KINK ARTS IN 1892-MM. 



hibitions of the works of Samuel Palmer, Ed- 

 wiinl Calvert, and William Blake. 



Tho one hundred and twenty-fifth summer 

 exhibition, though scarcely up to the average 

 in oils, was strong in water colors and in statu- 

 ary. Sir Kn'dcnck Leighton was represented 

 by several good works. "Corinna of Tanagra " 

 is a half-length figure of the poetess, a noble 

 brunette crowned with golden laurel, draped 

 about bust and shoulders with amber red, rest- 

 in u r . as if she had just stopped singing, with 

 lioih hands upon the gilded lyre, which is the 

 prize of victory. " Rizpah " is conceived in a dif- 

 ferent spirit. The mother, gaunt and pale, yet 

 resolute, leans against the dead body of her son, 

 which is covered with purple drapery, clutching 

 a sickle as a weapon against the birds of prey. 

 " Hit " represents a half-clad bowman of the 

 cave period, seated on a rock near a cavern, 

 with his son, a boy of twelve, whom he is in- 

 structing in shooting, standing at his knee. 



Sir John Millais's "Girlhood of St. Theresa" 

 tells a story connected with her childhood, how. 

 when only seven years old, she set out with her 

 little brother from Avila, in Spain, to go to the 

 country of the Moors in hope of dying for the 

 faith. But on the bridge over the Adaja the 

 two were met by an uncle who brought them 

 back to their mother, who had sent to seek them. 

 The twain are depicted crossing the bridge, the 

 early morning light upon the towers of Avila be- 

 hind casting pearly shadows that harmonize with 

 the black and crimson velvet of the children's 

 costumes. 



Alma-Tadema's " In my Studio " shows a por- 

 tion of his own sumptuous working room, with 

 a nymphlike damsel in purplish costume, stand- 

 ing beside the piano, enjoying the scent of a 

 bunch of Marechal Niel roses. This picture is a 

 present to Sir Frederick Leighton. " Compari- 

 sons," another contribution, represents a Roman 

 interior and two stately ladies seated. Both 

 have been reading, but one has dropped her 

 book and looks with interest over the shoulder 

 of her companion, who reads a passage aloud. 



Mr. Poynter, too, contributes a classic picture 

 called "Chloe," an elegant figure in white seated 

 in an atrium, holding double pipes in her hand, 

 while her lyre leans against a neighboring col- 

 umn. 



Briton Riviere's " The King's Libation " rep- 

 resents a monarch of a dimly known antiquity, 

 standing, a life-size figure, in a vast and lofty 

 chamber before an altar of dark marble, from 

 which the smoke of incense rises in a blue cloud. 

 In one hand he holds his hunting bow. in the other 

 he raises aloft a golden bowl, from which, while 

 uttering the consecrating words, he pours a liba- 

 tion of wine. At the foot of the altar lie the 

 huge bodies of four lions and a lioness, spoils of 

 his bow and spear, his offering to the god. 



J. W. Waterhouse's " Hamadryad " is a grace- 

 ful figure hiding within the hollow trunk of an 

 ivied oak and listening with rapt attention to a 

 pipe played by a satyr couched near the tree. In 

 "La Belle Dame sans Merci" the knight of 

 Keats's poem has met the weird lady in the gloom 

 of the pine wood, through the boughs of which 

 is seen an azure stream in harmony with the 

 purplish blue of the siren's robe. 



Noteworthy among the sculptures were Ge- 



rfime's " Bellona," shown at the Salon of 1892; 

 " Tho Rescue of Andromeda," by H. C. Pehr, 

 showing the dragon crawling over the prostrate 

 Andromeda, with Perseus novering over; and 

 "The Housemaid," a bronze figure of a comely 

 English girl kneeling beside her pail and wring- 

 ing the cloth she has been using. 



London: New Gallery, 1H8. The winter 

 exhibition was devoted to the works of Burne- 

 Jones, including 67 oil and water-color paintings, 

 and more than 100 studies, crayons, chalks, and 

 pencil drawings, many of them life-size. Among 

 the paintings, which illustrate the artist's labors 

 from 1861 down to the present time, are: Mer- 

 lin and Nimue" (1861). "The Merciful Knight" 

 (1868), "Astrologia" (1865), "The Wine of 

 Circe " (1869), " Phyllis and Demophofin " (1870), 

 "Love among the" Ruins" (1878), "Sibilla Del- 

 phica" (1877). "The Mirror of Venus" (1877), 

 "The Beguiling of Merlin " (1877), "Laus Ve- 

 neris " (1878), "The Annunciation " (1879), " Pyg- 

 malion " (1879), "Gray Graiae" (1880), "Feast" of 

 Peleus " (1881), " The'Wheel of Fortune " (1882), 

 " Flamma Vestalis" (1886), " Depths of the Sea" 

 (1886), and " King Cophetua and the Beggar 

 Maid " (1889). 



In the summer exhibition one of the most re- 

 markable pictures was Alma-Tadema's " Uncon- 

 scious Rivals," in which he shows two Roman 

 beauties in a balcony under a great arch, deco- 

 rated in the Pompeian manner with arabesques 

 on a red ground. The complex lights that 

 from the interior and the golden sunlight with- 

 out are marvelously well done. 



J. W. Waterhouse sent a " Naiad," the com- 

 plement of his " Hamadryad " at the Royal Acad- 

 emy. The Naiad has left her blue stream to peer, 

 between the trunks of the trees upon its bank, 

 at a faun sleeping in the shadow of the wood. 



M r. Watts's " Open Door " represents a slender 

 country girl in a saffron-red frock, gray-green 

 cap, and black apron, cautiously opening a cot- 

 tage door to let enter from the storm outside a 

 yellow butterfly. His " Neptune's Horses "is a 

 large sea piece, in which, under a firmament 

 decked with a few bright stars, a calm blue sea 

 breaks in front into a huge wave whose crest as- 

 sumes the half-defined forms of white horses. 



E. Burne-Jones's " Pilgrim at the Gate of 

 Idleness " and " The Heart of the Rose " are 

 illustrations of William Morris's version of the 

 " Romance of the Rose," parts of a series not 

 yet complete. 



The best portrait of the exhibition was J. S. 

 Sargent's " Mrs. H. Hamersley," a superb life-size 

 full-length figure in a rose-colored velvet dress, 

 on the point of rising from a gray Empire 

 couch, with a brownish-gray curtain for back- 

 ground. 



London : Miscellaneous. The offer of Mr. 

 Henry Tate of a collection of modern pictures as 

 the nucleus of a National Gallery of British Art 

 has been accepted by the Government, and a site 

 has been found where Millbank Prison now 

 stands, the site formerly chosen at South Ken- 

 sington having proved unsatisfactory. Among 

 Mr. Tate's collection are Sir John Millaiss 

 44 Ophelia " and " Vale of Rest." Luke Fildes's 

 "The Doctor," Orchardson's "The Rift in the 

 Lute " and " The First Dance," J. W. Water- 

 house's " Lady of Shalott," and Sir Frederick 



