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708 [November 9, 1883. photographs that called forth high encomiums from our own Princess Royal, and even the distinguished German painters, under whose auspices the spectacle was organized, have expressed unqualified approbation of his pictures, which photographers in this country will do well to study. The frame of views forwarded by Messrs. Parkins and Son (415) contains several noteworthy pictures; Alum Bay, for instance, is a very truthful rendering of this de lightful spot on a clear quiet day. Mr. Bedford Lemere’s interiors (416) are for the most part exceedingly good, especially if the difficulties in obtaining some of them are taken into consideration ; to secure a good photograph of the dining saloon on board a P. and O. steamer, to wit, is not an easy matter, and this Mr. Lemere has accom plished ; his “ Long Gallery, Charlton House,” is also worth attention. Mr. Garrett’s picture of the grey cathe dral of Winchester (425), with its picturesque foreground of fir trees, is a success, and better than his views on the Thames (589). Mr. H. Wainwright, Jun. (429, 529), it seems, has levelled his cameraat thesame composition as his friend Mr. Beasley, producing the same Devonshire cottage, with its forecourt and its figures, of which we spoke so highly on a former occasion. Comparisons are to be deprecated, but since two gentlemen submit the same composition with the same models at an exhibition simultaneously, it can only be, we suppose, to court comparison, and so we frankly say we prefer Mr. Beasley’s work to Mr. Wain wright’s work. Still, Mr. Wainwright’s two frames of landscapes contain much that is pleasing, a series of Clovelly being particularly good. Mr. A. Johnson, of Wick, sends but one picture, “Threatening Weather” (432). Mr. S. W. Rouch contributes several fine interiors (434, &c.), taken as interiors ought to be taken, with no garish high lights, and no inky undeveloped corners. The work throughout is even and harmonious, and if some of the rooms are too crowded with furniture and nicknacks, this is the fault of the room, and not of the photographer. Two of Mr. J. R. Dunlop’s little village pictures (438) are exceedingly good—to wit, the gate and the church pic ture, and with a little more attention to the filling up of foregrounds he should do capital work ; his opal portraits are also creditable. Vossewangen, with its church (439), is a capital render ing of the Norway village, by Mr. J. C. Cohen; a most picturesque point of view has been selected of the little spot, which we personally remember very gratefully, as affording us once upon a time a supply of black bread, when nothing but the thin oat-cake of Norway had been our food for a week. The " Iceberg ” (441) of Mr. Fred Barber is an instance of the value of photography as a graphic art of unimpeachable veracity. How many times have we stay-at-homes heard of these floating mountains, and listened to travellers’ stories about their wondrous height and mighty aspect, about their shipwrecks and cast aways. Mr. Barber here shows us an iceberg some thousand feet in length, and 250 feet in height, that brings well home to us all the dangers of such erratic islands. Mr. P. Burgis’s tiny pictures of wood and water (454, 502) are pleasing, and the same may be said of views in Goodwood Park, &c. (460), sent by Mr. A. R. Dresser. The “Hardwick House” series of Mr. J. P. Clarke is a little conventional, so far, at any rate, as the outside group is concerned ; the interiors are better, and two or three of them, indeed, first rate. Messrs. England Brothers ex hibit some transparencies taken by Mr. W. England (624a), whose perfect little pictures need no further praise from us, and also send some platinotype prints on linen (468). These latter would be perfect but for a few coarse threads in the fabric; we have found a dense batiste muslin one of the best materials for photographic printing, for the threads here are generally very close and uniform. The Alhambra series of Mr. E. H. Griffiths is one of the most attractive features of the exhibition. We have already spoken of his work, but we must do so again. Painted in platinotype, the pictures have a most delicate and refined appearance; look at the Court of Myrtles, with its limpid water (474), or the several views of the Court of Lions, magnificent subjects treated in a magnificent manner. We cannot pass them by without once more con gratulating Mr. Griffiths warmly on the success of his labours. Mr. W. Denham’s views (471, 569) are a little too dark to please, those of the Isle of Man being, however, the best; of Mr. Arnold Spiller’s photograph of a Dene Hole, and Lieut. E. 0. Tyrell Hawker’s photograph at night by the electric light, we have already spoken. Mr. E. Dunmore sends a single picture (489), a silent pool in Kew Gardens, its placid face picturesque with rushes and water lilies. Dr. T. H. Morton shows a most interesting series of pictures of the Suez Canal (517), and a collection of Indian prints (501) that are well worth looking at. Of Mr. Mil man Brown’s contributions we like best Autumn Sunshine (512), in which the bold headland of Luccombe projects seaward, veiled in hazy mist; the Tower Cottage, Shanklin (504), of Mr. M. Brown, is also a creditable picture. The undergrowth of fern and bramble beside the lazy stream of a Devonshire Dell (503) makes a very pretty picture, but Mr. H. P. Swaine, the author of it, has not succeeded so well in “The Angler’s Good Bite” (511); we should have called it “ Weeds.” The beechen foliage in Knole Park (508) is well interpreted by Mr. Albert Clout, one of whose pictures, showing a group of fallen trees lying deep in fern and bracken, is a charming composition. The “ High Beeches” (510) of Mr. B. G. Wilkinson, Jun., their giant stems dappled with sunlight, also deserve a word of praise. Mr. W. Atkins sends some “ Views in Norfolk.” Mr. Walter Pouncey (535) shows a series of stained-glass windows, in which the design of the latter, as well as the stone setting, are desired to be shown—no doubt a very difficult problem, which has been satisfactorily solved. Mr. J. H. Knight sends two frames of views (536, 537); a harvest scene with waggon and horses, and Farnham Bridge, with its ivy drapery, are two of the best of these. Of Mr. Thomas Griffin’s contributions, the winter sketches (459) are best; one picture showing us the village church with a harvested field as foreground would have been more successful if the camera had stood inside the iron fence. This latter, close to the camera, gives a “ town-cut ” look to the picture and spoils its rusticity; moreover, it could easily have been avoided. Mr. J. W. Barry’s “ Views in Corsica ” (549) are decidedly good pictures, and in Mr. W. Dawson’s frame of “ Studies taken from small sailing and rowing boats ” (550) there are several excellent photographs, notably the white sea, where a steam-tug is towing a huge merchantman through the crisp waves. The Luxograph Company exhibit some clever portraits (560) taken by the aid of their light. Mr. C. E. Abney shows some capital little sketches (567); that of Whitby with its shipping is exceedingly good, and so, too, is “ In Miller’s Dale.” Captain Turton has “ Bits from Italy ” in two frames (568, 587) ; a pic ture of Florence, and another of a group of two ladies, are the best in the collection, some of which, however, appear very yellow in the excellent light in which they are hung. Major J. Board, in Limpsfield Village (571), shows us a delightful village picture, which would have been improved if horses and waggon were more in the fore ground. His wintry scene, with the dark shadows of December reflected on the snow, deserves high praise, and so, too, does Brasted Mill (573), which is bright, smooth, and harmonious. Of Mr. J. W. Lumley’s series, “On the Yorkshire Moors” (575) is one of the best, only there is no moor in the picture, but a leafy dell, through which a silvery torrent meanders over shining pebbles; “ Eas{ Abbey ” (576) is rather spoilt by the meaningless ban of stones in the foreground. Mr. Charles Reid has t