picture, no less than in the bust of Clytie, we see how in the hands of a great artist painting and sculpture may become as sister arts indeed, yet without invasion or confusion; how, without any forced alliance of form and colour, a picture may share the gracious grandeur of a statue, a statue may catch something of the subtle bloom of beauty proper to a picture.

The other picture of which I would speak, unlike enough to this in sentiment or in tone, has in common with it the loftiest quality of beauty pure and simple. Indeed, of all the few great or the many good painters now at work among us, no one has so keen and clear a sense of this absolute beauty as Mr. Albert Moore. His painting is to artists what the verse of Théophile Gautier is to poets; the faultless and secure expression of an exclusive worship of things formally beautiful. That contents them; they leave to others the labours and the joys of thought or passion. The outlines of their work are pure, decisive, distinct; its colour is of the full sunlight. This picture of "Azaleas" is as good a type as need be of their manner of work. A woman delicately draped, but showing well the gentle mould of her fine limbs through the thin soft raiment; pale small leaves and bright white blossoms about her and above, a few rose-red petals fallen on the pale marble and faint—coloured woven mat before her feet; a strange and splendid vessel, inlaid with designs of Eastern colour; another—clasped by one long slender hand and filled from it with flowers—of soft white, touched here and there into blossom of blue: this is enough. The melody of colour, the symphony of form is complete: one more