The unhealthy direction of the artist's mind is apparent, furthermore, in his love of the terrible--shown in his early pictures of banditti, and in such later works as _Saul and the Witch of Endor_ and _Spalatro's Vision of the Bloody Hand_; while, on the contrary, it will be found, upon closer analysis, that the ideality and spirituality claimed for his female heads, such as _Rosalie_ and _Amy Robsart_, resolve themselves into something very near akin to sweetness and lack of strength. In accordance with this absence of intellectual robustness, Allston's execution is hesitating and wanting in decision. A somewhat similar spirit manifested itself in the works of John Vanderlyn (1776--1852), Rembrandt Peale (1787--1860), Samuel F. B. Morse (1791--1872), and Cornelius Ver Bryck (1813--1844). JOHN VANDERLYN is best known by his _Marius on the Ruins of Carthage_, for which he received a medal at the Paris Salon of 1808, and his _Ariadne_, which forms part of the collection of the Pennsylvania Academy. Vanderlyn, as the choice of his subjects, coupled with his success in France, shows, was a very good classic painter, trained in the routine of the Academy. The _Ariadne_ is a careful study of the nude, although somewhat red in the flesh, placed in a conventional landscape of high order. A large historic composition by him, _The Landing of Columbus_, finished in 1846, fills one of the panels in the Rotunda of the Capitol at Washington. As a portrait painter Vanderlyn was most unequal. REMBRANDT PEALE--the son of Charles Wilson Peale, best known through his portraits--deserves mention here on account of his _Court of Death_, in the Crowe Art Museum of St. Louis, and _The Roman Daughter_, in the Boston Museum. Technically he stands considerably below his leading contemporaries. S. F. B. MORSE, whose fame as an artist has been eclipsed by his connection with the electric telegraph, was a painter of undoubted talent, but given somewhat to ostentation both in drawing and colour. Good specimens of his style are found in his _Dying Hercules_, Yale College, New Haven, and the rather theatrical portrait of Lafayette in the Governor's Room of the City Hall of New York. Morse essayed to paint national subjects, and selected for a theme the interior of the House of Representatives, with portraits of the members; but the public took no interest in the picture, although it is said to have been very clever, and the artist did not even cover his expenses by exhibiting it.