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EXPOSITION AT VIENNA.
able admiration for the peculiarities of type and costume of their people, and their productions are for the most part every inch Russian. The pictures of Wladimir E. Makovsky possess these qualities of national character in a superlative degree. The most prominent among them was Butterweek, a scene at the annual fair in Saint Petersburg. It is a cold winter’s day, the ground snow-covered, the air full of frost, and the smoke hugging the earth and adding to the chill aspect of the streets. In the background are seen through the smoky atmosphere the outlines of large buildings, and a row of multi-colored booths runs back into the distance. In front is an immense crowd, all intent in the diverse amusements afforded by the shivering clowns and ballet-dancers, who can scarcely Jeave off hugging their fingers long enough to play their brief parts outside to attract the pleasure-seek- 1 ers into the warm tent. The little stands of the sellers of hot tea are besieged by the thinly-clad showmen, and the steaming drink warms many a shivering body. Everywhere is present the pinching, piercing cold, and the accompanying love of warmth possesses each heart. In the multitude of people we find every class, from the coarsely-clad peasant to the noble in his rich robes, or the man of fashion ogling the ladies with the air of a true snob. Incidents are superabundant, and from this single picture one could draw a thousand motives. Aside from the general aspect of the scene, there is an endless source of interest in the multitude of figures, each of which is a masterly representation of type and national peculiarities. Another very typical illustration of Russian customs is Towing on the Wolga , by E. E. Riepin. A motley. row of laborers, leaning on the broad bands that are attached to the tow-rope of a Chinese junk, march slowly along the flat river-bank with that listless patience common to their class. The landscape is dry and burning ; the strong, hot light of a southern sun beats down upon the gang and casts cool shadows upon the dusty track. Each figure is marked by individuality of pose or gesture, from the shockheaded burly fellow in the front, to the tall, slim youth adjusting the belt across his chafed breast, and, though not strong in color, there are very good qualities of drawing in the group.