But we must pause here, leaving many works of which we would willingly speak. At the Düsseldorf Gallery, LESSING'S "Martyrdom of Huss" is still the great attraction. It is a work so full of careful study and skilful treatment that we are not surprised at the universal pleasure in its contemplation. We cannot in this space, however, enter into a consideration of its artistic claims and character, but must record our impression that it is not in the highest style of art--if there be in art a higher style than the adequate representation of the simple incident. The dexterous detail of the Düsseldorf pictures is remarkable, but the fault and tendency of the school is to direct imitation, and consequently to a hopeless struggle with nature. These pictures are the worst possible models for the student of art. The Art-Union Gallery is by no means full, but certainly does not merit the harsh criticism of the daily press. The pictures are on an average quite as good as usual. The names of most of the distinguished artists are on the catalogue, and the specimens of their works are characteristic and admirable. There are several poor copies of famous pictures, and these undoubtedly somewhat neutralize the effect of the native works. Beside, the Art-Union does not profess to open its gallery with a complete collection. It buys as the pictures are produced, and the criticisms, thus far, have been no less ignorant than ill-natured. It does not follow that fifty thousand dollars' worth of good pictures are annually painted because that sum may be subscribed to purchase good pictures. Nor is it at all true, as we would undertake to show, had we the space, that artists are necessarily the best managers of a popular institution for the advance of art. The Exhibition of the Artists' Association offers little for remark. We are not sufficiently acquainted with the secret of the origin of this association to speak of the institution itself, but we observe many of the names familiar to us at the Academy and the Art-Union, and can truly wish that the pictures were upon the walls of one of those galleries. On the whole, we remark an unwonted activity and interest in art. It is impossible not to rejoice at the fact, and at the brilliant proofs of artistic ability that illuminate the walls of the various galleries. The contemporary exhibitions of foreign capitals do not, altogether, surpass those of their younger sister. American books are now not all unread, and those who delight in galleries in which only Turner, Kaulbach, and Couture are eminently great, could not be unjust to these promises of American artistic success. * * * * *