... Madame D'Ora's reputation will not be enhanced by her show here. It is a pity that the "Child with Cherries" (195) was hung at all, for it is as common in colour as a very cheap oleograph of the seventies. It is often difficult to find the motive of some of these coloured prints. Why, for example, does J. West Lang choose so unfit a tint as green for his misty landscape " Rijsvord " (197)? "La Bocca " (208) still remains the best of Charles F. Stuart's essays in colour. In other examples he is content with an arbitrary choice of tint with apparently little reason. Sometimes he pigments his snow in green and sometimes in brown, and his favourite combination is a blue and a brown simply applied. G. E. Bouskill comes nearest to the colour of nature in his " Dordrecht " (213), and in portraiture Miss M. Venables reaches real success in her delicately and harmoniously tinted bromoil of " Susan H. Venables " (216). Dr. A. T. Lakin is likewise to be congratulated on " Mabs and Gipsy " (219), a dainty portrait of a lady and a spaniel, the latter beautifully rendered, though the lady's face is too strongly coloured. There is some clever three-colour carbon work by Samuel Manners of flowers and fruit. Amongst the Autochromes new to us were striking examples by Dr. E. A. Barton and Messrs. Corke, S. J. Ford, H. Koester and Dr. Levy. The Autochromes ...