will be adopted unless it be
practically made a condition of the restoration of the Rebel States; and
for the unconditioned restoration of those States the President, through
his most trusted supporters, has indicated his intention to venture a
_coup d'etat_. This threat has failed doubly of its purpose. The timid,
whom it was expected to frighten, it has simply scared into the
reception of the idea that the only way to escape civil war is by the
election of over a hundred and twenty Republican Representatives to the
Fortieth Congress. The courageous, whom it was intended to defy, it has
only exasperated into more strenuous efforts against the insolent
renegade who had the audacity to make it.

Everywhere in the loyal States there is an uprising of the people only
paralleled by the grand uprising of 1861. The President's plan of
reconstruction having passed from a policy into a conspiracy, his chief
supporters are now not so much his partisans as his accomplices; and
against him and his accomplices the people will this autumn indignantly
record the most overwhelming of verdicts.

ART.

MARSHALL'S PORTRAIT OF ABRAHAM LINCOLN.

When we consider the conditions under which the art of successful
line-engraving is attained, the amount and quality of artistic knowledge
implied, the years of patient, unwearied application imperiously
demanded, the numerous manual difficulties to be overcome, and the
technical skill to be acquired, it is not surprising that the names of
so few engravers should be pre-eminent and familiar.

In our own country, at least, the instinct and habit of the people do
not favor the growth and perfection of an art only possible under such
conditions.

So fully and satisfactorily, however, have these demands been met in
Marshall's line-engraving of the head of Abraham Lincoln, executed after
Mr. Marshall's own painting, that we are induced to these preliminary
thoughts as much by a sense of national pride as of delight and
surprise.

Our admiration of the engraving is first due to its value as a likeness;
for it is only when the heart rests from a full and satisfied
contemplation of the face endeared to us all, that we can regard it for
its artistic worth.

Mr. Marshall did not need this last work, to rank him at the head of
American engravers; for his portraits of Washington and Fenimore Cooper
had done that already; but it has lifted him to a place with the
foremost engravers of the wo