EXHIBITION OF THE SOCIETY OF little girl, whose looks express the title of the FEMALE ARTISTS. GALLERY OF THE ARCHITECTURAL EXHIBITION, 9, CONDUIT STREET, REGENT STREET. With industry and perseverance on the part of the associates and exhibitors, all that is needed to render this society successful is encouragement. This, of course, rests with the public, and may be afforded in two wayseither by subscribing to the funds of the society, or by patronizing the artists and purchasing their pictures. The society itself has been re-organized, and some names of considerable weight and influence have been added to the list of patronesses; while the executive appears to be in earnest and practical hands. The walls of the gallery (a great improvement on former places of exhibition) are well covered, but more rigid weeding of the pictures would have benefited the show. Without any conspicuous examples of excellence, either in drawing, colouring, or composition, the collection possesses some meritorious pictures, and a general improvement is visible upon the exhibitions of past years. Madame Bodichon's "Carnac Brittany" (43) -the weird stones of a Druidical circle on a wild moor-is a striking picture; the texture of the gaunt, weather-stained stones is firm, and there is real feeling in the artist's treatment of the scene. Another picture by the same lady, "A Hilltop, North Wales" (126), is a grand subject cleverly treated. "Braubach, on the Moselle" (34); Mrs. Oliver. A pleasing picture, both for colour and composition. Miss R. Place exhibits three pictures: "Roses" (10), "Kingfisher and Water-lilies (36), and "Gloxinias" (89)—all of which show an advance in drawing and colouring on the part of this painstaking and improving flowerpainter. These qualities are particularly observable in "Roses :" we, however, take exception to the background of this latter picture -a hedge-row, with its dry sticks, moss, and wood-ivy, is not in keeping with the beautiful group of highly-cultivated flowers. "Blackberries and Mosses" (13); Marian Chase. An unpretensive, but very true transcript from nature. "The North Cliff, Tenby" (22); Emily Utterson. Exhibits much promise. Miss Louise Rayner sustains her reputation for architectural effects. "The Market Scene, Chester" (56); "South Side of St. Joseph's Chapel, Glastonbury Cathedral" (41); "Entrance to the Crypt of Wells Cathedral" (70); and other pictures, show great facility in the treatment of the forms and texture of antique buildings, and interiors, which the hand of time has solemnized, and frescoed with sombre tints. Mrs. Backhouse, with her usual feeling for domestic subjects, has put the almost living head of a kitten in the doubled-up pinafore of a picture-"The Pet" (21). Never was there a much shrewder-looking little tabby; and we can appreciate the wisdom of her young mistress in muffling up her small but expert claws: the mixture of complacency and mischief in the little feline face is inimitable. Miss Gasteneau's "In the Pass of Glen Croe" (48), is worthy of the name she bears, and shows a fine sense of the sublime in Nature: the rocks and mountain peaks are boldly drawn, and the perspective excellent. "Windermere" (364), by the same artist, is very charmingly rendered. Miss James adorns the walls with flowers that show a true appreciation for the forms and habits of her exquisite models. Miss Lane exhibits some good specimens of "Rhododendrons (83), boldly drawn and excellent in tint and texture. While on the subject of flowers, we must not forget to mention Mrs. Harrison's "Chrysanthemums" (52), nor the charming "Camellias" (152*) of Mrs. Withers. Miss Adelaide Burgess contributes the oftrepeated subject of "Boulogne Fisher Girls" (154), and "Boulogne Shrimper" (163), both drawn with spirit, and good in colour; but in both instances a repetition, in treatment, of other shrimpers and fisher-girls. Miss Mary Tilbury's "Castlebury Park" (155) shows considerable feeling for sylvan scenery. Miss Emma Walter, in her companion-pictures-"Spring" (134), and "Autumn" (125) exhibits careful study, and attention to detail. Amongst the oil-paintings we have some pretty bits of "River Scenery in Canada” (165), (185), by Mrs. Hoppner Meyer. Miss Emma Brownlow's pictures-" A Ghost Story" (166), and "Between the Acts" (225), are both noticeable-the first for realness of expres sion in the faces of the group of listening children. The face of one of the children-the girl to the right-is charming, and contrasts finely, in its intelligence, with that of the staring terror in the face of the young women on the opposite side of the fire, which throws its glow upon the group. Miss Brownlow's second picture tells its own story-a poor actress, dressed for her part, in velvet robe and mimic jewels, playing with her child, who clutches at her glittering ornaments; while the squalid room exhibits all the bareness of poverty, and the wretched habiliments and worn-out boots littering the floor and table are eloquent of sad realities. Miss Fanny Assenbaum's "Source of the Elbe" (225) shows careful drawing, a knowledge of atmospherical effects, with good foreground and distance. Miss Kate Swift has several genre pieces on the wall. "An Old Donkey" (in pastel), by Mrs. Newcomen (295), claims regard. "The Professions" (340), by Miss A. Claxton, are full of character and talent. "Lost" (357), a pen-and-ink sketch, by Miss Babb, shows much originality of conception. (60), by J. F. Pasmore; a sunny little picture, nicely treated. We have noted several others on the cata Miss Fitzjames exhibits a large number of studies of flowers, and there are some note-logue, but our space will not admit of particuworthy portraits by Mrs. Goodman, Madame larizing them. We are glad to see that Mrs. and Noa, and others. the Misses Thorneycroft contribute sculpture; but we miss the contributions of Rosa Bon'Children Fishing in the River Spraughton" heur from the Exhibition. C. A. W. "FOURTEEN, JOHN-STREET, ADELPHI." "Well," says the reader, "and what of 14, John-street? Is there any antiquarian aroma about the house? Is there any dark scene of history to be unveiled which has happened there? Is there any untold legend, of which this magazine is to have the benefit?" Neither of the above questions can I answer in the affirmative, though possibly the charming 'Book of the Town" may contain records of interest anent 14, John-street. But that house has its chief interest, propos of this article, in being the office of the LIFEBOAT SOCIETY, which has for its work one of the noblest aims that of saving the life of those imperilled on the sea. During the past year the society's boats have saved four hundred and forty-four lives. It is a goodly total, this, of philanthropic and gallant endeavour; and the expenses connected with keeping, stocking, and maintaining lifeboats in the English ports and at the fishing-villages is enormous. Need it be said that all donations will be gladly received? I write with no official knowledge of the society whatever; but I am not perhaps presumptuous in reminding my readers of the existence of this noble institution. I have not the slightest acquaintance with it, or its working, beyond that derived from the printed records open to all; but I am sure that the Lifeboat Society should have the support of everyone, according to his or her means. The dreadful storms with which our coasts have been visited speak trumpet-tongued, to those whose life is ease and safety, of the dangers and sorrows of the sea. The barometer shifts and falls in a manner which the meteorologists tell us betokens continued stormy weather. We read the announcement in the papers, and we see in inland places trees blown down, tiles swept off, rivers overflowing their banks, and the inky masses of cloud scudding before the driving storm; but at its greatest, what is the aspect of the storm inland compared with the spectacle it presents at sea? Those who wish to picture vividly the need of a lifeboat, and the benefits conferred by this society, should think for a moment, as they contentedly hear the wild blasts sweeping round their quiet homes, of what a storm and a shipwreck are. Have you ever, my readers, seen the two together? None who have will ever forget it-the scene too sadly true, of late, along many an English coastline the tossing, burst ing, raging waves flinging sheets of foam on "Che mugghia come fa mar per tempes," &c. until the ship strikes and goes piecemeal into the terrible waters, with the poor wretches clinging to the spars, and doomed before the very eyes of the powerless crowd on the beach. Let anyone picture this true scene, or think of the latest and most dreadful catastrophe terrors of the blue sea, and the fearful doom it on the ocean, and he will perceive acutely the horror, or more pitiful in its intense pathos, than works. Nothing on record is more awful in its the story of the foundered steamer which went down only a few days ago. Is there not, in the account of the London's sinking, with her two hundred and twenty human beings, in the midst of the Bay of Biscay, "the sea running mountains high, and the engine-fires washed out," something which touches the hardest hearts? Men, women, and little children, the brave, good, faithful captain, and those of his crew who stayed on board, all went down without a chance of aid. Stern foremost the great steamer "raised her bows in the air," and then settled down into the awful waters. We are told how the captain had to tell his passengers that there was no hope, and how they quietly prepared to die. We are told (and it would melt a soul of adamant) that the children clung to their parents and wanted to know the reason of the tears and sobs around them; and that all grouped in the saloon, where the preacher exhorted them and united in prayer, and thus calmly and slowly there came over them all the shadow of Death. And then the last dreadful, engulfing rush of the waves, and the story is almost too awful and too pitiful to be told.Thinking of this; of the widows and orphans lately left desolate; of the wild storms that sweep round our coasts; of the constant need of the lifeboat, and of the poor fishermen, who, in their humble way, volunteer like heroes to man the boats, can anyone be not impressed with the "perils of the waters," and the value of the Society towards whose benefit this humble effort is directed? The smallest donation helps. THE TOILET. (Specially from Paris.) 66 FIRST FIGURE.-Indoors toilet composed of the highly poetical phraseology of professional a first skirt of green satin, closed with gold fashion, as if the little animal had curled buttons, and a second of plain velvet, of the itself round the fair neck of the wearer." same colour. Body in the form of a Hun- Chaque un a son goût in dress, as in everything garian jacket, open in front, and accompanied else; but in our estimation there is something by a satin waistcoat. Satin sleeves. Linen savage in the return to this primitive mode of collar, with guipure stars in the corners, and wearing the skins of animals. cuffs to match. SECOND FIGURE.-Visiting toilet, consisting of a broad-striped moire antique dress. Chinese corselet, forming three points behind at top and bottom: three points in front at top, and two at bottom. For outside garment a long black velvet jacket, like a coat behind. Sleeves tightfitting. Empire bonnet, made of white Imperial velvet, with a violet front, on the middle of which is laid a feather of the same tint. White bandeau curtain, surmounted by a bias of violet velvet. Inside, a violet velvet bandeau, veiled by narrow insertions of Cluny guipure. A snow of tulle down the cheeks. Long basques are being worn again: they are made to slope off very suddenly in front, and are quite long behind, with much the effect of a tunic skirt. : A new muff has appeared, not unlike a haversack in shape the back is flat, and formed of velvet, or leather, and contains pocket for money a convenience you will allow, and also a security. The front, which is of fur, has a lap, formed of the head of the animal which, on being raised, discloses another pocket, lined with satin, and intended for the pocket-handkerchief. This elaborate affair is suspended from the neck by a rich cord, with tassels, which falls over the front. Our Correspondent describes this new muff as the prettiest and most ravissante affair possible. It is en suite with the new fur collar, for ladies and children, which consists of a straight band the entire skin of the animal, (mink, or ermine) with the head at one end and the tail at the other, the former just buttons over the latter, and looks, in The winter wrappers consist of short and long which, by the way, are exceedingly cold, and sacks, the latter with wide flowing sleeves, uncomfortable, and tight or half-tight fitting paletots. Buttons make a very prominent figure as a fashionable trimming: they are very elegant and fanciful in form. Sometimes silk buttons have a gold sequin attached to the centre, sometimes they are of gold, or silver filigree, sometimes of crystal, steel, &c. Everything that lovers of neatness may think to the contrary. glitters is in good taste, notwithstanding what Gored dresses continue popular, and the double skirt, especially for dress is much worn. I have seen a charming robe composed of pou de soie, the first skirt violet, the second black; the first, stitched only, half-way down the seams, has the other half looped up with cords and tassels at each seam: the second, or underskirt, being trimmed with medallions of white guipure. The corsage, of violet silk, was made high, and was accompanied with a Greek habit of black velvet, without sleeves, and with very small epaulets. Neck-ties, veils, sashends, bonnets, head dresses, not only in full dress, but for ordinary in doors and out of doors wear, are ornamented with spangles, beads, drops of pearl, gilt, steel, or crystal. Gilt sequins are equally fashionable in the hair, on the bonnet, or the veil. The most fashionable form of the latter is the Sultan, though what on earth that potentate has to do with it I know not. It should be one yard long by three quarters wide, and when not over the face is thrown on the side of the bonnet: it is usually made of plain or figured net, bordered with lace, or edged with pearl, or other gimp. |