The Victorian International Exhibition, 1880.

Hawera & Normanby Star, Volume I, Issue 2, 17 April 1880, Page 3 (Supplement)

The Victorian International Exhibition, 1880.

THE AST GALLERY.

Bl A LaVT CONTEIBOTIOB.

Mr visit to the above-named gallery being bat- a very short one, lam unable, to do more than five nyr readers an extremely slight account of the treasures contained in it, for many days might be spent there without exhausting all its charms. In the Italian Court hang several very beautiful paintings, but the Italian Commissioner, to whose courtesy I am greatly indebted for the pleasure I experienced whilst in that portion of the gallery more especially in his charge, told me that the most eminent artists were unable to send to our Exhibition, as the triennial one held in that country took place at Turin last Hay, and was to continue open until, I think, next month.' Their, best works bare been naturally sent to their own great show, and we hare thus missed the oppor-. tunity of seeing paintings done by men whose names are known and revered wherever the love of art exists. Still, there 1 are, in this gallery, many lovely pictures, a few df 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 ▲gainst Someone, Under the Venetian Bepublic. 1 * It represents a girl dropping a folded paper into a stone 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 eves and straight brows are pleasant to look upon, outrthe lower part, with the cruel, revengeful mouth, tells its own tale of the passion that is urging her on to .so dastardly 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 oil the dark, sullen beauty of the face, the oodioe being of crimson velvet, and the skirt of black, embroidered with bouquets of brilliant-hued flowers, most naturally painted; a velvet bag matching the bodice 1b 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 uduoed 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 is standing beside her, and whose gratified expression of countenance points him out as the writer oi it. The details of the .companion paintings axe very fine, the lace trimming of the pale pink flounced dress, the white 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 roses, as well as the elaborate, lace cravatwom by the old man,, are all exeontedwith wonaenul fidelity, and bear the stampof a master's iand. ,The other picture portrays a doctor of the olden school in powdered hair, knee-breeches sad white silk stockings, holding the hand of a lady, evidently a "malade imaginaire." The same care is displayed in the painting of her long over-robe of blue .and pale grey, and the em■"2lJ£7 £? lac*, on the coat of her attentive medical adviser. A picture which pleases me far more than these elaborate little gems is one placed beside them. The subject is very simple, tout so natural that the gaze rests on it with everincreasing pleasure. It represents a Boman girl seated on a rough stone bench, surrounded by ™«»Md scarlet geraniums; the warm, golden light Of an Italian summer's day is on all around, and she has fallen into a day-dream— a happy one, by Sf * X B e 5 l £ oll of the ■*••* tooe-totafly unconscious that her work has dropped from her hands. The commissioner, to whom I have already aluded, told me the beauty of the countenance **"* * fsir type of what may be daily seen in the stoßetsoX Borne. Above it is a large work by a well-known Italian artist. The sub3«o* « drawn from some old legend of a wateraymphvainly seeking to induce the shepherd whom she loves to quit the land and live in her domains. 2?l "? r ««"loi» on the one face, and the undecided, half-loving, half-doubting look on the S^i!s? wond 3# a fr do P i ° tod « The same artist wffiSw" "WWt whici is, I think, one of the «?"*&. A black lace mantilla is placed ShS? * and "aouldw*. and held together Ski^ t ¥^ b yanexquisitely-shapedhand. Prom thtedark framework looks ont an almost colourJSSLi^S?' flwwfctful, violet. eyes slightly fflf^ whose wlßtfn1 ' far-away ga*> seems dwelling more on things of Heavon than those of •artb} tha »woet immtjj, leufluraua UUUBHwau HIM, i?M!?*? < li <m ? 11 otweaknessabontft, and matches W#U wrththe clear-cut chin|and straight, dark eye5^"X: ? be ¥" brown fc* 1 * *» «>lled back, showtag the broad, whita forehead, and the crimson zZSLtI PtJ^S 11 ?"* ""to a &ood and effective S2r^*? the bjackfolds of lace that are gathered ■round this most lovely face. Near to this paintSTi lESRi on V£ i? 11 * 0 "■ different type, but that JrJ«™? b^ M^d many admirers. A country giil is coming down a solitary 'road, glowing in the morning sunshine, she is evidently onher way to some town or market, for a well-filled basket **S* f °° °»« »»>. «nd in her hand she carries a Sd ®*™°^ Mtunl-looking fowls, the bright face w SS ***" ot Pleasant anticipations at £s;*?H?jP^" oriuJ* the distance behind her are two children, walking inthe shade, and studying s^"f? M e?tty ii nnlearnt lessons about to b! iffif m£ "rt' of the flnert sea views is • rffiliS? ll^?^' Cornwall J the frame of the SterfX?*^ 1 ? 8 ?? 11 * 6*6 * ** neeingthe ***** tofSfiSSk it &i? link ' ona °' the Wiest * 2»ta*WL D ' J&* tx S?V oliffß out boldly tinted HnfcL. 01681 ***' coTOWd with brightSfshM^ a°JS 8^ oalß 2! «e»weed floating toVards mSXhttS&^JlW* ""rfkerand sistorHhave SSwrTbv^fi^ 0 " 18 ro J of **• honr > *■ bein S coviSd m,T2H?*' S8?S 8 ?? 1 nds U P to tte « ld ivy SSr^afaSS"?^."* ™f door or which stand the wild^tSh - b s" di ? g S 8 «»thered the villagers, r«ar o i i it«« x<^?d Joy, flags are seen waving i£ the ttafoh J»T ;m!7 <a ? >wd ' and one CKa almost hear minß?*/ 1 il?¥ BFB F nttewd m of the ■^oorot, dMthafied man who stands up in the carriage returning the humble, heartfelt, greetings; 3 h£'££ c d0 !2 80 ' 01 i? hand 011 the shouller oi «a aged mother, whose face wears a calm, PWCeful expression, thathas, doubtless, been absent &,™lf """^ a 1 ? as she thought of the cruel war in which her son was eve? then engaged. In thebaok seat are seen the two sisters, i *\ * , Znlu servant standing beside them. A laughable feature, is that of some boys knocked aown Dy the approaching crowd, and evidently too much. excit«a by the sight of the omcer and his oar* follower to think of moving out of the way. Another favourite is "The AppfaJ if or^Mercy^By a&rcus Stone. A girl, witlT Vfloe o£ 'Sai^ • > ? o "'7» ?"* -worn witfa xxlec ma&auxxietr. is kneeliiur »t a chair covered with faded yellow satin, hoWing P*P«s in her hand, some of which have fallen unheeded to the ground as she watches, in an agony f«l£!?fc OT 'i th L flgt y 0 , 0 ' a man ' whoa « ****> un feeling face is turned from her gaze as he reads a Jettershe has just offered him. The roomin which ac stands is furnished with .very incongrous "**°fo»* as though obtained at .different places, *toJ?PW«rion of beiig that of a usurer. At tile other side of the table, on which one of his Hands rests, is a most repulsive-looking form, s«emingly the person by whom the orders of the ? 0n . oy i endftl^ Boxeoute < L He is sitting, with his ot i2 iu> trtto * JaU asleep, or wholly inafferent to *c scene being enacted beforehim. # «W( B«urep'remindß me greatiy of that of B*lph.in "Nicholas Niokleby," and thenarsh, S^f«i ♦ *?* lt ** P*?" 1" oeing read augurs 5? 2J ™° ""cows of the unhappy girl watching iJr«. 8 "omething almost startiingly^roal ¥^^° attitude and. expression of the latter/ the Msn she has shed seem almost to have wept the iweeteyes away, and the bitter agony, the patient 3K2« w 'i.v l 3 j?* 808 * "uspense, are all depicted so VXt? ' *? «¥« tai « ota &** "*» » Picture, SS« ?T 12 *• mbl * *° brin « and joy once ■gain into the sad, pleading eyes, tod) smiles to the' fa «£ iSSHi. *? Pamtiag of Queen Esther »the Picture Gallery, " An Appeal for Mercy" is iZZSzJS, «■*•*« be**ty the longer it is WPfoted. ''TheKJng t sßannei?'isa]argeexhiMt Sr w i s ft is, I think, laid in the SS? 3'??13 '?? 11 ?* wars 5 a knight, evidently wounded, like his horse, mortally, ia lying in a ""f". Pathway, over&wedby > trS.s7ttlo^h the leafy branches of which may be distinguished tie names lightiniup a large house inVdistant JJVk 01 **?? ** oe °* toe knifht is burled fctt 2i l v a t of iJ il1 * •^i^d-embroidered banner on which he lies, and the staff of which has been broken by his falL The dark mane of the dead hor«e mingles, with the golden hair of the rider, whose silken doublet, slashed with satin and deep Jace ruffles, mark him out as a cavalier of good birth. .Further down the path are seen a horse feeding, and sa injured cannon, and, midway, two fawnsare ■canning the head of the broken banner, which has 7 tolled near them. Agroupof deer have approached' to within a short distance of the knight, and, with wondoring, timid looks, are gazing at the strange spectacle. "The King's Banner" will, I am sure,, winnumerousadmirers. "Josephßevealingiumself to big Brethren," by Wynfleld, and " Bums on the' Island of Phflss, theßeautiful,': by E.W. Cooke. botb; desen* minute deacriptiwi hw J. sytce /'The

Wounded Knight." Four figures are carrying a knight from the field of battle to a boat moored close jft; a castle is seen on the other side of the water^on which fall the last gleams of sunseij which touches the grass here and there. Preceding the wounded man moves the sad figure of the grieving wife, whikt dose' 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-painted figure,- apparently an aged servitor. The mists of evening are closing in over 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 j hut one that greatly attracts me is " JLa derniere 4tape do Coco," representing a wide, snowy moor, with a thick fog closing all around, the spires and houses of a distant town I dimly visible through it, and the sun looking like a veiled ball of fire. 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 wistfully at the sad scene beneath him. Stretched on the ground, where it has evidently just fallen on the slippery pathway of half -melted ice and snow, is the taithful horse, never to rise again, whilst a woman kneels Reside it, her hands clasped with a gesture of despair, and her husband, on the opposite aide, stands as rf stupefied by the calamity; the broken shaft . 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. Pew, Who .see it will, I think, leave the French art gallery without a second look at "La derniere etape." The work is by M. Beyle. An extremely pretty group is exhibited by Vayson, entitled " PenB6BB." 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 sf en in every position, and with a most 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 Bpft, dark, 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, dark-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. .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 which I have made allusion was indeed correct, the paintings displayed in this portion of the art gallery being, I t>""fr, as a wkols, the be^t in the Exhibition, lioving flowers as I do, I am always attracted by the sight of them, and one of the nrst exhibits before which I paused is that of a vase of flowers, so exquisitely painied that it is difficult not to believe -he 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 folds of a dark red curtain, that it is almost impossible to resist the suggestion that the mischievous, though sedate-looking, animal has just drawn it from its place. Wot far from this pretty group is one that seems to gain many admirers. It is named " La fiancee 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 who have travelled amongst the scenes to whidh the painting plainly belongs-^-a dark brown skirt 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 qaJetly 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 Poultry," 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 clobo to the " Fiancee dv pe'eheur" is a child, holding with one hand a basket of flowers and in the other some half-opened rose-buds'; the fooe 'is shaded by a high-crowned, brood-brimmed straw hat, and the bright eyes and half-parted lips laugh out beneath it at the observer with all the happy,' innocent joyousness of childhood ; the loose darkblue jackej; and long black hair contrast well, with the brilliant hues of the blossoms resting against them, and the background of distant park and trees shows off the animated little figure to the boob odrnutngp; — 3?liu rocun and-mignouctte in-thia-picture are something wonderful .in their lile-like reality. 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 most of the artists whose pictures I am now about to describe, as I hod 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 or dead woman iaintly visible in the deep shadow cast by them. .Beside the bed is seated the Protector, one arm resting near the white, tiiiw hand of her he loved so well; behind him stands a lady, her face turned sadly towards the quiet form, whilst two others are quitting the room weeping bitterly ; in the foreground'are two figures following them, the arm of •the man thrown around his companion, whose hands ore upraised in passionate grief. On a chair at the foot of the bed lie a large Bible, and the sword and cloak of Cromwell, his hat' having fallen to the ground beside on 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, which 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 his 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 ore pouring into it, and the lurid glow of the rapidly-approaching flames lights up every part 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-balls and quivering nostrils bear witness to the agony of the terrified animal. It is a painful picture to see, and yet, I doubt not, .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 away, after a second examinaiion, 1 found his Excellency the Marquis of Normanby 'attentively examining it with great apparent interest. A wonderfully real little painting is hung near the one of Cromwell visiting his daughter; it is called, "Sketching a Bust in Louis XlV.' s Time. 1 ' The scene is hud 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 fashion of the day, and tied with block ribbon. The statue from which they are copying stands before them, relieved by a deep crimson screen; further baok 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 cnrions-slia.ped jars. A. ■woaOertuUj- eSectire ligbt ia throinx 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. Be La Hoese, entitled " Xa Chaise Brisee." 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, are 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-Post-horses" both merit a description, the hitter having gained a midaille Sor in 1878 ,- bub I must leave them, as I fear my paper is already exceeding 1 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 1540." 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, for the present, on friendly terms, which seems fully understood, by the father, in whose countenance indecision, fear of the speakers, and a wjish to do right, are finely portrayed as he 'sits listening to the pleas so urgently enforced upon him. By his side, turning the leaves of a well-nscd 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 her, resting on her- shoulder, is the daughter, halffrightened, half -amused, but top young to understand the full meaning of a scene that may have such tragic results' for both herself and -those so dear.to her. On the opposite side of the table is her brother, a mere lad is 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 tcan notice is one byßossuet, "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 largo 7 .'house; c videntty once a residence of some wealtiy famify,

tratnowfallen partly into ruins, and occupied only by those of tho 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 moaning had passed away. Prom 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 village, 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 j whilst overhead the grlow of sunset is rapidly fading away, leaving only a few cloudlets of faint gold and pink in the pale, azure heavens. It is 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 irom the above-mentioned court hangs a likeness, by Flintoff, of His Eoyal Highness the Prince of Wales, wearing his insignia of office 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 De said of .the embroidery 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 Bourke-street. His Bkill in this style of artistic work will, I doubt not, soon bring his name frequently before the public. Two very lovely and conspicuous paintings hang nearly in the centre ; one, that of which many of 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 treat-, ment than that of the famous "artißt, George Cooper, it could hardly avoid pleasing mast 'observers. The snowy, innocent sheep 'look so thoroughly happy, that one cannot but forgive 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 pfetty blossoms and trailing shoots of green leaves. Close by this picture hangs another by the same artist, but of a totally difierent character, though 'the same kind of «nnah stall play the prominent part. The title tells the sad little story, "Mitherles4" Few people, Ithink— certainly no mother— can look at this exhibit without a strangely pitying teeming for the two helpless lambs lett alone in the wide moor covered with snow, and likely, from the heavy, leader 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 " Borrowdaile," 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 for all Victorians, especially those whose remembrance dates back to a somewhat early date, is one representing the yacht A'olus taking part in a ..sailing contest in .Plymouth sound, in 1837 5 the.painting, Mr. Lightfoot, commissioner of the Victorian section of the line arts, informed me, was the first ever done by Mr. Jlrierly, 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, for 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 painting*, that might with advantage take the places of some occupying prominent positions. ' , A picture, whose very, gorgeous colouring roused my curpisity, and drew me to the other side of. the court, .proved to be a remarkably good likeness of Dr. Bromby, but the general effect is, I think, somewhat marred by his dress of scarlet. It looks too violent in colour,and disturbs 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 jM'ormanby. Mr. Yon Gudrard has a lovely scene from Hew Zealand, "Lake Wakapitu." In the toregrouud are shrubs and grass, sloping down to the vexy— odgo-of_the_ watec; a -±ew_t>oats are coming home, and flocks of birds are sailing about. . In the background ore 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. Eichardson, 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 j 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 j at her feet. 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 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. Ponton, 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 thab,tells of many anddeep sorrows, andanair of utter exhaustion' that speaks for itself of the strain that has rested, andmay even now be resting, on the young sleeper. The 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 I—"When1 — "When sorrow sleepeth wake it not." Let the wearied, sorrow laden heart 1 be at rest-awhile ; the time will sopn enough arrive : when it must take up its. burden of woe, lessened though it may be by the Master's comforting presence and help. The picture which, I think. I like one of the best on this side of the. Victorian Art Gallery, has a. verse for its title; beginning, " Oh, summer, land of "silence," by Henry Eeilly. It is 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 ia the blue Australian sky, necked 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 o£ WouvermaxL's style axe to T»e seen in ttua section ; they are companion pictures, called "The Halt of the Hawking Party," painted in, I think; 1665, ' and were amongst the collection belonging to Wflliam,H. of Holland, sold in 1850. i The gentleman who oxhibits them, M. Dumonlins values them at £200, a reasonable price for such known works of art.' M. Dumonlins'- own name is recognised in musical circles as that of a violinist I of some note. ' ' *«iu«,u