International studio . by Maclise,in 1837 by S. Lawrence, in 1841 by Glidden, in1846 by Gillies, in 1850 by Williams and byFord, and the portraits by Glidden, Jackson,Havter, Severn, and Maclise were all speaks of several other portraits, but theartists are unknown. This perchance is oneof them. It has been attributed to Maclise,and is a little like his work, but the family donot know who painted it ; all they could saywas, it was the best portrait of all, most likehim at the particular period when it was painted,and beyond that no one can say. The gravity,the luminous eyes, the
International studio . by Maclise,in 1837 by S. Lawrence, in 1841 by Glidden, in1846 by Gillies, in 1850 by Williams and byFord, and the portraits by Glidden, Jackson,Havter, Severn, and Maclise were all speaks of several other portraits, but theartists are unknown. This perchance is oneof them. It has been attributed to Maclise,and is a little like his work, but the family donot know who painted it ; all they could saywas, it was the best portrait of all, most likehim at the particular period when it was painted,and beyond that no one can say. The gravity,the luminous eyes, the thin glimmer of a smileare all most characteristic. We need not enter into the details of the lifeof the great essayist; his story was one of apitiable struggle, boldly and splendidly must also be remembered as one of the bestand greatest of modern talkers. His conversa-tion was always a source of joy and delight tothose who heard him hold forth to his friendson topics of common interest. George C. PORTRAIT OF JAMES H. LEIGH HUNTFROM A MINIATURE IN THE PIERPONT MORGAN COLLECTION& FORMERLY IN THE POSSESSION OF THE ESSAYISTS FAMILY The Pennsylvania Academy THE ONE HUNDRED AND TWELFTHEXHIBITION OF THE PENNSYL-VANIA ACADEMY. THE One Hundred and Twelfth AnnualExhibition of the Pennsylvania Aca-demy of the Eine Arts, which washeld at the galleries in Philadelphiaduring February and March, could be describedas a sort of mirror of the current movements ofAmerican Art in oil painting and sculpture, re-flecting probably more than any other feature theinfluence of the modern theories upon the use ofpure colour as a means of emotional expression,contrasting strongly with the practice of the oldschool that regards form as the ne plus ultra ofachievement. At the same time, the display wasnot limited to the productions of any one coterieof painters. It was comprehensive enough to in-clude examples of some of the best work that isbeing done in America at the present day by
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