yune I, 1876I 



NA TURE 



I a; 



From 



To 



C of Good Hope 

 Melbourne 



Sydney 



Wellington 

 'ioDgatabu 

 Ngaloa Bay 



Letuka 



Ngaloa Bay 

 Port Albany 



Dobbo 



Kei Doulan 



Banda 



Amboina 



Ternati 



Samboangan ... 



]lo Ilo 



Manila 



Hong-Kong. ... 



Manila 



Zebu 



Camaguin Islds 

 Samboangan 

 Humb )ldt Bay 

 Admialty IsUnd 



Yokohama 



Kolu 



Miwarra 



Kolu 



Yokohama 



Hono ulu 



Hilo 



Tahiti 



Juan Fernandez 



Melbourne 

 Sydney ... 

 Wellington 

 Tongatabci 

 Ngaloa Bay 

 Levuka 

 Ngaloa Bay 

 Fort Albauy 

 Dobbo 

 Kei Doulan 

 Banda 



Amboina ... 

 Ternati 

 Samboangan 

 Ilo Ilo 

 Manila 

 Hong Kong 



Date 



Saihn;; 



Wed. Dec. 17, ' 

 Wed. April i, ' 

 Mon June 8... 

 Tues. July 7... 

 Wed. July 22 

 Mon. July 27 

 Sat. Aug. I ... 

 Moa. Aug. 10 

 Tues. Sep. 8... 

 Wed. Sep. 23 

 Sat. Sep 26 ... 

 Fri. Oct. 2 ... 

 Sat. Oct. 10 ... 

 Sat. Oct J 7 ... 

 Mon. Oct. 26 

 Sat. Oct. 31 ... 

 Wed. Nov. II 



Arrival 



Tues. Mar 17,'74 

 Mon. April 6 

 Sun. June 28 

 Sun. July 19 

 ■^at. July 25... 

 Tues. July 28 

 Mon. Aug. 3 

 Tues Sep. i 

 Wed. Sep. 16 

 Tnurs. Sep. 24 



Tues, Sep. 29 

 Sun. Oct. 4 ... 

 Wed. Oct. 14 

 Fri. Oct. 23 ... 



•ed. Oct. 28 

 Wed. Nov. 4 

 Mon. Nov. 16 



Total of Second Section of Voyage 



Manila .. ... 



Zebu 



Camaguin Islds. 

 Samboangan 

 Humboldt Bay... 

 Admiralty Island 



Yokohama 



Kolu ... ... ... 



Miwarra 



Kolu 



Yokohama 



Honolulu 



Hilo 



Tahiti 



luan Fernandez 

 ValparaisB 



IWed. Jan. 6, '75 

 !Thur. Jan. 14 

 ISun. Jan. 24... 

 [Tues. Jan. 26 

 IFri, Feb. 5 ... 

 Wed. Feb. 24 

 [Wed. Mar. 10 

 JTues. May 11 

 Tues May 25 

 fFri. May 28 ... 

 IWed. June 2 

 IWed. June 16 

 I Wed. Aug. II 

 Thur. Aug. iq 

 Sun. Oct 3 ... 

 iMon. Nov. 15 



Mon. Jan. 11, 

 Mon Ian 18 

 Tues. Jan. 26 

 Fri Jan. 29 .. 

 Tues. Feb 23 

 W. d. Mar. 3.. 

 Sun. April 11 

 IS.t. May 15.., 

 Wed. May 26 

 Sat. May 29 .. 

 Sat. June 5 .. 

 Tues. July 27 

 Sat. Aug. 14.. 

 Sat. Sept. 18.., 

 Sat. Nov. 13... 

 Fri. Nov. 19... 



7637 

 550 



'432 



■547 

 400 

 120 

 120 



2250 

 656 



lOD 

 200 



3"o 

 5" 

 220 

 350 

 650 



17158 



'75i 650 

 380 

 no 

 250 



1333 

 403 



2 33 

 350 

 120 

 120 

 400 



4302 

 200 



2630 



4643 

 400 



Total of Thifd Section of Voyage 



Valparai^o ... [Messier Channel 

 In Magellan Straits 



Magellan Strts.., 

 Falkland Islds., 

 Monte Video „ 



Ascension 



St. Vincent 



Vigo , 



Portsmouth 



Falkland Islds... 

 Monte Video ... 



Ascension 



St. Vincent 



Vigo 



Portsmouth 

 Sheerness 



Sat. Dec. 11, '75 

 Sun. Jan. 2, '76 

 Thurs. Jan. 20 

 Sun. Feb. 6 ... 

 Fri. Feb 25 ... 

 Mon. April 3... 

 Wed. April 26 

 Sun May 21... 

 Fri. May 26 ... 



Sat. Jan. i, '76 

 Wed. Jan. 19 

 Sun. Jan. 23 

 Tues. Feb. 15 

 Mon. Mar. 27 

 Tues. April 18 

 Sat. May 20 

 Wed May 24 

 Sat. May 27 



»»24 



2033 

 710 

 400 

 1172 

 3720 

 1800 

 2846 

 700 

 200 



Total of Fourth Section of Voyage 

 Grand Total ... 



13581 

 68930 



NATURAL HISTORY AT 

 ACADEMY 



THE ROYAL 



V^/E will leave to other journals the task of criticising 

 '' * the present Exhibition of works of Art at the 

 Royal Academy, and without entering deeply into the 

 question of grouping composition, solidity of painting, 

 chiaroscuro, perspective, viorbidezza of flesh treatment, 

 or aerial effect, we will confine ourselves to a few remarks 

 in a less ambitious key, on those pictures which portray 

 animal life. Of this class there are several important ex- 

 amples devoted entirely to the representation of wild or 

 domesticated animals, with others in which the lower 

 forms of creation play but a slightly inferior part ; and in 

 these days when the public taste claims a far more con- 

 scientious treatment of the subject than in former times, 

 we may be allowed, without being taxed with unfair criti- 

 cism, to examine how far the respective artists have suc- 

 ceeded in fidelity of execution. 



In the first gallery the eye is at once attracted to a 

 large work by Mr. F. Goodall, R.A., " An Intruder on the 

 Bedouin's Pasture " (14), representing a Nubian riding on 

 a dromedary accosting some nomads. The drawing 01 the 

 cenire camel is excellent, although the animal is perhaps 

 a trifle too clean and shiny ; the other camels are some- 

 what unequal in point of execution. In the foreground 

 are some capitally painted goats, and a scarabeus is 

 crawling along the sandy bank, whilst on the left by a 

 small pool of water, two wagtails are strutting, one 

 of which was evidently drawn from a badly stuffed spe- 

 cimen. The distance and atmosphere are admirably 



rendered, far better than in another picture where 

 camels are also the prominent objects, that of Mr. R. 

 Beavis, (85\ " Bedaween Caravan on the Road to Mount 

 Sinai," in which the atmosphere is somewhat cold and 

 grey. On the other hand, the action of Mr. Beavis's two 

 advancing camels is perfect, whilst the position selected 

 is one of extreme difficulty ; there is a roughness and 

 vigour in these animals that make Mr. Goodall's drome- 

 daries look by comparison like mere stuffed models. In 

 his other contribution, " Ploughing in Lower Egypt " 

 (484), representing a buffalo and a camel yoked together, 

 Mr. Beavis has been less happy ; partly, perhaps, because 

 the union of such an incongruous pair cannot look other- 

 wise than ungainly. To the right, some way off, are 

 several birds feeding by the side of the water, and we can 

 just see that they are cranes of some species, which at 

 that distance is all that could be required ; but unfortu- 

 nately there is another bird with these which is only too 

 plainly recognisable, and that is the sacred ibis, which 

 we cannot believe that Mr. Beavis or anyone else has seen 

 in Lower Egypt in the present century, although it was 

 apparently more widely distributed in ancient times. It 

 is indeed doubtful if it still exists in any part of Egypt 

 proper, and the bird usually pointed out to travellers as 

 such by the Nile dragoman, is the buff-backed heron. 

 Mr. J. W. Oakes, A., in his "Sheltered" (36), gives 

 some young gulls in the foreground which have at 

 least the merit of being recognisable as young Lams 

 rididundtts, but the drawing of the flying bird's wings 

 and tail is sadly wrong. Mr. S. Carter's "Morning 

 with the Wild Red Deer" (47), depicts a noble stag of 

 twelve points lying down with a hind and fawn ; the 

 rough hair is capitally rendered, but we are a little 

 doubtful as to the accuracy of representing paterfamilias 

 in such company. Of the same artist's " A Noble Victim " 

 (74), a stag fallen dead by the side of a pool with a colly- 

 dog showing his teeth at a young eagle perched on a 

 neighbouring rock, we cannot speak so hijihly, for the 

 work seems somewhat thin and scamped. His No. 1257, 

 "A Little Freehold," is a family party of squirrels, the 

 young one issuing from a nest like that of a dipper, placed 

 in the large fork of a tree — utterly unlike any squirrel's 



cirail we ever saw 



The first of the works 

 " The Temple of Diana 

 comes within our scope. 



of Mr. J. E. Hodgsan, A., 

 at Zaghouan " (84), hardly 

 but it is a charming com- 

 position, showing a sportsman, presumably the artist 

 himself, intruding like a modern Actiieon upon a pool in 

 which several Moorish maidens are washing; the savage 

 glances of the black attendants and the curiosity of the 

 girls are humorously given. The -spaniel in the fore- 

 ground must be our excuse for noticing this picture at all, 

 and we are sorry to say that the dog is the woist figure 

 there ; but 301, " Following the Plough," comes within 

 our lawful bounds, depicting as it does, a Moor ploughing, 

 followed by several storks which are gathering worms and 

 grubs from the newly turned furrows, whilst on the bushes 

 to the right are perched a hoopoe and a goldfinch. None 

 of these birds are really faultless, but a very conscientious 

 effort has evidently been made to reproduce on canvas the 

 grotesque actions of the storks, and we have no doubt 

 that the artist could easily improve upon this first essay in 

 bird-life. 



Of Mr. Millais' grand work, "Over the Hills and 

 Far Away," (106), we need only remark the fidelity of 

 the representation of the hovering kestrel to the left, and 

 the distant pack of red grouse in the distance on the right, 

 the old cock grouse stands crowing on the top of a rock. 

 It has been stated that these birds are meant for black- 

 game, but those who say so had better look again, and 

 they will recognise the touch by which the master-hand has 

 indicated the species. Mr. Hook's first work in the cata- 

 logue is No. 44, " Sea- side Ducks," in which the ducks are 

 by no means equal to the fish, cod, skate, whiting- pont, 



