and decorative painting; stained glass and glass mosaics; modelling and plastic ornament; designing and construction of furniture; wood-carving; picture frames, and ornamental and gilded woods; ornamented leather, paper, and other wall hangings; modern textiles and needle-wrought tapestries; modern embroideries and modern ecclesiastical embroideries; designs for gold and silver work for jewellery, for medals, and for the engraving and carving of precious and semi-precious stones, pottery, porcelains; colored, cut, or engraved glass for table or decorative use; art manufactures in iron, copper, brass, and bronze; book covers and book binding, book marks, and modern hand-made lace. The field, as will be seen, is a very wide one, and it is from this exhibition that the best specimens of the work of women will be selected to constitute the loan collection of the Bureau of Applied Arts, which will be exhibited in the Woman's Building at the World's Fair at Chicago.

The announcement was made some time ago, and created no little interest, of the invention of a tool by which sculptors and others engaged in the carving of marble, stone, or granite, could dispense with much of their slow and laborious handwork. The details of this mechanism, as recently given, show that it is worked by two or three cells of storage battery, giving four to six volts and eight to ten amperes of current. The device weighs about six pounds, and is provided with a plunger, the rapidity of stroke being regulated by a button on the side of the tool; the stroke can also be made to vary from one-eighth of an inch to one inch, at a speed varying from three hundred to six hundred strokes per minute.

Instead of having to strike the tool itself, the operator needs only to guide its movements, and is thus able not only to accomplish the work much more rapidly, but to give greater attention to the working out of the design. Although six pounds is the heaviest tool thus far constructed, it is claimed that the principle of the machine can be widely extended and applied to very many purposes, from the most delicate sculpture to the heaviest of granite drilling and mining; it is found particularly useful for the carving of letters and similar work, where it is necessary to follow accurately straight or curved lines.

April 17th is the date fixed for the opening of the XVth Exhibition of the Society of American Artists. This will be the first exhibition of the society in its permanent home in the Fine Arts Society Building.

A Memorial Exhibition of the pictures, for the late J. Foxcroft Cole, was opened at the Boston Museum of Fine Arts in January and closed in February. Mr. Cole was a painter of much merit, a pupil of Lambinet, and his work was strongly personal.

At Reichard's Gallery, Winslow Homer showed seven pictures destined for the Chicago Exposition. They include some of his oils of hunting scenes in the Adirondack woods, fishermen in their dories, and coast scenes; among the latter was the well-known "Sailors Take Warning," with its red sun, which somehow seems out of key. Even with their characteristic defects they are interesting, sincere, and of value to the student and picture lover.

Mr. Bicknell, a painter whose work is rapidly improving in quality, the quality that painters applaud, showed a study of sunlit surf at Macbeth's.

Eugene Jettel is a landscapist of Austria, trained there and in France, and working mainly, we believe, in the latter country. A score or so of his paintings,

at the Avery Gallery, will make him more familiar to American amateurs. They are accompanied by a note, printed in the catalogue, which in a very sanguine manner hints that Jettel is the peer of Cazin and Mauve. To the impartial reviewer it may be permitted to doubt this. Painting in a light key, depicting the fresh greens of rich meadow land and the transparent surfaces of still streams and ponds, Jettel obtains artistic effects, with a delicate kind of beauty in them. Some of the French landscapes in this collection-Nos. 6, 11, and 16, to mention those that seem to be the best-are truthfully done and are original in style. They have atmosphere, moreover. The newcomer-for although one or two of his paintings have been brought to this country before, he is a newcomer-is a colorist and brushman of undoubted merit.

The Sixty-eighth Annual Exhibition of the National Academy of Design will be opened to the public on Monday, March 27th, and close on Saturday, May 13th.

The Third Annual Exhibition of the Art Club of Philadelphia opened to the public an important exhibition of works in oil, water color, and pastel, early in March.

Brother Mauerlain, secretary of the Catholic Educational Exhibit at the World's Fair, has written to the Catholic clergy at Milwaukee, asking their assistance in securing the banishment of nude pictures and statuary from the Fair.

The Fifteenth Annual Exhibition of the Society of American Artists will open on April 17th at the new Fine Arts Society's building. Blanks should be obtained of the secretary.

Perhaps the most important, and certainly one of the most interesting, pictures in the collection which Mr. Robert J. Wickenden placed on view at the American Art Galleries is the beautiful "Moonrise in the Valley of the Oise," by the elder Daubigny, in which the long, narrow picture is exquisitely lighted by a misty moon near the centre of the composition. One remarks the curious outlines of the masses of trees, which at a distance has considerable value, and lends an air of truth to the foliage as seen in moonlight, while the thin color is in some places simply "washed" on the canvas with the medium. Other pictures by C. F. Daubigny are "Study of a Vineyard," in which the handling is entirely different, "The Sportsman," and a strong "Study of Sheep."

By Karl Daubigny, "On the Banks of the Oise," fine in quality and airy in composition; "Storm off Trouville," and the "Beach at Tréport."

Of the work of Corot there are seven examples, of which several are in his earlier manner, notably the "Vatican Gardens," and the "Bather," a nude study of a woman sitting beside a pool with the light coming from the back over her shoulder, which fairly gleams with color. Perhaps the best of the Corots is the "Paris near Meudon," a charmingly lit landscape, with a heavy cloud hanging above the city, which is in sunlight, against the masses of green and gray. His "The Banks of the Marne" is a long, narrow panel, painted as a decoration for a door. Of the four Rousseaus "The Plain of Barbizon at Twilight" is a charming example, and his " Windmills at Sunset "represents two ruined mills strongly drawn against a glowing sky. There are examples-fair ones, too--of Jacquet, Diaz, De

camps, Michel, Troyon, Géricault, Courbet, Delacroix, Dupré, Delaroche, and Millet, and caricatures in color by the eccentric Daumier; Ary Scheffer's interesting, if somewhat black, " Head of Christ"; Boulanger's "Portrait of Georges Sand in her Youth," the face strong and intellectual; Chaplin's "Real and the Ideal"; a large canvas by Doré, "Combat of the Gauls and the Romans," interesting in composition, and, one may say, fine in color scheme. There is a fine "Autumn Landscape," by Troyon, in his usual manner, low in tone and rich in subdued color; a "Forest Interior at Fontainebleau in Springtime," by Diaz; Delacroix's "Foraging under Difficulties," a fine example of his power of technique and color sense; an "Alpine Torrent," by Courbet, rugged and painted entirely with the paletteknife.

The Millet is not a very interesting one, being simply a sketch of a house and garden. Of value, as a study, to the student are the fine drawings in crayon, pencil, charcoal, and pen and ink, in the gallery upstairs. Mr. Wickenden, who made the collection, is himself a painter, and upon the death of Rousseau succeeded to his studio, and therefore was enabled to secure some of his valuable sketches. Mr. Wickenden's notes in the catalogue evidence his love for the pictures, and his real regret at having to part with them. Among the interesting drawings are examples of Millet, of few lines, but masterly knowledge and expression.

Mr. Walter Richmond has also gathered together some fine pictures by the men of 1830, as well as good examples of the work of other European painters of lesser fame.

The collection comprises pictures by Troyon, Bonheur, Dupré, Isabey, Corot, Courbet, Daubigny, Rousseau, Millet, Géricault, Jacquet, Verboeckhoven, Schreyer, Vernet, Bouguereau, Fortuny, Greuze, Munkacsy, Boulanger, Domingo, Ziem, and many other well-known names.

One must mention the beautiful "Twilight" and the magnificent and glowing "Sunset after a Storm," by Daubigny and Rousseau, respectively, and Millet's "Sower" and "A Churner," purchased from Mme. Millet. The "Arab Fantasia,” by Fortuny, is a fine, dashing, colorful piece of work-one of the prizes of the collection.

Of the Americans, only W. M. Hunt, Bierstadt, and De Haas are represented, but each characteristically. The Bierstadt shows a herd of cattle drinking at a stream in a landscape gilded by the haze of sunset.

Of the eighty pictures shown at the last oil exhibition of the Salmagundi Club there were some which represented not unworthily the work of the strong men of the club. Mr. Levy's "Young Italian Girl" was good both in color and drawing, and Mr. Musgrave's "In the Height of the Season," representing a crowded ballroom, if it was not entirely satisfactory, was some of his most serious work. Mr. Whittemore's picture of a pretty girl was not below his level, and there was a large, richly toned canvas by Mr. McCord, entitled "On the Devonshire Coast." Mr. Marshall's "Hackensack Valley was an ambitious venture, commendable in some respects; and there were characteristic pictures by other well-known men, such as Mr. Champney, Mr. Drake, Mr. Rehn, Mr. De Cost Smith, Mr. Carleton Chapman, Mr. Birney, and Mr. Dolph.

Mr. J. Harrison Mills sent a medallion and a portrait bust in plaster, and Mr. J. Scott Hartley, the sculptor, was also represented by a portrait.

The exhibition was pleasantly inaugurated by a "stag" party on Saturday evening, February 18th, and closed the following Wednesday.

In the work of Evart Van Muyden, which Frederick Keppel introduces at his gallery, one discovers a new man of great power of draughtsmanship and knowledge of animal life: if one is reminded of Barye, in looking at some of Van Muyden's plates or water colors, the reminder is only a fleeting one, and is overcome by personal quality which appears in the work of the younger aspirant. Mr. Van Muyden draws like a painter and paints like an etcher; that is to say, his draughtsmanship is full of the appreciation of the quality of mass, while his color work is less virile, more tentative. Unlike his predecessor, the late August Lançon, or the great Landseer, Van Muyden does not seek for facial or human expression in his animals, and in this lies no small part of the success of his accomplishment : his animals, one feels, are true to nature. His hand seems to be a sure one, and his plates to be made on the spur of the moment with little after alteration. One admires some of the sketches, in which he shows his ability to digest, so to speak, his subjects, and to give only the essentials in mass and line. Mr. Van Muyden's plates will prove a decided acquisition to the cabinets of our collectors.

The Forty-eighth Annual Exhibition of the Boston Art Club will open to the public on April 7th and close April 29th. Blanks may be procured of the secretary, Thomas Allen, at the club. Contributions from New York artists will be called for, shipped, and returned free of expense to contributors by the club agents.

Mr. Leonard Ochtman, a sincere and talented artist, who interprets with pleasing truth certain phases of nature, gave an exhibition of new work at the Avery Gallery in February. Mr. Ochtman shows increased power in his handling of color, and his landscapes in this exhibition leave a more vivid and individual impression upon one's mind than those that he showed a year ago. Mr. Ochtman's errors are those of omission, rather than commission, in that he generalizes too much, but the exhibition as a whole shows a capable and meritorious artist at his best.

Sculptors J. Q. A. Ward, Augustus St. Gaudens, and C. D. French have been appointed by Park Commissioner Gray to pass upon statuary which in future shall be offered to the city, destined to be placed in the public parks and squares. These men represent the best art feeling of the country, and their appointment is a matter of congratulation. New York has long been a sufferer from bad sculpture, and it is to be hoped that the monstrosities now in the parks and other public places may soon be removed.

The Russian painter Markowsky is on his way to America. Mr. Markowsky will take a studio in this city in order to execute various orders for portraits. This artist is perhaps best known here for his large picture of the Russian Wedding."

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In the collection of etchings and engravings which Dr. L. R. Koecker, of Philadelphia, arranged for sale at the Fifth Avenue Auction Rooms, were to be found several hundred proof impressions. There were a few good old prints, and a miscellaneous lot of examples of the painter etchers of to-day, such as Winslow Homer, P. Moran, Waltner, Charles Platt, and his master, Stephen Parrish. Among

the old engravers were plates by Hogarth, Morghen, Bartolozzi, Raphael, and Boucher. There was also a plate called “Ariadne," by A. B. Durand, after Vanderlyn, the earliest American engraver.

There were some good and interesting pictures to be found in the collection which Mr. Henry M. Johnston, of Brooklyn, placed on view at the Fifth Avenue Art Galleries, and the works were fairly representative of the names in the catalogue. Perhaps the most conspicuous canvas was Bouguereau's “Literature and Art," painted to order for a well-known Baltimorean, and not very satisfactory. But there were delightful pictures by Jacques, whose "Watering Sheep at Night" is one of the most beautiful ever seen in New York. Two fine Delacroix, “Tiger and Serpent" and "The Combat"; three by Corot; three by Dupré, among them the fine "Oak by the River"; a couple by Monticelli, a Diaz, and Breton's "The Tired Reaper" and "A Summer Day"; a fine Rousseau, "The Outskirts of Barbizon"; and examples of Jongkind, Boldini, Isabey, Domingo, Clays, Monet, Inness, Rico, Ziem, Troyon, Van Marke, Daubigny, Zamacois, Courbet, and Dècamps, to mention only a few.

An opportunity to study what may be styled the gem of all the Old Masters now in America, the so-called " Gilder " of Rembrandt Van Rhyn, and undoubtedly one of the best portraits, from a purely artistic standpoint, ever painted, is afforded by the Loan Exhibition at the New Fine Arts Gallery in West 57th Street. The picture is marvellous for character and beauty of handling, and is surrounded by appreciative connoisseurs whenever Mr. H. O. Havemeyer can be induced to loan it. There are other "Old Masters" loaned by Mr. Havemeyer, such as the fine Peter de Hooghe, or Hooche as it is sometimes spelt, and the portrait of “ An Old Woman," as well as portraits of "Burgomaster Six" and his wife, loaned by Mr. Morris K. Jessup.

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There are also the interesting portraits by Gilbert Stuart and Copley, the Gainsboroughs, old Cromes, Turners, Constables, Cotmans, and a half-dozen pictures by Sir Joshua Reynolds, chiefly of historical interest. The early Italian. painters, such as Rubens, Bellini, Velasquez, and Baroccio are represented in this collection, the study of which may be regarded in the light of a liberal education in the art of the noblest of the Old Masters.

The Dutch school of painting, of which we are soon to see some representative masterpieces, is celebrated for its truth in the representation of common life. People love to see even the most common objects, which as real they would scarcely notice, truthfully represented in painting. These are they who extol the barn door with its nails, and the violin-hanging-on-the-wall sort of painting, but this is simply a step in the wrong direction. Who would deny, for example, that the jewels which seem to sparkle in some pictures contribute something to the whole impression? But what are they to the immeasurable fulness of expression contained in the portraits by the Dutch masters?

"Nature herelf," says Sir Joshua Reynolds in his Discourse III., “is not to be too closely copied." A mere copyist of nature can never produce anything great, or raise or warm the conceptions of the spectator. It is not the eye, but the mind, that the great painter desires to address. At the same time, it is absolutely necessary, in a true work of art, that it should not merely appear, but be natural,