Art, in a word, must not content itself simply with holding the mirror up to nature, for it is a re-creation more than a reflection, and not a repetition but rather a new song. As for finish, it must not be confused with elaboration. A picture, said Mr. Image, is finished when the means of form and colour employed by the artist are adequate to convey the artist's intention; and, with this definition and a peroration suitable to the season, he concluded his interesting and intellectual lecture. Light refreshments were then served to the audience, and the five-o'clock- tea school of criticism came very much to the front. Mr. Image's entire freedom from dogmatism and self-assertion was in some quarters rather severely commented on, and one young gentleman declared that such virtuous modesty as the lecturer's might easily become a most vicious mannerism. Everybody, however, was extremely pleased to learn that it is no longer the duty of art to hold the mirror up to nature, and the few Philistines who dissented from this view received that most terrible of all punishments--the contempt of the highly cultured. Mr. Image's third lecture will be delivered on January 21 and will, no doubt, be largely attended, as the subjects advertised are full of interest, and though 'sweet reasonableness' may not convert, it always charms. MR. MORRIS ON TAPESTRY (Pall Mall Gazette, November 2, 1888.) Yesterday evening Mr. William Morris delivered a most interesting and fascinating lecture on Carpet and Tapestry Weaving at the Arts and Crafts Exhibition now held at the New Gallery. Mr. Morris had small practical models of the two looms used, the carpet loom where the weaver sits in front of his work; the more elaborate tapestry loom where the weaver sits behind, at the back of the stuff, has his design outlined on the upright threads and sees in a mirror the shadow of the pattern and picture as it grows gradually to perfection. He spoke at much length on the question of dyes--praising madder and kermes for reds, precipitate of iron or ochre for yellows, and for blue either indigo or woad. At the back of the platform hung a lovely Flemish tapestry of the fourteenth century, and a superb Persian carpet about two hundred and fifty years old. Mr. Morris pointed out the loveliness of the carpet--its delicate suggestion of hawthorn blossom, iris and rose, its rejection of imitation and shading; and showed how it combined the great quality of decorative design--being at once clear and well defined in form: each outline exquisitely traced, each line deliberate in its intention and its beauty, and the whole effect being one of unity, of harmony, almost of mystery, the colours being so perfectly harmonised together and the little bright notes of colour being so cunningly placed either for tone or brilliancy.