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EXPOSITION AT VIENNA.
exception of the galleries of France, the Netherlands and England, really impressive pictures were rare in the Art Hall. I come now to speak of a collection that must have appealed to every American at least, our own display of pictures. Impressive these works certainly were, but, unfortunately, disagreeably so. Yery limited in numbers, the pictures sent represented art in America even in a less degree than our meagre display in the Industrial Palace gave an idea of the industries and trade of America. Without entering upon the history of the formation of this collection,—an experience it will be well to profit by in the future,—a brief review of the pictures sent will satisfy those interested in art, not especially as American art, but in universal art with its acknowledged standard of merit, that it would have been fin’ better for our artistic reputation if we had not figured in the Art Hall. One of the wisest movements of the Commission under the charge of Mr. Schulz, was to declare the art exhibit unworthy a place among the other displays of pictures, and only at a very late hour, and after a great deal of persuasion, was the Commission induced to hang the pictures at all. Exceptions were, however, always made in favor of the landscapes of Bierstadt and McElkins, and of Healy’s portraits.
Pius IX., by Healy, hung in the Belgian annexe, and compared very favorably with Gallait’s portrait of the same personage. In the other portraits Healy was seen less favorably» for they were neither remarkable for richness of color or strength of line. T. S. Noble’s John Brown, represents, as the name indicates, an event, or at least an imagined event, m the life of this patriot. On his way to the gallows, under a squad of soldiers, in the dress of Revolutionary times, he stretches out a rather unanatomical hand to bless a little negro child, supported by the very peculiarly constructed arm of d s mother. It is unhappily conceived, w T eak and monotonous m color, awkwardly composed, and without the saving graces of a good drawing or passable relief. Still, by the side of th e genres of Henry Mossier, John Brown is a triumph of art- These genres were from home motives ; there is no question about the locality of the source of their inspiration. A companion pair, called The Lost Cause, was especially prominent from the lack of all good qualities. In the first, a young fanner