Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/officialguidetopOOcent ^ entennial J xhibition J MELBOURNE. OFFICIAL GUIDE TO THE Picture Galleries, AND CATALOGUE OF FINE ARTS. COMPILED AND EDITED FOE THE COMMISSIONERS BY J. LAKE, SUPERINTENDENT OF FINE ARTS. FOURTH EDITION: TWENTY-FIRST THOUSAND. /Melbourne: Published by M. L. HUTCHINSON, 15 Collins Street West. Printed by MASON, FIRTH & M'CUTCHEON, Proprietors, 390—394 Flinders Lane West. 1889. "VT ATURE is a Poem written by God, and Art is man’s ' Translation of it.— Wyke Bayliss. T71INE ART is that in which the hand, the head, and the heart of man go together. Recollect this triple group, and you will be able to solve many problems. Fine Art must always be produced by the subtlest of all machines, which is the human hand. No machine yet contrived, or hereafter con- trivable, will ever equal the fine machinery of the human fingers. Thoroughly perfect art is that which proceeds from the heart, which involves all the noble emotions; associates with these the head, yet as inferior to the heart; and the hand, yet as inferior to the heart and head and thus brings out the whole man .—John Buskin. PEEF ACE. The purpose of the “ Guide to the Picture Galleries ” is to be descriptive rather than critical. Nevertheless, such short critical notes have been occasionally added as might serve to a more complete understanding of the pictures. To annotate every picture would have been cumbrous and unnecessary ; but an endeavour has been made to supply such a key to the story of every historical, mythological, or legendary work as might be necessary to elucidate its meaning. In the British Loan Section such notes are more frequent than in other portions of the book, chiefly for the reason that such an opportunity to become familiar with leading examples of British Art is not likely to occur in Australia for many years again ; and further, that as much facility may be afforded as is possible for reaping the fullest advantage from the study of these examples. As the purpose of the Guide is usefulness rather than origin¬ ality, aid has been derived in the British section from the valuable and interesting accounts of that collection which have from time to time appeared in the criticisms of the Argus and in the letters of its London correspondents. In some cases these have been incorporated verbatim, and are here gratefully acknowledged. Mr. Gooden, the Custodian of the British Loan Pictures, has also contributed statistics under this head. In the Victorian Loan Collection some of the notes have been adapted from the accounts of that Section contributed to the Melbourne Daily Telegraph. Herr Sdinars-Alquist, the Delegate of the German Art Associa¬ tion, and M. Buisson, the Delegate of the Ecole des Beaux Arts, have kindly supplied some of the information in the German and French sections respectively; while Professor Morris has contributed some interesting historical notes, and has also revised the proof-sheets. In the arrangement of the Galleries, the Central Arch of the Main Building opposite the Dome, leading into the “ Avenue of Nations,” is regarded as the starting-point. Ascending the 4 staircase to the east of it, and walking along the Balcony as far as the Dome, the Main Entrance will be found of the British Loan Collection, in the north-east Inner Gallery. The numbers begin here (as in all other cases) at the left hand bottom corner of the left hand wall, and continue upwards and to the right, round the room. The Catalogue follows the same order. Whenever a break occurs in the numbering, a note has been inserted, directing the visitor where to find the next number on the walls. Notes are inserted at intervals throughout the Catalogue, directing the visitor through a complete tour of the Galleries. At the end of the book indexes for every Gallery are appended, containing the names of the Artists, with the numbers referring to their Pictures in the Catalogue and on the walls. In the case of Loan Galleries there is also a similar index of the Owners who have lent the Pictures, A card affixed to each wall indicates the page in the Catalogue where the exhibits hung there are described. These indexes and cards have not been extended to the Annexes, except in the case of the Victorian Ladies’ Court. For facility of reference it was necessary that the numbering of the Pictures should follow their sequence on the walls. It was therefore impossible to prepare a reliable Catalogue of Fine Arts until such time as the hanging should have been com¬ pleted. The first edition having been compiled while Pictures were still coming in, and in the space of fifteen days, corrections or sugges¬ tions for addition to the next issue will be thankfully received by the Editor, addressed to the Exhibition Building. J. L. PREFACE TO THIRD EDITION. The rapid sale of the First Edition, of 5000 in ten days, necessi¬ tated the printing of the Second Edition with only a few trifling emendations. In the Third Edition several additions have been made and the work corrected up to date. In a few cases pictures have been necessarily re-arranged, but their reference numbers will still be easily found. October 20 th, 1888. J. L. AUSTRALIAN If PORTRAITS IE TABLE OF CONTENTS, Title Page .. .. .. Preface .. Plan of Galleries Table of Contents Abbreviations Used British Loan Collection „ Water-colours .. ,, Sculpture ,, Water-colours (Outer Gallery) ,, Engravings & Etchings Punch Drawings Royal Windsor Tapestries British Architectural Drawings Australian Portrait Gallery .. Austro-Hungarian Pictures . • German Gallery ,, Sculpture ,, Photographs & Prints Victorian Loan Gallery, Oils .. ,, „ Water-colours ,, ,, Sculpture, &c. ,, ,, Oils continued „ „ Supplementary Illustrated London News Victorian Artists’ Gallery ,, „ Water-colours ,, „ Sculpture .. Photo. Pavilion, Lindt Photo. Pavilion, Johnstone, O’Shannessy & Co. 1 3 5 7 8 9 41 45 45 47 53 60 61 64 70 71 85 88 89 106 110 111 115 116 119 122 124 124 125 French Gallery, Oils .. „ „ Water-colours and Prints .. French Gallery, Sculpture „ ,, Sevres „ „ Goupil Prints Belgian Gallery, Oils .. ,, „ Water-colours.. „ ,, Engravings, &e. ,, ,, Sculpture Additional Statuary Victorian Balconies Sculpture New South Wales Tasmania South Australia New Zealand Queensland United States French Educational Section .. Ladies’ Court, Victoria Index A.—British Artists ,, B.—British Owners ,, C.—German Artists „ D.—Viet. Loan, Artists „ E.— „ ,. Owners ,, F.—Victorian Artists .. „ G.—French Artists ,, H.—Belgian ,, „ I.—Ladies’ Court, Artists 127 133 136 137 140 142 147 148 148 149 150 152 153 163 164 165 170 171 171 172 175 178 181 185 187 188 189 190 191 ABBREVIATIONS USED. P.R.A. ... President of the Royal Academy. R.A. ... Royal Academician. A.R.A. ... Associate of the Royal Academy, R.S.A. ... Royal Scotch Academician. A.R.S.A. ... R.H.A. ... R.W.S. ... . Associate of the Royal Scottish Academy. , Royal Hibernian Academician. Member of Royal Society of Painters in Water Colours. P.R.I. President of Royal Institute of Painters in Water Colours. R.I. Member of Royal Institute of Painters in Water Colours. S.B.A. ... F.S.P.E. ... F.RI.B.A... Member of the Society of British Artists. Fellow of the Society of Painter-Etchers. Fellow of the Royal Institute of British Architects. LOAN COLLECTION. OIL PAINTINGS. [IN THE NORTH-EAST INNER MAIN GALLERY.] David Roberts, R.A.; d. 1864. lent by 1 “Jerusalem” ... ... ... Duke of Westminster Roberts, though at the present moment out of fashion, always composed well; though he is no colourist, his work is always artistic. As a composer, whether of line or mass, his pofver to select the elements of a picture and fuse them into an organic whole was very great. The “ Jerusalem” shows us the city as it appears from the east, the only approach to it which is not disappointing, because it comprehends the two great ravines which cut Jerusalem off from the surrounding table-land and gives a complete view of the Mosque of Omar, with its graceful dome, on the holy mount which overhangs the valley of the Kedron. The hour is sunset, and the artist has given a human interest to the scene by representing an army of Crusaders as climbing the hill from which they obtain the first view of the famous city. [See also No. 74 by the same artist.] F. Sartoriu's. 2 “Eclipse” ... ... ... Earl of Rosebery T. Sidney Cooper, R.A. 8 “ Evening in tlie Marshes” ... ... The Artist Thomas Sidney Cooper, who for the past fifty years has enjoyed a high place in the painting of the quiet rumination of cattle on Canterbury meadows, still produces new works at the ripe age of 85 He may be seen again in No. 179. C. Lutyens, R.H.A. 4 “ The Queen’s Cream Horses” ... Duke of Westminster 10 J. C. Hook, R.A. lent by ■5 “ Land’s End” ... ... ... Duke of Westminster A masterpiece by an artist who is equally great in painting the sea and those that gain their bread upon its waters—seas fresh with tumbling waves and fretted foam, and broken skies of cloud and sunshine—or the green fields, lanes, and homesteads of Southern England. Mr. Hook is regarded as the truest and strongest of colourists in seascapes, and it is always found difficult to hang his works in the Royal Academy so as not to “ kill” their neighbours by juxtaposition. Clarkson Stanfield, R.A.; d. 1867. 6 “ Scene in the Pyrenees” ... Duke of Westminster [See note to No. 25.] J. M. W. Turner, R.A.; d. 1851. 7 “ Conway Castle” ... ... Duke of Westminster It will be no small matter for the art student wishing to study the various technical methods of men who have played a great part in the development of contemporary art to see examples of Turner, of whom all have heard so much. This opportunity the Duke of Westminster has afforded by his loan of these three examples, “Conway Castle,” “ Dunstanborough” (No. 11), and “The Mouth of the Thames” (No. 18), though it must be remembered that these can but partially illustrate the three stages into which all his critics have agreed to divide the great painter’s artistic life, or the enormous range of his work, and the peculiar magic of his rendering of the vastness and mystery as well as the beauty and terror of nature. The three paintings indicated belong to his early period (1801-1819), when he painted the “ Calais Pier” and “ The Ship¬ wreck,” and they have suffered from want of cleaning; but a skilful expert could restore them to their pristine brilliancy. John Hoppner ; d. 1810. 8 “ General Grosvenor’’ ... ... Duke of Westminster Hoppner was a contemporary and rival of Lawrence during the earlier part of the latter’s career. He attracted Royal patronage by reason of his having been a chorister in the Chapel Royal. Sir J. E. Millais, Bart., R.A. 9 “ Duchess of Westminster” ... Duke of Westminster The work might be termed a “harmony in black and gold,” the background being of a deep and varied yellow, against which, nearly in profile, her Grace stands, wearing a black dress, black lace sleeves, black gloves, and white bertha, and around her neck a black ribbon. The complexion is almost ruddy, and the eyes and lips, flushed with life, are of the richest colour. It exhibits some of the master’s characteristic qualities as a colourist, as a designer, and, above all, as a master of expression. It is undoubtedly to the mastery of expression that the supreme vitality of Millais’ portraits is chiefly due. The men and women in them live as they live in the portraits of few of his contemporaries. E. W. Cooke, R.A.; d. 1880. 10 “ Roman Bridge, Tangiers” ... Duke of Westminster 11 J. M. W. Turner, E.A.; d. 1851. LENT BY ’21 “ Dunstanborougli Castle” ... Duke of Westminster [See note on No. 7.] C. Lutyens, E.H.A. 12 “ Master of tlie Horse’s Carriage” ... Duke of Westminster Sir Edwin Landseer, E.A.; d. 1873. 13 “ Dog and Duck” ... ... Duke of Westminster The picture has become a great favourite, from the familiar reproduction of it by engravings. George Mason, A.E.A.; d. 1872. 14 “ Near Matlock (eventime)” ... Duke of Westminster Exhibited Boyal Jubilee Exhibition, Manchester, 1887. George Mason was a delightful painter of lovely harmonies in the minor key, full of charm and idyllic grace ; little colour-cameos of English life, fresh as the air on the Sussex Downs. He had a tendency towards the modern French Impressionist school, but with far greater tenderness and delicate refinement. The scene is a happy hunting-ground of English tourists ; the ridges of the “Heights of Abraham” skirt the horizon. E. P. Bonington ; d. 1828. 15 “ Coast Scene”... ' ... ... Duke of Westminster The luminous and decisive style of Bonington are well seen here, as also in the picture lent by Dr. Fisher, in the Victorian Loan Gallery (No. 71). A contemporary of Keats, dying like him of consumption at the early age of 27, his personal appearance and romantic career were remarkable. His line form and handsome face, and dark penetrating eyes, strikingly bespeaking the man of genius, arrested the attention of everyone, and around his early grave gathered Sir Thomas Lawrence, the president of the Royal Academy, and many of the most distinguished Academicians. W. Cotman. 16 “ Barges in a Calm” ... ... Duke of Westminster Painted with much force and breadth, and with that rapidity which bespeaks an out-door study. Cotman was one of the two leaders of the Norwich school, founded by “ Old Crome.” Old Crome ; cl. 1821. .17 “ Cottage” ... ... ... Duke of Westminster “Old” Crome was the son of a Norwich weaver and founder of the local school there. He borrowed his style from the Dutch landscape painters, but looked at the scenery surrounding his native city with his own eyes, and out of the most meagre materials generally contrived to construct a picture sweet in colour, harmonious in tone, and realistic in treatment. He is sometimes called “ The English Hobbema.” 12 ' J. M. W. Turner, R.A.; cl. 1851. 18 “ Mouth of the Thames—Isle of Slieppey in the Distance” [See note on No. 7.] Johw Brett, A.R.A Duke of Westminster 19 “ Coast of Ayrshire,. Arran Opposite” Duke 20 “ Ardneil Hill, Arran” Ihihe 21 “ The Bones of Ayrshire” Duke Three charming little sketches with the purity and brilliancy of water-colours, a walk of art in which Mr. Brett is more familiarly known. Sir A. W. Callcott, R.A.; d. 1844. 22 “Landscape” ... ... ... Duke of Westminster A good example of the transition period between the classic formality and the more modern realism of English landscape painters. Sir Augustus Wall Callcott became an Academician in 1810. The antipodes of Constable, he however, like him, gave much of his devotion to rivers, but, unlike that great painter, he aimed at broad and equally diffused light, and clear translucent atmosphere. He was as much influenced by Cuyp and Claude as by nature, but his works are always skilful and careful compositions. Eyre Crowe, A.R.A. 28 “Brothers of the Brush” ... L. H. Lefevre Esq. W. B. Richmond. 24 “ H.R.H. Princess of Wales” ... H.E.H. Prince of Wales Clarkson Stanfield, R.A.; d. 1867. 25 “ Opening of London Bridge, 1st August, 1831” ... ... .... H. M. the Queen The “ London Bridge” is an unusually large example of Stanfield, . who holds a high name in English landscape art. The dramatic pomp of the scene would be especially facile for Stanfield at a period when he had an eminent name as a scenic artist. Still Stanfield was a faithful translator of atmospheric truth rather than an historic recorder of State pageants. He was pro¬ bably attracted to the recording of this one by his love for that shipping and waterside life with which he had been from his baby years familiar. Note the archaeological accuracy of the State barges, the clever adaptation of the figure costumes to the necessities of the colour-scheme and the movement and life of the composition. The column in the back-ground is the “ Monument” erected on Fish-street Hill in Billingsgate to commemorate the great fire of London of 1666. Where London’s column, pointing to the skies. Like a tall bull)', lifts the head and lies.— Pope. 13 Angexj. lent by 26 “ H.R.H. Prince of Wales” .. 11.11.H. Princess of Wales Richard Wilson, R.A. 27 “ View at Tivoli” ... ... ... Lord Armstrong Kichard Wilson is known as the English Claude. Unappreciated in his own day, this noble classicist’s art is now held in the highest esteem, thereby verifying Peter Pindar’s prophecy in his Lyric Ode VI. with regard to the painter, who died in 1782— But honest Wilson, never mind, Immortal praises thou shalt find, And for a dinner have no cause to fear. Thou start'st at my prophetic rhymes : Don’t be impatient for those times ; Wait till thou hast been dead a hundred year. J. Constable, R.A.; d. 1837. 28 “ Near Dedham” ... Light Hon. H. C. E. Childers This splendid example of the most intensely English painter of all —Constable—was added to the loan collection at the last moment. Constable was the first painter who reinstated pure English landscape in the place from which it had been ousted since Gainsborough and Crome ceased to paint it. But it was in France that the golden light of honour first fell upon the painter, when a gold medal was awarded to him for his pictures sent to the Louvre in 1825. And to this circumstance the rise of the French school of poetic landscape may be traced. It was from England the impulse came, as is always freely acknowledged in France by their best men. To Constable, and Bonington, and Copley Fielding, in the same year (1825) medals were awarded by the French judges. A dis¬ tinguished French art critic, writing of Corot, says:—“ It was before a picture of Constable that he felt the scales fall from his eyes, and from that day forth he took Nature as his only guide.” Of all aspects of nature, Constable most felt the beauty of clouded skies and sudden gleams of sunshine. We stand by the margins of brimming rivers and hear the cheerful dash of the mill-race, or mark the rise and fall of the water in the lock; while overhead hangs the low cloud, grey with its weight of rain, or laden with a brooding freight of thunder. If Constable had not the dexterity and perfection of handling of lesser men, his silver-greys and greens and oxidised silvers were a revelation of pure beauty of colour. The picture appears to have undergone a careful restoration, otherwise it looks as fresh as when it left the easel. If we put out of comparison the quite modern “ Vicat Cole,” it may be regarded as the noblest landscape in the British collection. E. Hayes, R.H.A. 29 “ Dutch Pinks Coming Ashore” ... ... The Artist J. Constable, R.A.; d. 1837. 30 “Dedham” ... ... ... Lord Armstrong 81 “ Near Highgate” ... ... ... Lord Armstrong [See note to 28.] 14 E. Nicol, A.R.A. lent by 32 “II Pescatore” ... ... ... L. H. Lefevre, Esq. Nieol’s more favourite subjects are the “ Highland Lassie” and the “Scotch Fisherman,” though this example well indicates his style of treatment of those types. An indication of his unusual deviation from his Scottish nomenclature is given in the Italian roof of the distant houses skirting the river side, otherwise “ II Pescatore” might have been simply “ The (Scotch) Fisherman.” W. Muller ; d. 1845. 33 “Opium Seller, Cairo” ... ... (?. F. Williams, Esq. Hogarth and Thornhill. 34 “ Tlie House of Commons in 1730” ...Earl of Onslow The three principal figures are painted by Sir James Thornhill, M.P., and the rest by Wm. Hogarth. Arthur Onslow, Speaker, occupies the chair, and Sir Robert Walpole, K.G., is standing at his side. The clerks at the table are Mr. Edward Stables and his assistant, Mr. Aiskew. The three members, reckoning from the Speaker to the right, on the front row, facing the spectator, are Sidney Godolphin, Col. Richard Onslow, and Sir James Thornhill. Sir Robert appears to be about to address the House. Painted for Speaker Onslow, and lent February, 1885, to this collection by his descendant, the Earl of Onslow. A copy of this picture, taken by permission of Lord Onslow, 1784, is in the possession of the Earl of Hardwick, at Wimpole. * [See Note inserted at end of British Engravings, page 63.] G. F. Watts, R.A. 35 “ Sir F. Leighton, Bart., P.R.A.” ... Tlie Artist Mr. G. F. Watts, the old master of the Academicians, has been wintering in Malta, and the state of his health still detained him in the Riviera when the loan collection was being made. He wrote expressing his warmest sympathy with the objects of the commission, and giving plenary powers to select any of his works for the purpose desired—works ultimately destined, it is understood, to be his legacy to the nation for the benefit of the people and the study of that English school which he has served so well and loved so much. It will be a gift second only in value and importance to that of Turner. From this collection the Royal Commissioners selected the works now on the walls. There is no one who does not regard this master’s works with reverence, as one who breathes the upper air in the region of art. In the Uffizi at Florence there is a gallery of portraits of the old Italian masters of the great period of Italian art, painted by themselves. Now and then to this gallery are added, by invitation, the portraits of very distinguished men, also painted by themselves. The portraits of three of our greatest painters have been added in the present decade to this galaxy of immortals—G. F. Watts, Sir J. E. Millais, and Sir Frederick Leighton. A great draughtsman, a colourist by divine gift, a poet whose conceptions are of the highest order, full of that impersonal sadness which has no trace of egotism, expressed with insight and dignity. Watts’ portraits stand alone; they are not the picture of the outward man only, but of the inward spirit. In them he gives us much more than— The outside life—the doublet of the flesh. 15 LENT BY 36 “Lady Playing Piano” ... ... ... The Artist 37 “ Mattliew Arnold,” born 1822, died 1888 ... The Artist The joyful thrill of English Spring around. Love at his side, his spirit calm and bright, At one great effortless and painless bound, Thought-swift, he passed from Sweetness—into Light. 38 “ Robert Browning, D.C.L.,” born 1812 ... The Artist 39 “Hope” ... ... ... ... The Artist Hope is blindfold, according to the legends of the ancients, thus typifying the uncertainties of the future. She is playing upon a lyre of which all the strings but one are broken. As long as one string remains, Hope can hear its music. The picture represents her intently straining her ear to catch these last faint notes. 40 “ The Spirit of Christianity” ... ... The Artist “ Suffer little children to come unto Me and forbid them not, for of such is the kingdom of Heaven.” The picture is “dedicated to all churches.” 41 “ Love and Life” ... ... ... The Artist “ Love stands firm and strong, tenderly helping Life. He bends towards her, holding out his hands, that the wearied one may lean on him, and no longer toil in loneliness up that steep and rocky w T ay. With him she will go bravely in among the crags and precipices, until they gain the distant blue which is his home.” 42 “Mammon” ... ... ... ... The Artist . The picture is “ dedicated to his worshippers.” “ Ye cannot serve God and Mammon,” “God is Love.” Mammon crushes out Love, symbolised here in the “young men and maidens” slain at his feet. The sceptre of Mammon is Death, symbolised in the capitals of the pillars of Mammon’s throne. 43 “Miss Racbael Gurney” ... ... The Artist 44 “ Alfred Tennyson,” D.C.L. (Poet Laureate) ... ... Sir Win. Bowman, Bart. Mr. Watts’ smaller portrait of the same sitter has been lately purchased for our National Gallery. The bay-leaves in the back¬ ground have been observed by an eminent critic to form a laurel crown for the Laureate. But in his own words, . ... He wears a truer crown Than any wreath that man can weave him. 45 “ John Lotlirop Motley” ... ... The Artist American Historian. Born 1814. Published—“ Bise of the Dutch Republic” (1856); “ History of the United Netherlands” (1860-7); “ Life and death of John Barneveld,” (1874); United States Minister at Vienna (1861-67) ; at London (1869-70). Died 1877. 46 “ Mountains by Moonlight” The Artist 16 Sir Thomas Lawrence, P.E.A.; d. 1830. lent by 47 “ 4th Earl of Aberdeen,” Prime Minister, 1854-56. ... ... Earl of Aberdeen W. Dyce, E.A.; d. 1864. 48 “Beatrice” ... ... Wm. Agnew, Esq. Beatrice is the heroine of Dante’s worship, the incarnation of purity, the beatified vision of whom in the seventh heaven the “ world-worn” poet “ grasped in song.” The style of Dyce, the painter of it, was characterised by a severe, and often dry, naturalism, or Germanism. Sir F. Leighton, Bart., P.E.A. 49 “ Sir E. Burton” (the great traveller, translator of “ Arabian Nights”) ... ... ... The Artist One of the strongest works in the gallery. C. Baxter. 50 “An English Bose” ... ... E. Fox White, Esq. The drawing will remind us of the faces which John Leech used to give as the types of English beauty; and which Frith in his earlier days followed. Holman Hunt. 51 “ The Shadow of Death” ... Thos. Agnew and Sons “ The Shadow of Death” took three years to paint, after many years of previous study. The engravings of it will be familiar to many who have never before seen the picture. It represents the workshop of Joseph of Bethlehem, the time being the hour of the cessation of labor, just before the setting of the sun. The bright golden light enters the chamber from the front of the picture, and falls full on the erect figure of Jesus, represented in early manhood. An open window shows the landscape with shadows spreading out at the base of the hills ; the fields are still in a glow of light. As Christ stands with raised and extended arms in the full light of the low sun the shadow which gives the name to the picture is pro¬ jected on the wall of the room, and thus suggest the attitude of one crucified. Holman Hunt’s realism does not stop at the representation of the superficial aspects of nature, for there are, besides, subtle under-tones, and hints of meaning for those who can appreciate them. Shadow with him means colour as well as darkness, and this preception of colour divides the work of the colourist from that of the chiaroscurist, and is one of the painter's strongest peculiarities. The present picture is the original work from which the engravings were made. Mr. Hunt painted it during a three years’ sojourn in Jerusalem, and it bears his monographic signature in the corner. “ W. H. H., 1870-3.” On his return to England he made a life-size replica, which was exhibited through the chief towns of England and America, and was presented to the City of Manchester by Messrs. Thomas Agnew and Sons. It was called by the public “The Shadow of the Cross,” a title never given to the work by the artist. 17 Sir Edwin Landseer, R.A.; d. 1873. lent by 52 “ Viscount Melbourne” ... ... Hon. Evelyn Ashley. This picture was left to Mr. Ashley by his grandmother (Lady Palmerston), who was sister to Lord Melbourne. It was painted at Woburn Abbey, where Lord Melbourne and Sir Edwin were both staying. It is a very valuable example of the rapid and vigorous manner of Landseer’s sketches and studies, and it illustrates this phase of his excellence quite as amply as the “Flood in the Highlands” reveals his matured study. Sir Thomas Lawrence, P.E.A.; d. 1830. 53 “ Lady Aberdeen, wife of the 4tli Earl of Aberdeen” ... ... Earl of Aberdeen Holman Hunt. 54 “ The Scapegoat” ... ... ... Lord Brassey “ Surely he hath borne our griefs and carried our sorrows; yet we did esteem him stricken, smitten of God, and afflicted.” “ And the goat shall bear upon him all their iniquities into a land not inhabited.” “ Strange as the wildest romance were the days spent in the far east over the task of painting this great work, after the painter had become impressed with the importance of painting the subject in the very wilderness of the Dead Sea, tracing its entire western margin in order to discover the most suitable spot wherein to represent the tradition of the goat, which, bearing the transgressions of the Israelitish nation, had been expelled from all the habitations of the living. This he found at Oosdoom, a desert spot on the salt- incrusted shallows of the Dead Sea, looking across which the mountains of Edom are visible, but the goat itself, though sketched at Oosdoom, was painted at Jerusalem. In Leviticus it is com¬ manded, as an atonement for the sins of Israel, that a chosen goat having had ‘ confessed over him the iniquities of the children of Israel,’ should be driven forth into the wilderness—‘ into a land not inhabited.’ It was the custom of the Jews to tie round the horns of the goat a fillet of red worsted, which, should the animal be afterwards discovered, and this found to be bleached white, was considered as a sign that the atonement was accepted. The scape¬ goat bears this fillet, and ‘ the land not inhabited’ is a realistic view of the borders of the Dead Sea, where the creature is stag¬ gering nigh to death. Utterly exhausted, he sways upon two hoofs, which are trammelled in the brittle crust of salt; his hard glazing eyes look out with a piteous bitterness, as if to see if any persecutor awaited him in that waste land. The long hairy wool of the goat is a masterpiece of painting, with the peculiar dry lustre and silky shine not unlike fine worsted, which, in fact, it really is. In the foreground, white with the incrusted salt which the floodings of the sea have left upon the shore, are seen skeletons of camels and other beasts of burden just within the margin of the shallow water, where they have wandered to the false glitter to die. Across the sea, which reflects the clear brilliant sky and the rocky mountains of Moab, a fading purple and orange splendour lying upon them from the setting sun, the great full moon shines in the heavens, and is reflected with the hills, and the clouds, and the daylight in 18 those deceitful deeps. The whole is magnificent in colour, bril¬ liancy, clearness, and force of tone. Following his more popular work, ‘ The Light of the World,’ some thirty years ago, it excited extraordinary notice when exhibited at the Royal Academy.”— A. The present work is Hunt’s original study; in the larger completion, which now hangs in the South Kensington Museum, he omitted the rainbow. G. H. Boughton, A.R.A. 55 “ Autumn” ... ... ... Sir C. Tennant, Bart. 56 “Hoorn” (N. Holland, a dead city of the Zuyder Zee) ... ... S. Joshua, Esq. 57 “Winter” ... ... ... Sir C. Tennant, Bart. “ Of the three pictures by Mr. G. H. Boughton, R.A., the prefer¬ ence will probably be given to his view of Hoorn, in Holland, on account of its naive presentation of the quaint little Dutch town on the shores of the Zuyder Zee, in which three famous navigators first saw the light—Abel Jansz Tasman, the discoverer of Tasmania; Jan Pietersz Koen, who founded Batavia; and Wouter Cornelisz Schouten, who was the first to double the most southerly promontory of South America, upon which he bestowed the name of his native town, and called it Cape Horn.”-— A. The picture attracted high eulogiums from all the London Press when exhibited at the Royal Academy some nine years ago. G. D. Leslie, R.A. 58 “ The School Door” ... ... Wm. Agnew, Esq. 59 “ Waiting for tlie Ferry” ... ... C. E. Lees, Esq. 60 “ He Cometh Not”... ... ... W. Giliilan, Esq. Mr. G. D. Leslie’s work may be best described in his own words: “ My aim in art,” he says, “has always been to paint pictures from the sunny side of English domestic life, and as much as possible to render them cheerful companions to their possessors. The times are so imbued with turmoil and misery, hard work and utilitarian¬ ism, that innocence, joy, and beauty seem to me the most fitting subjects to render such powers as I possess useful to my fellow creatures.” The son of a famous artist, he is emulating the career and the reputation of his father. All three pictures, Nos. 58, 59, and 60, aptly exemplify John Ruskin’s dictum, that this painter “ excels in rendering some of the sweet qualities of English girl¬ hood.” H. S. Marks, R.A. 61 “ When Doctors differ who shall agree?” ... ... ... L. H. Lefevre, Esq. Mr. Stacey Marks is the humourist of the Academicians. His “ Antiquary,” and similar works, will recall his peculiar skill in investing bird life, and even dead stuffed specimens, with the liveliest fun and the most subtle humour. A strong and admirable portrait of the artist, by Ouless, will be found in No. 104, which see. 19 E. Long, R.A. lent by 62 “ Tlie Rose of England” ... Thos. Agnew and Sons- The work is a portrait of H.R.H. Princess Victoria, daughter of the Duke and Duchess of Teck. At Mr. Long’s request she con¬ sented to sit for this picture, which was exhibited in London in 1887, with several others by Mr. Long, as a series of “ Types of Beauty,” in which the present work represented England. Iveeley Halswelle. 63 •“ Hart’s Lock Wood—a Gleam of Sunshine” ... ... Thos. Agnew and Sons Whispered the ripples, murmured the leaves, Melody soft of the autumn eves. 64 “ Backwater near Temple Lock”... Thos. Agnew and Sons Thick are the trees with leaves in every grove, The feathered minstrels tune their throats to love. 65 “ Meadow Walk, Christchurch, Oxford” Thos. Agnew and Sons [The Figure is painted by H. S. Marks, R.A.] How sweet a short retreat to steal, The vanity of life to feel, And from its cares to fly. 66 “Eton” ... ... ... Thos. Agnew and Sons Ye distant spires, ye antique towers That crown the watery glade, Where grateful science still adores Her Henry’s holy shade. Nos. 68 to 66 are four scenes on the Thames, forming part of a series of pictures painted by Mr. Halswelle, and exhibited in London under the title of “ Life on a House-boat.” 67 “ Gibraltar” ... ... ... ... Lord Brassey 68 “ Glen Sligaclian and the Cuckillan Hills” Thos. Agnew and Sons Mr. Keeley Halswelle’s work is now tolerably familiar to Mel¬ bourne, where the National Gallery has secured the two very fine examples brought out by Lord Buckinghamshire; indeed, it is difficult to say which of those two should be admired the most, the “ Heart of the Coolins” or the “ Noontide Best.” He is to be seen in an earlier method as a figure painter in No. 154, painted in 1872, and one of the earlier studies of that picture done in 1870 at Borne, in water¬ colour, which from its strong body approaches tempera, may be studied with advantage in the Victorian Loan Gallery, No. 149. The “ Glen Sligachan” is the finest example that has yet come out to the colonies, illustrating in a noble manner the “ land of the mountain and the flood.” R. Redgrave, R.A. 69 “ A Woodland Mirror” ... ... Lord Brassey A very fine work, in the best style of the penultimate stage of. English landscape painting. E. W. Cooke, R.A.; d. 1880. LENT BY '•70 “ Calm Day on the Scheldt” ... ... Lord Brassey Perhaps the best of this favourite artist’s works that has been seen here. Certainly his most characteristic composition since the familiar London Art-Union engraving of a dozen years ago. “A Calm Day” with a level flood was Mr. Cooke’s best opportunity, next to those translucent shallows and foreshore ripples in which he so much delighted. Daniel Maclise, R.A.; d. 1830. 771 “ Midsummer Night’s Dream” ... Q. F. Williams, Esq. “ Man is but an ass if he go about to expound this dream. . . The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report what this dream was. It shall be called Bottom’s Dream, because it hath no bottom ” Daniel Maclise, whose style was perhaps formal and dramatic, and his methods those of fresco rather than canvas, is best known by his famous conception of the Play Scene in Havilet. His two frescoes of the “ Death of Nelson” and the “ Meeting of Wellington and Blucher,” in the House of Lords, are, however, regarded as in the first rank of English historical paintings. Sir Thomas Lawrence, P.R.A.; d. 1830. 72 “ Viscount Melville” (Pitt’s Dundas) ... Earl of Aberdeen John Smart, R.S.A. 73 “ Bonnie Strathyre ” ... ... ... The Artist David Roberts, R.A.; d. 1864. 74 “ Interior of St. Mark’s, Venice ” ... Lord Cheylesmore [See Note to No. 1.] Sir E. Landseer, R.A., and Sir J. E. Millais, Bart., R.A. 75 “ Going to the Chase ” ... ... Thos. Agnew & Sons This work was originally exhibited by Sir Edwin Landseer in the Boyal Academy, under the title of “ Hawking.” It was purchased by Baron Piothschild. Millais was afterwards engaged to paint out the sitting figure, and to replace it by a portrait of the artist’s daughter, which has been most successfully effected. Sir F, Leighton, Bart, P.R.A. 76 “ Phryne at Eleusis” ... ... ... The Artist Phryne was an Athenian hetaara, who is said to have offered to rebuild the walls of Thebes if she might put on them this inscrip¬ tion: “Alexander destroyed these walls, but Phryne, the hetaara, rebuilt them.” She served as model for the “ Cnidian Venus” of Praxiteles; and the most celebrated picture by Apelles, “Venus .Anadyomene,” was a representation of Phryne, who at a public 21 festival at Eleusis entered the sea with hair dishevelled, in order to serve the painter as a model. The President’s picture represents her preparing her hair for the “ Venus Anadyomene.” W. C. Horsley. 77 “ Great Britain in Egypt” ... ... The Artist Mr. Horsley, the son of the Academician, is the nephew of the musician, familiar to older Melbourne, who wrote the ode to welcome the Duke of Edinburgh. A. C. Gow, A.R.A. 78 “ Last Days of Edward VI.” ... ... The Artist “ As to the King’s health, Sir, it is still the same as I wrote you on the 27th ult.; since then he has been shown at a window in Greenwich, where many saw him, but in such a plight, so weak and wasted, that the people said it was Death. This was done because the Commons began to murmur and to say that he was dead.”—Letter of Ambassador Schefner to Charles V., 14th July, 1553. (Vide “ Froude’s History,” vol. V., page 514.) Mrs. Lea Merritt. 79 “Eve” ... ... ... ... The Artist A chaste and pathetic study indicating all the hopeless bitterness of remorse which followed the “ knowledge of good and evil.” Peter Graham, E.A. 80 “The Fowler’s Crag” ... ... W. Gillilan Esq. We cannot too highly admire the triumphant skill of this noble picture. [See note on Mr. Graham’s work in the Victorian Loan Collection, page 100.] W. B. Richmond. 81 “ The Lament of Ariadne” ... ... ... The Artist Ariadne was daughter of Minos. When Theseus was sent to convey tribute to the Minotaur, Ariadne fell in love with him. She gave him the thread by means of which he found his way out of the labyrinth. Theseus promised to marry her, and took her away with him to the island of Naxos. Some say that she was there killed by Artemis, but according to the more common legend she was left “by the sad sea waves” lamenting her faithless love. . . . ’Twas Ariadne passioning For Theseus’ perjury and unjust flight. —Two Oent. of Ver., IV., iv., 170. T. Faed, R.A. 82 “ Tlie Poor, the Poor Man’s Friend” Duchess of Montrose This picture was exhibited at the Jubilee Exhibition at Man¬ chester. Victorians will be already familiar with the characteristics of the painter, from his “ Mitherless Bairn” in the National Gallery, and will, doubtless, welcome another production from the same easel. It bears a couplet but too proverbially true— The poor, the poor man’s friend, The blind man’s at the door. It would be difficult to secure a more thorough embodiment of all that is so peculiarly the manner, feeling, colour, style, and sentiment of this popular and veteran painter. 22 Wyke Bayliss, F.S.A. lent by 83 “ Interior of St. Bemy, Blieims” ... The Artist This is one of the greatest Abbey Churches in France, built in the 11th century. Mr. Bayliss may be seen in his favourite manner in the picture. Visitors to the Exhibition of 1880-81 will remember there his grand presentment of Strasbourg Cathedral. The painter also follows the literary side of his profession, and is well known by his charming book, “ The Higher Life in Art.” Sir J. Gilbert, R.A., P.R.W.S. ■ 84 “ The Morning of the Battle of Agincourt” ... The Artist Sir John Gilbert has illustrated a passage in Monstrelet’s Chronicle, where he tells us that the English, on the eve of Agin¬ court, notwithstanding they were much fatigued and oppressed by cold, hunger, and other annoyances, “ made their peace with God by confessing their sins with tears, numbers of them taking the sacrament.” Sir John has been guided in his delineation of the scene by the descriptive passage in Shakspere’s Henry V., Act IV., Sc. 2:— Their horsemen sit like fixed candlesticks, With torch-staves in their hand ; and their poor jades Lob down their heads, dropping the hides and hips; The gum down-roping from their pale-dead eyes ; And in their pale dull mouths the gimmal bit Lies foul with chewed grass, still and motionless : And their executors, the knavish crows, Fly o’er them all, impatient for their hour. Description cannot suit itself in words To demonstrate the life of such a battle In life so lifeless as it shows itself. They have said their prayers, and the}' stay for death. Next to Landseer, perhaps no painter is better known to those who have never seen his paintings than the veteran historical draughtsman, Sir John Gilbert. Scenes in the life of his favourite hero, Bluff King Hal, ideal portraits of the hale old “ Miller of the Dee,” and Christmas Supplements to the Illustrated London News and British Workman, hang side by side with “ The Shepherd’s Chief Mourner,” and the “ Shoeing at the Forge,” in many an English labourer’s cottage or factory-workman’s home. Heywood Hardy. 85 “Trespassers” ... ... Thomas Agnew and Sons A charming cattle sketch, with a keen eye to the harmony and sweetness in colour as evinced in the secondary purple and yellow scheme of the trespassers’ necks and the rhododendron’s blooms. W. P. Frith, R.A. 86 “ Blessing the Little Children”... Thomas Agnew and Sons An episode in the great procession of our Lady of Boulogne. One touch ofjnature makes the whole world kin. The picture is in Frith’s best manner, and one in which his remarkable smoothness of finish and nicety of detail do not detract from the broad effect and movement of the composition. The benevolent good nature of the Archbishop’s face should be noted in contrast with the novitiate on the right of the canvas, who seems shocked at his superior’s susceptibility to the passions of humanity. This contrast is farther developed in the formal 23 insouciance of the two aged ascetics who follow in the train of the scarlet-cassoeked acolyte bearing the pastoral staff, and who con¬ scientiously continue the even tenor of their preces and responses, unmoved by the pressure of “ the lame, the halt, and the blind” in their eagerness to secure a blessing. In the action of the canon on the Archbishop’s left hand, who is repelling the charming group of pretty babies seeking their share of the benediction, and in the whole sentiment of the work, Mr. Frith seems to have remembered in his dramatisation the older and more venerable story of the “ disciples who rebuked those that brought” the little children to be blessed in Palestine nineteen centuries ago. No picture of Frith’s is complete without the introduction of his own portrait; here it occurs as an English tourist on the extreme right of the canvas, and looking out of it as if he, like Gallio, “ cared for none of these things.” W. F. Yeajies, E.A. • •87 “ Maundy Thursday” ... ... ... Lord Brassey Maundy Thursday, the day before Good Friday. “ Maundy is from Latin ‘ Mandatum novum,’ tire new command¬ ment, John xiii. 34. This is, of course, ‘ that ye love one another’; but in olden times it was, singularly enough. apjn-opriated to the particular form of devotion to others exemplified by Christ when washing His disciples' feet, as told in earlier verses of the same chapter.”— Skeat. Etym. Diet. “ The King of England was formerly accustomed on Maundy Thursday to have brought before him as many poor men as he was years old, whose feet he washed with his own hands ; after which his majesty’s maunds, consisting of meat, clothes, and money were distributed amongst them. Queen Elizabeth, when in her thirty- ninth year, performed this ceremony at her palace of Greenwich, on which occasion she was attended by thirty-nine gentlewomen. Thirty-nine poor persons being assembled, their feet were first washed by the yeomen of the laundry with warm water and sweet herbs, afterwards by the sub-almoner, and finally by the Queen herself, kneeling These various persons, after washing each foot, marked it with the sign of the cross above the toes, and then kissed it; clothes, victuals, and money were then distributed. This ceremony was last performed in its full extent by James II.”— Chambers' Book of Days, Vol. I., p. 412. Vicat Cole, E.A. 88 “ Eipening Sunbeams” ... ... Lord Brassey Half-veiled in golden light of shimmering air The landscape stretches wondrout air, No paling beauty anywhere ; Nature is in her prime. Tn richest robes the hills and woods appear, The lakes and springs lie motionless and clear, Ruled by the fairest queen of all the year— Beautiful harvest-time. —Poems of England. This glorious landscape needs no further description. In con¬ junction with Leader’s “April Day,” exhibited in the Victorian Loan Gallery, and Peter Graham’s “ Fowler’s Crag,” it forms a trio which take rank as the three noblest modern landscapes in the whole Exhibition. The remark chronicled by the “ Gossiper” of the Art/its is its best criticism—“ Study it well; that is England.” 24 R W. Macbeth, A.R.A. lent by 89 “ The Fen Farm” ... ... Thos. Agnew and Sons A luminous and dewy picture, full of all pastoral sweetness. Sir E. Landseer, R.A.; d. 1873. 90 “ A Flood in the Highlands” ... Lord Cheylesmore The late Sir Edwin Landseer stood supreme in a field which has always found employment for clever painters since the earliest days of English art. The poetry of mountain landscape was also within his range, and though he was doubtless largely indebted to the engraver for his widespread fame, his best works will always be held in the highest esteem. The “ Flood in the Highlands” is one of Landseer’s masterpieces. It depicts the result of one of those sudden meltings of snow on the hills, or heavy falls of rain, which, swelling the little rivulets, often overwhelm a village hamlet at a single sweep. The great flood, rushing from the hill-side, rages down, pouring an irregular and resistless torrent along, drowning the adjacent country, and bringing ruin and desolation on every hand. Above, grey wreaths of war-clouds hasten along, and the whole aspect of the scene bespeaks terror and destruction. The picture was one of the last that came from his easel in the plenitude of his powers. It is full of dramatic pathos. Many regard it as the artist’s crowning achievement; for “even before it was finished, the painter, always a man of extreme nervous susceptibility, had hints that the human mind and the body which surrounds it are mortal.” This work is a fine example of a point of Landseer’s excellence which has been too frequently overlooked—viz., his harmonious depth of colouring. He works in a peculiar chord of purples and browns which is quite of his own sounding. But the key-note of it was struck for him in the brown woods and purple heathers of his well-loved Scotch deer-forests, and its impression lingers in all his works. F. Good all, RA. 91 “ The Spirit of the Dove”... ... ... The Artist An effective rendering of a beautiful subject. The child Jesus is lying on the ground, His head towards the spectator, and His whole figure illuminated by the celestial radiance which descends upon Him from the emblem of the Holy Spirit, hovering in mid-air. Mr. Goodall is familiar to Melbourne from his work in the National Gallery. Another fine example, in the same familiar manner as that picture, hangs in the Armytage collection in the Victorian Loan Gallery (No. 108). The present work is a new departure, and reminds one of the manner and skill of Bougereau. Frank Holl, RA.; cl. 1888. 92 “Samuel Cousins Esq., RA.” (tlie eminent engraver; died 1887) ... ... ... The Artist This is one of Holl’s masterpieces, and is in his strongest style as a portrait painter. In a lighter vein of manner, but with a pathetic subject, the same artist is to be seen in the collection of the Illustrated London Neivs (in the South Transept) as a painter of the pretty idyll called “ In Wonderland.” (No. 49.) 25 W. F. Yeames, R.A. lent by 98 “ Prisoners of War, 1805” ... ... The Artist A true type of Yeames in his “Incident” manner. As a painting it suffers by comparison with No. 87, but the subject will be a more popular one. It has been engraved by the pictorial press. The two little “ middies” on the right have just been captured ashore, probably from one of the vessels lying in the harbour. The younger one bears traces of having been wounded in the fray, and is proportionately dejected; but the elder boy has that impudent defiance and contempt of the foreign “ Mounseer” which is typical of the British seaman. The French brunette in the centre of the crowd is leading their remonstrances against the sentry with the earnest scorn belonging to motherly instinct. -—Patience, little middies.—Ere the year (1805) be out, Nelson at Trafalgar will gloriously avenge you. Sir J. D. Linton, P.R.I. 94 “ Declaration of War” ... ... C. J. Jacob//, Esq. This picture should be studied in conjunction with No. 100, as it forms the introductory passage of the incident there represented. The Moorish plenipotentiaries appear to have brought the ulti¬ matum to the king, standing on the steps of the throne, in respect of a question of territorial rights. The Court officials on the right hand, who are examining the map, remind us of Shakspere’s passage in a similar scene— “ See how this river comes me cranking in, And cuts me from the best of all my land, A huge half-moon, a monstrous can tie out.” —I. Henry IV., Act iii., sc. i., 1. 99. The defiance of the king on the steps in the present picture is finely expressed in the crumpled scroll which he holds. In the companion picture (No. 100), entitled “ Victory,” the denoument is powerfully rendered. The victors bring in the captive Moor in bonds; his armour and trophies of weapons lie at the foot of the throne, while the young prince gleefully examines the shield. The softened compassion of woman finds illustration in the aspect of the queen on the throne, while the posse of the victorious train, unmoved by such a sentiment, crane their necks in eagerness to watch the captive’s demeanour. This picture, with No. 100, is part of a series of four pictures painted by Linton to illustrate the life of a soldier of the Renaissance. The other two were entitled “ The Banquet,” and “ The Surrender.” Three of this series were exhibited last year at Manchester. H. Herkomer, A.R.A. 95 Portrait of his Father ... ... ... The Artist 96 Archibald Forbes (War Correspondent) ... The Artist Mr. Herkomer is one of the most vigorous of all the Academy portrait painters. He is also a very skilful etcher, and his repro¬ ductions of some of his most famous portraits in this medium will be familiar to all. The portrait of Archibald Forbes might perhaps not be so popular in Natal as it will be in Melbourne. The portrait of the painter’s father, Lorenzo Herkomer, the Austrian wood-carver, might stand for an excellent likeness of a well-known Melbourne pressman, the greatest authority in Australia on the science of whist. c 26 Sir F. Leighton, Bart., P.B.A. lent bt 97 “ Hercules wrestling with Death for the body of Alcestis” ... Sir B. Samuelson, Bart., M.P. “ The colour and design of this picture exhibit some of the President’s highest gifts. The scene, placed on the shore of the sea, is full of pathetic interest, and the great vista of sea and sky forming the background seen beneath the boughs of the trees, is superbly painted. The melody of the lines, the subtly-harmonised white robes of the recumbent Alcestis, and the graceful figures of the mourners, are all marked by the most refined execution.” Hercules, son of Zeus (Jove) and Alkmene, coming to the house of Admetos, finds that the wife^of the latter (Alkestis) has died for her poor-spirited husband, and has been conveyed to burial. He returns “ by the road that leads to Larissa, to see the tomb, out of the suburb, a carved sepulchre.” He soliloquises by the way on his determination to rescue Alkestis from the hands of Death. The story is told in the play by Euripides, and the passage to which the painting refers is described in the soliloquy of Hercules as translated by Browning in his ‘ Balamtiori’s Adventure,” which should be read in its entirety for the proper appreciation of the picture:— Oh much enduring heart and hand of mine ! Now show what sort of son she bore to Zeus, Alkmene ! for that son must needs save now The just-dead lady : ay, establish here I’ the house again Alkestis, bring about Comfort and succour to Admetos so ! I will go lie in wait for Death, black stoled King of the corpses! I shall find him sure, Drinking, beside the tomb o the sacrifice : And if I lie in ambuscade, and leap Out of my lair, and seize—encircle him Till one hand join the other round about— There lives not who shall pull him out from me, Rib-mauled, before he let the woman go ! Compare also the passage in Milton’s last sonnet:— . . . like Alcestis from the grave. Whom Jove’s great son to her glad husband gave, Rescued from Death by force. E. Douglas. 98 “Jersey”... ... ... ... J '. Kincaid, Esq. 99 “Evangeline” ... ... ... H. Graves <& Co. Two very pleasing and delicate studies of the Channel Islands’ cattle. Sir J. D. Linton, P.B.I. 100 “ Victory” [See note to No. 94.] G. J . Jacoby, Esq. F. Good all, R.A. 101 “ Cairo Fruit Seller” The Artist In the painter’s most familiar manner, [See note to No. 91.] 27 Sir J. E. Millais, Bart., R.A. lent by 102 Bight Hon. W. E. Gladstone, M.P. ... Earl of Rosebery In connection with all Sir John Everett Millais’ portraits, see the note to No. 9. Mr. Gladstone’s face and head are painted with consummate power. Every line of the strongly-marked countenance is strikingly accentuated; the modelling and relief are perfect. The magnetic light in the eye is a singular and unique character¬ istic, which can be realized only by those who have seen Mr. Gladstone in the flesh, or who now see this portrait—which is a complete equivalent for his bodily presence. Mrs. Stokes. 103 “ A Cornish Dame School” ... ... The Artist W. W. Ouless, R.A. 104 H. S. Marks, Esq., R.A. ... ... ... The Artist Mr. W. W. Ouless stands in the front rank of his profession as a portrait painter. [See also note to No. 61.] Sir E. Landseer, R.A.; d. 1873. 105 “ Taming the Shrew” ... ... Lord Chcylesmore For Sir Edwin Landseer’s style, see note to No. 90. This work was exhibited in Paris in 1867, where it excited the enthusiastic admiration of French painters and critics. Mr. Frith, in his “Reminiscences,” says:—“To those who remember the beautiful Miss Gilbert, my rendering of that witty, charming creature will not he satisfactory.I venture to think that Landseer’s picture was scarcely more likely to satisfy the many admirers of my lovely model. In that work she was represented reclining by the side of a horse, whose vices were supposed to have been charmed away by the mysterious influence of “ The Pretty Horse-Breaker” as she was afterwards christened. Miss Gilbert was a most accomplished horsewoman ; indeed, she told me that the greater part of her life had been passed in the saddle, and she was never so happy as when galloping for dear life after a pack of hounds.” Cecil Lawson; cl. 1884. 106 “ On tlie Road to Monaco” ... ... Lord Brassey The late Cecil Lawson will be remembered by his fine picture at the Exhibition of 1880-81, which had previously received double honours at the Academy and the Grosvenor. At the artists’ supper given in Melbourne to Lord Buckinghamshire, his Lordship paid a high tribute to the memory of Lawson. H. W. B. Davis, R.A. 107 “ Now Came Still Evening On” ... ... The Artist C. E. Perugini. 108 “ Crossing the Torrent” ... ... ... The Artist Perugini’s “Hop Picker,” which passed to a private gallery in Melbourne, will be well remembered at the last Exhibition of 1880-81. C 2 28 W. Linnell. lent bt 109 “ The Weald of Kent” ... Thomas Agnew Sons This is by the son of the great John Linnell, whose noble “ Wheat- field” has lately been purchased for our National Gallery. Val. C. Prinsep, A.R.A. 110 “ On the Banks of the Ganges” ... ... The Artist Sir J. E. Millais, Bart., R.A. 111 His Eminence Cardinal Newman ... Duke of Norfolk Cardinal Newman is now eighty-seven, as he was born when the century was only a year old. He was Fellow of Oriel College, Oxford, in Oriel’s best days, and as Vicar of St. Mary’s had an enormous influence over the mind of young Oxford. He took a prominent part in the famous Tracts for the Times, and was the author of the culminating “No. 90.” In 1845 Father Newman left the Established Church. In 1879 he was made a Cardinal. 112 “ The Enemy Sowing Tares”... ... Sir John Pender This picture happily illustrates an earlier phase of the painter’s art. The subject was originally designed for Dalziel’s “ Parables,” in 1863, then painted in oil, and exhibited at the Royal Academy in 1865. “ The kingdom of heaven is likened unto a man who sowed good seed in his field; but while men slept, his enemy came and sowed tares among the wheat, and went his way.” The illustration is perfect. It is the dead of night. The Evil One sows the seed, watched by a wolf—personifying cunning—while the serpent crouches at Satan’s feet. It should be observed how perfectly Sir John has grappled with the difficulty of representing a night effect to be viewed through a daylight medium. At first it is difficult to make out the subject. As one looks longer, the pupil of the eye automa¬ tically dilates, and gradually every detail of the scene becomes apparent. The glare of the golden rift in the clouds at the back of the Satanic head begins to lose its dazzling effect, and at the last every diabolism of the visage stands revealed. This gradual increase of the perception of the onlooker is an exact reproduction of the natural phenomena under which one would look out of doors on a dark night. 113 “ Puss in Boots” ... ... Thos. Agnew Sons One of those delightful little nursery-story paintings which, like Millais’ “ Little Miss Muffet,” “ Cherry Ripe,” and the “ Bubbles,” have more than anything contributed to bring the great master’s work from the heights of the mountains down to the level of the knowledge of the more humble public of every English-speaking community. Like the two others named, this picture has been reproduced by the pictorial press. The little girl is a portrait of Sir John’s daughter. 29 LENT BY 114 “ The Widow’s Mite” ... ... Tlios. Agnew § Sons J. Sant, R.A. 115 Mdlle. de Bansen ... ... ... The Artist Mr. Sant won early fame as a portrait painter, chiefly of children, and in the selection of his models he always affected, if possible, the ruddy fresh complexion, with the golden hair. Many will remember a large collection of family portraits—good examples, by this Academician—which were in the possession of the late Master of the Mint—Mr. Y. Delves-Broughton. Alma Tadema, R.A. 116 “ The Apodyterium” ... ... Samuel Joshua, Esq. The Apodyterium was the undressing-room in a Roman bath. The picture exhibits some of the distinguished Academician’s finest qualities. The colour is exceptionally beautiful, and the draughts¬ manship perfect, while at the same time the subject affords opportunities for the display of the painter’s wonderful rendering of reflecting surfaces, and his subtle contrasts of diffused light and pure sunshine. The hall is paved with marble of various colours, chiefly serpentine, or porphyry. In the middle is the sunken space, around which runs a broad step, and a bench for those who may desire to use it as a tiring-room. The learning and mastery of design of the painter are well illustrated in the group of girls crossing the ante-chamber seen behind. Beyond, the outer court of the bath, with marble columns and Pompeian decorations, appears flooded with light. Altogether, it is a noble example of Alma Tadema’s power in his favourite field of classical genre, and well illustrates his great archaeological knowledge and firm grasp of all the details of a departed civilisation. George Mason, R.A.; d, 1872. 117 “ Girls Fishing” ... ... W. Agnew, Esq. [See note to No. 14.] F. Dicksee, A.R.A. 118 “ Too Late !” ... ... ... Thos. Agnew $ Sons. “ Too late, too late, ye cannot enter now.” It has been remarked that this picture savours of a theatrical tableau effect, a criticism for which the dramatic lighting gives foundation. But the dignified academic manner of the draping is sufficient warrant alone to place it on a high level. The colouring is in the scale adopted by the mediaeval painters for shrines and sanctuaries, for which similar purpose it was probably intended. That would necessitate the remembrance by the painter that the dim-religious light of its future location must be taken into account, and that allowance must be made in its early life for the destructive influence of frankincense and candle-lights, which would work out their sobering effect in the process of the ages. Dicksee is known by his great work, “Harmony,” purchased by the Chantrey Bequest Fund for theRoyal Academy. 30 Mrs. Lea-Merritt. lent by 119 “ J. Russell Lowell” ... ... ... The Artist. James Russell Lowell was born in 1819 at Cambridge, Massachu¬ setts. His father was a Boston pastor, and his grandfather, appointed a judge by Washington, became later Chief Justice. J. R. Lowell graduated at Harvard, being intended for the bar, but he found literature more attractive. At thirty-seven he was appointed Professor of Belles Lettres at his own University, and of late years, as Ambassador of the United States in London, he won golden opinions from all sorts of people. His best-known work is the Bigloio Papers. Many years ago he described himself in the Fable for Critics:— There’s Lowell, who’s striving Parnassus to climb, With a whole bale of isms tied together with rhyme. He might get on alone, spite of brambles and boulders, But he can’t with that bundle he has on his shoulders. The top of the hill he will ne’er come nigh reaching Till he learns the distinction ’tween singing and preaching. His lyre has some chords that would ring pretty well, But he’d rather by half make a drum of the shell, And rattle away till he’s old as Methusalem At the head of a march to the last New Jerusalem. Adrian Stokes. 120 “ Among the Sandhills” ... ... The Artist. Mrs. Lea-Merritt. 121 “ Sir Lambton Loraine, Bart.” ... Sir L. Loruine, Bart. Briton Riviere, R.A. 122 “ The Welcome” ... ... ... The Artist Mr. Briton Riviere, since the death of Ansdell, may be reckoned the successor of Landseer. But he delights rather in the archteo- logical aspect of animal life than in its modern dramatisation. He is here extremely well represented in both paths. “ The Welcome” is very Landseer-like, especially in the humour of the diminutive little puppy greeting such a giant specimen of the British workman. A finished study of the same little puppy appears in “ Cave Canem” (No. 125). 123 “ A Roman Holiday” ... ... Tlios. Agnevo and Sons This picture attracted much attention at the Royal Academy eight years ago. It is remarkable not only from the deep tragedy of the subject, but for the exquisite rendering of the tigers’ skins, the graceful pose of the dead beast, and the vengeful aspect of the living one, who has been driven off for a moment wounded, but who is meditating its final spring upon the prostrate gladiator. The title has, of course, been suggested by the passage in Childe Harold , and the attitude resembles that of the famous sculpture The Dying Gladiatorbut with the title and the attitude the resemblance ends; for the gladiator here is a Christian Roman, not a barbarian Dacian, and Byron’s “ wretch who won” was another gladiator, and not a 31 tiger from “ utmost Ind.” Still Byron’s lines form a suggestive pendant— I see before me the Gladiator lie: He leans upon his hand—his manly brow Consents to death, but conquers agony, And his droop’d head sinks gradually low ; And through his side the last drops, ebbing slow From the red gash, fall heavy, one by one, Like the first of a thunder-shower ; and now The arena swims around him—he is gone— Ere ceased the inhuman shout which hailed the wretch who won. He heard it, but he heeded not—his eyes Were with his heart, and that was far away : He reck’d not of the life he lost nor prize, But where his rude hut by the Danube lay, There were his young barbarians all at play. There was their Dacian mother—he their sire, Butchered to make a Penman holiday — * * * * * [See also Byron’s note, Childe Harold, Canto IV., 141, on the well-known statue.] 124 “ The Night Watch” ... ... Wm. Agnew, Esq. The most suggestive of all the contributions from this artist’s easel. Note the soft lighting of the arena, and the silent, cat-like, cautious tread of the leonine patrol, with the lithe motion of their march. 125 “ Cave Canem” ... ... ... II. J. Turner, Esq. “ Cave Canem” (Beware of the Dog) was the legend inscribed on Roman thresholds, and which is still often perpetuated on the modern door-mat. There is much humour in the caution as expressed in the picture. 126 “A Legend of St. Patrick” ... ... W. Gillilan, Esq. St. Patrick was founding a church in the place which was called Ardd-Maeha, and as he went to mark out the site of the new founda¬ tion he discovered a roe and her fawn. St. Patrick carried the fawn on his shoulders, and was followed by the roe to a field on the north side of Armagh, where he laid his burden down.— Todd's Life of St. Patrick. E. Long, R.A. 127 “ Pharaoh’s Daughter” ... ... ... The Artist An original treatment of a favourite and much-worn theme. The model will be recognised as an old friend who has done duty many times in Mr. Long’s pictures, and most notably in the tired dancing girl at the “ Egyptian Feast.” The Egyptian model reclining on the steps is also very familiar, and appears as one of the tiring women in the “ Esther” at our National Gallery. This picture is now exhibited for the first time. It was not finished in time for this year’s Royal Academy Exhibition, for which it was originally in¬ tended, and it was sent expressly by the artist to the Centennial Exhibition. 32 [Note.— Having now reached the end of the Mam Gallery, a return must be made to the archway at the east end leading into the small room called the Vestibule, where the numbers follow on, beginning from the outer doorway.] Albert Moore. 128 “ Reading Aloud” ... ... W. Connal, Esq., Jr. This picture is quite sui generis in the collection. At first sight we might take it for a painting in tempera instead of in oil, or for a detached piece of fresco. Indeed, that is something of the aim of the artist, who is one of the newly-developed Neo-Italian school. These men not only affect a similarity in choice of subject, but aim also at the manner and method of their medifeval prototypes. Their work has no fusion of colour, no gradation of hue, no depth of shade nor brilliancy of tone, but in perfection of outline, breadth of fold, and beauty of form, they are unexcelled. E. W. Cooke. R.A.; d. 1880. 129 “ On the Goodwin Sands” ... ... Lord Brassey A more stormy subject than is usual with Cooke. [See note to No. 70.] The “ Goodwins” are quicksands near the mouth of the Thames. They once formed part of the mainland of North Kent, and were rich orchards. They were given by Earl Goodwin, or Godwin, to the monks of Canterbury, who neglected to repair the sea wall, so that the sea rushed in and covered them to an extent that made their reclamation hopeless. All trace of firm land has for centuries past subsided. C. J. Lewis. 130 “ A Shady Lane” ... ... ... The Artist A. Elmore, R.A.; d. 1881. 131 “ The Invention of the Stocking Loom” ... ... Sir Thomas S. Bazley, Bart. William Lee, of St. John’s College, Cambridge, was, about the year 1589, expelled from the University for marrying contrary to the statutes. Having no fortune, his wife was obliged to contribute to their joint support by knitting, and Lee, watching the motion of her fingers, conceived the idea of imitating those movements by a machine. J. C. Horsley, R.A. 132 “ Young Life on Old Ground” ... ... The Artist P. H. Calderon, R.A. 133 “ Take, 0 Take Those Lips Away” ... T. Hine, Esq. Take, 0 take those lips away That so sweetly were foresworn, And those eyes, the break of day Lights that do mislead the morn ; But my kisses bring again Bring again Seals of love, but seal’d in vain Seal’d in vain. —Measure for Measure. Mr. Calderon’s favourite field for the selection of his subjects is medieval warfare, and perhaps his best remembered picture is “The 38 Return of the Victors,” which appeared about twelve years ago at the Academy. He also well illustrates Shaksperian literature, as may be seen in this and in his “Young Lord Hamlet” (No. 185). J. Dodd. 134 “ Fox Hunting”... ... ... G. B. Gregory, Esq. W. C. Horsley. 135 “ A Cairo Fortune Teller” ... ... The Artist J. Sant, R.A. 136 “ The Broken Daisy Chain” ... ... The Artist In Sant’s most popular style—[See Note on No. 115. J A. L. Egg, R.A.; d. 1863. 137 “ The Night Before Naseby”... ... A. Haworth, Esq. The picture shows us Cromwell alone in his tent, beseeching the God of Battles to give him the victory on the morrow. That he believed his prayer was answered is evident from his letter to Speaker Lenthall, written immediately after the battle, wherein he says:—“ Sir, this is none other but the hand of God, and to Him alone belongs the glory, wherein none are to share with Him. The general served you with all faithfulness and honour, and the best commendation I can give is that I dare say he attributes all to God, and would rather perish than assume to himself.” P. F. Poole, B.A.; d. 1879. 138 “The Wounded Knight”... ... G. II. Shepherd, Esq. This picture will be familiar to all, as it was here in 1880-81, when it hung in the place now occupied by the Watts’ collection. John Watts. 139 “Hampstead Heath” ... ... Thos. Agnew & Sons J. MacWhirter, A.R.A. 140 “ Sunset Fires”... ... ... Thos. Agnew Ac Sons Mr. MacWhirter achieved his earliest fame as a water-colourist, being one of the oldest members of the Royal Institute of Painters in Water Colours before it received its newer title. He was at that period chiefly attached to rushing streams and highland burns. A. E. Waterlow. 141 “ Sunny Hours” ... ... ... The Artist Mr. Waterlow has rapidly risen to fame by his studious and painstaking manner. Ample private means have relieved him from any temptation to paint “pot-boilers.” and his work receives ample recognition both at the Academy and at the Grosvenor. J. R. Herbert, R.A. 142 “ The Adoration of the Magi” ... C. Gassiott, Esq. “ They found the child with Mary, his mother, and, falling down, they adored him, and opening their treasures, they offered 34 to him gifts, gold, frankincense, and myrrh.” —Gospel of St. Matthew. The volcanic-looking mount to the right is the spot whereon Herod had built a j»alatial fortress, on which mount, within a year of the order issued by him for the massacre of the innocents, he was buried with immense pomp, as described by Josephus. Mr. Herbert’s “ Moses” at the National Gallery has made him very familiar in Melbourne. R. Ansdell, R.A.; d. 1885. 143 “ The Anxious Mother” ... ... E. Fox White, Esq. The late Sir Edwin Landseer heads the list of those English artists who have excelled in the painting of animal life ; and he was also the first To make men feel the links that hold them bound In love, and joy, and grief, with those dumb things, Till hidden depths of sympathy were found, Where human kindness flowed from secret springs. The path he opened up was soon trodden by the late Richard Ansdell, of whom it has been justly observed that “ he contrived to invest his dumb creatures with that look of reality and mobility which appeals to all, whilst in expressing the fiercer and more savage attributes of their nature he is unsurpassed.” Clarkson Stanfield, R.A.; d. 1867. 144 “The Morning After Trafalgar” ... James Price, Esq. It is in a work like “ The Morning After Trafalgar” that Stanfield shows his true power. A heavy gale on the night following that terrific engagement had dispersed most of our prizes, and in the morning the sea presented the impressive spectacle of elemental ruin and naval wreck which is here depicted: the Spanish flagship with not a mast standing, floating like a log on the tumultuous waves, which are strewn with wreckage, other vessels drifting hither and thither, one of them on fire; the sky still scowling with the frown of last night’s tempest, and the whole scene full of desolation and disorder. [See also note to No. 25.] Walter Field. 145 “ The Harrow View from Hampstead” ... The Artist A fine work by Field is also to be seen in the Victorian Loan Collection (No. 118). E. M. Ward, R.A.; d. 1879. 146 “Josephine Signing the Act of Her Divorce”... ... ... ... T. Hine, Esq. [Scene in the grand cabinet of the Emperor Napoleon, at the Tuileries, on the evening of the 16 th December, 1809]. “ In the centre of the apartment was placed an armchair, and before it a small table with a writing apparatus of gold. All eyes were directed to that spot, when a door opened and Josephine, pale, but calm, appeared, leaning on the arm of her daughter. . , Both were dressed in the simplest manner. . . . Josephine’s dress of white muslin exhibited not a single ornament. She moved slowly and with wonted grace to the seat prepared for her, and there listened to the act of separation. Behind her chair stood 35 Hortense, and a little farther on towards Napoleon, Eugene Beauharnais, trembling as if incapable of supporting himself. . . . Then, sitting down, she took the pen from the Count Regnault de St. Jean d’Augely, and signed it ”— Merne's “ Memoirs of the Empress Josephine." “Motionless, absorbed in his own reflections, the Emperor looked on me with searching and anxious eyes” (Josephine’s own words). — Lenormand’s Memoirs. [A key to the portraits in the picture is given on the label of the frame.] All Ward’s pictures are historically interesting for the details of costume and manners of the times depicted. The most familiar example is the Art-Union print of “ Dr. Johnson in the Ante-room of Lord Chesterfield in 1748.” J. F. Hering, d. 1865. 147 “ Tlie Flying Dutchman” ... ... Earl of Rosebery The Flying Dutchman, at three years old, won in 1849 the Derby and the Doncaster St. Leger, ridden by Charles Marlow. OIL PAINTING S— Continued - [IN OUTER GALLERY.] [Note.— Leaving tlie Vestibule, and coming out on to the balcony of the East Nave, the visitor should turn to the right, and follow the outer wall down past the five serial pictures by Mr. Frith, until, at the 9tli picture on the line, No. 148 is reached. The numbers will then be found to follow on in their regular order from left to right.] Tom Lloyd. 148 “ On the Thames: Feeding the Swans” E. Fox White, Esq. J. Henderson. 149 “ Off the West Coast of Scotland” ... E. Fox White, Esq. J. MacWhirtee, A.R.A. 150 “ Harvesting in Arran” ... ... E. Fox White, Esq. W. H. Gadsby. 151 “ Little Mobcap” E. Fox Whi'e, Esq. L. J. Pott. 152 “A Game at Bowls” E. Fox White, Esq. John Burr. 153 “ Children in a Cornfield” E. Fox White, Esq. Keeley Halswelle. 154 “ Italian Contadini at a Shrine” [For note on Keeley Halswelle and on E. Fox White, Esq. this]picture, see No. 68.] 36 E. Beavis. lent by 155 “ Clearing the Wreck” E. Fox White , Esq. 156 “ Still Waters” Stuart Lloyd. E. Fox White, Esq. 157 “ Bad News” Marcus Stone, R.A. E. Fox White, Esq. Mr. Marcus Stone is one of the most scholarly and at the same time popular painters of the Academy. [See note on No. 41 in the Victorian Loan Gallery.] 158 “ Summer” J. W. Oakes, A.R.A. E. Fox White, Esq. 159 “ A Holiday” F. Morgan. E. Fox White, Esq. 160 “ Spring” Mark Fisher, R.I. E. Fox White, Esq. 161 Haynes Williams. “ The Matador’s Wedding” E. Fox White, Esq. Haynes Williams will be remembered as the painter of “ The Spanish Wedding,” which came here to the Exhibition of 1880-81. The Matador is the combatant in a Spanish bull fight, whose function is to cast his scarlet cloak over the horns of the bull when the animal rushes at him, and to display his agility in leaping aside. In the “Wedding” here he is clothed in the gay costume of the arena, but without the scarlet cloak. W. P. Frith, R.A 162 “ The Spider and the Flies” ... H. B. Marsden, Esq. 163 “ The Spider at Home” ... ... H. B. Marsden, Esq. 164 “Victims” ... H. B. Marsden, Esq. 165 “Judgment” ... H. B. Marsden, Esq. 166 “Retribution” ... ... H.B. Marsden, Esq. The above five pictures form a series painted under the title o “ The Race For Wealth.” They illustrate the too familiar story of a shark in a mining “boom.” The first number of the series is “The Spider and the Flies” (No. 162). Here, as in the year of the great South Sea bubble, there are gathered round the villain the widow, the village rector, the country squire, the poor governess, the army officer, the struggling artist, and all the types of the class who would “ make haste to be rich.” The “ salted” ore is being examined by the rector and his daughters, but the rector’s wife, with woman’s keen instinct, seems more cautiously turning to examine the spider’s character. In the second scene of the drama, “ The Spider at Home” (No. 168), that gentleman is seen entertaining the flies, for whom he is 37 weaving the “web that shall enmesh them all.” The glamour of his wealth is here spread as honey to allure them. Mr. Frith has used his own drawing-room to set the scene. In “Victims,” the next tableau (No. 164), the bubble has burst. The daily press and the dropped letter have both brought the unwelcome news at the same moment. In the next passage, “Judgment” (No. 165), Nemesis has enmeshed the spider. He is in the toils of the prisoner’s dock. The village rector is in the witness-box, and is giving evidence on the ore on the desk in front of him; while counsel are examining another specimen of it, and the broken-down lady of title with the pince-nez on the right, who has figured all through the story, is scanning the aspect of the scoundrel in whom she had misplaced her trust. The Court is a careful and exact representation of the “Old Bailey.” The legal gentlemen engaged gave Mr. Frith frequent sittings for him to produce their very faithful likenesses. They are—Baron Huddlestone, Sir Thomas Gabriel, the Clerk of Arraigns, Mr. Avory, Sergeant Ballantyne, Mr. Poland, Mr. Montagu Williams, Mr. George Lewis, and the veteran officers of the Court. “ Betribution” (No. 166), shows the spider in his proper place, taking his morning exercise with the gang in Her Majesty’s gaol. Thesceneis the Penitentiary at Millbank,copied precisely from nature. Mr. Frith has painted two other series in this Hogarthian manner, which, like the present one, have been reproduced by the engraver. The series was originally exhibited at the King-street Galleries, 10 King-street, St. James’s, London, and the Daily Telegraph concluded its criticism upon the pictures as follows:— And so the curtain falls solemnly and impressively upon Mr. Frith’s telling drama; but after a moment’s reflection, mental applause follows the successful work. There can be little doubt about the interest and instruction with which the public will study this painted play. Mark Fisher. 167 “ A Surrey Pastoral” ... ... E. Fox White, Esq. 168 “Early Summer, Surrey” ... E. Fox White , Esq. H. O’Neil, A.R.A.; d. 1880. 169 “Landing of tbe Princess Alexandra at Gravesend, March 7th, 1863” R. Peacock , Esq , M.P. The centre group consists of the Boyal family of-Denmark. E. Hayes, R.H.A. 170 “Fair Wind from the Harbour, Great Yar¬ mouth” ... ... ... ... The Artist J Brett A. R A 171 “The Shallows of Haresdale Cove, Gower” ... Do. Lionel J. Cowen. 172 “ A London Soup Kitchen” ... ... Do. The picture represents an institution for which Australia has happily no need—the interior of a London soup-kitchen in Euston- road, where those who lack food, or any means of subsistence, may have their daily dole of charity. The characters were all selected by the artist in the kitchen itself, and were no professional models. The picture was hung at the Boyal Academy last year. The artist, Mr. 38 Lionel J. Cowen, is a brother of Mr. Frederick Cowen, the musical conductor, and he has accompanied him to Melbourne to practice as a portrait painter. N. Chevalier. 173 ‘ Tlie Convalescent.—Interior of a Buddhist Monastery” ... ... J. Eevolution), he was given a step, and became Viscount Sydney of St. Leonards, in the county of Gloucester. Somewhat earlier in his career, when he was M.P. for Whitchurch, he figured in Goldsmith’s “ Eetaliation,” where it is said of Burke— Though fraught with all learning, yet straining his throat To persuade Tommy Townshend to lend him a vote. He died June 17, 1800. Painted by Hubner. 23. Lieutenant James Grant, R.N.—Commander of the “ Lady Nelson” of 60 tons, on her first voyage of discovery, in 1800 to 1802. She was the first vessel from England to pass through the Bass Strait. He discovered and named the chief points on the Victorian coast west of Port Phillip. 24 Rev. Samuel Leigh.— The first authorised Methodist minister sent out to Australia. Arrived 1815. 25 Captain Matthew Flinders, R.N.—Flinders, as his comrade Surgeon Bass, will ever be memorable as the most dis¬ tinguished and indomitable explorers of the Australian coasts. First landed in Australia in 1795. In the tiniest of crafts, and exposed to extreme danger, he and his co-discoverer achieved wonders in exploration. Fought in Lord Howe’s victory, 1774. Imprisoned in Mauritius, 1803-1806. Died 1814. Painted when he was a boy at school, prior to entering the service. Attributed to G. W. Harlow. 26 Abel Jansen Tasman.— The eminent Dutch voyager who, when in command of a ship fitted out from Batavia, discovered New Zealand and Van Diemen’s Land. Tasman visited numerous southern and other points of Terra Australis, Garrett Jansen, in the “Zeehan,” accompanying him. Dutch artist. Painted in Batavia. 27 Wife of Abel Jansen Tasman. —Sailed with her husband in ship “ Heemskirk,” bound from Batavia on expedition to Terra Australis, 1642. Dutch artist. Painted in Batavia. 28 Peter Van Nuytz, 1623.—He was the Dutch East India Company’s “first merchant” on board the “Guide Qeepaaid,” and sailed more than a thousand miles of west and south-west coasts of Terra Australis in 1627. He is known to have written a work descriptive of his 69 Australian discoveries, but which was prohibited pub¬ lication by the Dutch Government in their desire to hold the country for their ow T n future colonisation. Painted at Amboyna. Rotterdam collection. [To these are now added in Melbourne the following two portraits of the Henty and Fawkner families, who, with Batman, were the most notable pioneers of Victoria; together with the portrait of Admiral King.] 29 Thomas Henty, of Tarring, Sussex.—Father of the Pioneers, Edward and Francis Henty. Exhibited by his daughter, Mrs. Samuel Bryan. Lent by Mr. Frank Henty. Painted by Munday. -30 John Pascoe Fawkner.— Born in 1792; landed in Port Phillip, now Victoria, in 1803 with the Expedition sent out from England to form a settlement in Port Phillip; but in consequence of Governor Collins pronouncing the country “ unfit for human habitation” he went with the Expedition to Van Diemen’s Land. Returned to Port Phillip in 1835 in the “ Enterprise,” and in 1838 started the first newspaper in Melbourne. He may be con¬ sidered the father of the Victorian press as well as of the Metropolis. He was a member of the first Municipal Council of Melbourne, and of the first Legislative body in Victoria. Died 4th September, 1869. Lent by Mr. G. Godfrey. Painted by Worsley, an English artist, who came to Victoria, and was accidently killed by falling from the tower of his house. 31 Admiral Phillip Parker King. Lent by W. Essington King, Esq. Drawn in crayons by Dalton, of Sydney. [Note.— The visitor should now retrace his steps round the balcony to the East end of the Nave, taking on his way the British Architectural Drawings—(page 61)—on the nsrth-east staircase. Proceeding thence to the south-east corner of the Nave, the entrance will be found to the German Art Gallery. But attention may first be given to the following twenty- four pictures sent by the Austrian Commission, which are 70 to be found on the right hand of the doorway by which the visitor enters the German Gallery. They hang at the beginning£of the south-east balcony wall.] AUSTRO-HUNGARIAN PICTURES. Empress of Hunter” Austria’s Favourite 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 44 Cart Horse” 44 In the Kitchen” “ The First Step” “ Surprise” “ Lady in old German Costume” , “Reverie” “ Evening in the Karst Mountains” “ Bull” “ Love’s Whisper” “Cattle at Sunset” 4 4 Fete Champetre” “ Faustus and Faustina” (after Rubens) Tul Menzel 44 A flock of Sheep near Agrado in Italy” G. Ranzoni . Julius von Blaas Julius von Blaas Professor C. von Blaas . V. Raggianini R. Schweninger . R. Schweninger , G. Costa G. Ranzoni . Juliusoon Blaas V. Raggianini .. B. Swoboda ,. Professor Giacomelil 44 Foggy Day in Hungary” 44 On the Riviera ” 44 On the Riviera” 44 Naughty Boy”... 44 Cattle and Sheep from the Alps” 44 Good for Nothing” 44 The Lovers” ... 44 Italian Girl” ... 44 The Glance” ... 44 Bacchus and Ariadne” ... Julius von Blaas Julius von Blaas Julius von Blaas A. Lingone G. Ranzoni R. Schweningen M. Budinslcy R. Schweningen T. Massani G. Wertheimer [Note. —The German Gallery should now be entered by the doorway previously indicated. The numbers begin on the left hand bottom corner of the left hand wall.] 71 [Note.— The Gallery is divided into three saloons by means of two handsome screens with arches. These arches were designed and constructed in Germany by Herr Hoffacker, a Berlin Architect.] 1 “ Christ in Solitary Retirement” ... Marcus Gromvold “ And in the morning, rising up a great while before day, He went out and departed to a solitary place, and there prayed.”— St. Mark i. 35. A class of work intended for the decoration of cathedral churches. The German gallery abounds in them, all manifesting the Protestant spirit of the country of Luther and Melancthon, and divested every¬ where of that Mariolatry which the French or Italian school would be more prone to show. 2 “Winter” ... ... ... Gustav Koken 8 “ Landscape on the Nile” ... ... Ernst Iioerner A moonlight night, with the Temple of Phil® on the opposite shore. 4 “ The Dream of the Well of Rejuvenescence” Ernst Berger A decorative tryptich, representing in its three panels the dream of “ The Well of Rejuvenescence,” and showing the successive transformations in order from the left. The aged, haggard, decrepit old woman in the first panel is the first chapter in the story. The legend tells how the waters of the well could restore the charms of youth to those who were baptised in its waters, if only their life had been a virtuous and charitable one. Our heroine must have had these good qualities to the full, for the little cupids and gay water nymphs represented in the second panel eagerly urge her through the brimming fount, until they reveal her, in the final scene of the third panel, as a maiden in her pristine beauty, triumphantly crowning with garlands the restored suppliant lover of her early happy youth. The picture, which is the largest work in the gallery, is harmonious in tone and decoratively appropriate in colour. 4a “Spring” ... ... Carl Sohn 5 “ The Ortles-group ” ... ... Hermann Schmidt A familiar landscape among the Tyrolese mountains. 6 “ Hermann and Dorothea ” ... Prof. Julius Scholtz Hermann meets the fair refugee, Dorothea, by the well in the garden. He falls in love with her, but cannot obtain the consent of the proud old man, his father, to his marriage with an unknown stranger. 72 ' 7 “ The Son’s Farewell ” ... ... Prof, Carl Hoff This famous artist is already well-known in Melbourne, where he is represented in private galleries. The eldest son is departing for his first battlefield, and his mother is bidding him her last good-bye. In the background stands the father, whose face expresses the strongest manly emotion firmly suppressed. The confidential friend of the family, perhaps the son’s old tutor in arms, waits to accompany the departure. A finely painted work. -8 “ A Stormy Passage” ... ... H. Schnars-Alquist Herr Schnars-Alquist is the Delegate of the German Art Association, who has been commissioned by the German Govern¬ ment with the care of the pictures, and who has so tastefully disposed them. The picture proves him a sailor as well as an artist. No landsman, looking only on the waves from the shore, could imagine or realise, and far less so skilfully depict, the deep blue sapphire of the league-long rollers of a mid-ocean storm. Their depth of transparency and their indigo blackness is known only to those “who go down to the sea in ships,” and it has been revealed in high perfection and full truth in Herr Alquist’s work. He may be seen in a parallel work in No. 243 8a “ By the Mill-stream” ... ...Berthold Paul Forster 9 “ Winter Afternoon” ... ... Joh. Duntze A scene at Gondorf on the Moselle. 10 “ After the Storm” ... ... Prof Hans Gude Professor Gude is a master in “ values” and in colours; his pictures are all painted direct from nature. This noble seashore landscape, depicting the grey lift of rolling thunderclouds “ after the storm,” was painted on the Norwegian coast. The fresh foaming crests of the surging billows, whose fury is only now abating after it has been wreaked on the stranded vessel in the foreground, are depicted with a strength and truth that make them almost redolent of the exhalations of ozone ; we feel the damp mist and foam that is wind-borne upon us, and breathe in their shattered spray the breath of the tempest. The work is a gallery picture, not a cabinet one, and it would be a fine example of high aims to secure for any National Gallery. 11 “ Hay-making in Thuringia” ... Rich Bohm 12 “ A Village near Genoa” ... ... Fritz Vollmy 13 “ Herrencliiem Lake and the Castle” New ... Felix Passart 14 “ A Young Country Girl” ... Prof. Max Michael 15 “ For Father’s Birthday” ... ... Ferdinand Schauss 16 “ A Birthday Present” ... Robert Wartmiiller 17 “The Christ” ... Prof. Ferdinand Keller 18 “ An Old Man” ... ... Prof. Max Michael 73 19 “A Scene of the Carnival of Venice” Friedr. von Putean “ Carno-vale” is Italian for “ Farewell to meat.” It has been anglicised as “Carnival.” The word is properly applied to the festivities which take place in Catholic Italy during the week preceding Lent—a fast when no meat may be eaten. The revelries which mark those festivities have made the word typical of any general rejoicing—so that to “ hold high Carnival” has no longer any connection with the Church Calendar. 20 “ ’Wrestlers” ... ... ... Ernst Zimmermann A picture of very high finish, without being a miniature; extremely correct and exact in its drawing. 21 22 23 24 25 26 27 28 29 “ A Visit of Condolence” ... ... Wilhelm Rogge “ The Forest Inn” ... ... Adolf Schlabitz “ Tlie Abbey Porch, Engelberg, Switzerland” “ A Venetian Lady” “ Evening” ... ... Felix Passart ... Prof. Carl Becker, R.A. E. Korner One of the finest landscapes in the gallery. “ The Valley of the Isar” ... ... Karl Roux “ Prince Bismarck Speaking in the German Reichstag” ... Prof. Anton von Werner This fine work, painted expressly for the Centennial Exhibition, shows us the Beichskanzler, Prince Bismarck, in the German Reichstag, making his famous speech on the Bulgarian question in 1887. This, it will be remembered, involved a question of war between England and Russia. Professor Anton von Werner, the Director of the Berlin Royal Academy, has a world-wide fame for his portraits and pictures of history and genre. He is one of the greatest living German artists/ Landscape—“Windy Morning” T. N. Tjarda van Starkenborgh “ Desdemona justifying her Love for Othello before Brabantio and the Senate of Venice” ... Hugo Kdnig Brabantio. —I pray you, hear her speak; If she confess that she was half the wooer, Destruction on ray head, if my bad blame Light on the man!—Come hither, gentle mistress: Do you perceive, in all this noble company, Where most you owe obedience ? Desdemona. —My noble father, I do perceive here a divided duty : To you, I am bound for life, and education ; My life, and education, both do learn me How to respect you; you are the lord of duty, I am hitherto your daughter. But here’s my husband, And so much duty as my mother shew’d To you, preferring you before her father, So much, I challenge, that I may profess Due to the Moor, my lord. Brabantio. —God be with you !—I have done. Please it your grace, on to the State affairs. — Othello, Act I., Sc. 3. F 74 30 “ Remembrance of Zeeland (Holland)” Paul Hoecker 31 “ Noli Me Tangere” ... ... Alexander Stichart The Latin for “touch-me-not.” The story is told by St. John:— “But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre. . . And she turned herself back, and saw Jesus standing, and knew not that it was Jesus. Jesus saith unto her, Woman, why weepest thou ? whom seekest thou ? - She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away. Jesus saith unto her, Mary. She turned herself, and saith unto him, Master. Jesus saith unto her, Touch me not; for I am not yet ascended to my Father.” A rendering of this scene may also be inspected in our National Gallery. It was purchased at the last Exhibition. 32 “ A Learned Man” ... ... Charlotte von Gavel 33 “ Anxious Moments” ... Prof. Ernst Hildebrand A pathetic picture, beautifully painted, and sufficiently explaining itself as one of the “ short but simple annals of the poor.” 34 “ Landscape at Pollscliacli Carniola” Prof. Andreas Achenbach 35 “ The Lion at the Spring” ... Richard Friese Richard Friese is one of the most famous of German animal painters. 36 “ St. Catharine” ... Hugo Von Habermann St. Catharine is represented in connection with the traditionary sword and wheel. The latter is a memorial of the engine upon which she was to have been torn to pieces by command of the Emperor Maxentius, if an angel had not miraculously interposed. The name of the “ Catharine wheel” still survives as a favourite device in fireworks. 37 “A Bavarian Beer Tap” ... ... Prof. Alois Gabl The Brausclienke is a famous Bavarian institution, akin to the “ first fruits of the vine” in ancient Italy. Young and old and rich and poor all scramble for the first draught of the new-brewed nut- brown ale. 38 “ Watcombe Bay, Isle of Wight” ... Prof. Herman Eschke A favourite subject. There is one in our National Gallery. 39 “ A Spring Evening” ... ... Eduard Weichberger This little picture may be considered one of the best representa¬ tives of the Weimar school. 40 Landscape—“ The Wiesenbacliorn”... Wladimir Jettel A familiar Alpine scene. 75 41 “Highway in Rainy Weather, Hol¬ land” ... ... ...Prof. Herman Baisch Prof. Baisch is one of the most famous of German artists. He is well represented here. 42 “ An Evening on the Roofs of Zanzibar” ... ... ... Fritz Brauer The famous port on the east coast of Africa. Zanzibar has been the starting point of all the great expeditions to the interior from the days of “ King Solomon’s Wives” to the times of Stanley. 43 “ The Osterlake and the Benedictiner- wand in Upper Bavaria” ... A. Metzener 44 “ A Summer Morning on the Beach” Walter Leistikow A very beautiful study of cool early grey morning. 45 “ Cape Arcana” ... ... ... Hans Schleich A cape on the Isle of Riigen, in the Baltic Sea. 46 “Heath—Landscape” ... ... Heinrich Kohnert A scene in Mark-Brandenburg. 47 “A Saturday at Dartreclit (Holland)” Hans Hermann The Dutch are known as a people of scrupulous cleanliness in their households. Every Saturday there is a house-washing inside and out. It is not an unusual custom for the gude-wife, or frau, to wash her “ best room” on Saturday and lock it up all the week until next Saturday night, when the process is repeated. 48 “ On the Beach” ... ... Ludwig Munthe The style of Miinthe’s pictures has been imitated by many, but none reach the master. 49 “ An Autumn Evening” ... ... Eduard Ockel A scene in Mark-Brandenburg. 50 “ A Storm on the High Seas” ... Packard E*chlce,jun. Painted in the North Sea. 51 “Springtime” ... Carl Bennewitz von Loefen, jun. 52 “A Street Scene outside a Christmas f Chr. Ludw. BoJcel Bazaar” ... ... ... ( mann Every figure is executed as finely as a miniature painting—a peculiarity of this artist’s style. 53 “ The Neighbour’s Visit” ... Hendric Nordenberg 54 “ The Kaiser Mountains in the Tyrol” A. Metzener 55 “ Hessian Landscape” ... ... Valentin Ruths 56 “ The Polyphemus” (Isle of Capri) Professor Herman Eschke f 2 76 57 “A Struggle for Life and Death” ... Juliu-s Geertz 58 “ The Tower of Justice of the Alhambra’ ’ (Spain) ... ... ... Felix Possart The Alhambra is the ancient fortress and palace of the Moorish kings of Granada. It lies on a hill on the north of the city of Granada. In Arabic, the name means “ the red.” The outer walls are built of red bricks. The palace was built in thirteenth and fourteenth centuries. The exterior is severe and forbidding. Within, the palace stands unrivalled in the gorgeous splendour of its halls and the exquisite beauty of its decorations. Spacious courts, with marble pillars and fretted ceilings ; partitions, coloured and gilt like the sides of a Stamboul casket, and filagree stuccos of veil-like transparency, all distinguished by airy lightness and grace, are among the main features of this palace of the voluptuous Caliphs of Granada. 59 60 61 62 63 64 “ The Castle Terrace” “ After the Fire” “Hollyhocks” ... “ In the Pastures” “ The Little Mother” “ Moonlight Night on a Dutch Canal” Herman Pohle Adolf Thamm Mary Baas Prof. Albert Brendel Auguste Ludwig Louis Douzette A very famous man in this peculiar style of moonlight effects. The present example has no rival in the gallery: it is a most skilful and beautiful work. Another fine painting by the same artist hangs in the Victorian Loan Gallery. [No. 46, which see, with note thereon.] 65 “ A Farewell” ... ... Moritz Robbeche 66 “ Evening on the Venetian Lagoons” Ludtcig Dill [Note.— The numbers follow on through the archway in the next room.] 67 “A Land-slip” ... . ... Albert Zimmermann 68 “ Moonlight Night” .. ... Hans Schleich 69 “ The Arnmer Lake” Rudolph Hirt du Frenes 70 “A Dairy Maid” Conrad Fehr 71 “Pursued” Richard Friese A lion pursued by Arabs. The movements of the animal have a photographic accuracy. 72 “ A Serious Question” .. ... Otto Kirberg “ The old, old story.” 73 “ Still-life Study” .. ... Conrad Fehr 74 “ Old Berlin” Otto Gunther 75 76 77 78 79 80 81 82 88 84 85 86 87 88 89 90 91 77 “Chestnut Grove” (Valley of the Tessin, Italy) ... ... Prof. Carl Ludwig A landscape of the highest finish. “ The Little Sharpshooter” ... Wilhelm Schutze “ A Saxon Country Girl” ... ... Robert Krausse “ An Autumn Evening” ... ... Muller-Kurzwelly One of the most fascinating of all the landscapes. “ An Agreeable Interlude” ... JeanLulves “The Cloister Garden” ... ... Wilhelm Marc This poetical picture requires no explanation, but it suggests two thoughts, the one by Tom Moore— “ Fond mem’ry brings the light of other days around me; The smiles, the tears, of (early) years, The words of love then spoken ; The eyes that shone, now dimmed and gone, The cheerful hearts now broken!” The other, a more venerable promise— “There is no one that hath left house, or brethren, or sisters, or father for my sake and the gospel’s, but he shall receive an hundredfold now in this time . . . and in the world to come eternal life.” “ A Game of Forfeits” ... Theodor von der Peek “ Children in the Wood” ... “ Three Friends ” Wilhelm Rogge Ferdinand Schauss “ A Game of Draughts” ... ... Hermann Plathner “ The Last Farewell” ... ... Julius Ehrentrant One cannot but pity the poor old man, who is repenting having just slain his comrade in an unfortunate brawl. “ Summer Mist in Devonshire” ... Richard Eschke,jun . “Julia” ... ... ... Carl Noah Bantzer “ A Roman Girl” Herman Schneider “ Spring Time in Swabia” ... Prof. Gustav Schduleber “ A Winter Landscape” ... ... Adolf Schweitzer “ Beneath the Arena” ... ... 0. von Piloty Piloty, who died in 1886, was one of the greatest German artists of the later school of Munich. Many of the best German painters have been his pupils.—'■ His impressive picture, ‘Beneath the Arena,’ shows us the lifeless form of a beautiful girl, the pallor of whose face is heightened by the crimson drapery upon which the martyr’s corpse has been laid. A broken cross had fallen from her nerveless hands, the wrists of which are still bound by cords. There is a look of anguish in the face, which has not yet been replaced by the serenity of death; and a young priest who has lingered behind his com¬ panions, all of whom are ascending the cavernous passage to the upper air, looks down upon the corpse with a sentiment which may be compassion, or may be the pathetic revival of an early affection. The folds of his robe are sculpturesque in their lines, and the draperies of the martyr are not less skilfully painted than her face and arms ; the principal light of the composition falls on these and reveals the hand of a master.”— A. 78 92 “ A Spring Day” ... Friedrich Kallmorgen 93 “Hunters Coming Home—Winter Evening” ... ... ... Conrad Wimmer 94 “ On the Monte Pincio during the Carnival in Rome” ... ... Ad Treidler The Pincian Hill is one of the seven hills on which ancient Rome was built. [See also note on No. 19.] 95 “ The Pier in Gorey Harbour, Jersey” Richard Eschke, jun Some beautiful views of this picturesque Channel Island may be seen on the water-colour screens in the Victorian Loan Gallery. 96 “ A Scythe Forge in Upper Bavaria”... Ernst Nelson 97 “Fruit” ... ... ... Rene Gronland 98 “ First Come, First Served!” ... Fritz Souderland The familiar phrase of the little Whitechapel Arab of “ taking a lunar” has not been interpreted in a picture gallery before, but there is a good deal of humour in its present exemplification. The boy is * not going to let his pet dog forestall him in the first sup from the supper tin. 99 “ Good Morning, Ladies ” William Emele 100 “ A View in the Tyrol ” ... Therese Schulze 101 “ Dutch Fisherman ” German Grobe 102 “ Under the Trees ” Prof. Albert Brendel 103 “ Still Life Study ” Eugen Windmuller 104 “ A Bawler ” A very humorous little picture. Paid Borgmann 105 “ Mount Ortler ” Wilhelm Bode 106 “ Punch and Judy ” Victor Tobler 107 “ Sea Piece—Ostend” ... Professor Adreas Achenbach 108 “ Feeding the Geese” Albert Tschantsch 109 “ The Coy Mistress” Karl Knabl no “Ready!” Paid Hoecker Gun practice on board a man-of-war. small a subject for so large a canvas. Bold and free, but too in “ Heligoland’ Fritz Sturm 112 “ A Woman Frightened by Cows and Goats” Carl Johann Arnold 113 “ Borja Bay, Straits of Magellan” ... Carl Saltzmann 114 “ Flowers” Helene Stromeyer [Note.— The numbers follow on through the archway in the next room.] 79 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 “ View from Svolvaer, Lofoden Islands” Olga Meissner “ Tlie Port of Rapallo, Upper Italy”... August Becker “ The Mowers” ... ... ... Hans Meyer “ No Thoroughfare” ... ... Eduard Ockel “ Leda and the Swan” ... ... T. M. H. Hofmann According to the legend, Zeus visited Leda in the disguise of a swan. She produced two eggs—from one issued Helen, and from the' other Castor and Pollux. The visit of Zeus to Leda in the form of a swan was frequently represented by ancient artists, and it is a perennial theme with the French Salon. “Dressing” “Lizzy and Her Favourites” “ How Shall I Meet Him”... ... C. F. Koch ... Wilhelm Schiitze Frantz Schmid-Breitenbach “ Whitsuntide Decorations” ... Professor 0. Piltz “Ipliigenia” ... ... ... Eduard Hibner Iphigenia was daughter of Agamemnon. After he had slain one of Diana’s sacred deer, the goddess demanded, by the soothsayer Calclias, that Iphigenia should be sacrificed to appease her. When Diana detains the Grecian fleet by contrary winds, the soldiers of Agamemnon insist on the sacrifice. Iphigenia heroically volunteers to die; but in answer to the prayers of her weeping mother, Clytemnestra, she is spirited away by Diana to the temple of the Goddess in the Taurie Chersonese. Here she remains a prisoner- priestess of Diana for twenty years. Being afterwards rescued by her brothers, who have come to carry off the image of Diana, and the boat having been swept away by a storm, Minerva appears as a Bea ex machind and transfers Iphigenia, with the image, to Greece, to establish Diana’s worship there. The picture represents Iphigenia lamenting on the shores of Tauri. “Meditation” ... ... ... Theodor P. Beech “ Your Health!” “ On the Sixth Storey” ... “ Fringpatli at the Brand” A landscape in Saxon Switzerland. C. Boppo Adolf Schlabitz Carl W. Muller “A Horse Market in a German Village” ... ... ... Franz Hochmann Sea Piece .. ... Themistocles von Echenbrecher i t it it i i U it Loen in the North Fjord, Norway” Evening” A Happy Mother” In the Barn” ... Strand of Vilm” A Summer Day in the Forest” Nils Bjornson Moller Johannes Hermes Hermann Sondermann Else von Kaufmann Fritz Brauer , Valentin Paths 80 [Note.— Tlie following numbers, from 138 to 144 inclusive, are hung at the end of the room, above the cornice, close to the ceiling.] 137 “A Girl from Monclisgut” (Isle of Riigen) Hermann liatsch 138 “ The Passage” ... Jos. Schex 139 “ Coming Home” ... Emil Schubach 140 “ Winter Evening” Franz Hoffmann von Fuller sleben 141 “ Landscape in East Prussia” Otto Robe 142 “ A Spring Morning” Felix von Ende 143 “ Sunday Morning” Benyt Nordenburg 144 ‘ ‘ A Bedouin Woman” Ernst Katsch [Note. —The numbers now return again to their usual sequence from the left hand of the wall, set.] underneath the last 145 “ A Wood Landscape” Jos. Rummelsparher 146 “ Ebb-tide, Holland” Jacob Eichhorn 147 “ Field Flowers” Adolf Schlabiiz 148 “An Idyll” Fritz Beinke 149 “ Marburg on the Lalin” ... Gustav Behn 150 “ View of Cologne from Deutz” Franz Stegmann 151 “ Wounded to Death” Carl Joh. Arnold 152 “ Winter Evening” T. W. Turgens 153 “ The Postilion” Friedrich Ortlieb 154 “ Child at Prayer” Laurenz Schafer 155 “ In the Forest” Felix Sclilesinger 156 “After Dinner”... Jean Lulves 157 “Boars” Werner von Kalitsch 158 “ Flowers ” (The Couch of Cleopatra) Hermine von Preusschen Schmidt 159 “ The Ruins of the Cloister of Hude near Bremen” Karl Hummel 160 “ The Narofjord” A. Normann 161 “The Hardangerfjord, Norway” Otto Press 162 “Landscape, with Kassandra” Edmund Kanoldt 163 “Landscape, with Antigone” Edmund Kanoldt [Note.— The last four pictures, Nos. 160 to 163, had not arrived from Germany when this Catalogue went to press.] 81 164 “ The Lake of Fire, Halemanman, in the Kilanea Crater, Hawaii” ... Valentin Ruths An extraordinary night effect. [Note. —To reach the next number, the Visitor must pass the' two photograph bays, and return through the archway to the Central Main Saloon, where the numbers follow on as usual.] 165 “ Cape of Good Hope” ... ... Carl Salzmann 166 “ Left Behind” ... ... ... Carl Johann Arnold 167 “ His Only Friend” ... ... E. Hallatz “ The picture contains the materials for a little romance. A jewelled hand, encircled by a lace ruffle, is thrust out of the dark¬ ness of a dungeon, through the iron bars of an opening near the ground, and caresses a noble dog nestling as near its master as it can, in an attitude as expressive of mingled sorrow and affection and of ineffectual longing to be with him as are its sad eyes and woe-begone face.”— A. The work and the motive remind us of Landseer, and the tech¬ nique is not unworthy of him. A parallel picture will be suggested, that of “ The Shepherd’s Chief Mourner” ;—but that is in a higher plane.—See Buskin's criticism of it. 168 “ The Judgment of Midas ” ... Prof. Theodor Grosse Midas was an effeminate king of Phrygia. Once Pan and Apollo were engaged in a musical contest on the flute and the lyre, Midas was chosen umpire, and he gave his decision in favor of Pan. To punish him, Apollo changed his ears into those of an ass. The figures are beautifully modelled, the composition is finely balanced, and the humour of the scene most characteristically pourtrayed. 169 “ Nasty Little Animals” ... A goblin story, quite in the German vein. Carl Gelirtz 170 “ A Little Gourmand” Paul Borgmann 171 “ In the Kitchen” R. S. Zimmermann 172 “ Departure of Swedish Soldiers from Botlienburg (17th Century) Wilhelm Emele 173 “ An Amusing Story” T. Elirentraut 174 “ A North German Town” Prof. Franz Bunke 175 “ Springtime” ... Heinrich Hartung 176 “ Landscape in Thuringia” J. N. Tjardavon 177 “ Coast at Nervi” C. J. Anding 178 “ Grandmamma’s Pets” ... Hermann Plathner 179 “ Among the Birches, Isle of Biigen” Geo. H. Engehardt 180 “ A Tippler” Martin Wilberg 82 181 182 183 184 185 186 187 188 189 190 “ Church near Nobiallo, Lake Como, Italy” “ Venetian Women Quarrelling” “ Landscape in the Valley of Rhone” “ Coast at Nervi” “ Italian Girl Selling Fruit” “ A Morning Promenade on Baltic Coast” “Reverie” “ Digging the North Sea Canal” A Canal between the North Sea and of Otto von Kamecke ..... Frieds von Puteani the ... Rudolf von Turcke C. I. Anding ... Laurenz Schafer the ... Karl Rettich ... Friedr Emil Klein ... Friedrich Kallmorgen the Baltic. “ Early Autumn” ... ... Robert Warthmuller “Cleopatra” ... ... ... Gustav Meyer Illustrating the suicide of Cleopatra for love of Mark Antony. It is given in the last scene of Shakspere’s play Cleopatra.— Come mortal (To the asp, which she applies to'her breast.) With thy sharp teeth this knot intrinsicate Of life at once untie : poor venomous fool, Be angry, and despatch. 0, couldst thou speak ! That I might hear thee call great Caesar, ass Unpolicied ! Charmian. —0, eastern star ! Cleo. —Peace, peace ! Dost thou not see my baby at my breast, That sucks the nurse asleep ? Char. —0, break! O, break ! Cleo. —As sweet as balm, as soft as air, as gentle,— 0 Antony!—Nay, I will take thee too— (Applying another asp to her arm.) What should I say— (Falls on a bed and dies.) Char. —In this wide world ?—So, fare thee well, Now boast thee, death ! in thy possession lies A lass unparallel’d. _ 191 ‘ ‘ In the Church ” Prof. Max Michael 192 “Mockers” Charlotte Hampel 193 “ A Good Catch” (Isle of Rugen, Baltic) Konrad Ahrents 194 “ Pilot Boat in the English Channel” Julius Huth 195 “The Saltenfjord” A. Normann 196 “ A Village in Mecklenburg" (North of Germany) P. Pflugradt 197 “ The Holy Virgin and Christ” Julius Grun 198 “ The Fisherman’s Hut” ... Pi. L. Zimmermann 199 “Devotion” ... ... Erich Hammer 83 200 “ A Winter Evening” „„ Miiller Kurzwelly A very beautiful work. [See also No. 78.] 201 “ A Girl from Bethlehem” ... Adolf von Meckel 202 “ Moonlight Night, Gulf of Naples”... Fritz Sturm 203 “Pussy” Joseph Schmitzberger 204 “ The Timid Lover” ... Theodor Schmidt 205 “ A Disturber” ... Rudolph Hirt due Frenes 206 “ The Evening Bell” Walter Leistikow 207 “ Puppies” ... Joseph Schmitzberger 208 “A Struggle for Life and Death” ... Richard Frieso Fighting bisons in a primeval forest of old Germany. 209 “ A Norwegian Harbour” ... Fritz Grebe 210 “ A Grecian Maid” ... Albert Tscliautsch 211 “ Boses and Myrtles” ... Constanze Strecker 212 “ The Firstborn” ... Otto Kirberg A charming composition. A happy young mother is fondling her infant, while her rugged and ruddy husband, who is seated by her side, surveys it with that kind of puzzled pride which, as Charles Dickens said, “ an amiable mastiff might be supposed to show if he found himself one day the father of a young canary.”— A. 213 “ The Treacherous Shadow” ... Hans Dahl 214 “ Italian Landscape” .... Alb. Flamm 215 “ A Norwegian Fjord” ... Fritz Grebe 216 “ Isle of Capri” ... ... Prof. Franz Arnot 217 “ Mother and Child” ... Jos. Adolf Grass 218 “ A Noble Family Travelling, Century” 18th ... T. Von Chelminski 219 “ Evening at the Village Pond” ... Chr. Mali 220 “ At the Brook” ... Conrad Reinberg 221 “ Still-life Study” Albert Arnz 222 “ A Friendly Service” ... Heinr Leinweber 223 “ After the Shower” ... Franz Maecker 224 “ Little Neapolitan Girl” ... Fritz Wichgraf 225 “ The Vogelsberg” ... Carl von der Hellen 226 “ Still-life Study” ... Albert Arnz 227 “Fruit” ►.» Elise Hedinger 228 “ Going to School” Theodor von der Beeck 84 229 “ A Country Theatre” ... ... Edward Griitzner Griitzner is very famous for his rapid sketches in oils. The present work is a very clever example of his wonderful facility. 230 “ View at San Remo” ... ... Alfred Zoff The scene of the last illness of the late Emperor. 231 “Flirtation” ... ... ... Maximilian Schafer [Note.—T he numbers follow on through the archway in the next room.] 232 “ Moritur in Deo” ... ... Bruno Piglheim “ He dies in God”—The Christ kissed by the Angel of Death. A very noble and dignified conception. Piglheim was the painter of the great panorama of Jerusalem with Christ at Golgotha. 233 “ Beyond the Pale” ... ... Hans Meyer . The hermit has withdrawn himself from the turmoil of the world, to where beyond these voices there is peace. The deer gather round him as they did round Orpheus and his lute. The cross erected on the tree that overhangs the precipice is a talisman against the approach of trouble from the lower world. There at the top his eyes see clear, Over the mists in this world below. 284 “Awaking” ... Henny Fliigge A pathetic story of the misery of the outcast, suggesting “ the bitter cry” of the London poor. 235 “Landscape” ... Franz Maecker 286 “Naples” ... Chr. Mali 237 “Forest Lake” ... ... Ernst von Bernuth 238 “ A Scene Outside an Osteria in Albano” ... Paul von Bavenstein An “ Osteria” is a small Italian inn. 239 “ A Summer Day” Ernestine Friedrichsen 240 “Partridges” ... Rene Gronland 241 “ Norwegian Fjord” A. Norman 242 “ A Forest Lake in Autumn” Carl Bennettwitz von Loefen 243 “ Shipwrecked” ... ... H. Schnars-Alquist 244 “ Drowned” ... ... ... R. S. Zimmermann 245 “ Evening” ... Hermann Runisiihli 246 “ A Street in Venice.” ... Ruh Linns In the Impressionist style. 247 “ On the Stairs of the Convent of Cochern” (Moselle) ... Heinrich Lessing 85 248 “ Moonlight” Holland) ... _ Paul Riess 249 “ Dutch Pastures” (morning) ...Prof. Hermann Baisch 250 “ Old and Young” ... Prof. Albert Brendel 251 “ Morning at the Forest Lake” ... Karl Rettich SCULPTURE. [The Statuary in marble and bronze is distributed round the rooms and in their centres, in order as nearly consecutive as is possible.] 252 253 254 255 256 257 258 259 260 261 262 263 264 265 “ Moses Destroying the Tables of the Law’’ Ernst Herter Carved in oak wood. “ Love’s Delight” ... ... Th. Heiin Bdumer Cast in bronze, pedestal in red serpentine stone. “Love” ... ... ... Carl Hilgers Statue in Carrara, marble. “ William II., Emperor of Germany” James Uphues Portrait statuette, cast in plaster-of-paris, “ Frederic III., the late Emperor of Germany” ... ... ... Rudolph Schweinitz Statuette, with pedestal cast in bronze. “Statue of the late Emperor William I.” Robert Baerwald Cast in bronze. “ Psyche in Fetters” Statue in Carrara marble. “ Going to Church” Statuette executed in marble. “ Domestic Industry” Sculptured in oak. “ The Goose Thief” Cast in bronze. “ A Boy” Fountain Statue, cast in bronze. Begas is reckoned the greatest of German sculptors. His realistic style and exact study of life have given him his fame. “ Type of the English Race Horse”.*. Heinrich Kiesewalter Cast in bronze. “ Cupid Feeding Young Nightingales” Rudolph Holbe Cast in bronze. “ A Serpent” ... ... ... Heinrich Kieseivalter Cast in bronze. ... Prof. G. Brossmann ... Emil Hundrieser ... M. Vordermeyer Robert Diez Prof Reinhold Begas 86 266 “Echo” ... Cast in bronze. Hermann Hultzsch 267 “ Shepherd’s Boy” E. Schluter Cast in bronze; exhibited by Wesehke Brothers. 268 “ Statuette” Cast in bronze. A. Briitt 269 “ Alexander Reposing” Cast in zinc bronze. 270 “ Portrait Statuette of His Majesty Ernst Herter Frederick III. Alexander Galandrelli Late Emperor of Germany ; cast in bronze, after nature. 271 “ Abraham Offering Isaac” Group cast in bronze. C. von Ueclitritz 272 “ Drinking Boy” ... Statuette cast in bronze. Franz Tubbecke 273 “Aspasia” Cast in zinc bronze. Ernst Herter 274 “ One of our Boys” Cast in bronze. 0. Schweitzer 275 “ The Sly Jocko’ Cast in bronze. Paul Werner 276 “ Dancing Bacchante” ... _ Cast in bronze. Pi. Ockelmann 277 “Bacchante and Fawn” ... Cast in brazen metal. Moriz Schulz 278 “ Italian Boy ” ... Cast in bronze, colored. C. von Ueclitritz 279 “Fire Screen, with flower piece ” ... Painted on gold ground. Sophie Ley 280 “Cupid” Cast in bronze. Hermann Hultzsch 281 “ Folding Screen ” Painted in water colors, on raw silk. 282 “ Monumental Bust of His Majesty Marie Hesse William I.” ... Alexander Galandrelli Late Emperor o£ Germany ; east in brazed zinc. 87 288 “FireScreen”... ... ... Carl Johann Arnold' Flower-piece, oil painted. 284 ‘‘Pysclie” ... ... ... Hermann Hultzsch Cast in bronze. 285 “ William I, late Emperor ot Germany” Rudolph Schivienitz Bust, cast in bronze. 286 “ Cecilia’’ ... ... ... Jas. Pfnhl A Girl from the Roman Campagna; marble bust. 287 “An Archer” ... ... ... Jas. Uphues Cast in plaster-of-paris. 288 “ The Messenger of the Greeks an¬ nouncing the Yictory of Marathon’ 1 Max Kruse Statue cast in bronze. The messenger wounded to death, only- uttered the words “Rejoice, we are victorious!” and then died. The statue is a very famous one. The Berlin National Gallery possesses the first cast of it. [The statue had not arrived from Germany when this catalogue went to press.] 289 “Narcissus seeing his Reflection ” ... Johannes Boese Fountain statue cast in zinc and bronze. The above two statues are exhibited in the Piano saloon of the German Court. 290 “ Peasant Girl with Deer ” ... Ernst. Herter Cast in zinc bronze. 290a “ Girl Gleaning” ... ... Heinrich Epler Cast in bronze. 290b “William I., late Emperor of Germany” August Herzig Equestrian statue, cast in bronze. 88 PHOTOGRAPHS & VARIOUS PRINTS. [In the two bays of the end Saloon.] 291 to 302 Photos, by the Berlin Photographic Society, Berlin 303 “ Christ at Mount Calvary” .. .. .. Carl Koepping Etched after Munkacsy ; artist's proof on Japanese paper. 304 “ Morning” .. .. .. .. .. Carl Koepping Etched, after Jules Breton; artist’s proof on Japanese paper. 305 to 307 Various Photographs .. .. .. Franz Hanfstangel 308 “ Helle Bobbe, the Harlem Witch” .. .. Carl Starry Etching, after Franz Hals. The original Oil Painting is in the Berlin National Gallery. 309 “ Cardinal Newman” .. .. .. .. Moritz Klinkiiht Wood engraving for the Illustrated London News. 310 “ The Bight Hon. John Bright” .. .. Moritz Klinkuht Wood engraving for the Illustrated London News. 311 to 322 Coloured Heliogravures, after Original Paintings in the Berlin National Gallery, by the Society of the Friends of Fine Arts, Berlin (Official Publications of the National Gallery of Berlin) (i a ) “ The Prebendary of St. Peter” (Passini water-colours) (6) “ The Pretended Highlander” (Defregger) (c) “ Jesus Christ Cures the Sick Child” (Gabriel Max) (d) “ Baptism of the Posthumous Son” (Carl Hoff) (e) “ Reception of the Refugees by the Great Elector’ (Hugo Vogel) (/) “ Conduct of King Gustav Adolf of Sweden, 1632” (Prof. Helquist) (62 “ Beco'llections of Malmaison” ... The late H. Viger The picture is a group of miniature portraits illustrating the palmy days of Napoleon’s First Consulship. The portraits, be¬ ginning from the left, are those of Emilie de Beauharnais (Mdme. de Lavalette), Julie Clary (Mdme. Joseph Buonaparte), Pauline (widow of Leclerc), Mdme. Devaux (maid of honour), Mdme. de Lueay (maid of honour), Buonaparte (First Consul), Josephine (Madame Buonaparte), Hortense (Mdme. Louis Buonaparte), Caroline (Mdme. Murat), Mdme. Darberg (maid of honour). *63 “ The Valley of Optevoz” ... ... C. Beauverie [Medal, third class, 1887 ; second class, 1881.] 64 “ Algerian Girl Playing the Darbouka” C. Landelle [Medal, first class, 1846 ; third class, Exhibition, Paris, 1855.] The Darbouka is an Arabian musical instrument. [See note to No. 55.] 64a The Connoisseurs” T. Jourdan 65 “ Christmas Fare” Mdle. Julie Crouan 66 “ The Forest of Fontainebleau” H. Defaux [Medal, third class, 1874 ; second class, 1875 ; gold medal, Melbourne, 1880.] 67 “Chrysanthemums” The best flower study in the gallery. . Mdle. Julie Crouan 68 “ Taking Shelter from the Storm” .. . T. Jourdan 69 “Spring” Paul T. Poirier 70 ‘‘ Mill of La Croux” Olivier Cheron 71 “ Around the Fountain” ... [Medals, 1862 and 1863.] J. Richomme 72 “ Child and Goats” D. U. N. Maillart [Grand Prix, Rome, 1864 ; medal, 1870 ; medal, second class, 1873 ; medals Exhibitions of Vienna and Amsterdam.] 73 “ Sea Fish” ... ... ... Dominique Rozier [Medals, third class, 1876 ; second class, 1880.] Still life is, of course, thoroughly “academic,” and therefore truly French. The study of mussels and seafish is good enough for an old Dutch master. 74 “ In the Snow” ... ... ... G. E. Frere [Medal, third class, 1883.] This picture strongly resembles the “Death of Coco,” in our National Gallery. 75 “Paquita” ... ... ... A. M. Laliaye [Medal, third class, 1886.] 76 “ Boses and Butterflies” ... ... E. H. Laporte [Third class certificate, Melbourne, 1880.] E. H. Laporte will be remembered by his very popular painting of the Levite’s wife in 1880-81, which obtained for him the third-class certificate of the Melbourne Exhibition. This is one of the few works of all the nude studies which, with its cupids and roses, have any pretentions to prettiness or pleasantness. 138 77 “ Tropical Fruit” ... ... Avice du Buisson 78 “ Tropical Fruit” ... ... Avice du Buisson 79 “Tropical Vegetables” ... ... Avice du Buisson [Medal, Col. and Indian Exhibition, London, 1886.] 80 “ Cemetery on tlie Sea Shore” ... P. E. Berton [Hon. mention, 1885.] 81 “Tlie Tops of the Briars (Isle of Noirmoutier, Vendee)” ... E. V. Bourgeois-- [Medal, second class, 1885.] 82 “ Summer” ... ... ... E. A. Guillon A picture exhibited in the Paris Salon in 1886. 83 “ Tlie First Rendezvous” ... ... E. Legeune Two lovers meeting for the first time after “ engagement.” 84 “Evening Effect” . ... ... E. R. Menard [Mention, 1887.] 85 “An Affair of Honour” ... .. Emile Bayard [Chevalier of the Legion of Honour..] [See note to No. 4.J 86 “ Entering the Bath” ... ... Mdle. M. Arosa This picture hangs in the recess opposite the photographic pavilion, at the other end of the gallery. It is the largest nude figure of the collection, but it has no pretensions as a composition, and merely represents an undressed woman stepping into the bath at the massage establishment of Dr. Beni-Barde. WATER-COLOURS AND PRINTS. [Note.— These will be found, commencing to the left of the doorway, opposite Messrs. Johnstone and O’Shannessy’s Pavilion.] 87 “ House at Chateaudun” ... ... E. S. Chastel Water-colour. 88 “ The Heroes of the Village” ... Doret E. Mathey Etching, after Munkacsy. (Medal, third class, 1883 ; second class, 1887 ; Amsterdam, 1883 ; Antwerp, 1885.) 89 “ Honfleur” ... ... ... M. Cour ant (Medal, 1870 ; second class, 1887.) 90 “ Low Tide at Havre de Pas, Jersey” Mme. G. Gauthier Water-colour. 91 “ Mignon” ... ... . . A. Lamotte Alter Jules Lefebvre. (Medal, third class, 1877 ; second class, 1880 ; first class, 1883 ; Amsterdam, 1883.) 134 ■92 “ Visit of the Baby” ... ... C.L.Courtry (Medal, 1868 ; third class, 1874 ; second class, 1875 ; honour medal, 1887.) 93 “ Jesus in the Garden of Olives” ... A. Bida (Medal, second class, 1848; first class, Exhibition, 1855 and 1867.) 94 “ Hollow Road at Montmorency” ... A. Domois 95 “ For Father’s Birthday” ... Etching, after Munkacsy. (Medal, second class, 1878.) 96 “ Stranded Boats” 97 “ The Two Families” Etching, after Munkacsy. (Medal, second class, 1887.) 98 “ Beau Bassin, Mauritius” Water-colour. 99 ■“ Setting Sun at Oban, Scotland” ... 100 “ The Graffard Hall” Lithograph, after Berand. (Medal, third class, 1883; second class, 1887; Amsterdam, 1883.) 101 “ Portrait of Helen Founnent” ... Charles Louis Courtry Etching, after Rubens. F. A. Layuillermie M. Courant F. A. Layuillermie Avice Du Buisson Mine. G. Gauthier A. Lunois (Medal, 1868; third class, 1874; second class, 1875; Chevalier of the Legion of Honour, 1881; medal, 1887. a 02 103 ‘ The Quarrel” ... ... ... F. Bracquemond Etching, after Meissonier’s celebrated picture. (Medal, 1868; second class, 1872; first class, 1881; nonour medal, 1884.) ‘David” ..- ... ... F. Bracquemond Etching, after Gustave Moreau. (Medal, 1868; second class, 1872; first class, 1881; honour medal, 1884.) 104 “ Charlotte Corday” ... ... J. Letoula (Medal, third class, 1884.) 105 “ The Great Grandmother” ... J. Letoula (Medal, third class, 1884.) 106 “ The Hemicycle of the School of Fine Arts, Paris” ... ... ... L. L. Chapon Wood-engraving, after Paul Delaroche. (Medal, London, 1866 ; London and Vienna, 1872 and 1873.) 107 “ The Taking from the Cross” ... A. Bida (Medal, second class, 1848 ; first class, Exhibition, Paris, 1855 and 1S67.) 185 108 “ Westminster Bridge” ... . . F. Buhot Etching. (Medal, third class, 18SS.) 109 “ The Months” ... ••• ••• A. Jacquet Engraving, after Cabanal. (Medal, third class, 1S77 ; second class, 18S1; first class, 1884. 110 “ Westminster Palace” ... ... F. Buhot Etching. (Medal, third class, 1880.) 111 “ Michael Angelo Sleeping” ... A. Bida (Medal, second class, 1848 ; first class, Paris Exhibition, 1855 and 1867.) 112 “ The Last Moments of Mozart” ... A. E. Mathey-Foret Etching. (Medal, third class, 1883 ; second class, 1887; Amsterdam, 1883.) 113 “ Christ before Pilate” ... ... C. A. Waltner Etching, after Munhaesy. (Medal, 1876 ; second class, 1874 ; third class, Paris Exhibition, 1878 ; first class, 1880 ; honour medal, 1882.) 114 “ The Annunciation to the Shepherds” M. II. F. Rapine 115 Portrait of Carl Vernet ... ... A. Jacquet After Lepicie. (Prix de Rome, 1870; medal, third class, 1877 ; second class, 1881; first class, 1884.) 116 “ The Fisherman’s Wife” ... ... A. Lunois Lithograph, after U. Butin. (Medal, third class, 18S3 ; second class, 1887 ; Amsterdam, 1883.) 117 “ Animals on the Banks of a River”._ L. Barillot Water-colour. (Medal, 1880; second class, 1880.) 118 “Eve” ... ... ... L. L. Chapon Wood-engraving, after Armand Berton. (Medals, 186B; London, 1872 ; Vienna, 1873.) 119 “ Bas Reliefs of the Arch of Titus”... A. Dornois 120 “ Bas Reliefs of the Arch of Titus”... Two charcoal drawings. A. Dornois 121 “ End of the Harbour” (Medal, 1870 ; second class, 1887.) M. C our ant 122 “ Scene at Seine-et-Marne” A. Allonge Water-colour. (Mention, 1882 ; medal, Sydney, 1879.) 136 122a “ Under the Shade” ... _ A. Allonge- Charcoal drawing. (Mention, 1882 ; medal, Sydney, 1879.) 123 “Recollections”... ... A. Lamotte Engraving, after Chaplin. (Medal, third class, 1877 ; second class, 1880 ; first class, 1883 ; medal, Amsterdam, 1883. 124 “Milton Dictating Paradise Lost to his Daughters” ... ... C. L. Courtry Etching. (Medal, 1868 ; third class, 1874 ; second class, 1875 ; honourhnedal, 1887.) SCULPTURE. [Note.—T he Sculpture will be found arranged up the middle of the room, commencing at the west end.] 125 “Page” ... ... ... E.C.Houssin (Medal, third class, 1887.) 126 “ Fishing Boy” ... ... Mde. A. Vasselot: (Medal, third class, 1873; second class, 1876; Melbourne, 1880). 127 “Fiociniere” ... ... ... L. E. Lonyepied The Fish-spearer. (Medal, third class, 1880; first class, 1882 ; Salon, 1882 ; Amsterdam, 1883 ; Antwerp, 1885. 128 “ Spring” ... ... ... E. Chatrousse (Medals, 1863,1864, 1865; Knight of the Legion of Honour, 1870.) 129 “ Love, the Conqueror” ... ... G. Michel (Medal, second class, 1875.) 130 “ The Kiss on Horseback” ... A. J. Le Due (Medal, third class, 1879.) 131 “Abandoned” ... ... ... V. A. Basket (Medal, third class, 1882 ; second class, 1886.) 132 “ A Canaanitish Woman” ... Jules Blanchard (Medals 1866, 1867, 1873.) 133 “Reading” ... ... ... E. Chatrousse (Medal, 1863, 1864, 1865.) 134 “Page” ... ... ... E.C.Houssin (Medal, third class, 1887.) 135 “Liberty Enlightening the World” A. Bartholdi This is a terra-cotta replica of the clay sketch for the colossal statue erected on the island at the river entrance to New York harbour, and bearing aloft an electric light which illumines the sea for many miles round. 137 136 Twenty Cameos, in one frame ... Auguste Alfred Vaudet a La Fontaine, cheve, Sardonyx b Socrates, cheve, Sardonyx c Egyptian Head, Sardonyx d Cuvier, cheve, Sardonyx e Moliere, cheve, Sardonyx / Je la tiens (I have her), statuette, Sardonyx g Dance, Sardonyx h Portrait of Wm. R. (wax work) i Terspsichore and Erato, Sardonyx j Je la tiens (I have her), model in wax k Shakespeare (antique stone) l Lord Byron (antique stone) m Virgil, cheve, grenat n Artist, by himself o Woman’s Head, 16th century p Sappho and Cupid (wax model) q Moliere, Sardonyx, relief r Medusa, gilt plaster cast s Hebe, Oriental Sardonyx t Homer, cheve, grenat (Medal, third class, 1870.) 137 “TheTriumph of Amphitrite,” imita¬ tion of old Tapestry ... ... Madame Crivelli Work by a pupil of Madame Mouchette, who has introduced the practice of this art into Victoria. SPECIAL EXHIBITION FROM THE SEVRES NATIONAL MANUFACTORY. Originally established at Vincennes by virtue of a decree of the Royal Council which met at the camp of Boost on the “24th of July, 1745, the manu¬ facture of Sevres porcelain was organised in the first place by a company of capitalists who were almost exclusively interested in farming. This company, founded under the patronage of the Comptroller-General of Finances, by his brother, the Marquis Orry de Fulvy, was re-organised on the death of the latter in August, 1753. The King took a third share in it, and authorised the manufactory, which they were obliged to transfer afterwards to Sevres, to take the title of Royal Porcelain Manufactory of France, and to mark all its productions with this cypher. In 1759 disputes arose between the Royal Commissioner and the company, who, rightly or otherwise, showed themselves but little satisfied with the financial results obtained. An inquiry was instituted, and finally the King, upon the advice of his council, reimbursed those interested, and remained sole proprietor of the manufactory, to which he granted an annual subsidy of 96,000 livres. At this period the manufacture of porcelain was exclusively confined to the products of artificial (or French) porcelain, commonly known as porcelaine tendre (soft porcelain). The various attempts to manufacture porcelaines K 138 kaoliniques, or hard porcelain, similar to those which came from China and Japan, or which were imported from Germany, notably from Meissen, had failed, owing to the absence of the original material (kaolin), which was not yet known in France. It was in 1765 that the first traces of it were dis¬ covered near Alengon, and only in 1768 that Maequer, the celebrated chemist attached to the manufactory, was able to recognise the magnificent deposits of Saint Yrieix, the accidental discovery of which was due to the wife of a poor surgeon named Darnet. From this moment forward the manufacture was entirely modified. For another fifteen years hard and soft porcelain were made simultaneously; but at the close of the century, especially on the accession of Brongniart to the directorship, the manufacture of the latter was entirely abandoned, and was only resumed in 1850 by Ebelmen. The manufactory of Sevres, which has belonged to the State since its acquisition by Louis XV., may be regarded as a school of the Ceramic art without a rival, and which, since its foundation, has materially contributed to the advancement of the porcelain industry in France. It was at Sbvres that the first trials of baking the porcelain by coal heat were made, and that the methods of running were instituted, by which alone are produced cups as thin as an egg-shell, or colossal pieces such as the great Vase of Neptune, which figured in the Universal Exhibition of Paris in 1878. It is to the incessant researches of scholars and artjsts who succeeded that the Ceramic industry is indebted for file pastes, coloured by means of metallic oxides, which resist the high temperature of the furnace; the applications of white paste on a coloured background, which by transparency produce such remarkable cameo effects; the applications of translucent enamels on soft porcelain; the colours of demi-grand feu; the modelled gold, and so many other varieties by which private industry has always benefited. LIST OF SEVRES PORCELAIN EXHIBITS. 1 Egg Vase— Pink ground, blue ornaments by Guillemin 2 Water Jug— Of Etruscan design, grey ground, handles in bronze 3 Potiche Vase, A.B. (second size)— Grey ground, stdrks in paste by Avisge 4 Etruscan Pail— From the Museum ; yellow ground, flowers and birds, by Mbrigot 5 Eteusc&n Vase— From Naples; grey ground, ornamented in enamel, figures in gold in blue cartels by Eafllpt 6 Doceia Vase— Hire ground, ornamented in gold, mounted on carved bronze 7 Gubbio Vase— Green ground, with ornaments by Brurmet, in black, with a green cover 8 Theodore de Bry Vase— Whits ground, ornaments in blue and gold 9 Flower Pot Vase, A.B.— Sa^green ground, shooting and fishing scenes by Doat 10 Ste]3ffcraaus Vase— Deep red ground, landscape in gold by Hallion 11 Stephanus Vase— Yellow ground, gold filaments ; Howdon Vase, blue ground, fancy ornaments, gold filaments 12, 13 Two Delafosse Vases — Salmon ground, landscape by Brunei 139 14, 15 Two Turpinkan Vases— Coloured ground, stand in bronze 16, 17 Two Vases of the Persian bottle shape— First size, pink ground, with brown bands and gold filament 18 Chinese Bouquet Holder— Cut work; ground, green and gold 19 Kivoli Cup— White ground, gold ornaments 20 Urbino Cup — Pink ground, ornaments in ruby enamel 21 Bust of the Bepublic, by Carrier-Belleuse 22 Cup— Blue ground, gold filaments 23 Chinese Coffee Cup and Saucer— In network, the meshes filled in with gold 24 Indian Vase — Grey ground, ornaments in gold 25 Tarentum Cup— Blue ground, gold ornaments; enamel figures in yellow ground, with gold tracery 26 Tarentum Cup— Ornaments in enamel, and figures 27, 28, 29 Three Groups of Children, by Larue 30, 31 Two Figures of Cupid, by Falconnet 32 Figure- Bather amid rushes 33 Group— Cupid with a grinding-wheel 34 Group— Pendant to the above 35 Pedestal- Blue ground 36 Ash Tray— Gold ornaments ; subject in camaieu, thrown up with gold 37 Tristan Vase— Blue ground, gold filaments 38 Peyre Coffee Pot— Figure in camaieu 39 Sugar Basin 40 Milk Jug. 41 Two Cups and Saucers; the set decorated by Mdlle. Moriot 42 Ash Tray— Blue ground, ornaments in camaieu, thrown up with gold 43—48 Coffee Service— Flowers and birds in colour, by Gely ; consisting of one tray, one coffee pot, one sugar basin, one milk jug, two cups and saucers 49, 50 Two Delhi Vases— Blue ground, gold ornaments 51 Larue Vase— Brown ground, gold filaments 52 Kin te Techin Vases— Ivory ground, gold ornaments ; design—“ The Card Party” 53 Kin te Techin Vases— White ground 54, 55 Two Lagene Vases— Fired ground, bronze stand K 2 140 56, 57 Two Nola Vases— Turquoise ground, mingled with dark blue 58, 59 Two Lagene Vases— Pink ground, gold and enamel ornaments 60, 61 Two Fizen Vases— Grey ground, ornaments in gold, figures in ised paste 62 A Dutch Cup— White ground, gold ornaments 63, 64 Two Saigon Vases— Lapis lazuli ground, lions’ heads in gold 65, 66 Two Indian Vases— Fired ground, bronze stands 67, 68 Two Chinese (Pekin) Vases— Ivory ground, gold ornaments 69, 70 Two Indian Vases— Fired ground, bronze stands 71, 72 Two Tripod Vases— With cut-out castels by Damousse, ornaments n gold 73 Nola Vase— Yellow ground, with friezes in gold and enamel 74 Tea Cup and Saucer, decorated by Peyre— Blue ground; border of bell flowers 75 Cup, with Gauffers— Gold filaments 76 Fragonard Tea Cup and Saucer— Blue ground; a border of bell flowers inside 77 Nola Vase— Blue ground; figure in enamel, thrown up with gold 78 Indian Vase— Cream ground, gold and coloured ornaments 79 Peyre Tea Cup and Saucer— White ground; ornaments in gold and enamel [Note.— See also in tlie Annexes, later on, an extensive Art Exhibit by the French Education Department, page 171.] [Note. —The following exhibit of Engravings, &c., by the late firm of Goupil and Co., is placed in the Balcony of the North Transept, on either side of the Recess of the north end wall. It will be best, however, to take the Belgian Gallery next, page 142.] PHOTOGRAVURES, &C. From Boussod, Valadon and Co. (late Goupil), Paris. [Represented by W. R. Stevens and Co., the Fine Art Gallery, 21 Elizabeth-street, Melbourne.] [The numbers are in small black figures on white paper.] 1 Specimens of Photogravure 2 Specimens of Chromo-typogravure 141 3 “ Madame Poliehinelle” (coloured photogravure) 4 “ Madame Harlequin” (coloured photogravure) 5 “ Symphony” (coloured photogravure) 6 Photogravure 7 Photogravure 8 “ The Start for Fishing” (coloured photogravure) 9 “ The Return from Fishing” (coloured photogravure) 10 “ The Boarding School” (coloured photogravure) 11 Typogravure 12 Chromo-typogravure 13 Chromo-typogravure 14 “ The Flowers” (fac-simile of water-colour) 15 “ The Jewels” (fac-simile of water-colour) 16 “ The Double Star” 17 “The Singing Lesson” (photogravure) 18 Chromo-typogravure 19 “ The Poet and the Peasant” (photogravure) 20 “ Spring Blossoms” (photogravure) 21 “Coal Barges off Rotherwick” (coloured photogravure) 22 “Banks of the Medway” (coloured photogravure) 23 “ Music, Sacred and Profane” (photogravure) 24 “ The Arrival of the Bride” (photogravure) 25 “ September” (photogravure) 26 “ The Dancing School” (photogravure) [Note,— For tlie next numbers, cross to the other side.] 27 “ The Month of May” 28 “Elizabeth Jacobs” (proof etching on vellum) 29 “ Regina” (proof etching on vellum) 30 “ The Sea-gulls’ Rock” (coloured photogravure) 31 “Before the Storm” (coloured photogravure) 32 “Women and Children First” (photogravure) 33 “The Court Ladies’ Bath” (photogravure) 34 “ The Missing Boat” (coloured photogravure) 35 “ The Night Patrol” (proof etching, on Indian paper) 36 “ The Lifeboat” (photogravure) 37 “ The Bully” (water-colour) 38 “ Chatting” (water-colour) 39 Chromo-typogravure 40 “ An Offer of Marriage” (photogravure) 41 “ A Prior Attachment” (photogravure) 42 “ The Captive” (coloured photogravure) 43 “ The Wedding” (coloured photogravure) 44 “ The Christening” (coloured photogravure 45 Photo-typogravure 46 “ Triumph of Ariadne” (photogravure) 47 Chromo-typogravures 48 Photo-typogravures 49 Photo-aquatints 50 “ Variations on a well-known Theme” 51 “Symphony” 52 “Water-nymph” 53 Glass Show Case, containing Illustrated Volumes—Figaro Salon, Cendrillon, Barbe Bleu, &e. 54 Glass Show Case, containing Illustrated Volumes—English Art, Evangeline, Holbein, &e. [Note. —Go now to Statuary on page 149.] 142 [Note. —Entering the Belgian Gallery by the Archway leading from the French Gallery, the Visitor will find the numbers beginning at the left hand bottom corner, at the side of the farther doorway at the East end.] 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 OIL PAINTINGS. “ The Flower Girl of Trieste” ... Jean Portaels “Sheep” ... ... ... Corneille Van Lemputten “ The Fisherman’s Daughter” (Holland) Henry Bource “Instruction at the Veterinary School, Brussels” “ The Fencing Lesson” ... “ A Woman Cutting Cabbages” “ Edge of a Wood” (landscape) “Gladiolus” “ A Waterfall in Norway” “ Wedding Gifts” “The Pond” (evening) “ Entering a Gondola” The hansom cab of Venice. Emile Seeldrayers Louis Van Eyelen F. M. Van Acker Fordinand Andriaenssem Jane He Hemptine ... Hippolyte Van Soorn Desire De Keyhel Henry Rul ... Jules Van Keirsbilck “ View of Couvin” (Ardennes) “ The Shoeing Smith” “Burglit on the Scheldt” ... ... Henry De Frames Andre Plumot ... Euplirosine Bcernaert Youth” ... ... Emanuel Van den Bussche “ The Winner of the Race for Oxen in Brasschaat” ... “Cornflowers” ...■ “ The Willows” ... “ The Hollow Road” “ View near Dinant” “A Herd of Cows in the Ardennes”... “ Country Love”... “ Water Carriers” (Venice) “ Two Friends” (Bloodhound and Yorkshire Terrier) ... Edmond Van der Meulen “Chrysanthemums” ... ... Desire De Keyhel A very clever bit of work. “ Summer in Brabant” ... ... Theodore Baron “ The Convalescent” .. ... Charles Soubre “ Leopold II., King of the Belgians” Portielje Exhibited by the Belgian Royal Commission. J. F. Simons J. F. Simons Marie De Villermont Andre Plumot Joseph Van Luppen J. L. Montiyny Jules Van Keirsbilck Hippolyte Wulffaerd 143 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 “ A Shepherd at Rest” ... ... Henry De Beul “ Summer’s Morning” (Ardennes) ... Theodore Baron “Musicians Travelling” (Naples) ... HippolyteWulfinerd “ The Lilacs” ... ... ... Camilla Triest “ Tlae Faithless” ... ... Theodore Gerard A discarded lover, leading her little child, upbraids the faithless bridegroom as he is leaving church. “ In the Forest” (Snow) ... ... Henry Van Sehen “ Fislierwomen” (Holland)... ... Felix Cogen “The Mandolin” ... ... GeorgetteMeunier A favourite musical instrument of the times of the Troubadours. “A Flemish Interior” ... ... Ernest Slinyeneyer In imitation also of the old Flemish Masters. Chairman of the Belgian Fine Arts Committee, Centennial International Exhibition, Melbourne; Commander of the Order of Leopold; Commander of the Legion of Honour. “ The Fish Market at Genoa” (Italy)... Jacques Carahain “ At Prayer” ... ... ... Emile Delperee Knight of the Order of Leopold. “ Outside the Divorce Court” ... Auguste Bmrotte A fair respondent interviews counsel as he is leaving tk'a court. “Consolation” ... ... ... Edgard Farasyn A pretty nursery piece ; baby wiping her sister’s eyes to console her for hey broken tea-things. “ Autumn’s Evening Fogs” (Ardennes) Theodore Baron Knight of the Order of Leopold. “ Home in the Campine” ... ... Stanislas Bo.udry “ A Ploughman at Rest” ... ... Charles Tschaggeny The artist will be remembered as the painter of the thrilling picture of “ The Stable on Fire,” purchased at the 1880 Exhibition for the South Australian National Gallery. “A Sylph” ... ... ... Emile Claus Rather a ballet dancer. “ At Rest” ... ... ... Auguste Duel Troupe of dancing girls resting during the interlude. “View in the Neighbourhood of Bergen” Hippolyte Van Soom “ Hunting Scene” ... Joseph Van Severdonck “Still-life” ... ... J. M. Ryssens de Lauv “Waiting” ... .... ... Ernest Slinyeneyer [See note on this Artist in No. 38.] Landscape— “ The Downs” [Campine) “ Bouquet of Pinks ’ “ Chlaoutchia Conjuring in a Harem” (Algery) 11. G. E. Hoorickx* Jane De Hemptine J. j B. Huysmans 144 55 56 57 58 59 60 61 62 68 64 65 66 67 68 69 70 71 “Before St. Peter’s Church” (Rome) Andre Hennebicq A scene on the steps of the great cathedral of St. Peter. The English tourists to the left may be noticed examining with their glasses the sculpture of the facade, not visible in the picture; on their right, and down below in the right-hand foreground, are the footmen and lacqueys, taking their holiday with the same inde¬ pendent freedom as their masters. The only thing, besides the steps, to indicate the neighbourhood of the cathedral is a procession of monks, of which we just catch a glimpse through the crowd. Knight of the Order of Leopold. “In the Snow”... ... Edmond De Pratere The Boulevards in Brussels. The artist will be remembered as the painter of the famous similar scene of “ Horses in the Snow,” exhibited at the exhibition of 1880-81, and purchased for the South Australian Art Gallery. Knight of the Order of Leopold. “ Cows Drinking” ... ... Edmond De Pratere “ View of Cordova ” ... ... F. A. Bossuet A Spanish town on the River Guadalquivir. Commander of the Order of Leopold. Not for competition. “The Gate of Anderlecht, Old Brus¬ sels” (1600) ... “ The Hollow Road” “ A Bouquet of Flowers” ... “ The Wharf at Doel” (Holland) “ In the Forest” Victor Vervloet Henry De Belli Georgette Meunier Frans Van Lemjmtten Jagues Janssens “ A Spring Harvest” ... Marguerite Jeanne-Stroobant Study of lilacs in an old garden hat and a watering pot. “ Compulsory Education” Theodore Gerard The little truant boy has been returned by his father, the black¬ smith, to the authority of the village pedagogue, standing at the steps of the school door. “ The Enchantress” ... ... Leon Herbo “ Marsh in the Campine”... ... E. J. B. Plasky Autumn. “ Widows and Orphans” ... ... Felix Cogen A scene at Katwijk, Holland. The women and children of a poor fishing village receiving their dole of charity from the village pastor. Knight of the Order of Leopold. “Deception” ... ... ... Alexandre Struys Has the shy little girl at the old grandmother’s side brought her back the wrong change ? Perhaps—it is difficult to say. “ A Picture of a Stallion” ... ... Charles Tschaggeny [See note to No. 45.] “ The Last Days of the Virgin at Jerusalem” ... ... ... J alien de Vriendt After the Saviour’s resurrection, His immaculate mother lived in the house of St. John, on the top of the terrace. Thence she could gaze on the temple and its precincts, where her Son had taught; on Calvary, where He suffered ; and on the Mount of Olives, whence 145 He ascended into the heavens. By her side sits James, the brother of the Lord, reading a book of the law and the rolls of the prophets. Knight of the Order of Leopold. 72 “ The Harbour of Iviza” (Balearic Islands) ... ... ... F. A Bossuet Commander of the Order of Leopold. Not for competition. 73 “ Leopold I.” After Winterhalter. Exhibited by the Belgian Royal Commission. 74 “ A Scene of the Spanish Fury at Antwerp, 1576” ... ... Karel Ooms A wedding feast was rudely interrupted. Two young persons, neighbours of opulent families, had been long betrothed, and the marriage-day had been fixed for Sunday, the fatal 4th of November. The guests were assembled, the ceremony concluded, the nuptial banquet in progress, when the horrible outcries in the street proclaimed that the Spaniards had broken loose. Hour after hour of trembling expectation succeeded. At last a thundering at the gate proclaimed the arrival of a band of brigands. Preceded by their captain, a large number of soldiers forced their way into the house, ransacking every chamber, no opposition being offered by the family and friends, too few and powerless to cope with this band of well-armed ruffians. Plate chests, wardrobes, desks, caskets of jewellery were freely offered, eagerly accepted, but not found suffi¬ cient; and to make the luckless wretches furnish more than they possessed, the usual brutalities were employed. The soldiers began by striking the bridegroom dead. The bride fell shrieking into her mother’s arms, whence she was torn by the murderers, who imme¬ diately put the mother to death, and an indiscriminate massacre then followed the fruitless attempts to obtain by threats and torture treasures which did not exist. The bride, who was of remarkable beauty, was carried off to the citadel. Maddened by this last outrage, the father, who was the only man of the party left alive, rushed upon the Spaniards. Wresting a sword from one of the crew, the old man dealt with it so fiercely that he stretched more than one enemy dead at his feet; but it is needless to add that he was soon despatched. Meantime, while the party were concluding the plunder of the mansion, the bride was left in a lonely apartment of the fortress. Without wasting time in fruitless lamentations, she resolved to quit the life which a few hours had made so desolate. She had almost succeeded in hanging herself with a massive gold chain which she wore, when her captor entered the apartment. Inflamed, not with lust, but with avarice; excited, not by her charms, but by her jewellery, he rescued her from her perilous position. He then took possession of her chain and other trinkets with which her wedding dress was adorned, and caused her to be entirely stripped of her clothing. She was then scourged with rods till her beautiful body was bathed in blood; but at last—alone, naked, nearly mad—was sent back into the city. Here the forlorn creature wandered up and down through the blazing streets among the heaps of dead and dying, till she was at last put out of her misery by a gang of soldiers.— Motley's “Dutch Republic" (Edn., 1868), p. 640. The picture is perhaps the most horrible in the Exhibition, but one of the very best paintings. It is well suited for a public gallery, but not adapted for the decoration of private houses. 75 “ Spring Flowers” ... ... Camilla Triest 146 76 “ View of Peterslieim” ... ... Euphrosine Beernaert 77 “Delilali” ... ... ... CesareDell' Acqua “ And it came to pass afterwards, that Sampson loved a woman in the valley of Sorek, whose name was Delilah . , . and he told her all his heart, and said unto her, There hath not come a razor upon mine head ; for I have been a Nazarite unto God from my mother’s womb; if I be shaven, then my strength will go from me, and I shall become weak, and belike any other man. . . . And she made him sleep upon her knees ; and she called for a man, and she caused him to shave off the seven locks of his head; and she began to afflict him, and his strength went from him. And she said, The Philis¬ tines be upon thee, Sampson. And he awoke out of his sleep, and said, I will go out as at other times before, and shake myself. And he wist not that the Lord was departed from him. But the Philis¬ tines took him, and put out his eyes, and brought him down to Gaza, and bound him with fetters of brass ; and he did grind in the prison house.”— Book of Judges, chap. xvi. Probably one of the most fitting conceptions of Delilah that has yet been realised. 78 “ The Schoolboys’’ A game of snowballing. Henry Van Seben 79 “ Marine View in Flanders” Theodore Baron 80 “Still Life” J. M. Eyssens De Lauv 81 “ The Village of Argentan” .. Louis Bullerkotten 82 “ Autumn in Rainy Weather” .. E. J. B. Plasky 83 “ A Pasturage at Willemsdorp J J (Holland) ... E. Van Damme-Sylva 84 “ A Landscape in Flanders” ... From T an Damme 85 “Sheep” ... .. Corneille Van Lemputtsen 86 “ A Flemish Interior” Mathilde Paulin 87 “ The Coquette”... ... Mathilde Paulin 88 “ The Heckler” ... ... Joseph Van Snick 89 “ The Brush-maker” Willem Albracht This and No. 88 are two illustrations of life among the poor in the manufacturing districts of the great towns of Europe. 90 “ The Old Fisli Market in Antwerp” Edgard Farasyn 91 “ Mittenbergen” (Tyrol) ... ... Edouard Geelhand 92 “ The Duke John IV. and the inhabi¬ tants of Brussels in arms, claim¬ ing their privileges (1422)” ... Emile Wauters Such scenes were of frequent occurence in the early history of the Low Countries. It is difficult to trace the story of this particular revolt, but in an old volume, “ Histoire Belgique,” in antique French, in the Public Library, Jean IV. is given as the Duke. of Brabant, in 1422. Commander of the Order of Leopold, Officer of the Order of the Legion of Honour, Commander of the Order of Merit of Prussia, &c. [Note. —The Belgian pictures are now continued around the west wall of the Northern Transept.] 93 Landscape—“ View at Remoueliamp” Joseph Van Luppen A very beautiful piece of work; one of the best landscapes in the Belgian Collection. Professor at the Royal Academy of Fine Arts, Antwerp; Officer of the Order of Leopold. 147 94 “ Men of the Lake Cities” ... Joseph Gerard In the distance will be seen, as it were on a pier stretching from the land, the domed huts which were the ancient houses of the men who were known as the “ Lake-dwellers ” of Switzerland; a race of men of pre-liistoric times, concerning whom many interest¬ ing relics have been found ; traces of their villages, which are built on piles, have been discovered below the present level of the waters. 95 “ The Docks in Antwerp”... Edgard Farasyn 96 “ Under a Pin Wood” Francois Lamoriniere Commander of the Order of Leopold; Academy of Fine Arts, Antwerp. Professor at the Royal 97 “ Flowers and Fruits” P. Van Eqelen 98 ‘‘Cousin, they are listening” A humorous bit of genre. Emile Godding 99 “ Where is your Master?” Frans Van Kuyck 100 “ Baby and Pussy” Edgard Farasyn A nursery-piece, which meets with much popularity. The cat especially is beautifully painted. 101 “Orphans” Auguste Bourotte 102 “ Good Luck” Mary Gasparoly 103 “Oysters” Desire De Kegel 104 “ Spring” Emile Claus 105 “Eels” Edouard Chappel 106 “ A Farmyard” Theodore Verstraete 107 “ A Summer Evening ’ “Interior of a Stable” Theodore Verstraete 108 A. S. Boudry 109 “ After Work” ... [See note on No 89.] Willem Albracht 110 “ Going to School” Fanny Lawmans 111 “ A Future General” Fanny Laumans 112 “ A Woman Beading” A. S. Boudry 113 “ On the Beach” (Blankenbergh, Belgium) L. C. M. De Pape WATER-COLOURS. 114 “ Childish Joys” F. M. Van Acker 115 “ A View near Bouillon” (Ardennes) Victor Uttenschaut 116 “ A Winter Scene” Henry Staquet A clever sketch ; wonderfully slight, but making full use of the transparency of the paper. 117 “ Interior of a Wood near Brussels” .. Victor Uttenschaut 118 “ A View of Bruges” F. M. Van Acker 148 119 Portrait of “ Madame Melba,’’ from the Grand Opera of Brussels ... Emile Wnuters “ Madame Melba.” This is the operatic name which has been adopted by Mrs. Armstrong, the well-known Melbourne prima donna. The likeness will readily be recognised. Done in pastel. Commander of the Order of Leopold and of Merit of Prussia; Officer of the Order of the Legion of Honour, &c. 120 “A Landscape at Calvoet” ... Henry Staquet 121 “ A Corner of the Grande Place, Brus¬ sels, by Electric Light” ... Louis Titz 122 “ A Potato Cleaner” ... ... F. M. Van Acker 123 “ Place Royale, Brussels” ... ... Louis Titz ENGRAVINGS AND ETCHINGS. 124 “ A Frame with Portraits from Nature” A. M. Danse 125 “A Monk at Prayer” (after Memling) A. M. Danse 126 “A Portrait of the Wife of Moreel” (after Memling) ... . L. J. Greuse 127 “ An Etching of Rubens” (after Rubens) A. M. Danse 128 “A Bull’s Head” (after Verwee) ... A. M. Dame 129 “St. Jean” ... ... ... L.J. Greuse 130 “ Sunset” (after Den Duyts) ... A. M. Danse SCULPTURE. the Belgian Main Gallery.] 131 “The Pigeons of St. Mark” A souvenir of Venice. Charles Brunin 132 “ The Lark’s Song” ... Charles Brunin 133 “Winter” A bronze statuette. Polydore Comein 134 “ The Young Mother” A bronze statuette. Polydore Comein 135 “ The Reproof” ... A bronze statuette. Polydore Comein 136 “ A Mother” Marble. C. A. Fraikin 137 “ Love Asleep” .. Marble. C. A. Fraikin 138 “ Bust of Venus Anadyomene” C. A. Fraikin Marble. 189 “ The Sawyer” ... Plaster cast. ... Antoinette Koch 140 “Cinderella” ... Ed. F. Lefevre 149 141 “The Lesson” ... ... Alphonse Van Bearden Bronze group. Professor at the Academy of Fine Arts, Antwerp. 142 “ Bust of a Man” ... ... L. P. Van Bieshroeck Bronze. 143 “ Crecencia” ... ... ... L. P. Van Bieshroeck Bronze bust. 144 “ Isha” (Eve) ... The late J. F. Van den Kerckhove Marble. Exhibited by the sculptor’s son. 145 “ Hope” ... ... ... Frans Van Ljuppen Marble bust. 146 “ Joyous Innocence” ... ... Frans Van Luppen Marble bust. 147 “Triboulet” ... ... Joseph Willems Bronze statuette. Professor at the Academy of Fine Arts, Antwerp. 148 & 149 “ Busts of the King and the Queen of the Belgians” ... Vineotte Exhibited by the Belgian Royal Commission. [Note.—G o back now to page 140 (Goupil)]. [Note.— On the Balcony, at the end of the North Transept, the following statuary is placed.] ADDITIONAL STATUARY. “ Sir Andrew Clarke.” —Aluminium bronze bust, to be set up in Singapore after the Exhibition is closed. Six marble Statuettes, by A. Bartolozzi. —(Carrara, Italy.) a, “ The Gardener b, “ A Bacchante c, “ The Broken Cup,” “ Compulsory Prayer;” n, “The Pipers e, “Drinking the Dew;” f, “ Fidelity.” These exhibits are continued in the Italian Court, downstairs. Stand of Coloured Photos. “ Right Hon. W. E. Gladstone” Wax-plaster bust. “ Lord Salisbury” ... Terra-cotta bust. “Innocence” Marble statuette. “Light” Marble statue. Screen of Proof Engravings, &c. May all d Co. A. Bruce Joy ,. A. Bruce Joy ,. G. Fontana . G. Fontana R. Jolley d Co. [Note.— The circuit of the Picture Galleries has now been completed. But there remains a miscellaneous collection of Victorian work to be inspected in the outer balconies of the Nave, for which see over leaf.] 150 VICTORIAN BALCONIES. VARIOUS PHOTOGRAPHS, DRAWINGS, AND WORKS OF APPLIED ARTS. [Note.— The works are arranged on screens and along the walls. They are all fully labelled, and therefore need no number¬ ing. They begin at the bottom of the south-east staircase by the German Gallery Doorway.] Photographic Views of Echuca ... Eckuca Borough Council Two frames) Photographic Views around Sandhurst Sandhurst Citg Council Sandhurst in 1862 ... ... Sandhurst City Council (Oil Painting) Town Hall, Sandhurst... ... Sandhurst City Council (By Bartlett Brothers) Photographic Views of Sandhurst Sandhurst City Council (Two frames) Sandhurst in 1886 ... ... Sandhurst City Council (Oil Painting) Photographic Views of Sandhurst Sandhurst City Council (Two frames) Residence of Hon. Jas. Balfour ... ... The Owner Photographic Views of the Borough of Sale The Borough Photographic Views of the Shire of Marong The Shire Series of Photographs ... ... ... Mrs. Gray (Late of Nareeb-Nareeb) “ ‘ Barrinbittarney,’chief of the Nooryskurry tribe of the River Hopkins,” from pen and ink likeness by Mrs. Gray “ 1 Joe,’whilst being taught to read by Annie Gray,” from pen and ink likeness by Mrs. Gray “ Sambo,” from pen and ink likeness by Mrs. Gray “ Two Vases,” presented to H.R.H. the Duke of Edinburgh by Mrs. Gray. “ Bowls, Black Swan Eggs,” with pen and ink drawings by Mrs. C. Gray “ Two Vases,” executed by command of H.R.H. the Duke of Edinburgh for Her Majesty the Queen by Mrs. Chas. Gray. “ Bowls, Black Swan Eggs,” with pen and ink sketches of native scenery by Mrs. Gray “ Vase,” presented to Her Majesty the Queen by Mrs. Gray. “ Bowl and Stand, Ostrich Eggs,” with pen and ink drawings by Mrs. Gray “ Photo of Hut,” still standing at “ Nareeb-Nareeb,” the slabs for which were split and the hut built by Mr. Gray in 1840 and 1841 151 [Note. —The works are now continued on the walls beyond the Austro-Hungarian Pictures.] Series of Landscape Photographs ... N. J. Caire a Melbourne Scenery b Melbourne Scenery c Gippsland Scenery d Bush Scenery e Fernshaw Scenery f Buffalo Mountains Scenery Set of Photographs ... ... ... Foster & Martin a Direct Photograph—“Alex. Micheoveitch, Grand Duke of Eussia” b Case of Direct Photographs c Enlargement, finished in water-colours d Photographs e Enlargement, finished in sepia—His Excellency Sir Henry Loch, K.C.B.; Governors of Adjacent Colonies, and Distin¬ guished Visitors f Enlargement, finished in water-colours, and Photographs g Case of Direct Photographs h Do do Clerical Dignitaries i Autotype Enlargement—“ Church of England Grammar School” j Autotype of Child k Do Family Group l Do “Bishop Moorhouse” xi Do Wedding Party, Bupertswood n Views Government House o Wedding Groups, City Views, &c. Set of Engravings Three Coloured Photo. Frames ... Set of Photographs Do do I. Whitehead Miss Reartland Paterson d Co. Batchelder d Co, The Original Drawings for the Picturesque Atlas Company Seventeen Flower Paintings Australian Flower Paintings Four Flower Paintings Decorative Frieze Decorative Frieze Decorative Panels Mrs. Rowan Miss Hammond Miss H. Dalton Hugh Paterson N. Wylie Lyons , Wells, Cottier d Co. [Note.— The following are on screens or stands in the South East Balcony, beginning at the east end]:— Architectural Drawings Engraving Processes ... Engraving and Embossing Engraving and Embossing Case of Hand-painted China Set of Photographs Model of Scots’ Church Stand of Flower Paintings Wood Engravers’ Work ... Filer her d Kilburn — Scott ... G. F. Cant A. Fntwistle Madame Bourdic Tuttle d Co. J. F. Bolyer ... Miss E. Tyndall ... N. S. Calvert 152 Cut-out Mounts, &c. ... ... ... C. J. Fox Six Oil Paintings-—Flowers, &c. ... Franz Bde (Norway) Screen of thirty-two Water-colour Sketches — Murray Done during six months’ life in a rowing-boat up the Murray river from source to sea. Case of Ancient Art China ... ... C. M, Henderson Photographic Views of Collingwood ... Collinywood Council [In the South Staircase] Design for a Ceiling ... ... ... N. Wylie SCULPTURE, &G. [Round the Statue of Victory.] “ Campaspe” ... ... The Exhibition Trustees “ Catching Butterflies” ... ... M. Commons “Prayer” ... ... ... ... M. Commons Sevres Vase ... ... ... The Exhibition Trustees Triumphal Statue—“ Germany Congratulates Australia” ... ... The German Commissioners [Commanding the East Nave.] The works formerly in the Concert Hall have been transferred to screens, and to the dadoes in the West Balcony of the North Transept. They com¬ prise sets of Architectural Drawings by Cyrus Mason, Tappin, Gilbert, and Dennehy, H. G. L. Draper, It. S. Oldacre, G. B. H. Austen, A. Lockwood, E. J. Brown, W. E. Gribble, James Fawcett, Alfred Johnson, and W. Maloney; also an interesting series of Flaxmanesque outlines by Bernhardt Smith; specimens of Wood Engravings by R. Jenny, E. J. M‘Kaige, and R. Bruce (on the Staircase); and various Drawings by D. Kent, J. Gillot, H. Peury, and Mrs. Fry; various Machine and Engineering Drawings, by F. G. Christy, the pupils of Mr. R. J. Terrill’s School of Design, and others, together with a few Photographs and Miscellanies. To the left of the entrance to the Belgian Gallery, hang a series of Deco¬ rative Designs by Messrs. Beeler and Davies, including the original designs made by them for the decoration of the Centennial Exhibition, and which were afterwards carried out, with variations, to the order of the Commissioners. [Note. —This completes the list of all the pictures contained in the Fine Arts Galleries. In addition to these, there are a number of pictures in the various Courts of the annexes which have not passed under the revision of the Fine Arts Committee. They include the Fine Art Sections of New South Wales, Tasmania, South Australia, New Zealand, and Queensland, with some sent from the United States.] 153 [Note.— In all tliat follows, to the end of the Catalogue, the hanging and numbering have been performed by the respective Commissions, independently of the Fine Arts Committee. Various exhibits have been incorporated in the Fine Arts Sections in the Annexes, not properly to be classified as Fine Art. Some of these are included in this Catalogue owing to the difficulty of drawing a hard and fast line after the grouping had been finished by the Commissions of the Countries or Colonies.] [Note.— Leaving the main building by the central archway of the Avenue of Nations, and walking down that avenue towards the north, the first picture court of the annexes is that of New South Wales.] OIL PAINTINGS. 1 “ Pheasants and Gamecock” .. Lent by Sydney P. Jones, M.D. 2 “ Archbishop Polding” Lent by A. J. Riley, Esq. 3 “ The Gap” .. Lent by G. Durham, Esq. 4 Portrait 5 “ Parsleigh Bay” Lent by G. Durham, Esq. 6 Portrait Lent by J. G. Cousins, Esq. 7 “ Town of St. Leonhardt” .. .. .. Lent by J. G. Cousins, Esq. 8 Portrait 9 “ Kiverina” .. 10 “ Italian Lake” Lent by Dr. Cox. 11 “ The Silver Cord Loosed” (after Noel Paton) Lent by Dr. Sydney Jones. 12 “Osborne” .. 13 “ Mount Piddington” Lent by W. Aldenhoven, Esq 14 “ Temptation” 15 “ The Smoker” 16 “ Doctor Laing” Lent by W. Neill, Esq. 17 “ Cardinal Moran” 18 “Consolation” 19 Portrait of a Lady 20 “Charity” .. 21 “ Town of Turgstall” Lent by J. G. Cousins, Esq. 22 “ Christ in the Temple” Lent by Oscar Meyer, Esq. 23 Portrait Lent by Oscar Meyer, Esq. 24 Seascrpe 25 “ St. Cecilia” Lent by Oscar Meyer, Esq. (after) (after) (after) Ansdell W. M'Leod G. Peacock F. Nerli G. Peacock Godfrey Kneller Edmund Rod A. Currie Bo. Goormini G. B. Shaw Unknown G. Bates N. Hahbey D. Wilkie Unknown Gladstone Eyre N. Hahhey Gladstone Eyre N. Habbey Edmund Hod Raphael Guercino Unknown Raphael L 154 26 Portrait ,. .. ». Lent by Oscar Meyer, Esq. • • •• Lanfranco 27 “ Mr. Warwick Gainor” , , Gladstone Eyre 28 Portrait a • G. Stevens 29 “ A Lagoon” . . W. J. Thomas 30 “ Spare Moments” .. .. . . It. G. Rivers 31 “ On the Nepean” . . A. Collingridge 32 “ Tarfcrarn Creek” Lent by G. Durham, Esq. IF. C. Piguenit 33 “ Street in Florence” .. Lent by Colonial Secretary. •• P. Gelomini 34 “Delilah” Lent oy Oscar Meyer, Esq. •• Schaufelain 35 “A Magdalen” Lent by Oscar Meyer, Esq. •• Albrecht Diirer 36 “Sunset” Lent by J. J. Roth, Esq. G. Ferrarini 37 “ The Pedlar” .. Lent by Mrs. John Sands. •• Stacey Marks 38 “ On the Blue Mountains” Lent by W. Aldenhoven, Esq. •• C. Bates 39 “ Lord Carrington” .. # . Gladstone Eyre 40 “ Quaker Rock” (Bront^) Lent by J J. Roth, Esq. •* G. Ferrarini 41 “A Discovery” Lent by J. S. Josephson, Esq. Philip Linda 42 Portrait Lent by Oscar Meyer, Esq. Lanfranco 43 “ A Christmas Box” .. F. N. Habbey 44 “ Fairy Tales” . . Haynes Williams 45 River Scene # . J. H. Worthy 46 “View from Vaucluse Bay” Lent by G. Durham, Esq. W. Peacock 47 “ Bush Track” Louis Frank 48 49 “ Home Thoughts” “ Sir John Robertson, K.C.M.G.” Lent by the Corporation of Sydney J. A. Bennett 50 “ Rev. Dr. Woolley” Lent by Sydney Mechanics’ School of Arts. W. M. Tweedie. 51 “ The Donkey Boy” “Poultry” Lent by J S. Josephson, Esq. E. M. 52 David de Noter 53 “Flowers” .. .. Paoleiti 54 “ Cattle in the Bush” Lent by J. J. Roth, Esq. G. Ferrarini 55 “ Wentworth Falls” Lent by W. Aldenhoven. *• C . Bates 56 “ Harbour View” Louis Frank 57 “ Towards Italy” R. G. Rivers ■ 58 Portrait . . F. Nerli 59 “ The Weeping Rocks” Marion Wilkes 60 “ The Lyre Bird’s Haunt” Lent by J. J. Roth, Esq. •* G. Ferrarini 61 “ The Short-horned Bull” Lent by E. B. Woodhouse, Esq. W. M‘Leod 155 62 “ The Carnival de Venice” .. Lent by E. R. Beattie, Esq. •• Calle Leone 63 “ Wentworth Falls” .. .. Lent by W. Aldenhoven. •• C. Bates 64 “ Rustic Bridge” .. .. Lent by J. J. Roth, Esq. •• G. Ferrarini 65 “ Short-horned Cow” .. Lent by E. B. Woodhouse Esq. » IV. M‘Leod 66 “ Time Delivering Innocence from Evil” Lent by Oscar Meyer, Esq. •• Nicolo Poussin 67 68 ‘‘Pulpit Rocks, Kiama” “ Mountain Scene, Tasmania” Lent by J. J. Roth, Esq. • • Louis Frank G. Ferrarini 69 70 “A Landscape” “ Sydney Harbour” Lent by J. J. Roth, Esq. • • E.L.G. Do. 71 72 “ The Devonshire Hills” “ Marine View” Lent by J. G. Cousins, Esq. • • H. Boese E. Coils 73 74 75 76 77 “ A Lagoon” “ A Bush Hut” “ A Waterfall, Bermeggui” “ Creek Scene” “ The Brothers, Lake Macquarie” Lent by G. Durham, Esq. •• F. H. Worthy Do. Do. Do. Jr, Peacock 78 79 80 81 82 83 “ Basaltic Rocks, Kiama” “ River Scene” “ Villa, Maria Bay, N.S.W. Portrait “ Seascape” .. .. ... “ C. J. Roberts, Mayor of Sydney, 1879” Lent by the Owner. (after) Louis Frank E. S. Stillmann Jr. C. Piguenit Titian A. Ticice Gladstone Eyre 84 85 86 87 88 89 90 “ View in Scotland” .. Figure Subject “ Italian Landscape” “ The Old Mole Catcher” “ Sleeping Bloodhounds” “ On the Campagna” “ Halt after the Chase” .. Kuyten Lent by J. H. Wallis, Esq. .. MacNeil Macleay .. F. N. Iiabbey .. M. Dovanni .. J. A. Bennett (after) E. Landseer .. A. J. Strutt Brower and E. Verbeckboven 91 92 “ Yes or No” .. .. .. “Landscape” .. .. .. Lent by J. Mullens, Esq. •• W. J. Thomas H. Moore 93 94 95 96 “ Harbour Scene, N.S.W.” “• Moonlight on the Cornish Coast” “ Captain Cook” “A Bush Fire” Lent by J. J. Roth, Esq. , . J. H. JJ r orthy Mr. G. Wilkes I\ N. Habbey G. Ferrarini 97 98 :: STSiS'«*«» • • Lent by Jeremiah Wilson, Esq. S. B. Bellingham, 99 “Sir Henry Parkes, K.C.M.G,” Lent by Corporation of Sydney. 100 101 “ On the Hague” .. .. “ Lord Viscount Sydney” .. •• Lent by Corporation of Sydney. • • • • L, Herrmann A.B., Campbell L 2 156 102 “ John Henry Challis, Esq.” . . Lent by Corporation of Sydney. A. R. Campbell 103 “Illawarra” .. Lent by Dr. Sydney Jones. Conrad Martins 104 “ Grand Canal, Venice” L. Herrmann 105 “ Ulysses deriding Polyphemus” Lent by Mi§g Emily Beattie, Middlesex, England. 105a “ Christ’s Head on Wood” Lent by W. Aldenhoven. 106 “ Autumn Evening” .. W. C. Piguenit 106a “ Cottage in Switzerland” Lent by Trevo'r Jones, Esq. J. Poole 107 “ Off the Track H J. Johnstone Lent by National Art Gallery of New South Wales, Domain. 108 “ Boundary Creek” “ Bringing in the Flock” Lent by J. S. Mitchell, Esq. Louis Frank 109 Elder Morris 110 “ A Village Fete” Lent by J. S. Josephson, Esq. Wamig 111 11 Dessert for the Sultan” George Lance Lent by R. Burdett Smith, Esq., Executive Commissioner for New South Wales- 112 “ The Bull Fight” .. Lent by James C. Cox, Esq. A Bourlard 113 “ Alderman A. J. Riley” Lent by the Owner. Newman 113a “ Garden Ploney” 114 “ An Octogenarian” .. F. Nerli 114a Sea View George Maiden 115 ‘‘ Western Island, Tasmania” .. Lent by the Owner. IV. C. Piguenit 116 “ Mount Olympus” Lent by National Art Gallery of New South Wales. IF. C. Piguenit 117 ” Early Morning” Lent by A. J. Riley, Esq. M. Brooks 118 “A Carousal” Lent by Oscar Meyer, Esq. Giorgione 119 Portrait from Life Lent by the Owner. Mary Stoddard 120 “ Signor Lencioni” Lent by the Owner. F. Nerli 121 Portrait from Life .. .. Lent by the Owner. Mary .Stoddard 122 “ The Gamblers” Lent by J. H. Wallis, Esq. Caravaggio 123 “ A Mangrove Swamp” Lent by National Art Gallery of New South Wales. W. C. Piguenit 124 “ St. Jerome” Tinteretto 125 ‘‘Scene on the Ice” Lent by-J. H.'Wallis, Esq. Isaac Ostade 126 “ Cattle” .. .. .. .. (after) Lent by J. G. Cousins, Esq. T. S. Cooper 127 “ The Young Dentist” Lent by J. S. Josephson,,Esq. IF. Hemsley 128 “The Wreath”.. Palma 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 Lanfranco Giorgione Ward David Teniers Van der Neer (after) David Wilkie, B 1 ’ .. Frank Hol^ A ‘ Portrait .. .. .. .. .. Palma Lent by Oscar Meyer, Esq. “ Scene from Faust” .. ■ .. .. (after) Canaletti Lent by B. R. Wise, Esq. “ The Mendicant” .. .. .. .. Murillo Lent by Oscar Meyer, Esq. “ The Holy Family” .. .. .. (after) Rubens Lent by J. H. Wallis, Esq. “ The Farmyard” .. .. .. .. Depratere Lent by J. S. Josephson, Esq. “ Christ’s Passion” “Adoration of the Magi” “ Sheep” .. .. .. .. (after) Lent by W. J. Thomas, Esq. “ The Gamblers” Lent by R. Burdett Smith,.Esq., M.P. “ The Music Lesson”.. Lent by R. Burdett Smith, Esq., M.P. “ The Blind Fiddler” .. Lent by His Honour Judge S. Josephson. “ Lord Carrington” Lent by Lord Carrington. “Portrait of late Chief Justice Forbes” Lent by Sir Frederick Darley, Chief Justice. “ Portrait of late Chief Justice Dowling” Lent by Sir Frederick Darley, Chief Justice. “ Portrait of Sir Alfred Stephen” Lent by Sir Frederick Darley, Chief Justice. “ The late Chief Justice Sir James Martin” Lent by Sir Frederick Darley, Chief Justice. “ Sir Frederick Darley, Chief Justice of N.S.W.7 “ Captain Cook” Lent by Colonial Secretary. “ Her Majesty the Queen” Lent by Municipal Council of Sydney. Portrait of a Lady Lent by Colonial Secretary. J79” “ Mrs. C. J. Roberts, Mayoress N.S.W Lent by the Hon. C. J Roberts. Portrait of a Lady .. .. Lent by Colonial Secretary. no” “ View of Wononora River, nealay” Sa “ The Convict Taylor, of Tay) “ Shepherd Boy” “ Hunter River Scene” P “ English Snow Scene—P . “ French Crust Roses” “ Dafodils” “ Thrushes and Gra “ Orchidex Caladi “ Japanese Lilies” “Landscape” “ Tiles for Man “ The Prima “Native Be: Tiss Bell Gnitzney Winterhalter Picchi Picchi Isabelle Ewing ah E. II eiss, Morpeth Do. Do. Do. Do. Do. Do. Do. Do. W. Peacock Mrs. Boodle Miss R. G. Cooper A. Currie 165 166 167 168 169 170 171 172 173 174 175 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 158 “Repentance” “ Flight to Egypt” “ Pan and the Nymph” “ St. Paul” “ Joseph and Potiphar” “ Bush Beauties” “Australian Wild Flowers” “ Brotherly Love” Painted China Cups .. “ Peach Blossom and Birds” “ Lilies” J. Schmidt Guido Rein Felix Dominichino Ludwico Carrachi Louis Bilton M. Wilkes Mattie McCarthy Miss Weiss Do. Do. WATER-COLOUR DRAWINGS. “ Entrance to the Convent of St. Gregory” (Venice) P. Fletcher-Watson “ St. Wolfron’s Cathedral” (Abbeville) “ Temple of Peace, Rome” Lent by Mrs. John Sands. “Interior of Toledo Cathedral” “ The Hypcethial Temple of Philoe” “ An Oratory” (Palestine) “ Melrose Abbey” (The Tomb of Douglas) “The Summer Pulpit, Jerusalem” “ View of New Zealand” .. .. Lent by W. Aldenhoven, Esq. “ A Threatening Day” “ View of New Zealand” “ View of New Zealand” Lent by W. Aldenhoven, Esq. “ Manapouvi Lake” (New Zealand) “ New Zealand View”.. Lent by W. Aldenhoven, Esq. “ The Gardener” “ View of New Zealand” Lent by W. Aldenhoven, Esq. “ View of New Zealand” Lent by W. Aldenhoven, Esq. Female Figure “ A Girl Knitting” Lent by W. J. Thomas, Esq. “ Camping Out” (Sydney Harbour) “ The Convalescent” .. Portrait of Child “ Tree Study” “ Summer Beach, New Zealand “ Sacred Well (Ogee, Japan) “ View of New Zealand”. Lent by L. Nicholson, Esq. .. Miss Devine .. De Tommassi .. John Smedley .. S. Taylor .. Miss Devine .. W. A. Kerr .. W. H. Raworth .. J. Smedley .. J. C. Hoyte Portrait from Life “ Church Interior” .. .. .. Lent by Mrs. John Sands. .. Miss Devine .. G. P. Neale “New Zealand View” Lent by L. Nicholson, Esq. .. J. C. Hoyte “ Sydney Harbour” .. .. Lent by L. Nicholson, Esq. Do. “ New Zealand View” Lent by L. Nicholson, Esq. Do. Do. _ David Roberts, R.A. P. Fletcher-Watson Do. Do. Do. Do. T. Peerless G. R. Ashton E. Watkin T. Peerless W. H. Raworth T. Peerless Miss Devine T. Peerless Do. 159 32 “Landscape” 33 “ Ocean Beach, Manly” .. Lent by L. Nicholson, Esq. 34 Portrait from Life .. 35 “ Katie’s Letter” 36 Portrait of an Artist .. 37 “Rose Bay, N.S.W.” .. 38 “ Llyn Oywyn, North Wales’’ .. 39 “ Temple Grounds, Nikko, Japan”- 40 “ View of Nepean River” Lent by L. Nicholson, Esq. 41 “ View of New Zealand” .. Lent by W. Aldenhoven, Esq. 42 “ Ship ‘Hawkesbury’ in a Storm” 43 " Rock Peak, New Zealand” .. 44 “ On the Llugwy, North Wales” 45 “ The Marble Gates, New Zealand” 46 “ Old Rye Harbour, Sussex” .. 47 “ Pink Terraces, New Zealand” Lent by W. Aldenhoven, Esq. 47a “Pink Terraces, New Zealand” 48 “ Norton's Basin, Nepean River” Lent by Trustees of Art Gallery, N.S.W. 49 “ Apsley Falls” Lent by Trustees of Art Gallery, N.S.W. 50 “ Hume’s Crags, Liverpool Plains” Lent by Trustees of Art Gallery, N.S.W. 51 “ Illawarra Scene” .. 52 “ Australian Cornfield” 53 “ A Settler's Clearing” 54 “ End of a Creek” 55 “ View of Sydney Harbour” .. 56 “ Rough Sea” (after Peter Graham) 57 “ Norham Castle” (after Turner) 58 “ The Spaniels” (after Landseer) 59 “ Boulogne Pier” Lent by His Honour Judge S. Josephson. .. .. A. Chevrouse .. .. J. C. Hoyte .. .. Mrs. Stoddart .. .. H. J. Taylor .. .. Miss Ironsides .. .. IF. H. Raworth Do. .. .. John Smedley .. .. J. C. Hcyte .. .. T. Peerless .. ., IF. 11. Raworth .. .. Do. Do. Do. Do. .. .. T. Peerless Do. .. .. Conrad Martens Do. Do. .. .. John Smedley Dq. .. .. Do. .. .. W. A. Iieir .. .. Conrad Martens Drawings i E. L. Montefiore on Smoked J Do. Glass. ( Do. .. .. T. S. Robins 60 “Landscape, New Zealand” 61 “ Steamer in a Storm” 62 “New Zealand View” Lent by W. Aldenhoven, Esq. 63 “Bend of the Creek ’ .. 64 “ New Zealand View”.. Lent by W. Aldenhoven, Esq. 65 “ Mill on the Avon” .. 66 “ The Coliseum, Rome” Lent by Mrs. John Sands. .. T. Peerless .. G. F. Gregory .. T. Peerless .. J. R. Ashton .. T. Peerless .. IF. H. Raworth . .David Roberts , R.A+ 67 “ The Coliseum” (exterior view) Lent by Mrs. John Sands. 68 “ Hakoni Taki” 69 “ The Emperor’s Mausoleum” (Japan) .. .. 70 “Playmates” 71 A Group of Seven Autotypes, representing incidents in the plays of Shakespeare Do. John Smedley Do. Mrs. S. Taylor Lent by Sir Henry Parkes, G.C.M.G. 160 72 “A Collection of Drawing's of Australian Birds” Lent by Neville Cazley, Esq. 573 ; “ Blackfellow going up a Tree” .. .. J. Smedley 73a Tiger .. .. .. .. .. Neville Cazley"] CHARCOAL DRAWINGS. “ Bush in the Waikato, New Zealand” .. .. E. L. Montefiore “ Blow Hole, Tonga” .. .. .. .. Bo. “ Waitakerai Palls, New Zealand” .. .. Bo. “ View near Wellington, New Zealand” .. .. Bo. “ Bocher de Notre Dame, New Caledonia” .. Bo. One Frame of Etchings .. .. .. Bo. 74 75 76 77 78 79 WATER-COLOUR DRAWINGS — Continued. 80 “ Squally Afternoon, Bondi, New Zealand” .. J. C. Johnson 81 “ View in the Blue Mountains” 82 “ View in Japan” 83 “ Crystal Palace, London” 84 “ Evening Newsboy” 85 “ Circular Quay in 1803” 86 “ Bunch of Flowers” .. 87 “Advance Australia” 88 “ Waratah and Native Tulips” 89 “Composition” 90 “ Bendigo in 1853” 91 “Ophelia” (Sepia) 92 “ Sydney, from Cleveland” 93 “ Opening of the First Railway, 94 “ The Thames at Chiswick” 95 “ Lake Bathurst” 95a Fleet of Steamships Lent by Messrs. John See & Co. .. JV. J. Thomas .. J. Smedley .. II. Anderson Bo. .. C. Irvine .. L. Becker i.S.W., 1850” .. .. .. J. Rowbotham 96 to 108 Various Drawings in Pencil, Charcoal, Crayon, and Pen and Ink. 109 to 207 Various Architectural Drawings, by John Sulman, James S. White, J. W. Pender, W. Pritchard, W. H. Monckton, J. H. Merriman, W. H. Lees, H. Joseland, Loweish and Moorhouse, Walter Hunt, R. O. Friend, H. M. Robinson, C. Muller, C. W. Goodchap, Morrell A. Kemp. The following exhibits of various Newspapers and Institutions in the colony of New South Wales will be found, each duly labelled, at the entrance to the New South Wales Court: — Toim and Country Journal (proprietor, Alf. Bennett).—The original Drawings from which the engravings are made Picturesque Atlas Co.—The original Drawings from which the engravings are made Sydney Morning Herald (Messrs. Fairfax).—Photographs, Drawings, and various apparatus in connection with the publication Sydney Bulletin .—Original drawings by Phil. May and Hopkins Sydney Daily Telegraph. —Photographs, Drawings, and various apparatus Evening News (proprietor, A. Bennett).—Photographs, Drawings, and various apparatus Photographs will be found exhibited by various firms, and all bearing the labels of the firms ; they need no numbering. C. Marioton BRONZES. 1 “ Playtime” Lent by T. J. Ellis Holt, Esq. 2 “ A Satyr” .. Lent by Oscar Meyer, Esq. 3 Figure of D’Epernon .. .. .. .. Rumondel Lent by T. J. Ellis Holt, Esq. 4 Figure of Joyense .. .. .. .. Do. Lent by T. J. Ellis Holt, Esq. 5 “ Boy Extracting Thom” Lent by T. J. Ellis Holt, Esq. 6 “ La Cigale” .. Lent by Oscar Meyer, Esq. .. Houdon 7 “La Faleoni^re” Lent by Oscar Meyer, Esq. .. Ferville 8 “ Lord Palmerston” .. .. Lent by Colonial Secretary'. .. T. Woollier, R.A. 9 “ Earl Bussell” Lent by Colonial Secretary. .. Do. 10 “ Lord Beaconsfield” .. Lent by Colonial Secretary. .. Do. 11 “ Atalanta’s Race” Lent by T. J. Ellis Holt, Esq. 12 “The Runner” Lent by T. J. Ellis Holt,"Esq. 13 “ Earl of Derby, The late” Lent by Colonial Secretary. .. T. Woollier, R.A. 14 “ Charles Dickens” Lent by Colonial Secretary. •• Do. 15 “ Lord Tennyson” Lent by Colonial Secretary. .. Do. 16 “ Right Hon. W. E. Gladstone” Lent by Colonial Secretary. .. Do. 17 “ Rape of the Sabines” Lent by J. G. Cousins, Esq. 18 “Ernani” Lent by Oscar Meyer, Esq. .. Rumondel 19 “Dona Sol”.. Lent by Oscar Meyer, Esq. .. Do. 19a Medallion of the late W. C. Wentworth, in Bronze Woolner Lent by R. D. Hill, Esq. 19b Two large Japanese Bronze Plates SCULPTURE. 20 “ Aetaeon” .. .. .. .. .. B. E. Spence Lent by His Honour Judge S. Josephson. 21 “Andromeda” .. .. .. .. Do. Lent by His Honour Judge 8. Josephson. 22 “ Sir John Bobertson” .. .. .. A. Simmonetti 23 “Lord Carrington” .. .. .. .. Do. 162 24 “Tamar” .. .. .. Lent by Oscar Meyer, Esq. 25 “ The bister’s Charge” .. .. Lent by Joseph Markby, Esq. 26 “ King Lear” .. .. Lent by Joseph Markby, Esq. 27 “ Eight Hon. W. B. Dailey” .. Lent by President of Legislative Council. 28 “ Hon. John Blaxland ’ Lent by President of Legislative Council. 29 “ Hon. George Wentworth” Lent by President of Legislative Council. 30 “Cupid” .. Lent by Oscar Meyer, Esq. 31 “ Justice Fawcett” 32 “ Doctor O'Connor” .. 33 “ Lady of the Lake” .. Lent by His Honour Judge S. Josephson. 34 “ Sleeping Child” Lent by Oscar Meyer, Esq. 35 “ Child and Kid” Lent by Oscar Meyer, Esq. 36 “ Play Mates” 37 “ Breezy Day” 38 “ Highland Mary” Lent by His Honour Judge S. Josephson. 39 “ Her Treasure” 40 “ Sir Patrick Jennings” 41 Bust—“ Innocence” .. 42 Bust of Lord Carrington 43 Bust of Sir Henry Parkes 44 “ Light” 45 “Innocence” 46 “ Puck” Lent by His Honour Judge S. Josephson. 47 “ Sir Alfred Stephen” Lent by President of Legislative Council. 47b Bust of Right Hon. W. B. Dailey 48 Figure carved out of a block of Marble .. 49 Bust of a Lady 50 Colossal Bust of Capt. Cook 51 Bust of Eight Hon. W. E. Gladstone Lent by Colonial Secretary. 52 Bust of Hon. John Bright Lent by Colonial Secretary. .. D. Le Nave- .. Fontana Do. .. A. Simmonetti .. J. Durham .. Summers .. D. Le Nave .. A. Simmonetti .. Dr. C. W McCarthy .. B. E. Svence .. C. Line .. Dr. McCarthy .. B. Spence .. Dr. McCarthy .. A. Simmonetti .. B. Bushby Do. Do. .. Fontana Do. .. Hosmer .. Simmonetti Do. .. C. Line .. Do. .. G. Sani [Note.— The Fine Arts Court of New South Wales also contains a varied collection of Engravings, Engineering Drawings, Mosaic Work, Artistic Furniture, Articles of Yertu, and various applications of the arts to domestic purposes and to decoration.] 163 TASMANIAN PICTURES- Note.— These have been hung by the Tasmanian Commission, and will be found in the Tasmanian Court, half way down the Avenue of Nations, on the right hand (east) side. As they are distributed in various positions among other exhibits in the court, it would be impossible for the number¬ ing to follow that on the walls, in accordance with the plan of the rest of this Catalogue ; but the numbering given here corresponds to the numbers placed on the pictures.] No. Title. Artist. Exhibitor. 1 Two Views Tasmanian Scenery Piguenit Hon. J. W. Agnew la Tasmanian Scenery Frase Hon. J. W. Agnew 2 Two Views of Hobart Captain Forrest .. H. H. Bailey 3 “ At the Mercy of the Waves”.. S.S. “ Pateena” F. S. Brown F. S. Brown 3a F. S. Brown F. S. Brown 4 Copy of “ The Consultation” .. Alice Can away .. Miss Canaway 4a Copy of “ Little Miss Muffett” Alice Canaway Miss Canaway 5 Two Panels, with Flowers Elle Gaunt Miss Gaunt 6 Two Placques,Tasmanian Scenes “ Cummnos’ Head” .. Mrs. J. W. Graves Mrs. J.W. Graves 7 Piguenit A. J. Hall 7 a “ Huon River” Piguenit A. J. Hall 8 “Yacht on Derwent” Captain Forrest .. A. J. Hall 9 Three Tasmanian Scenes J. J. Higgs J. J. Higgs 10 “ St. Paul’s Dome,” from banks of South Esk River Margaret Hope .. Miss Hope 11 Six Tasmanian Scenes in black and white Piguenit R. M. Johnston 12 “ Duck” Miss Edwards J. J. H. Jordan 13 Landscape, taken from Augusta Road, near Hobart Barbara Lumsden Miss Lumsden 13a Silver Falls, Hobart .. Barbara Lumsden Miss Lumsden 14 Sixteen Views of West Coast, Tasmania Mace E. C. Mace 15 Screen, with Tasmanian Scenery Caroline Maxwell Mrs. Maxwell 15a Tasmanian Scene Caroline Maxwell Mrs. Maxwell 16 Three Portraits R. J. Nicholas R. J. Nicholas 17 Sixteen Views, Tasmanian Scenery .. Piguenit F. L. Piguenit 18 “ Moonlight Scene” .. Miss A. Stewart 19 Aborigines of Tasmania R. Dowling Trustees Mechan¬ < ics’ Institute, Launceston 20 Aborigines of Tasmania B. Dutereau Trustees Tasma- 21 22 nian Museum Truginini (female), Wooreddy (male), Manalagana (male), Tanleboneyer (female). “ Government House, Hobart” Miss Wignall .. Miss Wignali “ Member of Society of Friends” (Portrait) .. .. M. A. Walker .. Miss Walker “ Kangaroo Bluff, Hobart” .. M. A. Walker .. Miss Walker “ Old Fisherman” .. .. M. A. Walker .. Miss Walker 164 No. Title. 23 Pen and Ink Sketch 24 Four Frames of Pen and Ink 25 Four Tasmanian Scenes 26 Thirteen Tasmanian Scenes .. 28 “ Ben Lomond’’ 30 Painting on Glass .. 31 Shells on Porcelain 32 “ Tasmanian Fruit” 33 Three Children’s Heads 34 Two Frames of Flowers, &c... 35 “ Port Arthur” 36 Pencil Drawing 37 “1st VictorianLand Syndicate” Aktist. H. Evans Miss M. Cathcart .. Piguenit .. Rev. C.W. H. Dicker Beauchamp Miss Hewer H. E. Mayson Mrs. L. Meredith R. J. Nicholas W. Penn Smith Robinson Rev. Miss C. Lapp J. W. Burtt Exhibitor. J. Huston Miss Cathcart G. L. Collins Rev. C. W. H. Dicker A. J. Hall Miss Hewer Miss Mayson Mrs. Meredith R. J. Nicholas W. Penn Smith B. W. Woolnough Miss Lapp J. W. Burtt ARCHITECTURAL DRAWINGS. “ Brisbane Hotel” “Colonial Mutual Life Office, Launceston” “ Spring Banks, Longford” Abtist. A. E. Luttrell Corrie and North Corrie and North SOUTH AUSTRALIAN PICTURES. OIL PAINTINGS. No. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 Title. “ The Waning of the Year” “Old Age” .. “ A Relic of the Past” “ Early Morning, Onkaparinga River” .. “Waiting” .. “ Scene off the Coast, S.A.” “ Fruit Piece” Portrait—“ Mrs. Rowland Rees” “Greenfinch” “ Torrens Lake, Sunrise” “ After Rain, Morialta Falls” .. “Bubbles” “ A Bushman” A Portrait—“ Hon. J. Colton, J.P.” “ Laughing Jacks” “ Mount Alexander, from Lake Brenner” “ Lake Wakatipu, from Kinloch Bush” .. “ On the Teremakau, New Zealand” “ Granite Island, Port Victor” (black and white) Artist. .. James Ashton .. James Ashton .. James Ashton .. James Ashton .. Violette Heseltine .. Violette Heseltine .. Violette Heseltine .. Tannert .. C. F. J. Crampton .. John White .. W. J. Williams .. Violette Heseltine Andrew MacCormac Andrew MacCormac .. Miss Benham Edmund Gouldsmith Edmund Gouldsmith Edmund Gouldsmith .. James Ashton 165 No. 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 Title. “ Toilers of the Deep” (black and white) “Rocks, Port Victor”.. “ Four Landscape Views, Glenelg River” “ The Old Barracks, Adelaide”.. “Home News” “ The Quarry Forge” “Life Study” (chalk drawing) Four Water-colour Drawings of Cattle “ Study of a Head” i “At the Well” > (Pastel) “ The Greek Wife” ' “ The late Charles Price, of Hindmash Island” Water-colours of South Australian Coast Scenery “ Brook and Glade” “ Kinloch Bush, Lake Wakatipu” “Mount Alexander, from the Teremakau” “ West Coast Road, New Zealand” “Christmas Cards” (water-colour) “Wild Flowers” (water-colour) “ Wild Flowers” “ Sturt Pea” “ Adelaide from Strangways-terrace” (w. col.) “ King William-street, Adelaide” (w. col.)' “ Rundle-street, Adelaide, looking east” (w. col.] Exliibit of School of Painting (Mrs. L. Tannert) Artist. .. James Ashton .. James Ashton Dr. Wm. M. Campbell George A. Reynolds George A. Reynolds .. Harry P. Gill .. Harry P. Gill .. Hon. J. H. Angas Violette Heseltine John Hood Alex. Q. Murray Rowland Rees, C.E., M.P. Edmund Gouldsmith Edmund Gouldsmith Edmund Gouldsmith Mrs. Smart Miss Wehl Mrs. Strawbridge Miss Fiveash E. Gouldsmith E. Gouldsmith E. Gouldsmith a Miss Armstrong (3 Oils) ; b Miss R. C. Fiveash (4 Oils, 3 Water-colours, and 48 Plates—Native Flowers) ; c Miss A. Laughton (2 Oils and Screen); d Mrs. A. Smart (4 Oils and 1 Water-colour); e Miss G. Fenton (2 Oils); f Miss J. Wilson (2 Oils and 1 Water-colour) ; g Miss Benham (2 Oils) ; h Miss E. Hinde (2 Oils). In addition to these, there are a number of Agricultural and Engineering Drawings, from the School of Design, Adelaide, each bearing their titles on the frame, and a miscellaneous assortment of photographs and works of applied art. NEW ZEALAND PICTURES. [Note.— These have been hung by the New Zealand Commission in their own Court. The Oil Paintings and Water-colours have been grouped in company with photographs and various miscel¬ laneous works of art, chiefly as applied to domestic decoration. In the numbering which now follows, the numbers which are omitted refer to the latter class of work, which does not come within the scope of a Fine Arts Catalogue.] No. Title. Artist. 5 “ Shelly Beach, Auckland” (water-colour) .. J. C. Richmond. 6 “ Takaka Valley, New Zealand” (water colour) .. John Gully 166 No. Title. 7 “Separation Point, Nelson” (water-colour) 8 “ Mount Cook” (water-colour) ., 9 “ Blind Bay” (water-colour) Artist. John Gully John Gully J. C. Richmond [IN BAY No. 1.] 11 Water-colour Painting .. .. .. W. M. Hodgkins 19 *• Captain Cook entering Dusky Bay, 27th March,1773” W. M. Hodgkins -32 to 51 Twenty Water-colour Sketches of the West Coast Sounds .. .. .. .. W. M. Hodgkins Painted for the Union S.S. Company Limited. [BAY NO. 2.] 52 “Napoleon on board the “ Bell^rophon’ Bidding Adieu to France” (etching) .. .. .. L. J. Steele. 53 “ His Only Friend” (etching) .. .. .. L. J. Steele 54 “ The Poachers” (etching) .. .. .. L. J. Steele 64 to 72 Nine Architectural Drawings .. .. R. Lamb 73 “ Leaves from a Sketch Book’ —Twenty-five sketches of New Zealand Scenery, taken in the field .. E. Chapman [BAY NO. 3.] 80 to 99 Twenty Water-colour Drawings, New Zealand Flora .. .. .. .. .. Mrs. Rowan [BAY NO. 6.—OIL PAINTINGS.] 121 “ Curiosity Corner” .. .. .. .. Mrs.McCosh Clark 122 “ Sea Sprite” .. .. .. .. E. Kate Sperry 123 “A Life Study, head of Alderney Cow” .. .. Mrs.McCosh Clark 124 “ New Zealand Birds and Berries” .. .. Emily C. Harris 125 “Bridge of Augustus, on the Mera, Italy” .. E. Kate Sperry 126 “ The Edge of the Bush, North Beach, Greymouth” Norah Gardner 127 “ Our Rose,” a study from life .. ,. Norah Gardner 128 “ Warbrick, a Tarawera Guide” .. .. E. Kate Sperry 129 “ Ohiuemutu” .. .. .. .. E. Kate Sperry 130 “ Merupa” .. .. .. .. .. E. Kate Sperry 131 “ Miss Pussy” .. .. .. .. E. Kate Sperry 132 “ Maori Child” .. .. .. .. E. Kate Sperry 133 “Milford Sound, from the Head” .. J. Douglas Moultray 134 “ Head of Wet Jacket Arm by Moonlight” J. Douglas Moultray 135 “ Milford Sound, from the Entrance” .. J. Douglas Moultray 136 “ Wet Jacket Arm, looking towards the Entrance” J. Douglas Moultray 137 “ Mount Earnshaw, head of Lake Wakatipu” J. Douglas Moultray 138 “ George Sound” .. .. .. J. Douglas Moultray 139 “ Thereby Hangs a Tale” .. .. .. D. H. Turner 140 “Fruit” .. .. .. .. .. D. H. Turner 141 “ Smith Sound, Otago” .. .. .. Mrs. T. Ball 142 “ Dusky Sound, Otago” .. .. .. Mrs. T. Ball 143 “ Bush Scene. Upper Wanganui River” .. E. W. Paton 144 “ The Goatherd” .. .. .. .. Kate Sperry 145 “ Study of Dead Game” .. .. .. Rosa Budden 146 “ Mount Cook” .. .. .. .. Laurence Wilson 147 “ Head of Galileo” .. .. .. .. A. S. Lileri 148 “ Portrait of the Governor of New Zealand” .. Kate Sperry 149 “ Leaving Home” .. .. .. .. Kate Sperry 150 “ Queen White Daisy” .. .. .. Handel A. Gear 151 “ New Zealand Birds and Berries” .. .. Emily C. Harris 152 “ New Zealand Flowers” .. .. .. Emily C. Harris 153 “ New Zealand Flowers” .. .. .. Rosa Budden 167 No. 155 156 Title. Case of Photographic Portraits Case of Photographic Portraits and New Zealand Scenery Artist. F. L. Jones A. Martin [BAY NO. 7.] 161 to 178 Eighteen Oil Paintings, knows as the ivory type process in oils; two Portraits of Ladies; Professional Card .. .. .. .. F. A. Brookes 179 One frame containing six water-colours New Zealand Flowers .. .. .. .. Kate Ogston [Note.— Tlie following numbers are Water-colour Drawings]:— 180 “ Group of Sunflowers” 181 “ The Terrace, Rotomahana” .. 182 “ Port Chalmers by Moonlight” 183 “Mount Cook, West Coast Rosa Budden H. Q. Lloyd H. G. Lloyd H. G. Lloyd [BAY NO. 8.] 184 “ A Calm on the West Coast” .. 185 “ A Westerly Blow, West Coast” 186 “ Midsummer Rollers, West Coast” 187 “ Giants of the Forest” 188 “ After the Stormy Winter” 189 “ Evening” 190 “ Landscape, New Zealand Scenery” 191 “ On the West Coast” 192 “ The Pink Terrace, Rotomahana” 193 “ Mt. Pembroke, from Harrison’s Cove, Milford” 194 “ General view of the Terraces and Mt. Tarawera” 195 “ Tititapu, known as the Blue Lake, as it was before the eruption of Tarawera” .. 196 “ Mount Cook, from the Mountains Overlooking the Tasman” 197 “ The Lower Basins of the White Terrace, Roto¬ mahana” 198 “ Evening, Otago Peninsula” .. 199 Water-colour 200 “ The North Beach of the Kaikoras” 201 “ The South Beach of the Kaikoras” 202 “ South Fiord, Lake Te Anau” 203 Water-colour 204 “ Lake Te Anau” 205 “ Lake Manapouri” 206 Water-colour 207,208 Two Sketches 209 “Purakanui” 210 “ Bush Clearing” 211 “ Across the Marsh” .. 212 “ Creek—Devil’s Gully” 213 " Group of Roses” 214 “ Rhodes Bay, Banks Peninsula” 215 Landscape—“ The Land of the Moa, head of Lake Wakatipu” K. Watkins K. Watkins K. Watkins K. Watkins K. Watkins F. Wright F. Wright F. Wright C. D. Barraud C. D. Barraud C. D. Barraud C. D. Barraud C. D. Barraud C. D. Barraud A. W. Walsh John Gully John Gully John Gully John Gully John Gully John Gully John Gully John Gully E. Chapman Jenny Whimperis Jenny Whimperis Jenny Whimperis Rosa Budden Rosa Budden Rosa Budden G. Sheriff [BAY NO. 9.] 219 to 248 Various Photographs, &c. . A. Bock 168 No. 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 [BAY No. 10.—VARIOUS WATER-COLOURS.] Title. “ New Zealand Flowers, Berries, and Birds” “ Cosmos Peak” “ Study of a Head” .. “ The Grey Valley” .. “ The Bealey” “ Litchfield Cathedral” “ Bush Clearing near Greymouth” “ Greymouth, from Head of Lagoon” “ Old Mill, Dartmoor, England” “Point Elizabeth” “ New Zealand Flowers,” &c. .. “ Mount Earnslaw” “ A Bend on the Avon, Christchurch” .. “ A Ney Zealand Tarn” “ Bed of the Teremakau” “ Part of Litchfield Cathedral” “ Head of Lake Wakatipu” “ Near Lake Wakatipu” “Captain Cook” Artist. Emily C. Harris S. H. Moreton Kate Sperry Mima Gardner Mima Gardner F. A. H. Connell Nora Gardner Nora Gardner Nora Gardner Mima Gardner Emily C. Harris S. H. Moreton W. M. Gibb K. Watkins Mima Gardner F. A. H. Connell G. H. Elliott G. H. Elliott Elizabeth Waters [BAY No. 11.—OIL PAINTINGS.] “ Mustering Merino Sheep, South Canterbury” .. “ Island Bay” .. “ Chiarini’s Tiger” .. .. “ Group of Southdown Sheep”.. Bull—“ Earl of Brunswick” “ Spur of Mount Aspiring” “ Afternoon” “ A Natural History Study” (A Victim of the Keas) Horse, “ Lochiel” “ Hot Lakes District, after the Eruption” “ Mount Cook” (early morning) “ Tawhiao, the Maori King” “ Pink Terrace, Rotomahana” .. “Wairakei”.. “ Champagne Pool, Waiakei” .. “ Geyser, Waiakei” .. “ A Bush Track, Hokitika” “Evening, Lake Mahinapoua” “ Waimakiriri River”.. “ Mahinapoua River” “ An Afterglow, Hokitika” “ Kawarau River Bed” “ Shag Rock, Summer” “ Birch Forest, West Coast Road” “ Oxford Road, Canterbury” “ Otira Gorge” “ A Snow Storm Breaking” “ Tillyfour Lass” “Still Life” “ After a Long Day on the Sheep Run” .. “ Gorge on the Graham River” “ Pelorus River” “ Mount Earnslaw” .. .. .. G. F. Fodor R. G. Palmer G. F. Fodor G. F. Fodor G. F. Fodor C. Blomfield R. G. Palmer G. Sherriff R. G. Fodor C. Blomfield G. F. Fodor Joseph Gant C. Blomfield C. Blomfield C. Blomfield C. Blomfield James Peele James Peele James Peele James Peele James Peele James Peele James Peele James Peele James Peele James Peele James Peele G. F. Fodor A. S. Taylor P. A. Branfil P. A. Branfil P. A. Branfil C. Blomfield [BAY No. 12.] to 320 Various Photographs Josiah Mai tin 169 [BAY No. 13.—OIL PAINTINGS.] No. Title. 321 “ Turk’s Cap Lilies” .. 322 “ After School” 323 “ A Hot Day on the Waitemata” 324 ‘ Landscape on the Waiau River” 325 “ Portrait of Lady Jervois” 326 “ Geraniums” (Lady Darling) .. 327 ‘‘Landscape, Otira Gorge” 328 “ Landscape, on the Grey” 329 “ Evicted” 330 “Sunshine” 331 “ Marshal Niel Roses” Artist. Beatrice Partridge Robert Atkinson Robert Atkinson Beatrice Partridge T. E. Merritt Beatrice Partridge Beatrice Partridge Beatrice Partridge Robert Atkinson Robert Atkinson Beatrice Partridge [BAY No. 14.] 332 “ Okuku River, North Canterbury” 333 “ The Bealey River, West Coast Road” .. 334 “ Waitoa Gorge, North Canterbury” 335 “ A Clearing in the Bush, Banks Peninsula” 336 “ A Mountain Stream” 337 “ Sandy Point, Head of Lake Wakitipu”.. 338 “ Oyster Dredging, Stewart Island” 339, 340 Two Oil-painted (lincrusta) Door Panels 341 “Japanese Lilies” 342 “ Basket of Flowers”.. 343 to 351 “ New Zealand Flowers” 352 Panel Painting on New Zealand Wood .. 353 Panel Painting on New Zealand Wood .. 354, 355 Two Oil-painted (lincrusta) Door Panels 356 “ Water Lilies” 357 “ Passion Flowers” .. 358 “ Fuchsia” 360 “ Lyttelton Harbour” 361 “ Ploughing on the Cliff, Kaikoura” 362 “ Otira Gorge, West Coast Road” 363 “ Bryce’s Bay, Stewart Island”.. 364 “ Waimakariri River, from the Bealey”.. 365 “ Water of Leith, Dunedin” 366 “ A Story of a Saddle” 367, 368 Two Panels in Oils — ‘ 1 Clematis” “ Chrysanthemums” 369 “ An Old Brown Jug”.. .. W. M. Gibb .. J. Gibb .. W. M. Gibb .. W. M. Gibb .. \V. M. Gibb .. W. M. Gibb .. J. Gibb .. Annie Gaze .. Jane Stowe .. Edith Woodford Mrs. F. Tizard .. Annie Gaze Annie Gaze Annie Gaze Annie Gaze Jane Stowe . .Charlotte E. Merritt .. J. Gibb .. J. Gibb .. J. Gibb .. J. Gibb .. J. Gibb .. W. M. Gibb L. J. Steele and .. F. E. Richardson .. Isabel Hodgkins [BAY No. 16.] 387, 388 Two Panels in Oils — “ Poppies” “ Foxglove” 389 Panel in Oils—“ Mount Cook Lilies” 390 “ View on the Avon River, near Christchurch” 391 “ Lane Scene, near Governor’s Bay” 392 “ View of Lake Wanaka” 393 “Evening, LakeWakatipu” 394 “ Evening, Dusky Sound” 395 “ Evening on the West Coast” 396 “ Morning, Lake Wanaka” 397 “ Botanists'Home, Kaukapakapa” 398 “Daffodils” 399 “ Lilies” 400 “ Roses” .. F. M. Wimperis Miss F. E. Richardson .. T. R. Attwood .. T. R. Attwood .. T. R. Attwood .. T. R. Attwood .. T. R. Attwood .. T. R. Attwood .. T. R. Attwood .. Geo. Edmondson .. F. M. Wimperis .. F. M. Wimperis .. F. M. Wimperis M 170 [BAY No. 17—OIL PAINTINGS.] No. Title. 401 “ Manukau Harbour—Early Morning” .. 402 ‘‘Maori Pah” 408 “ A Highland Scene” 404 “ Winter Scene in Holland” Artist. T. L. Drummond Kate S. Brodie Kate S. Brodie Eliza Silk 405 “ Portrait of Sir William Fitzherbert” .. 406 “ West Coast Road. Canterbury” 407 “The Bridge” 408 “ Lagoon, Hokitika River” 409 “ Night Cap Rock, off Westport” 410 “ Hinemoa’s Bath, Mokoia, Lake Rotorua” 411 “ On the Beach, Waiwera” 412 “ Rain Clouds on the Hunua Ranges” .. 413 “ The Shores of the Manukau” 414 '* Mount Cook” 415, 416 “ Mount Egmont and Group of New Zealand Mountains” John Tasker R. Beetham A. Handel Gear R. Beetham R. Beetham R. Beetham T. L. Drummond T. L. Drummond T. L. Drummond Harry W. Kirkwood John T. Stewart 417 “ Mount Egmont’ 418 11 Mount Cook” 419 “ Ben More Creek, Otago” 420 “ On Ben More Creek” 421 “ A Maori Minister” 422 “ A Fellow of Infinite Jest” 423 “Meditation” 424 “ Portrait in Fancy Costume” 425 “ A Homage to Handel” 426, 427, 428 Three Oil Panels 429 “ Last Stand of British at Maiwand, Afghanistan” 430 “ Battle of Te Pungarehu” 431 “ A Letter from Home” 432 “ Island of Mokoia, Lake Rotorua” Eliza Silk Eliza Silk Eliza Silk Eliza Silk A. Handel Gear A. Handel Gear A. Handel Gear A. Handel Gear A. Handel Gear Harriette S. Bennett J. Elder Moultray J. Elder Moultray J. Elder Moultray R. Beetham Elsewhere in the Court are various specimens of art applied to domestic decoration not to be classified as Fine Art. QUEENSLAND PICTURES. [Note. —These are hung by the Queensland Commission in the Queensland Court in the Annexes, on the East side of the Avenue of Nations, at the North end of it.] No. Title. 1 Oil Painting from Nature 2 Oil Painting 3 “ Orchid”— Oberonia Palmicola 4 “ Views of Herberton” 5 “View of Quart Pot Creek, Stanthorpe” 6 “ Study of a Coleus” 7 “ King Sandy, a Queensland Aboriginal” 8 “ An Ancient Creek” 9 “A Brown Study—a Queensland Aboriginal” .. 10 “ The Arched Rock, Coast of Durham” Artist. Louisa Alpin Fred. W. Barlow Miss Bowkett Miss Bowkett J. A. Clarke J. A. Clarke Oscar Fristrom Oscar Fristrom Oscar Fristrom Walter Jenner 171 No. Title. 11 “ Boomers at Brighton” 12 “ Land’s End, Cornwall—Lingering Light” 13 ‘ ‘ Seaford Beach and Chalk Cliffs,County Sussex” 14 “White Cliffs of Albion, Dover” 15 “ The Old Man of Hoy” 16 “ Mackay and District from Mount Bassett” .. 17 “View of Pioneer River and Town of Mackay” 18 “ Cloudy Morning, Milton Beach, Brisbane River” 19 “Brisbane at Sunset” .. .. - .. 20 Oil Painting from Nature .. 20a Collection of Paintings of Queensland Flowers .. 21 “ Arrival of the First Gold Escort in Mel¬ bourne, 1852” .. .. .. 22 “Evening on the North Quay, Brisbane” 23 Water-colour Drawing 24 Water-colour Drawings of Tropical Fruit 25 Poonah Painting 26 Crystal Ivory Type of Painting 27 Three Illuminations for Addresses, &c. 28 Study of Still Life 29 Copy of the First Three Lines of a Mongol Let¬ ter, in the Uigar Character, sent by Arzhan Khan to Phillip the Fair in 1289 .. 30 “ Bruce” (head of a dog)—a Study in Sepia 31 “ Illuminated Ode to Australian Pioneers” 32 “Acclimatisation Gardens, Brisbane” (w. col.).. 33 “ Quart Pot Creek, Stanthorpe” (water-colour) 34 “ The Afterglow, Brisbane River” (water-colour) 35 Four Water-colour Drawings Artist. Walter Jenner Walter Jenner Walter Jenner Walter Jenner Walter Jenner H. A. Kitson H. A. Kitson Robert S. Rayment Robert S. Rayment Isa Reilly Mrs. Rowan William Austin William Austin Fred. W. Barlow Mrs. Clarkson Miss Nellie Dewing Miss Nellie Dewing Otto Mohr Otto Mohr Otto Mohr George J. Perkins George J. Perkins Robt. S. Rayment Robt. S. Rayment Robt. S. Rayment Lionel K. Rice In addition to the above, the Queensland Court exhibits a number of architectural and engineering drawings and models, and some engravings and lithographs. UNITED STATES. Set of Christmas Cards and various Fine Art Prints by L. Prang and Co., Boston, exhibited by their agents, Messrs. Jolley and Co., 18a Little Collins East, Melbourne. FRENCH EDUCATION DEPARTMENT. This exhibits forty-nine Art Photographs by Ad. Braun, 43 Avenue de 1’Opera, Paris; photographs of the French National Museums, representing chiefly pictures of the modern school of painters, and specimens of reproductions of old masters’ drawings, also 25 engravings by Vernier, Martinet, Masson, Bertinot, Chauvel, Morse, Bellay. Francois and Leenoff, Vion, Waltner, Lunois, Levasseur, Duboucliet, Rajon, Thornley, Jacquet, Bellanger, Massard, and Baude: two designs for mosaic by Lenepreu, and 10 frames of coloured wools for Gobelins Tapestry m 2 THE LADIES' COURT, VICTORIA. [Note.— All Works of Art sent in by Victorian Exhibitors were subjected before hanging to a Selection Committee appointed by the Commissioners, and consisting of members of the Fine Arts Committee, aided by experts. By this Selection Committee 252 works were rejected, but no work was rejected from exhibi¬ tion except by this Committee. A considerable portion of the Victorian work was placed in the Victorian Artists' Gallery, the space having been assigned by the Commissioners to that body. Of the remainder, works by ladies were sent to the Ladies’ Court Other accepted works were sent to the General Victorian Court, to be hung there if room could be found for them. The Committee of the Victorian Court afterwards found it necessary to group both the latter classes of works together, and to add other pictures sent in direct to the Ladies’ Court, and with which the Fine Arts Committee were not concerned. These will thus be all found hung on the wall-space of the Ladies’ Court at the North end of the annexes.] The following is the combined list:— No. Title. Artist. 1 “ Bush Track, Daudenoug Ranges” S. -4. Fenton . 2 “Outfor a Day’s Shooting” 3 “ Water Lilies” The late Van den Houten Jermaine Lulharn 4 “Monarch of the Sea” F. Bond 5 “ Moonlight on the Olinda Creek” W. Short 6 “ The Haunt of the Dingo” Mrs. R. H. Bradle 7 “Famished” Mrs. R. H. Bradle 8 “ Foliage from Nature” Sophie Sasse 9 “ Flowers from Nature” Constance Robertson 10 “ Ruins of Nebeck” H. Stewart 11 “ On the Banks of a River” H. Steivart 12 “Flowers” Sophie Sasse 13 “Water-colour Drawing from Nature” . . Constance Robertson 14 “ Flowers from Nature” H. 0. Keartland 15 “ Portrait of Little Boy from Life” A. C. H. Thunder 16 “ Forget Me Not” A. C. H. Thunder 17 “ Portrait from Life” A. C. H. Thunder 18 Pencil Drawing H. 0. Keartland 19 “ Autumn Evening on the Yarra” M. M. Lcvilee 20 “ Australian Wild Flowers” Maude Glover 21 “ Lapageria” .. P. Thomson 22 “ Bouquet of Flowers” .. A. C. H. Thunder 23 “ Rocky Shore, Sandringham” F. B. Gibbs 24 Various Enlarged Photographs .. C. C. Bowden 25 E. J. Brown 26 Pencil Drawing 28 “Granny” E. M. Panton 29 Victorian Wild Flowers (four pictures) ' icY unfR... . • i *• W. D, Dalton No. 30 31 82 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 67 68 69 70 71 72 74 75 76 77 78 79 80 81 82 83 84 85 87 88 173 Title. “ Portrait of a Boy” “ Where the Rude Axe was Never Heard” .. “ Scene in Wales” “ Daylight Fades” “ The Bird Rock” (Flinders, Victoria) “ Shade and Shine” “ Sunset” “ Flowers” (a water-colour) “ Arum Lilies” “ Pansies” “ Flowers from Nature” “ Soucis” “ White Poppies” “Roses” “Fruit” “ Fruit and Flowers” “ Painted Leaves” “ Sunset on Gippsland Lakes” “ A View at Healesville” “ On the Rock” “ Sunset, Dromana” “ Biddy Malony” “ Winter, Acheron Falls, Marysville” “ Near Mount Kosciusko” “Monarch of the Air” .. “ Wakahi Falls” “ Cosmos Peaks, New Zealand” .. “ The Study of Fruit” .. “ Flowers” “ Fruit Piece” “ View near Warburton” “ On the Moorabool” “ Water Lilies” “ In the Gloaming” “ Caw Caw, New Zealand” “ The Treasures of the Deep” “View of Hobart from Rosney” .. “ I Love Him” .. “ The Two Islands, Hopkins River” “ A Bit of Good Pasture Land” .. “ Fern Tree Gully” “ In the Sunlight”.. “ A Peep at Melbourne by Moonlight” “ A Winter Afternoon at Hawthorn” “ Moonlight on the Goulburn” “Portrait of Dr. Brownless”—Chancellor of the University “ A Rock Bound Shore” .. “ Evening” “ Western Beach, Corio Bay” “ Albert Park in Winter” “ Glenmore Four Pencil Drawings “ An Eagle” “ View at Port Arthur,” Tasmania “Portrait of Jas. M'Donald, Esq.” “Coast Scene at Mouth of Firth of Forth” Artist. A. C. II. Thunder Chassie Cole Richard Sasse Chassie Cole F. B. Gibbs Chassie Cole Sil de Crillon Eliza Maxwell F. 31. Tate B. F. Watson R. A. Gerson A. E. Webster Wm. Ford R. A. Gerson Helen A. Peters 31. 3Iaxwell A. W. Eustace L. E. Parker Nellie Dillon E. Walter A. Pennington E. 31. Panton J. A. Panton A. Carre-Riddell 3Iiss F. 3Iacdonald C. Beaumont C. Beaumont Flora Macdonald Miss Hillson B. Leake 3Iiss O’Rourke Georgie Harrison R. Steivart E. Walter J. 31. Carter E. Walter Capt. Forrest E. Walter E. 31. Airey E. Davis Rose Fairthorne E. Walter A. Pennington Georgie Harrison 3Iiss A nt lioness 3Irs. C. E. Streeter J. W. Rymer 31. L. Hull II. 31. B. Sasse Edith 31. King M. E. Chomley H. O. Heartland Violet Teague Nellie Dillon Arthur Taylor 3Iargaret Weslink 174 No. Title. Artist. 89 “ Showery Weather” M. J. Giles 90 “ Near Brighton Beach” E. B. Weir 91 “ Andromache Weeping over the Ashes of Hector” Mrs. Trestrail 92 “ Ecce Homo” .. Majorie Conway 93 “ Mater Molorosa” Majorie Conway 94 “ Barrum Barrum River,” Apollo Bay J. A. Panton 95 “ The Upper Yarra,” Warburton R. Nunweek 96 “ The Buffalo Ranges,” from Porepunkah .. E. B. Weir 97 ‘‘River Scene” .. M. L. Hull 98 “ Grandfather’s Pet Copy” A. Douglas 99 “ Maple Durham” A. Douglas 100 “ Near George Town,” Tasmania B. Morrah 101 “View near Moe” F. H. Bruford 102 “ On the Thompson River,” Gippsland “Sunset” F. H. Bruford 103 E. B. Weir 104 “ Scene from Macedon” The late Van den Houten 105 “ Camping Out, a Night at Fernshawe” The late Van den Houten 106 “ View of Botanical Gardens” A. B. M'Neill 107 “Erica” Isa. Reilly 108 “ Homeward Bound” J. W. Belcher 109 “ The Supper at Emmaus” Chester Earles 110 “ Ostmalo Lighthouse” .. F. H. Tate 111 “ Moonlight, Sorrento” L. E. Parker 112 “ By the murmuring Stream at Trentham”.. “R. H. J. Millett,” portrait in oil W. Short 113 J. Carobain 114 “ Scene on the Woori Yallack, near Lilydale” M. J. Giles 115 “ View on the Derwent, Tasmania” E.B. Morrah 116 “Tranquility” W. H. Archer 117 “ Hail Smiling Morn Lagoon, Seymour” W. Short 118 “ Ruapehu and Tongariro Mountains, from LakeTaupo” T. E. Rodda 119 “ The Erskine Falls, Lome” L. A. Dowman 120 “ Embarking” C, V. Wilson 121 “ White Terrace, New Zealand” J. M. Carter 122 “ The Daisy of the River” E. Hulme 123 “ Scene at Lome” E. Follett 124 “ Narcissus” F. R. Goldstraw 125 “ Calm Before a Storm—Noon” .. J. W. Rymer 126 “ St. John and the Lamb” Mrs Trestrail 127 “ A Glimpse of Haunchbaek” J. S. Moore 128 “ On the Road to Loch, Western Port” Lizzie De Laney 129 “ In the Fern Gully—Sunset” L. A. Doivman 130 “ Collins-street East, Wet Evening” M. M. Levien 131 “ St. Patrick’s Cathedral” E. Hulme 132 “ Scene by Macedon —Summer Evening” .. Von den Houten 133 “ Trentham Falls, Coliban River” W. Short 134 “ On the Buffalo Ranges” “ Menindie Lake” M. M. Levien 135 J. A. Panton 136 “ In the Mountains, Gippsland” .. L. A. Dowman 137 “ The Mouth of the River Hopkins” D. Clarke 1374 “ Oil Screen Paintings” .. M. M. Hobson 138 to 221 Various paintings and drawings by the Pupils of Signori Loureiro and Catani. These will be found grouped in a compart¬ ment by themselves, and have not passed under the revision of the Fine Arts Committee. INDEXES Index A—British Gallery. ( Pa g e 9 -> List of Artists whose works are exhibited, with the Number referring to their Pictures in the Catalogue and on the walls. Artist. Numbers of his Pictures. Angus, G. F. .. 231 Angeli .. 26 Ansdell, R.—R.A. .. 143 Arden,E. .. 191 Aumonier, J.—R.I. .. 211 Barr, J. .. 153 Bach, Guido, R.I. .. 198 Babb, J. Stains .. 232 Baxter, C. .. 50 Bayliss, Wyke—F.S.A. .. .. 83 Beavis, R. .. 155 Bonington, R. P. .. 15 Bough, Sam.—R.S.A. .. 244 Boughton, G. H.—A.R.A. .. 55, 56, 57 Brett, John—A.R.A. .. 19, 20, 21, 171 Burgess, J. B.—A.R.A. .. 174 Calderon, P. H.—R.A. .. 133, 185 Callcott, Sir A. W.—R.A. .. 22 Cattennole, G.—R.W.S. .. .. 283 Chevalier, N. . . .. 173,178 Cole, Yicat. — R.A. .. 88 Collier, F. .. 267 Constable, J.—R.A. .. 28, 30, 31 Cooke, E. W.—R.A. .. 10, 70, 129 Cooper, T. Sidney—R.A. .. .. 3,179 Crome, Old .. 17 Crowe, Eyre—A.R.A. .. 23 Cotman, W. .. 16 Couldery. T. N. • • .. 240, 256, 286 Cowen, Lionel J. .. 172 Cox, David-R.W.S. .. 278 Davis, H. W. B—R.A. .. .. 107 Dealy, Jane M. .. 197,213 Dean, W. W.-R.W.S. .. . . .. 235 Dicksee, F.—A.R.A. .. 118 Dillon, Frank—R.I. .. 218 Dobson, W. C. F.— R.A. .. .. 223 Dodgson, G.—R.W.S. .. 250 Dodd, J. . . .. 134 Douglas, E. , . .. 98,99 Duncan, E.—R.W.S. , . .. 285 Dyce, W.—R.A... .. 48 Earle, Charles—R.I. .. .. 245 East, Alfred # . .. 181 Egg, A. L.—R.A. , , .. 137 Elgood, G. S.—R.I. . . .. 202, 204 Elmore, A.—R.A. .. .. 131 17C Artist. Faed, T.—R.A. .. Field, Walter Fisher, Mark Foster, Birket Fripp, A. D.—R.W.S. Frith, W. P.—R.A. Fulleylove, J.—R.I. Gadsby, W. H. .. Gilbert, Sir John—R.A., P.R.W.S. Goodall, F.—R.A. Gow, A. C.—A.R.A Graham, P.—R.A. Grey, Jane W. .. Gulland, Elizabeth Haghe, Louis—R.W.S. Halswelle, K. Hardy, Heywood Hayes, E.—R.H.A Hayes, Edwin—R.H.A. .. Hayter, Sir G.—R.A. Henderson, J. Herbert, J. R.—R.A. Herdman, R. S —R.S.A. .. Hering, J. F. Herkomer, H.—A.R.A. Hicks, George Hine, H. G.—R.W.S. Hook, J. C.—R.A. Hogarth & Thornhill Holl, Frank—R.A. Hoppner, J. Horsley, J. C.—R.A. Horsley, W. C. .. Hughes, A. Foord Hunt, A. W. Huson, Thos.—R.I. Hunt, Holman .. Hunter, Colin—A.R.A. Jackson, Helen Jones, Charles—R.C.A. .. Johnson, Cyrus—R.I. Knight, C. P. Landseer, Sir Edwin—R A. Lawrence, Sir T.—P.R.A. Lawson, Cecil Lea-Merritt, Mrs. Le Jeune, H.—A.R.A Leighton, Sir F., Bart.—P.R.A. Leslie, G. D.—R.A. Lewis, C. J.—R.I. Linnell, J. T. Linnell, W. Linton, Sir J. D.—P.R.I... Lloyd, Tom Lloyd, Stewart Long, E.—R.A. .. Numbers of his Pictures. .. 82 .. 145 .. 100,107,168 .. 268 .. 234 .. 80, 162, 163, 164, 165, 166 .. 200 .. 151 .. 84 .. 01, 101 .. 78 .. 80 .. 258 .. 274, 289 .. 255 .. 63, 64, 65, 66, 67, 68, 154 .. 85 .. 29. 170 .. 194, 195 .. 187 .. 149 .. 142 .. 175 .. 147 .. 95, 96 .. 275 .. 271 .. 5 .. 34 .. 92 .. 8 .. 132 .. 77, 135 .. 226, 253 .. 257 .. 261,284 .. 51, 54 .. 184 .. 222, 225 .. 201 .. 264, 279 .. 203 .. 13,52,75,90,105 .. 47, 53, 72 .. 106 .. 79,119,121 .. 247 .. 49, 76, 97 .. 58, 59. 60 .. 130, 205, 251, 265 .. 176 .. 109 .. 94, 100 .. 148 .. 156 .. 62, 127 177 Artist. Lucas, Seymour—A.R.A. Lundgren, E.—R.W.S. Lutyens, C. Lewis, J. F.—R.A. Lewis, Lennard Macbeth, R. W.—A.R.A. .. Maclise, D.—R A. Macquoid, T. R.—R.I. Marks, H. S.—R.A. Marshall, H. Calder—R.A. Mason, George—A.R.A .. Maplestone, F. E. Marrable, Mrs. M. May, Powell Millais, Sir J. E., Bart.—R.A. Moberley, W. J. .. Moore, Albert .. Morgan, F. Morland, G. Miiller, W. M‘Whirter, J.—A.R.A Nash, Joseph—R.I. Natress, George .. Nicol, Erskine — A.R.A. .. Oaks. J. W. —A.R.A. Orrock, Jas.—R.I. O’Neill, H.—A.R.A. Ouless, W. W.—R.A. Perugini, C. E. .. Pocock, Lexden L. Poole, C. Poole, P. F.—R.A. Pott, L. J. Princep, Val. L.—A.R.A. Prout, S. Pyne, Thos.—R.I. Quinton, A. Racham, Arthur Redgrave, R.—R.A. Richmond, W. B. Rigby, Cuthbert Riviere, Briton—R.A Roberts, David—R.A. Robins, T. S.—R.I. Rouse, R. A. Sant, J.—R.A. .. Sartorius, F. Say, F. R. Shellshear, A. J. Smart, J.—R.S.A. Smart, John—R.S.A. Smith. G. Stanfield. Clarkson—R.A. Stocks, W. F. Stokes, Adrian .. Numbers of his Pictures. .. 224 .. 228 .. 4, 12 .. 209 .. 216 .. 89 .. 71 .. 263, 269 .. 61 . . A, B, C, D, E, F .. 14,117 .. 208, 288 .. 190, 242 237 . . 9, 75, 102, 111, 112, 113, 114 .. 217 .. 128 .. 159 .. 182 .. 33 .. 140, 150 .. 229, 276 .. 221,227 .. 32 .. 158, 277 .. 210 .. 169 .. 104 .. 108 .. 238, 248 .. 188, 214 .. 138 .. 152 .. 110 .. 215, 259 .. 239 .. 207, 260 .. 280 .. 69 .. 24, 81 .. 212 .. 122, 123, 124, 125, 126 .. 1,74 .. 272 .. 192 .. 115,136 .. 2 .. 177 .. 236 .. 73 .. 219, 220 .. 246 .. 6, 25, 144 .. 241 .. 120 178 Artist. Numbers op his Pictures. Stokes, Mrs. Stevens, Albert Stone, Marcus—R.A. Storey, G. A.—A.R.A Syer, J.—R.I. .. Tadema, Alma—R. A Tayler, F.—R.W.S. Topham, F. W. W. Turner, J. M. W.—R Turrell, C. J. Varley, John Ward, E. M.—R.A. Warren, E. G.—R.I. Weir, Harrison .. Waterlow, A. E. Watts, G. F.—R.A. Watts, J. Way, Cosens Wells, H. T.—R.A. Weedon, A. W.—R.I. Williams, Haynes Willis, H. B.—RY Wilson, R.—R.A. Yeames, W. F.—R.A. Yglesias, Vincent P. . . 1U3 .. 189, 266, 287 .. 157 .. 186 .. 249 .. 116 .. 281,290 . . .. 183 A. .. .. 7,11,18 .. 199 . . . . 206, 254 .. 146 .. 282 . . .. 273 . . .. 141 •• .. 35, 36, 37, 38 .. 139 . . .. 262 . . .. 180 . . .. 193, 243 . . .. 161 . . .. 270 .. .. 27 . . .. 87, 93 . . .. 230, 233 . 1 . .. •• .. 196, 252 [43, 44, 45, 46 Index B.—British Gallery. (Page 9.) List of Owners who have lent Pictures, with the Numbers referring to them in the Catalogue and on the walls. Owner. Numbers of his Pictures. Aberdeen, Earl of Agnew, G. W., Esq. Agnew, Thos., & Sons 85, 86, 89, 109, 113, 114, Agnew, W., Esq. Armstrong, Lord Ashley, Hon. Evelyn Aumonier, J., Esq.—R.I. Babb, J. Staines, Esq. Bayliss, Wyke, Esq. Bazley, Sir T., Bart. Bowman, Sir W., Bart. .. Brassey, Lord .. Brett, John, Esq.—A.R.A. Burgess, J. B., Esq.—A.R.A. Chevalier, N., Esq. Cheylesmore, Lord Childers, Rt. Hon. H. C. E. Connal, W., Esq., Jr. .. 47,53,72 .. 186 .. 51,62,63,64,65,66,68,75, 118, 123, 139, 140 .. 48,58,117,124 .. 27,30,31,182 ..52 ..211 .. 232 .. 83 ..131 .. 44 .. 54, 67, 69, 70, 87, 88, 106,129 .. 171 .. 174 .. 178 .. 74, 90, 105 .. 28 ,. .. 128 179 Owner. Numbers of his Pictures. Cooper, T. Sidney, Esq.—R.A. Couldery, T. N., Esq., Cowen, Lionel J., Esq. Davis, H. W. B., Esq.—R.A. Dealy, Jane M. .. Dillon, Frank, Esq.—R.I. Earle, Charles, Esq.—R.I. East, Alfred, Esq. Elgood, E. S., Esq.—R.I. 3 240, 256, 286 172 107 197, 213 218 245 181 202, 204 Field, Walter, Esq. Fripp, A. D., Esq.—R.W.S. Fulleylove, J., Esq.—R.I. 145 234 200 Gassiott, G., Esq. Gilbert, Sir John—R.A. .. Gillilan, W., Esq. Goodall, F.. Esq.—R.A. .. Gow, A. C., Esq. —A R.A. Graves, Messrs. H., and Co. Gregory, G. B., Esq. Grey, Jane W. .. Gulland, Elizabeth 142 84 60, 80, 126 91, 101 78 99, 187 134, 179 258 274, 289 Haworth, A., Esq. Hayes, E., Esq.—R.H.A. Herdman, R. S., Esq.—R.S.A. Herkomer, H., Esq.—A.R.A. Hine, T., Esq. .. Hogarth, J., and Sons Holl, Frank, Esq.—R.A. .. Horsley, J. C., Esq.—R A. Horsley, W. C , Esq. Hughes, A. Foord, Esq. .. Huson, Thos., Esq.—R.I. 137 29, 170, 194, 195 175 95, 96 133, 146, 185 231 92 132 77, 135 226, 253 261, 284 Jacoby, C. J., Esq. Jackson, Helen Johnson, Cyrus, Esq.—R.I. Jones, Chas., Esq. —R.C.A. Joshua, S., Esq. 94, 100 222, 225 264, 279 201 56, 116 Kincaid, J., Esq. 98 Lea-Merritt, Mrs. Lees, C. E., Esq. Lefevre, L. H., Esq. Leighton, Sir F., Bart.—P.R.A. Lewis, Lennard, Esq. Lewis, C. J., Esq. Long, E., Esq.—R.A. Loraine, Sir L., Bart. 79, 119, 121 59 23, 32, 61 49, 76 216 130, 205, 251, 265 127 121 Macquoid, T. R., Esq.—R.I. Maplestone, F. E., Esq. .. Marrable, Mrs. W. C. Marsden, H. B., Esq., & Co.-Trustees May, Powell, Esq. Moberley, W. J., Esq. Montrose, Duchess of ., 263, 269 208, 288 190, 246 162, 163, 164, 165, 166 237 217 82 180 Owner. Nash, Joseph, Esq.—R.I. Natress, George, Esq. Norfolk, Duke of Onslow, Earl of .. Orrocks, Jas., Esq.—R.I. Ouless, W. W., Esq.-R.A. Peacock, R., Esq. Pender, Sir John Perugini, C. E., Esq. Pocock, L. L., Esq. Poole, E , Esq. .. Price, James, Esq. Prinsep, Val. L., Esq.—A.R.A. Pyne, Thos., Esq.—R.I. .. Queen, H.M. the Quinton, A. Rackhan, Arthur, Esq. .. Richmond, W. B., Esq. .. Rividre, Briton, Esq.—R.A. Rosebery, Earl of Rosebery, Countess of Rouse, R. A., Esq. Samuelson, Sir. B., Bart... Sant, J., Esq.—R.A. Shellshear, A. J., Esq. Shepherd, G. H., Esq. Smart, J., Esq.—R.S.A. .. Smart, John, Esq.—R.S.A. Stevens, Albert, Esq. Stocks, W. F., Esq, Stokes, Adrian, Esq. Stokes, Mrs. Tennant, Sir C., Bart. Topham, F. W. W., Esq... Turner, H. J., Esq. Varley, John Vokins, Messrs. J. & W. Wales, H.R.H. the Prince of Wales, H.R.H. the Princess of Waterlow, A. E., Esq. Watts, G. F., Esq.—R.A. Way, Cousens Weedon, A. W.—R.I. .. Wells, H. T., Esq.-R.A... Westminster, Duke of Numbers of ms Pictures. .. 229 .. 221, 227 .. Ill .. 34 .. 210 .. 104 .. 169 .. 112 ... 108 .. 238, 248 ... 188, 214 .. 144 .. 110 .. 239 .. 25,177 .. 207, 260 .. 280 .. 81 1 99 2,102,147 .. 199 .. 192 .. 97 .. 115,136 .. 236 .. 138 .. 73 .. 219 .. 189, 266, 287 .. 241 .. 120 .. 103 .. 55,57 .. 183 .. 125 .. 206, 254 .. 173 .. 24 .. 26 .. 141 .. 35, 36, 37, 38, 39, 40, 41, 42. 43, 45, 46 .. 262 .. 193, 243 .. 180 1, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 215 White, E. Fox, Esq. .. .. .. 50. 143, 148, 149, 150, 151, 152, 154, 155,156,157, 158, 159, 160, 161, 167,168, 176, 184, 191,198, 203, 209, 212, 223, 224, 228, 235, 244, 246. 247. 249. 250, 255, 257, 259, 267, 268, 270, 271, 272, 273, 275, 276, 277, 278, 281, 282, 283, 285, 290 Williams, G. F., Esq. Yglesias, Vincent P. Youngman, A. M — R.I. 33, 71 230, 233 196, 252 181 Index C—German Gallery, (Page 71.) List of Artists exhibiting, with the Numbers corresponding to their Pictures in the Catalogue and on the walls., Aetist. Nujibeks of his Pictures. Achenbach, Prof. Andreas—Diisseldorf .. 34,107 Ahrendts, Konrad—Weimar .. .. 193 Alquist, H. Schnars—Berlin .. .. 8,243 Anding, C. T.—Karlsruhe .. 177, 184 Arnold, Carl Johann—Weimar .. 112,151,166,283 Arndt, Prof. Franz — Dresden .. 216 Arnz, Albert—Diisseldorf .. 221,226 Baass, Mary—Hamburg .. 61 Baerwald, Robt.—Berlin .. 257 Baisch, Prof. Hermann—Karlsruhe .. 41, 249 Bantzer, Carl Noah—Dresden .. 87 Bappo, C.—Diisseldorf .. 126 Baumer, Fr. Heinr.—Dresden .. 253 Becker, Carl, K.A.—Berlin .. .. 24 Becker, August—Karlsruhe .. .. 116 Beek, Theodor von der—Diisseldorf .. 81 Beeck, Theodor—Diisseldorf.. .. 125,128 Behn, Gustav—Berlin .. 149 Beinke, Fritz—Diisseldorf .. 148 Begas, Prof. Beinhold—Berlin .. 262 Bernuth, Ernst von—Diisseldorf .. 237 Berlin Photographic Society—Berlin .. 291,302 Berlin Society of the Friends of Fine Arts—Berlin 311, 312,313,314,315,316, 317, 318, 319, 320, 321, 322 Berger, Ernst—Munich .. 4 Bette, Paul—Berlin .. 344 Bode, Wilhelm—Diisseldorf .. .. 105 Boese, Johannes—Berlin .. 289 Bohn, Rich.—Dresden .. 11 Bokelmann, Chr. Ludiv—Diisseldorf .. 52 Borgmann, Paul—Karlsruhe.. .. 104, 170 Braner, Fritz—Berlin .. 42, 135 Brendel, Prof. Albert—Weimar .. 62, 102, 250 Brossmann, Prof. G.—Dresden .. 258 Briitt, A.—Berlin .. .. 268 Bunke, Prof. Franz—Weimar .. 174 Calandrelli, Alex.—Berlin .. 282, 270 Chelminski, F. von—Munich .. 218 Dahl, Hans—Diisseldorf .. 213 Diez, Robert —Dresden .. 261 Dill, Ludwig—Munich .. 66 Douzette, Louis—Berlin .. 64 Duntze, Foh.—Diisseldorf .. 9 Eckenbreeher, Themis, von—Potsdam .. 130 Ehrentrant, Julius—Berlin .. .. 85, 173 Eichhorn, Jacob—Weimar .. .. 146 Emele, Wilhelm—Berlin .. 99, 172 Ende, Felix von—Munich .. .. 142 Artist. Numbers of his Pictures. Engelhardt, Geo. H.—Berlin.. .. 179 Epler, Heinrich—Dresden .. 345 Eschke, Hermann, Prof.—Berlin .. 38, 56 Eschke, Rd., Jr.—Berlin .. 50, 86, 95 Fallersleben, Franz Hoffman von—Weimar .. 140 Fehr, Conrad—Berlin .. 70,73,324 Flamm, Albert—Diisseldorf .. .. 214 Flugge, Henry—Gross Helle .. .. 234 Forster, Berthold Paul—Dresden .. 8a Frenes, Rudolph Hirt Du—Munich .. 69, 205 Friedrichsen, Ernestine—Diisseldorf .. .. 239 Friese, Richard—Berlin .. 35,71,208 Gabl, Prof. Alois—Munich .. .. 37 Gavel, Charlotte von—Munich .. 32 Geertz, Julius—Diisseldorf .. 57 Gehrts, Carl—Diisseldorf .. 169 Gehrts, Johannos—Diisseldorf .. 325 Grass, Jos. Adolph—Diisseldorf .. 217 Grebe, Fritz—Diisseldorf .. 209,215 Grobe, German—Hanan .. 101 Grosse, Prof. Theodar—Dresden .. 168 Gronwold, Marcus—Munich .. .. 1 Grouland, Rene—Berlin .. 97, 240 Griin, Julius—Berlin .. 197 Grutzner, Eduard—Munich .. .. 229 Gude, Prof. Hans—Berlin .. 10 Gunther, Otto—Naumburg .. .. 74 Habermann, Hugo, von—Munich .. 36 Hallatz, E.—Berlin .. .. 167 Hammer, Erich—Weimar .. 199 Hampel, Charlotte—Munich .. 192 Hanfstangel, Franz—Munich .. 305, 306, 307 Hartung Heinrich—Diisseldorf .. 175 Hedinger, Elise—Berlin .. 227 Hellen, Carl, von der—Diisseldorf .. 225 Hermann, Hans—Berlin .. 47 Hermes, Johannes—Berlin .. .. 132 Herter, Ernst—Berlin .. 290, 269, 273, 252 Herzig, August—Dresden .. 346 Hesse. Maria—Karlsruhe .. 281 Hildebrand, Prof. Ernst—Berlin .. 33 Hilgers, Carl—Berlin .. 254 Hochmann, Franz—Karlsruhe .. 129 Hoecker, Paul—Becker .. 30, 110 Hofmann, T. M. H.—Dresden .. 119 Hoff, Prof. Carl—Karlsruhe .. 7 Holbe, Rudolph—Dresden .. 264 Hubner, Eduard—Dresden .. 124 Hultzsch, Hermann—Dresden .. 280, 284, 266 Hummel, Karl—Weimar .. 159 Hundrieser, Emil—Berlin .. 259 Huth, Julius—Berlin .. 194 Jettel, Wladimir—Berlin .. 40 Jurgens, T. W., Weimar .. 148 18 B Artist. Numbers of his Pictures. Kalitsch, Werner, von—Dusseldorf .. .. 157 Kalmorgen, Friedrich—Karlsruhe .. 92, 188 Kamecke, Otto von—Berlin .. 181 Kanoldt, Edmund—Karlsruhe .. 162,163 Kaufmann, Ilse von— ... 134 Katsch, Ernst—Berlin .. 144 Katsch, Herman—Berlin .. 137 Keller. Prof. Ferdinand—Karlsruhe .. .. 17 Kiesewalter, Heinrich—Berlin .. 263, 265 Kirberg, Otto—Dusseldorf .. .. 72, 212 Klein, Friedr. Emil—Dusseldorf .. 187 Klinkicht, Moritz—Baden .. 309, 310 Knabl, Karl—Munich .. 109 Koch, C. J.—Berlin.. .. 120 Koepping, Carl— .. 303,304 Koerner, Ernst—Berlin .. 3, 25 Kohnert, Heinrich—Berlin .. .. 46 Koken, Gustav—Hanover .. 2 Konig, Hugo—Munich .. 29 Kransse, Bobert, Dresden .. 77 Kruse, Max—Berlin.. .. 288 Leinweber, Heinr.— Dusseldorf .. 222 Leistikow, Walter—Berlin .. .. 44. 206 Lipps, Rich.—Munich .. 246 Loefen, Jr., Carl Bennewitz von—Dusseldorf .. 51, 242 Lessing, Heinrich—Berlin .. 247 Ley, Sophie—Karlsruhe .. 279 Ludwig, Auguste —Berlin .. 63 Ludwig, Prof. Carl—Berlin .. 75 Lulves, Jean—Berlin .. 79, 154 Maecker, Franz—Berlin .. 223, 235 Majer, Gustav—Munich .. 190 Mali, Chr.—Munich .. 219, 236 Mare, Wilhelm—Munich .. 80 Meckel, Adolph von—Karlsruhe .. 201 Meissner, Olga—Dusseldorf .. .. 115 Metzener, A.—Dusseldorf .. 43,54 Meyer, Hans—Berlin .. 117, 233, 338 Michael, Prof. Max—Berlin .. .. 14. 18, 191 Muller, Carl W. —Dresden .. 128 Muller, Kurzwelly—Berlin .. .. 78, 200 Moller, Nils. Bjornson—Diisseldorf .. 131 Miinthe, Ludwig—Dusseldorf .. 48 Nelson, Ernst—Berlin .. 96 Nordenberg, Hendric—Dusseldorf .. 53 Nordenberg, Bengt.—Dusseldorf .. 143 Normann, A.—Berlin .. 160, 195, 241 Ockel, Edward—Berlin .. 49,118 Ockelmann, R—Dresden .. 276 Ortlieb, Friedrich—Munich .. .. 153 Possart, Felix—Berlin .. 13, 23,58 Piglheim, Bruno—Munich .. .. 232 Piloty, C. V.—Munich .. 91 Piltz, von 0.—Berlin .. 123 Pflugradt, P.—Berlin .. 196 184 Artist. Pfuhl, Jos.—Berlin Numbers of his Pictures. .. 286 Plathner, Hermann—Diisseldorf . 84, 178 Pohle, Hermann—Diisseldorf . 59 Press, Otto—Berlin . 161 Babe, Otto—Munich 141 Ravenstein, Paul von—Karlsruhe 238 Reinherz, Conrad—Munich .. . 220 Rettich, Karl—Munich 186, 251, 326, 337 Riess, Paul—Weimar . 482 Robbecke, Moritz—Munich .. 65 Rohr, Wilh.—Munich . 339, 343 Rogge, Wilh.—Munich 21, 82 Roux, Karl—Mannheim . 26 Riidisiibli, Hermann—Karlsruhe . 245 Rummelspacher, Jos.—Berlin . 145 Puteani, Friedr. von— Munich 19, 182 Ruths, Valentin—Hamburgh 55, 136, 164 Saltzmann, Carl—Berlin . 113, 165 Schafer, Laurenz—Diisseldorf . 154, 185 Schafer, Maximilian—Berlin 231 Schauss, Ferdinand—Berlin .. 15, 83 Schex, Fos.—Diisseldorf 138 Schlabitz, Adolf—Berlin 22, 127, 147 Schliiter, K.—Dresden 267 Schleich, Hans—Berlin 45. 68 Schlesinger, Felix—Munich .. 152 Schmidt, Hermann—Berlin .. 5 Schmidt, Hermine von Preussehen—Munich 158 Schmidt, Theodar— Munich .. 204 Schmid-Breitenbach. Franz—Munich.. 122 Schmitzberger, Jos.—Munich 203, 207 Schneider, Hermann, Munich 88 Schonleber, Prof. Gustav—Karlsruhe .. 89 Scholtz, Prof. Julius—Dresden 6 Schuback, Emil—Diisseldorf 139 Schultze, Therese—Dresden 100 Schultz, Moriz—Berlin 277 Schutze, Wilhelm—Munich .. 76. 121 Schweinitz, Rudolph—Berlin . 285,256 Schweitzer, Adolp—Diisseldorf 90 Sohn, Carl—Diisseldorf 4a Sonderland, Fritz—Diisseldorf 98 Sondermann, Hermann—Diisseldorf .. 133 Spangenberg, L.—Berlin 323 Starkenborgh, T. N. Tjarda van—Wiesbaden 28, 176 Stegmann, Franz—Diisseldorf 150 Sterry, Carl—Berlin 308 Stichart, Alex.—Dresden 31 Strecker, Constanze—Munich 211 Stromeyer, Helene—Karlsruhe 114 Sturm, Fritz—Berlin 111, 202 Tchautsch, Albert—Berlin .. 108, 210 Thamm, Adolf—Weimar 60 Tobler, Victor—Munich 106 Treidler, Ad.—Munich 94 Turgens, T. W.^—Weimar « 148 185 Artist. Numbers of his Pictures. Tiibbecke, Franz—Berlin m % 272 Turcke, Budolf, von—Dresden • • • m 183 Uphues, Jos.—Berlin .. • • 287,255 Uechtritz, C. von—Berlin .. • • . . 271, 278 Vollmy, Fritz—Munich .. • • • • 12 Vordermeyer, M.—Berlin .. • • • • 260 Werner, Prof. Anton, von—Berlin • • • • 27 Wartmiiller, Robert—Berlin .. . , 16, 189 Weichberger, Edward—Weimar , , 39 Werner, Paul—Berlin # , 275 Wichgraf, Fritz—Berlin , . 224 Wilberg, Martin—Berlin . , 180 Wimmer, Conrad—Munich .. # . 93 Windmiiller, Eugen—Diisseldorf • . 103 Zimmermann, Ernst—Munich .. 20 Zimmermann, Albert, Munich , , 67 Zimmermann, R. S.—Munich m 0 171,198, 244 Zo£f, Alfred—Karlsruhe . . 230 Index D.—Victorian Loan Gallery. (Page 89.) List of Artists exhibiting, with the Numbers corresponding to their Pictures in the Catalogue and on the walls. Artist. Picture Number. Adams, J. C. . , 80, 120 Alott, R. . . 133 Artist (unknown) . . 49.55,179,204, 205, 222, 228, 229, 233, 234,238 Bargue, C. .. . . 104 Bartelozzi .. . . 139, 140,141 Bauerle, C. .. . . 8 Bayes, A. N. . . 25 Bell, H. D. . . 36 Bennett, W. . . D Benvenuto, P. . . 215 Bimerman, C. . . 44 Bochmann, G. . . 91 Boddington, J. W. Bond, R. S. .. . . 127 • . 138 Bonington. R. P. • . 71, 115 Boulliare 93 Bradford, W. , . 87 Brook. T. 66 Brown, A. W. , . 119 Buvelot, A. L. .. 212 Caleott, Sir A. W. , , 130 Calvert, E. S. • • 37 Carabain • • 129 Catani, U. .. • • G Artist. Picture Number. Catermole, Chas. .. 188 Chevalier 161, 162,; 163, 164, 165, 166, 167 Clarke, T. .. 223 Cole, G. 107 Constable, John 32, 38, 197 Cooke, E. W. 155, 157, 160, 169, 182 Cooper, Sydney 96 Correggio 57 Craig, J. 6 Creswick, T. 70 Crome, Old .. 68 Danaille, A. J. 198 Davidson, T. 128 Davis, F. F Davis, H. W. B. .. 85 Defaux, A. .. 27, 64 Dexter, W. .. 21 Dix .. 30 Douglas and Fahey.. 18, 20 Douzette., L. 46 Dowling R. .. 196 Downard, E. 60 Earls, C. 235 N 186 ✓ Artist. Picture Number. Artist. Picture Number. Echtler, A. .. , , 24 Eisenhut , . 102 Ewbank, J. W. . . 213 Fahey, E. H. •• 18, 20, 34, 76, 172, 177 Farrier, R. .. , , 236, 287 Field, Walter # , 118 Fielding, C. . . 221 Fiori, Maria de . . 29, 42 Frith, W. P. . , 22 Fuller, A. .. .. 226 Gall, W. # # 123 Garaud, G. .. . , 35 Gelli, Aurenghi da 184 Gerome, J. L. # , 103 Girardet, Jules , , 9 Glover, J. , , 125, 210 Goupil, Leon . . 19 Goodall, F. .. . . 108, 203 Graham, Peter # , 89, 113 Green, Towneley • • 186 Grolleron, P. , , 110 Grutzner, E. # , 106 Guadabassi 183 Guharrez, —. , , 232 Gully, J. .. .. 142 Halswelle, K. # , 149 Hardy # . 176 Hart, T. , # 148, 153 Hayllar, Miss J. , . 122 Heffner, C. .. , . 95, 101 Hillingford, R. 114 Hine, H.—R.I. , , c Holmberg .. • . 94 Hurst .. 61 Jay, W.. , , 5 Joanowitch, P. # , 100 Johnstone, A. 11, 12,26,47 Johnstone, H. J. .. 82 Kaufmann, A. e • 220 Landseer, Sir E. # # 121 Lang, H. • . 16 Leader, B. W. 10, 97, 99 Lemon, A. .. , . 67 Longstaff, J. • . 131, 132 Lott, E. Tully •* 147, 150, 154, 156,158,159 Ludby, Max • . A B G Lueben, A. .. .. 45 Macbeth, R. W. # , 170, 175 Macintosh, J. W. , . 171 Martens, C... . , 146 Meadows, K. . , H Mieris, Van .. .. 15 Millais, Sir John .. 84 Miller, W. E. .. 62 Mogalai, F. .. .. 187 Montalba, E. .. 7 Morland, G. .. E Moucheron, —. .. 2 Munthe, L. . . .. 98 Murillo, — . .. 51 M‘Ian, Fanny .. 43 M'Lean, A. . . .. F Nasmyth, P. .. 78 Nazon, —. .. Newton, W. L. .. 214 .. 190 Nittis, De .. .. 105 Normann, A. .. 199 Osborn, E. M. .. 211 Panton, J. A. .. 200,225,228 Parsons, Mrs. G. . . I, J, K, L .. 152 Pastello, P. .. Paton, A. F. .. 13 Poole, P. F. .. .. 40 Poussin, N. .. 215a Portaels, T... .. 75 Provis, A. .. .. 69 Reid, Geo. .. .. Ill Rembrandt .. .. 1 Reni, Guido .. 58 Reynolds, Sir J. .. 53 Robertson, C. G. .. 230, 231 Roman, Mosaic .. 135, 136 Roper, C. . . .. 217 Rowe, T. F. .. 191 Rudeaux .. 3 Sassoferrato, —. .. 180 Schemminger, Prof. C. 205 Schultze, C. .. 48 Schwartze, T. . . 65 Scott, J. .. 185 Seiler, C. .. 86, 109 Snell, J. T. .. .. 63 Sorensen, — . .. 134 Soubre, Chas. .. 28 Soyer, Paul .. .. 14 Stanfield, C. .. 72 Stillingford, R: .. 114 Stone, Marcus .. 41 Strutt, J. W. .. 59 Summers, Chas. .. 50, 56, a, b- Smith, J. B. .. 83 S , E. .. 17 Tamburini .. .. 33, 39 Tapiro, J. .. .. 92 Tasso, G. .. .. 126 Testar, Mrs. .. 173,174 Thomkins, A. .. 179 187 Aktist. Picture Number. Artist. Picture Number. Tommasi Trestrail, Mrs. Turner, J. M. W. Turner, Bath Van den Houten Varley, I. .. Vernet, J. Vinea, F. .. Waite, J. C... Walters. E. S. .. 168.178,181, 189 .. 52 .. 77,79,116,159 .. 137 .. 224 .. 207 .. 208, 209 .. 90 .. 4,117,124 .. 74 Ward, J. C. Watts, T. Weber, T. .. Westall, W. Whitehead. I. Wilson, J. Wolff, Otto .. Woods, John Woolner, — Wright Yew Qua .. 112 .. 206 .. 23,88 .. 151 .. 216 .. 201 , 202 .. 73,81 .. 31 .. C. H. .. 54 .. 143,144,145 Index E.—Victorian Loan Gallery. (Page 89.) List of Owners who have lent Pictures with the Numbers corre¬ sponding to their pictures in the Catalogue and on the walls. Owner. Picture Number. Anderson, G., Esq... e Annand, J. J., Esq. 216 Armytage, F. W., Esq. 16, 85, 86, 87, 88,89,90,91, 92,93, 94, 95, 96, 97, 98, 99, 100,101,102, 103. 104, 105, 106,107, 108, 109,110.198 Barry, N. 215a Bartrop, Miss 190 Belcher, C., Esq. .. 147, 150, 154, 156, 158,159 Bell, Mrs. 126 Bon, Mrs... 226 Bridges, W., Esq. .. 8 Burns, Andrew, Esq. 155,160, 169 m Carabain, J., Esq. .. 129 Catani, U., Esq. .. G Clarke and Wallen.. 132 Cole, Mrs. Ward .. 53 Cole, Miss Ward .. c Cole, Miss A. Ward H Cooper, E., Esq. .. D Cottell, Mrs. 65 Cottell, Caulfeild, Esq. 122, 143, 144, 145,148,153, 171 Daly, D. B., Esq. .. 44 Drummond, Wm., Esq. 7,33,39,61,67, 69,83,123. 168, 170, 175, 178,183, 184,185, 186,188 Dumergue. C..Esq. 211 Earles, Chester, Esq. 235 Ellerker, Mrs. C. .. 161, 162, 163, 164,165,166, 167 Finley, F. H., Esq... 236 Fisher, Dr. .. 38, 71, 72, 78, 115 Fletcher, Mrs. .. 22 Owner. Picture Number. Fletcher, A., Esq. .. 229 Fraser, Hon. Simon 84 Fuller, Miss .. 196 Gillott, Joseph, Esq. 49,55,152.179 187 Graves, Mrs. .. 197 Gray, Charles, Esq. 13 Ham, Hon. C. J. .. 48, 63 Hines J. W., Esq... 201, 202, 205, 206, 207, 208, 209,210. 213 Howden, J.M‘A.,Esq. 34 James, E. M., Esq... 62 Kenney. Capt. .. 195, 223 King, W. Essington, Esq. 146, 151, 225 Knight, G. W., Esq. 232 Lacey, A. D., Esq... 176, 220, 234 Lempriere, Dr. .. 36 Lullham, Dr. F. S. J. 17 Lush, G., Esq. .. 45, 120 Lush, Mrs. G. .. 142 Lynch, Wm., Esq... 6,11,21,31,32, 54,64, 68,70,77, 79, 116, 130, 138 Mail - , Colonel .. 112 MacBain, Hon. Sir J. Ill Macartney, G., Esq. 221 M'Cracken, P., Esq. 135 M‘Cracken, Mrs. .. 136 M‘Lean, A., Esq. .. f M iller, Executors of the Hon. Henry .. 12, 26, 28, 40, 41,46,75, 76. 80,114, 118, 125 Moore, Hugh, Esq. 3, 5, 25,35,60, 128 N & 188 OWNEK. Picture Number. Owner. Picture Number. Moore, Mrs. H. Byron 18,20,172,177 Mullen, S., Esq. .. 212 Panton, J. A., Esq. Pearson, Hon. W. .. 51, 57, 200, 214, 222, 228 219 Robertson, A., Esq. 10. 73,81,113, 121 Robertson. C. G., Esq. 230, 231 Rolando, C., Esq. Rowan, Captain F. C. Rowe, Mrs. .. Rowe, Mrs. T. F. Bunting, W. J., Esq. Ryan, C., Esq. 37, 133 134 180 191 139, 140, 141 137 Sherrard, Mrs. J. E. 9, 127 Shillinglaw,J.J..Esq. 233 Smith, R. M., Esq. 157 Smith, Hon. L. L., M.L.A. 1, 2. 192, 193, 194, 215 Steffani, R..Esq. 58 Strachan, W., Esq. 189 Strachan.H. M., Esq. b Summers, J., Esq. 50, 56, a Summers, Mrs. .. 181 Taylor, —, Esq. .. 199 Testar, Mrs. .. 173, 174 Thompson, J., Esq. 131 Thomson, W. K., Esq. 30, 43, 47, 82. 149 Trestrail, Mrs. .. 52 Twycross, J., Esq... 23, 27, 66 Van denHouten, Mrs. 224 Waite, J. C., Esq. .. 4, 117, 124 Wall, A. J., Esq. .. 217 Wallis, W. S., Esq. 59 Walter, J. S.. Esq. 203 Wanliss, T. D., Esq, 14, 15, 19. 24, 29,42 Wells, Mrs.238 Woodhouse, H. H., Esq. .. .. 182 Youile, Mrs. .. 74 Yuille, D., Esq. .. 119 Index F.—Victorian Artists. (Page 119.) List of Artists exhibiting, with the Numbers corresponding to their Pictures in the Catalogue and on the walls. Artist. Picture Number. Airey, E. M. 96, 149, 151 Anderson, Mrs. Theo. 10, 46, 63 Anthoness, Miss .. 160 Ashton, G. R. 65, 83, 89 Ashton, J. R. 1, 141 Bennett, C. S. 108a, 115,130, 139, 163 Boyd, Mrs. E. M. .. 16 Boyd, A. M. 56, 90, 100 Brier, J. W. 161 Brook, Clare 157 Bruford, P. H. 2, 25 Bugg, R. W. 114 Burton, Mary M. .. 147, 150 Buvelot, L. 119 Campbell, M. A. .. 109, 169 Carter, J. 113, 124, 131, 136, 165 Catani, Ugo 20, 31, 33, 36, 37,49, 54, 69 Chapman, Alice 26, 58, 80 Artist. Picture Number. Colquhoun, A. .. 59 Coutes, G. .. .. 55,68 Davies, E. .. .. 6 Delaney, R. .. .. 170 Earles, Chester .. 24, 43, 111 Fairthorne, R. .. 62 Falls,- R. .. 64 Folk, S. M. .. .. 164 Follet, E. .. .. 152 Ford, G. .. .. 61 Ford, Mrs. W. .. 144, 166 Fuller, Florence A. .. 11,78 Gibbs, M. J. .. 158 Goldstraw, F. .. 35, 50, 93 Gow, Robt. F. .. 87, 99. 122, 126, 127, 133 Harrison, Mrs. R. .. 74, 79, 84 Humphreys, Tom .. 29, 66, 82, 97 Kneebone, F. .. 120 189 Artist. Picture Number. Artist. Picture Number. Loureiro, Arthur Mackay, J. F. Mather, J. .. 105,116, Moore, J. .. M'Cubbin, F. Nelson, Carl Nunweek, R. 22,44,72,77, 88 147 .. 12,17.57,104. 117, 140, 142, 146 39 4, 18, 28, 70 .. 187,138 .. 154 Panton, J. A. Parsons, Mrs. G. Paterson, J. Ford Pirani, Mrs... 155,162 102, 143 8, 13, 32, 41, 81 47, 86, 94 Riddell, Miss B.Carre- Ridge, E. M. .. Rielly, H. Robertson, Andrew.. Robertson, J. 168 42, 51 148, 153 167 98, 103, 106, 110,121,129,145 Roberts, Tom Rolando, C. Rowan, Mrs. E. Russell Shaw, Ella .. Short, W. Simpson, G. G. Simpson, Mrs. G. G. Spong, W. B. .. Streeton, Arthur .. Summers, J. Turner, J. A. .. Van den Houten .. Waite, J. C.—S.B.A. Wall, A. J. Wall, A. J. Walton, Geo. Watson, J. Fletcher Whyte, J. F. .. Wilson, C. V. 5, 14, 19, 27, 45, 73, 85, 91 15, 52, 71 101, 107 30 34 159 67 125, 132 112,118 3. 23, 75 38, 95 40, 48 156,171 7, 21, 53, 92 134 193 9, 60, 76 108 128 135 Index G.—French Gallery. (Page 127.) List of Artists exhibiting, with the number corresponding to their Pictures in the Catalogue and on the walls. Artist. Picture Number. Arosa, Mdle. M. 86 Aviat, J. C. 3 Barillot, L. 47 Barton, P. E. 9, 80 Bayard, Emile 4, 85 Beauverie, C. 61, 63 Berne-Belleeour, E. 22, 53 Bonnefoy, H. 5, 57 Bouch, Mdle. C. .. 50 Bourgeois, E. V. .. 1, 81 Buisson, A vice du .. 77, 78, 79 Cheron, O. 52 Colin, P. 48 Courturier, L. 45 Cross, H. E. 13, 40 Crouan, Mdlle. J. .. 67 Defaux, A. 17, 66 Defaux, H. .. 66 Delange, P. L. 60 Delanoy, H. P. 24 Delobbe, F. A. 28 Destrem, — 16 Artist. Picture Number. Deyrolle, F. T. 35 Durst, A. .. 18, 51 Fleury, Madam H... 2, 8 Fournier, L. E. .. 41, 58 Frere, C. E. 20, 74 Gaillard, L. 38 Garrard, G. C. 7, 43 Grivolas, A. 33 Guillon, E. A. 82 Huas, P. 19, 29 Iwill, M. J. 46 Jobard, H. .. 34 Jourdan, T. .. 68 Lagrost,Madam L.A. 25 Lahaye, A. M. 75 Landre, Madam L. 49, 54 Landelle, C. 55, 64 Laporte, E. H. 76 Lobrichon, T. 21, 30 Legeune,E. 83 190 Artist. Picture Number. Maillart, D. U. .. 37, 72 Mangeant, 0. E. .. 39 Martin, H. .. 12, 14, 44 Mathieu, Mdle. M... 32 Menard, E. R. .. 56, 84 Michael, G. H. . . 58a Moutte, A. .. .. 27 Poirier, Paul T. Richomme, J. Rixens, J. A. Rochegrosse, G. 69 71 42 23 Artist. Picture Numbeb. Rouche, Mdme. C... 50 Rozier, Dominique 73 Sain, E.36, 59 Salles -W a g n e r, Madam A. .. 6 Serrier, E. P. L. .. 15 Tournier, L. E. Trumpene .. Viger, H. Vuagnat, F... 10 11 62 26, 31 ' In addition to these there are various Engravers, Water-colour Painters, and Sculptors. Index H.—Belgian Gallery. (Page 142.) List of Artists exhibiting, with the Numbers corresponding to their Pictures in the Catalogue and on the walls. Artist. Picture Number. Aegua, Cesare Dell.. 77 Albracht, William .. 89, 109 Andriaenssens, Ferd. 7 Artist (unknown) .. 73 Baron, Theodore .. 27, 31, 43 Beernaert, Euph. .. 15, 76 30, 60 Beul, Henry de Bossuet, F. A. 58 Bossust, F. A. 72 Boudry, A. S. 108, 112 Boudry, Stanislas .. 44 Bource, Henry 3 Bourotte, Auguste .. 41, 101 Brunin, Charles 131, 132 Bullerkotten, L. 81 Carabain, Jacques .. 39' Chappel, Edward .. 105 Claus, Emile 46, 104 Cogen, Felix 36, 68 Comein, Polydore .. 133, 134, 135 Dael, Auguste 47 Danse, A. M. 124, 125, 127, 128, 130 Delperee, Emile 40 Farasyn, Edgard .. 42, 90, 95, 100 Franes, Henry de .. 13 Fraikin, C. A. 136, 137, 138 Friest, Camilla 75 Gasparoly, Mary .. 102 Geelhand, Edward .. 911 Artist. Picture Numbi Gerard, Joseph 94 Gerard, Theodore .. 34, 65 Godding, Emile 98 Greuse, L. J. 126, 129 Hemptine, Jane de.. 8. 53 Hennebicg, Andre .. 55 Herbo, Leon 66 Hooriekx, H. G.E... 52 Huysmans, J. B. .. 54 Janssens, Jaques .. 63 Keghel, Desire de .. 10, 26, 103 Koch, Antoinette .. 139 Lamoriniere, Frans. 96 Lauv, J. M. Ryssens 50 Laumans, Fanny .. 110, 111 Lef'ever, Ed. F. 140 Meunier, Georgette.. 37, 61 Montigny, J. L. 22 Ooms, Karel 74 Pape, L. C. M. de .. 113 Paulin, Mathilde .. 86, 87 Plaskey, E. J. B. .. 67, 82 Plumot, Andre 14, 20 Portaels, Jean 1 Portielje, —. 29 Pratere, Edmond de 56, 57 Riel, Henry .. 11 Rotten, Louis Buller 81 191 Artist. Picture Number. Seeldrayers, Emile.. 4 Simons, J. F. 17, 18 Slingeneyer, Ernes.. 38, 51 Soubre, Charles 28 Staquet, Henry 115, 120 Stroobant, M. J. .. 64 Struys, Alexandre .. 69 Titz, Louis .. 121, 123 Toirasy, E. .. 90 Triest, Camilla 33, 75 Tschaggeny, Chas. 45, 70 XJttenschant, Victor 115, 117 Van Aoker, F. M. .. 6,114,118,122 Van Beurden, A. .. 141 Van Biesbroeck, L. P. 142, 143 Van Damme, Frans 84 VanDamme-Sylva.E. 83 Van den Bussche, E. 16 Van den Kerckhove, 144 the late J. F. Artist. Picture Number. Van der Meulen, Ed. 25 Van Egelen, P. 97 Van Egelen, Louis .. 5 Van Keirsbilck, Jules 12 Van Kuyck, Frans.. 99 Van Lemputten, F. 62 Van Lemputten, C. 2, 85 Van Luppen, Frans 145, 146 Van Luppen, Joseph 21, 93 Van Seben, Henry .. 35 Van Severdonck, J... 49 Van Snick, Joseph.. 88 Van Soom, Hippolyte 9, 48 Verstraete, Theodore 106, 107 Vervloet, Victor 59 Villermont, Marie de 19 Vincotte, —. 148, 149 Vriendt, Julien de .. 71 WuLffaerd, Hippolyte 24, 32 Wauters, Emile 92, 119 Willems, Joseph .. 147 Index I.—Ladies’ Court. (Page 191.) List of Artists exhibiting Pictures, with the numbers correspond¬ ing to their Pictures in the Catalogue and on the walls. Artist. Adams, A. E. Adderley, Rita C. Airey, E. M. Anderson, S. E. Anthoness, Miss Archer, Miss Archer, W. H. Artist (unknown) Austen, Miss Barbour, F. H. Barbour, Miss Beaumont, C. Belcher, J. W. Bond, F. Bowden, C. C. Bradle, Mrs. R. H. Brown, Eliz. J. Bruford, F. H. Calder, J. B. Carobain, J. Picture Number. 188 143, 145, 147, 215 69 201 76 154, 214,217 116 26, 193, 194, 195, 210 159 173, 174 220 55, 56 108 4 24 6, 7 25 101, 102 207 113 Artist. Carter, J. M. Chomley, M. E. Cole, Chassie Conway, Marjorie Clapp, Miss.. Clarke, D. .. Crillon, Sil. de Dalton, W. D. Davis, E. De Laney, Lizzie Desailly, Miss Dillon, Nellie Don, A. Douglas, A. .. Dowman, L. A. Earles, Charles Eustace, A. W. Evans, A. L. Fairthorne, Rose Fenton, S. E. Follett, E. .. Picture Number. 64, 121 82 31, 33, 35 92, 93 203 137 36 29 70 128 211, 213 48, 85 187 98, 99 119, 129, 136 ] 109 46 205 71 1 123 192 Artist. Picture Number. Ford, W. 42 Forrest, Captain .. 67 Garrard, G. 186 Geddie, Miss 161 Gerson, R. A. 43, 40 Gibbs, F. B. 23, 34 Giles, M. J. 89, 114 Gillespie, Miss 172 Glover, Maud .. 20 Goldstraw, F. K. .. 124 Grimwade, — 189 Grutt, — .. .. 191 Harrison, Georgie .. 61, 75 Hillson, Miss 58 Hobson, M. M. 137£ Holroyd, Miss C. C. 138, 165, 176 Hooper, — .. 181 Horsfall, Miss 171, 212 Hull, M. L. 79, 97 Hulme, E. .. 122, 131 Hutchinson, Miss .. 153, 156, 168, 198 Heartland, H. 0. .. 14, 18, 83 King, Edith M. 81 Kitchen, Miss 157, 175 Lames, — .. 183 Laseelles, E. 150, 151, 162, 169, 170, 184 Leake, B. 59 Lerilee, M. M. 19 Levien, M. M. 134 Lulham, Jermaine .. 3 Macdonald, Miss F. 54, 57 Macpherson, M. 178 Maine, M. J. 199 Marwood, H. 179 Maxwell, Eliza 37 Maxwell, M. 45 Mitchell, L. 139, 142, 148, 160, 192 , 197, 202, 216 M'Neil, A. B. 106 Montague, — 144, 164, 177, 204 Moore, J. S. 127 Morrah, B. .. 100, 115 Artist. Picture Number. Nunweek, R. .. 95 O’Rourke, Miss .. 60 Panton, E. M. .. 28,51 Panton, J. A. .. 52,94,135 Parker, L. E. .. 47,111 Pennington, A. .. 50, 74 Peters, Helen A. .. 44 Pincott, E. .. 149, 152 .158, 163,166,190,206 Price, J. Purves, Miss .. 208 .. 140 Reilly, Isa .. .. 107 Riddell, A. C. .. 53 Robertson, C. .. 9,13 Rodda, T. E. .. 118 Rymer, J. W. .. 78, 125 Sasse, H. M. B. .. 80 Sasse, Sophie .. 8, 12 Sasse, Richard .. 32 Short, W. .. .. 5, 112, 117, 133 Smith, Miss .. 185 Stewart, H. .. .. 10,11 Stewart, R. .. .. 62 Streeter, Mr. C. E .. 77 Tate, F. M. .. .. 38,110 Taylor, Arthur .. 87 Teague, Violet .. 84 Thompson, P. .. 21 Thunder, Mrs. A.C.H. 15, 16, 17, 22 30 Trestrail, Mrs. .. 91,126 Van den Houten .. 2, 104, 105, 132 Walter, E. .. 49, 63, 65, 68, Watson, B. F. .. 39 72 Webster, A. E. .. 41 Weir, E. B. .. 90, 96, 103 Weslink, Margarel .. 88 Wight, M. C. .. 141,146,155, 180, 182 196, 218, 219, 221 Williamson, Mrs. .. 200 Williamson, Miss .. 209 Wilson, C. V. .. 120 — . 0 * GETTY RESEARCH INSTITUTE 3 3125 01047 5586 ViV WmiWVvu Wiw$ w-(ftiWily ^ f»»v;i(vj{ lifl . p ft mmmm . . < ■ . >1 .• : . i: n&m / : : . 1 v •>-• ■:;- 1 1 m i ■ •- ;• •■ h 3 vv y ‘i. vi-^iV’vVw'tlv-vIy^/.'-''^ / / . .'-' • , ■ ■ f.l :ii-.;:.«;;: jJ :•* ;(«•.;« :a ijt '$'■■■ '.v fe 1 -h;-^f-r'■-(K t iilV. 1 TO ;.r » «« M » H!Ki{I K R ;gf SM ^ tt.fr _ :f; t- v: '• i silliiiiiii Wm i) it* :*<: ;?::!iV- ; ij, L 'VmfcsfV yy';V £§?* m ; #SS spyiaiii® 1 : . mww-'W mw4& : j'Mtlvi v * \ ? v : .U,v I v' v ’ mm I ty? ■ riSty \ ‘ ’•: *,♦: ■$ v I v $* «R F: • ':i V; i , >iwftWr $®W'‘ W'Sfy&wiS »! SiSWUNtj :ii m-J ;5^»SLi--.iSJ-t>?.;;{(-;tffni^ miagi8BlBBmfflaBSMM i ;;•: ' :»• '•” '% :V*’••*• ■ I’VtjVHi'M'A• -V.'*rfjW^V&Wj^ 4^ t ? ! *%t t’ ^ i t, Mil’s go ; * 41 * *. • * * •'••■■ - •!• i’.*•'. •.?}>. A I.»L- •'. U* - 1 ; • *■ ■*'. • • ’ •■■i ■ U fwlVlft VoKS A?M i®« ,’ •/!• • tVrQ tr ’.'imwjs'-jVinMhmp, |»»I1 isil®