lips of a
man of genius arguing in a cause unholy and pernicious to the best
interests of humanity.

Notwithstanding the tasteful and judicious arrangement of the pictures
in the hall of exhibition, No. 625 Broadway, a cursory survey only is
required to enforce the conviction that the necessities of light and
space demand the erection of a building especially adapted to the
purposes of an academy of design, and we hope the fellowship fund will
speedily justify the commencement of that important undertaking.

The first picture that meets the eye on entering, is one of 'Startled
Deer,' by W. H. Beard, N. A. (No. 197). This is a noble
delineation--such stately forms, splendid positions, and expressive
eyes! This artist is not content with giving us color, shape, and every
hair exact, but we look through the creatures' eyes into the depths of
their being. His animals love, fear, wonder--in short, are capable of
all the manifold feelings pertaining to the brute creation. Who can say
how much of that creation is destined to perish forever! The gesture of
the spotted fawn seems reason sufficient why the Lord of love should one
day give happiness and security in return for apprehension and pain
suffered here below, especially if indeed the sin of man be the moral
cause of the sorrows incident to the lower existences. At all events,
Beard's animals are so endowed with individual characteristics, that we
make of them personal friends, who can never die so long as our memories
endure. The herbage in the foreground is tenderly wrought, and the whole
picture preaches an impressive sermon.

No. 151. 'An Autumn Evening'--Regis Gignoux, N. A. This picture does not
satisfy us nearly so fully as others we have seen by the same artist.
The general effect strikes us as somewhat artificial, the light does not
seem to fall clearly from the sky, but as if through prisms or tinted
glass. We have seen the inside of a shell, or the edge of a white cloud
turned toward the sun, glittering with similar hues, very beautiful for
a small object, but wanting in dignity and repose for an entire
landscape. We remember with great pleasure Gignoux's 'Autumn in
Virginia,' and his painting of 'Niagara by Moonlight' gave us a far more
majestic impression of the great cataract than the famous day
representation by Church. As we gazed, we called to mind a certain night
when the moon stood full in the heavens, vivid lunar bows played about
our feet, and, mou