In 1880, we are tempted by five canvases; of which the _Sister's Kiss_ and _Psamathe_, are perhaps the most important. The former turns a garden wall to delightful account, in its picture of a child, who is seated upon it, and of her charmingly drawn elder sister, who gives the kiss. The composition of this picture may be seen in our reproduction, but the colour of the bronze green robe--of singular beauty--is of course not even suggested. More classic, perhaps, and not less picturesque, is the Greek maiden, Psamathe, who was, if we remember aright, one of the Nereides. The artist has painted her sitting by the seashore, gazing over the Ægean, with her back turned to the spectator. Filmy garments, which have slipped from her shoulders on to the sand; arms folded about her knees; every detail of the picture carries out the effect of dreamy loveliness that pervades Psamathe and her surroundings. _Iostephane_ is a three-quarter length figure, less than life size, of a girl in light yellow drapery, with violets in her fair hair, who stands facing the spectator and arranging her draperies over her right arm; there are marble columns and a fountain in the background. _The Light of the Harem_ is a version of one of the groups in the fresco of _The Industrial Arts of Peace_ at South Kensington. The picture now known as the _Nymph of the Dargle_ was also exhibited this year under the title of _Crenaia_. It represents a small full-length figure facing the spectator; the river Dargle flows through Powerscourt, and forms the waterfall here represented in the background, hence its name. _Rubinella_, a girl with red gold hair was shown at the Summer Exhibition and a large number of sketches and studies at the Winter Exhibition of the Grosvenor Gallery this year. In 1881, the portrait of the Painter, painted by invitation in 1880 for the collection of autograph portraits of artists in the Uffizi Gallery, Florence, deserves particular mention. Not even Mr. Watts' best portrait of Leighton is quite so like as this, which shows the striking head of the artist to great effect, assisted by the decorative President's robe and insignia. The _Idyll_, shown the same year, has been compared by some critics with the _Cymon and Iphigenia_, the scene and circumstance of both being to a certain degree similar, while there are similar effects in both of colour and of composition. In the _Idyll_, we have a lovely female figure, lying at full length, attended by a second nymph, and by a piping man, all grouped beneath an arm of a beech tree, that extends overhead and shadows the upland ridge on which they have come to rest, while they gaze on a river winding among sunlit meads. The water reflects the blue and white of sky and clouds; the land is dashed by shadows. The nymphs' robes are red, blue, and pale yellow. [Illustration: PHRYNE AT ELEUSIS (1882)] [Illustration: DAY DREAMS (1882) _By permission of the Fine Art Society_]