No. 466. 'The Union Refugees'--John Rogers. This group tells its own sad tale. The stern defiance in the face of the young patriot, the sorrow-stricken but confiding attitude of the mother, and the child's uplifted gaze of wonder, speak of scenes doubtless often repeated in the history of the past two years--scenes which must sink deeply into the hearts of all beholders. No. 467. 'Freedman'--J. Q. A. Ward, A. This picture, no doubt, has its fine points, but to our mind it is rather conventional. Neither does it bear out its allegorical relation to the freedmen of our continent. If the chains of the negro are being broken, he does not appear in the character of a Hercules, but rather as a patient and enduring martyr, awaiting the day of deliverance appointed by Heaven. No. 10. 'Sunrise at Narragansett'--W. S. Hazeltine, N. A. A fine effect of transparent sky, faithful rocks, and rolling surf. The warmth of coloring and vivid reality of this picture render it eminently pleasing. No. 211. 'The Adirondacks from near Mount Mansfield'--R. W. Hubbard, N. A. A beautiful foreground of fine trees and rocks, with a far-away lookout over a hazy distance. A lake glitters in the plain beneath, and the whole scene is harmoniously bewitching and tranquillizing. No. 158. 'Out in the Fields'--A. D. Shattuck, N. A. A charming pastoral, with some elms, graceful and feathery as the far-famed trees on the meadows of North Conway. No. 27. 'Heart's Ease'--William P. W. Dana, A. We heard a little three and a half year old reply, in answer to a question as to which picture she would prefer taking home with her from the Academy: 'The sick child;' and we could not wonder at her choice, for a more touching design has seldom been placed on canvas. The name, the accompaniments, and the child's expression betoken a rare delicacy of conception. The flowers are exquisite, and the cheerful contrast of color in the drapery seems a promise of gayer, if not happier hours. But space--together, probably, with the patience of our readers--fails for the enumeration of all the interesting and meritorious paintings in the exhibition of '63; otherwise, we might discourse at length upon the two masterly works by Bierstadt (Nos. 6 and 35), the 'Swiss Lake,' by Casilear, W. T. Richards's carefully elaborated foregrounds, Huntington's charming figures, De Haas's spirited sea scenes, and other meritorious productions under names well known to the lovers of art in New York. As good ofttimes springs from evil, may not perhaps the present severe trial through which our country is passing aid in lifting the hearts of her children to more spiritual regions, that they may approach ever nearer and nearer to a more thorough comprehension and enjoyment of the 'Eternal Beauty, ever ancient and ever new,' as feebly mirrored in human art? WAS HE SUCCESSFUL?