Christ were limited to his manhood alone. The author contends, that, according to Scriptural authority, the agonies of our Saviour reached both of his united natures. Deeply impressed with the importance of the inquiry, the writer has neglected no means of arriving at a knowledge of the truth. The works of the most learned divines are examined with great care, their views frequently pla ced in juxtaposition, and sound deductions, drawn both from the Old and New Testaments. The novelty of the author's views, and the means taken to sustain them, give an interest to the work, which we had not anticipated in glancing at the title. We think, however, that it matters little to salvation, or to a knowledge of the true spirit of Christianity, whether the opinion of the writer or that of the divines, to whom he has so frequently referred the reader, be generally entertained. The volume is handsomely bound, and published in a style worthy of the establishment from which it has been is sued. The Architect; A Series of Original Designs for Domestic and Ornamental Cottages, connected with Landscape Gardening. Adapted to the United States. Illustrated with Drawings of GroundPlots, Plans, Perspective Views, Elevations. Sections, and Details. By WILLIAM H. RANLETT, Architect. W. H. Graham, Tribune Buildings, New-York. We have seldom been more gratified than in looking over this excellent publication. It has opened a charming vista to our mental vision. It is an indication of an increased taste for those useful and ornamental arts, which tend to add new comfort and new charms to life in America; and we can already picture in imagination the most beauteous and highly cultivated gardens and landscapes, studded with innumerable 'fairy cottages," to which our citizens will often retire, like the philosophers of old, from the rude intercourse of daily life to the only paradise which man has it in his power to create. Let us cultivate to the utmost possible extent this description of architecture, and increase the national taste for landscape gardening. By this means we shall develope more fully the great natural beauties of our country, and present a combination which will eventually render the United States the fashionable resort, as it is now the refuge, of the inhabitants of Europe. 44 Harpers' Pictorial History of England. No. 13 has just reached us, enriched with quaint and curious engravings, as is usual with this publication. The interest of the historical records increase as they reach more modern times; for exciting details and tragic events, there might be found enough in the present number_for the plots of a score of romances. The French Revolution. By THOMAS CARLYLE. Wiley & Putnam's Library of Choice Reading. The proprietors of this series deserve the thanks of the public for the valuable works which they are almost every day adding to its lists. Mr. Carlyle's works, all of which are to be included in it, have the advantage over former editions, of having been carefully revised by himself, and furnished with an index to each vol ume. He has a share in the proceeds, which is an act of unusual liberality on the part of American publishers, who appropriate the writings of foreigners. Carlyle's French Revolution, though called by the author a history, is more properly a great prose-poem or historical romance; for it has none of the dullness of history and all the life of an animated bustling novel. The various scenes and characters of that most terrific period of confusion and uproar, are presented with picturesque, and sometimes startling ef fect; the reader feels as though he was in the midst of what was going on, listening to the daily and hourly rumors, or haled along by the tumultuous movements of the populace. Spurzheim's Phrenology. By J. G. SPURZHEIM, M. D. Harper & Brothers. This is an advnirably got up and most interesting work, illustrated with plates, and should be in the hands of all; as well those who are votaries of the science, as those who have yet to look into its allurements. Classical Antiquities. By Prof. SALKELD. Harper & Brothers have also just issued, in a neat pocket-sized volume, a compendium of Roman and Grecian Antiquities, with a sketch of the Ancient Mythology; a work that will be found of peculiar utility in primary schools, and for family and private use. History of the Kings of France. Carey & Hart; Philadelphia. each of the 72 kings of France, from PharaThis is beautiful, embracing a history of mond to the reigning king. There are 72 beautiful medallion portraits, believed to be good likenesses, from the most authentic sources. By Thomas Wyatt, A. M., author of "Natural History," &c. &c. Arnold's Cornelius Nepos. With Answered Questions and Imitative Exercises. Part I. By the Rev. Thomas Kerchever Arnold, M. A., Rector of Lyndon, and late Fellow of Trinity College, Cambridge. Revised and Corrected by E. A. Johnson, Professor of Latin in the University of the city of New-York. D. Appleton & Co.: New-York. The exercises contained in this work, are admirably adapted, at once to awaken a spirit of inquiry, convey much historical information, and above all, to impress upon the youthful mind the exact construction of the Latin language. Dombey & Son. This new work of Dickens' is likely to be one of the most popular of his productions, and probably, the most profitable to the author. No. 2 has just been issued by Messrs. Wiley & Putnam. Harpers' Illuminated Shakspeare, Nos. 123, 124. This issue, comprising the continuation of the historic drama of Richard III., is as usually evinced in this splendid edition, admirably embellished. The Senate Chamber. We have received a beautiful engraving of the Senate Chamber of the United States, with the members in full session. The picture, we should judge, is some 36 by 24 inches, and represents the interior of the chamber, the senators listening to the valedictory of Henry Clay. The members are so disposed as to give portraits of the whole, and the likenesses are all excellent, being from Daguerreotypes by Anthony, Edwards & Co., of New York, and engraved by T. Doney, with whose work the readers of the Review are familiar, in the portraits engraved by him for us monthly. Messrs. Anthony & Edwards deserve the highest credit, as well as the ample pecuniary remuneration which, we are pleased to learn, they are acquiring for their great and national enterprise. The picture contains portraits, not only of the members of the Senate, but of distinguished spectators. Among whom are to be seen W. C. Bryant, Esq., of the Evening Post, Hon. Caleb Cushing, Generals Worth and Scott, Hon. A. Gallatin, Audubon, the ornithologist, and many other eminent men. The whole forms national work, which no one can well do without. When reading senatorial debates, an admirable likeness of each speaker is before the possessor of such a picture. The fine faces of Benton, Allen, Wright, Dallas, Polk, Webster, Calhoun, and the whole galaxy of talent that adorns our national senate, are grouped in a most admirable and artistic manner, doing credit to the well-known skill of Mr. Doney. Capture of Major Andre. This is a beautiful line engraving, forming the last annual work of the Art-Union. It is indeed a superb work, and well calculated to do credit to American art, fostered under the society of gentlemen who direct the Union. Lest all our readers may not be aware of the nature of the Union, it may be as well to state that the American Art-Union was incorporated by the Legislature of New-York, for the proIt is managed by gentlemen who are not artists, and have no privileges beyond the other members, and no compensation, except the satisfaction of serving the canse of art. The following is the plan pursued, which is believed to be the best adapted to the situation of our country, the nature and tastes of our people. In furtherance of our institutions, and the wants, habits of a truly national object, it unites great public good with private gratification at little individual expense. motion of the fine-arts in the United States. Every subscriber of five dollars is a member for the year. The money thus obtained, after paying necessary expenses, is applied in the first instance, to the production of a large and costly original engraving, in the highest style of American art. For every five dollars paid by him, eveing. Every member also receives an anry member receives a copy of the engravand addresses at the annual distribution, a nual report, containing the proceedings list of the members, &c., and sometimes an additional work of art. The residue of the money is applied to painting, sculpture, &c., varying in price the purchase of American books of art, from 20 to several hundred dollars. richly framed-are publicly distributed, These works of art-the paintings being by lot, among all the members, on the Friday before Christmas in each year; every member having one share for every five dollars paid by him. ing in return the value of the five dollars picture gallery, which is always hung with made to R. A. Fraser, corresponding se GOSSIP OF THE MONTH. Park Theatre. The "revival" of Shakspeare's plays in a becoming style of magnificence, has often been desired by the friends of art, both in this country and in England; but the difficulties which presented themselves to the accomplishment of so desirable an object, and the doubt entertained by distinguished actors as to the attainment of that degree of success, which would indemnify them for the laborious research and enormous expense required at their hands, has deterred but too many from making this final effort to ensure the permanent support and bril liant triumph of the legitimate drama. Macready has done much to raise the English stage; but his labors were in some respects abortive, and in a pecuniary sense he lost more than he might reasonably have expected to gain. In the United States, however, we need have no apprehension of failure. The success of Richard III., as brought out by the Keans a short time since, has formed quite an era in the annals of theatricals in America, and has emboldened the enterprising artistes to get up a series of representations, unequalled in gorgeousness of costume, appropriateness of scenery, and accuracy of detail. The great event of the month, at the above theatre, has been the production of "King John;" preparations for which had been several months in progress. Much as we had expected, owing to the various announcements which had appeared in the daily journals, and to the opinions expressed by individuals, who had exclusive means of information, we confess we were taken completely by surprise. In whatever light it be regarded, the spectacle of King John is equally admirable. The curious skill of the antiquary and the taste of the painter are displayed in every scene, and even in the minutest accessary. In fact no expense has been spared that could have heightened the effect. The various tableaux are as a mirror of the times, "Vivid and faithful to the historic page" The costumes, armor and arms, of the different courtiers, knights, soldiers, citizens, priests, and attendants, have been duly authenticated, as indeed have been those "Ensigns of war, of peace, or rites divine," which glitter throughout the performance, with alternations of wild commotion, dubious repose, and stern command. The state-room in the palace of the king, where the first act takes place, is one of the finest scenic displays ever beheld, and so real were all the adjuncts, that we could almost have fancied ourselves present on the occasion. We do not, however, admire the text of the play as well as that of most other of Shakspeare's works, for there are few of those powerful passages, which, almost "acting themselves," produce an electrical effect upon an audience. The three principal per formers were, notwithstanding this, lucky in having parts admirably adapted to their respective powers. Mrs. Kean threw such intense pathos into her personation of the Lady Constance, as to elicit frequent applause; and Mr. Kean, of whose abilities as an actor we have already spoken, acquitted himself most creditably in the part of King John. Mr. Vandenhoff''s Faulconbridge was a natural, vigorous and racy piece of acting, and seems to have made a very favorable impression. We have never seen larger audiences within the walls of "Old Drury," than witnessed the earlier representations of this piece; and this afforded us much pleasure, for it is ever gratifying to find our citizens ready to encourage all that is really worthy of patronage. That these spectacles are so, -not merely as a source of amusement, but a means of instruction, is apparent to every cultivated mind, whose taste for the fine arts is susceptible of improvement. Concerts of Henry Hertz.-The imtended these concerts are a triumphant mense and brilliant audiences which atrefutation of the oft-repeated assertion, that the success of artists in this country has been mainly owing to the glowing eulogies of the public press. Mr. Hertz appeared in our midst almost before we had heard of his intention to visit our shores, and yet his reception has been cordial beyond example. He is, undoubtedly, one of the greatest pianists of the age. His performances are remarkable for the most exquisite delicacy of execution and sweetness of expression. Though in some points inferior to De Meyer, he is greatly superior in others— what that gentleman possesses in manual vigor being more than counterbalanced by a refinement of taste and dexterity of touch, that enable Mr. Hertz to produce a thousand delicious harmonies, far less noisy and startling, but, in our own opinion at least, much more agreeable. Mad ame Pico and Miss Northall sang at these concerts, and their sweet voices, whether in solo or duett, were poured forth in such silvery streams of melody, as to elicit the most rapturous applause. Indeed, Madame Pico fully sustained her reputation as the most accomplished cantatrice in our city, and it was quite evident that Miss Northall had made rapid progress in her profession. A new feature was added to this "feast of music and flow of soul;" sixteen pianos having been introduced, and played upon by half that number of our best musicians. Painting by Leutze.-Two or three pictures of more than ordinary merit were exhibited during the month, at the rooms of the American Art Union. It was our original intention not to notice any of the works in this collection till about the time of the annual distribution; but as many of them are lent only for a limited period, and others are frequently purchased and taken away by their respective owners during the course of the year, we think it advisable to depart, occasionally, from the rule we had adopted. We shall reserve our general notice of the paintings, however, till that appropriate moment when their number and merit arrive at the climax, which must win the admiration and insure the deep interest of the public. In selecting particular works for remark we shall always be actuated by one simple and pure motive-a desire to make known the best productions of our native artists, or to point out the defects of those remarkable pictures, which, though far below the standard of excellence, are still regarded by many persons as chef-d'œuvres of art. The most striking deficiency to be observed in the works of those painters who have not had the advantages of early and severe academical study and instruction, is ignorance of the human figure; and we have seen few pictures in the exhibition entirely free from this objection. Several of our best painters are so conscious of their want of actual knowledge in depicting the form of man, that, with all their taste, talent, power of coloring, and of light and shade, they have rather devoted themselves to landscapes, and low familiar subjects, than to the elevated walks of historical and poetical painting. It is not surpri sing then, that Mr. Leutze's picture of "Iconoclast Puritans destroying a church," which has been exhibited by the Art Union, for some weeks past, should have been so generally admired. It contains several groups of figures, drawn with great accuracy, spirit, and dramatic effect. The scene takes place, evidently, in the time of Oliver Cromwell, as most of the persons introduced are attired in the severe, simple, and characteristic costumes of that period. The Puritans have rushed into a Roman Catholic Church, and just begun to break the statuary, tear down the pictures, deface the walls, and trample upon all that is peculiarly essential to the performance of the more revered rites of that religion. At one side are to be seen a number of females in a kneeling and affrighted posture. Two of these figures are, in all respects, excellent, but a third, which, from her position is the most prominent in the group, seems hardly suffi ciently affected by the deeds of destruction going on around her, and the fury depicted in the countenance of a person who, with arms outstretched, and a Bible in his hand, appears to address her in the most violent terms. This man, who stands to the left of the picture, is a perfect type of his class, being full of life and character. There is an altar in the background near the female group, of which we have just spoken. Several soldiers have rushed upon its steps, and two of them in breast-plates, helmets, and armed cap-a-pie, having mounted to the spot where the chalice is laid during the mass, are busy destroying the altar-pieces and ornaments, with their battle-axes. Two more, at a short distance, are occupied, the one in tearing the missal, the other, in breaking the censer. Others further back are still coming in, and following their leaders in the work of destruction. Some men to the left have caught hold of a priest, and are dragging him to death. The church itself, and accessaries, are painted with great truthfulness. The coloring, throughout, is rich, pleasing and natural, and the picture finished with great care. There is a slight deficiency of expression in some of the figures, but this work, regarded altogether, is the best we have seen here of the kind. Since the above was written, this picture has been removed by James Robb, Esq., of NewOrleans, in whose possession it now remains. The other pictures, to which we have alluded, we shall probably notice in the ensuing number of the Review. |