REPORT OF MR. MILLETT.
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young- girl pawning the portrait of her dead mother, his reputation, which is a fortune to him, seems unfounded. It is treated in unmistakably German style. The pictures of Dominico Induno are marked by a rare facility of execution. His Too Late is beautifully painted, and the individual heads perfect in character. This picture is essentially a social one, and the subject not old. The young bride is in the hands of her maids, who put the last touches to her toilet. The anxious papa, watch in hand, is evidently muttering curses at the delay of the groom, while the mamma and the guests are more politely impatient. There is no affectation of expression in pose, and it attracts from its truthful simplicity. There is some excellent color in Capriani’s courtyard, with monks and servants, and very skilful handling ; also in the Pigeon Feeding in Venice, by Faecioli, a scene familiar to every one who has visited that city. The doves in their confusing movement are especially w r ell indicated. There w r ere a large number of portraits, and Victor Emanuel and the Princess Marguerite figured frequently in rigid poses and formal costumes. In landscape there was a great deal of the German influence visible. A twilight, by Pasini, with a good deal of feeling of fading light, and another by the Cavalier Formis, a boating party on a lake, were both noticeable. The review of the Italian landscape, without a mention of the Campagna, would be a rare anomaly. This ever-fertile theme was interpreted with an unusually strong touch and a hearty admiration for brusque oppositions, by Vertunni, wdio sent a series of broadly painted landscapes of varied subject, all wuth remarkable qualities of light, but a trifle scenic in the rudeness of the contrasts.
In Russian art, as seen at Vienna, there is a prominent national character. The influence of the French school was particularly noticeable in some cases, but the majority of the pictures were essentially Russian in motive and in expression. The artistic taste developed in Russia, seems to turn aside from the acknowledged channels, and to find the greatest pleasure in new and characteristic ideas. Especially is this true in ornamentation and the decorative art; the works of the best painters are not marked by eminent originality or national character, but the mass of artists have an unmistak-