Republic than he is in the art of the Periclean age.

The most remarkable of Mr. Richmond's pictures exhibited here is his
Electra at the Tomb of Agamemnon--a very magnificent subject, to which,
however, justice is not done. Electra and her handmaidens are grouped
gracefully around the tomb of the murdered King; but there is a want of
humanity in the scene: there is no trace of that passionate Asiatic
mourning for the dead to which the Greek women were so prone, and which
AEschylus describes with such intensity; nor would Greek women have come
to pour libations to the dead in such bright-coloured dresses as Mr.
Richmond has given them; clearly this artist has not studied AEschylus'
play of the Choephori, in which there is an elaborate and pathetic
account of this scene. The tall, twisted tree-stems, however, that form
the background are fine and original in effect, and Mr. Richmond has
caught exactly that peculiar opal-blue of the sky which is so remarkable
in Greece; the purple orchids too, and daffodil and narcissi that are in
the foreground are all flowers which I have myself seen at Argos.

Sir Coutts Lindsay sends a life-size portrait of his wife, holding a
violin, which has some good points of colour and position, and four other
pictures, including an exquisitely simple and quaint little picture of
the Dower House at Balcarres, and a Daphne with rather questionable flesh-
painting, and in whom we miss the breathlessness of flight.

I saw the blush come o'er her like a rose;
The half-reluctant crimson comes and goes;
Her glowing limbs make pause, and she is stayed
Wondering the issue of the words she prayed.

It is a great pity that Holman Hunt is not represented by any of his