The Victorian International Exhibition, 1880.

Hawera & Normanby Star, Volume I, Issue 2, 17 April 1880, Page 2 (Supplement)

The Victorian International Exhibition, 1880.

THE ART GALLERY.

St a Ladt Oontetbotoe.

Mt viait to the above-named gallery being but. a Tery inort one, I am unable to do more than Kir* my readers an extremely slight account ot the treasure* contained in it, for many days might be ■pent there without exhausting all its charms. In the Italian Court hang several very beautiful paintings, but the Italian Commissioner, to whose courtesy I wn greatly indebted for the pleasure I experienced whilst in that portion of the gallery more especially hi his charge, told me that the moat eminent artists were unable to send to our Exhibition, v the triennial one held in that country took place at Turin last May, and was to continue open until, I think, next month. Their best works hare been naturally sent to their own great show, and wo have thus missed the oppor-. tunity of seeing paintings done by men whose names axe known and revered wherever the love of art exists. Still, there 'axe, in this gallery, many lovely pictures, a few of which I will mention. I was unable to obtain a catalogue until I had been some little time in the building, so that I cannot, in all oases, give the name of the artist. On first entering this portion of the gallery, the visitor's attention is attracted by a large painting on the right side, entitled "A Secret Denunciation Against Someone Under the Venetian JBepublic.'' It represents a girl dropping a, folded paper into a atone lion's mouth— the recognised postoffloe at that time for such documents. The face is just what might be expected of one committing such a deed. The soft, dark eyes and striught nxows are pleasant to look upon, bub-the lower part, with the cruel, revengeful mouth, tells its own tale of the passion that is urging her on to so aastardly an act. The conflict of contending feelings is very finely expressed; mingling with a sense of angry revenge is that of half-remorseful shame and sorrow, and one can almost feel the indecision that seems to check her hand from finally allowing the fatal paper to drop into the lion's mouth. The dress is one well calculated to set off the daxk, sullen beauty of the face, the bodice being of crimson velvet, and the skirt of black, embroidered with bouquets of brilliant-hued flowers, most naturally painted; a velvet bag matohing the bodice is fastened at her side, the white handkerchief hanging unnoticed from it ; a transparent black veil is thrown around her head and shoulders, its filmy folds inflated by her hurried movements. I think few will leave the Italian Motion of the art gallery without pausing a second time to look at "A Secret Denunciation," and wonder what could have been the deed that Induced so terrible a revenge. Close beside it are two exquisitely-finished pictures, one representing a lady holding an open letter, and glancing coquettishly at a gentleman many years older, who v standing beside her, and whose gratified expression of countenance points him out as the writer oi it. The details of the paintings are very fine, the lace trimming of the pale pink flounced dress, the whit© shawl thrown carelessly over the lap, with its fringed ends resting on the floor, the blue cushion, with its gold tassels, that support the satin covered feet, adorned with Bouquets of xoses, as well as the elaborate lace cravat worn by the old man,, are all exeouted with wonderful fidelity, and bear the stamp of a master's land. ,The other picture portrays a doctor of the A a X? 001 .m. m Powered hair, knee-breeches and white silk stockings, holding the hand of a lady, evidently a "malade imaginaire." The same care is displayed in the painting of her long w?° be °i """'and 1 pale grey, and the embtoidery and lace on the coat of her attentive medical ndviser. A picture whioh pleases me far more than these elaborate little gems is one placed beside them. The subject is very simple, Jut w natural that the gaze rests on it with everincreasing pleasure. It represents a Roman girl ■eated on a xough stone bench, surrounded by TOses and scarlet geraniums; the warm, golden light l^i. #Sy 111118^ day is on all around, and she has fallen into a day-dream-a happy one, by the expression of the sweet face-totally unconscious that her work has dropped fxom her hands. The commissioner, to whom I have already aluded, told me the beauty of the countenance was a fair type of what may be .daily seen in the stoeets of Borne. Above it is a large woxk by DAndrea, tt woU-known Italian artist. The sub££«Jh « I* 11 fi ? m BOrne old legend of a waternymph vainly seeking to induce the shepherd whom ahe lovei i to quit the land and live in her domains. ■^»L£!Ss2r¥ "fP™»sion on the one face, and the Sw a f c*e * j'i2s? R Hatf-aoubting look on the Si^S?™"^!!^ The same artist w-SS 1 ?* "£¥*' wni< * l*. I think, one of the vISSiIV^ l hheh ff * c * Ter *"*■ Kis that of a ZS"I ***•• black lace mantilla is placed SFfK J? and and held together f^ttroatbyanexquislte^-shapedhana. From tttadark framework looks out an almost colouriSSL< j' "i 411 towwatfnl, violet eyes slightly SS2m^ Whoßo wlatfu1 ' far-away gaze Teems dwemngmore on things of Heaven than those of cann j tn»«woot mouth, Ujuduraml fftualvoim mis, BSi^SttSli 011 ? 1 ot weaknessaboutit, and matches I"" wlt h tho clear-out chinland straight, dark eyeJ** 1 "- The soft brown hair is lolled back, showSL7 1 h £ adt forehead, and the crimson drops to the small ears make a good and effective 2££S?*# tho Nitons ollacethat axe gathexed ■round this most lovely face. Near to this paintSfi S^£si One «°£ S" 11 * 0 a different iype, but that u««£t^ Btle f s fin* many admirers. A country gi.l 08 d °T? a « oU t"y road, glowing ii the morning sunshine; she is evidently on her way to some town or market, for a well-filled basket hangs on one aim, and in her hand she caxries a £uf <£»•♦!« na *«»l-looldiig fowls, the bright face w 5^ ***.•" t S Bl » ot Pl«sant anticipations at twn j °w?? /8 eBd '™ J £l *"» distant behind her are two children, walking in the shade, and studying »mL*S? aro ? tly *i. lmlearnt lssaons about to b e SlSfafnf ™« * • c badwround are seen some gtant mountains partial^ veiled in blue, hazy ' Dii gHs \ Mo !i? n rich in exquisite • SoturehSh £ v ' Co™?*" i the frame of the ■§€tpssg STnh-iS! 3ffi. y <"""*» and one can almost hear aun-purnt, dark-haired man who stands up in the £&£f Xs** *■" humble ' neartfelt Stings! ShSf'"^ dc t» so, one hand upon the shoulder oinis aged mother, whose face wears a calm, pwceful expression, thathas, doubtless, beenabsent norn it for many a weary day, as she thought of St^S* 1 7ft*l w^ *™ ">* ™»^ then engaged. In thebaokseat are seen the two sistexs, wj.3.1 z "? v "errant standing beside them. A SSSk s**°^ ta *!»* of some boys knocked aown by the i approaching crowd, and evidently SSvfan 1 ®*«y ?° "fr** of I* 1 * officer and his aart ; follower to think of moving out of the way. Another favourite is "The A^eal fox 3toJ? bj Marcus Stone. A girl, with a face of exquisite Deauty, put worn with grief and anxiety, is kneeling Sli^ 1 *^ o'??**,0 '??**," 11 * 11 £aded y eUow satin. Elding W«rs in her hand, some of which have fallen unMtOM to the ground as she watches, in an agony fLi5S ip # n80 '* th l flgure ol a vuax > whose hard, unftettng face is turned from her gaze as he xeads a i?^?^ 11 *! Ju s* offored i±a - '^c roomin which be stands is furnished with very incongrous ?aZ** "«. though, obtained at different places, ana" gives the impression of being that of a usurer. At wio other side of the table, on which one of Mb Hands retts, is a most repulsive-looking form, seemingly the person by whom the orders of the money-lender are executed. He is sitting, with his bead lying on- the table, half asleep, or wholly infflflarent to Jfte scene being enacted before Mm. i e r?V{ **? osuror'reminds me greatly of that of Balph, in "Nicholas Niokleby," and the harsh, stern look on it as the paper is Deing read augurs nut ill for the success of the unhappy girl watching t**. TOme * hfa « almost starttlngly .real to the attitude and- expression of the latter: the tears the haa shed seem almost to have wept the Bwerteyesaway, and the bitter agony, the patient UmmP'JPI S** 1"*1 "* suspense, are all depicted so Tividly, that the gazer forgetsf orgets it is only a picture, and longs to be able to bring hope and joy once •Sfjf toto &c saA pieadn^es. tod»sto the £«£ W?* iSS 0 Painting of Queen Esther fa the Picture Gallery, " An Appeal for Mexcy" is JJ 0 ** 44 * 0 , POMfM greater beauty the longex it is ™»Peoted. "The£ing'sßanner' > isalaxgeexbiMt by Waller. The scene is, I think, laid in the SS?«SL i1v B % aU ? b warß} * totem, evidently wounded, like his horse, mortally, is lying in a narrow pathway, overshadowed by txess, through the leafy bxanches of which may be distinguished l^?i?* "^u* l^. 11 ? a lM * 0 hOUBe in a distant f ft «. Of # t^ p( ?^ Theiace of the knight is buried ™ tootolOM of tha silken, gold-embioidered banner on which he lies, and the staff of which has been broken by his fall. The dark mane of the dead horde mingles with the golden hair of the rider. -whose silken doublet, slashed with satin and deep lace ruffles, mark him out as a cavalier of good bixth. JrurtheT down the path are seen a horse feeding, and an injured cannon, and, midway, two fawns are Manning the head of the broken banner, which has xoUed near them. A groupof deer have approached to within a short distance of the knight, and, with wondering, timid looks, are gazing at the strange spectacle. "The King's Banner" will, I am sure,, win numerous admirers. "Joseph Be vealing Himself to MM Brethren," by Wynflold, and " Bums on the Island of Phito, titeßeaatifui," brE.W. Cooke, both deserve minute description Jim X space ,"The »

Wounded Knight." Four figures are carrying a knight from the field of battle to a boat moored close )jj%; a castle is seen on the other side of the water^n which fall the last gleams of sunset, wMch touches the grass here and there. Preceding the wounded man moves the sad figure of the grieving wife, whilst close behind follows the young page, leading a horse, whose drooping head seems to betray that he, too, mourns a kind master. In the rear of the procession is a very finely-pointed figure, apparently an aged servitor. The mists of evening axe closing in ovex the group, giving a solemnity very suitable to the sorrowful scene. I regret that I have omitted to put down the name of the artist of this very effective painting.

There are fewer pictures in the French portion of the art gallery that I admire than in any other of the sections ; but one that greatly attracts me is " La derniere etape de Coco," representing a wide, snowy moor, with a thick fog closing all around, the spires and houses of a distant town ' dimly visible through it, and the sun looking like a veiled ball of nre. In the foreground is a travelling -van hung with bird-cages and hoops, a young boy standing on the step leading to the door, and gazing wistiully at the sad. scene beneath him. Stretched on the ground, where it has evidently just fallen on the slippery pathway of half -melted ico and snow, is the laithful horse, never to rise again, whilst a woman kneels Reside it, her hands clasped with a gesture of despair, and her J husband, on the opposite Bide, stands as if stupefied by the calamity; the broken shaft J telling its own tale of how utterly hopeless is the position o the whole party. A touching feature in this painting is the mute sorrow of the little dog, who is seatednear its dead former companion, its head and ears drooping, and its whole attitude expressive of utter dejection. Few who see it will, I think, leave the French art gallery without a second look at "La derniere etape." The work is by Al. Beyle. An extremely pretty group is exhibited by Vayson, entitled " JPenwes." Three pots, containing plants, covered with blossoms, have been placed in a small basket, evidently too slight to bear their weight, as it has broken, and one pot lies in pieces on the ground, whilst another is in the act of falling. The purple and white blossoms are thus sren in every position, and with a moßt natural effect. A small but very lovely painting is shown by Landelle, the subject an extremely simple one— ''A Fellah," meaning, I believe, an Egyptian water-carrier. The face and attitude of the girl are very line. She is standing, with her hands clasped on the large pitcher beside her, with a grave, pensive look in her soft, dork, almond-shaped eyes, that rivets the attention of the gazer ; the features are almost perfect, and well set off by the peculiar shape and ornaments of the head-dress worn ; the dress is a long, dork-green robe, striped with dull red; strings of variouslycoloured beads are wound around the throat, and a broad silver bracelet clasps one beautifully-formed arm. v Having heard that the Belgium Court was to display unusual talent, I did not remain in that devoted to the French artists, though, of course, there are many pictures in it worthy of a lengthened stay, but passed on and found that the opinion to wMch I have made allusion was indeed correct, the paintings displayed in this portion of the art gallery being, I think, as a vihole, the be^t in the Exhibition. Loving flowers as I do, I am always attracted by the sight of them, and one of the nrst exMbits before which I paused is that of a vase of flowers, so exquisitely painted that it is difficult not to believe the lovely originals are there; rosts of all shades, crimson and yellow, are placed in brilliant contrast to the pure white Guelder-rose, whilst sprays of a vivid scarlettinted blossom lie on the carpet around, one so close to a large brown monkey, seated on the heavy fold.B of a dark red curtain, that it is almost impossible to resist the suggestion that the mischievous, though sedate-looking, {""'"ml has just drawn it from its place. Not far from this pretty group is one that seems to gain many admirers. It is named "La flancde dv pe'eheur," and tells its own simple story with a very touching pathos._ A girl is seated on a sandbank facing the sea, which, like the sky, is of a dull, leaden, wintry hue, a few foam-flecks breaking here and there the monotonous sameness of colour. Her dress is of the kind so familiar to those wlio have travelled amongst the scenes to whidh the painting plainly belongs— a dark brown Bkirt of coarse, homely material, and jacket of red-brown, brightened, for the moment, by a gleam of pale sunshine. The attitude is one apparently of simple rest, the toil-worn hands lying qtietly clasped on the dress ; but when the gaze wanders to the face, with its look of patient, almost sad, watchfulness in the large, dark eyes, that scan the wide expanse before them so wistfully and steadily, the gazer feels as though "waiting" would be the better title, as the conviction grows deeper that the faithful watcher is possibly, longing " for the touch of a hand that is gone, and the sound of a voice that is still" for ever in this world. A very bright little picture is that of a "Woman Feeding J/oultry," the scene being laid in an orchard filled with trees in full blossom, the comfortable-looking farmhouse just visible through the branches; around the woman, and flying towards her, are the feathered pets, painted, lam sure, by the hand of a lover of birds. Very close to the •• Fiancde dv pdcheur" is a ctuld, bolding with one hand a basket of flowers and in the other some half-opened rose-buds; the face is shaded by a high-crowned, broad-brimmed straw hat, and the bright eyes and half-parted lips laugh out beneath it at the observer with all the happy, innocent joyousness oi childhood ; the loose darkbine jaekef and long block hair contrast well with the brilliant hues of the blossoms resting against them, and the background of distant park and trees shows off the animateu little figure to the ~boob i»tlirt«nbogc. ■ f J?litt-ruseß~auil lnignonotrto-in tliißpicture are something wonderful .in their lite-like reality. " i One painting that I admire excessively is that of Cromwell visiting the death-bed of his daughter, by Markelbach. lam able to mention the names of moßt of the artists whose pictures I am now about to describe, as I had by this time obtained a catalogue. It does not seem to win so much approbation as might be expected, perhaps on account of the solemnity of its subject. It contains several figures ; on the left side is seen the large bed with its heavy curtains of "sad-coloured" satin, with the form of the dying ox dead woman faintly visible in the deep shadow cast by them. .Beside the bed is seated the Protector, one arm resting near the white, thin hand of her he loved so well; behind h™ stands a lady, her face turned sadly towards the quiet form, whilst two others ore quitting the room weeping bitterly ; in the foreground are two figures following them, the arm of the man thrown around his companion, whose hands are upraised in passionate grief. On a chair at the foot of the bed lie a large Bible, and the sword and cloak of Cromwell, Ms hat having fallen to the ground beside an overthrown chair. The picture interests me greatly, illustrating, as it does, one of the pathetic scenes in the life of one of England's best and greatest heroes. I thought, as I looked at the representation of that divine book, wMch was ever the guide and comforter of Oliver Cromwell, how well it would be if all those who glanced at the painting:, or studied its details, would love and reverence both it and its Author as he did throughout Ms whole eventful life. " Under Fire " is the somewhat military title of a work by Ischaggeny. It is a picture that fascinates the gazer almost against his will. A fire is evidently raging close to the stable portrayed, for volumes of smoke are pouring into it, and the lurid glow of the rapidly-approaching flames lights up every port of it with a dull crinfson hue; a powerful, white, cart-horse is straining every nerve to break the rope -which fastens it to the manger, and the starting eye-bolls and quivering nostrils bear witness to the agony of the terrified, animal. It is a painful picture to see, and yet, I doubt not, l many will return often to gaze upon it, hoping, almost unconsciously, that help will come for the hapless victim ere too late. ,' As I turned aw&y, after a second examination, I found his Excellency the Marquis of Normonby attentively examining it with great apparent interest. iL-woTttußrfunyrEallittiepanitingisliunfr near the one of Cromwell visiting Ms daughter ; it is called, "Sketching a Bust in Louis XlV.' s Time." The scene is laid in a room, half-studio, half-library. In the front, seated side by side, are two young men, engaged in copying from the same model ; their faces are turned from the observer, but the figures, clad, the one in scarlet, the other in grey, stand out with intense reality ; the hair, though not powdered, is rolled back, according to the fasMon of the day, and tied with block ribbon. The statue from which they are copying stands before thorn, relieved by a deep crimson screen; further back is a large, well-filled bookcase, in front of which stands another man, wearing powder and ruffles, engaged in reading ; paintings are hung around the room, which is further decorated by busts and curious-shaped jars. A wonderfully effective light is thrown on the first two mentioned figures from a latticed window seen on the left side of the . picture. A very clever work is exhibited by Z. De La Hoese, entitled " La Chaise BriseV' A large work-room filled with young dressmakers is represented. One of the party has accidentally broken her chair, and the numerous faces and attitudes of her companions, all expressive of amusement, ore admirable, each one being perfectly, dissimilar to the other. The child in the foreground is particularly good, with her half-laughing, half-teasing countenance. On the left is seen the mistress of the establishment, looking somewhat doubtfully at the excited, merry group. "Naughty Pussy" and "Extra. Posthorses both merit a description, the latter having gained a uwStfaille dor in 1878 ; but I must leave them, as I fear my paper is already exceeding its limits, and I would like, if possible; to detail two others of the Belgian Court. One is named, "Monks begging in Antwerp of a rich family disposed to pass over to Protestanism, in 1510." The monks ore leaning over the chair of the father, pleading their cause, whilst one holds an open bag towards him; there is an expression of subdued suspicion and anger in their faces, veiled though it be by the wish to appear, fox tie present, on friendly terms, wMch seems fully understood, by the father, in whose countenance indecision, fear of the speakers, and a wish to do right, are finely portrayed as he sits listening to the pleas so urgently enforced upon Mm. By his side, turning the leaves of a well-used Bible which lies before her, sits his wife, with a sweet .face, bearing traces of care upon it, but nobler far than that of her husband, and looking as though capable of wearing the martyr's crown should dire necessity arise. Behind hex, resting on hex- shoulder, is the daughter, halffrightened, half-amused, but too young to understand the full meaning of a scene that may have such tragio results for both herself and -those so dear to her. On the opposite side of the table is her brother, a mere lad in years, but with something in his face and firm attitude that tell there is none of the father's vacillation in his character, and that the monks will find neither pleading nor threats of much avail in his case. It is, in my opinion, one of the most interesting pictures in the court; there is so much character in it. Seeldrayer is the artist of this painting. The last Jr<can notice is one by Bossuet, " View of Zeres, South Spain." A river is shown, with a wide street, or, promenade, on one side, groups of people sitting or > standing about it. Opposite is a large' house, evidently once a residence of some wealthy family,

but now fallen partly into ruins, and occupied only by those of the poorer class. The sunshine and shadow in which it lies are excessively well painted; so true to nature did the former appear, that, involuntarily, I glanced up to see if the threatening aspect of the mOining had passed away. From an upper balcony a woman is looking down on a man gathering together some pieced of wood, whose figure is one of the most natural in the painting. In the background is seen the straggling town, or rather Tillage, of Zeres, and beyond, in the distance, green, sunlit hills, with soft, grey shadows. In the calm water lie the unbroken reflections of the heavy stone bridge and surrounding trees ; whilst overhead the glow of sunset is rapidly fading away, leaving only a few cloudlets of faint gold and pink in the pale, azure heavens. It ia a painting which will, I think, repay a close study of it, and which seems to ha ye attractions even for those who : glance but casually at it. . [ The exhibits in the Victorian portion are divided into two parts : those on the left hand, as the visitor enters from the Ladies' Court, being nearly all, I believe, loans, whilst those on the right are Dy artists residing in Victoria. Just above the opening lrom the above-mentioned court hangs a likeness, by Flintoff , of His Koyal Highness the Prince of Wales, wearing his insignia of omce as the Worshipful Master of the Grand Lodge of England. It is a picture which will allow of a long and minute inspection, the details being so admirably worked out. The gold fringe which edges the Masonic apron is so natural that it appears as though it can be lifted, and the same can be said ot the embrot dery and gems. It is a painting which is, I think, much admired for these reasons. Turning from this portrait of our future sovereign, the gaze is attracted by three very beautifully-executed miniatures painted on ivory by a Chinese, whose singular name, I regret to say, has escaped my memory ; he is, however, a resident of Melbourne, living in Little JBourke-street. His skill in this style of artistic work will, I doubt not, soon bring Ms name frequently before the public. Two very lovely and conspicuous paintings hang nearly in the centre ; one, that of which many ot my readers have, I daresay, seen the representation in the Graphic, bearing the quaint appellation, "'Tis opportunity that makes the thiet." It never fails to attract visitors, and, in truth, the subject is such a pretty one, that even with less admirable treatment than that of the famous artist, George Cooper, it could hardly avoid pleasing mqst observers. The snowy, innocent sheep look so thoroughly happy, that one cannot but iorgive them the mischief they have done, and are still intent on doing. Every attitude is so true to nature that it seems almost as though real sheep were betore the observer, eating and trampling down the bright red strawberries, with their pretty blossoms and trailing shoots of green leaves. Close by this picture hangs another by the same artist, but of a totally different character, though the same kind of nnimnlg still play the prominent part. The title tells the sad little story, •' MitherlessJ." Few people, I think— certainly no mother— can look at this exhibit without a strangely pitying feeding for the two helpless lambs lett alone in the wide moor covered with snow, and likely, from the heavy, leaden look of the sky, to be soon even more thickly shrouded. One of the little creatures has wandered from the side of its dead mother, as if already conscious that it is in vain to seek for shelter there; but the other is close by her, its head lowered, as though striving, by its pitiful bleat, to awaken the dull ears that had never betore been deaf to its cry. At a short distance, on a partially snow-covered bough, sits a robin, its sweet notes sounding in strange contrast to the plaintive bleating- of the desolate lamb. A very good copy of " Uorrowdaile," the wellknown painting in the Melbourne Picture Gallery, is exhibited by Miss Manton.the only copy, I am told, that has been allowed a place in the "Victorian Art Gallery of the .Exhibition. It is an exceedingly good one, and does great credit to both the young lady and her master. A picture that has, doubtless, very great interest tor all Victorians, especially those whose remembrance dates back to a somewhat early date, is one representing the yacht JHolus taking part in a .sailing contest in Plymouth sound, in 1837 ; the.painting, Mr. Lightfoot, commissioner of the Victorian section of the one arts, intormed me, was the first ever done by Mr. iinerly, who was on board during the race as guest of its owner, Mr. J. B. Weir. It has an appearance of great age, the canvas being cracked in so many places that it might easily be thought to date much further back. This exhibit has been placed, tor some reason, on the right, though it properly belongs to the side where the loans hang, and where two other of the same artist's work, of a more recent date, are to be seen —the Spanish Armada, and a shipwreck of one of that fleet off the coast of Ireland. The Prahran School of Design is well represented by a Zingara, executed by Miss Muntz, and an exhibit of another pupil, which, lam told, is very good, but that is hung rather too high for me to describe it well. This remark can be applied to one or two other good paintings, that might with advantage take the places or some occupying prominent positions. A picture, whose very gorgeous colouring roused my curoisity, and drew me to the other side of the court, proved to be a remarkably good likeness of JUr. XSromby, but the general effect is, I tbank, somewhat marred by his dress of scarlet. It looks too violent in colour,anddisturbs one' s remembrance of .the rev. gentleman as one is accustomed to see him almost daily. A fine painting, named " Checkmated," is sent in by Mr, Ashton, who also contributes a very good likeness of His Excellency the Marquis of jformanby. Mr. Yon Guerard has a lovely scene from JNe w Zealand, "Lake Wakapitu." In the foreground are shrubs and grass, sloping down to the »crjr_odgo-of_tha water; a tew boats are coming home, and flocks of birds are sailing about. . In the background are ranges of mountains, some in shadow, others luminous in a subdued purplish glow, whilst, beyond all, rise some exquisite ones, the snow-tipped summits bright with the lingering rays of the setting sun. A solemn peace seems to reign over the scene, and falls with a soothing calm on the gazer, weary with the effort to remember and appreciate all the beauty that day witnessed. A picture of quite a different type is one by Mr. Bichardson, the title of which I am unable to give, as it is at present neither in the catalogue nor on the work itself. Mr. Lightfoot, to whose courtesy I am indebted for much information concerning the Victorian paintings, told me that he believed it was taken from some scene in a novel. It is one that attracts great attention, but not, I think, much admiration; the subject appears such a peculiar one, and so difficult to be understood. It represents a girl, dressed in a cream-coloured robe, with bare arms and neck, wearing gold ornaments and fillet of Egyptian style, with a veil falling backwards; at her teet are two cheetahs, the tame leopards of the East; two attendants are visible in the background. The flooring is of black and white mosaic, and ferns .and statues • are grouped about the decidedly Eastern-looking room ; ■whilst in strange, and, to my taste, inharmonious contrast, the chair and table, near which -the principal figure stands, is of almost modern appearance. Perhaps, if the story which evidently belongs to the picture could be learnt, the feeling of strange I incongruity would be lost, and the real beauties become more apparent than is now the case. ' 'When Sorrow Sleepeth, Wake it Not," is the name of one of the six works sent in by Mr. Panton, and which, had I space, are all worthy of being described. The one to which I allude represents a girl lying back on a chair, concealed by an opossumrug, sleeping from very weariness and grief. There is an expression on the pale, worn face that tells of many and deep sorrows, and an air of utter exhaustion that speaks for itself of the strain that has rested, andmay even now be resting, on the young sleeper, i'he pale cheek seems really to be pressed against the soft, greyish rug, and the whole figure has relaxed under the gentle influence of that blessed unconsciousness. Involuntarily the gazerendorses the wisdom of the sweet old song that gives its name to this painting—" When sorrow sleepeth wake it not." Let the wearied, sorrow laden heart 1 be at rest awhile; the time will soon enough arrive ' its. burden of woe, lessened though it may be by the Master's comforting presence and help. The picture which, I think, £ like one of the best on this side of the Victorian Art Gallery, has a verse for its title; beginning, Oh, summer land of sjlence," by Henry Eeilly. It ia a true type of Australian scenery alone; not a human being, nor any other creature, is visible in the wide landscape— nothing but blue gums, ferns and grass; between the branches may be seen distant luxurious foliage and mountain peaks, Overhead is the blue Australian j sky, flecked with clouds of snowy white. It is a painting which will, I think, find many admirers before the Exhibition is closed, for each fresh inspection only serves to bring out more fully its numerous charms. lam told that two very choice specimens of Wouverman's style are to be seen in this section; they are companion pictures, called ' ?>e Halt of the Hawking Party," painted in, I think, 1665, aad were amongst the collection belonging to William H. of Holland, sold in 1850 The gentleman who exhibits them, M. Bumonlins values them at JB2OO, a reasonable price for such known works of art.- M. Dumonlins' own name is recognised in musical circles as that of a violinist of some note.