The Northern Daily Times.
Liverpool, Merseyside, England, 1856-09-19 00:00:00

ndeed, a scarlet fillet observable around

d of the goat, but

have seen many a

iimal thus d

rs who n

ra'ed by ov

I of ti

sto

aving, then, tha

oas;should at least I
f, and that the wi

e, if not actually

pain'i

ould not resemble a

in t elli gibl

unlit an enti

he oh t ained

elective

its most important y

key to the

e cannot help pronouncing
the highest degree, and in

ave no tormentors

here, no priests, nopeople whose sins were tobe washed
away—nothing whai ever bat a solitary goat. It
may, indeed, be said that, at some stage of the

animal's cal eer he must L
condi. ion—t hat the painter sele

uave been in this lonely
.)ctedjust that moment;

explanation, the pic tu re should ant d none. But the
painter might have selec'ed a moment when the
pain ing could have been made intelligible, and yet
faithful to nature—or else he should have followed
out fully the other view, given us no separate and
extraneous explanation at all, and left the whole
affair a
blank as it must have been to
las uil ing
servmereaonfsuclt an actual sight just at that
and furnished vvi h no soluion of the
mystery beyond the appearance of the animal and
the scene around him. Viewed, then, merely as a
work of art, the general effect of this painting is not
a pleasing one; and as an illustration of a remarkable
Jewish custom nothing could possibly be more defec-
tive. It cannot be denied that, in the production of
the "Scapegoat," much labour, much power, and
even genius, are displayed, and that many of the
adjuncts to the scene are painted as few men living
could paint them. That the singular capacity for
Minute and careful exEcution which brought our
such features of the painting—as the salt-covered
strand, and the rocky range across the sea should
ever be wasted—must be a subject of regret to every
admirer of art; but we think there are few who will
not admit that, in this instance, the power we allude
`o, as well as the yet higher attributes of th 3 artist's
,nius, have been wasted in the production of a work

any o

moment

which is in no sense true to is obi
199. " MORNING IN THE Wrivna

CoOper,

Et MRADONis'

.A.—This is a beautifully executers
painting, of a soft English scene, whose general fell
at least, are familiar to most visitors. In the foreground
upon a gently-rising knoll, a group of splendid cattle
are shaking off the night-dews of the grass, and rising
to enjoy the morning air, which is breathing softly in
the gradnally.awakening► dawn. In the distance are
seen, faintly through the haze, the white turrets of
Windsor Castle. There is a peculiar softness suffusing
the whole of this picture--the very grasses of which
seem redolent of summer morning air. Although the
landscape is one which painters are eternally delineating,
yet the aspect under which it is shown, in this picture,
prevents one from feeling that sense of monotony,
which endless repetitions seldom fail to give.

200. OTHELLO—H. C. Selous.--The visitor had better
try to think that he has never seen a painting of this
subject before, or he may too hurriedly pass over a work
which has many merits, The moment selected, is that
fearful pause in the Fifth Act, after the last words of
Desdemona have died away, Ocly the pallid face and
breast of the victim are seen. Emilia kneels by the
bed-side in an attitude of agony. Othello stands erect,
as with an expression of forced and despairing calmness.
His attitude is dignified and majestic, but somewhat too
theatrie or statuesque: Indeed, the whole group has

too mut

the appearar

Nevertheless, the picture is far
se which strive to'represent the
The artist has at least succeeded in giv-

f the last act, as

an most of th

ame subject

seen thiot

)al figure, not unworthy, save for the
leTect we have mentioned, of our conceptions of Shak-
apere's hero. Othello is attired here as in most paint-
ings, and invariably on the stage, in Oriental costume.
Why should a naturalised citizen of the Venetian repub-

lg us a princi

lie, a state so jealous of her most trivial forms, and a
generalissimo of the Venetian army - not wear the garb
of Venice ? Many actors and painters, indeed, not only
give Othello an Oriental dress, but the peculiar garb of
the Osmanli Turk—an attire which has nothing to do
whatever with Moorish costume, and which was worn
by only the people against whom, in the opening of the
play, he leads the military forces of Venice. Many of
the accessories of this picture are very well painted.
The bluish-grey dawn, seen through the half-opened
door, is most effectively, represented.

THE HARVEST IN AMERICA

The returns from the wheat harvest of the United States
are now complete, and it is settled that the crop is of most
excellent quality, and if not the largest ever gathered since
the settlement of the country is at least above the average,
and will yield a large surplus beyond the supply of our
domestic wants. With the certainty of such abundance, the
probable reliance to be placed upon an active export demand
is a subject of much importance, and deserving serious atten-
tion. Our imports of foreign goods and merchandise for the
eight months of the current year are larger than for any
similar period in our history, the total being upwards of
1.50,000,000 dole.; and although much of this increase has
been in consequence of large exports of domestic produce to
this date, yet if these exports are to cease with the ingathering
of the present harvest in Europe, it might take a larger
portion of the receipts of gold than we could conveniently spare
to balance the account. Great Britain has always been the best
customer for our surplus breadstuffs. To most other countries
which take bread tuffs of us our shipments of flour have been
comparatively uniform, whether the crop was large or small,
but to British ports the shipments have varied with the
quantity we have had to spare, although
the total clearances for all foreign ports.
West Indies are regular customers for our flour, as they pur
- came quantity every year, and, after Great
isritain, take the largest quantity in a series of years; but a
large portion of our shipments of grain (with wheat and corn)
.o to British ports. Thus, of 18,583,151 bushels of wheat

chase about the

eraging nearly half
Brazil and the

shipped to all ports from July 1, 1849, to June 30, 1855,
14,061,212 were sent to Great Britain ; and of 43,757,597
bushels of corn exported to all ports within the same period,
36,563,951 bushels had the same destination. We annex a
tabular statement, showing the exports from all ports of the
United States to all foreign ports of wheat, wheat flour, and

with a comparison of

Great Britain. The totals

krul value, from 1849 to 1855

from thence to co-n-ti-ne
led to

although it mu!
.nnf 111.a.;in;n ft,

is of bread. stuffs and to the inaugu

oes considerable quantities directed

1848-9,

"famine" of 1847

ge snipme
ade in Env;

and we comme
s harl heenmn

aoth

therefore with

years, et

EXPORTS FROM THE UNITED STATES OF WHEAT, WHEAT
FLOUR, AND INDIAN CORN, 1849 TO 1855 INCLUSIVE•
ling June 31. To Great Britain. To all Foreign Ports
Quantity. •' Value

Wheat
Flour,

Quantity,

$1,756,848
11,280,582

Is .. 1,072,780 1,527,634
.. 958,815 2,108,013
.. 12,396,242 13,257,309 7,966,369

70,777

608,661

1851
Wheat, bush

5,957,206 6,595,392

92,583

Flour, barrels
Corn, bushels

1,004,783
2,760,329

1852
Wheat, bushels
Flour, barrels
Corn, bushels
1853
Wheat, bushels
Flour, barrels
Corn, bushels
1864

2,049,357
1,532,094
1,894,700

$643,745

3.574,248
1,388,065
1,653,840

7,098,570

3,892,193

1,026;725
2

$1,025 732

)2,335 10,524,331
3,426,811 1,762,549

2,694,540 $2,555,209
2,799,339 11,869,142
1,540,225

2,627,075

3,390,141
2,920,918
2,274,909

$4,354,403
14,783,324
1,374,077

Wheat, bushels .. 6,058,903 8,036,665 $12,420,172
Flour, barrels .. 2,026,121 4,022,386 27,701,444
Corn, bushels .. 5,965,850 7,768,816 6,074,277
1855 --- -

Wheat, bushels ... 396,215 798,884 $1,329,246
Flour barrels . • 189,712 1,204,540 10,806,571
938
,
Corn, bushels . • 5,935,284 7,807,685
shipments in the past have not included any
6,961,
The ordinary