38 REPORTS OF COMMITTKES 



executed by the exhibitors, and the exhibit of this year will 

 compare favorably with its predecessors. If the main purpose 

 of the fine art exhibition is to indicate the state of art work in 

 this locality, the exhibition of 1880, it would seem, was equally 

 !?Uccessful with its predecessors. But as a means of rendering 

 the fair more attractive to its patrons by presenting objects of 

 beauty for their contemplation, it lacked something of complete 

 success. Certainly there would have been an added feature of 

 great interest, if those of our citizens who possess meritorious 

 works of art had loaned them for the occasion. It seems prob- 

 able that they will not do this without previous earnest solicita- 

 tion on the part of the committee and possibly also, the expendi- 

 ture of small amounts for cartage, boxing and similar expenses. 

 Your committee would, therefore, recommend that a strenuous 

 effort be made in advance to secure a loan collection at the next 

 exhibition, and that, if it is thought likely by the executive com- 

 mittee that premiums would be a help in that direction, a first 

 and second premium for paintings in oil or water-color not exe- 

 cuted by the exhibitor should be offered. The pleasure afford- 

 ed to the mass of visitors by the sight of tlie art-treasures ac- 

 cessible ordinarily to but few of them would be well worth the 

 expenditure necessary to secure it. 



The specimens of work in oil were, as a whole, marked by 

 an excellent degree of fidelity to nature. The animal paintings 

 especially, were admirable, as faithful portraitures of the origi- 

 nals. Dne visitor, at least, was heard to recognize upon the 

 canvas the distinguishing features of his four legged acquaint- 

 ances. Hardly less real in appearance were some of the flower 

 pieces. Landscape painling had less faithful representatives on 

 exhibition, and not without good reason, for although perhaps 

 the most commonly attempted and probably the most attractive 

 to the painter, it is yet the most difficult branch of art in which 

 to attain perfection. Its demands for a thorough knowledge of 

 perspective and a skilful manipulation of colors are imperative. 

 Moreover, the landscape artist must by minute observation, have 

 gained a deep sympathy with nature in her varying robes and 



