"Opsn Tour Mourn And Shut Tour Eter."— The class of art to which this subject belongs, is that known among oonnoiseurs by the technical term "genre pictures"— works of the familiar, conversational, domestic sort; a class, perhaps without exception, the most extensively popular of all, especially in this country and in England. The higher and nobler branch of historical painting has always stood first in the estimation and encouragement of the Italians, and of late years of the Germans too, possibly, for the adornment of the interior of their public edifices. But the "genre picture'' is for beautifying and enriching the walls of home, for the parlour, study, or sitting-room; and in whatever land the genial influence of the domestic virtues is most felt, there will this stylo of art be most encouraged, together with portraiture.

The scene of the embellishment now under consideration, is by the gothic entrance to the open court of an old collegiate building, and at a stand for the sale of fruit placed against the wall. The girl who keeps it has evidently just sold a dish of cherries to a youth—apparently one of the students—and is in the act of pouring them into his cap. lie, meanwhile, is occupied ill playing off a well-known trick upon a younger companion, who, with closed eyelids, and mouth wide open, and no doubt wintering with expectation, is confidingly waiting for the delicacy. Hut we see. although he does not, that this is destined to prove "a slip between the cup and the lip," for his amused tormentor pops the brisbt bunch of cherries into his own mouth, and merely touches with a finger of the other hand, the disappointed llp of his friend.

Sharpc, the author of this work, was for many years among the most popular painters of this kind of subject in England, and many of his works having been engraved, are tolerably well known here. One of them, the "Barber Politician," has been a particular favourite. The style of his colouring was rich and agreeably harmonious; his method of composition and effect may be in a measure judged of by the engraving.

"Lrsria," our second plate, is from a picture by Frith, and forms one of that artist's beautiful illustrations of characters in the writings of the poet Moore. It may be presumed that the poem is sufficiently familiar to most readers, and need hardly be copied here entire.especially, too, as it Is mostly devoted to "Nora Creena," for whom tho keen-witted lady is merely used as a foil or set-off.

"Lcsbia hath a beaming eye,

But no ono knows for whom it beameth;
Eight and left its arrows fly,
But what they aim at no one drcameth.
• • • • •
"Lesbia hath a wit refined,

Hut, when its points are gleaming round us,
Who can tell if they're designed
To dazzle, merely, or to wound us?"

"torit And The Angel."—The third plate of this number is from a celebrated picture by Rembrandt van Ryn, ». called, from his birthplace having been on the banks of one of the branches of the Rhine, near Ley den. lie was born in the year 1606, and lived to the age of eighty. In point of originality of style, ho was beyond comparison the most remarkable artist that has ever appeared, not excepting John Martin, whose ideas of ejfict arc clcurly derived from Rembrandt. His most striking characteristic ls intensely powerful effect in light and shade; and next, picturesque arrangement and variety of composition. Hut the splendour of his effects and groupings cannot conceal the meanness and gross vulgarity of his personages, who axe always and uniformly utterly destitute or dignity. This glaring imperfection is no less conspicuous in his scriptural, than in his more commonplace suljects; nor were the costumes of his figures more consistent with the time and place of the piece, than the character of the figures themselves. The painter who, in depicting the

classic story of " Pyramus and Thisbe," represented Pyr»mus clad in modern top-boots and small-clothes, like ft horsejockey, perpetrated no worse anachronism than Rembrandt's ordinary practice exhibits, even in his most serious moods. IIow great, then, must have been the other merits of this artist, that notwithstanding such defects, he should have achieved so mighty a reputation, the glory of which has never yet shown symptoms of waning. The prices paid for his works , long since astonishingly high, continue on the increase; and when the last of his paintings shall have perished under the sure band of time, the printed impressions from his numerous engravings will still survive to preserve and justify his fame. It is greatly to be regretted that the method of engraving called mezzotiuto, had not been discovered before his time, because of its peculiar adaptation to the effects which he always aimed to produce. What he accomplished In engraving, with such rude and imperfect means at his command, suffice to show what wonders of effect would have resulted, had he possessed the facility which the roezzotinto manner would have afforded him.

Rembrandt is represented as being excessively fond of money, and appears to have valued fame chiefly as a means to pecuniary gain. It is related of him, that on one occasion, in order to sell off his stock of pictures accumulated on hand, and at the same time enhance their money value, he pretended to have died, and piocured Um ceremony of a mock funeral. The desired end being accomplished to his satisfaction, the facetious painter resumed his post at the easel, chuckling over the success of the ruse, and proceeded in the production for his customers of" a few more of the same sort." It would appear that a spice of personal vanity was not wanting in his character, if we may judge by the number of portraits of himself which he engraved and published. Of these there are no less than twenty-seven. J. 8>


Stillixg's Pneumatoioat. Edited by the Iter. George Bumh. J. S. RedjUld; .Vie York. Fir Sftfa by Xieber. 286 pp., \2mo. This seems to be a volume of American notions—Rochester knoekings, mesmerism, kc,—done into German metaphysics. It professes to reply to the question, what ought to be believed or disbelieved concerning presentiments, visions, and apparitions, and con tains, first, a very large array of instances of supernatural appearances in all aires of the world, end secondly, a formal theory by which these are all explained. This theory occupies some ten or a dozen pages near the end of the book, and is a con.lensed abstract of the present science c?) of mesmerism. Those of us who have been in the habit of laughing, or scolding, at our good old '* Pilgrim Fathers'* for having had so much Imaginary trouble with the "witches," will have to reconsider our opinions. Perhaps the "Salem Witchcraft" was no sham after all. We recommend to the American editor, in his next edition, to quoto largely from Cotton Mather's Magnalia. The records of the New England colonies are a perfect mine of facts (!) which the mesmerist! have not yet even begun to explore. We would not be surprised if "broomsticks'' were once more to come into fashion, as the most approved method of clairvoyance!

Thi Wours Op Iioeacr. Ity 1'rofessor Lincoln. Appleton«. It is difficult to speak too highly of this admirable edition, which is certainly destined to become classical. It is equally difficult to know which to praise most, the judicious selectfon of the matter, its lucid arraugement, the scholarly elegance that pervades the whole, or the stainless splendour uf its appearance. To turn over its pages is a perpetual feast, equally to the eye and the mind.

N. B. A large number of rcviewi and mitceltanemu noticet have been croxoded oui this month by the press of other

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Fio. 4. Morning Walking Toilette.—Drawn bonnet of , tatln covered with tulle: the border is of blonde, arranged in narrow volunts above and below the edge of the face. Under-trimming of white flowers at the sides.

Robe of blue silk, corsage with basques or small skirt, I divided in several places, three on each side, by incisions extending almost to the waist, but clost.nl in front; the: v hulebones of the corsage extend nearly to the bottom of 1 t!.o basque. The sleoTes are quite close.fitting near tho 1 ■h tulders, but much larger below; they are demi-long,



and open behind to the elbow, exhibiting handsome loose undersleeves trimmed with tworowsofjwt'nf cV Angleterre; on the outer side of the opening, there are three openings* the contour of which is followed by the general edge trimming. Upon tho skirt of the robe are three browd flounces, cut round into largo flowing waves or l/• i's riviere. The opening of tho corsage, the basques, the sleeves, and the flounces , are bordered with a trimming of gathered satin riband, No. 4. Embroidered fichu trimmed with tho same lace as the undersleeves.

Fio. !i. Jitcsption Toilette.—Coiffure; hair turned back over the temples, clearing well off the forehead in such manner as to leave the point clearly marked in the middle. Two largo and long corkscrew curls, starting from behind the ears, fall to right and loft upon the neck. A little puff of white lace is placed upon the hair very far back; this is trimmed below, on one side by a nceud of green and rose ribands, mixed, and on the other, by a graceful branch of moss rose, of which the buds and foliage rest against the cheek. Kobe of white silk, spotted with ~~ branches of roses, buds, and foliage. The llowcrs upon the skirt are small near the waist, but gradually increase in siie toward the lower edge. The corsage is dtci4leti$ square, quite low in front, but much less so behind. The corsage is cut in such fashion as to form upon the hips a small return, or narrow basquine, of rather lemi than an inch in width, which continues to the middle of the back, widening a little, so as to become rather more thau as inch at that point; the point in front is very much elongated, and every edge of the corsage is doubly, but very finely embroidered. Tho sleeves are cut rather longer behind than in front. The skirt is very full, and the plaits at the walst full and open. The skirt Is plain; toe

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trimming of the corsage and sleeves consists of two volant* of lace, gathered and sewn head to head. They are so arranged as to lie open upon the breast and shoulders, bat turn as they approach the waist, until they fall one upon the other, in the same direction, and thus form an edging for the little basquine, which they follow all round. The sleeves are straight, and one of the two rows of lace which edge them, is turned up, while the other, and wider one, falls upon the arm. A chemisette of plaited muslin, terminated by an embroidered edging, appears a short distance above the corsage. Narrow cerise bands, with long ends, around the neck and wrists.

Fio. 6. Dress for a Little Girl of Six Years.—Hair parted and smooth upon the head above the line of the ears, curled below, falling in ringlets upon the neck toward the shoulders. Frock of white taffetas, body straight and gathered, skirt plain, with wide hem, pantalets of embroidered muslin, gaiters.

Fio. 7. Walking XbUette.—Drawn bonnet of crape, covered with crepe lisse; the border of the face is of blonde, separated by a gathered biais of crepe lisse; on each side, at the junction of the face and the crown, is a bunch of pink flowers without foliage.

Robe and mantalet of gray silk stuff, with many fine satin stripes. The corsage is close, high, and with basques bordered with narrow, stamped velvets, of the same shade as the robe. The mantalet is trimmed with three rows of the same velvet, and with a fringe from eight to ten inches broad; this fringe is at regular intervals gaufred, the intervals of plain alternating with the gaufrtd, at about every inch or inch and a half.

One of the prettiest novelties of the season is a morning toilette for a young bride. The robe is of white silk, with a full, plain skirt. The corsage is open in front, and bordered with a revers of lace; at the base of the corsage is a basque formed of a broad volant of lace. This basque is about ten inches wide behind, and at the point of the cor•age in front, about four inches. The slcpves reach to the •Ibow, and are trimmed with two volants of lace, surEQuunted by gathered satin riband, Ko. 4. The chemisette

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