May 24, 1883] 



NA TURE 



75 



picture by disregarding them. Had these things been 

 correctly painted the picture would have been just as 

 beautiful to the ignorant as it is at present, whilst it would 

 have had the additional advantage of being also pleasing 

 to look upon by those who can in its present form only 

 regard it with regret. It may be said that these are 

 simple matters. Be it so. Simple or not they are 

 typical, ani that is the point we wish to urge. 



260. "The Ides of March," E. J. Poynter, R.A. The 

 comet is admirably rendered, but does not the little lamp 

 give out rather too much light ? 



697. "The Dawn of Night," Richard Whatly West. It is 

 not easy to understand this picture, as the title of it 

 is " The Dawn of Night " ; but if we have the moon rising 

 then the sky is far too dark. 



807. " Can He Forget ?" Edward H. Fahey. This artist 

 is to be congratulated on his moon. He has painted it so 

 that any one with a very simple calculation can determine 

 that he. is quite wrong. If the young lady asking the 

 interesting question had had a crown in her hand, the 

 coin would have covered the real moon. She herself 

 would hardly cover the false one. So, to one who knows, 

 it looks like Nadar's balloon without the netting being 

 inflated. Further, each part of the moon when she rises is 

 generally under the same atmospheric conditions, so that 

 such a variation in its illumination as is here shown is almost 

 impossible unless a definite cloud is darkening its surface, 

 and no such cloud is here to be seen. 



888. "Moonlight," Robert Jobling. It would have 

 been better if in this moonlight scene the artist had dis- 

 criminated more between the clouds and their back- 

 ground the sky. 



546. " Moonlight Bay, Milford Haven," F. W. Meyer. 

 Very careful study of moonlight. 



Water 



28. " Catching a Mermaid," J. C. Hook, R.A. Colour 

 and forms of waves, and swirl and dash on rocks, good. 



133. " Wind against Tide : Rillage Point, Ilfracombe," 

 J. Geo. Naish. Sea and sky excellent in the distance j 

 water a little weak in foreground, both as to colour and 

 forms of waves. 



202. " Oyster Dredgers," C. Napier Henry. Water in 

 this picture is not level. 



281. " High Tide at Kynance, Cornwall," Sidney R. 

 Percy. The wave at the left is being forced back by 

 nothing, and is altogether too solid. 



282. "A Rising Gale: Dunbar Sands, Padstow, Corn- 

 wall," Walter J. Shaw. Very bold low front view of 

 breaking waves. Reflection good. 



301. "The Gull Rock: off Kynance Cove, Cornwall," 

 Edmund Gill. Colour and form of water quite admirable. 



467. " A Travelling Cobbler," Joseph Henderson. 

 Colour of water very true to nature. The distant land 

 deserved more careful painting. 



498. "The Last of the Crew," Briton Riviere, R.A. 

 This ice is a careful study of form and colour. 



495. "A Fisherman's Garden," Theodore Hines. Water 

 not level. 



711. "The Sad Sea Wave," John Francis Faed. 

 Colour of water very brilliant. 



695. " Lobster Fishers," Colin Hunter. Form of waves 

 very careful study. 



778. "A Haven," C. E. Holloway. Note colour of 



water and form of waves. The artist should say where 

 this Haven is, that it may be avoided by all who love the 

 beautiful. 



809. " Welsh Dragons," John Brett, A. Note colour of 

 water and rocks. Mr. Brett is again quite perfect in his 

 treatment, but we rather doubt the colour of some of the 

 cumuli that float over the sea, and also their sharp 

 darkened boundaries. 



145. "Adrift," R. C. Leslie. An admirable study of 

 water, far too good to be skied. 



Reflection 



36. " Love Lightens Toil," J. C. Hook, R.A. The 

 reflection from the water has not been carefully studied. 

 Does not the green of the grass come too low down to 

 the water ? The water, too, is not level. Current indicated. 



86. "A Quiet Noon," Peter Graham, R.A. The reflec- 

 tion of the clouds from water is not quite in accordance 

 with their form ; the clouds themselves are admirable. 



83. " The Enchanted Lake," Albert Goodwin. Careful 

 study of reflection. The artist has left out what most 

 artists would incontinently have put in, but there are 

 several blunders ; for instance, it is the under side of the 

 umbrella which should have been reflected, and not the 

 upper one, and the colours of the objects reflected are too 

 entirely lost, as if the reflection were from the bottom of 

 the enchanted lake instead of from its surface. The 

 artist's idea has evidently been that there have been two 

 transmissions of the light through the water, in conse- 

 quence of which its original colour has been lost. This 

 cannot have been so. 



123. " On the Marshes," Percy Belgrave. The ordinary 

 laws of reflection do not seem to apply in this case. 



162. "Loch Scavaig, Isle of Skye," Sydney R. Percy. 

 Even if the moon had not been veiled by a cloud we could 

 not get this effect, nor with such rough water would the 

 wake alone have been so illuminated ; we should have 

 had side reflections as well. 



168. "Loch Alsh," Colin B. Philip. Good; distance 

 and water reflection carefully managed 



356. " Among the Trawlers, Tarbert, Loch Fyne," 

 Andrew Black. Reflection from water very admirably 

 managed. 



508. " Green Pastures and Still Waters," B. W. Leader, 

 A. The reflected images of the trees in the distance are 

 about one and a half times as long as the trees themselves. 

 Still water does not magnify the height of objects when 

 they are reflected in it. One of the branches of the tree 

 to the left has also considerably suffered by the reflecting 

 process. 



648. "A North Country Stream," Alfred W. Hunt. 

 Very perfect study of water, the light reflected by the 

 surface being mingled with that coming from the bottom. 



688. " Willows Whiten, Aspens Quiver," Keeley Hals- 

 welle. Admirable landscape and water, but the colour 

 and shapes of the clouds are unsatisfactory, and the 

 picture would be better without them. 



1509. "A Pebbled Shore," Colin Hunter. Note the 

 way in which the cumuli are reflected from the waves 

 beneath them. Glorious picture. 



1493. "Toil, Glitter, Grime, and Wealth on a Flowing 

 Tide," W. L. Wyllie. An admirable picture, but we 

 question whether the artist is justified in getting such a 

 brilliant reflection from the surface of the water to the 



