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EXPOSITION AT VIENNA.
several portraits, one of Emperor Francis Joseph, more noticeable for the almost feminine weakness of touch and religious precision of line, than for any great force or character. Meis- sonier has a diligent follower, in the person of Pettenkofen, who fairly flooded one room with diminutive panels of such subjects as the Bathing Gipsy, Maiden under the Gate , and like figures, expressing nothing, and only valuable as proofs of a more than ordinary facility. Some of the tiny pictures were, nevertheless, attractive, but all appeal more on the score of execution than sentiment. The Hungarian Shepherd Wagon, a rude cart filled with a rollicking crowd, clashing along a dusty road, was one of the best of the scenes. In a like way, Herbsthofer recalls Isabey in his selection of subjects and in his free execution, by no means approaching this artist in strength of color or vigor of manner. The figures of Herbsthofer are full of life and touched with a chic seldom found outside the ranks of the French artists.
Thoroughly German in its treatment, and charming in sentiment, is The Fugitives Caught, by Kurzbauer, a pupil of Piloty. The situation is well chosen. A young couple are surprised in a country inn, where they are resting after the fatigues of the first stage in their elopement flight, by the angry mamma who has followed them. The young man rises with a proud look of mingled anger and disappointment, and the girl hides her face in her hands overcome by the unexpected presence of her mother, who regards her with a wonderfully
well given expression of reproach. In the faces of the assem- bled guests and the landlord’s family, is found the same masterly rendering of expression, and even to the look utter irresponsibility on the florid countenance of the footman who accompanies the mother, every touch is full of truth and life. In the management of the light, as well as in the sobei color and quiet range of tone, are found equally commend able qualities. Leopold Müller inclines to the school of tb e Netherlands in his devotion to the beauties of color, dlt ^ Well, recalls the solid, quiet gray paintings of several D utc artists, and in The Home Altar, a young girl kneeling nt *■ domestic shrine and lighting the candles, there is tar m° ie enchantment in the beautiful tones than in the sentiment* William Koller, a pupil of Baron Leys, suggests his mast el