tion to study is like a sharp stinging briar in the pathway of youth. Nos. 55 and 56. Cabinet Interiors, by Demarne. These are diminutive pictures, but are very highly valued. Their finish is simply exquisite. In one there are ten figures, several of whom are enjoying some social sport "making merry" after the French style. In the other they have settled down to a parlance, in which even the dogs seem to take part. No. 57. Count Eberhard of Wirtemburg weeping over the Dead Body of his Son, by Ary Scheffer. Selected by Mr. W. T. Walters. This is really a chef d'œuvre, embodying all the expressive mournfulness of its title―an emotional scene, appealing most strongly to the heart, for whilst it has the cold and rigid gloom of death, it as well portrays the extreme anguish of the living. We behold the strong man bent with sorrow not that stony obdurate grief, but the tender love of the parent heart welling out in tears that gush like fountains, and cannot, will not be held back. Mark the strange contrast between this spontaneous betrayal of emotion (not less restrained than if a weak, feeble woman) and the powerful martial bearing of the man, clad in armor, who under other circumstances would be as stern and unyielding as the iron of the cannon! See also, the humility with which the hands are folded (across the heaving breast) that had boldly wielded the sword and braved the issues of war! The pitiless shot had mowed down many, the banners were streaked with the blood of the slain, but now a death wound has cut deep into the neck of his beloved son―a youth delicate and fair, and a "shining mark." Thus death befallen this dear treasure has dashed pride, glory and victory aside. The grievous thought of the great crimson tide flowing from the breasts of unnumbered slain is forgotten in the few trickling drops from the
