[_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.
* * * * *