New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1856-04-19

ro,c ofyiving the world account OF where be has
hen and wha. be has seen. The gentleman in the
,rrhsn il said 10 be portrait of Bayard Taylor and
those who know him most intimately think the most
f.vorably of il as a hkcnesa Az 10 his leg, when
has h,cn 40 severely criticised all that have TO cay
about !, H. that man Of his standing as pedestrian
ou,ht to have Just sucb pair OF limbe and We have
no doub, tha, the artist whom nobody ever accused
Of lack - fidelity 10 his subject has not in the sgh'
est deer,s exaggerated its proportions.
No e. LANpscArT-TLToS We ohenced our
auiable friend Dccbeuy by asking just now, ~ we
psssd that piece of bronze leather No. 40, no Is
Samuel Laurence ?" One Samuel Laurence we kne"
a.. admirable ard amiable artist whose exquisite
era,on portraits have been 40 justly admired whose
s,s ;i,azed head of Thackeray, and most satisfying
h,,5 IL Terayson we have all seen and loved; ana
Who has given us portrait Of Longfellow which mas
the rare merit of being speaking likeness and at the
same ,me poctical representation OF the author OF
hne-but we did not recognize the accomplished
a,tist of the came name in this portrait on can
vas. which seems 10 have been painted by
,om.body afflicted with color blindness, who cannot
distinguish any difference between the tints of living
resh ard the dead color Of tanned sole leather This
happens to be the case with Mr. Laurence. Nature
appears to his vision in lines of black and white ana
therefore, with his sensitive discemment of forms, he
most naturally chooses chalk and charcoal as vehicles
for the expression of his ideas He does night. lie u
rot the only fine artist who has no perception OF
color. Eacse aud Ary Scheffer in the same
condition. as are the majority Of the French school,
If our amiabe friend Dogbery, THE Dogberrys are
always amiabe,) will permit, we will ask, who is
Tlton There may be something in Tltons land
scape but precisely what that is excellent beyond its
low tns and harmony Of COLOR we cannot decide
from seeing il here II Is dark landscape and may
have innumerabe beauties which long study might
develop
No. SO. STUDY FROM NEwPoRT-EDwARD c Posi-.
The foreground and the rolling of the surf in this
little seaside picture very good; what better, it
indicates more than it expresses.
No. TO- MILL AT CLARKsTowS, RocKLASD Co.,
N.Y. II. HILL-A very credtable landscape
composition.
No. Il. IL VIRTUoso--EDwIs WHITE, n. Al
yhtuoso il a man in velvet cap and red legcasngs,
examining coin or a medal. No fault is to be found
with the picture The subject is perfectly expressed,
the figure well drawn, and the color good But there
is nothing in it, There is nothing that appeals to the
sympahes Of the spectator that suggests anything
to the imagination. In Landseer's picture of " The
Mourner' there is but figure and that figure il
dog; but whc' volumes Of thought there is in his &C.
ton as be rests his head against the coffin, which,
imagination tells u.s. contains the dead body of his
master If Mr.. White had any fancy or imagination,
why could he not put of it into this wepanted
picture The figure of in red leggngs is moth
ing to us, and 80 move on to
No. 70. HAPPY FAMILY; Quail AND YorSG-A.
F. TAFT, A.-No. ~ is full of freshness and genius
The Quail Family have strong claims upon our leni-
ency and admiration. II is impossible that any such
family ever sat to NJ. TAFT for their portraits yet how
perfectly has he depicted them all. The old cock,
like careful sentinel with his head erect to catch the
first sound of approaching danger; the old hen, so full
of motheIly tenderness and affection; and the little
quails, nursing dependents upon her care, are as
happy and innocent, as free from forebodDgs of evil
as though there were such things rifles and per-
cusson caps in the world. This is one of the iuest
pictures in the Exhibition, and amply atones for the
two or three Indifferent performances by Mr.. TAFT
which hung in the vicinity.
No. 72. LA SIERRA MAESTRO MOUNTAINS, FROM
La SocAPA ST. JAGo DE CUBA long name for
very indifferent picture.
No. a. PoRTRAIT OF LADY-D. A. HUsTIsG-
TON n A.-Nearly full length, in the best style OF
the artist.
No IS THE SwoRD-J. w. EHSINGER-A pretty
little picture perfect far as 1t goes, ike single
stanza of long poem. But it does not 20 far enough
The Tone color and manner of treatment are altogether
worthy of praise but the subject meager and void OF
interest noble looking old warrior, in curass,
STANDS locking at the blade of sword But what he
intends doing with it, why he examines it, what his
thoughts are and what his purposes, there is nothing
to suggest. The ability displayed in such monographs
as this is merely mechanical but it is mechanical
ability Of very superior ORDER
BY the way we may as well whisper word here
in the ear of our friend Dogberry, whose briiances
we alluded to Just now. There is no occasion for a
Dogberry with pen in his hand to call upon any one
else to write him down an ass for he will not fail to do
that thing himself. Ich Diem, Dogberry is not Ger
man, nor IL Penlimmon mountain, you seem to
imagine.
No. &c. PoRTRAIT-E. ID. +. GREESE.-This artist
exhibited two female heads few years since which
attracted considerable attic ntion at the time, by their
exquisite decacy of finish and the sentiment of purity
and grace with which they were invested. The pres
ent portrait is in the stye-the profile view of
beautiful womans face 1t looks like an attempt to
initiate pastille in oil.
No. II. EVENING AT PKsrUN-J. F. CRoPsEY.
All evenings at Pastum not like this, but they
should be- for the misty light and lurid horz per-
fecly harmonic with the solemn ruins Of the temple
whose origin man knows.
No. 7e. The OLD BARy-GEo. A. BAKER, n. A
There are a good many queer misnames on the Gaia
logue. But this is the queerest of all. Why should
hearty old gentleman with white beard, leathern
belt around his capacious paunch, and glass of ale in
his hand, be called the old barn
No. 70. MEADOWS AT GLENNARY - ADDISON
RICHARDS n A very slight and sketchy view OF