The two galleries—the south-east and the north-east—those usually appropriated to the new works, contained one hundred and eighty pictures, which, with some half dozen scattered through the old collection, made about one hundred and ninety new pictures, by modern artists. Of this number some seventy or eighty were foreign—the majority of these German. How many were submitted for the “prizes or sums of money” we are not informed. 328 of the catalogue—Death of Abel, etc., by Edward du Jardin, is probably, so far as subject is involved, the most important work in the collection. As a whole, we look on these pictures as a failure, as a _dead failure_. Parts of the works are well drawn, and carefully, even laboriously studied, but what could be more absurd than the habiliments, attitude and expression of the angel in the first of the three? The Adam in the centre is a regular _property_ figure—one of those _stock_ studies which embellish the portfolio of every young artist who has ever been to Europe. The attitude and expression are such as can be purchased by the franc’s worth from any one of the scores of models to be found in almost every city in Europe. The Eve possesses more of the character of a repentant Magdalene than the “mother of mankind.” The third picture is to our mind the best; but, taken all together, the works are barely passable—not by any means what we should have expected from a professor of painting in one of the first schools in Europe. Religious art requires abilities and perceptions of the first order—feelings different from any manifested in this production. Of a different order is 56—Rouget de Lisle, a French officer, singing for the first time the Marsellaise Hymn, (of which he was the author,) at the house of the Mayor of Strasburg, 1792—Painted by Godfroi Guffens. Every thing here is fire and enthusiasm—the enthusiasm that ought to pervade _every work of art_—which makes the intelligent spectator _feel_ as the artist felt in its production. We have heard various and conflicting remarks made upon this work, and the general feeling among competent judges is that it is the best of the foreign works. In our opinion it is, perhaps, _the best_ modern picture in the collection. The grouping, actions, and expressions of the figures are in admirable keeping with the subject, and the color is rich, agreeable, and subdued.