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Downer’s “Nobody asked you, sir, she said” (259), though a vary good picture, does not impress the spec tator with the idea that the model’s fortune, as represented by her face, is a very remarkable one ; and we think, too, that the Countess of Clarendon’s face (412) is scarcely of the kind to carry off “beauty spots” with advantage; however, Mr. Downer will probably hold there is no pleasing some crities. Mr. Augustus Wilson’s portrait of a lady (260) has not been done justice to by the hangers; it is a most successful direct negative, the white drapery of the lull-length model being depicted with all that soft ness and absence of glare so rarely seen in a photograph of this type. Moreover, the pose and modelling leave little to be desired. Strange to say, the other exhibit of Mr. Wilson, “ Lorie ” (632), which is not so good, is well placed. Messrs. Morgan and Kidd exhibit some capital por traits (263, &c.) enlarged on matt opal, covered with a film of gelatino-bromide ; the tone of many of these is ex ceptionally good, while, both on the score of vigour and softness, the gelatino-bromide film leaves nothing to be desired. Messrs. Lombardi show also a large number of portraits, some of which would be better for a little less monotony in the half-tones. Of Mr. John Crosley’s ex hibits, “ Nelly Sanders ” (264), and “ Head of an Actor ” (307), are the best, while of the pictures of Mr. A. Stewart we prefer the portraits of Mr. and Mrs. Baker (358 and 359); but Mr. Stewart’s work would be better if it were not quite so smooth and white. Mr. Gerson’s big picture of Madonna and Child (270) is a good example of what can be done in successfully reproducing old canvases. Mr. Valentine Blanchard’s series of portraits naturally attract considerable attention ; that of Mr. C. E. Pearce, editor of Funny Folks, is one of the most successful of the series, as acquaintances of Mr. Pearce—and there are many among photographers—will readily testify. Miss Marion Johnson, in “ Patience,” is another first-class portrait, all of which are printed in the rich brown tone that Mr. Blanchard has adopted for some years past. Mr. Roland Blackett sends but one contribution, “ Dolce far Niente" (281), which, however, is of a very modest character. Mr. W. Winter’s “Meditation” (282) is an agreeable study of a girl’s head, well posed and tastefully lighted ; Mr. Winter evidently thinks highly of it, too, for he includes a second copy of it in a frame of portraits (484), where it is decidedly the best of the bunch. Mr. H. T. Hall’s Thames views (495) are rather dark, and, to make matters worse, they are hung in a dark corner ; the portrait (289) is better photography. Mr. Fred Hollyer exhibits some careful work, printed in platinotype; “ Endymion ” (302), after Mr. Watts, R.A., shows us a very difficult problem in photography solved; but Mr. Hollyer’s chef <Toeuvre is the pair of elegant flower panels on one of the screens (593), in which the stem and petals of the Iris are rendered in exquisite taste. Mr. C. F. Wing has a group of two ladies (303) with lawn-tennis bats, evidently com paring notes over a match. Mr. Frank M. Sutcliffe is largely represented this year, and his works enjoy a fine position at one end of the gallery. His clever and artistic sea studies are already well known at Pall Mall, and his high reputation will be further enhanced by this year’s display. In “Stranded ” (421), the huge black hull of a beached schooner is made to contrast most effectively with the bright sea, silvered with the early dawn of morning. “ With Wind and Tide” (422), a procession of fisher boats on their way to early work, their dark sails bent to the breeze and their crew astir in the grey morning glimmer, is another not less pleasing composition, of which, as we have said, Mr. Sutcliffe sends a goodly number. The portrait of Dean Stanley (310), the only exhibit of Mr. Abel Lewis, is such a fine and forcible bit of light-painting, that admiration for it is tempered with regret that the well- known Ile of Man artist is not more abundantly represented. Mr. W. Gillard’s “ Blondes ” are a pair of very creditable portraits, the lady in the hat being especially well posed (309), with much quiet grace and dignity. Taken direct on fifteen inch plates, the work denotes considerable care and skill; “ H.M.S. Sunbeam ” (320), a little lad peering through a porthole, is also a good composition of Mr. Gil lard’s. Mr. E. A. Maxwell shows a clever photograph in “ All Tickets, please ” (331), the inside of a railway carriage with the guard at the door ; the best feature about it is that it is not overdone, not overloaded with incident, while several of the characters are pourtrayed with a good deal of humour. Messrs. Portbury and Co. (333) are represented by a frame of portraits, and Captain Abney, R.E., shows a whole series of leafy English landscapes. It is evidently a dangerous practice to quote poetry in connection with photo graphy, but one of Captain Abney’s tweet little woodland scenes (341) well illustrates the line “ There’s a path by the river o'ershadowed by trees.” A sylvan lane in Devonshire (340) and Windsor Castle—a most difficult subject to render well in photography, for the castle always seems to the eye to want raising a bit, while the lens is invariably the other way of thinking—are both rendered by Captain Abney with all the touch of an artist. The “At Home” (349) pictures of Mr. Fred Thurston are exceedingly creditable ; there are none of those chalky high lights and inky shadows unfortunately not unknown in out-door portraits, while the stout tree trunk with its rugged bark makes a famous background. Mr. S. E. Phil lips’s photographs “Taken in my Garden ” (350) have not been done justice to in hanging ; the woodland study with its bowery foliage deserves a word of praise, and so too, does that of house and grounds, which is clear and bright without garish high lights. Mr. A. Donald exhibits some good studies of shipping, but better still are his landscapes taken on emulsion plates of his own preparation. Edradour (352), with its cottage and brook, is a delightful picture. Messrs. T. and R. Annan show a most forcible and harmonious portrait of the Duke of Buccleuch (355) printed in carbon, and having the appearance of a first-class engraving ; it is one of the best portraits in the Exhibition. Mr. W. E. Debenham sends two frames of portraits, one of them (357) containing a gem; it is a bust picture of a lady in white, and is altogether a very elegant and pleasing study;. The white tulle, the diaphanous lace, the delicate modelling of neck and shoulders, together with the clear bright eyes of the model, are all subjects for admiration. Mr. Debenham’s own portrait is in the same frame, and a very good one it is. Of Mr. J. T. Blair’s South American Vistas (367), the most quaint is the Avenue of Palm Trees at Rio, and the group of “ Wild Ostriches,” which we presume are more or less tame in presence of the camera. Mr. G. E. Hale has several sea sketches, one of them (377) being " taken from a yacht sailing ” ; while we find that Loch Scavig (390) and Loch Coruisk (391), which the first edition of the catalogue set down as the work of Mr. Vernon Heath, are now claimed for an amateur, Mr. Donald McFarlane, M.P. We did not deem either of these quite equal to the high class work usually associated with Mr. Vernon Heath, and we said so; we are glad to find that it was a mistake to put his name against them. Mr. McFarlane also shows “ Glencoe ” (445), and “ Rual of Bengal ” (444). Of Rev. A. John son’s pleasing little sketches, the best is the mouth of the Llyn (393), which represents both careful and tasteful work ; but there is not very much to admire in “ Disap pointed Hopes,” a series of dog pictures by Mr. H. G. M. Gonybeare (398). Dr. Plaister has three Alpine sketches, of which the massive Jungfrau (411), rendered yet more massive by the clouds of vapour about it, is most suc cessful. THE DENT DU GEANT. BY PROFESSOR W. F. DONKIN, M.A., F.C.S., Member of the Alpine Club. THE Dent du Geant, or “ giant’s tooth,” near Chamouni, is unique among the rock pinnacles of the Alps. It juts