tfully
grouped, mainly occupied in the art of personal adornment. Before this
house is the waterside, with a very decorative boat, confined by a
gracefully-looped chain, whose curve, as it hangs, is very subtly
designed to complete the salient lines of the whole composition. On
either side of this interior we have groups of men, more vigorously
treated,--drawing water, bearing burdens, pushing a boat from land. The
total effect of these finely posed contrasted groups, of the admirably
architectured walls, piers, and pavements, and of the striking
background, as of another hill-crowned Athens, is most complete and
satisfying. The colouring throughout, diversified with extreme art as it
is, is full of that southern radiance, and clear, sunlit glamour, so
often found in the artist's pictures. To realize this fully, South
Kensington must be visited, for word-painting at its best but poorly
reproduces the art that it doubtfully imitates.

[Illustration: FRESCO: THE INDUSTRIAL ARTS OF WAR (1872)]

[Illustration: FRESCO: THE INDUSTRIAL ARTS OF PEACE (1873)]

But these were by no means the first attempts of the artist to
acclimatize the noblest form of mural decoration, which cannot even at
this date be regarded as fully naturalized amongst us. In 1866 he
commenced work on a fresco of _The Wise and Foolish Virgins_, which
forms the altarpiece of the beautiful modern church at Lyndhurst,
erected on the site of the older building commemorated in Charles
Kingsley's ballad. This painting still remains a lasting attraction to
visitors in the New Forest village. In the centre, the Bridegroom, clad
in white, bearing lilies in His left hand, extends His right to the
foremost of the five wise virgins. Angels at each side of the central
figure welcome the one group, and repel the other. On the extreme right
is a kneeling figure, "Ora;" on the left, "Vigila," a figure trimming a
lamp. The scale of the figures is over life-size, and the unfortunate
position of the work, immediately under a large east window, so that the
figures appear standing on the altar, has provoked adverse criticism;
but the painting itself, as a triumphant accomplishment of a peculiarly
difficult undertaking, and a superb scheme of line and colour, has won
favourable comments at all times. It was painted in the medium, a
mixture of copal, wax, resin, and oil, previously employed with success
by Mr. Gambier Parry in his decorations for Ely Cathedral.

It is