as plainly as
words could say it: 'I fear; I tremble; I am unworthy. But Thy will be
done; sustain Thou Thy servant!'"

The reader can see the picture in any drawing-room; it can be easily
recognized: the Virgin (the only young and really beautiful Virgin that
was ever painted by one of the old masters, some of us think,) stands in
the crescent of the new moon, with a multitude of cherubs hovering about
her, and more coming; her hands are crossed upon her breast, and upon her
uplifted countenance falls a glory out of the heavens. The reader may
amuse himself, if he chooses, in trying to determine which of these
gentlemen read the Virgin's "expression" aright, or if either of them did
it.

Any one who is acquainted with the old masters will comprehend how much
"The Last Supper" is damaged when I say that the spectator can not really
tell, now, whether the disciples are Hebrews or Italians. These ancient
painters never succeeded in denationalizing themselves. The Italian
artists painted Italian Virgins, the Dutch painted Dutch Virgins, the
Virgins of the French painters were Frenchwomen--none of them ever put
into the face of the Madonna that indescribable something which proclaims
the Jewess, whether you find her in New York, in Constantinople, in
Paris, Jerusalem, or in the empire of Morocco. I saw in the Sandwich
Islands, once, a picture copied by a talented German artist from an
engraving in one of the American illustrated papers. It was an allegory,
representing Mr. Davis in the act of signing a secession act or some such
document. Over him hovered the ghost of Washington in warning attitude,
and in the background a troop of shadowy soldiers in Continental uniform
were limping with shoeless, bandaged feet through a driving snow-storm.
Valley Forge was suggested, of course. The copy seemed accurate, and yet
there was a discrepancy somewhere. After a long examination I discovered
what it was--the shadowy soldiers were all Germans! Jeff Davis was a
German! even the hovering ghost was a German ghost! The artist had
unconsciously worked his nationality into the picture. To tell the
truth, I am getting a little perplexed about John the Baptist and his
portraits. In France I finally grew reconciled to him as a Frenchman;
here he is unquestionably an Italian. What next? Can it be possible
that the painters make John the Baptist a Spaniard in Madrid and an
Irishman in Dublin?

We took an open barouche and dr