The remarks of F. C. H. as to the mode of painting are quite correct. The fixing of the {328} sand was the last operation, inasmuch as I have heard of the artist's wrath visiting a poor pussy because she had shaken a picture, and thereby disturbed the sand not yet fixed. The secret died with him and a friend, a contemporaneous artist, to whom I believe he had communicated the secret; this friend's name I do not know. Mr. Haas painted landscapes, the friend painted cattle pieces. I have in my possession some of Mr. Haas' work. It is beautifully soft and quiet. The foliage is fine in the extreme, withal a rich depth of colouring. The Welsh scenery he felt most at home in, he threw into it a spirit of repose: while it was bold, there was nothing harsh or offensive to the eye. I have tried many experiments with one of this pictures: amongst other things, I find the least moisture will remove the sand. Mr. Haas had a gallery in London for some time (I believe in Regent Street), where there were portraits done in sand. A portrait of himself was considered the gem of the pictures: such a vitality and delicacy of colouring did it possess. I mention this merely to show that sand could be applied to other branches of art besides landscapes. The history of the pictures at Windsor Castle is to be seen in one of the old _Windsor Guides_. Mr. Hans died at Bibrach, where doubtless many of his pictures are. Sand-paintings cannot last long; they have in themselves the element of their own destruction, "their rough surface," which very soon collects and retains the dust. I never heard of their being cleaned. JOHN MUMMERY. Queenwood College, Stockbridge, Hants. * * * * * O'BRIEN OF THOSMOND. (Vol. ix., p. 125.)