Through golden crops, through tangled copse, he, fiercely plunging, tore — 
 All seemed but withered fibres to the rage-expanding boar. 
 
 Through leafy screen, and rough ravine, through lane and plain the brute 
 Makes head, and in the cotter's field at last eludes pursuit. 
 
 " Ho ! Hans, be quick ! take in the child — bring out my trusty gun ! " 
 Hans fled, and came — the cotter fired — the wild boar's race was run. 
 
 But wo, alas ! what came to pass : the forest ranger saw 
 The deed, and shot the cotter down, to make him " keep the law." 
 * * # # * 
 
 Herr Graff and staff, feast, laugh, and quaff that night, with beakers red : 
 The cotter's home is desolate — its head, its heart lies dead. 
 
 'Tis royal sport for king and court to hunt the grizzly boar : 
 
 But woe unto the poor man who dares hunt him from his door. 
 
 JOHN SAVAGE, 
 
 Author of " Sybil" a Tragedy. 
 
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STORM IN AUTUMN, WITH STAG-HUNT. 
 
 (By LANG-E.) 
 
 A very successful and pleasing picture by Lange, an artist of 
 considerable reputation in the Diisseldorf School, and who — to quote 
 from a well-known art-critic of New York— "has conveyed the im- 
 pression of a hot, damp wind with the happiest effect. The low, thin 
 clouds are well painted, and in good keeping with the subject." 
 
 This work has always been a great favorite with the visitors to 
 the Gallery— more especially those who are lovers and admirers of 
 the exciting sport of deer-hunting. 
 
THE WOOD STEALERS. 
 
 (By HUBNEE.) 
 
 In this work the artist has portrayed most vividly the affright 
 of the boy, who, perceiving the keeper of the forest in the distance, 
 hastens to awake the old man from the slumber into which he has 
 fallen whilst sharing their noontide meal. Though we do not perceive 
 the face of the girl, yet from the action of the figure we can readily 
 conceive her look of fear and horror lest danger should befall her 
 aged grandsire. 
 
 This picture is now included in the collection of one of 
 America's most liberal art patrons. 
 
THE CONFIDENTIAL FRIENDS. 
 
 (BOSER.) 
 
 The artist has here treated us with a charming cabinet pic- 
 ture. Little dreams she who has been so intent upon her book, 
 that her friend, full of innocent mirth, withholds from her the 
 letter so long looked for — so anxiously expected. See the playful 
 smile upon the young maiden's face as she leans over the chair, 
 with words of friendship and of love, that half conceals the happy 
 news she bears. We can imagine the sudden start with which 
 the elder of the twain — who sits with book in hand, so calm and 
 so composed — would bound to grasp those welcome lines of love 
 from him, the idol of her heart. How truly well the story it is told. 
 
HE