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THE inauguration of a statue of John Bunyan, which has been presented to the town of Bedford by the Duke of Bedford, will take place on June 10. The Earl of Shaftesbury and the Dean of Westminster are expected to take part in the proceedings.

THE play upon which Mr. Horace Howard Furness, of Philadelphia, is now engaged for his superb edition of Shakspeare is 'Hamlet.' To edit such a work, with its countless copies in English, German, French, &c., according to the exhaustive plan of Mr. Furness, must be a trying task. He has, we hear, entirely finished the collation of the 'Hamlet' text in the folios and quartos, and is half through the collation of some fifty modern editions. His intention is to complete the collations this month; to devote the summer to the commentary; and in November to go to press.

THE mail which brings this intelligence of the husband's progress in a great Shakspearean undertaking conveys a notable proof of the wife's enthusiasm and devotion in the same cause. Uniform in size, and in all essential particulars, with the handsome volumes of Mr. Furness's edition, Mrs. Furness has produced a complete Concordance to Shakspeare's Poems; an Index to every word therein contained.' This beautiful book is a literal fulfilment of the title. It comprises every instance of the use of any part of speech, even to the most minute, throughout Venus and Adonis,' 'The Rape of Lucrece,' the 'Sonnets,' A Lover's Complaint,' 'The Passionate Pilgrim,' and 'The Phoenix and Turtle.' To facilitate reference, the clause in which the required word stands and the number of the line are both given; and "that nothing may be wanting to the convenience of the student, the whole of the poems are reprinted at the end."

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A CORRESPONDENT writes:

A NEW work on the Book of Ecclesiastes will shortly be brought out by Mr. Thomas Tyler, M.A. It will contain an Introduction and exegetical analysis, and a new translation, with critical notes. It will be published by Messrs. Williams & Norgate.

Encouragement of Education in Public Elementary Schools." The object in view is to encourage elementary instruction by a system of scholarships, prizes, &c. After some discussion, the meeting was adjourned.

THE Mayor of Liverpool summoned a meeting of the inhabitants of that town on Monday last, to take steps for the formation of a "Council of Education for the Promotion and

PROFS. BÖHTLINGK AND ROTH have just brought out two more parts, the fifty-second and fifty-third, of their great 'Sanskrit-Wörterbuch,' published at St. Petersburg, which carry the work on to sarvasena in the last letter but one of the alphabet. If the printing continues at the present rate, this grand undertaking may be expected to reach its end within a year, or, at latest, eighteen months.

THE gentleman mentioned in our notice of Mr. Lawson's book on Gentleman Farming is not Prof. Hunter, of Glasgow, but Mr. Charles D. Hunter, author of a paper on Chemical Experiments on Potatoes, published in the Transactions of the Highland and Agricultural Society of Scotland, and who conducted the Blennerhasset experiments at Mr. Lawson's Farm.

Ar the sale of books and MSS., which took place in Paris on the 17th of May last, some lots fetched good prices; for instance: Les Expositions des Evangiles,' s.l.n.d., Gothic, said to be the first book printed at Geneva, 220 francs, Les Roses peintes de Redouté,' 1818, 2 vols., neatly bound, 500 fr.-Lafontaine, Fables Choisies,' fig. d'Aubry, Paris, 1755-59, 4 vols., folio, 305 fr.-Lafontaine, Contes,' fig. d'Aubry, Paris, 1762, 2 vols., 12mo., bound by Dérome, 461 fr.-Choix de Chansons, mises en Musique par de La Borde,' engravings by Moreau, fig. d'Aubry, Paris, 1773, bound in 2 vols., 8vo., 669 fr.-Sterne, Voyage Sentimental,' Paris, E. Bourdin, s.d., 8vo., printed on satin, copy intended for H.M. the Empress of Russia, 1,210 fr.- Manuscrit Autographe de Fanny, Roman, par E. Feydeau,' 1,900 fr.

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"In last Saturday's Athenæum, speaking of that accomplished scholar and warm-hearted gentleman, Sylvain Van de Weyer, you say, 'his latter years were mainly devoted to literature. You might have said his whole life, even when he was busiest as politician and diplomatist, was more or less devoted to letters. How strong was his love

THE April number of the Revue de Belgique contains a notice of the death of a young Flemish writer, Anton Bergmann, who, under the pseudonym of Tony, published, at the beginning of the present year, with the title 'Ernest Staas, Advocaat,' a book which met with a conof books and literature will be seen from a statesiderable success in Belgium and Holland. Tony ment which I heard him make some ten or fifteen was a member of the club established by the years ago, namely, that whatever office he was called Ghent students in 1854, under the singular upon to fill, he always stipulated that he should name of 't zal wel gaan! (in French, ça ira!), retain that of which he was most proud, the head- for the publication of popular annuals in ship of the Royal Library at Brussels. What a choice bibliographical morceau would be a list of Flemish, intended to re-awaken among the M. Van de Weyer's various publications. Unfor- rather sleepy populations of Flanders the litetunately, he did not accomplish all he had pro-rary taste and liberal traditions for which they jected. I remember once, on my telling him of were so conspicuous from the fourteenth to some curious notes I had made on the literary the sixteenth century. The revival of Flemish relations which formerly existed between England literature was, indeed, brilliantly initiated, years and the Low Countries, he mentioned that he had contemplated a work upon that very subject, in ago, by the Wonderjaer' of Conscience, and which Erasmus and Sir Thomas More would have the Eigenaerdige verhalen' of Van Rijswijck, to which the novel of Ernest Staas,' and the figured prominently. With his thorough and curious knowledge of the early literature of the other works of Tony Bergmann, may fairly be two countries, what a charming book would he compared. The same number of the Revue contains one of his short novels, translated into French, under the title of ' Huit Jours dans une Pension Allemande.'

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have made of it."

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FROM the New York Nation we learn that Prof. Hiram Corson has printed for private circulation some 'Jottings on the Text of Hamlet.' Prof. Corson is a defender of the First Folio against the Quartos, and his "jottings" are a commentary on a remark of the editors of the Cambridge edition, that in Hamlet,' as they had computed, the Folio

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differed from the Quartos for the worse in forty-seven places, and "for the better in twenty at most." Prof. Corson's most considerable verbal discussion is on the phrase "a good kissing-carrion" (2. 2. 180, 181), and, whatever else it may be, is an excellent specimen of "conservative surgery." In his monthly report for April, the Superintendent of the Boston Public Library enumerates the possessors of seventeen more or less perfect copies of the First Folio in the States. these four are in Boston, six in New York, three in Philadelphia, and one each in Newport, Providence, Cincinnati, and Chicago. There may be others.

Of

MR. BASIL H. COOPER is engaged in the translation of Prof. Zirngiebl's monograph, 'Peter Arbues und die Spanische Inquisition.' Prof. Zirngiebl was delegate from Munich to the Old Catholic Synod, which has just concluded its sittings at Bonn, under the presidency of Bishop Reinkens. Dr. Zirngiebl'a work has already gone through several editions in Germany, and like Kaulbach's picture, Peter Arbues condemning a Heretic Family to the Flames,' which it serves to illus trate, has already made some stir in the fatherland. Both book and picture seem to have been intended to direct public attention to the significance of Pius the Ninth's apotheosis of the Spanish Inquisition by the canonization of Peter Arbues, chief instrument of Torquemada.

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MESSRS. KNIGHT & Co. will shortly publish 'Poems, by Annette F. C. Knight.'

SCIENCE

Lectures on Fever. By William Stokes, MD. (Longmans & Co.)

THESE Lectures show a wealth of accumulated observation of fever such as falls to the lot of very few physicians, and could, probably, scarcely have been gained anywhere than in Dublin, pre-eminent as the very home and nursery of fever.

Among the contents of a work like this, anything relating to the causes of fever possesses an interest extending beyond the medical world, and it is somewhat disappointing to find that Dr. Stokes seems not to anticipate that any very great diminution of fever will result from improved sanitary arrangements.

He expresses his opinion that too much stress has been laid upon the effects of miasmata resulting from imperfect drainage, of want of cleanliness, deficient or impure air and water supply, and so on; and thinks it difficult to believe that these influences can be the sole or chief causes of fever, since both in the towns and in the isolated dwellings of the poor in Ireland they are constant and general, and yet the production of fever, whether sporadically or epidemically, is inconstant and irregular in the highest degree. He follows Dr. Graves in the opinion that fever depends on some general atmospheric change independent of situation, aspect, height above the level of the sea, dryness or moisture of the soil, or any other circumstance connected with mere locality.

With regard to this opinion, however, let us note that, even were we certain that fever depends on some general atmospheric change, there would yet remain the question whether it

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His point of view throughout is that of the physician and teacher of practical medicine; and no better guidance than that to be found in these Lectures could be offered to the student who is anxious to supplement his own observation, and to acquire the knowledge CS which he will find most useful in actual practice.

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is absolutely independent of, and uninfluenced by, differences of situation, drainage, &c.; and let us remember the two following facts,first, that in some instances the distribution of fever has clearly been shown to be precisely such as might have been anticipated if it were immediately connected with some observed and presumably noxious influence affecting particular localities or communities; secondly, that fever is undoubtedly to be found most persistently re-appearing where there are the greatest faults as to drainage, uncleanliness, overcrowding, and the like. We may be very far from an exact solution of the questions relating to the causation of fever, but if preventive medicine is to make any progress we must be ready to act on the mere hints of a solution that we already seem to have got.

Most medical works of the present day betray an extreme desire on the part of the writers to find exact classifications of disease, and to define and speculate on the exact alterations of function associated with them. Dr. Stokes, however, makes no such attempts; he tells us he is not fond of discussing the distinctions of fever, nor does he profess to tell us what has been learnt, or supposed to have been learnt, by histological research, or what is believed to be known as to the chemico-vital changes of the fluids or organs.

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One of the great lessons underlying all his teaching is, that the healing art, whether medicine or surgery, requires a wider field of study than is afforded by the dissecting-room or the laboratory; that there are vital differences which more intimately relate to life and health than the observable anatomical or chemical changes produced by disease; and that these are to be reached by a study of the living phenomena of the body, and of the influence of agents upon them.

Another such lesson is, that in the treatment of fever the physician should always remember the law of periodicity, and make it his great object to gain time, seeking to obviate or modify the dangers of the local diseases as early as their presence can be discovered, so as to preserve the patient at the least expense to the constitution; and, above all, to remember that, however dreadful or apparently hopeless the symptoms may be, recovery is possible, but that such recovery can be effected only by the steadfast determination of the physician not to desert his post until the vital spark has actually fled.

THE GERMAN SOCIETY FOR THE EXPLORATION OF EQUATORIAL AFRICA.

THIS association, though only founded on April 19, 1873, little more than a twelvemonth ago, has already commenced active operations in accordance with a well-digested and organized plan for the thorough exploration of the interior of Africa from the West Coast.

A scientific expedition, under the direction of Dr. Paul Güssfeldt, left Europe at the end of May, and, after suffering shipwreck off Sierra Leone, arrived in the beginning of August at Landana on

the coast of Loango, where its members were joined by Prof. Bastian, President of the Society, who went out at his own expense to make arrangements for the establishment of a permanent station be undertaken into the interior. The spot fixed on the coast, whence exploratory journeys might on for this purpose is Chinchosho (Chinchoxo), in 5° 9′ 20′′ N. lat., about 125 miles north of the mouth of the river Congo; and the expedition having been duly installed there, Dr. Güssfeldt was able in October to make a preliminary journey into the interior. He first proceeded to the mouth the river some forty miles to its falls, and thence of the river Kille (Quille), in 4° 21′ N., then up he penetrated by land some thirty miles further along the valley of the river, which in its upper course is known as the Njadi or Njali; the extreme point reached by him being in 3° 51' N. lat., and in longitude 0° 27' from the river's mouth, or a total distance, in a direct line, of about sixty miles. Limited as this journey is in extent, it is reported to have been attended with valuable results.

It is deserving of mention that, in order to prevent the misunderstanding that might arise from the use of the German word "Meile," Dr. Güssfeldt employs the term "mile," in the sense of our English geographical or sea mile, to signify one minute, or sixtieth part of an equatorial degree.

A Correspondenzblatt, published from time to time at Berlin, where the "African Society" has its seat, gives detailed reports of the proceedings of the Society, and of its West-Coast Expedition, which latter now consists of five members. From its perfect organization and the deliberate and systematic manner in which its operations are conducted, we are warranted in expecting most important results from this national undertaking, which is richly endowed by the Imperial Government and supported by the contributions of German scientific societies and private individuals, Dr. Güssfeldt himself having subscribed no less than 6,000

dollars.

We have, at the same time, to direct attention to an undertaking of a very different, but not less important character, namely, the Dutch African Trading Association of Rotterdam, which has established factories at many of the Portuguese stations in Loango, and through these has already formed extensive commercial relations with the interior. The agents of this Trading Association have rendered much friendly assistance to the members of the German Scientific Society, and the two appear to be working most harmoniously together.

SOCIETIES.

GEOGRAPHICAL.—June 1.—The Right Hon. Sir Bartle Frere, President, in the chair. The followProbyn, Col. J. Davidson, Capts. S. H. Derriman, ing new Fellows were elected: Major-Gen. D. R. O'Brien Fitzroy, P. W. Rankin, C. Warren, Messrs. W. B. Barbour, J. Blanch, J. Brogden, A. M. Bruce, J. O. Chadwick, W. Dunn, J. A. Elmslie, F. G. Goodliffe, R. W. Hanbury, G. R. Le Pays, R. M'Ilwraith, H. B. Muir, J. M. Padmore, J. T. P. Pechey, F. W. C. Read, G. R. Rogerson, and O. W. White. The paper read was' Further Inquiries on Oceanic Circulation,' by Dr. W. B. Carpenter.

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GEOLOGICAL.-May 27.-J. Evans, Esq., President, in the chair.-Messrs. G. Charlton, W. Dale, J. Ward, and Lieut. A. W. Stiffe, were elected Fellows. The following communications were read: 'On the last Stage of the Glacial Period in North Britain,' by Mr. T. F. Jamieson,-and Notes on the Upper Engadine and the Italian Valleys of Monte Rosa, and their relation to the Glacier-erosion Theory of Lake-Basins,' by the Rev. T. G. Bonney.

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ROYAL SOCIETY OF LITERATURE.-May 27.-C. Goolden, Esq., in the chair.-Mr. C. H. E. Carmichael read a paper 'On Veronese Typography (Fifteenth to the Nineteenth Century), with a Notice

of the Giuliari Press and of Sanmicheli's Capella Pellegrini at Verona,' in which he gave a full and curious history of the progress of printing at Verona, and mentioned some of the most remarkable works which were given to the world by Veronese printers. The earliest work known to have been printed at Verona, is 'Velturius de Re Militari,' A.D. 1472, which is celebrated alike for the beauty of its type as for the number and excellence of its woodcuts. Two other famous books are the 'Divina Commedia,' in the same year, and an edition of Petrarch, in 1476. The number of books printed at Verona before 1500 is very remarkable. Indeed, the invention of printing has been claimed for that city, though without any sufficient grounds. The early type is the good round Latin one, much resembling, that first used at Rome.

ROYAL INSTITUTION.-June 1.-G. Busk, Esq., Treas. and V.P., in the chair.-The Rev. J. L. Clarke, the Rev. J. L. Oldham, Messrs. J. Elles, J. C. Gostling, E. Langley, and E. Power, were elected Members.

SOCIETY OF BIBLICAL ARCHEOLOGY.-June 2. -S. Birch, LL.D., President, in the chair.-The following candidates were elected Members: Mrs. Crosbie, Rev. J. M. Dalton, R. Darbyshire, C. I. Hemans, Miss M. Henderson, J. Gurney, Mrs. Lennox, Mrs. C. D. Marston, H. S. Mitchell, J. Muir, LL.D., J. L. Palmer, C. D. Purdon, and Col. J. Roxburgh. The following papers were read: 'On the Phoenician Inscription, "Melitensis Quinta," by Prof. W. Wright, On an Egyptian Calendar of Astronomical Observations of the Twentieth Dynasty,' by P. Le Page Renouf,On the Cylindrical Altar of Nectarhebos at Turin,' by Mr. J. Bonomi,-"Translation of the Hieroglyphic Inscription upon the Granite Altar at Turin,' by S. Birch, LL.D,-and 'Assyrian Notes,' by Mr. H. Fox Talbot: 1. The use of Papyrus among the Ancient Arcadians; 2. Assyrian Books; 3. On the Amount of Accuracy now sometimes attainable in Assyrian Translation.

MEETINGS FOR THE ENSUING WEEK.

Social Science Association, 8.-'Imprisonment for Debt,' Prof. Leone Levi. Anthropological Institute, 8.- Discovery of Stone Implements in Egypt, Sir J. Lubbock; Ethnology of Egypt,' Prof. R. Owen WED. Literature, 41.-Council.

Geological, 8.-Occurrence of Thanet-Beds and of Crag at Sudbury, Suffolk,' Mr. W. Whitaker; Phenomena of the Quaternary Period in the Isle of Portland and around Weymouth,' Mr. J. Prestwich; New Carboniferous Polyzoa." and Palæocoryne and other Polyzoal Appendages,' Prof. J. Young and Mr. J. Young: Character of the Diamantiferous Rock of South Africa, Prof. N. 8. Maskelyne;' Modified Form of Dinosaurian ilium, hitherto reputed Scapula, indicative of a New Genus. or possibly of a new order of Sauria,' andNote on a Reptilian Tibia and Humerus (probably of Hylosaurus), from the Wealden Formation in the Isle of Wight,' Mr. J. W. Hulke. British Archæological Association, 8.-National Flags of the Commonwealth, A. D. 1649-1661.' Mr. H. W. Henfrey. THURS. Mathematical, 8.- Parallels of Developables and of Curves of Double Curvature,' Mr. S Roberts: A Remarkable Relation between the Difference of Two Fagnanian Arcs of an Ellipse of Eccentricity e and that of Two Corresponding Arcs of a Hyperbola of Eccentricity. Mr. J. Griffiths.

MON. TUES.

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THE ROYAL ACADEMY.
(Fifth and concluding Notice.)

the morning, make all good people consider him diabolical. Here are his companions,-who, alas! drink champagne and smoke before lunch,-all three being good-looking men, but sadly wicked, of course; here is the astute family lawyer introducing the rightful heir, and that young gentleman is here in black velvet, with the sweetest of pale blue eyes, Wedding (No. 641) is vigorous, and there is than twelve years of age, and wonderfully like his THE design of M. Tidemand's Norwegian a pale fair face, and a gentle air. He is not more mother too, who follows, fair and timid, andenough incident and character for two common notice what it is to be a subtle artist like Mr. pictures in it. The bride and groom cross a stream on horseback. She wears her national diadem, Smith-the boy is quite as much like his noble he his Sunday clothes. A party of boys bare their ancestor, whose picture by Van Dyck hangs on the the colour, as usual with the artist, is rather opaque; own feet and wade. The execution is solid, but wall here. All this is as "sweetly touching" as a goody Scotch novel, so that Mr. Smith ought Mr. J. Clark, is a capital picture, worthy of the Seriously, we fancy there are R.A.s who design but it is bright enough.-A Homely Hop (634), by to be made a Royal Academician on the spot. artist's modest pretensions, and charming from more foolishly and paint much worse than the the simplicity of its design. Children dance to author of 'The Rightful Heir.'-Mr. F. Barnard the music of a boy's fiddle.-Miss S. Ribbing sends sends a large picture, with a great number of two excellent and expressive portraits in the full-figures, representing The Crowd before the Guards length likeness of the Misses Bruce (636).-We Band, St. James's Park (684),—a motley assembly, find a first-rate picture in M. Heyermans's Dutch There is a touch of caricature in the picture, but there Interior, the Doctor's Visit (658) to a sick baby in is also much real ingenuity, and a good deal of dash its anxious mother's lap, the rest of the family in the painting.-An Easter Holiday (727), by Mr. waiting the verdict with wistful eyes, including a boy, who has left his play to stand at his father's and so sweet in its feeling, and so original and J. Aumonier, is really a work of fine art; so happy knees and stretches a hand towards the latter. modest, that it does one good to turn to it from The design is extremely good and expressive, the garish trumpery by which it is for the most the faces are admirably conceived, and the whole part surrounded. A party of girls, in diverse blue picture is remarkable for firm and solid execution. dresses, making charming colour, are playing in M. FOUCAULT has made a Report to the In- This is one of the best works of its kind here. the shadows and sunlight under the great scarcelydustrial Society at Rheims on the question-If there were more solidity, that is, more loyal clad branches of large trees, with primroses in of consuming smoke. A series of experiments painting, not more of mere realism or labour, in multitudes on the ground. By Mr. Onless we made for the Industrial Society of Mulhouse Mr. Farquharson's Leaving the Hills (647), it have another good portrait: Mrs. Peek (697), appear to oppose the view, that the process of conwould be acceptable. Sheep are travelling on a a lady in black, seated, broadly painted, and fall suming smoke is economical (we believe this has dusty road in a shallow valley, followed by the of character. Mr. Hardy's illustration of the been proved before), and that the condition of herdsmen, with a low sun projecting shadows before detection of Ulysses in feigning madness (710), utmost economy of a fuel is not simply to burn their steps, the whole in the dusty reek of the jour-where the hero turns the plough aside before the the smoke, but to burn completely the gases, and ney. With all its cleverness, this picture is flimsy, body of his own child, is capital. Pictorially, it is that with only the quantity of air strictly neces- and loses accordingly; it has much coarseness of noteworthy as displaying fine feeling for grey, with colour.-Out in the Cold (648), by Mr. J. Mac much sober warmth of colour; as a design, it is is a large crude sketch, and as such shows signs of Whirter, a donkey at a rude stable-door in snow, decorative and dramatic. It is well executedtact in imitating, or rather suggesting, the superficial characteristics of nature. Landscape-painting, on Mr. Mac Whirter's terms, is easy work.-Glen Callater (652), by Mr. C. B. Barber, is another showy specimen of "art-manufacture," a flat between hills, with deer-such deer!-heather, rocks, and mist, as usual.—Loch Fyne (666), by Mr. D. Cameron, is also best considered as art-manufacture," and is a striking example of the "Brummagem" landscape-painting, which is so copiously represented in this Exhibition. It is interesting as being, on the whole, the cheapest-looking production of its class. The reedy foreground of the lake is the least unsatisfactory part.

Ruined! the Day after the Tempest (719), by Mr.
H. Bource, shows two women seated on the sands
by the sea, where a smack has been wrecked the
day before. It has a considerable share of pathos
of Mr. Israels' kind, with sober and excellent
colour.
The foreground of sand and rushes is
first-rate.

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hear, to be begun very shortly. Mr. John Fowler, C.E., and Mr. John Brunlees, C.E., have planned the works. It is expected that from three to four years will be required for the completion of the undertaking.

WE have received Mr. G. J. Symons's 'British Rainfall for 1873.' The rainfall is now observed

at about 1,700 stations in the United Kingdom, and the Report contains a considerable amount of valuable information respecting the phenomena observed at these. By degrees, we are evidently arriving at the laws which regulate the distribution of rain in these Islands. One very remarkable example is given. The rainfall on August 24, 1873, is illustrated by a map. This shows a belt, extending from Market Rasen to Brighton and Beachy Head, within which from two to three inches of rain fell, while beyond it E. and W. the rainfall steadily diminished in a remarkable manner. The Rev. Mr. Stow's paper, 'On Scotch Mist,' is also of considerable interest.

A MOST important problem connected with the extension of our coal-fields has been solved in a satisfactory manner. The "thick coal" of South Staffordshire has been passed through in the sinkings at Sandwell Park, and it was found to be six yards in thickness. This extension of the South Staffordshire coal-field, in an easterly direction, is of the utmost importance to that district.

sary.

An important paper has been communicated by M. Boussingault to the Annales de Chimie et de Physique, in which he traces the origin of the acids occurring in the thermal waters which rise in the volcanic districts of the Cordilleras. These waters contain free sulphuric and hydrochloric acids. The author also describes the geological structure of some of the volcanoes of the Andes, and gives analyses of certain rocks. He concludes that at temperatures between a dull red and a cherry red heat the vapour of water acting on a mixture of chlorides and sulphates in contact with a rock rich in silica, such as trachyte, developes hydrochloric and sulphuric acids, whence the origin of these acids in the thermal springs under discussion.

Two letters from Dr. Tietze, who is now in Persia, have been communicated to the Geologischen Reichsanstalt in Vienna. These letters announce the discovery of beds of coal and deposits of nickel-ore on the road from Teheran to Talachan in Persia.

PROF. HEIM has described a small cave recently discovered near the railway-station of Thaingen, in Switzerland, containing abundance of animal bones, with unpolished flint implements and other relics of human workmanship, including an incised figure of a reindeer on horn. In the lower layers of the deposit were found remains of the mammoth.

FINE ARTS

The SOCIETY of PAINTERS in WATER COLOURS.-The
SEVENTIETH ANNUAL EXHIBITION is now OPEN, 5, Pall Mall
East, from Nine till Seven.-Admittance, 18. Catalogue, 6d.
ALFRED D. FRIPP, Secretary.
INSTITUTE of PAINTERS in WATER COLOURS. The
FORTIETH ANNUAL EXHIBITION is now OPEN from Nine till
dusk.-Admission, 18. Catalogue, 6d. Gallery, 53, Pall Mall, S.W.
H. F. PHILLIPS, Secretary.

The SUMMER EXHIBITION of the SOCIETY of FRENCH ARTISTS, 168, New Bond Street, is now OPEN, from Half-past Nine to Six o'clock.-Admission, One Shilling.

The SHADOW of DEATH.' Painted by Mr, HOLMAN HUNT in Bethlehem, Jerusalem, and Nazareth; begun in 1868, completed end of 1872. -NOW on VIEW at 398. Old Bond Street.-The Gallery is opened at Ten, closed at Six.-Admission, 18.

DORE'S GREAT PICTURE of CHRIST LEAVING the PRE-
TORIUM,' with 'The Dream of Pilate's Wife,'' Night of the Cruci.
fixion,'' Christian Martyrs,' Francesca de Rimini,' &c., at the DORÉ
GALLERY, 35, New Bond Street. Ten to Six.-Admission, 18.

Mr. Israels is, as usual, pathetic in The Anxious Family (665). He has before employed the same incidents with minor variations. A mother looks from the window of a fisherman's cottage on a troubled sea and angry sky; a dog and elder child sympathize in her anxiety; the younger children eat at the table almost without concern. The story is very simple; it is trite, but it is admirably told, with suitable pathos and complete spontaneity and completeness. The faces are excellent. The effect of the picture is broad, rich in light and shade, and good in tone. The keeping of the whole design, its motive, and execution, make this a work of art. Mr. G. Smith shows dramatic power in The Rightful Heir (675). He gives us a noble chamber, which a little boy enters with his mother, a fair young widow, to claim from a wicked, cruel, but courteous usurper the estate which is in debate between them. There is design of all kinds. Mr. Smith's is melo-dramatic, but entirely in keeping with itself, and does not claim a higher place, so that it will please those who do not appreciate higher forms of design. Here is the wicked young man, horridly handsome, in a gorgeous dressing-gown of Chinese embroidery, the outlandishness of which, added to his well-waxed black moustache and oiled hair, to say nothing of a furtive, rascally look in his dark eyes, and his naughty habit of smoking in

In the Lecture-Room is Mr. A. Moore's fine piece of decorative art, styled Shells (936), a noble study of colour, a full-length, upright figure of a nymph of a stream,-a study of a high kind, which should have been better drawn if the artist cared for his own reputation or respected the spectator.-Near it is Mr. Armstrong's A Girl watch ing a Tortoise (1054). These works are apparently intended as pendents to each other. The style of the latter is merely an echo of that of the former. Allowing for that, Mr. Armstrong has produced a very charming work, in a phase of decorative art which is easier than people are ready to admit. Such work as this is evidently better suited to Mr. Armstrong's ability than the absurd, but still interesting, picture of a mowing scene, or a like subject, here a year or two ago, which was rich in colour, but was pervaded by false sentiment, and marred by innumerable affectations of design, besides astounding signs of defective technical training -We have a good, but rather mannered, landscape in Mr. Whaite's Spring (937) My Doll's Picnic (962), a garden scene, with much rich colour, by Miss Epps, is capital, if a little too positive in its verdure.-Mr. Enfield's A Northerly Breeze (977) shows good water, and a sky modelled with care. Mr. J. M. Barber's 4t Hastings (975) is carefully painted, and solid, but the execution is rough.-In Wharncliffe Chase, Winter (987), by Mr. A. S. Wortley, is one of the few capital and original landscapes here which has obtained a fair place. It has an idea or motive of a true sort, with breadth of style; it is realistic, but not laboured, and comprises bare trees, red fern, and grey rocks, with a good, bright sky.In the Forest (1002), by Mr. B. Gyulas, is effective and picturesque, but a little coarse in handling and

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Bearne's On the Teign (745); Mr. E. H. Fahey's Old Hamsey Church (755); Mr. Stocks's Whitby Abbey (756), and The Refectory, Abingdon (791); Mr. Bedford's Little Langdale (760); Mr. Parker's Damsel Tripping on a Field Path (773); Mr. A. Griffiths's At Birkenhead (774); Mr. W. Ward's A Bit of Colour (794); Mr. Paterson's "Wait for me" (807); Mr. Hine's Hill of Howth (819); Mr. Macbeth's Sunday Evening in Chelsea Gardens |(837); Mr. J. H. Bradley's On the Coast_near Leghorn (867); Mr. F. W. Burton's magnificent portrait of Mrs. George Smith (869); Mr. Sandercock's Summer Noon, Northam Sands (882); Mr. J. Macculloch's Benvenue (884); Mr. Bancroft's Conway (915); Mr. Paterson's Milkmaid (916); and Mr. R. Barnes's "Please dress me" (919).

crude in colour. It shows a lady in black, re-
clining on the sward, under the branches of a tree,
and reading. The notion that she will slip down
out of the picture is almost unavoidable.—
Bude Sands at Sunset (1012), by Mr. J. Brett,
gives, with solidity, long shadows on white sands,
brown rocks, and a ruddy sky. This picture is less
defective in sentiment than the other by the same
artist, which has attracted much more attention.-J.
Low Water (1032), by Mr. L. Thomson, with
shadows of houses on a stream, is capital, and
broad in effect, colour, and tone.-One of the re-
markable pictures here is Mr. H. Moore's Rough
Weather on the Coast, Cumberland (1033), a
bay, with waves violently breaking on the
beach, a wreck, the introduction of which, by the
way, injures the picture,-being beaten to pieces.
The modelling of the waves here is admirable;
notice the draughtsmanship of the foam, which
lies like lace on the variously-curving surfaces.
The sky and the high shore are almost equally
worthy of admiration. By the same painter we
have a picture, to the injurious hanging of which
we have called attention, styled Rough Weather
in the Open, Mediterranean (1409), a pure study of
wave forms, colours, and surfaces, in respect to which
this work is decidedly the most learned, vigorous,
and large in style in the galleries. We have
heard of coast pictures which are admittedly in-
ferior in learning and feeble in execution, but
which the "sentiment" redeems from utter condem-
nation; and we see such productions in honour-
able places, while 'Rough Weather,'-which is
instinct with the sentiment of the melancholy
waste, exhibits the mournfulness of the sea's un-
rest, and, as it seems, the hopelessness of watery
toil, and possesses all that art requires in the
way of technical merit,-is ignominiously "skied."
Such a picture as this offers invaluable lessons to
those who care for more masculine painting than
popular drawing-mastership affords, and it is the
duty of the Academicians to place such sound
work before the public eye, to encourage learning
and skill, to discourage false pretensions to either,
or both. Yet the hangers have pursued the oppo-
site course. Mr. E. Armitage, who has taken upon
himself to proclaim the motives of his brother hangers,
and, in a letter published not long since in the
Times, told complaining landscapists that "their
protests were useless"-what that may mean
we cannot say, the sentence being as weak as it is
ungraceful-"against the Council of the Royal
Academy," was not, surely, at liberty to put his
fellows in antagonism to the unfortunate artists
whom he went out of his way to insult. But he
was peculiarly unlucky in naming Mr. H. Moore
as one of those to whom justice had been done, for
of two fine pictures by that gentleman, one is out
of sight, and the other in a place where it can,
indeed, be seen, but which is far inferior to its
merits. Nor was Mr. Armitage happy in referring
to Mr. Linnell as another of those to whom the
Academy had done no wrong. Mr. Brett-a third
of those whose positions in the Exhibition illus-
trate, we suppose, the magnanimity of Mr. Armit-
age,-could tell how, year by year, his works were
ignominiously hung. Mr. A. W. Hunt, Mr. Oakes,
Mr. Dawson, Mr. Č.P. Knight, and a score of able
men, could, if they chose, write painful comments
on the Academician's letter, and put before
the world a very different view of this matter than M. VALLÉE'S Rochers d'Iffiniac (No. 1747) is a
that which he assumes. The writer unwisely talks capital example of French landscape, somewhat in
of "schools," as if this had anything to do with the mood of M. Daubigny, but quite independent.
"schools," and the tone of his letter is that proper It is a grand, broadly-painted coast-piece, repre-
to an injured (!) person. This is an innocent if senting an under-cliff, purple sands of a fine tint,
not an ingenious mode of reply, but it does not and the sea coming in; all under dark rain-clouds.
alter the too patent fact that, although things-To M. Barillot we have before referred in general
in the Academy are better than they used to be terms, but he deserves more attention. Notice
with regard to landscape art, and a certain pro- his Animaux au Pâturage (73), the summit of a
portion of the "line" is given to that branch of cliff, covered with rough herbage, from which we
design, it is still obvious that these honours are look over the sea; an effect of rainy weather; a
vouchsafed to crude and popular works rather woman knits as she follows the steps of two cows.
than to the more valuable productions of men The figures are painted with singular breadth and
who aim high.
richness, insuring solidity and a high key of colour;
the colouring itself is capital, both locally and
generally. The design is most vivacious. Observe
how one cow looks at the other with that odd

THE SALON, PARIS.
(Third Notice.)

Of the water-colour drawings, we have to mention as worthy of admiration-Wilfrid, Son of the Hon. E. Ashley (733), by Mr. Clifford; Mr.

Of the architectural works, let us invite notice to Messrs. Giles and Gough's Schools in Bethnal Green (1087); Mr. Streatfield's Church at Woodford (1101); Mr. N. Shaw's Houses, Hopedene, (1120) and Boldre Grange (1121); Mr. Smith's Chancel for Christ's Church, Nice (1147); Mr. Street's South Elevation, &c., of Christ Church Cathedral, Dublin (1150); Mr. Bloomfield's Private Chapel (1161); Mr. Aitchison's House at Kensington (1167); Mr. Edis's Warehouses, Southwark Street (1180), and Schools in the New Kent Road (1194).

Among the drawings, let us recommend Lady Coleridge's Sir W. Boxall (1217); Mr. L. Ward's Beatrice Ward (1236), a capital sketch. Among the engravings, admiration is due to The Vintage Festival (1251), by M. Blanchard, after Mr. Alma Tadema's picture; Mr. S. Cousin's The Age of Innocence after Reynolds, (1256). There are many excellent etchings here, including Mr. C. P. Slocombe's Stonehenge (1249); Mr. R. S. Chattock's Four Etchings (1258); Mr. Evershed's Four Subjects-dry points (1259).

We turn to the sculptures with questionable satisfaction, due to the fact that there are not many of them. In the Vestibule are four good designs, by Mr. Armstead, Europe, Asia, Africa, and America (1436-9); Mr. Acton has a "clever" bust of The Hon. Mrs. Johnstone (1452); Mr. Woolner's bust of Mrs. Alfred Morrison (1454) is among the best of its kind. Mr. Noble's statue of Her Majesty (1495) is intensely commonplace, but in all respects it is better than usual; the subject is better treated, and the sculpture is less bad. Mr. Brodie has a characteristic bust of Baroness Burdett-Coutts (1509). M. Carpeaux's La Danse (1515), in terra-cotta, the model of the famous group now before the Grand Opéra, Paris, does not look so well as the finished work, but its vigour and fine design are apparent. Mr. Thornycroft's Melpomene (1519) is simply disagreeable; his Thalia (1521) is better, but very weak. M. Dalou's "Hush-a-bye, baby" (1530) is capital as picturesque sculpture, but it triumphs by eluding, rather than conquering, the peculiar difficulties of the art. The same artist has contributed showy busts of F. Leighton, Esq. (1543), and L. Alma Tadema, Esq. (1606), which give nearly everything in the originals but what is best worth having. Having cautioned posterity on this point,

we close our review.

are

air of extreme astonishment which cows sometimes seen to wear. La Vieille Charlotte et sa Vache (74) shows a farmyard, with an old woman attending her cow while drinking. This has the same qualities as the other picture, humour included. Vache Cancalaise (75) possesses equal merits.-M. Yon's Un Matin (1843) gives, with great delicacy and silveriness, a charmingly poetical effect of late dawn over meadows and a river, with distant hills, the fine and delicate toning of which is admirable.-In M. Boudin's Rivage du Portrieux (230), veiled summer sunlight, being almost entirely white, makes a milk-white sea, the colour of which is delightful. The tone of the craft is admirably given. This effect is not peculiar to France, and it is often painted by French landscapists, yet never, to our knowledge, by an Englishman, except Turner, and by him only once or twice.

M. Von Thoren's Roman landscapes, Campagne de Rome (1818) and Buffles Romains (1819), the latter showing a group of black monsters of most outlandish forms, are of the same school as that to which Mason owed not a little, and which he made known in England. They are fine in lighting, effect, and colour.-M. Wahlberg is a Swedish artist, whose works we have frequently admired on account of their fine technical qualities. Port de Pêcheurs, à Waxholm (1826) shows with much excellent colour, and unusual force, evening of summer in the Baltic, with the new moon, a calm sea, and a little port, its fish-houses on the quay, craft, and loitering boats; above all is a flush of crimson light beautifully painted. The reflection of the light on the dark buildings in the distance is charming; while the mid-distance is remarkable for colour. Bois de Hêtres, à Durehaven, (1825) gives with brilliancy and richness a sunlit alley of moss-covered trunks and light foliage, richly handled, and though, like its fellow, thinly painted, it is solid and strong. The effect of sunlight is given with rare skill.

M. Beauverie sends a charming landscape in Le Matin sur les Bords de l'Oise (112), a warm misty effect, with a level river and rich wild herbage; trees sweeping in a crescent, between the horns of which we look. This work is remarkable for its richness, sober and delicate tinting.-In M. Appian's Un Ponton à Beaulieu (32) the sky is sunny, delicately painted and finely-toned, but the sea is rather too glassy. To this artist's La Mer, Calme Plat, (33) we have before endeavoured to do justice.-La Mer (16), by M. Allongé, depicts the sea in a fresh breeze, the wind against the tide producing innumerable white crests, which, breaking, dot the dark green surface irregularly to the horizon; a chasse-marée is hastening to the shore; a few other sails appear in the extreme distance, likewise a steamer, with her long train of smoke -a faint image in the lustre of the glowing horizon. A dark grey cloud is pouring rain on the yellow sand-stained billows near the shore and the flashing breakers. Observe the dingy lining of the white clouds in the distance, as they roll their huge bulks before the wind. Rocks, covered with hair-like green weed, appear in the front. Although a little painty, this is a picture such as but three or four living Englishmen could produce. By the same is Souvenir de Plombières (15), an extremely good landscape proper.

M. E. A. Breton is one of the ablest of French paysagistes. He is fortunate this year. L'Automne (254) is a view of a brook ending at a little mill, and passing under dense foliage, which falls thickly and swiftly; with a rugged road; and a glimpse of a bleak, blackish sky between the topmost branches that strain in the driving wind. This landscape is most powerfully painted, and instinct with pathos. Nuit d'Hiver (256) is so powerful that it would, perhaps, move even those Members of the Royal Academy who, probably to encourage the other "Frenchmen" who might be disposed to contribute to their Exhibitions, hung one of the finest of M. Daubigny's landscapes, the famous 'Moonrise,' higher than Mr. H. Moore's 'Open Sea' now hangs. It is said that the worthy hangers could have had no malice because at that period they had never heard of M. Daubigny: they have heard of him since. 'Nuit d'Hiver'

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gives, with wonderful force, and richness of colour and tone, a snow-laden village street, houses, a church, and trees, with a track that is rough with wheel marks. There are lights in some of the houses; forgemen work late; a maze of gaunt branches bear the birds that nestle there, although there is little shelter, they are plainly seen against the sky, while dense clouds leave the firmament open at intervals as they move, seemingly without a breeze. This is a solid and noble picture. Crépuscule (255), by the same, gives, with prodigious richness and power, sunset, with a new moon rising over a marsh.

M. Cassagne's La Forêt en Automne (324) shows a path between high banks, descending to a champaign country; trees in front, on our left, in rich autumn tints; dark grey clouds above, and from the low sun a glow proceeds, which is here rosy and there pallid, over the lower half of the sky; a stray golden gleam fires the underwood in front; the ridges of the hills in the distance are black or purple as they take the light and shadow. This is a fine study of general effect, with good and faithful colour.-M. G. Colin paints broadly the rich tints and lucid shadows of southern sunlight. His Sous les Platanes, à Ciboure, (417) renders, with singular power and brilliancy, suburban houses, with deep red shutters and thickly foliaged trees. The work appears rough, but it is vigorous and artistic.Madame M. Collart sends an exceedingly good snow piece in L'Ancien Chemin de Beersel (432), a road, with bare trees, on the outskirts of a village; a rider jogs steadily away from us. This is admirably warm in colour, sober in feeling, and freely painted.-M. Butin contributes an excellent coast picture, one which might serve to show those painters among ourselves whose forte is said to be "sentiment" rather than faithful painting how to unite the utmost pathos with fine painting. It is called Les Moulières, à Villerville (289), and in it we see how grey evening lies on dark grey sands, an ashy sea and rocks that are black with weeds and muscles. The figures of those who stoop to the harvest of the indigestible bivalves are all clad in sober hues-dull blues, olives, drabs, and white. Apart from its pathos, this picture is extremely fine in colour, and marvellously broad.

66

M. A. Defaux sends a picture which is highly interesting on its own account, and peculiarly so because it is the sole instance we observe in this Salon of what English critics and painters call "trick," a term which is nearly equivalent to the French chic, but, of course, implies deception, whereas chic does not necessarily imply dishonesty of execution. The work in question is called Les Bouleaux, Forêt de Fontainebleau (551), and shows a pool in front of an opening of a rock-strewn sward, with birches in their silver bark on either hand; we have besides a vista of tree-clad ridges, closed by a cloudy summer sky. Notwithstanding the characteristic trick or sleight-of-hand which distinguishes all Brummagem" landscape paintings, here is what we do not often meet in English or Scotch works of the class, signs of a fine sense of keeping, feeling for air, and tolerably good colour, both local and general. The same artist, in Le Chaos, à Villers-sur-Mer (550), shows to us, more fortunately than before, an undercliff, just below the level of a line of lofty limestone (?) precipices, near the sea-edge, and ample verdure that is strewn with huge rugged hawthorns; beyond is a pale turquoise-coloured sea and more remote cliffs, over which the shadow of a cloud is stealing, to blot the brilliancy of the nearer view, and to suppress the glare of the blanched precipice. A bright, rich blue sky is broken by masses of white cloud. A capital picture.

M. Daubigny sends two large landscapes, one of which gives sensations of heat without the glare of light in a wonderfully-successful manner, so that it is the converse of M. Kaemmerer's achievement, for that artist, in La Plage de Scheveningue (1006), which we have already noticed, gives us intense glare with almost exhausting heat. M. Daubigny's Le Champs au Mois de Juin (522) depicts evening of a hot day just after sundown,

degree for wealth of incident, and for the skill with which they have been grouped. The work manship is not elaborate. The picture is a won derful representation of atmospheric effect.

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with the after-glow; the distance of the picture is not remote, for slightly-elevated ridge, covered with verdure, rises from our feet to cut the bluish, ashy, and purple sky, at no great distance off. In front is a large, half-neglected field, of the deepest green, We noticed just now a picture with the effect all alight with flame-like poppies and star-like of milk - white light, due to the clouds; here is blossoms of white clover. A new moon is in the another, the Matinée d'Été (485), of M. Courant. sky: a purple twilight prevails. Almost equally the white light of a misty morning on a summer fine, but perhaps less epical than this noble land- sea and shallow bay, on the pale yellow sands of scape, is La Maison de la "Mère Bazot," à Val- which the waves are lazily breaking. This may be mondois (523), the subject of which is a farm on a called a study in white; it is wonderfully full of verdurous slope, near dense foliage, with-nearer colour in diverse hues of that tint; and its effect is to us than the last-apple-trees in bloom, all charmingly soft and broad.-A l'Heure! (1227), by backed by woods as black as night. The effect is M. Loir, has a dash of humour in the title. an after-glow, paler than in the other picture, as A cabriolet is going from us very slowly along a the season warrants. There is both pathos and snow-laden road, between suburban houses and dignity in these fine, broad, and sober pictures, for gardens. Snow is piled on the branches of the trees, sober they are, notwithstanding the wealth of their Here we have a centre of black in the midst of colouring and the power with which they are white that is accompanied by masses of grey of a painted. It is remarked that M. Daubigny's paint- warm tint, comprised in the sky and buildings ing is not quite so crisp and fine as of yore; this Although a small picture, it is in a large style, is, of course, what one would expect under all the and remarkable for the felicity of the handling of circumstances, but it does not of itself imply that the herbage in front.-M. A. Fréret sends a good he paints less nobly.-M. Potter's Chaumières de harbour picture, being Le Feu de la Jetée (752), a la Camargue (1516) gives purple sands that are harbour, the sea and cliffs beyond flooded with made a darker purple by the gloom of the sky light from an unseen moon, which gives a striking above them and the peculiar pallor of an impend-greenish radiance. The beacon is red. This pic ing thunderstorm. The sea creeps upon the sands, ture is a little painty, but its effectiveness is extraand forms steel-like pools of the smoothest surface, ordinary.-Marée Basse, à Berck (1090), by M. that shine more and more brightly as they approach Latouche, is another good coast picture, painted the front. Far off, under a dim space of turquoise- with that tact and skill which appear in so many coloured firmament, barred, as the last is, by lines of the pictures here. We regret to say that of cumuli with glittering edges, a great flash of the Royal Academy shows few works that are to ghastly light lies on the wider space of the open sea. be compared with them in these respects. The Landwards comes a wind, sweeping through the purely white and intensely brilliant light of noon foliage of the sparse trees and the dank herbage lies on an expanse of sand, intersected with of the coast. This is one of the most successful rivulets running to the sea. The atmosphere landscapes here. It shows, in an unusual degree, and the keeping and delicacy of the colour that spontaneity which is more frequently found are delightful. Another snow piece occurs in in figure-painting than in the sister art. Vue prise en Suède (779), by M. Gegerfelt, a Swedish artist. This is in a larger mode of painting than any similar work here, and in itself is a fine piece of colour. A full moon is rising over whitened fields and a frozen rivulet, with cottages at its side. The effect is absolutely beautiful

8

We are happy in having three pictures by M. Corot. Of these, let us first consider Clair de Lune (460). Moonlight, from the centre, shines far towards the foreground, and on water which is on the side of the vista, darkened by reflections from dark trees, which stand in warm twilight. In the gloom a woman stoops for water, and on the opposite side of the placid stream a boat, while slowly creeping to the bank, shakes the surface of the river, and breaks the silver gleam. The moonlight is radiantly pale on the clouds that veil the depths of the firmament, and conceal the lower half of the luminary. One sees that, byand-by, all will be lit, and the pale, now regnant, stars will vanish. In the mid-distance a tower looms grandly in warm twilight; beyond this is an indistinguishable haze of water, trees, vague clouds of the horizon, and watery reflections. Le Soir (459) shows, with a flash of light on it, a pool between banks, which it reflects, with trees, in the shadows of which are nymphs and shepherd's dancing. This is a pastoral such as M. Corot often paints. The third picture here by him is styled Souvenir d'Arleux-du-Nord (458), a bright spring subject, of exquisite beauty. Quite a different kind of landscape painting appears in M. P. Curzon's Souvenir des Côtes de Provence (503), which is half-classic, in the mood of N. Poussin; of course, with richer tones and tints. It is a little painty.

M. X. de Cock sends Forêt (544), a fine picture, a little thin in painting, of a sunlit wood. His Moissonneurs (546), children dancing before a loaded wain that traverses the brilliantly sunlit alley of a wood, is also rather thinly painted, so that it is somewhat deficient in force and even in solidity, but it is beautifully rich in the effect of light as well as in colour.-M. C. de Cock sends a capital Ruisseau dans le Bois (542), and the brilliant Le Chemin du Lavoir, à Gasny (541), both remarkably good paintings.-M. Cibot sends a capital piece of rich tone in Environs de Sèvres (391), a rough pasture near a cottage.-M. Feyen's La Caravane de Cancale (718) represents the beach of the little fishing port, covered with little figures, mostly of women, who are buying and selling; the figures are remarkable in the highest

That Paris attracts the artists of the world might be proved by the Catalogue of the Salon; names belonging to every civilized nation occur among the painters. A Norwegian artist of great ability, M. Moeller, sends Une Garde de Pilates (1330). It is as Scandinavian landscapes are wont to be, rather topographical than pictorial; but it gives with marvellous solidity and force a panorama of a harbour, its islets and the sea as seen from cliffs in front.-Les Côtes de Provence (1403), by M. Olive, is an admirable picture, in some respects not unworthy of D. Cox at his best; it would make Stanfield and his warmest admirers open their eyes by its fine wave painting and great truthfulness. It shows a rocky coast, with a clear sea in a fresh gale. The sea is variously coloured, as it reflects the sky diversely, from the purple band to the deep blue; the yellow foam is piled; and the very waves seem to be crowded into a little inlet formed by deep brown and bright yellow sandstone cliffs.-M. Ortmans contributes Les Sables du Parquet (1414), a sandy waste with trees, in cloudy sunlight, strongly recalling Huysmans of Mechlin in subject, colour, and style.-M. Michel sends Le Torrent (1323), dawn over hills, and a river, where, in the silvery light revealed, the deer stoop to drink. This is extremely faithful, and, as it has abundance of true sentiment, that rare element in English landscape, it is as beautiful as it is truthful. Notice the tender iridescence of the light as it comes over the edges of the hills, and the softness of the effect throughout.-M. Nazon has a fine broad work in Bords de la Seine, à Héricy (1387), a full and level stream, which here gleaming and there dull, flows between a wet meadow and a tree-clad amphitheatre enclosing a long reach. A tree in front on the meadow breaks the glare of the sunlight, and casts its broken shadows on the sward, and towards the spectator. This is one of the many landscapes here which exhibit complete spontaneity and thorough keeping; that is to say, it looks like an entire work, and not as land

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