THE

'HE recurrence of the Annual Exhibition of our two-year-old Art Union is an event of such importance to the social life of our young country as to call for an extended notice of it in these pages, devoted as they are and ever have been to the advancement of all that tends to elevate and refine the popular character.

The general impressions conveyed by the present exhibition, mixed as they are, cannot on the whole be otherwise than satisfactory, the improvement on former collections, Provincial and otherwise, being beyond question. The standard of excellence set by the Committee is undoubtedly considerably higher than any before known in our Art circles; it is still, however, not high enough to make the distinction of being an exhibitor one of any great honour. If this Art Union is to be as it should be-the nursing mother of painting as an art amongst us, it must be more chary of admittance to the honours of its walls; and, while showing tender regard towards productions of promise in the future, even if their present be somewhat weak, should be rigidly exclusive towards abortions, products of Vanity and Incompetence upon whom her maternal care would be thrown

away.

Of the subjects chosen by the artists exhibiting, it will be remarked that the majority are strictly landscapes, and those, in the main, national. Flowers and fruit in various forms and combinations are favourite studies. There are two or three portraits, and one treatment of an historical incident; but of figure studies, conceptive composition, home life, the charming little bits of cottage interior and peasant life of the English type; the exquisitely finished genre paintings of the French, we have no sample or suggestion. There is nothing of the idealistic, nothing but what is seen by the outside eye. This, while art is so young amongst us, is no matter of objection. Studying what they see, our artists will one day, and that soon, be able rightly to imagine and paint that which they think.

It is to be observed with divided satisfaction that certain of our artists have been seeking subject matter in the old world. It is clear that if we are to have High Art at home, Canadian painters-upon the principle that Mahomet must go the mountainmust visit the great European centres of art life, and educate hand, and eye, and mind, at the fountain head-the homes of the grand old-time life of which

here we know nothing save by hearsay and at secondhand. Satisfaction is divided, because the outcome of their travel is represented merely by a few sketches of Welch moors, and an English meadow or two. Good as these are, it was scarcely worth while to go so far to bring back so little.

Another conclusion to which we are driven is, that the place is yet vacant for the Artist of Canada, he who, born and bred in her, sharer of her hardships and her successes, and loving her through all, shall paint with faithful hand the thousand charms of her primal forest days as a country-her unfolding life as a nation. For landscape, he would have the great still forest-bound lakes with their ever-varying aspect of sun and shade, summer green, and winter snow and ice; the fresh young life of Spring, fairer and dearer to us Canadians—as colour-hungry through long months of a white world, and the rich glories of the Fall. For historical subjects, Canada has an unpainted, almost an unwritten, history of her own, as full of bloody incident and wrong as any artist could desire. The great historical incidents of these modern days have but little of dramatic or picturesque in their composition. The aesthetic in pictorial art shudders at the severe lines and dull colouring of 19th century costume, and though the poet still finds in humanity as wide a field as ever, the artist of these days is driven to nature or the past for his subjects. The past of Canada is picturesque enough, it only waits its artists. One more point. Rising as we rapidly are to a position in which architectural features are of considerable moment, it is a matter of surprise and regret that the department of "architectural plans and drawings" is so scantily filled. Messrs. Smith and Gemmell, James and Conolly, J. Smith, R. C. Windeyer, and E. Burke, all local architects, being the sole exhibitors. We can only suppose that as long as painted wood and tin are allowed to humbug the eye by the semblance of stone, as in our new Post Office and the Parliament Library at Ottawa, where height places the imposition beyond chance of detection, architects of high artistic standing feel ashamed of submitting the delusive plans which misplaced parsi. mony, striving to be cheaply magnificent, compels them to design. True Art and falsity cannot live together.

It is only necessary to premise, in commencing our critique, that only those pictures have been noticed in

Beginning with the Oil Paintings, which number some 86, we notice with satisfaction the large number of local and national subjects present. With but few exceptions, our artists have gone to the fountain head-Nature—for inspiration, and though the result on the whole, as an exhibition, cannot be considered as perfectly satisfactory, yet there is enough of promise to show that the time is not distant when, on our own ground, we shall be able to compete, at any rate with our neighbours, in the delineation of the features of our noble country. This, however, is more satisfactorily apparent in the water colour than in the oil section of the exhibition.

The industry of our local artists, during the past season, is shown by the number of canvases sent in, fifteen from the same hand being no uncommon number. It is possible, however, that fewer canvases might have brought better work, The first screen presents a number of Mr. Verner's productions, all dealing with native scenery and Indian life, and containing the same defect of hard, unsympathetic treatment, which characterises his works. It is certainly to be regretted that, with Mr. Verner's industry and evident affection for this class of subjects, he should be unable to enter into the poetry of the scenes he paints, or to transfer the sentiment to his canvas.

"The Insecure Retreat,” (9,) by Mr. T. M. Martern, is an animal study of rats and a cat in conjunction with a green pail and an oil can. The cat, whose expression conveys somewhat too much of the sentiment of anxiety, is nervously watching a hole in the floor, strangely oblivious of the fact that a couple of bold buccaneers of rats are complacently licking the oil off the top of the can behind her, with a noble but abnormal disregard of their natural enemy. The execution is good, the fur of the deluded pussy being well rendered, and the rats evidently a "life" study.

A pretty little canvas is the "Stray Lamb,” (16) by Allan Edson, the subject being a small but carefully worked up bit of forest hill-side, full of broken light and shade, the motif being supplied in the programme by the figure of a sheep supposed for the occasion to be lost, but which is browsing contentedly enough on the stray leaves of underbrush.

(22.) "Mount Madison, White Mountains," by Allan Edson, a big canvas, is monotonous in tone, and one is somewhat at a loss to account for the peculiar arrangement of the lights; the blues too are hardly satisfactory.

(25.) "The Locket," by J. C. Forbes, is a lifesize bust of a lady regarding with a somewhat cynical look, a locket which she holds in her hand. The flesh colouring is here more satisfactory, but none of the portraits exhibited by Mr. Forbes this year, fulfil the promise held out by his former work "Beware," with the exception, perhaps of "Miss Ada," (77,) which is in better spirit.

(31.) "Beaver River," by the same artist, would seem to show that his forte may be found in landscape. It is a pretty little bit of waterfall and broken rock, with a picturesque foreground, composed of moss-overgrown tree trunks and bending birch; the hardnes of the upper part of the picture, and the vivid greens employed, are detrimental to the effect of the whole.

(36.) "Mic-Mac Encampment, Gulf of St. Lawrence," by Henry Sandham, is a canvas of some pretension, full of very green and blue sea, and purple hills, with a would-be grassy foreground, too sugges tive of paint.

(39.) “Big Trout Bay, Lake Superior," by T. M. Martern, despite a considerable degree of hardness and a heavy dull tone of colour, has points of great merit and excellence. The execution of the bit of foreground rock, lighted by a stray gleam of sun, is in its way all that could be desired, and the whole picture conveys to the full the impression of stern grandeur which the artist evidently felt.

"Toronto Harbour," (41,) is as creditable a work as Mr. Forbes has produced; the management of the shadows on the marsh, wharf, and steamer, and the haziness of the distance, are, with the general clearness of his work, strong points.

(40.) "Sioux Encampment on the Assiniboine," by F. A. Verner, strikes us as the most satisfactory of his works. The scene represents a group of Indian tents in the dull glow of the setting sun. As usual with this artist, the representation is of the most faithful character, while in this he has given way to a feeling for lights and shadows as they strike and fall from the queerly-shaped tents, which is a desideratum in his pictures.

middle of the canvas is filled by a winding river rather too hard and cold to harmonise with the rest of the scene, while a strip of inexplicably dull green lies between the river and foreground. It is, however, a good piece of work.

(54) is an admirably painted study of huge limestone rocks, near Dundas, whose rugged cracks and fissures are boldly portrayed by the hand of the same artist.

(57.) "Looking On," also by Mr. Martern, follows the fortunes of the above-mentioned cat and rats. This time, the experiences of the oil-can having evidently brought increase of impudence, the rapacious rodents are engaged on the floor in an engrossing debauchery of broken eggs, regardless of Nemesis, who, in the shape of pussy, is preparing, with eyes strongly suggestive of strychnine or incipient insanity, to launch herself from an overhanging shelf upon the plunderers. It may be remarked that this eccentric quadruped wears her hind leg in a most uncomfortable fashion.

(63.) "Battle of Queenston Heights," by Mr. Matthews, is remarkable as being the only attempt on the part of our artists to idealise, or to portray other than the life of the present; for the rest, the present picture has no discernible qualification for its position.

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(73.) "Becalmed," by J. C. Forbes, is a scene of water lilies, tall flags, a flapping sail, and a pair of "spoons in a boat, of whom it is difficult to tell who is most uncomfortable, since the expression of the faces is not part of the intent of the picture; the perspective of the little scene is good.

(84.) "Thunder Bay," by F. A. Verner, is a pretty, quiet-toned bit of rock and water in the evening light, treated with considerable tenderness.

(83.) "Burnham Beeches," is a little study by Allan Edson, of the moss-covered trunks of some old beeches, the foreground of which is unsatisfactorily spotty and aimless, and damaging to what would otherwise be a good bit of colouring. Weakness of foreground is a constantly occurring drawback throughout the exhibition.

It is with a certain feeling of relief that we turn to the water-colour section of the exhibition, the general character of the pictures being decidedly good, while of several it may be said that little or nothing is left to be desired.

(91) and (95) are a couple of studies by G. Harlow White, soft and unobtrusive in tone, and careful in execution. Wales and Canada, respectively, supply the subjects.

"A Pioneer," (93,) by L. R. O'Brien, is a clever evening scene of backwoods' life. The day's work of the "pioneer" is done, and he is represented as leaning over a snake fence gazing into the purple

depths of the "forest primeval" at his feet, and building who knows what-castles of independence and prosperity, all to be realised by those sturdy

arms.

Allan Edson sends two large and ambitious views of harvest fields, (96) and (104,) whose technical treatment is rather exceptional, the whole surface being solidly covered with colour, while the employment of adventitious aids to effect in finishing off gives a result rather shocking to upholders of the 'pure" school. The impasto style is, however, perfectly admissible, and infinitely to be preferred to the "scratched-paper" lights of the old treatment. Effective as his pictures are, Mr. Edson is not quite master of his material, as witness his skies, which are smudgy.

(100.) "Birches," by T. M. Martern, a pretty and effective study of birch trees, in which a couple of sturdy, many-tinted veterans stand out boldly against a woody background. "Mountain, Moor, Marsh, and Meadow," (106,) by C. S. Millard, is a frame containing four small sketches, whose subjects are sufficiently explained by their titles. Especially to be commended is the one at the upper right hand, the eye being carried over an infinite expanse of rich brown, cloud-shaded moorland, most artistically rendered. The same praise can scarcely, be accorded to (105,) by the same artist, which is hard and confused, with ill-managed lights. In (109,) "An Autumn Evening, overlooking Owen Sound,' Mr. O'Brien is again very happy in his evening sky, with whose tenderness he evidently has complete sympathy. A country road, bounded by the inevitable "snake fence," excellently treated, leads to the brow of a hill, beyond which the greens and the purples of a heavily-wooded country stand out against a clear sun-deserted sky. (108.) On Mount Royal," by W. L. Fraser, is a bold study of grass and trees, treated very broadly, and in a style too merely suggestive to earn for it more than the title of "sketch." It is, however, a fairly good specimen of the "pure" school, the lights being all left, and the effects, such as they are, produced by the most vigorously "legitimate" of means. It has, however, no depth-no atmosphere.

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In (116,) "Toronto, from the Marsh," by L. R. O'Brien, we have an admirable and delicately finished view of the city, full of sentiment and appreciation of the value of colour. The city, smoke-clouded from its many chimneys, lies in the distance, wrapped in a purple haze, while the foreground of marsh and still water, with a beached boat by way of contrast, is in harmony with the sky, though the last is, perhaps, a trifle too uniformly light.

(119.) "Moel Siabod, North Wales," C. S. Millard, a view of mountain and moor, sun-lighted

green valley into misty distance, which, with the sky, forms the best part of the picture. Nos. (170,) (176,) and (181,) three studies from the Welch moors, by C. S. Millard, are of considerable merit, particularly the last, which is perhaps as good a little bit of quiet effective work as any in the room.

(171,) (175,) and (180,) are all good studies of flowers, by James Griffiths, indefatigable in this line of art. They contrast with the brilliant hues and bolder style of Mr. Fowler's well executed Gladiolus," (182) and "Cactus," (177.) In 174, "November," a winter scene, by L. R. O'Brien, one cannot but regret that so much careful work has been bestowed on so little-repaying a subject. Mr. Martern's study of moss-covered pine trunks, (178,) with the sunlight falling amongst the prostrate trees, shows feeling and bold treatment.

"On Point Des Moines," (179,) by Henry Sandham, a view of rock and stony beach and sea, has some rather too lively colouring in the foreground, which gives it a spotty effect, but the bit of brown rock in the middle distance with the corresponding sea, are in good taste and tone. Nos. (183) and (172) are tenderly treated views of Loch Lomond, by G. Harlow White, well harmonized and pleasing

in effect.

Hoch, has some close vigorous work, though the general effect is somewhat heavy.

"In Cleveland Harbour," (188,) by L. R. O'Brien, the last picture on the catalogue, is a charmingly clear little sketch of boats and barges, whose tapering masts stand out against a blue and white cloud sky. The whole, though not possessing any strong feeling, is in Mr. O'Brien's accurate and cleanly style.

With this our notice of the present year's exhibition concludes. The good effects of exhibition and criticism, provided the latter be but honest, and free from touch of partisanship, will before long be seen both in our artists and their public. The mere fact of people

being led in their turn to criticise the critic, is satisfactory to the interests of art, and therefore artists. Once create the interest, the taste will follow; with the taste will come the want, and with the want will come the supply. Our new-born Art Union must make it its care that that taste be not directed to un

worthy objects. The standard of popular taste will largely depend upon the standard set by this Institution; it is to be trusted that no other motive than the interests of the art it has undertaken to foster, will be allowed to decide the question of admittance or rejection of contributions. For arts, artists, and public, better twenty faithful artists than a cycle of self-satis

MODERN DOUBT AND CHRISTIAN BELIEF. A series of Apologetic Lectures addressed to Earnest Seekers after Truth. By Theodore Christlieb, D.D., University Preacher and Professor of Theology at Bonn. Edinburgh: T. and T. Clark. 1874. Those who followed with interest the proceedings of the Evangelical Alliance at New York last year, will remember that the ablest and most exhaustive paper on Modern Scepticism was read by Professor Christlieb. A general wish was expressed that the author's Course of Lectures on the subject should be translated for the benefit of English and American readers. The work has thus been brought out simultaneously on both sides of the Atlantic. Dr. Christlieb, in his preface, states that he has avoided entering in the present work upon the subject of Inspiration, believing that "the decided separation (and not mere distinction) now established between the idea of Re

velation on the one hand, and that of Scriptural Inspiration on the other, to be a real gain for modern Dogmatic Theology; though by the popu lar mind the terms are still regarded as almost identical in meaning. Another motive for such omission was, that I have long determined and still hope to be able to deal with the general question of the Inspiration of the Scripture and special points connected therewith, (e. g. the Genesis and credibility of particular books), as well as the objections raised by the votaries of natural science to Scripture teaching on such points as the Creation, the Deluge, the Descent of Man, &c., in a second course of Apolegetic Lectures." The two series together will thus constitute together a complete course of Christian Evidences, so framed as to bring the entire subject in review down to the present time, with all the aspects modern doubt in its latest phases.