The daily exchange. [volume] (Baltimore, Md.) 1858-1861, 1860-01-11
pnoA R0NHEI1p

There are now on exhibition in this city, at the
store of Samson Cariss Co., Baltimore street, two
pictures from the pencil of the gifted artistwhose
name stands at the lead of this article. One-the
larger OF the two-represents string of mules and
asses, about thirty or thirty-fve in number, de-
scending rocky path in the Pyrenees Three
muleteers, or, more correctly speaking, drivers
(Borriqaeros) accompany the animals, and give
name to the picture. One is riding at the
head of the column, and in the front of the pcture
another walks by his side; and third, and by all
odds the best drawn of the human figures in the
painting, fingers behind to bring up the stragglers
in the rear. The two men in the foreground are
singing together some snatches of Spanish song,
and the broad sunlight falls upon their broEzed Wis
ages and under the legs of the animals, and spreads
glow over the heritage the hillside. In the
back ground, at some distance, the mountains lift
themselvas-bue and capped with snow. Above is
cloudless sky. The charm of the picture, as in all
of Rosa Bonheur's works, is the wonderful fidelity
of the representation of animal traits and charac-
teristcs No ideal conventional mules and
asses are these-but real, shaggy, longeared
specimens of their tribe. And the distinction be-
tween the two-how admirably it is brought out
The mule, as it should be, aspiring to the horse,
vindicates his claim to superior integence-by the
conscious dignity with which the leader trots ahead
of the TROPHY the knowing air with which
another turns into side-path which promises an
easier footing and more room-and by the sagacity
with which third, further in the rear avails him
self othe turned back of the Borrquero to crop
heritage perhaps by the roadside. The ass, on the
contrary sufficiently distngushable by his smaller
size, his rougher and whittier coat, his proportion
ably longer ears, and hopelessy stold expression,
trots forward neither looking turning to the
right hand or let-but implicitly following like
some politicians wiser than helm the foot
"steps of his predecessor. Motion is the characte
ristic of this picture-not violent and impetuous
like that of horses punging and rearing. as in the
Horse Fair-but even, monotonous, of beasts of
burden, subjected to the will and applied to the
of man. To realize this it is only necessary to turn
to the picture which hangs beside 1.-THE right
hand one, we mean-in which all is repose. f'Morn-
ing in the Highlands" it is called-the subject,
group of cattle standing gazing at others approach
ing. There are no human figures in the landscape.
The main group consists of five animals of different
shades of COLOR and attestng, in the minutest par
ticulars the accurate observation and faithful
study of the artist. The landscape in this picture
is painted with great care and it is altogether the
more finished and, to our TASTE more pleasing pro-
duction of the two. The coloring is brighter-and
there is an air of tranqulity-a calmness of nature
-pervading the whole scene, which is in marked
contrast with the idea Of long and toisome jour
neyings, over rugged passes and down steep decliv
tiles, suggested by the heated appearance of the
men, and the patient submissveness of the animals
in the larger picture.
After viewing sufficiently these two pictures,
the beholder will turn with interest to
the portrait which hangs in the leit-hand cor
ner and which is the counterfeit presentment' of
the artist herself. 1t is Rosa Bonheur-painted by
Dubufe. The artist is represented standing, hold
ing in one hand her sketch book, and in the other
which is thrown carelessly the neck of great
bull, painted by herself,-the pencil with which she
has wrought these miracles on canvas. Contrary to
what one might expect perhaps, from Rosa's choice
of subjects and course of study, there is nothing
in her face which isotherwise than pure womanly.'
1t is fine open face, full of intelligence and char
acter-and with nothing unfemnne in its Inca
ments or expression. 1t is not the strong minded
woman, standing upon her rights and asserting
her independence of conventional restraints, but
simply the inspired artist, encouraged and enabled
by her love of Art to pursue its study, amid
the noisome surroundings of stables, catte-pens
and aba'toirs, without loss or dminuton of woman.
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