but admire the
genius that has so far overcome the intrinsic difficulties of the
situation; and, while congratulating the artist upon his success, must
add that the Victor Hugo style of morbid horrors, however popular in
some species of literature, can never, we hope, become so in the purer
domain of visible fine art.

No. 246, 'Portrait,' William O. Stone, N. A., is a charming portrayal of
a charming subject.

No. 283, 'A Child,' by George A. Baker, N. A., has lovely brown eyes,
and a beautiful, thoughtful expression.

No. 253, 'A Portrait,' by W. H. Furness, jr., strikes us as a picture
carefully disfigured. The _part_ in the hair is singularly continued in
the part between the wings of the golden butterfly ornamenting the head,
the eyes are just sufficiently turned aside to give them the appearance
of avoiding a direct gaze, and the tight-fitting gown is of white
_moire_, a material of stiff texture and chaotic pattern. The shimmer of
waves in sun or moonlight is beautiful because restless, but the
watering of a silk is a rude attempt to fix the ever variable in form,
light, and color, and hence is always unsatisfactory.

We are glad to see that the women in our community are beginning to make
some serious efforts in the way of good painting. They are by nature
subtile colorists, and there is surely no reason why they should not
conquer form, attain to technical excellence, and be inspired by noble
ideas. They must remember that excellence is attainable solely through
hard study and patient assiduity, and small things must be well
accomplished before great ones can be expected to succeed. With the
general development of what we may call 'out-door' faculties, a taste
for mere sentimental prettiness will vanish, and a healthy vigor, united
to refined and acute perception, will, we hope, characterize the labors
of the rising aspirants to artistic honors.

No. 91, 'The Sword and the Wreath,' by Miss A. E. Rose, is a poetical
conception, beautifully elaborated. The flowers have no appearance of
having been copied from wax or colored stucco, but are faithful
representations of the actual, fragile, delicate texture of the lovely
children of the garden. The method of presentation suggests a memory of
La Farge, but Miss Rose is too talented and original ever to fall into
servile imitation.

No. 132, 'On the Kaaterskill Creek,' and No. 64, 'Head of the Catskill
Clove from the South Mountain,' are by Miss Edith W. Cook.