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EXPOSITION AT VIENNA.
only, with a very natural movement, turns his head to watch the pursuers just appearing over the brow of the hill. The action is full of life and perfectly expressive. Side by side with this manly, honest work, hung several prettily painted, feebly conceived scenes with Pompeian women, posed and grouped and expressing nothing. One would hardly believe them to be by the same artist.
It is not my intention to discuss whether it is the province of art to deal with metaphysical, psycological or philosophical questions, but I will salute in passing, a volume of satire by Glaize, which he calls The Spectacle of Human Madness. He has represented four scenes : the biblical massacres, the Christian martyrs, the heretics and the slaughters in the French Revolution, and has given them all as if he painted on a panorama, while the artist himself, with an anxious look and half apologetical shrug, stands on the stage in front to explain the illustrations.
Few portraits were shown, possibly because there were few good ones to send. Nelie Jacquemart exposed by far the best and much the larger number of heads. With an almost too rigid observance of actualities, she joins a delicate sense of color, a love for harmony and a great facility for executing with remarkable precision of line and relief of form. Occasionally the portraits are somewhat labored, but she enters so well into the life of the personages she portrays, that one can make their acquaintance from her portrait of them. Contrasted with Carolus Duran, Mile. Jacquemart gains by the unaffected simplicity and natural movement in the poses, and a far greater capability of suggesting the fleeting expressions of her sitters, beside being undeniably the better colorist. Henri Regnault, one of the most promising of the young French artists, unfortunately killed at the battle of Buzenval, January 9, 1871, may be ranked among the portraitists for his equestrian portrait of General Prim, if for no other attempt of the kind. The General is seated on a black horse, settling into the saddle with a very natural movement as he reins up the charger and faces to the front. The animal, though strongly touched, is too evidently from a photograph, with the exaggerated perspective of the hind quarters and the magnified head and neck which almost dwarf the rider. The background