MR. H. W. BRISTOW, F.R S.

EARLY on Friday morning, the 14th inst., there quietly passed away, at his residence at Brixton, a well-known geologist, who for many years had held the position of Director of the Geological Survey of England and Wales. Mr. Henry William Bristow, who retired from office only a year ago, had reached at the time of his death the age of seventy-two. Educated at King's College, London, he commenced his geological work early in life by the preparation of a catalogue of the college collection of minerals and rocks. Soon afterwards he became attached to the survey under De la Beche, and was entrusted with work among the Secondary and newer strata of the south of England and the Isle of Wight. Mr. Bristow's writings on these rocks were of acknowledged authority; and only shortly before his death he was engaged on the revision of his well-known Isle of Wight memoir. Outside his official work he wrote a useful 'Glossary of Mineralogy,' which appeared in 1861; he translated Simonin's popular treatise 'La Vie Souterraine,' and compiled, conjointly with Mr. Etheridge, a handy Table of British Strata.' Debarred by defective hearing from taking an active part in scientific meetings, Mr. Bristow was less known publicly than might have been expected from his wide attainments in geology and mineralogy. But to those who had the privilege of his friendship he was endeared by much kindliness of disposition, which was strikingly manifest in his readiness to befriend the many younger geologists whose work it was his duty to direct and supervise.

SOCIETIES.

ASTRONOMICAL. - June 10.-Mr. W. H. M. Christie Astronomer Royal, President, in the chair.-Mr Downing mentioned that amongst the presents received by the Society since their last meeting were the original MS. observations of Admiral Smythe for the Bedford Catalogue, which had been recently purchased by Mr. Knobel and presented to the Society. Mr. Taylor read a paper On Observations of the Spectrum of Uranus.' His first observation was made on Thursday, May 16th, 1889, at Mr. Common's observatory, when broad flutings were detected in the spectrum of the planet. The most striking features on the first examination were the four dark bands in the orange green, blue, and yellow. The second dark band from the red end was by far the broadest. No traces of any solar or narrow lines were visible in the spectrum. As comparisons were difficult and no measurements could be made, light curves were drawn by two independent observers, and these were found to agree in all particulars. Subsequently ten dark bands were seen and their positions measured, as well as the positions of several bright lines. On no occasion was any narrow line seen, as in the solar spectrum.-Mr. Knobel read an extract from a letter from Dr. Huggins, in which he said: "I have recently succeeded by photography in solving the question of solar light in the spectrum of Uranus. With an exposure of two hours I got on the 3rd of June a fine spectrum extending to M in the ultra violet. In the spectrum of the planet all the chief Fraunhofer lines are distinctly seen, and I am unable to distinguish any other lines, bright or dark. It is certain, therefore, that the light of the planet, in this region of the spectrum at least, is solar. In 1871 I sent a paper to the Royal Society on the visible spectrum of Uranus, and gave a map and measures of six dark bands. I was unable, on account of the feebleness of the light, to catch the solar lines. In 1872 Vogel worked on the spectrum, and he also confirmed my observation of the absorption lines. The weather since June 3rd has not permitted me to observe again the visible spectrum." - Mr. Maunder said that he had observed the spectrum of Uranus on more than one occasion with the 12-inch equatorial at Greenwich, and had seen the dark bands which Huggins and Vogel had described, but he had not been able to see anything like bright lines in the spectrum of the planet. Mr. Ranyard said that he had observed the spectrum of the planet the planet with his 18-inch on more than one occasion, and it seemed to him that there were broad absorption bands in the spectrum. He had seen no bright lines. It did not follow that Dr. Huggins's observation was contradictory of Mr. Taylor's, for the visible region of the spectrum might be affected by absorption while the violet region was not, or the planet itself might emit light only of long

tographs and Drawings of the Sun made at Stonyhurst Observatory.' He showed a series of large drawings, and pointed out that in most cases more detail of spot structure was shown upon the draw ings than on the photographs taken at Greenwich, of which he exhibited copies.-Mr. Marth drew attention to a close conjunction of Mars and Saturn which will take place on the 20th of September, when the two planets will be within 48 minutes of Regulus. The following papers were also presented: On the Orbit of Sirius,' by Mr. J. B. Gore; and 'Note on the Nebulous Star in Mr. Roberts's Photographs of 81 and 82 Messier Ursæ Majoris, by Mr. H. Ingall.

ASIATIC - June 17. - Sir F. Goldsmid in the chair.-Mr. D. Margoliouth, New College, Oxford, was elected a Non-Resident Member.-Mr. E. G. Browne read his second paper on 'The Bábís of Persia, in which an account was given of their literature and doctrines, and an attempt made to trace the development of the latter from those advanced by Sheykh Ahmad Ahsai and his successor Hájí Seyyid Kázim, who was the teacher of Mírzá 'Alí Muhammad, the Báb. The literature to be examined was divided into four periods, as follows: (1) The writings of Sheykh Ahmad and his successor, which were briefly considered, only the chief peculiarities of their doctrines being indicated. (2) The writings of the Báb himself and some of his contemporaries, the former being further subdivided into those composed before their author claimed to be divinely inspired, and those written subsequently to this claim. Of the first class only one work is known, the so-called 'Book of the Pilgrimage,' which is a form of prayer to be used on

visiting the tombs of the Imams. Of the second class the commentary on the chapter of the Kurán called the Sura-i-Yusuf, and the Persian 'Beyán,' which represents the ultimate development of the Báb's views, were most fully discussed. A work of uncertain authorship called 'The Seven Proofs' was then described, and a sketch was given of the line of argument adopted by the Bábís in dealing with those of other creeds, especially the Muhammadans. A poem attributed to the Bábí heroine and martyr Kurrat-ul-Ayn, and a letter written by the fellow sufferer of the Báb to his elder brother on the night preceding his execution, were also noticed. (3) The writings of the third period, called "The Interval," during which Mírzá Yahya under the title of His Highness the Eternal" acted as chief of the sect, were then described, especial attention being bestowed on a work called 'Ikan' ('The Assurance') by Beha, who had not at that time put forward his claim to supremacy. (4) The last period embraced the writings of Behá composed at a date subsequent to this claim, the first of which was an epistle addressed to one entitled Nasír. The epistles addressed to the kings and rulers of some of the principal countries of Europe and Asia were discussed in detail. These were six in number, the longest being the letter to Nasiru'd-Din Shah, King of Persia. Of the others, the letter to Napoleon III. is of special interest, inasmuch as the downfall of the latter is therein foretold. The letters to the Pope of Rome and the Queen of England are also curious. In the latter much commendation is bestowed on the English nation because of the part taken by them in the abolition of slavery, while their system of representative government is highly applauded. Most of these letters appear to have been written about the year 1869. The paper concluded with an analysis of the contents of the latest and most systematic of Behá's works, called 'The Most Holy Tablet,' wherein the prescriptions of the new religion are arranged, revised, and codified. -An interesting discussion followed, in which Dr. Leitner, Mr. Kay, and Sir F. Goldsmid took part.

ARCHEOLOGICAL INSTITUTE.-June 6.-Mr. J. Т. Micklethwaite in the chair. -Mr. A. Hartshorne sent Church, Gloucestershire,' first treating of the extent a paper On the Monumental Effigies in Cubberley to which such memorials have suffered through neglect, removal from their original sites, and " restoration," a protest being entered against the continuance of the process, which involves the violent dislocation of the continuity of local history. As to the effigies in question, Mr. Hartshorne gave a general description of the military harness of the time of Edward II., exemplified by the fine knightly figure at Cubberley, pointing out more particularly how the bascinet, the surcote, and the gauntlet had gradually grown from earlier forms, and, as gradually, lapsed into later ones; the female figure, the civil effigy with its exuberant hair, and the rare diminutive effigy were also described. The Chairman, referring to Mr. Hartshorne's remarks

on the practice of moving and altering ancient monuments, called attention to the mischief now going on at Westminster Abbey, and especially to

window in the north transept, and to the answer which was considered sufficient when a question was asked lately about it in the House of Commons; that glass, he added, was of unusual value and interest as being an almost unique example of glass painting of the early part of the eighteenth century. It was good in itself, and fitted its place very well; but now it is to be destroyed, only because it wil not fit a new window which Mr. Pearson wishes to put in its place; and when some who valued the glass object to its destruction, they are told that it is to be adapted to the new window, and are asked to accept the mangled and rearranged pieces as the equivalent of the whole. --Mr. P. F. Newberry read a paper 'On some Funeral Wreaths of the Græco-Roman Period, discovered in the Cemetery of Hawara, Egypt,' pointing out the light which these interesting leaf records throw upon the writings of classical authors, and that the Greek colonists at Hawara not only assisted in making the coffins and in decorating the mummies, but also had a hand in the manufacture of some of the garlands. -Rev. Greville I. Chester exhibited a Phoenician scarabæoid, and contributed a description of it by Prof. Sayce.

LINNEAN.-June 6.-Mr. Carruthers, President, in the chair.-Dr. J. Anderson, Mr. J. G. Baker, Dr. Braithwaite, and Mr. F. Crisp were nominated Vice-Presidents. - Mr. D. S. W. Nicholl was admitted a Fellow, and the following were elected: the Marquis of Lothian, Messrs. W. Williams, C. S. Wild, and W. Schaus. Prof. Martin Duncan exhibited under the microscope some beautifully mounted preparations of the ambulacral tentacles of Cidaris papillata, and drew attention to the fact, previously unrecorded, that the tentacles of the abactinal region of the test differ in form and character from those of the actinal region. The latter have a well-developed terminal disc and are richly spiculated; whereas the former have no disc, but terminate distally in a pointed extremity with very few spiculæ. - Mr. W. P. Sladen made some remarks on the significance of this dimorphism with reference to its archaic character and its relation to the primitive forms of echinoids and aste roids. Mr. Narracott exhibited a singular fasciated growth of Ranunculus acris found at Castlebar Hill, Ealing.-Mr. H. B. Hewetson exhibited under the microscope a parasite of Pallas's sandgrouse (Syrrhaptes paradoxus), taken from a bird shot in Yorkshire, and described as a species of Argas.Mr. Harting pointed out that an apparently different parasite from the same species of bird had been recently described by Mr. O. P. Cambridge (A用熱 Mag. Nat. Hist., May, 1889), under the name Hæmaphysalis peregrinus. - Dr. Cogswell showed some examples of Jerusalem artichoke and potato to illustrate the spiral development of the shoote from right to left. - Governor Moloney, of the colony of Lagos, exhibited a large collection of birds and insects from the Gambia, the result of twelve months' collecting in 1884-85. The birds, be longing to 134 species, had been examined and named by Capt. Shelley. Amongst the beetles, of which 59 species had been collected, he called attention specially to Galerita africana and Tefflus megli and to the rhinoceros and stag-horned beetles. Of butterflies there were 90 species, amongst which the most noticeable and characteristic were the Acreæ and the pale-green Eronia thalassina, said to be typically Gambian. The moths, of which some 220 species had been brought home, were named by Mr. Herbert Druce, and several had proved to be new or undescribed. A portion of this collection had been exhibited at the Indian and Colonial Exhibition of 1886, but had since been carefully gone over and named, and was now exhibited for the first time in its entirety.-Mr. H. Druce alluded to some of the Lepidoptera which are most characteristic of the Gambia region; and Mr. Harting made geographical range of some of the species which had some remarks upon the birds, pointing out the wide been collected. -Mr. C. Reid exhibited several speci mens of fossil plants from a newly discovered pleis tocene deposit at South Cross, Southelmham, near Harleston.-Mr. D. Morris exhibited specimens of the fruit of Sideroxylon dulciferum, the so-called "miraculous berry" of West Africa, belonging to the Sapotaceæ. Covered externally with a soft sweet pulp, it imparts to the palate a sensation which rendered it possible to partake of sour substances. and even of tartaric acid, lime-juice, and vinegar, and to give them a flavour of absolute sweetness The fruit of Thaumatococcus (Phrynium danielli possessing similar properties, was also shown, and living plants of both had lately been received at Kew from Lagos through Governor Moloney.-Mr. T. Christy exhibited growing plants of Antiaru toxicaria (the upas tree) and Strophanthus kombe, both of them poisonous, to show the similarity of the foliage. Mr. B. D. Jackson read a paper by Dr. Buchanan White, entitled 'A Revision of the British

Willows.'

CHEMICAL. June 4.-Dr. W. J. Russell, President, in the chair. Prof. Mendeleeff's Faraday Lecture On the Periodic Law of the Chemical Elements,' owing to the enforced absence of the lecturer, was read by the Secretary. The Faraday Medal and a purse were presented by the President to Mr. Anderson, by whom they were received on behalf of Prof. Mendeleeff.

June 6.-Dr. W. J. Russell. President, in the chair. - Messrs. A. E. Sibson, M. C. Williams, C. W. Priestley, A. L. Stern, T. E. J. Cridland, and B. Brauner were formally admitted Fellows. The following papers were read: 'Experimental Researches on the Periodic Law, Part I., by Dr. B. Brauner,The Amylo-dextrin of W. Nägeli and its Relation to Soluble Starch,' and 'The Determination of the Molecular Weights of the Carbohydrates,' Part II., by Mr. H. T. Brown and Dr. G. H. Morris, - 'ReSilicon Compounds,' Part V., by Mr.

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J. E. Reynolds, - 'The Isomerism of the Alkylderivatives of Mixed Diazoamido Compounds,' by Messrs. R. Meldola and F. W. Streatfeild, - The Atomic Weight of Zinc,' by Dr. J. H. Gladstone and Mr. W. Hibbert, and 'The Amount of Nitric Acid in the Rain-water at Rothamsted, with Notes on the Analysis of Rain-water,' by Mr. R. Warington.

MATHEMATICAL.-June 13.-Mr. J. J. Walker, President, in the chair. The President commented on the losses the mathematical world had sus**tained during the session by the deaths of Prof. Genocchi, of Turin; Prof. Du Bois-Reymond, of Berlin; and M. Halphen, of Paris. -The following communications were made: 'On the Square of Euler's Series,' by Dr. Glaisher, - A Theorem in the Calculus of

Linear Partial Differential Operations,' by Major Macmahon,-On Crystalline Reflection and RefracH. tion.' by Mr. A. B. Basset, -' On some Rings of Circles connected with a Triangle and the Circles (Schoute's System) that cut them at Equal Angles,' by Mr. W. W. Taylor,- 'The Figures of the Pippian and Quippian of a Class of Plane Cubics,' by the President (Sir J. Cockle in the chair), and A Generalization of Buffon's Problem,' by Prof. Sylvester (communicated by Mr. J. Hammond). The following papers-'On the Small Wave-Motions of a Heterogeneous Fluid under Gravity,' by Prof. W. Burnside, and On the Uniform Deformation in Two Dimensions of a Cylindrical Shell of Finite Thickness, with Applications to the General Theory of Deformation of Thin Shells,' by Lord Rayleigh -were, in the absence of the the writers, taken as read.

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PHYSICAL.-June 8.-Prof. Ayrton, V.P., in the chair. Dr. Bond and Mr. Britton were elected Members. The following communications were made: 'A Photograph of Lightning Flashes' was exhibited and described by Dr. Hoffert, -' On the Methods of suppressing Sparking in Electromagnets,' and 'Notes on Geometrical Optics: (1) On the Deduction of the Elementary Theory of Mirrors and Lenses from Wave Principles, (2) On a Diopteric Spherometer, (3) On the Formula of the Lenticular Mirror, Mirror,' by Prof. S. P. Thompson, -' A Shunt Transformer,' by Mr. E. W. Smith, and 'On the Use of the Biquartz,' by Mr. A. W. Ward.

ARISTOTELIAN. June 17.-Mr. S. H. Hodgson, President, in the chair.-Prof. J. M. Cattell was

elected a Corresponding Member.-Dr. G. J. Stoney read a paper 'On the Nature of Force,' which was followed by papers from Prof. Bain and Prof. Dun

should be erected at the Vatican, the place selected for it being the tower surmounting the apartments of the President of the Sacred College, which is the highest of the buildings in the Vatican.

FINE ARTS

ROYAL SOCIETY of PAINTERS in WATER COLOURS.-The HUNDRED and ELEVENTH EXHIBITION is NOW OPEN, 5, Pall Mall East, from 10 till 6.-Admission, 1s; Illustrated Catalogue, 1s. ALFRED D. FRIPP, R.W.S., Secretary.

The NEW GALLERY, REGENT STREET.-SUMMER EXHIBITION NOW OPEN, 9 till 7.-Admission, Is.

THE VALE OF TEARS.'-DORE'S LAST GREAT PICTURE, completed a few days before he died, NOW ON VIEW at the Doré Gallery, 35, New Bond Street, with Christ leaving the Prætorium,' 'Christ's Entry into Jerusalem,' 'The Dream of Pilate's Wife,' and his other great Pictures. From 10 to 6 Daily. -Admission, 18.

THE ROYAL ACADEMY.
(Fifth and Concluding Notice.)

ONE of the finest pictures by men who have this year made a reputation is Mr. A. C. Tayler's The Encore (No. 1132), a vigorous instance of well - studied and potent lamplight and its strong shadows in a barn, where a young lady is singing "Home, sweet home!" to an audience full of character, and painted in a massive and effective, if somewhat rough style. -Strolling Players awaiting an Audience (1171) is Mr. J. Y. Carrington's capital picture of a troupe of dogs, of all sorts of ages, races, and humours, and agreeing in no respect but intelligence and hunger. The technique is disagreeable, and some of the colour is dirty, but it abounds in invention and spirit. - We trust Mr. E. Normand may never again paint a picture like The Death of the Firstborn (1210), a huge canvas with life-size figures. If, like Mr. E. B. Leighton, he would attempt genre, we should be charmed to see next year what he could give us, instead of such a work as this, which is spectacular without splendour or dramatic passion, dry without severity and refinement, laborious without finish, and dull without being learned. Even the chief figure of this ambitious composition, the king leaving the scene of his trouble, is not sympathetic, and therefore touches us not. A mechanic inspiration pervades the work, which, though though more accomplished, is very like a Benjamin West. -Mr. W. D. Sadler never before painted anything at all so good as The Widow's Birthday (1128), which is full of humour. There are many capital points of character in this picture, in which the crisp and firm touch of the artist is seen at its best. - Mr. A. Stocks's piece of genuine humorous genre, No. 1233, where a buxom country girl introduces her soldier sweetheart to a deaf old farmer with "A friend of mine, grandfather," ought not to escape notice. The stiff trooper and the wheedling lass are almost as good as the suspicious grandsire. - Mr. L. J. Pott is not at his best in delineating (see No. 1263) the famous story of Maria Theresa presenting her son to the assembled nobles, who proclaim their loyalty by shouting and drawing their sabres. The comely empress and the pretty boy on her shoulder form a capital spectacular lar group, and the rest of the design lays stress on the superficial, stagey elements of a subject which, treated in a proper spirit, is a noble and highly picturesque one. - The Spring (593), by Mr. O. Ayrton, is a very elegant nudity standing at a stream. The foot seems too large.

Although the general improvement of landscape painting in this country is manifest at every exhibition, it cannot be said that more masterpieces are produced now than thirty years ago, and the Academy of this year, although it comprises a large number of praiseworthy pieces and very few bad ones, is exceptionally poor in fine landscapes. We have described several of the most notable of them, and may now deal with the remainder. Although he paints them admirably and with true sentiment, Mr. Val Davis is too fond of autumnal rivers with swans floating in front,

trees and rude buildings on the marshy banks. A Quiet Haunt (116) belongs to this class. It is very serene, tender, and sober, and charming in the illumination and tonality of the sky and water. Mr. F. W. Baker's The Land's End, Evening (129), a vista of the coast, is rather photographic; yet it is broad in effect, well and carefully drawn, and true in sentiment. -Mr. F. Goodall's large panorama of Harrow-on-theHill (213) illustrates his resources, and is a new effort on his part to deal with English landscape. The horizon being in the middle of the canvas, and a good deal of space wasted at the top and bottom, the composition loses much; the herbage and foliage are monotonous in tone as well as in tint, still the work as a whole has many fine points and much feeling for nature. - The Firth of Forth at Aberdour (227) shows that Mr. A. K. Brown, who never did so well before to our knowledge, has painted the sea and sky in a shadowless calm daylight effect with great sympathy and propriety. - The Rosy Clouds of Evening (238), by Mr. H. Hime, is a simple and noble effect in full colours of fierce orange glow on a heathery hillside and moorland. We think the cumuli are too crimson for nature, while they are out of harmony with the verdure.-A Suffolk Marsh (228), by Mr. J. Whipple, is careful, sober, and true. -Mr. Val Davis's Edge of the Marsh (253) is in some degree open to the same remarks as No. 116, and, like most of his pictures, a very poetical rendering of the sober grey and silver of autumnal daylight on faded marsh herbage, bare willows, an even and full stream; the sky and its clouds are capital, the distance could hardly be truer or more tender.

Mr. P. Graham is at his best when he has an unhackneyed subject. His large landscape, No. 279, gives with striking energy a view of a rocky pass between grim hillsides, when dense white vapours sweep along the valley, and their side casts a threatening shadow, while the other side catches the blinding light of the sun, and the crags are dashed with gloom or splendour. It is a striking and poetictheme, the effect is impressive and original, there is abundance of force, and, so far as the execution goes, much truth. Still there is a lack of research. - Fading into Night (310), by Mr. C. Stuart, is a grand North Wales subject, painted with sympathy, but not without artifices betraying the lamp, and some insincerity, especially in the foreground ferns and sward, which are almost worthy of Mr. A. MacCallum, beyond whom, in that respect, it would be hard indeed to go. - Very good, rich, and effective is Mr. W. H. M. Grimshaw's The Reign of the Gorse (335), golden and purple blossoms flushing, so to say, hillsides of withered grass. There should be more light in the sky, which is flat.-The Morning Breeze (451) of Mr. Colin Hunter is one of his most sympathetic views of the Scottish coast. Still its coarseness is exasperating, and the excess of paint shows the artist's heavy hand and his contempt for the taste of his admirers. It depicts a little bay, its hilly shore and water newly stirred after the calm of night. The subject is in itself excellent. - Mr. J. MасWhirter's Constantinople and the Golden Horn (457) illustrates the fine sense of colour he has recently developed, and is notable for clear, silvery, atmospheric tones and the wealth of sunlit hues. The distance is good and fine, the colour of the cypresses and other trees of the foreground is excellent, and they are in harmony with the picture as a whole, to which they give the effect of a clear atmosphere, while their sombreness increases its brilliancy. But the foreground proper lacks solidity, and the landscape in general is deficient in expansiveness, spaciousness, and dignity. Still it is a most charming work, though painted on much too large a scale. The Fairy of the Glen (557), a graceful birch tree in a sunlit garden, is a subject the painter has repeated ad nauseam. It seems to us somewhat less showy, better in light and colour, and more solidly drawn and painted than its predecessors. On

the other hand, its execution ill sustains examination. Autumn (562), by the same painter, is more acceptable, because it is a new combination of hackneyed elements and was painted with zest. The paint intrudes itself, but the sky and extreme distance are most delicate, and the coloration is bright and fresh. -Mr. G. H. Boughton's Salmon River (465) seems to be entirely due to the lamp; it is very painty, flat, and thin, and quite destitute of luminosity.

A fine seascape is Mr. W. L. Wyllie's The Homeward-Bound Pennant (394), a big ship in a calm harbour preparing to set sail, and flying a pennant of enormous length, with a large bladder attached to its extremity in true nautical style. The picture is luminous and harmonious, rich in colour, and in perfect keep ing throughout. The treatment of the rigging against the sky is as fine as the painting of the sheeny surface of the water. - A striking conventional landscape, strongly contrasting with the last, is Mr. R. Noble's The Linn Jaws (549), a rocky view of a darkened stream flowing amid low limestone cliffs, and representing a richly hued autumnal twilight in a monochrome of deep brown and glowing greys. Accepting its peculiar treatment, the effect is very grand and solemn, but the sentiment is much injured by a stage coach crossing the bridge in the middle distance, and by the flatness and thinness of the sky. We like the picture much better than Mr. Noble's Coming from Church (719), which, nevertheless, has much merit. -Mr. P. Graham, whose mountain scene, No. 279, we have just admired, returns in "Where wild waves lap" (602) to hackneyed materials and threadbare sentiment. The handling is mechanical, and there is too much paint. -Terribly hackneyed, mannered, and painty is Mr. B. W. Leader's Sabrina's Stream (654), the calm Severn, its low banks, massive elms, wide meadows, a church, and a still sunny evening effect. It is very pretty and mechanical to an extreme degree, and is particularly offensive from its pretending to be true. The best part is the deftly sketched barge at the side of the river. Cambria's Coast (480), a hazy soft effect of light on sandy dunes, steep hills, and a wild shore, although the subject is finer and much less hackneyed, is open to the same technical criticism. The Dawn of an Autumn Day (662) is of the same technical type, but it is not so unpleasant, for there is something charming about its golden flash on the tree-tops beside a stream, and the night mists drifting to the distance. The Incoming Tide (1162) interests us by virtue of its subject, new to the painter, and wearies us with its shallowness and mechanical art.-The Condemned (663) of Mr. W. E. Norton renders happily the effect of a white calm. It is good, broad, expressive, and true. -The Evening (718) of Mr. E. Nichol is a fine Corot-like picture, painted with real feeling for silvery light on a marsh and water: a sketch of high quality. The Harbour Bar (756), a Cornish estuary at twilight, fishermen going out to the bay in still summer weather, their lanterns lit and dark sails distinct against the nacreous and silvery sea, is very broad, fine, and good. The work of Mr. Adrian Stokes, it divides the palm with his capital contribution to the New Gallery, which we have already praised. Even more than that work it is a happy example of the advantage an Englishman may reap by studying in the great school of French landscape painting, of which it may be accepted as an apt specimen.

No. 810, Some of Nature's Gifts, flowers and fruit, by Mr. S. Potter, being solid and bright, is very good indeed. - Flowers that Bloom in the Spring (849), by Miss C. W. Armstead, are nicely grouped and carefully drawn, with a pleasant sense of colour and light. Miss Armstead should aim at purer and clearer tints. The Oranges (886) of Miss C. Wood are vigorous, luminous, brilliant, and well composed. - The Green Pastures (1101) of Mr. E. Elliot, flat

land in grey daylight and under a silvery sky, a capital picture, is sincere and broad. - Wallerbrook Bridge (1123), by Mr. H. A. Olivier, a rude stone slab placed athwart a wild Dartmoor stream and in the front of a long grey vista between low hills, is evidently so masculine, sincere, and bright that it deserved a better place than over a door. -Firm, crisp, and full of light and colour, a little hard withal, is the Earl of Carlisle's finely drawn and severe view of The Alban Hills, from the Palace of S. Severus (1151). - Another landscape in a choice classic taste is Mr. M. R. Corbett's On the Tuscan Coast (1154), which we cannot praise more highly than by saying it is one of his best pictures. The Disabled Vessel in the Channel (1205), by Mr. J. Fraser, seems to deserve a better place; it is a good and sincere seapiece. - The Road by the Sea (1187), by Mr. C. W. Wyllie, is a charming study of nature enhanced by true and rich colouring, deftly and harmoniously dealt with. -Among other good and sound landscapes here are Mr. P. M. Feeney's "An iron coast and angry waves (1209), in North Cornwall; Mr. T. Huson's "When seas are fair" (1179); Mr. J. Kay's Towing into Harbour (1189); Mr. A. L. Vernon's Ecclesbourne Glen (1194); Mr. P. Belgrave's Sunset in the New Forest (1200), and his Coombe Valley (1232); and Mr. K. Mackenzie's Playground of the Sea (1222), sands under a cloud shadow, with a gleam flying towards the hills, where dense vapours load the sky. There is fine sense of nature in the painting of the shadow. See likewise On the Shores of Kintyre (1244), by this accomplished and sympathetic Scottish landscape painter.

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The Water-Colour Room is occupied by a collection of examples such as we have not seen there before by living artists. The landscapes are not greatly inferior to those in the exhibition of the Old Water-Colour Society, while the studies of human character, passion, and beauty are more interesting and, as a whole, better worth seeing. In successful life-size pictures from life the "Old Society" is not rich, and the Academy will, if it goes on as it has been doing of late, best things in the order of the Catalogue. The soon surpass the minor society. We take the Peace (1269) of Mr. J. Ehrke depicts with force and pathos a bold effect. The light and colouring of the foliage are first rate. -Mr. Mottram's Hazy Afternoon (1270), with its turquoise, azure, and pale green sea breaking on the sand, is soft, pure, and rich. The boats are waiting for pilchards. - The Castel Fusano (1272) of Mr. H. A. Olivier, a pleasance with stately pines and wild herbage, is carefully and strongly_drawn, and instinct with a noble -The Chrysanthemums (1271) of Mr. J. Patersentiment. It is a little black in the shadows. son, in a green vase, is deftly and firmly drawn, and bright. -Mr. R. B. Nisbet's Morning at an East Coast Fishing Village (1278), a little harbour, is strong in colour and good in the sky is capital.

tone, while

The Siesta (1279) of Mr. R. Barber, a halflength, nearly life-size figure of a lady in white resting on a couch of white linen and a

pillow,

them. - Delicate and finished, very bright pure, is Miss C. J. Atkins's elaborate picture a comely old lady, which has unluckily be polished out of breadth and simplicity. T pathetic expression is sympathetically painted It is called Age is a Time of Peace (1299 The Woodland Melody (1306) of Mr. J. Fullwa is masterly and highly artistic.-Mr. R.E Carter's "At winter's chilly touch doth g autumn yield" (1307), snow-clad hills and calm lake, is a little scenic, but finely pain and good throughout. - The Mill Stream (15. of Mr. O. Rickatson, the sky being brassy thin, is warm, broad, and soft.

The Sunflowers and Hollyhocks (1315) of M K. Hayllar is exquisitely finished, with solider firmness, and brightness. After Rain (139 by Mr. W. F. Stocks, is capital. Stream, Wi (1323), by Mr. L. Fosbrooke, jun., is modes delicate, and tender. - Among the best example of its kind here is Mr. C. P'Anson's Evening Christchurch Ferry (1327); it is rich, brillat and broad; the poplars are weak, but the wate is first rate, and all we could desire. -The Fie Study (1326) of Mr. C. Poole is very rie strong in colour, and harmonious throughou - The Cornish harbour in sunlight which M H. M. Rheam calls A Calm Evening (133) bright and pure. - The Cattle (1333) of Miss M Butler in a meadow at autumn is also brigat and is most crisply touched. -Carnations (13 by Miss E. Waterhouse, is sumptuous an rich in tone and colour. - A sunlit vista of s street of cottages, by Mr. F. C. Price, calie Dorchester, Oxon (1335), is very primitive an simple, bright, and firm. - Mr. H. Goodwin's Ore Quad (1348), a "blot," has style, colour, and clever draughtsmanship of the picturesque sort.Evening Red (1358) comes from Mr. R. B. Nisbet, and exhibits a solemn effect with rich colour. - Stonehenge (1368), by Mr. C. Poole, ia extremely true, solid, and firm in -Although it is a little flat and the trees need Mr. J. T. Watts, a vista of grey beech trunks in modelling, Nature's Cathedral Aisle (1369), by an avenue, is decidedly good and sympathetic grand and lurid sunset over a flat, is to be - St. Clare Marsh (1371), by Mr. F. A. Verner, a admired. The Winter Scene (1376) of Miss E Young, a picture of snow touched with a free, firm, and artistic brush, is capital, and ough to be "carried further." - Mr. B. Cooper's "When the lengthening shadows fall" (1380 painted in a masterly, broad, and telling mante colour deserves praise. - The Crimson of the is a little crude, but its powerful and true Sunset Sky (1387), by Mr. W. F. Stocks, a fierce and lurid glare behind dark blue-greet end's Moonrise, Bristol Harbour (1396), is pines, is intensely effective. -Mr. A. O. T solemn and broad effect, and the rich co has been capitally studied.

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mod

handling.

Bell and Dorothy (1398), by Mr. E. R. Hughet is an awkward composition, and the contrasts colour in the green-clad child and the red ca tain behind her are inharmonious. Otherwis it is painted in a highly accomplished, broad and modelled, and the artist shows a sol and delicate manner, the faces are finely draw and a logical habit of mind would have ma sense of light and shade. Systematic trainic! of Mr. Hughes a finer artist. It is stran should fail to see the great errors of this very that one so accomplished, skilful, and sincer creditable picture.--Mr. H. Sykes calls No. 141. A Reverie, because it represents a Spanish dams in a mantilla. It may be praised for wealth colour, breadth, and vigorous drawing. It is markable for successful management of a gre proportion of black. -Mr. H. Vos, who painted Room in the Brussels Almshouse for Women (14 for tone, colour, and character. His picture inherits much of the feeling of his countryme excellent in all these respects. -Summer (1422), by Miss M. E. Butler, flowers in a jaz very remarkable indeed for its delicacy, fins solidity, and good and sound drawing. -The Lo

Letter (1432) of Mr. H. Copping is painted with (brilliancy, clearness, and solidity. The face of the ruddy country girl is nice. -Mr. C. S. Mottram's Flow Tide, Land's End (1446), although rather woolly, is strong and rich in colour and tone; the sea among the rocks and the receding bastions of the cliffs, above all the water, are of the best kind. - Mr. A. Hartland's Brown Bog of Allen (1449) is strong, perhaps too strong, in colour, and effective. - Mr. N. Dawson's Cornish Shore (1477) deserves praise for the colour of the surges of pure blue charged with white and the tone of the distant cliffs. - Mr. E. A. Rowe's The Quay, Boscastle (1485), is well drawn, bright, but rather hard. -Caught in the Tide (1498), by Mr. A. M. Rossi, comprises well designed and cleverly drawn figures of little girls standing on Frocks in a strong breeze, and struggling with a boisterous wind. It is most spirited and able. A good and poetic sky will be found in Mr. H. Coutts's Clyde from Arran (1502). - The Haytime (1500) of Mr. R. B. Nisbet is fine in its rainy Peffect over meadows and a stream. - Miss K. M. Whitley's Study of Fossils and Minerals (1530) is, like other examples of her delicate, laborious, and faithful touch, exquisitely finished and solid, Han example of the minutest execution. -A Wandering Minstrel (1531), by Mr. J. E. Goodall, is a clever picture of a Nubian in Cairo with a rude lyre. Solid, bright, and firmly and well drawn is Mr. T. Jones's Harrow, from Mill Hill (1536). - A Study of Colour (1537), by Miss 1-M. Stevens, peacock's feathers, a butterfly, and La humming bird, is most brilliant in colour and exquisitely finished and drawn. - Mr. R. P. Spiers's Interior of the Arena, Nismes (1555), a good architectural study, has several excellent qualities. No. 10, Downing Street (1556), by Mr. P. Norman, is solid, admirably drawn, and beautiful in colour and tone.

The miniatures are but just good enough to show that a charming art is still alive amongst us, but not so flourishing as it used to be. We cannot say any one of them is above the average in beauty. The most meritorious, so far as we observed, are Miss A. Dixon's Lord H. W. Grosvenor (1604), Eileen (1605), a very pretty instance in her best taste, and her Mrs. Colt (1606); Mr. C. Turrell's Nellie (1590) and Mrs. C. Vanderbilt (1585); Mr. H. Gray's Robert (1596); Miss C. E. Howard's Mrs. Dawson (1609); Miss A. Ricketts's Three Little Maids (1625), which is deliciously bright and tasteful; Miss A. James's Esther (1645) and Gladys (1669), the latter very fine indeed; Mr. E. Tayler's Owsley (1644); Miss Webling's Mrs. Wellesley (1639); Miss A. Howard's Elsie (1657); Mr. E. Tayler's Lady Cremorne (1666); and Miss F. H. M. Keller's Miss Litchfield (1674).

We turn to the Black and White Room with exceptional pleasure, because, although the drawings proper are less valuable than usual, the etchings and engravings prove the flourishing condition of the art at this moment. We take the best examples in numerical order. Mr. F. Slocombe's Yorkshire Lane (1679) is first rate, though rather flat and black. -Mr. H. Poulter's Village Fishmonger (1680) is rich in colour and Rembrandtish. -Mr. R. W. Macbeth's The Tapestry Workers (1683) is a translation of Velazquez into "broad Scotch," that is, it is strong, distinct, and rich in tone and colour, but somewhat mannered, heavy, and coarse. -Mr. D. Law's Childe Harold's Pilgrimage (1686) is in a very pretty style. - We like Amiens Cathedral (1687), by Mr. E. Slocombe, and Mr. H. Dicksee's Hesperia (1688), which is a good and strong version of Mr. F. Dicksee's only first-rate picture. Mr. W. L. Wyllie's Highway of Nations (1689) proves him to be almost as able with the needle as with the brush.-Mr. R. W. Macbeth's Surrender of Breda, after Velazquez (1693), is far from successful, being heavy, black, ck, and lightless, a version of an enormously difficult picture which demanded a finer taste and more leisure than the etcher could or would command. -Mr. Finnie's

very coarse and crude

Original Mezzotint (1692) is artistic and good. M. F. Laguillermie's Beatrice Cusance, after Van Dyck (1696), is a good and apt rendering, full of tone and colour, but evidently needing reference to the original before it was finished. -Mr. R. W. Macbeth appears again, and more fortunately than before, as a student of an old master in the so-called Garden of Love (1703), after Titian, which is a little heavy and needlessly dark, but sumptuous, and full of tone and colour; the plump infants could hardly be more animated. No. 1710, The Court of the Bargello, by Miss E. M. Bakewell, is crisply touched and bright. -Yet again we meet Mr. R. W. Macbeth in the rich and spirited Portrait of a Sculptor (1712), after Velazquez, which is almost firm and masculine enough to redeem its blackness and the work of a hand at once too heavy and too hasty. If we might presume to counsel this capital artist we should advise him to attempt less, to take fewer commissions, and spend more time in doing himself justice. Mr. H. Macbeth - Raeburn's Wind on the Wold (1711), after G. Mason, is rich, energetic, and spirited enough, and lacks only a little of Mason's refinement. - M. A. Gravier worked capitally, with solidity and skilful definition, in "When the evening sun is low" (1718), after Mr. J. E. Grace. - We have already expressed qualified admiration of Mr. M. Menpes's s's Banquet of the Officers of St. Adrian, after F. Hals (1717). - Mr. F. Short's Orpheus and Eurydice (1720) is a finely toned, rich, and energetic rendering of Mr. Watts's picture. - The Waiting (1727) of Mr. A. D. M'Cormick has good tone and a just effect. - M. E. Colarossi's Italian Girl (1729), after M. L. Leloir, is delicate and brilliant, and distinguished by its crisp and bright touch. - The Venice (1739) of Mr. W. Ball is clear and firm, and has abundance of air; while Mr. L. Lowenstam's Well-known Footsteps (1741), after Mr. Alma Tadema, is one of his best plates and a capital rendering of the original. - We enjoy the Still Evening, after Mr. W. Anderson's picture (1738), by M. P. Mallet. - The Night Watch, after Rembrandt (1694), by M. C. Waltner, is a noble piece. We have already praised Amiens Cathedral (1687), by Mr. Slocombe, and we can also praise its companion, Rouen Cathedral (1695). - M. L. Flameng's Death crowning Innocence (1774) is one of the finest translations of Mr. Watts. We can recommend the attentive examination of the following accomplished examples: Mr. F. Sternberg's T. Hawksley, F.R.S. (1782); Letty (1783), after Sir F. Leighton, by Mr. J. D. Miller, a most accomplished draughtsman with an extremely elegant touch and sense of colour; The Parson's Daughter, after Romney in the National Gallery (1785), by Mr. G. Robinson; Patty, after Mr. G. D. Leslie (1786), by Mr. A. V. Hayllar; A Schoolgirl, after Mr. Fildes (1789), by Mr. S. Bridgwater; The Princess Sophia, after Hoppner (1803), by Mr. G. Robinson, and The Princess Mary (1810), after the same, by the same; Mr. F. Stacpoole's Trust (1813), after Mr. C. B. Barber; Wintry Wind, after E. Ellis (1809), by Mr. A. V. Hayllar; M. A. Lamotte's Les États Généraux (1806), a brilliant piece of pure line; and Mr. T. G. Appleton's charming Miss F. Kemble, after Lawrence (1812). We can also praise The Curfew (1685), an aquatint, by Mr. F. Short; and Mr. W. L. Wyllie's Towing up the Waal (1697).

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Among the drawings in chalks, &c., we must not overlook "For those in peril on the sea (1770), by Mr. A. J. Gaskin, which has strong pathos; the Parnell Commission (1765), sketches of heads, which are distinctly clever, by Mr. F. Pegram; and Mr. L. Sambourne's Designs for the Months of 1889 (1766), made for Punch's Almanac, which are also clever.

This, the only exhibition of sculpture in England, proves that the art has made great strides since the Academy improved the space devoted to it. It is a fact to be remembered that whenever additional accommodation has been provided at Burlington House, the result has

been equally gratifying. When the Academicians cover over the quadrangle before their door and fill it with statues and shrubs, doubtless the sculptors will respond by doing yet better work. At present we must be content with a running comment on the best collection of the statuary of the day in England. Mr. Woolner's fine Sir J. Whitworth (2046) and the Rev. Coutts Trotter (2039); Mr. Armstead's Lieut. Waghorn, for Chatham (2032), the Late Rev. B. Webb (2138), Miss Lottie Armstead (2059), which is in an unfavourable light, and the late Mrs. Craik (2180); and Mr. E. O. Ford's Singer (2195), we have already mentioned with high praise. The visitor who will allow for the effect of differences of lighting due to changed position will find we have not overrated these works. - We admire the spirit of Mr. E. Nicholls's Mediæval Minstrel (2048), who is full of character; the graceful naturalness and simplicity of the naked maiden, Hesitation (2051), who dips her foot in a stream (it is by Mi Mr. W. Tyler); ); and the small version of Mr. Thornycroft's Teucer (2056), which differs, if at all, but slightly from the statue. - The Volumnia (2062) of Miss A. H. Hunt has an obvious source; it is a beautiful head, finished like a cast from nature; see the lips where the fine edge of the thicker skin meets the thinner skin. -The Medallions in Coloured Wax (2066 and 2067), by the Misses E. and N. Casella respectively, are pretty and delicate specimens of a revived art, miniatures in low relief, fully coloured after nature, with backgrounds and dresses to match. - My Sister (2073), a head by Miss I. J. Salaman, may be praised for its lively expression, character, and refinement, and especially for a spirited and neat technique. - Mr. H. Thornycroft's Death of Gordon at Khartoum (2074) has only commonplace veracity, though some of the savages are spirited.

Mr. A. Gilbert's studies after nature, unlike his poetic designs, are naturalistic to a degree. We may say this of his bust of the well-known artist J. S. Clayton, Esq. (2081), whose posterity must take it from us that it is the reverse of flattering, though strong in a crude way, vigorously modelled, and full of character-in fact, a merciless likeness. Indeed it is almost coarse. -Mr. E. O. Ford's busts of the Lord and Lady Mayoress, Nos. 2083 and 2085, are sincere and lifelike, and the modelling is sound and excellent. - On the other hand, Sir E. Boehm's The late F. Holl (2084), although a good likeness of the painter many years ago, is weak and demonstrative, very feeble in execution and empty in modelling. - Mr. G. Lawson's G. Webster, Esq. (2086), is solid and respectable; it possesses character, but less vigour than is common with the able sculptor. - Bold, skilful, and like is Mr. W. R. Ingram's capital portrait bust of H. S. Marks, Esq. (2087). - The Boy's Head (2089), by Mr. H. A. Pegram, is pretty and simple. The expression of Mrs. L. K. Young (2096), by Signor G. Carnevale, is sentimental, but the handling is skilful. Intense veracity and great care mark Mr. R. H. A. Willis's Study of Age (2118), an ugly bust. Age may be, and often is, beautiful. Will the sculptor next year essay to show us this? - A good head is Miss M. Grant's Hon. Lyman Bass (2127), which is masculine, without swagger. At the Fountain (2135) was cleverly designed and deftly modelled : a boy holds a vase at a jet of water. It is by M. A. van Beurden.-W. Glassby, Esq. (2137), by Mr. E. Lantéri, is expressive and handled with skill. - A skilful sculptor like Mr. G. Simonds could surely have read in Mr. W. Crane's face something nobler than the presumptuous dogmatic look he has given to the bust numbered 2141.

Capital execution, freedom, and spirit mark Mr. A. Gilbert's G. F. Watts, Esq., R.A. (2153), but the meditative look characteristic of Mr. Watts is absent. - Mr. W. H. Prosser's Study of a Head (2159) is distinctly good and energetic. - There is also some energy in Mr. S.