were innumerable. All that mud and dust could effect, it experienced, It was dabbled with liquorice water, smeared with peppermint, and splashed with orange juice; but when some outrageous desecrations had been inflicted on it, we would wash it under the pump, and make it as clean as ever. Then, we could carry it up stairs and repose in it before the parlour fire, with the engrossing pages of "Dick Whittington," or "Jack the Giant Killer," in our hands, until we were called off by some new game being up, and in our hurry to join it, the noble little Spartan of an "easy chair" was ingloriously upset, and left head over heels in the fender to take its chance of being burnt to death, or breaking the neck of some affectionate and devoted relative. Ah! it was a very "easy chair" that. We wish we could now purchase just such another, but we know we should get laughed at if we were weak enough to inquire about such an article,

Easy chairs are like the Scotchman's glass of whiskey-there is always an ostensible reason for their being taken, If the mercury is below zeroif the wind at all resembles a blunt razor-if the clouds are indulging in a continued, uncomfortable, sloppy, moppy, soppy, drizzling, mizzle, what more rational course could be adopted than ensconsing one's self in an easy chair, and stoically remarking, "It must be a wretched day out of doors!" If the sun is doing its fiery utmost to roast the July roses, without even basting them with a Southern zephyr-if the dust is flying in our face more unpleasantly than even our sins, why, with what a peculiar puff of the lungs we fling ourselves down in an "easy chair" and exclaim, "Oh, how hot it is!" If we are dreadfully fatigued by thinking little and doing less, and between grumbling and yawning begin to look round for something that is likely to immediately afford us an endurable state of existence, what do we pitch upon so often as an "easy chair?" We can loll there, and denounce philosophy as "humbug," poetry as "stuff," labour as "useless," and the whole of our human kindred as fools and knaves, or something worse. It is very agreeable, we daresay, to many spirits, to put the world in their own morbid pillory, and fling the questionable eggs of selfish Discontent and the withered cabbage stumps of habitual Idleness at that same world's face; but the possessors of these luxuriant velvet and eiderdown seats are usually the spoiled children of Prosperity, and the dazzling light of Fortune only serves to contract some minds, as the rich sunshine of day does the pupil of the cat's eye. We would suggest that all those so ungraciously disposed, who sit in the too " easy chairs" of worldly place, carrying on a savage attack of cosmopolitan slaughter, should try a "common rush" or an office stool for a short time.

Our fingers are getting rather tired of the pen, our back a little impatient of stooping over the desk, and we have within five yards' distance a dear friend, "an old arm chair," with a new face, in the shape of bright green chintz. The temptation is not to be resisted, so, gentle reader, we are about to retire into it and be at peace with all the world. Come, Fanchette, sweep up the hearth and mix a glass of negus, and as we sip it we will drink to the honour, longevity, and blissfulness of " easy chairs."

Notice of the Art Treasures Exhibition of 1857,

AT MANCHESTER.

BY GEORGE FALKNER.

THERE can be no doubt but that the unqualified success which attended the addition to the Dublin Exhibition of Industrial Art in 1853, of its magnificent Gallery of Paintings, primarily suggested the idea of aggregating the Art Treasures of the United Kingdom; and that the acknowledged attractions of the Palais des Beaux Arts at Paris, in 1855, confirmed the certainty of success which would attend a similar national display in England; but to Manchester was reserved the honour of amplifying the project, and of supplying the means for carrying it into practical operation.

In the month of April of the present year the first announcement appeared of the intention "of making the year 1857 memorable in our annals," by collecting for exhibition in Manchester all that the country could furnish of art and artistic objects. Within two months after, a guarantee fund, amounting to not less than £62,000, had been subscribed by the nobility and leading merchants of the district; and on the 20th of May, a public meeting was held in the Town Hall, at which formal resolutions were passed, and an Executive Committee nominated. The patronage of Her Majesty and of His Royal Highness Prince Albert was graciously extended to the undertaking; and Lords Derby, Ellesmere, Overstone, and others of conspicuous rank and title, promised their active co-operation and warm sympathy. The services of J. C. Deane, Esq., who was one of the Secretaries of the Dublin Exhibition, and who was subsequently in the service of the Crystal Palace Company, were early secured as General Commissioner; and the constitution of the Council and Executive was formally announced.

On the 23rd of June, the General Council ratified the recommendations of the Committee, as to securing a lease of the land at Old Trafford, held by the Manchester Cricket Club, and lying between the Botanical Gardens and the Manchester, South Junction, and Altrincham Railway, which, from its connection with a line of rails, the purity of the atmosphere in the vicinity, and its proximity to the city, rendered it the most eligible of all the sites offered. At the same meeting, the design for the building, submitted by Messrs. C. D. Young and Co., of London and Edinburgh, was finally adopted,

its recommendations, over numerous competitors, being convenience in the distribution of space, the facility of execution, and the cheapness of construction. Mr. Edward Salomons, architect, of this city, was appointed by the Executive to lend his professional aid in determining to what extent the facade and the general exterior of the building should be decorated or relieved by architectural design, and generally to confer with and assist the Messrs. Young in the construction of such a building as would form a fitting receptacle for the priceless contents which it was destined to enshrine. A contract was entered into for the completion of the works by the 1st of January, 1857, for the sum of £24,500, and penalties were prescribed for nonfulfilment.

The extreme length of the building is 704 feet, and its width 200 feet. It covers 15,200 square yards of ground, or rather more than three acres. In the façade, designed by Mr. Salomons, red and yellow brick are mainly employed. It presents three semi-circles of imposing height, constructed of iron, which correspond with the divisions of the area; and besides a central entrance, there are suites of apartments for officials, retiring rooms, and other conveniences adapted to the necessities of the undertaking. The building generally is of corrugated iron, with an internal lining of wood. It comprises a great hall, with a picture gallery on each side. The former is 56 feet wide, and the latter 48 feet wide. The central hall has two side aisles, each 24 feet wide, and separated from the nave only by a row of pillars. It is covered by a semi-circular roof, springing from pillars 33 feet high, the height from the floor to the top of the arch being 65 feet. The side aisles are covered by the ordinary ridge roofs, rising 3 feet 6 inches above the pillars, so that their total height is 36 feet 6 inches. The circular roofs are of corrugated iron and wood, similar to the sides; a broad strip, at the top, throughout the whole length, being glazed, so that the entire light is obtained from above.

Near the west end is the transept forty-cight feet wide, gained by opening out the great central hall to the extreme width of the building, and around is a gallery affording accommodation for spectators on occasions of great ceremonial. At this end of the building it is projected to erect a suitable organ and permanent orchestra. The great hall is intended to be open from end to end, but across each of the lateral picture galleries there are thrown a series of arched openings, so that whilst there will be an uninterrupted vista along the centre, a number of divisions will in reality be formed, each of which will no doubt, as far as practicable, be devoted to the illustration of a particular school or class of painting-in accordance with the valuable suggestion of H.R.H. Prince Albert, contained in his admirable letter to the Earl of Ellesmere. The great hall itself will receive the statuary, bronzes, decorative furniture, armour, works in gold and precious metals, tapestry, antiquities, and the thousand other objects comprised in the term "Art Treasures."

A covered corridor, twenty-four feet wide, uniting the building with the

platform of the railway station, is divided into entrance and exit passages, and a circular drive is provided up to the front entrance, for carriages and pedestrians from the city. The second class refreshment rooms communicate with the corridor, those for the first class being situated near to and opening into the transept. Besides these, there are retiring rooms, news rooms, lavatories, an office for the electric telegraph, and a station for the fire brigade. The general decoration of the interior will be simple, but harmonious and effective. The wood-lining is at the present date being covered with canvas, for the reception of a chaste and appropriate paper, and the girders, stays, and other visible iron work, are either being painted or cased in. No definite decision has yet been arrived at by the Executive as to the location of the various classes of art; when the programme of each department is completed and closed, no doubt their final destination in the building will form the subject of judicious deliberation.

Turning from the building to its contents, it may be stated generally that this Exhibition will differ from all its predecessors in the peculiar character of the objects which it embraces. Whilst those of London and Dublin were designed as exponents of the industrial and mechanical resources of the empire, this is intended exclusively to promote a refinement of national taste, and to encourage amongst us a love of the pure and the beautiful. Hence every thing that is not mere workmanship, and that may appropriately be classed as Art, will find a fitting receptacle. In no other country of the world do there exist such valuable treasures of art as in our own; but, scattered in the palatial residences of our nobility, and hidden in the cabinets of connoisseurs, they are unknown, unseen, except by the privileged few. To aggregate these rare and priceless gems-to present under one roof, enhanced by an instructive arrangement, all that England possesses most noble in the creations of artistic genius, is the end and aim of the great project of 1857. To aid in this high and humanizing effort, Royalty itself has not deemed it unbecoming to lend a gracious and a helping hand, and the example thus set before the country has been as widely as it has been generously responded to. To enumerate, however briefly, the ready contributions of art, in all the various phases it embraces, which the Executive Committee have received, would occupy too large a space in this introductory notice. A few, however, of the choicest and most valuable may be here recorded; and of these the selection permitted to be made from the royal collections claims precedence. They embrace the masterpieces of Titian, Rubens, Rembrandt, Gerard Dow, Teniers, Van Ostade, Paul Potter, Van der Velde, Wouvermans, Cuyp, Sir Joshua Reynolds, and Sir David Wilkie: the examples of the two latter being the well-known portrait of Sir Joshua by himself, and the national favourite by Sir David, of Blind Man's Buff Twenty-one pictures thus comprise the contributions from the private collection of Buckingham Palace. From Hampton Court are to be sent chef d'ouvres of Titian, Vandyck, Claude Lorraine, Kneller, Tintoretto, Correggio, Holbein, Quintin Matsys, the Blacksmith of Antwerp (whose picture-that of the Misers-is associated with a

well-known and interesting episode in his history), Dominichini, and Sir Peter Lely, making in all a series of twenty-three paintings.

The Earl of Ellesmere, President of the General Council, has promised a selection from the famous gallery of Bridgewater House, twelve in number, which includes the Assumption, by Guido, a picture well known and appreciated as one of the chief attractions of his lordship's valuable collection.

The Earl of Derby, who, from the commencement of the undertaking, has evinced great cordiality in its support, has promised a contribution of twenty-one pictures, of which Belshazzar's Feast, by Rembrandt, and two portraits, by Vandyck-one of the unhappy 7th Earl of Derby beheaded at Bolton, and the other of his heroic Countess, who defended Latham House against the Parliamentary forces-are considered the most interesting and valuable.

Lord Overstone, whose early and zealous tender of substantial aid is beyond all commendation, has submitted a list of fifteen pictures of well known merit, amongst which are a Virgin and Child, by the Spanish master Murillo, and a rare example of Rembrandt, a sea piece, by Van der Velde, and one of the best works of Wright, of Derby-the siege of Gibraltar.

The Duke of Newcastle has placed his collection at Clumber House, and in London, at the disposal of the Committee. In the former are choice examples of Claude, Rubens, Rembrandt, Vandyck, Annibal Carrachi, and Snyders; and the celebrated picture, by Turini, of Sigismunda, which provoked Hogarth, when he saw it, to paint his Sigismunda, the present owner of which, by happy coincidence, has liberally offered it for comparison and contrast.

The Earl of Carlisle has submitted a selection from the gallery of Castle Howard, which will greatly enhance the uniqueness of the Exhibition. The Entombment, by Ludovico Carracci, the Sacrifice of Isaac, the Temptation of Christ, by Tintoretto, and St. John the Evangelist, by Dominichini, will form a series of valuable contributions.

Lord Spencer is to forward thirteen pictures of rare merit, including a small Raphael, three magnificent Vandyck's, two Rembrandts, and a Rubens.

Lord de Tabley is to contribute, amongst others, two of Turner's grandest pictures; and Lord Suffield two celebrated pictures by Sir Joshua Reynolds; and Lord Dartmouth pictures by Claude, Snyders, Rubens, Wilson, and Lawrence.

The Earl of Spencer's offering comprises no less than twenty-three works of the old masters, amongst which are the celebrated Cartoon by Raphael, of the Murder of the Innocents, and the Mother of Rembrandt, by her son.

The Earl of Warwick promises ten pictures of great merit, including Murillo's Laughing Boy, and Ruben's Ignatius Loyola, Holbein's Henry VIII., and a Schoolboy, by Sir Joshua Reynolds.