really great works, such as the Finding of Christ in the Temple, or
Isabella Mourning over the Pot of Basil, both of which are fair samples
of his powers. Four pictures of his are shown here: a little Italian
child, painted with great love and sweetness, two street scenes in Cairo
full of rich Oriental colouring, and a wonderful work called the
Afterglow in Egypt. It represents a tall swarthy Egyptian woman, in a
robe of dark and light blue, carrying a green jar on her shoulder, and a
sheaf of grain on her head; around her comes fluttering a flock of
beautiful doves of all colours, eager to be fed. Behind is a wide flat
river, and across the river a stretch of ripe corn, through which a gaunt
camel is being driven; the sun has set, and from the west comes a great
wave of red light like wine poured out on the land, yet not crimson, as
we see the Afterglow in Northern Europe, but a rich pink like that of a
rose. As a study of colour it is superb, but it is difficult to feel a
human interest in this Egyptian peasant.

Mr. Albert Moore sends some of his usual pictures of women, which as
studies of drapery and colour effects are very charming. One of them, a
tall maiden, in a robe of light blue clasped at the neck with a glowing
sapphire, and with an orange headdress, is a very good example of the
highest decorative art, and a perfect delight in colour.

Mr. Spencer Stanhope's picture of Eve Tempted is one of the remarkable
pictures of the Gallery. Eve, a fair woman, of surpassing loveliness, is
leaning against a bank of violets, underneath the apple tree; naked,
except for the rich thick folds of gilded hair which sweep down from her
head like the bright rain in which Zeus came to Danae. The head is
drooped a little forward as a flower droops when the dew has fallen
heavily, and her eyes are dimmed with the haze that comes in moments of
doubtful thought. One arm falls idly by her side; the other is raised