DEAR SIR:-The exhibition of Allston's Feast of Belshazzar has established an era in the history of painting, which will be as memorable as those that have been commemorated by the celebrated productions of Polygnotus, Zeuxis, Apelles and Protigenes in Greece, and of Giotto, Leonardo da Vinci, Titian and Michael Angelo in Italy.

The point of time selected for the scene presented is that when Daniel is declaring the interpretation of the mystic writing, which 'the astrologers, sooth-sayers and Chaldeans could not read,' and had not been able to make known to the king.' In the fore-ground the chief personages are the king, queen, Daniel, and four of the wisest magicians of Babylon. In their rear is a group of Jewish men and women, and beyond extend the banqueting-tables, which are sumptuously embellished with gold and silver vessels; and on the sides are seated numerous guests of both sexes. In the distance, on an elevated platform, which is approached by a broad flight of steps, is a colossal golden statue of a Persian god, which is dazzlingly refulgent, from the intense flood of light that descends upon it from numerous brilliant lamps that are suspended around a circular opening in the lofty ceiling, directly over the divinity. A host of idolators are assembled round the statue, in various attitudes of reverence, or are ascending the steps.

Above the royal party which had been assembled to participate in the feast, is a spacious gallery, which is thronged with spectators who appear to be deeply interested in the imposing spectacle which the astounded court below presents. The apartments of the palace which are disclosed, are oriental in the barbaric grandeur of their construction. The numerous massive columns and other architectural appendages in the distance are of richly variegated and beautifully polished marble: in the royal saloon they are of porphyry, but in an unfinished state. The spacious hall in which the princes and nobles are entertained is

illuminated by the supernatural beams which emanate from the inscription on the wall; while the artificial light in the distance tinges with a mellow roseate radiance, like that of the glowing west on a serene summer's eve, the collonades and entablatures of the vast area appropriated to the sacred image. There are more than sixty full-length figures, busts and heads introduced, which are so elaborately executed that each claims special attention as admirable specimens of art.

The impression on first beholding this painting is that of profound admiration, wonder, and awe. A solemn grandeur pervades the whole, as if some grave and hallowed religious rite was being performed in the most holy and reverential manner. So harmoniously combined are the various portions; so sublime and imposing; so startling and truthful is the general effect; so august, moveless, silent, and yet so full of life is the scene before us, that it seems as if we were in the actual presence of a real, living auditory, which was listening with rapt attention to those awful revelations that announced the dreadful, inevitable, and speedy destruction of mighty Babylon.

Near the centre of the figures in the fore-ground stands the inspired Daniel, draped in a plain tunic of a sombre tint, over which is gracefully disposed an ample and appropriate mantle of a dark blue color. His face is turned toward Belshazzar, and with his left arm elevated, he is pointing toward the inscription, over against the candlestick, upon the wall of the King's palace.' In his high, broad, perpendicular and massive forehead, projecting brows, full, dark and soul-penetrating eyes, radiant with celestial intelligence; and in his composed, dignified and commanding attitude, we behold the self-collected, undaunted and majestic prophet of the living God. There is the firm and undoubting expression of absolute confidence in his divine inspiration, and an entire belief that unhesitating credence must be given to the appalling truths which he has been called upon to utter, under the solemn and high responsibilities incident to his exalted station, both as the chief of the governors over all the wise men' of the empire, and as the recognized herald of the fiats of JEHOVAH. His serene aspect and lofty bearing indicate an upright, just and fearless man, who is neither actuated by vindictive passion, nor entertains any desire or hope of anticipated revenge for the accumulated wrongs which had been inflicted on long subjugated Judea and his enslaved countrymen. Calmly, and even with apparent sorrow and commiseration, he announces the startling interpretation of those blazing and incomprehensible words which, when 'the King saw, written by the fingers of a man's hand, his countenance was changed and his thoughts troubled him, so that the joints of his loins were loosened and his knees smote together.'

The first sentence, 'GOD HATH NUMBERED THY KINGDOM AND FINISHED IT!' had fallen so like the crashing shock of a thunder-bolt upon the ears of the astounded and horror-stricken monarch, that he has involuntarily thrown himself back upon the throne, in a posture of despair; and in the intense agony of his tortured mind, clenches with his right hand the side of his regal seat with such violent and spasmodic energy, that the fingers appear cramped and almost disjointed; as of a man expiring in the pangs of a remorseful and horrible death. The left hand has been

nearly obliterated, after having been once finished; but one of the fingers and the position of the others are sufficiently apparent to disclose the fact that the knee had been grasped in such an energetic manner as to have drawn up the royal robe which covers it into numerous short and acutely-angular folds.

As only the outlines of the head of the King remain, its contour and the features are barely discernible; but the attitude of the whole figure, and especially the withdrawal of the right foot near to the base of the throne, as is evident from the folds of the drapery, and the extension of the left, with the toes contracted in that convulsive exertion which the hands so emphatically evince, under the thrilling influence of that awful malediction which had been pronounced, give almost as complete a conception of the mental sufferings of the monarch as if the face had been fully delineated in that significant and able manner which the artist had intended; making it to conform to the other physical demonstrations of the excruciating agonies of his riven soul; as does that of the expiring Laöcoon to the muscular developments of his limbs and body, while writhing in death-spasms within the cold, complicated and crushing folds of those monstrous serpents which envelope that impious high-priest of Apollo and his two beautiful sons.

In the painting of the death of Iphigenia, by Timanthus, which was so much extolled by the ancient orators, that young princess was represented standing before the altar at the moment she was to be immolated; and having exhausted all the resources of his art in expressing the affliction of Menelaus and her other attendants, he threw a veil over the face of Agamemnon, it not being possible to delineate by an expression of the features the tumultuous thoughts of the father; and although a like grand effect is unintentionally produced by the seeming misty atmosphere which obscures the features of Belshazzar, and thus calls upon the imagination to fill up the evanescent touches of the pencil, Allston required no such adroit subterfuge; for he was capable of far exceeding in execution the most vivid conceptions of genius. The foot alone is a model of perfection, a study for all future artists, from its anatomical correctness in form and the exact similitude to that of a living man; for it is an actual incarnation; so natural in color and texture is the flesh that it seems impressible to the touch; and the swollen veins appear tinged with vitality. The royal robe is formed of cloth of gold, and so well is it represented that it has the ponderous, stiff and brilliant appearance produced by the interweaving of that precious metal. The folds are as different from those of linen, silk, or woollen cloth as is the material of which the garment is made; being in fact exactly such as must be produced by that heavy fabric. A crimson robe with a broad, green border is thrown over one side of the throne, which is supported by gold elephants standing upon a basement of verd-antique marble. Near the throne on the right is a large golden shaft, round which is entwined a silver serpent.

On the left of the throne stands the Queen,* who came into the ban

* ALTHOUGH Nebuchadnezzar is called the father of Belshazzar, in the Scriptures, as was common with the Hebrews, he was in fact, the grand-father. Belshazzar was the Labynitus of Herodo

quet-house by reason of the words of the king and his lords;' and had recommended that they should send for the man whom the King Nebuchadnezzar brought out of Jewry,' as there was found in him light and understanding and the wisdom of the gods,' for interpreting of dreams and shewing of hard sentences and dissolving of doubts."

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The Queen, if not the most conspicuous, is certainly the most interesting figure in the painting. She is tall, with a symmetrical and perfectly developed form, accurately-proportioned and gracefully-rounded limbs; a head and neck of unrivalled excellence in conception and execution. The face is eminently beautiful, and radiant with that expression of intelligence for which the Psyche of Grecian mythology is distinguished; a being in whom the exalted faculties of the mind are made to triumph over those of the passions, and give such an impress of celestial genius to the impersonations of that imaginary divinity of the soul which forms such a marked and strong contrast with the merely physical attributes and anatomical delineations of the female figure, as presented in some of those celebrated statues and paintings of the Cyprian paragon, in the execution of which the skill of the ablest artists have been employed. In one the features are lighted up by the coruscations of intellect, while those of the other are only animated by the less dignified emotions of the heart.

The head of Napoleon appears to have been the model on which that of the Queen was formed, and the similitude is discoverable in that of her son. The selection of a type that should actually embody the grand presentiment of the artist, as to the characteristic intellectual qualities and personal appearance for which the Queen was to be preeminently distinguished, is in conformity to the universal opinion of the sculptors, painters and most learned physiologists of Europe, who consider the head of the imperial Hannibal of modern times as more completely fulfilling all the conditions which are required for exhibiting the most exact and imposing development of those transcendent powers of mind with which man may be endued, that had ever been presented for their consideration, either in nature or the most celebrated productions of ancient or modern art.

The Queen is partially enveloped in a deep green mantle, under which appears a drapery of a grave porphyritic tint. Her hair is very dark, and so tastefully arranged as to disclose a large portion of the magnificent forehead by being confined under a golden tiara, studded with diamonds. A cordon of emeralds and other precious gems set in the form of cameos and united by links of gold, passes over the left shoulder, across the chest and under the left arm, and again appears amidst the folds of the mantle on the right side. Around the waist is a richly-wrought silver cestus. A brilliant opal ornament sparkles in the corsage, and a truly Cleopatrian pearl is suspended from the ear, which

tus, and was the son of Evil. Merodach, the eldest son of Nebuchadnezzar by Nitocris; who, according to Herodotus, was 'a woman of superior understanding,' and was actually reigning queen after the early death of her husband, for a number of years before her son Belshazzar ascended the throne, which was but a short time before the invasion and conquest of Babylon by Cyrus. The queen, therefore, who as is stated in the book of Daniel, to have come into the banquet-house' by the request of the king, was his mother.

is so exquisitely painted as to seem not only lustrous in oriental purity but absolutely pendulous and moveable. She is attended by two females whose peculiar features, complexion and costume indicate that they are Arabic slaves, or natives of some more eastern nation.

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As Daniel had been selected by Nebuchadnezzar from among the captive princes of Israel,' and carefully educated in his palace in the learning and tongue of the Chaldeans,' and then elevated to the highest station in the kingdom; and as he appears to have been a distinguished favorite and sincerely respected by the Queen, she evidently anticipated that his explanations would be of a most acceptable and cheering import. But when those astounding and fearful words were uttered that had filled the whole court with dismay, and actually prostrated all the manly qualities of the King, her position was entirely changed, and became not only difficult to sustain, but was of intense interest to the aghast multitude, who were eagerly listening to all that was said, and wistfully observing whatever was done at that eventful moment. She was the fond and anxious mother of the young and inexperienced sovereign. His adverse fortunes, her own deplorable fate, and the calamitous destinies which impended over her country, all rushed upon her mind. She had not been one of the participants of the feast, and must have perceived with what profound solicitude all eyes had been turned toward her as she entered that sumptuous apartment; with what respect she had been greeted by those who had known her in the august court of the great conqueror of Judea, Media and Egypt. How responsible, perplexing and onerous was her condition when the king, princes, nobles and astrologers had been dismayed by the wonderful phenomenon that had so suddenly broken up their hilarious entertainment, and who now quailed with abject fear on hearing the first passage of the interpretation; and how important it was that she should rouse all the energies of her mind and present that masculine fortitude and commanding deportment which a Semiramis would have evinced under like unparalleled circumstances. With such lofty conceptions of duty she has assumed a dignity of manner that is truly imperial and sublime; a determined, and even haughty expression of countenance, which strongly contrasts with the subdued, cowering and humiliating condition of Belshazzar; and seems resolved to hear, with an unflinching spirit, the whole of those dreadful tidings which had been commenced with such fatally portentous indications that others of a far more disastrous character were to be apprehended. In the accomplishment of that purpose she has taken a firm and imperious attitude; and with her right hand strongly grasping the superb cordon of precious gems, while she has seized that of one of her attendants on her left, which she clenches in such a manner as to intimate that she must keep silent while Daniel speaks, that not a word should be lost. At this moment the devoted slave, alarmed at the changed appearance of her royal mistress, and utterly regardless of all other objects, is earnestly looking up into her face with a grieved, anxious and imploring expression of inquisitive solicitude; as if endeavoring by mere inspection, to discover the incomprehensible cause of such unwonted excitement.

With contracted brows and the lips firmly closed, the Queen has fixed