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rarely killed in New York or to the eastward, though a few are found on the flats of the Hudson. It winters for the most part to the south of the United States, although a few pass the cold season in the tepid swamps and morasses of Florida and Louisiana. All this is now ascertained beyond doubt, but till within a few years all sorts of strange fabulous tales have been in circulation concern

the Old Dominion. I have myself killed it in the State of Maine, as well as in New York, New Jersey, and Pennsylvania, at the marsh of the Aux Canards river, in Canada East, and on the head waters of the Lake Huron Rivers. In the great wild rice marshes of the St. Clair river, the Virginia Rail, like most of the aquatic birds and waders, is very common. It is rather more upland in its habits than its companion, the Sora, which delights in the wettesting the habits of this bird; arising from the circumstance tide-flowed swamps where the foot of man can scarcely tread, being frequently killed by the Snipe-shooter in wet inland meadows, which is rarely or never the case with the Sora.

The Virginia Rail is, however, not unfrequently found in company with the other on the mud flats of the Delaware, and, with it, is shot from skiffs propelled by a pole through the reed beds at high water.

of its very sudden and mysterious arrival and disappearance on its breeding-grounds, the marshes being one day literally alive with them, and the next solitary and deserted. Add to this its difficult, short, and laborious flight, apparently so inadequate to the performance of migrations thousands of miles in length, and it will be easy to conceive that the vulgar, the ignorant, and the prejudiced, should have been unable to comprehend the possibility of its aerial voyages, and should have endeavored to account for their disappearance by insisting that they burrow into the mud and become torpid during the winter, as I have myself heard men maintain, incredulous and obstinate against conviction. Audubon has thought it necessary

fallacy, and in doing so has recorded the existence of a planter on the James River, in Virginia, who is well convinced that the Sora changes in the autumn into a frog, and resumes its wings and plumage in the spring, thus renewing the absurd old legend of Gerardus Cambrensis in relation to the tree which bears shell-fish called barnacles, whence in due season issue barnacle geese.

The Virginia Rail is a pretty bird, measuring about eight inches in length. The bill is about an inch long, slightly decurved, red at the base and black at the extremity; the nostrils linear. The top of the head is dark-brown, with a few pale yellowish streaks; a blackish band extends from the base of the bill to the eye, and a large, ash-gravely, and at some length, to controvert this absurd colored spot, commencing above the eye posteriorily, occupies the whole of the cheeks. The throat, breast, and belly, so far as to the thighs, which partake the same color, are of a rich fulvous red, deepest on the belly. The upper parts, back of the neck, scapulars, and rump, are dark blackish-brown, irregularly streaked and dashed with pale yellowish-olive. The wing-coverts are bright bay, the quills and tail blackish-brown. The vent black, every feather margined with white. The legs are red, naked a little way up the tibia. It is a very rapid runner, but flies heavily. It affords a succulent and highly flavored dish, and is accordingly very highly prized, though scarcely equal in this respect to its congener, the Sora, which is regarded by many persons as the most delicious of all game, though for my own part I would postpone it to the Canvas-Back, Fuligula valisneria, the Upland Plover, Totanus Bartramius, and the Pinnated Grouse, or Prairie Fowl, Tetrao cupido.

The Sora Rail, Rallus Carolinus, which is more especially the subject of this paper, is somewhat inferior in size to the last species, and is easily distinguished from it by the small, round head, and short bill, in which it differs from all the rest of its family. This bill is scarcely half an inch in length, unusually broad at the base, and tapering regularly to a bluntly rounded point. At the base and through nearly the whole length of the lower mandible it is pale greenish-yellow, horn-colored at the tip. The crown of the head, nape, and shoulders, are of a uniform pale olive-brown, with a medial black stripe on the crown. The cheeks, throat, and breast, pale rufous brown, fading into rufous white on the belly, which is mottled with broad transverse gray lines. The back, scapulars, wing-coverts, and rump, are olive-brown, broadly patched with black, and having many of the feathers margined longitudinally with white, the quills dark blackish-brown, the tail dark reddish-brown. The lower parts from the tail posteriorily to the vent transversely banded with black and white. The legs long and slender, bare a short way up the tibia, of a pale greenish hue. The iris of the eye is bright chestnut. The male bird has several black spots on the neck.

This bird is migratory in the United States, passing along the sea-coast as well as in the interior; a few breed in New Jersey, on the Raritan, Passaic, and Hackensack rivers; but on the Delaware and its tributaries, which abound with wild rice, it is exceedingly abundant, as it is also in the great northwestern lakes and rivers which are all plentifully supplied with this its favorite food. It is

The Sora Rail arrives in the Northern States in April or May. I saw one killed myself this spring in a deep tide marsh on the Salem creek, near Pennsville, in New Jersey, on the 25th of the former month, which was in pretty good condition. They migrate so far north as to Hudson's Bay, where they arrive early in June, and depart again for the south early in the autumn. They breed in May and June, making an inartificial nest of dry grass, usually in a tussock in the marsh, and laying four or five eggs of dirty white, with brown or blackish-white spots. The young run as soon as they are hatched, and skulk about in the grass like young mice, being covered with black down. The Sora Rail is liable to a curious sort of epileptic fit, into which it appears to fall in consequence of the paroxysms of fear or rage to which it is singularly liable.

The following account of the habits and the method of shooting this bird, from Wilson's great work on the Birds of America, is so admirably graphic, truthful, and lifelike, that I prefer transcribing it for my own work on Field Sports, into which I copied it entire as incomparably superior to any thing I have elsewhere met on the subject, to recording it myself with, perhaps, inferior vigor.

"Early in August, when the reeds along the shores of the Delaware have attained their full growth, the Rail resort to them in great numbers, to feed on the seeds of this plant, of which they, as well as the Rice-birds, and several others, are immoderately fond. These reeds, which appear to be the Zizania panicula effusa of Linnæus, and the Zizania clavulosa of Willenden, grow up from the soft muddy shores of the tide-water, which are, alternately, dry, and covered with four or five feet of water. They rise with an erect tapering stem, to the height of eight or ten feet, being nearly as thick below as a man's wrist, and cover tracts along the river for many acres. The cattle feed on their long, green leaves, with avidity, and wade in after them as far as they dare safely venture. They grow up so close together, that except at or near high water, a boat can with difficulty make its way through among them. The seeds are produced at the top of the plant, the blossoms, or male parts, occupying

energy; and their bodies being so remarkably thin, and compressed so as to be less than an inch and a quarter through transversely, they are enabled to pass between the reeds like rats. When seen, they are almost constantly jetting up the tail, yet though their flight among the reeds seems feeble and fluttering, every sportsman who is acquainted with them here, must have seen them occasionally rising to a considerable height, stretching out their legs behind them, and flying rapidly across the river, where it is more than a mile in width. Such is the mode of Rail shooting in the neighborhood of Philadelphia.

the-lower branches of the pannicle, and the seeds the | except the legs, which seem to possess great vigor and higher. The seeds are nearly as long as a common-sized pin, somewhat more slender, white, sweet to the taste, and very nutritive, as appears by their effects on the various birds that feed on them at this season. When the reeds are in this state, and even while in blossom, the Rail are found to have taken possession of them in great numbers. These are generally numerous, in proportion to the full and promising erop of the former. As you walk along the embankment of the river, at this season, you hear them squeaking in every direction, like young puppies. If a stone be thrown among the reeds, there is a general outery, and a reiterated kuk, kuk, kuk-something like that of a Guinea-fowl. Any sudden noise, or discharge of a gun, produces the same effect. In the meantime, none are to be seen, unless it be at or near high water-for when the tide is low, they universally secrete themselves among the insterstices of the reeds; and you may walk pist, and even over them, where there are hundreds, without seeing a single individual. On their first arrival, they are generally lean and unfit for the table, but as the seeds ripen, they rapidly fatten, and from the 20th September to the middle of October, are excellent, and eagerly sought after. The usual method of shooting them in this quarter of the country is as follows.

"The sportsman furnishes himself with a light batteau, and a stout, experienced boatman, with a pole of twelve or fifteen feet long, thickened at the lower end, to prevent it from sinking too deep in the mud. About two hours or so before high water, they enter the reeds, and each takes his post-the sportsman standing in the bow, ready for action, the boatman on the stern-seat, pushing her steadily through the reeds. The Rail generally spring singly as the boat advances, and at a short distance a-head, are instantly shot down, while the boatman, keeping his eye on the spot where the bird fell, directs the boat forward, and picks the bird up, while the gunner is loading. It is also the boatman's business to keep a sharp look out, and give the word 'Mark,' when a Rail springs on either side, without being observed by the sportsman, and to note the exact spot where it falls, until he has picked it up; for this once lost sight of, owing to the sameness in the appearance of the reeds, is seldom found again. In this manner the boat moves steadily through and over the reeds, the birds flushing and falling, the gunner loading and firing, while the boatman is pushing and picking up. The sport continues an hour or two after high water, when the shallowness of the water, and the strength and weight of the floating reeds, as also the backwarkness of the game to spring, as the tide decreases, oblige them to return. Several boats are sometimes within a short distance of each other, and a perpetual cracking of musketry prevails above the whole reedy shores of the river. In these exeursions, it is not uncommon for an active and expert marksman to kill ten or twelve dozen in a tide. They are usually shot singly, though I have known five killed at one discharge of a double-barrelled piece. These instances, however, are rare. The flight of these birds among the reeds, is usually low, and shelter being abundant, is rarely extended to more than fifty or one hundred yards. When winged, and uninjured in their legs, they swim and dive with great rapidity, and are seldom seen to rise again. I have several times, on such occasions, discovered them clinging with their feet to the reeds under the water, and at other times skulking under the reeds, with their bills just above the surface; sometimes, when wounded, they dive, and rising under the gunwale of the boat, secrete themselves there, moving round as the boat moves, until they have an opportunity of escaping unnoticed. They are feeble and delicate in every thing

"In Virginia, particularly along the shores of James River, within the tide-water, where the Rail, or Sora, are found in prodigious numbers, they are also shot on the wing, but more usually taken at night in the following

manner:

"A kind of iron grate is fixed on the top of a stout pole, which is placed like a mast in a light canoe, and filled with fire. The darker the night, the more successful is the sport. The person who manages the canoe, is provided with a light paddle, ten or twelve feet in length; and about an hour before high water, proceeds through among the reeds, which lie broken and floating on the surface. The whole space, for a considerable way round the canoe, is completely enlightened-the birds start with astonishment, and, as they appear, are knocked over the head with a paddle, and thrown into the canoe. In this manner, from twenty to eighty dozen have been killed by three negroes in the short space of three hours.

"At the same season, or a little earlier, they are very numerous in the lagoons near Detroit, on our northern frontier, where another species of reed, of which they are equally fond, grows in shallows, in great abundance. Gentlemen who have shot them there, and on whose judgment I can rely, assure me that they differ in nothing from those they have usually killed on the shores of the Delaware and Schuylkill; they are equally fat, and exquisite eating."

To this I shall only add, that a very light charge of powder and three-quarters of an oz. of No. 9 shot will be found quite sufficient to kill this slow flying bird. I have found it an excellent plan to have a square wooden box, with two compartments, one holding ten lbs. of shot, with a small tin scoop, containing your charge, and the other containing a quantum suff. of wadding, placed on the thwarts of the boat, before you, and to lay your powder flask beside it, by doing which you will save much time in loading; a great desideratum where birds rise in such quick succession as these will do at times, a couple of hundred being some times killed by one gun in a single tide.

A landing net on a long light pole will be found very convenient for recovering dead birds. No rules are needed for killing rail, as they lie so close and fly so slowly that a mere bungler can scarce miss them, unless he either gets flurried or tumbles overboard. When dead he is to be roasted, underdone, like the snipe, served on a slice of crisp buttered toast, with no condiment save a little salt and his own gravy. If you are wise, gentle reader, you will lay his ghost to rest with red wine-Burgundy if you can get it, if not, with claret. For supper he is undeniable, and I confess that, for my own part, I more appreciate the pleasure of eating, than the sport of slaying him; and so peace to him for the present, of which he surely will enjoy but little after the twentieth of September, until the early frosts shall drive him to his asylums, in the far southern wilds and waters.

THE FINE ARTS.

TWENTY-SEVENTH ANNUAL EXHIBITION OE THE PENNSYLVANIA ACADEMY OF THE FINE ARTS.-Viewed in all its bearings and relations, we believe this to have been the most important exhibition of this excellent institution. Not that we think the present by any means the best collection of paintings we remember to have seen in these same rooms. We believe it is generally known that for some time past a considerable business has been done in the way of importing paintings, statues, etc., for purposes of speculation. Through the exertions of the individuals engaged in this traffic, scores of foreign pictures have been scattered over the country. With this business it is not our purpose to meddle. Undoubtedly these gentlemen possess the right to invest their money in whatever will yield the largest per centage, and we are glad to perceive that a fondness for art exists to such an extent as tempts shrewd speculators and financiers to enter into operations of this description. But, keeping in view the state of affairs induced by the exertions of these gentlemen, no surprise will exist in the mind of any one at the unparalleled interest created in the public mind by the announcement that the Directors of the Pennsylvania Academy of Fine Arts, impelled by a laudable desire to patronize art and artists, had offered certain "prizes or sums of money," to be competed for by artists all over the world. The mere announcement put public curiosity on the qui vive. Expectation was on tip-toe. At length, after protracted delay, on the 16th of May last, the Academy was thrown open to the public.

The two galleries-the south-east and the north-eastthose usually appropriated to the new works, contained one hundred and eighty pictures, which, with some half dozen scattered through the old collection, made about one hundred and ninety new pictures, by modern artists. Of this number some seventy or eighty were foreign-the majority of these German. How many were submitted for the "prizes or sums of money" we are not informed.

328 of the catalogue-Death of Abel, etc., by EDWARD DU JARDIN, is probably, so far as subject is involved, the most important work in the collection. As a whole, we look on these pictures as a failure, as a dead failure. Parts of the works are well drawn, and carefully, even laboriously studied, but what could be more absurd than the habiliments, attitude and expression of the angel in the first of the three? The Adam in the centre is a regular property figure-one of those stock studies which embellish the portfolio of every young artist who has ever been to Europe. The attitude and expression are such as can be purchased by the franc's worth from any one of the scores of models to be found in almost every city in Europe. The Eve possesses more of the character of a repentant Magdalene than the "mother of mankind." The third picture is to our mind the best; but, taken all together, the works are barely passable-not by any means what we should have expected from a professor of painting in one of the first schools in Europe. Religious art requires abilities and perceptions of the first order-feelings different from any manifested in this production.

Of a different order is 56-Rouget de Lisle, a French officer, singing for the first time the Marsellaise Hymn, (of which he was the author,) at the house of the Mayor of Strasburg, 1792-Painted by GODFROI GUFFENS. Every thing here is fire and enthusiasm-the enthusiasm that ought to pervade every work of art-which makes the in

telligent spectator feel as the artist felt in its production. We have heard various and conflicting remarks made upon this work, and the general feeling among competent judges is that it is the best of the foreign works. In our opinion it is, perhaps, the best modern picture in the collection. The grouping, actions, and expressions of the figures are in admirable keeping with the subject, and the color is rich, agreeable, and subdued.

Murray's Defense of Toleration.-P. F. ROTHERMEL. If to the exquisite qualities of color, composition, etc., Mr. Rothermel would add (we know he can) expression, he would unquestionably be the historical painter of America. In a refined, intellectual perception of the general character of his subject, Mr. R. is unsurpassed, perhaps unapproached by any painter in the country. His pictures give evidence of the greatest care and study-no part slighted-nothing done with the "that will do" feeling which dreads labor. The picture under consideration embraces a great number of figures-in fact the canvasi literally covered, but not crowded, every inch giving evidence of intelligence and design. Concerning the work, we have heard, from the public press as well as from individuals, but one expression, that of the strongest commendation-in which we heartily concur.

150, from the Midsummer Night's Dream, Act IV., Scene 1st., also by Mr. ROTHERMEL, is conceived in the true feeling of the great poet. The figures of Bottom, and Titania and the other fairies, are fine conceptions. Some comparatively unimportant defects in drawing might be remedied, without injuring the general effect.

Mr. WINNER contributes a large work-Peter Healing the Lame Man at the Beautiful Gate of the Temple. This picture possesses great merit, and evinces a most commendable ambition. The grouping is well managed-the expressions of Peter and John are good-the cripple capital. A stumpy shortness of the figures mars the general character of this otherwise beautiful production. Mr. Winner paints drapery well, and perhaps unconsciously loads his figures with it. This defect is conspicuous in his grand work of "Christ raising the Daughter of Jairus," now in our Art Union Gallery. The heads and extremities of Mr. Winner's pictures are perfect studies of color and modeling, and evince a masterly knowledge of anatomy. We should be rejoiced to see the efforts of our artists liberally sustained, as they ought to be, in the higher departments of art.

41, The Happy Moment-105, The Recovery-CARL HUBNER. These, no doubt, are popular works—as works of certain classes always will be. We have heard much said in praise of them. They are beautifully, exquisitely painted-especially the "Happy Moment," in which the color and execution are admirable. But in sentiment, or any of the ideal qualities of such subjects, they are lamentably deficient. Like nearly all the German painters, Carl Hubner possesses much greater executive than imaginative powers-he is more of a mechanic than an artist. He gratifies the eye at the expense of the mind. Surely rustic love is suggestive of something more than any thing hinted at in the "Happy Moment." "The Recovery" is composed of the usual conventional material of such subjects—a simpering physician, with a nice diamond ring on his finger, friends, with the old, upturned eyes and clasped hands, are mechanically put togetherall standing or sitting evidently on purpose to be painted.

In landscape, the best works in the collection are Nos. 35 and 136, by DIDAY, a Geneva artist-a Moonlight, No. 46, B. STANGE, and No. 78, a Roman Aqueduct at Alcala, with caravans of muleteers, F. BOSSUET. The two first❘ are grand and imposing representations of scenery in the High Alps-in color they are deep and rich in tone. The Moonlight, by Stange, is the best we have ever seen. The tremulous luminousness of the moonshine is rendered with matchless truth. The Roman Aqueduct, by Bossuet, is, beyond question, the finest landscape in the collection. Sunlight, local color, and texture were never painted with greater truth than in this splendid production. Light and heat pervade every nook and corner of the picture, from the dry, dusty foreground, off to the distant mountains which close the scene. The work furnishes a grand example of artistic execution and detail. No 52-Lake George-RUSSEL SMITH-is a beautiful piece of open daylight effect, possessing great truth. A Scene on the North River-PAUL WEBER—possesses much merit. The color is fresh and natural, and the sky is the best we have seen by this artist.

In the Marine department we have works from SCHOTEL, DE GROOT, PLEYSIER, MOZIN, and other foreign artists, and from BIRCH, BONFIELD, and HAMILTON, American. Hamilton stands preeminent in this departmenthis "Thunder Storm," and a poetic subject from Rogers' Columbus, are the best marines in the Academy. All his works in the present exhibition have been so minutely described in the daily and weekly papers, and so universally commended, that we deem it unnecessary to do more than add our unqualified acquiescence in the favorable judgment thus far expressed concerning them. Not one of our artists is attracting so much attention at the present moment as Mr. Hamilton. We have no doubt he is fully able to sustain the high expectations created by his works within the last two years. Birch and Bonfield, each, maintain their well-earned and well-deserved reputations. Of the foreign marines, those of Pleysier and De Groot are the best-but there is nothing remarkable in either.

A Still Life piece by GRONLAND, a French artist, is a splendid example of its class-as is, also, one of a similar character by J. B. ORD, the best painter of such subjects

in the United States.

Want of space prevents our entering into the discussion of the comparative merits of native and foreign works. We feel no hesitation, however, in saying that our artists, as a body, have every reason to congratulate themselves upon the probable results of the present exhibition.

THE MADONNA DEL VELO.-Among the many works of art, which the unsettled state of the Continent has brought into the London market, are a collection formerly the property of the Bracca family of Milan. The gem of the gallery is a remarkably fine and beautifully finished Madonna del Velo by Raffaelle. This attractive picture derives its title from the Virgin being represented as lifting a transparent veil from the face of the sleeping Jesus. She is gazing on the infant with all the devoted love of a mother, and with all a Madonna's reverence beaming from her eyes and depicted in her countenance and her posture; while the young St. John is standing by, an attentive and interested spectator of the proceeding. The colors are very beautiful, and are blended with the highest taste and judgment. The details of the painting bear the closest examination, and every new inspection brings to view some unobserved charm, some previously undetected beauty. The figures are worthy in all respects of the highest praise, and the landscape forms a delightful and effective back-ground. To mention one little example of

the singular skill and finish displayed in this beautiful work, the veil which the Virgin is represented as lifting from the sleeping infant's face, is marvelously painted. It is perfectly transparent, and seems so singularly fine, filmy and light, that it has all the appearance of what a silken cobweb might be imagined to be. It is a remarkable specimen of the skill of the great artist even in the most difficult and delicate matters. Indeed, the whole painting is a "gem of purest ray."

"LA TEMPESTA"-a new opera, the joint composition of Halevy and Scribe, has been produced in London, with Sontag as Miranda, Lablache as Caliban, Coletti as Prospero, and Carlotta Grisi as Ariel. Whether its original source, the renown of the author of the libretto, the reputation of the composer, or the combination of artistic talent engaged, be considered, the opera is a work of unprecedented magnitude, and naturally excited unusual interest on the part of all lovers of art. Monsieur Scribe has made legitimate use of Shakspeare's" Tempest" in its transmutation into a libretto-supernatural agency and music are employed, even Caliban sings, and Ariel, besides being an essentially musical part, heads a band of sprites and elves "who trip on their toes, with mops and mows." But it was necessary, for lyrical purposes, that a greater intensity of human interest should be added. M. Scribe has found means of drawing these new points from Shakspeare's own text. He says in a letter to the lessee of Her Majesty's Theatre, "I have done the utmost to respect the inspirations of your immortal author. All the musical situations I have created are but suggestions taken from Shakspeare's ideas; and as all the honor must accrue to him, I may be allowed to state that there are but few subjects so well adapted for musical intepretation." We hope before long to have this last work from Halevy transferred to the boards of the American Opera.

A DRAMA THIRTY CENTURIES OLD REVIVED.-A recent great theatrical wonder of the hour in Paris, has been the revival of a piece from the Hindoo theatre, "which was performed for the first time" some three thousand years ago, in a city which no longer has an existence on the earth, and written by the sovereign of a country whose very name has become a matter of dispute. The piece was translated from the original Sanscrit by Gerard de Nerval, and met unbounded success. All Paris has been aroused by this curious contemplation of the ideas and motives of these remote ages, and a whimsical kind of delight is experienced at finding the human nature of Hindostan of so many centuries ago, and the human nature of modern Paris, so exactly alike in their puerility and violence, their audacity and absurdity, that the play may verily be called a piece de circonstance. King Sondraka, the author, seems to have anticipated the existence of such men as Louis Blanc and Proudhon, of Louis Bonaparte and Carlier; so true it is, that there is nothing new under the sun, and that not an idea floats on the tide of human intelligence but what has been borne thither by the waters of oblivion, where it had been already flung.

STATUE OF CALHOUN.-The marble statue of the late John C. Calhoun, executed by Hiram Powers, at Leghorn, for the State of South Carolina, was lost on the coast of Long Island, in July, by the wreck of the brig Eliza. beth.

HORACE VERNET, the great historical printer, has been to St. Petersburg, having been requested by the Emperor of Russia to furnish several battle pieces illustrative of the principal scenes in the Hnngarian campaign.

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