fire-place, afforded an opportunity of which the artist did not fail to avail himself, to produce an excellent effect of light and shade. The grouping of the children is good, but the coloring on the different faces seems rather too cold and white. We do not exactly know how to account for it, but certain it is that this picture recalls to memory Burns' poem of the Cotter's Saturday Night. The same love, doubtless, of the simple charms and social enjoyments of humble life, actuated both painter and poet; but we miss the good housewife and the blooming and bashful maid, so vividly portrayed by the latter. Pictures of this kind belong to a school, of which Sir David Wilkie may be said to be the head and founder. There is a wide field for the display of genius in their treatment. They approach nearly to those of the Dutch painters, but are somewhat more elevated; the chief object not being mere mechanical finish, nor minute individual representation, but to embody the poetry of the affections, as seen in the cottage of the farmer and peasant. T he admirers of epic and dramatic painting may look down with indifference, if not contempt, upon works of this order; yet the subjects are well worthy the highest species of talent that can be devoted successfully to them. Gray, Goldsmith, and Burns, did not disdain them, and why should the limner? As we have said before, there is beauty in every department of art, and this has its peculiar merits of brilliant execution, and of sentiment, and character, as appertaining to a class which may be found all the world over, though attired, it must be confessed, in divers national costumes. To the benevo lent man of genius there can be no task more congenial than to depict the varied phases of humble life, teaching a lesson and a moral to the favored ones of the earth. Wilkie, himself, has invested the cottage of the peasant with a thousand charms of which it had not hitherto appeared susceptible, and much yet remains to accomplish. The pencil which painted the "Blind Fiddler," and the pen that wrote the following well remembered lines, were surely guided by the same poetic and philanthropic spirit:

"Let not ambition mock their useful toil,
Their homely joys and destiny obscure;
Nor grandeur hear with a disdainful smile,
The short and simple anuals of the poor."

We have said much of the poetry of art, but were we to treat every subject which comes under that denomination, we should far transgress the limits of this article. The choice of theme, is, however, so important to the character of a picture which aspires to the beautiful, of whatever kind, that we shall make some remarks showing the necessity of giving it due consideration. As regards landscapes we speak more particularly. A locality should not only be interesting from historical association, or celebrated as the scene of some remarkable domestic event, or curious from antiquity, but should be distinguished by beauties perfectly independent of these causes for selection, in order to be worthy of the painter. We have an admirable illustration of our meaning in Mr. Cole's picture of the arch of Nero, which forms part of the aqueduct near Tivoli. What in the name of good taste is there of the beautiful in this arch, or in the landscape? We have never seen anything worse adapted to pictorial effect. Usually, in works of this description, we have at least some vestiges of architectural beauty, but here there is nothing of the sort. A huge pile of unmeaning red bricks forms the chief object, which is varied, to be sure, by an old bridge, some distant hills, and in the foreground, an abundance of rich, green foliage. To make a pleasing picture from this would have required greater powers than even the best landscape painters possess. Most assuredly Mr. Cole might, with at least one-half the labor and talent he has here evinced, have produced a work infinitely more agreeable. It is valuable, certainly, as an exact transcript of the spot, but nothing more, and cannot fail to give those who are unaware of the great difficulties he had to contend with, an unfavorable impression of the painter's really great abilities. Another very important principle which this work suggests to us as being necessary to impress upon the mind of the reader, is, that however beautiful may be the execution of particular parts, unless the general effect be harmonious, the picture is far less valuable than if some of these were neglected. to the advantage of the general effect. In looking at each particular object here, we find the execution bold, and the coloring rich, but the picture, regarded as a whole, is sadly deficient. This may have been owing to the local difficulties presented by the subject, but it is probably as much in consequence of a confused idea of light and shade.

There are some painters, though we should hardly suppose Mr. Cole to be of them, who, knowing that nature is always beautiful, and yet unable to classify her varied charms, commit great errors by an illiberal choice of subject, and limited knowledge of the beauties of style. To these we would say, in the words of the poet, to choose the golden mean,

"Nor yet to nature such strict homage pay,
As not to quit when genius leads the way,
Nor yet though genius all his succour sends,
Her mimic powers though ready memory lends,
Presume from nature wholly to depart,
For nature is the arbitress of art.

In error's grove ten thousand thickets spread,
Ten thousand devious paths our steps mislead.
'Mid curves, that vary in perpetual twine,
Truth owns but one direct and perfect line."

Had the painter duly considered the principle contained in these lines, he would, probably, never have begun this heavy, and, despite the locality it represents, uninteresting landscape. The chief characteristic of this work is the boldness of the execution; but the opacity of the clouds would lead us to infer, did we not know the contrary from an examination of several of Mr. Cole's previous pictures, that he has yet much to learn of the ars celare artem, and that he is devoid of refinement of thought.

The

The visitors to the exhibition of last year will have remembered Mr. Deas' picture of the "Death Struggle," which is one of the most spirited and effective works ever hung upon its walls. This painting displayed powers of a very high order, and the admiration it elicited was general and enthusiastic. The same artist shortly afterwards produced one entitled the "Oregon Pioneers," which was so inferior as to have led us at first to doubt that it was executed by him. There has seldom been a more lamentable falling off. This work has been treated in the most careless, and certainly not the happiest style of the painter. The coloring is gaudy, and the composition devoid alike of that species of grace and character that we might naturally have looked for in the treatment of this subject. The faces appear to have been drawn from one model, and that a somewhat unmeaning one. poney introduced, which is partially hid, is, with the exception of the head, remarkably defective. The artist has carefully concealed the legs and feet in order to avoid the trouble of painting them. That he could have done so with the greatest success is amply shown by the many admirable horses he has painted. Mr. Deas, when he puts forth all his capabilities, is one of our ablest painters. In the delineation of Indian life and physical characteristics, we believe he is unsurpassed, and it is therefore matter of regret that he should allow any work to leave his easel which cannot be regarded as at least equal to those he has already produced. The subjects in which he excels, fortunately admit the display of a knowledge of the figure and bold execution, and these requisites he possesses in an eminent degree.

We look forward with pleasurable anticipation to some picture by this gentleman which is really worthy his reputation.

The peculiar province of artistic genius is no where so evident as in those pictures in which but two or three figures are so treated as to tell an entire story, or convey many subjects of thought to the mind. We remember having seen a work of this class at the Louvre, and the wonderful effect it produced on us.

The horrors of the deluge-its immensity, and influence upon those who were not permitted to enter the ark, are explained in the most vivid manner, by means of one family of three or four persons, and a "bit of landscape," the latter occupying about one-eighth part of the work. The father, endeavoring to climb a rock, has caught hold of the branch of a tree, which breaks in his grasp. His wife and children hold him by the limbs, and all seem in momentary danger of falling into the rising waters beneath. It is the last struggle for existence, and its effect is admirably portrayed in the convulsive expression of the different countenances. In Ranney's "Dead Charger," one of the works recently distributed, a good deal of the power to which we have alluded is evinced. How much is expressed by this sketch of the soldier's horse, as he lies deserted on that bleak spot, and the bird of prey hovers over him! Where is the gallant rider; has he, too, fallen in the conflict? Mayhap this charger hath borne him swiftly through many a glorious battle-field-was his especial favorite-dear to him as one of his own kindred; and yet, such is the fate of war-they are separated forever. No more shall the trumpet's shrill, enlivening blast, rouse him from his sleep.

The "Flight into Egypt," by G. L. Brown, displays some effects which remind us of the works of the old masters. This is particularly the case as regards the coloring, which recalls that of Claude Lorraine and one of the Poussins. But there is a certain minuteness of touch and finish which interferes with the general effect, and a flatness and hardness in the foliage, that are not by any means likely to elicit approbation. The figures, too, are poor, and the Gothic objects introduced-for instance, the tower and bridge-are, if we mistake not, but ill suited to the subject. The glowing and oriental effect of the sun, however, as it gilds the various objects with its receding light, brings vividly to mind the beautiful lines with which Lamartine commences one of his poems,

"Le roi brilliant du jour se couchant dans sa gloire,
Descend avec lenteur de son char de victoire."

This picture, with all its faults, belongs to a very elevated school of landscape painting. We should not omit to speak of two moonlight Venetian scenes by the same painter, which have been greatly admired. They are, apparently, touched with much boldness, and in one of them, at least, the figures are excellent, but the architectural details are perhaps not quite as accurate as we could have wished. The general effect of both is so good and pleasing, however, that we entertain much hope of this gentleman's future preeminence in the treatment of this class of pictures.

The Cattle Piece, by Mr. F. H. Hinckley, is a very highly finished and pleasing work, in which a number of cows and sheep are variously grouped. The drawing is admirable, and the coloring of a warm and charming description. We do not admire this painter's mode of touching his trees, however, which is entirely too minute and labored. Indeed, the chief defect of this picture, as observable throughout, is the excessive desire it manifests, on the part of the artist, to finish highly. This is a sort of ignis fatuus which has deluded but too many painters. We have referred to it before, and shall content ourselves with observing, that as the mind is generally satisfied with regarding the general features of natural objects, but seldom looking for detail, so should the painter aim at general character, finishing as highly as he can consistently with that degree of harmony which distinguishes the works of all the great masters.

We have spoken perhaps with severity of several of these pictures, but they are nevertheless productions of considerable merit, and decidedly some of the most important in the exhibition. There are a great many still unmentioned which belong chiefly to the lesser schools of art, requiring, for the most part, little intellectual power; but some of these are distinguished by the peculiar beauties of rich coloring, finished execution, and local interest, which render them valuable and popular. Our intention was to have taken up all the works of American art within our reach, whether in this or other exhibitions, treating first of the above in consequence of the late distribution; but we must content ourselves with having only partially achieved our object.

It would require a survey of all the best works of America to illustrate fully the loftier as well as the humbler phases of the beautiful, whether in nature or in art. We are well aware that the remarks we have presented are somewhat deficient as regards the general harmony we have recommended, and which requires all minor things to subserve and illustrate those primary laws on which nearly all successful works are based; but this must be attributed to the irregular gradations of beauty, and comparatively small number of pictures of the ideal class afforded by the exhibition. In the expression of the random thoughts the above pictures have suggested, however, we have sought to impress upon the reader's mind several very important principles, and we shall leave to some future occasion the completion of the agreeable task we have undertaken, of illustrating, as far as possible, the countless diversities of the poetry and philosophy of the fine arts.

ASTRONOMICAL OBSERVATIONS.*

BEFORE noticing the contents of this interesting volume, we propose giving a brief account of the Observatory at Washington. This observatory is the result of an Act of Congress, passed in 1842, for the erection of a "Depot of Charts and Instruments" for the Navy, attached to the Naval Bureau of Ordnance and Hydrography. Judge Upshur, then Secretary of the Navy, an able scholar and statesman, gave full effect to the appropriation and to the aim of Congress. He caused information to be obtained, both at home and abroad, for the plan of the building; and instruments were ordered from the most skilful workmen in Europe, of a size and capacity calculated to insure the success and credit of the observatory.

These objects were accomplished by the autumn of 1844, when the duty of putting the observatory into successful operation was happily devolved upon Lieut. Maury, of the Navy, an officer of fine talents and scientific attainments, and whose standing in that profession for which the Nautical Ephemeris is intended, occasioned his detail for this duty to be received with high confidence and satisfaction. No one can feel so fully as the seagoing man how much the success and safety of the navigator depends upon a good Nautical Almanac. This feeling, added to the sea-officer's custom of observing the heavenly bodies, and the habit, also acquired in his profession, of watching diligently by night, makes the discharge of the duties of this nautical observatory, by the officers themselves, as appropriate as it is confessedly economical. This part of the Navy Department has no patronage to dispense, and depends for its popularity upon the extent and accuracy of its performances. The volume now presented to the public gives flattering evidence of what the talent and industry of the navy will accomplish for the benefit of navigation, the cause of science, and the credit of the country. We have tested these observations, made at Washington, by that acknowledged standard, the Greenwich observations, and find that the work of our countrymen bears this high comparison with credit. The Greenwich volume for 1843-the last published-contains 2,600 transit observations, and 3,100 with the mural. The Washington volume has 3,100 with the transit, and 2,000 with the mural. The discrepancies with the latter instrument at each observatory may be thus shown. Of the observations

Green'h vol. Wash. vol.

Whose extremes differ more than 7 min. there are in the

Here is a satisfactory illustration of the capability of the Washington observers the result of their first effort, and showing that their instruments have been used with diligence and great skill. The application of the collimating eye-piece accounts in part for the accuracy of the observations made at the Washington observatory, and has led to the discovery of sources of error in instruments which appear heretofore to have escaped the vigilance of astronomers. Lieut. Maury, in his report to Mr. Bancroft, (under whose administration of this branch of the service the observatory was fostered and protected,) says

"In illustration of the patient diligence and care which the officers have been required to bestow upon their observations, and the pains which they have taken to free their work from every source of error, however small, which it has been possible to provide against, I beg to call your attention to the constant use and manifold applications which have been made of that most exquisite among the implements of practical astronomy, the collimating eye-piece. The observations abound with evidences of its use; but perhaps they are most striking in the printed observations made with the mural circle. An examination of the seven columns headed Nadir Point Microscopes,' in the lateral margin of the right-hand page of the mural observations, will show you that it has enabled the observer to detect, with almost unerring accuracy, the slightest changes as to the normal points of his instrument. It would, perhaps, be going not too far, to say that the Nadir Points' there quoted give the chief value, whatever it be, which the observations of this instrument shall be found to possess.

"The constant use which I have made of it, in the adjustments of the instruments, has revealed an imperfection in our beautiful prime vertical instrument, which otherwise, perhaps, would have been but barely suspected. The telescope is here supported, not between two piers, as a meridian transit instrument is, but is attached to the end of the axis, and rests on the outside of its piers, as per drawing, Plate IV. This axis is a highly polished steel cylinder, 114 inches in cir

cumference.

"The distance between its point of support and the telescope, which, however,