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do de Madrazo, Luis Alvarez. Austria-Hungary.
Albert Hynais, Jules de Payer, Rodolphe Ribarz.
England. Sir Frederick Leighton, Edward
Burne-Jones, Henry Moore, Alma-Tadema, Hu-
bert Herkomer, J. C. Hook, W. Q. Orchardson,
James McNeill Whistler, Stanhope A. Forbes,
B. W. Leader, John R. Reid, J. J. Shannon.
Italy.-Filippo Carcano, Leonardo Barzacco,
Angelo Morbelli. Germany.-Wilhelm Leibl.
Russia.-Constantin Makovski, Vinceslas Szy-
mankovski, Georg Lehmann, Alexis Harlamoff.
Finland.-A. Edelfelt. International Section.
-Arturo Michelena, Zacharie Zakarian.

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fants Arabes," 13,900 francs. Meissonier, “Les cuirassiers" (1805, painted in 1878), 190,000 francs, Duc d'Aumale; "Dans les fossés d'Antibes, 44,500 francs, American Art Association; "Le vin du curé," 90,000 francs; "Le peintre et l'amateur," 63,000 francs: "Jeune homme écrivant une lettre," 65,500 francs; "Jouers de boules à Versailles," 71,000 francs; "Les trois fameurs," 42,000 francs; “La descente des vaches," 37,100 francs; "Berger ramenant son troupeau," 43,000 francs; La Basse-cour, 36,200 francs.

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The sale of the collection of Auguste Dreyfus, comprising 116 numbers, in Paris in June, realized 861,000 francs. Some of the best prices obtained were: Troyon, "Le passage du bac (sold in 1872 for 32,500 francs), 100,000 francs; “La route du marché" (for which Troyon received 2,500 francs), 62,000 francs. Meissonier, "Jeune homme lisant," 20,700 francs. Édouard Détaille, "Bonaparte en Egypte" (Salon of 1878), 31,500 francs. Berne-Bellecour, "Les tirailleurs de la Seine au combat de la Malmaison, 1870," 25,000 francs. Théodore Rousseau, Paysage du Berry," 48,500 francs. Vibert, "Le départ des mariés," 45,500 francs. Vautier, "Noce Alsacienne," 40,000 francs.

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A bronze replica of Bartholdi's statue of "Liberty Lighting the World," one fifth the size of the original in New York harbor, was erected, in July, at the Île des Cygnes, Grenelle. The figure, which is 11:40 metres high, is elevated on a mole of masonry beside the bridge. It is a gift to the city of Paris by American residents.

Paris: Miscellaneous.-One of the most important art sales of the century was that of the Secrétan collection, consisting of a large number of the best examples of the modern French school and of some good "old masters." The sales amounted in the aggregate to 6,045,165 franes. First day, 3,651,000; second day, 1,901,355; third day, 492,810. The following is a partial list of the prices obtained for some of the modern French pictures at the sale, which attracted buyers from all parts of the world: Corot, "Le matin," 56,000 francs; "Biblis" (the painter's last work),, 84,000 francs; "Le soir," 16,000 francs; “L'Étang,” 6,100 francs. Courbet, La remise de chevreuils" (Lepel-Cointet The sale of the studio effects of the late Alexsale, 35,000 francs), 76,000 francs. Daubigny, andre Cabanel, in Paris, May 22 and 25, produced "La rentrée des moutons," 42,000 francs; in the aggregate, 141,081 francs. Of the pictures, "Ruisseau dans la forêt," 15,100 francs. De- Cleopatra trying Poisons on Prisoners concamps, "Joseph vendu par ses frères," 40,500 demned to Death," brought 20,000 francs; "The francs: "Les singes experts," 70,000 francs; First Ecstacy of St. John Baptist," 12,500 francs; "Le frondeur," 92,000 francs; 'Bourreaux and The Triumph of Flora,” 3,000 francs. tures," 33,500 francs; "Bouldogue et terrier écossais," 46,000 francs. Eugène Delacroix, "Le retour de jouers de boules à Antibes," 60,000 francs; "Ecrivain méditant," 45.000 francs; "La lecture du manuscrit," 39,000 francs; "Le liseur en costume rose," 66,000 francs; "Troupe de Mousquetaires," 36,600 francs; "Le fumeur en costume rouge," 33,500 francs: "Le liseur blanc," 36,000 francs; "Le baiser," 17,000 francs; "Le peintre," 29,000 francs; "Causerie," 26,000 francs; Portrait de Mme. Sabatier," 7,100 francs; "Récit du Siége de Berg-op-Zoom' (medallion, size of five-franc piece), 20,100 francs; L'Amateur de peintre," 15,100 francs; Hussard appuyé sur son cheval," 16,000 francs. J. F. Millet, L'Angelus," 553,000 francs, American Art Association; Le retour à la fontaine," 20,600 francs. Th. Rousseau, hutte des charbonniers." 75,500 francs; "La ferme sous bois," 58,500 francs; "Jean de Paris," 42,000 francs; "Le printemps," 33,000 francs. Troyon, "Le passage du gue," 120,000 francs: "Vaches au pâturage." 45,000 francs; "Le chien d'arrêt," 70,000 francs; "Pâturage Normand," 31,500 francs; Christophe Colomb" (San Donato sale, 80,000 francs), 36,000 francs; "Tigre surpris par un serpent," 35,500 francs; "Desdémone maudite par son père." 15,000 franes. Diaz, "Diane chasseresse," 71,000 francs, American Art Association; La descent des Bohémiens," 33,000 francs; "Vénus et Adonis," 36,000 francs; "Vénus et l'Amour," 17,800 francs. Jules Dupré, “Bords de Rivière," 40,000 francs. Fortuny, "Fantasia Arabe," 24,300 francs. Eugene Fromentin, "Gorges de la Chiffa, 43,000 francs: "La chasse au faucon," 41,000 francs; "L'Alerte," 25,700 francs; "En

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London: Royal Academy. — The twentieth winter exhibition was noteworthy as containing no pictures of the Italian schools, being mainly devoted to the Dutch school and to English works of the first half of the present century. Among the former were a noble group of Rembrandts from Buckingham Palace and from the collection of Sir Richard Wallace. Among the English pictures were works by Turner, Constable, Collins, Dyce, R. C. Leslie, etc. rooms also were devoted to a loan collection of portraits and subject pictures by Frank Holl, the lately deceased academician.

Two

The one hundred and twenty-first annual exhibition of the Royal Academy contained 2,196 works, selected from about 6,000 contributions, including 1.264 oil paintings, 301 water-colors, 111 miniatures, 138 works in black and white and engravings, 200 architectural drawings, and 182 sculptures.

The principal positions in the first room were occupied by Sir Frederick Leighton, Sir John Millais, and Frederick Goodall. Of Sir Frederick's contributions, "Invocation" (54 x 34) represents a young priestess in white robes standing with uplifted arms in the attitude of invocation. Offerings of grapes are on the altar before her, and in the background are marble columns. In "Greek Girls playing at Ball" (45 x 78) two girls, in flowing draperies which exhibit their form,

are playing on the terrace of a house, against a background of purple mountains and inlets of the Adriatic. The figures and landscape are bathed in summer light. "Sibyl," a third picture represents a dark-haired sibyl sitting in a grotto, her head resting on her hand. Smoke curls upward from a tripod near her, and scrolls lie at her feet.

Sir John Millais contributed" Murthly Water" (40 × 63), a Perthshire landscape on a sunny day in autumn, with trees and hills in background and the Tay at left with a boat drawn up and two sitting figures on the bank. The scene is near Dunkeld, where the painter has his fishing. Another picture The Old Garden" (45 × 68) represents an old-fashioned Scotch garden in autumn. A fountain with water flowing into a basin from the mouth of a dolphin, on which is mounted a Cupid, is in the foreground, and in the background, over high walls, behind which rise yews, cypresses, and close-cut box hedges, part of a manor house is seen.

Frederick Goodall's chief contribution, "Leading the Flock: Early Morning, Cairo," a Bedouin shepherdess blowing a pipe and followed by a a flock of sheep, with the walls of Cairo and the Pyramids in the distance, hung between Sir Frederick Leighton's two single-figure pieces. Another work entitled "The Day of Rest at the Old Home," illustrating a stanza from Tennyson's Palace of Art,” represents a picturesque Queen Anne house, with lawns and meadows, and a brook with a horse drinking in the foreground. The place has belonged to the Blackwell family for two hundred years.

W. Q. Orchardson's principal picture, "The Young Duke " (4 feet 10x8 feet), represents the dining-hall of a French noble in the time of Louis XIV. The young duke is seated at the middle of a cross-table, while his guests are rising with glasses raised to drink his health. This picture was one of the successes of the year.

Alma-Tadema exhibited a characteristic picture, At the Shrine of Venus," showing two Roman ladies, one reclining and one sitting, on a couch in an inner room of a barber's shop. In the background, through a small corridor, are seen others waiting, and at the left one enters, offering to the shrine of Venus the customary offering a flower.

Frank Dicksee's "The Passing of Arthur" (5 feet x 8 feet), is a Tennysonian rendering of the legend. The body of the king, his armor glistening in the moonlight, lies supported by the three queens, in the middle of the barge, which, manned by spectral oarsmen, is just pushing off from a reedy shore.

Vicat Cole's "The Summons to Surrender" (6 feet 2×9 feet 11), represents a scene in the English Channel during the fight with the Armada: Sir Francis Drake, on the quarter-deck of the Revenge," is summoning Don Pedro de Valdez, whose great galleon is in the center, to surrender. A fitting pendant to this picture is Seymour Lucas's "The Surrender," in which Don Pedro is shown on the deck of the Revenge," delivering up his sword to Sir Francis Drake. F. D. Millet's "Anthony Van Corlaer, the Trumpeter" was on the line in the same room. It is an interior, with Diedrich Knickerbocker smoking his pipe in the chimney corner and VOL. XXIX.-21 A

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watching the buxom lasses hanging around their favorite, the doughty trumpeter.

Hubert Herkomer's "The Chapel of the Charter-House" (6 feet 7 inches x 8 feet 10 inches) recalls, in some respects, the painter's "The Last Muster," exhibited in 1875. The pensioners are assembling in the chapel before the Sunday service. The aim of the painter has been to depict types, not portraits, and each face is supposed to offer a suggestion of the owner's past career. It has been purchased by the trustees of the Chantrey Bequest for £2,200.

Solomon J. Solomon, the painter of "Niobe," one of the successes of last year, exhibited another immense canvas (11 feet x 7 feet), entitled "Sacred and Profane Love." Above, an angel shelters with her wings an allegorical group of husband, wife, and child; below, in the foreground, a nude beauty lures a victim to destruction, pelting him with roses while she drags him over a precipice.

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Other noteworthy contributions were Edwin Long's "Jairus's Daughter," "Preparing for the Festival of Anubis," and "Alethe," the attendant of the sacred ibis in the great temple of Isis at Memphis, the young priestess beloved by Alciphron, and heroine of Moore's poem, Epicurean"; Luke Fildes's "An Al Fresco Toilet," representing a group of women in gay Venetian costumes in the court-yard of an old palace, one of whom is having her hair combed; landscapes and sea-pieces by Peter Graham, J. C. Hook, Colin Hunter, G. D. Leslie, Henry Moore, and Briton Riviere; and portraits by G. H. Boughton, Herkomer, Ouless, Sant, Millais, John S. Sargent, and John Pettie.

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The thirteenth summer exhibition of the Grosvenor Gallery, containing 416 numbers, including oil and water-color paintings, pastels, and sculptures, was attractive, though conspicuous by the absence of many prominent names formerly connected with it. Among the noteworthy pictures was Sir John Millais's "Shelling Peas (51 x 41), a fair girl, with flaxen hair, seated, shelling peas into a china bowl. It is dedicated to Sir Frederick Leighton. George H. Boughton's "Under the Harvest Moon" (53 × 31), represents a girl, with dark hair and gray costume, standing beside a sheaf of wheat. Ernest A. Waterlow contributed a landscape with a woman and a laden horse in foreground, entitled "A Heavy Load"; J. McWhirter, a study in trees, entitled "The Wierd Sisters"; John Pettie, portraits of Rider Haggard and others; George Clausen, "Plowing"; and Ernest Parton three landscapes.

London: New Gallery.-The "Exhibition of the Royal House of Stuart" at the New Gallery, was one of the most interesting of the season, its purpose being to illustrate by pictures, miniatures, and other relics the history of that notable family. Among the pictures was the

famous diptych from Holyrood, of the school of Mabuse, representing on one panel James III, with his son and St. Andrew, and on the other his queen, Margaret of Denmark, with St. George; the portrait of Mary Stuart at sixteen, in mourning for Francis II, called "Le Deuil Blanc," by Janet, from Windsor Castle; portraits by Zucchero, Honthorst, Van Dyck, and Lily, and a collection of miniatures and engraved portraits.

The second annual exhibition, with more than 400 numbers, showed a creditable advance on that of last year and, like it, was conspicuous by the presence among the exhibitors of many formerly to be seen chiefly at the Grosvenor Gallery.

George Frederick Watts exhibited eight canvases, among which was "The Wounded Heron," interesting in being the painter's earliest work, having been originally shown at the Royal Academy in 1837. "Fata Morgana," another of his pictures (65 inches x 47 inches) is a scene from Ariosto's "Orlando Innamorato," representing the personification of Fortune. "The Wife of Plutus" is a sleeping nude female figure, showing only the head and bust, grasping her jewels with one hand.

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Alma-Tadama exhibited three portraits, one of Mrs. F. D. Millet, and a picture (15 inches × 20 inches), called A Favorite Author," representing a girl in white reading from a scroll to another in pink reclining on a couch behind her. E. J. Pointer's chief work was "A Roman Boat-Race," a fair-haired girl in white, seated with a basket of cherries in her lap, watching a race between several galleys.

W. B. Richmond exhibited portraits and "The Death of Ulysses" (48 x 58), two figures, with a sunset afterglow on brass moldings and armor. Hubert Herkomer was represented by several portraits, Edward Burne-Jones by a number of studies of heads and figures in pencil and decorative studies in blue, Professor Legros by silverpoint studies, and C. E. Hallé by several characteristic pictures.

London: Miscellaneous.-The art sales of the year in London were not remarkable. The Vale of Clywd," a water-color by David Cox, brought £2.405; and an oil picture by J. C. Hook, "Kelp-Burners in the Shetlands," sold for £1,071. Sir E. Landseer's "Alpine Mastiffs" (1820), brought £1,942 (sold in Ham Hall collection, 1875, for £2,257). Rosa Bonheur's "Landscape with Six Breton Oxen" (Brunel sale, 1860, £1,417), was bid in at 2,500 guineas.

At the sale of the collection of Col. M'Murdo, July 13, Meissonier's La Vedette" and "Les Mousquetaires" were bought in at 1.600 guineas and 1,250 guineas. Rembrandt's "Death of Lucrezia" brought £3,937. It was bought in 1826 by Sir Thomas Lawrence for 190 guineas, and was sold in the San Donato sale, 1880, for upward of £4,000. "The Laughing Boy," a picture on wood, attributed to Leonardo da Vinci, brought £1,753; and Franz Hals's "Lady in Black, with Lace Collar and Gold Chain," £1,680.

On July 13 seventeen pictures of the Secrétan (Paris) collection were sold in London. Millet's "Le Vanneur" (his third picture on the subject), brought £3,570: Delacroix's "Giaour," £1,312; Troyon's "Garde Chasse." £2,940; and his

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Heights of Suresnes," £3,045; and Decamp's "Courtyard," £2,148. Hobbema's "Water Mill," which brought £4,200 at the Hamilton sale. was sold for £3,465, and the great "Landscape," which cost M. Secrétan over £10,000, brought only £5,760.

United States: Exhibitions, etc. - The sixty-fourth annual exhibition of the National Academy of Design (April 1 to May 11) contained 547 numbers, including both oil and water-colors. Noteworthy among the figure pieces were Edward E. Simmons's Old Man and Child," Robert V. Sewell's "Fisher Folk,” Thomas Allen's "Morning on the Market-Place, San Antonio" and "Sunday Morning in Chihuahua," and H. O. Walker's semi-nude "Saint John."

Of landscapes, Du Bois F. Hasbrouck's “ Catskill Forest in Winter," Homer Martin's "Coast of Normandy," Swain Gifford's “The Ravine at Naushon, Mass.," and Alden Weir's "Rugged New England," were among the best.

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Good portraits were shown by F. D. Millet, Frank Fowler, Kenyon Cox, B. C. Porter, and William Chase. Irving R. Wiles's Sonata,' which may be considered a portrait group, was one of the best pictures in the exhibition.

The Academy prizes of the year were awarded as follow: The Thomas B. Clark prize, for the best American figure composition, $300, to Irving R. Wiles, for his painting entitled “Sonata." The first Hallgarten prize for best picture in oil painted in the United States by a citizen under thirty-five years of age, $300, to Robert V. V. Sewell, for his “Sea Urchins"; second bestdo., $200, to Kenyon Cox, for his "November”; third best do., $100, to Frank W. Benson, for his 'Orpheus." The Norman W. Dodge prize, $300, for the best picture painted in the United States by a woman was given to Ella Condie Lamb for " An Advent Angel."

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The eighth autumn exhibition of the National Academy of Design (Nov. 18 to Dec. 14) contained 482 numbers.

The fifth annual Prize Fund Exhibition opened at the American Art Galleries, April 26. Mr. Poore's “Night of the Nativity," to which was awarded the only prize given, $2.000, is a promising work, well composed, though with nothing novel in subject or treatment. It goes to the Buffalo Academy of Fine Arts. Another good work was George De Forest Brush's "The Moose Chase," a wild hunting scene in the Adirondacks.

The Society of American Artists opened their eleventh annual exhibition on May 10 in the Fifth Avenue Art Galleries, with 169 numbers contributed by 99 artists. Though small, it was a

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remarkably good exhibition, and a credit to American art. Among the more noticeable works were Ernest L. Major's “St. Genevieve,” Walter Shirlaw's "The Water Lilies," Edwin 0. Blashfield's "St. Michael," Willard L. Metcalf's Kousse-Kousse Market-Tunis," Will H. Low's In an Old Garden," and Henry O. Walker's Philomela." Good portraits were contributed by John S. Sargent, Mr. Thayer, Alden Weir, George B. Butler, J. Carroll Beckwith, and William F. Chase, the last contributing "Little Lord Fauntleroy."

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The American Fine Arts Society is a new organ

ization incorporated in New York. It has been formed by the union of five artistic bodies in New York, viz., The Society of American Artists, the Architectural League, the Art Students' League, the Society of Painters in Pastel, and the New York Art Guild. The object is the erection of a suitable building for the joint use of the societies.

The Metropolitan Museum of Art received valuable accessions during the year, the most noteworthy being Henry G. Marquand's gift of thirty-five pictures, mostly old masters, including two Rembrandts, two Rubens, a Velasquez, two Van Dycks, and others by Lucas Van Leyden, Jacob Ruysdael, Frans Hals, Gerard Terburg, Jan Van Eyck, Gaspar Netscher, David Teniers the younger, Francisco Zurbaran, Gainsborough, Turner, Reynolds, Constable, Bonnington, and Prud'hon. Including this collection, the property of the Museum is valued at about $3,000,000.

Other valuable gifts were: Bastien-Lepage's "Joan of Arc," and Édouard Manet's "Boy with a Sword" and "Woman with a Parrot," presented by Erwin Davis, and Hans Makart's "Diana's Hunting Party," the gift of Mrs. Ellen Josephine Banker.

Rembrandt's "The Gilder," brought to the United States by William Schaus, has been sold by him to Mr. Havemeyer for, it is said, $75,000, and presented by the latter to the Metropolitan Museum of Art.

The Washington Centennial Loan Exhibition, held at the Metropolitan Opera House, New York, in April, was one of the most interesting features of the celebration. It consisted of a notable array of portraits of Washington, including Stuart's, Wright's, Trumbull's, and Peale's, portraits and miniatures of Franklin, Hamilton, Jefferson, Adams, and other Revolutionary worthies, and a large display of valuable relics connected with that period.

The Barye Exhibition at the American Art Galleries, New York (Nov. 10 to Jan. 15, 1890), was one of the most notable art events of the year. The exhibition was organized by the committee of the Barye Monument Association, for the purpose of raising money for the erection in París of a monument to Antoine Louis Barye (1796-1875), the famous sculptor. The Barye collection proper, numbering 453 pieces in metal, wax, and plaster, with a number of water-color drawings and a few studies in oil, of which about half were from the collection of W. T. Walters, Baltimore, and the Corcoran Gallery, Washington, and the remainder were loaned by Cyrus J. Lawrence, James F. Sutton, Samuel P. Avery, R. Austin Robertson, Theodore K. Gibbs, and others. Together with this splendid exhibit, which could scarcely be matched in Paris, were shown 123 paintings by contemporaries and friends of Barye, including J. F. Millet, Théodore Rousseau, Troyon, C. F. Daubigny, camps, Corot, Jules Dupre, Diaz, Delacroix, and Géricault. Among Millet's pictures were exhibited the "Angelus," Breaking Flax," "The Potato Harvest," "The Sheepfold," "SheepShearing," "Sea View off Cherbourg," "Le Bout du Village de Gréville," "The Planters," “Buckwheat Thrashers,"" Woman making Lye," "After the Bath," "The Gleaners," "The Bara

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""The Sower,"

theuse," La Naissance du Veau,' The Grafter," and others. Delacroix was represented by "Christ on the Cross," "Jesus on the Sea of Galilee,' Wounded Tiger," "Les Convulsionnaires," "Tiger and Serpent," "Christ at the Tomb," "St. Sebastian," etc.; Corot by "The Martyrdom of St. Sebastian," The Evening Star," Lake Nemi," "Fauns and Nymphs," "The Dance of Loves," etc.; Rousseau by "Le. Givre-Winter Solitude;" and the others by characteristic examples.

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The Stebbins collection, sold in New York, Feb. 12, brought good prices. Some of the highest were: Meissonier, The Game lost," $26,300; "Story of the Campaign." $3,600: "Captain of the Guard," $3,400; Stirrup Cup," $7,100; Gérôme, "Molière breakfasting with Louis XIV,' $10,500; Vibert, Spanish Diligence Station,' $9,100; First Born," $3,100; Alma-Tadema, Queen Clotilda," $6,100; Fortuny, "Spanish Lady," $6,500; Troyon, "Normandy Castle," $3,050; Zamacois, "Court Jester," $2,475; Levying Contributions," $7,200.

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The collection of Thomas A. Howell, of Brooklyn, consisting of 65 paintings, was sold in New York, Feb. 27, for $74,880. C. F. Daubigny's "Evening" brought $6,150, and his Morning" $4,000; Jules Breton's Watching the Cows," $5,000; Détaille's Windmill," $4,700; Corot's "Evening," $4,500; and a “Marine" by Jules Dupré, $4,000.

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The Erwin Davis collection, 143 works, sold in New York in March, contained some famous pictures-Bastien-Lepage's "Joan of Arc," bid in at $23,400; Troyon's "Pasturage in Normandy," bid in at $17,500; Delacroix's "Lion Hunt," bid in at $11,800; and Corot's "The Ford," bid in at $7,600. Millet's Haymaker" sold for $9,100, and Troyon's "Feeding the Chickens" $7,500. The collection brought in the aggregate $243,795.

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A collection of "old masters," mostly of the more obscure painters of the Spanish-Neapolitan school, mainly formed by the late Don Sebastian Gabriel de Borbon y Braganza, was put on exhibition at the American Art Galleries, New York, in March, by its present owner, the Duke de Durcal. The sale, April 8 and 9, was almost a failure, the total receipts being less than $12,000.

The monument to the Pilgrim Fathers was dedicated at Plymouth, Mass., on the first of August. The design was made by Hammatt Billings in 1853, the corner-stone was laid in 1859, and the pedestal completed in 1877. The pedestal, which is octagonal, with four large and four small faces, is forty-five feet high. It is surmounted by a figure of Faith, thirty-six feet high, of granite, like the rest of the monument. From the small faces of the pedestal project buttresses, upon each of which stands a figure of heroic size the four representing Morality, Education, Freedom, and Law. The other faces are ornamented with bas-reliefs, tablets, etc. The entire cost was $200,000. The figure of Faith, which cost $32,000, was the gift of Oliver Ames. The figure of Morality was given by the State of Massachusetts, Education by Roland Mather of Hartford, Freedom by the United States Government, and Law by the legal fraternity of the United States. The oration on the occasion was made by W. C. P. Breckenridge,

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of Kentucky, and the poem by John Boyle O'Reilly, of Boston.

The arch, erected at the entrance of Fifth Avenue, Washington Square, New York, for the Centennial celebration, from designs by Stanford White, is to be made permanent by rebuilding it on the same plans, in white marble, at a cost of $100,000.

FLORIDA, a Southern State, admitted to the Union in 1845; area, 58,680 square miles; population, according to the last decennial census (1880), 269,493; capital, Tallahassee.

Government.-The following were the State officers during the year: Governor, Francis P. Fleming (Democrat); Secretary of State, John L. Crawford; Comptroller, William D. Barnes; Treasurer, Frank J. Pons; Attorney - General, William B. Lamar; Superintendent of Public Instruction, Albert J. Russell; Commissioner of Agriculture, Lucius B. Wombwell; Railroad Commissioners, George G. McWhorter, Enoch J. Vann, and William Himes; State Board of Health, Richard P. Daniel, William B. Henderson, William K. Hyer; Chief Justice of the Supreme Court, George P. Raney; Associate Justices, Augustus E. Maxwell and H. L. Mitchell. The new Supreme Court of elective judges was organized in January, under the provisions of the Constitution of 1885, and Judge Raney was selected as Chief Justice by lot.

Finances. At the beginning of 1888 there was a balance in the State treasury of $110,646.02. The receipts during the year, from all sources, were $582,636.75, and the total expenditures $583,469.69, leaving a balance of $109,813.08 on Jan. 1, 1889. The receipts of the general revenue fund for 1888 amounted to $389,551.24; there was a balance of $43,992.50 in the fund at the beginning of the year, and of $33,053.59 at its close. The income from licenses decreased from $130,420.28 in 1887 to $91,654.57 in 1888, owing largely to the increase of prohibition territory in the State; while the tax on property increased in the same time from $230,000 to $270,000. The expenditures from the general fund for 1888 included $65,393.27 for jurors and witnesses, $43,261.24 for criminal prosecutions, $35,984.55 for care of the insane, $32,673.26 for pensions, $32,641.87 for salaries of judicial officers, and $21,300 for salaries of executive officers. The Comptroller, in his annual report, early in 1889, says:

Since the present tax rate of three mills on the dollar for purposes of general revenue was fixed, we have had to meet large expenditures of an extraordinary character, and there has been also a great increase in the annual expenses of the State government. The cost of the Constitutional Convention of 1885, amounting to $55,500; the appropriations for the East Florida Seminary, the Ocala schools, and the Agricultural College, amounting respectively to $12,000, $5,400, and $7,500-a total of $80,400-had to be paid out of the income arising from this low rate of taxation. Besides, the support of the normal schools, at an annual cost of $8,000, the Deaf, Dumb, and Blind Asylum, costing $5,000, the Teachers' Institute, costing $1,500 (making annually $14,500 for school purposes), the salaries and expenses of the Railroad Commission, amounting to $10,000, the provision for pensions, $30,000, the cost of criminal prosecutions, reaching $60,000, the outlay for State troops amounting to $8,000, making a total of $122,500, have been added to the annual expenses of the State since the

present rate of taxation was established. The estimated income, at the present rate of taxation, to meet this outlay will be only $740,000.

In view of these facts, the Legislature this year increased the rate for the next two years to 4 mills for general purposes, giving the Governor authority to reduce the rate, if the increase in assessed valuation for those years should justify such reduction. An annual tax of 1 mill for schools, of mill for use of the State Health Board, and of of a mill for the Bureau of Immigration were also imposed, making the total rate for each year 6 mills. The bonded debt of the State remains unchanged at $1,032,500, but is gradually being absorbed into the various State funds. The amount held by individuals on Jan. 1, 1889, was $382,300, or $29,000 less than at the same time in 1888.

Legislative Sessions.-On Jan. 16, soon after his inauguration, Gov. Fleming issued a call for an extra session of the Legislature, to convene at Tallahassee on Feb. 5, for the purpose of carrying into effect the articles of the new Constitution providing for a State board of health and for county boards of health. The failure of the Legislature of 1887 to comply with this article left the people without any State organization for the preservation of public health, and the epidemic of 1888, which might have been averted or controlled, could only be managed by county boards of health, whose jurisdiction was limited. The Governor declined to await the action of the regular session in April, for the reason that a State board, then created, might not have time to organize and meet effectively any outbreak of yellow fever early in the season. To pay the expenses of the board for 1889, the sum of $50,000 was appropriated. The following acts were also passed at this session:

Repealing the bounty law of 1887 for the destruction of wild cats, wolves, bears, and panthers.

Adopting a memorial to Congress asking for the establishment of an efficient coast guard to prevent infectious diseases coming from foreign ports."

The session ended on Feb. 20, and on April 2 the regular biennial session began, continuing until May 31. Three amendments to the Constitution of 1885 were proposed, changing the election for all State and county officers from the time of the national election in November to the first Tuesday after the first Monday in October in 1892, and every second year thereafter. These amendments are to be submitted to the people at the general election in 1890. The act of 1885 establishing county boards of health was repealed, and a new law was enacted, requiring the Governor to appoint such a board for every county, and subjecting each to the direction and authority of the new State Board of Health. In accordance with the new Constitution of 1885, a Bureau of Agriculture was established and placed in the control of a Commissioner of Agriculture, who supersedes the Commissioner of Lands under the former Constitution. In addition to collecting and publishing agricultural statistics, the commissioner is required to make collections, analyses, and reports relating to minerals and the geological formation of the State; he is made a director of the State Agricultural and Mechanical College, is charged with the supervision of the State Prison, and is directed to keep the Bureau

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