. 



PINE ARTS r 



mhiir marble bench under an awning in front 

 of an opening in the wall of a classic chamber, 

 fifee lies on drapery of pure red, and near h. -r 

 Use a blnek mantle, the highest note mthechro- 



Mr. I'oynter exhibited nn 1 



:.nprvni pale-rose robes per- 

 tocmliifbefcrerichlv clad om, n - 

 dining Upon a marble U-nch lining (he wall <>f a 

 fomano-Clreek hall. i..\dy rose- 



'He. i, pir.-u.-tnn:; <>ii ili'- tostel- 

 t t.. the iiuisi.- ,.f K \ r \ who leans 

 a column on the left uti.l plays the 



; ; 



Tadr 



'ma'- -ingle contribution, a long 

 Upright can\m entitled "Spring." rvpn 

 Roman fr*-t of flowers. A procession is passing 

 down a street between stately building in 

 Hadrian's Rome under an int. -n-ely blue June 

 akv. The vi-ta, lined by marbles of various 

 colors, is partly closed by a building. -from a 

 balcony of which a lady* and her attendants 

 toll till scene, while from the roofs and the 

 parapets on each side groups of women and 

 cirls are showering flowers on the procession 

 below. It I- it marvel of color and detail. 



Or John Millain'H "Speak! *|N -ak : " his most 

 important contribution, represents a man in 

 high fever who has been tossing on a rude 

 couch with a coverlet of sjoat>k ng of 



his betrothed or wife and calling upon her name. 

 Suddenly, to hi- ! vi -ion. she answers 



him in a" luminous apparition through the olive 

 curtain- at the foot of the couch, which causes 

 leap up and cry aloud the words used by 

 Horatio in addressing the ghost of Hamlets 

 father, that constitute the title of the picture. 

 "A Disciple" is another example of Sir John's 

 power of concentrating interest in a single 

 figure without accessories, so marvelously shown 

 In hit earlier pictures, M A Huguenot " and "A 

 (Jnrnl represents a woman clad 



in an ungirt tunic of deepest black, with both 

 hands lying in her lap. looking up with lofty 

 irtoutmnn, apparently listening to the words of 

 torn* impassioned orator speaking from a 

 rostrum higher than her seat. The scene is 

 evidently in the catacombs of ancient Home, one 

 of the dark galleries of which opens in th>- di- 

 Unce, A third picture, **St Stephen." depicts 

 the body of the murdered saint, its draperies 

 stained with blood, found by pious men and 

 women who are approaching in the gloom of a 

 rod on the right. ' 



Mr. George P. Watts's finest work, entitled 

 JoaeVba commanding figure of the prophet 

 of woe, nearly full length, slightly dad in a goat 

 km bound about his waist, with the gourd 

 siaagal his side, his brawny arms uplifted to 

 i effect to hU angry and vehement deiiinicia- 



tributfiOM by him 



Tbe Outcast,** represrn ting a plump and 

 comely infant rtd at the foot of a bank of 

 and. and a portrait of Max Mailer. 



^M Riviere wni but one picture, " I'habus 

 Apollo, ( representing toe god . blue 



ng *t out- 



hand, tn his golden chariot with one 

 oiiUiepolr. driving a furious team of lions 

 woesies over a rocky meadow beside a blue 

 riwr just lighted by the dawn. His son, H. G. 



. contributed an ambitious subject on- 

 tilled " Sanctuarv ." *-h"\\ in.u r the inleri..| 

 white marble tem'ple, \\heiv. in softi-neil lij 

 fore a iripintic statue of Juno np..n a lofty 

 pedestal, a sorely wounded man ha fallen, aoi 

 a \vhole family men. w.meii. and dnl 

 claim the proleriion of t In- (^u.vn !' II... 



i '. 'ill-'LTIl'' " 1 the til ! 



I to a \\ell-paint.-d canva.s th 

 itsown story. Napoleon, mounted oi 



attended by Solllt. Hefthier. K( 



Murat. and" followed bvse\eral aid 

 rapi.lly ai..ni, r the seashore, pi/.in^ wit i. 

 anxious face at the British lleet. half ve; 

 the sea mist, that renders impra< -t n-able 



l!l<l. 



Malihope Kurbes exhibited " The Smil h y." a 

 foreeful picture showing the smoky nileii 

 country farrier's shop, with th 

 a white horse, while the owm-r. pi|- in \ 

 stands at the left awaiting the c n< 

 o|>eration. 



London: New <-;illcry. The \\ i 



tioll was devoted to pictures of the \"elietl,; 



its allied school*, the I'aduan. Mantuai 

 Brescian, and comprised examples of mo- 1 

 painter- fn.in Jacopo and (Jentilr Hei: 

 1'ietro Longhi, who diel near the close 

 last century. 



The summer exhibition was .ne of the host 

 that have yet been opened at this gull -r\ 

 rhief interest centered in the contributii 

 Sir Kdward Hurne-Jones, who sent ^-ix pictures. 

 "The Sleeping I'.eauty " is thecompl- 

 of an early design of the fourth of a s< -r. 

 hibited several years ago. The prin 

 stretched on her couch, and her attendai 

 fewer than in the later version, while the colora- 

 tion is less brilliant. "The Fall of Lu -if. 

 picts the rebel legion, with drooping 1 

 and reversed arms, the lights upon t heir h- 

 shields, and breastplates gradually growing m0p 

 wan, sinking in a lonj,', wavering line fi 

 golden gate of heaven to the nether abyss. 

 Wedding of Psyche," a lovely version of the 

 Olympian bridal, a portrait of Mr. Gladstone'l 

 granddaughter Dorothy Drew, a full-li-iiL'th |n.r- 

 trait of Lady Winsor, and another port rai 

 up his contributions. 



Alma-TademaVLove'sJewc 1 hunjr 



nearly op|>osite the "Kail of Lucifer." a I 

 ed nearly as much attention. Two han!vin' 

 damsels are seated upon a bp.n/.- c.,u-ii j- 

 of marble lo^ia. from which OIK- l(M>ks 

 the grayish-blue water of an inlet of t 

 with cliffs beyond and the h 

 One of the ladies, a rosy blonde with 

 hair, n-t< her cheek on one hand and ' 

 the other to her companion. wh<. i^ synif 

 ally interested in her betrothal rin^. 

 with a tfreat ruby. Thi< picture wa> |'.'iii 

 the D . ' min-ier. 



Sir J.,hn K. Millais exhib; 



r," cdad in black and black-v. 

 armed withascythe. i- pre--.in^ forv. 

 the door of a nouse li-hted from wit!. 

 "The Kmpty Cage," a tliree-quarter 

 figure of a little girl looking sorrowfully 

 cage that once held her favorite bird. 



London : >I i^-cl lam-oiis. The foiirih \* 

 Exhibition of pictures at the Guildhall Art 



