spent a good deal of time in the black-and-white room, and would venture to say that it contains some Jof the best work in the exhibition. Here is exquisite draughismanship, [charming selection, perfect adaptation of style to subject. The pictures here are too numerous to attempt to single out any, but with money to spend one could come away with many that would be a joy on one's walls for ever:
The sculpture rooms share with the rest of the Academy a lack of anything that stands out consciously, though "one notices "an exception: umber of race-horses, including Windson Lad. Also there is less of the Epstein induence than has been noticeable in the past two years. "Felicity", a group by Alexande® Car ok, of a' woman' with a child on her [shoulder, twisting round to look lad behind her, is a charming piece. Tenacity, a mani pulling on a rope, Yanko Brayovitch, is starlingly alive. So are the two figures, called "The Tussle" by George Goodman, also, by the same artist "Caught and /Bowled." which makes one wonder fence again, why our artists do. not more for inspiration to the cricket eld, football ground ana two-path, the Greeks certainly would have done.
Withal, if there are fewer out standing' works in the Academy this year there is much that one would like to possess—this village street with women gossiping, children play-jing, "and the incongruous Jabiquitous motorcyclist; this animal fed group of children gazing into a shop window; this superb fight of barnacle geese; this adorably cheeky Dballet-dancer, leaning forward her mirror with powder puff in hand, The Royal Academy is now 167 years old. It always hasbeen abused; Soubtless it always will be. In the nature of things it is the worst way that could be devised of seeing ple. tures, all packed together as. thick as autumn leaves. But it still means
Text read from the printed page and cleaned; old type leaves the occasional error.