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which was at present in the press to carry out the suggestion. He had also communicated with Prof. Nettleship with a view of getting Oxford to stir in the matter, but no step had been taken by | the teachers there as yet. He expressed an opinion that it was not desirable to attempt to introduce the change until a more or less definitive scheme had been discussed and approved of.-After some discussion, in which the view was generally expressed that it would be better for Cambridge to move independently in the matter, it was resolved that Prof. Postgate be requested to prepare a scheme to be submitted to the society at the carliest possible date.-Mr. Whitelaw communicated a paper on un où. He criticised the explanation that où padio ir sie un ou novouσ is the negative of ῥᾴδιον ἡμῖν ζῆν μὴ πονοῦσι, “ if we do not work" (Prof. Jebb's Sophocles, Oedipus Rex, p. 293). The use, however, is not hypothetical, but concessive, or even simply modal, and the un is due to the infinitive. If the indicative or optative is used, the negative is οὐ ῥᾳδίως ζῶμεν (οι av (ŵμev) où TOVOÛYTES. Of the passages quoted for un où c. part. in Herod. 6. 9, 6. 106 (add Herod. 2. 110, Dem. F. L. 379, Isocr. Laus Hel. p. 217 c), the verb is in the infinitive. In Herod. 6. 106, eiváty dè oúk éžeλévoeσbaι épaσav μǹ où тλýρeos óvTOS TOU KUKλOU, we can hardly suppose that the Lacedaemonians said, "We will not go out to-day if, as is the case, the moon is not full." In four passages there is no infinitive. The hypothetical explanation suits Oed. R. 13, Plato Lysis 212 d. It can also be stretched so as to include Oed. C. 360 by supposing, as Prof. Jebb does, a suppressed protasis "you have not come empty-handed" (and you would not have come) "if you were not bringing." But it cannot in any way be made to agree with Oed. R. 221. Mr. Whitelaw then argued that the "hypothetical" explanation of un ou was in itself admissible. But if the uh was not hypothetical, what was it? He believed it was consecutive. With a view to this he examined the normal idiom itself-viz., μn où c. inf. He con. sidered this under three heads: (A) after negatived verbs or phrases expressing or implying hindering, refraining, &c.-c.g. Oed. R. 283, 1065, &c. "He hindered me from speaking" is exλvσev èμè uǹ εἰπεῖν — 1.ε., "He hindered me so that I did not speak.” ov« ékúλvoer duè un où einei is "He did not hinder me so that I did not refrain from speaking "-i.e., "I spoke." (B) After a negatived verb or a phrase expressing denying, forbidding, &c. "I deny I did it" is aprovuaι μǹdpâσai-i.e., "I plead against accusation, not having done it." "I do not deny having done it" is ойк àрνoûμαι μh où Spâσai. “I make no denial or I make confession to the not not-doing of it, i.e., to the not refraining from doing it, i.e., to the doing it." (c) With consecutive infinitive, where the meaning is not as in A, that a thing happens (or may happen) because nothing prevents its happening; but that a thing must happen (or ought to happen) because something prevents or forbids its not happening—e.g., áðúvatóv Zoti μn où TOûTo Yevéolai. Sometimes the consecutive infinitive with double negative would have been more simply represented by prolate infinitive with un-e.g., Plato Gorg. 509 A. So after words like αἰσχρόν, ἀνόητον, πολλὴ ἄνοιά ἐστι, δεινόν ἐστιν, Herod. 1. 187. Το pass on to μὴ οὐ, c. part. we take first (a) those (five in number) in which the uh où is attached to an infinitive. The construction is consecutive in Herod. 6. 9-Karap. púðŋgav μǹ... où Thy Miλntov olol ' wσi ¿eλeiv μh oÙK ¿ÓνTES VAUKрάтоpes, "They feared that they would not be able to take M., not without being" (or not whilst they were not") "superior at sea," uh belonging to exer, which is understood or repeated with the phrase μὴ οὐκ ἐόντες ναυκράTopes (Herod. 6. 106, Isocr. Hel. p. 217 c, 52), also after a word denoting "impossibility" (Dem. F. L. 379), where the word used is difficult" (Herod. 2. 110), after où díkalov. But the construction is also found (8) where no infinitive precedes (four cases): Oed. Col. 360, KELS yaр où KEVÝ γε, τοῦτ ̓ ἐγὼ καλῶς ἔξοιδα μὴ οὐχὶ δεῖμ' ἐμοὶ φέρουσα Ti; Oed. R. 221, où yàp av μáкраv txvevov avrò un oùK EXWV TI σúußoλov; Plato, Lysis, 212 D, оùк ăра ἐστι φίλον τῷ φιλοῦντι οὐδὲν μὴ οὐκ ἀντιφιλοῦν; Oed. R. 13, Suráλyntos yàp av einv Toidude un ou KATOIKTEίpwv dpar. These instances Mr. Whitelaw explained as due to the attraction of the consecutive infinitive μǹ où pépew, “so as not not-to

66

|

was read on "The Deme and the Horde "

The

bands. And in the British Museum there was a

bring," into the participle agreeing with the sub- regarded as the original from which Shakspere ject of the sentence. He compared Thuc. 6. 1, drew his portrait of Cleopatra. It was favourable (Σικελία) τοσαύτη οὖσα ἐν εἴκοσι σταδίων μάλιστα | to the identification that at the time when the μέτρα διείργεται τὸ μὴ ἤπειρος οὖσα; 4. 63. 1, διὰ τὸ Sonnets were written Mrs. Fytton would be about non poßepoùs Tарóvтas 'Aonvalovs; 5. 72. 2; and thirty. It appeared, moreover, from 144, 1. 12, explained Oed. R. 289, máλai dè μǹ τаρwv lavμáŠETAι, "I guess one angel in another's hell," that as due to a similar attraction. The participle in the dark lady did not live with Shakspere. This, such cases expresses the impossibility of the action too, was favourable. There was not improbably, not occurring as though it were an attribute of the in 151, 11. 9, 10, an allusion to the name Fytton as subject. Thus, in Oed. R. 13, instead of "it equivalent to "fit one." The probability of such would be too cruel so that I could not refrain from an allusion was shown by a contemporary monupitying," we have "I should be too cruel-I who mental inscription which contained the line could not refrain from pitying." "Fittons to weare the heavenly diadem." difficulty in the way resulted from the fact that ANTHROPOLOGICAL INSTITUTE.-(Tuesday, June 10.) the dark lady was evidently a married woman, PROF. FLOWER, President, in the Chair. A paper indeed, evidence that Mrs. Fytton had two husunfaithful to her husband (152, 1. 3). There was, A. W. Howitt and the Rev. Lorimer Fison, in letter to Lord Burghley from Mrs. Fytton's mother by Mr. which the authors traced a close resemblance between the social structure of the Attic tribes with respect to the marriage of her son to a lady and that of the Australian aborigines. The word who, as there were grounds for thinking, was "Horde" is used to indicate a certain geographical Edward Fytton was extremely displeased at his related to Mrs. Fytton's first husband. Sir section of an Australian community which occupies son's marriage. From this it was conjectured that certain definite hunting-grounds. Its members are of different totems-in fact, all the totems of early age; that the marriage had turned out Mrs. Fytton had been previously married at an the community may be represented in any given Horde. Descent being through the mother as the badly, and that she was separated from her general rule, the child is of its mother's totem, Court she had assumed anew her maiden name. husband. Previous to obtaining employment at not of its father's, but it belongs to the Horde in This hypothesis required confirmation, but the which it was born. So, too, the children of aliens are admitted into the exclusive organisation grounds of the identification were so strong that decisive evidence would be required in order to In Attica there were also two great organisations Mr. Tyler, after alluding to an extravagant by virtue of a right derived from their mothers. its disproof. As to the rival poet of 86, &c., one based originally on locality, and another whose theory propounded in the current number of sole qualification was that of birth-the Demotic Blackwood's Magazine, maintained that George and the Phratriac. Both included the free-born Chapman was certainly intended. The evidence citizens, and therefore coincided in the aggregate; adduced by Prof. Minto was entirely conclusive. but no Deme coincided with a Phratria, or with Before treating of Shakspere's philosophy and any subdivision of a Phratria. The naturalised religion, Mr. Tyler adverted to the abundant alien was enrolled in one of the Demes, but there evidence presented by the Sonnets to show that could be no admission for him into a Phratria; if, Shakspere expected that his works would be read however, he married a free-born woman, children by her were not excluded-they were immortality that even sonnet 146 was concerned :throughout all time. It was with a literary enrolled in her father's Phratria, the relationship between a child and its maternal grandfather "Poor soul, the centre of my sinful earth," &c. being looked upon as a very near tie of blood. second line might be solved by supplying "Why The critical crux at the beginning of the Thus, making all necessary allowance for the dif- feed'st"-"[Why feed'st] these rebel powers ference of culture in the two people, it appears that thee array ?" With respect to Shakspere's that the Phratriac is analogous to the social philosophic opinions great caution was required. organisation in Australia, while the Demotic There were grounds for thinking that Shakspere divisions correspond to the Australian Hordes.-entertained an opinion corresponding to that of his A paper by the Rev. C. A. Gollmer on Symbolic Language was read, in which the author described the method in which the natives of the Yoruba country send messages to one another and communicate their wishes by a variety of tangible objects, such as shells, feathers, pepper, stones, coal, sticks, &c.

his

"African

NEW SHAKSPERE SOCIETY.-(Friday, June 13.) F. J. FURNIVALL, ESQ., Director, in the Chair. The Rev. W. A Harrison read the letters (alluded to in the ACADEMY of June 7) from the Earl and Countess of Pembroke, and the Earl of Oxford, proving that, while William Herbert was only seventeen, arrangements were being made for his marriage to Bridget, granddaughter of Lord Burghley. With regard to the Sonnets this correspondence was very important, settling the debated question as to the probability of sonnets 1 to 17 being addressed to a youth of eighteen.Mr. Thomas Tyler then read his second paper on "Shakspere's Sonnets." With reference to the dark lady of sonnets 127 to 152 Mr. Tyler held that there was at least a probability of her being identical with Mrs. Fytton, maid of honour to Queen Elizabeth. There was a marvellous correspondence between the character of Mrs. Fytton and that of the dark lady, who was apparently of higher social grade, as shown, perhaps, by her skill in touching the virginal, as well as by other indications. The dark lady had, indeed, been

contemporary Bruno concerning an all-pervading soul of the wide world." The Sonnets also, in 59 world-soul. Sonnet 107 speaks of "the prophetic the cycles; that all things perpetually recur, and and 123, gave clear evidence of the doctrine of that "there is nothing new under the sun." Whence Shakspere derived this doctrine, which was characteristic of the Pythagoreans and Stoics, was doubtful. It was contained in the first and evidence that Shakspere had ever closely studied third chapters of Ecclesiastes; but there was no that book. Of the doctrine of necessity, implied in the doctrine of the cycles, there was no clear evidence in the Sonnets, but it appeared in the plays, especially in the remarkable passage 2 Henry IV.," act III., sc. i., ending "Are these things then necessities? Then let us meet them like necessities."

of

With regard to Shakspere's religious faith, Mr. Tyler assented to the opinion expressed by Dean Plumptre, that Shakspere's ethics were no more Christian, in any real sense of the word, than those of Sophocles or Goethe. In the discussion which followed the reading of the paper, Mr. Furnivall, Miss Grace Latham, the Rev. W. A. Harrison, Mr. Round, Mr. G. B. Shaw, the Rev. P. A. Lyons, Mr. A. H. Grant, the Rev. H. M. Mackenzie, and others took part. Mr. Furnivall was disposed to call in question Mr. Tyler's interpretation of sonnet 146, and he suggested that there might possibly be an allusion to Mrs. Fytton's name in the word "fitted" of sonnet 119, 1. 7. This meeting concluded the session. Mr. Furnivall announced promises of papers for next autumn and winter.

FOLK-LORE SOCIETY. (Annual Meeting, Saturday, June 14.)

EARL BEAUCHAMP, President, in the Chair.-The annual Report stated that the Folk-Tale Committee

continue to receive most active assistance in the work of tabulation from Messrs. W. J. Crombie, G. L. Aperson, E. Sydney Hartland, and others. Some of these tabulations have been selected for printing in the Folk-Lore Journal. As a result of this experiment, the work of printing appeared to the committee so important to the success of their labours that their recommendation to the council to utilise the journal for this purpose was at once adopted. It is therefore hoped that in the future a greater amount of space may be obtained for printing these tabulations of folk-tales. In the meantime, new workers are urgently needed to aid those already in the field, and thus help to bring the results of the committee's plan more quickly before students of this important branch of folklore. The committee cannot begin to classify and arrange until, at all events, all the principal collections of folk-tales are completely tabulated.

The Bishop of St. John's, Kaffraria (Dr. Henry Callaway), has presented to the society about eighty copies of his valuable Zulu Nursery Literature and about five hundred copies of his Religious System of the Amazulu. This most generous and acceptable gift will enable the council to send a copy of the latter work to each member of the society; and, with reference to the Zulu Nursery Literature, the council propose to offer it for sale to members of the society at half a guinea, any copies that may remain being offered to the general public at one guinea net. The work selected for is a collection of Magyar folk-tales by the Rev W. H. Jones and Mr. Lewis Kropf. It frequently occurs that reference is made to folk-lore in the reports of her Majesty's diplomatic and consular agents abroad, and it has occurred to the council that a representation u ight be made to the Government to urge upon it the advisability of asking its agents to notice matters likely to be of interest. If this can be done, the council will formulate a code of questions which might be sent for the guidance of those who would be called upon to report. The work of the society for the past year, though not so extensive as could have been wished, is, in the opinion of the council, satisfactory. During the last year a great deal of encouragement has been given to the study of folk-lore in foreign countries. In Spain, Portugal, Italy, and France, either through the establishment of a folk-lore society or the publication of a journal specially devoted to the study, the movement begun by this society has been A proposal has also been made to extended. establish a folk-lore society in the United States; and in India the publication of Capt. Temple's Panjab Notes and Queries promises to be as useful to Hindu folk-lore as our own Notes and Queries has been in the past to English. Of private collectors it may be useful to note that Capt. Conder has obtained a great quantity of Arab folk-lore; Sir Arthur Gordon has brought from Fiji some important materials; Mr. Karl Krohn is now travelling in the Baltic provinces of Russia col lecting Esthonian and Lettish folk-lore; and the Royal Colonial Institute of the Hague has resolved to request replies to a code of questions on proverbs addressed to all the Dutch colonies. In conclusion, the Council observes that it behoves every member interested in the study, and anxious to preserve the position which the society has held up to the present time, to exert himself to the utmost to secure additional members. There is plenty of work to do, and it must be done quickly.

FINE ART.

MR. WHISTLER'S ARRANGEMENT in FLESH COLOUR and GRAY at Messrs. DOWDESWELLS', 133, NEW BOND STREET, twɔ ɖɔɔrs fro.n the Grosvenor Gallery. Admission, One Shilling.

and worked with an ardour and fixedness of purpose foreign to days when income and position were already aims only too sufficiently dominant to dwarf such petty things as high ideals; but one of the last facts of life he realised was that in his past there was overmuch of the bitterness of vain effort, that now, when it was too late, there had come to him full recognition of the truth that to know how to live and work is knowledge which, when it comes at all, generally comes when it can be of no avail. Little as his life's accomplishment must have seemed to David Scott, it is certain that he neither lived nor worked in vain.

ness.

It has been known for some time past that Mr. J. M. Gray, the newly appointed curator of the Scottish National Portrait Gallery, and the author of a most interesting study of the art-work of the late George Manson, was engaged on the present volume; and the long delay in its appearance is due only to the innumerable difficulties attendant on the satisfactory reproduction of so many designs and pictures. To such as are unfamiliar with the now rare memoir of David Scott by his brother, Mr. William Bell Scott, the wellknown painter, poet, and art-writer, this monograph by Mr. Gray will have all the charm of novelty; while to those who possess or know the older chronicle, it will appear as a valuable and delightful supplement. But even one already acquainted with the salient features of the life of David Scott, and with the major portion of his work, cannot fail to be interested in a record narrated in so pleasant a style and with such evident earnestMr. Gray's enthusiasm for his subject never leads him into extravagance either of judgment or description. He writes in the full conviction that "the time has surely come when, if Scott's works were only more widely known, they would command recognition and win praise -a conviction doubtless shared by many, and which will surely be endorsed by those who in this volume make their first acquaintance with the life of the man, and with his work as represented by some admirable reproductions. In addition to thorough knowledge of his subject, Mr. Gray is fortunate in having that genuine catholicity of taste without which there can be no true art-criticism; but of especial value to him, in the present instance, has been his acquaintance with the designs of Blake and Rossetti among the dead, of Mr. Burne-Jones, Mr. Frederick Sandys, and others among the living-designs which have all been produced in more or less the same spirit as that which animated the imaginative artist who, at the early age of twenty-five, executed the "Monograms of Man."

David Scott was born at Edinburgh in 1806, coming, as his latest biographer says, of a family that could count their descent back for several generations through ancestors of a stout burgher sort. His father was an engraver of considerable repute in his day,

artist was dedicated, by parental authority more than by voluntary act. To the circumstances of his early life in the now dingy quarter of St. Leonards the peculiar genius of David Scott evidently owed a great deal, but whether he did not gain therefrom almost as much harm as good is open to question.

What he lacked most of all, as an artist, was a keen sense of beauty as beauty, and there can hardly be a doubt that if his early years had brought him more of the loveliness of life he would have gained much artistically, even, perhaps, to the extent of a comparative mastery over form. But the old house, "with strange winding passages in it leading to disused lumber-rooms," was not a cheerful abode for a strongly imaginative child—not, indeed, because of its old wainscoted chambers and dark narrow corridors, but because of the spiritual atmosphere which weighed down all joyousness, emanating from that sombre Presbyterianism which still lurks in that country where its hold became firmest. "About the home itself," says Mr. Gray, "there always hung something of gloom and sadness. The father was of grave temperament, deeply and sombrely religious, suffering, too, from feeble and broken health. Four sons, all of them older than David, had been removed by death; and the mother, her thoughts brooding upon those who were gone, would often address the living children by the names of the dead."

Such an atmosphere naturally affected deeply a lad of David's temperament. As a youth his mind was greatly occupied with theological questions;

providence, fore-knowledge, will, and fate" afforded him endless themes for discussion; and his early literary efforts took the shape of "Odes on Death."

The lives of most artists are specially devoid of incident; they work, they marry, they fail, or they approximately succeed, and their day comes quietly to them at last as to the great majority of their fellow-men. Now and again something of romance attaches itself to the name of some painter, as, for instance, in the circumstance of the untimely death of Henr. Regnault in one of the last sorties from Paris in 1871; but, as a rule, even this is absent, and the biographer has to chronicle little that would be of interest if deprived of the attraction of his subject's personality. The life of David Scott was no exception to the general rule. By the time he was twenty he had discarded that profession of engraving for which his ardently imaginative bent of mind little suited him; but, though he at once settled down as an original artist, two years elapsed before he exhibited his first picture, "The Hopes of Early Genius dispelled by Death." What the young painter accomplished previous to his visit to Italy comprises some of his most characteristic work. In addition to such pictures as "Adam and Eve singing their Morning Hymn," "Nimrod," "The Dead Sarpedon borne by Death and Sleep," and "The Death of Sappho,” he, in 1831, produced his striking "Monograms of Man," a series of six etched designs, exhibiting remarkable thought and artistic grasp for one so young. It was in Rome that the full import of his own half-guessed-at function came home to him. More than by any other master he was influenced by Michael Angelo -an influence that is very perceptible throughout all his subsequent work. Yet he made but one direct copy of a single work by the painter of "The Last Judgment;" indeed, his copy of Michael Angelo's "Delphie Sibyl" is the only thing of the kind he seems to have done. At Rome, however, he painted some characteristic and powerful works, the

best known of which is his "Discord; or, the Household Gods destroyed;" and there also he wrote much, having pondered long and frequently over problems arising in the course of his own experience. From among his generalisations the following may be quoted:"Art is produced in abeyance [sic] to intellect by Michael Angelo, to morals by Raphael, and to impressions of sense by

Titian."

The remainder of the artist's comparatively short life-his return to Scotland, his bitter disappointments, his consistent adherence to what he considered his special mission, and, lastly, his swift decline and death-is narrated by Mr. Gray with real sympathy in a few graphic pages.

Mr. Gray's judgment on the works of Scott is invariably well considered; and, if it is not easy to agree with him in his high estimate of the famous "Discord," his eulogy of "The Traitor's Gate" is not likely to be gainsaid. Of the twenty-six reproductions none is wholly unsatisfactory, and the greater number are admirable. The printing in colours of "Man and his Conscience" is very successful-a design, it may be remembered, which was most poetically described by the late Oliver Madox Brown in one of his stories, and which shows a man fleeing along the desolate marge of a wild gray sea-the sea of mortal life-while ever behind him races his relentless twin-self, his conscience. The small plate of "Adam and Eve" is delightful, and shows Scott in his most delicate and refined mood; "Nimrod, the Mighty Hunter,' who has chased a deer to the summit of some mountain-peak, and there pierced it with his great javelin just as the rosy light of dawn breaks in the east, is an autotype reproduction of the oil painting; and the six "Monograms of Man" are direct impressions from the original plates. Among the most pleasing of

the other illustrations are the two from the "Ancient Mariner" series, "Ariel and Caliban," "Vasco di Gama rounding the Cape," the Angels crying, Holy, Holy,

66

Holy," the "Procession of Unknown Powers,' and "The Footprint of the Omnipotent." To obtain some clear idea of the power and originality of Scott's more imaginative designs it is almost necessary to turn to these reproductions, for the originals are rare and seldom to be found in one collection; and to no pleasanter guide or biographer than Mr. Gray could any reader or student entrust himself.

As a rule, as Mr. Ruskin has remarked, monochrome seems to be the especially appropriate vehicle of that art" which is mainly that of imagination and thought rather than of mere sensation ; " but, while this general rule would apply to most of the compositions of David Scott, it would not do so invariably. Mr. Gray's words will best describe an excep

tion :

"It is interesting to compare the 'Sarpedon' of Scott with Mr. W. B. Richmond's rendering of the same subject exhibited in the Grosvenor Gallery of 1879. In the English artist's great canvas of the monochrome we have academic skill and finish, and an impressive sense of amplitude in the moonlit space of sky and sea, against which is seen the downward sweep of the spirits that bear the dead hero. In Scott's picture the grim presences loom out from the blackness of a night swept clear of moon and stars, a darkness dense, and that could be felt;

yet the work is full of colour-in the pallor of Death, the rosy flesh-tints of Sleep, and the dark crimson poppies of his chaplet. There is a weird and tragic power in this conception of the three figures, their limbs twining and involved, their bodies pressed each to each, as though Sleep and Death, and the man they carry, had become indeed one flesh."

Mr. Gray has very considerable faculty for terse and vivid description, an invaluable quality in an art-critic, who can convey so much more to a reader's mind by acute suggestion than by many almost inevitably confusing details of fact. The following is an

example :

"The Sappho and Anacreon,' a piece of strong masculine colour, is a scene of feast and revelry, white-skinned poetess, clasped by the brown a triumph of the glowing things of sense. The vine-crowned Anacreon, holds aloft her lyre. The scene is a pavilion, richly hung with crimson curtains, and open overhead to the blue. On the floor are strewed shed roses and other blossoms, an emptied wine-goblet, and a flute untouched of finger. And, if we ask, 'What of the end?' there seems some hint of solemn warning in the beautiful grave face of the Cupid to the left, and in the long upright line of sky that is seen beside him growing keen and pale towards evening, and pierced by the dark finger of a single poplar."

Scott has been called the "Scottish Blake;" but, despite a strong affinity between the genius of the two men, there is no doubt that the English visionary and the Scottish dreamer differed widely on one point. The difference lay in temperament: David Scott had more of weakness, more of mere baseless dissatisfaction, more of the elements of moral and artistic shipwreck, than the serene and joyful singer of the Songs of Innocence. In the words of Mr. Gray, "there was wanting to him that calmness and perfect faith which gave such a gladness and beauty to the life of Blake."

Whether Scott was so much a colourist as Mr. Gray would have us believe is open to doubt; as to his slight grasp of form there can be no question. After all, the artist of the "Monograms of Man" will be remembered chiefly because of his individuality, because he stands alone, because his most characteristic designs are as unique as those of the English poet-artist he at times so closely resembles, or as the "Melancholia" of Dürer. In the highest art, as in the truest poetry, form is not everything, nay, more, it is wholly secondary to emotion, whether the passion of the heart or the intellect, wholly subservient to intensity. Nothing in art or poetry will live by form alone; in perfect emotion only is there saving grace.

WILLIAM SHARP.

THE EXHIBITION AT THE BURLINGTON

CLUB.

Jones for Whitehall Palace, lent by the Queen, topographical scenes of archaeological interest like Hollar's views in London in the seventeenth century, and others like the abbeys by Girtin and Turner, in which the picturesque is paramount. But it is not without homogeneousness, for these three classes blend into one another by degrees almost imperceptible, and the subjects of the various drawings are all learned from the collection taken as a whole is architectural. Out of many things to be the interdependence of the two arts of painting and architecture. We learn also what excellent draughtsmen of architecture some painters have been, and what clever painters some of our

architects. Between these two classes lie the topographical draughtsmen, who have done so much to stimulate the love of architecture, and who were the founders of our great national tion is, as we have said, experimental, but it is school of water-colour painting. The exhibian experiment which can scarcely fail to be fruitful. We see in the miscellaneous collection what may well be the germs of more than one more special exhibition.

Nothing, for instance, could be more interesting than a collection purely designed to show the rise of the water-colour school out of the illustrations to works on the archaeology of Great Britain. As in Italy in the thirteenth and fourteenth centuries, so in England in the eighteenth and the beginning of the nineteenth, the love of antiquity-the archaeological interest in the remains of ancient art-preceded the development of a Renaissance, accompanied in both cases by a fresh study of nature, the research of new methods, and the production of original works of art. Such men as the Sandbys and Dayes, the Maltons and Thomas Hearne, by their " picturesque" treatment of architecture and their "picturesque views" of places, gradually led the way from mere draughtsmanship to the study of the light and air, of the trees and the water, with which their subjects were surrounded; and in due time came of these men a soil ready made for the germinaTurner and Girtin, who found in the experience tion of their artistic genius.

By Girtin there is but one drawing here; but this, a view of Jedburgh Abbey, is broad and masterly, showing how much more quickly he ripened than Turner. Sure, confident, and expressive in every touch, original in colour, and broad in treatment, it

tells us that Girtin knew what he wished to do, and went straight to his end without hesitation. The broadest drawing by Turner here is of a cloister arch in Evesham Abbey, lent also by Mr. James Worthington, but it is less original in touch than Girtin's, and more conventional in colour. There has seldom been a better opportunity afforded of studying the his early years before he emancipated himself cautious but rapid progress made by Turner in from his architectural bondage. Until he went to Yorkshire, in 1797, his work was mainly architectural in subject. The list of his thirtyeight contributions to the Royal Academy be

tween 1790 and 1798 is, with some half-dozen exceptions, of this character; and here you can trace him from his boyish efforts when in Mr. Hardwick's office to the perfect mastery of his dral, lent by Mr. Winkworth, and probably that craft. In its way the drawing of Ely Catheexhibited in 1796, was never excelled by himself or anyone else. Other drawings of singuinterest are the " 'Gateway of Lambeth Palace" and a "Sketch of a Building after a Fire," both lent by Mr. P. C. Hardwick. The former was possibly Turner's first "exhibit" at the Royal Academy (in 1790), and the latter may perhaps be identified with the drawing of the Pantheon after the fire which appears in the Catalogue for 1792. His finely drawn and dexterously coloured drawing of "Leicester Abbey," belonging to Mr. Jackson, is hung near two fine examples of Thomas