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settling down upon the land. One may almost hear the roar of the continual fires, the throb of the engines, the heavy beat of the trip-hammers, and the rattle of the spindles, by which the work of the world is done; and their noises, blended by the distance into one monotonous sound, seem like the voice of the restless, hard-working, unsettled spirit of gain. Manchester is built and is worked for profit, not for pleasure; beauty is driven away from her as a thing at variance with practical life; and even the sky above her and the fields around her yield only at rare moments and for short seasons those precious and gracious shows of beauty which are the free and blessed gift of love to all the world. Smoke, steam, coal-dust, blackened walls, and bare fields lie outside the Exhibition; and now let us go within.

The world could show no sharper and more affecting contrast. Outside, all suggests the competitions and struggles of trade, the crowded street, the bustle of the exchange, the cold and dry elements of purely unimaginative life. Inside, all suggests the quietness and composure of solitary and delightful labor, the silence of the studio, the resort to nature, and the frequenting of the springs of poetry. From the present, one is suddenly transferred to the past; from the near, to the remote. In place of the blank, black factory wall, there is the low wall of some Italian Campo Santo, its painted sides more precious than marbles or gold could have made them; in place of the dull and heavy stone of the Exchange, the glowing mosaics of some southern cathedral; in place of the factory bell and the rush into the steaming and dirty workroom, the bell of a convent on Fiesole, and the slow walk through its cool cloisters; in place of the dead files of uniform ugly houses, Venetian palaces, with the water at their base, reflecting the colors which Giorgione and Titian, housepainters at Venice, left upon their stones; in place of the racket of the street, the quiet greenness of an English lane, or the inaccessible ice and glory of a far-off mountain summit; in place of the burnt waste of fields covered with ashes and coal-dust, the burning stretch of the desert with the Sphinx looking out over it century after century; in place of the shower coming down through the dirty air to wash the dirty roofs, a storm breaking over the sea-shore rocks, or beating down on the broken wreck; instead of the drabbled calico of the factory girl and her face old before its time, the satins of Vandyck’s beauties, and the fair looks of Sir Peter Lely’s heroines; instead of Manchester mayors and masters of factories, Tintoret’s noble Venetian counsellors and doges, and Titian’s Shakspearian men. It was a bold thought thus to bring pictures and statues into one great collection at Old Trafford, and to set off the art of the world against the manufactures of Manchester.

The Exhibition building was admirably designed for its purpose. Its plan is simple, and not unpleasing, although the proportions, which its object required, were such as to prevent any attempt at grand architectural effect. The general arrangement of the interior is easily understood, even without the aid of a ground-plan. The chief entrance leads into a nave, which has on each side an aisle of less height, separated from it by a wall. The wall is broken by two openings, through which is the passage from nave to aisle, or aisle to nave. The nave and aisles end in a transept, and behind the transept are two small saloons, and a large hall or aisle crossing the building transversely and forming its western end. A gallery runs round the transept, and another crosses the nave at its eastern end. This is the general arrangement. The walls of the nave or central hall are occupied by the gallery of British portraits, and between the iron columns that support the roof are set pieces of sculpture, and the cases containing the precious collection of Ornamental Art, (works of the minor arts, as they might be called,) which has been brought together from private and public sources, and is quite unrivalled in its completeness. The southern aisle contains the main collection of pictures by ancient, foreign masters; while the opposite aisle is filled with the works of the British school. The transept, being chiefly given up to arrangements for an orchestra, contains below little but a collection of busts, but its galleries are occupied with the collection of miniatures, a most admirable and extensive historical series of engravings, a large number of photographs, and a very precious collection of original drawings by the old masters. The saloon at the north end of the transept is filled with East Indian and Chinese tapestries, furniture, and works of ornamental design; while the opposite saloon continues the collection of paintings of ancient masters, being chiefly occupied with works from the gallery of the Marquis of Hertford, which he sent to the Exhibition on condition that they should be kept together. The hall that crosses the building at the western end is filled with a collection of water-color drawings.—Such, in brief, is an outline of the distribution of the treasures contained in this great palace of Art.

The first impression, on entering the nave, is that of the vast space filled with light and rich with color. The attention is not attracted to particular details. Separate objects are dwarfed in the long vista. The eye rests on nothing that is not precious, and is at first contented to wander rapidly from one object to another, without attempting to delay on any thing. Passing down the middle between the ordered files of statues, (all modern works, and few of them worthy of remark,) we enter from the transept the south nave, where the works of the foreign schools of painting are arranged for the most part in chronological order. This nave, like the opposite, is divided into three saloons and two vestibules. We are now in the first saloon. On the one side are the works of the earlier Italian masters, and on the other those of the masters of the earlier German and Flemish schools. And it is here that one observes the chief deficiency of the collection. The pictures which are here have been brought from the private galleries in which England is so rich. Many a famous country-house, full of historic and poetic associations, gains additional interest from its gallery of pictures or of marbles. Blenheim, Wilton House, Warwick Castle, have their old walls hung with pictures by Titian, Vandyck, and Holbein. Who does not remember, as one of his most delightful recollections of England,—delightful as all his recollections of that dear old Mother-land are, if he has really seen her,—who does not thus remember the drive from the little country town to the old family place, up the long avenue under its ancestral trees, the ferny brook crossed by the stone bridge with its carved balustrade, the deer feeding on the green slope of the open park or lying under some secular oak, the heavy white clouds casting their slow shadows on the broad lawn, the dark spreading cedars of Lebanon standing on the edge of the bright flower-garden,—the old house itself, with its quaint gables and oriels, the broad flight of steps leading to the wide door,—the cheerful reception from the prim, but good-natured housekeeper,—her pride in the great hall, and in the pleasant, home-like rooms, in Vandyck’s portrait of the beautiful countess, and in Holbein’s of the fifth earl,—the satisfaction with which she would point to the pictures and the marbles brought two centuries ago from Italy, now stopping before this to tell you that “it is considered a very improportionable Virgin by Parmigianino,” and calling you to observe this old statue “of a couching Silenius wrapped in the skin of a Pantheon,”—and then, when the Rubens, and the Claude, and all the other pictures have been seen, her letting you pass, as a great favor, through the library with its well-filled oaken shelves, the gilding worn off the backs of many of its books by the love of successive generations;—who does not remember such scenes as these, and recall the glorious pictures from Florence, or from Venice, or from Antwerp, that enrich many an English country home?

It was, indeed, from such homes that the Manchester collection was, in great measure, brought together; and this being the case, it is not to be wondered at that it was difficult to form an historic sequence of pictures by which the course and progress of Art should be properly illustrated, or that many of the old pictures that hang on the walls of the Exhibition bear the names of greater masters than they deserve to be honored with. Nor is it strange that the earlier schools of Art should be but very scantily represented. The earlier painters did not do much work that would answer for the decoration of homes; their work was of a public, and, for the most part, a consecrated nature. The pictures of later centuries are more easily appreciated by those who have not made a thoughtful study of Art, and they have consequently been more loudly praised and more generally sought for. The later works have attractive qualities in which the earlier are often deficient, and it is not until very recently that the real beauty and value of these first pictures of the revival have been felt with any due appreciation. The masters of the fourteenth, and of the greater part of the fifteenth century, did not, as we have said, paint pictures simply as objects of beauty or for mere purposes of adornment, nor were those methods of painting then in use which have brought pictures into private homes and within private means. And so it happens that the schools of this period are not represented at Manchester in any fair proportion to the schools of the sixteenth century.

The two most important centuries of Art are not to be studied here. Of the six pictures, for instance, that profess to be by Giotto, the great head and master of Italian Art, there are but two from which even a faint impression of his style can be gained. There is nothing here which would enable one who had not seen his works in Italy to conceive a true idea of their character and merits. Giotto stands at the threshold of the fourteenth century, breaking open the door, so long barred up, that was to let men into the glories of the unseen world. The friend of Dante, he, as painter, stands side by side with the poet. In the midst of the tumults, the confusion, and violence of those bloody times, his soul rose above the discord of the world, his hand snapped the fetters of authority and tradition, and revealed by line and color the exalted visions of his imagination. Painting, with him, took its inspiration from religious faith, and spent itself in religious service. Whether at Padua, in the little withdrawn Arena chapel, or on the bare mountains at Assisi, in the great church of St. Francis, or at Naples, in the king’s chapel, his frescos, though dimmed by the dust of five hundred years, blackened by the smoke of incense, abused by restorers, still show a power of imagination, a spirituality and tenderness of feeling, a simplicity and directness of treatment, which give them place among the most sacred and precious works that Art has yet produced. That quiet, solitary chapel of the Arena at Padua is one of the places most worthy of reverence in Italy; for in the pictures from the lives of the Virgin and the Saviour, that are painted upon its walls, there is the expression of such religious fervor, such faith and love, as