a white marble bench under an awning in front of an opening in the wall of a classic chamber. She lies on drapery of pure red, and near her lies a black mantle, the highest note in the chro

matic scheme.

Mr. Poynter exhibited an "Ionian Dance," a dancer in semitransparent pale-rose robes performing before richly clad women sitting or reclining upon a marble bench lining the wall of a Romano-Greek hall. The dancer, a lovely rosecrowned brunette, is pirouetting on the tessellated pavement to the music of a girl who leans against a column on the left and plays the double pipes.

Alma-Tadema's single contribution, a long upright canvas entitled "Spring," represents a Roman feast of flowers. A procession is passing down a street between stately buildings in Hadrian's Rome under an intensely blue June sky. The vista, lined by marbles of various colors, is partly closed by a building, from a balcony of which a lady and her attendants watch the scene, while from the roofs and the parapets on each side groups of women and girls are showering flowers on the procession

below. It is a marvel of color and detail.

Sir John Millais's "Speak! speak!" his most important contribution, represents a man in high fever who has been tossing on a rude couch with a coverlet of goatskin, dreaming of his betrothed or wife and calling upon her name. Suddenly, to his disordered vision, she answers him in a luminous apparition through the olive curtains at the foot of the couch, which causes him to leap up and cry aloud the words used by Horatio in addressing the ghost of Hamlet's father, that constitute the title of the picture. "A Disciple" is another example of Sir John's power of concentrating interest in a single figure without accessories, so marvelously shown in his earlier pictures, "A Huguenot" and "A Gambler's Wife." It represents a woman clad in an ungirt tunic of deepest black, with both hands lying in her lap, looking up with lofty enthusiasm, apparently listening to the words of some impassioned orator speaking from a rostrum higher than her seat. The scene is evidently in the catacombs of ancient Rome, one of the dark galleries of which opens in the distance. A third picture, "St. Stephen," depicts the body of the murdered saint, its draperies stained with blood, found by pious men and women who are approaching in the gloom of a road on the right.

Mr. George F. Watts's finest work, entitled "Jonah," is a commanding figure of the prophet of woe, nearly full length, slightly clad in a goat skin bound about his waist, with the gourd slung at his side, his brawny arms uplifted to give effect to his angry and vehement denunciations of Nineveh. Other contributions by him were "The Outcast," representing a plump and comely infant seated at the foot of a bank of sand, and a portrait of Max Müller.

Briton Rivière sent but one picture, "Phoebus Apollo," representing the god of day, in blue robe and yellow tresses, standing with outstretched hands in his golden chariot with one foot on the pole, driving a furious team of lions and lionesses over a rocky meadow beside a blue river just lighted by the dawn. His son, H. G.

Rivière, contributed an ambitious subject entitled "Sanctuary," showing the interior of a white marble temple, where, in softened light before a gigantic statue of Juno upon a lofty pedestal, a sorely wounded man has fallen, and a whole family-men, women, and childrenclaim the protection of the Queen of Heaven. "On the Sands at Boulogne" is the title given by Mr. Gow to a well-painted canvas that tells its own story. Napoleon, mounted on Marengo, attended by Soult, Berthier, Bessières, and Murat, and followed by several aids, is riding rapidly along the seashore, gazing with pale, anxious face at the British fleet, half veiled by the sea mist, that renders impracticable his invasion of England.

Stanhope Forbes exhibited "The Smithy," a forceful picture showing the smoky interior of a country farrier's shop, with the farrier shoeing a white horse, while the owner, pipe in mouth, stands at the left awaiting the conclusion of the operation.

London: New Gallery.-The winter exhibition was devoted to pictures of the Venetian and its allied schools, the Paduan, Mantuan, and Brescian, and comprised examples of most of the painters from Jacopo and Gentile Bellini to Pietro Longhi, who died near the close of the last century.

The summer exhibition was one of the best that have yet been opened at this gallery. The chief interest centered in the contributions of Sir Edward Burne-Jones, who sent six pictures. "The Sleeping Beauty" is the completed version of an early design of the fourth of a series exhibited several years ago. The princess is stretched on her couch, and her attendants are fewer than in the later version, while the coloration is less brilliant. "The Fall of Lucifer" depicts the rebel legion, with drooping banners and reversed arms, the lights upon their helmets, shields, and breastplates gradually growing more wan, sinking in a long, wavering line from the golden gate of heaven to the nether abyss. "The Wedding of Psyche," a lovely version of the Olympian bridal, a portrait of Mr. Gladstone's granddaughter Dorothy Drew, a full-length portrait of Lady Winsor, and another portrait, make up his contributions.

Alma-Tadema's "Love's Jeweled Fetter," hung nearly opposite the "Fall of Lucifer," attracted nearly as much attention. Two handsome damsels are seated upon a bronze couch in a sort of marble loggia, from which one looks out on the grayish-blue water of an inlet of the sea, with cliffs beyond and the houses of a town. One of the ladies, a rosy blonde with golden hair, rests her cheek on one hand and resigns the other to her companion, who is sympathetically interested in her betrothal ring, a circlet set with a great ruby. This picture was painted for the Duke of Westminster.

Sir John E. Millais exhibited "Time, the Reaper," clad in black and black-winged, who, armed with a scythe, is pressing forward to open the door of a house lighted from within, and "The Empty Cage," a three-quarters-length figure of a little girl looking sorrowfully at the cage that once held her favorite bird.

London: Miscellaneous.-The fourth Loan Exhibition of pictures at the Guildhall Art

Gallery, opened April 23d, was even more successful than its predecessors. With the exception of a fine Rembrandt, a portrait of his mother, from Earl Spencer's collection, and a few other Dutch pictures, the exhibition was largely made up of pictures of the modern English school, including Sir Frederick Leighton's "Garden of the Hesperides" and "Nausicaa," Sir John Millais's "Jepthah" and "Rosalind and Celia," Alma-Tadema's "Pyrrhic Dance," Stanhope Forbes's "Forging the Anchor," Mr. Orchardson's "Voltaire," and Mr. Faed's "Silk Attire."

Among the principal art sales of the year at Christie's were the Lyne Stephen's collection of paintings, porcelain, decorative furniture, etc., which brought in the total £141,000, of which the pictures represented £46,786; the James Price collection of 91 pictures, which realized £87,144; the Huth collection, £27,548; and the Ricketts's collection, £20,400. The Viscount Clifden collection of miniatures and objects of art realized about £100,000.

The highest price of the season was paid for Gainsborough's portrait of "Lady Mulgrave," one of the most captivating of this artist's pretty women, which was sold for £10,500, it is said to Mr. Cornelius Vanderbilt. This picture, from the Price collection, was bought at Christie's in 1882 for £1,120 10s., and Mr. Price is said to have refused 7,000 guineas for it in 1890. This is the highest price ever paid for a Gainsborough, the "Duchess of Devonshire," stolen in 1876, having been sold for £10,050. A second portrait of Lady Mulgrave brought £3,675, and "Lady Clarges seated at a Harp," £2,100. His portrait of Madame Le Brun, from the Duchess of Montrose's collection, sold for £2,320; and his landscape entitled "Repose" £1,470.

Sir Joshua Reynolds's portraits of Lady Smyth and her children, from the collection of the Duchess of Montrose, sold for £5,040; and his portraits of Lady Melbourne and the Hon. Mrs. Seymour Damer, from the Price collection, for £2,415 and £2,310 respectively. One of the many portraits of Kitty Fisher brought £1,365, a portrait of "Sylvia," £1,627, and the “Countess of Rothes," $1,744.

Romney's "Emma, Lady Hamilton," one of the numerous examples, sold for £2,131; "Miss Harriet Shaw," £1,953; "Lady Urith Shaw,' £1,890; "Hon. Mrs. Beresford," £1,722; "Lady Reade," £1,102; and "Mrs. Willett," £735. Hoppner's "Lord Nelson brought £2,677; Lady Coote," £1,890; "Lady Gordon," $1,144; Hon. Maria Pelham Carleton," £1,102; and "Master Russell," £1,050.

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Only one great picture by Constable was sold, "The White Horse" of the Huth collection, which brought £8,925. Of Turner's pictures, the superb "St. Mark's Place, Venice," of the Price collection, is said to have passed to an American collector for £10,500. "Mortlake," one of the most luminous and harmonious of the artist's works, fetched £5.460; "Helvoetsluys," which was bought in 1863 for £1,680, brought £6,720; the "Val d'Aosta," price in 1878, £955, brought £4,200; "Going to the Ball" and "Returning from the Ball," £2,940 each; and the "Dream of Italy," £1,312.

Sir W. Beechey's portrait of Frederica Char

lotte Catherine, Duchess of York, brought £1,260; a "Grand Marine Subject," attributed to Callcott, £2,310; David Cox's "Windsor Great Park," £1,417; Landseer's "Chevy," £5,985; Sir Thomas Lawrence's "Bezestein Bazaar of El Khan Khalil, Cairo," £1,470; John Linnell's "Visit to the Child at Nurse," £1,102; W. J. Müller's "Carnarvon Castle," £2,415; Mulready's "Idle Boys," £1,050; and John Philip's "Early Career of Murillo," £3,990.

A memorial bust of Tennyson, by Woolner, has been placed in Westminster Abbey. It is a replica of the bust without a beard, executed by the same artist in 1857, in Trinity College, Cambridge. A third bust of the poet, representing him as he appeared in 1873, with a beard, also by Woolner, will probably be placed in the National Portrait Gallery. Woolner also made a profile medallion of the Laureate in 1856, and a three-quarters medallion later.

The Burns statue at Ayr, erected in 1891, was completed in August by the placing of a panel representing the parting of the poet and Highland Mary. The three other panels on the base of the monument, put in place during the past four years, illustrate respectively "The Ride of Tam O'Shanter," "The Jolly Beggars," and "The Cotter's Saturday Night." The last panel is the gift of citizens of several of the United States, the money being raised through the exertions of Wallace Bruce, of New York, late United States consul at Edinburgh. The sculptor is George E. Bissell, of New York.

New York: National Academy of Design. The Academy held its seventieth annual exhibition in April and May, as usual. The annual prizes were awarded as follows: The Thomas B. Clarke prize for the best American figure composition ($300), to Henry Oliver Walker's "Morning Vision"; the Norman W. Dodge prize for the best picture painted by a woman ($300), to Edith Mitchell Prellwitz's Legend"; first Julius Hallgarten prize for the best picture painted in oils by a citizen under thirty-five years of age ($300), to Charles C. Curran's "The Enchanted Shore ; second Julius Hallgarten prize ($200), to George R. Barse, Jr.'s, " A Tribute to Satyr"; and third Julius Hallgarten prize ($100) to Francis Day's "Patience.'

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Among the noteworthy figure pieces in the exhibition were Henry Mosler's "The Last Moments," J. G. Brown's "The Gang," Thomas Hovenden's "Jerusalem the Golden," Walter Shirlaw's "Swans," August Franzen's "Evicted,” Childe Hassam's "Girl in the White Dory, Thomas Shields Clarke's "Gondola Girl," Carroll Beckwith's "Sleep," Louis P. Dessar's "Departure of Fishermen," Annie B. Shepley's "A Wild Rose," Esther Baldwin's "On the Piazza," Kenneth Frazier's "Bretonne en Deuil,” and Charles L. Hinton's "Convalescent."

A portrait exhibition at the Academy in November contained a number of canvases interesting to students of art and literature. Among these were a portrait of Shelley at fourteen by Hoppner, John Keats and his two brothers by Severn, Sheridan by Gainsborough, Richard Grant White by John Alden Weir, and two of N. P. Willis by Francis Alexander and Charles Loring Elliott respectively. There were also a few examples of Reynolds and of Romney

and a good Van Dyck, and canvases by Carolus Duran, Bonnat, Sargent, Chartran, and Madrazo. The autumn exhibition (Dec. 23 to Jan. 11) consisted of 314 works, chiefly paintings. Three fine pictures by the late George Inness occupied the place of honor in the south gallery: "Georgia Pines," ," "After a Spring Shower at Montclair," and "Sunset."

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New York: Society of American Artists. -The seventeenth annual exhibition opened on Monday, April 1. The Shaw Fund prize of $1.500 was awarded to William M. Chase's "A Friendly Call," and the Webb prize of $300 to Childe Hassam's "Plaza Centrale and Fort Cabenas, Havana." Noteworthy landscape contributions were Under the Willows," by Philip Hale; "Morning-Venice," by Henry Mosler; "Naugatuck Valley," by Elizabeth Curtis; "Twachtman's Valley at Sunset," by Robert Reid; "September Sunlight," by Mr. Tarbell; "On the Cliff," by Will S. Robinson; “Pier on Niagara River,' by Mr. Twachtman; and "Gloucester Harbor," by George H. Clements. Among the prominent figure pieces were J. Alden Weir's "An Autumn Stroll," Walter Nettleton's "The Cradle," Ernest L. Major's Flight into Egypt," Kenyon Cox's "Temptation of St. Anthony," Gustave Henry Mosler's "Under the Apple Trees," and William Ernest Chapman's "Orphans." The only large piece of sculpture was Philip Martigny's "Boy."

New York: National Sculpture Society. -The second annual exhibition was held in May in the galleries of the Fine Arts Building, which were decorated with palms and other trees and shrubs to represent an Italian garden, where the statues were set off by a natural background of foliage, or seen amid beds of orchids and other flowers. The Vanderbilt gallery was made into a court with low walls on each side surmounted by plants in pots, with rows of tree ferns leading to an Ionic colonnade at the end, when Mr. Niehaus's statue of "The Scraper," a nude athlete using the strigil, was seen against a screen of cypresses. In other prominent places in the gallery were J. Q. A. Ward's "Pilgrim and his seated figures "The Statesman" and "The Warrior," on the Garfield monument at Washington, F. W. Ruckstuhl's decorative group "Mercury teasing the Eagle of Jupiter," and Thomas Shields Clarke's "Sketch for a Monument." Macmonnies's bronze statuette of "A Bacchante" and his "Diana" were displayed in the entrance hall. Olin L. Warner's "Diana," French's group "Gallaudet teaching a Deafmute Child," and Bissell's "Abraham de Peyster" occupied recesses in the corners.

New York Metropolitan Museum.-The autumn reopening was marked by the exhibition of a loan collection of early American portraits and other pictures brought together from all parts of the country. Of about 150 early works, a large proportion were by Gilbert Stuart, Copley, Sully, and Washington Allston. By Stuart were portraits of Washington, Jefferson, Adams, Madison, Monroe, and Gen. Gates; by Sully, the portrait of Commodore Decatur and his "Musidora"; and by Allston, his "Deliverance of St. Peter." Trumbull, Pine, Inman, Leutze, and others were well represented. The Cullum collection of casts of Greek and

Roman sculpture, the gift of the late MajorGen. George W. Cullum, occupying two galleries on the north side of the Metropolitan Museum, was opened in November. It contains famous statues, casts of the pediments and friezes of the Parthenon, archaic Greek sculptures, etc.

New York: Miscellaneous.-The sixth annual exhibition of the New York Water Color Club, at the galleries of the Fine Arts Society, West Fifty-seventh Street, Nov. 10-23, compared favorably with previous exhibitions. Two hundred and ninety-two works, against 226 shown last year, were displayed in the south and central galleries, the Vanderbilt and east and west galleries being closed. Noticeable pictures were by John La Farge, Charles Warren Eaton, Caroline T. Locke, Arthur T. Kellar, Rhoda Holmes Nicholls, Mathilde de Cordoba, F. K. M. Rehn, Claude Ragnet Hirst, Harry Fenn, and Rosina Emmett Sherwood.

The Fine Arts Federation is the title of a new organization, formed at a meeting held at the Fine Arts Building, New York, on Feb. 14, intended to include all the societies interested in the fine arts. Among the societies represented were the National Academy of Design, Society of American Artists, Architectural League, National Sculpture Society, Society of the BeauxArts Architects, Municipal Art Society, and the New York Chapter of the American Institute of Architects. Russell Sturgis was elected president.

The Mural Painters is the name chosen by an association of professional artists, whose object is to promote the delineation of the human figure in its relation to architecture, whether rendered in pigment, stained glass, mosaic, tapestry, or other appropriate medium. John La Farge was elected honorary president, and Frederic Crowninshield and George W. Maynard vice-presidents.

The American Art Association held a dissolution sale of its collection of paintings, objects of art, etc., at Chickering Hall, in April. The Van Dyck portrait of the "Marchese di Spinola and her Little Girl" brought the highest price, $50,000. It was bought for the Paris dealer M. Charles Sedelmeyer. Sir Joshua Reynolds's portrait of Lady Hervey sold for $6,100, to Mrs. Susan C. Warren, of Boston. Troyon's "The Time of Milking," $5,050, to H. O'Neil. Monet's 'Melting Ice and "Vue de Rouen " were bought by Henry O. Havemeyer for $4,250 and $2,600. Gainsborough's "Mrs. Beech" sold for $4,150; Sir Thomas Lawrence's "Miss Kent," $5,000; Rubens's "Portrait of his Father Confessor," $5,550; Bronzino's "Portrait of Bianca Capella," $4,100; Corot's "The Pond of Ville d'Avray," $5,600. One hundred and eighty-five pictures brought in the aggregate $191,787.

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The collection of Gustave Reichard, consisting of 170 pictures, sold on Feb. 21, realized $264,935.

At the sale of the pictures of the late George Inness, on Feb. 12, 13, and 14, the total amount realized was $108,670, distributed as follows: First night, $35,755; second, $35,385; and third, $37,530. "The Coming Storm," one of the best pictures in the collection, on which an upset price of $3,000 was put, remained unsold. A collection of 20 pictures by the late George Inness belonging to R. H. Halstead was sold

on a square pedestal bearing the following inscription: "To commemorate the Capture of Louisbourg, A. D. 1745. Erected by the Society of Colonial Wars, A. D. 1895." The shaft is surmounted by a ball inscribed "1745." A medal also was struck in honor of the event, made from the metal of a brass cannon found by divers in the wreck of a French frigate, supposed to be "La Célèbre," sunk in the harbor. It bears on the obverse heads of Sir William Pepperell, the commander of the colonial land forces, and of Sir Peter Warren, the commander of the fleet. The reverse is a reproduction of the medal struck by Louis XV to commemorate the building of the fortress in 1720.

A colossal bronze equestrian statue of Gen. George Gordon Meade, the work of Mr. Henry K. Bush-Brown, of New York, for the Pennsylvania Monument Commission, has been put in place on the Gettysburg battlefield. It is said to be one of the best equestrian statues in the country, and is pronounced by those who knew Gen. Meade to be an excellent likeness. With the pedestal the monument is 25 feet high.

The Brooklyn Memorial Arch, in the Plaza at the entrance of Prospect Park, the corner stone of which was laid Oct. 30, 1889, has been completed by the addition of two life-size equestrian bronze statues in bas-relief, the work of the sculptor William R. O'Donovan and the artist Thomas Eakins, who has been associated with him. Gen. U. S. Grant, on a strongly modeled horse, represented with poised fore leg as if in action, occupies one side of the arch, while President Lincoln, also mounted, with bared head, apparently bowing to the multitude, occupies the other. The pose of both riders is admirable, and the panels give a fitting finish to one of the finest monuments in commemoration of those who fought and fell in the civil war. The arch stands on historic ground, near Lookout Hill, where the Continental troops fought the British regulars in the Revolution.

The Washington Memorial Arch, at the lower entrance of Fifth Avenue, New York, was formally transferred to the city on May 4.

A marble monument, a gift of the Maryland Society of the Sons of the Revolution, in memory of Lord Stirling's Marylanders, who stayed the advance of the English troops Aug. 27, 1776, was unveiled in Prospect Park, Brooklyn, on Aug. 27. The monument, which stands on Lookout Hill, overlooking the scene of the action, is a Corinthian column 39 feet high, surmounted by a bronze cannon ball. It rests on a rough granite foundation and has suitable inscriptions. The designer is Stanford White.

FLORIDA, a Southern State, admitted to the Union March 3, 1845; area, 58,680 square miles; population, according to each decennial census since admission, 87,445 in 1850; 140,424 in 1860; 187,748 in 1870: 269,493 in 1880; and 391,422 in 1890. Capital, Tallahassee.

Government.-The following were the State officers during the year: Governor, Henry L. Mitchell; Secretary of State, John L. Crawford; Comptroller, William D. Bloxham; Treasurer, C. B. Collins; Superintendent of Public Instruction, W. N. Sheats; Commissioner of Agriculture, L. B. Wombwell; Attorney-General, W. B. Lamar; Adjutant General, Patrick Houstoun;

Chief Justice of the Supreme Court, Benjamin S. Liddon; Associate Justices, R. Fenwick Taylor and Milton H. Mabry; Clerk of the Supreme Court, James B. Whitfield-all Democrats.

Finances.-The total debt, April 1, 1895, was $1,232,500, comprising outstanding bonds of 1871, due Jan. 1, 1901, $267,700; outstanding bonds of 1873, due Jan. 1. 1903, $764,800; and interest-bearing loan, $200,000. Of the total, various State funds held $175,600 in 1871 bonds, $499,200 in 1873 bonds, and $100,000 in the loan-total, $774,800; leaving $357,700 in bonds and $100,000 in the loan in the hands of individuals. Among the treasury receipts was $38,486.06 from the United States direct tax fund, of which the Governor paid $22,569.23 to claimants, $303.95 for securing data from Washington, and $23.75 for advertising, leaving in his hand a balance of $15,589.13.

Valuations.-The assessed valuations of taxable property in 1894 were: Real estate and railroad and telegraph property, $86,679,656; personal property, $17,464,949; total, $104,144,605. The rate of assessment was about 35 per cent. of actual values, and the total assessment of 1894 was the highest ever made.

Banking.-Florida had on Oct. 31, 1894, 19 national banks in operation and 6 in process of liquidation. The combined capital of the active banks was $1,485,000; amount of United States bonds held to secure circulation, $430,000; excess beyond required amount, $58,750; amount of coin and coin certificates held, $107,338.39; notes issued for circulation, $1,155,290; redeemed, $769,432, outstanding, $385,858; deposits, $4,430,793; loans and discounts, $4,352,166; reserve required, $664,619; and reserve held, $902,741. There were also 18 State banks, with aggregate capital of $435,500, deposits of $781,638, surplus and profits of $74,318, and total resources of $1,830,750, and 2 savings banks with a combined capital of $170,000; savings deposits, $175,115; surplus and profits, $9,372; and total resources, $420,297.

Insurance. In 1895 there were 57 insurance companies doing business in the State, of which 33 were fire companies, 13 life, and 11 miscel laneous. During 1894 these companies received in premiums $1,239,058.43, and paid losses to the amount of $249,795.34, leaving a net balance in their favor of $989,263.09. Excluding 1 company which does both life and accident business, the life companies received in premiums, $587,741.38, paid losses of $65,063.70, and had a net balance of $522,677.68. In six years the excess of premiums over losses of the life companies aggregated $2,243,184.18. The large profits of these out-of-State companies have led to an agitation for the organization of local ones, that insurance interests may be kept within the State.

Education. For the school year 1893-'94 the number of pupils enrolled in the schools was 96,775; average daily attendance, 64,138; male teachers, 294; female teachers, 1,629; total teachers, 2,923; average number of days the schools were kept, 974; and expenditures, excepting payments on debt, $647,175. Of the total enrollment, 59,503 were white pupils and 37,272 colored; of the average daily attendance, 88,752 were white and 25,386 colored; and of the teachers, 2,151 were white and 772 colored.