' May 17, 1872. THE BUILDING NEWS. 593°
had its origin nearer home ?—unless, indeed, which itis to be hoped not, Londesborough House was also the scene of the same ‘‘ pre- caution.” Fig. 119 will enable non-practical readers to understand what is meant. 1 is level of top of water in the syphon-trap, 2 is valve under water-closet basin above referred to, while 3 is the ‘‘air-pipe running into ventilating soil-pipe” from the space be- tween the bottom of valve, and the surface of water in trap. Nowit will be at once seen that if a valve were open, or if any opening existed about the valve journal (as is often the case), said opening, &c., would allow the sewage gas from soil-pipe to come back through air-pipe ‘‘3,” and so poison the air of closet in which water-closet is situated, and in such acase any person coming into this closet, say, before breakfast especially, and with an empty stomach, might easily carry out the seeds of typhoid fever with them. I sincerely trust, therefore, that attention will be drawn to this matter, so that wherever such an air connection has been made as above referred to, it will be at once dis- connected, and an air-pipe when put in between the waterin trap and valve above it not ‘run into ventilating soil-pipe,” but carried, out as it most assuredly ought to be, to the pure air outside. Before closing this article I may draw attention to the different styles of jointing shown by Fig. 118, S being round soldered joint made about Gin. or so above board, the pipe being supported by wiped soldering con- necting it to the lead flange which rests on board. Tis flanged soldered joint, with lead flange 6in. or so below it supporting pipe. U U are flange joints, with the tops of lead pipes flanged back on boards, the top edges of boards being rounded off and countersunk So as not to cut lead where flanged back. V is simply lead flange with wiped soldering attaching it to pipe, and so supporting pipe. In the case of lead soil-pipes laid horizontally, they may be supported by being allowed to rest on boards. In some cases lead bands, as per Fig. 117, only differently fixed, are used. When I say ‘horizontally ” I do not mean exactly level, for soil-pipes should always get as much of an incline or ‘‘ run” as possi- ble. In some cases, where the presence of rats may be feared, a piece of thin sheet zinc put round lead pipe is a good protection against their teeth, but the best plan is to keep them out of house altogether. (To be continued.) ed THE EXHIBITION OF THE ROYAL ACADEMY, SHIELD is golden, says the old proverb, and so much is now written called art criticism, which is nothing better than ill- natured gossip or fawning adulation, that we are almost inclined to carry out the saying, and to spare our readers our usual remarks on the pictures this year collected at the Royal Academy. Nevertheless, as the beginning of the old adage runs ‘“‘ Speech is silvern,” we will add our mite to the host of other criticisms,endeavouring always to point out what is really beautiful and great in art, and remembering always that, after all has been said and done, the perception of what 1s truly fine is a quality of themind lying within the human being, and not to be pro- duced by any external aid, even should it be the most correct criticism ever written. The present collection at the Royal Academy is a larger one, in respect of the number of works exhibited, than we have ever had before, and, as a consequence, the pictures are hung much higher than last year. Though from this reason many works are very difficult to see, it is, perhaps, on the whole, preferable to their being turned out altogether for want of space. Many of the pictures are of unusually large size this year, and seem painted with a view to take the eye at once, even in sucha lofty gallery
| as that of the Academy: such are Mr. Davis’s fine cattle picture, ‘A Panic ” 124), and Mr. Poynter’s ‘*Perseus and (ndromeda” (505), &c. The art prospects the Exhibition unfolds are to our minds decidedly favourable ; many young painters’ of great promise seem to be coming forward, and to have made what is called in painters’ slang “decided hits.” Inside the Academy the Associates are strong both in work and subject, and we are happy once more to greet pictures by our veteran Landseer, which, though not, perhaps, equal to his earlier works, prove that his brush is powerful, and that he is still able to solace himself with the practice of his beloved art. No. 190, by this painter, ‘‘ The Baptismal Font,” placed as a centre in the great room, will be puzzling to many, from its being an allegorical sub- ject, painted in an eminently naturalistic manner. ‘Three doves, emblematic of the Trinity, hover over the font, whilst under- neath it are gathered lambs of all sorts and kinds, the proverbial black one even not being omitted. No. 409 is another picture somewhat similar in subject, called ‘The Lion and the Lamb.” Here the two animals lie peacefully together side by side, though the background, consisting of a somewhat black and stormy-looking cloud, is not a very satisfactory accompaniment of millenial rest. Landseer’s portrait of Lady E. Peel (25) retains much of the grace of his earlier works. It was, we believe, painted some nine years ago, and has only been retouched for the present Exhibition. If number of works really represent the artist best, then Mr, Millais is very strong inthis year’s Academy. He is pre-eminently great as a painter, and, therefore, in the eyes of most critics, like a medizval king, ‘‘ can dono wrong ;” still, we venture to say that his two landscapes will not keep the place in the future estimation of art lovers that his ‘‘ Chill October ” of last yearwill. Whatshould we think ofa fine piano- forte player who selected the compositions of the Christy Minstrels for his grandest per- formances ? and in like manner why should a great painter choose to represent such an entirely commonplace bit of nature as that which Millais has hit upon for his landscape, entitled ‘‘ Flowing to the Sea,” and then add to its unattractiveness by clothing one of the principal figures in the most unpicturesque regimental dress that can well be devised ? The other landscape is painted with much more vigour, and the subject isa happier one, raising the picture to an altogether higher standard. Itis a curious fact, though, that the background is the first thing which strikes the eye, notwithstanding that the foreground is most worthy of attention, and is, moreover, capitally painted. It arises, we think, from the flickering of the light between the stems of the trees, by which the eye is involuntarily attracted. This painter’s best works here are his three male portraits, Lord Westminster (507), Sir James Paget (554), and Master Liddell (280). Of this latter picture it is scarcely possible to speak too highly ; the colouring is at once so richly harmonious and sober, and the entire tone of the work and the beauty of the boy, together with the simplicity of his action, all combine to make it a most finished and successful portrait. The way the tablecloth is painted and the flower lying on the ground in one corner should be noticed, Millais’ flowers are always painted with such striking fidelity. No. 223, ‘‘ Hearts are Trumps,” will, we dare say, be his favourite picture with most people, but tous the millinery init is too overpowering. Mr. Calderon’s best work here is (243) ‘A High-born Maiden ina Palace Tower ;” he has also a good portrait picture, ‘“‘ Mrs. Cazalet” (610). Mr. Hook refreshes us with several ‘“¢ seascapes,” very similar in execution and subject to those he has painted for some years past. No. 590, “Jolly as a Sand- boy,” is perhaps our favourite ; the donkeys are put in with so much spirit, and the enjoy- ment of the little sandy urchins is so well
given. Mr. Wells has a capital portrait in
the great room (252), Mrs. Coleridge
Kennard ; the action is well chosen, and there
is great freshness and vigour in the painting.
One of the gems of the Exhibition, to our
mind, is Mr. F. Walker’s ‘‘ Harbour of Refuge”
(227), an almshouse seen in the red glow
of a summer’s evening; some of the aged
inhabitants gathered round the base of the
statue of the founder ; others tottering along
to their different goals; a man mowing with
a scythe reminds us of the ‘‘ Reaper Death,”
and the inevitable end at which they must
all soon arrive. The sentiment of the scene
is very delicately and truly expressed. No.
415, ‘‘From Generation to Generation,” a
father and son viewing the portraits of their
family in the picture-gallery of their house,
by C. Calthrop, is a very clever picture, very
highly wrought; it will add much to this
painter’s reputation. Mr. Long has an
admirably-composed picture (64), ‘The
Suppliants ;” it reminds one of John Phillip,
without being at alla servile imitation of that
artist's work. The subject is an excellent
one, and well realised. The group of the
kneeling gipsies is characteristic, and the dis-
tinctive pecularities of the various heads are
well given. Another painter of Spanish sub-
jects, Mr. Burgess, is also fortunately repre-
sented here. No. 466, ‘‘ Kissing the Relics,”
is powerfully conceived and well painted ; the
only drawback to the picture lies in the figure
of the priest, which has hardly character
enough, and is somehow suggestive of a
waiter, No. 658, “‘ My Punishment is Greater
than I can Bear,” Mr. Watts’ diploma picture,
which has been given a very excellent place,
and can be seen through a long vista of
galleries, is a great disappointment to us ; the
composition is faulty, and some of the figures
are ill drawn ; the work does not fulfil the
promise of the sketch. Mr. Watts sends a
fine portrait of Mr. Calderon, though the
view of the face he has chosen is unfortunate,
the head being tilted too far back; he has
also several other works. Among the por-
traits exhibited here none is, perhaps, more
singular than Mr. Whistler’s picture of his
mother, No. 941. The real beauty and
delicacy of the painting of the face is lost,
owing to the staring way in which the white
mount of a picture hanging on the wall in the
background is thrust upon the eye. There is
a sort of impertinence which cannot fail to
annoy in thus insisting upon a picture within
a picture. Mr. Fildes’ picture (997), ‘* Fair
Quiet and Sweet Rest’ — some singers
in a boat resting against a leafy and sunny
bank—isa work of quite extraordinary ability,
and will at once assure to this young
painter a high position among his brother
artists. Mr. Briton Riviere’s picture (539),
“Daniel,” is clever, but comic instead of
grand. ‘The painter has mistaken his yoca-
tion here ; his talent lies in animal painting,
and in giving to them human expression, in
which quality Landseer has been so excellent
in his day. The figure of the Prophet is a
failure. Daniel, a great Prince in the King-
dom of Babylon, and high in the favour of the
King, wouldscarcely be such avery forlorn and
beggarly-looking man as Mr. Riviere repre-
sents him. Mr. Vicat Cole reminds us
rather of his last year’s picture, in his
present landscape, entitled ‘‘ Noon ” (110).
The fine expanse of country and rich rolling
scenery are finely given, but the execution is
somewhat coarse. On the whole, we prefer
the quieter charms of the same painter’s
“Dewy Eve” (550). Mr. Raven is a
landscape painter with many refined and
rare qualities; all his works here should be
studied by the art-student. No. 84, “A
Hampshire Homestead,” a farm-house, sur-
rounded by quaint poplar trees, with a
glowing sky behind them, is very charming,
so also is a small picture ofa flock of sheep
winding away down a road (74), “A
Sussex Lane.” Mr. Mareus Stone’s large
picture of Edward II. and his favourite Piers
Gayeston (111), is a great advance on
