Carriages And Horses Like The English Are Very Seldom To Be Met With.

As regards the arts and sciences, I may mention the Academy of Fine Arts, the Museum, Theatre, etc.

In the Academy of Fine Arts is something of everything, and not much of anything - a few figures and busts, most in plaster, a few architectural plans and pencil drawings, and a collection of very old oil paintings. It really seemed to me as if some private picture gallery had been carefully weeded of all the rubbish in it, which had then been put here out of the way. Most of the oil paintings are so injured, that it is scarcely possible to make out what they are intended to represent, which, after all, is no great loss. The only thing respectable about them is their venerable antiquity. A startling contrast is produced by the copies of them made by the students. If the colours in the old pictures are faded, in the modern ones they blaze with a superfluity of vividness; red, yellow, green, etc., are there in all their force; such a thing as mixing, softening, or blending them, has evidently never been thought of. Even at the present moment, I really am at a loss to determine whether the worthy students intended to found a new school for colouring, or whether they merely desired to make up in the copies for the damage time had done the originals.

There were as many blacks and mulattoes among the students as whites, but the number of them altogether was inconsiderable.

Music, especially singing and the pianoforte, is almost in a more degraded position than painting. In every family the young ladies play and sing; but of tact, style, arrangement, time, etc., the innocent creatures have not the remotest idea, so that the easiest and most taking melodies are often not recognisable. The sacred music is a shade better, although even the arrangements of the Imperial Chapel itself are susceptible of many improvements. The military bands are certainly the best, and these are generally composed of negroes and mulattoes.

The exterior of the Opera-house does not promise anything very beautiful or astonishing, and the stranger is, consequently, much surprised to find, on entering, a large and magnificent house with a deep stage. I should say it could contain more than 2,000 persons. There are four tiers of spacious boxes rising one above the other, the balustrades of which, formed of delicately-wrought iron trellis- work, give the theatre a very tasty appearance. The pit is only for men. I was present at a tolerably good representation, by an Italian company, of the opera of Lucrezia Borgia; the scenery and costumes are not amiss.

If, however, I was agreeably surprised by my visit to the theatre, I experienced quite a contrary feeling on going to the Museum. In a land so richly and luxuriously endowed by Nature, I expected an equally rich and magnificent museum, and found a number of very fine rooms, it is true, which one day or other may be filled, but which at present are empty. The collection of birds, which is the most complete of all, is really fine; that of the minerals is very defective; and those of the quadrupeds and insects poor in the extreme. The objects which most excited my curiosity, were the heads of four savages, in excellent preservation; two of them belonged to the Malay, and two to the New Zealand tribes. The latter especially I could not sufficiently contemplate, completely covered as they were with tattooing of the most beautiful and elegant design, and so well preserved that they seemed only to have just ceased to live.

During the period of my stay in Rio Janeiro, the rooms of the Museum were undergoing repairs, and a new classification of the different objects was also talked of. In consequence of this, the building was not open to the public, and I have to thank the kindness of Herr Riedl, the director, for allowing me to view it. He acted himself as my guide; and, like me, regretted that in a country where the formation of a rich museum would be so easy a task, so little had been done.

I likewise visited the studio of the sculptor Petrich, a native of Dresden, who came over at the unsolicited command of the court, to execute a statue of the emperor in Carrara marble. The emperor is represented the size of life, in a standing position, and arrayed in his imperial robes, with the ermine cloak thrown over his shoulder. The head is strikingly like, and the whole figure worked out of the stone with great artistic skill. I believe this statue was destined for some public building.

I was fortunate enough during my stay in Rio Janeiro to witness several different public festivals.

The first was on the 21st of September, in the Church of St. Cruz, on the occasion of celebrating the anniversary of the patron saint of the country. Early in the morning several hundred soldiers were drawn up before the church, with an excellent band, which played a number of lively airs. Between ten and eleven, the military and civil officers began gradually to arrive, the subordinate ones, as I was told, coming first. On their entrance into the church, a brownish-red silk cloak, which concealed the whole of the uniform, was presented to each. Every time that another of a higher rank appeared, all those already in the church rose from their seats, and advancing towards the new comer as far as the church door, accompanied him respectfully to his place. The emperor and his wife arrived the last of all. The emperor is extremely young - not quite one and twenty - but six feet tall, and very corpulent; his features are those of the Hapsburg-Lothering family. The empress, a Neapolitan princess, is small and slim, and forms a strange contrast when standing beside the athletic figure of her husband.

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