I never so strongly felt the truth of the remark, that expression is the soul of beauty, as in looking at, and listening to this young German.  She was any thing but handsome; it is true she had large eyes, full of gentle expression, but every feature was irregular; but, oh! the charm of that smile, of that look of deep feeling which animated every feature when she spoke of her own Germany!  The tone of her voice, the slight and graceful action which accompanied her words, all struck me as so attractive, that the half hour I passed with her was continually recurring to my memory.  I had often taxed myself with feeling something like prejudice against the beautiful American women; but this half hour set my conscience at rest; it is not prejudice which causes one to feel that regularity of features is insufficient to interest, or even to please, beyond the first glance.  I certainly believe the women of America to be the handsomest in the world, but as surely do I believe that they are the least attractive.

We visited the nineteenth annual exhibition of the Pennsylvanian academy of the fine arts; 431 was the number of objects exhibited, which were so arranged as to fill three tolerably large rooms, and one smaller called the director’s room.  There were among the number about thirty engravings, and a much larger proportion of water-colour drawings; about seventy had the P.A.  (Pensylvanian Academician) annexed to the name of the artist.

The principal historical composition was a large scripture piece by Mr. Washington Alston.  This gentleman is spoken of as an artist of great merit, and I was told that his manner was much improved since this picture was painted, (it bears date, 1813).  I believe it was for this picture Mr. Alston received a prize at the British Gallery.

There was a portrait of a lady, which, in the catalogue, is designated as “the White Plume,” which had the reputation of being the most admired in the collection, and the artist, Mr. Ingham, is said to rank highest among the portrait-painters of America.  This picture is of very high finish, particularly the drapery, which is most elaborately worked, even to the pile of the velvet; the management of the light is much in the manner of Good; but the drawing is very defective, and the contour, though the face is a lovely one, hard and unfleshy.  From all the conversations on painting, which I listened to in America, I found that the finish of drapery was considered as the highest excellence, and next to this, the resemblance in a portrait; I do not remember ever to have heard the words drawing or composition used in any conversation on the subject.

One of the rooms of this academy has inscribed over its door,

ANTIQUE STATUE GALLERY

The door was open, but just within it was a screen, which prevented any objects in the room being seen from without.  Upon my pausing to read this inscription, an old woman who appeared to officiate as guardian of the gallery, hustled up, and addressing me with an air of much mystery, said, “Now, ma’am, now; this is just the time for you—­nobody can see you—­make haste.”