The third and fourth drawings are more remarkable for skilled and accomplished draftsmanship than for the expression of any distinctive feature in the varying moods of nature. Our delight in them comes more from the beautiful precision of aim whereby a single stroke is made to record a number of interesting facts at the same time. In the drawing of the barn and shed over-topped by a rugged tree and with a middle ground filled by lively detail, we are reminded of the great masters of etching in the clever abbreviation of each of those details and the manner in which they are grouped or merged one into the other. And then, in the last one, note the contour of the earth, how well it is rendered by that cleverly foreshortened winding line of half obliterated roadway leading up the hill and into the fresh mass of foliage which crowns it. This ability to draw the solid ground so that it appears solid is a rare gift in any draftsman, and it may well be taken as an evidence of the fullness of his talent and training. Like Constable, Mr. Manley has been content to draw his inspiration from the small section of the world in which circumstances have placed him, the quiet New Jersey country where Inness worked out for himself the distinguished place his name holds among American landscape painters. These drawings by no means represent the full range of Mr. Manley's activities, for he has won high esteem as a painter and an etcher and holds a position of importance as a miniaturist; but they are, perhaps, the things in which his rarest talents are displayed, as they are also the closest to his own pleasure in his art. They are the pastimes of an uncommonly sincere and scholarly master who shows integrity in play as well as in work, and who has carried on his career with an earnestness and a humility and modesty of character which all but deprived us of any sight of his achievements at all. THE HOUSE OF MUSIC BY GERTRUDE HALL One elating, blue and white April morning saw a cheerful company of six assembling in a railroad-station waiting-room. There were the manager of the tour, Duprez--gray-haired in comparative youth, at once care-worn and accommodating looking--the foreign stamp on him not entirely obliterated by the stamp of the country; and his wife, the popular Pearl Wharton-Duprez, whose habit of facing the world as an audience must have found its way into her features; she was recognizable at sight for a singer. Her brilliant face, while not precluding the possibility of a heart, suggested less remotely a temper. There was one Milen Odiesky, gripping a black violin-box; who listened to a hilarious conversation he but half understood, with a fixed smile, revealing a marked division between his two broad, white front teeth,--disagreeable, for some reason, though he might pass for handsome in a dark, hairy, Oriental way.