The paintings selected are six in number, and the price paid for them was in the aggregate £804. The pictures have not yet been hung, and therefore cannot be inspected to the best advantage. Those who inspect them will, however, not all agree that the value of the amount named has been obtained, or that the paintings will have a very high educational value to the artist or to the lay connoisseur.

The most eminent name which appears as the signature of any of the paintings is that of Mr. W. P. Frith, R.A., who is represented in “The Match Sellers.” The painting represents a city street scene—a woman with two children, one a babe in arms, offering matches for sale. The picture is criticised on account of the wax-doll appearance of the children and the fact that the figures present a well- nourished and comfortable appearance not usually associated with those who earn their living tinder the circumstances depicted. The picture was purchased at £100. This, however, seems to the observer who next turns to “Lancing Mill,” to have been moderate. This canvas depicts a Sussex rural scene—a windmill in a hay field with stacked sheaves, and the figures of rustics engaged in harvesting operations, and in the distance a valley. The picture possesses an effective sky. The artist is James Aumonier, and the price £300, and on noting the latter fact the suggestion may arise that some portion of the worth of the picture must have been deemed to lie in its size.

“In Sight At Last,” a depiction of a scene outside a cottage in a fishing village on the sighting of an expected vessel possesses some elements of effectiveness, and compared with the last-named picture the price of £160 does not seem high. The figures, however, lack life, and the colouring is thin. The artist is W. Perth Watson, R.B.A. “Morning Light “ is not one of the strong points of the collection, the scene depicted being a sea-girt cliff, the reflection of the morning sun on the sea being emphasised. The artist is S. Morrish, and the price £100.

The last two paintings strengthen the collection. One of these is a scene from the much- painted Burnham Beeches, by Miss Florence Fitzgerald. The technique is good, and the autumn tints, which form the characteristic feature of the colouring of the picture, are effectively brought out. Life is given to the picture by the figures of children gathering fallen leaves. Effective portions of the painting are the representation of the water lying under an old beech tree, the ruts of the rough track running through the wood, and the background of wood and undergrowth, the artist having avoided the device of dismissing this portion of the background in the manner of a photograph. The painting, as compared with the others, is indeed cheap at £84, though the figures are far from satisfactory. The sixth painting is “The Rugged North,” by G. E. Hargeil, R.I., a Scotch mountain in the background, with characteristic clouds and a drove of Highland cattle in the foreground. This is one of the cheap pictures, as regards the amount paid, £60, but it will be more than some of the others an ornament to the collection.

In addition to the paintings, the art collection has lately been added to by a number of plaster copies of examples of classical statuary, from the establishment of Messrs. Brucciani and Co., of London. The originals are for the most part in the British Museum, the Louvre, or the Vatican. They include a copy of the Venus of Milo, from the famous original in the Louvre, which is accepted as the classical model of the female form ; a figure of Iris, from the British Museum, the feature of which is the draping, an equestrian frieze from the Parthenon, Assyrian friezes, and several minor examples, such as the head of Sophocles, etc.

Neither the models of statuary nor the paintings are yet on public view, but the authorities of the Museum, where they are located, hope to have them open for inspection almost immediately.

“BUNNY.”

Mr. Ralph Peacock was born at Woodgreen, London, in 1868, and has exhibited regularly at the Royal Academy since 1893. “Bunny,” exhibited in 1899, represents a little country girl, seated in a beechwood. Her dress is purple-grey, and she has purple flowers in her hair. The background is dotted with patches of moss, and is a scheme of autumn-looking tones, very warm and quite harmonious. It is an attractive picture, good in colour, and tenderly quaint in sentiment, and very well painted. It was selected by the President of the Royal Academy, Sir Edward Poynter, for the West Australian Museum and Art Gallery.

a collection of paintings and works of art, Mr. L. Bernard Hall, the
Director of the Melbourne National Gallery, was communicated with, with
the object of eliciting his opinion as to how the committee should
proceed. In the kindest way Mr. Hall his given his views at length in the
letters following. Fully agreeing in the recommendations of the Melbourne
Director, the committee of our National Gallery desire to publish the
advice given as an indication of the lines upon which they desire to
proceed. These lectures are consequently given below. The Perth committee,
in accordance with the advice of Mr. Hall, have resolved to place in the
hands of Mr. Geo. Clausen, A.R.A., a sum of £1,000 to be expended on
orders to be given to British artists, and a further £300 in the hands of
Mr. Joseph Pennell for the purchase of etchings and pen and ink drawings.
The letters are as follow :—

“National Gallery, Melbourne,
“January 6th, 1896.

“In reply to your letter of December 23rd regarding the formation of a
national collection of a works of art in Perth, it will give me great
pleasure to formulate my idea of what the aim of such a national
collection should be, together with the only practical scheme I can think
of for making purchases in Europe.

“My idea, then, of a national collection, as opposed to a private one, is
simply to set up a definite standard of the best, and to let people
educate themselves up to the appreciation of it. A private collection is
formed with the idea of giving pleasure to the individual purchaser, who
has his own particular idiosyncrasy to serve, while no one has a right to
question how he spends his money in the indulgence of his own taste. But a
collection created by public funds has an educational purpose to fulfil.
It is permanent in character—it cannot be capitalised at will, or the
quality of it be varied by exchange—therefore it must be representative of
the best phases of art, and contain only those works that time will not
depreciate either in interest or value. I will advise you only as to
contemporary art, because good specimens of the older schools are too rare
and too expensive to be considered. But the present is so rich in schools
and art generally, so active, that it should be comparatively easy to form
a strong nucleus, to which, as the rare opportunity occurred, the well-
established masterpieces might be added. I should say, moreover, that it
was better not to create an artificial zest by constantly adding new
pictures to spur a flagging interest, but rather to pick and choose them
so judiciously in the first instance that even the few shall be revisited
again and again in order to extract a fuller meaning by a better
acquaintance. If works of art are bought to captivate the casual
visitor—the man in the street—at first sight, your public taste will
remain non-progressive, your funds will be wasted, and your gallery
encumbered to-day with what it will disclaim to-morrow.

“I understand that your walls at present are perfectly bare, and I take
the liberty of congratulating you on the fact, and express the hope that
they may be covered very slowly and very carefully. The intrusion of a
questionable work of art at any time I would consider as a disaster, for
once the precedent were established the general standard would be
lowered—the evil would have come to stay, and would inevitably draw other
undesirable work unto itself. I would say, in that case, better to
quarantine the infectious thing for ever than to let it hang on your
walls, bringing all else into bad odour and confusion of taste.

“Now, as to the purchase of works in Europe, I would advise that a sum of
money be placed with your Agent in London, to be drawn against—say up to
£1,000—by two gentlemen, one in Paris, the other in London, of whose
judgment, discretion, and honesty you are well-advised. These two, or
more, should be competent artists, and I would recommend, as a wise and
graceful act, that a commission for one of their own works, limited to a
certain amount, be included in the sum to be placed at their disposal. I
would make them artistically responsible, in your catalogues and the
tablets on your pictures, for their selection, and make it a point of
pride with them, as well as one of honour, to do the best they can for
your trustees and the Gallery.

“A public Gallery should command the pick of an artists’ work, and would
do so if properly approached. The commission to purchase might be renewed,
if satisfactorily performed, or put into other hands if not, when the
original sum was exhausted.

“You have asked me to be as explicit as possible, so I have not stinted to
enlarge upon the difficulties that a public body has to deal with in
making such a collection. I hope I have partly shown how these
difficulties can be avoided or minimised. The principal difficulty lies in
getting good men to act for you at home, although this can be overcome, I
think, by approaching them with a well-considered demand for a good
collection, as from those you know. If you allow them to see that the
ordinary popular picture is what you want, they will be inclined to send
you rubbish. This is but human nature, dealing in horses, picture, or
anything else, with those who do not understand these things ; but if you
ask them, through an artist, to take a professional interest in the
matter, you should be well served.

“If I can help you on these lines in any further way, I assure you I shall
only be too pleased to do so ; for though I believe in corporations or the
State fostering a love for beauty and knowledge through the agency of
public, libraries, galleries of art, and architectural monuments, yet none
can help seeing that, with perhaps the best motives in the world, in the
carrying out of this idea the danger of its usefulness being impaired by
the zeal of inexperience of the pressure of influence. However, it is more
a matter of good guidance than of expense, and with the experience of the
older galleries behind you, there is no reason why this should obtain. My
wish will always be that you may have a particular success in this present
undertaking.
“Believe me,
 “Yours very truly,
“(Sgd.) L. BERNARD HALL”
“Melbourne, January 10, 1896.

“You ask me in yours of the 9th inst. to go still further into the details
of a scheme for purchasing pictures by your trustees. So I continue to
advise you as I would the trustees of our own Gallery here. First of all,
I would remind you that the best art work of ‘to-day’ is done in oil
painting, etching, pen and ink work, and, in sculpture, works in bronze. I
should say, that masterpieces in water colour, pastel, and marble were too
rare to need consideration. Also, there are no schools to speak of at
present, except the French, English, and perhaps the Dutch. I should say,
too, that the best landscapes come from the figure and cattle painters as
a rule.

“In my former letter I recommended you to place £1,000 each with two well-
known artists—one in London, the other in Paris (since everything of
distinction can be obtained in Paris and London)—with a free hand to
purchase at their own time, and if possible direct from the artist,
whatever satisfies them, within that limit, as the best and most
representative of contemporary art.

“I will give you the names of certain men of sufficiently Catholic taste
to entrust with such a commission. In this instance they happen to be all
personal friends of mine. In London, I would place £1,000 with Mr. George
Clausen, A.R.A., for the purpose of buying characteristic English work,
with a commission out of this sum for one of his own paintings of rustic
life, of £400. In Paris I would place the same amount with Mr. Walter
McEwan to purchase pieces characteristically French and Dutch, with a
commission out if it for one of his own works at £200.

“If you propose to buy sculpture I would put £800 into the hands of Mr.
Onslow Ford, R.A., getting with this a piece of his at £200. I would
strongly advise you to make a collection of etchings and pen and ink
drawings, and would suggest that Mr. Joseph Pennell be asked to spend £300
for you to start with. He is the best living authority on this subject,
and he should be asked to include one of his own brilliant pen and ink
drawings amongst those he sends out.

“Mr. Louis Fagan, late head of the Print Department, British Museum,
would, I am sure, collect old engravings for you if you intend making them
a feature of your gallery. Ask for single and good examples of the best
masters, to illustrate those arts historically, rather than aim at having
complete sets of any one man’s work. There are special men whose work will
have to be obtained if you desire to make a representative collection. The
works of such men as Millais, Orchardson, Sargeant, Whistler, Bastien Le
Page. etc., are already too high-priced to be purchased out of the sums
named. A special arrangement would be required for an artist at home to
watch his opportunity for securing good examples, or for giving
commissions direct for the same.

“I would caution you about the donations and 1oans that are certain to be
offered to you. Be very strong about requiring these to be up to the level
of the best in your collection. The more select that is made, the higher
the standard you may expect from gifts and loans. You will be obliged to
draw the line somewhere. You are sure to give offence to somebody, but
this will not be increased by drawing the line high from the first,
whereas to unbend, with the object of covering the bare walls or placating
influential people, will result in pictures being literally “warehoused”
with you while their owners are abroad, or left with the idea of a private
sale resulting from such an opportunity and distinction as their
exhibition under the national roof by the sanction of your trustees implies.

“A pictorial museum, as it were, for pictures of local or historical
interest, both of portraits and places, will be of very great interest,
and doubtless you will make such a collection. But works of art pure and
simple must be kept separate from these if they are to serve any
educational purpose.

“I would strongly urge you to discuss very fully and to definitely
determine the policy to be pursued by your trustees with regard to all
these matters. Let the lines to be followed and the tests to be applied be
thrashed out and settled beforehand, and not left open to be decided by
the chance attendance at a meeting of your council, on the merits of each
case.

“Eventually your resolutions will have to be made concrete. Better to have
this done at once and for or all than to collect on the basis of a method
that will shift and change from meeting to meeting. You will arrive at one
in any case, but, only after long experiment and dearly-bought experience,
and your galleries saddled with the heritage of confusion—the necessary
result of buying without any definite aim in doing so.

“A final word of advice, if I may add to these many without offence. Do
not be anxious, as a controlling body, to engage in selecting works for
your Gallery.

“There should be no contumely in the term ‘amateur ;’ far from it. It is
one applied to those who are not trained as artists, yet are lovers of
art. In this capacity each amateur may exercise his own taste privately.
But if you can get professional artists to act for you in this all-
important matter of selection, leave it entirely to them. At the very
worst they can hardly do your Gallery more harm than the amateur at large,
with public funds in his pocket, and equipped for his office with the
innocent formula that ‘he knows nothing about art, but knows what he
likes.’ In this I give you my opinion quite frankly, as an artist. It is
open to anyone to criticise it as frankly, from their standpoint, and as
publicly as they care to.

“Accept again my assurance of interest in the start you make with your
Gallery. As that is, so will the rest be.
“Believe me,
“Yours very truly,
“(Sgd.) L. BERNARD HALL.

“P.S.—To save future trouble you should see that you acquire the copyright
of all pictures bought for you ; also that they are certified by the
artist as originals, and, unless so stated, not merely replicas or
finished sketches.”

tenders are being called, have now been completed. The buildings will
occupy the site of the Old Gaol at the corner of Beaufort and James
streets, and will have a frontage of 250ft. to Beaufort-street, and 331ft.
to James-street The main facade will stand back some 66ft. from James-
street. The building will be approached from both James and Beaufort
streets by gracefully curved carriage drives, which lead up to an imposing
flight of steps, and so to the main centre entrance through a wide-
spanning arch 30ft. high and 28ft. wide. Beyond this is the first striking
feature of the interior, the vestibule, which is characterised by
indications of the most recent school of architecture with ladies’ and
gentlemen’s lavatories, cloak rooms and attendance rooms. The museum
proper will be entered from right and left of vestibule, and on the ground
floor will comprise two rooms 130ft. by 38ft. wide, and 20ft. high. These
rooms have apsidal ends and sides sub-divided into commodious well-lighted
alcoves. In the half basement rooms under left wing provision will be made
for taxidermist, entomologist, carpenters’ and joiners’ shop, painters’
room, spirit room, and storage room. The half basement under right wing
will have spaces allotted for geological, mineralogical, timber and other
exhibits. The portion of basement under main entrance will be fitted up
for caretaker’s quarters. None of these latter features, though an
important integer in the structure, afford features for special
descriptions.

The first-floor rooms will be approached from a vestibule on a landing of
a broad flight of stairs leading to the upper vestibule and curator’s
rooms. Rooms with excellent adaptation for display of exhibits are
provided for specimens end open from right and left of vestibule. These
rooms have ornamental, open, timbered roof, and carved and panelled
ceilings. Facing the main entrance on the ground floor is a wide and
richly ornamented archway, giving entrance to a series of vestibules, each
38 x 38 x 24 ft. high, which afford an excellent internal vista, provided
with artistically disposed niches for statuary and lighted with domical
skylight. The library is a spacious, well-lighted, and well-equipped
apartment, 130 x 103 x 40 ft., and is entered from vestibules on the left,
and lighted from Limbo-street in the front, and from areas 25ft. wide on
the north and south side of room. The library has a wide, ornamental,
timbered roof with large skylight. Accommodation is provided for news-
room, magazine room, reference library, ladies’ reading rooms, and
librarian’s rooms ; an enclosed apartment with desk and visitors’ book is
placed at entrance for assistant-librarian. Access will be gained by four
staircases to the gallery and spaces allotted for readers of special
subjects. All the fitting will be modelled on the latest and most-approved
principles.

On the right and left of the statuary vestibules are the art galleries,
which are entered through wide, swinging doors. Each gallery affords wide
hanging space, being 139 x 28 x 24 ft. high, well-lighted with the top
lights from the south and north, as also from areas 25ft. wide on same side.

Communicating lobbies, with niches for statuary, occur between each
gallery and statuary vestibule, and are provided so as to give free access
from room to room, and are well lighted from areas.

Ventilation is a feature to which special attention has been given. Fresh
air will be admitted to all rooms and galleries by vertical flues
discharging inside at a height of 6ft. above each floor level, and the
foul air is withdrawn by suction shafts through ceiling and so out from
louvered dormers in roof. All the rooms will be fitted with hot-air pipes
and coils.

The construction generally will be of fire-proof materials, walls of
brick, floors of concrete carried upon steel girders throughout, with
concrete foundations. All external walls have cavities to prevent wet from
penetrating to inner walls, a consideration of the utmost importance in
such a building.

The style of architecture adopted is the Romanesque, which lends itself to
a fine blending of the picturesque and utilitarian. The sky lines of front
and sides are well broken with gables and domes, the whole being well
grouped together and having a bold appearance.

The central entrance arcade is 63ft. wide and 65ft. high, and surmounted
with a dome, the ball of which is 100ft. above ground level. The entrance
arch, which is approached by bold bluestone stops, with stone pedestal and
balustrades, is deeply recessed and moulded, the Royal Arms and other
carved enrichments being prominently displayed upon the front. Over this
entrance is the inscription “Art Gallery,” in bold ornate lettering, on
carved panels.

The gables to each wing, right and left, are similarly treated, and have
octagonal turrets at angles, and in the centre of each gable is a screen
with ornamented openings in front of the centre windows, which latter are
fitted with leadlights. The carved frieze over the entrance doorway bears
the word “Museum.” The first floors will be lighted with a row of lead-
lighted windows, continued round the apsidal ends, with bold, overhanging
eaves and brackets.

A piazza 12ft. wide runs round the principal facades on the ground-floor,
the floor being covered with mosaic tiling, and the whole piazza is
enclosed by bold arcading.

The materials for the front and basement are of square dressed random-
coursed rock-faced colonial stone. Round the three principal facades the
superstructure is picked out in red brick, with dressings of clean-
chiselled Rottnest stone, the roof being covered with galvanised iron
specially adapted.

The portion of the Museum buildings at present to be erected is the wing
facing James-street and next Beaufort-street, which will be used as the
library until further extension.

The whole of these designs for Observatory and Museum have, of course,
been carried out under the direct supervision of Mr. Geo. T. Poole,
Assistant Engineer-in-Chief.

has supplied a most interesting work, giving in the main, and in order the
principal contents of a most interesting museum.

The book is an instructive one, well arranged on a scientific, though
simple basis, and should, undoubtedly be in the hands of the Public School
Teachers, for the information it contains cover a particularly wide area ;
the manner in which Mr. Woodward explains everything is so clear, lucid
and concise, that the book, in itself, is a most interesting study, and we
leave it, satisfied that Western Australia should be proud of the
production.

It is virtually a complete synopsis of science and art up to date, and
gives the result of years of deep study. The book costs one shilling only.

inspection by the public. A private view was granted to our representative
yesterday, and, although all the articles were not yet mounted, a clear
idea could be gained as to the value and description of the exhibits. The
first was an exact copy of the famous Rosetta stone, with its Greek,
Demotic, and hieroglyphic inscriptions, and from which the key to two
previously unknown languages was discovered. Mr. Woodward, thinking that,
as architecture occupied the foremost position in art, it should not be
unrepresented in a gallery, ordered models of the five orders of Greek
architecture—the Tuscan, Doric, Ionic, Corinthian, and composite. There
are also copies of a portion of a frieze at the Parthenon, which was taken
from the marble in the British Museum ; and an Assyrian frieze or great
historical interest. The new statues which have arrived are of the Venus
of Milo, the Venus of Medici, a figure of Iris, from which the head is
missing, but which shows the flowing drapery with excellent effect, and a
statue of the “Boy and Goose” from the well-known Greek bronze. Then there
are excellent busts of Demosthenes, Pericles, Sophocles, Diogenes,
Alexander, Ajax (Diomede), Ajax (Vatican), Marcus Aurelieus, Trajan,
Hadrian, Juno, and the “Head of a Barbarian.” All these, which are copies
of the originals in the British Museum, the Louvre, or the Vatican, are
the work of Brucciani and Co., of London and Rome.

There has also just been unpacked several pictures which were selected in
Tasmania by Sir James G. Lee Steere. About the best of the six is “Burnham
Beeches,” by Florence Fitzgerald, but the effect of this is somewhat
spoiled by the figures of three children in the foreground. The old and
rugged beeches, and the ground strewn with leaves, are excellently
reproduced on the canvas. “The Rugged North,” by Hargiel ; “The Match
Seller,” by Frith ; “Morning Light,” by S. G. Morrish ; “Lancing Mill,
Sussex Coast,” by Aumonier, and “In Light at Last,” by W. P. Watson,
R.B.A., make up the collection.

The Museum has lately been augmented by the inclusion of a number of other
stuffed animals, prepared by the taxidermist of the institution, and
specimens of all descriptions. A deal of energy has been infused of late
into the work of increasing the value of the museum as an educational and
pleasure-giving institution, and there is no doubt that it is now well
worth a visit....

well to say that it arises from the fact that it was, in the first place,
criticised almost entirely from an artistic point of view, and, secondly,
that some of the article was curtailed, thereby robbing the criticism of a
delicacy always so necessary in matters of this kind. As an instance of
this take the two copies by Mrs. Potter, head of an old woman by
Rembrandt, and a portrait of Gevartious by Vandyck. These are certainly
not everything that could be desired technically neither should it be
expected of copies of two of the greatest masters of painting the world
has ever known ; it is no light undertaking and to do full justice to them
one needs be a great master oneself. Even then the artist’s own
individuality would prevent an absolutely faithful copy. Nevertheless such
copies are of importance when originals cannot possibly be obtained in an
art gallery, providing as they do a very good study for the arrangement of
light and shade and a very fair impression of the subject as a whole.
There is also a pecuniary consideration ; the committee have not unlimited
means at their disposal so that it necessitates buying copies, i[f] they
cannot afford originals, which is very easily understood when one
considers that the price of one of these two portraits, if it were
possible to buy them, would cost at least eight times the amount expended
on the whole gallery up to the present time ; so that so long as a
moderate price is for copies there should be no objection.

A portrait by Sir Thomas Lawrence, P.R.A., though not a fine example, is a
piece of work which should command the attention of any lover of art. It
is gracefully composed, and the colour, if not of the highest order, is at
least healthy and pleasing. The greys in the neck are, perhaps, not quite
in keeping with the rather too pink and white colour in the face ; and
probably had the greys in the neck been less pronounced, or a little more
suggestion of grey in the face, the colour as a whole would have
harmonised better. The drawing of the head is a trifle wooden, which is
perhaps rather accentuated by the freedom (amounting almost to
sketchiness) that has been used in the brushwork of the lower portion of
the picture. Close to this picture is a small work by Herbert W. Gibbs of
this colony, entitled North Beach, which, though it has its faults, as
every picture is sure to have, makes one think how much better it would be
if the few artists there are in the colony would only follow his example
and think less of the pecuniary side of art, putting more sincerity into
their work. Picture buyers would not then be so swamped with “pot boilers”
and inferior copies of inferior pictures as they are at present. The
artists would have more scope to show their own originality, and should
the buyer have to pay a little more for his pictures he would have better
value for his money.

“A Little Fruit Girl,” by Mr. J. H. S. Mann, is a picture too suggestive
of the “pretty, pretty” type. Unfortunately it is difficult to find
anything to say in its praise, since its faults are so glaring. It is so
evident that it was painted to please the senses of those with only a
surface knowledge of art.

Mr. W. P. Frith’s “The Match Sellers” was painted with much the same view
in end, although it can boast of more artistic merit and truth, parts of
the picture being very well modelled, especially in the drapery. The light
and shade, though, is false, and the background bilious in colour ; in
fact, this biliousness seems to run through very nearly the whole picture.
It is only fair to say that it is not a good example of the artist’s work,
as compared with a great many the writer has seen.

“El Scribenillo,” a copy of a portrait by Velasquez, shows a keen
appreciation by Mr. Pitt Morison of this great master’s work. His
imitations of the brushwork is really excellent, and those who have been
fortunate enough to have seen any work by Velasquez will appreciate Mr.
Morison’s clever copy.

There is a very interesting little picture of the impressionist school by
Mr. P. Wilson, Steere, “Yacht Racing in the Solent,” and, as will be seen
by this example, their endeavour is to leave out all unnecessary detail,
relying entirely on their values and a broad expression of nature,
believing that it is impossible to see the smaller details sometimes too
evident in other schools of painting. In this particular example it is not
felt, but generally their colour is too pucy, and their technique either
patchy or altogether indistinct and unsatisfactory. For all that it is a
school that has its merits, and very high merits, too. For the students it
is dangerous to follow until he has gone through all the drudgery of his
art. The most successful impressionists are good draughtsmen.

“In the Meadows,” by Mr. Mark Fisher, is a piece of work that would held
its own in any gallery, boldly painted, strong in colour, and full of
daylight. Of course it would not please the million, but that is rather in
its favour than otherwise. It would very likely by them be condemned as
being too unfinished. It is an admirable study, if not abused.

“Lake Lugano,” by R. P. Bonington, is without doubt one of the gems of the
museum. It is a simple little subject simply treated. Its purity and
delicacy of colour are unequalled by any other picture in the museum.
These are qualities that are seldom absent in this master’s work, and the
committee are to be congratulated on the possession of such a picture.

In “The Freeholder,” by James Charles, there is a capital study of
character of a typical English countryman. It is drawn with a great deal
of feeling ; one feels, though, that it is a bit inclined to be chalky in
colour.

“A Summer Morning,” by H. H. La Thangue, is an exceedingly good example of
this artist’s work, quite masterly in its technique, without any trickery,
a straightforward sincere work from beginning to end, and with all its
breadth there is not one single part that has been scamped. Except the
Bonington, the directness of the painting is more noticeable in this than
in any other work in the gallery.

“Low Tide,” by Arnold Helcke, is nothing like so pleasing a work of art as
“A Summer Morning.” It is given to trickery, and the artist seems to have
relied more on his badger than his brushwork. It is a good subject, well
composed, and with a certain amount of feeling for daylight, which would
have been increased had the artist trusted to his brushwork more. The
badger, or softener, is useful, rather tempting, but very dangerous.

“The Great Southern Ocean,” by J. Ford Paterson, though such a large
canvas has been used, is little more than a study of rocks and sea, yet
his treatment gives an importance to the subject which it would not
otherwise possess, and its richness of colour raises it considerably above
the average.

Below this picture is an interesting subject entitled “The Leaf
Gatherers,” Burnham Beeches, a praiseworthy piece of work, though a bit
laboured, and shows a want of spontaneity, especially felt in the figures,
which suggest too plainly that they have been posed for the occasion. They
also rather wanting in drawing, a fault which makes itself felt more since
the rest of picture in that respect is accurate. “Loading hay barges,” by
Charles W. Wyllie, is a very good example from the brush of this artist.
It is under an effect he is given very much to painting. Many have been
heard to say that they have never seen such an effect. That is very
probable, for the public are not such keen observers of nature as the
artist. They disbelieve because they have not seen, and only recognise the
most commonplace truths of nature in pictures ; even these they hardly
understand.

“Down on his luck,” by Frederick McCubbin, is a subject that should please
most Australians. As a subject it tells its tale too well to need
description. It is a well drawn piece of work, and the painting is
decidedly clever in parts. The figure, though, strikes one as being far
too edgy, and perhaps a bit too clean and neat for a gentleman under such
circumstances.

“The end of a long day” will rank with the best pictures in the gallery.
It is a masterly piece of work, daring in its colour and vigorous in its
painting. The warm glow of the sun is wonderfully felt. The artist has
thrown aside all unnecessary detail, not a single part is laboured, and
the picture lives an impression of nature very nearly perfect.

What a different stamp of pictures is the next, by W. Peter Watson, “In
sight at last ;” flat and uninteresting without the breath of life, so
easily felt in Mr. Clausen’s work, yet, no doubt, to the general public
interesting in subject since it asks their sympathy. Probably it was
painted with that intention, and serves its purpose.

There is a very fine bit of English landscape work by J. Aumouier, R.I.,
entitled “Lancing Mill,” on the South Downs. It is interesting since it
shows no influence of any foreign school.  Beautifully composed, healthy
in colour, breezy and atmospheric, one fault is an error in the drawing,
the great difference in the size of the two carts. With this exception it
is beautifully drawn.

Of the water colours, “Royal Windsor,” by Edward H. Fahey, R.I., is the
most worthy of notice. It is a drawing rather of the style of the old
water colour painters, very direct and simple, with healthy, pure colour,
due a great deal to its directness.

Of the other water colours, although they are good, one would like to see
something of more importance in this particular art. “Roses,” by Miss
Bayfield, commends itself is a thoroughly well drawn and pure bit of
colour work. It is a pleasure to find that the committee recognise by the
purchase of water colours an art which is so thoroughly English, and the
present small collection of water colours should be the foundation of a
future water colour gallery.

West Australian Art Gallery is one which most laymen would feel diffident
in accepting. The educational purpose which such a national collection is
designed to serve, as is explained in the interesting communication from
Mr. L. Bernard Hall, director of the Melbourne National Gallery, which was
published in this journal on Wednesday morning, is different to that of a
private collection. As yet only the merest nucleus of the West Australian
natural collection has been selected. The fist series of works of art were
received some months ago, and another consignment has now come to hand.
The paintings included in the latter consignment were recommended for
purchase by Dr. Agnew, of Hobart, to Sir James Lee-Steere, chairman of the
committee of the Perth Museum—which is charged with the expenditure of the
yearly grant. Sir James saw these pictures while on a visit to Tasmania
some time ago. They are all the work of English artists, and had been sent
out to Tasmania for exhibition and sale.

The paintings selected are six in number, and the price paid for them was
in the aggregate £804. The pictures have not yet been hung, and therefore
cannot be inspected to the best advantage. Those who inspect them will,
however, not all agree that the value of the amount named has been
obtained, or that the paintings will have a very high educational value to
the artist or to the lay connoisseur. The most eminent name which appears
as the signature of any of the paintings is that of Mr. W. P. Frith, R.A.,
who is represented in “The Match Sellers.” The painting represents a city
street scene—a woman with two children, one a babe in arms, offering
matches for sale. The picture is criticised on account of the wax-doll
appearance of the children and the fact that the figures present a well-
nourished and comfortable appearance not usually associated with those who
earn their living tinder the circumstances depicted. The picture was
purchased at £100. This, however, seems to the observer who next turns to
“Lancing Mill,” to have been moderate. This canvas depicts a Sussex rural
scene—a windmill in a hay field with stacked sheaves, and the figures of
rustics engaged in harvesting operations, and in the distance a valley.
The picture possesses an effective sky. The artist is James Aumonier, and
the price £300, and on noting the latter fact the suggestion may arise
that some portion of the worth of the picture must have been deemed to lie
in its size. “In Sight At Last,” a depiction of a scene outside a cottage
in a fishing village on the sighting of an expected vessel possesses some
elements of effectiveness, and compared with the last-named picture the
price of £160 does not seem high. The figures, however, lack life, and the
colouring is thin. The artist is W. Perth Watson, R.B.A. “Morning Light “
is not one of the strong points of the collection, the scene depicted
being a sea-girt cliff, the reflection of the morning sun on the sea being
emphasised. The artist is S. Morrish, and the price £100. The last two
paintings strengthen the collection. One of these is a scene from the much-
painted Burnham Beeches, by Miss Florence Fitzgerald. The technique is
good, and the autumn tints, which form the characteristic feature of the
colouring of the picture, are effectively brought out. Life is given to
the picture by the figures of children gathering fallen leaves. Effective
portions of the painting are the representation of the water lying under
an old beech tree, the ruts of the rough track running through the wood,
and the background of wood and undergrowth, the artist having avoided the
device of dismissing this portion of the background in the manner of a
photograph. The painting, as compared with the others, is indeed cheap at
£84, though the figures are far from satisfactory. The sixth painting is
“The Rugged North,” by G. E. Hargeil, R.I., a Scotch mountain in the
background, with characteristic clouds and a drove of Highland cattle in
the foreground. This is one of the cheap pictures, as regards the amount
paid, £60, but it will be more than some of the others an ornament to the
collection.

In addition to the paintings, the art collection has lately been added to
by a number of plaster copies of examples of classical statuary, from the
establishment of Messrs. Brucciani and Co., of London. The originals are
for the most part in the British Museum, the Louvre, or the Vatican. They
include a copy of the Venus of Milo, from the famous original in the
Louvre, which is accepted as the classical model of the female form ; a
figure of Iris, from the British Museum, the feature of which is the
draping, an equestrian frieze from the Parthenon, Assyrian friezes, and
several minor examples, such as the head of Sophocles, etc.

Neither the models of statuary nor the paintings are yet on public view,
but the authorities of the Museum, where they are located, hope to have
them open for inspection almost immediately.

Gallery, and entirely agree with his advice as regards the selection of
English and continental pictures, sculpture and engravings for our own
collection. At the same time I would point out that Mr. Hall entirely
neglects to recommend that pictures painted in Australia should be bought.
This is a very grave omittance, as will be recognised by anyone who is at
all aware of the high standard to which painting has attained in the
Australian colonies. To those who do not know I may say that many of the
students who studied under Mr. Hall’s predecessor, the late G. F.
Folingby, when they have gone to Paris have immediately taken a good
position in the artistic world, and many of their pictured have been
awarded medals and been hung in the place of honour in the Salon. To those
who are interested in artistic matters, the names will be familiar of
Longstaff, Fox, Altson, Bunny, and others too numerous to mention, with
that of McKennell in sculpture. Of even earlier Australians than these are
C. D. Richardson (who took the prizes for both painting and sculpture at
the Academy—the two never before taken, I believe, by the one person) and
Tom Roberts who also distinguished himself at home. Those two latter, with
several of the former, are now living and painting in Australia. Many
others there are whose forte is to show the beauty of Australian
landscape. Some years ago several large collections of English pictures by
the best men wore brought out to Sydney and Melbourne, and exhibited as a
mixed collection with pictures by Australian artists, and the local
productions did not suffer by the contrast. The trustees of the National
Galleries of both Sydney and Melbourne are encouraging art in their
respective countries to a considerable extent. Not only is there a
National School of Painting in both places, where the students get the
best instruction at nominal fees and travelling scholarships are bestowed,
but the Governments liberally subsidise independent artistic societies.
Besides this, each gallery is buying liberally the pictures of Australian
artists. I hope that our trustees will see fit to follow this good example
and afford the means of educating the eyes of our public to see the
beauties that certainly exist in the landscape and incidents of our
country.—Yours, etc.,

KANGAROO.
Perth, October 15.

collection at present being hung in the gallery. The small room is now
overcrowded, but it is satisfactory to know that the working plans of the
new art gallery will be ready for inspection on Tuesday next. The three
pictures are :—“Adjusting the Plough,” a farming scene, by J. Scherrewitz,
a rising Dutch painter ; “Crossing the Ford,” a characteristic English
landscape by Thomas Creswick, R.A., who originally received £1,200 for the
painting ; and “Flooded Meadow—Norfolk Broads,” by Professor Karl Heffner,
of Dresden, Germany, a painter who has a world-wide reputation for his
wonderful atmospheric effects. This artist’s work is well known in
Australia, being represented in all the national galleries of the several
States.

chequered history, appeared in the “West Australian” of Wednesday last,
was formally opened last evening by His Excellency the Governor (Admiral
Sir Frederick Bedford, G.C.B.) in the presence of a brilliant assemblage.
Among others in attendance were Lady Bedford and Miss Bedford and suite,
the Premier (Mr. N. J. Moore, M.L.A.), the Colonial Treasurer (Mr. Frank
Wilson, M.L.A.), the Attorney General (Mr. N. Keenan, M.L.A.), the
Minister for Works (Mr. J. Price M.L.A.), the Colonial Secretary (Mr. J.
D. Connolly, M.L.C.), the Minister for Agriculture (Mr. Jas. Mitchell,
M.L.A.), the Speaker of the Legislative Assembly (Mr. T. F. Quinlan), the
President of the Legislative Council (Mr. Hy. Briggs), and many members of
both Houses of Parliament ; Sir John and Lady Forrest, Dean Latham, the
Rabbi (Mr. D. I. Freedman), the Mayor (Mr. T. G. Molloy), and members of
the City Council, Sir Whateley Eliot, and many other representative
citizens.

The 400 guests were received in the sculpture gallery by the president of
the committee (Dr. J. W. Hackett, M.L.C.) and Mrs. Hackett. At 9 o’clock
the company moved up to the first floor landing in the entrance hall in
readiness for the formal ceremony.

The Director of the Museum and Art Gallery (Mr. Bernard H. Woodward)
formally introduced the president to His Excellency the Governor,
remarking that this was the sixth occasion on which, during his nineteen
years’ connection with the institution, he had received representatives of
Royalty.

Dr. Hackett asked His Excellency to declare the new Gallery open. He would
say, at the outset, that he rejoiced that the opportunity of opening the
new Gallery had been given to His Excellency, who had been so true and
strong a friend of every movement for the promotion of art, and of the Art
Gallery in particular. Still more was he pleased that it should fall to
the lot of His Excellency to relieve the State from two great reproaches.
In the first place, they had resting upon them an obligation to redeem a
violated pledge. When His Royal Highness the Prince of Wales was on a
visit to this State and laid the foundation stone of the new Gallery, it
was with the complete assurance that the work would be carried through
without delay to its completion. Unfortunately, for reasons which he (the
president) was not acquainted with, it had been thought fit that they
should break their promise to His Royal Highness. Now, however, they were
thankful to redeem that pledge and to testify that Western Australia had
only faltered in her duty, and that the time was now come when she would
not only redeem her promise, but would add to the educational system of
Western Australia, and, except for the university, fill up the last great
gap which remained in that system. Secondly, the obligation rested upon
their educational consciences to see that fair play was given to the
people of this State. It was impossible that they could hold their own
when the appliances and advantages were so much more in the ascendant in
the sister States than in their own. Above all it seemed incumbent upon
them that [they should] an equality of opportunity to[?] [?] [boys] and
girls to those whom ambition led in the direction of art, who were
conscious of great talents totally neglected, simply because there were
not the means and appliances in Western Australia to supply them with what
they desired. This Gallery which they were asking his Excellency to open
was, he believed one which would hold its own, as far as the building
went, with any in Australia. He was not going to weary them with figures,
but he wished to point out that even before this Gallery was erected some
endeavour was made by the State to live up to its art duties—to give the
people some opportunity of becoming acquainted with the refining,
softening, and educative influences which were associated always with art
love and art study. He wanted to point out that the art collections in the
adjoining room comprised 71 original oil-paintings of more or less merit.
He thought they would find the bulk of them compared favourably with the
average in the Australian States. There were also 23 water-colours, two
pastels, and a large number of reproductions in colour and specimens of
drawing, black and white, prints and etchings. In all £12,600 had been
spent in acquiring that collection, in addition to which £1,500 worth of
sculpture had been secured. Thus they would see that the sacred fire had
been burning, however dimly, in Western Australia, awaiting only the
opportunity to leap up into living flame. The total attendance of visitors
from the beginning—true, they had been chiefly to the Museum, but the
pictures the committee had been able to display must be held responsible
for at least part of the attraction—numbered 800,000 persons, of which
156,000 had been recorded last year. The principal schools were
represented in the Gallery. They had specimens, and good specimens, of the
Italian, Flemish, Dutch, German, Spanish, French, and the English. He was
not going to intervene between those present and the several gentlemen who
had kindly promised to address them, but before he abandoned his place he
wished to express the deep gratitude of the committee of the National Art
Gallery, in the first place, to members of the Ministry—to Mr. Moore, who
had been with them all along, heart and soul ; to Mr. Wilson, who they
would never forget as being the first Treasurer to put a sufficient sum of
money on the Estimates with a determination that when the time came round
to spend it, it should not be returned to the Treasury ; thirdly, to Mr.
Price, for his unfailing care and assistance. One other whom he wanted to
thank was His Excellency the Governor. (Applause.) He wished to thank him
for the ready and unfailing interest he had taken in the work of the
committee and the encouragement he had invariably given them from the time
he had first set step upon these shores. He wanted to thank the members on
both sides of the House in the Legislative Assembly—members who, with very
few exceptions, recognised the greatness of the work the committee were
engaged in ; who recognised that art belonged to civilisation and was a
sign itself of the civilisation to which nations had attained, and who
were determined that there should be some suitable building suitably
established in this State, which should be the nursing home of the young
artists of the future. With His Excellency’s permission he would call upon
the Premier to support him in his request. In conclusion, he thanked them
all for having attended that evening, on the occasion of the opening of
the National Art Gallery of Western Australia.

The Premier said he had great pleasure in supporting the request. In view of the fact that His Excellency had taken great interest in every movement which had for its object the educational betterment of the people, it was particularly fitting, he said, that he should perform the ceremony of opening the Art Gallery—a ceremony which for many years had been looked forward to by the committee. The event would be a very auspicious one in the history of that institution As the president had pointed out, the foundation-stone was laid by His Royal Highness in 1901 in the presence of a large assembly of people, to the accompaniments of brass bands and flags flying. But, unfortunately, nothing further had been done, and for a number of years the stone had been left as a monument to an unredeemed pledge. It was very pleasing to his Government that it should have fallen to them to redeem the pledge by getting the consent of parliament to the expenditure of £10,000 in the erection of that building. (Applause.) While the Government recognised that it was their duty to attend to the material wants of the people, they recognised also that it was their duty to support any movement having for its object the higher education of the people ; and they felt that in supporting any such movement they had the endorsement of Parliament and of the people generally. (Applause.) On looking at the records he had found that £100,000 had been expended on the Museum and Art Gallery in construction and maintenance, while, as the president had pointed out, little short of a million persons had passed through its doors to inspect its exhibits. As evidence of the interest taken in art, it was significant to know that during the time that Holman Hunt’s great picture, “The Light of the World,” had been on exhibition in the Museum building 157,000 people had inspected it. It went to show that art had its devotees among all classes of the community. On an occasion such as the present, when one was surrounded by a collection of art and one recognised that he was not a connoiseur [sic] in these matters, while His Excellency and others were sound critics of art, he would not presume to dilate at length upon the adornments of the walls. However, the true educational value of this institution would lie in the opportunities it would afford to the students of viewing specimens of art which would elevate them to a full appreciation of the divine principles of true art. In this State, notwithstanding the stress and turmoil incidental to life in a new country, many people were prepared to [?] considerable portions of the [?] the study of arts and sciences. [Thus] among the various art societies in the metropolitan and goldfields districts were 150 members—evidence that some amongst the community recognised the advantage of taking an interest in such matters. At the Perth and Fremantle Technical Schools there were 100 students who, quite apart from private and State school teachers, were devoting their spare time to arts and crafts. Moreover, there were between 40 and 50 private teachers of painting and drawing in Perth alone. Although the Technical Schools provided full equipment for art study, students at these schools would now have the opportunity of attending the Art Gallery ; and he was sure that the visits made by these students for the purpose of serious art study would tend to develop a higher standard of art throughout the State. (Applause.) The general tone and tendency of the Gallery should be to uplift the people of the State and to create a body of true artists within the State’s borders. He congratulated the committee on the additional space afforded by this new building in which they could exhibit works of art hitherto crowded away in the musty corridors of the old gaol building. He wanted to say that the people generally appreciated very much the work of the committee. The interest the president had taken in this and other matters having for their object the improvement of social and educational life was of such a character as would ensure his name being handed down to posterity as one of the few public men prepared to give up time and substance to assist the State to get into line with the rapid advance of modern educational facilities. (Applause.)

Sir John Forrest, referred to by the president as the “founder of the
Museum,” spoke of the difficulties with which the movement had been beset
in the past. He remembered well the early struggles the old members of the
committee had had in the commencement of the institution which they were
seeing consummated that night. At the time of Her late Majesty’s Jubilee
the stone was laid with great pomp on the present site of the Technical
School, and from there it was transferred to its present position, where
it was again laid by His Royal Highness. He did not think the State was
open to a charge of not having kept faith. They had merely delayed a
little. (Laughter.) They very much regretted that the delay had taken
place. Still they had always intended that the land should be used for the
purpose for which it had seen set apart by his Government, viz., for
Library, Art Gallery, and Museum. Heartfelt thanks were due to those who
were on the committee at that time. Sir James Lee Steere had been
chairman. Mr. Canning was one of the committee from the first. Then there
was the president of to-day, indefatigable then as now. There was Sir
George Shenton, and many others who took a great interest in promoting an
extension of the Library and the Museum and the Art Gallery. Mr. Woodward
and Mr. Battye were not to be forgotten, for to them was to be given a
great deal of the credit. He had done something towards it as Premier, and
now Mr. Moore had done something. But he hoped they had not finished yet.
The Library was the next thing they should take in hand in order that they
might have something creditable to Western Australia. (Applause.) It was
gratifying that in these early days of the country, when there was so much
to be done of a material nature and there were so many demands upon the
Treasury, they should be able to do something in the direction spoken of
that night. They should try to do something beyond laying bricks and
mortar and doing those things which were absolutely required. They should
do something to elevate the public mind and to let the people have some of
the advantages enjoyed by all civilised communities. It was not easy. They
were a small community, but still, if they did some of those things to
which the president and the Premier had referred, they would not be
altogether unworthy. They should try and encourage the faculty of
observation by the study of Nature, for art and Nature went together, the
only difference being that while art was sometimes faulty, Nature was
never at fault. The tendency of this study was to awaken people to a sense
of how little they really knew. There was nothing in this world they ought
to try and cultivate more than this realisation of how little was the best
of their knowledge. The more they studied Nature and art the more
reasonable a view would they take of their own littleness in the great
scheme of creation, and with this would come a greater appreciation of the
work of the Creator. He had never forgotten the sentiments of Sir Isaac
Newton, who had compared himself to a boy gathering shells on the
seashore, here and there admiring one, while the great ocean lay
undiscovered. He concluded with an expression of the conviction that the
Art Gallery would do a great deal of good. He wished the committee every
success, and he predicted that His Excellency in his remarks would say
something for their good.

His Excellency, who was cordially received, said that it was not usual
before a sermon was preached for someone to rise and say what a good one
it was going to be. Yet that was what Sir John Forrest had done. He had
led them to believe that he (His Excellency) was going to say something to
do them good, but for his part he took it for granted that they were all
so good that nothing he could say would improve them. (Laughter.) He was
particularly pleased that it had fallen to his lot to open that gallery.
He was sure the Prince, who had laid the foundation stone, would be very
pleased also when he received a cable which he (His Excellency) would send
him announcing that the gallery had been opened. (Applause.) A few months
ago he had had the honour of an interview, and had shown His Royal
Highness a drawing of the outside of the building which His Royal Highness
had been pleased to accept. The Prince had evinced the greatest interest
in the work, and he would be delighted to think that at last that monument
of his had been covered up except for the front, which would remain open
to the public gaze. (Laughter.) His Excellency said that he wanted to
congratulate two people in particular upon the establishment of the new
building viz., Dr. Hackett and Mr Woodward. They all knew how hard Dr.
Hackett had worked in the cause of this sort of institution, and he was
sure that it was very much owing to his presence in the Upper
Chamber—which His Excellency understood had nothing to do with money
matters—that they had got the money with which to erect the building.
Probably if they had waited until this year they would not have got it at
all, owing to the demands which had been made upon the Treasury. However,
they had got it, and that was the great thing. (Laughter.) Than Mr.
Woodward nobody, he was sure, could be more pleased with the completion of
the building. He had never come across a more indefatigable worker. Coming
into the gallery the other day he had found Mr. Woodward, notwithstanding
that he was suffering from a severe cold, so busy hanging pictures as to
give rise to fears that he would go off his head and hang himself.
(Laughter.) He endorsed the remarks made as to the educational advantages
of the gallery. The history of painters, he said, showed numerous
instances of men born in lowly stations among uncongenial surroundings,
who, nevertheless, had reached great eminence in painting and sculpture.
That was always encouraging to the young, and he hoped that this gallery,
which would give opportunities for them to come in and inspect exceedingly
good examples of oil-paintings, water-colours, black and white, and
designing and statuary would be the means of bringing to light such latent
talent as might exist. In the sculpture gallery were copies of the most
famous statues that could be obtained, and for this the State had largely
to thank Dr. Hackett. (Applause.) There were numerous other people in the
State who had donated pictures and casts, but he could not then enumerate
them. What he did know was that quite recently Dr. Hackett had presented
to the gallery a considerable number of casts of the best sculptures, and
also one or two valuable pictures. Sir George Shenton had presented a
couple of nice pictures and so had—lots of other people. (Laughter.) Now
that they had got the gallery the thing to do was to make the best in
Australia. He considered it a great honour that he should have been called
upon to open the gallery. It was a great object lesson, illustrating the
truth of the old proverb that if they waited long enough they would get
everything they wanted. He could now quite believe that if he were to
remain in this State a sufficient length of time he would see the Town
Hall built and possibly the Houses of Parliament completed. (Loud laughter.)

The president then handed His Excellency a golden key, which His
Excellency said he would treasure as a souvenir of a most interesting
occasion. Having turned on the lights and opened the door, His Excellency
formally declared the gallery open to the public.

After an inspection of the pictures in the gallery the guests were
entertained at supper in the lecture hall of the Museum.

A GREAT SOCIAL GATHERING.

(By “Adrienne.”)

The most brilliant function held in Perth for very many years took place
last evening, at the Western Australian Museum and Art Gallery, when the
president and Mrs. Hackett entertained a great number of guests, on the
occasion of the opening of the new Art Gallery by His Excellency the
Governor, Sir Frederick D. Bedford, G.C.B.  Dr. and Mrs. Hackett received
their guests at the entrance to the statuary gallery, where the guests
were delighted to see so many exquisite casts, many of them recognising
with the greatest pleasure old favourites from the Vatican and the Capitol
at Rome and from the Louvre in Paris. The residents of Perth must feel
that they owe a very deep debt of gratitude to Dr. Hackett and others who
interested themselves in securing for Western Australia this new Art
Gallery, with its valuable and exquisite contents. From an educational
point of view they have rendered the State very great assistance indeed.
After His Excellency the Governor had opened the door of the Picture
Gallery with a golden key, presented to him, the assemblage entered the
Gallery and spent some time in admiring the paintings, and the greatest
admiration was expressed on all sides. A great many beautiful dresses were
worn by those present. Lady Bedford wore a handsome gown of gold and
crimson floral brocade, with a beautiful point lace bertha, exquisite
diamond necklace and tiarra [sic], and carried a lovely bouquet of shaded
roses, carnations, and ferns, with knots of pink ribbon, presented to her
by Mrs. Hackett. Mrs. Hackett wore a perfectly exquisite dress, composed
of beautiful cream Limerick lace over a delicate shade of green chiffon,
showing an underskirt of gold-tinselled chiffon over cream satin, the
lovely Limerick lace overdress having finishings of delicate gold thread
embroidery. She carried a charming bouquet of roses, carnations, ferns,
and most effective leaves in Autumn tints, and wore a most becoming gold
band in her hair. Miss Bedford, cream shivering brocade, with silver lace
fichu and touches of green silk. Lady Forrest, handsome dress of black
velvet, with point lace bertha and beautiful diamond necklace and tiarra
[sic]. Lady Stone, black spotted net over glace, with touches of mauve.
Mrs. Bold, scarlet radium silk, with Maltese lace bertha. Mrs. Richard
Sholl, cream lace overdress over mauve silk, with touches of violet velvet
and violet in hair. Mrs. Matthews, black chiffon over glace, with
effective touches of wallflower velvet. Mrs. Conigrave, black net over
silk and velvet. Mrs. Newton, cream floral brocade, with suggestions of
pink. Miss Hayes, white chiffon over silk and lace. Mrs. Domela, black
sequin net over glace, with chiffon finishings. Mrs. Allan, black silk,
with spangled jet and touches of pink. Mrs. Price, striking gown of reseda
green chiffon glace, trimmings of cream net, and gold bob trimmings, scarf
of fishermen’s net in gold tissue. Mrs. Ewing, black crepe de Chine, white
lace bertha. Mrs. S. H. Parker, black ninon over pale blue glace, black
lace finishings. Miss Parker, silver-grey crepe de chine, with cream lace
and touches of white spangled net. Mrs. Battye, mauve crepe de chine,
trimmings of pansy velvet. Mrs. Latham, black spotted silk, with touches
of pale blue and lovely cream lace bertha. Mrs. Franklin, black glace
gown. Mrs. Connolly, poppy-red silk and cream lace, red flowers in hair.
Mrs. Makeham, black chiffon glace. Mrs. E. A. Le Souef, cream chiffon
glace and lace. Mrs. O. Burt, black silk, with cream lace and touches of
black velvet. Mrs. Christie, black sequin net over glace. Mrs. Aubrey
Brown, black satin and cream lace. Mrs. Fred Monger, black sequin net over
glace, with scarlet geraniums on corsage and in hair. Mrs. W. J. George,
black silk, with cream lace. Miss Rosie Miller, pale blue chiffon glace,
with cream lace. Miss Percy, black silk, with gold passementerie, pink
camellia in corsage. Mrs. Cooke, black spotted net over white glace, black
sash. Mrs. Kelsall, blue chiffon taffeta, with Paris lace trimmings. Mrs.
Alfred Burt, scrolled black net overdress over glace, bodice made with
kimono effect, and finishings of sequin net. Mrs. Fairbairn, black satin,
with cream lace sleeves and bertha. Mrs. Muir, black silk, with sequin
trimmings Mrs. Drummond, black silk, relieved with white chiffon. Mrs.
Alec Monger, black ninon over glace, with black sequin finishings. Mrs.
Hampton, black crepe-de-chine. Miss Timperley, black silk, with cream lace
bertha. Mrs. Isidore Emmanuel, lovely dress of white net, lace applique
over white glace, trimmings of exquisite lace and touches of silver
tissue. Mrs. Fergusson Stewart, cream chiffon taffeta, made with empire
effect and cream lace, blue flowers in corsage and hair. Mrs. N. Keennan,
striking gown of lettuce-screened silk, with effective coatee of lovely
white lace. Mrs. Jull, black silk, with lace. Mrs. Atkins, floral chiffon,
with pink glace finishings. Miss Rosser, dainty empire gown of chiffon
taffeta and cream lace. Mrs. Harvey, cream brocade, with touches of black
velvet and cream lace. Mrs. Robert Sholl, black sequin net over glace.
Mrs. Beasley, black chiffon over white glace, Maltese lace bertha. Miss
Wilson, pale blue silk, with Oriental trimming. Mrs. Faulkner, black silk,
with touches of gold velvet. Mrs. Butcher, black chiffon glace with cream
Valenciennes lace. Miss Yelverton, pink silk, with touches of black
velvet. Mrs. Munro, smart empire gown in blue floral Oriental satin,
silver-spangled net trimming, with fuchsias in hair. Mrs. Whalen, hand-
painted chiffon over glace, pink flowers in hair. Miss A. Moore, pale pink
radium silk, with cream lace. Mrs. J. Cowan, black silk, with cream lace.
Mrs. G. Lukin, pale green eolienne, with Paris lace finishings. Mrs.
Leonard Darlot, exquisite empire gown, composed of black ninon over silver-
grey glace, black lace sleeves, and effective silver belt, black velvet
band in hair. Mrs. Cox, cream chiffon glace, with cream lace. Mrs.
Thurstan, blue spotted eolienne, with touches of black velvet, pink roses
in hair. Miss Lovegrove, white silk, with insertion, red sash, pink rose
in corsage. Mrs. England, mauve silk, with cream lace finishings. Mrs.
Gibbs, cream silk empire gown, appliqued with silk panel of lovely cream
lace. Miss Gibbs, white spotted net over pale blue glace. Mrs. C. Sommers,
black and white silk dress, with cream lace finishings. Miss Sommers,
pretty white silk dress, with Valenciennes lace. Mrs. Tratman, black silk,
gold-beaded coatee. Mrs. M. C. Davies, black silk, with trimmings of gold
passementerie on bodice. Mrs. Toppin, black chiffon glace, with sequin
net, lovely cream lace scarf. Mrs. Gibb Maitland, black silk, with
chiffon, red roses in corsage. Mrs. Frank Connor, black silk, with chiffon
trimmings. Mrs. W. D. Moore, handsome green brocade. Miss Bayfield, black
chiffon over white silk, with black lace. Mrs. Lovegrove, black silk with
cream chiffon and black sequin trimming. Mrs. G. Johnson, cream floral
chiffon with touches of moss-green velvet. Mrs. C. L. Oldham, soft black
silk, with silver-spangled lace. Mrs. J. M. Ferguson, black chiffon glace,
with black chiffon and sequin trimming. Mrs. Wm. Patterson, black satin,
with cream lace. Miss Viotti Pearce, cream net, with silver-tinselled
stripe over glace. Miss Sherwood, blue chiffon glace with gold and cream
applique. Mrs. Herbert Davies, soft black silk, with cream chiffon and
lace, and touches of black velvet. Miss Quinlan, cream chiffon taffeta
with finishings of cream satin and ruched bebe ribbon. Miss F. Davies,
buttercup Oriental satin, with cream lace and gold tassels. T. W.
Hardwick, black chiffon glace, with cream chiffon and black lace. Mrs.
Harry Brown, shell-pink chiffon taffeta, with touches of velvet in the
same shade, and finishings with cream spotted net. Mrs. A. G. Jenkins,
smart gown of ivory satin, trimmings of cream lace. Mrs. J. G. Foulkes,
black chiffon over glace, with black sequin trimmings. Mrs. Cecil Andrews,
black silk, with cream spangled lace bertha. Miss Lee Steere, black
figured satin, with gold sequin finishings, scarlet poppies in corsage.
Mrs. J. B. Percy, handsome black silk dress with white Bruges lace bertha.

After the guests had taken a very hurried glance at some of the pictures
an adjournment was made to the supper-room, where a most delicious repast
was partaken of. The table decorations were artistically carried out with
specimen vases of mauve water lilies and chrysanthemums in the same shade,
and cosmos in delicate shades of pink and light feathery ferns.