The occupation of the Algerine territory by the French troops afforded the artist an opportunity of exhibiting his powers in that department most suited to them. A whole gallery at Versailles was set apart for the battle-painter, called the _Constantine Gallery_, after the most important feat of arms yet performed by the French troops in Africa, the Taking of the town of Constantine. Some of the solitary and extraordinary, we might say accidental, military exploits in Europe of Louis Philippe's reign, are also commemorated there. The "Occupation of Ancona," the "Entry of the Army into Belgium," the "Attack of the Citadel of Antwerp," the "Fleet forcing the Tagus," show that nothing is forgotten of the Continental doings. The African feats are almost too many to enumerate. In a "Sortie of the Arab Garrison of Constantine," the Duke de Nemours is made to figure in person. Then we have the Troops of Assault receiving the Signal to leave the Trenches, and "The Scaling of the Breach." There are the "Occupation of the Defile of Teniah," "Combat of the Habrah, of the Sickak, of Samah, of Afzoum." In fine, there is the largest canvass in existence, it is said, the "Taking of the Smalah," that renowned occasion when the army was so _very near_ taking Abd-el-Kader; and the "Battle of Isly," which gained that splendid trophy, the parasol of command. Besides these great subjects there are decorations of military trophies and allegorical figures, which seem to have been painted by some pupil of Vernet. These battles were first of all exhibited to the admiration of Paris in the various salons after their execution, and were then sent off to decorate Versailles. There are also, in the _Gallery of French History_, at Versailles, several others of his, such as the "Battle of Bouvines;" "Charles X. reviewing the National Guard;" the "Marshal St. Cyr," and some others among those we have already named. In them the qualities of the artist are manifested more fully, we think, than in any others of his works. They are full of that energy, vivacity, and daguerreotypic verity which he so eminently displays. There is none of that pretension after "high Art" which has injured the effect of some of his pictures. The rapidity of their execution too in general was such, that the public had hardly finished reading the last news of the combats, when the artist, returned in many cases from witnessing the scenes, had placed them on the canvass, and offered them to popular gaze. Yet the canvasses are in many cases of great extent, and often, the figures of life-size. But the artist rarely employs the model, painting mostly from memory, a faculty most astonishingly developed in him. He generally also saves himself the trouble of preparing a smaller sketch to paint after, working out his subject at once in the definitive size. Of course with more serious and elevated subjects, worked out in a more serious and elevated spirit, such a system would not do. But for the style of