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His foundation he lays as follows : ' Platitudes notwithstanding, the definite common-sense basis of art criticism, really does exist. Secondly, it is in some measure speedily attainable.' The last somewhat revolutionary statement is qualified by the reservation that the capacity to appreciate form and colour is denied some people, and that no opinion is of value which is not founded on intelligent study. In addition to these qualifying clauses, we should prefer the word ' appreciation ' in place of criticism, and the omis- sion of the attractive term 'speedily.' The general attitude of the public in a picture gallery is, for the most part, pathetic in its childlike naivety, and the avidity with which information is wel- comed from any one who seems to know, renders sound counsel additionally valuable. The elements of all pictures Mr. Geddes designates as 'Scene, treatment, and idealisation,' or 'Head, hand, and heart,' or 'Sight, skill, and feeling,' and he advocates the endeavour on the part of all who wish to appreciate works of art, to approach them on the outlook for any or all of these qualities. The author himself is no partisan, showing throughout his pam- phlet sympathies both varied and strongly felt. For the recent development of a living body of artists in Glasgow he claims not only interest, but respect ; and in general reference to the art of the present and future, his attitude is not pessimistic.but hopeful. We had marked many passages for quotation, but want of space compels their omission. From beginning to end it is a bright httle work, pregnant with matter for thought and comment. Only one slip we notice : on page 35, Matthew Maris' beautiful little ' Mont- martre ' is attributed to his brother James. Mr. W. M. Conway, 22 Albemarle Street, Piccadilly, W., Hon. Secretary of the National Association for the Advancement of Art, writes ; ' The first Congress of the National Association for the Advancement of Art, which is to be held at Liverpool towards the close of November next, will not accomplish the object its promoters have in view unless it brings together a representative assembly, not of artists only, but of the leaders of industrial enterprise also. The chief difficulty by which we are now met is that of putting ourselves in communication with the large body of manufacturers, scattered about in different parts of the country and as yet united by no common bond, who have been led, by the necessities of their daily work, to face the problems of industry in its relation to art. We know that there are many such men ready to assist, and capable of ably assisting, in the work we have in hand ; but unless they put themselves in communication with us we shall scarcely be able to reach them.' Those interested will receive any information they may desire on application to Mr. Conway, or the Association's secretary, at the Walker Art Gallery, Liverpool. The Competition for the 'Owen Jones' Prizes. — The prizes in the competition for the 'Owen Jones ' Prizes, 18S8 {in- stituted by the Society of Arts in 1878), have been awarded. The prizes are given to ' students of the School of Art who, in annual competition, produce the best design for household furniture, carpets, wall-papers and hangings, damask, chintzes, etc. , regulated by the principles laid down by Owen Jones.' The prizes are awarded on the results of the annual competition of the Science and Art Department. The following is a list of the successful candidates : — i. James J. F. King, School of Art, Glasgow — Design for Persian Carpet. 2. Herbert Cole, School of Art, Cavendish Street, Manchester — Design for carpets. 3. Andrew Richmond, School of Art, Glasgow — Design for printed hanging. 4. Eniily Batters, School of Art, Hertford — Design for tiles. 5. Samuel H. Moss, School of Art, Macclesfield — Design for tiles. 6. George Pettitt, School of Art, Cavendish Street, Manchester — Design for printed hangings. The Constable Pictures.— By Miss Isabel Constable's gift to South Kensington, of what we suppose to be about half a hundred examples of her father's art, the nation is (says the Standard) in possession of much better means than it has enjoyed before of studying the individuality of a leader of landscape painting, and of claiming acquaintance with his methods. The large series of this really great man's studies, shown henceforth at South Kensington, are, for purposes of estimate and inquiry, the complement of what is at the National Gallery. It is possible to see now, not only a few — a very few — of his most deliberate and ordered efforts — Constable en grande ienue, so to say — but to appreciate the variety, such as it was, of his moods, and to be sure what it was that he chiefly cared for, and how it was that he por- trayed it. The National Gallery contains some four or five finished canvases, one of the most notable being the ' Cornfield ' ; one of the most interesting being a picture of a house at Hampstead, ordinary enough in itself, but surrounded by the charm of weather ; and the masterpiece being unquestionably that ' Hay Wain ' ex- hibited at the Salon in 1824, which revolutionised, even too completely, French landscape art, and which only a few years since came to Trafalgar Square, in proof, if that were wanted, of the generosity of a living donor. The gift which South Kensington has received, and now displays, includes a goodly number of smallish, but, of course, broadly painted oil pictures, many slighter studies, and a few drawings and engravings. Messrs. T. & A. Constable announce a work commemorative of the Loan Collections in the Glasgow Exhibition, on parallel lines to the volume on the Edinburgh Art Exhibition which we reviewed last month. The Glasgow book, however, will have two volumes, one devoted to the Historical and Archceological Collec- tion, as well as one dealing with the Paintings, Drawings, and Sculpture. In the first volume, special prominence is to be given to the relics of Mary Queen of Scots, of the i6th century struggles, and of the Jacobite risings ; the work will be under the superintendence of some of the most eminent of our Scottish antiquaries, among others. Dr. Anderson, of the National Museum of Antiquities, Professor Story, and Mr. David Murray. The Art volume will contain about one hundred illustrations, a certain proportion of which will be full-page plates in etching and heliogravure, while the remainder, in the best process avail- able, will be included in the text. The letterpress will be the work of Mr. W. E. Henley, and Mr. Robert Walker, Secretary of the Fine Arts Section of the Exhibition, w hile the illustrations are to be the work of Mr. William Hole, A.R.S.A., and others, among whom we may mention Mr. Roche. The Edinburgh Exhibition of Decorative Handiwork. — It is proposed to hold, during the month of November 1888, and two following months, an Exhibition of Decorative Handi- work, comprising examples of carving in wood and ivory, inlaying, decorative work in wrought iron, brass, copper, and precious metals, modelled ornament, and work in such other materials as it might ultimately be deemed desirable to include in exhibition with these. The Exhibition will be held in the Galleries of the Royal Scottish Academy, the use of which has been granted by Her Majesty's Board of Manufactures. The scheme of the Exhibition will be twofold. In the first place, an opportunity will be given for those skilled in any of the forms of handiwork comprised within the scheme, both professional workers and amateurs, to exhibit specimens of their craft, and prizes will be offered for excellence of design and of workmanship. In the second place, a Loan Collec- tion will be formed, consisting of selected examples in the several departments, representing various periods and nationalities — special prominence being given to examples of Scottish work of the sixteenth and following centuries. The Committee, consist- ing of gentlemen well-known in connection with art matters, appeal for the co-operation of those possessing specimens of such work, and important help has already been promised in this department. Mr. C. L. Blaikie, C.A., 4A St. Andrew Square, Edinburgh, is Secretary.