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EXPOSITION AT VIENNA.
hand, Christ repels the Pope, borne in state to meet him, and the priests and bishops turn amazed, and, in their terror, flee. Jesuits gather up their treasures with miserly eagerness, and shrink away from the radiance of the Saviour. Fully as forcible in expression is Luther and the Vision. The Pope on his throne, a dead body, with a dagger sticking in its heart, a nun, stifling an infant, the symbols of ecclesiastical power and rank; at this vision, Luther rises, and, with a gesture of the most violent indignation, raises his inkstand to hurl it at the apparition. The stern face of Luther is a study of expression, successful in a rare degree, and the force of the sermon is not lost by indecisive lines or weak execution. Very delicately given is Raphael and his Model in sepia, drawn with much of the grace of Raphael himself, and full of sentiment. The face and form of the model and the naked infant, the pose of the artist, as, in the warmth of his love, he embraces the beautiful woman, all is so full of refined grace, in delicate harmony with the delicate sentiment of the scene, that it seems an inspiration from the master. Two landscapes w r ere shown by Meszoly, of an extreme simplicity of line, and equally unaffected quality of color, and these alone were of distinguished merits.
There lies before me, as I write, a human hand, delicately carved in alabaster. The workman has used his tools with the greatest skill; he has indicated the minute folds of the skin, has shown the prominences of the bones and the lu ics of the tendons, and has hollowed every dimple. TVith all this care, he has but feebly represented the human hand, and the ornament, instead of pleasing, shocks the e3 T e. Th e reason is evident: the proportions are all w T rong ; the thunih bears no relation in size to the fingers, the phalanges are too long for the metacarpus, and the movements are false and stiff. In his religious observance of detail, the workn ian has failed in the one great point—character. The roughest sketch in clay, with the right proportions, and perfect movements, is more attractive, a thousand times, than this marvel of detail and finish. This hand illustrates perfectly the Eng' lish system of art instruction. In all the English school» carried on after the South Kensington model,—and indeed m such other English art institutions as have come under Cy