ART IN WAR-TIME.
[A fragmentary essay in up-to-date criticism of any modern Exhibition—the R. A. excluded.]
In the Central Hall the Reduplicated Præteritists, the Tangentialists and the Paraphrasts are all well represented. Mr. Orguly Bolp's large painting, entitled "Embrocation," is an interesting experiment in the handling of aplanatic surfaces, in which the toxic determinants are harmonized by a sort of plastic meiosis with syncopated rhythms. His other large picture, "Interior of a Dumbbell by Night," has the same basic idea without the appearance of it, and gives a very vital sense of the elimination of noumenal perceptivity. M. Paparrigopoulo, the Greek Paraphrast, calls one of his pictures "The Antecedent," another "The Relative," and a third "The Correlative," but though they are thus united syntactically each follows its own reticulation to a logical conclusion, and carries with it a spiritual sanction, not always coherent perhaps, but none the less satisfying. Miss Felicity Quackenboss's portrait of Saint Vitus is perhaps the most arresting contribution to the exhibition, and portrays the Saint intoxicated with the exuberance of his own agility. It is a very carnival of contortion. Mr. Widgery Pimble transcribes very searchingly the post-prandial lethargy of a boa-constrictor, the process of deglutition being indicated with great dignity and delicacy, as might be expected from so austere a realist. From one angle the figure might be taken for a Bengal tiger, and from another for a zebra—a good proof of the suggestiveness of the artist's method. But, whether it be reptile or quadruped, the spirit of repletion broods over the canvas with irresistible force. Mr. Thaddeus Tumulty sends some admirable drawings in pisé de terre, one of which, called "The Pragmatist at Play," is a masterpiece of osteological bravura....
"Dr. Solff, the German Minister for the Conolies, has left for Constantinople."
Egyptian Mail.
Another injustice to Ireland.