70 



Lodge's), "A Congregation of Crowned Cranes," (No. 

 754) represents what one cannot bnt feel snre is a 

 scene that the painter has witnessed many a time 

 during his sojourn in Tropical Africa, although there 

 is no particular incident in it. In its way, this artist's 

 work gives nie the impression of being no less real 

 and accurate than Mr. Lodge's, though, apart from the 

 evidently strict fidelity of both to what they see, the 

 two artists' work is very dissimilar. Sir 'Hatry 

 Johnston, in such pictures as I have had the pleasure 

 of seeing, alwaj'S seems to aim at giving one an idea 

 of the glare and clearness of the African day, with its 

 grotesque or uncanny animal life, just as he saw it. 

 Although this picture can only be seen from a 

 distance, comparatively speaking, people who have 

 good sight, or who are provided with glasses, can 

 gather some idea of the thorough conscientiousness 

 of drawing and painting shewn throughout it. 



In the Water Colour Room, as usual, are several 

 pictures wherein birds are the principal subjects. 

 The first of these is called " On the Defensive," (No. 

 860) and is by Chas. H. C. Baldwyn. In this the chief 

 merit is the soft and pleasing colour, which can be 

 seen to the best advantage when one is some little 

 di.stance — three or four yard.s — away. The arrange- 

 ment of the "tones" is agreeable, and would, indeed, 

 have well suited a subject of repose. Lapwings, or 

 "Peewits" are the birds chosen, but as the most 

 prominent bird is nearly facing the spectator, one 

 cannot see what the bird is defending itself against, 

 which is a pity, as some injury has evidently been 

 already inflicted on the bird, the lower part of its 

 beak being broken and bent out of position. 



Near it is a large picture, " A Sun Bath : Oyster- 

 catchers," (No. 866) by Frank Southgate. 



Those who know Dutt's book on the Broadlands 

 will be interested to see an original water-colour 



