mpse of the shining brass monsters there was a visible wavering in
the determined front of the enemy, and as the shells came screaming over
their heads the scare was complete. They broke ranks, fled for their
horses, scrambled on the first that came to hand, and skedaddled in the
direction of Brownsville."--_New York Evening Post_, Sept 25, 1864.

[E] "The colored regiments had nothing at all to do with it; they
behaved with propriety throughout."--_Boston Journal Correspondence_.
("Carleton.")

"The negro troops took no part whatever in the perpetration of this
Vandalism."--_New York Tribune Correspondence_. ("N. P.")

"We know not whether we are most rejoiced or saddened to observe, by the
general concurrence of accounts, that the negro soldiers had nothing to
do with the barbarous act."--_Boston Journal Editorial_, April 10, 1863.

A NEW ART CRITIC.[F]

It has been said that our painters merely continue tendencies that have
had their origin in Europe, and just as English and French painters are
abandoning theories which they have exhausted, we are entertaining those
theories as new discoveries, and repeating a discord that abroad has
been outgrown. There is some truth in the charge, and we are not always
well enough informed to anticipate the next development in the artistic
world. While we are overrun by the maggots that have crawled out of the
literary body of John Ruskin, the English painters, already emancipated
from the bondage of that powerful sectarian, are working under new
influences, and showing tendencies that, without subverting the truths
so eloquently expounded by Ruskin, supplement them. Under the form of a
continuation of the work begun by the great sectarian of English Art
criticism, we have a literary exponent of the reaction; and the pictures
of Mr. Whistler, an American almost unknown on this side of the
Atlantic, have been taken by the late "London Fine Arts Quarterly
Review" as examples of this reaction in practice. Mr. Whistler has been
called the man of highest genius and most daring eccentricity in the new
school; and Tom Taylor amiably writes that he is equally capable of
exquisite things and gross impertinences. We give place to Mr.
Whistler's name merely to indicate that artists anticipate critics. In
the latest literature of Art we do not find positive reaction, but
continuation. Mr. Philip Gilbert Hamerton, however, meets conditions and
covers ground not treated by Ruskin, an