fulfilled. These are extremely large pictures, yet well hung. The
figure of Abishag is a little too much in the French taste for an
old-fashioned painter. Ars longa, nuda veritas! I hope (and so
will the Liberal readers of the "Newcome Independent") that it is
by an accident the catalogue reads--"The Traitor." "Earl Spencer,
K.G." "The Moonlighters." (Nos. 220, 221, 225.) Some Tory WAG
among the Hanging Committee may have taken this juxtaposition for
wit: our readers will adopt a different view.

There is a fine dog in Mr. Briton Riviere's "Requiescat," but how
did the relations of the dead knight in plate armour acquire the
embroidery, at least three centuries later, on which he is laid to
his last repose? This destroys the illusion, but does not diminish
the pathos in the attitude of the faithful hound. Mr. Long's large
picture appears to exhibit an Oriental girl being tried by a jury
of matrons--at least, not having my Diodorus Scriblerus by me, I
can arrive at no other conclusion. From the number of models
engaged, this picture must have been designed quite regardless of
expense. It is a study of the Antique, but I doubt if Smee would
have called it High Art.

Speaking of Smee reminds me of portraits. I miss "Portrait of a
Lady," "Portrait of a Gentleman;" the names of the sitters are now
always given--a concession to the notoriety-hunting proclivities of
the present period. Few portraits are more in the style of the
palmy days of our school (just after Lawrence) than a study of a
lady by Mr. Goodall (687). On the other hand, young Mr. Richmond
goes back to the antiquated manner of Reynolds in one of his
representations. I must admit that I hear this work much admired
by many; to me it seems old-fashioned and lacking in blandness and