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Such pictures printed in of Mr. Conybeare’s work. Pvu1eD Pliu--M AU of great value if all be .+ and el AI Aoctrictinn “The Taker Taken” too, in breaking up the surface of the water. is an amateur who is rapidly coming to the front rank, and his two pictures, “In Winter’s Grasp” and “Near Barmouth,” are quite up to the standard which he has taught us to expect. Indeed, he showshimself as thorough an expert with the camera as his great namesake did with the pencil and lithographic crayon. No. 237, a large carbon picture of the interior of a sumptuous boudoir, suffers from unsatisfactory lighting, and is therefore want ing in effect. Nos. 240 and 241 are genuine little touches of nature, but they are so much alike in character that one is apt to rob the other, and the artist—Mr. W. 1’. Marsh— would have done well to have exhibited one of them alone. Each represents a tiny chicken which has just emerged from its shell, and looks with wonderment upon the world into which it has been launched. A number of views of Egyptian temples bear testimony to the excellence of the original monuments. And now we come to a frame which bears the word “medal,” and never, perhaps, was a prize better earned than by these four beautiful snow scenes by Mrs. E. Main. The four pictures bear the title “ A Frosty Morning—St. Moritz,” and each is of a different subject. The texture of the foreground snow is remarkable, and shows that peculiar characteristic which is best described by the word "fluffyness." Nothing but a gelatine plate could give those silvery grey shadows which are peculiar to snow, and upon which snow pictures depend for so much of their beauty. There is a brilliance about these sunlit scenes which makes them very different to the majority of those taken in our own dull winters here at home. Mr. II. W. graphic joke in No. 279 (“Mr. Chang’s Afternoon Walk”), by Mr. E. Brocas. Here we see Mr. Chang looking happy and genial as usual, and escorting no fewer than five ladies—two on one arm and three on the other. “ How happy could I be ! ” he seems to be saying to himself. oak—is not calculated to add to the good effect of the photographs. Mr. A. R. Dresser shows seven pictures enlarged on bromide paper from quarter-plate hand camera negatives. They are on the rough description of paper, and are of a very warm tone. Viewed from a distance of a few yards they are very effective, and look like sepia drawings. Like many other pictures in the Exhibition, they are necessarily injured in effect by their close proximity to one another. Nos. 313 and 314 are pinhole pictures—landscapes, with reeds and rushes—by Mr. A. Maskell, and are ing subjects, “Racing in the Solent,” the locality being well marked by the presence of one of those island forts which are so familiar to tourists to the Isle of Wight. Mr. Kenrick B. Murray’s “ Views in the Vosges, F rance ” (Nos. 295-299) are excellent examples of well-chosen subjects for the camera. The last-named, a river beneath overhanging trees, is especially beautiful. The colour of the mounts of these pictures, by the way a dark THE PALL MALL EXHIBITION. Two very dainty portraits are those numbered 235 and ] 236, from the camera of Mr. P. J. Lankester, but the shadows of the first-named are somewhat heavier than could be wished. The last-named is a particularly effective picture, soft in texture, well lighted, and elegant in pose. Moreover, the draperies are singularly well arranged. Mr. Karl Greger is responsible for the three pictures Nos. 242-244, and he need be under no apprehension that they will meet with anything but praise. They speak well for the excellence of Obernetter paper when toned with platinum, the colour being very agreeable to the eye and suited to the subjects. No. 244 is entitled “The Last of the Flock,” and, although the composition is of the most simple character—a few sheep in a field, backed by some trees and a hedge, and crowned with a cloudy sky—the result is in every sense a picture. Not one camera-bearer in a hundred would have thought of making such a com bination into a picture, but Mr. Karl Greger has made the attempt, and has succeeded well. Mr. Martin .1. Harding Bennett shows some breezy seascapes, which he calls “Studies of an East Coast Fishing Fleet.” He contrasts them with two rustic scenes, “ An Essex Village,” and “ A Surrey Stream.” Many will identify this latter picture with a certain mill-stream at the foot of Box Hill. Mr. Bennett has certainly made the best of it by so placing his camera that he can utilise some rushes in front and some attractive portrait treated with originality. Mr. F. Holl- yer exhibits several pictures, which are excellent copies of paintings. They are all labelled ‘ 1 not for competition.” One very fine one is “Dante’s Dream” (from the painting by Rossetti), and another, which at once arrests attention because of its merit and beauty, is the “ Head of a Girl,” from the delicate brush of Greuze. foliage at the side. The swans and their young ones help, marked “ not for competition.’ too, in breaking up the surface of the water. Mr. Chang is the title of No. 317, by one of the older school of does not show us his best work in 268 (“ Sunbury Lock ”), I amateurs, the Rev. H. B. Hare. This gentleman always which is commonplace, but by way of compensation he I shows good work, and has many medals in proof thereof, has allowed himself to become the subject of a photo-1 It is a pity that Mr. Tyser’s picture (No. 315), “ On the We think very highly of a picture which is given such a lowly position that it is apt to be passed over unnoticed. This is No. 286 (“Solitude”), by Mr. T. Orton—a swollen stream with a few trees bending over it, and with a soft grey light pervading the whole. Mr. B G. Wilkin son always exhibits good work, and here we have a capital picture called" 1 The Bookworm” (No. 274). A monk is absorbed in an old volume which he holds in his hand, while he paces the grass in front of an old wall. This peep into the monasticism of the past is well relieved by Mr. Stephens’ pleasant skating scenes, wherein the young people seem to be all on the go, and are looking as bonny, merry, and warm as healthy youngsters should look on a winter’s day. But this exhibitor has by no means lost his cunning in the matter of flowers, for there hangs here No. 291, a study which recalls his old favourite works. This is an alabaster vase filled with roses and fuchsias, with a bush of delicate maidenhair breaking its formal lines. Mr. W. J. Byrne’s “An Eastern Beauty ” is a very Mr. J. Chamberlain shows four pictures which must have cost him a great deal of trouble, in the employment of about two dozen models. They bear the titles, 11 In a Cafe in Cairo ” ; “ Hiring a Donkey for the Pyramids ” ; “In a Bazaar, Cairo”; and “A School.” They are not, however, what may be described as successes. They platinum, as these appear to be, are of great value if all be are artificial in character, and all the figures are on their true which we hear about the neglect and slow destruction best behaviour, with the self-conscious look of anyone knowing that his portrait is being taken. In No. 292, we have one of Messrs. West and Son’s capital yacht-
