an excellent critical expression of one of our foremost art critics) is "grand, gloomy, and peculiar." You feel this charged atmosphere at once at an art exhibition. You walk softly, you speak low, and you endeavour to become as intelligent as possible. Art exhibitions, in short, present various features indigenous to themselves which, so far as I am aware, have not before been adequately commented upon. The principal observations which they solicit are as follows:

First, art exhibitions are attended by two classes of people: very fine-looking people, and funny-looking people. There is a very striking kind of a young man goes to art exhibitions that I myself never accomplish seeing anywhere else, though sometimes I see pictures of him. This young man is superbly patrician. You may have remarked this singular phenomenon. All the young men in all the advertisements in the magazine Vanity Fair are the same young man, whether riding in a splendid motor car, elegantly attending the play, or doing a little shooting of birds. You know him, for one thing, by his exquisite moustache. This fastidiously groomed, exclusively tailored young man, to be seen in the pages spoken of and at art exhibitions, is certainly not of Art, nor is he of business. He takes no account whatever, apparently, of time, as men of business do; and manifestly one could not work in such a moustache and such clothes without mussing them. He is, in fine, of Vanity Fair. Oscar Wilde was, as usual, wrong when he said that all beautiful things were quite useless. This immaculate young man's practical function at art exhibitions, as perhaps elsewhere, is that of escort.

He is escort to groups of very handsome and very expensive-looking young ladies; and these fragrant, rustling groups, with the waxen, patrician young man in tow, stroll slowly about, catalogues unnoticed in hand, without pause skirting the picture-hung walls. They are very still, and they gaze upon the art that they pass with the look of a doe contemplating the meaning of the appearance of a man. The perfect escorts of these groups, who would seem naturally to be rather gay young men, look very serious indeed. Now one of them gracefully, though as if careful not to make any noise, bends to one of the young ladies; and, indicating by a solemn look one of the paintings, he whispers to her apparently concerning it. She silently nods: it is, evidently, quite as he says. When an art exhibition is so undertakery a thing you wouldn't think that one would come. Though perhaps it is that one ought.

At any rate, there is quite a turn-out to-day moving beneath the ghostly glow of the shrouded sky-light ceiling. Half the Avenue seems to be here. What a play it is, this highly urban throng! Let us sit here on this divan down the middle of the room. With what a stately march the pictures go in their golden frames along the symphonious, burlap walls! There, by that copious piece of intelligence, Manet's "Music Lesson," is—

But see! What has come over our earnest group? Those who compose it are all quite changed. They look as happy as can be, all beaming with smiles, their backs to the neighbouring walls. Friends, it seems, have greeted them. How they all bubble on, all about the outside world! But goodness! Now what is the matter? Suddenly one of the newcomers is struck by a startled look. She sees, that is it, one of the pictures. In an arrested voice she says: "Oh, isn't that perfectly lovely!" At once the happy light fades from the faces of all. An awed hush falls upon them as stiffly they turn their heads in the direction of her view. "Charming!" one of the young men breathes, staring intently at the painting which has come upon them. That it is awkward for everybody is plain. But, happily, there is much rebound to youth. One of the young ladies, at length, shakes herself free from the pall upon her spirits; the mesmeric spell is broken; and presently all are chatting again, gaily oblivious to Art.

By the way, there is the proprietor of the gallery, just before the three Renoir pastels. Is there anything about art exhibitions that more enlists the imagination than the study of the "dealers" themselves? The gentlemen who preside at art exhibitions fall, rather violently, into three, perhaps four, classes. You have, I dare say, been repeatedly struck by the quaintly inappropriate character in appearance of those of one of these classes. I mean, of course, those very horsey-looking men, with decidedly "hard" faces, loudly dressed, and dowered with hoarse voices. They would seem to be bookmakers, exceedingly prosperous publicans, bunco-brokers, militant politicians—anything save of the Kingdom of Art. Are their polished Bill Sykes' exteriors but bizarre domiciles for lofty souls? I cannot tell.

Here and there, it is true, you find the aesthete in effect among dealers: the wired moustaches, the spindle-legged voice, and the ardent spirit in discussing his wares with lady visitors. Our horsey type seems rather ponderous and phlegmatic in this matter. Then there is, too, a land of art exhibition which is very close indeed to Art, a kind of spirited propaganda, in fact, which is presided over by those of hierarchical character, beings as to hair and cravat, swarthy complexion and mystic gesticulation, holy from the world and mocked by the profane.

But, to my mind, the most satisfying sort of a host to observe at an art exhibition is that of the description of this admirable dealer before us. Benign, frock-coated, hands clasped behind him, he stands, symbol of gentlemanly, merchantly dignity. Occasionally he rises upon his toes, and then sinks again to his heels obviously with satisfaction. But that which proclaims the perfect equity of his mind is this: his nice recognition of the nuances in human kind. You perceive that his bow to each of his guests, that he recognises at all, is graduated according to the precise degree of that person's value to Art; that to some few, royal patrons presumably, being at an angle of forty-five degrees; while a common amateur of Art is acknowledged by one of five. Where—to continue the paraphrase of a pleasant observation upon Mr. George Brummell—it is a mere question of recognising the fact that a certain person dwells on the same planet with Art "a slight relaxation of the features" is made to suffice.

So! This profound bow is plainly meant for a particular tribute to one who wears the richest purple. Lo! He advances with unclasped hands. Pleasure beams from his countenance. Without such as she Art, and dealers, and galleries, and the recorded beauty of the world would perforce pass away. This entertaining personage, who is the great flurry at art exhibitions, is of the novelists' dowager Duchess type. A short, obese, and jovial figure, or dried and withered but imperious distinction, as the case may be. There is much crackling of fine garments, a brilliant display of lorgnette, and this penetrating and comprehensive royal critical dictum: "Isn't that interesting! So full of feeling."

Two outstanding features, you mark, of art exhibitions everywhere are here presented. Is any one who doesn't know what he is talking about at art exhibitions (and which of us does?) properly equipped for attendance there without this happy esoteric phrase "full of feeling"? It is safe, or as safe as anything can be, to say about any picture. It graphically indicates in the speaker delicate sensitivity and emotional responsiveness to Art. And, most beneficently, it subtly evades anything like the trying ordeal of an analysis of a work of art. It is, indeed, invaluable.

The other thing is this: There is no place going which is so well adapted to the exhibition of handsome, fashionable, or eccentric eye-glasses as an art exhibition. You observe there all that is newest and classy in glasses, and you are insistently invited to admiring