she was compelled to cross, and winning royal
smiles at the cost of damaged finery; and in
another excellent painting, the same artist
shows us the haughty queen in a far different
situation and mood, when she is deliberating
between inclination and stern State policy,
with the death-warrant of Essex spread out
upon the table before her, and with the fatal
pen in her hand.
Mr. C. Ij. Muller has put an epic upon can
vas in his grand picture of the scene at the
Concicrgerie prison on the 9th Thermidor,
(July 27, 29,) 1793, when the last roll-call of
the Reign of Terror was taking place. It will
be remembered that at this time the counter
Revolution, which sent Robespierre and so
many of his associates to the Guillatine, which
they had glutted with blood for two years, was
about to take place. The appearance of a
crowd of eighty victims in the streets had ex
cited public indignation and sympathy, and
the muttering of the tempest which afterwards
destroyed the terrible triumvirate, were plainly
heard. The next day the storm broke; and
Robespierre was its first victim.
The artist has chosen for the subject of his
picture the moment when the last roll-call of
the eighty victims, who had been condemned
to the scaff old, was being called; and all the
contending emotions of a crowd of people so
situated are finely depicted. In the fore
ground is seen, grouped together, the unfortu
nates who have been denounced to the revolu
tionary tribunal, and who are still uncertain
as to what tlieir fate will be. Others, again,
have heard the dread sound of the Recorder’s
voice as he called their names, and summoned
them to take their place in the tumbril, which
is seen, through an open door at the rear,
with one victim, with her arms pinioned be
hind her, standing upon it.
Terror, fear, hope, apathy, despair and
courage are all portrayed upon the canvas, and
there are not wanting such exquisite pic
tures of anguish as the parting of husband
and wife, parent and child, and such by-scenes
as the placid face of the unconscious infant
sleeping upon the mother’s breast, while the
mother’s own features tell a story of dread
and unspeakable anxiety lest her name should
be next upon the roll of the doomed. As a
memento of the time when France was drunk
with blood the painting is invaluable; as a
work of art the painter has made his picture
worthy of the importance of his subject.
No. 471 upon the catalogue is a capital pic
ture by Hicks, of New York, of Edwin Booth
as lago. The treacherous officer of the gen
erous and unsuspicious Moor is represented
standing in a musing position, with his coun
tenance indicating the wily workings of his
wicked heart. The artist speaks almost as
plainly as Skakspeare himself, and the picture
seems to say:
OUE ID .A. I LIT FAEE.
“ Now, whether he kill Cassio,
Or Cassio him, or each do kill the other,
Every way makes my gain: Li vo Rodorigu,
He calls me to a restitution large
Of gold and jewels that I fobb’d from him,
As gifts to Dcsdemona ;
It must not he; if Cassio do remain,
He hath a daily beauty in his lifo,
That makes me ugly; and, besides, the Moor
May unfold mo to him; there stand lin much peril;
No, he must die! ”
Mr. Ilicks has been quite as successful in his
portrait as he is in the sentiment of his picture,
and the likeness of Mr. Booth will be readily
recognized.
With a notice of a new and brilliant produc
tion of our countryman, Edward 11. May, at
present in Paris, we must close our notices of
the Art Gallery until the next number of Our
Daily Fare. The picture represents the depar
ture of Lady Jane Grey to the place of execu
tion, and her presentation to the constable of
the Tower of her tablets, almost the only
article she had to bestow upon him. The
countenance of the lady bears the impress of
sorrow and grief, blended with resignation
and dignity, while the figure of the constable
is a study. The coloring of this fine picture
is excellent. It is the property of Mr. Joseph
Harrison, Jr., who had it placed in the Art
Gallery of the Fair before putting it in his own
private collection.
The original Proclamation of Emancipa
tion, signed by President Lincoln, sold at the
Chicago Fair for three thousand dollars. A
few duplicates, with the “veritable and authen
ticated” signatures of Abraham Lincoln,
Secretary Seward and Mr. Nicolay, are for
sale at the 'Daily Fare table; price only ten
dollars. Every branch of the Union League,
and indeed every patriot, should be proud to
own one of these. They were obtained for
the Fair, by Messrs. George 11. Borer and
Charles Godfrey Leland, who guarantee
the authenticity of the signatures “Can
you tell me,” inquired a gentleman of one of
our Daily Fairies, “why they separate the wa
ter color pictures from those in oil, in the
Fine Art exhibition?” “I suppose it is be
cause oil and water will not mingle,” was the
gentle reply. He gazed at her steadily and
sadly, and murmuring, “So young, so—’
chased a paper-cutter and departed
who would secure a really beautiful and quaint
souvenir of the Fair should, after watching the
curious machine of Burden’s which illustrates
practically the manner in which horse-shoes
are made for the army, purchase a set of the
small gilt shoes—reminding one of the golden
shoes of the consul-horse Incitatus —which are
hung to red, blue, and white silk ribbons; price
only forty cents. As it is the fashion, style,
mode, furore, and, in fact, la chose to wear
these just now, perhaps our advice is needless.
But a stern sense of justice compels us to add
that at no table—always excepting that of the
great and good Daily Fare itself—have we
found a ministering angel more courteous or
winsome than among the Fairies of the Horse
shoe. But, with compliments aside, Burden’s
horse-shoe machine is one of the most won
derful inventions of the age, turning out at
the rate of sixty shoes per minute, and fur
nishing six hundred lons per month. Stop and
see the principle exhibited in the miniature
machine in the centre of the east end of Union
avenue, under the Illuminated Shoe; and,
above all, do not forget La Belle Mareschale —
“Our Lady of the Horse-Shoes.’’
One of the staff contributes the following
in reference to “ltelics of Washington:” It
will be a sure sign of national degeneracy when
there shall be any abatement in the reverence
which the American people feel for the mem
ory of AVashington, AVe note with satisfac
tion the great interest which the relics of the
Father of his Country inspire in those who
examine them at the Fair. Numerous articles
of great value, from their association with his
public and domestic life, will be found enu
merated in the catalogues. Since their pub
lication, however, a new object of interest has
been contributed to the Department of Arms
and Trophies. It is the cane of Washington,
which he bequeathed in his last will to his
friend and kinsman Robert Washington, from
whom it has descended to his grand-son, the
present owner, Col. Peter G. Washington, of
AVashington City, who has kindly permitted its
exhibition at the Fair. It will be found about
the centre of the room, in a glass case, which
also contains silver vases presented to two of
our naval heroes.
AVe cheerfully find a corner for the follow
ing reminder, from a gay correspondent, of
certain things forgotten in our enumeration of
the curiosities in the Penn Parlor : “ Your
correspondent from Penn Parlor has sent you
an agreeable letter from that shady place,
enumerating a few of the antiquities. Here
are a few he did not see, or at least did not
ment ion: the carte dc visile of Penn, photograph
from life; photograph album containing card
pictures (also from life) of the Penn family,
and some of the Indian chiefs, once the pro
perty of James Logan ; steel pen with which
the great founder wrote his will; gold pen with
which the treaty was engrossed, also the char
ter ; and deeds by which the lands were conveyed to
the early settlers, with internal revenue stamps
thereon ; the meerschaum pipe of peace; baby
jumper in which the Penn infants were wont
to exercise; portions of the washing, wringing
and sewing machines which were used by Gu
lielma Maria Springett Penn; also parts of the
drilling and mowing and reaping machines in
use on the farm at Penn Manor; Mrs. Penn’s
grand piano; a photograph of Philadelphia
in 1700, showing passenger cars in front of
the Slate Roof house, instantaneous view;
seventeen cords of the Elm Treaty wood; gas-