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be our old friend Encke's comet back again to perihelion for the thirty-fourth time since its first discovery in 1786; it has a period of about three and a-half years, but it is found to have diminished from a period of 1212 days in 1786 to that of 1210 in 1879. R. L. J. E.


SYDNEY.-The Art Gallery of New South Wales has recently received a valuable addition in the shape of a sea-piece by Th. Weber. The painting (which is in oil) is not yet labelled, but it represents the mail steamer entering Ostend Harbour in foul weather. The two old wooden piers, with their curious coronal structures at the end to elevate the harbour lights extend half-way across the centre of the picture; and beyond them again is seen the equally quaint edifice that holds the beacon-light. The waves, churned up with sand to the colour of pea-soup, are surging in to shore, and dashing magnificently over the pier-head; while the mail-boat, some half a mile out, is pitching and tossing in a manner that all who have ever made that most horrible passage from Dover to Ostend in dirty weather can easily picture to themselves. As we get further out to sea the water becomes a leaden grey, which is admirably taken up by the sulky-looking, driving cumuli in the sky. These are very finely drawn, but are altogether outdone by the short choppy breakers that characterise this portion of the Belgian


To Mr. Henry Wallis, of Imperia! Chambers, Melbourne (the representative of the wellknown London house, Wallis and Son, of the "French Gallery," Pall Mall), Sydney is indebted for the gratuitous exhibition of probably the most varied and beautiful collection of watercolour drawings that has ever been brought together in the city under private hands. Το this gentleman's collection, as exhibited in Melbourne, attention was drawn in Once a Month for September last. Arrangements have been made with Mr. John S. Sands, by which the whole of that gentleman's newly constructed art gallery in George-street has been rendered available for the effective display of these pictorial treasures. For treasures indeed they are. The collection numbers between fifty and sixty works, nearly all of which are worthy of detailed criticism. There are seventeen French drawings; four that may be called Franco-German, inasmuch as their painter, Th. Weber (whose oil painting we have just noticed) is a German who works in France, and has adopted much of the French method; three Italian, two Spanish, one Belgian and one Dutch; the remainder consisting of English works of various dates and styles.

Those who are at all conversant with the channels of contemporary art, need not to be told how greatly Englishmen are indebted to the French Gallery for their knowledge of modern continental painting. It is only natural, therefore, that the rank and file of Mr. Wallis's foreign pictures should, as we think, show a greater artistic power than those of English authorship. At the same time, there are several English drawings that stand out prominently above all others, and demand a foremost notice.

Pre-eminent among these is J. M. Turner, R.A.,'s exquisite drawing of "Leeds," formerly in the celebrated "Novar" collection of Turners, which was dispersed some five years ago, on the death of its owner, Mr. Munroe. The "Leeds" was painted in 1816, and may be looked upon as the culmination of the painter's first style, when his drawing had reached mature perfection, but while he still expressed the truths of nature in little more than form, and had not yet electrified the art world with the glorious annual floods of sunlight and bright colour that characterised his second period, from the " 'Ulysses deriding Polyphemus," to "the old Fighting Temeraire lugged to her last berth." The drawing in question repays the most careful and detailed examination. The graceful groups of trees, the red brick houses, and the little pond, are absolutely perfect in their delineation; while the accurate knowledge of form in what is halfdisplayed, half-hidden by atmosphere and further distance, is truly astonishing. above tier, terrace above terrace on the opposite hill, long lines of houses start into being when viewed a few paces off; the towers and spires, and lofty factory chimnies rise in clear architectural form amid the struggling sunshine, or glimmer in ghost-like shapes from out the murky fog and smoke that a sharp scud is driving windward. The figures in the foreground, too, are drawn with a care and attention to detail that are not always to be met with in Turner's later works; and this same loving care is extended to every detail, from the flocculent light clouds that sail across the pale blue sky, to the joints in the stonework of the parapet wall.


In admirable contrast with the "Leeds," is a delicious specimen of genre painting by the celebrated William Hunt, called "An Interesting Book." This little interior, with a lady reading, is redolent of the purest and richest colour. The fair one's dress is a perfect blaze of crimson, though as soft as the velvet that it represents; the tiny morsels of stained glass in the casement sparkle like bright gems; and even-horror of horrors !-the artificial flowers beneath the glass shades assume an air of positive beauty under the hand of the sympathetic master.

Another exquisite drawing, full of poetry and truth, is that of a "Scene on the Nile," by F. Goodall, R.A., in which the tender colouring and delicate haze of Egypt are portrayed with wonderful success. The Sphinx and the majestic Pyramids, bathed in a soft and indescribable effulgence, are seen on the horizon of the desert, contrasting, in their unutterable solitude and grandeur, with the drinking camels, the women dipping water, and the sheep with their attendants threading the sandy causeway that runs athwart the waters of "Old Nile."

A splendid specimen of T. S. Cooper, R. A. is "On the Welsh Hills." We can call to mind nothing finer in the way of cattle painting, whether by Cooper or any other artist, than the sheep in this drawing; and the goats are hardly, if at all, less perfectly represented than their brethren of the

"haunch" and "saddle." Two works by J. D. Harding deserve special attention. One, the "Falls of the Clyde," is but a sketch, but is full of power and truth, and thorough Scottish landscape feeling. The other, "Genoa," is very different. From the rugged land of Bruce and Wallace, we are translated to the softer clime of Petrarch and Boccacio, to make acquaintance with terraces, statuary, and vases, Agavas and tall poplars, with a bevy of gossiping idlers, whose bright but old-fashioned costumes contribute to a singularly pleasing ensemble. Very charming are a pair of vignettes, by Birket Foster, "Sunset at Sea,' and "The Alhambra." The former is especially delicate, and glows with exquisite colour. With those may be associated another delicious wee vignette (not in the catalogue) by Salmon, of whom somebody once said that he was more Turneresque than Turner himself. At any rate this little exhibit of Mr. Wallis's combines some of the attractive features of both Turner and Birket Foster within the space of a few thumb-nails.


Two mere sketches, by men who have departed for the Silent Land, are worth whole canvasses of such stuff as Mr. Frith, R.A., and other of his confrères in vulgarity, turn out annually by the yard super. Copley Fielding's "View in Cumberland" is little more than washed in upon the paper, but is full of the quiet breadth that was so characteristic of this artist, and seems almost to smell of the fresh North country air. the Scheldt," by Clarkson Stanfield, R.A., is a tiny sketch, on tinted grey paper, worked to a great extent in body colour, but unmistakably "all there." Who, that has ever been within fifty miles of it, would need to ask whether that soaring edifice is the tall tapering spire of Antwerp Cathedral, the very thought of which conjures up visions and memories of Rubens, Quentin Matsys, and Van Eyck? The few broad but omniscient touches are unmistakably those of the painter who, long years ago, shared with Macready the glory of reviving "Acis and Galatea upon the stage.


Two drawings by W. Wyld, the "Marketplace, Nimes," and "A Street in Hanover," are exceedingly picturesque, though portions of the colouring are a little heavy. T. J. Soper's "Wharfdale, Yorkshire," is a delicious bit of dear old English scenery, with summerclad beeches mirroring themselves in the placid stream, and cattle fording it to drink. Peel's "Scene in Surrey" is another charming landscape, abounding in thorough_English colour; E. C. Warren's "Holmbury Cominon, Surrey," is a no less pleasing study of tree and brake and H. D. Bell's sketch "Near Margate" is specially admirable as regards the sands and gently breaking surf. "The Har

vest Moon," by J. Hitchins, is in itself an exquisite piece of work, but one that imperatively requires to be isolated from other works on account of the unusual tone of colouring. Fruit painting is admirably represented by J. Sherrin's "Grapes and Apricots," with a background of rich green moss and tangled rootsquite in the style of W. Hunt-and still better by his "Grapes and Pear," the bloom upon

the rich black cluster being true almost to the touch. Flower painting finds no meaner an exponent than the talented Mrs. Duffield, whose "Roses in a Vase" (Marshall Neale) seem almost to breathe their delicate perfume, while the berries of the Mountain Ash are, if possible, even more perfectly painted. There are also four unframed drawings of "Windsor" and the " Thames" by Th. Heaton. That of “Romsey Lock” is particularly charming and artistic, apart even from its pleasant reminders of Whitsun, outings in a "gig" or "pair oar,' with a bottle or two of " Pommeroy" or "Heidsieck" following abaft the tiller, and cooling themselves in the affectionate embraces of "Old Father Thames."

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Foremost among the foreign drawings stands the Italian representation of the "Interior of a Mosque," by G. Simoni. In the centre of the picture is the dignified and standing figure of a tall Mollah, in robe of what the milliners used to call ponceau colour, engaged at his devotions, while around him are other figures, sitting or reclining, barefoot like himself, and swathed in white diaphanous or woollen stuffs. The perfect harmony in the small amount of colour used, the all-pervading sense of light and air, and the technical excellence of the brush-work are alike remarkable.

Two works by L. Jimenez, " An Unwelcome Intruder," and "Lieder Ohne Wörte," are excellent specimens of the young Spanish school. Both contain a kind of humorous pathos essentially their own, the composition is far finer than in most works of the same style, the colour brilliant to a degree, and the execution less splotchy than is usual with the modern Spanish artists. With these may be associated a pair of works by G. Dubufe, of a "Neapolitan," and an "Italian Peasant," respectively, perfect alike in colour, drawing and expression, with all the quiet breadth of the best French school. We prefer the Neapolitan article of the two.

M. Madou's "Attentive Listeners" is a pleasant example of the old French style. The unobtrusive care bestowed upon the smallest details, the character and finish of the heads, and the fine soft colouring of the whole deserve especial notice. Not altogether unlike in general style is H. Anker's "Disputed Account," which is damaged by the excessive vividness of the man's scarlet shirt, but is otherwise a fine and telling work; while L. E. Adan's "Starting for the Promenade" happily reproduces in excellent colour the stately character of old French life. In strongly marked contrast are five drawings by E. Ciceri, of the modern French realistic school, which seems to be almost a cross between preRaphaelitism and scene-painting. "Washerwomen on the Seine" (a mere brook) is rough and effective, but splotchy; "Near Bougival" is also dashed in roughly, but is full of repose; "On the French Coast" is stormy and sombre; "Near Dieppe" is much the same, but rather brighter; while "A Mountain Torrent,". though the execution is of the very slightest, is a thoroughly characteristic bit of Alpine work the snow-fields and the glacier are absolutely true to nature. Of the same school is E. Herson's view "Near Barbizon." It

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contains some fine drawing, especially the assembling in of trees, but the violently green daubed foreground, signifying nothing,' dwells in our memory like a nightmare. An example of another style of modern realism is to be found in M. Lanjalley's two ladies driving "In the Bois de Boulogne." We can hardly speak of this as a work of art-much less of high art; but it will doubtless find admirers, and would be an excellent subject for a "chromo" or an "oleograph." It is the one sole blemish in Mr. Wallis's fine exhibition. It is pleasant to turn to such "real grit" as Mr. Weber's four marine pieces. "Off Dover," "A Breezy Day off Boulogne," Ostend," and "Havre!" have all the same happy characteristics. The sea, in its various degrees of unrest, is drawn with marvellous fidelity and skill; we seem to be almost afloat upon some of the choppy waters that surround the little sea-girt isle from whence Britannia rules her waves; we sniff the smell of the breezy, bracing, briny; and we revel in the chequering play of light and colour, unknown, undreamed of in these lands of burning sunshine. "Waiting for the Fishing Boats," too, is a figure subject full of character, though low in tone, and altogether in the contemporary Dutch School of Israels, of whom the painter, E. Verveer, was a pupil. The contrast between the Dutch and Belgian schools, is well exemplified in Chantal's small, but powerful, drawing of that favorite subject with the Brussels men, "The Last Moments of Count Egmont," which occupies the first place in the catalogue.

From the brush of L. Tesson, we have a "Market Place, Normandy," bright, and full of life and colour; and, from that of the Italian Albertis, a pair of "Battle Scenes," amazing in their dash and power. L. Le Bas' "Study from Nature," true and accurate as it is, has the peculiar, pleasant aspect of the best French decorative work; while "The Artist's Daughter," by T. E. Duverger-a pretty child pretending to paint is a brilliant little vignette that suggests the highest syle of bon-bonière, or an evantaille à la Pompadour.


We regret to learn that the exhibition is by

means answering the anticipations of either Mr. Henry Wallis or Mr. Thos. Curtis (Mr. Sands's art manager). Very few of the pictures are selling; and those that are are precisely the ones that connoisseurs would the least care to possess. So disappointed, indeed, is Mr. Wallis with the want of even the barest appreciation shown him in the unasthetic capital of New South Wales, that we believe he has abandoned his intention of supplementing the present exhibition by one of oil paintings. It is all very well to say that 'Rome was not built in a day;" rather is it the case, we fear, that "a silken purse" is not to be made by anybody out of the raw material with which that article is habitually associated in a certain well-known proverb.

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A number of fine new engravings and photogravures have recently been received by Mr. John Sands and other of the leading picture dealers of Sydney. At the former's establishment a pure line engraving, by John Ballin, of Edwin Long, R.A.'s, "Pool of Bethesda," a painting full of pensive dignity,

and in the highest style of art, is specially notable. V. Palmaroni's "Les trois Ages," a graceful and romantic composition, has been admirably reproduced by Vion, principally through the medium of the etching needle. C. E. Perugini's "Dolce Far Niente" is not only a charming idyll in itself, but one of the finest specimens of photogravure that we have seen. It is generally known that the actinism of the chemical rays which do the photographer's work does not affect the whole of the colours of a picture in precisely the same relationship as that in which the artist has employed them. There are a certain school of painters, such as Cabanel, who work specially for photographic reproduction, and finish their pictures in monochrome. But with those painted in the ordinary way it is necessary to seek a certain amount of assistance from the hand after the camera has done its best; and the artistic quality of a photogravure depends to no small extent upon the skill and judgment with which this is rendered. In the Dolce Far Niente " the marks of the stippler upon the plate are clearly visible; but, far from being a blemish, they give a marked additional power and softness to the impression. The reproduction of the church scene in "Much Ado about Nothing," after J. Forbes Robertson, as lately represented at the Lyceum Theatre, in London, is not only extremely effective in itself, but peculiarly interesting to those who concern themselves with the poetic drama. In the centre of the group stands Mr. Henry Irving as Signor Benedick, "for shape, for bearing, argument and valour, foremost in report through Italy," while to the left is seen Miss Ellen Terry as the Lady Beatrice, gazing tenderly down on her fair cousin, Hero, "done to death with slanderous tongues "the very part in which she herself first made her appearence after childhood on the London boards, some three-and-twenty years ago.

At the Sydney and London Fine Art Company's studio, also in George-street, we have noticed, among many high-class works of various kinds, the fine pure line engraving of "The Sister's Kiss," by Lumb Stocks, R.A., after the painting of Sir Frederick Leighton, P.R.A. Apart from the inherent grace and sentiment of the composition, the engraving, which is said to have occupied two years in execution, is one of the most perfect pieces of steel work that we have seen for many a long day. It has been sometimes said that the art of line-engraving is defunct, but Mr. Lumb Stocks' work stands forth as a direct negation of any such assertion. Another fine engraving is that by T. L. Atkinson of J. E. Millais, R. A.'s "Princess Elizabeth in Prison at St. James's," which forms a companion to "The Young Princes in the Tower." The face of the hapless girl, seated at table in a pensive attitude, with the pen almost dropping from her hand, is singularly sweet and winning; while the richly carved Elizabethan armoire has afforded ample scope for deep-toned elabortion in the back-ground. G. D. Leslie, R.A.'s "Pot Pourri, Rose Leaves and Lavender," too, engraved by F. Stackpoole, A.R.A., has all the sweetness to which this favourite artist has so long accustomed us.

A work of special interest to loyal colonials will be the photogravure of H. Wells, R.A.'s "Victoria Regina." The picture represents the announcement to her Gracious Majesty of her accession to the throne through the death of William IV. The communication took place at Kensington Palace at five o'clock in the morning, when the Princess Victoria was aroused from sleep to receive the Archbishop of Canterbury and Lord Conyngham, and find herself the Queen of England. Nothing can be happier than the expression of interest, admiration, and loyal devotion upon the face of the kneeling prelate, while the girlish grace of the youthful monarch, her tearful selfcomposure, and unassuming innate dignity, are rendered the more striking by the unbound tresses falling over the shawl across her shoulders, the slippered feet, and loose white dressing robe. Very different in idea and treatment is an artist's proof on satin of Albert Moore's "Companions." There is hardly a work of this most classic of artists, that we can call to mind, more finely and exquisitely Greek in feeling than these two noble female figures. And equally different, again, are two other female figures in W. H. Bartlett's "Soft Persuasions. They are those of a pair of children on the sea shore, "clothed on with chastity," like the Lady Godiva, but with that alone. The elder, who is just budding into womanhood, is trying to persuade the younger to enter the rippling wavcs. The natural gawkiness of figure in girls at that period of life is very skilfully dealt with in the modest pose of the young chaperon, while the little one of eight or nine summers stands erect as Cleopatra's Needle, the very model of a female child, with all the essentials of a Venus, a Phryne, or a Galatea, in the days

to come.

There are also some excellent water-colour drawings at this establishment by J. D. Hardy, J. S. Bowers, Albert Bowers and others. We noticed a fine work, mostly in body, of the "Samson Rock, Isle of Scilly," by F. Suker; and another, by J. S. Bowers, of "Arundel Castle." The massive square of the castle in the centre of the picture, with the light streaming down through the great entrance archway, the red roofs of the houses nestling up among the trees to find their way to the church, the afternoon's soft glow of the summer sky, and the cattle wading in the quiet Arun, combine to form a landscape, beautiful in itself, and, with the romance of feudalism chastened, reformed, adapted to the present year of grace, one that of all the countries of the globe England alone can show.

D. L.

MELBOURNE.-Some more work of the clever young London artist, Miss Alice Grant, is to be seen at Mr. Dowling's studio, where it has recently arrived. This gentleman is, with justice, very proud of his pupil's talent. The new paintings are four in number, consisting of two fruit-pieces admirably treated, a portrait of herself, and a charming subject -"Leaving Home"-in which a sweet-faced country-girl is represented waiting on the lonely road-side for the coach that is to

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convey her far away from the spot evidently endeared by tenderest associations. The wistful, pathetic look upon the young face, the warm plaid shawl, perhaps mother's parting gift; the bundle, so carefully heldall tell their own tale, and render " Leaving Home" an easy story to be read by the visitor. The sight of Miss Alice Grant's work should prove an incentive to every young lady studying the same grand art.

Mr. Dowling himself shows an uncompleted portrait of Miss Robertson, of Colac, which will probably add to the artist's reputation in that branch. "In the streets of Cairo," is one of the Eastern subjects in which Mr. Dowling so excels. The single figure depicted

is full of life and activity, and the details are worked out with his usual success and fidelity to nature. A portrait (said to be that of the late Lady Fergusson) is to be seen in this studio; the face is a handsome one, and the natural expression of the eyes and mouth probably very sweet, but a hardness is observable in it, as though some check had been put on every soft and loving feeling, and used as a mask to hide from the world the real thoughts of the woman-nature beneath it. The portrait is one to strangely rivet the attention of the visitor.

Mr. J. F. Patterson's latest works are two water-colour drawings, the largest being one of the results of his recent "artist-trip." It shows a bit of the Fernshaw State forest, where one of the monarch-gums towers above all around it, the slight clearance of other trees giving a comparatively free space. Fern-trees, with their graceful fronds, fill up the foreground with delicious freshness and tender verdure, and a little gleam of blue sky, most effectively treated, is seen breaking through the thickly-woven foliage, observable in the distance, and which, with the dense undergrowth, are very artistically rendered. The scene is true to nature, and painted, like the artist's other works, with great power, and yet with the delicacy always noticeable in Mr. Patterson's exhibits.

The second water-colour is taken from the Falls Bridge, and is an exquisite bit; both the cloud and water-effects are very clever, and the whole subject is treated in a manner of which the artist may be proud. It is a painting of which anyone possessing but even a slight artistic knowledge must certainly see the beauty.

Miss Bell's studio will soon be named amongst the things of the past, as the lady intends returning home next month. She has several portraits at present on the easel, two of them being those of Mr. Fitzgibbon's children, taken in the Toridors' costumes worn by them at the recent Juvenile Fancy-Ball given at the Town Hall. Miss Bell is so successful in her portraits that it is scarcely needful to say that they are good. A capital likeness of a Dandie Dinmont terrier is also to be seen there. Two interesting exhibits belonging to the decoration of the studio are large Japanese portraits of Miss Bell and her sister; the dresses are precisely the same as those worn by ladies in that country, and the likenesses themselves were taken in Japan from photo

graphs sent out there. They give an admirable idea of the costumes, and the portraits are fairly like.

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A welcome addition to the artistic ranks in Melbourne is Senhor Louriero, a native of Oporto, who arrived here in the latter part of last year. He has studied under well-known masters in Rome and Paris, and has been several times an exhibitor in the Salon of the latter city. His works are characterised by great freedom and a delicious out-of-air feeling. The gazer is carried away from the studio into the fields and lanes in which the artist evidently delights. The colouring is singularly pure and bright, the foliage well-delineated, and the various figures full of life and grace. Amongst the most prominent of his exhibits are A Green Lane in Surrey," which shows all the glowing beauty of autumn tints in the gold and russet hues of the over-arching trees and the thickly-fallen leaves that strew the ground. The figure of a girl reading a letter as she slowly moves onwards is introduced with great effect, the position being most natural and easy. Senhor Louriero deserves the thanks of all English visitors to his studio for giving them such a charming remembrance of home scenery. "A Dead Bird" is skilfully and touchingly worked out. A little child, who apparently sees Death for the first time, is holding a bird with pitying, tender care, whilst she raises sad, wondering eyes, as though seeking to fathom so great a mystery. The words of sorrow seem about to be uttered by the rosy lips, and the "unshed tears" are not far from the blue eyes. It is a painting that wins on the gazer, and the strange fresh feeling belonging to all the Senhor's work is perhaps felt even more strongly in this subject than in any of the others. A portrait of a little daughter of Mr. James Smith; a figure of our Saviour, designed for a Roman Catholic Church at St. Kilda; some flowers and the head of a boy, thrown out by strong fire-light, are all worthy of great praise, as well as some other unfinished subjects upon the easel, and serve to show in how many branches Senhor Louriero is a skilful artist. His studio is shared by his brother-in-law, Mr. J. Huybers, who exhibits some good modelling, and a head in oils, where the signs of great age are treated most artistically. A school of design is held at this studio, and, judging from the great merit displayed in their own work, the two gentlemen just named should prove first-class instructors in their glorious art.

The South Melbourne Society of Arts held its first exhibition in the club room of the Mechanics' Institute in that suburb on February 17th. The Society, which has been in existence about a year, was started by Mr. T. Lambert, in the hopes of offering some worthy opponent to cricket and football, which unfortunately are occupying the attention of the rising generation to the exclusion of higher and more profitable sources of amusement and instruction. The idea was gladly acted upon by many members of the South Melbourne School of Design, and has resulted in an exhibition that is more than creditable, considering the limited time for study in the case of many of those who have joined the Society.

The result must be very gratifying to Mr. T. Lambert, as he has most kindly given both his time and his knowledge to help on the Society and further the cause of Art, which, as yet, is too lightly considered by the community at large. When it is remembered that most of the exhibitors are in business, and only able to study for a short time on Wednesday evenings, and Saturday afternoons, their attempt to start a society amongst themselves, and so endeavour to raise the tone of society in South Melbourne, should certainly meet with the encouragement it deserves.

Amongst the names of those whose exhibits. show great merit may be mentioned Mrs. Jordon, the Misses Fitzgerald, O'Grady, Tribe and Gowdie, and Messrs. Mackie, Finney, Downie and Hartley.

The exhibits comprise oils, water-colour and pencil drawings, and coloured photographs, and it is to be hoped the young ladies of the "model suburb" will join the society, and use any artistic skill they may possess in studying real Art, and not waste it by continual employment in crystoleum, lustroleum, &c., which at best are merely drawing-room decorations that may at any date become unpopular, and can never (however exquisitely done) vie with an even moderately well executed painting that belongs to a higher branch of Art.

Mr. Daplyn will probably exhibit at the Academy in March some of his recent work taken from the scenery upon the Hawkesbury River, New South Wales. They are four different views which will be sure to attract notice. Mr. Daplyn has been most successful in his delineation of foliage, and the manner in which the different grasses are treated speaks well for his artistic powers. A visit to this gentleman's studio always shows good sound work, and if his pupils are enabled to catch something of his style, we may look for exhibits of a higher order than have hitherto been the case. The same freshness that marks Senhor Louriero's works is to be noticed in those of Mr. Daplyn, and is doubtless owing to their having both studied in the French school, which makes its pupils go to nature and learn wholly of her the beauty she only can show them.

Several fine water-colour drawings are now to be seen at Mr. Fletcher's Art-Gallery. The names of the artists comprise some of those best known, and visitors will find an hour or two pass away pleasantly in examining their works. "At Hurley, on the Thames," by Mr. Thomas Pyne, shows all his noted skill in representing water, the contrast between that foaming beneath the mill-wheel and the placid stream passing underneath the bridge being very fine. Mr. R. A. F. Marshall sends a View of the Teste, Hampshire," that is charmingly rendered. The loveliness of an English summer scene is brought truly before the gazer, and the foliage is admirably treated. The same can be said of a "Walk on Hampstead Heath," by Mr. J. H. Mole, and which must surely go home to the hearts of all belonging to the old country. Messrs. E. A. Cook, Strutt, Law and Taylor, as well as some other artists, English and Italian, all show good work,

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