i ^ 1 - 1 Hi,..,, j Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/historyofyorkshiOOyork \ At^ , L Cj r / THE HISTORY OS'. THE YORKSHIRE FINE ART & INDUSTRIAL EXHIBITION. YORK. OPENED JULY 24th, 1866— CLOSED OCTOBER 81st, 1866. COMPILED FKOM THE YORK HERALD. INDEX Preliminary Meeting g Public Meeting jg General Committee Meeting 20 Meeting of Guarantors 26 The Proposed Exhibition 29 Preparatory Notice to the Opening The Opening Day: — 33 ECistory of the Exhibition Scheme 33 Description of the Building 39 The Decorations 40 The Opening Ceremonial 4I The Music 57 The Refreshment Departments 58 Dinner of the Executive 59 The OflScial Catalogue : — 07 Patrons 71 President and Vice Presidents 7I Executive Committee 72 Sub Committees 72 The Great HaU— Ground Floor 76 Do. Galleries 86 Machinery Annex HI Addenda II7 List of Exhibitors Hg The Picture Galleries — Modem School 128 Do. Ancient School 145 Do. Water Colours, Sketches, &c 156 Do. Miniatures 164 Do. Statuary I67 Do. Addenda 168 List of Contributors I7I The Front of the Building I79 Critiques of the Pictures — Modem School 181 1) » II Ancient School 202 11 II II Water Colour Drawings 233 » II II Miniatures, Sketches, &c 239 II „ Statuary 240 Letter addressed to the Editor of the Leeds Mercury, by the Hon. Sec. of the Fine Art Department 242 Notices of the Contents of the Great EaU and its Galleries 246 I, of Machinery 276 Tue Visit of the Prince and Princess of Wales to York 285 The Appearance of the City 287 The Arrival of the Royal Pair 290 The Procession 291 The Prince and Princess at Bishopthorpe 293 The Decorations and Illuminations 294 The Mansion House 294 The Bars 294 The Public Buildings, &c, 295 The Royal Visit to the Agricultural Show 297 The GuUdhall, &c 298 The Museum 301 The Visit to the Exhibition 301 The Visit to the Cathedral 304 The Ball, and List of the Company 304 The Prince and Princess at Middlethorpe 509 The Review on Knavesmire 309 The Royal Visit B19 Royal Visits to York 325 Meeting of the York School of Art 327 The Church Congress Conversazione.. 330 The Closing Ceremony : — 331 The Meeting and Soiree 335 The Recent Exhibition 349 The Final Meeting of the Committee 352 The Proposed application of the Surplus 363 The Final Report of the Executive Committee : — 365 The Treasurer’s Accounts 390 The Award of Medals and Certificates. 392 Description of the Prize Medal 407 Table of Daily Receipts and Admissions 408 ILLUSTKATIONS. The Exhibition on the Opening Day. Exterior View of the Exhibition, Portrait of the President — James Meek, Esq. Distant View of the Exterior. The Eastern Picture Gallery and Pavilion. The Western Picture Gallery and Pavilion. The Great Hall, Looking North. The Great Hall, Looking South. „ The Caesars. „ The Fountain. „ The Iron Gates. ,, The Gallery. The Machinery Annex. The Triumphal Arch — Ouse Bridge. „ Lendal Bridge. „ Entrance to the Yorkshire Philo- sophical Society’s Grounds. „ St. Leonard’s Crescent, „ Bootham. The Review on Knavesmire. Do. Do. The Medal. Plan of the Exhibition Building. 1q Two Specimens of Book Markers, manufactured by the Jacquard Ribbon Loom, in Commemoration of the Opening of the Yorkshire Exhibition. ‘hj ' I I • '•I J I ^ I 9 PROPOSED FINE ART & INDUSTRIAL EXHIBITION IN YORK. It haying been snggested that there ihonld be a Fine Art and Industrial Exhibition in this city next year, a numerous preliminary meeting to promote the object was held on Tuesday afternoon last, in the Council Chamber, at. the Guildhall. Among those present were the Lord Mayor, the Hon. and Very Rev. the Dean, the Rev. Dr. Hornby, the Rev. G. Rowe, the Rev. G. H. Philips, the Rev. G. V. Smith, the Rev. W. Jessop, the Rev. T. Morgan ; Aldermen Weatherley, Close, and Colburn ; Councillors Thompson, Walker, North, Mann, Croskell, Wales, and J. Brown ; Dr. Matterson, Dr. Gibson, Dr. Needham, E. Swaine, Esq., J. Burton, Esq., Eoppleton Lodge ; W. Dyson, Esq.,' J. B. Atkinson, Esq., J. Roper, Esq., W. W. Hargrove, Esq., R. Farrer; Esq., L. Thompson, Esq., T. Allis, Esq., B. Taylor, Esq., W. S.- Dallas, Esq., T. S. Noble, Esq., W. Phillips, Esq., R. A. Clark, Esq., J. Grayston, jun., Esq., John Holtby, Esq., H. Rowntret, 'Esq., Mr. W. Pnmphrey, Mr. W. Monkhouse, Mr. John Frater, Mr. J. Foster, Mr. E. Moore, Mr. T. “Wright, Mr. Geo. Acton, &c. Letters had also been received from a large number of influential citizens, who were unable to attend, expressing their entire approval of the proposed Exhibition. • On the motion of Mr. North, seconded by Mr. Thompson, the Lord Mayor was called to the chair. ■ The Lord Mayor said that probably a word or two of explanation would be necessary from him as to what had been preliminary to that meeting. He believed they were all aware that they had been called together for the purpose of considering the propriety of holding a Yorkshire Pine Art and Industrial Exhibition in, York in the coming year. He also believed they were indebted for the first idea of such an exhibition to Mr. Pumphrey, who communicated his suggestion to the committee of the School of Art a few days ago. The subject was discussed by them and they thought it desirable to give the matter some further con- sideration. They then appointed a sub-committee, who made various inquiries, and eventually called a small meeting to ascertain whether such a project would be favourably received and supported. At that meeting some resolutions were passed, and the committee determined to ascertain further the feeling of their fellow citizens. He scarcely need say that they must all feel that the holding of such an exhibition as that proposed; if it met with the support and response that was sought for, would be very desirable. There was no reason why an exhibition of art and industry in York should not be quite as successful as the recent one at Wakefield. It was true that York ‘Was not surrounded so largely by manufactories, but the rail- ways almost annihilate distance and render that a matter of little consideration. A considerable expense would have to be incurred in order to place the exhibition on a proper footing. It was therefore proposed that a guarantee fund should be raised, and if the exhibition met with the public support which they anticipated, the guarantors would not be called upon for the amount of their subscriptions, and there would be a handsome surplus to be applied to the Yorkshire charities or any other object. Such an exhibition would be a credit to the city, in which there were many attractions, and would promote a taste for, and a knowledge of, the fine arts. Of course everything would depend on the way in which it was taken up by the citizens, and very much would also depend on the liberality with which the railway company would be disposed to meet them in order not to 10 subject parties to a great expense in respect to fares. He had no doubt if the citiseus were prepared to enter upon this as they should do, he did not think they would find the railway authorities wanting in sympathy for their ob- ject, or to neglect to meet them in a proper way. The Rev. Dr. Hornby, one of the Secretaries ef the School of Art, read the resolutions which had been passed by the committee of that institution, to the effect that it was desirable to hold an exhibition in the ensuing year, that they considered that in order to carry out such a scheme it would be necessary to provide a guarantee fund, and that, a provisional committee be formed. The hono- rary secretaries of the School of Art were desired to act as secretaries of the provisional committee. Mr. Ptjmbheey, on being called upon by the Lord Mayor, came forward and said that it was with a feeling of great pride and pleasure that he had to introduce a subject like that to such a company. Perhaps it might be asked why he should be called upon to make a statement like the present. The subject was by no means a new one to him, for about twenty-five years ago, before he became a resident in York, he was concerned in the management of two or three exhibitions of a very similar character, and he then noticed with much satisfaction the great interest, pleasure, and information which those exhibitions appeared to afford to those by whom they were visited. The idea of an exhi- bition was not new to the minds of many citizens, and it had been often asked why they had not an exhibition. He believed it was thirty years since there was an exhibition of paintings in this city, They had sometimes been told that there did not exist in York the public spirit that was necessary to carry out such an undertaking, and that the population did not possess the intellectual taste to make such an exhibition attractive. With both these pronosi- tions he begged respectfully to differ. He believed there was ample public spirit, and if such an exhibition were placed before the population he felt convinced they would find them ready to take advantage of it, and be thoroughly prepared to enjoy it. The chief reason assigned as the pro- bability of its not being carried out was that there was no one to come forward and agitate the matter. Thus things remained till near the close of the W^akefield Exhibi- tion, when its success called renewed' attention to the subject. He paid a visit to that exhibition in company with his friend Mr. Henry Rowntree, and the conversation they had with some of ^he committee there, who were formerly citizens of York, convinced them that if an effort were made to interest others in the affair, there was nothing to prevent the carrying such an exhibition to a successful issue. He and Mr. Rowntree returned home determined to agitate the question, and wherever it had been mentioned there was a readiness to receive the proposition, and every one acknowledged it would be very desirable if it could only be carried out. He wished to give something like a sketch of what was in Contemplation, and what might be expected to be the general character of such an exhibition. Though the provisional committee wished to leave it entirely in the hands of that meeting as to what should be done, he thought it was necessary that the outline of some plan should be laid before them. It was needless to enter into the reasons for such an exhibition, because they were self-evident. York, from its metropolitan character and central position] is admirably adapted for such an undertaking. It is the point at which the railways of the county converge, thus affording facilities of no common kind both to visitors and exhibitors, and immense numbers of people could be brought with great facility, and at very little cost. Such 11 an exhibition might be the means of inducing hundreds of thousands of persons to visit the city, besides bringing a large accession of business to the commercial part of the com- muuity. The commercial advantages to the exhibitors would also be great, and it would afford intellectual recreation to the masses of the people. There would also be another advantage which had not been anticipated. At Wakefield, he was told, they had been split up into all kinds of divi- sions on political and religious subjects, but in their exhi- bition the people had found one common ground on which they could work harmoniously, and they were coming out of it with far better opinions of each other than they had before. (Applause.) With respect to the undertaking in York there was great probability of a very considerable surplus. Assuming that the exhibition was desirable, of what should it consist ? It should consist of works of art, not limiting it to paintings in oil, but extending it to water colours and drawings, engravings, and sci^p'ure. Photography also would undoubtedly occupy a prominent position, and any of the productions of industry, either in manufactured articles or machinery which presented any novelty of construction or arrangement, or that were calculated to interest and instruct the visitors. To these would be added the attractions of music and intellectual entertainments. An exhibition of this kind would occupy a considerable space, and the question of where it could be held was very important. Several things were requisite. Besides considerable space, a tolerably central position was required— not in close proximity to the retail trade of the city, and yet bringing the visitors through the city ; nor yet near the residential portion. They Wer® ip possession of a site which was admirably adapted to meet all the requirements of the case, belonging to themselves, and not interfering either with the business of their active citizens or the quiet and repose of those who were maiuly withdrawn from the more active pursuit of busi- ness. Such a site he found in St. George’s Field, and on this he would, with the consent of the city authorities, erect temporary wooden buildings of a size and extent com- mensurate with the demands of the exhibitors for space, leaving to the eominittee to exercise their discretion so that the size and consequent expense of the building might not extend beyond its power of attraction. He should propose that offer of space in such building should be made to the manufacturers of Yorkshire generally, but that, as agricultural implements had exhibitions especially adapted for their display, and as they were to have the meeting of the Yorkshire Agricultural Society in York next year, it would not be advisable to admit them, yet that the com- mittee should exercise a discretion in this respect, as there might be cases in which some special reasons might be shown why this rule might be relaxed. With this exception, he should propose that the exhibition be open to all works of art, and to ail forms of mechanical contrivances and works of industry generally. In order to provide against loss, it would be prudent to set on foot a guarantee fund which should not amount to less than £2,000 ; he thought it would be much better if it were £3,000, but that no subscriber to such fund should be called upon for any contribution except in case of actual loss in the winding up of the affair, and then only in proportion to the amount subscribed for. He thought there was no likelihood of any such deficiency, and that the question of providiflg for the distribution of any possible surplus ought to be determined in the first instance. In Wakefield there was a population of 26 000, and within six weeks there were 195,000 visitors to the exhibition. If every man, woman, and child in Wakefield had gone to the exhibition twice during that time 12 it would stiU leave 150,000 visitors from other parts of the country, who were chiefly carried by railway. Look at the difference between York and Wakefield with regard to attractions. At Wakefield there was nothing to see but the exhibition, but, independent of such an exhibition, York was a point of attraction to persons all over the country. He considered therefore that if the railway company were prepared to bring many thousands of per- sons at a cheap rate, the Exhibition would prove more successful, in a pecuniary sense, than the one at Wakefield. The expenses there in six weeks amounted to ^5, 500, and the receipts from all sources amounted to very nearly £7 000 leaving a surplus of between £2,500 and £3,000. It might he sa,id that the manufactories of York were insignificant, but in an exhibition where the object was to compare the results of different manufactures, he who employed only ten men and had them under his eye, might often pro- duce an article of far superior finish than the man who employed a far greater number of workmen. They had at least three employers in STork who had obtained first- class medals at the London and Dublin exhibitions, and he thought that really the manufactures of York alone would form a very capital basis for the exhibition of manufactures and machinery. At Birmingham, where they had an industrial exhibition, there was a surplus of nearly £1,000. The exhibitions at Bristol and Preston had also been successful, but some of those in London had not been snccesefnl owing to their having been overdone. Seeing, however, that there had of kind in York for thirty years, such an exhibition would be successful. He believed that the success or lailure of the exhibition would depend upon how « the North-Eastern Bail way Company would be able to afford them facilities for the purpose. He believed that company was perfectly willing to the extent of its power, but the business of the North-Eastern Bailway was so very great that he did not think the company wished for more. He thought that company would give them all the advantages they could, and with low fares and plenty of excursion trains there could be no fear as to the result. It was his firm conviction that if pru- dently conducted, a large surplus might be secured, that benefits great and lasting would result to the city, that it would promote the Intelligence and intellectual progress of the people, and that they should be able to look back on the year 1866 and the mayoralty of their worthy chief magistrate as one of the bright spots in the history of this ancient city— one in which it took a long step in advance m that race of social progress in which, he believed, all then present desired to see her a successful competitor, and in which none more heartily joined than himself. (Applause.) In reply to Mr. North, Mr. PuMPHEEY said that at Wakefield they gave £200 for the use of an old warehouse, outside of which there was a piece of open ground on which was erected a wooden building, for the use of which £750 were paid. The building must contain a large central haU and a suite of rooms for paintings and other articles. Such' a building might cost £1,500. In answer to a question by Mr. Atkinson, Mr. PuMPHBEY said that the central hall at Wakefield was thirty-five paces by twenty. Mr. Atkinson thought that was too small. The Lord MAYOEreferred to a suggestion which had been made to mn up the drill sheds mteuded for the volunteer corps and make them available for the exhibition, but to Id have the exhibition outside the walls might not answer so well as in St. George’s Field or a more central position. The building would have to he much longer than the one at Wakefield. Mr. Councillor Thompson said he did not think St. George’s Field the most suitable place for an exhibition, as in autumn, when the exhibition would probably he held, the ground would be liable to be flooded, and the street leading to it was only narrow. He suggested the field adjoining the Yorkshire Gentlemen’s Cricket Ground. Mr. Atkinson said the attention of himself and his brother had been called to the space of ground in front of the School of Art in Minster-Yard, as being the most suitable and most central for the purpose. There were about 160 by 170 feet of available space, which contained upwards of 8000 square yards, which he thought was amply sufficient. The cost of such a building as would ba re- quired, together with fittings and other contiagenoies, would be something approaching £ 2 , 000 , and it would afterwards sell from one-half to two-thirds of the original cost. Mr. PtJMPHBEY suggested that it might he objectionable to have the exhibition so near the Minster. The Hon. and Very Rev. the Dean having put a question as to the probable amount of the receipts, said that with respect to the ground opposite the School of Art, ha was quite sure, as far as the Dean and Chapter were concerned, they would afford every facility. (Applause.) At the same time he could not help thinking that the space there was rather limited, and particularly if they wanted to intro- duce machinery and all the appliances connected with it. A site more preferable to that would be the space of ground opposite the asylum in Bootham. There they would have an open space, comparatively few residences, and the rail- way close at hand, which was important. Mr. PuMPHREY, in reply to the question of the Dean, stated that it was impossible to come to any conclusion, as a good deal would depend upon the rate at which the railway company would bringpassengerB. He again stated what the receipts were at Wakefield, and felt every confi- dence in the result if return tickets at a single fare were granted, and there was at least one excursion train from every town in the county. Mr. North moved that the Lord Mayor be requested to convene a public meeting of the citizens to consider and determine whether an exhibition of fine arts and industry shall be held in York next year. The committee of the School of Art thought it right to convene the present meeting in order that it might determine how far such a project was feasible. He thought the fairest way to bring it before the public was to call a meeting in order that the citizens at large might have an opportunity of considering the question. If they gave their sanction to this motion, it would show that they approved of the project. Mr. Aid. Close seconded the motion. Mr. North hoped they would he prepared at the meeting to state what would be the amount of space required, the general apportionment of the paintings, &c., t!j® pjrobable cost of the building, and the locality in which it was to be placed. The motion was carried unanimously. The Lord Mayor said he should be most happy to comply with the wish of the meeting, and to call the public meeting at such time as he should be advised, and was thought to be the most suitable for the purpose. Mr. Holtby then moved certain resolutions which are intended to be submitted to the public meeting. Mr. Atkinson seconded the motion.. 14 Mr. W. W. Hargrove inquired whether, one of the resolutions just proposed by Mr. Holtby did not pledge them to carry out the projected exhibition. To him it appeared very desirable that prior to the general meeting, they should know how far the directors of the North Eastern Eailway Company would meet them with regard to reduced fares, because ke apprehended on that point would rest the success or failure of the exhibition, and that if they did not receive an assurance of their hearty co-operation, the project would have to be abandoned. Mr. PuMPHREY remarked that Mr. North and himself took the opportunity, on Saturday, of waiting upon a gentleman who was prominent in the board of directors of the North-Eastern Company, They found him exceedingly ready to meet them, and do everything be could for them. The Lord Mayor thought there were indications of liberal treatment on the part of the railway company, and he hoped that in this case they would not have to complain. Mr. Holtby said he had for seven years been associated with the gala, and when the committee had applied to the railway company for accommodation, they had met them in a most libe. al manner. The resolutions were carried unanimously. Mr. L. Thompson moved that the thanks of the meeting be given to the Lord Mayor lor his kindness in taking the chair. He felt that notning but success would attend the exhibition, because it was one of those things to which no one could take exception, and it would be attended with great benefit. ! Mr. Pdmphbey seconded the motion, which was carried unanimously. The Lord Mayor, in returning thanks, said he should be glad to do anything he could to promote the success of the exhibition. The meeting then separated. 16 THE PROPOSED FINE ART AND INDUSTRIAL EXHIBITION IN YORK. PUBLIC MEETING. la pursuance of the resolution passed at the preliminary meetmg held last week, the Lord Mayor convened a public meeting of his fellow-citizens, which took place on Wed- nesday afternoon last, at the Guildhall. Among those who were present were the Lord Mayor ; Mr. Aid. Har- grove ; the Town Clerk ; W. D. Husband, Esq. ; Dr. Matterson ; Dr. Procter ; Dr. Gibson ; Bev. Dr. Hornby ; the Bev. T. Myers ; the Bev. H. V. Palmer ; the Bev. T. Morgan ; the Bev. B. Green ; J. P. Pritchett, Esq. ; W. C. Atkinson, Esq. ; E. Swaine, Esq. ; J. Leeman, Esq. ; W. S. Dallas, Esq. ; W. W. Hargrove, Esq. ; W. Slinger, Esq. ; B. Gould, Esq. ; H. Fippard, Esq. ; B. Mackreth, Esq. ; J. Mason, Esq. ; J. L. Foster, Esq. ; H. Bichardson, Esq. ; B. Perkins, Esq. ; B. A. Clark, Esq. ; W. Pumphrey, Esq. ; Councillors Thompson, Hands, Deighto’n, Scott, Steward, and Croskell ; and Messrs. Wales, H. I. Bowntree, Perfect, Worthington, Acton, Monkbonse, Eastwood, Newbald, King, Stead, Walker, Wilson, Hands, Dresser, Humphrey, Jack- sou, Graham, Bansley, Mil ward, M. Cooper, Cowper, Pen- rose, Swallow, Smith, Baines, Mosley, T. Wright, White, &c. On the motion of Mr. Husband, the Lord Mayor was called upon to preside. The Town Clerk having read the requisition for this meeting. The Lord Mayor said he had had great pleasure in com- plying with a resolution such as the one which had just been read, and entitled to so much consideration on his part. This was the meeting which was to evince what was the feeling of the city of York with respect to the holding of this exhibition during the coming year. As to an exhi- bition in the abstract, he could not suppose that any one could have any objection. The influence of such an exhibition would, in every respect, be favourable and desirable. It would give an impetus to industry in York, and it must have a beneficial influence on those who exhibited and those who visited the exhibition, and there could be no doubt also that it would be very beneficial to the city. There was a very serious question of finance involved. They should want a gnarantee fund, and, satis- factory arrangements with the railway companies, and the rising of a guarantee fund would, after all, be the best test of what were the feelings of the citizens. (Hear, hear.) If it were entered into with spirit, and it met with the amount of support they hoped it would in this city and vicinity, there would be no loss. In fact, a profit might be looked for, but everything would depend upon the manner in which the undertaking was received. A question would arise as to whether, as they were likely to have other claims made upon them during the year, they should postpone the exhibition to another year, and the answer to that was that they must have the exhibition next year, or probably they would not have it at all. He was not there to advocate this matter, or to discourage it. He should be glad, however, if it was the wish of the city, that such an exhibition should be held, and to give it that support which his position would enable him to do. He was not there to press the matter, and if there was any apathy or indifference, they had better let it alone. If they entered into it heartily the result would be gratifying to them all, and would be for the benefit of art and industry in general and this city and vicinity in par- ticular. (Applause.) He was sorry they were disappointed of the presence of some warm friends, but that need be no dis- 16 conragement to them because their absence was occasioned by. unavoidable circumstances. His Lordship then read a letter from J. Lowther, Esq., M.P., who stated that^he was obliged to proceed to the south to attend a funeral this week. He trusted that the meeting would be a successful one, and the object in view would be attained, and that it would be a movement in which all would he actively interested. A letter dated Scarbro’, had been received from G. Leeman, Esq., M.P., in which he said he had fully intended to be at the meeting, hut an accident had rendered him very lame at present, and Mr. Dale, his medical man, insisted on his not stirring. He would give to the proposed object all the assistance he could render, and he should be happy to join the guarantee. (Applause.! He (the Lord Mayor) had a letter from F. A. Milbank, Esq., M.P., dated Thorpe Perrow. In that communication Mr. Milbank stated it was his full intention to have been present at this meeting, but he regretted to say that at the last moment he was prevented , . from doing so, owing to a letter of great importance which ' he had received by that morning’s post. If the meeting was of opinion that the exhibition should take place, he should give it all the support in his power. (Applause.) Another letter had been received from the Hon. W. E. Buncombe, M.P., who regretted that he should be prevented, by a previous engagement, from having the pleasure of attending the meeting. He should be happy to co-operate in pro- moting so desirable an object. (Applause.) Mr. W. D. Husband said he regretted very much that those gentlemen from whom the Lord Mayor had read letters of apology were not present that day, because on them would have devolved much more gracefully and effectually the duty which had been assigned to him, for, as the Lord Mayor had said, unless the matter were taken up generally, and with the feeling that it must be carried to a successful issue it would be idle to think of holding it at all. Therefore it was that in order to test the sense of their fellow-citizens on this question, he should propose a resolution which had been suggested, and which he had taken the liberty, after having advised with some of the active members of the committee, rather to modify, and would enable that meeting to express an opinion as to whether it was desirable to hold an exhibition next year. He thought that with regard to the propriety of exhibitions in the abstract there could not be the slightest doubt. They lived in an age which was an example in the history of the world. He thought it was Lord Bacon who observed that a nation given up to arts and manufactures was liable to degenerate. At the present day, however, while they weremanufaetnriug with one hand they held a rifle in the other to protect their shores and their honour, and therefore they lived in an age not of efieminacy, which produced the fall of Greece and Rome, hut they lived in a country which could take care of its own, and therefore he did not fear at all that England would lose her position among the nations of the earth. (Applause.) Remembering, too, what an old Roman said of old that the study of art softened men’s hearts, and prevented them becoming barbarians, translated literally, he thought that, next to the evangelisation of a nation, there was nothing which refined it so much and brought out the better feelings of the people as the cultiva- tion of the fine arts. No one could go to an exhibi- tion such as the one proposed, and see the products of the human mind, without coming away a wiser and a better man. They all ought therefore to encourage the exhibition, and he did not think that there would be the slightest difference of opinion as to the propriety of holding it. Then the next question which presented itself was the cost. He held that when Wakefield had had its 17 successful exhibition — a town which was not in the centre or the metropolis of the West-Hiding, but one as far as attractions and historic interest went, fell far below their good oid city— -with the attractions they could hold out, it would be ten tim es more successful than the one at Wakefield. (Applause.) If they took a bird’s eye iew around the city, and saw the fine old halls stored up with, art treasures and historic memorials, they would agree with him that they could bring together such an exhibition as few localities in the country could produce. He therefore thought it behoved them to take adrantage of their position, and to do all they could to promote the exhibition. He had been reminded that if they had no exhibition next year they would be forestalled, for the people of Leeds intended to hold an exhibition the year after next. (Applause.) He thought he had pretty clearly shown that York pos- sessed every facUity for holding such an exhibition and then came the question whether financially it was’ likely to be successful. In every town in the provinces where there had been an exhibition there had been pecuniary success, and when this had been the case in Wakefield he could not see why it should not, with the public spirit of the city of York, be the same there. They could manage the Social Science Congress, and bring it to a successful issue, while other larger towns had failed to do so, and he believed the same energy and good business habits which had carried them through in a similar enter- prise, would carry them through this, not only as regarded the benefit of their fellow-men, but also as related to pecuniary results. _ The resolution passed last week merely provided for raising the subject for discussion, and went to adopt the principle that an exhibition should be held, but he thought in all these matters, however ardent their love might be for the arts, and however zealous they might be to promote the object now before them, they should at the same time look at the question in a business point of view, and they ought not to run blindly into It unless it was likelv to do well and be successful In the first place, it would not do to go into this without hav- , ing a proper pecuniary basis. There must be a guarantee fund, because no committee would take the matter in hand unless ttey felt they were going to be supported against all loss. He did not tjiink that one farthing of this guarantee fund would be wanted, yet they must have one raised to prevent loss. If every man, woman, and child in this city were to visit the exhibition tUl they were tired, it would not be a paying concern, and therefore they must have a povision that the railway companies should be asked to bnng from the West-Siding and from the agricultural distnots persons who would wish to see the exhibi- tion at a fair and reasonable charge, and provision during the time of the exhibition should be made for cheap trains to the city. Mr. Husband then moved that an adequate guarantee fund can be raised, and satisfao- tory arrangements made with the railway companies, an exhibition be held in this city during the ensuing year, to ^ called the Yorkshire Fine Art and Industrial Exhibition. He submitted this resolution to the meeting with every feeling of satisfaction, because he believed it was their « it, and to take advantage of the opportunity afforded them of holding a successful exhibition. He be- lieved there was sufficient public spirit in York to carry it to a successful issue, and though a few months ago they had some little differences of opinion, he felt that when they had one common object in view, their politics, their religion, and anything else calculated to produce a differ- ence of opinion, were thrown to the winds, and every citizen, be he high or low, be he rich or poor, was ready to 18 come forward to promote the welfare of his fellow men and the good of this old city. (Applause.) Mr. Aid. Haegbove said that cordially approving as he did of most of the remarks which had been so eloquently made by Mr. Husband, he could have no possible objection to second the reselution, which, as they would have ob- seiTed, was mainly conditional. If a resolution had been proposed that an exhibition should take place during the f ■i ensuing year without any addenda, he intended to have 1 proposed an amendment that the exhibition should only take effect provided arrangements were made by the rail- way companies having access to this city, b'nt the resolution had been modified, and unless they obtained a guarantee fund, and the railway companies could be induced to meet , them, the exhibition would not take place. He, however, had no hesitation in saying, that the North-Eastern ‘ Bailway would meet them in a fair and proper manner, ; and enable them to hold the exhibition with success. ‘ But besides the North-Eastern, the co-operation of other railway companies would be i-equirqd — the Midland, the Great Northern, and the Lancashire and Yorkshire— and by their assistance they might hope that many thousands of persons would be brought to the exhibition from the manufacturing districts of Yorkshire. In the city and vicinity they possessed articles of vertu snfBcient to form an exhibition, aad they had the stroogest promises of support from those gentlemen who were capable of making such an exhibition ^acceptable to the people at large. Under these circumstances they would be wanting in public spirit if they did not put their shoulders to the wheel, and provide each an exhibition as had not hitherto been seen in Yorkshire. (Applause.) The motion was then pnt and carried nnanimoosiy. Mr. Councillor Deighton said in moving the resolntion which had been placed in his hands, he would content' himself by expressing an earnest hope that thus undertaking would be warmly supported by all classes, in order that it might be made truly worthy of the capital of this great county. He moved the appointment of a committee to carry oat the undertaking, of the president and vice- president , secretaries, and treasurer. Mr. Atkinson seconded the motion. Mr. PuMPHBBY said it was only due to those present to state how the committee had been constituted. He dared say that most of those present would be aware that the scheme originated in some private conversation, and from this point it was carried on to a meeting of gentlemen, not exceeding a dosen, who met together at the School of Art. They formed themselves into a provisional committee, and invited about 300 to render their assistance in this matter. Why they had issued this invitation so widely was that they felt sure there were many citizens who were prepared heartily to co-operate with them, and if there was any, gentleman either present or absent who wished to help the movement, if they would communicate with the general secretaries, they would be placed on the committee. It was very necessary the committee should be a large one, because there was a large number of sub-committees to be' lormed, and upon all vital questions it was necessary to have a full representation of the city at large, (Applause.) The motion was carried unanimously. Mr. Holtby said he begged to move a resolntion which had been entrusted to him with great pleasure, and he did it the more readily seeing the large body of gentlemen who were assembled together that day. Talk of success I If they could not have a successful exhibition and a large Bubscriptiou list from the number of gentlemen he saw 19 aroimd him, h© should be ashamed for the city of York, He had the pleasure to be associated with a society which was constituted of twenty or thirty iodividuals who had for sis or seven years the honour of supporting and conducting to a successful issue an amusement which was only for two days in the year. Those who composed that committee had never hesitated in pledging their words to a guarantee fund of £1,000, and he knew the time when their treasurer had such confidence in the committee that he drew cheques to a considerable amount without having a shilling' in Ms pocket. (Laughter.) He meant without having a shilling of their money in his pocket. If they could not, ..under present auspices, enter into a guarantee fund, which must not be less than £3,000, he should be ashamed of the city. He moved that a subscription to a guarantee fund be now commenced, no calls to be made on any subscriber except in the case of actual loss, and then in proportion to the sum subscribed, but in the event of there being a surplus, that such surplus shall be applied as -the general committee may determine. (Hear, hear.) Mr. S'WAINB seconded the motion. The Lord Mayor remarked that the gala committee might regard the promoters of the exhibition in the light of competitors, and it was therefore gratifying to have the presence and concurrence of the chairman of the gala com- mittee. The motion was then adopted. Hr. Matterson observed that the resolution he had to propose bore materially on the success of the intended exhibition. At the preliminary meeting they were almost led to suppose that the North-Eastern directors would deal hardly with them, but he could not help thinking they would do all in their power to meet the views of the depu- tation who would wait upon them. He moved that Mr. Aid. Close, the Town-Clerk, and Mr. North be appointed a deputation to wait on the directors of the North-Eastern Company to arrange for the conveyance of visitors and goods on the most reasonable terms. He hoped they would accede to such terms as would bring a large number of visitors to this city, and thus promote the success of the exhibition. The Hev. T. Myers, in seconding the motion, alluded to the assembling of the Church Congress in York next year, and suggested that for the accommodation of the large number of visitors to that Congress, some adjustment should be made. In connection with that Congress they should have to wait on the railway companies to arrange not so much for the conveyance of goods, but rather to bring visitors to York on very liberal terms. Mr. Husband suggested that the name of the Lord Mayor should be added to the resolution, and, with this amendment, the motion was carried mm, con. Dr. Procter said before they separated there was one duty they would perform with great pleasure, and that was that their cordial thanks be given to the Lord Mayor for the able manner in which he had presided over and conducted the business of the meeting. (Applause.) Mr. Councillor Croskele seconded the motion, which was carried by acclamation. The Lord Max or said he was much obliged for this expression of kind feeling, and he was agreeably dis- appointed in seeing such an enthusiastic meeting on so inclement a day. He thought it ensured the success of the exhibition, and he should be glad to further the interests and promote the welfare of this good old city. (Applause.) Previous to the meeting separating, subscriptions to the amount of nearly £1,000 were guaranteed. 20 THE YORK FINE ART AND INDUSTRIAL EXHIBITION. On Thursday afternoon last, a very numerous meeting of the general committee and guarantors of the above exhi“ bition was held in the Guildhall, the chair being occupied by the Loed Mayor. i The business was commenced by the liORD Mayor, who remarked, that he was happy to inform the meeting that the project to hold an exhibition in this city next year had met with a greater* amount of support in York than the most sanguine of them had anticipated. He thought that in every respect the project was meeting with favour, ^ and they had every reason to hope that the York Exhibition would not be seconji to any of a similar kind held in this country. A great amount of labour would devolve upon the committee they had to appoint, hut so far everything was as cheering and encouraging as they could wish. (Applause.) It would be interesting to Ms feUow-citizens to know that the council of the Yorkshire Agricultural Society had, just decided to hold the show of that society in York, in the coming year, with this qualification, that there was to be no exhibition of fat stock, and that though no money would be given in that department, the other prizes would be increased. , , , Dr. Gibson said that as several gentlemen who had contributed to the guarantee fund had expressed their wish to have their names placed on the committee, he begged to move that the names of all persons who had subscribed to the guarantee fund be added to the committee, and that all future subscribers to the amount of £5 be members of the committee. . Mr. Aid. Hargrove seconded the motion, which was c&>rri@d< The Lord Mayor stated that the deputation appointed at the last meeting had waited upon the directors of the North- Eastern Railway Company to ascertain their views with regard to cheap fares and excursion trains during the exhibition, and the reception they met with from the directors was all that the deputation could wish for. (Applause.) They had written to the directors of the Lancashire and Yorkshire, the Great Northern, and the Midland Railway Companies on the same subject, but as yet they had not received answers from them, though they had every reason to believe that the directors of those com- panies would co-operate with the North-Eastern in affording the necessary facilities. Since the meeting of the depu- tation with the directors of the latter company,^ a letter had been received from the secretary, in which he said, “ that this company will be prepared to con- vey over their lines, at the owners* risk, all articles intended for the exhibition, except works of art, free of charge, and will also return such articles after the exhibition is closed on the same terms, provided they are unsold, and remain the property of the exhibitors. Further, that the directors, without giving any definite pledge to run any particular number of trains, or on any particular days in the week, will be prepared to run frequent trains from the various parts of the company’s system, and in connection with trains from the lines of other companies, to York at excursion fares during the time the exhibition is open, and generally that the directors will be ready to co-operate with the promoters of the exhibition, and do everything they properly can to ensure its success.” (Ajiplause.) As far as these conditions were concerned, this was all that they could desire, and he would observe that the directors had met them in a very liberal and creditable way, and in 21 promoting the exhibition they would be able to give a good account to their shareholders, because they ' were promoting their own welfare. (Hear, hear.) Mr. E. Taylob, one of the secretaries, reported that there were 844 subscribers to the guarantee fund, and that the aggregate amount of their subscriptions was £5,726. (Applause.) With two exceptions, the subscribers were all resident in York, and though it might not be mecessary to increase the list of subscriptions from want of money, he thought that to do so would show the great interest that was felt in the success of the scheme. (Hear, hear.) The Lord Mayor thought that to have so many parties comprehended in the scheme alone would ensure its success, as it was only fair to presume that they would do their best to prevent their being called upon for the subscriptions. He hoped they should have a very hand- some surplus. Mr. Aid. Leeman said they were all quite aware that the] resolution which was passed at the former meeting was based upon the proper caution which it was the duty of all the gentlemen who composed that meeting to observe, viz., that the exhibition should not be entered upon tUi two conditions had been complied with. Those ' conditions were that a sufficient guarantee should be raised, and satisfactory arrangements made with the North Eastern Railway Company. Looking at the amount of gua- rantee, he apprehended they need have no fear of proceeding. He thought that the fund would yet be much increased, and if not, in a financial point of view they could have no difficulty in going on with the project. With regard to the second condition the meeting had heard what the railway company had intimated, and, as the vice-chairman of that company, he could only say he spoke the feelings of the rest of the board when he announced that it was their anxiety to do everything in their power to promote the object in view. (Applause.) They would be aware that an arrangement which had been made by a company that was the most interested in the scheme would commend itself to other companies, and they would, no doubt make similar mileage arrangements, so as to ensure the carrying out upon all the railways which had been mentioned of that which the North-Eastern had acted upon. Alon.‘ inflexible rule that no article en?S fo? exhibition shall be removed from the Exhibition before its close, that under this condition any article shown may be sold by Its owner, and that he may use the • as a sample or.pattdrn from oftf:nZSS:wiir~ medals and certificates of merit. Now I think n reflection will show that a medal can ^ some specific articles, and that it must be^ awarded to fh« maker of it and not to a dealer in it* fSance if we mTkVs'of LTnrmal\LT’tL“a7^^^^^^ Then with regard ta dealers generally ifTbe*^^ his share, articles they "exhibit be committee clearly could not award a medal, but could’ give a certificate of merit. But with regard all n of articles exhibited by those who are simply dea^in them, without having anv clnim „„ -i , . m Hall will become nothing but a repetition of the windows of shops ; and I think that yon would not be satisLd wiS^^ display whic^ however beautiful, contained fa it noThfae to instruct. There should be about every artide exhibited something of novelty in design, in arrangement, Tn prin ciple, or practice. Then again it has been asked how far do you propose to carry out the idea of its being a YoSre Mhibition, whilst not exclusively confining it to Yorkshire ? We propose to place space at the disposal of factnrers of the county, and have no doubt we shall b“ abto industries, and we lo expect to be able to assemble within our walls such an th7rrd"^imn?tbr « ^*^-11^“^“ tne world a little of the mine of wealth that exists stored up in mansions of our county. We axneet ™ collection that will b&of sufficient extent to attract visitors from all Bides of such intrinsic excellence as shall romn” thi well wo?th the -nsiting. But ws have a great deal of shall see anything like whaf I tyriketlhel 0^!*^ tbe^* fifst place, an executive committee • and then, when the mam features of the scheme shall have been determined by them, it will be necessary to have a series of sub-committees, each working zealonsW in their respective fields of labour Thara ® p.j.1 o, ~™„, ,S'i ,L‘Sd* S/ and that is the evening entertainments : it is honed that arrangements may be made for lectures, eoncS and a variety of other amusements, &e., which will make our great hall during evenings of the S tfai Afford j agJ-eeable promenade, md afford to ourselves, and to our fellow-citizens and their families a great amount of delightful enioTment A f!w SnTfw* m to the Mud and sttle of bmldmg that would be required for such an exhibitton You see the plan looks not only to the display of a laroe ( 24 quantity of goods, but to the accommodation of large masses of the people ; and to their recreation and instmo- tion in a variety of ways. We think that the building should divide itself into three sections — one part, the centre portion, should be spacious, lofty, and arranged with regard to general effect, it would be the chief promenade, and would also contain some of the more striking of the articles selected from the other sections. Then the art galleries should be extensive, well but judiciously lighted, not too high, lest injustice be done to the artist, constructed with especial reference to protection from fire — if possible, with sides and roof of corrugated iron — and with every other precaution for the safe keeping ®f their valuable contents that experience and sedulous care can suggest. We should like to see two such galleries each 150 feet long and 3 feet wide, with a height to the spring of the roof of not more than 16 feet. Then, on the opposite side of the great hall, there should be a corresponding area covered in, devoted to machinery and the industrial part of our exhibition ; and it would be a great advantage if these two departments, the fine art and the machinery, were connected with the central hall by corridors enclosing spaces open to the air, which would act as breathing spaces to the whole. Then arrangements must be made for a refresbmeut-court, where articles of standard quality, at stated moderate prices, shall be dispensed, and all such other plans adopted for the comfort of visitors as the expe- rience of those who have engaged in former undertakings of a like kind may suggest. Thus endeavouring to meet the wants and gratify the tastes of all, I feel sure that we have only to go on as we have done — carry the same zeal and energy into the work that has been shown in the guarantee fund — feel that we have each an interest in the < success of this great experiment, and that we are resolved that it shall not fail from any fault of ours — and we shall attain the end that we all desire. (Applause.) The Loed Mayoe remarked they must all feel indebted to Mr. Pumphrey for the interesting sketch he had given them — (applause) — and also feel, from the observations he had made, how much pleasure and instruction there was in store for them in connection with this project. Mr. S. W. North said he was one of those who thought they ought to aim as high as they possibly c»uld, and if they endeavoured to attain the high standard Mr. Pumphrey had pointed out, they could not fail to have a successful exhibition, and one that would be worthy of the city. It was necessary to have a small, compact body of men to whom should be entrusted the carrying out of the scheme, and if they wanted anything doing efficiently they must entrust the carrying of it out to a small body of men. He then moved “ that this committee having heard a state- ment from the secretaries as to the general plan of the exhibition as it presents itself to them, approves of that statement, and refers the details to an executive committee of eighteen gentlemen, exclusive of the treasurer and four secretaries.” Mr. J. W. Mann seconded the motion, which was carried. Mr. North then moved that the following gentlemen, ffith the treasurer and four secretaries, constitute the executive committee, viz., the Lord Mayor, the Hon. and Very Rev. the Dean, Mr. Aid. Leeman, Mr. Aid. Close, Mr. Aid. Hargrove, Mr. J. B. Atkinson, Mr. R. A. Clark, Mr. Deighton, Mr. Foster, Mr. Husband, Mr. J. Holtby, Mr. M‘Culloch, Mr. W. Monkhonse, Mr. T. S. Noble, Dr. Procter, the Rev. G. Rowe, Mr. E. Thompson, and Mr. J. "Wilkinson. 25 Mr. Mann SGcomdcd tli6 motioQ) wliicli w&s cs.rri€d< On the motion of Mr. Aid. XjEEman, seconded by Mr. Husband, a vote of thanks was unanimously passed to the Lord Mayor for his kindness in presiding on the occasion, which was carried unanimously ; and his Lordship having briefly responded, the meeting separated. 26 YOEKSHIEE FINE AET & INDUSTEIAL EXHIBITION. MEETING OF THE GUABANTORS. On Thursday evening last, a nnmerons meeting of the gnarantorg of the above Exhibition was held in the Guildhall, in this city. The Lord Mayor occupied the chair, and he having opened the meeting with a few remarks, Mr. PuMPHBEY read the report of the executive com- mittee, which referred to the origin of the project and the preliminary steps which were taken, and then stated that they had met sixteen times, given to the business the best attention they had been capable of, and now snbmitted to the guarantors the result. They had received letters from the secretaries of the London and North-Western, the Lancashire and Yorkshire, the Great Northern, and the Midland Railway Companies, offering them very consider- able advantages as to the conveyance of goods, and all expressing an earnest desire to co-operate with the committee in bringing large numbers of excnrsionists into the city. In addition, the North-Eastern Railway Company offered the free conveyance to and fro of all goods (except works of art) intended for exhibition. The guarantee fund amounts to £6,261, subscribed by 881 persons (the whole of these being citizens with the exception of three or four) in sums varying from £S to £100. The report then alluded to the steps which had been taken with regard to the site, and which we have already reported, and pro- ceeded to state that in calculating the time needful for the execution of the work, the architects had given the com- mittee to understand that if it could be commenced in the . first week of March they should have plenty of time. The guarantors would thus see that notwithstanding the delays that had occurred no time was lost. Having obtained the consent of his Grace the Archbishop of York to act as patron to the exhibition, the committee addressed letters to all the peers and baronets of the county inviting them to join his Grace. In reply they had received a goodly array of names, and almost all of these noblemen and gentlemen, in signifying their consent, expressed a wish to aid the undertaking in any way that lay in their power. Having obtained this list of patrons, the com- mittee proceeded to issue by post a circular addressed to the gentry of the county soliciting their co-operation, and containing the list of patrons and officers, and the rules of the Exhibition. A nearly similar address to the artists, engineers, manufacturers, and tradesmen of Yorkshire was also issued, and in reply to these the committee had received, and were daily receiving, a fair share of applications for space. The committee had bestowed a large amount of thought on the construction of a series of sub- committees to carry on various details. These committees were prepared to commence work vigorously, and as they were at liberty to add to their number, they would be glad to receive the assistance of all who felt that they could render them efficient help. There was but one tender sent in on the 26th of February, from Mr. Wm. Bellerby, of the Hungate saw mills, offering to do the work for £6,700, a sum which the committee deemed altogether in excess of their means, and nearly doable the architect’s estimation. Long conference took place between 1 the architects and contractor, which failed to reduce the tender below £6,000. In the meantime an offer was ' received from Messrs. John Bellerby & Son, of St. George’s ] saw mill, to complete the work in its entirety for the sum of I 6,000 guineas, accompanied by the proviso that if the under- ' 27 financially BncoessM, they would abate £500. dM nr.t r V ®|'P’’^?atmg this liberal offer, the committee expending so large a sam, andresolved dearness of labour and the dear- ness of money the committee had no donbt deterred many modified plans estimates and ^ ™-> Mr. Wood, of Skel- u I m’ t»ml>er, from Messrs. Shaw and Young and Mr. Simpgon, for the labour, and from other parties *“•> amounting to about £8,200, and the decorations, &c., would probably 5^®® xt® £4,000. Under the circumstances of the times these tenders were as low as could be obtained, and the committee submitted the whole question to the consi- guarantors. The committee had thought that the small sum required before they were in receipt of an mcome would be easily forthcoming, and this I® ®“®®> “O'" seemed that before they shoiUd be in a position to receive a penny, they must expend at least £2,000, and in these altered ofroum^ stances it was for the guarantors to consider how far they were prepared to _ ad vanes part of the sum they had ^araatesd to pay in ease of loss as a loan to the treMurer to enable him to _ meet, these calls on him. The com- mittee were of opimon that it would be best, supposing adlfciT forward, if each guarantor would advance two-fifths of the sum subscribed. This would the committee above *“ success, wouM be gnarantor on winding up the concern. Iw°”' S? s'JMmittee expressed their decided con- r« to opinion as to the desirability of holding an exhibition in York, ^®®“ secured, provision made for a suitable building, and the organisation completed, thaw was eve^ prospect of a successful issue to the hnder- takmg, and there needed nothing but cordial co-operation A ‘“/“Me, what they all desired, a first- ^ Indnstnal Exhibition. (Applause.) The Loe3> Mayor said he must ask a calm and dis- passionats consideration of the circumstances in which they had been placed. Whatever ideas might prevail, he Of the executive STilvJ accomplish this demraWe object, and no exertions had been wanting 1^® thought the ^arantors would be able to appreciate the difficulties 1 them, and they had to determine what was to be done. A reaoiu- 3 *^®!**®** ®-‘ ‘?® meeting which originated this project and gave Banction to it, that no call should be made on the giarantors until a case of actual loss arose, tat they would obsepe the oircumataaoes had assumed so Merent an aspect, in the fact that tha outlay would have to be greater than was at first anticipated, that an appeal to the guarantors was unavoidable. There would b/ an outlay upon the building of not much less than £4,000, and reckoned at much less than ^6,000, and the receipts at the Wakefield Exhibition amounted to £7,006. He had offered to be one of a small number to prevent this appeal to the tw th bear)-but it had been thought necessary that there should be this appeal, and the paramount feeling wL*tL^w«lf*^ all the gentlemen he had seen on the subject was the welfare of this city, (Applause.) ^ In reply to questions put by several of the ffoarantorg, the Loed Mayok observed it had been estimated that ^£150 26 a fortnight would be required to pay for labour only, and he thought there would be no difficulty as to the contractors completing the work by the time required. The dimensions of the proposed building were considered perfectly adequate, and beyond the original intentions, the area amounting to 4,000 yards. The|propoaaJ as it now stood was mere rent ; they gave up all materials. The asylum committee had extended the time for holding the Exhibition about a couple of months, and the building would be passed over to the gala committee by the 4th of June. With respect to the architects, they would receive a mere acknowledgment for their services. In answer to further questions, Mr. Pumpheey stated that it was proposed that the Exhibition should be opened on the 24th of July, that it should continue open to the end of September, and that the executive committee had it in their power to continue it open till the end of October. The modified plan of the building contained a central hall which would be four times larger than the hall in which they were then assembled, and one and a half times larger than the Wakefield Exhibition hall. In addition there would be two picture galleries, and the ipodification in the I plan wonld not affect the appearance of the building as seen ' from without. He did not see why the York Exhibition should not be as well attended as the one at Wakefield, where the promoters had a considerable surplus. Some discussion then took place, in which Mr. W. B. Kichakdson, Mr. J. Smith, Mr. Brown (Colliergate), Mr. Bainbeidob, Mr. Grayston, jun., and Mr. Councillor Thompson took part, and it was eventually moved by Mr. J. B. Pritchett that the report of the executive com- mittee he received and adopted. Mr. Baker, of Pavement, seconded the motion. Mr. Brown moved, as an amendment, that the Exhibi- tion for the present year be abandoned. Mr. J. Bell, of Low Ousegate, seconded the amendment. Before putting the propositions, the Lord Mayor expressed his acknowledgments to the guarantors for the excellent spirit which had pervaded the discussion. Only three hands were held up for the amendment, which was negatived by an everwhelming majority, and the original motion was carried unanimously. The Lord Mayor said what they had now to do was to put their shoulders to the wheel, and render the Exhibition worthy of the city to which they belonged. (Applause.) Mr. W. B. Richardson then moved that the executive committee have power to add to their number, which was seconded by Mr. Councillor Deighton, and carried. Mr. PuMPHREY urged prompt payment by the guarantors of the proportion of their subscriptions as one of the best means of securing the success of the Exhibition. Mr. W. B. Richardson moved that the report of the executive committee and the resolutions passed at that meeting be printed and forwarded to each of the guarantors. Mr. Swallow seconded the motion. — Carried. Mr. Councillor Deighton then proposed a vote of thanks ! to the Lord Mayor, which was seconded by Mr. J. Smith, and carried by acclamation. j The Lord Mayor, in responding, expressed his great satisfaction at the spirited manner in which the guarantors had determined to meet their liability. The meeting then separated. j 29 ! THE PEOPOSED FINE ART AND INDUSTRIAL EXHIBITION IN YORK. It is really painful to witness the jealous feeling which the people of Leeds, if the Leeds Mercury be their mouthpiece, exhibit towards the inhabitants of York on every occasion when the slightest opportunity occurs. Not satisfied with having obtained the distinction of becoming an assize town, at the expense of York, they are stiU jealous of the superior attractions of that city, and of the many objects of interest it possesses, which induce the public to give it the preference to Leeds. If an act of Parlia- ment could have removed our venerable Minster, the beautiful remains of St. Maey’s Abbey, the ancient Palace of the Stuakts, or the picturesque old walls, we have no doubt that the necessary notices would long ago have appeared in the newspapers, and a fierce battle have been fought in the committee rooms of the House of Commons. Fortunately, however, we are safe from an attack of this description, and although they have succeeded in robbing the county town of part of its assize business, on the plea that the greater portion of the crimes committed are in their own neighbourhood, or in plain terms that they are nearer the centre of the “rascaldom” of Yorkshire, they have no other grounds on which they can enter the lists with York unless it be as regards the amount of population. But, notwithstanding this, the announcement of an intention to inaugurate a : Fine Art and Industrial Exhibition in York, ' during the ensuing year, has already evoked a most uncharitable, and to our minds a most miserable exhibition of narrow-mindedness, which, to say the least of it, is perfectly dis- graceful to Leeds. W akefield had an exhibition this year which has been successful, and York is to have one next year which it is hoped will also be remunerative, and leave a handsome balance for charities and scientific institutions which are as much in want of funds as the 30 Leeds Mechanics’ Institute can possibly be. Leeds proposes to follow with an exhibition in : 1867, and is fearful that York may interfere with its success, and hence the Mercury patheti- cally exclaims “ it cannot be that one Yorkshire “ enterprise of such fair promise will be wrecked “ by another,” and adds, with more zeal than prudence, “ we feel convinced that that which “ is a case of real necessity will be allowed the “ precedence in its caU for public support,” or, in other words, that because the Leeds Mechanics’ Institute wants £6,000 to get out of debt, they hope the public will stand aloof from York, and reserve their support for Leeds. We venture, however, to predict that the public wil^ show their disgust of this selfish spirit by doing the very opposite to that which the Mercury. requires. York was not jealous of Wakefield, and why should Leeds be jealous of York in a matter of this kind ? Surely in this great county there is room enough for all, and if York can succeed for six weeks or two months in drawing large numbers of people to an exhibition from which they will return delighted, is it not 4q be expected that after a lapse of twelve months they win be ready and anxious again to spend a few shillings to have a similar treat ? Common sense answers in the affirmative, and nothing but an intense hatred of York and aU that per- tains to it could have induced the organ of the Leeds people to have put forth such a sneer as that which has called forth these remarks. We may add that the guarantee fund for the ^ York Exhibition now amounts to upwards of £4,000, although no direct appeal has yet been made to the county. 31 THE YORKSHIRE FINE ART AND INDUSTRIAL EXHIBITION, The opening day of the Exhibition in thii city (which is fixed for Tuesday next) being bo near hand, this the last preparatory notice wiU doubtleBS be looked for with more than the ordinary interest which has been attachea to those others which hare weekly appeared in this journal as to its gradual progress to completion. R would be gathered from our last week’s reference to tha place that the most forward internal feature was the picture galleries, that devoted to the modern masters being then really completed so far as the “hanging’* was concerned, and that to the ancient masters being in a very advanced state. Since then the barriers necessary for tha protection ’of the works in the former have been put up, and it is now in fact ready for the inspection of the visitor. In the ancient depart- ment a very large amount of labour has been met with, several rearrangements having from a variety of causes been necessary ; but at length this also has been advanced* and needs only the addition of barriers to render it as complete as the modern galleries. Of the masters who are represented in both schools reference was made several weeks ago ; and it is now only necessary to add that the number of masters and their works have been increased, and tend to make up an exhibition of paintings which, for the excellence of their character, is in the opinion of most who have had the privilege of inspecting the galleries, second to none which has been witnessed in any provincial effort Some idea may be formed of the value of the paintings ths public will have the opportunity of inspecting, from ths statement that upon one an insurance of £5,000, unoii another £4,000, and others of smaUer sums, have been effected. There is a considerable overflowing of pictures from the galleries especially devoted to them, and accommo- dation has had as a necessity, and not from their in- feriority in any way compared with the rest, to be furnished for them elsewhere. For instance, the fine picture of St. John in the Wilderness, painted by our local artist Ettyl and belonging to J. Mason, Esq., of this city, has, perhaps more from its large size than anything else, had to find a place in the gallery on one side of the organ ; whilst, as « companion picture on the other side of the organ hag been hung an equally fine work, entitled “The Sleeping Sentinel,” belonging to John Burton, Esq., of Poppletoa Villa. A number of water colour drawings and ancient paintings are also being placed against the far end of the building under the gallery, and the miniature paintings find a special place devoted to themselves. During the week considerable additions have been made to the Exhibition in another department of the Fine Arts. Marble busts of the twelve Csesars have arrived from the galleries of Lord Londesborough, and these it is intendetl shall occupy positions on pedestals against each of the pillars supporting the galleries. In addition to these are the bust of Clement the Fourteenth, an antique bust of Julius Caesar dug up in Rome ; The Theseus, and The Little Crossing Sweeper, two admirable pieces of marble work • and a variety of other works of this description of such value that large amounts of insurance have necessarily been effected npon tbem. 32 Wonderful progress has been made with the remainder of the Exhibition. Cases of all sizes and designs, hut in eyery instance of an ornamental character, dot almost every part of the flooring of the main hall, and when filled will doubtless make np a labyrinth of attraction which M rarely to be met with. The articles exhibited therein wiH he principally works of industry. In the centre of the hall the neat little fountain which was in course of erection last week has been completed. The organ has perhaps been as busy a point of the place during the week as any. Here & ma4 of pipes and wood and the moat intricate machinery has, in the experienced hands of Mr. Oonacher, of Huddersfield, been gradually finding their places, until those sweet sonnM which the instrument are intended to produce during the whole period ef the exhibition have faUen upop the ears of those engaged in the building, and given flattering token of the ability of Mr. Conacher as a builder. The refresh- ment department of the place is almost completed, and here, for several days, Mr. T. Smith has dispenfied vanous articles for the convenience of those engaged in the place, and to whom time, from its shortness, is now too precions t« seek them by journeys to the city. Orchestras are to he erected on each side of the organ, for the accommodation or the vocalists ; and a variety of other additions are intended, calculated to keep np the merry sound of the hammer and the saw until the very time of opening. Towards the latter event most active work is progressing in front of the building. The decorations wm be in an advanced condition before the expiration of the week, the various coats of arms of nobility of the county who are patrons of the project having already found their places in the niches intended for them. A most substantial semi- cironlar carriage road has been laid down from one ^te past the front of the building to the other; a beautiful fountain has been put up in ihe centre of the semicircle ; and in the hands of Mr. James Lupton, gardener nurseryman, of Bootham, various beds of ® laid out in such an artistic manner as cannot fail to give the first glance of the builcing such an appearance as will tend to m ake the first impression a favourable one, and as a, consequence to sound the merits of the Exhibition as an object of attraction over the whole of the connty. The building was lighted np by its twelve hundrefl burners yesterday evening week, and brilliant effect. On Wednesday evening last, the choir who are to take part in the opening ceremony had a «bearB^, when Mr. Barnby presided at the organ, and Mr. J. Barker acted as conductor of the choir. From this experiment the acoustic qualities of the building are well if this opinion is well based, some music^ doubtless*^ in store for the visitors during the Exhibitioa season. One of the most important matters in reference to the success or otherwise of the project is the =°-°P«™tioa of the railway companies. This, we understand, has beOT gained to such an extent as to meet the the Execu ive. Without the city be constantly flooded with imme^rmasses of visitors, it will be impossible to gam L return for the vast outlay which has been mcurred m the erection and preparation of the edifice; but as indicative of what is intended in this respect, it may he gratifying to know that the North Eastern Railway Company fitting their trains to suit the half holiday movement m the West Riding, and running half-day trips from Leeds for eighteen-pence, and from other large places at similar rates To meet these occasions also the Executive have dtsp ayed their spirit aud liberality by arranging that ^ tSe who produce their trip tickets on entry into the building shall during the first month be for six- pence, a tariff which is equivalent to half price. 33 THE YORKSHIRE fine art and industrial EXHIBITION. THE OPENING DAY. The building, commenced some few months ago in Boottam Field for the Yorkshire Fine Art and Industrial Exhibition, and the progress of which has been watched with an interest never previously attached to the raising completed on Tuesday mst as to admu of the performance of the Opening Cere- before had been fixed for tbit day, ^ passed off with an ecfaf which could scarcelv have been anticipated by its most ardent and enthusiastic supporters With all that has been writternpon the comm77lf “ general, and their adv^antages moral, upon the populations in which ;= centred, a dissertation upon such a theme 1 hereuMecessary; and it will therefore simply be on? in this reference to the Yorkshire iTs crea*«Qn"®T7^®f‘“^ ‘7 Proceedings which surrounded Its cieation , a brief description of the buildino- itself and «n-account of the c“eremLiL proceedings, and reports of the sentiments uttered on that ccasion, as well as at the congratulatory dinner of which evrainT'"*'''® committee subsequently partook in the HISTORY OF THE EXHIBITION SCHEME. a ®'“®® existence for claSi Jfbe “ institution which had any Is fi, St mooted ° 7 ‘ Exhibition,” the present scheme was nist mooted about the latter part of last vear at a Th7s*3er the^ork School of Art. JaUin^ tolTh approbation of the idea, led to the , the leLi^nf and select meeting of ^ of an exhibiinf ^®^® ‘^^® mittL approved of, and a provisional com- TMsTed t^a fnrrt f **'® citizens. citizenR in ft 7 “®'‘® numerous assemblage of MaC The t *^® presidency of the Lord middle of Nnv t “eeting was about the middle of November last, and its result, after a full eou- bel'ore‘^7 ?^®/™ilar Exhibitions which had but shortly wlkefie*id7 Birmingham, Preston, Bristol, and Wakefield (but more particularly at the latter place), was a S MavorT"l7' eceeme, and a reqLst that the “ to cSer a A “®®‘™8 of the citizens Art anTlnd^Lf ^ determine whether an Exhibition of Fine 1 tana Industry should be held in the city during the course the “ tire Guildhall On ort^inSU w. Pumphrey (who has the credit of originating the idea of the Exhibition) gave expression to je^rs 7 it® eharacte?. Though an WrtR,Zn 7 ®;n®® ‘he holding of an Exhibition, ThFnec«t. ^ 7“‘i boon frequently spoken of. ce^sfal developmeL Ld suc- but not F 7 ®ir a project had been doubted by some, but not by him, who had seen the result of the recent tte workincf Wakefield. The intellectual recreation of advantaffFt^ classes, and an accession of commercial advantage to the city were urged as reasons for such an Zl Exhibition, and the advantages of York as its site were pointed out in the fact that it was the metropolis of the county, and better situated than any other place in the matter of its railway communication. Assuming that such an Exhibition was desirable, it was then asked of what it should consist ? In answer to this, Mr. Pumphrey briefly sketched a scheme which in the present completed , form of the Exhibition just opened has received wonderful development, urging the raising of a guarantee fund as a foundation for their working, and the benefit of charitable institutions or some such laudable object out of the profits as a result of success. That such success might be attained, the experience of the Wakefield Exhibition was^ cited. With a population of but 26,000 inhabitants the institution in that town had been visited by 195,000 persons ; the total receipts had been ^7,000 ; and the surplus at the close had been between £2,000 and £3,000. The Birmingham Exhibition had resulted in a surplus of £1,000; whilst those at Preston and Bristol had been e(iua|ly successful. Little weight was given to the fact that York was not a commercial town : all that would be wanted would be libe- rality on the part of the railway companies in the shape of low fares and plenty of excursion trains. With this, large and permanent advantages would accrue, and the year 1866, and the mayoralty of their present chief magis- trate, would be looked back upon as one of the brightest spots in the history of their ancient pity. £2,000 or £3,000 was mentioned as being necessary to be raised as a guarantee fund, and £1,500 it was estimated would be the probable expense of the erection of a suitable building. The result of this statement was an unanimous approval of the holditig of an Exhibition which was conveyed in a resolution, moved by Mr. W. D. Husband and seconded by Mr. Aid. Hargrove, to the following effect : — “ That if an adequate guarantee fund can be raised and satisfactory arrange- ments made with the railway company, an Exhibition shall be held in this city, during the ensuing year, to be called the Yorkshire Fine Art and Industrial Exhibition.” The Lord Mayor was then appointed president of the institution, vice-presidents were selected, and the following gentlemen were appointed secretaries — Dr. J. H. Gibson, Mr. S. W. North, Mr. Pumphrey, and Mr. E. Taylor. Certain reasons, however, soon after led to the retirement of two of these gen- tlemen, and the appointment of Dr. Procter to supply their places. The whole of these officers and a very large number of gentlemen were also constituted a general committee. As an earnest of that success which had been anticipated, and to secure which this committee was about to enter on their labours, the handsome sum of £1,600 was guaranteed before the meeting separated. At a subsequent meeting of the committee and subscribers, the result of an interview between a deputation from the committee and the directors of th^ North Eastern Railway Company was stated to have been of such a satisfactory character as to justify an active progress with the scheme ; whilst on the same occasion it was stated that the guarantee fund had, by the contribu- tions of 344 subscribers, reached the handsome sum of £5,726. Under these circumstances it was moved by M^. Leeman, M.P., and subsequently adopted, that the con- ditions of the resolution pa sed at a previous meeting had been complied with, and that the undertaking be carried out. Mr. Pumphrey then, at the request of his co-secre- taries, laid before the committee and subscribers their conception of what should be the general character of the Exhibition, and some of the details as they then presented themselves. Tne title of the Exhibition they thought to be appropriate, as it indicated its character, and the area whence it was to be derived. As to the advantages which 35 it would comprise, they said it would be a field where the results of art and industry of designers and producers would be displayed before the eyes of patrons and con- sumers, and it would be a place where thousands might derive both instruction and amusement : where visitors from a distance as well as their own citizens might find a place of rational enjoyment, and where all of all ranks and conditions could find one common field for the exercise of the various faculties with which in every varying degree they had ail been gifted. The Exhibition, they thought, should have two great features the artistic or intellectual ; and the industrial, or commercial. These they classified under certain heads, and then showed how, by the introduction of amusements in the shape of music, lectures, &c., the scheme might be made sufficiently attractive to answer all the objects which its promoters had in view. The result of the meeting was the appointment of an executive committee, whose main and early duty was the appointment of sub-committees to work zealously in their respective spheres of labour. After the performance of the latter duty, almost the first question which met the executive was the choice of a site for the Exhibition. Several places were mentioned, but the first which was considered, doubtless from its central situation and close proximity to the principal object of interest in the city, was the piece of ground in front of and adjoining the School of Art. For the use of this an application was made to the Dean and Chapter of the Cathedral, who, however, in reply intimated that they felt considerable difficulty in giving their assent orrefusing it, on the ground that while they we,re desirous of doing all in their power to promote the Exhibition, they feared that bringing it so close to the Cathedral might interfere with the peaceable celebration of Divine service. The application for this site was consequently withdrawn ; and subsequently those of Bootham Field and St. George’s Field entertained. As to the former an ungrounded report was urged that an application for its use would be rejected in consequence of the injurious effects which the holding of an Exhibition on that site might have upon the patients of the Asylum, and consequently it was resolved to seek the use of St. George’s Field. The latter for a while was certainly the most popular selection which had been made, and possessed the advantage that its use might be obtained gratuitously. There were, how- ever, certain objections urged as to the chance of the oveiflowing of the river, the effect which the dampness arising from the river might have upon valuable works of art, &c. Meanwhile two other sites were mentioned, one being the plot of land which had been recently purchased for the use as a drill ground for the rifle volun- teers, and where it was suggested that a part of the building might be of a permanent character, and subsequently become a volunteer depot ; and the other the piece of ground leased by the iorkshire Philosophical Society, adjoining the Wilberforce Institution, and known as Bearpark’s Gardens, and where also it was conceived a part of the building might be made permanent for future use as a public hall. The former of these two sites, from its situation, was deemed to be totaliv inapplicable to the purposes of an exhibition ; but the latter being more favourably situated, the strongest efforts were made to obtain its use. Mr. Leeman, M.P., interested himself with the Bbards of Woods and Forests to this end, and ultimately gained their consent to recommend the Lords of the Treasury, if it were ultimately desired, to cancel the lease of the ground held by the Yorkshue Philosophical Society, which expires in 1894, to grant a building leas© for 99 S6 years, on the condition that the lessees should expend a sum of '^5,000 in the erection of permanent buildings upon a portion of the land within ten years from the granting of the lease. Whilst this useful concesssoa had been sought for, and in the midst of conflicting opinions and interests as to the most suitable site, the statement that any injury would be inflicted upon the lunatic patients of the Bootham Asylum was shown rather to hare lived in the imaginations of persons in favour of other sites than to have had expres- sion from the governors or medical superintendent of that institution, and consequently an effort was made to gam the possession, as the best of all other places, of Bootham Field for the purposes of the Exhibition. It was perceived that numerous advantages attached to this place. The building which it was intended should bear some external architectural features in character with its use, could here be better displayed than on any other ground, whilst it would possess a privacy and space around it which could he found in no other spot in the city. An application was therefore made to the Governors of the Asylum, who at once granted its use from the 1st of Feh. to the 31st of Oct., for a chsrge of flOO, and subject to the condition that the Executive should make satisfactory arrangements with the Gala commiitM, to whom the ground had been promised first, and on the undertaking that the Church Congress should be found accommodation for their meetings in the Exhib^iou Building. Such arrangements were made with the Gala eommiUee, and as a consequence the bnilding was brought into requisition for the flower show in connection with the gala in June last. Whilst this most important feature of the Exhibition had been maturing, Messrs. Atkinson and Taylor, who had been appointed the architects to the Executive, produced a beautiful and most suitable design for the Exhibition Building, and tenders were solicited for its erection in wood. A variety of causes, however, led to the exercise of the utmost caution on the part of contractors, not the least important feature of which Was that the carpenters of the city had but recently been on strike, and that the trade as a consequence was in an extremely unsettled condition. After the lapse of a short time, however, a contract did come in, from Mr. Bellerby, of Hungate, whose tender was £6,700. Though the idea at first entertained as to the size and capacity of the building had, as the scheme progressed, developed itself until a much larger building than had been anticipated would become necessary , still this tender was deemed excessive, and as long confer- ences between the contractor and architects failed to reduce the tender below £6,000, others were again solicited. Thereupon another came into the field from Messrs. J. Bellerby and Son, of the St. George’s saw mills. This was for £5,000, for which sum they guaranteed to do all the work in its entirety, and should the Exhibition fail , to be a financial success to abate £500 from that amount. This the Executive were not inclined to accept, and they therefore had their plans slightly modified, and offered their contracts for wood and labour separately. Tho fur- , nishing of the former was offered to be undertaken by Mr. T. F. Wood, of Skeldergate ; and the latter by Messrs. Shaw and Young, and iVir. Simpson ; the tenders of several other parties also being selected for glazing, painting, iron work, decorations, &c., which in the whole brought up the contracts to something like £4.000. In addition to this sum, it was calculated there would be other expenses in connection with the building amounting to £2,000. These tenders were afterwards submitted to a meeting of guarantors for approval, along with the suggestion that at least two-fifths of the guarantee fund, which would pro- 67 duce £2,500, should afc once be called in, to enable a com- meHcement being made of the work. So doubtful were the most active promoters of the Exhibition of the sanction of this large expenditure, and the adoption of the suggestion as to the calling up of a guarantee fund, that a resolution had been prepared for adoption postponing the Exhibition, whilst one gentleman did actually move that the project be abandoned “ on the ground that the calculations of the committee were not made on a sound basis.” But this proposition was negatived after a show of only three hands in its favour, whilst the leport of the secretaries sanctioning the letting of the tenders and the calling in of the guarantee fund was adopted. Between £6,000 and £7,000 bad at this time been guaranteed by 388 guarantors, and the call of two-fifths of this amount was promptly and almost generally met. Other active work had been in progress up to the settling of the last momentous question. Thirteen sub- committees had been appointed by the Executive, to whom duties had been defined and general instructions given. The names of these and their secretaries are — Finance, Ml*. Harris ; Prize, Mr. W. Monkhouse ; Refreshment, Mr. T. P. Bulmer ; Printing, Mr. H. J. Rowntree ; Catalogue, Mr. Wm. Monkhouse ; Conveyance, Mr. Wellburn ; Entertainment, Mr. W. Procter ; Fine Art, Mr. W. W. Hargrove; Art Manufactures, Rev. Geo. Rowe ; Manufac- tures, Mr. M. Cooper ; Machinery. Mr. J. F. Stephenson ; Natural Products, Mr. C. M. Luden ; and Antiquarian, Mr. S. W. North. The Exhibition had also ^been divided into half a dozen divisions consisting of the fine arts; art manufactures; manufactures; machinery; natural products ; and articles of interest and curiosity, having especial reference to Yorkshire — its history antiquities, <&c. Patronage, loans, and applications for space had been solicited, and satisfactory letters from the directors of the London and North Western, Lancashire and Yorkshire, and Great Northern Railway Companies had been received, offering very cousiderable advantages as to the conveyance of goods, and expressing their earnest desire to co-operate with the executive committee in bringing large numbers of excursionists into the city. Thus matters stood when the work of constructing the building commenced at the latter end of March last ; and for a while, after the active contention which had been previously going on as to the question of site, expense, &c., the public interest in the scheme apparently slumbered. The only visible progress which it seemed to be making was in the rearing of the skeleton timbers which were ultimately to become the framework of the building, and it was not until the 21st of April that the public generally became aware of the large amount of quiet work which had been accomplished by the sub-committees. Then the zealous secretary, Mr. Pumphrey, announced that the contractors had shown themselves fully equal to the task they had undertaken, and were making such progress with their work as led to the entire satisfaction of the architects. This was a matter of considerable congratulation to the promoters of the Exhibition, who, in their arrangement with the Gala committee, had bound themselves under a heavy penalty to have the place completed by about the middle of June, in order that it might be brought into requisition for their annual flower show. The interest taken in the Exhibition soon spread beyond the city, and it ultimately became a matter of encouragement to the Executive at home to receive the co-operation of local committees in, amongst other towns, Hull, Scarborough, Wakefield, and Harrogate. Applications to the heads of the South Kensington Museum for a selection of articles 88 for exhibition from that institution, though at first rejected, were ultimately rewarded by success; and up to the latter part of June, the applications from exhibitors for space gradually became so numerous that a considerable amount of caution and discrimination had to be exercised as to the extent and manner of granting it. The bulk of the most interesting articles intended to be exhibited were sent in late, and in this manner a considerable amount of confusion became the result. In the line art department the prospect of the committee from the first was of a most cheering description, the galleries of a many of the noble- men of the county being placed at their disposal, and promising in this manner such a collection of paintings and statuary as is seldom brought together in a provincial display. The 18th of June, the day when the Executive had fixed for the reception of articles for display in the Exhibition, saw the building in such a stage of progress that the work of reception and unpacking and arranging could be at once commenced : and in this manner large numbers of persons, nnder the superintendence of the secretaries, were actively engaged almost up to the very hour of the opening ceremonial. This latter feature of labour in connection with the scheme has not been the least important to which reference has been made. The care and labour which it has involved can only be known to those who have had a share in its performance, and its unthankful nature may be surmised when it is taken into consideration that all exhibitors have naturally been anxious for prominent positions, whilst of a necessity many have had to be placed in situations which fail in their estimation to bear that character. Not the least enviable of the tasks was the arrangement of the Fine Art galleries. To do justice to all exhibitors, and yet to con- tribute as much as possible to the general attraction of the galleries, was a matter which required much firmness, discrimination, and quiet patience, the exercise of which has, on the whole, led to satisfactory results. It should be mentioned before concluding this brief sketch of the history of the last few months’ efforts that the Executive failed not to appreciate the respon- sibility of their position so soon as so large an amount of valuable articles began to collect together upon their hands. One of their earliest steps was in- surance against fire — first on the building, and next upon the goods which it contained, and besides this they added the supplemental assurance of personal supervision and watching of the building both by day aud night. Night by night since articles began to flow in have members of the Executive and sub-committees sacrificed their ordinary rest to pace the building until dawn of morning, and per- sonally see to the safety of the property which with such confidence has been entrusted to their hands. One matter which will be attached to the history of the scheme in coming time is the fact that it is the intention, after the manner of the International Exhibitions of 1851 and 1862, to grant medals and certificates of merit to persons whose display of articles, whether in the way of art or industry, should meet with the approbation of certain judges who will be appointed for that purpose. For the former, which it is expected will be executed iu bronze, a very beautiful and appropriate design has already been prepared, at the instruction of the Executive Committee, by Mr. Jno. Bell, artist, of York, a full description oi which we shall in all probability give when it has been fully passed and sanctioned ; whilst a beautifully designed cer- tificate has been executed by Mr. H. C. Camidge, of this 89 city.^ The latter is inten<|ed for framing, and will doubtless be given either in conjunotion with or separate from the medal. DESCRIPTION OF THE BUILDING. The fact that several months ago we gave a detailed description of the Exhibition building from the plans which had been prepared by Messrs. Atkinson and Taylor, architects, together with the subsequent issue, first by the Executive, and then by a number of tradesmen of the city, of views of its front elevation, would seem to render unnecessary a further particular reference to it in a notice of the opening ceremony. But inasmuch as certain modifications of the original plans were first made with a view to a curtailment of expense, and then subsequent additions added to the building to meet the increasing demands which were made for space, some brief notice as to the character and capacity of the edifice and its surround- ings may be of interest to those who may not have had an opportunity of thus early making an inspection of them, and may somewhat add to the completeness of our report of an event which doubtless will be a mark in the history of the city for many years to come. Occupying about an acre and a half of ground, and standing back from the palisades in front of Bootham, the building occupies a frontage of 300 feet or thereabouts, in what is known as Bootham Field. Its appropriate picturesqueness of style approaches the character of the Swiss chalet in design, and its plan and arrangemeut is alike remarkable for excellence and simplicity. The principal internal feature of the building is a magnificent central hall about 200 feet long by 80 feet wide, which is divided into a nave fifty feet wide and a couple of aisles 16 feet in width. Above these aisles an overhanging gallery runs round the hall, the flooring of which, by corbelling over the columns which support the roof, is 18 feet in width. The nave of the central hall is divided into thirteen bays by pillars or columns which run up in front of the galleries on the side, and are surrounded by light and graceful longitudinal trusses thrown into compartments, with uprights and timbers framed in the well-known form of St. Andrew’s crosses. By these means a foundation is secured for the curved rib of the nave and the general roof timbers. Ample light is secured by sky- lights inserted into the roof of the nave and also by windows in each end of the building. The glass in the former is frosted to subdue the glare, and several of the end windows are filled in by coloured and engraved glass. Two wings of large proportions extend transversely from the sides of the entrance hall, each of these being divided into two divisions, one being 40 feet by 30 feet, and the other 60 feet by 30 feet. Both these are used as the picture galleries. An annexe, occupying a space of 12,000 feet on one side of the hall, is devoted to machinery. A number of smaller rooms are attached to the rear of the building, amongst which are separate gemlemen and ladies’ retiring rooms, and all the necessary conveniences for such an .fidiflce. Amongst the rest is also a lecture theatre, SO feet by 25 feet; a committee room, 25 feet by 15 feet; first and second class refreshment rooms, one 25 feet square, and the other 40 feet by 25 feet ; and a capacious smoke room, detached from th« building, 44 feet by 22 feet. Beyond this the committee have secured the use-of a large portion of the field extending towards the asylum for a promenade for visitors to the Exhibition, and this feature, whilst it will assist to relieve the building of the masses of people who on some days may enter, will constantly prove a breathing 40 place without which a visit to the building in the heat of the day would, from the extreme warmth, have been attended with some degree of discomfort. When the weather is fine some attraction will be found in the open promenade- by the performance of bands of music, and after a brief time- spent here the visitor will doubtless return with increased zest to an inspection of the beautiful objects within the building.. Provision for the ventilation of the building has been made throughout both at the level of the floor and at the eaves- by means of perforated hoarding ; and the upright parts of the skylights in the picture galleries are made to open. In the front of the building a most substantial carriage drive, constructed to run from one of the eutrani-e gates of the field to the other, affords the most complete accommodation for vehicles reaching and leaving the building ; and a beautiful addition is added to the front view by the tasteful arrangement of flower beds, in the centre of which is a terra-cotta fountain, of elaborate design, which it is intended to surround with grotto work and ferns. • THE DECORATIONS OF THE BUILDING. The decoration of the interior has been properly made quite subservient to the architectural features of the build- ing, and to a proper display of the paintings and works of 'art contained therein. The picture galleries are a sub- dued sage green, with a maroon dado, plinth, and border. In the great hall the construction of the roof is displayed by the boards being coloured light blue or grey, sho-wing ■ the ribs, joists, and arches slightly stained deal, picked out with zig-zag lines in Vermillion, and with a conven- tional white rose on a blue ground at the intersections. All round the top of the walls and the front of the galleries are ornamental borders, in blue and red, on the stained deal. The whole of the pillars are painted maroon five feet high, finishing with Jkur-de-lis ornament. The upper parts are slightly picked out, the whole showing well balanced tones of colour, suitable for the purpose required. Adding greatly to the effect of the whole is the inscription in white letters on a rad ground of the names of the different departments, and a trio of small flags and banners at the springing of each arch from the top of the pillars in the galleries. These, with the stained glass windows, various decorative eases and compartments, and vast variety of ornamental goods displayed, make a most ' charming coup d’oeil. The outside of the building is of an ornamental wood condtruotion, filled in with plaster panels (the centre being surmounted with a handsome turret and finial) ; the decoration of it is carried out without disguising the material employed. All the woodwork is stained two tints to give it a richer tone, picked out with maroon and Vermillion, and the plaster panels are coloured grey. In the centre panel, about ten feet square, are painted the royal arms. On each side, in a double row, range the arms of the following noble patrons of the undertaking : — Lord Scarbro’, Earl Fitzwilliam, Earl de Grey and Ripon, Earl Feversham, Earl Zetland, Lord Cavendish, Lord Halifax, Lord Milton, Lord Neville, the Bishop of Ripon, Lord Stourton, Lord Herries, Lord Hawke, Lord Grantley, Lord Muncaster, Lord Teignmouth, Lord Feversham, Lord Wenlook, Lord De Lisle, Lord Londesborough, Lord Houghton, and Lord John Hay. On the wings of the building are the arms of the Prince of Wales and the Duke of Edinburgh. The whole of the heraldry being painted in the Mediseval style, the colours, all flat, strongly edged -with black, agree better as an architectural feature of the building than if painted in the ordinary manner. The lower panels are ornamented in fresco colours, with shields bearing the national crosses of 41 pt. George, St. Patrick, and St. Andrew, surrounded with elaborate borders m rich colours. Above the heraldic dis- play are two figures of Raphael and Watt, as the repreaen- tatives of Art and Industry, painted by Mr. James Walton, ihe latter are productions worthy of the high reputation gained by the artist, and are most appropriate symbols of the character of the display of articles contained within 1 ^ 1 centre window is a handsome clock dial, eight feet diameter, fitted up by Messrs. Cooke, the well-known and celebrated opticians and turret clock each side are large shields, with the arms of the city and the see of York. The whole of the interior and exterior decorations have been executed by Mr. Worthington, of Blake-street, and the trust reposed in his hands has been carried out with a degree of taste which has met with the full satisfaction of the promoters of the Exhibition, elicited the admiration of those who have inspected his efforts, and added to the well-earned reputation which he has in this peculiar line of art sustained in tne city and county, THE OPENING CEREMONIAL. « ^ Exhibition building for several days preceding that nxed for the opening had been such a scene of busy activity as few but those who had the entree of the place could imagine, and which it would be altogether impossible adequately to describe. The hammer on almost every hand produced strange music as accompaniment to the notes ot that fine instrument, the organ of Mr. Conacher, which was being tuned in preparation for the important part winch it was intended that it should take in the opening ceremony. The unpacking of goods, the arrang- ing of cases, the erection and decoration of stands, and a variety of other employment made up a scene not easily to be forgotten in the mind of the quiet observer. But not less striking was the appearance of the place on the morning of the opening day. Then, completed or otherwise, the tasks which had previously occupied tha principal attention of the occupants of the building, had to be dropped, and the last touch had to be put upon the place_ preparatory to its being thrown open for the hrst time to visitors for inspection. The refuse which had Idid in a variety of shapes about the floors was suddenly cleared away, the cases undressed and exposed with all the attrac- tions which tasteful hands had given them, land a variety of other measures taken which in the whole carried out that metamorphosis which had been anticipated would rapidly change a scene of confusion to one of order and attractiveness which it is to be hoped may not pall upon the appetite of the spectator until the place has in erery way brought about a success. ^ The weather of Tuesday morning was anything but of a promising character ; nevertheless the citizens showed their appreciation of the occasion and their wel- come to those who entered the city for the purpose of witnessing the attractions of the day by a profuse exhibi- tion of bunting. The genial warmth of summer was absent, and with it there was a lack of that bright sunlight which would have so materially added a charm to the scene. On the whole, however, the city never possessed a much more enticing aspect. During the morning a very large number of the aristocracy of the county came in, and about noon a select party of these were entertained by the Lord Mayor and Lady Mayoress to luncheon at the Mansion House. The foUowing distin nished persons were present, and the bulk of them were afterwards on the plat- form in the Exhibition building during the iuau^ral 42 ceremony: — The Archbisliop of York and Mrs. Thomson, ( Viscountess and Lady Neville, Lord and Lady Hemes, Lord and Lady Teignmouth, Lord and Lady Muncaster, Lady Milner and the Hon. Mr. Milner, Lord Feversham, Lord Houghton, Lady Julia Wombwell, Sir Geo. and Lady Deu\s, Sir J. H. Lowther, Sir W. Worsley and Miss Worsley, J. Lowther, Esq,, M.P., Col. Akroyd, M.P., the Hon. K. Lascelles, the Recorder of York, Mr. Alderman. Richardson, &c. At about half-past one the various bodies who intended to take a part in the procession began to assemble at the Guildhall, and punctually to the time fixed marched to the Exhibition building in the following order : The Chief Constable and Sergt. Duke on horseback. The Band and a Troop of t e 13th Hussars. Band and Corps of the York Artillery Volunteers. The Workmen and Contractors. The Gentry and the Citizens of York. The Guarantors and Exhibitors. The Sub-Committees. The Members of the Executive Committee. The General Secretaries and the Treasurer. The Vice-Presidents. The Lord Mayor of York (the President), the Aldermen, Sheriff, and City Councillors. The Patrons and the City Members. The Archbishop of York in his Carriage. The Clergy & Ministers of other Religious Denominations. Band and Corps of the York Rifle Volunteers. On arriving at the entrance to the grounds in front of the Exhibition building the corps of the York ArtiUery Volunteers, under the command of Lieut. Smith, formed open order and ranged themselves at intervals down each , side of the path with a promptness and regularity which : called forth expressions of praise from those who wit- [ nessed the movement, whilst the remaii^er of the proces- sion passed through their ranks to the Exhibition. The gates of the Exhibition building were opened to the holders of season and special tickets one o’clock, and the galleries were soon filled a je J fashionable assemblage of ladies and gen lemen ; in fact,, so many season tickets had been taken that the intention of only admittingthe holders to the g^Ueries had to be abandoned, and the floor of the building also was weU filled. S uch a scene was then witnessed as has seldom be , presented in York, whether as regards the building itseU,, its rich and varied contents, or the company gathered together within its walls. A raised-dais had been erected under the gallery at the east end, and it was occupied by the Archbishop and Mrs. Thomson, the Lord Lady Mayoress, Lord Feversham, Lord and Lady Teign Luth, Lord Houghton, Lord and Lady Hemes Lorf and Lady Muncaster, Sir J. H. Lowther, Bait., Sir G. and Lady Julia Wombwell, Sir G. ai^ W and Miss Worsley, J. Lowther, Esq., C. Sykes, Esq., M.P., Col. Akroyd, M.P., Lady Georgiana M^er, L. Thompson, Esq. and Lady Mary Thompson, the Yen. Archdeacon Creyke, the Ven. Archdeacon Long, Colonel, Jenyns (13th Hussars), Mr. Hindmach, Q.C. (the Recorder of York) the Sheriff (T. Sanderson, Esq.), the Rev. G. Bo^rfprincipal of the Training School) Mr. .Wderman S I Mr AM Wood, Mr. Aid. Wade, Mr. Aid. 1‘eXrTey, Mr.' Ald.'cMse, Mr. Aid. Hill, Mr. Alderman Hargrove, and Mr. Aid. Colburn. The Lord Mayor and Corporatipn and others who had formed part of tL procession entered the building between two and^three o’cloSt, when a grand voluntary was played 4:3 on the organ. The proceedings were commenced with the singing of the 100th Psalm, after which The Lord Mayor said. — A report or address has been placed in my hands which contains an excellent epitome of the history and objects of this undertaking, and which, as president, I am expected to read. As, however, it is already in print, and if not yet, will soon be in circulation, I hope I shall have permission to consider it as read — (hear, hear) — and may form a part of the proceedings of this day. (Applause.) There is one omission which is due to the modesty of the gentleman who framed this document, and I venture to submit that a paragraph should be inserted to make up for that omission, recognising the inyaluable services of Mr. Pumphrey and the other honorary secre- taries. (Applause.) My Lord Archbishop, my words of introduction shall be as brief as possible. This under- taking was first contemplated only a few months ago, and two circumstances threatened it with early extinction, viz., the question of site and a large pre- paratory outlay, but, like an infant Hercules while in its cradle, it strangled those two difficulties, and it appears before us to-day in its present dimensions and development. (Applause.) I trust that the blessing of the Moat High, which will shortly be invoked, will be graciously vouchsafed, and that the results will, in every aspect, amply repay the generosity of the contributors, and the incessant labours of the various committees. (Hear, hear.) The most happy incident in the history of this enterprise was that the Executive Committee — who were not as harmonious on all points as on this — were most unanimous in obtaining the inaugural aid of the Lord Archbishop of York — (applause) — and I have the utmost pleasure in asking his lordship mow to open this Fine Art and Industrial Exhibition. The report alluded to by the Lord Ma\ or is as follows : — “ In presenting a report of our proceedings, we (the Executive Committee of The Yorkshire Fine Art and Industrial Exhibition) desire to record our grateful appre- ciation of the manner in which we have been supported by all classes of our fellow-countrymen. “ The first proposal for undertaking an Exhibition of Art and Industry in this city was made in November, 1865, at a meeting of the citizens, held in the Guildhall, and presided over by the Lord Mayor, and was received with such favour, that, in the course of a few days, upwards of i£6,000 was subscribed in York to meet any loss that might result in the carrying out of the scheme. “ The plan, as first proposed, did not contemplate any- thing so extensive as the Exhibition we are met tg in- augurate. For a considerable time great uncertainty prevailed as to where the Exhibition should be located, and it was not tiU. the 17th of March that the building in which we are assembled was begun. The favourable character of the early spring enabled the contractors to push ou their work ; and it was so far advanced that the Flower Show of the Yorkshire Gala was held in it ou the 18th and 14th of June, less than three mouths from the time of its commencement. Since that period we have been unceasingly employed in completing its internal and external arrangements. In reviewing this part of the work, it is very satisfactory to be able to state that no accident, involving the loss of life or limb, has happened to any person employed upon the building. “ After the question of site was settled, time did not allow for any public competition as regards the design and plans for the building, but Messrs. J. B. audW. Atkinson and Mr. E. Taylor were appointed architects, and authorised to pre- pare the needful plans and specifications ; and, whether we consider the firmness of its construction, the elegance ot its proportions, its external appearance, or its internal fitness, the building reflects the greatest credit on these gentlemen. The cost of the erection, including the decorations, has been about £4,00U. It comprises, in addition to this maonificent hall, two spacious picture galleries, an annexe . specially arranged for the exhibition of carriages and machinery, together with a lecture room, refreshment rooms, &o. With the exception of the building erected for the Art Treasures Exhibition in Manchester, this is | the first occasion in which a provincial exhibition of this j character has been held in a bnilding specially provided ' for it, and it remains to be seen how far we have heeu^ justified in incurring such heavy responsibilities. “ In the nrogress of our labours we have had to contend , with many*difficulties ; and of these, the one that affected our progress most adversely, was that for a long time we could not impress on the public at large the scale on which W6 wer© proc6eding and th© importance of our undertaking, and as a conseq^ucnce, for some time after the announcement of our plans and the issue of our programme, applications for space came in but slowly, and there seemed some doubt whether we should obtain a sufficient supply of articles ox interest to fill our building and attract visitors. To remedy this we made considerable use of the Press as the means of diffusing information, and in this department we have received very great and disinterested assistance from the York Press ; the publication of a lithographic view of the proposed building also tended greatly to arouse the public to the true character of our undertaking. From that time we have had no difficulty on the score of applications for space ; our difficulty has rather been to select from the treasures lavishly offered to us. ^ “ It would be invidious, in a report like this, to mention the names of contributors. We include in that list names dear to all Yorkshiremen, honoured wherever art or com- merce are known, who have contributed from their princely stores, and we include the names of many who have con- tributed to our collection the single picture, or the single ■ article, that has been the very jewel of their home— the something that was peculiarly their own, and yet lent oheer- fuUv to help to swell our role, and to give interest and life and' heart to our Exhibition. We tender our tnanks to them all : we thank them for their contributions, and we thank them for their generous sympathy, and we trust that they will find some compensation for the sacrifices they have made in the knowledge that they have helped to spread a feast which tens of thousands will enjoy, which will tend to diffuse among onr people a taste for the good and the heantiful, and provide recreation the recollection of which shall awaken none hut pleasant memories. “• As an undertaking designed for the public benefit, we have received most valuable assistance from the i orporation of the city of York, from the committee of the York Asylum, from the directors of the York Waterworks, and from the various Hallway Companies; and in the very early stages of our proceedings the committee of the York School of Art lent us their support and countenance, enabling us to place the project before the public in a favourable light. There has also occurred during the progress of the affair an incident that we cannot pass over, and it is one to which we refer with feelings of peculiar pleasure. One of the conditions on which the guarantee fund was subscribed to, was that no call should be made on any subscriber except in case of actual loss, and then only in proportion to the amount subscribed ; but it was found (owing to the difficulty of obtaining workmen, and V 45 other circumstanceB) that it was needfnl that some con- siderable sum of money should be forthcoming to meet expenses that must be incurred before there was any- thing received with which to defray them. Under these circumstances, it was resolved at a meeting of the sub- scribers to the guarantee fund that two-fifths of the sum subscribed should be advanced by way of loan, and we feel prond to be able to say that with very trifling exceptions this was most readily met, and we were put in a position to carry on the undertaking, upwards of f2,000 being placed to the credit of the committee. “ Thus encouraged, and our hands thus strengthened, we have laboured unitedly and heartily in the work, and now beg leave to commend it to the favourable criticism of the pubUc. We are well aware that it has many defects— that it is not so complete in all its details as we hope that a few ■ days more will make it ; but whatever faults may be found in it, it has been our wish and endeavour to make it worthy of this great county and of this our ancient and dearly loved city.” The Archbishop. — We will now invoke the Divine blessing on the business on which we are engaged. His Grace then read the following prayer : — “Almighty God, creator and ruler of the world, from whom alone all our gifts of strength and skill and know- ledge proceed, we desire thankfully to dedicate to Thee this collection of the fruits of our industry, and to give ■ Thee the glory of them. Thy wisdom is in all things, and . the skill of the workman, and the cunning of the inventor come out of the treasure-house of Thy gifts, which is ever open for Thy thankless creatures. May we never forget Thy goodness; may we not be puffed up with a selfish conceit of our own skill and success, so that we lose sight of Thee, the author and giver and ruler of all. May we never be so engpssed in material works as to forget that . Thou art a spirit whom we must serve with our spirits. May we remember that the same will which appointed the Btars their courses and bound with laws the earth and all that it contains, commanded us to turn from sin and serve Thee, and to flee from the wrath to come. “ Lord, we will not sin, knowing that we are counted Thine.” Won by Thy goodness to us, we i^ll forsake those sins which have kept us far from Thee, and will accept the forgiveness , offered us through the precious death of Christ. Bless our beloved Queen. Watch over our country, and continue to ns the blessings of peace. Have pity upon all suffering people — upon those who, from age or sickness, are unable to earn their bread. Quicken those among us who, from ignorance or self-love or blindness of heart, are dead to Thee with the blessing of Thy Holy Spirit. May we be known among the nations of the world, not as a mere BkUfnl and enterprising race, but rather as a nation full of the fear of God. May all countries know Thy goodness. Remove, if it seem good to Thee, the plague that has just visited our coasts. Deliver Europe from the desolations of war. We thank Thee, 0 God, for all Thy goodness to us. We bless Thee that Thou favourest our industry, and hast given to every class so much prosperity and comfort. We bless Thee for much goodness to every one of us. Thine, O Lord, we are ; from Thee come all the good things which we enjoy. Fill our hearts with devotion to Thee, most bountiful and loving Father. Accept us, our spirits, souls, and bodies, and make us Thine in all things, that Thou, and Tby blessed Son, and Thy Spirit of Truth and Love| may live and abide with us and in us, and consecrate us whoUy to Thee, in our callings here, and to praise Thee in Heaven hereafter, through Jesus Christ our Lord.” 46 Then followed the anthem, “ Achieved is the glorious work.” His Grace the Archbishop then said My Lord Mayor, my lords, ladies, and gentlemen : I accept with great readiness the invitation which you, my Lord Mayor, have given to me to occupy for this one day, your throne in this building. I think it is too often the case that when a number of people have devoted much time and labour to an object of this kind, they bring forward some one who has not shared that labour, and give him the chief part of the glory of its completion. But it is not in this sense that I occupy the chair to-day ; it is rather to con- gratulate you, my Lord Mayor, and the secretaries, and the committee, and this great assembly upon the worthy completion of a most excellent undertaking. And I hope, my lord, that after I have vacated this throne, you may occupy it for many months to come in perfect peace, with a faithful administration, with very small opposition, with a complete immunity from war, and with an overflowing exchequer. (Cheers.) I regard my presence here to-day as one more token of that goodwill which always seems to have prevailed between the civil and ecclesiastical authori- ties of this city, and I trust that it may long continue to prevail. One cause of disappointment no doubt is present to the minds of many. I believe it was originally hoped the presence of a son of the Royal House might have graced this day, and added one more to the excitements which this good , city is destined to go through during the present summer. But let us take comfort ; because I believe before many weeks are over, and after this exhibition shall have got into perfect working order, we shall be honoured with the presence of the heir-apparent to the throne of these 'realms, and a sweet and benign face — as sweet as any that will smile on us presently from the canvasses — will smile on us in this building, and gladden the hearts and minds of the contributors, and of every one concerned. (Cheers.) To make a confession, I must own that when I first heard that York was going to undertake an Exhibition of Art and Industry, there did for a moment float across my mind a kind of misgiving. York is rich in historical asso- ciations, but it has put forward no claims, as far as I know, to being one of the great centres of industry of this^ king- dom. >I cast about in my mind to think what it was that York was famous for in the industrial section, and I remembered that it was always famous for telescopes ; I happened to know that it was famous for combs ; and there is also, I believe, a most flourishing manufactory of sugar-plums. (Cheers and laughter.) But, as to the tele- scopes, only one person can look through a telescope at one time, and the two thousand people who are here present would make nothing even of the largest exhibition of the most excellent telescopes. Combs don t seem to admit of much variety, and I think the proper way to deal with sugar-plums is to empanel a jury of chfldren who shall impartially decide upon their merits. But if i ever had such a doubt it disappeared entirely from my mind yesterday. I entered this building because, having on my miud a profound impression of an impending speech, I thought it desirable to see— orators don’t always conde- scend to take that trouble-what I was going to talk about. I entered this building and my feeling was one of great surprise : but in order to do justice to this excellent place, let us remember that York has, and has long had, a flourishing school of design, which I believe is doing inuch good in respect to the arts of design. And besides that, there are scattered over this couuty great homes of we iltliy proprietors who have collected for their own delectation 47 the iinest works of artj and who have now come forward with a noble and generous readiness which, I think, we ought all to acknowledge, and have placed thena here at the disposal of the million, so that whereas they gladdened ^ units and tens before, now they will be for some months to come the delight of thousands. (Cheers.) I think it will be a pleasant reflection to ns, that through this beneticenee the ploughman of the Wolds will see the corn- fields of Linnell, bathed in their luminous light ; and the worn workmen of Middlesbro’ and Sheffield will be able to admire the patrician graces of Gainsborough’s and Komuey ’s beauties. In one word, to close this part of the subject, I believe that when these proceedings are closed, and the thousands that now listen to me are able to circulate through the building and see what it contains, they will pass one unanimous vote in their own minds that this is a collection worthy of Kork, worthy of all the pains that have been bestowed upon it; and let me also say, in Justice to the ’ builder, they will add that the casket is worthy of the treasure. (Cheers.) We are engaged to-day in opening this exhibition as a matter of pure pleasure and delight. 1 cannot help contrasting for a single moment the condition of the nations of central Europe at the same time. Here we are gathered together — and we may well be thankful that li IS so— in an employment of peace. Think what war , IS ! ryow look around this building, and remember that it ■ IS no more than a storehouse of the labour of man. Look into any one of these cases, and you will see that the raw * material is as nothing, but it is as it were the crystallised and hxed labour of man that gives their value to these elegant and useful productions. Well, then, it has been calculated that no less than five hundred millions of pounds’ worth of human labour is withdrawn from the common stock every year by the mere maintenance of standing armies. That is nothing, however, compared to what takes place in time of war. Here are hundreds and thousands of happy faces gathered together, and thousands will follow them and look upon these beautiful things. Contrast the masses here with the masses that are gathered together for another purpose in Germany, ihink of the faces not smiling and unoccupied, but turned dead faces, ghastly, stiffened in death, mutely accusing those who have brought them to this condition in a selfish aud useless war. (Hear, hear.) I hope that no glory of success, no vision of military renown, will obscure our moral sense, and make us have any doubt that a causeless greatest crime that can occur upon this earth. (Cheers.) The working man— who is not here to-day, u of whoru we hear a great deal— has quick political sym- pathies, and those often tend or may tend to a warlike issue, and I am glad of this Exhibitiou, because I regard It as a school of peace. Let men see before them what peace IS, and what the productions of peace are; let them try to realise, and let us teach them, that war means a suspension of industry in the first place ; means a destruc- tion of the precious products of industry in the second place, and means also the waste and destructiou of those more precious lives that are industry itself. (Cheers.) Let us for a moment to what is supposed, aud truly sup- posed, to be the great characteristic of this generation— that which distinguishes us from generations gone by — our great mechanical success. I don’t know whether we have pertectly realised how entirely mechanical success on the grand scale is the boast of this generation. The fact that we are able to fasliion iron into tools, or rather, I ou«■■ rJnU “ u^® tlontractors in all the depart- Tfimirnhlfl ^ h high compliment for the speedy^ and wort ^‘‘‘1 executed their woik. The building, he said, had sprung up mushroom-like and was a credit to the county. ® ^ Mr, Shaw responded,. tin occupied the chair in of the Lad® who had left,) gave “ The health E^MliLl^thatTay!”®’ Mr. G. Baestow responded. proposed “The health of Mr. Conacher, of Huddfnsfield. _ That gentleman, he said, was the maker sL “ the Exhibition buUding, and a more I splendid instrument either for beauty of workmanship or tone he tad not seen put together. His expense in bring- Vjg it to York must have been great, and they were under the deepest obligations to him for favouring them with an opportunity of hearing the music of what he conceived to be as fine an instrument as the kingdom could have produced. (Applause.) Mr. CoNACHEK briefly responded, and the company shortly alter separated. f' \ " \ . I .■^t I 1 i \ L i -, •••>,* .,'vv ■'v>'f \ ■■ ' K' - ‘ ■ 7 i'i . J* i m- i f ‘4 „ ' y ' ^ - 178 ■':v . i • f •i 170 THE YORKSHIRE FINE ART AND INDUSTRIAL EXHIBITION. Hitherto we have refrained in the notices of the Eshibi tiou that have appeared in this journal from touching upon the attraciions which it possesses in particular, but have made what observations were conceived to be necessary of a general character, and void of invidiousness. JSow, how- ever, in accordance with promise, it is intended to run through the edifice week by week, and notice the various stalls or departments ; and in doing this, it may be added, it will be sought to render these effusions as fair as possible to the several exhibitors, void of that invidiousness which has thus far, it is hoped, marked our notices by its absence, and as interestingly supplementary to the catalogue which has been published by the executive of the Exhibition, as personal observation, and information kindly rendered by those interested will allow. THE FRONT OF THE BUILDING. The first matter which catches the eye of the visitor to the Exhibition is the external front of the building, and here, from the artistic beauty which it possesses, presage is furnished of the interest which is to be found within. The neatly laid out space of ground which gives such an advantageous view of the building from the public load in front is an evidence of the skill of Mr. J. K. Lupton, under whom it has been arranged, and decked with its vari- coloured beds of flowers. A terra-cotta fountain, from the works of Mr. W. Vickers, of Nottingham, also adorns the ■centre of this open ground, and as the water, in jets, sheets, and spray is thrown up into regular and beautiful form, aud glitters in the sun, a charm is given to the front of the ■place which is only realised by those who have taken the opportunity of witnessing it. The external elevation of the building has been decorated, and the heraldic erublazon- ments executed by Mr. T, Worthington, of this city ; and as a full description of this feature was given in our notice of the opening of the edifice, it is only necessary to add that, since their full completion, they further display the taste and skill of the artist into whose hands they were entrusted, and who, if the expression of public opinion be a criterion, must have given the greatest satisfaction to the Executive who have employed him. The paintings of , Raphael and Watt, symbolic of the character of the building, ' and, designed and painted by our clever local artist, Mr. J. T. Walton, occupy places on each side of the centre window, have elicited much admiration. An object of some interest from its elevation is not generally noiiced. This 'is the beautiful ornamental finial, which, small as it looks in its present position, is fully nine feet high, I and a beautiful specimen of the skill of those eminent workers in iron, the Messrs. Macfarlane and Co., of the Saracen Foundry, Glasgow. The clock in the turret beneath is a contribution from Messrs. T. Cooke and 'Sons, of the Buckingham Works, in this city, and is another specimen of the mechanical skill which has assisted the firm to their high eminence in this class of manufacture. Those who are interested in a close ■ inspection of the works of this object will find it in the front gallery, whence they communicate with the outer dial above. Two or three objects occupy a place in front of the building which, without attention were called to them, might escape the observation of the visitor, and which are there displayed in all probability as the best site afforded for their weight and proportions. The first of these is a block of Yorkshire coal from the collieries of 180 the Messrs. Briggs, Son, and Co. (Limited), of Whitwood, Normanton, and exhibited by Mr. T. Luty, colliery agent, of this city. Its weight, stated to be 6 tons, reminds the visitor of a similar, but if we remember rightly, an even larger piece which was exhibited against the outside front of the parent of such institutions as the present, held in London in 1851. The new walls of the Fleets which now-a- days ride the waters have also their representatives at the front of the building but on the opposite side of the entrance to that where the last-named object is displayed, in the shape of a couple of armour plates from the cele- brated works of Messrs. Charles Cammell and Co. (Limited), of the Cyclops Works, Sheffield. These are both interesting as displaying the immense masses into which iron can be worked, the revolution that has not only come over the trade of the country, but substituted- for our once-styled “ wooden walls,” vessels clothed in such cases which bear most the resemblance of floating fortresses of iron than vessels intended to float upon and plough the main.” The dimensions of these plates are given the first as 15ft. 7iu. long, 3ft. 5in. broad, 5.iin. thick, and weighing 6 tons cwls. ; and the second plate as 12ft. long, 4ft. 4iii. broad, 9in. thick, and weighing 8 tons 7 cwt. One of them bears the scars which have been left behind a trial, and some idea from these may be gathered of the frightful concussion when an Armstrong is brought to bear at closish quarters against one of these stanch masses of metal. Before entering the building we need scarcely call attention, to the charming tout ennembU of the front, for this, either as to the architectural beauty and appropriateness, or the decorators’ skill, can scarcely fail to strike the attention of all who may gaze upon it. 181 THE PICTURE GALLERIES, Modern School— First Notice. ^ We have abstained from noticing these pictures until the publication of the official catalogue, in order that onr readers might be able to see fully the bearing of our various remarks ; and we trust that our observations, which we propose to continue from week to week, may be read with no less interest on that account, especially as by the slight delay we have been enabled to give, a more complete atten- tion to the many interesting and valuable works before us. I The first thing which cannot fail to strike the visitor to the galleries is the very admirable arrangement of the pictures ; and the gentlemen engaged upon the work of “ hanging” nine hundred art productions, so that no one should suffer by juxtaposition to its neighbour, must have had no easy task. We congratulate them most heartily on the efficient manner in which they have completed their arduous under- taking. It is also worthy of remark that the picture galleries could not have been built on a better plan, either for the effective display of pictures, or for the convenience of the public ; and with Uiis well-merited compliment to Messrs. Atkinson and Mr. Taylor, the architects, we at once proceed to our task, premising that we shall endeavour to avoid the too common error of praising a work, according to the name and standing of its painter, rather than for its intrinsic merit, and shall ast our readers to remember that, if in a few instances we have been too merciful, we have erred on the right side. No. 1. — “The Smuggler,” by H. P. Parker, contributed by R. Denison, Esq^. A most determined looking Smuggler, wbo is waiting for the possible coming of the preventive officers, if we may judge from the expression of his face, and the pistol which he holds in readiness for a shot. A capital study of character, and just the sort of character that, fifty years ago, we should have preferred not to meet in the neighbourhood of Staithes or Saltburn.— In No. 375, “ Smugglers on the Look Out,” by the same artist, contributed by G. J, Yarburgh, Esq., we recognise the same excellence, and, by the way, the same model, painted in a different light and shade. No. 2, — “Welsh Scene,” by Shayer, contributed, by G. Dodsworth, Esq. A scene on a wayside road among the mountains of Wales, is worthy of notice, not only as being “ a landscape” of considerable merit, but as containing, in the seated figure of tne old woman in the red cloak, a characteristic study of Welsh physiognomy. No. 3. — “ Dutch Fisherman’s Wedding in the Village Church,” by Miss Kate Swift, is a most carefully painted and well-finished picture, and we are at once carried to the schools in Holland, where Miss Swift has so successfully studied. In brilliancy of effect it is equal to anyth.ng of the same class in the Exhibition. The young bridegroom hbsamost earnest expression of honest resolve to “ love, and to cherish,” in sickness and in health, the pretty young woman to whom he is being married. There is a good intention in the introduction of the ^two additional groups, the one being an old couple who have “ gone through life together,” and the other, a poor widow, who with her child upon her lap, seems to be offering up a silent prayer that it may be long before either of the young couple shall experience the sorrow of htr life. To criticise severely , the picture is a little wanting in mastery of draw- ing, but the story is honestly and truthfully told, to the utmost of the artist’s ability. No. 4. — “French Coast,” by W. A. Knell, contributed by G. Dodsworth, Esq., is the work of an experienced hand, as all must know who are familiar with the London Exhi- 182 bitions ; and, besides being one of Mr. Knell’s most perfect compositions, has the great charm of combining in one picture tbs fisherman’s home on land and at sea ; and the fish-wives, in their bright dresse.s, give a life and vivacity to the picture withont which a French scene would be incomplete. In No. 61, “ On the River Clyde, a Uis- mautled Ship being taken in Tow,” contributed by H. J. Ware, Esq., we have a still more important work of the same hand. The upward tossing of the waves, the clear sharp touches of foam, the disabled ship, and the gallant little tug, are all bathed in a warm sunset of surprising beauty and fidelity. No. 7. — “ Elizabeth Castle, Jersey,” by J. Danby, con- ^ tributed by W. J. Whitehead, Esq., is the work of another master of his art, who can never hope to excel this picture as regards atmospheric perspective and truth of effect. The ray of sunlight striking on the wet sand in the fore- ground is an incident which, although not calling forth the higher powers of the artist’s mind in its representation, cannot fail to please from the truthfulness with which it is given. We may speak in ^e same terms of praise of the companion picture by the same artist, No. 371, ‘‘ Mount Orgneille, Jersey,” also contributed by W. J. Whitehead, Esq. No. 8. — “Portrait of the late James Atkinson, Esq., of York,” by Wm. Etty, R.A,, an artist as distinguished for, .his excellence in “great art” as his love of his native place, ■ and attachment to old and valued friends, like Mr. Atkinson.! The portrait is a faithful representation of the weli- remembered countenance of this eminent anigeou and accomplished gentleman, and Etty has caught the expression of character in a way to be obtained only from loug acquaintance. We understand that Wilkie, when he saw this portrait in York and visited Mr. Atkinson, pronounced it to be the finest specimen of modern portraiture in England. And as it was at a time when he himself had travelled and learnt from study of the ancient masters the great and lasting teachings of their most famous works, we have only to look at this picture for the premises from which he drew his conclusion, 'i'hs Veneiiau school, unrivalled in colouring, is here approached so nearly that one would assign this portrait to Titian in his third and beat manner. The shades are rich and deep, the lights glowing, the tints full of force, and the whole composition harmonious ; and we may be well proud of this portrait of a “ York worthy,” bequeathed by his daughter to the Museum, of which Mr. Atkinson was a founder, and nigh to which are the fine ruins of St. Mary’s Abbey, to which many a student of art repairs to view the shrine of William Etty, B.A., the boast of York, and pride of art in England. No. 9. — “ Nothing Venture, Nothing Have,” by J. Bate- man, contributed by the Rev, P. J. Q-ruggen. A sleeping mastiff is taking his after-dinner nap, and a hungry little mongrel terrier is making a dash at the bone which is all that remains of the canine repast. This picture, in treat- ment of subject, reminds us a little too forcibly of Landseer’s “ Doubtful Crumbs,” but the contrast in the expressions of the two animals is striking, and deserves praise. No. 12. — “ River Scene in Cumberland,” by T. E.' Newnum, is the largest of several pictures contributed by' this artist. Great credit is due for the patient labour bestowed upon this work, which we are sure has the merit of having been studied from nature. No. 13.—“ Scene from Cvmbeline,” by Sir B. West, P.R.A., contributed by E. Fleet, Esq. This is an early picture by the revered President of the Royal Academy, a 163 seif taught artist, wlio painted in many stales, many years, in this picture we of the present day may question the propriety of dressinfj the characters represented in the classical costume of the ancients, but we must not forget the fact that it is only of late years a change for the better has taken place, and that in West’s time, minute attention to correctness of costume was not considered to be of such great importance either in pictorial representation or upon the stage, as it is at present. But although we cannot assign to West a high place, and especially in colouring, we must recognize the good effects of application to ins art, and zeal in his profession for the advaucc-ment of art in the country. His groupingis always good, his draperies and attitudes well composed, and his stories well told. Take for example this picture, (and if the colouring be cold and inanimate, and the outline not pleasing,) there is enough of West’s manner in the design to affect us with a representation of a scene in Shakespeare fail of sweetness and yet of sadness. No. 18.— “Scene near Algeria,’*’ by J. T. Walton. Of a considerable number of works by this artist this is the largest and most ambitious picture, and at least shows no small amount of persevering industry. The effect of the glaring eastern sun lighting up the whole picture is admi- rably given, and it is a most interesting work, because it brings before us a scene faraway. No. 14, “ On the Kiver Garry, Perthshire,” and No. S31, “ The Greta, Yorkshire,” are by the same artist, and the latter is unquestionably Mr. Walton’s best work, as it bears evidence of having been carefully studied from nature, and as carefully painted. No. 22. — “ The Family Pew,” by T. Roberts, contributed by E. Fleet, Esq., is most beautifully di’awn and minutely painted, as indeed are all Mr. Roberts’ later works. We have a pleasing recollection of “ The Lifeboat,” exhibited two years ago. No. 28. — “ Sea Piece,” by F. Musin, contributed by the Rev. F. J. Gruggen. This is a grand subject, and most skilfully handled. No. 24. — “ Landscape,” by A. Nasmyth, contributed by R. Nasmyth, Esq. ; No. 42, “ On the Dart,” contributed by the Rev. G. H. Philips; No. 173, “View of Rome,” con- tributed by G, J. Yarburgh, Esq.; and No. 337, “Bridge of Augustus,” contributed by J. P. Brown- Westbead, Esq., are all hue pictures, and painted by the same artist, tne father of landscape painting in Scotland. He died in 1840, having survived his son Patrick a few years, and although we are inclined to prefer the latter, the pictures by A. Nasmyth in this gallery make us hestitate, for if Ett.v’s pictures may hang on the same walls with the best old masters, so may these. And if it would not be incongruous to place Etty by the side of Titian neither would it be to place Nasmyth far from the coolest compositions of Claude. He certainly does not approach him ‘as R. Wilson does in warmth and brilliancy of effect, but his classical scenes are Italian, and his Scotch scenes so true to nature and neatly pencilled, aud his distances so well kept, that these pictures must arrest the admiration of every lover of art. No. 25. — “ Rabbits Feeding,” by Mr. G. Drummond, is very prettily arranged and painted, although rather want- ing in vigour of handling, it has many good qualities, not the least of which is an honesty of purpose aud a certain elegancy of treatment, which promise great things. No. 28.— “Island of Capri,” by John Bell, contributed by Mr. Aid. Hargrove. This is a very pleasing effort of artistic skill, but this artist is seen to still greater advan- tage in scenes nearer home, of which we shall have something to say anon. 134 No. 29. — " Would that the little flowers were born to live, conscious of half the pleasure which they give,” by Miss G. Swift, sister to the painter of the “ Dutch Fisherman’s Wedding” noticed above. There is a pure natural style about this picture, and the subject tells us a tale which is often told, and should make the subject of this picture a serious contemplation in the lights and shadows we gather from its moral and its truths. No. 30. — “ Cupboard Love,” by J. T. Lucas, represents a comic looking Irish peasant making up to a pretty girl for the sake of a dish of baked potatoes, which she is just placing upon a table. There is also a most suspicious looking .bottle containing probably a drop of the “ crathur,” which will meet with the kindest investigation as soon as Pat has finished his share of the “ praties.” The figures are well drawn, the expressions well conceived, and the whole picture is most carefully and forcibly painted. We .do not wonder that the picture .attracts great admiration, and that the artist is obtaining great prices for his larger works. We understand that Mr. Lucas’s picture, “ Not Sold Tet,” exhibited in the Royal Academy this year, has been purchased by J. Burton, Fsq., of Poppleton Villa, York, and we congratulate him in having obtained so Valuable an addition to his magnificent gallery of modern pictmes. Modern School— Second Notice. We resume Our notice of the pictures with : — 7 ~~ No. 31. — “ Scene in Wales,” by H. Moore, contributed by H. S. Thompson, Esq., Kirby Hall, York. This pictuie is one of Mr. Moore’s earlier style of painting, and although it does not possess that minute attention to parts which we notice in his more recent works, it possesses quite as much, if not more, unity of effect. It is a charming picture.— No. 15, “In the Cottager’s Cow Pasture, Mnl- grave ” ; No. 107, “ The Swiss Village, Servoz, near Chamouni,” contributed by H. J. Ware, Esq., York; No. 134, “ Italian Shepherdess, on the Comice Road, near Nice,” contributed by the same gentleman ; No. 168, “ An Alpine Shepherdess, ” contributed by the Rev. W. E. Harrison, York ; and No. 178, “ Milking Time, North Devon,” are all in Mr. Moore’s later style, and very good examples, but we very much prefer his last work — a picture which is now being exhibited for the first time — No. 280, “ In Clover, near Barnard Castle,” in which we have a grand whole, with quite sufficient attention to parts. It is a picture remarkable for masterly handling of the subject, and abounding in light and atmosphere. This is Mr. Moore’s best work. No. 34. — “ Portrait of Dr. Wilson,” by C. Lees, R.S.A., contributed by Dr. Wilson, of Pocklington, is a well painted picture, the attitude easy, and the face full of intellect. No. 37. — “ Landscape, with Figures,” by G. Morland. contributed by Mrs. Starkey, Tang Hall, York. This is a magnificent painting, and represents one of the artist’s most favourite subjects, a thoroughly English landscape. A storm is jnst coming on, and rolling masses of dark clouds are most skilfully used to assist the composition of the picture. It is painted in his best style, after he had left his first, which latter is to he seen in a good example. No. 105, contributed by the Rev. F. J. Gruggeu, Pockling- ton. Morland wants the art of Gainsborough, but he is not behind him in pastoral truth ; and as there is less of ochre in this picture than in most of his works, we are led to prefer it to those specimens of Gainsborough where there is too much of what we may call “ Vandyk brown.” Mrs. Starkey’s picture is undoubtedly the finest of his works it has been our good fortune to see. 0 185 No. 39. — “ The Gamekeeper’s Eetnrn, ” by M. Kate, contributed by Joseph Mason, Esq., York, is pleasing as ! a domestic incident of humble life, and is not marred by ■ any shortcoming on the part of the artist. No. 40. — “ King Stephen before the Empress Maud,” contributed by the Hon. P. Dawnay. This picture is attributed in the catalogue to the late E. Westall, E.A., and however we may dissent from that opinion, we notice ' it because it is an important work, and possesses, in a high degree, evidence of deep study of the subject. No. 43. — “ A Fete Champetre,” by Andrews, contributed by Wm. Gray, Esq., York. A charming little Watteau- like subject, with the usual amount of love-making and . rivalry. No. 45. — “ Prayer,” by G. Smith, contributed by W. H. I Gaunt, Esq., Old Thornville, York. This is an extremely good picture, and is engraved by Beilin. The light re- flected from the white drapery to the girl’s face is remark- ably well managed. No. 49. — “ Cattle,” by J. S. Cooper, E.A., contributed by Mrs. Starkey, Tang Hall, York. This is the finest of this great artist’s works here exhibited- It is painted in Cooper’s most forcible style, and might vie with Albert Cuyp in the pencilling of his cattle and the truth of the colouring, if not in clearness and transparency. Of a picture possessing such brilliancy and such liquid mellow- ness of tone we cannot speak too highly. There are two , other works by the same hand. No. 198, “ Group of Cattle,” contributed by H. J. Ware, Esq., York, and N«. 843, “ Cattle Piece,” contributed by Mr. J. Sampson, York. The former is a Highland scene, with cattle and drover, also a very fine specimen, in rather a colder key of colouring ; and the latter a little gem of only three or four inches square, but so beautifully finished, aid withal so broa,d in effect, that ‘ we are lost iii admiration. No. 51. — “ Albert Lee adopting the Eoyal Manners with ■ the Maids,” by W. Frith, E.A., and Leslie, E.A., contri- buted by the Eev. F. J. Gruggeu, Pooklington. We are puzzled to understand what part of this picture is attri- butable to Frith, and where to recognise the hand of Leslie. It is unquestionably a very clever picture in every respect, but we have Mr. Frith’s authority for stating that it is none of his, and we therefore should unhesitatingly say it is the production of Keeling. No. 53. — “ Christmas Dinner,” by T. Clayter, contributed by C. H. Barstow, Esq., York, is a meritorious picture, although it has certain shortcomings, probably because it ■ js the work of a man young in his art. No. 66. — “ A Fruit Stall,” by B. C. Barnes, contributed by E. Fleet, Esq., London, was painted at least two or three years ago, and gives promise of that subsequent eminence and notoriety to which Mr. Barnes has attained. His picture of “ Passion and Patience,” in this year’s exhibition of the Society of British Artists, created quite a sensation in artistic circles. There is so much harmony of bright colours, and such a facility of handling in the little picture at present under notice that we almost regret ' that Mr. Barnes has now left the domestic school for the “ higher walks of art.” No. 62.— “ Grace Darling,” contributed by J. Wardrop, Esq., of London, with the name of J. M. W. Turner, R.A., on the frame, is undoubtedly a very fine picture, as are also No. 261, “ An Eagle and Prey,” similarly designated ; and No. 77, “ The Coliseum and Arch of Trajan at Rome,” by the same artist, and contrrbnted by the Rev. F. J. Grnggen. We consider the latter a fair specimen of Turner’s later 186 style, although, according to our humble opinion, his middle style is the one by which future generations will understand the great value put upon the works of this master. The well-known picture in the national collection, “ Crossing the Brook,” is perhaps the finest landscape he i ever produced, and if that one picture had been the sole production of Turner’s life his name would have lived for ever. No. 65, contributed by Mr. B. Shaw, York, should have i been referred to in our former notice of Mr. Knell’s works. It is a small picture, but there is much in it to admire, and we may add the same of No. 815. No. 67. — “ Scene near Coleah, Algeria,” by Mr. J. Walton, i hangs as an appropriate “ pendant” to a subject similar in size and treatment by Mr. J. T. Walton, and noticed in : our last. The works of the two brothers are so similar in style and excellence that it would be invidious to draw comparisons. By the same local artists we notice No. 161, “Robin Lyth’s Cave;” No. 170, “Fiamborough Head;” No. 201, “ Spring Time ;” No. 320, “Scarborough;” and No. 855, “ Fiamborough Head,” in the treatment of several of which there is considerable merit. The “ hanging” committee cannot be charged with not allowing the Messrs. Walton to be numerously represented. No. 70. — “ Loch Eck, Argyleshire,” by E. Hargitt. We have seldom seen a more pleasing landscape ; it is bright in colour, and a faithful picture of a well selected High- land mountain scene, admirably painted. We are not astonished that this picture was one of the first jn the Exhibition to find a purchaser. No. 76. — “ Interview at Loch Leven between Lord Ruth- ven. Lord Lindsay, Sir Robert Melville, and Mary Queen of Scots,” by Sir Wm. Allan, R.A., contributed by the Rev. G. H. Philips, M.A., York. The scene is taken from Sir W. I Scott’s “ Abbot,” and is a very good example of the master by whom it is painted. , No. 82. — “ Le Pifferatore” is the joint work of Halpin and Hill, contributed by the Rev. W. B. Harrison, M.A., York. It is evidently a rapid production, but gives never- theless a good idea of the power of the two artists. i‘ No. 83. — “ May,” contributed by Mr. W. Cordeaux ; No. 165, “ An Interior in Charles II. ’s Time,” contributed by E. Fleet, Esq. ; No. 278, “ May Day in the Olden Time,” contributed by the Rev. W. E. Harrison ; No. 341 , “ Charity,” contributed by W. J. Whitehead, Esq., are all the works of D. Pasmore, and among the best pictures he ever painted. Our favourites in subject and perhaps in treat- ment are 165 and 278, but each of his pictures referred to possesses in a high degree aU the charms of that peculiar system of colouring and arrangement of tints by which we know a Pasmore when we see it twenty paces distant. No. 85.— “The Errand,” is a small picture by A. H. Burr, and contributed by C. Hargitt, Esq. It is a little heavy and black in the half tints of the fiesh painting, and this, to be candid, is a failing we have noticed in many of the works of Mr. A. H. Burr and his equally talented brother. The figures of the children are admirable in the attitudes of child-like indifference to the object of their journey, and but for the shortcoming we have pointed out, are perfect in every respect. No. 88.— “Portrait of H.R.H. the Princess of Wales,” by C. Baxter, M.8.B.A., contributed by Mr. J. Sampson. The name of Mr. Baxter attached to this picture is a suffi- cient guarantee for the artistic excellence of this and the companion portrait of H.R.H. the Prince of Wales (No. 801), and as all York has lately had many opportumties of seeing a,nd admiring the Royal pair, the pictures scarcely require one word of praise for the excellence of tis© por» traitnre. No. 89.—“ Isle of Arran,” by H. Bright, contributed by W. J. Whitehead, Esq., York, ia a Tary flue picture in which a most difficult arrangement of light and shade baa been wonderfully managed. The foreground, cottage, and other accessories to the picture are all in half shadow, and relieve bodily from the distant background without being at all spotty or cut out. This and another gem by the same artist, No. 802, “ Orford Castle,” contributed by the Kev. W. E. Harrison, M.A., York, wherein another arrangement in the distribution of light has been adopted, both show Mr. Bright’s complete command of the palette. No. 96.—“ Lady Macbeth,” by W. Etty , R.A., contributed by W. Gray, Esq', York, is a life-size study of a female head, powerfully painted, and remarkable for force of light and shade. Etty evidently .thought with a talented ’ authoress of the present day that a sweet soft expression of face, almost amounting to weakness, may belong to a character full of determination, and bold even unto crime. , No. 100.—“ Moonlight Scene,” .and No. 286, both painted by old Pether, and .contributed by H. 8. Thompson, Esq., of Kirby Hall, York, .are good pictures, but from the cha- racter of the subjects, jiecessariiy dark, they would have been seen to more advantage they obtained a lower position. No. 101.—“ Will Dauby and ^3a« “Sork and Ainsty Fox Bounds,” J, W..S»ow, .aBdifioxilimbttted bj'.the.nieiBbers of the Yorkshire Club. This picture has the merit of being carefully painted, and in it many a member of the hunt recognises with pleasure the old familiar face of “ Will Danby.” No. 102. — “ York,” by John Bell, and the companion picture. No. 288, by the same artist, contributed by W. W. ’Hargrove, Esq., York. These pictures are highly finished, and are remarkable for their photographic correctness of detail, which render them as local views doubly interesting and valuable. The first represents the New Walk, the river Ouse flowing on at its feet, overshadowed by stalwart trees, ' whose branches are reflected in the smooth surface, of the . water, whilst in the distance is to he seen the fine old ruin of Clifford’s Tower, and the still more majestic turrets of the Minster. In the second picture are seen the Esplanade, the Museum Gardens, St. Mary’s Abbey, and the Minster towering above all in lofty grandeur. In both we have most difficult subjects cleverly handled, and the bestowal of a large amount of patient labour and artistic skill. Although not intending in the slightest degree to detract from the merits of Mr. Bell’s Italian works, such as “ The Lake of Orta,” or “ Brissago,” we may be allowed to express the opinion that hia success ia most apparent and most certain in the English landscape. These pictures are very meritorious, both as regards accuracy of detail and artistic treatment. No. 109. — “ Contemplation,” by J. Sant, E.A., contributed by W. Thompson, Esq., York. This is one of Mr. Sant’s most carefully painted pictures, and entirely free from a slightness of painting for which of late years his pictures have been noticeable. There is always the danger that a man on attaining Mr. Sant’s power and excellence may, from the comparitive facility with which his work is pro- duced, run into the error of carelessness ; but humility of thought and deep reverence for the teachings of the old masters, to which most of our greatest living painters own, must act as a corrective to this tendency. In this picture there is a roundness and a richness of tone which we have never seen surpassed in any similar work, and we look 138 upon it as one of the most remarkable and valuable works in the modern gallery. T? l^^-:-‘‘I^a“dscape.” by J. B. Pyne, contributed by rt. Ji. bmithsou, Esq. A picture displaying Mr. Pyne’s great excellences of atmospheric distance, warmth of colour and elegance of composition. A 1 ?^°' Burns in his Cottage,” by Sir W. Allan, R.A., contributed by E. Nasmyth,Esq., of Edinburgh. A subject most interesting, and painted faithfully, simply and vigorously. We are surprised that we have never seen or heard of an engraving of this work— it would be highly appreciated on both sides of the border. uwu' J^a“ce (the late), contributed by the Key. W. E. Harrison, York, is a bunch of luscious purple grapes and other fruit, and one of the gems of the ■ liiXjiibition. In the composition and painting of the back- ' r reminded of the works of John txilbert (the celebrated water colour artist, draughtsman on wood, and illustrator of the most recent edition of Shakespear s work). This is perhaps to be accounted for y the fact that Lance and Gilbert frequently worked together ; and stood in the relations of master and pupil. Calf,” by Eosa Bonheur, contributed by C. Hargitt, Esq of Liverpool, is a small but most com- plete picture, which would hold its place in any exhibition : harmony of quiet colour, htGe work combined in this admirable by W. Etty, E. A., also contributed Roofn ^ We consider this hand- some, wicked f^e of Judas one of the finest of Etty ’s pictures in this Exhibition ; for deep rich colouring i/is even superior to “ The Graces,” but that is partly because subject, as Etty has treated^it, gives more scope for this particular excellence. bv^?; Detmers, contributed by Mr. A. Mackay, Berlin. We do not require the catalogue ' is thf little pearly-toned picture tL tL of a foreign artist. The contrast (between the two elegantly dressed ladies and the beggar children is re°petUion “ thisILtance by“he , t Beeches,” by Vicat Cole con- tributed by J. Eutson, Esq., of Newby Wiske, Thirsk, iL not a picture, it IS nature itself. No word of praise that we could too high for its combined excellencies. Vicat Cole’s strong point is that he has studied Turner and pafnt'^^It ®““®« 1>® to the frw ? ^ few years since, that Vicat Cole came landscape painters as a very youn man, and he has weE maintained his position ever siLe. S Modern School.— Third Notice. No. 185.—“ The Mountain Spring,” by J. E. Pickeragill E.A contributed by J. Burton, Esq., p;CTleton V^^^ addition to the modem gallery’ gilPs '^®“ty peenliar to Mr Picker^ gill s woiAs , indeed we could not wish to see » Unar specimen. No. 92. “Katherine” (“ Taming the ShrewT ^ the same artist, and contributed by the Eev. W e’ besTby w'“underMlTC^^ this picture is the I No. 139.— “ The Gulf of Salerno,” by E. W Cooke B A contributed by E. E. Smithson, Esq., York, is an eSemdy 169 good picture, though perhaps a little hard and severe in treatment, but the same observation would apply to Coohe’a finest works, without lessening their artistic merit or vaiao. It is Mr. Cooke’s manner, and he is so great an artist ia other respects that we may be considered hypercritical in remarking upon it. No. 141. — “ A BrowB Study,” by Hnggias and H. Bright, contributed by the Rev. W, Harrison, York, is a very ' clever picture of a qaiet-looking brown horse, lazily turning his head towards the spectator. It is welt drawn, and broadly painted. No. 145. — “ The Village Pastor,” by W. P. Frith, B.A., contributed by Mrs. Gibbons, liondoa. Who has read “Goldsmith’s Deserted Village,” and can look npon this picture without having forcibly recalled to his mind tha lines—- “ At dinreh, with meek and iinaBected grace, His looks adorn’d the venerable place ; Truth from his lips prevail’d with double sway, And fools, who came to scoff, remain’d to pray. The service past, around the pious man, With ready zeal each honest rnstis mn ; E’en children follow’d with endearing wile, And pluck’d Ms gown, to share the good man’s smile ; His ready smile a parent’s warmth exprest, Their welfare pleas’d him, and their cares distrest ; To them his heart, his love, his griefs were given, Bat all Ms serious thoughts had rest In heaven s As some tall cliff that lifts its awful form, Swells from the vale, and midway leaves the storm, Though round its breast the rolling clouds at© spread, Eternal sonahine settles on its head.” The locality of the scene which the above llaea ho trnthfnlly iUnstrates is the quiet little cMrchyard of Stoke Pc^es, Buckinghamshire, and also well known as the scene of Gray’s celebrated “ Elergy in a Country Churchyard.” This picture and No. 289, “ Coming of Age in the OMen Time,” contribated by Messrs. Agnew & Sons, Manchester (which . latter we may remark is particularly interesting in a York Exhibition from the fact of it having been sketched from Heglington Hall, York, the residence of G. J. Yarbnrgh, Esq.), are so well known all over the world by mesas of tha published engravings, that it is scarcely needful to desoriba them even for the benefit of those of our readers who may not yet have visited the Exhibitien. We cannot desist, however, from remarking on the refinement of sentiment, and the thoroagh knowledge of human nature, which are manifested in these works. In both pictures Mr. Frith has made the telling of the story the primary aim, and hai well considered that objeat ia his first conception of the Mbjeots, knowing that without it all his power of intellect and hand, the fruitful result of a lifetime of study, would be thrown away. These two pictures are above praise, both for noble conception and correct drawing, and we may add for exquisite finish, and are rendered still more charming by the mellowness which age has given them. Any further remarks of ours could not enhance one iota the great reputation which has been honestly earned by the painter of “ The Derby Day" and “ The Railway Station.” No. 146.- “ Blind Man’s Buff,” and No. 150, “ Punch and Judy," painted by W. Gilt, and contributed by J. Glover, Esq., Leamington, are interesting pictures, with a great deal of good incident, exceedingly well treated in a small space. No. 148. — Sketch for “ The Cut Finger,” by Six D. Wilkie, B.A., contributed by J, Glover, Esq., Leamington. This is understood to he the original sketch, and is worthy 130 of notice for giving a very good idea of the composition of this well-known picture. No. 153. — “ South Downs,” by E. AnsdeU, E.A., con- tributed by Col. Akroyd, M.P., is a clever picture of a sheep and lambs — a small but not unimportant work. It should be here remarked, as it is the only one by which a most admired animal-painter is represented, that AnsdeU is one of those to whom future generations of art students will look back and learn from, and the present picture is worthy of the hand that produced it. No. 168. — “ Heidelberg,” by G. Stanfield, contributed by Mr. Aid. Richardson, York, is one of the best pictures of its class in the Exhibition. No. 163.—” Mother and Child,” by W. Cope, R.A., con- tributed by Mrs. Hey, York, is simple in composition and treatment; forcibly reminding the beholder of Eafaelle’sl “ Vierge a la Chaise" — a picture which may have influenced Mr. Cope in his treatment of this work. There is a large- ness of treatment and an unassuming manner about the: picture, which, combined with great knowledge of effect,! raise this work to the level of what is termed high art. No. 164. — “ The Swing,” painted by Walter Goodall, R.A., and contributed by J. Lawson, Esq., Leeds, is| deservedly placed in one of the most conspicuous positions,! and 18 what may be termed one of the people’s pictures 5 ! child-nature in its moment of enjoyment was never more sweetly painted, and the life and movement of the scene; are no less to be admired than are the varieties of expression, completeness of execution, and contrast of colour. No. 169. — “ A Rocky Glen,” by S. Percy, contributed by! R. E. Smithson, Esq., York. The painter of this picture! (unless we err) is one of the talented Williams family, who has selected this nom-de-guerre in the catalogue, in order' that he may not be confounded with others of the same name. This precaution is necessary, as there is also a similarity in their selection of subjects and treatment. The picture before us is a very excellent specimen of this artist’s productions. | No. 171. — “ The Evening Star,” by Henzell and Pyne, contributed by Josh. Mason, Esq., York, is a graceful little female rustic figure with appropriate background, and is as forcible and pretty in colour as most pictures in the Exhibition. No. 174. — “ The Three Graces, Cupid, and Psyche,” by W. Etty, R.A., contributed by John Singleton, Esq., Pocklington. This is beyond all doubt the finest work of its class ever produced by this master. It is a subject offering every scope for the exercise of that rare power — which Etty possessed more than any other artist of ancient or modern times, — of depicting the female form and beauty with all its charms unveiled, so truthfully and at the same time with such purity of thought, that the most delicate mind cannot find cause of offence. In “ The Three Graces” we have a glorious testimony not only of the triumph of art over the difficulties of such a subject, but also of the triumph of patient industry and of self-knowledge combined. It is almost incredible, but nevertheless a fact, that the painter of this glorious picture was for many years so slow in big professional advancement that his fellow-students ridiculed the idea of his ever attaining to excellence, or even to mediocrity. Etty must have felt the genius which glowed within him, and relied on that genius to some day give him the power of placing on the living canvas the beautiful imagery with which his mind was teeming. In this picture, three nymphs are standing, hand in hand, with arms en- twined, each lending to the other the charm of contrast in form and attitude, and each gaining by the juxtaposition 191 to her lovely Bisters. To have failed by the thickness of a line in the aontoar of any one of the figures would have been destruction to the perfection and beauty of the whole, and the eye seeks in vain for a single shortcoming, either as to the matchless harmony of the entire picture, or the wonderfully blended flesh tints, which, simple aa mast have been the arrangement of pallette, rival in brilliancy tha Bunlighted bloom of the peach. Students and lovers of art may linger before “ The Three Graces” with a loving admiration of the work and of the painter, and mo one can pass from a careful examination of its beauties without feeling that he has acquired 'a keener appreciation of all that is elevating in art’s grandest walk, No. 179. — “ Sir Waltair Scott dictating to hia Dangliter,” by Sir W. Allan, R.A., oontribiited by B. Nasmyth, Esq., Edinburgh. This is a subject which oonM not have been selected by any other artist with greater appropriateneBS, and it is a picture that will not only be always mterestinfj to the admirers of the Prince of Historical Novelisls, but to all those who can appreciate a good picture. No. 181. — “ Startled by the Rnstlieg Breeze,” by W. Etty, B.A., contributed by J. Eeckenby, Esq., Scarbro’, is evidently a finished study for one of the figures in “ Bathers surprised by a Swan,” or at any rate so forcibly reminds ns of the well-known picture that we may be excused if onr remark is incorrect. A sweet little picture, graceful and fresh in colour. . No. 183. — “ Shipping Scene,” by Nieman, contributed by B. E. Smithson, Esq., York, is a fine picture but is rather heavy in painting and hot in colour. Mr. Nieman’s position as an artist, however, is suck that no exhibition would be complete without one of his works ; and although we prefer his landscapes and foliage to his saa pieces, we recognise a masterly hand in the picture before us. No. 181. — “ Ben Y enue, from Lock Aohray,” by E. Hargitt, IS a most important work, and shows ns that Mr. Har^tt is an earnest painter who studies every part of Ms pictnra from nature. The wild Highland cattle in the foregroima are well painted studies, and help the picture most thoroughly by their, fores and colouring, and by their pro- mmence send back the distant mountains and scenery, which without their introduction might have had too much importance in the picture. No. 208, “ The Arigonr Hills, from Ballachniish,” by the same talented artist, is quite worthy of the praise bestowed upon No. 184, and although it is the smaller picture, yet it is quite equal to it in merit, there are so many parts to admire and so much real affinity to nature. No. 186. — “ The Footstep,” by F. Wyburd, contributed by Mr. J. Penrose, York, is a small but highly finished and pleasing work, which does not in the least discredit the fame which Mr. Wyburd has already obtained for the effective rendering of female beauty and refinement. It is a picture that will no doubt cause many a one to break the tenth commandment. No. 188.-—“ Cromwell refusing the Crown of England,” by Maguire, contributed by Sir Francis Crossley, Bart., M.P., is by far the largest picture in this Exhibition. It is gratifying to see that a work wherein so much has been attempted and successfully performed has met with a place in these galleries, notwithstanding its extraordinary size ; and we think the Fine Art Com- mittee have evinced a considerable amount of courage in undertaking the dangers and difficulties of transit of so large and valuable a work from Halifax. The figure of Milton and the noble gentlemen who form the principal foreground figures are grandly conceived and most power- fully painted ; but that of the Protector of England, 19a although not wanting in dignity o£ action, strikes ns as erring a little in too great coarseness of feature. This feeling, however, may be partly due to the artistes wish to depict him in all his rough grandeur, and freedom from affectation — and it is certainly preferable to any expression conveying a ivant of character. We incline to think also that the figure of Cromwell is a trifle too small in proper* tion to those in the foreground. Nothing, however, could he finer than the painting of the head of the young man in the right hand group, who is leaning forward and gazing so earnestly at the figure of Cromwell. This picture can take its place amongst the best of the historical school. No. 1S9. — “A Lady Sketching in Italy,” by W. C. T. Dobson, R.A., and contributed by R. E. Smithson, Esq., ■Yoi'li, has all the simplicity of painting and quiet repose of colour which characterise the works of this Royal Academician. We could wish to have seen a larger picture by this artist, but should have been sorry to find him wholly unrepresented. No. 190 is a powerfully painted study of a “Ram’a Head," by Rosa Bonheur, contributed by J. Wardrop, Esq. Although it is wanting in many qualities which characterise the smaller picture by Rosa Bonheur (No. 120), yet it ia masterly and bold in the extreme. No. 192. — “ Study of a Fawn’s Head,” marked Sir E. Landseer, R.A., ‘contributed by J. Wardrop, Esq., London, is only a sketch, which will speak for itself. No. 194. — “ Fruit and Still Life,” by E. Ladell. This is a small study well arranged, and most carefully painted. In fact, we have scarcely ever seen fruit painted so beauti- fully real. No. 200.— “The Cruel Sister,” by John Faed, R.S.A., contributed by C. Hargitt, Esq., Liverpool, is a story of a life, told with such truth and power that we are almost painfully impressed on looking at the picture. A young gallant is conducting two sisters through a bright sunny garden, and is showing his preference to the younger and fairer of the two. The other, a dark beauty, is scowling malignantly at the happy pair, who are quite ignorant or careless of her feelings on the subject ; and we feel, from beholding her knit brows and firmly compressed month, that her hate will be bitter to bear, and her vengeance complete and merciless. The greatest compliment we can pay to Mr. Faed is to say that we dislike this Cruel Sister most cordially. Modekn School.— Fourth Notice. No. 203. — “ Lord Byron reposing in the house of a Turkish Fisherman, after having swam across the Helles- pont,” by Sir W. Allan, R.A., contributed by E. Nasmyth, Esq., Edinburgh. This is a well painted picture, and quite equal to the other works of this eminent artist already uoticed, whilst the subject gives it an additional interest. We think we cannot do better than re-produce the extract from “ Lake’s Life of Byron,” from which the artist composed the picture : — “ Lord Byron on the 3rd of May, 1810, swam across the Hellespont, from the European shore to the Adriatic, about two miles wide ; after landing he was so much exhausted that he gladly accepted the ofier of a Turkish fisherman, and reposed in his house for some time. He was very ill, and the Turk had no idea of the rank or consequence of his inmate, but paid him most marked attention. His wife was his nurse, and at the end of five days he left this asylnm completely recovered. When about to embark, the Turk gave him a large loaf, a cheese, a skin filled with wine, and a few paras, praying Allah to bless him, and wished him safe home. When his lordship arrived at Sestos, he sent the Turk an assortment of fishing nets, a fowling piece, a brace of pistols, and 198 twelve yards of silk to make gowns for his wife. The poor Tnrk was astonished — “ what a noble return,” said he, “ for an act of common humanity.” The man then formed the resolntion of crossing the Hellespont in order to thank his tmknown gnest in person. His wife approved of tha plan, and he had sailed about half way, when a sodden sqnall upset Ms boat, and tha poor TnrMsli flsienn&a fonnd a watery grave.” No. 204. — “ The Three Orphans,” by F. D. Hardy, eoa* tribnled by John Burton, Esq., Poppleton Villa, York, is a toaching incident of nature. Two little cottage children who have lost their own parents, have taken pity on a poor little cMcken, and are, feeding it with a spoon, while a female is looking smilingly upon the scene. The light and shade of the painting, and, arrangen3,0nt of the accessories, all show a regard for faithful truth to nature, wMah enable iis to say of tMs picture that it is perfect of its class. No. 208. — “ The Franeisoan Sculptor and his Model,” by B. S. Marks, contributed by Colonel Akroyd, M.P., Halifax. This is an old acquaintance, and is the pietara exhibited at the Boyal Academy, which first raised Mr. Marks’ name. On seeing it again, we have our doubts whether he ever painted a better picture, or one which wtm mom peculiarly fitted for the particular walk of medisval character painting in which Mr. Marks stands almost alone. Tie droUe^ of the figure of the-nacomfortable model, and the enthusiaetio indifferenee of the monk, thonghtfni of his work, bat not in the least concerned about Ms model’s ease, 8X6 masterpieces of tionght and rendering. No. 210.— ” Eichmond Hill,” contributed by W. Gray, Esq., York, is one of Jutsnm’a most interesting pictures, fuU of vigorous drawing, and bright charming colour ; it is moreover quite a lesson in composition, tha view being the very best selection of one of the most beantifol land- icapa scenes in England. No. 215. — “Fishing,” by W. Bromley, and No. 273, Bird-nesting,” by the same artist (evidently compaaioa pictures), both contributed by George Dodsworth, Esq., York, are very pleasing subjects, particularly bright in colour, and treated in Mr. Bromley’s usual happy manner. No. 216. — “ Portrait of the Rev. Isaac Spencer, oontributed by W. H. Spencer, Esq., Halifax, is interesting, as being the early work of T. Faed, E.A., and the rev. gentleman’s many friends will recognise in it a faithful likeness. No. 228. — “ Moonlight Scene ia the Fens,” by Barnes, contributed by Mr. Aid. Hargrove, is a pietara fuU of Bolemn repose, and truthful melancdioly, and the artist has succeeded in producing a wonderful realization ol thQ scene. No. 22B.— Collecting Thongbts,” and No. 260, ** Yoiara to Command,” companion pictureB, by E. Nicol, R.S.A.j contributed by W. Cofctriil, Esq,, Manchester, ure works which must command the attention alike of the learned is art, and ol the uninitiated. In the first we haye a simple* looking Irish peasant, puzzled how to indite a letter, and in the companion work, we see the same man assuming the most self-satisfied expression, with head bent down over hie paper, just having brought his work to a satis- factory conclusion. A chair, with a cap upon it, has been introduced close to the table, ia the second picture, hinting that, after all, perhaps Pat has had assistance from another, during the interval between the commencement and ter- mination of his letter. Both pictures possess in the higheit degree that power of colour and force of painting for which Nicoi is so remarkable, and we pronounce these to be two of his very finest works. The very recent election of this 194 artist to the honours of the Royal Academy is a perhaps somewhat tardy acknowledgment of his great genius. No. 225. — “ Three Dogs,” by Armfield, contributed hy W. W. Hargrove, Esq., is a small but very perfect example of the artist — it is a bright little picture, full of life and freshness. — No. 240, “ Dogs,” contributed by Mr. Aid. Hargrove ; and No. 267, “ The Poacher,” contributed by Lady Clark, are also by the same artist, and both possess great merit. No. 228.— “ Mabel” — “ In maiden meditation fancy free,” by R. Crozier, contributed by C. H. Barstow, Esq., Yorki is broadly painted and good in conception. No. 229.^ — “ Portrait of the late W. Gray, Esq., by Partridge, contributed by William Gray, Esq., is one of the finest painted portraits in the Exhibition, and is no doubt an excellent likeness of this venerable old gentle- man. No. 232. — ” The Net Mender,” painted hy T. Chambers, and contributed by C. H. Barstow, Esq., York, is a clever sketch study of a female figure, in a picturesque cottage interior. No. 237.—“ On the Thames,” contributed by P. Cobb,' Esq., York, and painted by Pether ; and No. 238, “ The Midnight Hour,” by R. H. Roe, contributed by C. H. Barstow, Esq., York, are both moonlight scenes, and we cannot do better than refer to them together, as offering a curious contrast to each other. In the first-named picture we have a literal transcript of a natural scene, which charms by the extreme faithfu ness of rendering ; and in the latter work we have not only equal truth, but combined with it, a wonderful poetry and wildness, doubtless partly owing to the nature of the subject, but not the less admir- able on that account. Neither picture loses by its relation to the other, and both are perfect examples of two different styles of painting. No. 248. — “ Portrait of a Lady,” by Wright, of Derby, contributed by the Rev. G. H. Philips, M.A., York, is a most character j Stic painting in which the extreme limit ol forcible effect has been attained by the simple but diffieolt contrast of black and white drapery. No. 250. — "Fortune by Cards,” by P. 0. Comte, con- tributed by J. Mason, Esq., York, is a clever painting, rather severe in treatment, but one which has many good qualities of colour, and much elegant handling. i No. 251. — “ The Harvest Cradle,” hy J. Linnell. This picture, which is contributed by J. Burton, Esq., of Poppleton Villa, York, is a fine example of the artists’ grandest style. The field of golden corn, ripe for the sickle, is ever among the subjects which most delight the eye, and was never more pleasingly treated than in the present picture. On looking at it we are forcibly impressed with the fact, that highest art need not descend to mere imitation in order to faithfully represent nature in her broadest grandeur. The figures which give the title to the picture are perfect as adjuncts to a grand whole, and had they and the foreground accessories been more laboriously painted the picture would have lost in unity of effect, and we should not have experienced so strongly the feeling of almost scriptural poetry which pervades it. No. 256. — “ St. Valentines’ day,” by C. Grierson, and No. 279, “ Confession,” by the same artist, are both very good pictures, boldly painted, the last possessing in the greater degree the charm of graceful and easy attitude. No. 258. — “ DeadFawn, in Whidden Park, South Devon,” by H, Moore, was omitted in our last notice of this artists’ works, but we cannot pass it by without directing attention to it as being one of our favourities in the Exhibition. No. 332, “ The Stepping Stones,” contributed by W. Procter, 195 Esg=* York, and No, 856, ‘^Matterdaie;*^ contributed by E. Smallwoods Esq., York, are by tb@ same artist, and both pleasing and good pictures. No. 265,—‘* The G-entle Shepherds^* by Sir D. Wilkie, B.A.* contributed by J. Wardrop, Esq., London, also No. 185, **The Jews Harp," No, 191, ** Heading the News,** and No. 193* ‘“^Cottage Interior/* by the same artist, are all €sbin@t pictures, and have naturally attracted much attention and some criticism, Wilkie was unlike other masters. Nearly every artist of eminence has had in early life a progressive period,— a time when ImproYeruent was obvious ia every successive work— the works of such tins© being feeble in comparison with those of matured experience | bat Wilkte had no period of this kind i he never was ** a promising young artist,” but came at once before the world a master, and the originator of a etyle. He painted his ** Yillaga Festival” in 1811, and this, perhaps the grandest of his works was completed in twelve months, when he was ©nly. 26 years of age, the young artist obtaining for it the larga Bum of Nine Hundred Guineas*- Three years before this* VIZ,, in 1808, Wilkie painted three pictures, ** Tha Card Players,’* “ The Only Laughter,” and “ The Jews Harp/* Mr, S. 0, Hall, in his “Gems of European Art,” in which there is published a very hne engraving of the latter pictuxa* tells us that it was originally in the possession of the Duka of Marlborough, but at that time it was in the collection ©I W, WeHg, Esq,, of KedJeaf. Mr. Wardrop must, therelorei have since become the fortunate purchaser of this remark- able picture. We leave the four pictures to speak fof themselves. 266.—“ Barmborongh Castle,” contributed by Sir W* Worsley, Bart., Hovingham Hall, is a very fine picture, and should have been mentioned in our former notice of Nasmyth’s valuable works. No. 269.—“ Portrait of the late John Brook, Esq., of York,” painted by W. Etty, R.A., contributed by Mr. G. .Harker, is a very fine characteristic portrait, powerfully modelled, and most vigorous in handling. In this picture* , and in No, 8, to which w© have already referred, we havo two of that artist’s finest pictures, and it is very seldom indeed that this can be said of the portraiture of those who do not confine themselves entirely to that particular walk. This picture is peculiarly interesting to all those who had the privilege of Mr. Brook’s acquaintance. No, 270. — ■“ Been© on the Hafi,” by L, Herman, con- tributed by Mr. A, Mackay, Berlin, is a very truthfullj ituflied picture of a moonlight scene. No, 276.—“ Prayer Time/’ by T. Brookes, contributed by ■ Hr, J. Garland, Newcastle, is a very pretty subject, remark- ably well designed, and possessing great merit as a work of art, but there is something wanting as regards carefulness of drawing which we regret to remark, as both the subject and composition are equal to any of Mr. Brooke’s most elaborately painted pictures ; it, however, only falls short by a comparison with his very best. No. 277.— “The Poor helping the Poor/* by J. Barr, contributed by C, Hargitt, Esq., Liverpool, is either tha finished sketch for the large picture exhibited at the Royal Academy, or a small copy of the same. The picture is one that goes home to the heart of every one, and represents a scene and a sentiment, that day by day find their prototypes m the dwellings of the poor. “ One touch of nature makes the whole world kin,” would be an apt quotation for this excellent picture, No- 287.—“ Portrait of Blair Athol,” by H. Hall, con. tributed by J. Jackson, Esq., Fairfield, York, besides being a good likeness of the horse, is a very harmonious picture. 196 and must be very interesting to those who have pleasing ^ recollections of this celebrated racer. _ . No. 294.—“ The Idler,” by Miss E. H. Swili, M a ye^ ^ well painted life-size study of a handsome boy, and reminds one of Sant’s pleasing child portraits, without being too imitative in style to deprive the picture of its daun to °^No. 296^—“ The Star of Bethlehem,” by W. Etty, B.A., ' the property of R. Smithson, Esq., York, is a poisession i of value, and of great interest to all who may trace m thM early work the development of Etty ’a suooess. It seems to have been painted just after his return from Italy, where ho worked hard, and there is thus a combination “ *i«l picture of the different styles he studied, for it is im of IM ; touching graces of the Bolognese and the briUiant eoloM of the Venetian schools. The outlines are elegant in tha extreme, the tints various, reminding us in one figure of Paul Veronese, to whom Etty has been often assimdatea, in others of Coreggio— witness the “ Madonna and Child, which might be a composition of Reynolds after the great i Italian master, whose chiaroscuro and chaste eolounng' have never been excelled. The angel with the star oa tha brow, hovering over the infant Jesus and his Virgin Mother, is a beautiful conception and resplendent with halos of colour, and rich in refined feeling ; the accessories ara beautifully painted, the censer at the feet of the high prMSt is studded with gems that sparkle l^e the jewelB they , represent, and the design of the artist appears to nafO been to make the glories of the old dispensation inMemeal to the simple grandeur of the new. No. 298. — “ The Village Beauty,” by C. Baxter, con- tributed by the Rev. W. B. Harrison, M.A., York, is » email head of a coquettish looking rustic beauty, dressaa in a pretty red cloak with a kerchief tied over her head. This picture is a little treasure in itself, and although W8 remember to have seen many studies of the bm 8 pre^j face by Mr. Baxter, we are certainly not yet tiled el Wd' ixtodsL Modern School.— Fifth Notice. No. 803.—“ Katharine,” painted byPickeragill, ftni Coa« tabuted bv the Rev. W. E. Harrison, M.A., York. picture is a good realization o! Shakespeare’s haughty beauty. We fancy the lower part of the face is not qmta correctly drawn, but it is the snly weak point in tkiBOtliei- wite excellent work. . . . No. 804.—“ Gamekeeper, Pony, and Dogs,” contnbntea by E. Thompson, Esq., York, is weU worthy of notice. II is the work of a local artist — Mr. Ward. No. 307. — “ Disturbed at Meal Times,” painted ^ «• Bell, of Scarbro’, and contributed by the Rev. W. E. Harrison, M.A., York, represents a fox snarling forth hw annoyance at some unseen disturber of his enjoyment. The expression of snappish anger is well given, and the picture is boldly painted. i. No. 809. — “ The Fisherman’s Daughter," by J. Henzell, contributed by the Rev. W. E. Harrison, M.A., York, is s» food as anything we have seen by this artist. It represents a strongly-built girl carrying a net across her shoulders, and although Mr. Henzell has never yet, in onr opinion, rendered female beauty with all the refinement whidi TO find even among the humblest peasantry of England, this picture, like others we have seen by the same hand, repre- Bents what in the north is termed a “ boimie lass." to different Fine Art Exhibitions, we have seen scores of pic- tures bearing the same by no means original title, tat we do not object to see many more, provided they shall be ai carefully painted as the one now before ns. 197 , Modesty," by A. F, Caminaae, contribatea by W. H. Gannt, Esq., Old TbomTiUe, York, is a mTV pretty little picture, graceful and cb.ild*Iik6 Is actios* honestly studied, and painted from nature* No. Boy and Dog Bepoemg,^* by J. HiB, eontei- ■ buted by W. H, Ware, Esq., York, is bright and mellow is colour, and good in drawing. No. 313.--** Xiyoii/^ by Marlow, eoatributed by W. Gray* Esq., York, ^ is too heavy and dark in colouring to pleasa the generality of the public, but it is neyerthelesi a very fine specimen of this artist, and is pamted in accordanca with the acknowledged rales of art. No. S14.—**Tl2e Horse Shoe Trial*'— by E. ¥* Eippin* gale (should b® BippJngill), conkibutad by Mr. O. Acton, ' York. This^picture is evidently a favourite ©f the visitors to the galleries, and deservedly so by reason of the good painting, and the drollery of expression that marks ths different faces. The picture represents a trial which was brought to recover damages for a certain horse which was lamed, or rather was alleged to have bean lamed in shoeing, and the different incidents of the trial ar© well rendered. On the right hand of the picture is seen tho gentleman who purchased the horse, pulling up Ms shirt collar. Near him is th© groom instructing th© second counsel as to th© warranty. In th® front is th© leading counsel with th© horse shoe in his hand* and a nail in ©no ©I the holes of th® shoe. More in front and to the right of the leading eouna©! is Lord Brougham, who at that tim@, was a young man. There is also th© horse-dealer, and ia the witness box th© blackemith with hi;^ leathern aproH| who appears to b© in a difficulty. In the distance is th© blacksmith's apprentice enjoying a laugh at th© expense of his master. At th© table is seated th© lawyer, in th© centre, who is winning Ms cauee, and on his right his op« ponent looking anytMng but pleased. Further to th© left , are the crier of the court, th© Judge, th® high sheriff, and twelve jurors in the box. Nd. 317.—“ Head of a Child/' painted by W. Etty, E.A., contributed by J. Singleton, Esq=, Bocklington, is th© best . of this artist's studies of children in the Exhibition* , No. 319.—“ Lady and Page," by J. Barrett, contributed by^J, Mason, Esq., York, is a picture with eome very good points in it, though one of the artist's early productions* No. 821.—“ Sappho,” by L© Jeune, A.R.A., contributed by W. J. Whitehead, Esq., York. This little picture is elegant in conception, and ©xeellent in painting and colour* If it be deficient in any point it is in th© character of tho face, which is wanting in that elevation of expression,-— that shining forth of the inward fire, which ought to characterize the head of Sappho. No. 325. — Sketching from Nature,” contributed by J« Lawson, Esq., Leeds, isth® work of G. W. Nichols, A.R.H. A* It is an important picture, probably on© of the largest ever painted by this artist. The shy little girl who is standing as model, the pretty young lady artist, and th© two rough* looking boys who cannot disguise their interest and astonishment at th© proceedings so strange to them, are all good studies from life, and th® artist must have painted at least certain parts of the picture in the open air. It ia perhaps a trifie too cold in colour, but in a few years the mellowness of age will have corrected this slight short- coming. The picture, nevertheless, is in good harmony, the figures well grouped, and the landscape nicely handled* No. 827. — ** Dead Game,” contributed by J. Bainbridge, Esq., York, painted by J, G. Bell, This is a very csureful study, well arranged, and excellent in execution. No. 335.— *‘ Yiew . of Naples,” painted by Roberts, 198 .H.S.A., contributed by Capt. M^Cidloeh, toA, tt favourite aubject, giving ever 3 ?^ opportunity for tn© ^exercii© ^ of the landscape painter*s highest powers. The picture la question is bright and sumiyt without being at all gaudy la colourings and the aerial perspective is wonderfuBy well siven. No. 836.—“ Landscape at Thrnmpton-on-tte-Trent,’’ by B. Shipham, contributed by C. H. Barstow, Esq,., "Xork, is a very good picture, although rather grey in tone. No. 339.—“ The Intellect andValour of Britain,” paintstt by T. J. Barker, and contributed by Mr.F. Lusty, London, contains portraits of Sir John Lawrence, Sir Eenry ‘ rence, Gen. Sir Henry Havelock ; Admiral Lord Dundonala proposing his plan for the destruction of Croustadt and Sebastopol to Sir William Peel, Lord Brougham, Lord Lyndhurst, Earl Derby, Sight Hon. B. DTsraeli, Lord Stanley, Sir Bulwer Lytton, and Lord Macaulay. Mr. Cobden discussing the terms of the treaty with Franc® •with Earl RnsseH, the Eight Hon. W. E. Glaastono, and Lord Palmerston. Sir David Brewster _ explaining hiS invention of the lenticular stereoscope to Sir B. Murchison, Mr. Charles Dickens, Professor Owen, Professor Faraday, Daniel Maclise, E.A., and the poet laureate Tennyson ; and Sir Wm. Armstrong explaining the peculiar construc- tion of his famous cannon to Gen. Sir3 James Oatram, Gen. Sir Hope Grant, the Earl of Elgin, Gen. Sir Arshdala , Wilson, Sir Charles Barry, Dr. Livingstone, Sir Benjamia ■ Brodie, Gen, Sir John Inglis, Field-Marshal Lord Clyd®, Field-Marshal Lord Gough, Kobert Stephenson, C.E., ani Mr. Thackray. Our readers will see from the above de- ' scription that this picture is one which, from the iiatnro of the subject alone, would command a large share of interest, and we can testify to the faithfaineBS of the portraiture, and to the great skill and knowledge displayed in the successful arrangement of so many figures on one caOTasa, a difficulty which is increased by the fact that the different groups are necessarily to a certain extent uncomiected ' with each other. An additional interest attaches to tMg picture, though perhaps a melancholy one, from the fact that so many of those who compose its groups are nnmberecl with the dead. Ha’yelock, Dundonald, Peel, Lyndhurst, Macaulay, Cobden, Palmerston, Outram, Elgin, Wilson, , Brodie, Clyde, Gough, Stephenson, and Thackray have all passed away, but still live in the hearts of a grateful people | and as we gaze upon their portraits, we remeruber witli satisfaction and pride the benefits they in their several spheres of life conferred upon their country. The pictura is for sale, and we understand Mr. Lusty’s price is 0n9 Thousand Guineas. No. 840.—“ Portraits of J. T. Wharton, Esq., of _ Skelton Castle, Mrs. Wharton, and Master Wharton,” painted by J. T. Lucas, and contributed by J. T. Wharton, Esq., is A ' very pleasing family group, taken in the castte grounds, and evidences the same careful painting and high finisi which characterise No. SO, “ Cupboard Love,” and other pictures by this artist. There can be little doubt also that the portraits are as striking as the picture is intrinsically valuable. _ No. 841.— “The MiE on Fire,” and No. 843, “The Forest of Fontainhleau,” both contributed by C. Danson, Esq., Pocklington, are the work of J. T. Tuite, and form A charming little pair. No. 846.—“ The Pleasures of the Chase,” by S. WilH»ms, ' contributed by Mr. J. Garland, Newcastle. This title comprises a case of five beautifully painted miniature oil pictures, giving the various incidents of fox-hunting from the meet to the death. 199 ‘T'r by J. An3eTBoa, wwii. .?• ®'Jeel;, Esq., London, is a pistnre oa vnicn mnch patient labour has been bestowed, resulting in ttte production of not only a very interesting wori, bat a yaiuabJ© picture. No. 349.—“ View in Eichmond Park,” by J. Tennant, contributed by Mrs. H. Badger, Kotherham. This pietare IS rather cold in key, bat most graceful in pencilling. Tha selection of subject is good, being one of those beautifnl views which an EngMah park alone can famish, where tha deer abound and English foliage is seen in the very perfection^ of beauty. The aiiist has produced a Terf pieasiug picture froEu a very pleasing scene* No. 350.--” The Eortana TeUsr,” by W. Bromley, con- tnbuted by Mr. J. Garland, Newcastle, is a picture differing very much from Mr. Bromley’s usual style, forcibly reminding ns of one of the groups in Frith’s ” Derby Day ’• mendatLn^^'^^ cannot pass by without high com- ■ f Parsons, of York.'* paii 2 .ed by Philip Westoott, and contributed by George Leeman Esq M.P. York. This is a work which would command attention m any Exhibition, irrespective of artistic merit, on account of the simple dignity of action I the calm, thoaghtM expression of feature— which are paramOTnt in the picture ; but, as the portrait of the Bev. James Parsons, it is particularly interesting, both to thosa who are personally acquainted with Mm, and to those who know him only by reputation. Some fifteen years aeo. it was determined that the portraits of tha Bev. Dr. Hallav of Manchester, of the Kev. Dr. Hamilton, of Leeds, and 5 the Eev._ James Parsons, of York, should be taken bv some eminent artist, as three of the most distingnished ministera connected with the Independent body. Tha eommiasioa was accordingly entrusted to Mr. Westcott at a cost ol three hundred guineas each. Art enmayina of Mr. Parsons was _snbseqnently published, and Mr? Leeman, M.P._ for this city, became the purchaser of the original picture. The Eev. James Parsons must ho as one of the most finished extempore preachers of the day. In his own denomination be appears to be tbs only one remaining of a number of eloquent preaohera with whom as a young man he was contsmporaneoaa. Amo^st these we may mentioK the Bev. Angel Jameq tte Rev. Dr, Hamilton, the Rev. Dr. Harris* the Rev Dr. Baffles, and the Rev. Dr. Halley. It has been observed of Mr. Parsons that Ms Infiaenee over the feel- ings of Ms hearers “is obtained by aolemnityj by Ms own obwons emotion ; by never using an image that is not a powerful one, and always introdncing such iUnstratioaB aa are used naturally but strikingly ; and, above aU, bv so engrossing and enchaining the attention that to wMther ha goes, his hearers must follow. This absolute mastery over ' Miiience is obtained by closely kntt and wonderfully sequent style and process of ideas. Everv necessary where it staads, and would ' asiesed If it had not been spoken. Amfl the preacher’s manner heightens the efiect of tMs. H 0 delivers himself always with such mtensity aa makes tha must speak, and that he must Bsten. Thus the effect of the perfect arrangement of Mr. wX® ““eased, and Mg audience is carried and mperceptibly aIong~now filled with awe, now thnllmg with undefined emotion, now melted to tears ^ face with the eternities and the fbl aloSi rS? fears— the responsibOities and . the glories of tiungs spmtnal.” All who can appreciate 200 true eloquence must be gratified to see so fine a picture of an earnest Christian and an accomplished orator. _ Long may Mr. Parsons be continued amongst nS to exercise bis wonderful and unimpaired powers. No. 353.—“ The Providential Deliverance of John Wesley, when a child, from the fire which consumed his father’s house.’’ Painted by Parker, and contributed by the secre« tary of the Wesleyan Mission Society. This is a striking picture, necessarily rendered dark by it representing mid* night, the time at which the fire occurred. Samuel Wesley, the father of John, was rector of Kpworth, Lincolnshire, and resided with his wife and family at the Bectory. At midnight, on the 9th of February, 1709, the rector was roused by the loud cry of “ Fire 1 Fire 1’’ in the street. Ho started up, and opening his door, found the fire was in his own house. Bidding his wife and eldest daughter " rise quickly and shift for themselves,’’ he rushed to the nursery, where the servant and five children were sleeping. When they got into the hall, and were completely surrounded by the flames, it was found that the keys of the lower doors had been left up-stairs. It was a perilous moment, and an awful death seemed inevitable. Happily the keys wero obtained “ a minute before the staircase took fire.’’ “ When we opened the street door,” says Mrs. Wesley, “ the strong north-east wind drove the flames in with such violence that none could stand against them. Bnt some of out children got out through the windows ; the rest through a little door into the garden. I endeavoured three times to force my passage through the street door, but was as often driven back by the fury of the flames. In this distress I besought our blessed Saviour for help, and then waded through the fire, naked as I was, which did me no further harm than a little scorching my hands and face.” When the tenants of the nursery were aroused, the maid caught up the youngest child, and told the others to follow her; but a lovely boy, six years old, lay sleeping on, nnconscious of danger. When all the others were safe he was missed. His father, thinking he heard him crying in the nursery, strove to stem the torrent of flame for hie rescue. Thrice was he driven back, and the burning staircase began to crash and fall beneath his tread. Finding he could render him no help he knelt in the haU, and in an agony of' prayer, solemnly commended his soul to God. Meanwhile the child awoke, and seeing the room fall of light, he thought it was day, and called the servant to take him up. As no one answered, he put his head out of the curtains, and saw “ streaks of fire” running along the top of the room. He arose and ran to the door, bnt all he saw was a roaring sea of flame. Climbing on a chest near the window, he was seen from the yard below. “ I will run and fetch a ladder,” said one of the people. “ There will not be time,'* answered another. “ Here ; I have thought of a shorter way. I will fix myself against the wall ; lift a light man and set him on my shoulders.” The bouse being low, the expedient succeeded, and the child was thus delivered from a terrible death. Another moment and he must have perished beneath the faU of the burning roof. That child thus providentially saved was none other than John Wesley, the founder of Methodism. On Wesley’s father seeing his child safely rescued, he called on his wife and neighbours to thank God for the miraculous dehverence. The picture was p.ainted for the Wesleyan Conference at the centenary of Methodism in 1839 by Parker, and since the opening of the Centenary HaU and Mission House in London, it has adorned the walls of that building, whence, by permission of the authorities, in reply to an application made by Wm. Dyson, Esq., of CUfton, near this city. 301 it was forwarded to the Exhibition. As a work of Art it possesses considerable merit ; the figures are spirited in action, and the terrible excitement of snch a scene with all its most natural incidents are rendered with great force. To us then it is unaccountable that such a picture, com* memorating such an incident in the life of Wesley, should not have been thought worthy of being placed in more than a red beading, — for frame we cannot call it, — which W0 understand was gilded by the Fine Art Committee at their own expense, in order to make it harmonize with the pictures by which it is surrounded. No. 354. — “ The Village Schoolmaster,” or Ocular Demon* Btration. “ Two and two make four.” Painted by T. M. Goode, and contributed by J. Pulleine, Escj., Bedale. This picture is quite worthy of Webster, both in conception and treatment of subject ; the drawing and painting are first* rate, and the various expressions are admirably rendered. “ The Young Irishman,” No. 366, by the same artist, is a carefully painted study of a boy seated on the sea shore, but it has no pretensions to be considered equal to ” The Village Schoolmaster.” No. 857. — “ The Evening Hour,” by B. H. Eoe, con* tributed by C. H. Barstow, York. In this picture the effect of the quiet repose of mountain scenery just before twilight, is truthfully, and at the same time, poetically given. No. 860. — “ The Sisters,” by Mr. K. Wright, is a group of two carefully finished portraits. No. 364.—“ Scene in Dolgelly,” North Wales, by Stan- field, B.A., contributed by Capt. Me Culloch, is a very fine landscape, somewhat sober in colouring, but fresh and truthful in the extreme. No. 365.— “ Westminster Bridge and the Houses of Parlia- ment, by Moonlight,” by H. Pother, contributed by Col. Akrojd, M.P., Halifax., is a wonderfully fine example of this artist’s power, and has much of the poetic element which No. 237, by the same artist, does not possess. The selection of the point of view from which the artist worked was evidently made with much care, and is not the result of accident, as from no other point would the full beautiea of this noble pUe of architecture be so weU displayed. It is a picture that well sustains Mr. Pether’s great reputa- tion. No. 372.—“ Bembrandt and his Daughter," painted by Woolmer, and contributed by/ J. Mason, Esq., York, is a good study of colour and effect', but is wanting in attention to drawing and proportion-^singnlarly so, even for Mr. Woolmer, who, with ail his good qualities, is most unequal in this one respect. No. 373. — “ The Magdalen,” by Dnbnfe, contributed by Mrs. Barton, Poppleton Villa, York, is a work which has attracted a large share of attention and admiration. The effect of the warm glow of the lamp-light is given with such startling truth that the spectator feels inclined to believe against bis own reason, that there is some deception, and that the picture is in some way brought beneath the rays of a real lamp, or is a transparency illuminated from the back. This reality of effect is not the only merit for which the picture is noticeable ; the attitude, the expression of the face, and the delicate rounding of the limbs changing almost imperceptibly from the full glow of warm light into the quiet grey of the shadows are all well managed. No. 376.—“ Children and Pets,” by G. Drummond, jun.jia one of the most ambitions of the few figure subjects exhi- bited by local artists, and as such is very well worthy of notice. We understand that it is not yet quite finished. 2oa whicli mav account for a little cmdeness’of colormg which I ae tiS “ veryplea»mgs«l.jiet. «i we think will rcaks a good pictxir©. No, 377.-=“ The Hay Field,” by Mr. W. Cordeaux, is a very cleverly p^ted ^ English landscape, with nistio figures. Sie^ picture plane, the shadowB beusg cast tomrto tM beholder, a oirflumstanoe which assist the »rial perspective j it is perhaps S tone for the effect represented, bat the handlmg is XMBtelf “HavS“now reached the end f Mi°d shaU hope’neit week to ask onr refers to us through the opposite side of the building, wtoh Euch good examples of the ancient masters, fine water-colour drawings by the leading ffiSB Ot t&9 §»!• Ancient School.— Sixth NoticB. ^ ^ No. 378.—“ Old London, from tWhitehall StaifS ts Sl» Steven’s Chapel,” painted by Scott, and contributed by Stf J V. B. Johnstone, Bart., Hackness Hall. This pictwa is marked as being painted by Samuel Scott, ‘h® Enghsh Canalletti.” Scott was an ^inent English pamter ^ river views and sea pieces. He resided ™ 1725 to 1772, and though he was but second to Vanttevelda in sea pictures, he excelled him in variety, and often intro- duced buildings into his pictures with consummate stoU. His views of London Bridge, Custom House Quay, &o., were equal to his marines, and. his figures were judiciously chosen and admirably painted. The picture now before ns is one of his smaller productions, but one in which the same master hand is observable. , . .. Nos. 379 and 381.— “ Lucks,” by L. Cradock, and both contributed by G. J. Yarburgh, Esq., Heslington Halh ^ good specimens of the artist’s skill in faithfully pourtray- fng examples of the feathery tribe. He was a ^l£-ta«ght artist, born at Ilehester, in Somersetshire, about IBfaOi and died in 1717. . ^ „ t. Nos. 382 and 621.— “ Garden Scenes,” painted by Lau- cret, and contributed by J. Jackson, Esq., FairfielL TheM are a pair of grotesques, and evince considerable both in design and handling. One represents a musical nartv, and the other gathering flowers. Lancret was bora 'in Paris in 1690 ; studied first under GiEott, and after- wards under Watteau, whose style he imitated so closely that his works frequently pass for those of the latter ; he, however, is considered equal to him in brilliancy of coloi^» and in delicacy of design, but less spirited m his toncU. He died in 1743. a -n « » No. 384. — “Young Gentleman, Horse, and Hog, oj Albert Cuyp, contributed by G. J. Yarburgh, Esq., Hesliag* ton Hall. ’ The subjects this artist chose for his model# were as inexhaustible as his wonderful powers of repre- senting them. The human form divine, animals„8tiU iiia, landscapes, sea pieces, interiors of churches, winter scenes, moonlight views,- all these Albert Cuyp has described with a masterly touch, and a power of imagination which prove that he was equally great in every style. He wag born in 1600 at Dordrecht, in the same memorable year that Ilembrandt was born at Leyden, each in his own style without a rival. The above picture would therefore bO painted when he was in his 43rd year, in the very prime of his artistic career, and as such must be considered a most valuable picture. In the National Gallery there is a beau- tiful landscape by Cuyp, with figures and cattle, and Hi }- : # Hanipton'Coiu't Palace there is a splendid fruit piece by the^ame artist;, but- perhaps amongst his many works which are scattered far and wide both in this and other countries, one of the most perfect is the one entitied , " Starting for a Ride,” and which forms part of the collec- tion of the Louvre, and is valued at £1200. No. 386, by the same artist, and contributed by E. Swaine, Esq., Yorki is'a small but excellent “Landscape with Cattle.” No- 502, “ Interior of a Church,” painted by Pieter Saenredami ■ the figures by A. Cnyp, contributed by A. Allan, Esq., Edinburgh, is a marvel of perspective accuracy of drawing and clever painting, and ,we should have said the picture had been the sole production of this wonderfully-gifted man bad not the name of Saenredam been marked on the picture. No. 537, contributed by the late R. Dixon, Esq., affords another specimen of Cuyp’s vpsatility of subject : it is entitled “ An Encampment,” and is a picture of no mean pretensions ; whilst the Rev. Gl. H. Phillips contri- butes No. 542, “ A Sportsman going out to Shoot,” a small but still more highly-finished picture. In concluding onr notice of Cuyp’s works, we may safely say that he is well represented in these galleries, which afford some exceUent specimens of this artist’s fine conception of subject, origi- nality of touch, beauty of colouring, and remarkable finish. He died in 1657. No. 388. — “ Mater Dolorosa,” by Carlo Maratti, and con- tributed by C. H. Dunhill, Esq., M.D., York, is a very highly finished work. The pictures by this artist are correct in design and rich in composition, but somewhat languid, exhibiting rather the effect of labour than the inspirations of genius. He was born at Camurano in Ancona in 1626 j entered the school of Andrea Sacchi— was his favourite disciple ; and after studying the works of Raffaelle, became a correct and elegant designer, and was much employed in painting holy families, pictures of the Virg'n, and female saiutA No. 573. — “ Portrait of Nicholas Breakspere (Pope Clement Ninth) the only Englishman who has become Pope of Rome,” contributed by J. R. Tennant, Esq., of Kildwick Hall, is perhaps as fine a portrait as the Gallery of the Ancient Masters possesses, either by Carlo Maratti or any other painter. His heads, though sweet and amiable, are not peculiarly dignified or graceful, and his draperies are so full as to conceal the beauty of the figure, and hia colouring, although generally silvery and pleasing, is occa- sionally chalky and cold ; but in this portrait of Nicholas Breakspere we do not see any of these defects, but recognise in it the matured work of a- proficient master. In No. 615, “ Cleopatra dissolving the Pearl,” contributed by Lord Teigumouth, we have another example of this artist’s work. Cleopatra was Queen of Egypt, famous for her beauty, crimes, and misfortunes. She was the daughter of Ptolemy Auletes, and was a woman of great genius, but ambitions, voluptuous, and extravagant. The latter trait in her character this picture is intended to illustrate. It is said that on one occasion, to show her utter disregard of the value of what was almost priceless, she dissolved a mag- nificent pearl, and then drank the draught. Maratti’a most celebrated picture is “ The Martyrdom of St. Biagio, at Genoa,” He died in the year 1713. No. 389. — “ The Annunciation,” and No. 482, “ Tha Agony in the Garden,” by Marinari, both contributed by the Hon. Payan Dawnay, Beningbrough Hall, York, ara expressive portraits, painted with great force and beauty. The latter especially must be considered as one of the best specimens of the artist’s productions. No. .391. — “ The Cook in his Larder,” by Annibale Caracci, contributed by G. A. Hill, Esq., Bolton Hall, Wilberfoss, is a large and curious picture, representing the cook, sur- 204 rounded by every description of game, poultry, and vegetables, which he is about to prepare for the table. The oompanioa picture, “ A Butcher’s Shop,” containing portraits of tha Caracci family, is now in the possession of Christ Ohnrch College, Oxford, and we should have been glad to have seen it placed by the side of this fine painting. Annibale Caracci was born at Bologna in 1560, and studied the works of Titian and Tintoretto, at Venice, those of Correggio at Parma, and those of Eaffaelle at Rome, and after attaining to very great eminence, died in the year 1609. Hia most celebrated easel picture is “ The Descent from the Cross,” in the collection of the late Earl of Carlisle, Castle Howard, No. 392. — “Portrait of _Mrs. Bell,” by Gainsborongh, contributed by F. Bell, Esq., The Hall, Thirsk ; and No. 402, “ Portrait of Ralph Bell, Esq.,” also by Gainsborongh, and contributed by the same gentleman, are full length portraits, admirably painted in this artist’s best style, and are most valuable contributions to this department of the picture galleries. Gainsborough was bom at Sudbury, Suf» folk, in 1727, and gave early indications of ataste for the fina arts. Whilst yet a child he loved to wander through winding glades and under ancient trees, when, he would fill hia school copy-books with pencillinga of flowers or shrabs, or any other object which attracted his notice. The skeichea in his copy-book were prophetic of the style of Ms mature* productions. At ten years of age he had made great pro- gress in drawing, and at twelve he was a confirmed painter. , Book-learning of course suffered in the ratio of his progress . in fine art, and we accordingly find that although in hia ' letters he was able to express himself in clear and forcible language, he was by no means equal in scholarship to what his brothers had been at his age. An anecdote is related of him about this time, which does not tell much to his credit. His request for a holiday had been refused by Ms schoolmaster, and as he was determined not to be dig- : appointed in his intended sketching excursion, he counter- feited his father’s hand, and sent the usual missive of “ Give Tom a holiday” to the pedagogue. The forgery was detected, and his father, when the circumstances came to his knowledge, in terror exclaimed, “ The boy will come to be hanged 1” But when the copy-book was shown to him containing the drawings which the boy had sketched In the holiday he had so nefariously obtained, the father changed his tone, and declared that his “ boy was a genius.” Many anecdotes are told of the precocity of his talent for land- scape and portrait painting. The picture which is known by the name of “ Tom Peariree’s Portrait” — a work much admired by artists — owes its origin to a singular circum- stance. While stealthily sketching some curious old trees in his father’s garden, his eyes lighted on a man who was gating with an anxious, thievish expression of countenance upon some pears which tempted his appetite. With the quick perception of genius Tom seized his opportunity, and in, a few minutes sketched, to the life, the man and the pear-tree. The likeness was shown to the father, who, ' upon the authority of it, taxed the peasant with an in- tention of stealing his pears. The man, confronted with his likeness taken on the spot, and at the moment, had no defence to make. Gainsborough left Sudbury for London at the age of fourteen. In the metropolis he studied paint- ing under Hayman, one of the companions of Hogarth } but after four years of diligent study he returned to Sudbury a painter of acknowledged promise. In 1768 the artist removed to Bath, but returned to London in 1774. His merit as a portrait and landscape painter had long been appreciated in London, where his masterpieces had been exhibited at the Royal Academy. Gainsborough’s 206 subjects nsnally represent a rising ground, with a few figures sitting down, and some cattle grazing ; but ioma- timss a single figure only, e cottage girl, shepherd boy, woodman, &a. He died in 1788. No. 397 is a remarkably fine Landscape, with figures, contributed by H. S. Thomp» Bon, Esq., Mrby Hall, York. No. 400 is a smaller bat similar one, contributed by G. A. Hill, Esq., Bolton Hall, Wilberfoss. No. 449, contributed by H. S. Thompson, Esq., Kirby Hall, York, is another Landscape by tMg great roaster, and perhaps the most luminous and bsaatifal of its kind in tha galleries ; and, lastly, we have No. 610, a magnificent full length “Portrait ofLady AnnWombweli,’* contributed by Sir George 0. Wombwell, Bart., Newburgh Park. This and Nos. 392 and 402 are three of the moat beautiful of Gainsborough’s full length portraits, each hieing with the others in perfect grace and symmetry. No. 383. — “ The Old Soldier’s Setorn,’’ by A. Betts, contributed by Henry Anderson, Esq., York. This is a very pleasing picture, remarkable for high finish asxi effective contrast of light and shade. No. 895. — “ Poultry and Peacock,” by J. Vsn Oolen, contributed by Lady Clark, York, is a remarkably clever picture, both for its wonderfoi grouping, power of ooIoBr, and excsllenoe of finish. No. 899 . — “ The Last Sapper,” after Leonado da Vinei, by Bellario, oontribatei by Mrs. Smith, Acomb. This artist studied in Milan, and obtained the gold medal at tha Academy there in 1835 and 1837, and in, the picture befora ns we have one that only a master-hand conld produce. Notwithstanding that it is not an original picture, it is ona of great vdlue, and probably will become mors so every year, for Bellario was no mean copyist, but one whose works were highly valued, even during the time he lived. The remarkable picture by Da Vinci, from which it was copied, was painted in Milan about tha year 1494, a per- formance which history ranks amongst the most admirable procluetioas of art ; bat having been painted from s composition of oil and varnish, it soon began to orambla ta pieces, and at present scarcely a vestige is to be seen. No. 401.— Landscape, “ The Ferry,” by SwaneveM. Tha property of the late K. Dickson, Esq, A good specimen ©I perhaps the best scholar of Claude Lorraine. Herman Swaneveldt wa,s called the hermit of Italy, from Ms pictures of that country’s sequestered, scenes ; but in this example ha has given us a larger scope of view, and embellished a fine landscape with ancient towers, and figures, and cattia, better drawn and finished than those in his great master’s works. They are appropriately grouped on the way to the ferry, and are evidently painted from Ms sketches in Italy. There is raucli beautyin the di3position,lights, and shadows of the clouds which float in an serial perspective well kept, and are truthfully reflected in a long range of hill and dala below. Wliat painters call the degradation in rendering the receding and distant objects is well managed, and tha ■whole composition reminds us of Claude in his chaste and ■ sober tiutingg of nature, when be does not attempt her more brilliant and gloomy effects. .. Swaneveld. was bom at Woerden in 1620, and died in 1690. His works are held ia high estimation in Italy. No. 405. — “ The Judgment of Midas,” by Jordaena, con- tributed by H. S. Thompson, Esq., Kirby Hall, York. Tha story represented in this picture is as follows : — Once when Pan and Apollo were engaged in a musical contest on the flute and lyre, King Midas was chosen to decide between them. The King decided in favour of Pan, whereupon Apollo changed his ears into those of an ass. Midas con- trived to conceal them under his Phrygian cap, but th6 servant who used to cut his hair discovered them. Tha / f^ 206 secret so much han-aased this man that, as he could not he tray it to a human being, he dug a hole in the earth, and ■whispered into it, “ King Midas has ass’s ears.” He then filled the hole up again, and hia heart was relieyed. Bat oil the same spot a reed grew up, which in its whispers betrayed the secret. Pan was the great god of fiookg and shepherds amongst the Greeks. In works of art he is always represented as a voluptuous and sensual being, with horns, pug-nose, and goat’s feet, sometimes in the act of dancing, and sometimes playing on the syrinx or shepherd’s flute. The story is well told, and well-suited to the manner ot Jordaens, always at home in fabulous history. .The Phrygian King’s physiognomy is fall of stupidity, and the figure of Pan by the side of his patron is monster-like, ’out true to Me description ; and there is a peculiar grace in the contrast of Apollo to the tasteless pair. The violin adopted by the painter in lieu of the flute is handled with masterly effect, and Apollo’s face and lineaments are very character- istic of his skill in harmony of sound. The colonring is good, the figures well drawn, and the powers of the artist are remarkable in overcoming an inelegant subject for the pencil with so much freedom and ease. There is no imita- tion of his employer (Rubins) in this work, which is a good example of the disciple of Van Oort, when true to himself. Jacob Jordaens was born at Antwerp in 1595, and died in 1670. Ancient School.— Seventh Notice. No. 407. — “ The Earl Fitswilliam,” by Cowen, after Sir Thomas Lawrence, contributed by Leonard Thompson, Esq., Sheriff Hutton Park. This is a very pleasing por- trait of the present earl’s grandfather, and is painted with a softness and finish that entitles it to rank amongst the best portraits in the galleries. No. 408 and No. 593. — Two Landscapes, by Vosterman, and both contributed by H. S. Thompson, Esq., Kirby Hall. These are two good specimens of this most admired landscape painter. Vosterman was bom at Bommel in 1643, and came to England soon after the Restoration and was employed in painting a view of Windsor and a few other works for the King. His scenes however are generally views of the Rhine, exhibiting a large extent of country and surpassing the works of all other landscape painters of his period. He died in 1699. No. 409. — Group of boys, painted in has relief by 3 . de Wit, contributed by L. Thompson, Esq., Sheriff Hutton Park, is the pendant of No. 592 under the same description, and both examples, but especially the last-named, are marvellous specimens of art in the representation of figures painted on a plain surface which appear to project from it. The painter, Jacob de Wit, is perhaps the most successful master in “ basso relievo” to be met with, and the skill and taste of his compositions are conspicuous in these his favourite subj ects, reminding ns of the beautiful delineations of groups of children by our Reynolds, and the charming pictures of the same nature by Etty, although wanting their warmth and sweetness from the absence of colours. They might be compared with groups of boys we have seen by Chantry, Flaxman, and other sculptors, and as these alle- gorical subjects by He Wit are much admired in the grand cliambers in Amsterdam and the low countries, we may account it a good fortune to have such agreeable and surpris- ing specimens of his art to adorn this gallery, for to borrow the explanation of relievo from Dryden, “ as a convex mirror makes the objects in the middle come out of the superficies,” so has the painter in respect of the lights and shadows of his figures, here given so much relievo and strength to his works that it is hard to persuade a superficial observer they U' 207 are not moulded in clay or chiselled out of marble. Jacob do Wit was born at Amsterdam in 1695, and died abojjl.the year 1747. No. 410. — " Orpheus, &c., ” by Rottenhaemer and Breughel, the property of G. J. Yarbargh, Esq., Heslingtoa Hail, is a picture well suited to this Exhibition, for here, as described in the catalogue, is the fabled author of civilization and of the arts of social life enthroned above his tributaries, and surrounded with emblematic figures, which flock to him from all the elements to acknowledge his sway, and harmonise with hia designs in taming a wild and savage race, and initiating the arts and sciences, intellec- tual intercourse, and the exchange and use of commodities. This composition, in short, supplies us with the mythological picture of the rudiments of “ a Fine Art and Industrial Exhibition” now brought to such perfection as to exceed all the prophetic inspirations of the poet, and the ascribed power of Orpheus over animate and inanimate nature. The picture is damaged by time and cleaning, but it still retains the neat peneillings and spirited touches of Rotten- haemer in the figures, and the peculiar tints and precision of Velvet Breughel in tha landscape. The German taste which the pupil of Donower at Munich imbibed from his first lessons prevails in this picture ; but it is a scarce example, as Rottenhaemer seldom painted on so large a seals, the largest on record being the picture of “ Tha Feast of the Gods,” for which his patron, the Emperor Rodolph II., paid a large sum ; and in subject, and the number of figures it assimilates to this production. Paul Bril, as well as Breughel, assisted him in the backgrounds, and the colouring of this one makes ns hesitate between the contributors to that part of the subject ; but be that as it may, this is a very appropriate and interesting picture. Rottenhaemer was bom at Munich in 1664. After studying at Rome he visited Venice, where he studied the works of Tintoretto, whose style he imitated very successfully. Ha died in 1606. John Breughel was bom at Brussels in 1565, and died in 1642. No. 412.—“ The Head of Mary, Queen of Scots, on a Charger. ” Contributed by Lord Londesborough, painted by Zuccaro. It is a most curious picture representing the decapitated head of Queen Mary, placed in a charger or large dish. The hair is brown ; tha features full, showing no emaciation after death. It was obtained from the collection of Mr. Plnra, of Bath ; and the statement received with it is, “ that a page named Oliphant, attached to the Queen of Scots’ household, took a sketch of the head, and carried it with him to Paris, where he entered the French service, and had this painting executed by Zuccaro from the sketch.” There exist other paintings of the like painful character ; of these, one presented by a Prussian nobleman to Sir Walter Scott is preserved at Abbotsford. The head is placed in a dish, on a table covered by a scarlet cloth, and a narrow scroll appears from beneath the dish, inscribed “ Maria Scotice liegina, Amias Cawood, Fotheringay, the 9th of Feb., 1587.” The artist may have been related to Margaret Cawood, the faithful attendant of the unhappy Queen. Another very painful delineation of the severed head, possibly a con- temporary painting, may be seen in the United Service Museum. On the back is the following note “ The Head of Mary Queen of Scots,, the day after her execution.” Lieut.-Col. Birch. We are indebted to Mr. Turnbull for the following notice, by a recent traveller in the North of Europe, of a similar memorial among the paintings in the Bitler-Saal at Fredericksborg, in Zealand : — “ None touched us more than an exquisite head of Mary Stuart, after her 208 death. There is something so original in the sweet and mournful beauty that still lingers on her features, even in death, that one is inclined to believe the tradition which alleges that it was taken from nature.” No. 413.— “ Portrait of Ben Jonson,” by W. Dobson, contributed by Leonard Thompson, Esq., Sheriff Hutton Park. The artist was born in London in 1610, and became a celebrated portrait painter. ’ He was recommended to Charles the 1st by Vandyok, and his works possess con- siderable gracefulness and a charming tone of colour. He died in 1646. The picture before us is undoubtedly one of his finest works, and is indeed so striking that the very style and character of the poet beam through the features, and we cannot contemplate it without mentally exclaiming in the words of the epitaph in Westminster Abbey, “ 0 rare Ben Jonson.” No. 415. — “ Joseph relieving the famished Egyptians,” by Diepenbech. Among the valuable contributions by Sir W, Worsley, Bart., this may be esteemed as a rare work, and telling well the passage it represents in the life of Joseph. There are paintings in glass by this artist, in the Cathedral at Antwerp ; but he left that art, in which he excelled, for the lessons of the great master, who has furnished that beautiful temple with the most glorious and glowing compositions in outline and colour we are acquainted with, and although we do not recognise in the pupil the grandness of his master Eubens, we find much of the character of his oil sketches in the design and grouping of the many figures ; but more of the style of Eembrandt, Diepenbech’s second master. The lights and shadows are dispersed after his manner, and the feeling and disposition of the figures, express the sentiments of Eembrandt, in his studies of sacred history. Diepenbech was born at Bois le Due in 1607. One of his finest pictures is to be seen in the Church of the Carmelites at Antwerp. He died in 1675. No. 416. — “ Portrait of the Duchess of Portsmouth” by Sir P. Lely, contributed by the Lord Torphichen, is the work of the state painter of Charles II., an artist who excelled especially in female portraiture. There are five more productions of his pencil in this gallery, but this is the most important, as it favours us with the figure of a celebrated beauty and a landscape. The attitude is easy, and well devised to display the elegance of form and blandishments of this fascinating woman, whose features are so beautifully delineated in her portrait. No. 665, the contribution of Sir W. Worsley, Bart. In Lord Torphichen’s contribution the scene is Arcadian, according to the French idea, and reminds ns of those fancies of Louis le Grand in the backgrounds of the portraits of his favourites, and the choice of their places of seclusion ; but who can look at this picture, and, having read Macaulay’s description of the deathbed of Charles II., forget the end of “ lovers of pleasure more than the lovers of God,” and yet that a life of vice and frivolity did not extinguish all the sentiments of religion in the breast of the mother of the Duke of Eichmond. The hands, and especially the foot, are exquisitely painted, and the face is the same, in the neglige of this representation as in the more dressed figure of Sir W. Worsley ’s, and both pictures are full of the mannerism of Lely, and belong to old families, in whose ancestral halls they have hung almost ever since they were painted. We claim the same proof of an original portrait of Ann Hyde, Duchess of York, No. 546 by the same artist, sent here from the collection of Leonard Thompson, Esq., of Sheriff Hutton Park. It is the likeness of the youngest daughter of Clarendon, the ill-treated statesman, and friend of the 209 licentious monarch, who preferred Buckingham and his party to his more virtuous counsellor and the restrainer of his vices. She married the brother of Charles II., after- wards James II., and left two children, the 'Princesses Mary and Anne — the nrst married to William III., the second to George, the son of Frederick III., King of Denmark, best known to us as Queen of England. Nos. 4G7, the portrait of the Countess of Fauconberg, and 617 of Thomas, her husband, are of family descent, in the house of Sir G. 0. Wombwell, by whom the two latter are contributed. If we did not know that all Cromwell’s daughters, excepting Mrs. Fleetwood, were zealous royalists, we should ascribe the paintings to Walker, the principal artist employed by the Protector and his adherents | but here, at any rate, is a daughter of the great republican, in her outward features the image of her father ; and if we couple her mind with that of Mrs. Claypole in her dying iniunctions, as they are pourtrayed in Mr. Lucy’s engraved picture of that last interview, we may put much trust in physiognomy as the art, according to Dr. Johnson’s definition of it, which dis- covers to us the temper and foreknows the fortune by the features of the face, for all this is here graphically and historically placed before ns. We pass on from Lely’s pictures, which, like Sir Thomas Lawrence’s, owe a great deal to the beauty of his sitters, and although we cannot but call him a great painter we may conclude our notice of his pictures by giving him a place next to Vandyck, in the catalogue of our Exhibition, which is so rich in the selection of these subjects, as to claim the highest point of ex- cellence in portraiture, which was the attraction of those foreign artists to England who were the pioneers of a school we may now call British. No. 418.—“ Portrait of Shakespeare,” contributed by the . Lord Lojidesborough, is a curious old portrait, very mnch resembling the Chandos one, which is dark, and reminding us of the bust at Stratford-on-Avon, which furnish ns with the likeness of our immortal bard, as it is generally accepted. No. 420.—“ Portrait of Drayton, the Paei,” contributed by Leonard Thompson, Esq,, is also a very fine portrait. In 1593 Drayton published a collection of Pastorals, en- titled “ The Shepherd’s Garland,” which was followed by his greatest work, “ England’s Heroioal Epistles.” In 1613 he published his “ Poly-Albion,” or a description of Eng- land, to which Mr. Selden wrote notes. He was bom at Hartshill, Warwickshire, in 1668, and died in 1631. No. 421.—“ Portrait of Cranmer,” contributed by the Hon.PayanDawnay, and No. 496, “Portrait of Henry VIII., contributed by G. J. Yarburgh, Esq., are both curious pro- ductions of Holbein, who was bom at Basle in 1498. In general he painted on a green ground, but in his small pictures sometimes on a blue. His colouring was strong, and he gave a rotundity to his flesh, by which the originals were always distinguished from the numerous copies there are of his works. He died in 1554. No. 424.—“ Portrait,” by Bembrandt, contributed by A. Allan, Esq., Edinburgh. This portrait reminds us forcibly of the one of the artist himself as a young man in the National Collection. This and No. 680, “ Interior of a Church,” also contributed by Mr. Allan, are, we believe, the only two specimens of this cele- brated artist in the galleries, and this latter is as beautiful as it is rare. The tone of colouring is rich and deep, with less of the brown than in most of his works. The finishing is perfect and not too laboured, and the transitions from light to shade are charmingly tinted and full of lustre. Behind the pillars is a piece of red drapery, which enriches and relieves the lights and shadows, so w 210 harmoniously opposed in the architecture, and the groups of figures are all appropriately placed and marked with individual distinctness throughout. It is quite a gem, and severe criticism could scarcely find in this charming picture a flaw. No. 424, is full of character and life although not touched with so spirited a pencil or so rich a tone. We feel that in this subject as in all hia portraits the likeness must be good, and there is a delinea- tion of character and a mode of colouring and handling which, without reference to the person who sat for it, make it valuable as a work of art. It is smoother than most of Kembrandt's heads, and therefore it may have been painted before this great master of the Dutch school adopted a rough style. Rembrandt was born on the banks of the Bhine in 1606, from which he received his appellation of Rembrandt Yan Ryn. Though he acquired a dis- tinguished reputation by his historical works, he is also deserving of admiration as a painter of portraits. His picture of “ The Woman taken in Adultery’^ is in the National Gallery. He died in 1674. No. 4‘25.— “ Virgin and Child,” by Andrea del Sarto, a most valuable contribution by Lord Wealock. We see here tho successful student of the great Italian masters, and amongst others of Leonardo da Vinci, in the beauty and correctness of his design and the felicity of his execution, and this picture certainly has more of the charm of his chiaroscuro in it than the “ Head of St. Paul,” No. 618, which was painted by Leonardo, probably at the beginning of bis career. This has caused some critics to call Lord Peversham’s a reputed work by that inimitable painter, who was always aiming at perfection, and therefore varied in excellence and style. We read, for example, of one period when his paintings had less energy of shade, aud of heads of forms (rather delicate than exquisite), and exquisite as we think the Head of St. Paul, we cannot class it among his maturest accomplishments. It is however the highly finished work of a noble genius aud accomplished man who spent four years of his life ovsi one picture, and always painted for glory, never for wealth’s sake. None ever equalled him in the expression of his subject, and we may challenge the critic to produce the master, if this be only a reputed picture of Da Venci, whose mmd and pencil could elevate him to a creation like this. The conception is that of a refined taste and a judg- nient founded upon deep thoughts about the resolute, and bold spirit of the martyr; and so truthfully has he delineated the character of the great apostle to the Gentiles, that we know of no artist who could give it as it is here re- presented but the painter of the other apostles, in the Last bupper, where the emotions of their hearts at that period of agitation are as truly delineated as settled purpose and imumvahle constancy in the attitude and physiognoms of the bt. Paul. The picture may have suffered by time and cleaning, but here it is with “ all the looks of nature and of me. And it is still inimitable in the minute and elaborate finish to exquisite design for which Leonardo was famous. The Andrea del Sarto does not suffer in this comparison, tor it 13 a fine work, and shows a profound knowledge of art. The \ irgin Mother is full of grace, and there is much elegance in the arrangement of the drapery and the outline of the figure, which is placed in an attitude of attention to her son, the expression of whose features is eloquent and Tlie. chiaroscuro, as we have intimated, is most ettective in giving truth and roundness to the figures and faces, which are so disposed and expressed as to make this picture vie with some of Raphael’s in the graceful and natural representation of a subject, too often treated with 211 more imagination than troth. The attitncle and I'eatares of the child Jesus are vary animated, and, as has been ■written of another of A. del Sarto’s pictures , the countenance is full of spirit and wisdom, and strongly expressive of ■what ire read in the gospel of his growing years. No. 426 . — ‘‘ Game and Dog,” and No. 469 , “ Game and Cat,” both pictures painted by Owen, and contributed by H. S. Thompson, Elsq., Kirby Hall, are broadly painted, and form a pair of most effective pictures. No. 428.—“ Mr. Quin as Sir John Falstaff,” by F. Hayman, and contributed by the Lord Xiondesborough. The portrait of this inimitable actor was attempted nnsno- ' eesBfnlly by Gainsborough, but this must be a strong like- ness of him in his most famous character. Francis Hayman was bom in Kseter in 1708, and was considered one of the best historical painters iu the kingdom. He died in 1776. No. 429. — “ Portrait of Vanderwerf,” contributed by E. Nasmyth, Esq., Edinburgh, is an exquisite finished portrait of the painter by himself, and reminds us of the accuracy , and finish in the works of Mieris, which he copied so closely as to deceive the best judges. There is a picture of “ The Crucifixion,” by the Chevalier .Vanderwerf, in this gallery, belonging to G. J. Yarburgh, Esq., Heslington Hall, No. 478, in which we trace the same peculiarities of coiouring and pencil to be observed in his portrait. The latter is not so like ivory, the defect in his style ; both are smooth, and for want of carnation, unlike flesh. There is, however, great neatness of penciUing and elegance of design in the works of this accomplished master, and the portrait expresses the mind and manner of the Courtier. No. 433. — “ Portrait of Nicholas Poussin,” by himself, is the property of Sir W. Worsley, Bart., Hovingham Hall, who has contributed some charming examples of this master. Nicholas Poussin was born at Andilly, in Nor- manby, in 1594. Probably he was first brought into notice by painting six large pictures in distemper, for the College of Jesuits, which was followed hy his picture of “ Tlia Death of the Virgin,” for the church of Notre Dame. His first style was an imitation of the colouring of Titian, which he afterwards abandoned, and adopted one less warm and more resembling the marble of the ancient statues than real flesh. One of his best pictures, “ A Bacchanalian Triumph,” is now in the National Gallery, Poussin died in 1665. He is here represented, as we should expect to find him, by a physiognomy characteristic of his works. Take, for example. No. 444 , “ Venus, with her Attendants” in the first catalogue, but which should be “ Aurora and lithonns,” and there are the results of the indomitable energy of this accomplished artist in working out a style of his own. The genius with which he ■was gifted for the poetry and sculpture of the ancients, is as marked in his features as in the beauty and grandeur of his scenes. There is the power of imagination which carries us back to the mythology of the Greeks, and, as his biographer has written, “ his backgrounds are pure classic ground.” The chariot of Aurora and her horses ; the time of her approach, before the rising of the sun, with her precursors strewing her way with flowers, and the figure of Scamander, resting on his urn, are all indeed purely classical, and “ abstracts from the theories of the antique.” In this picture there is, in fine, much good colouring and beautiful effect, but the accessories to the principal part of the picture are such that we must agree with Bellori, they give an importance to the background which it should not have. However, we prefer that iu Sir W. Woraley’s other contribution. 212 No, 474, “ VeBBs at the Bath.” In both pictures there IS much beauty of design, but the figures are too ideal and statue-hJse, and the colouring is as cold as marble, the attitudes are not all equal in grace ; but here the depth and ncunesa of the landscape behind the bath is translucent through shadows, and harmonious in tone. We have seen some backgrounds, by Sir J. Beynolds, like it, but this picture takes us into the studios of Titian and Bembrandt to account for the nature of the shad© and force and sweet- ness of the tints.— No. 604, » The Martyrdom of St. Sebastian,” by the same artist, contributed, by Mrs. Smith, of Aoomb, 13 a sacred subject, treated in a purer style than his wont. It is full of pathos, with a clearness of colouring we seldom recognise in hia works. “ . In onr notice of the works of C. Maratti in our last week’s impression we erroneously mentioned Nicholas Breakspere No. 673, as Pope Clement the Ninth. He was Adrian the Fourth, and his rise to that dignity was very remarkable. He was born at Abbots-Langley, in Hertfordshire, was the son of a beggar, and for a long time himself subsisted on alma, for which he was compelled to beg. He hired himself as servant to the Canons of St. Ruf, near Avignon, became a religious of that community, and soon after was made Superior of the Convent. Eugene 3rd raised Breakspere to the Bishopric of Albans, near Rome, and sent him as legate to Denmark and Norway, where he reformed the habits of the clergy. He was elected Pope in 1164. Lord Macaulay says, ” when the English name was a reproach and when all the civil and military dignities of the kmgdom were supposed to belong exclusively to the contrymen of the Conqueror the despised race learned with transports of delight that one of themselves, Nicholas Breakspere, had been elevated to the Papal throne, and had held out his feet to be kissed by ambassadors from the noMegt houses of Normanby.” Ancient School. — Eighth Notice. No, 434.— “ Prayer,” by John Baptist Greuze. We are indebted to the generosity of Lord Londesborough for many valuable contributions to the Exhibition, and amongstthem for this specimen of the peculiar style of this most esteemed master in the French school. Those who have inspected the Louvre, or seen his beautiful gems in Edinburgh, will say at a glance, “here is a chaste example of John Baptist Greuze,” It is a pity that the background is damaged, and that is perhaps the reason we are not favoured with a nearer view, but enough is given to satisfy the beholder with the original of one of those charming works often seen engraved. The scene is domestic, the subjiu_c afiieetingly simple in its thought, and we can give no higher praise to it than when we say it is a lovely picture of the chamber of prayer, into which no artificial objects are introduced to mar the worship of the pure in heart. Greuze was born at Toumae in France, in 1728, and died in 1805. No. 436.—“ Portrait of Lucy Percy, Countess of Carlisle," by Vandyck, contributed by Leonard Thompson, Esq Sheriff Hutton. The portraits in this gallery are all of an interesting character, and add importance to it in giving the resemblances of personages described to as in history whose forms and features we would like to see. But besides this they are mostly fine works of art. “ In portraits " Sir Joshua Reynolds writes, “ the grace, and, we may add the likeness consists more in taking the general air than in observing the exact similitude of every feature,” and in these paintings by Vandyck the general air is always good the similitude of feature moreover is not drawn from one picture into another, but there is a pleasing variety in all 213 his works. He was the papil of the greatest colourist of Jus day, Rubens, unequalled perhaps at any time in that respect but by Titian, whose glorious pictures at Venice were the after-studies of Vandyck. In “ The Magdalen,” No. 489, the property of H, S. Thompson, Esq., we recogais© the disciple of Rubens, but in the “Portrait of the Countess- ©f Carlisle,” the student of Titian, and much as we admir@ the carnations in the picture of the Magdalen, we must defer to the opinion that there is more delicacy and purity in the carnations of Vandyck than in those of Rubens, and in the examples wa are now contemplating, true to nature, exquisite in expression of grief and contrition as that portraiture of the weeping penitent is, it lacks the refine- ment of the portrait, which is more delicate in touch, and more perfect in finish, especially in the hands ; but Vandyck is universally allowed to have excelled in painting the ex- tremities of the human form. Look, for example, at No. 498, “ Portrait of Archbishop Usher, ” contributed by H. S. Thompson, Esq., and how finely painted is the hand on the book, which is as truthful and delicate in its touches of old ago as those in the hands and arms of the more youthful figure of a lady of well-born blood. The portrait of that great scholar, profound philosopher, and eminent divine arrests onr attention, however, as a picture that is admirably painted, and we feel must be a good likeness, for it is full of life and thought, and in its accessories and correctness of design, is worthy of the pencil that so faithfully and frequently drew the portraits of his royal master Charlei the 1st and his family, — works that for expression, purity, and truth of colouring, cannot be surpassed. We expect that Ussher’g portrait will be a great attraction at the Church Congress about to assemble in York, and it may remind those who take a part in it of the Arch- bishop’s proposal in 1641 “ to constitute such a species of Government as should embrace the advantages proposed by Episcopacy as weU as the Presbyterian form I” No, 452 is also a fine example of this master^ and one in which he seems to have taken an interest as the portrait of his friend. It is contributed by Sir W. Worsley, Bart., Hovingham Hall, and is a portrait of Liberte, organist at Antwerp, who ia here represented with a scroll in Ms hand, on which is drawn the figure of the cross. We could wish this portrait had been hung lower down, but we know the hanging committee could not do all they wished, and we must therefor© content ourselves with looking up to as fin© a portrait as ever graced Uk gallery. The expression of the head, and “ tlie tender melting of the tones,” are as harmonious as we will believe the performances of the organist were, when his soul was in his work. No. 453, ” ..he Portrait of Lord Belasye, of Worlaby,” contributed by Sir G. Wombwell, Bart., is an aristocratic portrait of an apparently young and amiable nobleman. The attitude is graceful in the extreme, and It leads us to the conclusion that he knew how to use hii arms and hands^ as well as Vandyck knew how to paint them. In this picture, too, we learn how cast of drapery in its folds and disposition aids the easy and natural contour of a portrait. The other portraits by Vandyck in these gallaries are No. 458, “ Portrait of Charles I.,” and No, 460, Portrait ' of Henrietta Maria,” his Queen, both contributed by G. J. Yarburgh, Esq., Heslington Hall, and m which we see the faithful portraits of the unfortu- nate monarch, whose^ family and fortunes, as they were connected with this city, we reserve for a future notice. Perhaps these portraits came direct to Heslington Hall, as it was built in the time of Queen Elizabeth, and belonged to a loyal family whose descendants have always been friends to York, and liberal contributors to its best interests ; and last, not least in our esteem, to this Exhibition. No«. 05S, “ Portrait of a Lady with a Bo'Se/* by Yandyck, is a beautiful portrait, and full of lovely colouring ; but the left hand and arm have some time, we think, suffered from accident ; and yet it is worthy of its place here, and also- its ancestral home, the mansion of Leo. Thompson, Esq. We owe Lord Londesborough so much that we hesitate to question the picture of “ Charles the Second and Lucy Walters,” No. 57^ ; but it does not resemble Yandyck's other pictures and portraits in design or colouring, and especially if we look at the horse and remember how grand an animal painter he was when he introduced a horse into the portrait of the merry monarch's father. It is, nevertheless, a rare and eurious picture, and as we have not seen others of the size and subject, it may have been thus painted to please the parties interested in the scene, which is historical. The adventure took place at the Hague, and the lady afterwards was the mother of Charles the Second's favourite son, the Luke of Monmouth. The son inherited the genial qualities and the vices of his father, and caused much trouble to James the Second, and although, strictly speaking, not a Stewart, he met with a Stewart’s fate at last. Yandyck was born at Antwerp in 1599, and died in 1641. No. 437. — “The Kaisiug of Lazarus,” by Bebaetiaa del Piombo. This picture belongs to the Lord Torphichen, and we understand it has been for years in the gallery at Calder House. Its antiquity is stamped upon every part of it, and the “ hanging committee ” have very properly hung it with some other dark pictures in a conspicuous place, for had they been lifted higher up, as some lighter pictures are, which will not bear so close an inspection, it would have been a great mistake. The subject of this work is sepulchral, and the tone of colouring suits it well, although differing much from his greatest work, which is now in our National Gallery, and wherein the figure of Lazarus is said to have been drawn by Buonarotti. Perhaps Lord Torpbichen’s picture was painted when the artist was a pupil of Giovanni Bellini, for it is as unlike that grand altar piece of the Kaisiug of Lazarus, designed for tho cathedral of Narbonne, as some of Baffaelle’s small pictures on leaving the teachings of Perugino are distant from “ The Transfiguration,” his chef d^ceavre, which was intended for the altar piece in the church of St. Pietro in Montorio, at Rome. It was, in fact, to rival Rafiaelle's great work Michael Angelo, Buonarotti got Piombo to paint the admirable composition, which forms the best picture in England we possess, and it is said furnished him with the design. The first Napoleon employed an agent to treat for its purchaiaj from Mr. Angerstein, and it is reported that he cj^ered £20, GOO for it, but its owner replied he should not got it I away from England if he would give thrice that sum. Piombo, left to himself, is nevertheless distinguished in the small picture now in the Yorkshire Exhibition, by a design “ full of character” and “ heads and hands” admirably drawn. The subject is differently treated from the other representation, and most we have seen, for there, as in Rembrandt's etching, the attitude of Jesus is suited to the words, “Lazarus, come forth but here he that was dead is come forth, and whilst they are loosing him to let him go, our Saviour has lifted up his eyes again to his Eathexi and thanked him that He has heard Him. The astonish- ment of the bystanders is variously and forcibly expressed* Martha, by the side of her risen brother, is a characteristio figure in shade. Mary, stooping with gratitude at Jesus' feet, is equally descriptive in light, and well coloured ; but our Lord, as the chief figure, is as it ought to be, before and aboya all in point of excellency of' expression and aignity of place. The idea in the mind of the painter appears to have been a personification of the Man of Sorrows and acquainted with grief, whereas the expression of the Redeemer in giving his word of power is seen in that greater work, for which the painter had better models, and the help of the greatest master in art that ever tried to raise a man above himself. That peiformanee is indeed sublime, whilst the one before us is painted after nn- pleasing models, that look like portraits of monks and friars ; or one of those fraternities which Sebastian del Piombo afterward^ joined. According to Jjanzi his namo was Xiiiciano, but when he exchanged the secular for tha monastical garb, he became known under the name ol Fra Bastian del Piombo.** His great picture, however, signed “ Sebastianus Venezianns facietat.” Venice being his birth“place, and the city in which he first distinguished himself as a portrait painter, and in which line we havo an example, No. 608, “The portrait of Cardinal Pole,’* the property of_ J. Tennant, Esq., of Kildwiok, ii hung high, but it is forcibly painted, and there is no difficulty in discerning the features of this remarkable man who in his writings was so great an opponent to Henry the 8th. He was appointed legate from the Court of Borne to England in the time of Queen Mary, and, after he had reconciled the kingdom to the Pope, succeeded Craumer, as Archbishop of Canterbury. We have the portraits of both of them in this gallery, and they will be objects of interest to all who are readers of history, and may trace in the countenances of these men some outlines of their character. Reginald Pole was a sincere man, and a reformer of abuses. He intended to publish the New Testament, and establish Cathedral schools. After the death of Eaffaelle, Piombo was considered the most dis- tinguished artist in .Rome. Ha was born in Venice in 1485, and died in 1647. No. 439.—“ Landscape and Enins,’’ by Wootton. Here is a composition of an English artist who generally painted animals— particularly horses— the sports of the turf, and the field ; and, as a disciple of John Wyck, cams to Eng- land about 1640, and obtained a, style after the manner of Wouyermans._ There is a splendid specimen of J. Wyck m this collection {No. 495), which for correctness of draw- ing and spirit in the action can scarcely be surpassed Wootton’s picture is sent here from Newburgh, the seat of Sir G._0. Wombwell, Bart., and it is worthy of a resting- place in that fine old mansion depicted in our gallery by another loan from that generous contributor. Wootton flourished about 1720, and as he was a frequenter of New- market, &o., he was a likely man to sell his landscapes ia a sporting county where he was employed to paint tha race-horses. No. 440.—“ Interior, with Figures,” by Peter Van Blooi, IS contributed by N. Nasmyth, Esq., Edinburgh, and we believe it formerly belonged to Vander Pott. His works are scarce, even in Holland, and it is a treat to see such a fins specimen here. Every object in this picture is faithful to nature, and there is a freshness in the colouring, a little mellowed and improved by time, which is as agreeable in effect as the judicious management of the many objects ia surprising in realising each at its distance and in its place to the eye. The poultry and eggs, the culinary utensils, and the kitchen itself are executed with a neatness of pencil, and with truthfulness to nature. Van Bloot died in 1667. No. 442.—“ Portraits of Augusta Sophia, and Elizabeth, daughters of George the 2nd,” painted by Zoffany, and contributed by J. Jackson, Esq., Fairfield. This is a very 216 pleasing picture, and remarkably fresh in colour. Zoftany was born at Frankfort-on-the-Maine, cams to England, and was patronised by Sir Joshua Reynolds, and his most distingnished works are of the royal family; but there is a beautiful little picture by him. No. 581, “ A Child with White Rose,” contributed by G. J. Yarburgh, Esq., which may Tie with any in neatness of finish, and is alike characteristic of the child*B costume wl royal and aristocratic honses at that period, 25oI»y died in 1790. Ho. 448.— Portrait of Eleanors, Ciichess of Mantaa, &6., by Tintoretto, contributed by Sir W. Worsley, Bart., is tha most striking portrait in our gaUeiy, and whether it bo painted by this great Venetian artist or his daughter, who excelled in portrait painting and visited most of the Courts in Italy for that purpose, it is a noble work, and of great majesty. The breadth in the drapery is grand, and so freely painted that on a near inspection it looks like a daub ; but at a proper distance it is easy and natural, and the satin of Florence is as shining in brightness as tha lustrous silks in the careful finish of Terbnrg. Thera is less of the style of Titian in this than in the general portraits by Giacomo Robusti, called Tintoretto, because he was the son of a dyer ; and yet it is in his hold manner, and fall of those strong lights and fine masses for which he was famous. But the inscription points to the patrons who solicited his daughter Marietta to visit their courts and paint their portraits, and we are told that her father remained at Venice, and was unhappy without her. We suggest, therefore, that it is the work of Marietta Robusti, without meaning any disparagement to this splen- did example of that principle of dispatch which generally ruled the father, and influenced bis labour, for, this work as a whole, and in parts, seems to have been done at once, and in its touch, if it has been equalled, it has never been excelled. Tintoretto was born at Venice in 1512, and died In 1594. No. 448.— Portrait of the daughter of Sir John Brook, Bart., by Sir G. Kneller, is contributed by Joseph Munby, Esq., York, and is a very good example of this master who began his career in Holland, and after visiting Italy and spending some time in Hamburg, settled in England, Charles the 2nd sat for him several times at his house in Covent Garden, and there he realised a large fortune, succeeded Sir Peter Lely, and if we compare this pictur© with Lely’s portrait of Charles the 2nd, No. 438, the pro- perty of Sir W. Worsley (already noticed), we may call him a fair competitor of that artist ; but it was not in male portraits Lely excelled, his lighter and more graeefnl pencil pourtrayed feminine beauty in a manner that Enellex could not touch. And yet there is an elegance in his stylo, and a depth in his colouring, which is very engaging, evea where there is a want of animation in the countenance. It has been remarked that he had too great a sameness in all his portraits, but he was employed by the most dis- tinguished personages in Europe, and praised in verse by Addison. He died in 1726, aged 78. No. 450. — “ The Dutch Pedlar,” by Victor. Wo ha?a seldom seen a picture by this artist, and are therefore obliged to H. S. Thompson, Esq., Kirby Hall, for so favourable © specimen of his style and design. The pedlar, who is selling his wares, is a carefully-painted head and figure, and tha story is well told in the countenances and by the attitudes of his customers. The lover, who is tempting the maiden with a ring he would fain pat on her finger as an engaged present, is met with a coy reply to his question by a glanca at the tempting offer, and a half-withdrawal in the ex pres- 217 sion of the woman’s coantenanoa, which reminds ns of the comedy, “ She would, and she wonld not,” and the boy with his toy in the corner, and his arch look, intimatet that if the bait is taken, the poor fish will pay dearly lot her whistle. It is a humourous subject, more chastely treated than most such in the Dutch School, and if it wants the brilliancy and depth of the great masters it is never* theless a pleasing and harmonious oomposition. Jaa Victor or Fictoor was born 1640, died about 1670. No. 454. — “ Sir James Thornhill exhibiting his Pictnre, &o„ &o.,” by Hogarth. We now come to one of the very best pictures in our gallery, and it is also the property of H. S. Thompson, Esq^. Whether we look at it as a coaver* sation picture or of portraits, it is interesting, and th8 painting is much better than we generally see in those well- known performances, which have established Hogarth’s reputation. The picture is a family one, for Hogarth married Sir James Thornhill’s daughter ; and Dr. Sydenham, ona of the greatest and most liberal characters that ever graced his profession, is here seated as the kind friend of his nephew, whom he helped, when in poverty, to follow hta studies in art, of which Sir James is showing to him a specimen. There is dignity in the patron, and a graced and modest demeanour in the air and attitude of his protege. Every figure in the group proclaims itself a likeness, and the neatness of the pencilling and the finish- ing touches of the picture are capital. Thornhill was ap- pointed by Queen Anne to paint the Cupola of St. Paul’s Cathedral, also the great saloon and the Refectory in Green- wich Hospital. And besides these and his excellent copies of Bafiaelle’s Cartoons, he has left ns many admirable pieces, executed with skill and judgment. It is pleasing to contem- plate the countenance of a youth who began life with tha need of acharitable relative’s assistance, and who persevered and conducted himself in such a way as to gain universal esteem, and after re-purchasing his family estate by the gains of his talent and industry, also obtained the honotuf of knighthood, and was elected one of the members of Parliament. Walpole considered Hogarth rather as _a writer of comedy with a pencil than as a painter ; but in Mr. Thompson’s contribution to this gallery we recognise both good portraits and good painting. He was bora in London in 1697 ; and died in 1764. No. 461. — “ The Prodigal Sou,” from the collection of Lord Wenlook, is a good specimen of Salvator Rosa’s scripture subjects. We are more accustomed to his easel pictures in this country, and to his landscapes peopled by figures in armour, seated on rocks, or banditti grouped near caves and mountains, and under trees torn by tha tempest, and a heaven full of storms and terrific grandeur, but here is the prodigal son hiding his shame in tha embraces of his forgiving father, and the father looks down npon him with a smile of reconciliation, and takes him back to his home and his bosom. The figure to the right of the restored prodigal seems to ns to be a portrait. It wonld be interesting to know whose it is, for everything connected with the life of this great painter is of value. His battle pieces, his marine pictures, shipwrecks, horses in action, the fury of combatants, and the rage of the elements are all wonderfully and awfully ponrtrayed on his canvass. We refer to No. 506, “ Landscape and Warriors,” the property of Lord Londeshorongh, as an example of his composition in the quieter representations of those subjects ; and to No. 586, “ Landscape with Thun- derstorm,” a small easel picture, contributed by C. H. Barstow, Esq., of York, to illustrate our notices^ of his grandeur and magnificence. He was bom at Naples in 161S, and died in 167fi. 6 218 Ancient School.— Ninth Notice. No. 462. — “Madonna," by Sassoferrato, contributes by the Lord Londesborough, is a sweet picture, though it varies in Bome points from the famous work of the same description in the Dresden Gallery. It is nevertheless a good specimen of the Madonnas painted by Salvi, called 111 Sassoferrato, a great imitator of other masters; and we think in this work a copyist of Kaffaelle and Guido. He was bom neat Urbino in 1605 ; and died in 1685. No. 464. — “ Charles the 1st and Family,” by Stone, the property of SirG.O.WombweU, Bart., contains the portraits of Charles, his wife, and two daughters, whom we take to have been the Princesses Mary, who married the Prince of Orange, and Elizabeth, who died young. The painter, Henry Stone, is usually called Old Stone to distinguish him from his brother John. There is a portrait by him at Castle Howard, representing the same monarch and one of his sons, which gives a more melancholy expression to the King’s countenance than this, which was perhaps taken before the battle of Marston Moor, when the tide turned against King Charles and overwhelmed him. We meant to say more about his connection with York, which was loyal to him and his cause, but we have only space to observe that he was some time resident at the palace within a short distance of this Exhibition, now the Wilberforce Insti- tution, and over one of the gateways there are still the arms of the Earl of Strafford, which furnished an article of impeachment against him from being placed on a Boyal dwelling. Stone was a copyist of Vandyck and other masters. He died in 1653. No. 468. — “ Portrait of Mary Stuart, Queen of Scots," belongs to Lord Torphicheu, and it is painted by Sir John Medina, an artist who visited Scotland under the patronage of the Earl of Leven, and was knighted by the Duke of Queens- bury, the Lord High Commissioner, being the last knight made in Scotland before the union of the two kingdoms. Walpole says, “he went carrying a large number of bodies and postures to which he painted heads,” and perhaps this is one of them which he was commissioned to fill up after the most approved originals, for it is the same oval as the faces of the most genuine portraits of Mary Queen of Scots, at South Kensington ; the nose is the same in shape, the colour of the eyes the same, and not like the fea- tures in the painting belonging to the Bodleian Library, at Oxford, which is the conventional representation of the beauteous Queen in the romance of history, poetry, and the drama. The dress in Lord Torphichen’s picture is very peculiar ; but it is rich and rare, and beautifully painted, and belongs to the period of Mary’s reign in Scotland. The hair is not her own, for it was more red than auburn, like her cousin’s, who called herself “ her loving sister," and had a fabulous number of wigs according to the fashion that seems from this picture to have found its way to Edin- bmgh, where, we doubt not, Sir John Medina studied well bis subject. He visited most of the Scotch nobility, and, probably, the family to which this portrait belongs, and whose fortunes were so intimately connected with Mary Stuart’s, for in the same gallery is the portrait of John Knox who administered the sacrament for the first time at Calder House ; and there, too, Mary herself was present at a sermon preached by one of the reformed ministers, and also at a baptism of a child of Lord Livingston’s, wishing to conciliate the protestants to her marriage with Darnley. Sir David Wilkie’s unfinished picture of “ Knox administer- ing the sacrament at Calder House,” was begun there, and belongs to the Scotch Academy. Sir John Medina was the son of a Spanish officer, was born in BrnsssUs ia 1681, and died in Etlinbmgh in 1711. No. 472.—“ Portrait of the Marquis of Argyle, ” by "Walker, the painter of Cromwell and the republican party that Argyle joined, and were Oliver’s supporters, is con- tributed by Captain Spencer, and so exactly fits Sir "Walter Scott’s description of Mc.Callum More, that we give it in proof of the genuiness of a portrait which, after seeing Ward’s “ Last Sleep of Argyle,’’ might be doubted. “ Tha marquis himself,” writes the magician of the north, “ was dressed in the fashion of the period, which Vandyck so often painted. His dark complexion, furrowed forehead, and downcast look, gave the appearance of one frequently engaged in the consideration of important affairs, and who has acquired, by long habit, an air of gravity and mystery which he cannot shake off, even where there is nothing to be concealed. The cast with his eyes, which had procured him in the Highlands the byname of “ Gillespie Grnmach” (or the grim), was less perceptible when he looked down- wards, which perhaps is one cause of his having adopted that habit. In person he was tall and thin, but not without that dignity of deportment and manners which became hia high rank. Something there was cold in his address and sinister in his looks, although he spoke and behaved with the usual grace of a man of such quality.” There are few portraits of this extraordinary man, and we fancy, if it were not an anachronism, the picture might have been taken from the novelist’s sketch of him when we look at it in this gallery, or that Sir Walter had seen one like it. No. 478. — “ Wandering Minstrels,” by Ostade, is another valuable contribution from the collection at Hovingham Hall, and a good specimen of the master in the fidelity of his pencil. There is not the warmth and richness of colouring which glow in his more finished pictures, but there is everything here to tell na it is the work of Adrian Van Ostade, whose etchings we have so often admired, — ■ whose pictures have been frequently engraved,— and this, we think, among them. There is a perfect gem of this esteemed painter — No. 684, “ A Cottage Scene, ” — con- tributed by Lord Londesboroagh. It may be compared with Sir„"W. Worsloy’s larger picture — and a large one it is for an Ostade— to give ns the knowledge of his works, and show us in one the freedom, and in the other the neat- ness, of hia pencil. He was born at Lubeck, in 1610 ; and died in 1685. No. 480. — “Joseph Telling his Dream to his Brethren,” by Raffaelle, and contributed by Josh. Mason, Esq., York, is engraved ; and from the disposition of the engravings, and the tracery and colour on the canvass, we are persuaded that this work is, as represented in the catalogue, a painting from one of liaffaelle’s designs to be copied in tapestry. Penni, or U Fattore, as he is called, painted few pictures in oil, and his frescoes are mostly perished. If, then, we are right in ascribing this picture to him, Mr. Mason is fortunate in the possession of a very interesting work ; that tells its story well, and is worthy of the conception of Bafiaelle, and the copying of hia favourite pupil. He was born at Florence in 1488, and died in 1528. No. 481. — “ Hawking,” by Wouvermaus, contributed by the Lord Fevorsham. Among the most remarkable pictures in this Exhibition, is this masterpiece of the Flemish school, painted by Philip Woavermans. There is a fine field for a hawking party on this canvass, and the chiaro- scuro in landscape is here seen to perfection, the broad shadows are transparent, and the perspective is excellent. Under a dull sky, the scene is animated with sportsmen and horses in a variety of attitudes, and scattered in parties ii20 at distances, marvellously kept in tlioir different propor- tions. Ine grey tints of the colouring are enlivened by the judicious treatment _ of the figures, correctly drawn and tastefully finished with a delicate and spirited pencil : it is m fine, a proof of the realisation of nature in art when the painter is faithful to his subject, and content with her storehouse of lights and shadows, diversities of colour, and the true piiuciplea of paiuting. much is a genuine represeutatioa of nature like this, to be preferred to that excessive colouring and exaggerated drawing which im- presses the beholder with the thought “ Is this fancy or k urely it is not natural I” Philip Wouvermans was bom at idaerlem in 1620, and was a disciple of John Wynants, whose landscapes he frequently decorated with his admirable figures and animais. It is said that, notwithstanding hig peat talent as an artist, he was so ill-requited for his labours that a short time before his death, which took place in 1668, he ordered all his studies and drawings to be burnt, that his son might not follow a profession from which he bad derived nothing but poverty and wretchedness. Mo. 48o^“ View of Ancient Home, Statue of M. Aurelius, &c., by Panini, contributed by 12. Swaine, E.sq., York, Sood specimen of the compositions of li Cavalier© Crioyanni Paolo Pauini, born at Piacenza in 1691. He^ went to Korne and studied the monuments of ancient p^hitecture in the vicinity of that city. His picture of •7u driving the Money-changers out of the Temple,” with figures large as Hfe, was perhaps his finest work. He died in 1758. No. 486, Tha Conversion of the Emperor Constantine,” f^*^^*^* ** Triumph of the Emperor Constantine,” by Hiulio Komano, are two small but interesting pictures by the best disciple of Eallaelle, whom he assisted in many oi his prmcipal works. He was fond of such subjects as are obtained here from Heslmgton Hall. He painted, for ' pample, Ihe History of the Trojan War,» in fresco, and m Mr. Yarburgh’s two pictures there are embattled ranks pd warlike processions, like those we read of in the Iliad, in No. 486, the sign of the Cross, however, tells us of the greatpt victory the world ever saw, and history tells us it was the marrel seen by Constantine, and the instrument of ms conversion. In No. 497» the conqueror celebrates his victory on the banks of the Tiber, in the? Homan Capitol j Imt both pictures are doubly interesting when we remember that this, the first Christian Emperor, was born in York, and we have a church here dedicated to his mother — Helena. Giulio Romano was born in Rome in 1492, and died in 1546. Mo. 487.— “Portrait of the Emperor Charles V.,” by Tintoretto, is a portrait ranking high in the pages of history, for Charles, the King of Spain and Emperor of Germany, was also a religious man, and aCassar,who after an eventful reign, saw the greatest glory in the Cross, and ren^nced the pomps and vanities of the world to embrace it. Tintoretto was born at Venice in 1512, and died in 1594. No. 488. “Portrait of Lord Bacon,” by C. Jansen . is the portrait of one whose extraordinary talents were seknow- ied^d in the time of Elizabeth, and shone in all their lustra m the reign of James I., who raised him to the woolsack. He IS here represented as Lord High Chancellor of England, an office from which he was dismissed for taking bribes himself and conniving at others for the same offence, a CTime that was then punished with fine and imprisonment. He had, however, so much to recommend him as a sound lawyer, an acute politician, and a profound philosopher that he was released from prison, had his fine remitted, and survived his disgrace five years, and at last bequeathed to our nation the results of his studies and experiments in worts of nniversal reputation. The painter was mncb employed by James the first, and excelled in neatness of pencil and clear and lively colouring, but there is a formal stiffness in his manner which resembles the pedantic tasta of his royal patron. He was born in Amsterdam in 1590j came to England in 1618, and died in 1665. No. 490. — “Interior of a Church,” by Hendrick Van Vliet, the figures by A. Vande Velde, and contributed by A. Allan, Esq., Edinburgh, is a valuable acquisition. Tha style is very different from that in Rembrandt’s interior of a church, but it is a careful work, and the production of a penoU well exercised in these subjects. The lights and shadows are not so solemn as Van Eyn’s, but it is a weU finished picture full of pleasing effects, and the figures ara correctly designed by a scarce but valued painter, which is an embeUshment not often seen. Van Vliet was a scholar of Emanuel Witt, by whom there is an interior. No. 519, belonging to Mr. Smithson. It was much valued by its former possesser W. Etty, E.A., and is full of excellent effects in the reflected lights from the windows, and the softness of its tones. No. 502, a similar subject by P. Saenredam, the figures by A. Cuyp, belongs to Mr. Allan, and was with the above-named in the collection of Varder Pott, at Rotterdam : differently treated from the rest, it is InminouB and well adapted to the manner of Cuyp in the figures he has introduced, and which, small 8S they ai©s cumot he mistaken for another’s work. No. 491. — " The Spanish Beggar No. 492. — “ Two Grey- hounds No. 500.—-“ The Spanish Musician No. 501. — “ Bloodhound,” (the last-mentioned is said to have belonged to the King of Spain), are ail remarkable pictures, and well authenticated by the most distinguished painters and stu- dents of the Spanish schools who have graced our Academy and our literature, as beingpainted by Velasquez, These pic- tures arrest the admiration of the general public asweli as of the connoisseur and the artist. We have seen a picture of a young prince and three dogs by Velasquez, and two of them are of the same breed as these greyhounds j but there is a difference in tone and finish that we should expect to find between a finished sketch lEud a highly-finished picture. The sketch, however, is more effective ; and the brown tints and shades give a solemnity, if we may so speak, to all, but especially to the Cuba bloodhound. Ha is admirably drawn and foreshortened, and as he is scenting after blood prowls into darkness congenial to his vocation. It is a most telling picture, and so is that of the wandering musician which hangs above it. The attitude is excellent, and the expression, if it is not “ without art graceful,” is “ without effort strong,” and bespeaks the acquiescence of every traveller who has returned from that sunny clime in the praise we give to this faithful delineation of Spanish character. The beggar in the other sketch is also truly Spanish, and evidently a portrait, but Velasquez was in- comparable in his rendering of such subjects ; and here they are as familiar to ns as if we met them in the streets of Madrid or the market place of Seville. No. 493. — “ Landscape, with Fishermen,” by Dali, con- tributed by J. P. Browa-Westhead, Esq., Lea Castle, Kidderminster. This is a brilliant composition, full of sun, and painted after the manner of Wilson or Claude, for_whose work, at the.height it is hung, it might be taken. N. T.Dall, the painter, a Dane by birth, must have been a close student of that great master, and^although not much known in this country, he painted many lanuscapes after he^ cam© to London in 176U, and in 1768 gaineu the first prize from the Royal Academy. He died in 1777. No. 494.—“ David and AbigaO,” by Guido, contributed 222 by the Lord I’eversham. Abigaili after her husband’s ingratitude towards David, loaded seven asses with pro- visions, and attended by her domestics, went to meet David, who seems to be struck with her beauty and modest demeanour, whilst his resentment is checked by the grace of her action. The attitudes and grouping of the figures are very descriptive, and the casting of the draperies and the colouring of the picture harmonise in this composition, where even the attendants in the background are classical and beautiful in form. It is in Guido Keni’s best stylo after he had attempted, with some success, that of tha Caracci and of Caravagio, and before it became vitiated with the habits into which he fell in his later days. The picture is a great acquisition to the gallery, and it is well placed in the most prominent position to draw attention to its excellencies, and if it sends the art student to read the life of the painter it will remind him of the necessity of seeking higher inspirations than those of art, however well calculated to refine his genius and elevate his mind, the greatest object of the Exhibition after all. The lesson will . be a good one if the fate of the gamester in the person of Guido, and of the drunkard in those of Morland and Burns, should awaken the thoughts of any who have fallen into their habits, to what they might have been under the more pure inspirations we see in the works of the painter and the portrait of the poet on these walls. Guido Beni was born at Bologna in 1574. His distinguishing character- istics were an exquisite touch, singular laciiity of execution, suavity of colour, and a general accordance of the sweetest harmony. He generally designed the eyes of his figures large, the month small, and the nostrils close. Amongst ' his most celebrated works may be mentioned “ The Assumption an alter piece representing “ Christ deliver- ing the Keys to St. Peter and “ Christ Crowned with Thorns.” He died in 1642. No. 495. — “ Battle Piece,” by Van Wyokj contributed by H. Thompson, Esq., Kirby Hall, is as fine spirited a composition as can be conceived of tbs subject. We have before adverted to it, and again notice it as one of tha best examples we have in the gallery. As a companion, nothing can be better than Sir George 0. Wombweli’s picture of a “ Naval Engagement,” by Stork, No. 605. He was a painter who made nature his master, aud he depicted all he drew from her great teachings with correctness and spirit. He has departed from his usual subjects in this picture, and given usa battle on the sea, instead of a war of the ele- ments ; and it must be confessed he has succeeded to equal the greatest marine painters. No. 499. — “ Candlelight Piece,” by Rubens, is a picture of world-wide fame, from the gallery of Lord Peversham, Duncombe Park, and to attempt to describe its merits would be as ridiculous aud vain as to gild refined gold, or paint the lily. We shall only remark that it is a rare picture, as well as a fine one, and if it were not for its surpassing excellence we should have ascribed it to Schalken. No. 503. — “ The Two Marys and Dead Christ,” is the property of Henry Ware, Esq., of this city, a gentleman who has done the Exhibition some service in his contribu- tions to the Modern Art department. This old picture is by Agostino Caracci, the elder brother of Annibale, who painted, principally at least, the “ Three Marys” at Castle Howard, the great prize of the Orleans Gallery. All the Caraccis are said to have had a hand in it, but Mr. Ware’s picture is evidently the sole work of Agostino, whose tones are more hard, unmixed, and severe than the others. If it were not so, we should ascribe it to Lodovico, whoso choice was sacred subjects. It is an efiective picture, full 22y of the Bolognese school, and of what is caUed “ passioa” ia painting. No. 609. — “ Belisariua,” contributed by Mr. Aid. Har- gro¥6, is supposed to be an original by Uerard, and there is ample evidence in the painting and the rendering to make ns believe it is so, for the picture is decidedly in the manner of Gerard'aud the classical French school, and tha ■ story is told on the canvass more after the romantic history of Belisarins, as it is written by Marmontel, than the true one by our Gibbon in his Decline and F all of the Roman Empire. It is better in colour than most of its class, and the feeling is good throughout. No. 610. — “Is it for Me or my Money,” the property of Sir G. O. WombweU, Bart., is supposed to be by a native of Denmark, called Mons. Bernado, and not “ Bernardo,” as in the catalogue. He was bom in 1624, and learned to paint under Bembrandt ; entered the academy at Cujlen- berg; afterwards travelled to many places, and finished his career at Rome, where, for fear of th'e pestilence then visiting that city, he forsook the Lutheran, and embraced the Roman faith. The patrons of art in its capital at that time employed him much, and he excelled in curious and burlesque subjects, according with the character of this pie* ture, indicated in the scroll on the table from whence it ia taken, and in the execution of the work. Hard features, and the general expression of the two faces, are of Danish typ 0 | and the story is told after the manner of Danish legends or tales. It is too common an one— the young and extravagant pretend affection for the rich and saving, and caress them with flattery, whilst their heart is there where the miser points, and the French adage replies to the Dutch scroU— < ’•> C’est I’argent gue fait tout,” Bernado died 1687. No. 611. — “ Fete Champetre,” by Watteau, the property of R. Nasmyth, Esq., Edhibnrgh, is an acquisition to' any gaUery, and a chaste and beautiful example of this great master’s gallant and pastoral subjects and the grotesqqs* Be was born in Valenciennes, in 1684, died in I721t Ancient School. — Tenth Notice. No. 614. — Copy of “ The Roger’s Titian,” by W. Etty, R.A., contributed by,R. E. Smithson, Esq. The subject of this work, called “ Noli we iangere” has often been painted, but never more beautifully than in this copy by the greatest colourist of the British school after the greatest colourist in the Italian. The incident is related in the Gospel by St. John, 20th chapter, 16th and 17th verses, where the Magdalene, after mistaking her risen Lord for the gardener, recognises Him when He says “ Mary,” and on approaching nearer to Him to express her afieetiou and surprise, He says “ Touch me not,” or asitis in Latin “ Noli me tangere.” The attitudes of both figures, and the expressions of the countenances are good interpreters of the scene, and a rich background, which Titian and Etty only could paint, gives character to tha colouring of the whole. • The original picture was bequeathed to the nation by Samuel Rogers, Esq., the poet, and a great patron of art, a friend and admirer of the painter, who is the pride of his native city, which he always called “ Dear old York.” No. 518. — “ St. Paul,” by Leonardo da Vinci, contributed by Lord Feversham. We have noticed this exquisite picture in our critique of No. 425, but we aannot pass it by without repeating our admiration of its great characters of truth, brilliancy of colour, and surprising effect.. We acknowledge that it may have been somewhat impaired by those acci- dents which are common to all, and especially to a picture BO delicately painted as this, also that it is, in all probability, an early work of this great master, but we believe no work in the Exhibition will leave so great an impression on the minds of those who have seen it, or any individual obtain from the public more grateful acknowledgments than its noble contributor. No. 520. — “ The death of Procis,” by Albano, is the con- tribution of C. H. Barstow, Esq., a gentleman who has sent ns many valuable works, and two of great masters of the Italian school. We have noticed his Salvator Kosa, No, 586, and we are glad to pay a tribute of praise lo this example of a painter who was an ornament to the school . of Bologna, and is also represented by a picture belonging to Lord Londesborough, No. 689, “ A Sleeping Child.” The colouring ia more sanguine and rich iu Mr. Barstow ’a picture ; but there is more force and chiaro-oscuro in that charming little picture of a sleeping cupid or a lovely and graceful boy, and the peculiar styles of the artist (lor he had more than one style) are thus discernible iu both. He at first studied in the school of Denis Calvart with Guido, whoBO manner is evident in the picture of the sleeping bov, and at last under Caracci, whose manner is seen iu this other subject of his later choice. Ho was born iu 1578, and died iu 1660. No. 521. — “ Shooting at the Target,” by David Teniers, is the property of the Misses Crompton, the universally- esteemed and respected patrons of all that is good in York, and we are glad to see in this Exhibition so pieusing a contribution to our gallery. It is a representation of the famous exercise in Holland, which has furnished artists with its practice for their subjects, and its hotel-keepers with its prizes for their signs. This specimen is of the former class, and appears to have been painted by the elder Teniers, whose tones are not so silvery as his son’s. His pencil is fully as neat, and because of his studies in Eome we fancy there is less of that after style, of which he was the author, and which the younger Teniers followed to per- fection in the wonderful variety of his works. David Teniers, the elder, was horn at Antwerp iu 1682, and died in 1619. j No. 623. — “Cat and Poultry,” by J. Fyt, contributed bj H. S. Thompson, Esq., Eirby Hall, is the work of one of the most esteemed artists of his day, and who was remark- able for the spirit and exactness with which he painted such subjects as the “ Cat and Poultry,” even to the hairs ■ of the animal and the plumage of the fowl. It reminds us of Jisop’s fables, but it is a sketch from nature and not from fancy, which some may think exaggerated and ludi- crous, but on closer inspection will find true in its delinea- tions, and no caricature. It is superfluous to describe the j scene. The picture tells its own story ; and if the colouring wants transparency it is impossible to varnish the fidelity of this picture to nature with more than truth, for in the words of an art critic, “ we see in it a wonderful freedom of hand, and a manner of pencilling peculiar to himself, which distinguishes the works of Pyt from those of any other master.” H^was born at Antwerp about the year 1625, and died in 1671. No. 628. — “ Christ in the house of the Pharisee,” by P. Veronese, was lent by a lady, we regret to say, now no more — Mrs. Smith, of Acomb, a liberal contributor to this Exhibition from the first. We think this picture a study ' for those who desire to paint religiously-saered subjects, ' and to excel in high art. It is grouped iu three parts, the left of the triptych in the salutation intimates baptism to the spectator ; the centre, in which Christ is forgiving tha penitent, absolution ; and the right, where the acolyte - bears the chalice, the sacrament of the body and blood of Christ. All are represented in the manner consecrated to | us by the old masters and students of the pre-Raffaellite I 225 ichool, of which we have &n example {JSo. 624) in a richlj- enamelled case from the collection of Lord Londes- borough. Paolo Veronese, ar Cagliari, was not an artist imbued with a catholic feeling to that degree which hai made the earliest works, to which deyout sentiments gave a charm, find their place in our galleries as holy precepLorSi but there is grace and reverence in the expressions of this work, and with no gorgeous Venetian apparel, a more solemn tone than we have usually seen in his larger pictures* He waa born in 1532, and died in 1688. No. 534. — “ Landscape,” Pubens. Mr. Leonard Thomp- son possesses in this picture an uncommonly good example ^ of the great master of the Flemish school, for although we have seen a few landscapes by Pubens we have never seen one so smaU as this. The great ** Painbow picture,” shown at Manchester, is painted in many respects like it, but, of course, the pencil is bolder, the colours are dashed off with greater freedom, and all is grander and broader. From the neatness of the pencilling in the landscape and delicacy of touch in the figures we should be inclined, at first view, to suppose it was by Velvet Breughel, but there is not the blue tint for which he was noted, and examples 'of which may be referred to iu the contributions of Wm. Gray, Esq., of this city, Nos. 441 and 512, “ The Landing Place,” from the late Mrs. Smith, of Acomb, No. 551, and “ Figures with Wreath,” by Pubens and Breughel, from E. Swaine, Esq., of this city. In each of these there is great neatness and delicacy of touch, and minuteness and accuracy of drawing, and Mr. Gray’s especially are very highly-finished performances, but the design and the perspective are not like Mr. Thompson’s picture, whose distances are approached by more gradual advances, the figures are fewer, the trees are less stiff in their branches, and more varied in their foliage, and, if we may venture on another comparison, there is a combination of the styles of the Breughel’s and the Claude’s, in this picture, beauti- fully managed by the art of Pubens. Lord Londesborough*s “Claude,” No. 530, close by this Pubens, may test this opinion, and it is a lovely picture at the same time to contemplate. No. 535. — “ A Lady, who has turned up the Ace of Hearts, ”.by M. V. Masscher, is contributed by Lord Lon- desborough, and is a very telling picture in its way, for it is worthy of Metzu in design and colouring, and of Francis Mieris iu finish. The winner of the game is per- ' haps a portrait, for Masscher was a great portrait painter, and the poor pigeon who is stealing away into the shades of the background looks as if he could turn back and take his revenge as an assassin of the Thais of the day and the spoiler of his heart and fortune. Large prices were paid to Van Masscher for his pictures iu his time, and it is not easy to meet with them in ours. He was born at Potterdam in 1645, and died in 1705. No. 536. — Lady Clark’s picture of “ Saint Cecilia” is also apretty example of a master little known, and whose name, Muryiano, is written behind the picture. No. 538. — “ Landscape,” by Patrick Nasmyth, is a very acceptable contribution by G. A. Hill, Esq., Bolton Hall, for we can compare the works of the son with the fine examples we have of his father’s, Alexander. And although we give Patrick the pieference, Mr. Westhead’s picture of the “ Bridge of Augustus,” in the modern depart- ment, cannot be forgotten, and whoever has seen it will hesitate about the comparative excellences of the father and the son, when both ai'e so tasteful in their designs and finished in their performances. Alexander, the father of landscape painting in Scotland, was born in Edinburgh in 1750, and died in 1840. Patrick, son of Alexander, was 226 born in Edinburgh in 1787, and died in 1831. No. 689.-7-“ Portrait of Mrs. Turner," by Sir Joshua Reynolds, is contributed by Lieut.-Col. Van Stranbenzie ; and No. 608, “ Portrait of Dame Mary Noroliffe,” is by the game artist, and contributed by Mrs. Norcliffe. They are, therefore, genuine pictures by the greatest master in art, and the most accomplished writer upon it our country has produced, and it is a great compliment to this Exhibition , when they are lent to it by the good old Yorkshire families, . whose ancestors sat for these likenesses to the first pre- sident of the Royal Academy, whose taste, grace, and facility was equal to the great masters of the renowned ages, and in portraits went beyond them. Sir Joshua was born at Plympton, in Devonshire, in 1723, and died in 1792. No. 648. — “ The Wise Men’s Offering,” by J. Van Oost, is a fine specimen of the Flemish school, and it is the property of the Hon. Payan Dawney. The colouring is full of freshness and purity, and the architecture in the background is an embellishment which the painter intro- duced into most of his compositions. Jacob Van Oost, , called the elder to distinguished his picture from his son’s, ’ was horn at Bruges, in 1600, and died in 1671. No. 644. — “ Cabinet Picture of Queen Elizabeth,” by Young, is contributed by Sir J. V. B. Johnstone, Bart., M.P. ; and there is another portrait of her at a matured age. No. 396, by Zucehero, from the collection of G. J. Yarhurgh, Esq., the pendant to the portrait of her favourite ' courtier, the Earl of Leicester, by Janssens, No. 398, from the same gallery. They are evidently correct likenesses, and interesting to the readers of history and romance, who will remember Sir W. Scott’s “ Kenilworth,” and the visits of Leicester to Cumnor Hall and Amy Rotsart. j No. 649. — “ Susannah and the Elders,” by Guercino, I contributed by Leonard Thompson, Esq., is painted in the I artist’s first style, which was not so sweet in tone or I graceful in form as his second, and best, which was more I after the Roman Flemish and Venetian schools, and of j which we have an example in Mr. Allan’s picture, No. 640, ; “ Matron and Child,” as striking a work as any in this i gallery. It is indeed simple in conception, but tender and harmonious in all its force of expression and colouring. Mr. Thompson’s picture is as like Caravaggio as Mr. Allan’s [is like Murillo, and both, therefore, suit their subjects. The deep shades and strong lights afford a becoming contrast to the depraved Elders and the chaste Susannah, and there is nothing insidious or vulgar in this grand composition, which, because of its deep shading and subject, a false and ignorant would-be ciitio has pronounced as dark and indelicate. Francesco Barbiere, called Guercino, was bom at Cento, in 1590, and dieu in 16 6. No. 650.—“ The Marriage of St. Catharine ” is a finished specimen of Parmegiano, whose family name was Francesco Mazzaoli. It is a cabinet-picture from the gallery of the late Mrs. Smith, of Acomb, and it is a privilege to see the style of this exquisite painter so well represented. The colouring is excellent, the cbiaro-oscuro perfect, and there is much beauty in the character of the heads, and sweetness of expression. Parmegiano was born at Parma in 1603, and died in 1540. No. 657.—“ The Entombment of Christ,” by Spagnoletto, is from the same collection, and a noble work of the great master whose pictures are so well known to all who have visited Spain and Italy. He is there more generally known by his family name (Guiseppa) Ribera, and his powerful and effective style is much appreciated. His taste was for gloomy and austere subjects, and if there is something of this character in this “ deposition from the cross,” it is 227 Zi/ relieved by the pathos and depth of religious feeling in all the expressions of the several figures. Spagnoletto was born at Xatiua, about ten leagues from Valentia, in 1689, and died in 1656. No. 578. — “ The Woman taken in Adultery,” by Morealese, is also one of Mrs. Smith’s pictures, and the work of an artist little known in England. He was called in Italy the Sicilian Baffaelle, and certainly there is much of the grace of Baffaelle in the figures of our Lord and of the sinner, but we think it partakes more of the character of the Spanish school in all its expressions, whether we look at the countenances of the accusers, and especially of St. Peter, which shows his satisfaction at the test put to their motives and conviction, or indeed at tha ' more dignified air of Jesus, and the downcast face of the guilty one, for all are full of character, but not of the style of Baffaelle. The hair of the Saviour is also black — a colour not given to it in Italy, but which was adopted by many of the Spanish painters, and perhaps derived from the life studies in their native land. No. 659. — “ The Angelis,” D. Teniers, contributed by E, Parsons, Esq., isapecnliar picture, asit represents a female figure in a Hutch chamber, surrounded by culinary vessels and the usual furniture of their kitchens, praying to the Virgin or some other object of her devotion. We would venture, therefore, to suggest to Mr. Parsons, who is tha owner of this clever work, that the figure is painted by Peter Angelis, who often introduced fruit and fish into hia pictures, and who imitated the style of Teniers in his interiors. He was born at Dunkirk, in 1686 ; visited Flanders and Germany, and came to England, where he probably painted this picture, during hia aisteen years’ residence. Se died in 17S4- No, EGO. — “ Landscape, with Figures,” by Wynants, con- , tributed by B. Nasmyth, Esq. This is also a true repre- sentation af nature, and it is interesting as a painting by the master of Wouvermans, who sometimes introduced the figures, hut we think not into this picture. The works of Wynants are scarce ; and the chief beauty in this example lies in the clear study of the trees and plants, and the broken grounds, which are a faithful transcript of his country scenery. It is as carefully painted as any pre- Baffaeilite could paint leaves and weeds and broken walks, hut without hia embellishments and inventions, and is thus a study for the artist who wishes to master the diffi- culty of pencilling accurately without exaggeration, and finishing, with unconstrained touches, those imitations of nature, which must be spirited and free to give the desired effect. John Wynants was born at Haeiiem in 1600. Ha died in 1660. No. 561. — “ Virgin and Child,” is contributed by the Ven. Stephen Creyke, Archdeacon of York, as a supposed Correggio ; and it is certainly his style, and no other’s, and a beautiful easel picture. His name was Antonio Allegri ; he was horn at or near Correggio, in 1494. Ha was remarkable for harmony in light and shade, and one of the four great luminaries of art at its supreme establish- . ment in the sixteenth century. He died in 1534. I No. 563. — “ A Cistercian Monk, ” by Murillo, is the property of the Bev. G. H. Philips, and a good specimen of the truth of character we see in all his pictures. It is probably a figure cut out of a larger picture. Murillo was born at Pilas, near Seville, in 1613, and died in 1685. tS.No. 568. — “ Sea Piece,” the property of L. Thompson, Esq., is the work of Williem Vender Velde, called the old, who was a correct and admirable designer of sea pi ces and sea fights, as may be seen in an admirable drawing of his belonging also to^Mr.iThompson, which is placed in the :228 gallery of the great hall, No. 679, in this Exhibition. Ho admired the construction of English vessels so much that ha settled in England with his family, and had appoint- ments under Charles II, and James II., with a good salary. It is observed that in the latter part of his life, he painted : in black and white, on a ground so prepared on canvass as to make it ihave the appearance of paper, and this is verified on Mr. Thompson’s contribntions. He wag born at Leyden in 1610, and died in 1693. No. 669.—“ Christ healing Peter’s Wife’s Mother,” by G. Metzu, contributed by A. Allan, Esq., is an unnsnal subject of tbis rare master, and if it lacks the silky softness of the follower of Gerard Terburg, it is not deficient in correctness of design and facility of pencil. This painter, in fact, has been compared to Taudyck in this respect, and in the painting of heads and hands. He was bom at Leyden, in 1615, and died in 1658. No. 570.— “Fruit and Flowers,” signed “Van Os,” the property of G. A. Hill, Esq., Bolton Hall, is a sweet little picture, and true to its subject. No. 671. — “ Fruit Piece, by M. A. Caravaggeo, the property of L. Thompson, Esq., is a remarkable example of the faithfulness to nature which characterised the works of Amerigi, called “ II Carravaggeo” because of his birthplace of that name in the Milanese. He excelled in truth of colour as much as in what has been ’ called “ his servile obedience to nature,” and thus we have the grapes of Italy in this picture fleshy, and with no hot- house or exotic tint about them. Pomegranates, with their thick, smooth, and brittle rind, and their cells full of crimson pnip, as if nature herself had painted them. It is a study for any artist who wishes “to penetrate the sub- stance of the thing before him.” We should make an ungrateful omission if we did not here refer back to Mr. H. S. Thompson’s picture of “ Flowers and Fruit,” by Baptist, No. 533, in tbis catalogue, for it is a valuable contribution, and, although darkly painted, a most elaborate composition, which will bear the minutest inspection, and leave every one pleased with the variety and accuracy of his groups. Mr. Penrose, of this city, has also contributed a “ Flower Piece,” by Eaohel Ruysch (No. 541), which is a little gem amongst these subjects. The delicacy of the pencllliug, and the vividness of the colouring, are admirable in the flowers, and the insects are really wonderful. She was born at Amsterdam in 1664, aud died in 1750. There is a “ Fruit Piece” also belonging to Lady Clark, No. 658, which is a good example of John David de Heem, a painter who has been said “ to embellish rather than to imitate nature.” He aud Rachel Ruysch were the most distin- guished in this branch of art, perhaps, at any period, and- their works bring great prices in Holland, where floricul- ture is much in vogue. No. 574.— “ Portrait of the Countess of Lucan,” by - Romney, is contributed by Sir G. 0. Wombwell, Bart., aud it is the admired of all beholders. Romney has surpassed himself, aud rivalled Reynolds and Gainsborough, his patrons and guides, after he had left York and returned to London a second time. The beautiful features are exquisitely pourtrayed in surprisingly fine “ linear ” per- spective, and the eye, “ that most pure spirit of sense,” as Shakespeare calls it, is as pensive and sparkling as the cheek is rich in carnations and lovely. It is an inspiration from a model fuU of grace and elegance. We have before noticed the “Portrait of Lady Ann Wombwell,” No. 610, which also belongs to Newburgh, and we think that picture, which is by Gainsborough, and this, by Romney, his successor, amongst the greatest charms of this gallery. In Gainsborough’s full-length portrait the dress “ in silken •229 sheen” is wonderfully painted, and the expressions in form as well as feature are so agreeable and unaffected that we , cannot help quoting Milton’s famous couplet, — “ Grace was in all her steps, heav’n in her eye, In ev’ry gesture, dignity and love.” No. 575. — “ Cupid,” by Domeniehino, is a beautiful little specimen of the master, simple and graceful, and which corresponds in size with Lord Londesborough’s other con- tribution. No. 589, “Sleeping Child,” by Albano, already noticed. No. 58S. — “ The Adoration of the Shepherds,” byBassano. We are indebted to the Misses Crompton for this example of Giacomo de Ponte, called II Bassano, and to C. H. Lunhill, Esq., M.D., of this city, for the same subject, by the same artist. No. 551. It was one he often painted, and it is so treated in all his performances, that there is no mistaking the master, who lived in a mansion on the banks of the Brenta, and selected his figures from among the rustics who dwelt about him, and the cattle that fed in the pastures. He painted brazen vessels, and all kinds of accessories to his main figures, after the iD^odels at his doors, and he waa therefore wanting in dignity ; but there is much that is simple and natural in his compositions, and his colour is decidedly good and sometimes harmonious. He was horn at Bassano in 1510, and died in 1592. No. 582. — “ An Encampment,” by TiUemans,the property of L. Thompson, Esq., is a picture we had nearly passed by, but it is so good a specimen of the master that we must beg attention to the accuracy with which a liiely scene, with numerous groups of figures, is represented, and also to the free and spirited manner in which he has introduced the styles of Bourgoynone and Teniers, whom he copied. Peter TUlemans was born at Antwerp in 1684 and died ia 1754. No. 587. — “ Banditti and Cave,” by Peter de Laer, is the property of J. Singleton, Esq., Pocklington, and we suppose from its subject must have been painted whilst the artist was studying in Italy. Although inferior to Wouverman’s in touch he is thought to have surpassed him in energy and variety of character, as this example proves. He was born in Holland in 1613, and died in 1675. No. 688. — “ Landscape — Italian Scenery,” by B. Wilson. Thanks to Mrs. Starkey for this excellent specimen of “ The English Claude” — it is as ornamental to this gallery as the Morland and the Sidney Cooper’s are to the modern one, and all are just what we wanted to represent the best styles and peculiarities of the respective masters. Bichard Wilson was a Welshman, and as he went to Italy to study art in the picturesque, we are not sur- prised, that he preferred landscape, and warmed with brighter suns he felt a glow given to his fresh and early inspirations from the canvass of Claude and the scenery in which he revelled with admiration and rapture, as an enthusiast and a student of art. The waterfalls of Terni evoked the expression, with an oath, “Well done water ,” and the cascades of Tivoli, the temples and the villas of the ancients elicited his judgment and taste, whether he selected them from the olive-clad hills, the ■ craggy mountains, or the dreary campagna of Borne. In this little picture he shows us also how he could make the commonest piece of garniture accessory to his design to represent Italy, for the umbrella is there to shade from the snn, and it is so nicely managed that even this homely figure in this composition, like dll the rest, helps to the desired effect of a purely Italian picture in all the local characters of the landscape and the figures he has intro- duced. He had an eye to the same consistency at home. 230 and composed his pictures .on the tanks of the Thames as he did on- the banks of the Tiber, with their appropriate characters of freshness and verdure belonging to our country and onr clime. It is a melancholy fact that the man whose merits ZuccareUi recognised in Borne and Vernet brought into repute by the purchase of an early picture, which he placed in his own Exhibition Boom, was long neglected by a tasteless public at home, and, as Fureli writes, “ died nearer to indigence than ease, and as an asylum from the severest wants incident to age and decay of powers, was reduced to solicit the librarian’s place in the academy of which he was one of the brightest ornaments.” He was born in Montgomeryshire in 1714, and died in 1782. We are happy to say the scene is changed since then, for in this onr day a man of Wilson’s merit would realise a rapid fortune, and his pictures would not be long without • purchasers, even if to be had for sale in an Exhibition like this. No. 690.— “Portrait of the Duke of Marlborough,” ia tb» likeness of John Churchill, the greatest captain of the age, and the great favourite of the Courts in the reigns of William and of Queen Anne. We owe especial thanks to Sir W. Worsley for a painting of this character, for the portraits we have seen of the Duke of Marlborough have been generally taken later in life. He ia the handsome man of his time, as we here see him, in the prime of Ufa, and with just that air of self and the world in his conn* tenance we should expect from such a character. No. 691, Portrait of Lord Godolphin, No. 601, of Charles Edward, the Young Pretender, and No. 608, of the Prince of Wales, afterwards Charles the 2nd, are all contributed by G. J. Yarburgfa, Esq., and historically interesting. The. young Chevalier is certainly handsome, and if biography were called in to confirm physiognomy, the evidence would be complete in the picture of “ Charley, my darling,” whose bonny blue eyes and regular features are of the true Stuart race. The features of Charles the 2nd were harsh, and his complexion was not florid, like that of James Stuart, Charles his son, or the Cardinal York, but all their countenances were pleasing, and their manners attractive. The more saturnine countenance of Charles the 2nd, when Prince of Wales, gives the contrast between him and the descendant of his brother, who lacked his wit and cleverness, but shared in the same constitutional love of pleatores which no adversity could teach them to relinquish. No. 694. — Subject unknown, painted by Domeuicho Fati, the pupil of Murillo, contributed by Lord Teignmonth. This may be called an eleemosynary picture, and it is placed in a corner where the main figure, like Diogenes in his tub, indulges in his cynicism and repeats the old Latin proverb, PecunisB obediunt omnia,” for the initial* of the adage, with some additions which make it more applicable to the painting, are inscribed on it. The beggar is clothed in rags, and the contributions of the charitable are at his feet ; a brother of some religious fraternity is asking for more at the entrance to the cloister, and the mendicant compares his vocation with bis own, and, pointing to the coin, tells ns that the old Latin proverb, which is rendered in English “ All things are obedient to money,” or, in the words of the proverb, “ Money makes the mare to go,” is suited to everyone, for, as it is money all want, says he “ So marry we are beggars all, my masters.” We respectfully suggest to the noble owner of the picture this interpretation. Tiro characters are all of the true Spanish type, after the manner of Murillo, who made nature his guide in those subjects which are so much admired in the Dnlwich Gallery and the Louvre, and wherein he hy depicted the 231 bf.^gar boya of SeviU© wi&h perfect Hi© pupil see^s alfao to have sketched froiii th© Ufe this ^qU feU@w* wh© is a vulgar observer of mea and laanners, aad whilst he live* on alma thinks himself only like all others, “ a beggM,” and hugs himself iu his rags with this Hatteriag hactiOB* It 13 full of the forcible pencil and style of Marillo, bal wanting his suavity and tenderness of manner. No. 597.—“ Portrait of Oiies Earl, Eeg.,” painted by Sis W. Beeehey, B.A., contributed by the Hon. Payaa Dawnay, i is the likeness of an old English gentleman, who was a ! man of refined taste, cnltivatsd in Italy. _He is dressed is the costume of his day, when gentlemen did not dr«is only for dinner, and w6 own we like the attira which fli*» tingnished the squire from the peasant, whilst every feature i©f his handsome face beams with ira© gentility. Mr. Beresford Hope gave us, lately, some humorous satires on the modern coetuma of the fair sex ; and if, ai he fired high , he shot a duck, a soland goose, a pheasant, or, perhaps, a bird of paradise, we may pass on from the powdered head, and the well-fitting coat of Sir W. Beeehey 's aristocratic sitter, to the portrait of Mrs. Hutchinson, a lady belonging to a school whose bonnets would protect them. It is the next picture. No. 698, and a family portrait, belonging to F. Bell, Esq., Thirsk. It has been much admired as m picture of the genuine class of gentry, in the days of Kichardson and Fielding. They have described their occtt* pations in their novels, at home and out of doors ; and hers is what our rustics would call a “ real” lady, ready to go out on her kind and charitable errands, and to give, wherever she goes, a protest, in her own person, against the seductive finery which now takas the fancy of oar country girls and servants. We venerate these pietures, and if any should laugh at the green bonnet of Mrt> Hutchinson, or smile at Mr. Earle’s large green um- brella, we would desire no worse punishment for them than the reproofs they would receive if those lips could ■ give them utterance. No. 699.—“ Landscape,” by A. Waterloo, the property of ' W. Eudston Bead, Esq., is a genuine speeimen of this artist’s much valued landscapes, which are always treated with truth and nature. He took his scenery from his own neighbourhood, Utrecht j and his colouring is chaste, his touch not overlaboured but spirited, and all his work is characterised by an interesting simplicity. No. 600. — “ Portrait of Lady Milner,” by Romney, con- tributed by Sir W. M. Milner, Bart. We should take this picture to be by Gainsborough, and whoever compares it ■ with No. -610, and particularly as to the background, wa think, will agree with us. However, Romney copied Gainsborough, and, as he practiced portrait painting in York, he may have attracted the notice of this good old family, and Lady Milner may have afterwards gat to him in London, where he was much in favour with Gains- borough. It was, perhaps, York, too, that suggested his picture from Laurence Sterne, “ Tristram Shandy ; ” but, however that may be, tbe composed grace in this picture is admirable, and the portrait is aristocratic. No. 604. — “The Martyrdom of St. Sebastian,” by N. Poussin ; No. 605. — “ Th Flight into Egypt,” by Claude le Lorraine ; and No. 607. — “ The last Communion of St. Jerome,” were all contributed by the late Mrs. Smith, of Aooiub, and command a marked notice. The “ St. Sebastian” is painted better than in N. Poussin’s usual style of colouring ; it is less opaque, and brighter ; the air and attitude of each figure is a study, we think, from the ^ nune and, afterwards, touched up with the best colours of his palette. It is seldom a martyrdom forms so agreeable 232 a picture, and we have no doubt it was considered aa acquisition of no common value, when, according to the inscription behind the canvass, the payment was receipted fey the painter. “ The Flight into Egypt” is a grand landscape, dark as the foreground requires, but trans- parent, and the distance is luminous. The perspective is excellent, the colouring harmonious, and the figures as good as Claude- usually painted them. “ Xhe Com- munion of St. Jerome,” is most probably the easel picture from which Domenichiuo painted his great picture, now in the Vatican, for if we note the omissions named in the catalogue, it is, at the least, strong presump- tive evidence of a design, made before the two figures, in the background, were introduced as portraits. They have nothing to do with the subject, and the crucifix and altar lights are precisely the additions we should expect when the grand work was to be finished. There are also varia- tions iu the outlines of the heads and postures of the figures which tvill not escape the observation of a critical inqjiirer, if he looks at the fine old engraving from the picture at Borne, which is to be seen in the gallery of the great hall of this building where the armour is exhibited. It is no trifling acquisition to any gallery to have this example of great art and transcript of a chef d’tBuvre which vies with that of BaSaelle’s in the Vatican in point of excellency. Domenichiuo or Domiuico Zampi'ere was bom at Bologna, in 1681, and died in 1611. No. 609. — “ Holy Family,” by Baroccio, contributed by C. H. Duuhill, Esq., M.D., is a fair specimen of that style of art which was. so generally adopted for what we call sacred family subjects. Correggio excelled in this, and Baroccio emulated Coreggio — if not successfully, still With suflicient skill and taste to make agreeable pictures. He was born in 1628, at Urbino, the birth-place of Baffaelle, whom he copied in design. He died in 1612. No. 611. — “ Portrait of the son of Dean Wanley," is a family picture belonging to Mrs. Whytehead, of this city, and it occupies the same place in our esteem with Nos. 697 and 598, as it represents ancient costume, and although quaint, it is the faithful portrait of a young gentleman, who might have been of the family of Qrandison. He has his pet bird the goldfinch, perched on his finger, and both bird and boy are well painted. No. 612. — “ Portrait of Col. Allan,” iu the uniform of tko 18th Hussars, is a really good example of the beat portrait painter, and the most extensively employed by the nobility and gentry of Scotland. We are glad to see it here, for Sir Henry Baeburn, B.A., was an accomplished artist. No. 613, contributed by the Bev. F. O. Morris, is one of the best coloured pictures we ever saw from Sir B. West’s studio : and No. 617 is also a portrait we are glad to see, as. it is painted by Copley, the father of the late Lord Lynd-' hurst. No. 616. — “ Landscape and Cattle," is a fine picture of | that peculiar style “ Boaa di Tivoli,” adapted when he studied landscape painting at Tivoli, and introduced animals into his compositions, which he sketched from his menagerie kept for the purpose. It is contributed by H. S. Thompson, Esq. No. 619 is also a picture that iUustrates his style, and is contributed by Joseph Masen, Esq., of this city. We must not omit No. 614, a charming sea piece, by Peter Monamy, a native of Jersey, who painted in the style of Vender Velde. No. 623, " Domestic Fowls,” by L. Cradoek, is a pictoro from Heslington Hall, and a genuine specimen of the painter’s works, which are always of English domestic character. Lake Cradoek was born at Ilchester in 2.660, sad died in 1717. 233 Eleventh Notice. — The Water Colour DeAwikss, Having conducted our readers through the eastern an3 western galleries, containing the pictures of the modem and ancient masters, we this' week commence our critique of the Water Colour Drawings, Miniatures, and Statuary, but it must necessarily be brief, as the present will be the last opportunity we shall have of remarking upon this admirable collection prior to the close of the Exhibition, and the various works being distributed to their respective owners. We regret this, but we have found so much to say about the pictures that have already come under oar observation that those remaining can only be partially noticed. No. 624. — “ Sibyl Head, Kerry” ; No. 792, “ Coast of Tintagel” ; and No.- 823, “ Sibyl Head, Kerry,” are painted and contributed by Mr. J. C. Eobinson, son of the Rev. J. Robinson, of this city. They are exceedingly clever pic- tures, painted with considerable care and faithfulness to nature, and we are glad to observe. that two out of the three have met with a purchaser. No. 625.-—“ Morning in the Alps,” by W. Moore, is a sweet picture, highly finished, and very true to nature. We are sorry our space will not permit us to notice fully this artist’s numerous works, for they possess so much merit that they ought not to be passed by without remark, and yet we are compelled to content ourselves with little else than their mention. No. 663, “ Mont Blanc,” contributed by E. Swaine, Esq., is Mr. W. Moore’s largest work, and has, we understand, been the means of obtaining for him several commissions for similar pictures. No. 760, “ The Eorest Glade,” contributed by the Rev. W. E. Harrison, is to our mind one of the very best water colour drawings which have come from Mr. Moore’s studio ; and perhaps the next in merit is a small picture. No. 779, “ The Burn amongst the Heather.” We may add that Mr. Wm. Moore’s contributions are natural, and are remarkable for their good drawing and harmony of colour. No. 627. — “ View near Meron” (Tyrol), by P. L. Bridell, the property of Miss C. Holder. No. 802. — “ Ave Maria at Bolzano, Tyrol — sunset and No. 766. — “ Junction of the Tyrol and North Italy,” by F. L. Bridell, contributed by Mr. J. C. Swallow. These three water-colour drawings, though small in size, are worthy of study ; the first for ita sharpness, the second for delicacy, and the third for colour J each is distinct in composition, detail, and colour, yet all evidently by the same hand. This artist is more known by his works in oil than water-colour. P.W. Bridell was a journeyman house painter. At eighteen years of age he applied to Mr. C. Holder to teach him painting, to whom he became apprenticed for three years ; at the end of that time he had done nothing to remunerate his teacher, and voluntarily bound himself for other three years to show his gratitude. At the end of the first term a certain amount of talent was evinced, which induced Mr. Holder to send him to Rome. A lew of hia paintings reached Mr. Holder, but very shortly Bridell discovered they were valuable, the supply ceased, but ulti- mately Mr. Holder obtained some few of his works, the only payment received for board, lodging, education, and assistance in money. The reason we have been thus particular is, that justice may be done to our late fellow- citizen, Mr. C. Holder, and his reputation thus cleared from an unjust accusation made in the Art Journal, at the death of Bridell, that he had in effect been taken in and farmed. The early works of Bridell present little of the genius he afterwards displayed, but indicate an inoffensive nothing- ness ; by training and careful study, was brought out bril- 234 liant talent, which, had he lived, would have produced many more works for our admiration and esteem. No. 628. — “ Scarborough from the North Beach,” by J. P. Jackson. Any one who, some few years ago, was familiar with the works of this artist, will see a great difference since then. The colouring is brighter, and the drawing better ; but, even yet, a great improvement might be made. There is a hardness and manner still left which detracts from the beauty of colour and the many varied forms. The view of Scarbro’ is pretty in all its details, but it wants quiet or “ repose.” Colonel Akroyd, M.P., contributes a number of works by this artist, and one of the beat is No. 679, “ Filey Bay,” a coast scene, curving ■ round and in and out in the prettiest way possible. No. 629 and No. 820 are companion pictures byC.Vacher, and contributed by Mrs. Taylor; they are called “ Pano-' rama from the Theatre Tormania, Sicily,” and are most interesting drawings, exquisitely painted. The works of this artist are clever aud pleasing, and fairly represent, the modern works of the English water-colour school.. Combining solid white with transparent colour, the effect is produced with less labour, and a nearer approach made to the ordinary oil painting.” The two drawings before US r6prG86iit tii6 glow of sunsot uud tli6 brilliflucy oi morning light. The scene is thus described in Knight 9 Normans in Sicily,”—" But the glory of Tormania is beyond 1 — the celebrated view of .Etna from the ruins of the Greek Theatre 1 — certainly one of the finest views in the world, and one of which words, and even the pencil, can impart but a faint idea.” ..." The ruins of a Greek Theatre, with a sea of amethyst seen through the broken arches, might suffice of itself ; but then comes .Etna beyond, displaying the whole of its magnificent flank, aud sweeping down to the ocean. Bits of the town, an old fortress above, a sugar-loaf village behind, with various heights and peaks more or less distant, fill up a scene which is rendered doubly enchanting by the atmosphere aud the sun that reveal it so distinctly and so brilliantly. Turn round, as you stand upon the upper row of seats, and you have the mountains and the coast all the way to Messina, ancient tombs, headlands, and promontories f — a combination sufficient of itself to make the reputation of any other place.” No. 630. — " Coxwold, as seen from Newburgh,” and No. 821, “ Newburgh,” the seat of Sir G. O. Wombwell, Bart., are both painted by Coleman, and contributed by Sir G. O. Wombwell, Bart. Coxwold is the parish of which Lawrence Sterne was the incumbent. The mansion, about 800 years old, and the church, are fine features in our domestic scenery, where time has not obliterated the vestiges of olden days in the buildings that wep conse-. crated to religious worship, aud a noble hospitality. The supporters of these are seen in many of their portraits in the ancient galleries to which we have referred, and their love of art is evidenced in the various subjects of pictures, acquired from the easels of the favourite painters of the day. No. 631.—“ Storm off Walmer Castle,” by Ed. Duncan, F.R.S.A., contributed by Capt. McCulloch, York, has all, this masters’ spirit of composition and thorough knowledge of light and shade. He seems to have studied English [ scenery in all its various phases, with the incidents appro-! priate to each, with a truthfulness of observation in wuich. few have surpassed — perhaps none have equalled him. In coast scenery, with shipping and ciaft admirably characterized, he is perhaps most happy ; and the drawing new under notice representing the " ocean into tempest rocked” is one of his most successful pictures. Captain 235 McCulloch possesses some good oil pictures lu the modem gallery, but none better thau this fine example of Edward lluncan. No. 032. — “ Bridge of Callender,” by Copley Fielding, contributed by the Lady Mary Thompson. This drawing is one which cannot fail to find admirers among all true lovers of art, illustrating, as it does most strongly, the simple means by which nature may be most powerfully represented. The colouring is quiet, the tones are har- monious, aud the atmospheric distance is wonderfully given. This drawing stands alone in its calm, unassuming dignity of presence, if we cau so speak of a picture. Wo have another example of this celebrated artist’s work in No. 681, “Ben Cruachan,” contributed by Wm. Gray, Esq., York. No. 633. — “Cattle,” by S. Cooper, it. A., contributed by Mrs. Hotham. It is curious to turn from the larger works in oil by this artist to the present beautiful little drawing in water-colour, and to remark how much the individuality of mind is shown forth in the two styles, both possessing the same exceliencies of mellow colouring aud broad effect. This little study of cattle is one of the best drawings in the water-colour galleries. No. 634.— “Robin Hood’s Bay;” No. 654.— “ Douglas Harbour, Isle of Man No. 686.— Squall off Whitby No. 751.—“ Cornelian Bay No. 762.—“ Scarbro’ Castle No. 895.—“ Fishing Boats off Whitby are contributed by E. Smallwood, Esq. ; No. 811. The Exeter Canal,” the property of Henry Anderson, Esq. ; No. 670.—“ The Light- house, Isle of Man,” contributed by Capt. M’Culloch ; No. 883.— “ Scarbro’ and No. 885.— “Robin Hood’s Bay,” belonging to H. J. Rowutree, Esq., are all painted by H. B. Carter, an artist who delights in depicting raging storms, waves mountains high, inky skies, and forlorn tossed ships ; and this he succeeds in doing with grand effect. Carter is certainly well represented in these galleries, both as regards numbers aud the artistic excel- lence of some of the drawings. No. 637.—“ Louvaine Cathedral, ” contributed by G. Dodsworth, Esq.; No. 655, “Canal — Venice,” contributed by the Lady Mary Thompson ; No. 666, “ Portico of Octavia, Rome,” contributed by Mrs. Hotham ; and No. 674, “ Dover Pier,” contributed by Colonel Ditmas, are all painted by Prout, aud are very good examples of the free pencilling and forcible touch of this master. That of “ Louvaine Cathedral ” is decidedly our choice, and we do not remember ever seeing a more masterly and exquisite drawing of the kind ; it is full of power, light, and beauty, and is a most valuable work, and a great acquisition to the galleries. Each of the other works possesses peculiar merit of its own, for Prout loved his art so well that to every picture he painted he gave his entire energy and interest while it was in hand, aud he was, in consequence, one of our most thoroughly equal painters. No. 643. “ York from the Walls, near Fishergate Postern,” by W. R. Beverley, contributed by the Misses Crompton, is noticeable for its breadth of treatment and colouring. The time chosen is evening, after the sun h is set, when in the twilight there is yet a loveliness in the sky* but objects in the foreground are dim and uudefined j ■whilst the towers of the iViinater are clearly seen in the distance. Mr. Beverley shows us that true art can be combined with scenic effects, aud adds another name to the list of noble artists, once scene painters, from whom we get our Roberts and Stanheld. Nos. 615, 648, and 649 are south-east, south-west, and north-west “ Views of York Minster,” painted by VV.Bevan, and contributed by Mr, VV. Monkhouse, York. These 236 drawings will bear the closest inspection, and are remark- able for their eorrectness of perspective, accurateness of detail, and fine finish. As a true representation of our noble Cathedral they are unique. No. 659. — “ A Scene in Tuscany — The Bridge of Badia,” by T. M. Richardson. This is another of the really good pictures contributed by Mrs. Hotham. There are several drawings, the work of this artist, but none equal to “ The Bridge of Badia.” The delicacy of cloud-capped mountains, the gradual development of middle distance into foreground, and the rich warm tone of colour, render it one of the best and most pleasing pictures in the Exhibition. The light, shade, and colour are slight, and the points of depth or “ force” but few, yet a harmony is produced not often seen in the treatment of similar subjects. Such works as this ■will form the basis of his reputation, and not the thousand- and-oiie slight drawings we generally see Mr. T. M. Richardson’s name attached to, and reproduced in every print shop window. No. 662.—“ Old Shed, near Sleights, 'Whitby,” contributed by the artist, G. F. Jones, Esq. There are five other drawings by Mr. Jones, but none are equal in crispuess to the above. The old broken, weather-worn look of the roof is cajjitally rendered, and the colouring true. An artistic feeling runs throughout the entire drawing. Next in merit is the view of “ Whitby Abbey.” No. 676,—“ Dogs,” by Frederick Taylor, contributed by Mrs. Hotham. This is one of the best of the many produc-i tions of this artist’s fertile genius. The drawing represents' a group of sportinff ( ? ) dogs, touched in with a freedom of j handling and a grace of treatment that applied to any subject would stamp it at once as a work of genius. No. 683.—“ Grapes,” and No. 780, “ Tulips,” are painted by Miss E. Charnock, a lady well kuovvn in this city. They are contributed by the Rev. AV. E. Harrison, M. A., "york, and are both clever pictures, especially the former, which | is as rich a cluster of grapes as we have seen in water colours for some time. 687.—“ View in Bolton Woods, Yorkshire,” by T. Sutolilie, the property of W. H. Gaunt, Esq., of Oldl Thorn ville. Finish and delicacy are remarkably well I rendered in this subject; it is a good specimen of the) artist’s style, is well hung, and will bear looking into.] We are thus particular in calling attention to No. 687, i as it is tbe only finished picture by Mr. Sutcliffe in the Exhibition: there are other drawings by him, but they do] not rank above sketches; among these are rough pen and ink drawings, blots of colours and effects- all good of their^ kind— we allude to the series of views of the “ Yorkshirei Coast,” contributed by F. W. Tetley, Esq., of Leeds, and hung in the gallery of the Great Hall, not as a would-be critic in the Mercury would lead the public to believe “in a fancy bazaar,” but occupying almost an entire compartment originally allotted to geographical works and antiquities. It was felt that as they formed so large a series (and most decidedly are not pictures), that their present position was allotted to them by the committee, with the approval of Mr. Tetley. The same correspondent might have saved his claim to be “ a well known critic and judge in such matters,” as well as his appeal to what the Times thinks of this artist ; but we fear Mr. Sutcliffe will wish to be saved from such friends who can Bee no differ, ence between diagrams and pictures. Noa 692 to 718.— “ Sketches in York, "by W. J. Boddy, York " These are a series of twenty-seven drawings in ona &ame comprising the most picturesque views in onp 237 ancient city, and are ralnable not only for the exceedingly clever manner in which the artist has handled his difficnlt snbjects, but as representing antique buildings and even streets, which have either entirely disappeared, or hava been so completely transformed by the hand of the modem renovator, that they are now scarcely recognizable. The following is a list : — Micklegate Bar ; Old House in Par- liament-street ; St. Crux Church ; Chapel of the Merchants’ Hall ; Mnckey Peg Lane ; The Esplanade j Stonegate ; St. , Martin’s Church from the river ; 'Xork from the Esplanade ; 'The Shambles ; Bootham ; College-street ; St. Mary’s Pos- tern ; Porch of St. Mary’s Church, Castlegate ; york from the New Walk ; York from Skeldergate Ferry ; Bootham Bar ; Newgate ; Fishergate Postern ; St. Michael-le- Belfrey; The King’s Staith; Petergate; St. Mary’s Abbey; College-street, West ; St. William’s College j The Pavement ; and All Saints’, Northstreet. Their execution must hava cost Mr. Boddy a large amount of care and patient labour, and our only astonishment is that the series still remaina for sale at the comparatively small sum of i40. No. 690. — “ Water Mill at Iffley, Oxford ; ” No. 724. — “ The Upper Lake, Killarney.” No. 731. — “ York from the Esplanade”; No. 804, “York Minster from the Altar Screen” ; No. 817, “ luteriorof York Minster” ; No. 875, Black Lake, Dunloe” ; and No. 899, “ Sunset at Saltwick,” are all the productions of the same artist, and evince his skill in the freedom and finish of which they all partake, whether it be in the pleasing sunny landscape, or in the still more difficult exactness and architectural proportions of the interior of our noble Cathedral. No. 726. — “ Spring Flowers,” contributed by the artist, Miss J. F. Swallow, as a brightly coloured study of early tulips, lying on a stone, with a rocky background. The work is forcible and decided, as is also “ A Group of Fruit,” No. 67T, by the same lady. No. 733.—“ Highland Cattle and Landscape, near Loch Fyne,” by H. Moore. It is this artist’s peculiar gift that he can paint equally well in oils or water-colours. The same praise we have bestowed upon his works in the Eastern Gallery is deserved here. In this picture we hava some splendid specimens of Highland cattle in a rich pasture, nicely grouped, and carefully executed. No. 743. — “ Interior of a Highland Shepherd’s Shieling,” by E. Moore. This is a large drawing, and very effectively painted ; but it does not exhibit that fine finish which we observe in some of Mr. Moore’s smaller works. As a sketch it is very good; but we much prefer No. 647, “ Highland Village — East 'I'arbet, Loch Fyne,” which is truthful to nature, and is a charming little bit of Scotch scenery, as charmingly painted. No. 752, “ The Tees at Barnard Castle” ; No. 784, " Near Ilkley, Yorkshire,” contributed by R. Johnson, Esq. ; and No. 797, “ East Tarbet Castle, Loch Fyne,” are also painted by the same artist, and each possesses very considerable merit, and are pleasing pictures. No. 755. — “ The Rustic Artist,” painted by the late W. Hunt, contributed by C. H. Dunhill, Esq., M.D. This is by far the finest figure subject among the water colour drawings, and is one of Hunt’s most important works. The expression of satisfaction with which the juvenile artist regards his work is a perfect study of character, and the execution of the drawing is remarkably bold and decided even for Hunt, who was never timid in his handling. This picture formerly belonged to the late Dr. Simpson, who connected the following anecdote with it. Hunt having endeavoured in vain to draw the figure which he was wishful to represent as the work of the “ Rustic Artist” sufficiently bad and ridiculous, at last persuaded the youth who was his 238 model for the “ Kastic” to paint the figure on a piece of ' ^ Hunt was delighted with the result, and immediately cc^ , it into his picture. Amongst the earlier works of this artist which attracted marked attention, and which at once estab- lished his fame as an observer of nature, were studies from rustic life, particularly peasant boys, in various suggestive positions, as gloating expectant over a tempting pie j and again, fallen asleep from sheer fatigue of mastication, and the somnolent influences of repletion ; then a daring youth venturing on his first cigar, and in the next scene bitterly , repenting it. Mr. Kuskin observes — “ He loves peasant boys because he finds them more roughly and picturesquely dressed, and more healthy coloured than others. And he paints all he sees in them fearlessly — all the health and humour, and freshness and vitality, together with such awkwardness and stupidity and what else of negative or positive harm there may be in the creature ; but yet, so that on the whole we love it, and find it perhaps even beautiful, or if not, at least we see that there is capability of good in it, rather than evil ; and all is lighted up by a sunshine and sweet colour that makes the smock frock as precious as cloth of gold.” Hunt died in 1864. No. 769.—“ The Lake of Geneva,” by G. Fripp, though not bright in colour, is yet a pleasing picture — the distance is good, and the “ focus” formed by the dark trees in the foreground well defined. It is the property of Colonel Akroyd, M.P. No. 768.—“ Brissago, on the West Shore of Lago Maggiore,” by John Bell, contributed by Mr. W. W. Hargrove. This is one of Mr. Bell’s best pictures, and shows that he is equally successful whether painting in oils or water colours. It is, too, one of his favourite subjects cleverly rendered, full of atmosphere, rich light and shade, and more finely finished than many of his previous works. No. 769, and No. 773.—“ Venice,” by Knebil, contributed by the Lord Wenlock, are bright sunny pictures, and of Very considerable value. No. 771.—“ Mountains and Sheep,” by J. M. W. Turner, contributed by Mrs. Hotham. This is one of those de- lightful drawings which Turner painted on the spot, and finished without the foreign aid of ornament or imagination. It is true to nature, and the interior power of the man who could understand nature, and give out of him the mind of her pictures. He sometimes exercised this power in a way to puzzle the unlearned in art, and make them think a fine composition a daub, until the burin undeceived thein ; but in water colours like this, the landscape is a thing of beauty, intelligible to all. The mountains recede into a lovely background, which is hazy, but what is seen through^ the haze is in good light and full of imagery. The cattle are neatly pencilled, and just enough so, to people the brink of the shallow waters which lave a shore indicated by a single dash of colour, and yet all is as effective as the most finished picture. Turner was born in 1775, and diedj in 1851. „ „ . No. 775.—“ Chartres Cathedral,” by W. Bayliss, S.B.A. This is a magnificent picture, rich in colour and elatorate in detail. We understand it is the artist’s diploma picture, and it has been most justly highly commended on every hand. No. 776.—“ The Young Anglers,” and No. 777, “ The Little Nurse,” both contributed by Col. Akroyd, M.P., Halifax, have attached to them the well-known name of Birket Foster, and are exquisite little specimens of his handiwork. The great charm of this artist’s drawings is that they combine the highest finish with perfection of colour and drawing, and that his subjects are always happy 239 aad true to nature. Birket Foster was born at North ShieidB m 1825, and served his apprenticeship to a wood engraver. “ illustrating books till 1860, when he exhibited a water colour drawing at the Eoyal Academy, wnich was pronounced to display more than ordinary talent. He shortly afterwards took to that department of art, and entirely abandoned drawing on wood. In 1862 he was elected a member of the Society of Painters in Water Colours. The scenes of rural life by this artist, whether Tvithiii tli6 precincts of some small English village, or on the common, or in shady lanes, with children playing about, are exquisitely beautiful, and are in such esteem that they command large prices. The two belonging to Col. Akrovd are little gems. ■' No. 783.—“ Old Woman at Fireside,” by G. Cattermole, contributed by Mr. J. C. Swallow, is an interior of some old haU chimney-nook, with “ dogs” for containing the blazing logs. The light streams into the picture, lighting up the old woman and chimney, but the rest is in deep shadow. Bolton Abbey,” by Shalders, contributed by Mr. A. Forth, is a pleasing picture, many parts of which are extremely well painted. No. 795.—“ Pheasants of the Campagna, Rome,” by Pinelh, contributed by the Lord Wenlock. The fiimrea are well drawn and life-like. ° No. 809. — “ A Study— Lendal Tower, York,” and No. 822, Palace of the Stuarts, York,” are painted by J. C. Swallow. Both pictures exhibit a large amount of careful and effective painting, and independently of this local interest attaching attracted much admiration. Notwithstanding that No. 822 is the more finished picture, we are inclined to give the preference to No. 809. Both, however, are good, and pronounce Mr. Swallow to be a proficient in his art. Amongst many really good drawings our space wUl not allow us to notice fully, are No. 635, “ Brigand and his ^ amUy, by L Eveque, contributed by Lord Wenlock No. 6i8, “Mid-day on the Thames,” by T. L. Richardson; jun., and Nm 682, “ Morning,” by the same artist, cou- tributed by Capt. Spencer, No. 772, “ The Dungeon of contributed by J. Mason, Esq., No. 794, Moonlight,” by Gastinenx, the property of J P Craven, Esq., Nos. 722 and 800, “Architecture,” by Gouny' contributed by Sir W. Worsley, Bart., No. 812, “ The Noble River that roUs by the Towers of Rome,” by J. C. Moore, Rhine,” by W. H. Bartlett, com tributed by the Rev. F. A. Bartlett, No. 815, “Off Dover Castle, by E. Tucker, contributed by E. Smallwood, Esa and No. 888, “ WUd,Flowers,” by A.H. Spence, contributed by Mrs. Spence, of Lendal, York. MINIATURES, SKETCHES, &c. No. 827.—“ Scene from Gray’s Elegy,” by W. P. Frith, it.A., taken from the lines — “ For them no more the blazing hearth shall burn, Or busy housewife ply her evening care ; No children run to lisp their sire’s return, Nor cRmb his knee, the envied kiss to share.” and No. 832. — “ Seene from Le Bourgeois Gentilhomme ” by the same artist, are contributed by Mrs. Keywortb, and are both sketches in every way so beautifully rendered that It would be presumptuous in us to criticise them. Nos. 741, 828, 829, 839, 831, and 857, are some clever sketches by J. Leech, contributed by E. Fleet, Esq., of London. They are valuable additions to the gallery, and though they were re-produced in “ Punch,” have awakened many a smile from those who have examined them. 210 \ No. 834. — “ The Entombment ” (on vellum), by Raffiaelle, is contributed by J. Mason, Esq., and was a much valued possession of W. Etty, Esq., E.A. It was exhibited at the Art Treasures collection at Manchester, and it has always , been considered a drawing of exquisite pathos and beauty. The inscription is in Hebrew, and so pointed as to prove the antiquity o£ the drawing, which is, in all respeets, worthy of Rafflaelle, and would appear to have been designed for some book of devotion. No. 841, — “ Full-length Portrait of Lady G, Milner,” by Thorburn, is the contribution of Sir W. M. Milner, Bart., and a good specimen of this excellent miniature painter, who shared the field with the late Sir W. Ross, R. A. If he does not equal him in the freshness and clearness of his lights and shades, he is richer in his tones and depth of shadow, and, perhaps, better in the poetry of his composi- tions. But Sir W. Boss ever was, and will be, the great favourite, his art is so pure, and his likenesses so natural. There is but a sketch of his in this Exhibition, No. 747, the “ Portrait of a Lady and her Dog," contributed by Captain Spencer, and it shows us how facile was his pencil, how clean his tints and touches, and how much he could do at one or two sittings to give the likeness and make up the mind of his picture. The ease of miniatures contributed by the Rev. n . V. Harcourt, Nos. 837 and 838, and the two cases, Nos. 842 and 843, by Lady Mary Thompson, are most valuable and require the notice of an experienced judge of miniature painting, as it was then practiced in England, to describe’ them ; but we may venture to suggest that No. 843 contains portraits of James the 1st and his family, by Nicholas Hilliard, as he was the principal drawer of email portraits to that monarch. He studied the works of Holbein, and though his colouring was weak and his carnations pale, his pencilling was always neat, and all the hairs of the head and beard were so minutely expressed that they might almost be counted. Perhaps he painted also the portrait of Queen Elizabeth in the case No. 842, for both she and Mary Queen of Scots sat to him. But the great miniature painter was Samuel Cooper, and we have a fair specimen of his work. No. 848. — “ The portrait of the Earl of Osaory,” contributed by Mrs. H. Badger, of Rotherham. This artist was caUcd the miniature Van Dyck, and his miniatures are as forcible as oil paintings, his carnations and other tints are beautifuRy blended, and the hair, as it was then worn, is loose and flowing. His works are thus highly prized, and thiu miniature likeness of the brave son of the Duke of Ormond is to be prized also, as the portrait of the noblest and best man of his day, too early taken from his father and hia country. No. 860.— “ Portrait of Lord George Bentinek,” by Count D’Orsay, the property of W. Rudston Read, Esq., is but a pencil outline of his lordship’s well-remembered form and features, as he appeared at Doncaster; and as we have noted how much Mr. W. Ross could do at a sitting, we see here how much Count D’Orsay could do, at a few strokes, v/ith his pencil ; but he knew his subject, and that is every- thing to either painter or critic, if he knows his art also. Not one touch more of brush or pencil is here wanted fox the likeness. ■ __ THE STATUARY IN THE PICTURE GALLERIES. No. 861. — Theseus and Ariadne,” by R. Micheli, and contributed by the Lord Londesborongh, is an exquisite group, and the largest in the Exhibition. Theseus was the great legendary hereof Attica, and was the son of .ffigens, 241 king of Athens. He became famona for his exploits ia destroying the robbers and monsters which infested the surrounding country, and in capturing the Maratbonian bull, which had long laid waste the country. After this Theseus went as one of the seven youths whom the Athenians were obliged to send every year, with seven maidens to Crete, in order to be devoured by the Minotaur. When they arrived at Crete, Ariadne, the daughter of Minos, became enamoured of Theseus, and provided him with a sword, with which he slew the Minotaur, and a clue of thread, by which he found his way out of the labyrinth. Having effected his object Theseus sailed away, taking Ariadne with him. No. 862. — “ Antique Bust of Julius Caesar,” contributed by the Hon. Payan Dawnay. This is an extraordinary relic of a bye-gone age, dug up whilst excavating in Rome, and as affording a proof of the high position to which the arts had risen in those days, is both carious and valuable. No. 863.--“ Sleeping Boy,” and “ Sleeping Girl,” by Physick, contributed by H. S. Thompson, Esq., Kirby Hall. These are exquisitely finished, and evidence the sculptor’s great ability, giving promise that at no distant day he win occupy one of the highest positions amongst his brethren. No. 864. — “ The Little Crossing Sweeper,” by A. A. F. Junck, London. Had this very beautiful piece of sculpture been executed by one known to fame, it would have been eagerly bought long ere it had left the artist’s studio. As a work of art it is highly appreciated in the Yorkshire Exhibition, and none can look at it without having vividly brought to his mind the little urchins with besom in hand, who, shivering with the cold of winter, solicit a copper as you step upon the clean swept crossings of our Metropolitan streets. It is a satisfaction to know that it has been purchased by a fellow citizen. No. 865.—“ Bust of Pope Clement the Fourteenth ” (Ganganelli), by Charles Hewetson, and contributed by the Hon. Payan Dawnay. This is without exception one of the finest pieces of sculpture we have ever seen, every line of his expressive countenance is finely chiselled, and we are proud to know that so magnificent a work of art ia the production of an Englishman. No. 866.—“ Dirce,” by Canova, contributed by the Lord Wenlock. This is unquestionably the gem of this depart- ment of the Exhibition, and when we inform our readers that the executive insured this figure for one thousand guineas by desire of its noble owner, they wiU at once understand the estimation in which it is held. We are, however, sorry to have to dissent from the title given to it in the catalogue. It never was intended for “ Dirce,” who, it will be remembered, was the daughter of Helios, and the wife of Lyons. When Amphion and Zethns marched against Thebes, where Lycns reigned, they took the city and decided to put both Lycns and Dirce to death for cruelty to their mother. This was accomplished by tying Dirce to a bull, who dragged her about till she perished, and they then threw her body into a well, which was from that time called the well of Dirce. Now had Canova intended this figure for Dirce, he would doubtless have represented her hearing in her countenance and position all the horrors of her situation ; but here we have the very personification of ease and luxury reclining unfettered on a lion’s skin, with a wreath of flowers in her band. In the absence of tt better name we shall ventnre to call this magnificent piece of senlptnre, “Nymph reposing.” ■M2, THE YORKSHIRE FINE ART AND INDUSTRIAL EXHIBITION. The following letter has been addressed to the Editors of the Leeds Mercury, by Mr. Wallace Hargrove, the Hon. Sec. of the Fine Art Department of the Exhibition : Gentlemen, -My attention has been directed to "an article in yotir paper, in which you comment npon th pictures in the above Exhibition, and the majmer “ luavA been liiins. Ifc is because I ©bj®.®® legftimate criticism, hat because I think it is only lepto when the strictest accuracy is mamtamed, and when _it is uninfluenced by any pre-conceived I expectations, that I -venture- to reply ! feel that I should not be acting right either to the “emberi of the Pine Art Committee, or to the noblemeE SenH®' men who have so generously contabnted the» piotnreB, were I to let your remarks pass In the outset then I admit that the colleotitm of pictures both ancient and modern, night have ^een better ; that they would have “ produced much more satisfactory fe- S” haTthey heeS classified “ f might have been better hung. But „ must he allowed to point out the difficulties attendant upon an enterprise of this nature. don, to which pictures are contributed by the artists themselves, a provincial exhibition is dependent y upon the gentry of the locality, for pictures to SB galleries, and on that account the hanging^ "cannot” as you remark, “be rigid in Electing that ' which elsewhere would he refused, -a censorship of Buch a character would be felt to be ungracious and would defeat the end for which it was called into exercise. How, with such opening words, yon can reconcile your Babse|uent “ The process of weeding -would have cleared the walls ol much that is worthless, and room in abundance would have been found for even better pictures than almost any that are here,” I am at a loss to understand. You tosl admit the difficulty of rejecting, and then censure the committee for not weeding the walls. Surely this is moat contradictory, and bears evidence of hasty thoughtlessness. Again you charge the committee with placing numerous pictures “so close to the roof that they might as well have been ‘ shoved II’ through it-with arranging all the blackest and most indelicate in one lot, and the drest in another, giving the biggest the best places in each. Ibis is simply wanton misrepresentation, as all must knw who have visited the galleries, and can only have the effect ol shaking the confidence of all those who might have relied upon your judgment had yon been more charitable^and shown a greater desire for veracity. _ Should Leeds have- the courage to venture upon an Exhibition, it will learn the difficulty of inducing the gentlemen of the town and neighbourhood to contribute their valuable works of art, and the no less difficulty of getting them to the bnilding by the prescribed time. In the case of the Yorkshire Exhibition, though every possible means was taken to obtain the whole of the pictures by a given day, m order that they might be classified in schools, and the line pictures ha selected before commencing the work of hanging, it was found that to delay longer, the hanging process would not he completed by the opening day. ^ The committee were therefore compelled to abandon their intention of arranging the old masters in schools, and in order to secure the promised pictures, they had to send round a collecting van. That the collection is not a had one, I think most people will admit who have seen the pictures, hut for the benefit 7 ^ 24S of those who may have been misleh by your remarks, I append a few of the names of the artists who are repre- sented in the galleries : — Ancient Schooi,. — Remhrandt ; Guido ; Corregio ; Leonardo da Vinci; Kaffaelle ; Andrea del Sarto; Velas- quez ; Salvator Rosa ; Agostino Caracci ; Domenichino ; Bir P, Lely ; A. Cnyp ; C. Maratti ; Marinari : Annibale Caraoci ; A. Betts ; Romney; Gainsborough ; Palamedes ; J. Van Ooleii ; Ziicchero ; C. Janssens ; Bellario ; Swans- vcld ; Van Heera ; Jordaens ; Rubens ; Voeterman ; Bren- gUel ; Rottenhaemer ; Vernet; W.‘ Dobson ; Dnsart ; A. Jansens; F. Hayman ; A. Vanderwerf ; ZoSany ; Sir J. Reynolds; N. Poussin; Greuze; Vandyck; Sebastian del Piombo; Wooton ; Peter Van Bloot ; Tintoretto; Rosa da Tivoli ; Sir Godfrey Kneller ; Victors ; Hogarth ; Van Eyck ; Schalken ; Sassoferrato ; Sir J. Medina ; Coypel ; Tillemans ; Van Haysnm ; Ostade ; Corcorauti ; Berghem | WouTermaus ; W., Mieris ; Sir H. Raeburn ; Ginlio Ro- mano ; Cornelius Jansen ; H. Van Vliei ; Watteau ; Guido Cagnacci ; Guercino ; Baptiste ; Claude ; Caaaletti ; J, Pyt ; Da Witt ; Albauo ; P. Veronese ; Zucoarelli ; J. Van Oost ; F. Vanni ; Parmegiano ; Bassano ; Spagnoletto ; J. Wy- nants ; De Heem ; Van Oss ; &c., &o. Modesn School. — S ir D. Wilkie; Rosa Bonheur ; W. P. Frith, R.A. ; T. Creswick, R.A. ; J. Sant, R.A. ; J. M. W. Turner, R.A. ; W. Etty, R.A. ; J. B. Pickersgill, R.A. ; S. Cooper, R.A. ; Leslie, R.A. ; Sir B. West, P.R.A. ; R. Westali, R.A. ; W. Cope, R.A. ; R. Ansdell, R.A. ; W. C. T. Dobson, R.A. ; T. Faed, R.A. ; Sir C. Eastlake, P.R.A. ; E. W. Cooke, R.A. ; Vicat Cole ; E. Wilson ; G. Lance ; A. Pether ; W. Crawford, R.S.A.; Witherington, R.A. ; G. Mori and ; A. Nasmyth ; D. Pasmore ; S. Percy ; C. Baxter, M.S.B.A. ; J. J. Hill ; Frost ; J. B. Pyne ; A. H. Burr ; Sir Wm. Allan, R.A. ; E. C. Barnes ; W. A. Knell; T. Roberts ; F. Mnsia ; H. Moore ; H. P. Parker ; C. Lees, B. S.A. ; Shayer; T. Crayne ; Andrews ; W. Underhill ; J. Bateman ; E. Hargitt ; Boddington ; Armfield ; Ibbot- Bon ; Carmichael; J. Syme, B.S.A. ; Herring, sen. ; W. Gill ; F. R. Say ; Ward, sen., R.A. ; G. Stanfield ; Henzell ; G. Arnald, R.A. ; J. Syer ; H. Tea Kate ; Nieman ; F. TVyburd ; Maguire ; Sir E. Landseer, R.A. ; E. Ladel! ; R. H. Roe ; J. Faed, B.S.A. ; E. Pritchard ; P. D. Hardy ; J. Poole ; W. Bromley; J. Linnell ; E. Nicol, B.S.A. ; T. Brookes ; C. Baxter ; Le Jeune, A.E.A. ; Jones, A.E.A. ; E. S. Creig ; H. Dawson ; B. Roberts ; T. J. Barker ; J. T. Lucas ; T. M. Goode, Woolmer ; C. W. Nieholls, A.R.H.A., &c., &e. Turning now to the water colour drawings, of which yon remark “ very many are bad, and many are very bad,” I may say a more ungenerous paragraph was never penned. By implication it is calculated to mislead, and for ought I know to the contrary may have prevented many an admirer of this branch of the fine arts from visiting the Yorkshire Exhibition. In this case, as in the former, the water colour drawings shall spieak for themselves, and the public shall be the judge : — Water Colour Drawings.— Copley Fielding ; Front ; J. M. W. Turner ; Birket Foster; T. M. Richardson ; Piuelli ; E. Duncan; S. Cooper ; llayner; De Wiut ; W. Callow ; W. Hunt ; Sir Wm. Ross ; Fredk. Taylor ; R. P. Leitch ; G. Fripp ; Bridell ; Stanfield ; Cattermole ; Bay- liss ; Brie re y ; Thoibum ; Holbein ; Sutclilfe ; Goupy ; Knebil ; Shalders ; Gastineux ; &c., &c. But supposing that all your allegations were correct, should I be very far from the truth in suggesting that Leeds, and the Leeds Mercjiry as the organ of that town, had contributed to such a result ? I think not. In an article on the then projected Exhibition in Leeds, yon pathetically 2ii exclaimed-" It cannot be that one Yorkshire enterprise of such fair promise will be wrecked by another, . ' added “ we feel convinced that that which is » of r a necessity will be allowed the precedence in its caU.fot nrwK support.” In other words, that because the Mechanics’ Institute required £6,000 to get out of debt, ?ifpub“c were asked^o withhold their support from York, and reserve it for Leeds in 1867. ^ ““ fnvtlipr illustrate the selfish and illiberal spirit that has actuated the owners of pictures in that, in addition to the numerous printed wore forwarded to them, upwards of twenty private letters were addressed to the owners of collections ol pctnres , b , whb the single exception of J: Lawson. Bsq.,_ and J. Tetley Esq., not one responded to the application, _ nor Ii^^^acirnoVledged the receipt of the letter How delight- fully different the gentlemanly conduct of the ^Lir ihe noblemen and gentlemen of the county. I heir courtesy will ever be remembered, and nothing but your attack upon the collection of pictures m would have induced me to place them in contrast. Bat this is not all. I am informed that a letter appeared in yoM columns from one of the parties to whorn application for pictures had been made, calling upon his tovvnBmen for unity of action with respect to *1^®, Tliis unity of action no doubt resulted in the Yorkshire Exliibitiou of pictures being ignored by Leeds. But, lomt* niitely, York was not dependent upon Leeds. The present > splendid exhibition, with its fine collection of 900 pictures, his become a reality without its help ; and it is satisfactory to feel that not only is the verdict of the public m its favou^ but that its pecuniary success is placed beyond the ehadow ol a doubt. ■i r 1 - 245 THE GREAT HALL.— GROUND FLOOR. First Notice., The portals of the building being passed, the stranger can scarcely resist a pause in his footsteps, a general glance at the beauty of the scene before him, and an exclamatory utterance of his admiration. The first necessary duty then becomes the purchase of a catalogue, that some knowledge may be gained of the individual contents of the building. A reference to this shows that, after certain explanation as to the front of the building, and from a reference to which we have jvst departed, the contents of the ground floor of the great hall are the first which has received the attention of the compiler. They consist principally of articles selected from most of the divisions, and start with an important contribution in the shape of two pieces of mounted field ordnance, and one mounted gun with pro- jectiles, furnished by Sir Wm. G. Armstrong and Co., the inventor, of Newoastle-npon-Tyne. These are interesting objects in connection with the constant revolution which, in later years, has been going on in the matter of the war material of nations, and are fine specimens of the manu- faciure of a firm which has gained a world-wide notoriety in the matter of this particular description of article. A neighbouring object to those in question is one having an intimate relation to it, in the shape of a specimen of steel shot from the works of Messrs. Cammell and Co., of Shef- field. Our guide brings us next to an object which is perhaps the first to strike the attention on entering the place. This is the magnificent pair of wrought iron entrance gates, with posts and hand gates to match, from the Victoria Foundry— and where they were designed and manufactured— of Mr. W. Walker, of Walmgate, in this city. The gates are bronzed and gilded, specially manu- factured for the Exhibition, and are 26ft. wide by 16Ht high. Their style is of the fourteenth and fifteenth centuries, and the design is chiefly a copy of the wrought iron gates and posts which belonged once to the celebrated Cathedral of Frankfort-on-the-Maine, in Germany. Since the opening of the Exhibition these specimens of the iron-workers’ skill have called forth much admiration for their boldness and beauty of design, and some surprise that the ancient city possessed a firm in this particular branch of trade which can furnish articles of such really intrinsic merit. Immediately behind and near to the gates in question several contributions from the chisel of Mr. J. Cole, sculptor, of Gillygate, in this city, are exhibited. They consist of a stone pulpit, three stone fonts, groups of lions in stone, a lion in marble, and a virgin and child on bracket. The fonts and pulpit struck us as particularly fine specimens of the art which has created them, and highly creditable to the standing and ability of the exhibitor. Messrs. Skelton and Sons, of Micklegate, in this city, come next, in an exceedingly elaborate and beautiful display of the same art. In the space which they occupy the first matter which strikes the attention is a bust, in Carrara marble, of Richard Cobden, by the celebrated sculptor Papworth, of Loudon. The likeness of this popular and lamented statesman is a most admirable one, and when compared with that on canvass recently contri- buted through the instrumentality of Mr. Leeman, M.P., one is impressed with the faithful ness of resemblance, which says much for their character as copies of the original. Other pieces of statuary are here, one being a life-size figure of Venus Veratrix, and another of Pandora. A couple of Gothic bosses from one of the ancient abbeys in the neighbourhood also possess much architectural beauty and interest ; and in addition the Messrs. Skelton have 246 a variety of vases in Tuscany marble, inlaid tables, , pedestals, ebinmey pieces, <4c. One of the chimney pieces is in the rare and in fact almost extinct Paonazza marble, another in Kilkenny marble, a third in Victoria red, a fourth in ornamental Carrara statuary, and a fifth of Elizabethan style in Statuary and Sienna. In fact, all the most beautiful and ordinarily used marbles for this ■ particular line of business are here represented, and chiselled and polished to such perfection as cannot fail to arrest the visitor in admiration of the specimens con- ' tributed by the above firm. The name of Eastwood, in, connection with the manufacture of joiners and cabinet- makers’ tools in York, is now about as well known in the country as that of many of the highest firms in the kingdom ' in this particular line of business. Mr. George Eastwood, ■ of Walmgate, was an exhibitor in the Exhibitions of 1851 and 18B2, and on both those occasions earned some honour ' for his native place by carrying ofi first-class prizes for the cases of articles which he furnished for competition. ' It is therefore scarcely surprising to find him represented in onr Exhibition at home. Here Mr. Eastwood’s case consists of planes with modern improvements, and tools of a variety of descriptions, suitable for Joiners, cabinet- makers, and others. The quality of the articles usually turned out by this exhibitor has become a proverb for their excellence, whilst to the eye of the visitor their appearance as they stand in the case before them is remarkable for ^ their finish and general adaptability of form and maim- , facture for the purposes to which they are intended. The next case to Mr. Ea dwood — at least so far as the numbering j of the catalogue is concerned — is that of Mr. J. ’Wood, cutler ' and surgical instrument manufacturer, of Spurriergate. Its most conspicuous feature is the upper part where in a triplet of divisions are displayed an array of surgical instruments and trusses. The former include those for purposes dental, amputijting, post-mortem, and trepanning, and are of beautiful manufacture ; whilst the latter are adapted, amongst others, to curviture of the spine, hernia, and . various deformities, and are accompanied by machines for malformation of legs. All these are got up in the manu- facturer’s' own establishment, and worthily represent his reputation as a maker. Knives in a lower case include almost every variety, and some which, though we profess to have as good a knowledge of the Sheffield trade as most, we confess never to have heard of before. For instance, the “ E^crick” knife, the “ Wain man” knife, the “Forster” knife, and the “ Sir Jno. Bailey” knife are certainly new in their name, hut have a right, from circumstances, to bear these appellations. The Escrick knife was designed by Lord Wenlock ; the Widumau knife, by a gentleman of that name resioing at Carr Head, near Skipton; and so on in connection with all the rest ; and, in fact, of the Sir John Bailey knife, that gentleman bearing that title when down here annually on circuit, had a habit of taking some three dozen away with him to distribute as presents. The whole of these specimens are labelled with their respective names, and are in every variety of material. One small and interesting addition to Mr. Wood’s case is a collection of specimens of the razor in its various progressions from the ore towards completion. There is the ore, the pig iron into which this is converted, the bar steel of various qualities to which the iron can be rendered, until the re- fined steel is attained. Of this, three forged blades are shown in their different stages, and then their appearance after the processes of hardening, tempering, and finishing are illustrated. Altogether Mr. Wood’s display is a very attractive one, and one peculiarly creditable to the exhibitor, and valuable to the Exhibition. Here for the present week i onr notice of this department must halt, but to be resumed ! in our next. 247 THE GREAT HALL GROUND FLOOR. Second Notice. Taking up the present notice at the point where our last’ one was dropped, the first case which comes under observa- tion is that of Messrs. Marsden and Co., of Sheffield. The contents consist of respirators, possessing certain improve- ments which a glance at them fails to disclose, and what are termed ventilated eye shades, and registered wool chest protectors. The virtues of the two latter are as obscure as the improvements of the former to the spectator ; never- theless all the articles exhibited appear to be of nice manu- facture, neatness of arrangement, and are doubtless excellent specimens of the skill of a firm which for many years has held a celebrity in what the late Ebenezer Elliott chose to term the “ classic” town of Sheffield. From this case the catalogue directs the attention of the visitor to that beautiful one which has been contributed by the Messrs. T. Cooke and Sons, of Buckingham Works, York. This contains a large variety of articles, the uses of which it would be difficult for any but of scientific attainments to decide ; and we therefore append a list for the benefit of those who, attracted to an examination of them, cannot, for the nicety and finish displayed in their manufacture, help but admire. In the centre of the case is a large theodolite . (ten inches) on Everent’a principle of construction ; two smaller theodolites, of five and six inches, and the same con- struction ; and one six-inch engineer’s transit theodolite. Snrroundingjthese are three engineer’s levels, with tele- scopes of from ten to fourteen inches focal length ; several portable and pocket telescopes ; a small telescope on stand ; a compound acromotic microscope, with geometrical stage with rectangular and circular motions ; several aneroid baro- meters, possessing T. Cooke and Sons’ patent, much used by scientific travellers and the Alpine Club for measuring heights ; cases of first-class mathematical drawing instru- ments ; a lathe slide rest, with straight line, rectangular and circular motions, and carrying cutting apparatus for gentlemen’s fancy and ornamental turning ; a geometrical lathe chuck, of ten inches diameter, for producing or generating an infinite variety of beautiful figures and patterns required in ornamental turning ; a cutter frame and guide pulleys ; a rose engine and cutters used in orna- mental turning ; a variety of binocular opera and tourist glasses ; a large first-class silver medal, awarded to T. Cooke and Sons at the Paris Exhibition of 1865 ; and two first-class medals also awarded to them at the London Exhibition of 1862. At one end of the case is an astrono- mical clock, with mercurial compensated pendulum. This instrument can be adjusted for mean time, aud'thus forms an excellent regulator, suitable for a gentleman’s hall. At the other end of the principal case is probably the largest extent aneroid barometer, remarkably sensitive, the dial about two feet diameter, giving a scale of fourteen inches for a corresponding one inch in the mercurial barometer. The theodolites and levels first mentioned contain uume- rona improvements introduced by T. Cooke and Sons, and of such instruments they supply many to Government to be used on the great trigonometrical survey of India. It need scarcely be added that the Messrs. Cooke have made the city celebrated for the manufacture of the above de- scription of articles, and that beyond their case there are few possessing more interest in the Exhibition. Messrs. Akroyd and Sons, of Halifax, exhibit a very large case containing specimens of their own design and manufacture. Here may be seen wools of all sorts in their various stages of preparation ; worsted yarns, worsted fabrics of all descriptions, and mixed fabrics of cotton I 248 and worsted. The immenBe trade of which the above firm has been the foundation, and the revolution worked in the manufacture of such articles as the above, are so well known that it is unnecessary to linger here for a further explanation' of the contribution exhibited. In rather an obscure position in ohe of the compartments beneath the gallery is the case of Messrs. Wilkinson, Son, and Co., of Leeds, who are the designers and manufacturers of a number of articles which come within the range of their trade, and consist of specimens of printed felt carpeting, numnahs (or cavalry blankets), and other articles of felt manufacture. Mr. John Sampson, of York, exhibits _ an assortment of ornamental stationery ; a case of artists’ materials, specimens of heraldic engraving, and an extensive coUeC" tion of chromo-lithographs. The latter oecnpy a conspicuous position at the entrance to the ancient picture gallery, and include some interesting specimens of the lithographic art. A neat little case is occupied by the Messrs. Leak and Thorp, of Parliament-street, who display a variety of mantles, millinery, and other articles of attire and adorn- ment, which cannot fail to attract the admiring attentioa of the sex for whom they are designed. Messrs. J. & C. Field, Lambeth, London, who are catalogued as No. 14, have a couple of cases, one an exceedingly neat one standing opposite the entranc'e to the macliiiiery departni6iit, and the other under the gallery. In the former is shown paraffine from the rook in its , various stages of manufacture to the perfected paraffine candle. A good deal of interest is attached to this contri- bution, inasmuch as, some years ago, Liebig, in hia “ Letter on Chemistry,” said that if gas could be consolidated into a colourless body, and could be burned in the shape of an ordinary candle, it would be one of the most extraordinary discoveries of the age. Verily this discovery may be said to have been made, in the manufacture of the paraffine candle by the Messrs. Field, than whom it is reputed none have been more successful in the produc- tion of the extraordinary delicacy of colour employed in, uniting the composition of the above articles, Anomer important improvement possessed by the paraffine candles — and perhaps one of the most useful made in the manu- facture for some years— is in Field's patent self-fiiting pro- cess. The bottom of the candle is of a fluted construction, > and will at once fit any sized socket, thus obviating the necessity of papering or scraping. The fluted eudat may be also added is as ornamental as it is useful. Messrs. Waite & Cookfield, of 26, Petergate, are set down in the catalogue as the agents for York. A most attractive nortion of the exhibition is the display of sewing machines. Agreeable and intelligent young ladies have the charge of them, and in the working of them, bring out all their capabilities with surprising ease and adroitness. Samples of work executed by their aid lie about for inspection. These are most varied in cha,raoter and design: The machines with their quick glancing needles turn out gorgeously embroidered cosies, brilliant table cloths, gentlemen’s clothing, and throw off hand, a,nd gusset, and seam,” with an amount of ease and despatch most bewildering to an old housewife priding herself on the neatness of her work, and now findiug^ herself com- pletely outdone in all respects by an “ American notion. Without disparagement to others, some of which have undoubted ment for the class of work for which they are specially adapted, we can safely say that the Grover and Baker machines occupy a front rank; their strength of . 'aI' 249 stitch, noiseless movement, ease . of adjustment, and simplicity of construction, render them most valuable as family machines. Samples of work executed are to be seen which are strikingly beautiful, not only in the raised em- broidery, but plain sewing upon every material. The advantages claimed for these machines are so many that it is impossible to enumerate them in the space at our disposal. An inspection of them in operation at the Exhibition must convince any unprejudiced person of their excellence. Mr. Fowler, of Spurriergate, is the agent. The “ Wanzer” lock-stitch sewing machines are exhibited by Mr. John Sampson, of Coneystreet, and are said to possess their merit in simplicity of construction, the ease with which their working may be learned, and in their not being liable to get out of order. The variety of work to which they are adapted ranges from the finest gause or muslin in progression step by step to the heaviest moleskin or leather, and in illustration of this fact it may be added that the fair and intelligent attendant upon the machines in the Exhibition, after stitching some exceedingly fine muslin, next under our own inspection snecessfull.y tried its power upon a thickness of cloth and match-box wood. The “ Singer” sewing machines are the production of a company, and through their agent, Mr. F. Wood, of Eail- way-street, are shown in all their varieties. One of these is termed the new noiseless family machine. It is remarkable for simplicity and househeld adaptation. The finest muslin, or even tissue paper, may be sewn, and all intermediate fabrics up to cloth of any ordinary thick- ness; the machine possessing within itself the power of adjustment without the slightest aid from the operator. The change of needle or thickness of thread necessitates no alteration in the mechanism. The machine can be used with equal facility either for hemming of all widths or braiding, binding, gathering, felling, tucking, &c. ; there is also a very ingenious appliauce called a tuok-marker, by which the machine measures and prepares its own work. A peculiar feature is that in all the work performed the sewing is exactly the same both on the upper and under side. The “ Singer ” Company have also adapted a machine to the working of button holes. This machine presents nothing of a complicated character, and can be directed by any one of ordinary, skill ; in fact, the apparatus itself, when set in motion, performs the whole operation of stitching and completing the button hole in the most perfect manner possible, and in an incredibly short space of time. From 500 to 600 button holes may be worked in a day, whereas by the ordinary method a good hand cannot produce more than about 50. The machine is calculated to effect a great change as regards capital and labour in the branch of trade for which it is di signed. Certainly one of the most popular firms in connection with the manufacture of sewing machines is that of Messrs. Wheeler and Wilson, who have their stall opposite the entrance to the machinery department, and York agency at Mr. Sigsworih’s, of the Telegraphic News Boom, Coney- street. Produced as it was long before many others which have now gained a large circulation, it has had time and experience afforded it for perfection. In 1847 it is said there was not a single workable sewing machine in exist- ence, whilst in 1855, authority quoted the Wilson machine as a great triumph of American genius. Now the Wheeler and Wilson Company are manufacturing at the rate of 50,000 per annum, with a demaud exceeding the supply ; an increase unparalleled in the history of inventions. The small shop in Watertown, in 1852, turning out eight or ten machines a week, and the obscure office of one room ou the 250 Bevoiid floor, contrasts strongly with the manufactory at Bridgeport, with floors of nearly four acres in area, driven liy engines of immense power, and employing an army of mechanics. The advantages of the machines are best learned by seeing them work, and for those of the Wheeler and Wilson manufacture we would refer the curious to the stall where several young ladies willingly explain their working, and where also is to be seen a machine in the charge of a blind female from the York Wilberforce Institution. In the machinery department is also another machine made by the same firm, which is adapted to working by steam, and which hems the edges of pocket- handkerchiefs with a rapidity which is somewhat marvellous.’ Besides the latter machine the machinery department also possesses several others. One stall is Newton Wilson and Co’s., of H4, High Holborn, Loudon, whose machines are of varied character. A new duplex machine is so arranged for bootmakers as to admit of a new elastic being stitched into an old side spring boot ; whilst two others, •' The Queen Mab” and “ The Cleopatra,” are of a portable character, and come w ithin range as to the charge of almost the humblest household. In America they possess a wide reputation principally for their simplicity, and there in the year 1668 took prizes against others at no less than nine state and eight county fairs. The Elliptic and Standard sewing machines are exhibited at another stall, where Mr. James Baker, of 29, Pavement, is announced as the sole agent. Both these possess peculiar advantages of their own, and to the eye their working is as sure and simple as all the others which we have just described. The list of the Exhibition sewing machines may be wound up by a reference to those known as the “ Weed and Florence.” These are exhibited by Mr. A. Middlemist, of 4, Saville-street, Hull, and have been described as marvels of execution in quantity and quality of work, and, as com- pared with hand work, are as the modern railway engine to the old stage coach. Without doubt this feature of the Exhibition is a most interesting one, and the manner in which the attendants ^ upon the machines are kept at work in illustration and explanation evince this fact, and the desire of the public to possess themselves of these means of effecting a saving in household labour. , , THE GKEAT HALL.— THIRD NOTICE. Amongst the sewing machines in the machinery depart' meut, with which our last notice ended, is another machine, which bears such affinity for household usefulness as to justify the introduction of a reference to it at this part of our pei-iimbulatious through the building. Dalton’s knitting machine is to be seen at work exactly opposite the Nottingham lace machine. In the hands of a lady attend- ant it is being used for the manufacture of various articles in worsted, which may be bought on the spot. More work it is said can be done by one of them in a day than can be done by hand in a month. Its operation consists in the turning of a handle like a coffee mill, a task which may be exeeuted by a child ; whilst it is strongly built, easily adjusted, almost noiseless, and is no doubt destined to fill a void in the family circle, and take rank with the sewing machine as an auxiliary in clothing the household, and reducing family cares and expenses. The agency for the machine in England is at No. 3, Colquitt-street, Liverpool. The case of Mr. C. A. Milward, of Coney-street, is an exceedingly neat one, and of that capacity, being about three feet square, to Which a many others might have been 251 advantageously coniiued. Its contents are of a very varied and beautilul description, and consist principal!}" of ladies’ gloves with gauntlet tops, ladies* and children’s silk hose ; gentlemen’s ties in a great diversity of attractive and useful material ; and hats both in silk and felt, some of ^e latter being particularly adapted to hunting purposes. The whole of those articles are very tastefully arranged, and attract attention as well for their usefulness as orna- mental appearance. Messrs. J. & E. Day, of High Ousegate, possess a case, one side at least of which is exceedingly attractive to feminine eyes. This consists of a beautiful collection of silk dresses, of materials as rich as can be manufactured, and one or two moire dresses in which the silver stripe is introduced. A dress after this fashion, we understand, was worn by the Princess of Wales on her marriage. Delicate white and black Drench lace shawls also have a place in this side of the case ; and the opposite side is occupied by specimens of a patent velvet pile fringe, for which Messrs. Day are the agents. The virtue possessed by this over ordinary fringes is its extra softness, and a richness of appearance more like the manufacture of silk than ordinary worsted. Besides this," it is also said, from experience, to be far more serviceable than any other in use. A large case, possessing a single front, and looking to the centre of the hall, is occupied by Messrs. Flitch and bon, of Buslingthorpe, Leeds, who have therein collected assortments of coloured fancy leather. In these some of the most delicate hues are represented, whilst as to the quality of the goods the well-kuown name of the firm in the West-Biding is a sufficient guarantee to make the contribution an interesting one to those in the trade. Immediately behind the above case, and looking upon the Eastern aisle, is that of Mr. M. Cooper, sadifler, of Railway-street. Mr. Cooper has carried off well-earned laurels in ihe shape of medals at the International Exhibi- hous of London in 1851 and 1862, and at the Dublin Exhimtion of 1865, and therefore the visitors look to his case for a display of more than ordinary excellence of those articles which come within his particular brauch of tiade. This is to be found in a well-made assortment of saddlery and harness,' which, if one may judge from the opinions expressed by those experienced in such matters. It would be exceedingly difficult to surpass. Amonst the rest is a set of neat silver-mounted carriage harness, with improved pads and patent plated hames, possess- ing a new style of link at the bottom; a first-class full-sized hunting saddle, suitable for a substantial sixteen or seventeen stone cross-country rider ; a light hack or hunting saddle; a plain or solid flapped saddle ; a plain hogskin side-saddle ; and also a very neat quilted all-over hogskiu side saddle, with doeskin eaves in the seat, heads, and safe. The peculiarity of this article is that the eaves, &c., are put in the saddle on an improved principle to the old plan of welting, which has the effect of giving it a neater and more durable appearance. The saddle°is of beautiful form, and displays an easy and confortable seat. The design and workmanship we understand is that of Ml. James Cooper, the son of the exhibitor, upon whom It reflects the highest credit for his taste and skill. Double and single hunting bridles, flat and round ladies bridles, breast plates, martiugales, &c., priuci'*)ally make up a case of unusual merit, and one which cannot fail to be a source of attraction to that numerous class whose occupation renders such articles necessary. Passing from this case, the next at hand, and which must arrest the attention of the visitor, is that of I\lr. W. H. Da^, of Coneystreet, who exhibits a variety of gentlemen’s and ladies’ boots. The latter description are of various colours, some of the most delicate description, and all of superb manufacture. The display of gentlemen’s hunting, i shooting, and walking boots is deserving of especial notice for their superior finish and excellence of workman- ship. The shooting boots with projecting soles have we unclerstand been the means of widening the reputation of Mr. Dale as a maker of this particular article, and the samples are certainly worthy the inspection of sportsmen who may choose to spend an hour amongst the numerous attractions of the Exhibition. There are several cases for the display of mustard. One of these' is that of Messrs. Keen, Robinson, Bellville, & Co., of Loudon. This firm exhibits the above condiment in its various stages of manufacture, from the difflerent shades of seed to the finished article, the latter of which is not only exhibited in the flour, but in packages' ready for issue amongst those who purchase. Another case of this kind, but having the good fortune to possess a - more consiricuous position than the latter, is Messrs. ’ J. and J. Colman’s, also of London. The case itself is a bold and pretty object, and considerable taste is . exhibited in its inner arrangement of the article re- ferred to. Mustard and mustard products are shown, a couple of descriptions of oil suitable for burning purposes being amongst the latter. Both the above firms possess Exhibition medals for their past displays. The Messrs. ■ Colman have besides a separate case containing specimens of starch, in which it is shown that this articFe can be > produced in almost any variety of colour, which under certain conditions can bo as thoroughly eradicated from the linen as the snowy while which in various forms are i on view. Indigo blue is also shown as one of the articles j for which this firm is celebrated. Messrs. G. Bland, of Coney-street, has a case which, like a large bulk of the rest on the ground floor, is remarkable for tasteful and excellence of workmanship rather than that curiosity which invests a many of the others in various parts of the buildings. This is divided into two Xiarts. one representing silks and mantles, and the other em- broidery, lace, and baby linen. In the centre of one of these parts is a mantle of Indian cashmere, richly embroidered ru beautiful design. Next to it is a mantle of Lyons and Genoa velvet ; and certainly not the least attractive of the articles in the case is what has now become well-known through the means of Mr. Bland as the “ York mantle.” This is made of waterproof tweed, and is a garment much in requisition at all seasons of the year for travelling and sea-side wear. Another article is a real seal-skin mantle, trimmed with grebe. The opposite side of the case contains some splendid specimens of lace goods in Honiton Valan- cieus, and Cluuy ; a beautiful handkerchief of point lace, the pattern repiesenting the rose, thistle, and shamrock; a coiffure of the same make; Valancien and Cluny robes; and a richly embroidered cashmere infant’s cloak, &c. Amongst the rest is a model sewing machine. This is of a portable character, and we understand, manufactured at about a third of the price charged for those worked with a treadle, is sufficient in the work which it will turn out to meet the ordinary requirements of a family. 'Wandering a little from the above case, the visitor will meet with that of Mr. T. N. Fowler, shirtmaker, hosier, &c., fSpurriergate, in this city. He exhibits only in one depart- ment of his business, viz., surplices and shirts, of which he is the maker. The surplices are the only ones in the Exhibition. They are made from Irish lawn, and each Seam m them irroTmetl by a double row of fins stitchiri<'. iiiey are beautituJly finished at the top in a variety’ of patteriiS, and are altogether very unique. The clerg.unan’s bands shown with them are of the finest material, a,ud are exqm.-ite specimens of needlework by hand. Gentlemen’s shins are shown In every kind, from those plain ones for moiningwear tootheis for full dress. They are very superior articles both in style and make, and, like the surplices, each seam in them is formed of 'a double row of firrn stitching. The mode in which they are made is in several respects peculiar to Mr. Fowler’s manufacture, and are described as combining extraordinary neatness and beauty with the greatest possible strength and durability. The collars attached to them comprise several new stvies, and are excellent samples of machine stitching. The flannel ' shirts are of excellent material, and workmanship, the latter being accomplished by Grover and Baker’s sewin 271 9 \/ ^ • of a frigate, made by the Frenoli prisoners at Dartmouth from bones, obtained from their rations. A carved ivory fly of Mr. Caiiill’s, and an Indian ivory carving of a vehicle drawn by bullocks, belonging to Mr. B. Leaf, of Fulford, are very neat specimens. The model of a loco- motive and train is the production of Mr. IV. Bennett, of Briggate, Leeds ; the model of a house made with a knife that of Mr. E. Clapham, of Wilsden, Bingley ; and a miniatare model of a double bass and cremona violin that of Mr. Mark Wi.Uiana Dearlove, of Leeds. A pretty model of a rural scene is shown by Mr. W. Beusou, of Eossgate. In the opposite gallery models may also be noticed in cork displaying much ingenuity on the part and in the ieizure hours of the producer, Mr. A. Hopper, of Brownlow-street, York. To the notice of this collection of models may be added reference to those which has been fnrnislied by Mr. Oeorgo Lee, of Gloucester. These consists of Windsor Castle and royal train; a portable mechanical pump; a model of a church with a complete set of miniature ringers, and beautiful peal of bells; vessels passing W eston-super-Mere ; a printing office ; a machine room, with engine, circular saw, &c. ; and a water wheel, fountain, and pumps. Any one of these can be set in motion by the dropping of a halfpenny into an indicated nick, and are, besides being admirable specimens of their kind, a source of infinita amusement to the Juvenile visitor, and much profit to the Exhibition. A representation of a tree cot in paper with scissors exhibits much ingenuity on the part of the producer Mr. G. Hopkinson, of Barnsley ; as also do a bird cage and basket Biaae of beads on that of Mr. W. Pinder, of Hungate. la the two latter 27,U00 beads are said to have been used. Mrs. Saunders, of Coney-street, exhibits ladies’ and gentle- men’s perukes ; and Mr. J. W. Koagier, of Tanner-row, a large variety of combs. The specimens of pictures in burnt wood are very credit- able productions. In this feature the contributors are Mr, G. Ccirlill, of York, Mr. W. Bellerby, of Bootham (whose subject is “ Art and Liberty”), Mr. J. Abraham, Harrogate, and Mr. H. Wood, of York. Garviag in burnt wood is really a new branch of art, and from what can be seen ia these eoutributioua, a most interesting one, novelty and most striking effects being capable by the process. A pretty design in hair and wire m a leather w'ork frame is the con- tribniion of Messrs. T. Stephenson and Co., of Stonegate. A frame of miniatures worked in human hair represent the passions, and belong to the Rev. E. J. Gruggen, of Pockiington. Some exceedingly neat lace work is the production of Mrs. Hewett, of Clarence-street ; and embroidery that of Mr. J. Duckett, of York. Paper flowers are as great a curiosity of imitation of nature as the beautiful specimens which we have previously referred to in wax. Amongst the contributors in this way are Miss Davy, Mount Vale, York ; S. Nichols, of Wilsden, Bingley j and Miss Cressey, York. Fancy hair work is well repre- sented in the contributions of Mr. W. H. Guy, Groves-lame, York; and Mr. T. HiUyard, of Lowther-street, York. The specimens of fancy leather work are really beautiful. A most delicate sample, and one which must have been the result of much nice labour, is shown under a glass shade by the Misses Oatea, of Halifax. As chaste a thing is the worked leather frame produced by Miss Filter, of Sowsrby Bridge; and an exceedingly pretty collection, consisting of a carved shrine, frames, and a bracket, is shown by Mrs. Thomas and Miss Harris, of Clifton, near this city. One of the frames from the latter contributors is marked as 272 iiavirsg been executed by Miss Miuks; of Bootham^ who, w© prei>ume, has been a pupil of the exhibitors. Miss Osbomi of Bootham-terrace, is also an exhibitor, in this department,; of specimens as high in their degree of excellenc© as any shown. Collected together follows a large variety of fancy needle- work, ail displaying much patience, taste, and skill in its pro- duction, and forming an attractive feature of the gallery for lady visitors. The most striking specimen is one which is set down as the contribution of MissKendrew, of Collier- gate, representing in long stitch “ King Lear in his Mad- ness.” This we understand was worked by a member of the family of Fox, of Bramham Park, and is a relic saved from a fire which some years ago broke out at that place. The names of the other exhibitors are Mrs. Swales, York Mrs. Thackray, York; W- Askham, of Pocklington | J«; Treovett, of St, Anda'ewgate ; Mrs, Stockdale, of Pickering ; Mrs. Copley, of Acomb ; E. Walker, Lowther-street, Oroyes j' Mr. J. bi. Tonge, York; W. Knowles, Harrogate (ancient specimens) ; Mr. J. Ward, Spurriergate, York (in silk ) ; M, A. Simpson, of Bishopthorpe-road, York ; Mrs. Camidg'6, De Grey-street, Yorkj and Mr. J. Duckett, of York. The Misses Baiue, of Parliament'-street, have a small case of bonnets which from a single novelty it contains seldom fails to attract the attention of the visitor. An ancient bonnet of the year 1766 is there shown by the side of one of modern construction. The former is of that extravagant and quaint style common to its day, and which when worn must have made the lips of its fair owner apparently almost as remote as the bulPs-eye in a shooting gallery j whilst the latter in comparison bears much the, resemblance of an article Intended certainly to be placed on but not to invest the whole of the head, Mr. R. Hind, of Gillygate, shows a braided lady's jacket ; and Mrs. Swift, of Stonegate, Honiton and Saidiman point lace. A case showing the various stages of manufacture of union cloths is of much interest, and shown by Mr. W. Smith, jun., of j Morley. Mr. E. Richardson, of Cherry Hill, manufacturer of chemical and artificial manures, has a case of specimens used in their manufacture, as well as of bone super- plio.qjhate and other manures ; and the Queenstown Whiting Comi^any, Beverley show specimens of Paris white. A variety of other similar contributions come under the head; of natural products. Of these CoL Akroyd,M.P.jOf Halifax, exhibits a series of seeds, gums, roots, starches, &c,, used for various economic purposes, and which collection was got ' up and prepared by Mr. H. Baines, of York ; Messrs. G, Rushworth and G. M. Campbell, of Hipperholme, contribute cases of icthyoiytic and saurian remains, from the coal measures, Low Moor, Yorkshire ; and Mr. S. L. Nussey, Park-square, Leeds, specimens representing the commercial products of the vegetable kingdom applicable to the arts of dyeing, tanning, <&c., as well as specimens of dye-woods* Several bed quilts are shown possessing in them immenso labour. One of silk and velvet is the production of Miss Widdowson, of Holgate, York ; another is contributed by Mrs. Taylor, of Malton, which is described as having been worked by a soldier of the 7th Hussars in India ; whilst a* third of silk patch-work, representing in design The Mariner’s Compass,” is the handiwork of Miss M. Garnett, of Lawrence-street, York. Specimens of hematite iron ore and pig iron are shown by W. J. Glutton, Esq., of York ; ■ and others of basaltic rock from the quarries of Goathland, near Whitby, as well as examples of some of the minerals of Cleveland, raw and manufactured, are the contributions of Mr. J. Melrose, of Beverley. Indian insects from Lieut, - Col. Ditmas, of York ; a skin contributed by Mr, J, Bainbridge ; preserved fishes contributed by Mr. Worm- 273 Ifcighton, of Bridlington, occnpy places on one of tba staircases at tlie sonth end of the gaUery ; and beneath the clock the wall surface of the same end is exceedingly rich in specimens of rare birds, fishes, skins, &c. Amongst those who exhibit very extensively in this way are Mr. G. Wright, of Fossgate, who displays preserved by himself, cases of eagles, falcons, herons, buzzards, owls, marts, grouse, pheasants, capercailies, animals, fish, &c., as well as deer, fox, and other heads, preserved in leisure hours ; Mr. C. Helstrip, of Fossgate, York, who possesses cases of foxes and pheasants; Dr. Procter, skins of animals from Central Africa ; Mr. D. Graham, of Market-street, whose specimens include eagles, owls, game, Arctic and other foxes, a stuffed leopard, and .stags’ and other heads. Mr. Roberts, of Scarborough ; Mr. J. Jackson, of Fairfield ; Mr. B. Smith, of High Ouse- gate; Mr. G. Chapman, of Holgate-terrace; Mr. A. Clapham, of Scarborough ; Mr. E. Bower, of Wclham, Malton ; Mr. T. H. Allis, of Market-street ; BIr. T. Allis, of Osbaldwick ; Mr. W. Harland, of Hanover-street, York ; Mr. J. Young, of Newbiggin-street, York ; and Lady Clark, of York ; are all valuable contributors of various cured specimens such as those to which we have just referred. Proceeding down the opposite gallery to that with which this notice commences, a very large variety of art manu- factures are to be seen, mixed up with other specimens of interest. A valuable table, the top of which is composed of fossils, marbles, and other rare stones, is exhibited by Mr. C. Wilson, the overseer at the Herald office, Coney- street, as a specimen of his own manufacture. A rustic stand and specimens of coopering, and kegs for sportsmen, are shown by Mr. T. Kidd, of York ; and a bird cage, in the form of a church, containing several thousand pieces of wire, by Mr. E. Worsdell, of Newbiggin, York. Mr. G. Balmford, of Coney-street, possesses a case containing specimens of re-dyed and cleaned goods after being used. Mr. J. Deighton, cork-cutter. Coney-street, is represented in the display of corks of English, French, and Spanish manufacture ; various growths and qualities of corkwood ; and models and other specimens of art formed of cork. Messrs. T. C. Matthews and Son, of Driffield, show speci- mens of their corn feeding cake; Mr. W. Barker, Fishergate, York, patent prepared mustard, and baking powder ; and Mr. T. Lupton, Bootham, Yorkshire sauce. The GAI.I.EEIES— Ninth Notice. Our notice this week, with the crowded state of our columns from the Church Congress, and the rapidly approaching period which must necessarily elapse before the closing of the place, must necessarily be brief. The remainder of the galleries hitherto unnoticed will as a consequence he run through very rapidly, and, in fact, only the main features touched upon. The south gallery is rich with contributions of foreign birds, insects, &c., amongst which are prominent Mr. H. Baines, of the Museum (who also shows a wardian case of living plants) ; Mr. J. C. Fox, of Mexborough ; Mr. H. Anderson, of Monkgate ; Mr. A. Roberts, of Scarbro’ ; I Lieut. -Col. Ditmas ; Mr. T. Allis, of Osbaldwick ; and Mr. W. H. White, of Fossgate. The Rev. G. Rowe, of York, and the Rev. F. W. Hayden, of Skelton, are important contributors of British shells ; and Mr. J. Leckeuby, of Scarbro’, of agates, jaspers, &c., found on the Yorkshire coast. Specimens of China grass as imported, and in various stages of manufacture, contributed by Messrs. Briggs & Co., of Ripley ; silk in the raw state and various stages of manufacture, by Mr. E. Thornton, of York ; specimens of raw cottons and wools, by Mr.E. Smallwood, of I 274 York ; other specimens of silks, by Messrs. Fell & SkiptoH, of Leeds ; and more of silk in its natural state, by Mr. E. Brightwell , of Heslington, are all valuable contributions to the natural product department. The Rev. G. Rowe and Mr. ' F. Needham both show interesting cases of articles of a similar" class to the last. Objects of curiosity from distant lands are exposed here, and are the contributions of Mr. E. Pumphrey, of Hook Norton ; Lieut. Aked, of Woodlands, Knaresbro’ ; Mrs. Edgoose, of York ; Mrs. B. Dodsworth, of York ; Dr. Procter, Mr. J. Bainbridge, and others. Tha aquariums iu this part of the gallery are seen in abundanco, the bulk of which are the contribution of Mr. W. H. White, of Eossgate, These form a very pleasing contribution, and one which attracts eoneiderafele attention from visitors. The clock contributed by Messrs. Cook and Sons, and which is used as the Exhibition time-keeper in the tower in front, is here also exposed, and bears a distinction from the remainder of the clocks shown as the only turret mstni* ment which we observed. As a piece of workmanship it is a very creditable production from a celebrated firm in their manufacture. Mr. Kieiser, of Stonegate, has a collection of time pieces, some of which, by ingenions contrivances, herald each passing hour in a manner so interesting, at least to most of the visitors, as frequently to stop np the gallery by those desirous of seeing them. Electric decks, needing no winding up or acid battery, are the oontribution of Mr. H. Bright, of Leamington ; and Mr. W. Eepworth, of Petergate, is the inventor and manufacturer of another which has engaged and puzzled attention to a greater extent than perhaps any other single object in the building. Tills is termed the ** Time’s Register,” and apparently eon. gists simply of a figured glass face, a pair of hands, and no works 1 as to how the hands are made to traverse round tho ' glass is the problem left for the curious to solve. Mr. B. Smith, of High-Ousegate, exhibits in this compartment a case of optical instruments ; and Mr. C. Troward, of Don- caster, a binocular refiecting telescope. Those interested in telegraphy may here also find objects of attraction in the contributions of a large number of specimens of sub* marine cables belonging to J. L. Foster, of Ogleforth ; and telegraphic instruments, apparatus, and submarine cables belanging to Mr. E. Graves, of York. Some very beautiful specimens of pen and ink drawing by J. Batman, are con- tributed by Mr. S. Abbey, of York ; and an original portrait of Grace Darling, with the cape which she wore whesi rescuing the crew of the “ Forfarshire," are sent by Mr. Nordeley, of Heworfch. A large number of old engraving are here also collected together, and over these hang conspicuously a couple of pieces of needlework, one “The Hunting Party,” being the handiwork of Mrs. Hudson, of York; and the other, “Joseph Interpret- Mg Pharaoh’s Dream,” by Miss Eagle, of York. Mr. E. Brown, of CoUiergate, shows a number of lithographs of British moths, which are exceedingly well executed ; and Mr. H. J. Bowntree fac-simUes of the warrant to execute Charles I. and of Magna Oharta. The two adjoining com- partments to the last described are mainly ocoopied by beautiful specimens of the photographic art, executed by gentlemen practising in York, and distant places, and amongst these some time may be pleasantly spent in witnessing and contemplating the progress which science hag within a comparatively short period made in this re- spect. Some very beautiful transparent photographic miniatures iu relief are the novel production of Mr. H. Swan, of 40, Charing Cross, London, and are especially deserving of notice. An interesting series of photographs of old furniture, from the royal and other collections, are 278 contributed from the South Kensington Museum. Messrs. Leak and Thorp occupy a large case with carpets, damaskSi - fioor cloths, and general furnishing drapery. Specimens ■ of their particular businesses are also shown by Miss S. A. D^e, dyer, of Market-street ; Mr. 0. Smith, clothier, of High Ousegate; Mr. J. Ward, tailor, of Spurriergate ; Messrs. Pegler and Co., damask makers, of Leeds; Mrs. Cooper, corset maker. Parliament-street ; Mr. W. D. Lund, rope maker, of Petergate ; Mr. J. Bicbardson, hosier, of Fossgate; Messrs. Hebden and Son, linen manufacturers, of York ; and Mrs. Macgean, of Petergate ; Mrs. Mongston, of Harrogate. Mr. J. Baker, of Pavement, exhibits a large contribution of Linoleum floor-cloths, Irish and Knaresbro’ linen, &c. ; whilst the Wilberforce School for the Blind are the contributors of basket and other goods made by the blind. One of the inmates of the institution is also engaged at the latter stall in the Ex- hibition in basket making, and is watched with some curiosity by those v^ho have not previously had the op- portunity of witnessing how the want of the sense of sight is wonderfully made up by the increased quickness of those with which these benighted ones are left. In one of the compartments of this gallery Mr. Bae, the inventor of a cheap microscope has a small amt nn: of space occupied by his instruments, which are for safe. His pocket micro- scope, which is to be had for half-a-croTvn, possesses sufficient power to reveal the animalcules in cheese and a variety of other articles. The city of York may be said to be rich in stained glass windows, the specimens possessed by the Cathedral and various churches being looked upon with the greatest interest by those who are connoisseurs of this description of art. The Exhibition on its opening was deficient in this respect, but, through the solicitation of the Executive, the Messrs. Hodgson, of Stonegate, were led to contribute largely, and to fill up gaps at each end of the building, which otherwise would have appeared exceedingly bare. Amongst the subjects of their manufacture are “ The Raising of Lazarus,” “ Bearing the Cross,” “ Agony in the Garden,” “ The Sermon on the Mount,” “Stilling the Storm,” “ Adoration of the Magi,” “ Mary and Martha,” “ Abraham offering up his son Isaac,” “ Acts of Mercy,” and a number of beautiful samples of geometricals. None of these were manufactured expressly for the Exhibition, but taken out of stock to the positions which they now bold. The whole of the subjects are very carefully drawn, and the colours are exceedingly rich and ecclesiastical in appearance. — Mr. K. W. Harrison, of Scarbro,’ exhibits a window in imita- tion of stained glass, the subjects being transfers from coloured paintings. — Other chaste works in stained glass are exhibited by the St. Helen’s Glass Company, Leeds ; at the sides of which are the subjects of the Duke of Rockingham and George the Fourth, by Mr. W. Peckett. Mr. J. W. Knowles, of Coneystreet, exhibits a stained glass window intended for Strensall Church, and a stained glass staircase window by Peckett. The subject of the former is the Magi, which is represented in three panels. The ex- ecution is in Mosaic enamel, the colouring well managed, and the drawing exceedingly good, and the whole work of such a character as cannot fail to add to the reputation of the artist. A different class of work to those just noticed is the remarkably pretty window contributed by Mr. G.Bousfield, glass engraver, Micklegate. The window is about 9ft. Sin. by 4ft. Sin., and the colours blue and ruby, on flash glass. The design is of a floral character, and the window adapted to a staircase for a private residence. It is in 120 different pieces, the result of three months’ labour, and is offered for •276 sale lor £60. Colonred glass engTaving is a rare art, and Mr. Bonsfield is almost alone in the trade in this part o{ the country. Up to only a few years ago, the art WMi only practiced abroad, being confined almost exclnsiTely to Bohemia and France. The process of production of this class of work may be seen in the machinery departmentt where Mr. Bonsfield is daily at work in the production of specimens on a smaller soale but equally as beautiful as that to which we have referred. The result of Mr. Bousfield’s special effort for the Exhibition is a most erediteble onet and it is hoped may meet with its rewind is aa iscieased appreciation for works of its class. Tenth Notice. - Maohineby. Before entering the machinery department an apology is due for an important omission which we made in ons notices of the contents of the Central Hall. The beautiful display made by Messrs. Newington and Scott, of this city, cannot fail to have attracted the admiration of every person who has witnessed it. Porcelain and china may here be seen in almost every useful and beautiful form, whilst the highest degree of the painter’s art has been brought to bear in their external decoration. The famous, battle of the standard at Marston Moor was the subject of one engraving upon a splendid goblet with cover which we noticed on last inspecting the collection ; Bohemian vases, jewelled china from Worcester, as well as Minton and Majolica ware, are also represented for almost every variety of usefulness and ornament. Cut and engraved glass, flower stands, mirrors, March’s patent glass plateaus, &c., make up a stand of articles peculiarly suitable for dis- play in an exhibition of art, ana one which reflects highly and creditably upon the character of the business and spirit of Messrs. Newington and Scott. In the machinery department, though there are other matters which from the greater prominence of their posi- tions strike the attention sooner, not a more interesting object to the young is to be found than the stall of Mr. Tasker. Here his glass engines are a source of much attraction, and the beautiful little imitations and devices in glass manufactured on the spot furnish interesting souvenirs of a visit to this department. The stall was ons of those which attracted considerable attention from the Prince and Princess of Wales, and is well worthy of the inspection of those who are desirous of taking ; a peep at the process of manufacture from glass. — We last week made reference to an engraved glass window which occupies a position on one side of the great ^ organ, the production of Mr. G. Bouslield, of Micklegate. That gentleman is one of but a few comparatively speaking in this country who practice his peculiar art, and that the visitor to the exhibition may gain an insight into the manner in which glass engraving is accomplished, he practices his profession at a stand in the machinery annexe. . A slightly constructed lathe is the principal means by which his work is accomplished. The mandril of this ia is but a foot in length, and on it are aflixed wheels varying in size from one-sixteenth part of an inch to six inches ia' diameter. These are rivetted to spindles, numbering 160,, and are so arranged that they can be easily removed os replaced. Various articles lie round which bear upon then* specimens of Mr. Bousfield’s workmanship and art, and which may be taken away by those who desire to i possess some memorial of the place. — The ladies* fret ■ sewing machine, at which Mr. Widdas, of Haver-lane, York, presides, is not the least leas interesting than those feature# of the annexe to which we have just referred. The machiaa . V ' \‘ V ^- . ■ • • • • y-<> i.* . ■i :^‘*r ■• is situate to the left as the Tisilor enters the department, and was a source of some attraction to. the Prince and Princess of Wales, Its object is the perforation and working of wood by means of a small saw which moves very swiftly through a^small hole in the table near the centre. The machinery is underneath. The saw will accomplish work of various descriptions, cutting wood with the greatest ease inches thick down to l-16th part of an inch by fixing stronger or lighter saws. The machine is in constant operatipn, and besides it the visiter will find a case of goods in red deal exhibiting specimens of its production, and all the desi^ and work of Mr. Widdas himself. The most flattering testimonials of the articles turned out by Mr. Widdas have come under our observation, and those who desire to possess themselves of specimens of fret- work, may confidently entrust their commands to his obliging care. To the female portion of the visitors next to the sewing machine itself no other feature can be much more interesting than the manufacture of needles. It is needlesi to make a reference to the character of the needles used by onr ancestors beyond the statement that at one time wood and bone were common materials need in their mannfac- t tore, some of our public museums at this moment possessing snch interesting specimens. Iloryet is it neoessaryto trace the progress made in their manufacture from the crude form just described to the present moment. It is only necessary to say that the manufacture of this particular article in steel now forms an extensive branch of industry in this country, in proof of which it may be stated that in the needle manufacturing district at least one hundred millions are turned out weekly, no less than seventy processes being used in the manufacture of each. Daily bread is furnished by about one hundred masters in the trade to ten thousand workpeople. Mr. A. Morrell,-needle manufacturer, of Manchester, holds a high position in the trade, and in the machinery annexe of our Exhibition has a stand at which the various processes of needle manufac- ture are fully explained and illustrated. The looms in the annexe are worthy of the especial observation of the visitor. The Jacquard, which has been furnished by Mr. Stevens, of Coventry, is perhaps the most interesting of the three shown, and was obtained by that gentleman from a Mr. D. Gardner, a Coventry loom maker. Mr. Stevens, it appears, possesses a patent for illuminating and lettering book- marks, and in illnstration is now producing a number of these articles, which are known as the “ Exhibition ribbons,” these possessing admirable likenesses of the Lord Mayor, the Archbishop of York, and several architectural and lettered illustrations. Messrs. Hebden & Son, linen manufacturers, of this city, also exhibit a linen loum, at which a young female presides ; whilst a laca machine, exhibited by Mr. Waiter Dexter, of Nottingham, luruishes the visitor with a very fair idea of the intricacy of work of this particular class. Mr. Dexter, at the Exhibition of 1851, obtained a prize and council medal. His machine here is being used m the manufacture of shawls, specimens of which it has turned out of considerable value. It is in constant work, and in the weaving of lace ten feet in width works at one time no less than 4,080 different threads. The lace in question is principally adapted to veils, and trimmings for ladies’ bonnets, and the pattern is obtained by the use of a Jacquard of a similar description to that referred to in connection with the Coventry machine. The carriages in the machinery department occupy con- siderable space to the left of the entrance, and form a source of considerable attraction. It is not. our intention to offer any critical comment upon the various specimens shown, further than to say that we never saw a better 2T8 Beleetion, either so far as concerns design, the possession of improvements, or the tastefal painting and decorations which are displayed. Several specimens are sent by Messrs. Atkinson and Philipson, of ISewcastie, one of which — a Brongham, amongst other improvements, possesses folding: steps to open and shut by the action of the doors, a concealed lever drag to break the hind wheels, India: rubber shackles to prevent the jar of springs, and an. alarm bell to the coachman. The other carriages of the same firm have improvements which are deserving of an inspection, and several stands of harness sent by them are ol first-class workmanship and material. — Messrs. Puckering and Co., of Beverley, exhibit a couple of carriages. ^ One of these, a waggonette omnibus for one horse or a pair, with moveable top, is also fitted with Grice’s patent lever self- acting step. Its main peculiarity, however, is a newly- invented fore-carriage part, which brings the hind and front wheels as closely together as possible, and thus effects an exceedingly simple but most effective improvement- The painting of the vehicle is exceedingly neat and after a fashion which is most prevalent in Kussia, whilst its internal furnishing is in colour and other matters made to correspond. A newly-designed waggonette suitable for a cob, e xhibited by the same firm, can be converted into three different forms : from a waggonette for six, it can be altered by a simple and easy contrivance into a four- wheeled dog-cart, or Stanhope phseton. The Prince of Wales, we understand, on hia visit inspected the different improvements in the waggonette omnibus, and expressed himself extremely pleased with them.— Messrs. Keareley and Co., carriage manufacturers, of York, exhibit a double brougham, and what, in the catalogue, is termed anAmemp- ton. °Both are perfect specimens of what can be done by experience and skill in manufacture, and reflect the utmost credit upon the firm lor their productions. The Amemptoa, it may be explained, is ol such construction that it may be used as a well-lighted and ventilated carriage for fonr inside, whilst by a simple contrivance removing the front part of the canopy it is converted into an elegant sociable suitable for summer and fine weather. Both vehicles are of exceedingly neat construction, and have with them all the latest improvements in the way of easy running, noise- ' leas springs, and other requisites to the comfort of carriage locomotion. Messrs. Wales and Son, of Ogleforth, exhibit a couple of dog carts and a sporting cart, the latter designed and built expressly for the Exhibition, in which it has attracted much admiration. One of the dog carts is of the Malvern description, and possesses imitation wicker panels, and the other is of a style called sporting crescent. Besides these, Messrs. Wales exhibit a full-sized, circular-cornered brougham for either one or two horses. Mr. Stotts, of Westgate, Driffield, also shows an improved style of Malvern dog-cart, with Tenetian lights in the sides. The shafts and seat possess important improvements, the former to prevent that unpleasantness of motion which is common in some, and the latter to adapt the vehicle to the weighty which may be placed upon it. The cart contains every requisite of a first class “ trap.” Messrs. Wright and Sons, of Harrogate, show an elegant park barouche on C and under springs, the workmanship of which is ranch admired, and cannot fail to maintain the high position this firm already possesses in the manufacture of carriages. There are several novelties in the carriage way, the first of of which is contributed by E. Waterton, Esq., of Walton Hall, Wakefield. This is a little correbelh, a vehicle similar to, though of better construction than, those in general use in Italy. The same superiority is also to be detectedin the ‘279 harness, and the whip is of peculiar make. Velocipedes are shown by two contributors. One, worked by hands, with double cranks, wrought iron wheels, and can be propelled at the rate of eight miles an hour, belongs to Mr. T. Cooper, of Rufforth. The other is shown by Mr. W. Taylor, of Driffield, and so constructed as to carry either one or two persons, who sit back to back. This article possesses much interest in the fact that, with the exception of the smith’s work, it has been entirely constructed and painted by Mr. Taylor (who is a banker’s clerk). during his leisure hours. When in motion, the velocipede is guided by the person who sits in front , who also can bring both his hands and feet into play towards its propulsion. This is bJso assisted in by the passenger behind by a conple of hand levers. A small machine, the invention and con- struction of Mr. Taylor has a place beneath the velocipede which registers the distance in miles and furlongs which the velocipe may travel. Machinert.~Eleventh Notice. Beyond the notice we gave last week of this department there is little to refer to amongst the machinery. A few objects, however, deserve special mention. The models, for instance, are an exceedingly numerous class, and evince > the mechanical ingenuity, in most cases, of the exhibitor*. Amongst them is a model of the “ Royal George ” locomo- tive, which was one of the first to initiate the railway system in this country. A model of a drilling machine is shown as the invention of Mr. E. R. W. Teggin, of Searbro’5 and Messrs. Close, Burlington, and Co., of Sunderland, exhibit models of articles of their own invention in the way of shipping machinery, &c. Mr. R. Hunt shows a working model of an aquatic steam locomotive, of his own invention, which, it is said, will not sink when submerged, and which is calculated to travel with great speed and safety. A large variety of models of agricultural implements are the con- tribution of the Beverley Iron Company (Limited). Very neat articles are the working models of steam engines, contributed by Mr. F. Caswell, Mr. J. W. Mann, jun., Mr. J. H. Rowntree, Mr. G. P. Smith, Mr. E. Robinson, Mr. S. ’ Thompson, and Mr. R. Thomas, all of York. A miniature steam engine, which is exhibited beneath a glass shade, is the manufacture of Mr. R. H. Sutcliffe, of New Wortley, Leeds, and is described as the smallest working engine ia the world. The model to which we referred last week of Captain Moody’s floating fort is now to be seen in tha machinery department, and is an article of very considerable interest. Capt. Moody, we understand, is a native of York, and his battery, in a reference to it before us, is said to ba “ the likeness of nothing in heaven above or on the earth beneath, and is therefore exceedingly difficult to describe. It is certainly not handsome, and would as undoubtedly ba as ‘ ugly’ an object to an enemy in one sense as it is in another to the eyesight. In form it is neither square nor round nor oblong, but something between a fore-fingered star-fish and a Mackintosh cushion. It is not deep like a ship, but almost as perfect a flat for the whole under sur- face as a washing tub, until near the margins, when it is bevelled off with a suitable curve to the load water line, to avoid resistance from the water when the battery is steam- ing from place to place, or whirling round, as it is intended it shall do, by hydraulic jets. The upper surfaces are well arched, the flatter arches of the four rays leading up to a sort of central hemisphere, with its apex sliced away to form a look-out or musket battery, while on the under deck below portholes are pierced through the thick armour covering the low and shallow sides of the floating fort for eight pieces of the heaviest artillery. The length, accord- 2d0 inon, J. Wood, Close, Cabry, A. E. Hargrove, Wade, Hiil, Weatherley, and Colburn. The councillors also mustered strongly and ranged themselves" down one side of the platfoi m, forming with the following staff*officers in uniform, who were ranged opposite, an open path upon which it was intended the Royal party should passou their way to their carriage — Lieut. -Gen. Sir Sydney Cotton, K.C.B., commanding the Northern District of Volunteers; Captain Cotton, A.D.C., Colonel Bingham, C.B., Assistant- Adjutant General of the Northern District ; Col. Erskine, Inspector General of Voluiiteeis; Col. Forbe, Commanding Royal Engineers of the York District ; Colonel Wombwell, Inspector of Volunteers, &c. A large number of o her representatives of public bodies, as well as private individuals also occupied places on ihe platform, of whom the most prominent were the following — H. M. Hiudmarch, Esq., Q.C., Recorder of York, and Attorney-General of the County Falatiue of Durham (in court costume) ; the Sheriff (T. Sanderson, Esq.)» the^ Under- Sheriff (R. Hollby, Esq.), the Town-Clerk of York (.J. Wilkinson, Esq.), the City Coroner (J. P. Wood, Esq.), James Lowther, Esq., M.P., Sir J. H. Lowther, BaH., T. Noble, Esq. (Secretary to the Archbishop), Col. Dixon, R. Davies, Esq., Sir W. and Miss Worsley, of Hovingham ; Dr. Lockley, the Rev. G. H. Philipps (chapfain the Lord Mayor), the Venerable Archdeacon Creyke, the Venerable Archdeacon Long, Mr. ComipRsioner Ayrton (of the Leeds Bank- ruptcy Court), Sir Geo, Deuys, Capt. Jno. Sutton, W. C. Anderson, Esq., W. R. J. Hopkins, Esq., (of Middlesbro), 06B the City Surveyor (T. Pickersgill, Esq.), Capt. Me Cullook, Lieut. R. N. Wood, Quarter- Master Gould, the Rev. Canon Jones, the Rev. W. A. Caitledge, the Rev. J. Carter, &o. Amongst the representatives of the North-Eastern Railway Company were Geo. Leeman, Esq., M.P., (the viee-ohair- inan) and Messrs. G. II. Seymour, Esq., George Dodsworth, Esq., and W. C. Copperthwaite,' Esq., (directors) ; Captain O’Brien (general manager), A. Christison, Esq., (passenger superintendent), J. Cleghoru, Esq., (secretary), and W. B. Richardson, Esq., (solicitor.) At a little before five o’clock his Grace the Archbishop of York and Mrs. Thomson joined the throng upon the platform, aud waited the 1 arrival of the royal train. At the farther end of the plat- 1 form a guard of Tionour, consisting of one hundred volunteeis picked from the various companies of the York corps were ranged and acted under the command of Capt. Me. Cullock as a guard of honour for the occasion. The general body of the rifle volunteers was under the command of Lieut. -Col. Lord Londesborough. THE ARRIVAL OF THE ROYAL PAIR. As has been before mentioned 5.40 was the time given out as that at which the royal express, which was to have i started froVn London at one, was due at York, but during' the afternoon it was understood, in consequence of some slight delay, it would not reach here before six. To the surprise of those in waiting, however, at fifteen minutes past five it was telegraphed that the royal train was within three minutes’ journey of the city. Precisely at twenty minutes past five the train entered the station to the playing of the National Anthem by the Rifle Volun- teer Band. The usual marks of loyalty were exhibited by those in waiting towards the royal pair as the train stopped at the platform. Mr. Leeman opened the door of the saloon carriage occupied by their Royal Highnesses, who at-once alighted. They were met first by the Archbishop, who was gri eted by the Prince of Wales by the shaking of hands. His Gnce was also similarly honoured by°the Princess, after which he introduced their Royal High- nesses to the Lord Mayor, towards whom the Prince of Wales most graciously bowed his acknowledgments. Mrs. Thomson and the Lady Mayoress were next presented, and then the Lord Mayor handed to the Prince of Wales the following loyal address from the Corporation of the city : — ■ “ To their Royal Highnesses the Prince and Princess ef Wales. “ We, the Ma.vor, Aldermen, and Citizens of the city of York, hail with the utmost satisfaction this the first visit of your Royal Highnesses to our aucient city. “ We beg leave to offer to your Royal Highnesses the assurance of our cordial welcome, and 'to renew within our walls those heartfelt congratulations which the happy union of your Royal Highnesses evoked from us, in com- mon with the whole of the people of these realms. May that union long contiuus to be the source of happiness to your R03 al Higlmesses as it is of hope aud promise to an attached and admiring people. “ We gladly avail ourselves of this auspicious occasion to testify anew that loyalty to the throne with which the historic memories as well as the present aspirations of our ancient city are so happily identified, aud our devoted attachment to the person of that illustrious Sovereign who now sways the sceptre of this great kingdom Ruling in the hearts of her people, aud feeling with them a common interest in all that concerns the honour and welfare of the State, we feel assured that her Majesty will regard witii her gracioas approbation the loyal gathering of her faith- ful volunteers, which the next few days will witness in our midst, whilst the presence of your Koyal Higlinesses on that occasion will add one more to the many ties which so happily hind together the throne and the people of our beloved country, “ Once more we hid your Royal Highnesses welcome to this the ancient capital of the North of England, and we pray that Divine Providence may continue to vouchsafe to your .Royal Highnesses His most gracious favour and protection. “ Given under our Common Seal this 6th day of August, the year of our Lord 1866.” On receiving the address the Prince of Wales again silently but graciously acknowledged the expression of loyalty, and handed the document to Mojor Teesdale (one of his suite). A reply will doubtless come in the usual course, and in a similar form to that of the address. After three hearty cheers from the company, the royal party, preceded by the Lord Mayor (who it may be here re- marked was attended by his bearers of the sword and mace), then moved up the platform towards the Station Hotel, and took their places in the carriage of the Archbishop which was waiting for them. The composition of the royal train was as follows: First, a van, after which followed a first-class carriage, occupied by Major Teesdale, and Generals Knollys and Hardinge. Then came the Royal saloon carriage, the occupants of which were the Prince and Princess of Wales alone. The next carriage to that was a “ composite,” containing a couple of second-class compartments, and the other portion forming a small saloon. In this were Prince Victor Albert and Prince George, the two sous of the illustrious visitors, with their nurses. A first-class carriage which was next was occupied by the suite of the Prince and Princess of Wales; and the rear of the train was brought up by a guard’s break van. The children of the Prince and Princess of Wales left York in the same train, shortly after its arrival in the city for Ripon, where they are to be the guests of the Earl de Grey and Ripon, and where in all probability they will in the course of a few days be joined by the Princess of Wales. The admirable arrangements of the Great Northern Railway Company enabled the royal party to accomplish their journey from King’s Cross to York in little over four hours, the only stoppages being at Peterborough, Grantham, and Retford, at all of which only about eight .miuutes were spent. All the ordinary trains were shunted at points of the line some half hour before the royal express was due, and the telegraph was kept at work during the whole of the journey that those in various parts of the Great Northern and North Eastern systems might be made cog- nisant of the exact progress which the Royal party was making towards their destinatioa. THE PROCESSION, As soon as- the Prince and Princess of Wales had left the station platform they took their places in the Arch- bishop’s carriage, his Grace the Archbishop and the Prince sitting in front, and the Princess and Mrs. Thomson opposite to them. The Lord Mayor and Aldermen and Councillors, together with the other public officials who had been in waiting within the station having also occupied carriages in waiting for them, the procession commenced, and may he given in the following order : — Chief-Constable on Horseback. Mounted Police. Band and Troop of 13th Hussars. Fire Brigade. 292 Band and Regiment of 3rd West York Artillery Volunteers. Benefit and other Societies in Order of Seniority. Citizens. Band and Staff of 2nd West York Militia. Merchant Tailors’ Company. Merchants’ Company. Magistrates and Clergy. City Banner. City Porter. City Gaoler and Sergeants-at-Mace. Under-Sheriff and Prothonotary. Lord Mayor’s Chaplain and Sheriff's Chaplain. Town Clerk, Coroner, Clerk to Justices, and City Survej-or. City Members. I City Councillors. Aldermen. City Sheriff. Recorder. Sword and Mace. Lord Mayor. Archbishop’s Carriage— their Royal Highnesses the Prince and Princess of Wales. Archbishop’s Carriages. Troop ot Yeomanry. Band and Corps of the 1st West York Rifle Volunteers. The procession had scarcely commenced to move before rain which for some time had been threatened by a gradually darkening horizon commenced to fall, and by the new bridge had been reached it commenced to descend in torrents. Nevertheless the people who crowded the city walls and every vantage point which could be secured cheered their royal highnesses with a heartiness which could not fail to impress them with the loyalty of those who desired to honour them. These demonstrations were graciously and frequently acknowledged by the Prince. The rain after passing over the bridge had become so heavy that umbrellas which had already been raised for the pro- tection of the royal party had become useless and the hood of the carriage was therefore raised, and for a while almost hid from the spectators those for a glimpse of whom they so loyally braved the elements. Subsequently however the hood was again lowered, and a moderately fair view was afforded for the rest of the procession. We need hardly say that the route taken was by way of Museum-street, Uuncombe-street, Petergate, Church-street, Parliament- * street, Ousegate, Micklegate, and through the bar intO| Blossom-street, where their Royal Highnesses broke off, and proceeding down Nunnery lane soon after arrived at Bishopthorpe, and became the guests of the Archbishop. During the procession, his Grace the Archbishop pointed out to the Prince and Princess of Wales a variety of objects of interest' as they passed along, though from causes before described not such a favourable opportunity was afforded of estimating the proportions and beauty of the Cathedral as \ it is to be hoped may be given before their Royal High- nesses take their leave of the city. From one end of the route to the other the demonstrations of loyalty were varied and most enthusiastic, hearty cheers greeting the party at every step from those who lined the way, whilst from those whose good f rtuue it was to occupy sheltered and coveted places in the shape of windo'vs, the waving of all kinds of favours made up with the general decorations of the streets a scene of liveliness which must live long in the minds of those who witnessed and took a part in the demonstration. By the aid of the police and military the route was well kept, though in ascending Micklegate the crowd became too enthusiastic, surrounding the royal carriage, and sweeping in masses on each of its sides in a manner I In Carriages. I, 1 - ^ 9 ; which rendered it scarcely safe for those who had the ill-luck to get into the vertex. Not an accident happened throughout the journey, which, though taken very slowly, was accomplished in something under an hour. An iudis- , criminate re'urn was made by tho