upper medallions is a rich
ornament with the arms of the four tribes of Bavaria in enamel, and the
inscription "Louis I. King of Bavaria:" between the lower medallions is
a similar ornament with "The German Artists, A. D. 1850." All the
ornaments are in the old German style of the fifteenth century. In the
Album are 177 sheets, each containing a contribution from some artist.
The title-page is by Esseling. Kaulbach has a drawing of unusual
freshness and beauty, representing the King calling to new life, at
Rome, the neglected art of Germany. But we have not space to speak of
the works of individual artists in this remarkable collection. It is
enough to say that every distinguished painter and sculptor in Germany
is represented in it.

* * * * *

CHARLES EASTLAKE has been chosen _President of the Royal Academy_, and
the Queen has made him a knight. Sir Charles Eastlake is in some
respects a great painter, and he has produced many works which evince
very remarkable talents. Among the few pictures by him which evince
_genius_, is that owned by Mr. Henry Carey Baird, of Philadelphia, of
"Hagar and Ishmael." He has done something in literature, and from his
own account of himself we quote, that, like Haydon, he was born at
Plymouth, a soil congenial to art, for in its environs was also the
birth-place of Sir Joshua Reynolds. Like Rembrandt, Reynolds, and so
many before them, Eastlake showed an early aversion to the Latin
Grammar. He fled the Charter-house school; and a glimpse of Haydon's
picture of "The Dentatus," which was at that period exhibited at
Plymouth, made him a painter. After studying in the Academy two years,
under Fuseli, he produced "The Raising of Jairus's Daughter." This won
him a patron, in Mr. Harman, by whom he was commissioned to make studies
of the miracles of art, at that time collected in the Louvre by
Napoleon. Here also Lawrence, Haydon, Wilkie, and we believe Allston
also, came at this time to study. In the Louvre Eastlake made his first
acquaintance with the wonders of Roman art. But the pleasant task of
copying these old masters was relinquished on the sudden return of
Napoleon from Elba. At a not much later period, the fallen hero became
himself the subject of his pencil. Eastlake made a sketch of the
ex-Emperor as he appeared from the gangway of the Bellerophon, when at
anchor in Plymouth roads, interesting as the last delineation of a noble
visage, then untinge