No painter of this age has made so deep an impression on the popularmind of America as Ary Scheffer. Few, if any other contemporary artistsare domesticated at our firesides, and known and loved in our remotestvillages and towns. Only a small number, indeed, of his original workshave been exhibited here,—yet engravings from them are not onlyfamiliar to every person of acknowledged taste and culture, but are dearto the hearts of many who scarcely know the artist's name. Young maidensdelight in their tender pathos, and the suffering heart is consoled andelevated by their pure and lofty religious aspiration. An effect sogreat must have an adequate and peculiar cause; and we shall not havefar to seek for it, but shall find it in the aim and character of theartist. Scheffer has two prominent qualities, by which he has won hisplace in the popular estimation. The first is his sentiment. His worksare full of simple, tender pathos. His pictures always tell their story,first to the eye, next to the heart and soul of the beholder. Hisadmirable knowledge of composition is always subordinate to expression.His meaning is not merely historical or poetical, but is true to lifeand every-day experience. "Mignon regrettant sa Patrie" is felt andappreciated by those who have never sung,
"Kennst du das Land wo die Citronen blühen,"—
and "Faust" and "Margaret" tell their story to all who have felt life'sstruggles and temptations, whether they have read them in Goethe'sversion or not. Added to this power of pathos and sentiment is the deepreligious feeling which pervades every work of his pencil, whatever beits outward form. His religion is of no dogma or sect, but the inflowingof a life which makes all things holy and full of infinite meaning.Whether he paint the legends of the Catholic Church, as in "St.Augustine" and "St. Monica," or illustrate the life-poem of thePr