The International Weekly Miscellany, Volume I. No. 9 | Page 2

art of different nations and epochs.
In the third class, two parts only are devoted to contemporary art; the medals illustrative of the French revolution of 1789; those of the "Empire" and of the Emperor "Napoleon;" generally smacking of the florid and corrupt taste of that period, they are nevertheless curious as being often the sole evidence of the facts commemorated. There is, however, a manifest improvement in the late ones, and in them may be traced the transition from the independent ideas of the revolution to the subsequent submission to one man: and not less striking is the transition from a slip-shod style of art to a pedantic imitation of the antique. The "Trésor de Numismatique et de Glyptique" is the most scientific and important work of art which has been executed and achieved of late years in France. Our great public libraries may be proud of possessing so rich, so valuable, and so curious a collection,
Most lovers of art have their favorite periods and well-beloved masters, but in this varied range of excellence it is difficult which to select for preference and admiration. The cameos have a beauty and finesse which far surpass that of busts and statues; they evince the skill of grouping, which, with rare exceptions, such as the Niobe and Laocoon, is seldom aimed at in the more important pieces of sculpture. Cameos, moreover, let us, as it were, into the secrets of indoor life. To these considerations we may add that these gems have had an immense influence on French modern art. The "Apotheosis of Augustus" especially, known to antiquarians as the "Agate of Tiberius," the largest cameo in the world, and beautifully engraved the size of the original in this collection, may be traced in more than one of their late compositions.
It is said that large medallions are a sign of taste either in the medalist or the monarch he is supposed to honor; if so, Dupré and Varin have drawn a thick vail over the effulgence of Louis XIV. We would not, however, lose their wigs and smiles for a world of historiettes.
But it is to be remembered that the more names are blazoned on works of art, the more art becomes deteriorated. In this respect the present collection shows the rapidly progressive march of this evil through twenty-five centuries--a most instructive subject of contemplation.
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THE CSIKOS OF HUNGARY.
Of the chivalry, the gallantry, the splendor, the hospitality, the courage, and the love of liberty of the Hungarian noble or gentleman, no one doubts. Of his ideas of true constitutional freedom, or the zeal with which that or Hungarian independence has been maintained first through Turkish, and then German domination for some hundred years past, doubts may be entertained. Neither do the Hungarian peasantry or people reflect high credit on their "natural superiors." Something should be deducted for the forced vivacity and straining after effect of the littérateur; but this sketch of a large class of peasantry from Max Schlesinger's "War in Hungary," just published in London, must have some foundation in truth--and very like the Red Indians or half-breeds of Spanish America the people look.
"The Csikos is a man who from his birth, somehow or other, finds himself seated upon a foal. Instinctively the boy remains fixed upon the animal's back, and grows up in his seat as other children do in the cradle.
"The boy grows by degrees to a big horse-herd. To earn his livelihood, he enters the service of some nobleman, or of the Government, who possess in Hungary immense herds of wild horses. These herds range over a tract of many German square miles, for the most part some level plain, with wood, marsh, heath, and moorland; they rove about where they please, multiply, and enjoy freedom of existence. Nevertheless, it is a common error to imagine that these horses, like a pack of wolves in the mountains, are left to themselves and nature, without any care or thought of man. Wild horses, in the proper sense of the term, are in Europe at the present day only met with in Bessarabia; whereas the so-called wild herds in Hungary may rather be compared to the animals ranging in our large parks, which are attended to and watched. The deer are left to the illusion that they enjoy the most unbounded freedom; and the deer-stalker, when in pursuit of his game, readily gives in to the same illusion. Or, to take another simile, the reader has only to picture to himself a well-constituted free state, whether a republic or a monarchy is all one.
"The Csikos has the difficult task of keeping a watchful eye upon these herds. He knows their strength, their habits, the spots they frequent; he knows the birthday of every foal, and when the animal,