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itiw.i 


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THE 


MAGAZINE 


OF 


ART 


VoWxo 

NOV.    1896    to    APRIL   1897 


(0' 


*ctL 


u-- 


CASSELL    and    COMPANY,    Limited 


LONDON,     PARIS    &    MELBOURNl 


ALL     Rh'.ll  IS     Rl        i:  n 


1 


N 


M9- 

V.3-0 


Alma-Taiiema.    I. u'liExrr. 
Spielmann  . 


R  A.  :    a  Sketch.      By  M.  II. 


Anatomy  in  Art.     By  Dr.   William  Anderson    . 
Ancient  Fike  Temple  at   Sukakhani.   mar   Baku,  The. 

By  W.  Simpson,  R  I..  M.R.A  s  .  F.R.G  s ..  etc.  . 
Applied     ind    Decokative    Art    in    Germany.       By    P. 

Schultze-Naumburg 

Art  and  Electricity.     By  Roberl  J  ipe-Slade   . 
Art  at  Nancy:     Emile  Galle.     Bj    Henri  Prantz    . 
Art  in  Scotland:  — 

Glasgow  Royal  Institute,  The 

Royal  Scottish  Academy,  The    . 
Art  in  the   Ballet      ........ 

Art  Movement : — 

Applied  asm  Decokative  Art  in  Germany.       By  P. 
Schultze-Naumburg    ....... 

Art  in  the  Ballet 

Arts  and  Crafts  Exhibition,  The 

Belgium.     By  Emile  Veihaeren 

<  I  !■  ii v  M.  Lumen  Falize  and  Colli  igi  es,  A.       By 
Henri  Frantz        ....... 

Decoration  mi    St.  James's   Episcopal  Church,  Edix- 

ri  r(,h.     By  W.  M.  Gilbert 

D :  Furniture  (Paris).     By  Henri  Frantz 

Embroideries  and  Damask  Silks.     By  Aymer  Vallance 

Germany,  Applied  and  Decorative  Art  in.      By  P. 

Schultze-Naumburg     ...... 

Hospital  Decoration,  A 

Mr.    Graham    Robertson's    New    Dressing    op    "As 

You  Like  It.'"     By  A.  L   Baldry 
New  Decorative  Material,  A.     By  Aymer  Vallance 
New  Sum  illings  ....... 

Novelty  in   Decohation   at  the  Trocadero   rv   Mk, 
G     E.   Moiua  ami  Mr.    F.   Lynn  Jenkins. 

Opaline  Glass 

l'i  n  i  eii  Work.     By  Hi  mi   Frantz       .         .        .        . 
Scotland,  Art   in:    Tin:   Royai    Glasgov    [nstituti 

l\n    Km  u     Si  "lll-ll    ACAD]  in     . 

Sculpture,  New    . 

Stained  Glass    Paris).     By  Henri  Prantz. 

Stenci Stupps.     Bj    I..  «  i-  F    Day 

Wood-Carvings  at  the  Carpenters'   Hall 
Arts   ivn  Crafts  Exhibition,  Tin.     Bj  Lewis  1'    Daj 

Ariz.  Anoi  rm  .     Bj    Richard   I  teath 

"As  Voi    I.iki    It,"   New   Dressin i.v   Mi:    Graham 

lluli!  RTSON    ......... 

At  the  Sign  oi    nn    Dial:    Mr.  Charles  Ricketts    is    \ 
Book-Builder.     By  Gleeson  White. 


13 
249 

330 
331 
162 


32  1 

162 

2,  63 

2J3 

16-5 

2  Hi 
268 
218 

324 
333 


2 1  J 
271 

92 

3  ;  ; 
OS 

330 

mi 
268 
in 
1G7 
!,  63 

Ml 


Am:.  'I'm    River      Bj    W.  Matthews  Gilbert      . 

Bi  irdsi.ey,  Aubrey,  and  the.  Dei  idbnts.       Bj    Mi 

Armour       ......... 

Belgium:  The  Art  Movement.     Bj   Emile  Verhaeren 

Chronicle  of  Art,  The  .         .         .      54,  1  OS,  172 

I'rp  nv  M.  Lucien  Falize  and  Colleagues,  A.     Bj   Henri 

Frantz         ......... 

Decoration  oe  the  Printed   Book,  The     .... 

Decorative  Material,  A  New.     By  Aymer  Vallance 
"Df.lla  Robbia"  Pottery  Industry,  The 
Door   Fuhnituri     Paris).     By  Henri  Frantz 
Drawn  with  the  Mouth  :    Mr.   Bartram  Hii.es 
Embroideries  and  Damask  Silks.     By  Aymer  Valiance 
Fashion  in  Art.     By  Fernand  KhnopS      .... 

Galle  Emile.     By   Henri  Frantz 

Gardner,  Mr.  Starkie,   ind  Hi-  Work.     By  Walt,  i  Shaw 

Sparrow       ......... 

I  Ii  ISGOW    I;,,,  vi     [nsti  mm.   'I'm: 

Germany,    Applied    and    Decorative    Art    in.      By     I'. 

Schultze-Nanmburg 

Goldsmith  ery.     By  Alex.   Fisher 

i  lui  dsmiths'    I  xstiti  n .  Tin.         ...  .         . 

Hadrian's   Villa:    Note   on     nn     Picture    rv    Richard 

Wilson,   R.A.      ........ 

II  u in.  Mk.  George.     By  M.  II    Spielmann 

Hermitage,  The   ...... 

IIii.es.  Bartram:    Drawn   with  the  Mouth 

Hospit  U,    Ml  '  ORATION,    A       .  .  .  .... 

Illustrated  Volumes  ....       102,  158,221,261, 
"  .lnii\   La  Farge" 

'     org]   W      I'".  -I   -  eii   \n  lerson 
"  King  In  xe's  Hum  umi\  "  Cabini  t.     By  John  P 

Leighton's  Sk -.   Lord      I'".    Mired   I  \  -  Ii  ildry 

•■  I  ,M  i    imi  l  /  1 1 1  i:  -  :.:   John  Constable,  I;  \  .    I'm. " 

Lithography,    'I'm     I,';  yiva I   i    [sal.      By    M     II 

Spielmann  ; 

Introduction:  its  Rise  ami  Fihsi    Decline 

The  Ki a  ival  on  the  Continent 

Tin:    Pill  -i  ST    In  \  n  ll     in    ENGLAND       .... 

F        ens  :   Deceased   Engi  isii   M 

Tin:    I  ! v'       I 

Bj   I     i.    -I.  ,.!,  .,.- 

Mil,,',  Is'     In 

si  III   II  ....... 

Mini  \  n  III     PAINTING,    I'm     Rl  S  USS  INI 

Bj     ilfiod    Prnga,     Vici    Pri    idi  nt   of   I 

Miniaturists 

By  I  lr.  Lumsden  Proper! 


I'ACF 


2 1 :; 

165 
279 

21  • 
6 


!■_.„ 

32 1 
184 

192 

2  I  'J 

320 

I  11 


I  II 
289 


192 


189 


CONTENTS. 


Modern   English   Masters,  in  tut    Collection  oi   W.  C 

Q    :,  ,,,:.   Ml'      B)   I    G.  Sli  phcns   .         .      121,  177. 
•  Morris,    William:    Noti    on    mi:    Life    ami    V, '•  in     oi 

By   Walter  Crane 

N  m  v,  Aui    it.     By  Henri   l-'i  intz 

Notes  am.  Qi  i  ri]  -      .  51,  105,  169,  224,  279, 

NHvim     is     Decouation     m     rni-    Trocadero     by     Mk. 

G.   E    Mom  v    imi  Mil   V    Lynn  Jenkins 
i  Ipaline  Glass 
mm:   Risino   Artists:    Mi:    Geokgi    Harcourt.     By  M.  H 

Sj.i.  imann 

••  Persimmon  "  :  Xi.te  on  inn  Plate  . 

Pewter  Wouk.     By  Henri  Frantz 

Poynter,  Sai  E.  J.,  P.R.A.     By  the  Editor      . 
Quilteu,  W.  Cuthhert,   Ml'..  Tin.  Collection  op.      By 

1.  G.  Sh  ph  ii- 
The  Modern  English  Masters    .         .         .      121,177. 

I'm        I  i    CEASED      ENGLISH       MASTERS  :       LoW-CouNTRY 

Painters     ......... 

Rembrandt  in    mi:  Berlin  Gallery  .... 

Renaissance  op  Miniature  Painting,  The: — 

By   Alfred   Praga,   Vice-President    of    the   Societj    oi 
Miniaturists         ........ 

By  I  Ir.   Lumsden  Propi  r; 

Revival  of  Lithography,  The.     By  M.  H.  Spielmann:  — 
1m  i:.. in  i  thin  :   It-  Rise  and  First  Decline 


316 

INS 


By  Gle 


i  tlUGINAL    Ln  iimi.kai'HY  : 

The  Revival  on  the  Continent 

'I'm    Pri  seni    Revivai    is   Engi  ind  . 
Ricketts,  Mr.  Charles,  as  a  Book-Builder. 

White 

River  Ayr.  The.     By  W.  Matthews  Gilbert 

Royal  Academy  Elections,  The 

Royal  Glasgow  Institute  .... 

Royal  School    oi    Aim    Needlework,   The.       By    Aymer 

Variance       ....... 

Royal  Scottish  Ai  idemy,  The   .... 

Sculpture,  New  ....... 

Segantini,  Giovanni.     By  Helen  Zimmern 
Shannon.  J.  J.,   Painter.     By  Alfred   Lys   Baldry 
Stained  Glass  (Paris).     By  Henri   Frantz 
Stench. l.i.i    Stuffs.     By   Lewis  V.  Daj' 

Stench  lings,  New 

St.  James's  Episcopal  Church,  Edinburgh  :    Decoration 

of.     By  W.  M.  Gilbert 

Street  Arcades  in  North   Italy.     By  H.  E.  Tidmarsh 
'    Stick,   Franz.     By   Paul  Sehultze-Xaumburg-      . 

Wallace  Collection.    I.— The  Objects  of  Art.     By  tin 

Editor 

Wanderings  oe  the  Tamar,  The.  By  Annie  Groser  Kurd 
Wai  is  Mr.  George  Frederic  k,  I!. A.  By  M.  II.  Spielmann 
Wood-Carvings  at  the  Carpenters'  Hall 


304 
135 

267 
330 

243 
331 
101 


40 
274 


296 

310 


List   of   Plates. 


In  aIy  Studio  . 

Study  of  a  Head  . 
Joan  of  Arc 

I .'  1  ...i    [81  l  IONISTS 
l'l  RSIMMON 

The  Loy  k   Token  . 
Hadrian's  Villa     . 

LlLlU.M   AURATUM    • 

The  Hau\  EST  Moon 


By  L.  Alma-Tadema,  R.A 

By  Sir  Edward  Burne-Jones,  Hart. 

By  George  W.  Joy  . 

By  A.  C.  Gow,  II. A. 

Drawn  and  Engraved  by  W 

By  E.  Cipolla    . 

By  [lichard  Wilson,  I:.  A. 

By  J.  F.  Lewis,  R.A. 

Bj  i  leorge  Clausen,  A. It.  A 


Photogravure  by  Berlin  Photo.  Company.      pace 
/■<  oiitispit  ct 

To  face    50 

Rembrandt  Engraving  Company  . 
Rembrandt  Engraving  Company  . 


Photogravure  by  Berlin  Photo-  Company 

Three-Colour  Plate 

Rembrandt  Engraving  Company    . 
Original  Lithograph 


134 
176 


{Drawl}    by    r'roj 


ARCHITECTURE:-  pagi 

Ancient  Fire  Temple  at  Surakhani,  The  (by  William 
Simpson,  I!  I..  M.E  A  s  ,  F.R.G.S.):— 

Fire  Temple  at  Surakhani,  The 196 

Inscription  on  Wall  of  Temple 196 

Sketch  Plan  of  the  Temple 197 

Small  Altar.  The 200 

Capital  of  the  Ancient  Ciborium 161 

Front  Elevation  of  New  National  Art  Gallery.  Sydney,  N.S.W.  17'-' 
House  of  L.  Alma-Tadema,  R.A.  (by  Heer  Waail): 

Entrance  to  the  House  from  the  Garden        ....  43 

In  the  Hall ....  40 

Mr.  Alma  Tadema's  Studio io 

Mrs.  Alma-Tadema's  Studio 49 

Singing  Gallery  in  the  Studio 47 

The  Colonnade 44 

Interior  of  the  New  Exeter  Art  Gallery 173 

"Modern  Opera-Houses  and  Theatres":— 

Details  of  Lounge  and  Foyer,  Court  Theatre,  Vienna        .  2G3 

Municipal  Theatre,  Amsterdam 261 

Proscenium  Boxes,  Court  Theatre,  Vienna    .        .        .        .261 

staircase,  Court  Opera-House,  Stockholm     ....  262 

Peterborough  Cathedral 28S 

St.  Ambo.  Fragment  of  the 161 

Street  Arcades  in  North  Italy  (by  H.  E.  Tidmarsh)  :— 

Arcade  in  Piazza  Caricamento,  Genoa Ill 

Arcade  of  the  Doge'a  Palace,  Venice 21 

A  Street  in  Lugano 20 

Palladio's  Arcade  at  Vicenza 23 

Piazza  Pontida,  Bergamo 20 

On  the  Road  from  the  Rialto  to  the  Station.  Venice  .        .  24 

The  Piazza  delle  Erhe,  Verona 22 

The  Tower  Gate,  Leones3a 24 

Via  del  Borgo,  Pisa 22 

Victoria  Institute,  Worcester 175 

DESIGN : 

Applieal ion  of  the  Lily  of  the  Valley  in  Ornament             .        .  222 
Apse  of  the  Lady  Chapel,  St.  Agatha's,  Portsmouth,  Design 

for  Decoration  of  (by  Heywood  Sumxer)    ....  36 

Architectural  Decoration  Design  (by  \V.  Amou  Fen  n  )             .  194 

Book-Cover  Designs  (by  Fritz  Ekler) 327,328 

Book-Cover  Design  (by  Julia  Eustace) 193 

Book-Cover  of  Chaucer  (by  T.  J.  Cobden-Sanderson)   .       .  35 

Book'PIate  Designs  (by  C.  Naish) 225,226 

Cameo  Vase,  Black  and  Grey  Agate  Crystal,  Design  lor  (by 

Emile  Gai.le)       ...               .        .               ...  253 

Coinage,  Designs  for  (by  Sir  E.  J.  Poynteu,  P.R.A.)       .        .  120 

Cover-of  Burns  Exhibition  Catalogue  (by  J.  Hassall)     .  .">"> 
Design    for    Decoration    of    a    Public    Building    (by     Busk 

Livesay) 228 

Designs  hv  Bartram  Hiles:— 

Door-Plate ID 

Frieze 112 

Headpieces 111.  113 

Tailpiece 113 

Wall-Paper 112 

Designs  bv  C.  Ricketts  :— 

Initials 304,309 

,  Designs  by  Walter  Crane:— 

Cover  of  "Arts  and  Crafts"  Catalogue         ....  63 

Mr.  George  Allen's  Imprint 171 

Designs  for  Embroider}  (by  Hermann  Obrist)  .       324,326 

Electric  Light  Wall-Bracket  Design  (by  W.  A.  Baskerville)    .  195 

Floral  Trellis  Paper  (by  Heywood  Sumner)      ....  31 
"  Harrogate  "  and  "  Ray nsford  "  Stencil  Designs,  The     .       .11 


DESIGN  (continued):-  paoe 

"  J  ugend"  (designed  by  Otto  Erkmann)    .  32;, 

Needlework  Design  (by  Hilda  M.  Pemberton)        .       .       .  194 

Playing  Cards,  Design  for  (by  R.  Anning  Bell)       ...  35 
1  'osters  :— 

Poster  (by  Max  Langer) 324 

Poster  Design  (by  Louis  J.  Rhead) 176 

Prize  Poster  Designs 310 

Promenade    Concert    Poster,    Design    for    a    (by    Fred 

Taylor) 193 

Sw  miming  Club  Poster,  Design  for  a  (by  FRED  'I'  kYLOR)  .  193 

Venice  International  Exhibition  Poster  (by  A.  SEZANN1  313 

Programme  for  "  Elijah  "  (designed  by  Fred  Taylor)    .       .  192 

Punch-Bowl,  Modelled  Design  for  (by  Eleanor  Mercer)      .  39 

Rose  water  Dish,  Design  for  a  (by  Fred  Taylor)     .       .       .  192 

School  Board  Certificate  (by  R.  Annixg  Bell)  .       .       .       .  36 
Stencil  Designs  for  Wall  Decoration:    The   "Calavas'   and 

"Fisken"  Patterns 271 

Tablecloth,  Design  for  a  (by  Katherine  Smith)       .       .       .  HO 

Tailpiece  (by  Emily' It.  Reader) 195 

Vase  (by  Dalpayret)        .       .  ....  .284 

Vasi's  (designed  and  executed  by  M  \.\  Laxgi  r)            325,  327,  •  ''-■* 

Wall-Paper  Design  (by  Carrie  Thornhill)       .       .  191 
Winter,  Design  for  Decoration  of  a  Public  Building  (by  ROSB 

Livesay) -"-'s 

Wood-Carving  Design  (unfinished)  (by  Maud  R  Coogin)      .  195 

DRAWINGS  :- 

Beardsley,  A  ubrey 

Cover  for  "  Le  Morte  d  Arthur  " 

Headpiece  from  "  Le  Morte  d'Arthur" 

Initial-Piece  from  "  Le  Morte  d'Arthu 

"  Le  Morte  d'Arthur. "  From 

"Mrs.  Patrick  Campbell" 

Portrait  of  the  Artist    .... 
Brock,  if.  M.—" Dear  Jack"    . 
•  BurneJones,  Sir  E.,  Bart.— 

t  'artoon  for  Window  of  Union  Church.  Ashton  under 

"Labour" 

-  Crane,  Walter    "The  House  of  Pride  "... 
Cruileshanlc,  Georgt    Portrait  of  the  Artist 

Valpayrat,  A.— Sketch  of  a  Vase 

I  hi  Maurier,  a     "  In  the  A.telier  Glej  re 
Houghton,  A.  //.—"Torn.  Tom,  the  Piper'sSon" 
Joy,  George  II'.— 

Portrait  of  the  A  Hist 

Sketch  for  " The  Firsl  Union  Jack" 

Khnopff,  Fernand    "Danaides" 

Lehmann,  Rudolph    "  AdolphMenzel" 
Leighton,  Thi  lati  Lord 

A  Study   ...... 

chalk  Drawing 

Early  Pencil  Sketch      .... 

First  Sketch  for  "  Flaming  Ju 

Penoil  Drawings  (Rome,  i~-'i>    . 

Pencil  St  inly    ...  .         . 

Projei  i  -  tor     Elijah  "  . 

Studj  for  "  \u'i  the  bc  i  gave  up  the 
in  it" 

Studj  ei  Drapei  pfoi 
May,  Phil 

Merson,  l.u    Oh  Del 

PoynttT,  Sir  /■:. ./..  /'./,'    I.     "  a  Studj  ' 
liailton,  Hi  rh,  rl 

Greal  Banqui  tit     Ho      f  h 

(with  eking  Her  Father' 


Cup 


1XDEX    TO    ILLC.S'IHAIIOXS. 


DRAWINGS  (ami 
Ricketts,  C.  - 

From  '  Dapnnis  and  '  Ihloe" 

From  "  Nimphidiu        .        .  • 

From  "  The  Sphinx  " 

Initial 

Initial?,  Tailpieces,  C'uls  de-Lampe,  etc. 

"Primrose  Day    (an  Allegorical  Cartoon) 

Spence,  It.    Pen  1  Hawing 

Troubetzkou,  Prina     "  J.  J.  Shannon" 
Wilson,  Patten— Pen  Drawing 

ETCHINGS,  DRYPOINTS,  LITHOGRAPHS,  etc. : - 

(  U<  i,  I    Lithograph,  "  La  Plume 

Daumier,  H.—  Lithograph,  "  United  Germany  " . 
Dicksee,  H.— Lithograph,  "Tiger".       . 
Dillon,  H.  P.— Lithograph,  "  The  Gateway ' 
Fantin-Latour— Lithograph,  "  Manfred 

Gavarni— Lithograph,  Study 

Oravesande,  Storm  van— 

Lithograph,  "  Entrance  to  Flushing  Harbour"     . 

Lithograph,  "The  Harbour,  Flushing"  . 
Haghe,  Louis    Lithograph,  "  Belgium  and  Holland " 
Harding,  J.  V.-  Lithograph,  a  Study    .... 
Herkomer,  Professor,  R.A.— Lithograph,  "  Love  Song" 
Legros,  Alphonse  -Etching  of  "  E.  J.  Poynter,  P.R.A." 
Luce— Lithograph,  "Woman Recumbent"  . 
Lunois,  A.— Lithograph,  "A Dutchwoman" 
Prout,  S.— Lithograph,  "  Venice  :  The  Grand  Canal 
Raffet,    C— Lithograph,    "Infanterie    Polonaise    marc 

a  I'Ennemie" 

Raven  Hill,  L— Study  of  a  Child 

Redon,  Odilon— Lithograph,  "  Brunnhilde  ". 
Rcedcl    Lithograph,  "Girl's Head"        .... 
Rothenstein,  W  —  Lithograph,  "Lord  St.  Gyres" 
Sainton,  ( '.  -  Lithograph,  "  The  Water  Sprite  "  . 
Shannon,  C— Lithograph,  "The  Sisters"     • 
.S/»  inli  it  -Lithograph,  "  In  Aid  of  the  Creche"    . 
Thomson.  George— Lithograph,  "  Under  Kew  Bridge" 
Way,  T.  R.-Lithograph,  "Back  Court,  St.  Bartholome 
II  irk,  mien,  R.  J.— Lithograph.  "  La  Here  Pannecaye  " 


119 

290 


151 


FURNITURE  AND  NEEDLEWORK  :  - 

Burse,  Embroidered  (by  Annie  Walker) 218 

-Cabinet  (by  J.  1".  Seddon,  Decorated  by  D.  G.  Rossetti  and 

Ford  Madox  Brown) 323 

Cabinet,  Inlaid  (by  Smile  Gallej 250 

Carpet  (by  C.  F.  A.  VoYSEY) .        .      66 

Clock  (by  C.  F.  A.  Yoysey)  . 39 

1 ration  oi'  Furniture  (by  Emile  Galle)  :— 

Chair 251 

Detail  of  a  Marquetry  Cabinet :  "  Perfumes  of  Other  Das  s "    '-'51 

Inlaid  Cabinet:  "Fruits  of  the  Spirit" 250 

Mosaic  in  Wood:  "The  Flora  of  Lorraine"  .       •       ■       •    251 
ii..     Holy    Grail":    Blood-Ked   Jasper   Crystal,    with 

Censer  and  Bronze  Mountings 250 

fining  Table  (by  W.  Reynolds-Stephens)  ....  38 
Embroideries  (designed  by  HERMANN  Obrist)  321,  326.  327,  328 
Enamelled     and     Ivury-and-Enarnel     Caskets     (by    Alex. 

Fisher) 35.39 

Needlework  (Half  finished)  (designed  by  II.  M.  Pemberton).    194 
Panel,  Embroidered  (by  Trixie  G.  Symington).       .       .       .    Jis 

Panel,  Lily  (by  Emily  C.  Gibbons] 219 

Quilt,  Panel  for  (designed  by  C.  F.  A.  Voysey)  .       ...     38 
Roy  u.  si  iiocil  of  Art  Needlework:— 

Altar  Cloth,  Embroidered  in  Silk.  Crewels,  and  Gold,  on 

White  Cloth  Ground  (design  by  SELWYN  Image)  .        .    215 
l!<>  ik  Cover,  Gold  Outline  and  Darned  Ground  in  Silk  on 

Linen  (designed  by  N.  Which  elo) 245 

Embroideries,    in    Silk   and   Gold    on    Silk    (design    by 

M.  F.  W.) 217 

Horizontal  Border,  Embroidered  in  Silk  on  Silk  (design 

by  F   B.  Wade) 24S 

Horizontal  Border,  Groups  of  Flowers  Embroidered  in 

i  Irewel  and  Silk  on  Linen  (design  by  LESLIE)        .        .    243 
Horizontal    Holder,    Laid    Silk    Embroidery    on   Velvet 

ancient  design ' 213 

Panels  of  Screen  (by  N.  Whicbelo) 214 

Perpendicular  Border  (by  F.  B.  Wade) 216 

een  (by  G.  Frampton,  A.R.A.) 32 

Stole,  Embroidered  (by  S.  R.  YarnallI 2is 

Virginal,  Flemish 227 


FURNITURE  AND  NEEDLEWORK  (.continued)-  r 

Wallace  Collection,  The:— 

Gabinet,  .Mahogany  with  Gi.t  Ornament  (French,  Eigh- 
teenth Century      

Candelabra,  Gilt  Melal  (by  Gouthiere),  ami  Angle  Cup- 
board (Encoignure)  of  Amboyna  Wood  ornamented 
in  Gilt  Metal  (by  RlESENER  and  GOUTHIERE)  (from 
Old  Palace  of  Trianon,  Versailles-  French,  Eighteenth 
Century)    

Chairs,  Carved  and  Gilt  Wood,  Covered  in  Beauvais 
Tapestry  (French,  Eighteenth  Century)  .... 

Clock  and  Barometer,  in  Ebony  and  Gilt  Metal  I  bj  Fer- 

DINAKD  HERTHOCD) 

Clo.k  and  Pedestal,  Boulle  and  Gilt  Metal  (formerly  in 
the  Town  Hall,  Yverdon,  Switzerland)  (French, 
Eighteenth  Century) 

Enamel  Casket  (by  J.  PENICAUD)  (irom  M.  Lievre's 
"Musee  Graphique") 

Table  Carved  with  Gilt  Metal  and  Slab  of  Green 
Porphyry  (French,  Eighteenth  Century) 


:;ol 


METAL- WORK  :- 

Alms  Dish  (by  A.  G.  Walker) 102 

Art  and  Electricity  :  - 

Electric  Garland 18 

Electrolier 16 

Lamps,  Three  (designed  by  W.  Starkie  Gardner)  .       .  17 

Lightning  (designed  by  Maillard).       .       .  14 

Louis  XVI.  Lamp .15 

Morning  (designed  by  Alfred  E.  Lewis)             ...  13 

Naiad  Vase ...  18 

Pendant    in   Wrought  Iron    (designed    by    W.    Si'akkie 

Gardner) 1 ' 

Pendent  Lamp  from  Brescia  (attributed  to  Ghiberti)      .  15 

Table  Lamp  (designed  by  Bertram  Malkennal)      .        .  15 

Cap  in  Beaten  Copper,  with  Lid  in  Cloisonne   Enamel  (by 

Nelson  and  Edith  Dawson) 38 

Door  Plates  (by  Erikson  and  Gusi'ave  Charpentier)  .    288,  269 

Enamelled   and    Gold-aud-Enamclled    Pendants   (by    F.    S. 

Robinson) 32 

Gold  Cup  (by  LUCIEN  Falize Ie5.  167 

GOLDSMITHERY    (BY   ALEX.   FlSHER)  I— 

A  Gold  Chalice 1SS 

Gold  and  Enamel  Brooch 186 

Gold  Celtic  Brooch 187 

Gold  Chalice  and  Paten 185 

Gold  Chatelaine 186 

Gold  Clasp 181 

Gold  Cup 187 

Gold  Earrings 187 

Gold  Grseco-Bactrian  Armlet 187 

Pendant  in  Go'.d  and  Enamel,  with  Pearls    .        .       .        .186 

Tabernacle  :  Door  in  Gold  Repousse,  other  Paris  in  Silver  185 
Heraldic  Device  in  Beaten  Steel  and  Champleve  Enamel  (by 

N.  and  E.  Dawson)    __ 66 

Keyhole  Ornaments  (by  EMILE  Galle) -52 

Lectern    in    Iron,  Copper,  and    Brass  (by  W.  Ba(NURIDGe 

Reynolds) 34 

Metal  Work,  Case  of  (by  C.  R.  Ashdee) 67 

Metal  Work   Recently  Acquired   by   the   City  Ari 
Gallery,  Birmingham:— 

Chiselled  Iron  Knockers  (German) 287 

Gold  and  Enamel  Pendants 2S6 

Wiought-lron  Btacket  (German,  Seventeenth  Century)    .  286 
Mr.  Starkie  Gardner  and  His  Work:— 

Black  Iron  and  Ivory  Lamp 132 

Design  for  a  Balustrade 133 

Design  for  a  Pewter  Electric  Lamp 131 

Design  for  a  Side  Light .132 

Design  for  Hanging  Electric  Lamp 130 

Designs  for  Electric  Light  Fittings 130 

Fire  Dog  at  Shiplake  Court 129 

Gatesal  North Mymms,  Herts.               131 

Iron  Balustrade  at  the  Conservative  Club,  Glasgow          .  129 

Lamp  at  the  Leather-Sellers'  Hall 132 

Pewter  Work  :— 

Pewter  Bowl  and  Pew  tor  Vase  (by  M.  CARRIERS)  98,  99 

"  The  Prey  "  (by  M.  Ledru) 99 

"  The  Sedge  Nymph"  (by  P.  H.  B,  Rocssel)       .       .       -100 

"The  Wave"  (byM   Ledru) 98 

Plaque  (by  Jules  Cheret) 270 

steel    Casket,   with  Enamels  and  Gold   Setting   (by   Ai.sx. 

Fisher 65 

Steel  Fender  (by  T.  J.  Cobden-Sanderson)        ....  63 
1 'rowel  in  Wrought  Steel,  Silver,  and  Copper,  with  Enamels 

(by  Nelson  and  E.  Dawson) 61 


INDEX  to  illustrations 


METALWORK  («m(i    tier!)  :- 

Wallace  Collection,  The:— 

Morion   (Italian,  sixteenth  Century)  (from   M.   Lievn 

"  Musee  (  Irnphique  ) 

"  Mortier "  —  Perfume      Burner     (French,      Eighteenth 

Century)  (from  M.  Lievre's  "  Musi  eG 
Wheel-Lock  Arquebuse  (Late  Sixteenth  Ci  al  irj  i  (from 
M.  Lievre's  "  Musee  Graphique  ")     ... 
VVrought-Iron  Fire-Dog  (by  W.  Bainbridge  Reynolds)  65 

Wrought-Iron  Gates  (by  Reginald  Blomfield)  i;i 

MISCELLANEOUS  :- 

"As  You    Like   It":    New  Dressing   i;\    Mb,   Graham 
Robi  btson  : 

Audrey .        .  272 

Celia ■>-■■, 

Cupids  in  Masque  of  Hymen     ...  .273 

Hymen 273 

Orlando .  272 

Shepherd  and  Shepherdess  in  Masque  of  Hymen.       .       .  27.'S 

Sketehfor'   Fori                    byH.R.HALL).       .              .  27:5 

1   1  \  ases  (by  F.mii.k  Galle) 

Ceiling  Patterns  in  Asbestos:   "Elizabethan,"  "Henri  II.." 

"  Italian  Renaissance  ' 220 

1  himneypiece  in  Marble  and  Onyx  (by  W.  R.  Lethaby)  63 

'  "-11  me-Designing  for  the  Ballet  of  "MosteCristo 
(by  C.  Wilhelm):— 

A  Grisette  (Scene  1) [02 

Auguste  1 1. .1-1  Si  ene) .        .  \,\ ; 

Fernand  (Scene  1) 11;:; 

Guests  (Last  Scene) li;:i 

Haidee li;i 

Incroyable  (Last  Scene) 161 

Madame  Danglars  (Last  Scene).       .       .               .       .  101 

Mercedes  (Scene  1)  (Last  Scene) 163 

Pearl  (Scene  II 161 

In  111  Robbia"  Pottery  Industry:— 

Frieze  (by  Edmund  Rathbone) 8 

"  Guardian  Angel "  Panel  (by  Miss  Ropes)  .       ...  8 

Lunette  iby  Conrad  Dressler) 6 

Panel,  A 6 

Pilasters 6 

Piping  Boy  Panel  (by  Miss  Ropes) 7 

Square  Lily  Tile  (by  Conrad  Dressler)       ....  7 

Vases,  Plaque,  and  Inkstand 6 

Water- Aven  Tile  (by  Conrad  Dressler)     ....  7 

Fragments  of  Fifteenth  Century  Carved  Oak  Work.        .  33 

Fresco   at   St.   James's    Episcopal    Church,   Edinburgh   (by 

W.  Hole,  R.S  A.) 217 

Frieze  Patterns  in  Asbestos  :  "  Floral  220,"  "  Old  Florentine   .  220 

Illustrations  from  Books  of  the  German   School  (Sixteenth 
Century) 277.  279 

Illustrations  from  Books    of    the   Italian  School  (Fifteenth 

Century) 275 

"Lady  in  White,  A,"  Photograph  (by  J.  Craig  Annan)  .       .  109 

"Lo,   tin  re  the  Hermit  of  the  Water.'    Photograph  (by  J. 

Hi  SIIBY) ,  109 

"  Marguerite  de  France,"  Enamel  by  Jehan  de  Cot  : 

teenth  (  eni  urj  1  (from  M.  Lievre's  "  Musee  Graphique")  .  297 

Novelty  in    Decoration  at   the   Troi  idero  bv  G.   E, 
Moira  and  1".  Lynn  Jenkins:— 

"  Enid  Bringing  Up  Wine " 94 

"  Enid  Crossing  the  Drawbridge "           111 

"  Elaine  ' 95 

"Hawking" 92 

"  Hoisting  King  Arthur's  Standard  " 97 

"Hunting  the  Wild  Boar" 95 

"  Sir  Kay  the  Seneschal " 96 

The  Coming  of  <                      Camelot"       .       .       .       .  93 

91 

1  i"   Round  Table  " 93 

Opaline   Glass    Windows   at    Wickhambn  t.us    (03     Baro 

Rosenkrantz) 335 

Plate-Maio  uza  (Italian,  Sixteenth  Centurj 

M.Li6vre's"M          1               le  '  Wallace  Collection)        .  Moil 

Sagittarius  from   Norman  Doorway  of  Lullington  Church, 

Somerset 170 

Scenefrom    \lontt  Cristo (by  J.  Harker) 163 

Scene  from  T/ie  Daughters  0}  Babylon  (by  W.  Telbi.n)  . 

Stained-Glass  Windows  executed  by  L.  C.  Tiff  vny,  designed 

bj  Mi  isrs.  Bonnard,  Ibels,  ind  Ranson).       .            70  H 
I  leoi  ge  and  I  hi    I  Iragon     Mosaic  in  thi    Ho 

;  .  J.  Pol  •  n  B,  P.R.A.) in 

Tile  ■  (by  Lew  is  F.  Day)  G 

"  Venetian  Gothic'   Filling 221 

Wood-Carvings  it  Carpenters  Hall: 

('areed  and  [nlo  id Foi        over (b      I                 1       .  IG8 

I  Clock  Case  (bj  Make  Rogi  rs,  Jun)  168 


MISCELLANEOUS 

LRPEXTERS     II  11 

P1IENS)  . 

•■■i 

Fragn  ury  work   . 

PAINTINGS :  - 
.1,7:.  Adolphi 

"On  theDu  

'  Past  and  Future" 

"  The  Orphanage  at  Katwyk     ... 
'  The  Pet  Lamb"  .... 

"The  Poo    ii,     1        Katwyk" 

"The  Propos  il" 

"Women  in  a  Potato  Field' 

I'h,-  St.  Mori 

"The  Young  Foscari" 

'■•■it.  D.   Y.      "  Daisy  '         .  .         . 

(  onstable,  J.— "Study  of  an  1 1 
Cotman,  J.—-' Town  in  Holland'     .... 
( 'ox,  1'u  fit! 

"  Beckenham  Church  "... 

"The  Skirts  of  the  Foresl  ". 
David—"  Napoleon  I."  .  ... 

Davidson,  A.  D.—"  Adam  and  Eve  Driven  oul  of  the< 

of  Eden 

Eland,  J  S.   -•'  Head  from  Life" 

Engl  heart,  J.  1>.    "  Richard  1 

Goya,  P.— "Dona  Isabel  Cobosde  Porcel 

Gordon,  A  lex.—"  The  Blacksmith's  Shop"   . 

Guthrie,  J  Wat-tin  ' 

Hull,  if.  P.-  Sketch  for  Forest  Scene    . 

Hals,  Franz-" Peter  Tiarck"  .... 

Har  ourt,  (?<  orgi 

"Mrs,  Fairfax-Lucj  and  Her  Son  '. 

"  Portrait,  A". .       . 

Psyche:  Fa  revt  ell" 

"The  Li  per  -  \\  ife 

"Thought-Reading" 

Hi  (•/ 11  r,  Profi  ssor  Hub,  rt,  R.A. 

"  The  Duke  of  I  tevonshire"       ... 

'  I  he  Last  Muster" 

Holbein,  Hans  -Two  Portraits 

Hunt,  William—'  Devotion 

Haul.  W.  Holman—"  The  Scapegoat " . 
Inchbold,  J.  IV,—"  The  Moorland  (Dewi 
Joy,  George  II". — 

"  A  Baby  Bedouin" 

"Christ  and  the  Little  Child" (unfinished)    . 
lodamia  ' 

"  Lear  and  Cordelia  " 

"  The  Bayswatcr   Bus' 

"The  King's  drum  shall  m  1 1 

"Truth" 

1  ■  Duck" 

Landseer,  Sir  /.'..  /.'  .1.     "Titaniaand  Bottom 
Lawrence,  Sir  Thomas,  I'. I!. A      "Mrs.  Siddi 
/;.  ll\.  A.R.A.    "  Departing  Da] 
on.  Lord,  P.R.A.     "Cymon  and  Iphigcnia"   ■ 
I. huh,'!.  ./.    "(in  Summer  Eve  by  Haunted  Stream" 

"Sj  n  ntation  of  the  Ci  in  iflxion 

Portrait  .... 

"  The  Spy  " 

.  Mil/,,,,.  Sir  J.  /■:..  Bart,  P.R.A.- 

"  Joan  of  Arc" 

■  Jo ii  ighl  " 

. 

I I,"  "  A  I  1 1    iC,  N  OUtll    '  .  ... 

Mill  t,  F.  ■"        B       1        CwoFi 

1    ir.  ./.    "  Dredging  on  the  Mcdway" 
A"  11  »".■■■■ 

■■  Angels  oi  the  Night 

"  I  'cacock  - • 

The  Blind  II  ... 

Orel 
Phillip,  John 

Poyntcr,  Sir  /•:.  J.,  P 

"Diadumcne" 

'■  Idle  \\-iu~  "  . 

I  II 

. 


INDEX    TO    ILLUSTRATIONS. 


PAINTINC;1.  pace 

Foynter,  Sir  /•:  ./..  r.ll  A.  (amtinuei):- 

■  The  We    of  March" 114 

"  When  the  World  was  Young " 117 

Praga,    Vfrcd    "  A  Miniature  in  Three  Stages  87,88 

/  rout,  S.    "Nuremberg  ' .       ■  31G 

Robertson,  W.  Graham— "A  Hospital  Decoration".  333 

Roche,  A..  J. U.S.A.  -"Lady  Reid" 

Prouvi,  Victor    "Eir.il  iGalhi        ......  249 

Raphael  •"  Sistine  Madonna  '                106 

Riviere,  Briton,  R.A.    "  The  Magician's  Doorwaj           .       -  125 

etti,  it.  a.    "La  Bella  Mano" 123 

'  .   '..  /,■    I.    "G  "i  re  i\     when  Prince  of  V\  ales  '        .  189 

Sambcruer,  Leo    "  Professor  Franz  Stuck " .       .       .  153 

Schiavoni     indrea—"  Jupiter  and  Seni  :le'        ...  110 
Segantini,  Giovanni 

•(in  the  Balcony" 31 

"Ploughing  in  the  Engadine" 27 

P ii  of  the  Artisl 25 

Tlie  Upine  Shepherds" 29 

i  i    Inge]  of  Life" 26 

Pin   Retribution  of  Unnatural  Mothers"     ....  28 

"The  Shcepfold  " 2S 

Seitei,  Watanabe    "  A  Branch  of  Persimmon  Fruit "      ■  173 
Shantwn,  .'.  J.— 

"  .Ins  f  1 1  r  ■  Unroll  " 5 

"  Sir  Henry  Irving  as  Louis  XI." 2 

"Spol  Rod  " 3 

"TheDoll" 1 

"The  Squirrel" 3 

Smart  J.,  U.S.A.    "Strathearn"  .              331 

Stiiclc,  Professor  Fran 

Love" .       .  .156 

'Samson 158 

Sin ' 157 

"ThcSphinx" 151 

"War" 155 

Turner,  J   M.  W.,  U.A.- 

"  The  Approach  to  Venice " 285 

"  Venus  and  Adonis,"  or  "  Departure  for  the  Chase"        .  319 

Vincent,  George  •"  Greenwich  Hospital " 317 

Walker,  Fred,  A.R.A.—" The  Bathers"              .       .       .       .  128 

Watteau.A.    "  The  Music  Lesson " 296 

Watts,  G    /•'.  R.A.- 

"  Bianca" 207 

"Diana  and  Endymion" 201 

"Hon.  Mrs.  Percy  Wyndham" 201 

'Hope 208 

"  Life,  Death,  and  Judgment " 206 

"  Lord  Tennyson           205 

"  Love  and  Death  " 204 

"  Orpheus  and  Eurydice  " 203 

"  Paola  and  Francesca ' 2(12 

"Peace and  Goodwill" 210 

"The  Habil  does  nol  make  the  Monk  " 209 

Wells,  E.  F.    "A  Farm  ' 230 

PORTRAITS :  - 

Alma-Tadema,  L.,  R.A.  .       ... 

i : .ii  nard,  The  late  Fred 

Beard  lej     Soibrej  (bj  Himself)    .... 

Boyce,  The  laic.  G.  P.,  R.W.S 

Bright,  John  (by  Sir  J.  E.  MtlXAis,  Barl  .  P  R.A.) 
Campbell,  .Mrs.  Patrick  (by  Aubrey  Bbardsley) 

Cruikshank,  G.  (by  Himself) 

De  Porcel,  Dona  Isabel  Cobos  (by  F.  Goya)  . 
Ii.  I'onshire,  Duke  ol  (bj  II.  Herkomer,  R.A.)  . 

Du  Maurier,  The  late  George 

i  ialli    i  mile  (by  Victor  Prouvf.)  ■ 

IV.  when  Prince  or  VVales(by  J.  Russell  R.A.) 
Harcourt,  George  (by  Himself)      .... 

Hiles,  Bartram  (bj  Himself) 

Hoffman,  Joseph  (by  J.  J.  Sh  vnnon,  A.R.A.)     . 

Irving,  Sir  Henry,  as  I is  XI.  (by  J.  J.  Shannon   A  R.A 

■larks,, ii.  T.  G.,  H.A.     •         •  ... 

Jenkins,  F.  Lynn  (by  Lawrence  Koe)  . 

.     I  Himself)  .... 

Meissonier,  J.  L.  E.  (bj  Himself)  .... 


PORTRAITS  (coal 

Menzel,  Adolph  (by  Rudolph  Lehmanx)    .... 

Moira,  Gerald  E.  (by  Laurence  Koe) 

-  Morris,  The  late  William 

Napoleon  I.  (by  David) 

Parsons,  Alfred,  A.R.A 

Poynter,  Sir  E.  .1 ,  I'll. A.  (Etching  by  Alpiionse  Li  gros 
(by  Himself)      .... 

Reinhardt,  ('.  S.,  The  late 

Reid,  Lady  (by  A.  Roche,  A.R  S.A.) 

Rossetti,  Mrs.  W.  M  .  and  Daughter  (by  !•'.  Madox  Brown 

Segantini,  Giovanni  (by  Himself) 

Shannon,  J.  J..  A.R.A.  (by  Prince  Troubetzkoy)  . 
Sheridan,  Richard  Brinslej  (bj  J.  D.  I  toleheart). 
Siddons,  Mm.  (by  sir  Thomas  Lawrence,  P.R.A.)  . 

St.  Cyres,  Lord(by  W.  Rothenstein) 

Snick,  Professor  Franz  (by  Leo  Samberger)     . 

Thompson,  The  late  J.  Pyke 

Tennyson,  Lord  (by  G.  F.  Watts,  R.A. 

Wan,.  G.  F.,  R.A 

Wilhelm,  C 

Wyndham,  Hon.  Mrs.  1'.  (by  G.  I1'.  Watts.  I:,  a.)      . 


201 


SCULPTURE : - 

Charpentier,  Gustave—  Door-Plates 268,  269 

Cheret,  Jules    Decorative  Plaque 270 

Colton.  W  — Fountain 10 

Delia  Querela,  Jacopo  - 

Panel,  "Adam  and  Eve  after  the  Expulsion  from  Eden  '  52 

Dupri,  G.—"  Orestes  " 232 

Evelyn,  E.-  Holl  Memorial,  St.  Paul's 288 

hi, mil, inn.   (.'..   A.R.A.  -The  Keene  Memorial,   Shepherd's 

Bush 342 

Gauquie,  Henri    The  Watteau  Memorial 220 

Leiois,  Alfred  E.-" Morning" 13 

Mackennal,  Bertram— Table  Lamp 15 

Mercer,  SZeanor -Modelled  Design  for  Punch-Bowl        .       .  39 

Mhatre,  G.  K.    "To  the  Temple' 313 

Min,,,.  Georges    "Penance'" 216 

Pomeroy,  F.  W.— 

Bronze  Panel  for  Gates  of  Baptistery,  Welbcck  .       .       .  33 

Burns  Statue ^H 

Overdoor  (Coloured  Plaster) 33 

Reynolds-Stephens,  II".    Letter-Plate 33 

Rollins.  Wenlock-Groxiv   for  New   General  Hospital,    Bir- 
mingham                      .  102 

Sagittarius   from    Norman    Doorway,    Lullington    Church, 

Somerset 170 

Stap,  <  11,  1  'harh  s  van  der— 

"  For  auld  lang  syne " ■  .213 

"  The  Chimtera  and  the  Maiden  " 214 

"  The  Chimaera  and  the  Mother  " 214 

"  The  Chimaera  and  the  Youth "       .                             .  211 
Walker,  A.  <?.- 

Alms  Dish 102 

Bull  and  Lion  for  Tower  Finials 101 

Buttresses  lor  the  Church  of  the  Society  of  the  Agapemone  l»l 
Eagle  anil  Angel    for  Tower  Finials  of  Church  of  Hie 

Agapemone I'd 

Willianison,  F.  J.— "The  Duke  of  Cambridge"                       .  110 


TOPOGRAPHICAL :- 

Tin,  River  Ayr  (by  S.  Reid):— 

Ayr  Mouth 

The  Ayr  above  Muirkirk 

The  Ayr,  Auchincruive 

The  Ayr.  Ballochmylc 

The  Ayr,  Barskimming 

The  Ayr,  Sorn 

Tin-  Ayr  :  The  I  lam 

Tin-.  Wanderings  of  the  T'AMAR(by  John  Fit.i.w 

Cargreen,  from  Clamoak 

Danescombe 

Morwell  Hocks 

New  Bridge  on  the  Tamar 

The  Ilanniaze,  from  Saltash  ... 

Weir  Quay      .... 


' 


The  Magazine  of  Art, 


J.     J.      SHANNON,      PAINTER. 


By     ALFRED     LYS     BALDRY 


THE  argument  which  at  the  present  time  we  hear 
so  frequently  advanced,  that  a  conspicuous 
degree  of  technical  facility  is  not  within  the  reach  of 
any  artist  who  lias  nol  undergone  a  course  of  train- 
ing in  a  Continental  studio,  is  curiously  disproved 


appreciation  of  the  exact  value  of  each  one,  and 
with  an  extremely  intelligent  judgment  of  the 
manner  in  which  they  aid  him  to  realise  his  Eesthetic 
intention.  He  is,  in  fact,  a  manipulator  with  excep- 
tional   sense    of    technical   fitness,  a  worker  whose 


J.    J.    SHANNON. 
(Drawn    by    Prince    T, 


by  the  history  of  Mr.  J.  •'.  Shannon's  career. 
Among  all  our  younger  artists  there  is  scared}  one 
whose  mastery  over  materials  and  grasp  of  execu- 
tive difficulties  can  be  said  to  equal  his.  He  paints 
with  astonishing  ease  and  certainty,  with  the  most 
straightforward    recognition    of    what    is    necessary 


technical    skill  curries  him   very  far   indeed   in   the 

directii f  success,  and  gives  him  pictorial  results 

of  a  quite  memorable  kind. 

\,  i  this  skill  is  in  no  sense  the  product  of 
foreign  training.  The  onlj  teai  hing  thai  Mr. 
Shannon   has  had  was  obtained  in  this  i  ountry,  and 


in  the  way   of   bnishwork    to   express  the    subject  even    that    was    neithei    exhaustive   nor  prolonged. 

on  which  he  may  be  engaged;  and  he  nsi  -  the  de  He  came  here,  when  he  was  sixteen  yi 

vices  of  the  painter's  practice  with  a  distinctly  rare  America   of  which  country  he  is  a  native,  foi  he  was 

1 


THE    MAGAZINE    OF    ART. 


born  at  Auburn,  in  the  Stair  of  New  York,  in  L862.  models,  and  of  a  valuable  collection  of  art-examples 

His  original  intention  was  to  study  in  London  for  a  from  which  he  could  derive  much  of  the  information 

couple  of  years  only,  and  then   In  return;   but  cir-  in    search    of   which   he  came.     So  for  three  years 

cumstanees  led  him  to  modify  his   plans;  and   the  he    worked    there    steadily   and    consistently.      Not 

rapid  growth  of  his  reputation  directly  bis  scl 1-  many  months  after  his  first  appearance  in  the  school 

days  were  over  induced  him  to  take  up  permanently  he  was  admitted  into  the  life-r i  I"  paint  from  the 

his  abode  among  us.     What   earlier  artistic  experi-  nude:  and  so  excellent  was  the  progress  he  made  in 

,,,„.,.  |„,  |i;i,i  stored  up  during  his  boyh I  was  ac-  Ibis  most  important  branch  of  study  that  he  took 

quired   by  copying  whatever  pictures  came  within  during  his  second  year  a  gold  medal  for  a  painting 
his    reach,      ft    chanced 


that    there   were    in   the 
town  in   which   be  lived 

Copies  ef  seme  of  I.lllld- 
seer's  works  and  a  cer- 
tain number  of  accessible 
originals  by  other  artists 
of  less  note :  and  these 
canvases  he  was  con- 
st anl.lv  si  tidying  and 
striving  to  reproduce. 
This  was  at  best,  a  de- 
sultory suit  ef  educa- 
tion, and  as  there  was 
nil  other  member  of  bis 
family  to  whom  he  could 
turn  For  assistance  or 
guidance  in  his  artistic 
endeavour,  it  is  quite  in- 
telligible thai  he  .should 
have  recognised  very 
promptly  that  some  more 
systematic  and  thorough 
foundation  for  future 
proficiency  was  neces- 
sary. 'I'o  eel  the  facili- 
ties I  hat  were  not  open 
to  him  at  home  lie  came 
across  the  Atlantic,  but  he 
knew  In-fore  he  started 
what  were  the  oppor- 
tunities   that,    hi'   was   in 


SIR     HENRY     IRVING     AS    LOUIS     XI. 
{A    Sh,:tch    by    J.    J.    Shannon.) 


f  the  figure,  and  a  few 
months  later  was  suffi- 
cielltly  Well  advanced  to 
iicccpt  and  successfully 
perforin  a  commission  to 
paint  a.  portrait  of  the 
Hon.  Horatia  Stopford, 
one  of  the  Maids  of 
Honour.  This  picture 
was,  by  command  of  the 
Queen,  exhibited  al  the 
Academy  in  1.881. 

From  this  date  on- 
wards, Mr.  Shannon  has 
continued  to  show  in  all 
the  chief  galleries  a 
quite  remarkable  array 
of  canvases.  He  began 
independent  work  in  a 
studio  of  bis  own  directly 
his  three  years'  si  inly  at 
South  Kensington  was 
over,  and  bad  to  wait 
but  a  very  short  time 
before  the  unusual  ex- 
tent of  bis  capacities 
began  to  be  generally  re- 
cognised. His  first  suc- 
cesses were  made  with 
portraits  of  ladies,  but 
the  picture  which  placed 
him  at  unci'  in  the  front 


search  of.  and  how  he  intended  to  turn  to  account  rank    of    the   younger    painters  was  .his   admirable 

the  materia]   that   he  proposed  to  collect.  full-length    of    "Henry    Vigne,    Esq.,"   painted    in 

It     was,    perhaps,   curious    that     he    should    have  1887.       This    was    a.    piece    of    work     which     would 

chosen  the  Smith    Kensington  School,  with  iis  un-  have   done   credit    to   an    artist    whose    knowledge 

inspired   system  and  incomplete  methods  of  leach-  and    executive   capacity    bad    been    matured    by   a 

ing,  as  the  place  in  which  to  work  out   his  idea,  of  lifetime  of  strenuous  effort;   as  the  production  of 

an    art-education;    but    his  decision   is   not    so  sur-  a  youth   who  was   barely  twenty-five,  it  was  quite 

prising  if  we  remember  that  what  he  desired  was  not  extraordinary.      There    was    no    sign    about    if   of 

so  much  a,  seh  ..I   in  which  he  would  be  subject    to  juvenile  inexperience.no  suggestion  that  the  artist 

frequent  supervision,  as  a  practising  place   in  which  responsible  for   it    had   left   scl 1  little  more  than 

he  could  put  to  the  test  definite  convictions  already  live  years  before.      In    sense  of   design,  in  appre- 

well  I'm d  in   his  mind  without    being  unduly  in-  ciation    of   character,  in    its   easy  draughtsmanship 

terleieil  with  by  professors  with  strong  and  firmly  and   masterly  execution,  and  above  all   in   the  ex- 
fixed  opinions  of  their  own.     At  South  Kensington  ceptional  judgment  of   pictorial  essentials  which  it 
sure  of  a  good  selection  of  casts,  of  living  revealed,  it  was  worthy  to  rank  among  the  greater 


J.    J.    SHANNON,    PAINTER 


portraits  of  this  century.  It  secui 
Shannon,  as,  indeed,  is  not  at  all  su 
immediate    access    of    commissions;    a 


id     to     Mi 
prising,   ai 


SPOT     RED, 
(From    the    Painting    bg    J.    J.    Shannon.) 


th 


A 


which 
Paris 
later 

orth," 


.Hi 


gained  for  him  many  foreign  distinction 
the  chief  were  three  First  Class  Medals  i 
Exhibition,   and  at   Berlin    and    Vienna 
portrait,    a    full-length    of    "Mis.    Charleswi 
brought  him  a.  medal  at  the  Chicago  Exhibition 
he  was  awarded  two  years  ago  at   Munich  an 
medal  I'm'  a  group  "I'  contributions. 

He  has  with  these  exceptions  exhibited  little 
abroad.  Last  year  I'm-  tin'  first  time  lie  sent  to  the 
Champ  de  Mais  Salon  some  examples  "I'  his  work, 
all  portraits,  "  Josef  Hoffman,"  "  Mrs.  J.  .1.  Shannon," 
"Mrs.  Magniac,"  and  "(i.  Hitchcock,  Esq.;"  but 
these  practically  complete,  up  to  the  presenl .  i  he  li  i 
of  his  efforts  to  gain  For  his  British  reputation  a 
foreign  endorsement.  On  the  other  hand,  he  lias 
kept  well  in  touch  with  all  the  art-movements  in 


this  country.  He  was  one  of  th.-  original  members 
of  the  New  English  Art  Club  and  he  was  an  active 
supporter  of  the  Societ}  of  British  Artists  dm 
brief  period  of  enlightenment  under  Mr.  Whistler's 
presidency.  To  the  New  Gallery,  the  Grafton 
(lallery.and  the  Institute  of  Painters  in  Oil-Colours, 
"I'  which  society  he  is  a  member,  In  has  been  a  con- 
stant contributor  :  and  though  he  has  generallj 

represented  in  the  various  exhibitions   bj    | ail 

he  has  on  occasions  not  abstained    from  digressions 
into  subject-painting. 

In  the  recently  shown  selection  from  Ins  pictures 
which  occupied  during  part  of  June  and  Jul]   one 

of  the  in-  of  the  Fine  An   Society,  both  sides  of 

his  capacity  were  sufficiently  well  illustrated.     The 
opportunity  of  seeing  once  again    his   portraits   of 
Mi-.   Vigne,    Herr    Poznansld,  and   the   Marchioness 
of  Granby  was  very  welcome;  and  Ids  "Josef  Hofl 
man,"  with  its  excellent   deftness  of  handling  and 


THE     SQUIRREL 

Painting    by    J.    J.    Shannon.) 


THE    MAGAZINE    OF    ART. 


effective  breadth  of  light  and  shade,  made  an  accept- 
able reappearance  :  but  to  most  people  there  was 
more  satisfaction  in  having  presented  to  them  such 
comparatively    uovel  evidence  of  Ins   versatility   as 


any  sense  a  copyist  of  any  other  painter.  He  is 
clearly  in  sympathy  with  the  men  who.  like 
Velasquez  in  the  past  and  Mr.  Whistler  ami  Mr. 
Sargent  in  the  present,  have  found  tin-  surest  road  to 


was  afforded  by  the  quaint  treatment:  of  his  "  Babes 
in  the  Wood,"  two  little  Dutch  children  set  against 
a  background  of  slender  tree-trunks,  or  by  tin-  grace 
of  pose  ami  delicacy  of  colour  which  distinguished 
his  "Spot  Red."  " The  Squirrel,"  too.  was  a  fascinat- 
ing study  of  child-life,  charming  in  its  gesture,  very 
easy  and  spontaneous  in  its  lines,  and  in  colouring 
delightfully  subtle  and  harmonious.  "The  Doll" 
was  another  happy  record  of  infancy  treated  with 
something  of  the  refinement  of  colour  scheme  which 
gave  pari  of  their  charm  to  the  canvases  on  which 
Velasquez  depicted  his  dainty  Infantas.  The 
arrangement  of  the  faded  pinks,  the  silvery  greys, 
and  ashy  blacks  of  Mr.  Shannon's  picture  was 
certainly  reminiseenl  of  the  great  Spanish  artist's 
met  hod. 

Yet  Mi.  Shannon  cannot  be  pronounced  to  be  in 


technical  success  in  the  use  of  absolute  straight- 
forwardness of  manipulative  statement',  but  he  has 
his  own  way  of  looking  at  nature,  and  a  thoroughly 
individual  manner  of  expressing  what  he  sees. 
There  is  no  affectation  of  extraordinary  cleverness, 
nor  any  striving  unnecessarily  after  demonstrative 
modes  of  handling,  in  his  productions.  He  has  never 
fallen  into  the  vicious  habit  of  preferring  mere 
executive  animation  to  sound  and  intelligible  paint- 
ing. If  his  subject  is  one  that  calls  for  vivacity  he 
treats  it  with  freedom  and  readiness  of  touch  :  if  one 
that  needs  sobriety  he  is  quieter  and  more  restrained. 
In  all  cases  there  is  well-preserved  congruity  between 
the  matter  and  the  manner  of  his  pictures.  The 
chief  merit  of  his  style  is  its  directness,  its  frank 
attention  to  what  is  requisite  for  the  proper  repre- 
sentation of  nature's  fads,  and  its  discreet  avoidance 


SHANNON,    PAINTER 


of  what  is  only  superfluous  and  ornamental.  At  the 
same  time  it  does  not  err  in  the  direction  of  rugged- 
ness  or  want  of  refinement,  for  one  of  its  main 
characteristics  is  a  certain  scholarly  completeness, 
which  without  approaching  pedantic  elaboration 
satisfies  every  uecessity  of  real  finish.  As  he  has 
a< Idi :d  to  his  experience  and  widened  the  area  of  his 
practice  he  has  increased  his  power  of  making  plain 
his  meaning  without  excess  of  Labour,  and  has 
developed  a  method  of  brushwork  that  is  exception- 
ally free  from  either  affectation  or  uncertainty.  In 
"Josef  Hoffman"  and  "The  Doll,"  his  ability  to  gain 
fulness  of  form  and  a  sufficiency  of  detail  by  simple 
technical  means  is  very  adequately  illustrated ;  while 
his  rapid  character  sketch  of  "Sir  Henry  Irving  as 
Louis  XI."  shows  with  what  expressiveness  of  hand- 
ling he  can  state  a  few  salient  points  that  do  not  de- 
pend for  their  meaning  upon  adjuncts  and  aeeessoi  ies. 
As  a  colourist  he  is  full  of  variety.  He  ranges 
over  a  considerably  wide  area,  and  dues  not  limit 
himself  to  conventional  combinations  such  as  satisfy 

I ften  even  the  most  celebrated  portrait-painters. 

Perhaps    his  chief   preference  is   for  comparatively 
low  tones,  but  it   is  a   preference  that   is  distinctly 


open  to  frequent  modification.  The  contrast,  for 
instance,  between  his  "Spot  Bed,"  with  its  gentle 
gradation  of  warm  greys  and  browns,  and  the  vigor- 
ously effective  prismatic  colouring  of  "  In  the  Sp 
time,"  wherein  he  has  given  at  its  full  force  the 
chromatic  violence  of  sunlight  shining  on  masses  of 
fruit-blossoms,  is  as  definite  as  it  could  well  be  made; 
and  there  is  something  of  the  same  diffi 
between  the  sobriety  of  the  "Josef  Hoffman,"  and 
the  bizarre  juxtaposition  of  strange  hues  which  is 
characteristic  of  the  " Sir  Henrj  [rving  'sketch.  In 
colour,  as  in  handling,  he  has  the  discretion  to 
adapt  himself  to  circumstances,  and  he  avoids  by 
what  seems  to  be  unerring  instinct  any  lapse  into 
those  commonplaces  which  are  so  many  pitfalls 
in  the  way  of  the  heedless  painter.  He  is,  in  fact, 
the  happv  possessor  of  qualities  which  set  him 
markedly  apart,  an  artist  who  has  at  the  same  time 
originality,  power  of  expression,  and  judgment  in 
selection.  He  has  already  learned  the  facts  of  art, 
and  the  fancies  are  coming  to  him  more  and  more 

plentifully  as  years  g so  we  may  fairly  expect 

from  him  many  fresh  developments.     There  are  few 
men  among  us  from  whom  so  much  seems  possible. 


JOSEF     HOFFMAN. 
{From    tin-    Painting    by   J.    J.    Shannon.) 


LUNETTE 
(Designed    by     Conrad    Dressier.) 


THE  "DELLA  ROBBIA"  POTTERY  INDUSTRY. 


ANEW  industry  has  been  established  at  Birken-     or  accents   of  rich  colour   which  would  still  with- 
head   of  so  distinctly  artistic  a   nature  that      stand     the     effects     of     the     English     climate     in 
it   is   with    pleasure   we   call   attention    to   it.      The  _^       external  as   well   as   in- 

i    object         its    |>i ters,   Mr.    Harold    Rathl HPWVNHPB         l'01":l1  namentation 

and    Mr.    Conrad    Dressier,    was    the    revival    of    a       KsKJ^EiS^B         would    he    of    supreme 
modelled    "lazed     or     enamelled     earthenware    with         K^[^Vf^fcM  V;lIlR'    '"    li-llU'nil1-    "l1 

coloured  grounds  for  purposes  of  architectural  deeo-  ^^B  t'K'    rat'"'r    s»hYn    and 

smoky  buildings  of  our 
great  cities.  It  has 
already  been  proved  to 
some  extent  what  a 
telling  effect  the  tiling 
to  window  garden 
boxes  imparts  to  many 


of  the  large  mansions 
which    otherwise    possess 

such  an  extraordinary 
similarity,  and  this 
practice  might  be  very 
considerably  developed 
with   a   constant  variety 

Of      design      and      colour 

which  would  be  a. 
source  of  pleasure  to 
the  passers-by  and  those 
who  inhabit  the  neigh- 
bourhood, friezes  with 
figure  or  floral  design, 
ration  after  the  manner  of  the  faienct  of  the  great  or  panels  in  Low  relief 
Italian  family  of  Delia  Robbias,  who  nourished  in  let  into  the  ordinary 
Florence  at  the  time  of  the  Renaissance.  The  white  tiling  with  simple 
introduction    into   architectural    schemes   of    bands      hands    of    green    or   red 


VASES,     PLAQUE,    AND     INKSTAND. 


'I 


THE    "DELLA    ROBBIA  '    POTTERY    INDUSTRY. 


colour,  might  be  made 
considerable  use  of. 
Fountains  in  this 
material  might  also  be 
introduced  into  some 
of  the  new  restaurants 
or  large  hotels,  and  add 
a  character  of  charm 
and  entertainment  like 
one  is  aware  of  in  the 
foreign  cities.  This  use 
of  enamelled  earthen- 
ware is  certainly  more 
suitable  than  the  struc- 
tural use,  as  surface 
that  is  glassy  is  apt  to  give  one  a  certain 
confidence  as  to  its  service  of  strength 
manence.      The  setting-in  of  tiling,  say. 


0    keep 

the  standard  of  design- 
ing as  high  as  possible, 
but  more  often  in- 
vented by  the  pupils, 
whom  ii  is  the  i 
nf  the  working  mana- 
ger tn  see  Iiii\\  far  he 
can  Let  alone  —  in  order 
in  bring  out  —the  full 
fancy  and  originality  of 
each  individual  worker; 
though  every  care  is 
taken  that  the  best 
principles  oi  design  are 
want  of  preserved  as  well  as  may  be.  It  was  the  object  thus 
and  per-  to  make  the  articles  in  everyday  use  comely  and 
blue  and     entertaining  in  shape,  design,  and  colour  treatment, 


PIPING     BOY     PANEL 


WATER-AVEN     TILE. 


white,  into  the  woodwork  of  an 
introduction    of    tall    panel-    in 
form   other   legitimate    uses   of 
would  supply  a  valuable  note  of 
the     same     scheme     of 
decoration    in   the  dra- 
peries   and   wall    hang- 
ings, or  Mime  treatment 
which     would     equally 
well     harmonise     with 
the     blue     and     white. 
Together  with   the   ar- 
chitectural   works    has 
been  carried  on   a   pot- 
tery   for     the    produc- 
tion of  line  shapes  and 
colours     with     a     good 

deal      of      work      ill      tin' 

sgraffito    treatment     on 

Ike   'model      of      the      old 

Italian  workers  —  w  ith 
design  s  occasionally 
taken     from     the     old 


overmantel,  or  the 
the  side  pilasters, 
this  material,  and 
colour  to  continue 


so    that    thus    tl 
comparative  air 

dishes    thai     one 

by  Sandro  Botti 


SQUARE     LILY    TILE. 


e    ordinary    meal    would    have    the 
if   a   banquet    like    those   beautiful 
sees   in  the  pictures  of    banquets 
vlli  and   others,  where,  a-  in  the 
feast   "f   Peleus 
own      Sir      Edward 
Bume-Jones,  the  .-.  nse 
of    beauty     is    app 
to,    and     oni 
aware      how      lovely       is 

the    fruit    itself.      Mar- 
malade    pels     (with     a 

hole     for     the     S] n) 

and      porridge      plates, 
and  muffin 
dishes,    and     mill. 

imt  to  mention  the  rose 
and      inkstands 

doir.     Nothing  could  lie 

n    a    desseit 


8 


THE    MAGAZINE    OF    AET. 


servii  e  in  i  Ms  sgraffito 
i  real  ment,  and  it  is  a 
source  of  grief  to  the 
manager  thai  the  ware 
is  used  so  much  more 
freely  for  merely  de- 
corative purposes  than 
for  absolute  daily  use. 
( >ne  of  the  last  letters 
written  by  Lord  Leigh- 
ton,  P.  I!  A.,  was  in 
reference  to  the  1  >ella 
Robbia  pol  I  ery,  and 
dwelt  very  much  on 
this  principle.  He 
wrote  :  —  "I  h  av e 
learned  with  greal 
satisfaction     that    you 

do  ii.it  < fine  yourself 

to  the  production  of 
pieces  destined  wholly 
for  decoration,  but  have 

grasped  the  vital  principle  that  the  chief  object  of  a 
manufacture  of  this  kind  must  be,  if  it  is  to  thrive, 
the  application  of  artistic  qualities  to  objects  of 
ordinary  domestic  use.  It  was  this  principle  which 
gave  to  the  work  of  the  Greeks  in  ancient  days,  and 
to  that  df  other  European  nations  in  the  Middle  Ages, 
that  distinction  and  beauty  which  are  our  envy  and 
admiration  to  this  day." 

Employment  is  found  at  the  Birkenhead  Pot- 
teries fur  many  young  people  of  both  sexes  who 
show  artistic  taste,  and,  in  curious  contradistinction 
tn  Mr.  Heikomer's  statement  at  the  Eistedfodd  last 
summer,  it  is  found  that  those  with  the  most  highly 
gifted  colour  sense  are  of  Celtic  origin  from  the 
north  of  "Wales.  The  best  of  their  colourists  is 
Miss  Hannah  Jones,  who  has  undoubtedly  influenced 
the  wiiil;  of  the  other  girls  at  the  Pottery.  There 
is,  too,  a  Welsh  boy  employed  who  never  had  a 
drawing  lesson  in  his   life,  hut  who  took  the  gold 


'GUARDIAN     ANGEL"     PANEL 
(Designed  by    Miss   Ropes.) 


cross  fur  originality  of 
design  in  pottery  at 
the  Home  Arts  and 
Industries  Exhibition 
last  year.  This  lad  is 
also  clever  at  throw- 
ing, ha  n  dl  i  hl;',  a  nd 
modelling;  and  is  at 
present  employed  dip- 
ping the  red  clay  ves- 
sels into  the  white  slip. 
Another  designer  of 
striking  originality  is 
Miss  A.  Pierce,  whose 
sister.Miss  Lena  Pierce, 
produced  some  beauti- 
ful and  romantic  de- 
signs before  her  early 
death. 

There  is  reproduced 
on  this  page  a  design 
of  a  "Guardian  Angel," 
by  .Miss  Hopes,  of  London,  wdiose  work  is  found  to 
lie  peculiarly  adaptable  to  Delia  Robbia  methods. 
Mr.  Annine  Bell  and  Mr.  Charles  Allen,  at  the 
Liverpool  College,  are  producing  pupils  whose  work 
promises  well  for  future  use.  It  is  hoped  to  ex- 
tend the  work  for  architectural  purposes.  At 
present  two  panels  have  been  placed  mi  a  private 
house  in  Liverpool,  representing  a  sower  and  a 
reaper:  and  an  angel — which  is. reproduced — for  a 
lunette  at  the  house  of  -Mr.  Walter  Holland.  In 
the  Town  Hall  at  Liverpool,  on  one  of  the  mantel- 
pieces, is  a  large  vase,  designed  by  Mr.  Harold  Rath- 
bone,  Hanked  by  a  pair  of  vases  modelled  on  the 
lines  of  the  old  Pilgrim  vases  at  South  Kensington 
Beside  these  an  ingle-nook  has  been  executed  for 
Lord  Radnor's  house  at  Folkestone. 

The  "mark"  of  the  pottery  is  a  ship  with 
'D.  R."  mi  either  side,  signifying  that  the  work  is 
produced  at  a  seaport   town. 


r*<r1faMyapwi<»«qff~*T' n»««"i  i 


-         -  - 


FRIEZE. 

■j    Edmund    Ratbbone.) 


HEADPIECE     FROM     "  LE     MORTE     DARTHUR.' 

{Drawn     by    Aubrey     Beardsley.) 


AUBREY  BEARDSLEY  AND  THE  DECADENTS. 


TIIK    patient    public     is    always 
thing  offered  it  to  live  up  t< 
was    the    blue    tea-pot  :    to-day    it 
Book  and   The  Savoy.     The  majority 
ou  their  stolid  way,  uncon- 
cerned with  the  baubles  of 
art,    but    there   arc    always 
some  for  whom  its  esoteric 
mysteries  have  a  charm,  and 
who   would   rather  die    than 
lag  in  an  up-to-date  move- 
ment.    These  are  at  present 
agog    over    the    Decadents, 
whose  dazzling  travesties,  in 
Mink    and    white,    of    "the 
human     face     divine"     are 
art  s  latest  sensation. 

The  hlue  tea-put  was  a 
mild  diet  for  the  soul.  It 
did  not  nourish,  but  it  did 
net  harm.     The  Decadents 

supply    stronger    f 1,    but 

they  mix  it  with  a  poison 
that  makes  it  perilous  to 
swallow.  This  I  shall  try 
to  prove  by  an  analysis  of 
the  wares  of  the  chief  pur- 
veyor, Air.  Aubrey  Beards- 
ley,  ami  a  glance  at  the 
genera]     characteristics     of 

the    school. 

Mr.  Beardsley  might 
adapt  the  mot  of  Louis 
XIV.,  and  say,  almosl  without  am 
decadent,  e'est  moi."  In  his  work 
most  complete  expression  of  what  is 
movement — disdain  of  classical  trai 
and  of  (dean  traditions  in  ethic  :  1 1 
outlook  on  the  husk  of  life,  and  brilliant  dexterity      tl 


By     MARGARET     ARMOUR. 

having    some-      i„  portraying  if;   also,  perhaps,  a   liner   feelina  for 
Yesterday   it      the  tools  of   art    than   for  its  materials. 

is    The    Fellow  Mr.    BialFHsTey's    career    has    been    me ic    in 

of  course,  plod       brilliance,  yet  at  present    he   has  all    the  appearance 

Of   a    fixed    star.       He 
oi    those   in   whom   genius  is 
no  smouldering  ember,  but 

a   many-tong I   flame. 

While   still    in    an    em- 
bryo, he  caught  and  pleased 

the     eve    of      |'ln  js     ,|,,    (•],.,. 

valines    and    Si ,    Edward 
Burne-Jones.      It  said  much 
for   his    ta  lent    | hat    such 
diverse    men    combined    to 
praise  ii.     The  qualitii 
id  led    in    the  1'  13    were   no 
doubt   those  whii  h    II 
ton,  iii   his  critical    note  in 
Vol.  II.  of    Th,    Yelloir  I: 
eulogises   in    the  man  ; 

l reiiie    e in\     of    means 

.  .  .  the  pel  feci  ion  of  dis- 
cipline, of  self-control,  and 
of  thoughtful  deliberation 
at  the  \ei\  moment  >>i  in- 
vention." 

Beardsley's    first     big 
woik     was     1  he     dei  oration 
and   ilhist  ration  of   \|,, 
Morte  d  \i  1  Inn."  foi 
and   1  In   this  his  hold 

use    of     Mack    and     white, 
skilfully     rad 

Ti  lie.  some  mai  Led  ai  lii  ■.  line- 

vas    to    be    looked    foi    a     a    result    of  the 


AUBREY     BEARDSLEY. 


igance,  "  L'Arl 
we  have  the 
typii  al  of  the 

lilions    in    art, 

|e     fll\     c7e    sir,  I, 


with  its 
pable  hit 
drawing 

growing   facilities    1  of    line   work 

I  lie   oppoi  but    thai    I 


his  feal  1  1  all, 


10 


'HE    MAGAZINE    OF    AliT. 


;tn  eye  bo  perceive  the  obvious.  The  volume  Salome 
left  his  hands  next,  and  shortly  after,  in  The  Yelloio 
Book,  he  made  his  bow  independently  to  the  public. 
At  present  he  continues  to  charm  by  his  work  in 
Tin    Savoy  and  Pope's  Rape  of  the  Lock. 

The  more  we  ponder  these  works,  the  more  we 
see  the  justice  of  Hamerton's  criticism.  Every- 
where   there    is    the    prolific,    yet    thoughtful    and 


COVER     FOR     "LE     MORTE     DARTHUR" 
iDeslgiiecl    bij    Aubrey    Beardsley.) 

deliberate,  invention,  and  that  '"'economy  of  means" 
which  is  Mr.  Beardsley's  great  distinction.  The 
cover  and  frontispiece  of  Vol.  I.  of  the  "Morte 
d'Arthur " — his  high-water  mark,  to  my  thinking, 
— are  specially  rich  in  these  qualities,  and  one 
cannot  but  note,  too,  the  serene  surety  of  the 
drawing  end  the  superb  sense  of  style.  Mr. 
Beardsley's  technique  is  masterly  ;  it  is  from  the 
spirit  of  his  work  that  the  ureal  black,  damning 
shadow  falls  that,  to  many  eyes,  is  total  eclipse. 
A   certain  grossness,  which  revolts  one  even  in  his 

treat nl    of    inanimate   things,    gets    free    rein    in 

his  men  and  women,  notably  in  those  of  The  Yellow 
Book  period;  of  late,  in  The  Savoy  and  Rape  of  the 
Lonk,  we  have  joyfully  hailed  an  improvement. 
With  regard  to  the  former,  lei  Hamerton  again 
lead  off'.  His  critical  note  i,,  The  Yelloio  Book, 
which    1    partly    quoted,   continues    thus:   "There 


seems  to  be  a  peculiar  tendency  in  Mr.  Beardsley's 
mind  to    the    representation   of   types  without   in- 
tellect   and    without    morals.     Some    of    the    most 
dreadfid   faces   in  all  art    arc  to    be    found  in  the 
illustrations    of    the    play   Salome.     We    have    two 
unpleasant    ones    here    (  Yellow    Book,    Vol.    I.)    in 
L'Education    Sentimentale.      There    is    distinctly   a 
sort    of    corruption   in    Mr.   Beardsley's    art    so    far 
as    its    human    element    is    con- 
cerned."     This   is  much  from  a 
man  of  Hamerton's  moderation, 
and   it   might    be   more.     There 
is    hardly   an    adjective    in    the 
dictionary   too   ugly  to  sling  at 
the  hectic  vice,  the  slimy  Hasti- 
ness  of    those   faces.      And    they 
can  be  pure  and  glad — some  of 
them   are— but    Beardsley    is   a 
Decadent,  and  must  do  as  the 
Decadents   do:    he    must    gloat 
upon    ugliness   and    add    to   it ; 
and    when    it    is    not    there,  he 
must    create    it.      Compare    his 
impression  of  a  familiar  object — 
Mrs.   Patrick   Campbell,  for  in- 
stance—  with    our    own;     the 
Beardsley   trail    is   on    her   face, 
and  it  is  curious  to  think  what 
the   Duchess   of  Devonshire 
would   have   been   in  his  hands 
instead  of  Gainsborough's.     But 
this    fact,   while   it    exasperates, 
has    its   own   comfort   for    those 
who  would  see   the  world  fair; 
for    if    we    find     an     artist    be-l 
.smirching    his    model    when   we 
can  test  results  by  our  own  ex-j 
perienee,  the  chances  are   he   is 
always  at   it,  and  the  ugliness  he  dresses  out  for  us 
is  in  his  own  eye. 

To  be  a.  devout  Decadent,  too,  you  must  not  ^' 
only  be  wicked;  you  must  be  worse — as  Pttiicli 
would  say — you  must  be  vulgar.  Mr.  Beardsley 
has  a  trick"  of  superimposing  one  style  on  another 
— lapancse  on  mediaeval,  mediaeval  on  Celtic.  That 
does  not-  matter  so  long  as  he  has  the  genius  to 
unify;  but  what  docs  matter  is  that  the  ground- 
work of  them  all  should  be  Cockney,  and  the 
coster  be  so  prominent  in  the  motifs.  "The 
Slippers  of  Cinderella,''  in  Vol.  II.  of  The  Yellow 
Book,  is  Arriet  on  Ampstead  'Eath  done  into  a 
•  lapancse  patch,  down — or  rather  up — to  the  very 
feather  on  the  "donah's"  bonnet.  In  fact.  The 
Yellow  Him/,'  was  just  a  glorified  Pick  Me  Up,  and 
both  are  utterances  of  the  Cockney  soul. 

There  is  nothing  easier  than  to  prove  a  kinship 


A!  BEEY     BEARDSLEY    AND    THE    DECADENTS. 


II 


between  the  two.  The  Yellow  Book  may  be  con- 
sidered as  a  younger  brother  who,  through  superior 
educational  advantages,  has  forced  himself  into  good 


society  where  the  family  taint,  V 


INITIAL-PIECE     FROM      "  LE     MORTE 

D'ARTHUR." 

(Drawn    by    Aubrey    Beardsley.) 


liijwn  as  vulgarity 
at  a  penny, 
becomes  deca- 
dence at  five 
shillings.  Yet 
the  poor  rela- 
tion is  perhaps 
the  better  man 
of  the  two  ; 
In'  lias  pleas- 
ant Cockney 
traits  that  the 
parvenu  lacks, 
a  certain  sunny 
joie  ill'  vivre, 
ami  a  kindly 
humour.  In 
London's  light- 
er follies,  made 
a  speciality  of 
by  such  men  as 
1  hidley  Hardy, 
P  h  1  1  M  a  y  , 
Greiffenhagen, 
Raven  Hill, 
this  sunny  vein 
is  to  the  fore. 
women  who  trip 
weeklies.''      Such 


It  is  in  most  of  their  men  ai 
and  .swagger  in  the  popular 
draughtsmen  dance  to  the  tune  of  the  letterpress, 
which  is  seldom  a  stately  measure.  They  have  a 
wonderfully  versatile  brush,  and  with  one  sweep 
describe  an  are  from  Pick  Mi'  Up  to  Good  Words. 
Their  feud  with  the  Philistine  is  no  more:  they  and 
he  kiss  mutually  over  posters  for  soaps  and  tooth- 
pastes. (  hit'  wonders  if,  on  the  whole,  they  do  not 
gain  by  falling  short   of   the  dignity  of  decadence. 

This  term,  in  itself,  is  rather  damning.  In- 
stead of  an  upward  mounting  to  the  zenith,  it 
suggests  tin-  downward  slope  of  things  to  nighl 
and  death.  The  nations  ripe  and  ripe,  and  when 
they  rot  and  rot,  decadence  is  the  tale  thai 
hangs  thereby.  There  seems  to  be,  in  the  story 
of  every  people,  first  the  battle  for  life  and  the 
hardy  growth;  then  tin'  early  spring  voices  of 
the  poets,  and  the  sound,  sweet  fruit  of  art. 
The  bloom  of  the  fruit  coutinues,  hut  the  plague- 
spol  is  at  thr  cure.  This  spreads  till  il  poisons 
the  eater,  and  the  best  I  hal  can  befall  is  some 
si g  wind  uf  change  revolution  or  even  ex- 
tinction—to shake  it  tn  earth,  that  w Irous  al- 
chemist who  transmutes  all  decay  into  now  life. 

If  we  aeeept  this  figure   as   illustrative  of  the 


Decadents,    it    saves    us    the    difficulty   uf  a   defi- 
nition,  hut    commits   us    to    rather   a    sad    vii 
our    times.      I    think    it    is    both    pleasantei    ..ml 
truer  to  see,  in    thr   decadenl   movement,  ju 
inevitable  swing  of  the  pendulum.     We  have  had 
as  much  corruption    before,   followed  by  tin-   most 
austere  purity.     England    ha.  wonderful    rei 
llv''  powers.     She  has  been   sick  to  .loath  a  dozen 
times,  hut   oevei   dream     oi   dj  ing.      She  ha 
"f   asceticism   and    a    day    nf    debauch.      Con 
and  Wycherly  were  the  n         n   from  Milton  and 
the  Roundheads;   and   Messrs.   Beardsli  • 
pany  may  quite  well   be  the  swing  I  a,  k    from  the 
-mi. 'what  emaciated  purity  nf  the  Pre-Raphaelites. 
Th.'  spirit   has  had    its   innings— now  I'm    the  flesh 
and  the  devil.     And.  after  all,  it  is  a  very  partial 
swing. 

Bui  there  is  a  happier  way  still  oul  uf  the 
difficulty.  Why  nut  hoisl  th.-  Decadents  altogether 
off  mu    shoulders  and  saddle  them  on    to    France  ' 


MRS.     PATRICK     CAMPBELL 

{Drawn     by    4ul 


She  has  a   iii.m    broad    hark  I'm-    such    things,  and 

Mi.  Beardsley    won'l    ho    the   1  bj    many. 

Lei  us    inig   ourselves    on    our   iron    constitution, 

,nid  the   clean   hill  of  In  alth  wo  should   have,  hut 


12 


THE    MAGAZINE    OF    ART. 


for  the  tainted  whiffs  from  across  the  Channel 
thai  lodge  the  Gallic  germs  in  our  lungs.  Our 
Beardsleys  have  identical  symptoms  with  Verlaine, 
Degas,  he  Grand,  Forain,  and  might  <puite  well  be 
sick  from  infectioa  II'  we  are  to  blame  them  at 
all,  it  is  only,  so  to  speak,  for  their  trick  of 
hanging    round     Dover,    not     to     hear     Matthew 


FROM      "LE     MORTE     D'ARTHUR." 
{Drawn    by    Aubrey    Beardsley.       By    Permission    of   Messrs.    Dent   and    Cc 

Arnold's  "eternal  note  of  sadness" — the  sadness 
of  the  great  soul's  baffled  longing,  echoed  by  the 
melancholy,  long,  withdrawing  mar  of  the  sea, 
"retreating  to  the  breath  of  the  night-wind,"— but 
lo  have  news  of  the  cafi-chantant. 

Ought  public  feeling,  then,  to  run  dead  against 
the  Decadents? — ami  do  the  notice  ami  praise  they 
have  won  point  to  a  debased  standard  of  criticism 
among  us?  This  is  just  a  paraphrase  of  the  old 
problem,  Does  art,  exist  for  ait's  sake,  or  as  the 
handmaiden  of  morals?     Is  beauty  enough  without 

g Iness?     Here,  as    in  everything  else,  ii    is    the 

perception  of  half-truths  that  halves  the  world  for 
warfare I  piti  lies  its  opposing  earn] is.     If  in  unity 


we  would  dwell,  we  must  work  our  way  up  earnestly 
from  fractional  to  total  surveys.  Entire  praise,  and 
entire  blame  of  men  such  as  Mr.  Beardsley,  is  each 
but  a  half-estimate.  We  must  apply  the  half- 
estimates  to  the  corresponding  half-achievements, 
and  join  them  by  a  hyphen  before  we  get  the  final 
word  of  truth.  Art-critics  are  apt  to  err  in  their 
partial  definition  of  beauty.  Ought  not 
the  term  " beauty  "  to  connote  all  that 
elicits  the  permanent  joy  and  approval 
of  mankind  over  the  whole  field  of  ex- 
perience, both  sensuous  and  spiritual  ' 
Each  of  us  is  but  a  unit  in  the  sum 
of  being,  and  can  contribute  but  a 
mite  to  the  sum  of  beauty.  Some  may 
try  to  do  it  ethically,  by  pure  con- 
duct: some  aesthetically,  by  pure  line 
But,  while  none  can  be  expected  to 
emphasise  more  than  one  or  two 
points  in  beauty's  limitless  tield,  and 
the  tendency  George  Meredith  com- 
plains of  in  us,  to  judge  works  of  arl 
by  what  they  are  imf,  is  absurd;  still, 
in  the  emphasis  of  one  point  there 
must  be  no  denial  of  another.  Ail 
for  art's  sake  is  sound  doctrine.  The 
first  concern  of  pictorial  art  is  with 
line  and  colour.  It  has  no  more  to 
do  with  preaching  than  a  sunset. 
JVeM-moral  it  may  be  as  much  as  it 
pleases,  but  immoral  never.  The  mo- 
ment it  becomes  immoral  it  does  con- 
cern itself  with  ethics,  and  denies  the 
principle  of  beauty  in  its  moral  mani- 
festation. 
h^JkVjl  That  art  like    I'.cardsley's,  so  exccl- 

^^P.f  lenl     in     technique    and    so    detestable 

Z-&JL  pil'il    wakes    more  repugnance  than 

praise  —  proves  us  a  nation  stronger 
in  ethics  than  in  art.  We  are  true  to 
the  Teutonic  strain  in  us,  and  are  nol 
Goths  for  nothing.  But  there  is  Latin  blood  in  us 
as  well — enough,  let  us  hope,  to  temper  harshness, 
and  allow  us  to  give  the  Decadents  the  honour 
which  is  their  due.  In  the  externals  of  art  they  are 
doing  good  work',  and  even  their  flippancy  may 
have  its  uses,  if  it  jeer  us  out  of  conceit  with  the 
bourgeois  sentimentality  of   the  average'  painter. 

Hamerton  closes  his  criticism  of  Mr.  Beardsley 
with  a  kindly  hope  that  he  may  yet  "see  a 
better  side  of  human  life."  Twere  a  fair  hope 
to  have  realised  in  us  all.  There  may  be  a 
better  side  of  life  than  any  of  us  have  yet  be- 
held, reserved  for  the  vision  of  the  pure  in 
heart,  who  in  <  rod's  works  see  God. 


ART     AND     ELECTRICITY. 


By     ROBERT     JOPE-SLADE. 

QOME  little  time  since,  when  certain  artists  ami     bearing  the  electric  globes,  and  by  artists  of  mark. 
kJ    members  of  the  Church  foregathered  in  a  small     Success  in  this  new  branch  of  arl  means  understand- 

room   to   discuss   matters  concerning  their   mutual     ing  its  exacting  c litions.     There  an    occasions,  as 

advantage  (but  did  not)  the  present  writer  had  the     will  be  shown,  when  an  existing  work  of  an   may 

be  adapted  to  ends  of 
wli ich  i  here  was  no 
forethought.  Bui  the 
better    work    must     lie 


pleasure  of  assisting  at 
a  passage  of  arms  be- 
tween Mr.  Holman 
Hunt  and  a,  learned 
prelate  who  had  once 
held  a  Slade  Professor- 
ship. The  latter,  in  a 
speech  which  was  nihil 
ml  rem,  declared  that 
the  Cathedral  of  St. 
Mark  was  less  a  house 
of  prayer  than  a  mu- 
seum, tilled  with  the 
spoils  of  the  foes  of 
ancient  Venice  ;  more- 
over, that  the  mosaic 
men  had  overlaid  the 
deep-cut  Gothic  mould- 
ings of  the  original 
architects  with  their 
tessera'.  Mr.  Hunt  with 
difficulty  rest  rained 
himself,  and,  speaking 
as  an  "ancient  person," 
with  fixed  theories, 
traversed  the  statement. 
The  mosaicists  desired 
to  keep  St.  Mark's  cm 
all-fours  with  the  spirit 
of  tin-  time.  The 
Cut  hie  revival  was  an 
example  of  the  nseless- 
ness  of  applying  the 
art  of  the  past  to  the 
needs  of  the  present. 
Art  mil.  I  adapt  itself  t 
advancing  civilisation. 
The   excuse    fur    this 


tin.'  requiremen 

ing   prelude   is  thai    Ah 


MORNING. 
(Designed   by   Alfred    E.    Lewis.) 


f  ever     I 


Eolman  Hunt's  remarks  arc  very  pertinent  to  n 
subject.     Electricity,  at    hast    electric  illumination, 
is   in    its   infancy.     It    demands    the   assistance    of 
art  to  add  a  beautiful  setting  to  its  utility.     The 


begun  with  the  id.  a 
that  its  proportions  w  ill 

lint       he       perfect       until 

the  luminous  globes  are 
added.      Electric    lighl 
is  pliant  in  the   ai 
hands,    in     a     fashion 

those    wlin    hav ily 

dealt  with  nil  and  wax 
cannot  imagine.  It  can 
he  manipulated  in  any 
position,  vertical,  hori- 
zontal, diagonal :  il  can 
be  uprighl  in  the  watch- 
man's lantern,  drop  as  a 
stamen  From  the  heart 
of     a      fuchsia,     or     fall 

parallel  with  the  base 
from  which  its  Liunci 
springs,  as  the  yellow 
centre  of  a  margin  rite 

There     are     01 i 

two  elementary  facts 
which  must  he  ob- 
served.    The  firsl  is  the 

Of  the  hlass  rilie 
which  holds  the  globe, 
ill.  ei.,, ml  is  it 
of  the  actual  crystal 
containing  tin  light, 
which  1 1 1 . i \  I"'  of  any 
ransparent  or  even  semi-transparent  matei  I 

"  electrolier "  may  1 F  anj     izi     hul   musl   nol   he 

too   minute,  oi    you    gel    a    gem    of    lighl    in  a   hit 
,,l    /„  ic-A-brac  and  not    the   luminoi 
ordinary   lamp. 

There  w  ill  he  no  gi  le  of 

which  the  streets  are  nol    lighted  bj  electric  light, 


opportunity  for  fine  and  novel  work  seems  to  have  excepl    London,  which    i-    I  I  conservative, 

occurred  to  very  few  English  i tellers.     In   Paris  and  has  an  unintelligent  aversion  to  die  acceptance 

ii   is  otherwise:  exquisite  figures  and  designs  have  of  the  changes  effected  by  civilisation.   She  compares 

been    obviously   conceived   with    the    intention    of  in  enlightenmenl  tno      unfavi      ibly  with  pi 


14 


THE    MAGAZINE    OF    ART. 


/ 


cities  such  as  Liverpool,  which  great  port,  by  reason 

of  the  va-et-vient  of  the  oceanic  service,  is  in  inti- 
mate relation  with  the  States, 
learning  thereby  all  the  latest 
inventions,  many  of  them  of 
much  municipal  utility. 

This  new  form  of  municipal 
illumination  opens  out  indefin- 
able opportunities  for  the  de- 
corative artist,  if  the  eyes  of 
the  authorities  can  be  opened 
to  the  hideousness  of  the  pre- 
sent lamp-post.  One  seaside 
town  to  my  knowledge  has 
/m}k  secured   a  handsome   form  of 

,  f     H  electrolier;    but,  of  course,  it 

;  ,v  is  of  one  type,  and  wherever 

it  occurs  is  like  a  repeating 
decimal.  In  Utopia  every 
lamp-post,  to  adhere  to  the 
two  Saxon  words,  will  be  a 
work  of  art  differing  in  de- 
sign. 

It  is  across  the  Atlantic 
that  we  must  look  for  the 
greatest  and  noblest  electrolier, 
to  Bartholdi's  colossal  figure 
of  Liberty,  designed  to  find 
completion  of  symmetry  in  the 
N  great  globe 
a  of  light  it 
bears  aloft, 
stan  d i  n g 
stupendous, 

illuminating  the  sea-way  for  the 

come-and-go    of     the    maritime 

commerce   of    all  nations   to  the 

greatest  port  on  earth ;    the  gift 

of  the  most  important  Republic 

in   the  Old  World    to  the   most 

important  Republic  in  the  New, 

in  token  of   international  amity. 
It  is,  however,  with  humbler 

and   more  everyday  matters  that 

this    essay    must    concern    itself. 

In    many    of    the  houses  of   the 

greal    the   chambers   are  lighted 

with    the   soft   radiance   of    elec- 

tricity   from  sources  unrevealed. 

It  is  so  at   Stafford  House,  the 

London    home   of    the  Duke  and 

Duchess  of  Sutherland,  one  of   the  most   splendid 

places  in  the  kingdom,  of  which  rumour  has  it  Her 

Majesty,  on  coming  from  Buckingham  Palace  to  visit 

the   late  Duchess,  said,  "I  come  from  my  house  to 

your   palace."      And    here    the  lambent  globes  are 


with  difficulty  discovered,  hid  by  the  golden  cornice 
which  runs  round  the  dome-like  ceiling. 

A  still  better  method  for  the  suffusion  of  a  gentle 
but  powerful  light  is  the  Cuthbert  light,  so  called 
from  the  surname  of  its  inventor.  A  bronze  plate 
of  classic  form,  with  a  straight  rim  ami  concave 
centre,  holds  the  invisible  luminant.  This  plate  is 
suspended  by  three  chains.  This  new  light  was  seen 
in  the  greatest  possible  perfection  on  the  completion 
of  its  installation  in  the  great  hall  of  the  Union 
Lank  in  the  City. 

On  this  page  is  an  example  of  a  piece  of  work 
by  Mr.  Bertram  Mackennal,  wdiose  two  great  works, 
"  Circe "  and  last  year's  seated  figure — which  for 
brevity  we  may  call  a  Rahab — drew  wondering  and 
admiring  eyes.  Mr.  Mackennal  has  the  prettiest 
and  most  charming  fantasy  in  producing  excellently- 
modelled  liliputian  figures.  In  the  present  case  the 
figure  is  accroupie;  the  legs  so  drawn  up  that  they 
are  vertical  from  ankles  to  knees,  which  are  clasped 
by  the  crossed  hands  of  her  extended  arms.  The 
back  of  the  maid,  which  is  beautiful  in  curve,  is  sup- 
ported by  what  may  be  the  stem,  which  forms  a 
handle,  of  the  fiat  leaf-like  surface,  whose  three 
points,  turned  down,  lift  the  whole  from  the  ground. 
Between  wings  a  bizarre  imagination  which  is 
neither  griffin  nor  snake,  but  something  of  both, 
bears  on  its  head  an  electric  globe.  The  design  from 
which  the  illustration  is  taken  is  rather  small,  but  it 


■■3 


LIGHTNING. 

(Designed    by    Maillard.      Fro. 

Bellman   and   luey.) 


TABLE     LAMP. 
d   by    Bertram    Mackennal.) 


could  be  enlarged.  It  only  remains  to  point  out  the 
distinction  which  marks  the  perfect  setting  on  of  the 
head  and  the  felicitous  handling  of  the  hail'. 

Mr.  Alfred  E.  Lewis  is  a  direct  disciple  of  Mr.  Al- 
fred Gilbert,  R.A.    On  many  of  the  young  the  Gilbert 


AET    AND    ELEOTEICITY. 


signature  is  stamped;  on  none 
more  so  than  on  this  young  artist, 
who  has  designed  some  abso- 
lutely Gilbertian  yacht-race 
cups.  American  sportsmen  last 
year  discovered  his  gift  in  this 
direction,  and  were  his  consider- 
able patrons.  He  also  designs 
small  figures,  dragons,  and  ser- 
pents for  door-knockers,  and  is 
master  of  all  that  appertains 
to  the  uses  for  which  metal  can 
be  fitly  made  decorative  for 
the  home  Mr.  Alfred  Lewis's 
"  Morning  "  is  the  dainties!, 
electrolier  we  have ;  the  little 
figure  is  exquisite  in  uncon- 
scious grace  of  pose,  modelled 
with  a  delicacy  no  English 
sculptor  could  surpass,  and  ab- 
solutely without  sign  of  labour. 
One    is    convinced    that    there 


15 

supports  and  harmonises  with 
it  in  subtlety  of  feeling.  So  de- 
lightful  is  the  perfection  of  the 
balance  of  the  globes,  and  ad- 
mirable the  way  in  which  they 
are  disposed,  so  very  much 
pleasanter  than  the  insul 
fashion  of  an  arm  always  hold- 
ing up  a  tin,  sufficienl  weight, 
that  we  may  resl  assured  it 
sprang  entire  as  it  is  now  into 
conception  al   the  first. 

There  i<  just  so  much  sus- 
picion of  Allied  Gilbert,  as  one 
mi-lit  suppose  that  Mr.  Lewis's 
art  would  have  been  some  tin  e 
reaching  its  present  expression  it 
thatgreat  masterhadnevei  lived. 
It  is  quite  possible  to  believe 
that  Mr.  Allied  Gilberl  has  ex- 
perimented with  the  new  luillill- 

ant,  but,   he  i\m^  uot   \\ei  k  on 


PENDANT     IN 

(Tor   Midd  Hull,    Ripley. 


WROUGHT-IRON, 
By    IV.    Starkie-Gardne. 


LOUIS     XVI.     LAMP. 
(.From  Perru  and  So.,s, ) 


were  many  experi- 
mental models  before 
consummation  of 
beauty  was  reached. 
The  nymph  grew 
swiftly  into  the  per- 
fection of  her  charm 
and  intensely  feminine 
seductiveness,  with 
just  that  touch  which 
litis  her  out  of  the 
sphere  of  humanity. 
The  refinement  and 
culture  which  are  suf- 
fused Over  the  entire 
dell:  I  -rush     S)  mmetll 

cal  figure  culminate  in 
a  note  of  the  highest 
distinction.  The  de- 
coral  ive  arrangement 
against  which  she  is 
seated  expresses  the 
last  word  of  elegant 
simplicity  spontane- 
onsness,    liveliness    of 

thOUght    ;      While     ll     ;n 

rests  noattent  ion  from 
thefigure,i(  completely 


chance,  and  is  tully 
employed  on  commis- 
sions of  clients  whose 
copyrights  he  respects 
too  much  for  publica- 
tion, even  if  there  were 
no  other  reason.  His 
artist-rel  icenee  is 
doubtless  to  his 
honour. 

With  Mr.  J.  M. 
Swan,  A.E.A.,  tin'  un- 
expected has  occurred: 
he  has  modelled  one 
of    t  hose   exquisit  e 

little      Willises       with 

which  his  painting- 
room  abounds,  and 
mounted  her  on  a 
miniature  earth  of  red 
crystal,  an  inversion 
which  is  delightful  and 
bizarre.  The  original 
was  designed  For  Mr. 
Stuart  Samuel,  For  his 
dining  room  table. 

In  ic\  iew  ing  some 
sculpture  galleries  and 


PENDANT    LAMP    FROM    BRESCIA 

(Attributed  to  Ohibirti.      Ptrry  and  Som.  ) 


10 


THE    MAGAZINE    OF    AKT. 


places  where  electroliers  are  sold,  there  is  one 
important  note— almost  all  the  work  is  French; 
but  some  is  English,  and  extremely  good  in  its 
way.  The  one  quality  English  work  never  possesses 
is  that  untranslatable  roguish  little  attribute,  chic,or 
at  least  cachet.  However  commonplace  the  design 
—mid  some  oi  them  are  that — there  is  always  this 
unconscious  quantity  to  redeem   French  statuettes. 


f 


• 


ELECTROLIER 
(from      Killer    and    Co.) 


At  Bellman,  Ivey,  and  Carter's,  always  in  the 
van  of  art,  is  the  draped  figure  of  a  graceful 
maiden,  standing  delightfully  at  ease,  with  a  figure 
which  expresses  the  plump  and  perfectly  wholesome 
robust  vigour  of  a  slow  and  gentle  adolescence. 
The  sparseness  and  novelty  of  the  charming  exotic 
plant  gives  a  corresponding  simplicity  and  unity, 
with  its  admirably  disposed  and  weighted  globes 
to  contain  the  light.  So  popular  is  tins  figure, 
we  find  it   in  every  gallery. 

Perhaps  the  most  vivacious,  and  fullest  of  life  and 


of  the  quick  movement  of  advance, is  the  statuette  of 

"  La.  Foudie,"  by  Maillard  (see  p.  14).     The  figure  is 

sufficiently  garbed,  with  drapery  which  crosses  the 

lower  part   of   the  body,  and   passing  up  the  back 

appeals  by  her  side  under  the  uplifted  arm.  volant 

in  a  graceful  curve.     A  little  above  her  head  in  her 

left    hand  she  carries  the  light,  while  in  her   right 

hand,  which   hangs  alertly  at   her  side,  she   holds   a 

conventional  zigzag  of  forked  lightning: 

part  of  her  holt  has  already  struck  the 

earth,    which    smokes    in    reply.      "  La 

Foudre "  is   a   flesh   Alfred    de    Musset 

ideal  jiitni  de  velours,  muscles  d'acier. 

Many  beautiful  schemes  for  electric 
illumination  at  Messrs.  Benson's  are 
palpitatingly  modern.  The  designs  are 
their  own.  They  are  all  purely  deco- 
rative in  the  simple  elements:  a  few 
flowers  are  introduced,  hut  most  of 
them  are  expressed  in  brilliant,  novelty 
of  line  and  grace  of  curve:  the  spiral 
is  again  and  again  used  with  the  hap- 
piest effect.  It  is  impossible  to  credit 
the  flamboyance  of  result  produced  by 
their  simple  methods,  or  the  piquancy 
of  acute  multiplication  of  sharp  angles 
and  zigzags  which  are  as  artistic  as 
bizarre.  There  are  globes  which  swing 
with  more  than  the  grace  of  the  fuchsia, 
by  slender  hut  beautifully  wrought 
chains,  as  strong  as  they  are  dainty, 
quite  superfluously  charming  in  effect. 
Double  curves  that  turn  upwards  are 
capable  of  captivating  handling.  In  a 
word,  they  are  quaint,  striking,  indi- 
vidual; akin  to  the  work  of  the  new 
r-    '  English  Art  Club,  unlike  anything  seen 

outside  the  gallery,  the  poetry  of  the 
mathematical  line,  evasive  of  description, 
and  exhausting  the  beautiful  metals  in 
variety  of  tone.  It  is  delightful  so 
entirely   to  escape    from   the    French. 

At  Faraday's  there  is  much  sump- 
tuous work.  One  of  the  most  beautiful 
things  here,  and  of  the  newest  design, 
is  a  trio  of  rains'  heads  connected  by  loops  or 
curves  of  chain  of  graduated  spheric  oval  heads. 
At  Verity's,  electroliers  are  almost  entirely  from 
Paris;  and  here  we  find  the  figure,  both  draped 
and  undraped,  which  Bellman,  Carter,  and  Ivey 
have    found    SO  popular. 

At  Ferry  and  Sons'  mi  boite  de  surprises 
awaited  US,  <  'arriere  -  Belleuse  has  a.  large  and 
fully-fleshed  Eros,  modelled,  with  unctuous  ampli- 
tude, of  a  bronze  with  a  sheen  ami  bloom  on  its  sur- 
face      I'm   I  he  figure  should  have  been  Hercules,  the 


ART    AND    ELECTRICITY. 


17 


column,  with  a  twining 
spray  of  roses  and  an 
heraldic  wreath  at  the 
base,    all     in     ormolu. 


gulden  brazier  with  the  is  a  seated  figure  of  a  child-angel  in  bronze  the 
twelve  electric  lights  is  floriated  and  graceful  curved  support  is  held  by  the 
so  ponderous  for  the  figure  in  its  arms,  and  would  cany  three  beautiful 
little  god  to  cany.     1 1      light  supports. 

stands  Dii  a,  Corinthian  Decoration  in  the  best  sense  is  shown  at  Miller 

ami  Sons'.  In  the  electrolier  which  is  reproduced, 
with  seven  flowers  holding  lights  which  spring  vigor- 
ously from  the  fine  mass  of  graceful  curves,  the  stem 
is  spiral  with  large  outstanding  studs,  with  roses  foi 
heads,  and  terminating  in  what  may 
be  <  ailed  a  little  dome,  with  spand- 
rels in  repoussi.  It  is  wrought  in 
lacquered  and  polished  bras.-.  The 
greatness  and  picturesqueness  of 
ilie  design  dominate  the  art.  At 
this  gallery  are  splendid  figures: 
due  is  probably  Athena  herself,  by 
the  dignity  of  the  figure,  and  the 
queenly  folds  which  fall  straight 
so  as  to  just  reveal  the  toes  of 
firmly  planted  feet.  The  vessel 
which   holds  the  light    is  held  on 


A  candelabrum  of  great  splendour 
by  Benvenuto  Cellini,  which  need 
not  be  reproduced,  although  it 
makes  a  magnificent  electrolier. 

What  is  startling  is  the  adapta- 
tion of  Cinquecentist  and  Empire 
designs,    from    the    primitive    wax 

light  to   the  ultra-modern   electric: 

°T       ■      c ,   •  .,,  ,  CF«  «  " " 

a  Louis  Seize    veuleuse    in    ormolu,  w.  sta 

delightful  in  design,  a  sort  of 
banging  basket  wrought  in  a  fretwork  of  metal, 
decorated  with  roses  and  Cupids,  perfectly  adapted 
to  carry  the  electric  light  cither  pendent  or  hidden. 
A  Renaissance  lampada  based  on  a  design  by 
Ghiberti,  it  has  the  power  and  simplicity  of  the 
best  Italian  wmk:  the  three  chains  by  which  it 
hangs  are  composed  of  links  with  crosses  in  them 
and  on  the  lamp  itself  arc  three  figures  draped, 
their  bands  holding  the  chains.  Three  heads  in 
high  relief  are  on  the  lamp  itself,  which  is  de- 
cidedly oriental.  One  of  the  most  graceful  designs 
is  Florentine,  the  original  now  at  Versailles;  it 
3 


high    by 

st  roic''. 


the  bare, 
dimpled 


arms.  This  crowns 
a  noble  work. 
( lloisonne" and  Min- 

Inii,  Japanese, 
( 'hinese,  and  man) 
Other  wares,  and 
all  i  he lals,  have 

also     been     p] 

into  service  for  i he 
new  illuminant. 


LAMP. 
(For  Mourt 


18 


THE    MAGAZINE    OF    ART. 


The 
which  ! 


quisite  an 
ml  illusti 


1  novelly-designed  electroliers, 
ations  are  given,  are  the  work 


ELECTRIC     GARLAND. 
(From   Eastlakes,  Limited.) 

Mr.  Starkie  Gardner.     Of  a  delightful  filigree,  which 

strikes  one  as  oriental  in  feeling,  is  the  lamp  first 
on  page  17  :  the  panes,  if  I  may  call  them  so,  are  of 
horn,  a  substance  of  great  charm  and  just  sufficient 
transparency  to  give  a  soft  and  sufficient  light. 
This  material  has  been  sadly  forgotten  by  artistic 
workers  in  metal.  It  is  in  the  possession  of  the 
Hon.  A.  P.  Allsopp.  Quite  different  in  design  is  the 
central  lamp  on  the  page  :  graceful  curves  climb 
the  crimson  rope  of  twisted  silk  which  secretes  the 
electric  wire.  A  trellis-work  of  gold  is  diamond 
shaped,  the  scroll-work  about  it  is  of  an  elegant 
simplicity.  Two  minute  griffin  heads,  bent  outwards, 
break  the  sense  of  all  line.  The  light  itself  is  heart- 
shape,  two  shields  of  mother-of-pearl  hiding  it;  they 
are  connected  in  the  centre  by  a  small  rosette. 
Amongst  the  many  refined,  graceful,  and  original 
works  by  Mr.  Gardner  is  a  somewhat  weighty  lamp, 
made  of  black  iron  and  ivory.  1 1.  goes  to  a  house  in 
Berkeley  Square,  as  does  another  beautiful  concep- 
tion it  is  formed  chiefly  of  an  eleganl  scroll-work: 
hut  i In-  great  number  of  perforations  give  this  large 
piece  an  air  of  Lightness.     At  the  Junior  Constitu- 


tional (.'luh  hangs  an  extremely  facile  design  of  con- 
siderable grace  :  it  is  a  novelty  because  it  is  made  in 
pewter,  an  excellent  metal  for  such  a  purpose.  It  is 
the  work  of  Colonel  E.  W.  Edis,  of  the  Artists'  Corps, 
who  is  the  architect  of  the  Club. 

"Wandering  through  the  galleries  one  often  tires 
of  the  eternal  Eros  and  Aphrodite,  the  occasional 
Hermes,  Herakles  and  Phoebus,  wondering  that  there 
are  no  Cceur  de  Lion,  no  Saladin,  watchmen,  me- 
diaeval dames  and  damozels,  fayre  and  debonnaire, 
Jeanne  D'Arc,  Fausts,  Marguerites,  Vulcan  glowing 
at  the  forge,  Eastern  figures  of  women  at  the  well, 
carrying  jars  on  their  heads,  or  stopping  to  pick 
shining  globes ;  knights  of  the  Middle  Ages  armed 
cap-A-pie,  with  electricity  forming  part,  say,  of  a 
horse's  crest.  The  whole  host  of  legend,  tradition, 
history,  fantasy,  faery,  purely  imaginative  or  elfin 
lore  are  available;    the  draped,  the   undraped,  the 


NAIAD     VASE. 


grotesque,  the  quaint  and  the  Uzm-re  are  all  ac- 
cessible. But  the  whole  range  of  existing  electric 
statuary  and  decorative  globe-bearing  design  may  be 
summed  up  as  consummate  in  execution,  strangely 
wanting  in  invention  and  imagination. 


ARCADE     IN      PIAZZA     CARICAMENTO.     GENOA. 


STREET    ARCADES     IN     NORTH     ITALY. 

By      H.      E.      TIDMARSH.         ILLUSTRATED      BY      THE      AUTHOR. 


THEIIK  is  nothing  distinctly  peculiar  to  Italy  in 
the  arched  and  covered  ways  which  we  call 
arcades.  Yet  somehow  there  is  that  variety,  beauty, 
and  individuality  in  the  arcades  of  Italy  which 
make  us  associate  the  two,  and  almost  forget  that 

all  civilisation  lias  had  such  covered  walks.     Iml 1, 

where  men  have  found  the  discomfort  of  walking  in 
the  summer  sun,  the  autumn  rain,  and  the  winter 
snow  they  have,  if  their  health  prompted  them  to 
l>c  outdoors,  ami  their  wealth  allowed  them  to  he 
extravagant,  made  some  kind  of  shelter  in  which  to 
walk  ami  .In  their  business. 

Tlir  Forum  of  classic  'lays  was  surrounded  by 
colonnades,  and  the  chief  streets  lined  with  them; 
ami.  as  far  as  we  can  learn,  the  best  streets  "i 
mediaeval  towus  were  lined  with  covered  walk., 
built  over  the  vaulted  stone  cellars  of  the  merchants' 
houses;  and  where  these  ilal  not  exist  the  over- 
hanging of  the  upper  storeys  offered  a.  useful  ami 
grateful  shade  to  the  passer-by.  Bui  in  these 
northern   lands,  when    brick   ami  stone    supplanted 

w 1,  this  overhanging  ami  arcading  was  'I i  away 

with, ami  the  new  builder  seldom  put  a  covered  walk 


in  the  ground  floor  of  his  new  house.     Some  of  the 
shew-   streets   in   modern   cities  have  such  arcades, 
and  the  Hue  de  Puvoli   in    Paris,  St.  Mark's   Piazza 
in  Venice,  even    the   Pantiles    in  Tunbridge    Well 
are  instances  where   the  architect    has  successfully 
attracted  people  bo  the  shelter  of  his  building,  and 
the  shopkeeper  has  found  ii  profitable  to  settle  there. 
Another  phase  of  the  same  thing,  but  quite  a  m 
development,  is  the  glass-covered   walk   with  sho] 
mi  either  side,  new  so  common  in  all  towns      Bui 
lington    Arcade   is  one   instance  at    Inane,  and    the 
splendid  Galleria   Vittorio  Einanuele,  in    Milan,  one 
of  the  besl  know  n  to  travellei    abroad.     In  Southern 

gardens  it  is  com to  build  a  double  row  of  stone 

piers,  across  which   sticks   are  laid   ami  vines   ami 

creepers  tn id  over  them  to  1  i  walk 

called  a  /"  rgola.     But  it   is  i 
treating. 

The   temporary    sheltei    •■■  lii  h  epers 

make  in  some  Europi 

from  the  shop-blinds  down  to  the  kerb,  thus  f iiig 

a  .miii  mii'iii  -  co\  ered  way  pasl  lio]     in  the  heat 

of  the  da  principle  a-  the  stone 


20 


THE    MAGAZINE    OF    ART. 


arcade,  aud  may  I"'  een 
well  developed  in  the  Via 
de  Condotti,  in  Rome, 
so  well  known  to  the 
Briton. 

This,  in  comparison 
In  tin.'  solid  work  of  our 
ancestors,  is  perhaps  but 
typical  nf  how  we  work 
for  an  age  or  a  day,  not 
for  eternity . 

One  cannot  enter  the 
gloom  nf  the  stone  arch 
of  these  streets,  es- 
pecially when  the  sun 
has  just  left  it  and  the 
evening  is  coming  on 
apace,  without  wonder- 
ing almost  unconsciously 
whether  this  part  of 
modern  architecture  is 
but  after  all  a  survival 
nf  the  primitive  cave 
dwelling.  Is  it,  possible 
that  the  cave  man  in 
us  still  loves  in  make 
a   stony   hole  where  he 

may   hide    from    the  glare    and    shelter    from    the 
.it  be  despoiled  of  all  his  natural  tastes 


cold, 

and 


advantages    by   glazed   windows   and    carpets  ' 


PIAZZA     PONTIDA,      BERGAMO. 

It  is  a  source  of  some  wonder  that  these  healthy 
and  pleasant  promenades  should  now  be  so  little 
used  :  but  maybe  they  are  too  much  a  shelter  to 
the  bad  as  well  as  to  the  good.  Evelyn  in  his  diary, 
indeed,  criticises  them  unfavourably  in  connection 
with  the  common  people;  ami  at  night  time  they  are 
certainly  suggestive  nf  cloaked  figures  ami  daggers. 
It  is  alsn  a  complaint  of  the  shopkeepers  that  so 

little  light  en- 
ters under  these 
a  re  a  iles  —  fur 
which  reason  the 
colonnading  was 
removed  from 
Regent's  Quad- 
rant in   1  848. 

Some  of  the 
North  European 
towns  still  have 
their  old  arcades, 
and  tin-  Rows  at 
Chester  are  but 
a  strangely  de- 
veloped type  of 
the  same  thing. 
But  Winchester, 
Can  t  e  rbu ry  , 
York,  etc.,  are  pe- 
culiarly deficient 


STREET    ARCADES    IX    NORTH     ITALY. 


21 


the   single    occasional    exception 
places  undei    the  Market-houses 


greatest 
poor  in 


in    such    featuri 

being  the  cover 

themselves. 

North    Italian  cities   have   by   far  the 

number  of  street  arcades.      Rome  is  very 

them.     Florence    no  less  so,  though  one   must   not 

forget   the  Loggia  di  Lanzi.     They  probably  trusted 

to  the  narrowness  of  their  streets  and  overhan^inc* 

eaves  for  shelter.    But  it 

was    possibly    a    matter 

and   accident   of    fashion 

and    time,    for    while 

Bologna  and  Padua  were 

being    rebuilt     Florence 

was      largely      complete, 

and    Rome  hardly  rising 

from   her  lung  sleep. 
At    the    entrance    to 

Italy  by  Lugano  there  is 
a  beautiful  instance  of 
arcading  which  compen- 
sates for  the  otherwise 
great  plainness  of  the 
houses.  Any  possible 
monotony  of  so  many 
arches  is  broken  by  the 
irregularity  with  which 
every  shopkeeper  hangs 
out  his  own  form  of  blind 
when  the  sun  is  in  his 
direct  ion,  sometimes 
quite  covering  that  side 
of  the  street  with  stripes 
of  colour.  The  approach 
to  Italy  by  Genoa  also 
exhibits  a  very  interest- 
ing and  unusual  form  of 
arcade.  The  great  ancient 
houses  along  the  quay 
have  a  very  sombre  and 
irregular  covered  way  in 
their  base.  The  arches 
are  mostly  tilled  up  with 
little  shops,  or  stairs  to 
the  rooms  above,  and  the 
light  has  to  peep  in 
over  the  top:  and  the 
smell  from  the  cookshops 
to    timl    its    way    over 

these.      A  ceaseless  crowd 

of  all  sorts  ami  condi- 
tions is  for  ever  up  ami 
down  this  walk,  seafaring 
and  dockmen  being  the 
most  numerous.  Without, 
is    the    great,   wide   dirty 


qua;)  the  Piazza  »  'arieamento,  with  its  great  \\ 
and  trains,  ami  ships  ami  old  buildings  and  old 
piers  and  the  warm  sunshine  and  all  the  things 
of  an  Italian  seaport.  Within,  there  is  cool  shade 
and  the  flavour  of  Limehouse  of  the  East  India 
Dock  Road,  with  a  thousand  things  to  interest  one. 

Bologna   stands  ahead  of  all  i  ities  for  arcades, 
and    is    not   without    reason    called    "the   city    of 


ARCADE     OF    THE     DOGES     PALACE,    VENICE, 


THE    MAGAZINE    OF    AKT. 


mixed  up  with  iron  tie-iods. 
The  sun  only  peeps  into 
these  cool  walks  for  an  hour 
or  two  in  the  whole  day ; 
and  the  rain,  of  which  Pisa 
gets  so  much,  may  be  quite 
ignored   in  these  streets. 

Amongst  the  smaller 
towns,  the  arcading  in  Bres- 
cia has  a  charming  old- 
world  look.  It  is  wonderful 
that  after  years  of  neglect 
and  use  these  columns 
should  show  so  little  sign 
of  damage.  Every  shop- 
keeper or  stall-holder  drives 
nails  or  hooks  into  them  on 
which  to  hang  coat  or  blind, 
and  yet  in  this  charming 
country  they  are  sound  and 
handsome  hundreds  of  years 
after  their  builders  left  them 
to  rot  forgotten  in  the  dis- 
tant Campo  Santo. 

Cafes  are  constantly 
found  in  these  covered 
ways.  Some  of  the  most 
famous  of  them  of  the 
South  have  taken  up  their 
abode  in  these  arcaded 
buildings,  as  in  Nice  and 
Venice,   and  a   bit  of   such 


THE     PIAZZA    DELLE     ERBE,    VERONA. 

columns."  Padua  ranks  next 
in  the  number  of  its  arcaded 
streets  ;  but  these  are  fast  dis- 
appearing under  the  modern 
restorer's  hands. 

Of  the  same  type, and  per- 
haps better  known  to  tourists, 
are,  those  at  Pisa,  which  is 
probably  more  \  isited  for  its 
famous  church,  tower,  and 
( lampo  Santo  than  any  other 
second-rate  city  in  Italy.  The 
-i  reets  are  wonderfully  clean 
and  neat,  and  the  sombre  old 
columns,  with  their  variously 
carved  capitals,  support  a 
succession  of  arches  which 
sustain  the  houses  above  by 
rig,  which   is   generally 


VIA     DEL     BORGO.     PISA 


PALLADIOS    ARCADE     AT     VICENZA. 


24 


THE    MAGAZINE    OF    ART. 


shelter  is  seized  upon  anywhere  for  the  purpose.  A 
pretty  instance  of  this  is  in  the  great  market-place, 
the  Piazza  delle  Erbe,  at  Verona.    Here  the  builders 


When   he  surrounded  the  old    Gothic    hall   in    the 

Market    Square    (the    Piazza    de    Signori)  with    his 

beautiful  and  ornate  design  he  produced  a  splendid 

upper  and  Lower  walk  where  the  citizens 

could  do  business  or  take  the  air  in  any 

weather  outdoors. 

But  there  is  no  possible  doubt  that 
the  best  known  street  or  piazza  arcade 
is  under  the  Ducal  Palace  at  Venice. 
Constructed  in  the  fifteenth  century, 
beautifully  built  and  carefully  preserved, 
it  is  one  of  the  most  famous  bits  of  the 
most  famous  corner  of  that  most  famous 
city.  The  beauty  and  cleanness  of  the 
marble  of  which  it  is  built  is  no  less 
attractive  than  the  beauty  of  the  design, 
and  the  contrast  with  the  more  common- 
place and  extensive  eolonnading  on  the 
fe  other  three  sides  of  the  piazza  is  greatly 

in   its  favour.     There   one  looks   out   for 


THE     TOWER     GATE.     LEONESSA. 

of  the  east  side  of  the  square  put  up  some  old 
columns  and  built  out  the  first  floor  upon  them, 
forming  not  an  arcade,  which  requires  arches, 
but  a  little  colonnade,  in  which  are  several  cafes 
and  other  shops.  Here  the  citizen  may  sip  and 
chat  and  look  out  on  the  great  forest  of  um- 
brellas and  sea  of  people,  with  the  background 
of  the  Palazzo  Mallei  and  the  lion-mounted 
column. 

Another  instance  of  such  a  bit  of  shelter, 
quite  different  in  character  to  any  of  the  others, 
is  the  little  covered  way  one  passes  through  in 
going  to  the  railway  station  in  Venice. 

In  the  mountain  towns  they  have  the  same 
cloistered  ways,  though  here  the  arches  are 
seldom  supported  on  graceful  columns,  but  on 
square  piers  of  stone.  In  the  little  Abruzzi  (own 
of  Leonessa  such  an  arched  footway  (here  shown) 
runs  from  the  gateway  up  the  chief  street,  if 
SUCh  a  shopleSS,  CartleSS,  horseless  place  can  be 
said  to  ha\  e  a    ■ !  reet. 

To  the  progressive   architect    the    must    notable 
arcading  is  that  famous  work  of  Palladio  at  Vicenza. 


ON   THE    ROAD   FROM   THE   RIALTO  TO  THE   STATION,   VENICE. 

the  shops  and  coffee  and  people  and  pigeons:  here 
for  the  beauty  of  the  building  itself. 


25 


GIOVANNI     SEGANTINI. 


By     HELEN     ZIMMERN 


HOSE  who  read 
llie  accounts  of 
exhibitions  and 
watch  with  in- 
teresl  the  new 
names  and  new 
p  rod  u  c  t  ions 
that  constantly 
appear  in  the 
world  of  art 
cannot  fail  to 
have  noticed 
with  ever  in- 
creasing fre- 
quency the  recurrence  of  the  name  of  Giovanni 
Segantini.  This  Italian  artist,  who  is  beginning  to 
make  a  great  name  for  himself  outside  the  limits  of 
his  native  land,  is  one 
of  the  most  robust  and 
original  personalities 
among  modern  paint- 
ers. So  far  is  he  from 
seeking  after  mere 
praise,  from  desiring 
to  be  the  talk  of  the 
town  or  a  more  or  less 
passing  fashion,  that 
he  lives  as  far  remote 
from  the  world  as  pos- 
sihle.  pitching  his  tent 
in  a  high  and  distant 
corner  of  the  Alps, 
\\  hence  lie  but  seldom 
descends  to  visit 
Milan,  and  then  only 
for  short  periods.  Of 
him  as  of  few  other 
painters  it  can  be 
affirmed  that  he  is 
equally  interesting  as 
a  man  and  as  an  artist. 
Segantini  stands  in 
the  front  rank  of 
modern    Italian   paint-  Giovanni 

ers  :    indeed,   in   some  (b9  i 

respects   he  stands  at 

the  very  head  of  them — that  is  to  say,  in  the  treat- 
ment of  the  subjects  he  has  made  his  own  particular 
province.  What  Millet  did  for  France,  Giovanni 
Segantini  has  dune  for  [tabj  that  is,  he  has  d 
his  art  to  the  cause  of  the  poor  and  lowly,  and 
has  faithfully  depicted  the  life  of  the  peasants,  not 

4 


dressed  in  their  best  with  conventional,  smiling 
faces,  obviously  sitting  for  theii  portraits 
tableau*  vivants,  but  peasants  in  their  daily  exist- 
ence, in  work  ami  sorrow  and  joy,  with  the  unheeded 
tragedy  and  unconscious  poetrj  of  the  simple  peasant 
life.  And  he  dees  not  paint,  moreover,  as  one  who 
has  studied  his  subject  from  outside,  for  a  time,  but 
he  lived  amongst  the  poor,  as  one  of  them,  from  his 
childhood,  the  poor  of  the  city  and  the  village;  and 
when  he  became  a  man  with  means  to  do  as  hi' 
pleased  lie  chose  to  make  his  home  amongst  tin- 
isolated  dwellers  in  the  Alpine  hamlets,  where  life 
is  rude  and  hard,  and  where  man  has  not  yel 
succeeded  in  enslaving  and  vilifying  nature. 

Segantini  was  born  at  Arco,  in  the  Trentino,  in 
1858.  His  mother,  who  died  when  he  was  five 
years  old,  belonged  to  one  of  those  ancient  families 
of  the  mountain  dis- 
tricts from  which  in 
former  times  sprang 
t  he  siddiei  s  of  for- 
tune, ami  now  the 
best  agriculturists :  his 
fal  her  was  a  plain  man 
of  the  people.  B 
left  a  widower,  the 
father  moved  to  Milan, 
where  lived  a  son  and 
daughter  of  his  first 
marriage.  Affairs  were 
not      flourishing,     and 

the     father      and     elder 

son    soon    departed    to 

seek     t  heir    fort  lilies 
elsewhere,    leavii 

little  Giovanni   in    the 

of    his    hall 
Tin   V      lived     ill      t  W  o 
allies,    and     the 
w.aii   to  work  early  in 
the    mornin 
the    child    to    his   own 
devices,    something    to 
eat    within    reai  h,  and 
forbidding   him 

],io\  ide  anything  in  the  wa\ 

hands  or  mind.     What    won  baby 

got  into  one  51  rape  nfti 

iiaint- 
ance  a  ith  bi  'loins.     Tl  !\  the 

implements    of    white\  titers, 


SEGANTINI 


26 


THE    MAGAZINE    OF    AET. 


certainly,  but  they  formed  an  epoch  in  his  childish 
history  :  and  when  the  interest  in  the  actual  process 
had  waned,  he  found  an  enthralling'  fascination  in 
the  .lamp  patches  on  the  half-dry  wall;  for  in  these 
marks  his  fancy  saw  the  outlines  of  men  and  scenes 
and  animals— even  the  semblance  of  the  father  he 
still  waited  and  longed  for,  but  who  never  returned 


THE     ANGEL     OF     LIFE. 
{From    the    Painting    by    Oiouanni    Segantini.) 

from  his  fortune-seeking  travels.  At  last  a  change 
came.  •  Ine  day  the  child  overheard  two  women  talk- 
ing of  a  youth  who  had  journeyed  into  France  on 
fool  and  there  had  made  his  fortune;  the  thought 
struck  him  that  if  that  boy  had  found  it  possible  to 
leave  Milan,  why  should  not  he?  So  he  watched 
his  opportunity  one  tine  morning,  and  slipping  out 
of  the  house  he  set  off  on  his  way  to  Fiance,  having 
for  sole  provision  a  piece  of  bread  he  had  obtained 
from  the  baker's  on  credit.  He  tramped  on  till  dusk 
and  weariness  and  a  storm  of  lain  overcame  his 
childish  courage,  and  lying  down  beneath  a  tree  he 
remembered  nothing  more  until  he  was  awakened 
by  two  men  who,  passing  w  ith  their  cart,  had  noticed 


the  drenched  and  sleeping  boy,  and  these  friends  in 
need  took  him  home  to  their  cottage,  where  he  was 
dried  and  fed  and  told  his  little  story.  On  hearing 
he  was  an  orphan,  these  poor  but  kindly  peasants 
determined  to  keep  him  with  them,  on  condition, 
however,  that  he  made  himself  useful:  and  so,  when 
barely  seven  years  old.  Giovanni  Segantini  began  to 
earn  his  own  living  in  the  respon- 
sible position  of  a  swineherd. 

But  the  long  hours  of  idleness 
were  not  wasted;  he  took  note  of  his 
new  surroundings,  and  instinctively 
tried  to  reproduce  them,  scrawling 
his  pictures  on  walls  and  stones,  like 
a  new  Giotto.     At  last  his  occupa- 
tion   was   noticed,   it    came   even    to 
the  ears  of  the  syndic,  and  the  little 
swineherd   was    straightway   looked 
on   as  an   infant  prodigy,  and   was 
sent  back  to  Milan  to  have  his  talent 
taught  and  fostered.      But  he  could 
not  adapt  himself  to  the  restrictions 
of    domestic   life:    his   boyish   pride 
was  wounded,  there  was  a  scene,  and 
once  more  he  bloke  away,  tins  time 
for  good.     He  began  to  lead  a  rest- 
loss,  roving  existence,  finding  tem- 
porary employment  and  hospitality 
wherever  he   could,    till   at    last    he 
reached   his   native   Arco,  where  he 
met    his  half-brother,   who   offered 
him  the  post  of  cashier  in  his  bacon 
shop.     Giovanni    only    stayed    here 
till    he    had   saved    a    small    sum   of 
money,  with  which  he  resolved  to 
try  his  fortune  once  again.     But  the 
money  was  stolen  on  the  road   by  a 
perfidious  friend,  and    Segantini  re- 
turned   to    his    brother    in    despair. 
Touched,  however,  by  his  grief  and 
his    earnestness,    the     brother    pro- 
vided him  witli  the  means  of  going 
to  Milan  to  follow  his  bent,  and  the  hoy  departed 
only    too    gladly.      In    Milan    he    attended    the    art 
classes  at  the  Brera,  living  meanwhile  in  an  attic, 
and  eking  out  his  scanty  means  by  giving  lessons, 
drawing  portraits,   painting   window  blinds,   church 
banners,  etc.,  and  helping  a  friend  who  was  house- 
painter   by  day  and   clown   by  night.      In   spite  of 
unkindness   and    frequent   injustice   he   worked    on 
courageously  and  cheerfully:  he  felt  his  own  power 
and    knew    he   must   conquer    in    the   end.     "Whilst 
studying  at  the  Brera  he  was  painting  his  first  pic- 
ture, which  not  only   won   for   him   the   admiration 
and  respect  of  his  colleagues,  but  procured  him  the 
means  of  leaving  the  Academy  and  obtaining  wider 


GIOVANNI    SEGANTINI. 


21 


teaching  and  experience.  This  picture  was  the 
"Core,  di  Sant'  Antonio;"  it  represented  part  of 
the  interior  of  a  church,  the  light  from  a  large  win- 
dow illuminating  the  stalls  and  falling  upon  an  old 
picture,  bringing  into  prominence  its  tailed  figures, 
while  a  little  choir  boy  gives  life  to  the  scene.  It 
was  a  strong  and  remarkable  work  for  a  beginner, 
and  the  vigour  here  displayed  was  to  prove  the  per- 
manent distinguishing  mark  of  Segantini's  art.  He 
was  so  poor  that  he  was  compelled  to  use  as  canvas 
the  back  of  an  old  fire-screen,  whilst  his  colours  were 
obtained  from  a  friendly  grocer  in  return  for  painting 


made  hiin  long  to  be  alone.  He  hail  taken  a  studio 
for  himself,  where  he  painted ,  amongsl  other  things, 
"La  Falconiera  "  and  "  Prode,"  but  he  did  not 
there  very  long;  he  left  Milan  and  settled  in  the 
Brianza,  that  beautiful  piece  of  country  between 
Milan  and  Lake  Com o.  Here  it  was  that  he  began 
to  study  country  and  peasant  life,  and  in  pursuil  of 
his  studies  he  roamed  on  foot  all  over  these  lovely 
semi-Alpine  regions.  The  pictures  he  produced  \\  ere 
not  wholly  landscapes,  in  spite  of  the  absolutely  rural 
life  he  led:  he  looked  at  a  landscape  merely  as  the 
back-round  and  setting  for  his  figures,  the  surround- 


PLOUGHING      IN 
(From  the  Pointing 

a  shop  sign  with  a  sugarloaf  and  other  emblems  of 
the  trade.  A  critic  of  that  time  wrote  that  "  Segan- 
tini's art  is  full  of  attractive  elements  and  of  defects, 
of  deficiencies  and  exuberances — in. short,  it  is  the  sum 
total  of  a  talent  that  has  all  the  expansiveness  and 
all  the  audacity  of  careless  and  robust,  youth,  of  a 
genius  that  has  developed  out  of  its  own  strength, 

unhampered  by  scholastic  principles  which  I ften 

modify  the  originality  of  inspiration,  and  at  times 
even  suffocate  it."  The  words  hold  true  to  this 
day.  He  now  began  to  shake  oil' the  conventionality 
of  the  Brera  school,  and  after  the  success  of  his  first 
picture  he  exhibited  others,  Mich  as  "Galloping 
Consumption "  and  "11  Naviglio,"  which  drew  down 
on  him  the  scorn  of  the  conventional  art  ci  itii  - 
I '.ut  Segantini  did  not  care  ;  he  was  painting  according 
to  his  own  ideas  and  theories,  and  his  one  desire  was 
to  get  away  from  Milan  tu  some  quiet  place  where 
he  could  work  in  his  own  way.  The  city  seemed  to 
stifle  him,  and,  moreover,  his  constitutional  shyness 


THE      ENGADINE. 
by  Oiommni  Segantim.  I 

ings  for  the  soul  of  his  pictures.     To  this  period 
belong— to  mention    only   the   most    notable — " Ave 
Maria,"  which  gained  the  -old  medal  at  the  Amster 
dam  Exhibition  in  1883,  representing  a  boatload  of 
sheep  being  ferried  across  the  placid,  shining  water, 
whilst  amongst  the  animals  sits  a  woman,  with  benl 
head,  clasping  her  child  in   her  arms:  mi  the  shore 
beyond    is    the    village    with    its  church   spire,  and 
behind  everything  the  sun  is  setting  in  fierj 
"The  Mothers,"  a  tired  woman  and  tired  sheep,  each 
with  their  offspring :  "  After  a  Storm  on  the  Alp 
showing  sheep  and  shepherd   huddled   to 
neath  the  mingled  brightness  and  blackness  of  the 
stormy  sky,  the  angry  gleam  louds 

reflected  in  the  | Is  of  1:1m  amidst    the  gra  \ 

Kiss"  and  "A  Moonlight  Effect,"  all  introducing 
sheep   and    figun      and  while 

in  a  different  stj  le  was  Earlj  Via  the  solitary 
figure  of  a  pri  I  slowlj  mounting  a  wide  stone 
stairway,  booli  in  hand  •  I  lie  iir.-i  sen  ice. 


28 


THE    MAGAZINE    OF    ART. 


THE      RETRIBUTION     OF     UNNATURAL     MOTHERS. 


Segautini's  most  important  work  painted  at  Brianza 
was  "Alia  Stanga,"  a  wide  evening  landscape  with 
cattle  brought  from  pasture  to  the  milking  place. 
Although  all  these  subjects  might  be  termed  every- 
day and  even  commonplace,  they  are  treated  with  an 
ideality  that  lifts  them  far  above  the  usual  rank  ; 
for,  as  Segantini  himself  says,  "Art  without  ideals 
is  like  nature  without  life." 

It  so  happened  that  about  this  time  Segantini 
made  his  first  acquaintance  with  the  works  of  Millet: 


they  were  only  the  reproductions  in  a  French 
magazine,  but  they  made  a  deep  impression  on  him; 
for  here  was  an  artist  who  had  reached  the  aim  he 
was  striving  after,  who,  like  him,  had  lived  with 
the  peasants,  and  had  immortalised  their  joys  and 
sorrows  in  his  art.  But  so  afraid  was  Segantini  of 
having  his  own  individuality  influenced  that  he  did 
not  keep  the  magazine  long  in  his  possession  :  the 
impression  could  not  be  effaced,  nevertheless,  and 
had  its  (.•fleet  on  Segantini's subsequent  work.     After 


THE     SHEEPFOLD. 
(From    the    Painting    by    Giovanni  Seganti 


GIOVANNI    SEGANTINI. 


31 


this  even  Brianza  seemed  too  much  in  the  world  to 

suit  him,  and  he  removed  with  his  wife  find  children 
to  Savognino  in  the  Grisons,  after  a  time  going  ye! 
further  into  the  Alpine  heights  ami  setting  up  his 
ahode  ami  studio  at  Maloja. 

With  all  these  actual  changes  there  came  a 
change,  too,  in  his  style  of  work.  Like  the  youth 
who  gradually  grows  to  manhood,  much  of  the 
delicate  grace  of  his  art  gave  place  to  mure  strongly 
marked  and  powerful  productions,  as  though  he 
would  make  nature  his  own  by  sheer  force. 
Amongst  the  best  of  the  pictures  he  produced  during 
this  period  are  "The  Drinking  Trough,"  which 
obtained  a  gold  medal  in  Paris:  "In  the  Sheep- 
fold,"  "Tin-  Shepherd's  Income,"  "Al  the  Spinning 
Wheel,"  and  "  Ploughing  in  the  Engadine,"  which 
won  a  gold  medal  at  the  Turin  exhibition  of  1S9± 
Hr  also  continued  his  studies  of  the  effects  of  light, 
and  in  "  Midday  on  the  Alps  "  and  "  Winter  at 
Savognino"  gave  a  tine  contrast,  the  latter  painting 
being  remarkable  for  the  management  of  the  different 
shades  and  gradations  of  white.  To  the  finest  of 
his  works  must  also  be  reckoned  "The  Return  to  the 


ON     THE     BALCONY. 
the   Painting    bt)    Giovanni   Scgantir, 


Sheepfold  "  and  "The  Return  to  His  Native  Village." 
The  latter  illustrates  a  custom  which  prevails  in 
Sei  atiui's  first  Alpine  home.  When  one  of  the 
mountaineers  has  been  forced  bj  povertj  toemigrate 
and  dies  in  a  foreign  land,  his  pi  ople  fetch  hi 
home  tn  sleep  it-  long  sleep  in  his  native  soil.  In 
tin-  picture  we  are  shown  such  a  mournful  ,. 
The  ,  offin  is  placed  mi  a  cai  i.  beside  it  sits  the  weep- 
ing widow  with  her  child  upon  her  knee,  ami  at  the 
horse's  head  walks  a  bearded  mountaineer,  his  head 
bowed  in  grief,  his  form  wrapped  m  the  long  cloak 
w  hich,  according  to  immemorial  custom,  is  only  worn 
on  solemn  days  of  mourning,  and  is  handed  clown 
from  generation  to  generation. 

In  all  these  representations  of  simple  pastoral  life 
Seganl  mi  ha-  shown  himself  thoroughly  in  sym] 

with  his  subject,  and  the  note  he  has  thus  introd 

intn  Italian  art  is  one  quite  foreign  to  it.     <  if  late, 
however,    he    has    taken    a    new    departure,    and    has 

several  times  adopted  a  symbolical  style,  suppress- 
ing details  and  embodying  ideas.  Of  these  we  may 
mention  "The  Punishment  of  Luxury"  (sometimes 
called  "Nirvana")  ami  "The  Retribution  of  Un- 
natural Mothers"  (see  p.  28),  both  themes  inspired 
by  an  Indian  poem.  <  if  the  gentler  kind  of  themi 
two  lovely  examples  are  "The  Angel  of  Life,"  a 
poetic  composition  clearly  inspired  by  the  influence 
of  Botticelli  (see  p.  26),  and  The  Fruit  of  Love," 
which  may  almost  he  described  as  a  less  ethereal 
and  less  melancholy  version  of  The  Angel  of  Life," 
delicate  and  suggestive  as  it   is. 

It  may  be  said  thai  Giovanni  Segantini  has 
never  been  untrue  in  himself,  never  allowed  the 
spirit  of  gain  t"  overcome  hi-  artistic  conscience. 
His  smallest  pictures  are  carefully  studied,  and  his 
constant  advance  in  the  mailer  of  coloui  shows  thai 
he  is  aware  of  his  limitations  and  tries  to  ovi 
them.  He  is  not  always  complete  master  of  technical 
difficulties;  thespiril  of  his  picture  sometimes  i 
him  neglect  the  details  of  form  ;  In-  painting  i-  un- 
equal, being  at  nine-  even  a  little  heavy,  and  his 
colouring,  like  that  of  Millel  and  the  Milanese  artist 
Cremona,  whom  he  admired,  is  sombre;  but  a  I 
have  -aid,  this  is  always  advancing  and  clarifying 
itself  a-  he  works  in  the  i  lear  light  of  the  Alps  and 
seeks   to   reproduce    tin  i       ,   clear,   mountain 

effects   of   air  which   cause    all    objects    t"   stand    nut 
in  sharp  contour. 

Si  gantini  adds  one  more  I  i  the  niiuil 
win i  have  risen  by  their  own  strength ;  who,  knowing 

than 
thi      urn  in  tl  in   which  have 

dared  to  break  their  ch  i  "  own 

path   in   life.     5  -  sin  h  i  hai 

IuUs(  of  ii  h,  hut   wiili  them  ii    is 

the      |,    i     : 


32 


THE 


THE    ART    MOVEMENT. 

ARTS      AND      CRAFTS      EXHIBITION. 


IT  was  fully  expect- 
ed that,  during 
the  three  years  that 
have  elapsed  since 
the  last  exhibition  of 
this  Society  was  held, 
an  advance  had  been 
made  at  least  pro- 
portionate with  the 
progress  achieved  in 
other  ways  in  the 
artistic  development 
of  the  nation,  and 
that  the  present  dis- 
play would  represent 
the  high-water-mark 
reached  in  the  prac- 
tice of  the  applied 
arts  by  our  sturdy 
revivalists.  That 
expectation  lias  not 
been  disappointed. 
The  exhibition  is  not 
only  better  artistic- 
ally, it  is  siiiic]' 
aesthetically  than  any 


taste  of  the  true  lover 
ill    than   we    have 
litherto     been     able 
to  concede. 

We  have  been  re- 
oached  civ  now  I'm 
liking  too  optim- 
istic a.  note  when 
dealing  with  the  pre- 
sent-day art  of  this 
country.  In  reply 
we  have  pointed  to 
the  appreciation  and 
commendation  of  our 
art  by  other  nations, 
and  have  declared 
that,  whether  in 
painting  or  in  the 
applied  arts,  a  great 
revival  had  had  its 
h  in  Britain, 
which,  in  spite  of 
certain  youthful 
effervescence,  was 
destined  to  bring  this 
country  to  the  front 


ENAMELLED  PENDANT. 


GOLD  AND  ENAMEL  PENDANT 


that  have  gone  before,  and— not  through  concessions  rank,  if  not  at  the  head  of  all  other  nations  what- 
butbyhi st  development— the  workers'  productions  soever.  The  new  exhibition  to  a  considerable  ex- 
are  more  closely  in   harmony  with    the  cultivated      tent  justifies  our  contention.     There  is  much  in  it, 


THK    ART    MOVEMENT. 


33 


""   doubt,   that   is   the   outcome   of   mere  juvenile     tects,  who  had  just   pel  im  his  firsl  visil   to 

enthusiasm,  of  the  passion  for  the  originality-at-any-     London,  aud  was  full  of   his  impressions.     Hi    liad 


OVERDOOR    (COLOURED     PLASTER). 
(By    F.     W.    Pomeroy  ) 

price  which  is  willing  deliberately  to  sacrifice  all  seen  everything;  had  recognised  thai  the  Engli  h 
claim  to  beauty  and  revel  in  absolute  ugliness,  if  were  greal  architects  in  the  boldness,  fitness,  and 
novelty  can  by  thai  means  be  obtained.  In  defence  simplicity  of  their  designs— bu I  they  were  no  de- 
of  such  misdirected  effort  there  is  not  much  to  be  corators.  Yet  even  in  the  badness  of  the  da  oration 
said,  except  this — that  the  habit  of  independent  he  detected  an  originality  which  promised  well  for 
thought,  of  strenuous  striving  to  leave  the  rut  of     when  their  eyes  were  opened.     "So  much  did   I  feel 

convention,      in 

whatever  branch 

of  the  art  manu- 
factures, sows  a 

precious  seed  in 

the    mind    that 

conceives     it. 

Ugliness,  whe- 
ther of  subject, 

form,  or  colour, 

so   soon    as    its 

novelty  wears  off, 

ceases  to  please, 

and  a  return  to 

the  acknow- 
ledged canons  of 

beauty,  accom- 
panied   by    the 

newly -wiiu     in- 

il  i  v  i  (I  u  alii  y, 

achieves  a    \  ic- 

! ory  in  i he  fruits 

of  which  we  all 

inusi  share.  The 

present      write]1 

u.i    ,i  -hurt    t  inn- 

since  in  Paris  in 
the  company  of 
one  of  the  mosl 
letter-plate.  distinguished   ol        bronze  panel  for  gates  of  baptistery, 

(By    W.    Reynolds-Step/teni  I  I'Yl.'llcIl  illclli-  (By   F.    W.    Pvmw 


34 


THE    MAGAZINE    OF    ART 


this,"  he 
beautiful 


went  on,  "  that  when  I  came  hack  to  our 
boulevards  and  saw  our  exquisite  ornament] 


FLORAL    TRELLIS     PAPER. 

(By    Heywood    Sumner.) 

executed  in  the  best  tradition,  that  I  found  them 
after  all — well — articles  de  Pans! — even  to  our  well- 
designed  lamp-posts."  He  was  not  aware  that  the 
standard  design  of  Parisian  lamp-posts  was  the  work 
of  a  Londoner,  a  student  of  Smith  Kensington  Schools. 
Apart  from  originality  of  design,  the  greatest 
lesson  taught  by  the  Ails  and  Crafts  Society  is  the 
dignity  of  labour — the  propriety  of  any  artist,  how- 
ever distinguished,  to  devote  his  hands  to  any  form 
of  design,  however  trifling;  and  the  superiority  of  the 
work  of  those  hands  over  the  work  of  machines.  It 
is  too  late  in  the  day  to  need  to  insist  on  either  of 
these  fundamental  theses:  and  there  will  probably 
be  few  visitors  to  the  gallery  who  will  not  prefer 
Mr.  Ashbee's  silver  plates,  for  all  that  their  circles 
are  not  mathematically  true,  to  the  machine-turned 
plates  of  commerce.  Men  have  now  come  to  see 
that  mechanical  accuracy  is  in  itself  by  no  means 
a  delight,  but  that,  on  the  contrary,  as  evidence  of 
the  exclusion  of  craftsman's  skill,  is  rather  matter 
for  continual  regret.  Another  lesson,  to  be  learned 
by  craftsmen  and  patron  alike,  is  that  no  man — if 
he  is  to  keep  his  talent  fresh  and  free,  and  his 
artistic  conscience  clean — should  ever   repeat  him- 


self. That  the  great  artists,  at  least  among  the 
painters,  would  sometimes  repeat  themselves,  even 
ad  nauseam,  is  evidence  only  of  the  triumph  of  com- 
mercial over  artistic  considerations.  The  doctrine 
of  nun-repetition  is  less  a  dogma  than  an  instinct 
in  a  true  craftsman  who  loves  his  work  and  respects 
himself.  We  but  lately  heard  of  the  death  of  an 
old  cabinet-maker  who  lived  and  died  in  his  native 
village  in  the  Ardennes,  and  whose  proud  boast  it 
was  that  he  had  never  made  two  pieces  of  furni- 
ture alike:  and  whose  epitaph,  devised  by  himself, 

may  now  be  read  on  his  headstone,  "  Here  lies , 

Workman.  He  died  an  Artist."  This  is  the  true 
spirit  of  the  art-craftsman,  which  it  must  be  the 
aim  of   the  Society  to  foster  and  develop. 

The  improved  excellence  of  the  new  exhibition  is 
to  be  recognised  in  many  ways:  in  a  greater  re- 
ticence than  was  formerly  the  case,  greater  manual 


IN     IRON,     COPPER,     AND 
(By    W.    Bainbridge    Reynolds.) 


skill,  mure  highly-developed  fancy  and  imagination, 
and  a  more  defined  unity  of  idea  and  intention. 
There  are  still  examples  of  that  form  of  originality 
that  rather  hinder  than  help  the  movement  in  the 


THE    ART    MOVEMENT. 


35 


favour  of  the  public,  and  rather  hinder  than  help 
the  public  itself  in  its  understanding  of  what  fine 
applied  art  is,  and  of  the  depth  of  the  enjoyment  to 
be  found  in  it.    The  trail  of  Mr.  Aubrey  Beardsley— 


DESIGN     FOR     PLAYING     CARDS. 

(By     H.     Aiming    Bell.) 

who  may  be  termed  the  Hyde  to  Sir  Edward  Furne- 
Jones's  Jekyll — is  still  over  some  able  designers,  for 
cleverness,  even  foul  genius,  always  attracts  disciples, 
even  when  sound  excellence  fails  to  do  so.  Then  there 
is  what  is  colloquially  termed  the  "Spooky  School," 
whose  "spookiness"  reveals  itself  alike  in  form,  de- 
sign, and  colour.  But  the  greal  facl  remains  that 
a  distinct  school    of   decorative  design    is  evolving 


ENAMELLED     CASKET. 
(By    Alex.     Fislier.) 


resull  is  an  exhibiti i  great  interest   by  men  of 

power,  by  artists  of  taste.  It  is  not  too  much  to  saj 
that  some  of  these  men  even  now— in  spite  of 
tain  narrowness  in  the  Society  which  one  may  vet 
detect— could  unite  to  raise  such  .1  Hou 
lias  not  yet  been  seen,  beside  the  interest  of  which 
the  formal  glories  of  London's  expensive  palaces 
would  pale  into  gaudiness  or  emptiness— into  mere 
articles  de  Paris. 

In  selecting  illustrations  from  this  exhibition  we 
have  not  sought  to  place  the  most  charming,  the 
most  captivating,  examples  before  the  reader.  We 
have  father  aimed  at  presenting  the  stroi 
flavoured  specimens  of  work  of  the  better-known 
men,  the  more  truly  to  illustrate  the  tendency  thai 


BOOK     COVER     OF     CHAUCER. 
{By    f.     Coliden  Sanderson  ) 

may  be  given  to  the  domestic  arts  of  the  ueai  future. 
This  direction  maj  uol  be  exactlj  that  w  Inch  was 
intended  bj  William  Morris  -dead,  just  as  the  doors 
of  the  exhibition  were  being  thrown  open.  It  is  wider, 
more  fantastic,  less  "organic,"  than  his  own  I 
demanded.  But  it  is,  for  the  most  part,  sincere, 
and  reveals  a  power  which  in  a  modified  form  will 
assuredly  tell  <>n  the  ait  of  the  future.  Furniture, 
needlework,  metal-work,  jewellery,  printing,  binding, 

tapestry,  wall  paper,  carpet,  1 k-illustration,  mosaic, 

sculpture,  gesso  decoration,  stained  glass,  cartoons, 


itself  out  of  the  chaos  which  attended  us  birth     a     enamels,  goldsmithery,   design     pottery,    till 
chaos  the  very  existence  of  which  itself  bore  witness     what    not     all  ented.      Thej    inaj    make- 

to  the  extent  and  scope  of  the  renascence;  and  the     little  effect  on  th  s,  whose  hidi 


36 


THE    MAGAZINE    OF    ART. 


Unions  accord  scant  welcome  to  a  system  wherein  are  the  fire-dogs,  to  be  reproduce,!  m  *»**£* *e 
individua]  power  and  intelligence  and  art-feeling  next  month.  Mr.  Haywood  Sumner  whose  n 
is  a  main  dLgreeable  factor-  a  factor  calculated  to     thusiasm  has  done  so  much  in  recent  years  to  carrj 


DESIGN     FOR     DECORATION     OF    THE 


APSE    OF    THE     LADY    CHAPEL 
(By    Heywood    Sumner.) 


disturb  the  dead  level  in  which  all  schemes  for  the 
equalisation  of  wages  must  lie  based.  Their  ap- 
peal is  to  the  man  of  taste  and  judgment — to  the 
man  who  can  appreciate  originality  and  reward  it. 

It  may  perhaps  be  objected  that 
the  craftsmen  themselves  are  a  little 
too  unconventional  in  their  work, 
too  stiff  in  their  opinions.  It  needs 
such  men  to  effect  a  great  revolu- 
tion. It  was  ever  the  function  of 
extremists  to  direct  a  middle  course  ; 
and  if  these  men  have  so  far  sacri- 
ficed themselves  as  to  turn  their 
backs  "ii  what  is  easy  and  banale 
and  popular,  it  is  not  less  the  duty 
of  the  rich  to  do  their  part,  and 
accord  them  such  support  as  cir- 
cumstances will  permit. 

In  church  decoration  the  exhi- 
bition is  rich.  The  imposing  lectern 
by  Mr.  \V.  Bainbridge  Reynolds, 
wrought  in  iron,  with  brass  and  cop- 
pei  enrichments,  is  a  work  of  striking 
originality  throughout,  thought  out 
in  every  detail,  even  down  to  the 
nails  which,  while  protecting  the 
steps,  tell  the  story  of  the  little 
monument.  In  itself  it  is  enough 
to  render  the  collection  remarkable,  and  will  attract 
ved  attention  to  this  clever  architect  turned 
metal-worker.     Hardly  less  remarkable  in  their  way 


ecorative  art  along 
the  right  lines,  con- 
tributes a  noble  and 
expressive  design  in 
his  great  cartoon  for 
the  embellishment 
in  sgraffito  of  the 
Lady  ( 'Impel  of  St. 
Agatha's,  Ports- 
mouth. The  subject 
is  the  "  star  of  Beth- 
lehem," and  cm- 
bines  effectiveness 
and  simplicity  with 
charm  of  design  and 
sentiment.  This 
agreeable  quality 
runs  through  all  this 
artist's  work,  and 
may  be  detected 
hardly  less  in  his 
wall -paper  (for 
Jeffrey  and  Co.)  called  "A  Floral  Trellis-paper" 
(which,  by  the  way,  requires  a  somewhat  large  sur- 
face for  the  proper  display  and  significance  of  the 
repeat),  than  in  the  Fitzroy  school  picture  entitled 


ST.    AGATHA  S.    PORTSMOUTH 


SCHOOL     BOARD     CERTIFICATE. 
(Designed    by    R.    Anning    Btll.) 

"Play."  The  cartoons  of  Sir  Edward  Burne-Jones 
and  of  Mi.  Walter  Crane  till  the  section  of  stained- 
glass  windows,  hut   it  is  much  to  be  regretted  that 


THE     HOUSE     OF     PRIDE.        REDUCED     FROM     A     PAG 


E     OF     "THE     FAERIE     QUEENE. 


38 


THE    MAGAZINE    OF    ART. 


no  stained  glass  is  shown,  espe- 
cially none  of  that  lovely  work 
which  John  la  Farge  invented, 
ami  which  the  Baron  Rosen- 
crantz  has  with  so  much  suc- 
cess just  introduced  for  the  first 
time  into  this  country,  in  Wick- 
ham  Church,  near  Canterbury. 
Finally,  besides  Mr.  Pomeroy's 
tine  lectern,  there  is  the  portion  of 


DINING     TABLE. 
(S9    W.    Reynolds-Stephens.) 

chancel  stalls,  the  least,  mainly  because,  in  the  latter  case,  in  its  present 
exhibit  of  Mr.  II.  light  it  can  with  difficulty  be  seen. 
Wilson,  the  chief  The  section  of  enamels  is  well  filled.  Placed 
merit  of  which  upon  jewellery,  as  in  Mr.  F.  8.  Robinson's  original 
lies  in  the  success  works  (see  p.  .">2),  coloured  enamel  threatens,  if  not 
with  which,  both  skilfully  used,  to  become  a  little  crude;  but  whether 
in  the  design  and  adi  ipted  practically  in  place  of  gems,  as  in  the  exquisite 
in  the  carving,  five-sided  ivory  casket  by  Mr.  Fisher,  representing 
the  feeling  of  the  "The  Story  of  Cupid  and  Psyche,"  or  in  broader 
wood  lias  been  fashion,  as  in  the  Queen's  cup,  by  Mr.  Nelson  Dawson, 
retained.  "and  Edith  his  wife"  (as  the  cup  itself  proclaims). 
Close  by  is  the  it  is  a  joy  for  ever.  The  beautiful  blues  and  greens, 
beautiful  screen  the  perfect  sense  of  grace  of  composition,  the  trans- 
of  Mr.  George  lueency  and  the  delicacy  of  Mr.  Fisher's  work  are 
Frampton.A.RA.,  captivating;  and  the  question  may  even  be  asked 
"precious"  in  the  if  he  does  not  cany  his  art  to  too  consummate  a 
best  sense,  and  finish.  Mr.  Nelson  Dawson  aims  rather  at  breadth 
with  its  decora-  of  effect,  and  whether  he  gives  us  his  cloisonne 
tion  of  ivory,  with  simple  tones  of  blue,  yellow,  and  green,  re- 
mother-of-pearl,  lieved  by  touches  of  red,  or  combines  his  enamel 
gold. and  enamels,  with  beautiful  metal-work — as  in  his  triptych,  his 
with    its    dainty  beaten  silver  dish,  or  his  steel  and  copper  trowel— 


PANEL     FOR     QUILT 

{Designed    by    C.    F.    A.    Voysey.     Executed   by 

Mrs.    Reynolds-Stephens.) 

figures  of  St.  Elizabeth  and  St.  Doro- 
thea, and  with  the  still  more  exquisite 
panels  of  rose  and  apple-trees,  as 
original  and  as  graceful  a  work  of  its 
kind  as  we  have  ever  seen.  It  is  in- 
teresting to  observe  with  how  much 
success  the  cove  which  surmounts  it 
suggests,  but  not  insists  upon,  an 
architectural  character.  A  variety  of 
other  work  comes  from  Mr.  Frampton, 
of  which  the  coloured  plaster  panel 
of  "Music"  is  the  most  successful, 
and  the  elaborate  carving  on  Mr.  C. 
11.  Townsend's  great  mantelpiece  the 


THE    AUT    MOVEMENT. 


39 


MODELLED     DESIGN     FOR     PUNCH-BOWL. 
(By    Eleanor    Mercer.) 

he  shows  a  masterful  command  of  his  material  and 
of  himself. 

( hie  phase  of  the  independence  of  not  a  few  among 
the  workers  is  the  remarkable  versatility  that  re- 
sults from  it.  Thus  from  that  admirable  artist,  Mr. 
Reynolds-Stephens,  we  have  a  dining-room  table  on  a 
new  plan  (see  p.  38),  whereby  there  is  no  longer  a 
head  and  a  foot,  for  upright  stands  for  fruit  and 
flowers  occupy  the  ends;  and  a  model  for  a  letter- 
box lid,  so  dainty  and  charming  in  design,  and  so 
beautiful  in  patina,  that  standing  before  a  door  em- 
bellished with  it  would  almost  become  a  form  of 
artistic  entertainment.  Mr.  Aiming  Bell,  again,  ex- 
hibits a  variety  of  qualities  and  characteristics  in  his 
designs  for  court  playing  cards:  a  sense  of  dignified 


IVORY     AND     ENAMEL     CASKET. 


that  are  out  of  all  proportion,  and  look  ra 
like  gigantic  crackers.  Nor  is  Mr.  ! 
Day  less  prolific;  for,  besides  the  excellent 
biles,  which  will  be  illustrated  in  our  nexl 
Number,  his  numerous  designs  for  embroid- 
eries, carvings,  and  the  like,  help  to  maintain 
his  own  reputation  and  the  interesl  of  the 
exhibition.  Even  Mr.  Cobden  Sanderson,  who 
has  lavished  all  his  delicate  fancy  on  his  bind- 
ing for  the  Kelmscott  "  <  lhaucer  "  a  work  of 
very  singular  grace  and  beauty  (see  p.  35)— 


ted 


fitness  in  his  School  Board  Certificate,  I"  be  prin 
in  i luce  colours;  and  a  frieze,  which,  by  the  way,  i 
detracted  from  by  festooned  roses  in  the  backgrouni 


has  also  turned  his  attention  bo  the  fashioning  of 
a  semicircular  sbeel  fender,  bo  which  we  shall  make 
more  special  reference  in  our  nexl    Number. 

Mr.  Walter  Crane's  inexhaustible  fancy  and  inven- 
tion have  perhaps  never  risen  to  a  gn         '       at  oi 
done  work   more    thoroughly  worthy  of  his  genius 
than  the  exceedingly  important    series  of   ill 
tions  and  Jit, .rations  bo  Spenser'      I  ■"  1 1"  Queeue," 

which  Mr.  <  I ge  Allen  is  aboul  bo  publish.     I  li 

of  these  "  The  House  of  Pi  ide  we  ire  enabled  bo 
reproduce  in  reduced  size.  [I  show  how  i  harming 
is  bhe  arbisb's  work,  how  rich  in  design,  and  happj 

in  bordei  de  igning.     We  would  have  bo  re] lui  e 

obhi  i       in  h  as  bhe  •   furthei   bo 


40 


THE    MAGAZINE    OF    ART. 


wl,;,t  appears  to  us  Mr.  Crane's  improvement  in  the 
greater  vitality  displayed  in  this  series,  wherein  vitality 
seems  to  be  added  to  beauty,  and  a  sense  of  humanity 
to  conventional  design.  With  a  brief  reference  1" 
Mr.  Pomeroy's  beautiful  coloured  gesso  overdoor.de- 
signed  and  executed  in  alabaster  for  the  justice-room 
oftheSheffieldTownHall;  toMrs. Reynolds-Stephens' 
intelligent  embroidery  of  Mr.  Voysey's  dove-billing 
quilt  (it  is  not  everyone,  as  Mrs.  Horner's  carefully- 
worked  imitative  panel  of  Sir  Edward  Burne-Jones's 
"  Love"  clearly  proves,  who  so  thoroughly  understands 


the  function  and  the  limitation  of  the  needle);  to 
Miss  Moncr's  most  graceful  cup— the  chief  fault  of 
which  appears  to  be  the  heavy  shadow  east  by  the 
overhanging  lip;  and  to  Mr.  Colton's  bronze  model 
of  a  fountain,  now  erected  in  .stone  in  Hyde  Park, 
and  we  have  for  the  present  a  collection  of  works 
which  is  destined  to  exercise  as  real  an  influence 
on  the  public  of  taste  as  on  the  artists  themselves. 

[We  are  requested  to  state  that  the  copyrights  ot  all  objects 
and  designs  included  in  this  article  are  specially  reserved  l.y  the 
artists  or  owners.] 


STENCILLED     STUFFS. 

BY     LEWIS  F.     DAY. 

TT  is  not  many  years    ago    .since    stencilling   was  were    paid    for    it,   much   of  that   subtle   variety   of 

1    a    despised   art   deservedly    so.       It  had   fallen  colour  which   is  the  boast  of  the  stenciller.     Many 

into  the  hands  of  the  most  mechanical  of  workmen,  of   those   who   vaunt   the   charm    of   effects   winch 

It   ceased     as    practised    to   be   an   art   or   even   a.  seem  to  them  peculiar  to  stencilling  are  presumably 

craft      Only  here  and  there  an  artist  turned  it  to  ignorant  of  what  the  block-printer  can  do,  and  did 

artistic  account.  ^ars    **<>•   b?   means   of    "Patching,"   "blending," 

Owine-    mainly    to   Japanese    influence    (to    the  and  other  devices  familiar  to  the  "paper-stainer, 

interest  That   is   to   say,  excited   by  the   importa-  It   is    probable,    however,   that   the   public  will 

tion  of  Japanese  stencil-plates  into  this  country-  never  he  disposed  to  pay  for  "mere  wall-paper     a 

marvels    of    careful    and    cunning    contrivance)    a  price   equal   to  that   they  are  prepared  to   give   for 

red, on    in    favour    of    this    neglected    process    of  stencilling,  m  itself  an  equally  mechanical  process; 

work  set   in    a   reaction  which  has  developed  into  a  and   so,  for  the  moment,  stencilling   is  all   the   rage, 

fever     just   now   at    its   height,  when   clever  young  One  great  advantage  of  stencilling  is  that  the  work 


students  are  trying  to  do 
in  stencilling  what  they 
had  far  bed  for  do  with 
a  free  brush,  and  even 
manufacturers  are  going 
back  to  the  use  of  the 
stencil-plate  in  hopes  that 
it  will  give  them  results 
not  to  he  obtained  by 
means  of  the.  printing- 
block  which  superseded  it. 
It  is  more  than  pos- 
sible that  the  value  of 
stencilling  as  a  reproduc- 
tive process  is,  for  the  time 
being,  overrated.  Certain- 
ly, claims  are  made  on  its 
behalf  which  cannot  well 
be  supported.  Granted 
that  by  means  id'  it  effects 

can  1 btained  which  are 

not  produced  in  printing, 
this  is  rather  because, 
printing  being  the  cheaper 
method,  cheapness  is  more 
and  more  demanded  id' 
the  printer,  than  because 
he    could    not,    get,   if    he 


J 

I 

^H 

m 

FOUNTAIN. 
(Bj,    W.    Co/ton.     Erected   in    Hyde   Park  ) 


can  be  done  on  the  wall, 
which,  in  a  way,  compels 
due  consideration  of  the 
relation  of  the  pattern, 
both  in  scale  and  colour, 
to  the  place  it  is  to  till. 
Most  of  us  would  cer- 
tainly prefer  decoration 
thus  executed  in  situ  to 
the  mere  covering  of  walls 
with  so  many  yards  of 
patterned  material  turned 
out  of  the  workshop  by 
the  piece ;  and  stencillers 
seem  to  cut  the  only 
really  firm  ground  from 
under  their  own  feet,  when 
they  take  to  the  mere 
making  of  stencilled  goods, 
which  can,  in  the  nature 
of  things,  never  compete 
in  price  with  printed 
work.  For  the  moment 
they  produce,  it  is  true, 
something  not  quite  in  the 
ordinary  way  of  printing; 
hut  it  will  not  he  long 
before  printers,  who  have 


THE    ART.   MOVEMENT. 


41 


been,  as  ii   were,  fcakeu  by  surprise,  carry  back   the 
war    into    their    domain;    and    then — there    is    no 
room  for  doubt   with  whom  the  victory  will  rest. 
The    extinction    of    the    mediaeval    practice    of 

stenci  lling 
m  cloths  for 
,j  ^     *,^         wall-hauK- 


THE     "HARROGATE"     STENCIL 


lather  ama- 
teurish way 
of  decorating 
stuffs.  Woven, 

prin I  ell,    i  r 
dyed,    and,   ap- 
Ive    has 


stencilled,  we  want  our  textiles 
pareutly,  the  first  to  stencil  stuffs  in 
been  Mr.  Aldam  Heaton — with  whom  is  now  a  — 
eiated  Mr.  J.  Croft-Smith — whose  long  familiarity 
with  the  textile  industries  should  be  sufficient 
guarantee  that  his  hangings  are  stencilled  not  in 
pigments  but  in  veritable  dyes.  They  have  cei 
tainly  all  the  appearance,  and  especially  the 
transparency,  of  dye,  and  he  claims  thai  they  are 
fast.  The  hangings  lately  exhibited  by  him  in 
his  show-rooms  at  Bloomsbury  Street  are  chiefly 
woollen  materials,  "mohair,"  "moreen,"  and  "balk 
cloth" — all  fabrics  which  fall  in  soft  folds,  and 
which  give  singularly  lustrous  colour.  Indeed,  in 
the  ease  of  eurtaiiis  stencilled  in  blended  shades 
of  ruby  red.  the  effeel  reminds  one  inevitably  of 
similar  effects  produced  in  earthenware.  Sc; 
less  suggestive  of  "silver  lustre"  are  the  hangings 
stencilled    in    yellows,    merging   on    the    one    hand 

into    greenish,   on    il ther   inl ange,    tones. 

Many  of    Mr.  Heaton's  designs,  and    the   happiest 
of  them,  consist  of  big,  bold  scrolls :  and  ad- 
is  taken  of  the   [jrocess  (stencil-plates   beiny  easih 
cut)    tn    avoid    repetition     in     the    pattern,    which 


winds  its  way  unrestrained  throughout  the  entire 
length  of  the  curtain.  Ii  is  repeated  only  laterally; 
but    as    the    rep  i  e    five    fei  i    wide,    that 

si  an  ely  counts.     There  is  al  once  greater  breadth  of 
effeel   and  more  individuality  of  design  aboul  these 
handsome  arabesques    than    in  tin 
after  the  manner  of  the  "  verdure  "  of  old  tap< 
taken,  indeed,  in  seme  cases  from  familiar  examples 
at  South  Kensington. 

.Mr.  lleatmi  thoroughly  understands  and  ap- 
preciates the  limitations  of  stencilling.  His  di 
are  planned  fur  the  process  employed;  In-  neither 
disguises  the  "ties"  necessary  tn  the  construction 
et  a  stencil-plate,  nor  emphasises  them  in  an  un- 
necessary and  aggravating  manner:  he  simply 
accepts  them  as  part  of  his  design.  Nor  is  In- 
misled  by  Japanese  precedent  into  a  minuteness 
and  elaboration  of  detail,  well  enough  in  it-  p 
hut  destructive  of  broad  and  simple  decorative  effect. 

It    seems    as    if    Mr.    Heaton    had    perfect* 
system  of  textile-stencilling  which  gives  adm 
decorative  results  at  the  same  time  that   ii   provides 
employment   fur  women.      The   prices  al    which    he 
produce-  his  stencilled  fabrics  compete  rather  with 


THE     "RAYNSFORD'     STENCIL. 

woven  than  printed  -mids:  but   their  si Id  be  de- 
mand enough  for  indh  idual   work  of  u  Kind  which 
mi, ,,'   into  competition 
with  uianufai  tine.      I  lial    i     ■■  ill} 


42. 


LAURENCE  ALMA-TADEMA,  R.A.  :  A  SKETCH. 


BY     M.     H.     SPIELMANN.       WIT 

WHAT  Hie  Berlin  Photographic  Company  did 
for  the  Reinbrandts  at  Cassel  and  Berlin  it 
has  more  recently  done  for  Mr.  Alma-Tadema,  in  a 
volume  containing  a  score  and  more  of  photogravures 
with  a  sketch  of  the 
artist's  life  by  Mr. 
V.  (',.  Stephens — an 
album  which  for 
taste  in  production 
and  for  quality  of  its 
plates  lias  rarely 
I  Hen  equalled :  a  trib- 
ute that  is  an  honour 
a!  once  to  the  painter 
and  to  the  publish- 
ers.* That  it  is  as 
tine — viewed  as  a 
collects  I-  example  of 
the  process  of  photo- 
gra vure —  as  the 
Rembrandt  achieve- 
ments can  hardly  he 
asserted.  The  differ- 
ence, however,  is  due 
rather  to  the  differ- 
ence in  tin'  styles 
ami  colouring  of  the 
old    master    and    the 

i Inn,  than   to  any 

inherent  defect  in  the 
plates  themselves. 
How  fine  these  are 
may  lie  seen  more 
particularly  from  that 
w  Inch  reproduces  one 
of  the  most  admir- 
able of  all  tin' 
artist's  pictures,  "  In 
My    St  uilio  "—  t  he 

picture  he  presented  to  Lord  Leighton  in  exchange 
for  the  "Bath  of  Psyche,"  which  the  President 
wrought  for  Mr.  Tadema's  ante-hall.  The  work  to 
which  I  refer  is  prefaced  by  Mr.  Stephens'  essay 
on  Mr.  Tadeiiia  and  his  art.  against  which  the  chief 
complaint  is  that  it  tells  us  too  little  of  the  artist's 
lilf.  For  this  reason.  I  propose  to  give  the  story 
in  my  own  way,  based  on  words  from  the  master's 
lips,  fallen  during  several  conversations. 

Alma-Tadema's  position  in  the  World  of  Ait   is 

l  ici    Mm. i-  l.i'l.  ma,  B.  \.     A  Sketch  -I    Hi-  Life  an. I 

(London:  Berlin  Photographic  Company  i 


Illustrations    by    N.    WAAIL. 

one  apart.  Others  who  have  worshipped  at  the 
shrine  of  "  Classicism,"  as  it  may  comprehensively 
be  termed,  have,  with  more  or  less  success,  repre- 
sented ancient  life  as  it  may  have  been;  Alma- 
Tadema  convinces  us. 
often  in  spite  of  our- 
selves, that  he  shows 
US   the   life  as   if  was. 

The  George  Ebers  of 
the  brush — that  and 
a  good  deal  more — 
he  stands  proudly  on 
the  pedestal  he  has 
erected  for  himself : 
proudly,  yet  simply, 
too — easily  and  with 
unaffected  bonhomie 
— fully  conscious  of 
his  just  worth,  hut 
entertaining  no  exag- 
gerated sense  either 
of  his  own  powers  or 
of  the  public  estima- 
tion or  appreciation. 
Yet  there  is  hardly 
a  painter  in  Europe 
more  widely  popular 
than  he,  whether  as 
an  artist  or  a  man. 
Cosmopolitan  in  his 
acquaintance  as  he 
has  been  in  his 
lioines,  he  is  essen- 
tially a  man  of  many 
friends  :  picturesque 
in  gesture  and  expres- 
sion, more  given  to 
laugh  than  to  frown 
— yet  by  no  means 
averse  to  the  latter  when  he  deems  there  is  occasion 
for  it — he  possesses  little  of  the  phlegmatic  calm 
characteristic  of  the  Dutch.  As  a  matter  of  fact,  he 
is  less  a  Hollander  than  a.  Frieslander,  a  Parisian,  or  a 
Londoner,  and  his  vivacity  will  be  readily  understood 
by  the  student  of  the  races  of  the  Low  Countries. 
Original  in  most  things  and  energetic  in  all.public- 
and  private-spirited  alike,  he  is  direct,  bright,  and 
witty  in  conversation,  as  becomes  one  blessed  with 
a  sunn)'  nature:  and  when  he  talks  in  his  musical 
English  —  in  demisemiquavers,  as  one  might  say, 
freelj    punctuated   with   minims  and  crotchets — he 


ALMA-TADEMA,     R.A 


LATJEENCE    ALMA-TADEMA, 


A.:     A    SKETCH. 


43 


startles  his  hearer  continually  with  refreshing  ob- 
servation, emphasis  of  opinion,  vivid  expression,  and 
happy  turn  of  thought.  Add  to  that  a  familiar  know- 
ledge of  the  world,  an  intense  and  absorbing  passion 
for  his  art,  and,  in  common  with  so  many  of  the 
Old  Masters,  a  keen  business  capacity,  set  off  by  a 
genial  courtesy,  and  the  spiritual  man  is  before  you. 
Surely  the  house  which  such  a  man.  successful  as 
he  has  been,  would 
erec)  to  himself 
may  be  imagined 
with  some  degree  of 
Logical  certaintj  :  a 
dwelling-place  like 
no  other  on  this 
earth.*  An  original 
ground-plan,  a  novel 
elevation,  unheard- 
of  arrangements, 
ornamentation  and 
decoration  unprece- 
dented in  modern 
building  in  point  of 
boldness  and  chaste- 
ness  of  design  and 
execution,  are  all 
combined  in  this 
wonderful  dwelling. 
After  passing  under 
the  colonnade,  the 
visitor  may  enter 
by  the  conservatory, 
arriving  in  the  ante- 
hall,  where  each  of 
the  two-score  up- 
right panels  of  the 
great  screen  running 
round  it  is  painted 
by  a  different  artist 
of  eminence  (most 
wonderful  and  beau- 
tiful of  autograph- 
albums),  and  where 
upon  the  high  mantel 
border  are  inscribed 
the  hospitable  lines  : 

"]  count  nn  self  in  nothing 

■  '!-'•  »<>  happy, 
As  in  a  soul  rememb'ring 
my  good  friends  " 

*  The  illustrations 
here  given  of  Mr.  Alma- 
Tadema's  house,  il  should 
be  explained,  are  nol  boi  - 

rowed   from  the  voh ■ 

to  which  1  have  referred  ; 
thej  have  been  drawn  l>y 
Heer  Waail. 


1  ,r  he  may  straightway  ascend  the  brazen  sta 
and  entei  the  5tu  i  quallj  snip 

ami  pleasing.     The  walls  of  this  vast   marble-lined 

chamber,  pien  i  d   w  ith  d -  and  openin 

corated  with  infinite  refinement.     The  sui  Face  of  the 
greal  apse  is  covered  with  silvei  i  i   that 

the  studio  maj    be  floodi  d  with  pure  light,  so  tli.it 
the  painter's  palette  may  be  maintained  al  pah 


ENTRANCE     TO     THE     HOUSE     FROM     THE     GARDEN. 


44 


THE    MAGAZINE    OF    ART. 


THE     COLONNADE. 

pitch;  and  at  niglit  the  illuniinants  are  reflected 
from  it  with  brilliant  splendour  of  effect.  The 
celebrated  piano  in  oak,  mother-of-pearl,  ivory,  and 
I  know  not  what,  besides,  is  raised  in  well-merited 
Honour  in  a.  niche  that  is  lighted  by  day  through 
windows  of  onyx.  And,  greatest  marvel  of  all  in 
a  studio,  tlie  orthodox,  inevitable  top-light  is  for 
once  heterodox,  evitable,  and  absent.  The  inscrip- 
tions about  the  house,  too,  are.  a  feature  eloquent 
of  the  hospitality  they  proclaim.  From  the  hearty 
"Salve"  above  the  house-door  to  the  graceful  salu- 
tation in  the  ante-hall,  from  those  about  the  studio 
to  the  rest,  about  the  house,  they  breathe  a  love 
of  art  and  a.  cordial  welcome  to  the  visitor.  Out- 
side the  bed-chamber  is  a  Ood-keep-you,  infinitely 
comforting,  doubtless,  to  i  he  devout  mind  :  and  facing, 
so  that,  it-  may  meet  the  eye  .if  the  occupant  on  his 
quitting  the  room  in  the  morning,  is  a  cheery  good- 

i row    thai   should   pul    him  in  excellent  humour 

for  the  day.  And  the  point  of  it  all  is  that  some 
of  the  letters  are  painted  in  scarlet,  which,  reckon- 
ing Roman  fashion,  amount  to  numbers  that  mark, 
literally,  red-letter  dates  in  the  Alma-Tadema  family. 
In  Dronrijp,  near  Leeuwarden,  in  Friesland, 
Laurence  Tadema  was  born  on  the  8th  January,  L836, 


the  smi  of  a  notary  in 
the  village.  Precocity, 
the  clarion  of  the  great, 
marked  out  his  future 
career.  At  the  age  of 
four,  so  promising  was 
his  talent  for  art,  that 
he  received  drawing- 
lessons  :  at  five,  he 
corrected  his  draw  ing- 
master's  work — that  is 
to  say,  he  pointed  out 
faults  which  his  as- 
tonished preceptor  was 
forced,  with  some  little 
mortification,  perhaps, 
to  admit.  The  circum- 
stance was  of  good 
omen,  for  had  not 
Michelangelo  as  a  child 
corrected  the  finished 
drawing  of  Domenico 
(Ihirlandajo  anil  re- 
duced it,  as  Vasari  says, 
to  a  "  perfect  form  "  '. 
In  due  time,  however, 
young   Tadema  was 

sel  to  follow  his  father's 
profession  of  the  law; 
hut.  he  had  chanced 
upon     Leonardo    da 

treatise    in    the  village    Shop,   and    then    upon 

a  hook  mi  perspective,  and  he  read  them  again  and 
again  until  he  knew  most,  of  them  by  heart.  So 
as  he  grew  up,  he  formed  the  determination  to 
become  an  artist — a  resolution  which  his  prudent 
mother,  now  at  this  time  widowed,  soughl  in  vain 
to  shake,  and  to  which  she  only  yielded  when 
the  doctors  warned  her  that  her  delicate  son  was 
fretting  himself  to  death  by  her  opposition  to  his 
wishes.  With  art  as  the  now  recognised  goal  he 
soon  mended,  and  he  applied  himself  with  energy 
to  study,  turning  his  attention  principally  to  the 
classics.  Hut,  as  he  himself  has  fold  me,  while 
hating  Latin  and  Creek  for  themselves,  he  loved 
them  for  their  mythology  and  archeology,  and  fa- 
miliarised himself  with  their  subjects  chiefly  through 
the  medium  of  the  fancy  sketches  of  gods  and  god- 
desses  and    their   attributes  with   which  he   Freely 

decorated  the  margins  of  his  school-hooks.  lie  once 
told  me,  too,  how  during  a  -rand  school  examination, 
when  all  the  masters  sat  round  in  solemn  array,  just 
as  he  was  in  the  middle  of  a  Latin  speech,  the  sun 
broke  in,  lighting  up  the  professors'  bald  heads  with 
Liquid  gold  and  touching  with  fiery  light  the  green 
curtains  that  hung  1  ieyond.    In  a  moment,  all  thought 


Vine 


LAVRENCE    ALMA-TADEMA,    R.A. :    A    SKETCH. 


of  masters,  onlookers,  and  examination  vanished — he 
was  stricken  dumb  with  the  fine  effect  of  light  and 
shade,  until  a  reproachful  prompting  voice  brought 
him  back  unwillingly  to  earth.  Who',  I  wonder,among 
all  that  school  assembly  suspected  the  real  secret  of 
the  boy's  astonished  silence,  or  guessed  how  deep 
the  sunlight  ray  had  struck  into  his  little  soul  ' 

Tadema  now  soon  left  his  native  village,  and 
in  1852  became  a  student  under  Wappers,  " David's 
antidote."  He  was  a  hard-working,  rollicking  student, 
always  painting  throughout  the  day,  never  reaching 
his  ideal  of  good  wank,  ami  as  constantly  destroy- 
ing his  pictures,  never  discouraged,  always  trying, 
usually  improving.  Indeed,  with  the  sole  exception 
of  "  The  ( trade,"  all  his  earl)-  works  have  been  burnt 
by  his  own  hand.  Another  act,  based  on  sense  ami 
expediency  not  less  sound,  was  the  assumption  of  the 
"  Alma-"  which  is  prefixed  to  his  name  ;  ii  added  grace 
and  euphony  to  the  name,  lmt,  what  was  to  better 
and  mure  practical  purpose  far,  it  lifted  him  in  the 
exhibition  catalogues  nut  of  the  T's  and  deposited 
him   in   the   As,   near  the   beginning :   an  arrange- 


ment  nl'  especial    advantage  in  the  case  of  Foreign 
catalogues  of  exhibitions.     A  typical  example,  tins, 
nf    the   discernment    an. I     agai  itj    thai 
him   as  a.  shrewd    man   of   the   world. 

The  discover}  of  some  Merovingian  antiquities 
near  the  village  "I'  Dronrijp  emphasised  and 
veloped  young  Tadema's  taste  I'm'  mediaeval  and 
classic  themes.  This  pronounced  inclination  de- 
lighted Professor  Detaye,  the  Professor  of  History 
of  tin'  Antwerp  Academy,  who,  warmed  into  en- 
thusiasm by  so  apt  a  pupil,  crammed  his  young  In  ad 
with  archreology  of  all  periods.  The  youthful  painter 
obtained  possession  of  Gregory  nl'  Tours'  "Historia 
Francorum,"  ami  forthwith  mi  suggestions  derived 
from  its  pages  he  painted  his  two  principal  Mero- 
vingian creations— "  Clotilde  at    the   T b  nf    Her 

Grandchildren"  ami  ''The  Education  nl'  the  Children 
nf  Clovis."  The  last-named  was  his  first  great  suc- 
cess, I'm' it  was  bought  by  the  King  nf  the  Belgians 
fur  the  sum  nf  £ti4,  and  now  hangs  in  his  palace  at 
Brussels.  Tadema  was  by  this  time  in  the  studio 
of  Baron  Leys,  after  passing  under  the  tutelage  <>f 


MR.     ALMA-TADEMA  S     STUDIO. 


4G 


THE    MAGAZINE    <>F    ART. 


Dyekmans  and  De  Keyser,  and  was  working  on 
some  of  the  master's  pictures  when  he  began  to 
turn  Lis  attention  to  Ancient  Egypt  and  to  lay 
the  foundation  of  his  reputation  as  the  great  apostle 
of  pictorial  archaeology  of  our  clay  throughout  the 
length  and  breadth  of  the  world  of  art. 

But  Alma-Tadema  was  not  content  merely  to 
skirt  his  subject.  He  entered  thoroughly  into 
Ancient  Egyptian  life,  because  he  knew  that  upon 
it  was  founded  all  more  recent  civilisation.  At 
least,  it  is  that  which  forms  a  point  d'appiti  for  the 
student  of  customs;  and.  as  the  painter  himself 
lows  to  express  it.  "  Egypt  is  the  portal  to  the  road 
which  leads  through  antiquity."  Of  this  course  of 
study  the  first  important  result  was  "An  Egyptian 
Festival  Three  Thousand  Years  Ago,"  for  which  the 
then  Prince  Napoleon  bid  three  thousand  francs — 
"a  franc  per  ' year  ago '; "  but,  as  four  thousand  was 
the  artist's  price,  the  offer  was  declined.     In   1862 


IN     THE     HALL. 


Mr.  Alma-Tadema  gained  the  gold  medal  at  the 
Antwerp   Academy,  and   in    the   following  year  he 

made  his  first  visit  to  Italy— an  expedition,  be  it. 
observed,  not  undertaken  till  the  young  painter  had 
firmly  marked  out  the  artistic  path  he  determined 
to  follow  and  had  trodden  it  far  enough  to  know 
the  ground  and  the  direction  whither  it  pointed.  I 
was  once  talking  over  this  very  question  of  travel 
with  Mr.  Alma-Tadema  and  its  proper  relative 
educational  value,  when  he  expressed  himself  em- 
phatically and  to  the  point. 

"What  is  the  use,"  he  cried,  "of  trying  to  graft 
a,  fruit-bearing  branch  on  to  a  sapling  if  the  sap- 
ling has  no  trunk  to  -peak  of  to  graft  it  on? 
Rubens  followed  the  right  principle,  ami,  after 
deriving  full  benefit  from  his  sojourn  abroad,  re- 
mained Ruhens  still.  But  what  would  he  have 
been  if  he  had  undertaken  the  journey  prematurely 
— before  the  artist  in  him  was  formed?" 

Now,  at  that  time 
Mr.  Gambart  was  the 
great  picture-dealer  of 
the  day  (il  principe 
Gavibarti,  as  he  is  still 
sometimes  called  in 
Nice),  and  he  ruled  the 
picture-market  in 
Western  Europe  bene- 
ficently, no  doubt,  and, 
not  less  certainly,  with 
the  utmost  advantage 
to  himself.  When  the 
report  circulated  in  any 
town  which  if  was  his 
custom  lo  visit  on  his 
professional  rounds 
that  "  Gambart  is  com- 
ing !  "  plots  were  forth- 
with formed  by  the  ris- 
ing young  painters  of 
the  community  to  lure 
him  into  their  studios 
to  view  their  works  ; 
and  bitter  was  the  dis- 
appointment when  the 
grea i  ma n  depart ed 
straightway  after  \ isit- 
ing  the  one  or  two 
art  ists  of  repute  whom 
be  had  come  to  see,  and 
ignored  the  blandish- 
ments that  were  laid 
out  to  ensnare  him. 

Young  Alma- 
Tadema,  who  now  had 
a     studio     of    his    own, 


LAURENCE    ALMA-TADEMA,    R.A.:     A    SKETCH. 


had  tasted  of  the  dis- 
appointment too  :  lull. 
through  a  kindly  sub- 
terfuge of  Leys,  who 
purposely  misdirected 
( Sambart's  cab-driver 
to  his  pupil's  studio 
instead  of  to  an- 
other's, he  received  the 
yearned-for  visitor. 
When  Gambart  dis- 
covered where  he  had 
been  deposited,  and 
saw  the  jolly,  smiling 
young  artist  at  the 
door,  lie  could  not 
find  it  in  his  heart 
to  drive  away :  so  he 
entered. 

"Do  you  mean  to 
say,"  he  demanded 
brusquely,  "  that  yon 
painted  that  picture  ' " 
And  he  pointed,  with 
obvious  surprise,  to 
the  "Coming  out  of 
Church,"  which  stood 
upon  the  easel.  Mr. 
Tadeina  bowed  assent 

"  Well,  then,''  he 
added,  after  a  few 
winds  as  to  price,  "let 
me  have  twenty-four 
of  the  sort,  at  progres- 
sive prices  for  each 
half-dozen." 

Here  was  a  stroke 
of  unheard -df  luck  ! 
And.  to  make  matters 

better,  Gambart  agreed,  after  much  pleading,  thai 
the  painter  might  go  back  to  antkpiity  instead  of 
tn  tin-  .Mi. Idle  Ages.  Thus  it  came  about  thai  some 
of  the  artist's  most  famous  works  were  included 
among  the  pictures  which  had  been  ordered,  like 
gloves,  al  so  much  per  dozen.  There  was  the  "Three 
Thousand  Years  Ago,"  already  referred  in;  then 
came  "The  Egyptian  Chess-Players,"  with  its  fund 
of  quiet  humour :  then  "  The  Pyrrhic  I  lance,"  a 
tine  work,  in  which  the  attitudes  of  the  chief  actors 


SINGING-GALLERY     IN     THE     STUDIO 


in  search  of  a  dead  ral  , "    but,  although  lie  added 

that    '■  it    is   I  he   lasl    COl  nipt  i"U   ni    the    R ai 

and    its    Bacchanalian    phrenzy    which    Mr.    Alnm- 

Tadema   seems  to  hold   it    his  heavenly  mission   t" 

pourl r:i\      he   hastened   to  bea 

mendous  ability  by  declaring  thai  "he  differs  from 

all    the   artists    I    ! i . i \ e   e\ i  r    know n,  excepl     rolm 

Lev*  is,  in  the  gradual  im  n  ase  of  technii 

which  attends  and  enhances  together  tin 


range  oi   his  dramatic  invention  ;   w  hili 

were  suggested  by  the  figures  on  an  antique  vase,  he   display 

It   created  an  extraordinary  sensation  when   ii   was  minute  draughtsman  :  i] 

exhibited  at  the   Royal   Academy      Of  this  picture  bectural  detail,  wherein 

Mr.   Ruskin— a    sincere   admirer    an    fond   of    Mr.  a  specialty,  I    ue\    'i! 

Tadema's    work-     told    the    Oxford    undergraduati  from  him." 
mice  thai  "  the  general  effei  I  \-  exai  i  ly  like  a  n  So  h 

scopic  view  of  a   small  detachment    of  blackbeetle  nrnj  quut< 


48 


THE    MAGAZINE    OF    AET. 


of  a  distinguished  Academician,  who  told  me  that 
all  the  difficult  silver-work,  marble,  and  tnother-of- 
peaii,  with  all  their  complexity  of  reflected  lights 
and  cross-colourings,  in  a  portion  of  "The  Roses  oi 
Heliogabalus,"  were  painted  in  on  Varnishing  Day 
at  the  Royal  Academy  while  the  picture  was  hang- 
ing mi  the  wall,  and  the  artist,  pipe  in  mouth, 
and  without  model  or  study  of  any  kind,  was  keep- 
ing np  a  lively  conversation  with  a  little  ring  of 
men  around  him.  When  I  asked  him  afterwards 
if  this  were  true,  he  raised  his  eyebrows  in  quiet 
surprise  as  he  replied,  "Why  not  (  It  was  all  thought 
out    before." 

"Phidias  in  the  Parthenon"  and  "Claudius"- 
the  latter  so  splendidly  etched  by  Rajon — are 
two  more  of  the  pictures  painted  for  Mr.  Gam- 
hart  :  and  when,  after  four  years  of  diligent  work 
(that  is  to  say.  in  1869),  they  were  all  completed, 
the  dealer  called  again.  "I  want  yen  to  paint  me 
twenty-four  more,"  he  said,  naming  juices,  on  the 
same  progressive  principle,  but  at  a  much  higher 
rale.  The  ail ist  agreed,  ami  the  first  picture  de- 
livered was  the  celebrated  "Vintage  Festival."  But, 
as  this  was  so  much  more  important  than  any  that 
had  gone  before,  the  dealer  insisted  en  paying  for 
it  at  once  at  the  highest  rate.  lie  was  a  liberal, 
straightforward  man;  and  the  artist  tells  with 
generous  pleasure  how,  when  at  last  the  second 
consignment  of  pictures  was  finished,  Mr.  Gambart 
gave  a  dinner  to  the  artist-colony  of  Brussels,  Mr. 
Tadema  found  himself  the  honoured  guest,  and,  in 
front  el'  his  cover,  a  silver  jug  hearing  a  Haltering 
inscription,  while  his  napkin  concealed  a  substantial 
cheque,  all  over  and  above  the  bargain. 

It  was  in  this  same  year  of  1869  thai  Mr.  Ahna- 
Tadema  came  to  London  and  paid  this  country  the 
greatest  compliment  in  his  power  by  applying  for 
Letters  of  Denization  from  the  Queen.  That  pro- 
ceeding, however,  might  be  called  a  matter  of  mere 
convenience,  for  not  less  than  a  Dutchman  or  an 
Englishman,  is  he  an  Ancient  Greek  in  spirit — a 
Conscript  Father  —  a  priest  of  Memphis — just  as 
he  pleases.  Nor  will  those  who  saw  him  at  the 
"  Painters'  Masque,"  as  I  did.  a  dozen  years  or  more 
ago,  readily  forget  how,  attired  in  classic  garb,  he 
appeared  thoroughly  to  the  manner  horn:  nor  re- 
press a  smile  in  recalling  how,  when  flic  summer 
dawn  was  breaking,  he  threw  himself  into  a  hansoin- 
cali,  pince-nez  on  nose,  cigar  in  mouth,  and  his  rich 
hut  limp  and  fading  flower-wreath  drooping  at  each 
ear:  while  the  startled  market-gardener,  wakened 
on  his  caii.  stared  speechless  at  the  strange  ap- 
parition, and  pursued  his  journey  with  mouth  wide 
open  and  bewildered  eyes. 

His    first    exhibit  on   arriving    in    this    country 
lie  pictures  lie  called  "  I'n   Amateur  Romain  " 


and  "I'n  Jongleur,"  and,  partly  through  their  novelty, 
a  remarkable  sensation  they  made.  Then  followed 
"The  Emperor  Hadrian  Visiting  a  Romano-British 
Pottery"— a  marvel  of  knowledge,  but  lacking  in 
•4iacc  through  the  treatment  of  the  figures  in  the 
foreground  and  the  strange  cutting-off  of  the  labourer's 
body.  This  picture  the  painter  ultimately  cut  up, 
himself  dissatisfied  with  the  general  effect,  so  that 
the  whole  picture  now  makes  three,  of  which  the 
semi-nude  slave  is  the  most  valuable  as  a  piece  of 
brilliant  flesh-painting.  In  1S7."">  appeared  "The 
Sculpture  Gallery,"  which  was  really  painted— as 
Gainsborough's  "Blue  Boy"  was  —  to  combat  an 
idea.  It  had  been  said,  and  steadfastly  held,  that 
the  satisfactory  rendering  of  sculpture  in  a  picture 
was  impossible.  Alma-Tadema  set  himself  to  prove 
the  contrary  in  this  work,  and  succeeded.  Buskin 
.judged  of  the  flesh-painting  in  it  with  some  severity, 
foi',  said  he,  if  belonged  to  the  foreign  school  by 
which  the  shadows  were  of  charcoal  and  the  lights 
of  cream-soap  :  but  while  silent  on  the  central  pur- 
pose of  the  picture,  he  admitted  it  to  be  the  principal 
historical  piece  of  the  year.  The  large  picture  was 
in  the  collection  of  the  late  Mr.  Vanderbilt,  of  New 
York,  and  a.  small  replica  of  the  work,  I  may  add, 
was  painted  for  Mr.  Gambart  and  is  now  at  Nice. 

When  .Mr.  Tadema.  was  painting  "The  Picture 
Gallery"  archaeological  accuracy  was  hardly  of  less 
importance  with  him  than  a  religion;  indeed,  the  cor- 
rectness of  the  accessories  in  this  remarkable  work 
(which,  by  the  way,  was  painted  in  response  to  a  chal- 
lenge) came  to  tell  against  the  artist,  for,  as  be  has 
himself  reminded  me,  picture-buyers  are  frequently 
not  picture-lovers,  and  still  less  of  ten,  antiquity-lovers. 
Furthermore,  Mr.  Gambart  discovered  that  an  in- 
tending- purchaser  finally  refused  the  picture  as 
"there  was  so  much  in  it  for  a  fellow  to  remember, 
and  he  did  not  want  to  look  a  fool  over  it."  And 
again,  it  is  often  impossible  to  be  correct  on  points 
on  which  Antiquity  is  silent  :  il  is  so  fatally  easy  to 
trip.  In  one  of  his  Eastern  pictures,  for  instance, 
he  introduced  a  sunflower,  in  the  belief  that,  as  it 
belonged  to  the  "Jerusalem  artichoke"  family,  it 
was  sure  to  be  right,  and  he  only  ascertained  loo 
late  that  the  sunflower,  whether  Jerusalem  (girasole) 
or  otherwise,  is  a  comparatively  modern  importation 
from  South  America.  Then  somebody  discovered 
that  the  shape  of  the  seat  in  " Sappho "  dated  from 
two  hundred  years  antecedent  to  Pericles,  and 
another  objected    that    certain    Greek    lettering    on 

a     pedestal     ought     to    have    been     something    else — 

although  the  artist  had  the  British  .Museum  at  Ins 
back  as  his  authority.  Ami,  finally,  he  was  cruelly 
tripped  by  the  discovery  that,  in  one  of  his  Roman 
flower-pictures  he  had  introduced  the  clematis  Jack- 
manni      the    creal E    Mr.  Jackman    of   a    very 


LAURENCE    ALMA-TADEMA,    R.A:     A    SKETCH. 


49 


recent  date.  So  Tadema  came  fco  the  final  and  ob- 
viously correct  conclusion  that  archaeology  need  be 
absolutely  accurate  only  in  so  far  as  it  is  pictural 
and  not  scientific,  and  that  if  it  be  not  expressive 
or  necessary  it   need  not  be  insisted  on. 

But  Mr.  Alma-Tadema's  skilful  realism  lias  not 
had  the  unattainable 
fortune  of  convincing 
every  critic,  among 
them  Professor  Ruskin, 
who,  in  his  Notes  on 
the  Eoyal  Academy 
for  1875,  inveighed 
against  the  "  gossip 
of  the  past,"  which  is 
probably  agreeable  to 
a  supremely  ignorant 
populace.  "The  actual 
farts  which  Shake- 
speare knew  about 
Koine,"  he  said,  "  were, 
in  number  and  ac- 
curacy, compared  to 
those  which  Mr.Alma- 
Tadema  knows,  as  the 
pictures  of  a  child's 
first  story-book,  com- 
pared to  Smith's  Dic- 
tionary of  Antiquities. 
But  when  Shakespeare 
wrote — 

'  The  noble  sister  of  Pub- 

licola. 
The    Moon     of     Rome; 

chaste  as  the  icicle 
That's   curdled    by   the 

frost  from  purest  snow, 
And    hangs    on    Dian's 

temple,' 

he  knew  Rome  herself  MRS.  alma-ta 

tn  the  heart  ;  and  Mr. 

Tadema,  after  reading  his  Smith's  Dictionary  from 
A  to  Z,  knows  nothing  of  her  but  her  shadow :  and 
that,  cast  at  sunset."  A  judgment,  this,  like  so 
many  of  Ruslrin's,  spoilt  by  exaggeration  :  yet  en- 
closing a  truth  that  the  more  sensitive  searchers 
after  vibrating  life  in  Mr.  Tadema's  pictures  will 
assuredly  in  some  measure  respond  to. 

It  is  not  easy  to  speak  of  Mr.  Tadema's  method 
of  work  or  favourite  processes  of  technique,  as  hi' 
is  for  ever  changing — always  trying  something  else, 
ever  striving  to  do  better.  One  of  the  problems  he 
once  set  himself  to  solve,  ami  has  intermittently 
returned  to,  is  the  relation  of  tin-  architectural 
column  to  the  human  figure  ami  the  juxtaposition 
of  both  in  a  picture  without  apparent  disproportion 
of  size,  yet  with  complete  illusion.  The  leader  will 
7 


have  little  difficulty  in  recalling  a  dozen  pictures  in 
which  the  artist  has  cunningly  endeavoured,  with  a 
greater  or  less  measure  of  success,  to  ..rive  an  ap- 
pearance of  truth  to  the  relative  size  ,,f  the  column 
which  in  reality  doe-  not  (and  within  the  compass  of 
the  canvas  could  not)  be!  AConno 

is  on,,  of  the  many 
insta  nces  .f  this. 
■■  The  i  lonvalesi  ent," 
too,  ami  "After  the 
Audience  "—  a  picture 
which  was  painted 
for  a  collector  who 
wanted  another  "  Au- 
dience at  Agrippa's." 
Then  i  lien-  i-  "  Fish- 
ing" and  many  more, 
all  with  the  same 
motive  the  last  of 
them     the 

■■  Spi  ing,"  exhibited  in 
I  !  ■  and  now  in  the 
possession  of  lieu 
Robert  von   Mendels 

Sohn. 

A  curious  custom. 
though  logical  is 
this  habit  of  Alma- 
Tadema's   of  painting 

in  "classes."     Thus 

there  are  the  ' 
pictures"  —  of  which 
I  me. I  mention  only 
■■  ( latullus  at  I.,  si 
"Antony  ami  Cleo- 
pal  a,"  ami  "  I  lilt,  i- 
gabalus"  for  the 
painting  of  which  lat- 

IEMAS     STUDIO  tr|     W01"kj    ''>      ''   ' 

the  artist  usi  '1  to  re- 
ceive two  boxes  of  roses  a  week  throughout  the 
winter,  each    flow  |   tinted    from    a   dil 

model.       Then     we    have    the    "  poppy     pi.  tun 
which  of  ci  i      [uinius  Superbus,"  "AH 

Welcome,"   and    "  The    Idyll,  or    \ 
are  among  the  chief;   the  "oleander  pictures:"  and 
the  "circular-scat    pictures,"  with   "Sappho,"  "The 
Impr.A  isatore,"  "  An   <  lid   Storj  "  and   "  Tl  e 
ing   from    Hi  heir   head.     I    mi 

that    the  great    work  last    named  (which    bei : n 

picture  at   the  hand  of  some    lunatic- 
vandal   at    the  exhibition)  was   painted   in    the  six 

preceding  the   A.  adi  i  I 

the    picture    it    replaced     oi  ailed 

"  plat.. "     did    not    satisfy   the   artist    after    he    had 
led  eight    months  of  hard  work   upon  it  :  the 


50 


THE    MAGAZINE    OF    ART. 


same  amount  of  time  required  for  the  "  Helioga- 
balus"  itself.  This  canvas  was  mi  an  easel  in  Mr. 
Tadema's  studio  the  last  time  I  was  there,  its  face 
turned  sorrowfully  to  the  wall,  awaiting  the  fate 
the  painter  may  ultimately  mete  nut  to  it.  Again, 
there  are  the  "bridge  pictures,"  the  most  im- 
portant of  them  "By  the  Bridge,"  a  sort  of  elabor- 
ation of  "The  Flower-Girl ; "  and,  finally,  there  are 
the  three  versions  of  "  Claudius,"  of  which  "  Ave 
Casar!  16  Saturnalia:"  (the  property  of  Mrs. 
renins)  is  the  eompletest  and  the  finest.  Like 
Sir  John  Millais,  Mr.  Alma-Tadema  has  on  only 
one  occasion  painted  a  full-length  nude  female  figure. 
This  picture  was  executed  as  an  object-lesson  to 
his  pupil,  the  Ih.n.  John  Collier  (its  present  owner) 
— the  only  condition  on  which  he  would  accept  him 
as  a  learner.  So  the  youth's  father  gave  the  com- 
mission, and  the  son  watched  the  painting,  whereby 
it,  was  hoped  that  he  would  acquire  the  difficult 
ait  of  painting  flesh;  and  the  position  since  taken 
by  .Mr.  Collier  is  an  interesting  commentary  on  Mr. 
Alma-Tadema's  very  practical  mode  of  instruction. 
For  this  picture,  "The  Sculptor's  Model,"  the  inspira- 
tion was  drawn  from  the  "Esquiline  Venus"  then 
recently  discovered  :  and  the  aim  of  the  painter  was 
to  realise,  as  far  as  possible,  the  conditions  under 
which  the  masterpiece  was  wrought. 

I  suppose  that  the  leading  characteristic  of  Mr. 
Alma-Tadema's  artistic  mind  is  his  conscientiousness. 
His  brilliant  "  Spring  "  was  scraped  out  more  than 
onCe_with  its  multitude  of  exquisitely-painted  de- 
tails and  lovely  heads  and  figures— as  it-  did  not  seem 
to  him  to  "come  well"  as  a  whole;  so  that  in  its 
final  form  il  represents  the  labour  of  two  or  three 
pictures,  and  comes  as  near  to  the  intention  of  its 
painter  as  well  could  lie.  No  part  of  a  canvas  is 
ever  scamped  or  "  faked,"  and  Mr.  Tadema  has  told 
me  that  the  little  glimpse  of  sunny  sea  and  sky  in  the 
top  corner  of  many  of  his  pictures  often  gives  him  as 
much  trouble  as  all  the  rest  of  the  picture.  For  this 
conscientiousness  and  self-application  hostile  critics 
in  the  Press  and  in  his  own  profession  fall  foul  of 
him — for  where  lives  an  artist  who  lias  no  such 
critic  among  his  fellow-workers?  "  C"  sue!"  they 
exclaim,  in  the  elegant  slang  of  the  studio,  ignoring 
the  fact  that  it  was  by  honest  sweat  that  Ter  Borch, 
Gerard  Dow,  Metsu,  De  Hoogh,  Van  Mieris,  even 
Meissonier  in  our  own  day,  reached  the  heights  of 
their  achievements,  and  that  it  is  by  the  same 
infinite  care  that  Alma-Tadema  has  risen  to  his 
place.  Without  it,  for  example,  he  would  never  have 
rivalled  and  excelled  Solomon  Etuysdael  in  his  ren- 
dering of  marble;  without  it — for  he  keeps  his 
sudden  impulses  for  his  personal  intercourse — he 
would  have  been  nothing.  He  Eormed  his  style  with 
deliberation  and  care.     When  he  found  that  be  was 


painting  too  dark,  he  re-formed  that  style  as  dili- 
gently and  carefully,  hiding  no  fault  to  himself 
nor  compounding  in  anywise  with  his  aesthetic 
conscience. 

"  As  the  sun  colours  flowers,  so  art  colours  life," 
runs  the  motto  in  his  studio;  and  with  the  slow 
deliberation  of  Nature  in  her  exquisite  processes,  he 
follows  her  and  seeks  to  record  her  beauties:  with 
so  much  love,  with  such  keen  and  delicate  appre- 
ciation, that  those  who  carp  and  dub  his  pictures 
"pot-boilers"  are  fain  to  admit — for  they  have  no 
other  choice — that  if  so  indeed,  they  are  the  very 
apotheoses  of  "pot-boiling."  His  originality,  his  easy 
confidence  and  knowledge  of  effect,  the  brilliancy  of 
his  colour,  his  juggling  with  the  falsehoods  of  paint- 
ing so  as  to  make  them  artistic  truths,  his  scholarship 
which  while  always  learned  is  never  pedantic,  his 
skill  in  imitation  of  textures,  his  daring  which  some- 
times almost  amounts  to  audacity,  and  Ids  perfection 
of  finish  are  a  sufficient  justification  of  the  pinnacle 
on  which  he  has  been  placed.  He  may  not  be  a 
poet  in  the  highest  sense,  but  his  imagination  is 
at  once  picturesque  and  powerful.  There  may  lie 
"  more  mechanical  steadiness  of  practice  than  innate 
fineness  of  nerve,"  as  Buskin  said  ;  his  style  may  to 
some  extent  be  artificial;  indeed,  a  certain  artificiality 
is  inseparable  from  his  style  of  art.  But  compare  it 
with  the  hardness  and  artificiality  of  M.  Gerorne, 
and  the  advantage  lying  with  Mr.  Alma-Tadema  will 
be  clearly  established. 

That  such  a  master  has  attracted  imitators  in 
crowds  is  hardly  to  be  wondered  at.  I  do  not  mean 
accidental  repeaters  of  subjects  whose  treatment  is 
totally  different — as  when,  for  example,  Mr.  Tadema, 
with  "An  Earthly  Paradise"  himself  followed  Mr. 
Orchardsou's  "Master  Baby."  I  remember  once 
calling  the  artist's  attention  to  an  unblushing  piece 
of  plagiarism,  in  which  grouping,  poses,  draperies, 
and  the  very  folds  had  all  been  imitated  with  slavish 
accuracy  from  a  work  of  Ins  own.  But  Mr.  Tadema 
merely  shrugged  his  shoulders  philosophically  as  he 
quoted  the  artistic  axiom  that  "  those  who  follow 
will  never  see  but  the  master's  back." 

Of  Mr.  Tadema's  honours  it  is  almost  un- 
necessary to  speak  in  detail — for  he  must  possess 
nearly  all  the  more  important  that  the  luiropean 
Academies  have  to  bestow,  and  he  is,  besides, 
Knight  of  some  half-a-dozen  Orders.  Of  greater 
value  and  more  permanent  delight  to  him  is  the 
knowledge  that  the  character  of  Aisma,  the  hero 
in  the  art  romance  of  the  great  Dutch  writer 
Vosmaer,  is  drawn  line  for  line  from  him;  that  a 
portion  of  Ebers'  "Egyptian  Princess"  was  suggested 
by  his  "Flower-Girl;"  and  that  a  whole  prose  idyll 
by  the  same  author  was  inspired  by  his  "  Question," 
of  which  the  title  was  retained. 


51 


NOTES    AND    QUERIES. 


REGULATIONS.-^^   and  Answers  may  be  signed  with    the   nam,    of   th,    writ with    a   pseudonym- 

but    the  Jul!  name   and  address  must  be  enclosed  for   the   information    of  th,     Editor. 

Ko  ''>"<>">■<■*   of  a   commercial  nature  as   t due   or  genuineness  of  pictures   in    the  correspondent's  possession    or 

other   matters   more  properly  addressed  to  pictur,    dealers,   can    be   inserted. 

Illustrative  matter  may  be  included  when  helpful  to  th,  lucidity  or  interest  of  Query  or  Answer  and  photoaraphs 
and  drawings-m  respect  to  which,  however,  no  responsibility  can  be  taken,  although  eve,-y  effort  wilt  h 
made   to   return    them,    ,j  prepaid,    to   their  oumers—may   I.,    sent  for   reproduction. 

No  pictures    print,,   or  art  objects  may  b,    sent   to  the  (Mice  of  The  Magazine  of  Art   in  res !   to  this 

without   th.    previous  consent   of  the   Editor. 

Queries  intended  for  insertion  in  any  particular  number  of  The   Magazine  of  A.kt  should  car/,    ,h.    Ojice   by   the 
-■'"';"   <h\    Previous  month:  for  example,  a   Query  intended  for  th,    December  Number,  which    ,<    m 
<m  the  -i-uh   oj   November,  should  be  forwarded  by   the   sal,   „f  October. 

The  Editor  cannot  guarantee  insertion    of  Query  or  Answer   in  any  special  number  of  th    Mae,  ,„ 

however,  will   be   made  to  publish    them   in    the    fart   in  cours,   of  preparation,  and  to  accom, ,  < 

Answers  compiled   m    the  Editorial   Office,  or  by   experts  connected  with    the  Magadn,      This   will  not  vn 
vent  subsequent  additions  by   the  whole   bod,,  of  readers  of   the   Magazine  to  the  information   alrea 
lo  our   readers,   indeed,    we  look  for   the   co-operation    wind,    is   needful    to   render   this   secti,  i 
terest  and   value  and   to  ensure   th,    success  anticipated   for  it. 

The  Editor  reserves   th,    right    to   refuse   th,    insertion   of  any   Query   or  Answer  should    h    for   any   reason    think 
fit   to  do   so.     Although    h,    will    exercise  sue/,    supervision   as   may    be  possibl,     over   th    Ansieers   ins, 
h,    anno!   hold  himself  responsible  for   the  opinions  or   the  facts  of  Correspondents. 

The  Editor  has  been  greatly  encouraged  bythz  immediate  espouse  accorded  to  the  announcement  of  this  section  in  last 
mouth's  Part  and  by  th,   readiness  already  evinced  by  readers  to  avail  themselves  of  the  opportunity  offered. 


[1]  wiLkie's  village  festival. — xV  version  of 
Wilkie's  famous  "Village  Festival"  is  reported  to 
have  been  sold  at  Christie's  on  duly  4th  of  this 
year.  This  appears  to  be  the  third  or  fourth 
painting  by  the  same  master  of  the  same  subject, 
one  of  which  is  in  the  National  Gallery,  and  the 
other,  I  believe,  in  Windsor  Castle.  Can  your 
readers  tell  me  more  precisely  of  the  whereabouts 
of  these  pictures  ? — L.  Robinson  (Reading). 

„%  The  picture  referred  to  was  in  the  col- 
lection of  pictures  of  Mr.  Arthur  Seymour,  and, 
curiously  enough,  was  displayed  at  the  same  time 
and  sold  on  the  same  day  as  those  of  the  late 
Mr.  Angerstein,  for  whose  father  Wilkie  painted 
the  original  "  Village  Festival,"  now  in  the 
National  Gallery.  Mr.  Seymour's  picture,  which 
was  signed  and  dated  1810,  measured  24x29.1 
inches;  although  on  a  large  scale,  it.  did  no! 
include  the  whole  design  as  we  see  it  in  the 
finished  work  in  the  National  Gallery.  There 
is  no  version  of  this  picture  in  the  Royal  Col- 
lections either  at  Windsor  Castle,  Buckingham 
Palace,  or  elsewhere:  hut  a  beautiful  little  re 
plica  is  one  of  the  gems  of  Sir  Charles  Ten- 
nant's  superb  collection  of  old  English  masters 
in  Grosvenor  Square. 

[2]  PAINTINGS  BY  ROBERT  SEYMOUR. — Can  any 
of  your  readers  inform  me  of  the  whereabouts  of  any 


original   water-colours  and  oil-paintings  bj    R 
Seymour,  the  first  illustrator  of  "  Pickwick  \l. 

%*m  Five  original  water-colours  by  Seymoui 
were  sold  at  Sotheby's  on  March  7th,  IS92. 
The  purchasers  were  Messrs.  Robsou,  Howell, 
Stephen,  and  Sabin,  from  whom,  doubtless 
ticulars  of  their  whereabouts  might  he  obtained. 
— G.  S.  Layard  (Malvern). 

[">]  SIR  EDWARD  BURNE-JONES'  "DAILY  CHRONICLE- 
CARTOON. — A  drawing  by  sir  Edward  B 
Jones,  representing  Adam  and  Eve  al  work  aftei 
their  expulsion  from  the  Garden  ol  Eden,  ap] 
in  the  Daily  Chronicle  aboul  a  yeai  ago.  I  have 
heard  it  staled  since  that  the  cartoon  was  not 
original:  thai  it  was  uoi  drawn  for  the  journal  in 
question;  and  that  ii  was,  in  fact,  executed  hy  Sir 
Edward  Burne-Jones  for  another  publication.  As 
an  enthusiastic  studenl  ol  the  art  worl  I  houltl 
l.e  glad  to  know  if  thes  •  statement  i  an  ti  tie,  and 
if   the   drawing   in  question   is  o,    i-   nol    mi  [-nil].      A 

Student. 

#*0  The  cart awn  for  the 

Daily  Chronicle,  according  to  the  aim 

made   by  that    i ual.     The  motive    itself  had 

already  been  used  by  Sir  Edward  as  a  frontis- 
piece  to   a    volume   of    poems    by    Mr.   William 
.Morris ;  but    i  he   drawing   was      pei  iaLVj    n 
for  the  Daily  Chronicle,  and  adapted  to  a    , 


52 


THE    MAGAZINE    OE    ACT. 


object  at  a  special  juncture ;  and  it  has  the 
further  credit  of  being  perhaps  the  first  true 
work  of  art  executed  by  an  artist  of  world- 
wide reputation  for  a  daily  paper  working  in 
the  service  of  the  people.  As  to  the  matter  of 
"  originality,"  a  further  point  must  be  dealt  with. 
An  artist  of  Sir  Edward  Burne-Joues'  calibre,  of 
his   facile   invention    and   splendid    imagination, 


(Ornum    by    Sir 

produced  by  special  perm 
Proprietors  of  the   "Daily 


Jones,   Bart.     Re- 


DAM     AND     EVE     AFTER     THE 

EXPULSION     FROM     EDEN. 

in  the  Panel  by  Jacopo  Delia  Qu. 

at    Bologna.) 


can  hardly  be  said   to  be  anything  but  original. 
At  the  same  time,  it  is  quite  open  to  him  con- 
sciously  or    unconsciously   to  derive    inspiration 
from    works    that    he   has    seen    before,    making 
them,  by  his  handling  and  by  bis  individuality, 
works    to    all    intents    and    purposes    original. 
Such   is   the  case  of    the   Adam    and    Eve.     By 
courteous  permission  of  the  Editor  of  the   Daily 
Chronicle  we  reproduce  in  miniature  the  cartoon 
alluded  to,  together  with   the  panel  by  Jacopo 
della   Quercia,   which    is   one    of    the    ten    that 
decorate  the  pilasters  of  the  great  western  portal 
of    San    Petronio,    in    Bologna.      Of    this   great 
architectural    work  a  full-size    plaster  cast   may 
be  seen  in   South  Kensington   Museum.      A  re- 
production of   this  panel   is  here,  given   from  a 
photograph  taken    from    the    sculpture   itself,  so 
that  the  Student  may  make  his  own  comparison 
of    the    treatment    of    the    subject    by    the    two 
masters.      The    originality    of    Delia    Quercia's 
conception    need    hardly    be    insisted    upon,    for 
hitherto    Ghiberti,  Uecello,  Andrea    Pisano,  and 
others  bad  represented   Eve  only  as  the  mother 
with  a.  mother's  cares  and  joys.     Delia  Quercia 
shows  her  as  sharing  in  the  work  to  which  Adam 
was  condemned  ;  and  the  freshness  and  vividness 
of    the    conception    doubtless    struck    the   poetic 
mind  of  Sir  E.  Burne-Jones.     It  similarly  struck 
Raphael,  who,  in  his  "Bible"  in  the  Loggia  of 
the  Vatican,  treated  the  subject  somewhat  simi- 
larly in   "The   Labours  of   our  First  Parents." 


[4]  the  appreciation  of  romney. — The  esteem 
iii  which  Konmey  is  held  as  a  painter  at  the  present 
day  is  surely  one  of  the  most  surprising  circum- 
stances to  lie  found  in  the  art-world  within  recent 
times,  and  I  think  that,  without  violating  your 
rule  as  to  "  commercialism,"  I  may  fairly  ask  if 
this  esteem,  as  exemplified  in  the  prices  given  for 
Romney's  works  in  the  sale-room,  is  not  rather 
overdone  (  What,  I  should  be  glad  to 
know,  is  the  justification  for  such  a  price 
as  £10,500,  given  recently  for  "  Painting 
and  Music  "  (  And  may  we  not  have  a 
reproduction  of  the  picture  in  The  Maga- 
zine of  Art  ? — T.  H. 

#%  A  reproduction  of  the  picture 
in  question — which,   it  may  be  stated, 
was  sold  for  10,500  guineas,  not  pounds, 
to  Mr.  (J.  Wertheimer — appeared  in  the 
September  number  of  the  Magazine  (p. 
460),  under  the  title  of   "  Beauty  and 
the  Arts."    A  writer  in  Temple  Bur  has 
recently  drawn  attention  to  the  same 
subject,    reminding     the     public     that 
Eomney's  pictures   for  years   after  his 
deatli  never  fetched  more  than  an  insig- 
nificant sum,  and   that   the  "St.  Cecilia"  (Mrs. 
Billington),  which  in  1890  brought  900  guineas, 
was  once  knocked  down  for  eight  and  a  hal  f  guineas. 
There  can  be  little  doubt  that  this  rage  for 
Romney  will  eventually  withdraw  to  its  proper 
limits;    the  probability   is    that,  by   the  law  of 
ironical  fate,  he   will  fall  far  beyond  it,  as  we 
have    seen    in    the    case    of    Guido    Reni,    Carlo 
Dolci,  Etty,  Dyce,  and  a  score  of  other  painters. 
The  fact   is   that   Romney   is  ridiculously  over- 
appraised.     He  had  grace  and  beauty  and  fluency, 
a  sense  of  style,  and   a  courtly  appreciation  of 
dignity.    For  these  qualities  he  is  esteemed.    But 
his  breadth  is  usually  emptiness,  his  colour  often 
poor  and  generally  hot  and  bricky,  his  line  too 
obvious,  his  dexterity  summary,  and  not  to  be 
compared  for  sheer  skill  with   that  of   Mr.  Sar- 
gent,     He  was  a  good  deal  of  an  artist,  but  not 
so   much   of    a   painter.      Referring  to  Romney, 
Sir   John   Millais   declared    in    a    private    letter 
written   three   years   ago   to  the  Editor    of    this 
Magazine:  "  Shoddy  pictures  of  the  last  century 
are   just    now   run   up    in   price,  and   the   times 
require   a    very    strong    pen    to    clear    the   air." 
There  is  little  doubt  that   most  of    our  accom- 
plished   artists   hold    the    same    opinion.      Lord 
Leighton    certainly  did,     The  contrary  view   is 
held  chiefly  by  younger  men,  who  are  blinded  to 
Romney 's  faults  by  the  brilliancy  of  his  merits. 
Although  we  can  never  expect  to  see  his  "  Mrs. 
Tickell,"  which  sold  for  1,150  guiueas  in  1894, 


NOTES    AND    QUERIES. 


53 


drop  to  the  fotfr  guineas  it  fetched  in  1804,  the 
present  generation  will  probably  see  a  very  con- 
siderable reduction  in  the  market  value  among 
connoisseurs  of  painting.  As  to  connoisseurs 
of  beauty,  that  is  a  different  thing. 

[5]    SIR  JOHN  TENNIEL  AS  A  DECORATIVE  ARTIST. 

— Sir  John  Tenniel  has  fur  many  years  devoted 
his  pencil  to  execution  of  political  cartoons  in  the 
pages  of  Punch,  but  it  is  generally  known  that  at 
the  outset  of  his  career,  and  later,  he  aimed  at 
excellence  if  not  in  a.  higher,  at  least  in  a  graver, 
plane  of  art.  Has  he  executed  anything  other 
than  the  fresco,  now  perished,  in  the  Palace  of 
Westminster? — T.  Copeland  (Peebles). 

*%  It  is  a  mistake  to  suppose  that  Sir 
John's  Westminster  fresco  has  "perished."  It 
is  tun-  that  it  has  been  greatly  injured  by  time 
and  the  climate,  but  as  a  matter  of  fact  its 
condition  is  much  better  than  that  of  any  of 
its  companion  pictures  in  the  Upper  Waiting 
Eoom.  Besides  this  work,  it  is  hardly  neces- 
sary to  remind  the  reader,  are  Sir  John's  con- 
tributions in  water-colours  to  the  Royal  Insti- 
tute, and  more  especially — in  the  way  of  public 
work — the  important  decorative  figure  of  'Leon- 
ardo da  Vinci''  on  the  west  wall  of  the  South 
Court  in  the  South  Kensington  Museum.  This 
work'  is  carried  out  in  mosaic. 

[Oj  WHO  WAS  "E.  I.  F."? — I  have  in  my  possession 
a  porcelain  tile  on  which   is  painted  a  bouquet  of 
flowers  in  strong  but  well-chosen  hues.    On  the  bach 
appears  "  E.  I.  F.,  1772."     I  should  like  to  know  if 
the  artist  was  a  craftsman  of  importance." —  C.  L.  F. 
#%  The    initials    are  clearly   those   of    Em- 
manuel Jean  Frutting,  of  Berne,  in  which  town 
he    established    a    factory    for    the   production    of 
porcelain  stoves.     M.  Gamier,  who  refers  to  this 
craftsman  in  his  "Dietionnaire  de  la  Ceramique," 
states  that   a   stove    bearing   these  initials  is  to 
be    found    in    the    Gasnault    collection    in    the 
Limoges  Museum,  but    adds   that    many  pieces 
with  this  signature  are  of  doubtful  origin.     We 
should  be  glad  to  publish  a  reproduction  of  this 
apparently  rare  piece  if  the  owner  will  permit. 

[7]    THE    BRONZE    WORKS    OF   J.  B.    CARPEAUX. — It 

would  be   useful  to  me   if  your  readers  could   tell 
me  what  were  the  chief  works  executed   b\    Cat 
peaux  in  bronze.    I  know  most  of  his  marble  statues, 
etc.,  but  have  been  unable  to  ascertain  the  subjects 
of  his  principal   works  in   the  metal. — FONDEUR. 

#%  When  he  was  thirty-two  (1859)  Car- 
peaux  exhibited  in  the  Salon  his  bronze  sialic 
of  "  Jeuue  Pecheur."  In  L863  his  "  (Jgolin  el  ses 
Enfauts"  was  erected  in  the.  Tuileries  Gardens,  a 


replica  of  it,  also  in  bronze,  being  shown  in  the 
Salon  of  1867.     In  the  followii 
shown  the  statue  of  the  Prince  Imperial.     The 
sketch  lor  the  monument  toWatteau  wasai  i 
by  the  town  of  Valenciennes,  and  was  carried  out 
in   1884— nine   years   after   the  painter's  death. 
The  great  group  for  the  Observatory  fountain, 
representing  the  Four  Quarters  of  the  World,  was 
cast  by  Matifat  in  1*74.     Besides  these  v. 
busts  of  Maltre  Beauvois  and  one  or  two  i 


NOTES. 

SIR  JOHN  MILLAIS'  "AUTUMN  LEAVES.--  I  hie 
just  read  with  tin-  greatest  interest  your  excellent 
article  on  the  great  Sir  John  Millais,  whose  loss  is 
irreparable.  It  is  in  no  way  a  depreciation  that  I 
should  like  to  relate  to  you  a  circumstance  connected 
with  "Autumn  Leaves"  that  1  heard  years  ago  from 
Mr.  Eden  at  Lytham,  where  he  was  living  after 
having  left  the  neighbourhood  of  Bolton,  in  which 
place  he  had  been  a  successful  bleacher. 

When  the  picture  reached  him  he  disliked  it,  and 
he  asked  the  great  painter  to  take  it  hack:  but  this 
AIis.  Millais,  his  mother,  said  was  impossible.  He 
was  then  told  to  sit  opposite  to  w  when  at  dinner 
for  some  months,  and  he  would  learn  to  Like  it.  lie 
tried  this,  but,  alas  !  disliked  it  more  and  more.  ( hie 
day  a  friend — I  think  Mr.  Miller,  of  Preston — 
called,  saw  the  picture,  was  enchanted,  and  said  : 
"Eden,  I  will  give  you  any  three  of  my  pictures  for 
'Autumn  Leaves.'"  "As  you  are  a  great  fi 
said  Eden,  "  you  shall  have  it;"  and  so  the  picture 
changed  bands.  This  is  what  Mr.  Eden  told  me 
and  now  it  is  on  the  way  to  be  "  among  the  world's 
besl    masterpieces."     Edw.  Stuart  Tayloe  (Sutton 

S.  Ann's  Rectory,  Loughl ugh) 

[We  believe  that   it  was  to  Mr.  .1.  Leathart, 

not  to  Mr.  Miller,  that  the  pii  ture  passed  | 

sam  bough  and  beverlev. — Reading  the  very 
interesting  life  of  Sam  Bough  in  The  Magazine  of 
Aim  for  September.  I  find  a  startling  mention  of  my 
old  friend  George  Augustus  Sala,  I  was  associated 
with  Beverley  from  L844  to  1846.  I  well  remember 
that  Beverley  went  to  Manehestei  in  the  summer  of 
1845  to  paint  the  scenerj  foi  ■>  revival  of  Acts  and 
i;<i/,t/,,t,  leaving  me  to  look  after  his  interests  at 
the  Princess's  Theal  n  0  rd  Street.  I 
with  George  Gordon,  who  had  been  at  work  with 
Bough  in  the  Manchester  painting-room,  from  which 
I  learned  that   it  is  t  hat   Bough 

i    8  pupil  of  Beverley,  and  I  am  quite  certain  that 
he  would  not  a  k  Sala  to  wipe  his  paletl 
his     I ts),     which    it     is    always    the    duly    of     the 

painiei '.■    lai ■   io   do.     Besides,   Sala    was    not 

Hed  with  Mr.  Beverley  till  after  .111111'.  L846. — 
W.  -I.  <  'ai.i.'  "it  (Savage  Club). 


54 


THE     CHRONICLE     OF     ART.— NOVEMBER. 


National  mHE  thirty-ninth  annual  report  of  the  National 
Portrait  L  Portrait  Gallery  is  without  question  the 
Gallery.  ]1|ost  satisfactory  of  all.  It  records  a  popularity 
which   in   respect    to    attendance    has   equalled    in    three 


MRS.     SIDDONS. 
P.R.A.       Recently  acquired  b 
n   the   West  Octagon   Room.) 


the  National  Gallery. 


probably  make  some  room  in  the  National  Gallery  by 
reason  of  modern  English  pictures  being  removed  to 
Millbank.  A  reference  is  made  to  the  official  catalogue, 
but  no  claim,  of  course,  is  made  for  the  very  high  credit 
which  should  properly  be  accorded  to  it.  We  observe  that 
a  "  special  arrangement "  has  been  made  with  Messrs. 
Walker  and  Boutall  to  photograph  all  the  pictures  in  the 
gallery.     We  presume  that  this  dues  not  mean  a  monopoly. 

The  pleasure  with  which  we  welcome  the 
PainUng6    awakeni»g  of  tne  miniature  painters  of  England 

to  a  sense  of  their  own  dignity  and  that  of  their 
art  is  somewhat  dashed  by  the  knowledge  of  a  curious 
rivalry,  not,  we  hope,  of  personal  jealousy.  We  have  often 
urged  in  these  columns  the  desirableness  of  forming  a 
Society  of  Miniature  Painters,  not  with  a  view  merely  of 
securing  the  concrete  advantages  of  a  corporate  establish- 
ment, but  with  the  double  object  of  reviving  in  the 
public  mind  an  interest  in  one  of  the  most  exquisite  and 
refined  of  all  the  methods  of  portraiture ;  the  self- 
education  of  the  artists  ;  and  assisting,  by  honourable 
competition,  the  bringing  forth  of  that  excellence  which, 
from  Cooper  to  Cosway,  has  always  constituted  a  subject 
of  national  pride.  We  were  hardly  prepared,  however, 
for  the  foundation  of  two  societies  almost  at  the  same 
moment,  both  bodies  declaring  themselves  ready  for  amal- 
gamation, yet  neither,  for  the  time  at  least,  prepared  to  give 
way.  This  should  not  be;  the  art  of  miniature  painting 
cannot  support  two  societies,  and  for  the  sake  of  the  art, 


months  any  previous  year's  numbers.  It  sets  forth  form- 
ally Mr.  Watts's  splendid  gift  of  eighteen  portraits,  to- 
gether with  twenty-seven  other  canvases  of  the  highest 
interest,  from  King  Edward  IV.  down  to  Lord  Leighton 
and  Robert  Louis  Stevenson.  Seven  have  also  been  pur 
chased,  including  Westall's  famous  portrait  of  Lord 
Byron.  Sixty  pictures  have  been  repaired,  sixty-eight 
placed  under  glass,  and  so  forth  ;  while  245  new  bio- 
graphical tablets  have  been  written  and  affixed  to  the 
portraits.  We  draw  special  attention  to  these  details 
in  order  to  show  how  much  energy  and  activity  are  being 
displayed  in  the  organisation  of  this  admirably  conducted 
institution,  which  contains  as  many  as  905  pictures  on 
the  walls,  116  works  in  sculpture,  and  29  miscellaneous 
portraits  in  cases.  The  grand  total  thus  amounts  to  1,050 
—a  total  which  places  the  New  Portrait  Gallery,  of  course, 
among  the  largest  galleries  of  its  kind  in  the  world. 
After  an  explanation,  which,  however,  is  not  a  satisfactory 
one,  of  the  opening  of  the  gallery  without  any  sort  of 
ceremonial,  the  director  proclaims— what  we  set  forth 
two  years  ago  in  this  Magazine,  but  was  at  the  time 
officially  contradicted— that  the  gallery,  newly  opened  as 
it  is,  has  no  more  room  for  additions  to  the  collection. 
In  other  words,  the  site  first  granted  and  the  designs  hist 
made  were  inadequate  from  the  beginning.  In  the  par- 
tition of  the  site  now  occupied  by  the  barracks— which 
we  have  over  and  over  again  pointed  out  are  a  constant 
and  imminent  source  of  grievous  danger  to  the  National 
Gallery  as  well  as  the  National  Portrait  Gallery— it  is 
necessary  that  the  latter  should  receive  its  due  share, 
more  especially  as  the  opening  of  Mr.  Tate's  building  will 


DONA     ISABEL     COBOS     DE     PORCEL. 
{By  F.   Goya.      Recently  acquired  by  the  National -Gallery,   Room  XV.,   No.   1,473.) 

amalgamation  should  be  arranged  without  delay.  This 
should  be  the  easier  as  no  nutter  of  essential  import- 
ance, no  fundamental  principle  whatever,  separates  the  two 
concerns.     If  matters  proceed  as  they  have  begun,  one  of 


THE    CHRONICLE    OF    ART. 


two  tilings  is  sure  to  happen  :  either  the 
collapse  of  both,  or  the  absorption  of  one 
by  the  other  after  a  damaging  struggle. 
The  two  societies  appear  about  equal  in 
strength,  numerical  and  artistic,  and  it  will 
be  to  the  benefit  of  neither  if  considera- 
tions which  would  do  no  credit  to  a  vestry 
are  permitted  to  sacrifice  the  art  on  an 
altar  of  egotism. 

The  French   axiom  "il  faut 
Current  Art  ,  , 

..     „.  reculer  pour   mum    sautei 

on  the  Stage.  J        , .        . 

may   be  applied  just  now  to 

Art  in  the  Theatre,  which  has  probably  been 
holiday-making  with  the  rest  of  the  world 
— or,  as  the  professional  phrase  has  it,  "  rest- 
ing"—collecting  all  its  energies  to  achieve 
a  record-breaker  later  on  in  the  long- 
expected  Monte  Cristo  ballet  at  the  Empire 
Theatre.  At  the  Gaiety,  however,  Mr. 
Telbin  contributes  a  conspicuous  exception 
to  this  record  of  artistic  inactivity,  in  a 
scene  of  peculiar  charm  and  accomplish- 
ment—a  view  of  Dartmouth  Sound  from 
the  heights  above — which  graces  the  second 
act  of  J/.v  Girl.  Tn  the  crowd  of  yachts- 
women peopling  the  foreground  of  this 
picture,  Mr.  Wilhelm  gives  evidence  of 
his  versatility  in  an  array  of  Jin-de-sieclt 
toilettes,  steering  a  singularly  felicitous 
course  of  ocean  blues  and  sea-foam  colour- 
ing between  the  Scylla  of  fashionable  con- 
vention and  the   Charybdis  of  theatrical 


theBURNS 
EXHIBITION 

GALLERIES 

OF  THE 

ROYAL 

GLASGOW* 
INSTITUTE 

OF  THE 

FINEART51 


175 
SAUCHIEHA1L 

STREET 


GLASGOW 

CATALOGUE 

1896         PRICE  ONE  SHILLING 


(DesijneJ    by    J.    Hassall.  j 


extravagance.  The  poetry  that  adorned 
the  scenery  by  Beverly  for  Planquette's 
opera  Rip  Van  Winkb.  at  the  Comedy  The- 
atre some  years  since,  finds,  unfortunately, 
little  echo  in  that  of  the  latest  Alhambra 


BURNS     STATUE. 
{By    F.    W.    Pomeroy.     Recently   unveiled   at   PaUley  ) 

ballet  on  the  same  romantic  theme.     The  one  pictorial  incident 
with  artistic  feeling  is  the  brief  moment  of  Rip's  awakening  in  the  rosy 
flush  of  dawn,  but  the  actual  scene  on  the  mountain  tempts  one  to  ask 
why  the  unmistakable  Matterhoni  is  all.  >p  the  Kaatskills,  and 

why  the  draperies  of  the  phantom  fays  should  be  bordered  with  up-to  date 
frills!    The  village  tableaux  are  sadly  lacking   in   atmosphere, 
costumes  throughout  claim   no  special   recognition   for  colour  oi 
To  enhance  the  pictorial  value  of   his  i  revival  of  Cj 

Sir  Henry  Irving  has  seemed  thi    cooperation  of  Mr.  Alma-Tadema, 
R.A.,  whose  reliable  and  populai  ias  been  ably  edited  for  the 

Lyceum  stage  by  Mr.  Harker.    The  Et<  in  particula 

beyond    a   doubt    the   source  of   their    inspiration,   and   are   in  admirable 
■  mtra  I  to  the  comparative  barbarism  of  the  British  interiors  with  their 

I  eltic    d rations  and    Druidic    symbol-  (a  curiously    effective 

corridor  in  "Cymbeline's  Palace"   is  excellent   in  draughtsmanship),  and 

to  the  landscape  illustrations  from  the  brush  of  Mr.  Hawes  Ckavkn,  who 

warned  against  cultivating  a  monotonj  of  style  and  n 

ning  -set  "  of  the "i  ddly  "Japam 

sentiment,  and   his  final   pern t    thi    i:  Kit 

draperies  attached    to  a   I lelj    pi  rforal  d 

The  "Field  of    Battle"    with   a   d>  ed   of  the  toy-shop   variety 

the    i  romlech     o     5        !  for   ,l"' 

""'  1le 
ol    the  R  Perhaps  Mr.  Craven's  mosl  noteworthy 

effort  is  in  Act    [V.,  "  Before  the  Cave,"  i mposition  Bug 

,,:  the  familiar  methods  ol    Mi    '  rt  in   his  sunny  gl< 

b    and  Welsh  billsidi       though   here  at   one    moment  tl, 


5G 


THE    MAGAZINE    OF    ART. 


THE    LATE    G.    DU     MAURIER. 
(From    a    Photograph    by 


irritated  by  a  transparency  in  the  back  cloth  showing 
a  scarlet  sun  setting  in  a  bright  emerald  light  on  the 
estuary  below.  The  costumes  are  largely  of  the  Lear  and 
Macbeth  order,  and  against  these  Cymbeline's  royal  raiment 
seems  more  characteristic  of  the 
Hebraic  priesthood.  Sir  Henry's 
Iachimo  suggests  in  the  "  make- 
up "  rather  the  Renaissance  than 
Ancient  Rome,  though  his  superb 
robe  of  lapis-lazuli  blue,  draped 
in  the  earlier  scenes  by  a  toga 
heavy  with  jewelled  vine-em- 
broideries, is  sufficiently  typical 
of  the  luxurious  decadence  of 
art  undc  the  later  emperors. 
Imogen's  first  dress  is  almost 
startling  in  its  bizarre  assem- 
blage of  hues— outrivalling 
Joseph's  traditional  "  Coat  of 
Many  Colours  "—but  Miss  Terry 
wears  it  with  all  possible  dis- 
tinction and  grace,  and  later  on  as  "Fidele"  is  irresist- 
ibly charming  in  the  subdued  harmonies  of  the  discreetly 
fashioned  page's  disguise. 

We  call  the  attention  of  all  aitists  to  the  terms 
Miscellanea.  of  a  competition  wi,icu  WM  be  found  in  the 
advertisement  pages  of  this  Part.  For  designs  for  a  poster, 
prizes  to  the  value  of  £100  are  offered  by  Messrs.  Cassell 
aud  Company,  Limited.  The  judges  will  be  Mr.  John 
Sparkes,  Principal  of  the  Royal  College  of  Art,  Mr.  Edwin 
Bale,  K.I.,  and  Mr.  M.  H.  Spielmann. 

In  connection  with  the  Burns  Centenary  there  is  an 
exhibition  at  the  Royal  Glasgow  Institute  of  the  Fine  Arts 
of  everything  that  it  has  been  possible  to  collect  concerning 
Scotland's  greatest  poet.  The  Art  section  includes  portraits 
of  Burns,  and  of  his  friends  and  associates  ;  and  pictures 
of  the  scenes  among  which  he  lived  and  about  which  he 
wrote.  Then  there  are  personal  relics  ;  various  editions  of 
his  works,  and  a  collection  of  MSS.  and  books  relating  to 
Burns  and  his  time. 
The  catalogue  is  a 
bulky  volume  —  we 
give  a  reduced  repro- 
duction of  the  cover, 
designed  by  Mr. 
Hassall— for  the 
compilation  of  which, 
with  the  exception  of 
the  book  section,  Mr. 
Robert  Walker  has 
been  responsible. 

A  statue  of  Burns 
has  been  unveiled  by 
Lord      Rosebery      at 
Paisley  to  commemo- 
rate the  Centenary  of 
the  poet's  death.    The 
commission        was 
gained  by  Mr.   F.  W. 
POMEEOY   in   an    open 
competition,  and    the 
cost  has  been  defrayed 
by  a  series  of  Burns  concerts.    The  statue  is  in  bronze,  and 
i-  agraceful  ami  virile  composition.    Mr.  Pomeroy  found  his 
inspiration  In  the  opening  lines  of  "The  Brigs  of  Ayr": — 
"The  simple  bard,  rough  at  his  rustic  plough, 
Learning  his  tuneful  trade  from  every  songster  on  the  bough." 


THE      LATE      WILLIAM      MORRIS- 
(From  a  Photograph  by  Hollyer.) 


It  is  with  deep  regret  that  we  notify  here  the  sad 
Obituary.    death  of  that  hjghiy.talented  humorous  artist, 

Mr.  Fred  Barnard,  in  the 
month  of  September.  In 
view  of  an  article  on  his  life 
and  work,  which  we  propose 
to  include  in  an  early  Num- 
ber in  the  series  of  "Our 
Graphic  Humourists,"  we 
withhold  for  the  present  a 
biographical  notice. 

With  sentiments  not  less 
sincere  we  record  also  the 
death  of  Mr.  George  du 
Maurier,  the  delightful 
artist,  the  genial  satirist, 
the  exquisite  pourtrayer  of 
beauty  with  pen  and  pencil, 
who  lias  taken  so  great  a 
share  in  social  art,  and  has 
helped   to  make  Punch    a 

delight  for  six-and-thirty  years.  We  are  pleased  to  think 
that  it  was  in  these  pages  that  this  artist  made  his  literary 
debut  some  years  ago,  and  that  his  pencil  has  embellished 
them.  A  careful  estimate  of  his  life's  work  was  published 
in  this  Magazine  on  p.  229  of  the  volume  for  1892. 

To  the  life  and  death  of  the  great  art-reformer,  Wil- 
liam Morris,  we  propose  also  to  make  such  fuller  refer- 
ence as  appears  to  be  due,  not  only  to  his  own  great  talent 
and  brilliant  work,  but  also  to  the  powerful  influence  for 
good  which  he  exerted  on  the  art-views  and  the  art-produc- 
tions of  this  country,  of  Europe,  ami  of  America. 

A  portrait  is  presented  of  the  late  Mr.  C.  S.  Reinhardt, 
whose  black-and-white  work  has  embellished  the  best  of 
the  American  books  and  magazines  for  some  years  past. 
He  was  a  consummate  master  of  the  art  of  pen-drawing, 
and  was  among  its  most  distinguished  professors. 

Victor  Lagye,  the  celebrated  Flemish  artist,  has  died 
at  Antwerp  at  the  age  of  seventy  one.  He  was  born  in 
Ghent  in  1825,  and 
studied  at  the  Acad- 
emy of  Fine  Arts  of 
that  City.  He  went 
to  Rome  at  the  age  of 
sixteen,  fought  under 
Garibaldi,  and  es- 
caped from  a  sentence 
of  death  when  the 
city  was  captured  by 
the  French.  He  com- 
menced painting 
again  at  Brussels,  but 
a  little  time  after 
went  to  Antwerp  to 
Baron  Leys,  with 
whom  he  stayed  till 
he  died.  He  painted 
the  well-known  series 
of  panels  in  the 
Hotel  de  Ville  at 
Antwerp,  illustrating 
the  marriage-customs 
at  different  epochs. 

"The  Exposure  of  the  South  Kensington  Museum." 
The  writer  of  the  anonymous  letter  addressed  to  the  Editor 
on  this  subject  is  requested  to  communicate  confidentially 
his  name  and  address. 


THE     LATE     FRED     BARNARD. 
root    «    Photograph    by    F.    Gregory) 


57 


GEORGE      W.      JOY, 


By     JOSEPH     ANDERSON. 


millv  early 
L    gave  thi 

work 
t  proi 

by  amateurs. 

It  w 

of  Mr.  George  W.  Joy  merely 
rise  which  is  frequently  shown 
is  marked  by  good  drawing,  by 


GEORGE     W.     JOY. 
(From    a    Sketch    by    Himself.) 

conceptions  savouring  of  youth,  and  by  a  smooth 
finish,  but  much  that  is  desirable  in  colour  was 
wanting.  He  first  painted  subject  pictures.  These 
were  hard  in  outline  and  low  in  tone.  Portrait  paint- 
ing thru  occupied  a  considerable  period  of  his  time, 
and  here  the  severe  lines  gradually  softened.  Yearn- 
ing for  some  outlet  to  his  imagination,  he  returned  to 
subject  pictures,  most  of  them  with  a  patriotic  motive, 
and  in  Works  of  imagination.  Within  a  dozen  years, 
.Mi.  Joy's  wink  has  so  changed,  and  has  reached  a 
level  of  merit  so  far  above  his  early  labours,  that  it 
is  difficult  to  believe  the  present  painter  could  have 
grown  out  of  his  former  self.  Withoul  hesitation  ii 
may  be  said  that  his  art  of  the  last  few  years  is  worth)1 
of  very  serious  consideration,  for  if  nol  in  the  estimate 
of  the  bulk  of  English  critics,  we  find  support  at 
least  in  the  best  critics  of  France,  and  in  many  other 
Continental  judges  of  art.  Mr.  Joy  is  not  only  in 
earnest  and  in  love  with  his  art,  but  he  manifests  an 


unusual  energy  and  breadth.     In  th 
a  singleness  of  purpose  that   charai 


|Ualities  and 

ses  him.  lies 

the  secret  of  his  growth.  His  "Lear  and  Cordelia," 
now  in  the  possession  of  the  Leeds  Municipal  <  lallery, 
"Christ  ami  the  Little  Child,"  now  on  his  easel, 
"The  King's  Drum,"  and  "The  Danaids,"  reveal  a 
painter  possessing  all  the  refinement  and  dignity  of 
repose,  thoroughly  imbued  with  the  spirit  of  an 
elevated  art.  It  is  not  proposed  to  class  Mr.  Joy, 
for  there  is  an  element  that  is  decidedly  unique  in 
his  productions.  This  is  probably  what  has,  in  a 
measure,  barred  him  from  the  recognition  he  deserves 
in  England,  although  it  has  served  to  enlarge  his 
reputation  in  France — a  country  that  has  on  several 
occasions  recognised  the  merits  of  British  painters 
before  they  were  acknowledged  at  home.  Mr.  Her- 
komer,  It. A.,  and  in  earlier  times  John  Constable, 
an — inie  a  distinguished,  the  other  an  illustrious  ex- 
ample. During  the  last  six  years  .Air.  Joy  has  been  a 
contributor  to  the  Salon,  where  he  has  been  warmly 
received  by  both  painters  anil  art  critics.  A  nude 
subject,  "  The  Danaids,"  was  the  first  of  his  pictures 
exhibited  there.  It  was  originally  a  ball'  length, 
and  would  never  have  been  finished  but  for  the 
encouragement   of   Mr.  G.   F.   Watts,   under   whose 


SKETCH      FOR     "THE     FIRST     UNION     JACK. 


58 


THE    MAGAZINE    OF    ART. 


LAODAMIA. 


is  no  shadow  of  falseh 1  on 

the  noble  features  of  the  face. 
Truth  is  naked,  but  she  fears 
no  naze.  All  this,  ;iihI  all 
image  of  beauty,  are  recorded 
in  Mr.  Joy's  picture.  This 
painting  and  "  Joan  of  Arc  " 
surpass  all  his  other  works, 
ami  may  be  considered  as 
the  fullest  notes  to  which  his 
art  has  yet  given  expression. 
The '"First  Union  Jack" 
painted  in  1891,  a  sketch 
for  which  is  here  reproduced, 
is  now  in  possession  of  the 
Fine  Art  Society.  Il  is  one 
ill'  the  first  successful  ex- 
amples of  Mr.  Joy's  painting 
in  a  higher  key.  In  this 
picture,  the  soft  silken  folds 
of    the  first   Union  Jack  lie 

counsel  it  was  made  a  full  length.     "The  Danaids ■"     on  the  lap  of  a  lovely  girl,  and  are  stretched  along 

was  followed  by  "Truth,"  which  was  received  with      the  floor.     The  girl   is  daintily  plying  her  needle. 

Midi    enthusiasm    in    Paris    that    Mr.    J03',    out    of      A   letter  lies  at   her  feet  on  which  is  sketched  the 

gratitude,  painted  his  "Joan  of   Arc"  as  a  thank-      design  of  the  Hag  she  is  making.  The  picture  inspires 

offering  to  the  French  people  for  their  hearty  wel-      in  one  a  sense  of  patriotism, mingled  with  the  charm 

come  of  the  work  of  a  comparative  stranger.     The     of  romance,  and  is  pleasing  in    its  humour,  grace, 

French  Government  was  quick  to  .see  the  merit   of      ami  ease.      Its  must  striking  and  important   detail  is 

the  picture,  and  promptly  bought  it.     In  this  man-     a  bold  contrast  in  colour  that  cannot  fail  to  challenge 

HL'i'  one  act  of  appreciation  begot  another,  and  that     criticism,  although  it  is  one  of  the  picture's  claims  to 

l"'.-"1   ^  third.  distinciii.ii.     A  lover  of  Wagnerian  music  would  love 

Of  ".loan    of  Arc"  no  comment   need   be  made,      the  boldness  that  dales  to  dash   the  minor  and   the 

except    as    to    colour.     This 

is      one      of      ils      principal 

merits,   and    is   a  delight    of 

lender  contrasts.     A  litter  of 

glistening  yellow  straw,  steel 

armour,  a   red  scabbard,  the 

opalescent    w  ings    of    the 

angel,   a   silvery   halo  about 

the  angel's   head  ;    over   all, 

the  glow  of  lantern  light,  for 

the  scene   is  night  within  a 

stable  (sec  Frontispiece). 
"  Truth  "  scarcely  speaks 

for  itself  in  black  and  while 

as  t  he  "  .loan  of  Are  "  is  seen 

to  do.    Apart  from  its  colour, 

the    feeling    of    "  Truth  "    in 

the   original    is    so    faithful 

to  nature  that,  nude  as  the 

figure    is,    it    commands    our 

re  peel   and  reverence.     The 

eye  radiate-    beams  of   truth  : 
truth     is    written     upon     the 

,  i         i    •  ,  ,       ,  LEAR     AND     CORDELIA. 

broad  white  brow,  and  there  (Fr0„,  the  PtlMimj  ,.„  „K.  Uitli  Corpt>rat M  ,,,,,_,, 


63 


THE     ARTS     AND    CRAFTS     EXHIBITION.— II. 


for  all  such  admitted  beauty 
as  they  may  possess,  the 
conventional  objects  of  com- 
merce are  notoriously  lack- 
ing. Furniture  and  such- 
like arc  to-day  turned  out 
by  an  impersonal  firm  for 
an  impersonal  public.  I  >e- 
signer  and  craftsman  (that 
is  to  say,  the  artists),  on  the 
one  hand,  arc  wholly  out  of 
touch  with  the  purchaser, 
on  the  other;  and  the  latter, 
brought  up  tn  regard  his 
acquisitions  with  as  little 
real  interest  as  he  lavishes 
on  the  bricks  and  mortar 
lit  the  house  he  lives  in, 
never  knows  the  joy  of  sym- 
pathy bred  of  direct  con- 
cern i'i  the  const  i  uction  ami 
adaptation  to  his  needs  of 
the  furniture  el'  his  home. 

Doubtless,  the  newly- 
born  passion  for  simplicity 
ami  purity  hi'  design  has  led 
many  members  of  i  lie  society 
into  a  seJf-conscious  bald- 
ness that  has  resulted  in 
what  is  dubbed  the  "  rabbit- 
hutch  school :"  but  affected 
simplicity     is    the    natural 


IT  must  be  borne  antithesis  to  tiie  unconscious  and   thoughtless  elab- 

in     mind    by  oration  which  has  been  fast   leading  us  into  a  dis- 

thiise     who    visit  torted    version    of   redundancy    of    ornament,   such 

this   exhibition  as  we  see  in  the  Vie sse  school.     Rather,  say  our 

that    there    is    nil  purists,  begin   afresh   ami   return    to  archaism    than 

pretence  of  offer-  fall  still  further  int..  the  slough  of  false  art.     And 

ing   a    display    of  so  there  has  arisen  a  school  parallel,  in  some  sense, 

exquisitely  -  made  with    the    I're-Eaphaelite    Brotherhood    in    another 

objects,     whether  1. ranch  of  art,  whose  attitude  is  a  practical  protesl 

furniture  or  orna-  ami  whose  influence  is  directed  t<.  awaken  the  dor- 

ment    or    decora-  inant  art-consciences  of  those  win.  have  brains  hut 

tion,    mi    the    or-  think  not.     Hot   gospellers  are  apt    to  he  extreme: 

dinavy  lines.      Its  hut  men  of  sens,,  can  male-  allowances  and  be  indul- 

maiu    note   is    in-  gent    to  those    who,  in   their   desire   fur   significant 

dividuality,      ami  expression,  arc    apt    to    fall    into  exaggeration   ami 

its  very  existence  carical  ure. 

>s  ;l  plea    in   per-  So  much  may  account  for  what  is  extravagant  at 

sons  of  taste  to  de-  the  New  Gallery;  hut,  it  should  in  justice  he  said, 

maud  that  human  the    extravagances,  which    at    least    haw  the  merit 

quality  in  which,  of  thought  ami  humour,  are  neither  numerous  nor 


CHIMNEYPIECE     IN     MARBLE     AND     ONYX.     (B,   w 

STEEL     FENDER,     (fy    ;,  I   Co.) 


64 


THE    MAGAZINE    OF    AET. 


TROWEL     IN      WROUGHT     STEEL,     SILVER 

AND     COPPER,     WITH      ENAMELS. 

(By  Ale/so  >  an.i  Edith  Bauison.) 

unduly  obtrusive.  Last  month  we  sug- 
gested that  the  entirely  sane  works 
were  more  than  enough  to  monopolise 
our  attention;  even  this  second  notice 
cannot  exhaust  the  list,  so  that  it  is 
encouraging  to  think  how  much  con- 
scientious effort  has  been  put  into  the 
production  of  work  intended  not 
merely  to  meet  the  demands  of  a 
market,  but  to  make  direcl  appeal  to 
the  better  feeling  of  individual  per- 
sons. Notable  among  these  works 
are  the  admirable  park  gates  by  Mr. 
Reginald  Blomfield  :  admirable,  be- 
cause the)  '1"  not  aim  at  displaying 
the  gymnastic  refinements  of  the 
smith  so  much  as  the  qualil  ies  of  the 
iron  and  the  purposes  they  are  intended 
i"  serve.  It  is  the  modern  fashion 
to  demand  from  iron  lightness  and 
malleability  alone,  so  that  we  have 
exquisite  but  radically  incorrect  ex- 
amples of  the  metal  beaten  into 
rose-leaves  and  twisted  into  tendrils 
— the  malleability  insisted  on,  but  the 


strength  and  weight — two  of  its  three  inherent  virtues 
— wholly  forgotten.  Mr.  Blomfield,  with  his  smith  Mr. 
Elsley,  has  made  no  such  mistake.  His  gates  are  reti- 
cent in  design,  noble  and  strong,  admirably  suite. 1  to 
the  purpose  of  keeping  intruders  out,  and  free  from  all 
those  fireworks  of  smithery  which  render  a  real  sense 
of  distinction  impossible.  Air.  Lethaby's  chimneypiece 
in  marble  and  onyx,  executed  by  Messrs.  Farmer  and 
Brindley,  with  a  urate  by  the  same  designer  and  Air.  J. 
Gardner,  and  a  semicircular  fender  designed  by  Mr. 
Cobden-Sanderson  and  executed  by  Messrs.  Longdeu  and 
Co.,  compose  together  a  pleasing  if  rather  severe  arrange- 
ment, in  which  the  workmanship  proclaims  itself  as  ex- 
cellent as  the  design  is  thoughtful  and  harmonious.  Air. 
Voysey's  carpets,  although  always  happy  in  colour,  are 
not  equally  admirable  in  design.  Nothing  could  be  better 
in  its  way  than  the  first  here  reproduced,  which  is  not 
only  excellent  but  inexpensive.  In  the  "Bo-peep'"  de- 
sign the  ease  is  different  :  for  the  growing  trees  and 
grazing  sheep  (conventional  to  the  furthermost  point) 
which   may  be    correct    enough  when  viewed    from    one 


WROUGHT-IRON      GATES. 
,  Reginald  Blomfield.     Executed  by  Messrs.  Elsley.) 


THE    ABTS    AND    (RAFTS    EXHIBITION. 


65 


end  of  the  room  must   necessarily  be  absurd  when      "water-colour  print  "  by  Mr.  J.  D.  Batten,  of  "Eve 
viewed  from  the  other  and  from   the   sides;   while     and  the  Serpent,"  executed  by  Mr.  Morley  FL 


STEEL     CASKET.     WITH      ENAMELS     AND     GOLD     SETTING. 

(Bj     ilex.  Fisher.) 

three  sides  of  the  border  must  always  be  irritating  there  are  the  enamels  on  sil\ 

to  see.     This  is  a  mistake  common  enough   to  de-  there  is  the  extremely  forcei 

sign  is  of  hang-  n  nwelcome 
ings.  At  the  chimneypiece 
same  time  a  word  of  Mr.G.Jack, 
of  praise  should  ami  his  far 
be  accorded  in  more  pleas- 
t  he  excellen t  ing  carved 
workmanship  of  oak  leg  of  a 
Messrs.  Tomkin-  settle.  There 
son  ami  Adam,  isMr.Christo- 
the  weavers.  Mr.  pher  Whall's 
Voysey's  versa-  c  h  a  r  m  i  n  g 
tility  must  also  swallow  de- 
he  recognised  in  coration  for 
his  fiuely-propor-  I  >onglas  ( las- 
tioned  model  for  tie :  Mr.  Xel- 
a  lamp-post,  his  sou  ami  Miss 
quaint  ami  cha-  Edith  Daw- 
racteristic  designs  sou's  trowel 
for  clock-  ami  in  wroughl 
barometer  -  eases,  steel,  sih  er, 
and  other  objects,  and  copper, 
YV a  n  d  e  ring  with  enamels, 
through  the  gal-  together  with 
leries  we  find  their  beauti- 
many  exhibits  to  ful  heraldic. 
an  est  our  atten-  d  e  s  i  g  n  on 
tion ;  fa  r  more  beaten  steel 
than  our  space  with  champ 
will     permit      us  /,/-,      enamel, 

even   i sntion.  and    t  h  ei  i 

Then-      is     thi'  alms-dish    in 


•r  by 
and 


Mr.  W.  R.C 

i in  some  lii 


ilton; 
unds, 


TILE     PANEL. 

Pilkwgton  Tile  Co.) 


66 


THE    MAGAZINE    OF    ART. 


beaten  silver  and  enamel,  representing,  with  wolves 
in  disturbed  tracery  round  the  border  and  lilies  and 
crown    enamelled  in   the    centre,  "The  Turmoil  of 


the  World  and  Inward  Peace."  There  are  Mr.  Cat- 
terson  Smith's  hammered  silver  plaques  after  Sir 
Edward  Burne-Jones's  designs;  there  is  Mr.  Alexan- 
der Fisher's  beautiful  steel  casket  set  with  enamels; 
there  is  Mr.  Onslow  Whiting's  clever  design  for  a 
door-knocker;  Mr.  G  Morris's  music-cabinet;  Miss 
Mercer's  punch-howl;  Mr.  G.  W.  Rhead's  design 
for  stained  glass  on  the  subject  of  "Apollo  and  the 
Muses,"  in  the  manner  of  his  master,  Ford  Madox 
Brown  :  Mr.  Spooner's  mahogany  cabinet :  Mr.  Edgar 
Wood's  bedstead ;  Mr.  Walter  Crane's  damask  table- 
cloth, "The  Five  Senses;"  Mr.  W.  F.  A.  Voysey's 
mantel  and  fireplace;  Mr.  Henry  Arthur's  sideboard  : 


HERALDIC     DEVICE     IN      BEATEN     STEEL     AND     CHAMPLEVE 
ENAMEL. 


Miss  Hay's  doorplates  and  handles;  Mr.  Lewis  Day's 
pure  and  graceful  designs  for  panels  intelligently 
embroidered  by  Miss  Swindells;  the  Hon.  Mabel 
de  Grey's  inlaid  box  and  cupboard;  Mr.  Christie's 
iron  four-post  bedstead,  cleverly  executed  by  Messrs. 
Shirley  and  Co.;  Mr.  Alexander  Fisher's  copper 
bowl  with  enamel  mi  silver;  the  striking  collection 

of  1 ks,  1 k-covers,  illustrations,  and  typography, 

to  which  we  hope  to  give  special  attention  later  on. 
Then  there  are  the  exhibits  of  domestic  objects  in 
metal,  chiefly  in  brass  and  copper,  by  Mr.  W.  A.  S. 
Benson;  the  glazed  pottery  of  Mr.  Rathhone's"  Delia 
Robbia"  Company,  which  Messrs.  Liberty  have  in- 
troduced to  London,  and  Mr.  Lewis  Day's  tiles 
by  the  Pilkington  Company;  the  charmingly  deli- 
cate and  dainty  potiei)  panel  of  "  Le  I'i intemps  "  by 


THE    ARTS    .VXD    CRAFTS    EXHIBITION. 


(>7 


Mr.  Leon  Y.  Solon — clever  sou  of  a  clever  father; 
bhe  novel  pianoforte  of  Mr.  H.  B.  Scott,  exhibited 
by  Messrs.  Broadwood  and 
Sons,  and  the  other  l>y  Mr. 
Walter  ( 'a  ve,  shown  by  Messrs. 
Maple  ;  Mr.  Halsey  Ricardo's 
beautiful  fireplace  -  surround 
on  the  subject  of  "Camelot," 
exhibited  by  Messrs.  De  Mor- 
gan; Messrs.James  Powell  and 
Son's  dainty  and  charmingly- 
wrought  blown  table  "lass: 
1 1 riginal  and  extremely  cha- 
racteristic smithery  in  beaten 
gold  and  silver  by  Mr.  Ashbee, 
together  with  his  ornaments; 
and  the  notable  lectern  in 
bronze  by  .Messrs.  Wilson  ami 
Pomeroy.  When  they  are  all 
examined,  some  estimate  may  Tll 

be  formed  of  the  great  move-  (D«,g„fd  „,  L  f.  oay 

went  which  is  intended  as  an 

antidote  to  the  degradation  of  latter-day  taste,  and 
which  assuredly  is  feeling  its  way  to  the  foundation 
of  a  notable  and  worthy  school. 

The  loan  collection  of  the  works  of  Ford  Mado.x 
Brown  has  its  proper  place  in  this  exhibition,  not 


le  bei  ause  lie  was  the  direi  I  fo]  beai  so  to  a\ 
the  present  Society,  but  because  his  sense  of 
decoration  and  the  numerous 
works  in  which  he  gave  it 
play  offer  even  now  examples 
enough,  practical  and  sugges- 
tive. The  faults  of  his  style 
proclaim  themselves,  and  need 
not  be  dwelt  on  lure,  for  so 
personal  are  they  to  the  man 
that  no  follower,  no  disciple, 
is    ever    likely    to    fall    into 

them      heedlessly.        But       the 

merits  of  the  style— the  ele- 
vation of  thought,  the  extra- 
ordinary power  of  invention 
(a  quality  he  used  so  to 
admire  in  Dyce  and  Maelise), 
the  fertility,  and  originality 
—  are    so    many,    thai     only 

he   Rilkmgtor,    Tilt   Co.)  superficial      observers     will      he 

turned    from    them    by    their 
ramped   quaintuess  and   archaic  idealism. 

The  finished  oil-paintings  themselves,  interest- 
ng  as  they  are,  are  not  here  quite  in  place.  They 
erve  little  purpose  in  showing  the  artist  as  a  de- 
igner,  and  arc  too  few  to  show  him  adequately  as 


CASE     OF     METAL-WORK. 
ed    by    C.    ft.    Ashore      Executed    by    the    Guild   of 


68 


THE    MAGAZINE    <>F    ART. 


a  picture  painter.  "The  Summer  Day,"  as  it  is  now 
called — the  old  title  of  "The  Pretty  Baa  Lambs"  be- 
ing rejected  as  too  "soft  "  for  these  less  sentimental 
times — shows  his  greal  power  of  technique,  but  is 
deficient  in  the  light  it  professes  to  be  a  study  of. 
Suggestions — cartoons,  studies, 
and  .so  forth — are,  it  is  true, 
given  us  of  his  greater  works  ; 
but  a  sense  of  fitness  compels  us 
to  turn  our  chief  attention  to 
those  of  his  designs  exclusively 
executed  for  decorative  pur- 
poses. Madox  Brown  excelled, 
we  consider,  in  his  designs  for 
stained  glass ;  and  of  these  we 
have  a  very  considerable 
number — enough  to  appreciate 
bow  great  a  man  he  was.  He 
made  no  concessions  to  popular 
taste;  he  would  sometimes  even 
shock  by  the  familiar  touches 
he  would  introduce  into  his 
works — touches  of  an  intime 
character  which,  while  they  oc- 
casionally would  detract  from 
the  loftiness  of  dignity  in  the 
subject,  would  add  to  their 
humanity,  to  their  universal 
sympathy.  An  example  of 
what  we  mean  may  be  seen 
in  the  design  for  the  second 
mural  painting  of  the  Man- 
chester scries — "  The  Romans 
Building  Manchester" — where- 
in, in  the  midst  of  this 
heroically  imagined  group,  the 
general's  little  son  is  kicking 
viciously  at  his  laughing  black 
muse.  Human  nature,  indeed, 
was  at  the  bottom  of  Madox 
Brown's  work,  and  he  never 
hesitated  to  import  it  into  any 
of  his  designs,  not  minding  if 
the  effect  was  sometimes  incon-  c««  si,  e. 

.unions.  He  was  influenced  not 
a  little  by  a  contempt  for  that  conventionality  in 
design  which  in  the  'Thirties  and  'Forties  so  sapped 
English  ait.  and  he  carried  his  protest  a  little  too 
far.  His  babies  have  been  objected  to  because  their 
infant  bodies  and  habits  were  too  truly  character- 
istic, or  over-characteristic,  of  babyhood.  Bui  in 
his  designs  for  stained  glass  must  of  these  objec- 
tions vanished  :  we  no  longer  see  men  with  extreme 
development  of  calf  contrasted  with  extreme  narrow- 
ness of  ankle,  nor  with  countenances  distorted  h\ 
grimace  rather  than  with  expression.    Madox  Btowd 


CARTOON     FOR     WINDOW     OF     UNION 
CHURCH.     ASHTON-UNDER-LYNE. 


was  a  master  of  picture-lighting,  and  could  put  more 
luminosity  into  a  canvas  than  perhaps  any  of  bis 
contemporaries,  in  however  high  a  pitch  they  might 
paint.  His  sense  of  colour  was  extraordinary,  and 
bis  power  of  harmony  and  bis  delight  in  giving 
rein  to  that  power  were  such 
that,  in  his  later  works  at 
least,  the  glow  was  sometimes 
almost  overwhelming  especially 
when  seen  within  the  same 
hour  as  other  pictures.  Add 
to  these  qualities  his  splendid 
feeling  for  line,  his  merits  as  an 
ornamentist,  together  with  his 
profound  know  ledge  of  costume 
and  custom  of  many  periods, 
and  the  secret  of  Madox 
Brown's  success  (d'estime,  it  is 
true)  is  evident. 

This  very  considerable  col- 
lection at  the  Arts  and  <  raits 
is  representative  of  all  Madox 
Brown's  forms  of  designs,  if 
not  of  bis  technical  processes. 
His  book-illustration  may  be 
seen  in  the  quaint  "Brown  <  Iwl," 
and  his  oil-picture  painting  in 
" Oliver  Cromwell  on  Ids  Farm," 
"The  Pretty  Baa  Lambs" afore- 
said, "William  the  Conqueror 
Finding  the  Body  of  Harold," 
"  ( 'romwcll  at  St.  Ives."  "  King 
Lear,"  as  well  as  bis  portrait  of 
himself;  while  of  the  water- 
colours  those  of  "  The  Entomb- 
ment of  <  'brist  "  and  "  The 
lounger  Foscari "  are  perhaps 
the  most  interesting.  But  the 
main  portion  of  bis  other  work 
here  shown  is  to  be  divided 
among  bis  cartoons  for  stained 
glass  for  Morris  and  Co.,  bis 
designs  and  sketches  for  his 
1 "'"-i  mural   paintings   in   the  Man- 

chester Town  Hall,  and  similar 
preliminaries  for  the  important  decorative  work 
be  executed  in  the  Manchester  Jubilee  Exhibition 
— a  series  for  which  be  has  never  received  just 
credit,  even  in  the  excellent  biography  newly  pub- 
lished of  him  by  his  grandson,  Mr.  Ford  Madox 
Hueffer.  There  is  a  wealth  of  artistry  and  of 
suggestion  in  this  collection  for  artists  to  observe 
and   men   of   taste   to   study. 

[We  .-ire  requested  to  state  that  the  copyrights  of  :ill  objects 
and  designs  included  in  this  article  are  specially  reserved 
by  the  artists  or  owners.] 


69 


LORD      LEIGHTON'S     SKETCHES. 


By     ALFRED     LYS     BALDRY 


THERE  is  with  the  general  public  no  idea  so 
absorbing  as  the  desire  to  be  admitted  behind 
the  scenes,  to  lie  allowed  in  any  art  to  study  the  pro- 
cesses  by  which   the  complete  and  perfected  result 


CHALK     DRAWING. 


is  achieved.  No  matter  whal  may  be  the  loss  of 
illusion  which  must  result  from  this  satisfaction  of 
curiosity,  everyone  is  anxious  to  see  in  progress  the 
building  up  of  a  greal   work.      In  the  case  of  an 

important    picture   \ pie  are   not  satisfied   merely 

to  admire  it  when  it  is  al  lasl  pul  before  them  in 
the  form  which  seems  to  the  artisl  must  nearly  to 
realise  his  intention;  they  want  to  penetrate  into 
the  studio  itself,  and  to  become  acquainted  with  the 
methods  by  which  he  has  acquired  the  knowledge  of 
which  the  evidence  appears  throughout  the  canvas 
that  he  has  completed.  Therefore,  the  exhibition  of 
the  sketches  and  studies  by  Lord  Leighton,  which 
has  been  arranged  by  the  Fine  Arl  Society,  is  certain 
of  wide  popularity,  for  it   is  designed   expressly  to 


present  in  as  adequate  a  manner  as  possible  a 
summary  of  the  infinite  labour  which  throughout 
his  life  he  devoted  to  the  building  up  ami  perfecting 
of  his  pictorial  productions.  In  such  a  shew  he  maj 
be  seen  for  what  he  was — a  man  of  extremely  fas- 
tidious taste,  a  worker  whose  one  idea  was  to  satisfy 
in  even  the  smallest  and  apparently  the  must  trivial 
matters  his  intense  anxiety  to  be  exact. 

To  the  members  of  his  own  profession,  and  to 
everyone  with  a  technical  knowledge  of  art,  these 
sketches  have  a  far  mure  intimate  interest  Tin  \ 
are  in  the  highest  degree  instructive,  because  they 
prove  with  what  constant  attention  ami  never- 
ceasing  self-examination  he  worked.  His  pictures 
weiv  tn  him  matter  for  absorbing  thought,  for 
analysis  ami  comparison,  which  was  often  extended 
over  a  period  of  many  years.  He  never  did  any- 
thing hurriedly,  nor  committed  himself  to  technical 


STUDY     OF     DRAPERY     FOR     "  DAPHNEPHORIA.  ' 


70 


THE    MAGAZINE    OF    ART. 


\0> 


IP*  m     7 


the  must  perfect  expression  of  his 
meaning.  He  was  always  in  search 
of  a  better  way  of  lining  what  he 
proposed  to  do  than  the  one  which 
first  commended  itself  to  him.  A 
distrust  of  his  own  capacity  to  decide 
offhand  what  was  most  suitable  for 
his  purpose  seems  to  have  dominated 
him  throughout  his  life.  What  were 
his  final  conclusions  were  the  result 
of  a  very  elaborate  system,  during  the 
application  of  which,  in  their  earliest 
stages,  he  was  ready  at  any  moment 
to  abandon  his  previous  conclusions 
and  to  occupy  himself  in  new  direc- 
tions. This  habit  of  thought  appears 
strongly  in  the  custom  which,  as 
his  sketches  tell  us,  he  possessed  of 
walking  round  his  subjects.  He  was 
not  satistieil  to  proceed  with  the  first 
aspect  of  his  pictorial  motive  that 
presented  itself  to  him  :  he  must  see 
it  from  various  angles,  and  study  its 


PENCIL     STUDY. 

statements  that  he  had  not  verified 
beforehand  by  every  means  in  his  power. 
A  particular  desire  to  reason  out  and  to 
construct  upon  a  basis  of  definite  in- 
formation guided  him  in  his  practice. 
Nothing  was  left  to  fortunate  accident, 
no  moment  of  chance  inspiration  was 
allowed  to  divert  him  from  his  serious 
intention  :  unless  the  idea  which  bad 
formed  in  his  mind  was  matured  by  the 
most  careful  process  of  cultivation,  he 
hesitated  to  turn  it  to  account.  His 
instinct  was  that  of  a  student  learning 
by  every  access  of  knowledge  the  need 
for  closer  and  more  strenuous  attention 
lo  his  subject. 

In  nothing  is  this  better  seen  than 
in  the  manner  with  which  he  repeated 
in  his  sketches  the  figures  and  groups 
that  he  proposed  to  include  in  his  com- 
positions, lie  would  cover  sheets  of 
paper  with  tiny  notes  of  the  same  figure, 
varying  them  apparently  hardly  at  all, 
1  hi t    seeking,   nevertheless,    to   arrive   at 


EARLY     PENCIL     SKETCH. 


LOUD    LEIGHTON'S    SKETI  III- 


71 


proportions  and  line  arrangement   from  points  other     draperies  whirl,  he  made  from  the  model  with  the 

tlian  lhat  "n"  l"""  which  at    the  outset    he  viewed      intention    of    using   them    in    specific   compo 

it  mentally.     ]{<,   feeling   in   this  respect   was  thai      he  was  obviously  concerned  from  the  first  with  con- 


.■'■-:•■■■ 


0 


I L L 


PROJECTS     FOR 


of  a  sculptor,  the  instinct  to  construct  and  to  work  siderations  of   the   How   and   harmony  ol    his   linear 

from   something   that   had    become   at    last    almost  arrangement.     Unlike  most  other  artists  who  make 

solid  and  tangible.  a  considerable  amount  of  preliminary  work  a 

There  is  another  characteristic  of  his  art  which  sary  part  of  their  system,  he  ignored  al si  entirelj 

appears  very  strong!)  in  these  sketches :  his  extreme  the   physical    characteristics  of   his    model  and  the 

appreciation  of  line.     Both  in  his  rough  jottings  of  accidental  peculiarities  of  the  material  of  which  the 

ideas  for  pictures  and  in  the  studies  of  figures  and  drapery  wa    compo   id,  and  imposed  upon  both  the 


THE    MAGAZINE    <>F    ACT. 


living  forms   and    their  coverings    the   aspect      companion  and  associate  of  civilisation ;  but  his  cotistanl 
which  I  lis  personal  inclination  led  him  to  pre-      life  in   a   dream   world,  and  his   repugnance    to   observe 
fer.     To  interest  himself  in  the  Fads  that  were     details  which,  if  at  times  jarring  and  discordant  are  not 
before  him,  to  make  a  portrait  exact  in  detail 
as  a  literal  basis  upon  which  to  build  up  after- 
wards  the  ideal   convention   which   controlled 


him  in  his  paintings,  wen.'  by  no  means  ideas 
that  occurred  to  him  as  important.  From  the 
fhst  rough  note  what  was  in  Ids  mind  was 
his  picture,  and  its  suave  atmosphere  affected 
sverything  connected  with  it  that  he  touched. 
In  a  sense  this  habit  was  prejudicial  to  him 
as  an  artist,  for  it.  tended  to  lead  him,  as 
years  went  on,  further  and  further  away  from 
nature, and  to  formulate  a  preconception  which 
was  in  its  origin  based  quite  rightly  upon  a 
most  judicious  regard  for  the  highest  qualities 
of  beaut}'  and  refinement.  Without  doubt  his 
convention  was  a  necessary  outcome  of  his 
eclecticism,  the  protest  of  an  extremely  asthetic 
mind  against    the  ugliness  which  is  the  dearest 


PENCIL     DRAWING     (ROME.     1S541 


without  importance  in  their  effect  upon  the  mind  and 
and  of  the  artist,  certainly  influenced  in  a  very 
larked  way  the  expression  of  his  ideas. 

Yet  there  was  scarcely  anyone  who  used  preliminary 


PENCIL     DRAWING     IROME. 

18541 

study 

more  extensively  than    he  did, 

thougl 

he 

in  nod 

it    so 

exclusively    in    a    definite    dir 

'ction. 

For 

ever) 

STUDY     FOR      "AND     THE     SEA     GAVE     UP     THE     DEAD     WHICH     WERE      IN      IT.' 


74  THE    MAGAZINE    OF    AET. 

important  picture  he  ever  painted  he  lias  left  semes  earlier  stages  of  his  career,  are  intensely  painstaking 
of  detailed  drawings.  The  total  number  amounts  efforts  to  secure  the  sort  of  accuracy  he  desired  most, 
to  many  hundreds,  and  their  variety  is  astonishing.     When  collected  they  showwith  curious  vividness  how 


FIRST     SKETCH      FOR     "FLAMING     JUNE.' 


Nome  are  the  roughest   notes  in  which  are  recorded  little  the  unrest  and  the  desire  to  range  m  new  fields 

1 rms  of  ideas  which  he  was  afterwards  to  carry  of   practice,  with    which    most   artists  are  affected, 

to  completion ;  some  are  experiments,  serious  evidence  existed  in  his  nature     Seemingly  he  made  up  his 

of  self-examination  in  which  he  showed  how  unwill-  mind  in  boyhood  what  course  he  wished  to  follow,  and 

ing  he  was  to  accept  as  conclusive  his  first  decision;  during  an  active  and  extraordinarily  industrious  life 

and    others,  especially   those   which    date    from   the  deviated  from  it  not  an  atom. 


75 


THE     REVIVAL    OF     LITHOGRAPHY. 

INTRODUCTION:      ITS     RISE     AND     FIRST     DECLINE. 

By     M.     H.     SPIELMANN. 

A  HUNDRED  years  have  passed  since  Senefelder's  means  by  which  he  might  evolve  his  artistic  dreams 

first  happy  introduction— half  discovery,  hull'  or  dash  oil'    his    most    vigorous    thought,   with  the 

invention — of  the  art  of  Lithography.    The  hundred-  certain     knowledge    that     permanence     ami      easy 

and-first  is  witness  of  a  revival  full  of  promise  and  publicity    were    at     his    command.       Thus    would 


VENICE  :      THE     GRAND     CANAL, 
(from     the    Lithograph    bij    S.     Prout.) 


already  full  of  beauty:  a  revival  possibly  destined 
to  rival  the  brilliant  renascence  of  Etching  which, 
realising  how  ii  hail  become  the  victim  of  its  own 
foolish  misconception  of  its  functions  and  limitations, 
has  but  lately  risen  afresh  from  the  degradation  to 
which  it  had  condemned  itself.  Ii  was  impossible 
that  an  art  which  consisted  simply  in  the  drawing 
with  pencil,  pen,  or  brush  upon  a  stone,  and  rendered 
a  ten-thousandfold  harvest  in  the  almost  infinite 
number  of  its  prints— or,  rather,  replicas — that  might 
he  multiplied  from  its  surface,  was  one  which  could 
nut.  willingly  he  allowed  to  die.  It  was  not  onl\ 
thai  lithography  was  cheap  and  rapid  and  con- 
venient;   it    was    rather    that    it    was    the   1 lium 

jinr  excellence   by   which   the   line  artist    might    re 
produce    his    freely-made    sketches    and    designs     :i 


Gavarni  first  scrawl  over  his  stone  uneasily  and  al 
random,  seeking  inspiration  from  the  scribbles  that 
he  made;   or  with  feverish  hast.'  would  throw  the 

idea,  upon   it  alreadj    E tulated   in   his  brain.     Ii 

is  eleai  enough,  therefore,  thai  artists'  lithograph} 
that   is  i"  m\  .  i  iriginal  Lithography,  for  I  paj 

mi  heed  (ii  the  less  spontaneous ai 1  of  till  reproducer 
—  is  not,  ami  could  never  be,  the  Lithography  of  the 
lithographer;  and  this  is  the  saving  facl  on  which 
we  who  love  the  art  base  our  hopes  and  oui  judg- 
ment of  the  immediate  future.  Hen  in 
sanguine    than   .Mr.   William   Simpson,  our  gn 

surviving    English    lithographer  of    tl Id 

who  wrote  to  me  some  I  point  : 

\i :  ists  seem  always   to  etching,  so  thai 

hej    neitln  i    leat  n   th     i  ipabilil  ii  ■   of    Lithograph] 


76 


THE    MAGAZINE    OF    ART. 


nor  acquire  a  knowledge  of  the  process.  I  believe 
that  if  they  did,  and  found  what  a  beautiful  means 
it  is  in  the  hands  of  an  artist,  they  would  prefer 
it.  I  have  talked  this  matter  over  with  Louis 
Haghe  and  with  Robert  Carrick,  and  both  of  these 
men — who  were  alike  lithographers  and  water-colour 
painters  of  the  highest  repute — quite  agreed  with 


FROM     "BELGIUM 
(From    the    Lithograph 


me  on  this  point.  But  that  is  what  there  appears 
to  be  but  small  hopes  of." 

The  hopes,  mi  the  contrary,  are  great.  A  power- 
ful movement  lias  been  of  recent  years  initiated, 
and  exquisite  work  lias  been  produced.  Before, 
however,  I  proceed  to  explain  this  movement  and 
i"  speak  of  the  masterpieces  of  lithography  lately 
produced,  n  is  necessary  that  I  should  set  forth 
briefly  in  (his  paper  an  outline  of  the  art's  history 
antecedent  to  the  decline  which  paved  the  way  for 
its  revival  with  all  its  beauties  fresh  upon  it,  and 
:|11  the  lumber  of  past  prejudice  and  malpractice 
left    behind. 

No  soi r  did  Senefelder — the  poor  disappointed 


student  of  jurisprudence,  the  stage,  and  the  drama 
— realise,  as  well  as  discover,  the  virtues  of  a  cal- 
careous stone,  which  through  the  application  of 
grease  would  accept  printer's-ink  and  through  that 
of  water  repel  it,  than  he  quickly  appreciated  the 
importance  of  the  invention  lie  developed  from  it: 
and.  more  fortunate  than  most  inventors,  he  drew 
lil.on  himself  the  notice  not  only  of  the 
artists  of  his  country,  but  of  those,  later 
on,  of  France,  whither  General  Lejeune  and 
the  Count  de  Lasteyrie  brought  it  back  from 
.Munich:  and,  later  still,  of  those  of  Eng- 
land. 

In  Germany  the  new  art,  now  duly  re- 
cognised, was  soberly  taken  up  and  widely 
practised,  amusing  the  interest  and  com- 
manding the  "patronage"  of  the  Court;  but 
few  of  the  artists  of  that  country,  save  Adolf 
Menzel  and  one  or  two  associates,  took  it 
very  seriously.  In  France  it  quickly  became 
a  vogue;  and  the  vogue,  the  rage:  it  was 
practised  by  amateurs  royal,  ducal,  and  other 
who  boasted  any  claim  to  dilettantism.  By 
tlie  artists  its  reception  was  enthusiastic.  The 
uncertainty  of  aquatint,  the  tediousness  and 
expense  of  line-engraving,  the  chemical  draw- 
backs of  etching,  all  combined  to  carry  forward 
the  claims  of  the  new  method  which,  whether 
for  original  sketching  or  for  purposes  of  re- 
production, offered  advantages  belonging  to 
no  other  process  whatsoever.  Goya,  then  an 
octogenarian  and  an  exile  at  Bordeaux,  ex- 
perimented with  it  and  obtained  extraordinary 
results,  and  his  few  productions,  executed  in 
or  about  1825,  of  which  I  would  specially 
mention  "The  Bullfight,"  gave  birth  to  what 
may  be  called  lithographic  Romanticism  :  for 
Delacroix  saw  them  and  spread  their  fame, 
and  so  gave  rise  to  the  second  of  the  four 
periods  into  which  the  life  of  the  art  should 
be  divided. 

The  first  dates  from  its  birth  in  1830, 
during  which  interval  the  Baron  Gros  gave  to 
the  world  his  Mamelukes,  Charles  Vernet  his 
Cossacks  and  his  hunts  (whose  son  Horace  later 
delighted  the  world  also  with  his  studies  of  mili- 
tary life),  Prud'hon  his  little  comedies,  Bonington 
his  genre  subjects,  and  Gericault  his  epics  and 
then  his  horses.  The  second  period  extended  from 
L830  to   IS  Jo,  when   tin'  romantic  and   the  coloiirist 

scl Is,   headed   by    Delacroix   and    Isabey,  reigned 

supreme,  and  Deveria  put  forth  his  portraits, 
and  Henri  Monnier  bis  scenes  of  Parisian  life. 
From  I sio  to  is;,;,  or  I860,  the  -lories  of  litho- 
graphy—  then,  perhaps,  the  triumphs  of  subject  and 
utility  rather  than  exclusively  of  art  and  handling — 


THE    REVIVAL    OF    LITHOGKAPHY. 


:: 


were  sustained  by  Charlet,  Daumier,  Raffet,  Diaz, 
and  M.  Ferdinand  Rops,  who  in  their  various  styles 
carried  the  popularity  of  the  art  higher  than  it  had 
ever  been  before.  For  the  artists,  its  popularity 
was  based  upon  technical  considerations,  so  deli- 
cately and  accurately  responsive  was  it  to  every 
shade  of  the  draughtsman's  mood,  to  every  touch  of 
his  skilful  hand.  For  that  reason  Gericault,  who 
executed  only  one  single  serious  etching,  besides  a 
few   studies   of  animals,  produced  a   hundred  litho- 


powerful   a   one! — for  such    a   purpose.     By  it    the 

artistic  sense  of  th masseurs  was  charmed  and 

caressed;  and  with  it  the  country  was  one  moment 
set  a-laughing,  and  the  next  inflamed    by  passion. 
With  it,  too,  Daumier  and  Gavarni  rivalled  Balzac 
upon  the  stone,  and  Charlet  and  Raffet  "disco\ 
the  army, glorified  Napoleon, and  deified  the  Empire. 

These  men  underst I   the  true  utility  <>f  the  ait  ; 

but    others    arose    who,     partly     by     carrying    its 
technique   to  its  extreme  point  (as  the  Amei 


■HwlBBKat"'. 


:wt  i 


INFANTERIE     POLONAISE     MARCHANT 
(From    the    Lithograph    by    C.    Raff' 


L  ENNEMIE. 


graphs:  and  Decamps  seventy-three  lithographs, 
and  but  a  couple  of  etchings.  Hippolyte  Bellange, 
who  etched  not  at  all,  so  far  as  I  am  aware, 
put  forth  five  hundred  lithographs,  and  similarly, 
Delacroix,  merely  flirting  with  etching,  in  litho- 
graphy produced  his  "Hamlet"  and  his  "Faust." 
Daumier  confined  his  wonderful  colour  studies  and 
records,  satires,  ami  whatnot,  to  the  stone  in  Mack 
and  white,  to  the  number  of  three  thousand:  and 
Gavarni,  who  detested  the  chemistry  of  etching, 
in  his  GomMie  hwmaine  alone  executed  as  many. 
Indeed,  the  harvest  of  Daumier,  Gavarni,  and  Raffet 
between  them,  amounts  t<>  seven  thousand  prints, 
all  known.  To  these  greal  men  lithography  meant 
as  much  as  etching  did.  nol  t<>  Rembrandl  alone, 
hut  also  t"  satirists  like   Gillray,  Rowlandson,  and 

Gruikshank,    and    as    the    \\ l-block     meant    to 

Tenniel. 

S  "  ial  life,  satire,  political  passion,  and  red  hoi 
patriotism  kept  the  jail. lie  interest  in  lithography 
alive,  for  it    was  the   unique  instrument— and  how 


carried  wood-engraving),  tired  the  public  with  it, 
and  partly  by  using  it  fur  subjects  for  the  rendering 
of  which  newer  methods  were  more  appropriate, 
dragged  it  down:  and  the  dates  lsiiii  and  L880 
em  lose  its  poind  of  debasement.  Caricature,  also, 
had  become  too  violent,  so  that  lithography  turned 
rather  t>>  the  represental  ion  of  manners  and  customs. 
This  duty  was  in  time  usurped  by  photography  and 
"process;"  artists  were  drawn  aside  by  a  rising 
popular  interest,  in  etching;  even  architects  in 
France  al  least  abandoned  it  for  the  more  flattering 
blandishmeuts  of  ;   and  the  downfall  of 

lithography  «,i>  complete.    A  few  faithful  souls  still 
ised   ii   quiet  h ,  all  lost    furtively  ;  and  to  their 

g I    sense  and    bet  ter   instinct    is  due  in   no  small 

measure  the  revival  which  is  now  reawakening  the 
enthusiasm  of  the  lover  of  ai  i. 

The  practice  of  the  ait  in  Belgium,  whither  ii 
was  carried  bj  Jobard,  Ui^fd^  little  notice,  for  il 
produi  i  3l  of  cosmopolitan  reputation 

Madou.     Ii  sent  us,  liowevei   C  uis  Haghe  i"  second, 


73 


THE    MAGAZINE    OF    ART. 


and,  after  a  time,  to  head,  the  efforts  of  Samuel 
Prout  in  this  country.  As  early  as  1816  Aeker- 
mann  had  published  the  first  lithographs  of  Prout, 
who  soon  became  famous  for  his  views  of  Continental 
cities  and  his  extraordinary  feeling  fur  architecture. 
His  market-places,  so  naturally  peopled,  are  still 
a  delight  tn  look  at,  ami  make  us  feel,  with  Ruskin, 
that  his  are  the  only  crowds  the  spectator  feels 
inclined  to  get  out  of  the  way  for.  To  their  artistic 
beauties — one  might  almost  say,  to  their  perfection 
— Ruskin  bears  frequent  witness,  and  when  he  de- 
claims in  "  Modern  Painters"  against  "  the  wretched 
smoothness  of  recent  lithography"  as  compared  with 
the  manly  work  of  Trout's  bold  and  sometimes 
hasty  touch  and  his  "scrawled  middle-tint,"  the 
student  of  lithography  will  appreciate  the  justice 
of  the  criticism. 

Bu(  tor  all  Trout's  excellence — unrivalled  ami 
unapproachable,  as  Ruskin  declared  it — Louis  Haghe 
became  the  mure  important  figure  in  the.  practice 
of  the  art.  His  main  work  consisted,  it  is  true, 
in  re-drawing  on  the  stone  other  men's  work' :  but 
his  own  sketches  in  "  Belgium  and  Holland  "  are 
altogether  admirable,  full  of  quiet  power  rather 
than  of  force.     His  architectural  detail  was  a  little 


more'  made  out  than  Prout's,  and  his  light- 
ing was  excellently  managed.  He  used  but- 
one  tint  at  first,  then  two,  and  finally, 
before  he  gave  up  the  stone  altogether, 
three — black,  blue,  and  ochre — yet  the 
result  was  by  no  means  what  is  now  under- 
stood by  chromo-lithography.  I  may  here 
mention  —  what  I  have  never  seen  printed 
— that  Haghe's  right  hand  was  without 
fingers,  a  congenital  defect,  and  that  he 
did  all  his  work  with  the  one  hand  he  was 
limited  to;  and,  furthermore  (although  it 
comes  not  rightly  within  the  scope  of  the 
present  article),  that  his  reproduction  of 
David  Roberts's  "Fall  of  Jerusalem"  was 
probably  the  finest  piece  of  lithographic 
work  ever  executed  in  England,  just  as 
Robert  Carrick's  "Blue  Lights,''  after  Tur- 
ner, is  to  be  considered  for  breadth  and 
tenderness  of  effect  the  classic,  as  well  as 
the  first  great,  piece  of  chromo-lithography. 
J.  D.  Harding  was  an  excellent  artist 
whose  touch  with  the  lithographic  chalk, 
especially  when  handling  trees  and  foliage, 
is  to  all  artists  delightful:  but  neither  his 
technical  manipulation  nor  his  gradual  inn 
tints  could  be  compared  to  Haghe's.  He 
was  very  particular  as  to  the  white  lights 
with  which  stone-artists  made  much  effect 
-often,  to  my  mind,  illegitimate  and 
illogical,  even  by  the  best  of  them;  ami. 
although  he  was  precise  in  teaching  that  they  should 
"always  be  confined  to  objects  which  are  in  Nature 
positively  white,"  he  did  not  in  practice,  even  in  his 
finest  work,  which  I  take  "Picturesque  Selections'' 
to  be,  always  cany  out  his  principles.  Indeed,  the 
lights  taken  out  were  used  without  proper  effect,  so 
that,  instead  of  helping  the  plate,  they  often  made 
the  artificiality  of  it-  the  more  apparent. 

Then  followed  John  Nash  and  Mr.  William 
Simpson,  the  latter  the  better  artist  of  the  two' 
and  far  the  more  versatile:  and  in  romantic  and 
historic  art,  Cattermole  and  Corbould;  in  the 
rendering  of  cattle  and  animals,  .lames  Ward,  K.A., 
Mr.  Sidney  Cooper,  R.A.,  and  Frederick  Tayler; 
in  portraiture,  .1.  H.  Lynch  and  R.  .1.  Lane, 
A.R.A.  On  these  men,  reinforced  occasionally  by 
Alfred  Stevens  and  others  of  less  note,  fell  the 
burden  of  sustaining  England's  reputation  in  the 
section  of  lithography,  and  made  her  paramount  in 
the  departments  of  tint,  transfer,  and  lithography 
in  colour,  just  as  Germany  was  paramount  in  the  ex- 
quisite finish  of  the  work,  and  France  in  the  higher 
plane  of  artistic  conception  and  brilliancy  of  exe- 
cution. Then,  in  due  time,  just  as  abroad  the  ait 
decayed,    etching    usurped   its  place  in  public  ami 


THE    REVIVAL    OF    LITHOGRAPHY. 


ever  sought  to  express  such  artistic  passion 
as  may  move  them.  They  have  hitherto  been 
precise,     deliberate,     almost      emotionless,     and 

with    relatively  but   little   ] i  ic    fi  eling      I  a  I 

nol  fancy,  has  been  their  aim.  Lithography, 
indeed,  has  hitherto  been  chiefly  used  as  a 
means  only  to  an  end  ;  it  will  now  be  prac- 
tised a-  its  own  end — for  its  own  charm  rather 
than  I'm-  the  opportunity  it  offered  to  record 
tin'  beauties  of  architecture  or  to  produce  well- 
drawn  models  for  the  art-schools.  It  is  the 
same  new  spirit,  which  is  animating  the  artists  of 
France  ami  England  both — a  profound  apprecia- 
tion of  lithography's  own  exquisite  qualities  ami 
its  capacity  for  rendering  easily,  beyond  any 
other  method,  every  gradation  of  tone,  ami  of 
permitting  tin.-  artist  to  attempt  any  problem 
he  may  choose.  Power,  force,  tenderness — the' 
whole  gamut  from  Mack  to  white — all  arc  within 
his  reach,  with  a  variety  of  technique  offered  by 
mi  other  process,  except  in  a  very  limited  sense 
by  wood -engraving.  How  these  remarkable 
qualities  of  lithography  have  recently  been  taken 
advantage  of  in  the  two  countries,  and  what,  the 
individual  artists  have  a<hi:\.<l  in  his  direc- 
tion, will  be  sel    forth  in  my  subsequent  papers. 


A     STUDY. 
ihogtaph    b,,    J.     D. 


artistic  taste:  w l-engraving supplanted  it  for 

book-illustration,  and  photography  annihilated 
it  for  portraiture,  just  as  the  new  "  three- 
colour  process"  will  assuredly  dispossess  it  in 
the  field  of  chromo-lithography. 

Although  Scotland  had  no  printers  like 
Day  or  Hullmandel,  no  Hanhart  or  Way  to 
encourage  her,  she  achieved  at  least  one  suc- 
cess in  the  art  which  must  not  be  omitted. 
This  was  David  Morrison,  of  Perth,  who 
about  1830  illustrated  with  extreme  taste 
an  I  skill  the  catalogues  of  the  library  and 
paintings  belonging  to  Lord  Gray  in  Kin- 
fauns  Castle  hook's  to  which  Sir  Walter 
Scott,  refers  in  his  notes  to  "The  Fair  Maid 
of  Perth,"  but  which  I  believe  to  be  wholly 
forgotten  by,  or  unknown  to,  lithographers 
in  I  his  country. 

It  will  thus  be  seen  that  in  this  country 
at  least  the  field  of  Original  Lithography,  as 
at  present  understood,  is  practically  virgin 
soil  and  promises  a  rich  harvest.  With  the 
grease-pencil  or  lithotint-brush  our  artists 
have    never   given    rein    to    their    fancy,    nor 


UNITED     GERMANY! 
the    Lithograph    by     H. 


ADOLPHE    ARTZ 


By     RICHARD     HEATH. 


THE  very  opposite  opinions  which  the  Modern 
Dutch  School  has  called  forth  are  some  proof  of 
its  power.  Even  its  detractors  admit  that  it  contains 
men  who  arc  real  masters,  and  who  possess  original 
genius ;  but  they  insist  that  the  rest  are  but  clever 
imitators,  and  that  the  whole  school  is  wanting  in 
imagination,  and  confines  itself  to  a  most  limited 
horizon.  Josef  Israels  may  be  a  master  of  his  craft, 
but  both  lie  and  all  the  other  Dutch  figure-painters, 
so  they  complain,  simply  give  variations  of  one  and 
the  same  set  of  subjects. 

On  the  other  hand  there  are  those  who  declare 
that  these   so-called  defects  are  really  virtues,  and 


THE    PET    LAMB. 
the   Painting    by    Adolphc   Artz,    in    the    Possession   of   the   Qn, 


that  in  limiting  itself  to  what  is  simple,  healthy, 
and  natural,  the  Modern  Dutch  School  shows  that 
it  is  superior  to  the  common  practice  of  attracting 
notice  by  the  choice  of  striking  subjects,  preferring 
to  rely  entirely  on  the  artistic  merits  of  its  work. 
And  the  result,  they  say,  is  that  wherever  Dutch 
paintings  are  exhibited  they  are  hailed  as  a  relief 
after  the  crowd  of  repulsive  and  horrifying  subjects 
with  which  sensational  art  deluges  the  Salon  and 
other  Continental  galleries. 

Such  are  the  opposing  views  held  abroad. 
Amongst  ourselves  the  sympathetic  view  seems 
in  the  ascendant,  and  the  assertion  has  even  been 
ventured  that  posterity,  in  estimating 
the  art  of  our  time,  will  give  the 
foremost  place  to  the  Modern  Dutch 
School. 

However,  sympathetic  or  not,  all 
agree  that  the  horizon  of  Dutch  paint- 
ing is  singularly  limited.  To  find  out 
how  this  is  would  be  a  most  interesting 
inquiry,  fur  certain  it  is  that  the  Dutch 
painters  waste  no  time  in  coursing  the 
world  fnr  subjects,  but  are  content  to 
get  at  the  secrets  of  their  art  by  the 
faithful  study  of  the  scenes  within  a 
few  miles  of  their  studios.  Adequately 
to  explain  the  cause  of  this  would  lead 
us  into  the  history  of  the  formation  of 
the  Dutch  national  character,  a  subject 
beyond  the  scope  and  limitations  of 
this  article.  We  can  only,  therefore, 
state  the  fact  and  its  more  obvious 
causes  and  results. 

Having  made  a  country  out  of  the 
refuse  of  the  Ehine.  the  Hollander  is 
now  showing  the  world  how  much 
beauty  can  be  extracted  from  arid 
dunes,  a  formless  coast,  and  from  the 
simple  lives  of  fisher- folk  and  labourers 
who  have  been  formed  in  such  un- 
promising surroundings.  And,  one 
might  almost  add,  without  the  aid 
of  what  in  London  and  Paris  seems 
to  lie  considered  needful  to  the  suc- 
cessful  practice  of  art.  The  studio  of 
the  leading  master  at  the  Hague  is 
well-nigh  bare  of  furniture ;  just  suffi- 
cient apparatus  for  work — that  is  all. 
And  not  very  different  is  the  little 
room    where    the    first    among    Dutch 


ADOLl'HK    AETZ. 


81 


landscapists  completes  the  subjects 

he  has  taken  direct  from  nature. 
But    in   a    school    distinguished 

for    this    same   devotion    to    nature 

each  painter  will  lie  found  in  sur- 
roundings   more    or    less    in   accord 

with  his  peculiar  temperament;  ami 

thus   we   explain    the   fact    that    in 

this  particular  the  painter  to  whom 

this  article  is  devoted  did  not  follow 

the  austerity   of  his  lifelong  friend 

ami  early  master. 

The    studio     in    which     Adolphe 

Art/    painted — lofty,    well-lighted, 

shut  out  from  every  distraction,  the 

former  hall  of  the  Art  Club  of  the 

Hague,    and    still    earlier    of     the 

governors  of  the  Hofje  van  Xieuw- 

koop* — was  for  size  quite  a  magnifi- 
cent chamber;  and,  adorned  with 
old  paintings  ami  tapestries,  bronzes, 
ami  Delft  and  Japanese  ware,  ap- 
peared as  stately  and  serious-looking 
an  atelier  as  any  painter  could  de- 
sire. Here  Artz  worked  in  full 
enjoyment  of  his  agreeable  sur- 
roundings, a  buoyant,  jovial,  broad- 
shouldered  man,  whose  hearty  laugh 
and  amiable  manner  were  infectious. 
His  "home"  was  equally  pleasant, 
with  its  choice  pictures  and  studies, 
the  works  of  Maris,  of  Israels,  of 
Mauve,  and  of  many  others  of  his  comrades  in  art, 
Few  persons  in  the  Hague  were  more  popular  than 
this  indefatigable  painter.  Spectacles  mi  nose, cap  mi 
head,  palette  ami  mahl-stick  in  hand,  he  was  always 
ready  with  his  joke  or  humorous  story — a  man 
who  could  not  deny  himself  the  pleasure  of  pleasing 
others.  Need  it  be  said  that  his  brother  artists 
thought  much  of  him,  so  that  in  1881  they  elected 
him  President  of  the  "Pulchri  Studio,''  the  Hague 
Art  Chili  already  mentioned.      In  the  same  year  he 

1 ame  a  governor  of  the  Hague  Academy  of  Arts, 

and  in  1889  he  represented  Dutch  ail  as  President 
hi' the  Netherlands  section  of  the  Universal  Exhibi- 
tion at  Paris,  and  out  of  sixty  members  of  the  Jury 
des  Recompenses,  composed  of  all  nationalities,  he 
was  chosen  vice-president,  Meissonier  being  president. 
This  slight  suggestion  of  his  persmialil y,  and  the 
agreeable  impression  it  made,  will  render  it  more 
clear  thai  his  painting  was  truly  original,  the  spon- 
taneous expression  of  the  way  he  saw  nature,  and 
ill'  the  image  its  Faithful  study  made  mi  his  own 
mind.  This,  of  course,  is  line  of  all  really  good 
work,  1ml  in  Holland  we  are  able  to  see  it  jusl  now 
*  An  ancient   hospital   foi    the  aged  and   infirm. 

n 


PAST     AND      FUTURC. 

in  rather  a  striking  manner:  for  ils  painters,  in 
narrowing  their  horizon  to  that  of  their  own  little 
country,  have,  so  to  speak,  absorbed  into  then  souls 
the  peculiar  nature  of  its  land,  water,  ami  atmo- 
sphere, with  that  nf  the  people  in  closesl  contact 
with   that  nature,  ami  almost    forming  part    of    it. 

And  so  it    i 'i  mies  to  paSS  that,  although   these  painters 

have  a  family  likeness,  each  one  of  them  ha-  a  very 
marked  and  distinct  individuality. 

Thus  Art/,  though  a  devoted  disciple  of  I  raels, 
retaining  something  nf  the  touch  of  his  early  tetu  In  r 
tn  the  last,  developed  a  style  entirely  his  own.     Not 

that    he    had    1 n  exclusively  a    pupil    of    lsi.nl      fo] 

he  had  passed  several  years  at  the  Academj  at 
Amsterdam.  But  he  -emu-,  to  have  had  an  ardent 
admiration  for  this  distinguished  leader  in  Dutch 
art,  from  which  his  sympathetic  naturi  would  have 
found  ii  difficult  tn  free  itself  had  he  nol  withdrawn 
from  us  influence  and  plunged  for  a  i ime  into  the 
great  art  centre  in  Paris.  When  he  left  Holland, 
Israels  gave  him  a  letter  I"  Courbel  and  the  latter 
evidently  discerning  what  was  best  in  he  done,  re- 
fused in  receive  him  into  hi-  own  atelier,  and  -idl 
more,  advised  him  not  to  so  into  ain  other,  but  to  take 


82 


THE    MAGAZINE    OF    ART. 


one  himself  and  to  work  out  his  own  education  alone. 
It  was  exactly  in  the  spirit  of  Rembrandt's  method, 
who  compelled  his  pupils  to  work  each  in  a  compart- 
ment by  himself  and  to  find  out  for  himself  whatever 
he  wanted  to  know  as  his  powers  developed.  Artz 
acted  on  Courbet's  advice,  but  not  to  such  an  extent 
as  to  neglect  to  profit  from  the  instruction  of  the  mas- 
ters in  French  art. 
At  last,  after 
eight  years  in 
Paris,  he  turned 
again  to  his  native 
land,  threw  him- 
self into  its  art, 
specially  devoting 
himself  to  the  sub- 
ject art.  But  after 
eight  years  in 
Paris,  in  which  he 
more  or  less  fol- 
Lowed  the  fashions 
in  art,  painting 
various  kinds  of 
pictures,  he  seems 
to  have  found 
about  1874  light, 
peace.and  satisfac- 
tion in  returning 
to  his  first  love, 
and  in  henceforth 
consecrating  his 
powers  to  the  work 
in  which  some  of 
his  compatriots 
were  already  en- 
gaged, that  of 
evolving  a  real 
local  art  worthy  of 
comparison     with 

former   efforts    of  the   proposal 

the     national 

genius.  A  recent  Dutch  writer,  speaking  of  this 
change  in  the  direction  of  the  artistic  life  of  Adolphe 
Artz,  calls  it  "his  way  to  Damascus"— a  pregnant 
phrase  which  seems  to  suggest  the  secret  of  the 
power  of  the  Modern  Dutch  School  to  produce 
painters.  The  land  which  formerly  found  in  Indi- 
vidualism the  mad  to  power  in  art  is  now  one  of  the 
first  to  show  that  there  is  something  more  than  the 
individual  in   Man,  that  communities  of  men  have 

in  c ection  with  the  land  they  inhabit  a  common 

life  which  it  is  the  work  of  the  artist  to  interpret. 

Ami  thus,  when  Ariz  returned  to  Holland  it 
was  to  interest  himself  in  the  life  of  its  people  as 
seen  at  Scheveningen  and  Katwyk,  and  in  the  neigh- 
bourhood of  the   Hague.     Every  year  he  spent  the 


summer  at   Katwyk,  where  he  had   a  cottage  pic- 
turesquely situated   on  the  dunes,  and  looking  out 
over  sea  and  shore.      Living,  so  to  speak,  with  the 
fisher-folk  who  all  knew  and  loved  him,  he  studied  in 
conversation  with  them  his  types,  and  in  the  touching 
incidents  of  their  life  gathered  materials  for  pictures. 
"  Un  Loup  de  Mer  Debout  dans  Son  Bateau,"  as 
a  small  picture  to 
have  been  seen  at 
the    sale    of    his 
works  at  the  Hague 
in  January,  1891, 
was    described,   is 
an  example  of  the 
successful  way  in 
which    Artz    por- 
trayed  his    types. 
It    is    the    simple 
figure  of  a  fisher- 
man at  sea  stand- 
ing  erect   against 
the    mast    of    his 
little  vessel,  watch- 
ing with  fixed  gaze 
the  sky,  where  un- 
erring signs  fore- 
tell a  squall.    The 
uplifted    eye,    the 
compressedmouth, 
indicative    of    the 
intense       serious- 
ness of  the  Dutch 
fisherman's      cha- 
racter, are  all  ex- 
pressed   in    a    few 
masterly  strokes. 
In     his    type- 
mother   Artz    has 
given    the    fitting 
partner   of    this 
strong-souled  man. 
A  short  thick  nose,  full  cheeks,  a  loving,  meditative 
eye — then/  is  something  bovine  in  the  face.     Ever  in 
the  reflective  mood,  whether  as  girl  or  mother,  she 
seems  lo  lie  always  pondering  the  mysteries  of  life. 

None  can  be  surprised  if  even  the  most  joyous 
of  painters  adopts  the  Lydian  mode  when  treating 
the  lives  of  fisher-folk,  for  he  cannot  forget  how  fre- 
quently and  how  suddenly  they  are  brought  face  to 
face  with  the  greatest  catastrophes.      Few  of  them 


but  have  seen  the  dripping  corpse  carrie* 
beach  and  laid  on  the  best  bed.  "  Past  ami 
by  the  ominous  sheet  and  the  lighted  candl 
side  of  the  bed,  with  the  1  it  t le  or] .hall,  her  d 
arms,  looking  ruefully  on,  suggests  such  a  calamity 
These    touching   pictures    lead    naturally    to    tin 


up  the 
uture," 

at    the 

in  her 


ADoI.PHE    AETZ. 


83 


WOMEN      IN     A     POTATO-FIELD. 


"  Orphanage  at  Kafcwyk,"  the  most  famous  of  the     all  Artz's  strong  points — his  gift  of  colour,  his  feeling 
works  of  Artz,  a  gem  of  perfect  painting  in  which      for  light  ami  air.  the   directness  of  his  touch     are 


THE     POOR-HOUSE     AT     KATWYK. 


84 


THE    MAGAZINE    OF    ART. 


seen  at  their  best.  This  picture  by  its  very  finish 
marks  the  artist,  true  in  judgment  ami  sincerely  re- 
sponsive tn  nature.  What  restraint  in  colour! — no 
bright    bit  of  red  save  the  little  needle-case  on  the 


ON     THE     DUNES. 

table  and  in  the  armorial  bearings  in  the  window. 
In  accordance  with  the  genius  of  his  surroundings 
Ail/,  was  moderate  in  sentiment,  ami  his  own 
temperament    led   him    In    treat    subjects   from   the 

\    side,  and  leave  tin'  shadows  dreamily  in  the 

distance.  His  "Women  in  a  Potato-field"  is  a 
sunlit  scene,  of  which  both  forms  ami  composition 
,nc  excellent  :  1ml  ii  dues  not  appear  thai  Ail/  ever 
sympathised  with  the  human  elemenl  in  such  a  pic- 
ture as  .Millet  or  .lilies   Breton   Would  have  ilulie. 

How    little    these    Hollanders   give   way   In    the 

temptati I'  sensationalism  may  he  seen  in  Artz's 

picture  of  "The  Poor-house  at  Katwyk."  Poverty 
here  appears  neither  charming  nor  disgusting,  hut 
its  varied  character,  resigned  or  moody,  or  making 


the  best  of  its  little  drop  of  comfort,  is  depicted  by 
one  who  looks  at  the  scone  as  a  faithful  limner. 
Millet  or  De  Groux  would  have  brought  out  more 
powerfully  its  tragic  melancholy;  but  they  could 
hardly  have  been  more  faithful  to  their 
impressions  than  was  Artz ;  and  these 
necessarily  were  the  brightest  and  most 
cheerful   the  subject  could  afford. 

Ail/,  was  best  ami  strongest  when 
he  kept  strictly  to  nature.  His  more 
romantic  pictures — "A  Shepherd  Boy 
Playing  on  a  Pipe:  Effect  of  Sunset 
through  the  Woods;"  "A  Shepherd 
Girl  Sleeping  among  her  Sheep  in  the 
"Woods;"  "The  Pet  Lamb,"  belonging 
to  the  Queen  of  Holland  :  ami,  most 
imaginative  of  all,  "  Return  of  the 
Flock :  A  Shepherdess  Leading  her 
Sheep  Home  by  Moonlight" — are  not, 
however,  really  so  interesting,  and  are 
certainly  much  less  characteristic  than 
bis  more  commonplace  works. 

Nevertheless  they  indicate  that 
Artz  was  a  man  of  culture  and  taste. 
He  was  well  read  in  the  English, 
French,  and  German  classics,  took  a 
lively  interest  in  the  drama,  and, 
though  no  musician  himself,  by  dint 
of  constantly  going  to  the  best  eon- 
certs  both  in  Paris  and  at  the  Hague, 
he  became  quite  a  connoisseur. 

Nor  did  be  limit  himself  to  one 
form  of  painting,  but  gained  quite  a 
reputation  in  water-colour  drawings, 
which  he  often  executed  on  a  large 
scale.  Shortly  before  his  death  he 
exhibited  at  the  Dutch  Water-Colour 
Society  in  the  Hague  the  head  of  a. 
Scheveningen  woman,  life-size,  drawn 
with  such  power  and  yet  with  such  a 
tender  play  of  light  over  the  brows 
that,  it  attracted  universal  admiration. 

Born  at  the  Hague  December  18th,  1837,  David 
Adolphe  Constant  Art/,  died  there  November  5th, 
1890.  The  esteem  in  which  he  was  held  by  his  coun- 
trymen was  indicated  by  the  numbers  who,  from  all 
circles  in  the  Hague,  and  from  the  various  art  centres 
of  Holland,  followed  bis  remains  to  the  grave.     He 

was  a  real  loss  to  Dutch  all,  for  lie   was  one  of   those 

painters  who  are  not  content  with  getting  a  name 
ami  then  resting  mi  their  laurels,  but  who  are  ever 
striving  after  something  better  ami  higher.  Up  to 
the  last  bis  art:  was  growing  in  feeling  and  refine- 
ment, and  in  the  Dutch  art  world  there  were  few- 
even  among  the  coming  men  about  whose  future, 
there  was  so  much  hope. 


S7 


THE     RENAISSANCE    OF    MINIATURE     PAINTING. 

By    ALFRED    PRAGA.    Vice-President    of    the    Society    of    Miniaturists. 


WHEX  Hamlet,  incensed  at  the  sycophancy  of 
his  uncle's  courtiers,  exclaims  that  "those 
that  would  make  mouths  at  him  while  my  father 
lived,  now  give  twenty,  forty,  fifty,  an  hundred 
ducats  apiece  for  his  picture  in  little,"  he  is  refer- 
ring,  without  doubt,  to  a  miniature  portrait  of  the 
usurper  of  Denmark's  throne.  What  the  miniature 
portrait  was  at  the   time  Shakespeare  wrote,  with 


in  a  very  able  and  comprehensive  preface  to  the 
catalogue  of  the  Exhibition  of  Portrail  Miniatures, 
held  by  the  Burlington  Fine  Arts  Club  in  1889* 
tells  us  that  "  the  word  miniature,  as  applied  to  small 
portraits,  is  of  comparatively  recent  introduction. 
Derived  from  the  Latin  word  minium,  signifying 
red-lead,  in  which  material  all  the  headings,  capital 
letters,  etc.,  of  the  most   ancient    MSS.  were   drawn. 


little  essential  difference,  so  it  is,  or  so  it  should  be, 
at  the  present  day.  It  is  the  multum  in  parvo  of 
portrait  painting — an  abridgment  of  the  beautiful  : 
in  its  relation  to  greater  work,  what  the  sonnet  is 
to  tin-  epic.  In  short,  it  should  be,  as  Hamlet 
designates  it.  "a  picture  in  little.'' 

But  this  beautiful  art  has  fallen  into  sad  straits. 
like  a  timid  nymph  chased  and  affrighted  by  the 
demon  Daguerre  and  his  descendants.  Our  quarrel, 
however,  is  neither  with  photography  nor  its  ex- 
ponents; it  is  rather  with  those  who.  professing  to 
he  painters  in  miniature,  have  unintelligently  mis- 
used the  great  and  useful  science  that  has  d and 

may  still  do,  great  service  to  art. 

This  brief  paper  is,  of  course,  nol  in  any  sense 
intended  as  a  guide  to  miniature  painting,  hut  at  the 
present  juncture,  when  this  neglected  an  isat  length 
receiving  a  justly-merited  meed  of  attention,  it  may 
ii*ii  i„.  out  of  place  to  give  some  details  concerning 
its  practice. 

Dr.  Lumsden  Propert,  an  esteemed  and  learned 
authority  on  miniatures  and  all  appertaining  to  them. 


the  term  came  gradually  t"  mean  the  'miniatura,' 
or  picture  painted  by  tic  great  artists— pari  of  the 
illuminated  hook."     And  again: — 

"Few  if  any  miniature  portraits  are  known  to 
us  prior  lo  the  time  of  Holbein.  The  death  of 
Cosway  in  1821  marks  the  end  of  the  line  of  the  greal 
artists  who,  for  nearly  three  <  entui  ii  -  had  i  on- 
trihuted  to  this  charming  branch  of  pictorial 
and  though  a  few  men  continued  to  gain  an  exist- 
eni  -  by  its  practice,  the  cheap  mechanical  p 
of  photography  completely  took  its  place. 

Tic  same  author  also  tells  us  that  "  miniature 
portraits,  when  painted  in  water-colour,  were  done 
,,u  card  or  vellum,  those  in  oil  on  panel,  silver, 
copper,    and    slate  ;   hut     thai    about    the    end    of    the 

seventeenth  century,  ivory  was  first  used  as  .1  ba 
the  painting.     When  once  ivory  b&  nerally 

ac<  1  pted  basis  for  water-colour  miniature,  transparent 
colours  wen  •  Ly  used   than   when  card  or 

vellum  was    in    fashion."      l"p    to   »  comparatively 
•  Sec  also  Dr.  Propert's  '       • 

•  I  il     !  HE   SlAI  I    1.   1891. 


THE    MAGAZINE    OF    ART. 


>!'  the  so-called  guides 


recent  date  the  miniature  painter  had  perforce  to 
exercise  greater  care  in  his  selection  of  ivory  for  his 
work,  and  instead  of  obtaining  it  in  sheets,  as  at  the 
present  day  with  a  surface  ready  prepared,  he  had  to 
go  through  the  tedious  process  of  bleaching  it  to  a 
proper  whiteness,  scraping  to  remove  all  scratches, 
and  rubbing  with  pumice  powder  and  sandpaper 
until  it  assumed  a  satisfactory  and  equal  surface  for 
receiving  the  colour. 

It  is  a  little  odd  that  some 
In  miniature  painting  sold 
by  artists'-colourmen  at  the 
present  day,  commence  by 
giving  directions  such  us 
I  have  mentioned  for  the 
preparation  of  the  ivory. 
This  .-done  is  somewhat  sig- 
nificant of  the  neglect  into 
which  the  art  has  fallen. 

The  first  thing  to  be 
considered  in  the  painting 
of  a  miniature  is  the  selec- 
tion of  the  ivory  slip.  The 
striations  present  in  all 
ivory  have  to  be  taken  into 
account,  and  those  only 
should  be  used  where  these 
natural  markings  are  so 
disposed  as  not  to  appear 
through  the  head  or  other 
principal  part  of  the  pic- 
ture where  extra  delicacy 
or  transparency  of  colour 
might  allow  them  to  be 
visible. 

Amongst  the  majority 
of  miniature  painters  it  has 
become  almost  a  convention 

to  work  up  the  picture  to  so  great  a  degree  of 
finish,  that  any  trace  of  the  means  employed  or  the 
manipulation  is  impossible  of  detection.  This  in  a 
measure,  perhaps,  should  be  so,  although  there  are 
many  choice  and  valued  examples  in  which  this 
mechanical  and  often  spiritless  ultra-finish,  that 
seems  in  leave  a  something  wanting,  is  exchanged 
for  a.  freer  and  more  personal,  and  to  many  minds 
a.  more  artistic,  technique. 

lint  this  must  not  be  construed  into  any  advocacy 
ol'  slovenliness  on  my  part.  The  thing  most  to  he 
avoided  in  miniature  work  is  an  appearance  of  want 
ol'  care.  Here  there  is  little  or  no  scope  I'm-  acci- 
dental effects,  no  nicks  of  technique,  no  slap-dash 
"I'  style,  nor  the  vagaries  of  pseudo-impressionism. 

Yet    withal,    between    the    poles,    so    to    speak,    of    the 

slavish,  machine-like  method,  admitting  of  no  in- 
dividuality  in    treatment,   and    the    predetermined 


loose  style  that  may  often  be  successfully  affected  in 
other  branches  of  painting,  there  is  a  juste  milieu, 
the  attaining  of  which  is  the  aim  of  the  most  en- 
lightened exponents  of  the  art  of  miniature  painting. 
The  accompanying  illustrations  represent  the 
principal  stages  through  which  a.  miniature  passes 
from  commencement  to  finish.  In  all,  I  had  six 
sittings  of  about  two  hours  each,  but  the  three  illus- 
trations will  he  sufficient  I'm-  the  present  purpose. 
They  are  reproductions  of  the  appearance  of  the 
ivory  after  the  first,  third, 
and  sixth  sittings  respec- 
tively. The  intermediate 
stages    of    the   work   would 

fnot    show    any   conspicuous 
difference  in  reproduction. 

It  must  not  he  assumed 
that  six  sittings,  averaging 
in  all  about  twelve  hours, 
is  a  sufficient  amount  of 
time  in  which  to  complete 
a  miniature  portrait.  In 
most  cases,  t  he  greater 
number  of  sittings  that  can 
lie  had,  the  better.  In  ad- 
dition to  the  sittings  there 
is  a  great  amount  of  labour 
necessary  to  bring  the 
whole  picture  info  harmony 
by  hatching  or  stippling; 
and  the  minute  particles  of 
grit  that,  in  spite  of  the 
greatest  care,  will  present 
themselves  on  the  surface, 
have  to  be  removed  from 
time  to  time  with  a  needle- 
point or  scraper.  This  is 
generally  done  between  the 
various  sittings,  hut  should  he  restricted  only  to 
the  background  or  accessories,  as  it  is  hardly  ever 
safe  to  touch  the  head  when  the  sitter  is  not  present. 
Fig.  1  represents  the  first  sitting  of  about  two 
hours,  and  is  sketched  in  almost  entirely  with  a 
neutral  tint  composed  of  cobalt  and  light  red. 
This  is  an  excellent  combination,  as  it  admits  of 
almost  every  variety  of  warm  or  cold  grey,  according 
to  the  preponderance  of  one  or  other  of  the  colours. 
Many  of  the  older  miniaturists  substituted  for  them 
Indian  ink  with  lake  or  Indian  red.  The  first 
sitting  is  taken  up  with  blocking  out  the  general 
forms,  attending  chiefly  to  the  dark  masses,  and 
keeping  the  whole  rather  faint  ami  of  one  tone. 
This  is  generally  carried  into  the  second  sitting,  only 
here  more  attention  must  he  paid  to  getting  a  like- 
ness i if  t  he  sil  ter. 

In  Fig.  2  the  third  stage  has  been  reached,  and 


NOTE    ON    THE    W<>LK    AND     LI  I 


OF    WILLIAM     MOLLIS. 


SO 


the  tender  shadows  and  tints  of  the  flesh  have  been 
worked  into  the  preceding  tones,  care  having  been 
taken  to  preserve  and  strengthen  the  forms,  few 
and  simple  as  possible,  as  these,  to  a  greal  degree, 
constitute  the  likeness.  Now  the  delicate  tints  of 
the  nVsh.  which  have  all  a  precise  form,  and  which 
are  indistinguishable  to  the  common  eye,  have  to 
be  searched  and  drawn  with  as  much  decision  and 
squareness  as  possible. 

The  likeness  should  now  conic  on  rapidly,  and 
the  background  having  received  sonic  amount  of 
attention,  there  should  be  apparent  in  the  picture 
a  balance  and  unity,  and  the  whole  should  have 
assumed  a  tolerably  even  state. 

Up  to  now  no  gum  lias  been  used  with  the  water, 
indeed,  I  find  thai  the  best  results  are  obtained  by 
the  non-use  of  gum.  At  all  times  it  should  be  used 
sparingly,  and  then  only  in  finishing,  where  sharp, 
dark",  and  decisive  touches  are  required. 

In  the  succeeding  stages  of  the  work',  the  mode 
of  procedure  would  be  similar  were  a  dozen  or  more 
sittings  requisitioned.  This  consists  of  finish — a 
word  that  to  the  painter  in  miniature  means  the 
closest  application  and  the  truthful  imitation  of 
the  subtlest  gradations  of  tone  and  colour,  adding 
a  richness  here,  and  rendering  more  delicate  there, 
but  always  aiming  at  largeness  and  breadth  of  effect, 
despite  the  limits  under  which  he  is  bound  to  work. 

Fig.  3  shows  the  completed  miniature.  The 
ivory    has   now    been    cut    to    the    oval    which    was 


drawn  around  the  portrait  al  the  firsl  sitting.  This 
cutting  of  the  ivory  is  a  matter  requiring  the  ex- 
tremist care.  Unless  it  is  properly  done,  it  is  easy 
to  split  up  the  whole  work.  A  pair  of  curved 
scissors  should  be  used,  and  the  cutting  musl  be 
commenced  from  the  centre  of  the  side  of  the  oval, 
working  around  to  the  top.  This  should  be  done 
separately  on  either  side.  Passing  the  scissors  com- 
pletely around  the  ivory  should nol  be  attempted.  It 
has  now  to  lie  mounted  on  white  paper,  and  attached 
to  the  glass  around  the  edges,  with  gold-beater's  skin, 
which  will  effectually  keep  oul  the  dusl  of  ages,  and, 
finally,  to  be  fixed  into  the  frame  or  locket. 

In  the  course  of  his  preface  Dr.  Propert  expressed 
an  opinion  that  has  peculiar  interest  just  now  lie 
wrote 

■•  Miniature  painting  is  still  in  abeyance,  the  title  still  i  I 
but  ran  ii  be  always  thus  1  With  the  increased  art-culture  and 
apprecia!  ion  of  the  beautiful  and  true,  which  is  happily  permeat- 
ing the  intelligent  classes  of  the  presenl  day,  il  is  impossible  I" 
believe  that  the  faulty  results  of  a  mechanical  proci  -- 
thine  tn  satisfy  the  art  aspirations  of  the  future.  Xhe  sons  and 
daughter-  of  men  are  as  noble  and  fair  now  as  when  Cooper 
painted  the  strong  men  of  the  seventeenth  or  Coswa\  the  beau- 
tiful women  of  the  eighteenth  centuries.  With  materials  so 
worthy  of   the  limner's  skill  it  can  but  be  a  question  of  time 

when    the    fascinating   art    of    miniature   shall    agi 

awaking  from  its  slumber,  refreshed  and  relieved,  striving 
always  onward  to  greater  and  greater  perfi 

This  was  written  as  recently  as  1889.  Was  it 
prophetic  of  what  has  come  to  pass  within  seven 
years  from  then  '.      1  think  il  was. 


NOTE     ON     THE     WORK     AND     LIFE     OF    WILLIAM     MORRIS. 

By     WALTER     CRANE. 

WE  have  lost  not  only  a  great  artist  and  crafts-  The  personal   force  with  which   he  was  wont    to 

man,  poet  and  social  reconstructor,  but  also  a  maintain  his  views  of  art  had  all  the  emphasis  and 
great  personality  by  the  death  of  William  Morris,  effect  of  passionate  personal  conviction,  and  when  he 
Indeed,  his  influence  in  the  arts  of  design  might  upheld  his  opinion  against  that  of  others  it  was 
almosl  be  said  to  have  been  stronger  through  the  rather  in  the  spirit  of  one  inspired  by  a  vivid  and 
weight  and  vigour  of  his  personal  character  than  il  profound  faith  which  could  uol  brook  any  laxity, 
was,  and  is,  by  reason  of  his  actual  autograph  work 
in  that  branch. 

The  success  or  far-reaching  influem E  his  work- 
in  so  many  fields  of  design  was  perhaps  as  much  due 
to  his  power  of  initiation  and  permeation  as  to 
original  creative  invention.  The  thoroughly  pracr 
tical  workmanlike  spirit  in  which  he  took  up  the 
forms  of  handicraft,  upon  which  he  has  lefl  his 
mark",  mastering  the  methods,  details,  and  eon- 
litions  of  each  in  turn  firsl  himself,  enabled  him  to 


vacillation,  or  vagueness,  and  which  was  too  ardent 
to  be  tolerant,  at  least  in  the  heal  of  disi  ussion 

At  such  moments  his  friends  had  glimpses  of 
the  iierv  energy  which  lay  behind  the  exl  raord 
creative  power  of  his  nature  lie-  force  which  fed 
thai  perennial  stream  of  poetic  ami  artistic  inven- 
tion; albeil  flowing  smoothly  through  the  woods 
and  flowery  meads  of  romance,  and  giving  life  con- 
tinually to  forms  of  wonderful  richness  and  beauty. 

Thai    stream    flowed    serenelj    enough    dike   his 


impress  his  feeling  upon  and  to  guide   his  helpers  beloved  Thames)  through  the  dream  jvorld  which  tin 

and  assistants  with  the  authority  whicl ly  comes  poel    wove  around   his  life,  like  to  his  own    irra 

of   practical    knowledge,   distinct    artistic  aim,  and  tapestry,  with  il    wealth  of  fruitful  trees  and 

definite  principles.  enwroughl  ground   peopled  with  the  figures  ol 
12 


90 


THE    MAGAZINE    OF    ART. 


and  romance.  With  his  lifelong  friend  and  fellow- 
artist,  Edward  Burne-Jones,  he  dwelt  in  that  pleasant 
land,  ever  discovering  new  treasure  in  it,  ever  building 
new  houses  for  delight,  with  fair  gardens  of  flowers, 
or  gathering  new  wonder  and  romance  from  the  deep 
umbrage  of  its  mysterious  woods. 

How  eagerly  has  a  world-worn  and  jaded  genera- 
tion sought  the  key  to  that  earthly  paradise.  How  far 
removed  if  seems  from  the  commercial  and  industrial 
bustle  and  battle  of  the  nineteenth  century,  the 
sordid  life  of  modern  cities,  the  seething  stress  and 
stir,  the  cry  of  poverty,  the  glitter  of  wealth,  the  ebb 
and  How  of  human  life  : 

••Forget  six  centuries  o'erhung  with  smoke, 
Forget  the  snorting  steam  and  piston  stroke, 
Forget  tlir  spreading  of  the  hideous  town; 
Think  rather  of  the  paokhorse  on  the  Down, 
And  dream  of  London,  small  find  white  and  clean, 
The  clear  Thames  bordered  by  its  gardens  green." 
That  was  Morris's  world.     These  were  the  things 
in  winch  his  heart  delighted  ;  and  one  can  constantly 
trace  the  craftsman's  pleasure  throughout  his  poetry, 
dwelling  lovingly  upon  the  beauty  of  the  ministrants 
and  accessories   of  his  stories;    the  colour  anil  sur- 
face of  marble,  the  carved  work,  the  painted  storied 
chamber,  or  the  hangings  of  arras,  the  gleam  of  gold 
and  silver  vessels,  and  the  fine  cloth  and  embroidery. 
Thus  the  craftsman  and  the  artist  were  always  one 
with  the  poet,  and  ricr  versd.     While   with   his   pen 
he  created   this  fair  dream-world,  or  painted  vivid 
pictures  of  the  primitive,  ancient,  or  mediaeval  world, 
he  strove  to  re-create,  or  to  recall,  something  of  lost 
beauty  and  romance  in   the  accessories  of  everyday 
life,  to  give  character  and   meaning  again  to   table 
and    chair,   to   hanging  and   cupboard,   to   settle   and 
fireplace,  to  lamp  and  pitcher. 

The  means  by  which  he  sought  to  bring  this 
about  were  a,  return  to  simpler  and  sounder  methods 
of  construction  in  furniture;  to  let  the  constructive 
principle  be  obvious,  as  in  trestle  table  and  rush- 
bottomed  chair:  and,  if  richness  and  variety  be 
sought,  not  to  let  it  take  the  form  of  tortured  ingenuity 
in  the  turning  and  curling  of  legs  meant  for  support, 
hut  rather  in  enriching  those  parts  not  already 
burdened  with  organic  purpose,  as,  for  instance,  the 
panels  of  a  sideboard,  a  cabinet,  or  settle  with  figure- 
painting  of  pattern-work. 

Where  cushions  were  needed,  as  for  a  couch  or 
chair,  to  let  them  be  loose  and  apart  from  the  struc- 
ture, and  not  (as  in  the  course  of  a  long  evolution  of 
upholstery  and  doubf  ful  comfort )  inseparable  from  the 
plethoric  constitution  of  the  whilom  bourgeois  arm- 
chair, protuberant  with  fallacious  springs  and  padding. 
By  a  return  to  sincerity,  too,  as  to  materials  in 
all  the  belongings  of  a  home,  and  truth  to  method 
of  work,  be  lifted  decoration  and  furniture  on  to 
another  plane,  so  that    nothing  should   pretend    to  be 


what  it  was  not  ;  plain  painting,  for  instance,  should 
be  plain  painting,  and  not,  try  to  look  like  marble  or 
precious  woods  of  curious  grain  :  wall-paper  should 
be  wall-paper,  and  not  imitation  textiles;  while  the 
virtue  of  wool  or  silk  should  appear  in  the  fabric  and 
pattern  most  characteristic  of,  because  best  adapted 
to  the  conditions  of  each  in  the  loom. 

Now  this  movement  of  sincerity  was  really  the 
extension  of  the  principle  which  animated  that 
remarkable  group  of  painters,  known  as  the  Pre- 
Raphaelite  Brotherhood,  to  the  larger  domain  of  con- 
structive-design and  decoration  generally.  As  a. 
matter  of  fact,  certain  leading  members  were  origin- 
ally the  colleagues  of  William  Morris  in  his  work, 
when  (lie  committee  or  firm  of  artists  and  craftsmen 
was  first  formed,  who  carried  on  the  famous  work- 
shops of  Queen  Square — notably  I>.  <i.  Rossetti, 
Ford  Madox  Brown,  and  Edward  Burne-Jones.  Mr. 
Arthur  Hughes  was  also  a  member  at  the  first.  We 
thus  see  the  direct  influence  of  the  Pre-Raphaelite 
painters,  especially  perhaps  of  the  first-named,  who, 
influenced  by,  and  in  turn  influencing,  perhaps,  both 
bis  masters  Madox  Brown  and  Mr.  Holman  Hunt, 
gave,  in  conjunction  with  William  Morris,  a  marked 
bias  to  the  work  of  the  firm. 

The  fact  that  Morris  had  a  certain  architectural 
training  in  the  office  of  Mr.  (1.  Street  must  have  been 
of  enormous  advantage  to  him  as  a  designer  in  de- 
coration, and  it  probably  bad  its  effect,  in  addition 
to  other  advantages,  in  enabling  him  to  finally  take 
the  leadership  as  a  designer  in  the  decorative  arts. 
His  knowledge  and  grasp  of  Gothic  architecture  was 
very  extensive,  and  he  was  able  to  bring  it  to  bear 
very  forcibly  in  another  important  work  of  his  life, 
too  little  recognised — I  mean  bis  work  on  the  com- 
mittee of  the  Society  for  the  Protection  of  Ancient 
Buildings,  where,  with  his  friend  and  colleague  Mr. 
Philip  Webb,  the  distinguished  architect  and  designer, 
he  has  carried  on  quietly  a  most  useful  ami  much 
needed  work.  When  the  historic  documents  of  our 
country,  in  the  shape  of  ancient  buildings,  are  in  con- 
stant danger,  either  from  neglect  and  ignorance  or 
from  commercial  enterprise  or  the  zeal  of  the  modern 
restorer,  this  society  raises  its  emphatic  and  informed 
protest.  These  protests  were  frequently  voiced  or 
penned  by  William  Morris  himself,  who  probably 
possessed  as  extensive  knowledge  of  the  lncdiaval 
buildings  of  England  as  any  man. 

While  in  tin/  region  of  poetic  art  William 
Morris's  ideal  seems  to  have  been,  as  he  himself 
wrote  in  the  introduction  to  "The Earthly  Paradise," 

to —        " strive  to  build  a  shadowy  isle  of  bliss 

Midmost  the  beating  of  the  steely  sea," 

he  was  fully  prepared  to  lake  his  share  in  the  move- 
ments of  his  time  and  it  was  only  pail  of  the 
sincerity    of    his   nature    to   do   so.      His   practical 


NOTE    ON    THE    W'nKK     .VXD     LIFE    n 


WILLIAM     MORRIS 


91 


endeavours  fco  add  to  the  beauty  of  Life  brought  him 
close  tn  the  economic  question,  which  he  approached 
both  from  the  point  of  view  of  employer  and  worker. 
He  always  described  himself  as  an  artist  working 
with  assistants,  but  no  doubt  in  the  course  of  bis 
multifarious  kinds  of  work,  having  dealings  with 
manufacturers  and  workmen  in  many  different  in- 
dustries, the  trend  of  the  general  conditions  of  our 
times,  the  evolution  of  the  industrial  system,  the 
effect  nf  the  machine  and  the  fierce  commercial  com- 
petition prevailing  must  have  quite  naturally  led  his 
thoughts  to  those  great  questions  which  touch  the 
very  foundations  of  the  modern  system  of  production. 

His  niiiml  changed  from  "  The  Earthly  Paradise," 
though  even  there,  in  the  opening  verses,  the  very 
fact  that  he  seemed  conscious  of  the  turmoil  and 
trouble  of  the  world  outside  would  indicate  what 
afterwards  happened — that  he  would  finally  be  com- 
pelled to  listen  to  it,  to  form  an  opinion,  and  take 
his  part  in  the  great  industrial  battle.  That  he  did 
not  hesitate  on  which  side,  or  with  whom,  to  east 
his  lot,  is  not  to  be  wondered  at  when  one  considers 
the  thoroughness  of  his  nature. 

Xu  doubt,  too,  among  the  influences  at  work  a 
very  potent  one  must  not  be  forgotten  in  John 
Ruskin,  whose  views  upon  modern  methods  and 
their  results  in  art,  architecture,  and  social  life  he 
thoroughly  endorsed.  I  have  heard  Morris  speak 
with  the  highest  regard  of  Ruskin  and  his  work. 
Ruskin,  though  hitter  against  the  modern  system. 
tool*  no  part  or  lot  with  revolutionists.  While  theo- 
retically and  m  his  writings  in  revolt  against  the 
tendencies  of  his  age,  he  remained  practically  a  con- 
servative. With  Morris,  on  the  other  hand,  protest 
became  active  and  constant  as  soon  as  he  became 
convinced  that  the  economic  basis  was  wrong;  ami 
when  he  discovered  the  new  socialist  party — men  for 
the  most  part  of  very  different  natures,  ami  who  had 
reached  the  same  standpoint  by  very  different  mads 
— he  joined,  and  worked  heartily  fur  the  cause,  in  the 
light  of  the  new  hope.  It  is  a  great  mistake  to 
suppose  that  William  Morris's  socialist  views  were 
an  accident,  or  merely  the  result  of  sentiment.  He 
started  with  a  definite  ideal  in  art,  ami  he  practic- 
ally realised  it  as  far  as  his  own  wort  was  concerned, 
but  when  he  desired  to  gi i  further  and  realise  it  in 
life,  it  was  a  very  differenl  thing,  but  he  faced  the 
facts.  He  went  down  to  the  ground  in  the  matter 
with    characteristic    thoroughness,   ami    worked    at 

ecoi ms,  ami   debated   the  question  until   he  was 

master  nf  it,  ami  threw  himself  into  the  movement 
which  he  was  convinced  was  really  the  hope  of  the 
world,  morally  ami  socially,  ami  which  involved  "i' 
necessity  tin'  prospects  nf  art  and  labour  with  it. 

( 'in  resp. miling  with  Ins  change,  or  rather  develop- 
ment, nf  his  view  nf  life,  he  turned  his  attention  in 


and  developed  a  new  ait.  or  perhaps  revived  an  old 
one — the  art  of  printing.  While  his  verse  power- 
fully voiced  the  claims  <<(  labour  and  humanity,  he 
finally  put  into  the  form  of  a  romance  his  vision 
of  the  future  constitution  of  society  in  "  News  from 
Nowhere,"  which  is  remarkable — while  containing 
passages  of  romantic  beauty  ami  vivid  description  as 
(me  as  anything  he  wrote — for  its  modern  touches, 
ami  the  powerful  contrast  drawn  between  the  vision 
and  the  actualities  of  present-day  London  life.  A 
beautiful  edition,  with  a  frontispiece  by  Mr.  CM. 
•  one,  a  drawing  of  Morris's  favourite  retreat, Kelms- 
cott  Manor, has  been  printed  at  the  Kelmscott  Press. 

In  the  works  which  William  Morris  has  issued 
from  his  press  we  see  much  the  same  qualities  as  a 
designer  as  are  shown  in  his  work  in  other  provinces 
of  design,  allowing  tor  the  differences  of  method  and 
material.  The  ornamental  feeling  is  rich,  full,  and 
efflorescent.  The  well-filled  borders  of  arabesque 
upon  black  grounds  occasionally  recall  in  motive  some 
of  his  well-known  printed  textile  designs.  The  Eorm 
of  the  type,  whether  Roman  or  Gothic,  is  tasteful. 
and  always  in  accord  with  the  ornament  of  the  page, 
and,  with  the  rich  initial  letters,  forms  agreeabL 
quantities  in  pattern  upon  the  carefully  proportioned 
recto  and  verso  pages.  Perhaps  the  most  remark- 
able designs  are  the  title  pages,  which  show  much 
resource  in  the  values  ami  quantities  in  the  com- 
bination of  black  ami  white,  ami  the  use  of  lettering 
as  parts  of  the  decoration. 

The  monumental  work  of  the  Kelmscott  Press 
is  the  Chaucer,  with  its  nohle  borders  and  figure 
designs  after  Sir  Edward  Burne-Jones.  In  some 
instances  the  wealth  ami  richness  of  the  borders 
seem  to  rather  overpower  the  figure  subjects,  which 
are  drawn  with  considerable  reserve  and  even  re- 
straint :  but  it  is  rarely  that  two  designers  so  much 
in  sympathy  collaborate  upon  a  work. 

But  the  pitcher  is  broken  at  the  fountain:  the 
press  IS  stopped  ;  the  loom  is  silent  :  we  are  left  gaz- 
ing ai  the  rich  record  nf  the  st  renuous  ai  tistic  life 
that  has  -one  from  us— a  record  w lerfully  com- 
plete and  full,  and  of  extraordinary  width  of  range. 
We  feel  the  spirit  of  the  craftsman  in  the  poet,  and 
the  spirit  of  the  poet  in  the  works  of  the  craftsman, 
playing  through  the  mazes  of  the   floral  arabesque 

u] our   walls,    mingling    with    the    rich    dyes   and 

patterns  of  tin-  h  rid  .  arpets,  fused  in  the 

glowing  glass,  or  making  beautiful  rhyme  and  romance 
upon  the  printer-poet's  own  page.  Finally  we  see 
him  as  a  man,  pleading  the  cause  "f  the  labourer, 
a-  John  Ball  ami  Sir  Thomas  More  bad  done  before 
him.  Surely  the  record  of  such  a  life  forms  a  a 
1,. li,. red  chapter  in  the  history  of  the  art  and  life 
,,f  England  in  this  last  half  of  the  industrial  com- 
mercial nineteenth  century  ! 


THE  ART  MOVEMENT. 

NOVELTY  IN  DECORATION  AT  THE  TROCADERO, 


THERE  was  a  time  when  the  celebrated  epicurean 
who  reversed  the  common  order,  and  "lived  to 
eat,"  used  to  swear  that,  if  he  wanted  to  dine  well, 
he  was  obliged  to  cross  the  Channel  to  Paris,  where, 
at  the  must,  intimate  of  all  French  cafes  and  the 
costliest  restaurant,  one  might  breakfast  out-of- 
doors.  But  this  was  very  greatly  altered  fur  a 
brief  spell  by  the  founding  of  a  club  of  exceed- 
ingly heavy  subscription  ami  entrance  fees — the 
Amphitryon,  in  Albemarle  Street.  Here  the  glut- 
tonous refinement  of  Rome  in  its  decadence  was 
repeated;  but  the  smash,  when  it  came,  was  heavy 
enough  punishment.  The  Trocadero,  after  passing 
through  many  vicissitudes,  has  become  a  palatial 
restaurant. 

Tapestries,  friezes,  electric  light,  brocades,  velvets 
of  many  hues  are  combined  in  an  effective  ensemble. 
The  must  lovely  chamber  by  far  is  the  entrance-hall, 
with  its  golden  balustrade,  its  pillars  of  exquisitely- 
veined  Devonshire  marbles  from  the  quarries  of 
Oddicombe.  It  is  must,  brilliant  and  unprecedented, 
the  unique  and   extremely  charming   feature   being 


Mr.      F.     LYNN     JENKINS. 

the  frieze  by  two  young  artists  who  have  passed 
through  the  Royal  Academy  Schools,  already  suc- 
cessful in  the  paths  of  sculpture  and  painting. 
Here  the  two  arts  are  joined  together,  the  pictures 
being  modelled  in  low  relief  and  enriched  with 
metals  and  every  shade  of  colour,  the  buffs  being 
in  by  far  the  greatest  diversity;  lemon,  pale  blue, 
scarlet,  grey,  green,  black  ami  white,  amber  and 
brown,  all  come  together  in  perfect  harmony. 
These  two  young  men  have  made  a  new  departure 
in  the  art  of  decoration,  and  evolved  a  splendid 
success,  which  will  no  doubt  he  universally  copied 
fur  internal  mural  decoration.  From  the  original 
small  coloured  sketches  Mr.  Moira  made  full-size 
cartoons  on  brown  paper — drawn  with  exceeding 
boldness  and  verve,  in  charcoal  and  white  chalk. 
Mi.  F.  Lynn  Jenkins  from  these  cartoons  modelled 
the  panels  in  low  relief,  the  greatest  relief  being 
one  inch.  They  were  then  cast,  in  fibrous  plaster, 
ami  coated  with  a  special  medium  which  renders 
the  material  non-absorbative  and  at  the  same  time 
attained    a    very    enduring    and    hardened    surface. 


THE    ART    MOVEMENT. 


93 


94 


THE    MAGAZINE    OF    ART. 


Metiils— gold,  silver,  and  platinum 
—in  the  leaf  were  then  applied  to 
the  pails  required,  and  the  whole 
decoratively  enriched  with  colour 
by  Mr.  Moira.  Owing  to  the 
peculiar  strength  of  fibrous  plas- 
ter the  panels  were  casf  exci  ed- 
ingly  thin  and  are  very  light  in 
weight. 

These  pictures,  which  run  round 
the  entire  entrance-hall,  and  mea- 
sure over  ninety  feet  long  with  a 
depth  lit'  nearly  six  feet,  are  from 
the  "  Legen.de  d' Arthur,"  as  nar- 
rated in  Tennyson's  "  Idylls  of 
the  King,"  and  are  too  various 
to  describe  in  detail.  Two  of 
the  largest,  which  face  each  other, 
give  "The  Round  Table"  and 
"The  Coming  of  Guinevere  to 
Camelot."      In   the   former,  which 


ENID     CROSSING     THE     DRAWBRIDGE. 


ENID     BRINGING     UP     WINE. 

glows  with  rich  colour— but 
the  mass  of  white  drapery 
and  vestments  lowers  the 
colour  scheme  somewhat,  and 
sobers  it— King  Arthur,  Mer- 
lin, the  seer  and  philosopher, 
a  grave,  Gothic  figure  of 
sacerdotal  aspect,  with  a  black 
cap  on  his  head,  surrounded 
by  the  drinking  knights, 
Percival,  <  reraint,  <  raret  h 
of  the  kitchen,  and  the  rest. 
Some  are  seated,  some  stand  : 
all  the  altitudes  are  graceful 
and  manly  ;  by  the  side  are 
hanners,  which  flourish  wide 
in  multitudinous  and  intricate 
folds:  to  the  lel'l  is  a  haulier 
of  crowns  and  swans.  "  The 
Coming  of  Guinevere  to 
Camelot "  contains  the  greater 


number  of  figures,  both  mounted 
and  unmounted :  the  horses  are 
armoured  with  gold  and  silver; 
blue  and  scarlet  make  their 
trappings;  the  knights  all  wear 
helms,  and  carry  their  shields 
bright  with  bearings.  Launcelot, 
tall  and  commanding,  dominates 
the  picture,  and  the  queen,  with 
her  imperially-moulded  figure, 
shares  in  its  governance.  A 
page  kneels  before  her,  offering 
wine  on  a  golden  salver.  Serving- 
men  in  gorgeous  costumes,  their 
jerkins  decorated  with  the  three 
crowns  imperial,  their  legs  en- 
cased with  cloth  swathings,  hear 
alofl  the  luscious  fruits  of  the 
earth  :  while  behind  them  come 
others  with  drinking-horns,  and 
feminine  figures  are  in  the  back- 


THE     QUEEN     OF     THE     TOURNEY. 


THE    ART    MOVEMENT. 


95 


ground.     The  stori 
by  Tennyson  thus 


>f  Guinevere's  coming  is   tol 


I     bent    speai 
of  them,  tl 


i,  hav 
e  hor 


"Then  Arthur  charged  his  warrior 
whom  he  loved 

And  honoured  most,  Sir  Lancelot, 

to  ride  forth 
And     bring     the     Queen;  — and 

watch'd  li i in  from  the  gates: 
And  Lancelot  passed  away  among 

the  flowers 
(For  then  was  latter  April)  and 

return'd 
Among  the  flowers,  in  May,  with 

Guinevere." 

CJ'hr  Coming  of  Arthur.) 

There  are  two  sporting 
incidents — "  A  Hawking 
Party  :  "  ( tuinevere,  robed  in 
white,  flies  the  bird  from 
her  hand  with  graceful  ges- 
ture :  a  highly-conventional- 
ised tree  :  the  stein,  perpen- 
dicular walls  of  <  'amelot ;  the 
hawker,  with  his  frame  of 
birds,  kneels  to  give  one  of 
his  captives  flight.  The 
quarry   is  a   heron   going  at 

great     sp 1,    all     legs     and 

wines;  an  argent  stream  in 
the  left  corner  passes  swiftly. 
"  Hunting   the    Wild    Boar," 

IV its   position,    enjoys   a 

great  advantage  of  light  :  it 
is  undoubtedly  the  finest  of 
the  set.  Though  low  in  tones, 
it:  is  manly, strenuous, brawny, 
and  noble.  The  great  massive 
horses  seem  to  i  hunder  along 
in  their  speed  and  heavy 
stride.      Their    riders,    with 


'■  their  boar  immediately  in  front 
rent  beast  galloping  as  fasl  as  his 
short  legs  w  ill  let  him.  The 
background,  which  is  a  land- 
scape, the  scurrying  clouds, 
and  the  masses  of  distant 
heavy  foliage,  all  have  their 
powerful  expression.  The 
little  bough  of  chestnut  in 
the    corner    is    Japanese    in 

feeling.     An gst  the  panels 

to  which  we  would  draw 
attention  is  "  The  Queen 
of  the  Tourney  "  —  a  very 
queen,  seated  on  a  dais :  at 
her  feet  is  a  wreath  held 
high  on  a  lance,  illustrating 
the  lines : — 

"There   all    day    long   Sir    Pelleas 

kept  the  fi<  Id 
With  honor ;   so    bj    thai    strong 

hand  of  las 
The     sword     and     circle!     were 

achieved. 
I  hen    rang    i  he    shoul    lii>    lady 

loved  :   the  heal 
Of  pride  and  glorj  fired  l" 

her  eye 
Sparkled  ;  she  caughl  I  he 

from  his  lance 
And     there     before     the 

crowned  herself." 
(Pel 

In  this  figure,  more  I 

any  oilier,  we  find  i he  st s 

Moira  feeling,  the  sent  inieut 
of  ancient  chivalry  being  ex- 
cellently expressed.      lv|li;ill\ 

beautiful,  but  of  a  different 
plexi Enid  la  inging 


06 


THE    MAGAZINE    OF    ART. 


up  Wine;"  her  figure,  as  she  toils  up  the  stairs, 
is  sweetly  pathetic.  Again,  "Enid  Crossing  the 
Drawbridge;"  she  descends,  holding  a  basket  on 
her  arm,  her  gown  of  faint  pink,  with  a  dark 
border  of  fur,  her  neat  little  head  outlined  againsl 
the  masonry  of  the  building,  while  beyond,  the 
water  cascades  in  a  silver  sheet.  The  incidents 
are  taken  from  "The  Marriage  of  Geraint": — 

"So  Enid  t.mk  his  charger  to  the  stall ; 
Ana  after  went   her  way  across  the  bridge, 
Ami  reached  the  town,  and  while  the  Prince  and  Earl 
Yet  spoke  together,  came  again  with  one, 
A  youth,  that   following  with  a  costrel,  bore 

'Hie  means  of  goodly  welco flesh  ami  wine, 

And  Enid  brought   sweet   cakes  to  make  them  cheer. 
An  I   in  her  veil  unfolded  manchet  bread" 

The  panel  illustrated  mi  this  page  represents 
the  stem  seneschal  of  King  Arthur's  Court,  who 
takes  so  prominent  a  part  in  the  poem  "  Gareth 
ami  Lynnette."  Standing  in  his  own  particular 
domain — the  kitchen — Sir  Kay  here  looks  the  em- 


SIR     KAY     THE     SENESCHAL. 


GERALD      E.      MOIRA. 
(Painted    by   Laurence  /foe.) 

bodimenl  of  the  tyrant  who  "hustled 
ami  harried  "  the  kitchen  knight, Gareth. 
The  figure  of  the  little  maid,  crouch- 
ing in  lowly  attitude  at  his  feet,  turn- 
ing the  wheel  of  the  spit,  serves  to 
emphasise  the  haughtiness  of  the  sene- 
schal     Sir  Kay  might   be  saying — 

"  Bound  upon  a   quesl 
With    horse    and    arms — the    King    hath    past 

his  time. 
My  scullion  knave !     Thralls  to  your  work  again, 
For  an  your  fire  be  low  ye  kindle  mine! 
Will  there  be  dawn  in  West  and  eve  in  East  ? 
Begone !     My  knave '.     .    .     . 
Well— I  will  after  my  loud   knave,  and  learn 
Whether  lie  know  me  I'm-  his  master  yet. 
Out  of  the  smoke  he  came,  and  so  my  lance 
Hold,  by  God"s  grace,  he  shall  into  the  mire- 
Thence,  if   the  King  awaken  from  his  craze, 
Into  the  >in. ike  again." 

Messrs.  Moira  ami  Jenkins  occupy 
two  spacious  studios  in  the  neighbour- 
hood of  Campion  Hill,  one  above  an- 
other. There  is  no  knick-knackery,  nor 
wild  beasts'  skins:  they  ate  workshops, 
ami  nothing  else.  Mr.  Jenkins  com- 
menced to  study  under  Mr.  Sparkes,  that 
splendid  teacher  and  author  of  so  many 
nuns  successes,  where  he  won  nearly  till 
the  sketching  club  prizes  of  that  school, 
ami   also   a   medal    from   the  Academy 


TTfK    AET    MOVEMENT 


97 


influence  to  his  arl  :  his  father  was  the  celebrated 
Portuguese  miniature  painter,  who  lived,  worked  and 
nourished  in  the  latter  decades  of  the  present  century. 
After  studying  in  the  British  Museum,  Mr.  Gerald 
Moira  entered  the  Academy  Schools,  where,  after  win- 
ning   several    medals  and    prizes,    h ily   missed   the 

gold  medal  by  half  a  length,  Mr.  Ralph  Peacock  being 
tin'  lucky  winner.  As  a  portraitist,  Mr.  Moira  has 
shown  himself  a  deft  and  clever  worker,  a  collection 
"l'  lieads  forming  a  small  one-man  show  al  the  Fine 
An  Society.     We  have  treated   the  work  of  these  two 

young  men  at    s e   length,   but    they  have  launched 

out  in  so  novel  ami  individual  a  manner  that — for 
lie'  moment,  at  any  rati  —  they  air  of  paramount 
interest  to  the  younger  school  of  painters 

The  accompanying  sketch  portraits  are  from  the 
brush  of  Mr.  Laurence  Koe,  "ho  has  achieved  consider- 
able reputation  as  a  portrait  painter,  ami  who,  with  .Mr 
F.   Ilavilaml,  shares   the   studios  at    Bedford  Gardens. 


F.      LYNN      JENKINS. 
{Painted    b3     Laurence    Koe.) 

and  the  city  of  London  Guilds  medal. 
Entering  the  Academy  Schools  in  1893, 
the  following  year  he  was  successful 
in  winning  the  British  Institution 
Scholarship  of  £100,  open  to  com- 
petitors from  all  over  the  United  King- 
dom. This  young  man,  who  is  only 
twenty-six, is  a  native  of  Torquay;  the 
profession  followed  by  his  father  gave 
him  an  early  insight  into  the  use  of 
the  chisel.  He  is  of  opinion  that  plain 
sculpture  reliefs  are  apt,  from  inade- 
quate lighting,  to  he  cold;  hut  tins 
combination  of  metals,  rich  colouring, 
and  sculpture  opens  up  a  scheme  of 
decoration  which  will  prove  of  benefit 
both    to   the   artist,   and    the   public. 

Mr.  Gerald  E.  Moira  is  better 
known,  being  for  the  last  few  years  a 
frequent  exhibitor  at  the  Royal  Acad- 
emy. His  picl  in c-s  are  always  interest- 
ing, very  individual,  but  sometimes  his 
ambitions  o'erleap  his  power.  In  L894, 
a  Eossettian  theme;  1895, a  portrait  "i 
Mis.  Cyril  Plnmmer  and  Mis.  Nares; 
this  year  'The  King's  Daughter,"  and 
"Brenda,  Daughter  of  Carl  Svedburg, 
Esq."  Mr.  Moira  brings  the  hereditary 
u 


HOISTING     KING     ARTHUR'S     STANDARD 


PEWTEE  is  one 
metals  used  in 
treme  malleabil- 
ity and  its  purity 
of  colour  have 
allowed  of  its 
being  wrought 
with  the  happiest 
andmosl  interest- 
ing results.  M. 
Bapst,  in  his  in- 
teresting work 
called  "  L'Etain," 
has  given  a  com- 
plete  history  of 
this  branch  of  art, 
showing  iis  de- 
velopment among 
ili,.  Greeks  and 
Romans,  then  in 
tin'  hands  of  the 
Germanic  races, 
and  finally  in  those 
know  how  fine  aie 
jugs  and  pots,  and  w 


PEWTER     WORK. 

of    the   most   valuable   mixed     m  Corinthium,  spoken  of  with  admiration  by  Greel 


the   decorative  arts.     Its  ex- 


and  Latin  authors,  was  not  simply  our  most  ordinary 

pewter  ? 

Be  this  as  it 
may,  after  being 
neglected  at  the 
beginning  of  this 
century,  the  use 
of  this  material 
has  lately  been 
revived,  and  a 
long  list  might 
he  made  of  artists 
who  employ  it 
with  success.  But 
foremost  of  all 
M.  Jules  Brateau 
deserves  the  first 
credit  for  having 
restored  pewter 
to  a  place  of 
honour,    and    as 

of  the  Medieval  monks.  We  the  leader  of  a  movement  which  is  now  in  full 
the  shapes  of  the  Leans  XV.  career.  Of  all  our  modern  workers  in  pewter,  he 
ho  knows   whether  the   famous      is,  in   fact,  the  only  artist  who  is  above  all  else  a 


PEWTER     BOWL. 
(By   Carrikre.) 


THE     WAVE. 
er    Dish    by    HI.    Ledru.) 


THE    APT    MOVEMENT. 


99 


pewter-potter;    a    chaser    who    hi 
mastered   the   material   on    the   ol 
lines,  and  who  handles  it  in  the  old 
style. 

Pewter  lias  been  adopted  for  the 
most  various,  ornamental  purposes. 
M.  Gustave  Charpentier's  candelabra 
show  a  choice  adaptation  of  form  : 
MM.  Baffier  and  Desbois,  and  the 
sculptor  Ernest  Carriere,  have  made 
themselves  really  famous  by  this 
<lass  of  work;  and  not  less  M. 
Maurice  Maignian,  whose  jardiniere, 
representing  "  The  Day  After  a  Vic- 
tory at  the  Alhambra,"  will  not  be 
forgotten. 

Bui  I  wish  here  to  dwell  more 
particularly  on  the  artistic  work  of 
M.  Ledru,  a  pupil  of  M.  Dumont, 
who  won  a  medal  at  the  Salon  of 
1894,  and  who  this  year  again  has 
earned  the  same  distinction.  M. 
Ledru,  in  his  vases  ami  dishes,  never 
loses  sight  of  the  two  sides  of  his 
art,  the  decorative  treatment  and 
the  sculptural  fitness;  as  a  sculptor 
he  often  lets  us  see  his  admirable 
talent,  but  without  any  injury  to  the 


purpose  of  his  work.     Tims,  in  a  vase  he  calls  -  The 
1Vv."  here  represented  by  permission  of  Ah 
s,l^,'   Brothers,  he  shows  us  a  woman  lying  rrone 
whom  a  monstrous  cuttle-fish  is  aboul  to 
M.  Ledru  very  rightly  feels  that  this  is  bul 
which  cmghl  not  to  divert  attention  from  the  vase, 
itself  of  an  elegant   classical  form,  or  attracl  tl 
too  assertively,  as  is  the  case  in  some  work  by  other 
artists.     The  same  remark  applies  to  a  dish,  "The 
Wave,"    modelled    with    wonderful    delicacy.      The 
art  is  admirable  with   which   M.   Ledru   has,  as   it 
were,  draped    his    Naiad    in  light   caressing   waves, 
and  added  such  dainty  details  as  the  two  fish  swim- 
ming above  her. 

M.  I'.  H.  R.  Eoussel  (Grand  Prix  de  Borne,  1895) 
is  not  as  yet  so  skilful  as  M.  Ledru,  hut  his  vase, 
"The  Sedge  Nymph,"  with  its  double  curve  of  ex- 
-~'site  elegance  and  charm,  gives  promise  of  an  artist 

the  first  rank  with  a  great  future   before  him. 


THE     PREY, 
(Pewter    Vase    tj    HI.    Ledru.      By    Permission    of   Mes 


100 


THE    MAGAZINE    OF    ART. 


Still  the  criticism  we  must  address  to  all  these     remaining    faithful    to    the    true    tradition,    which 
artists,  however  -real  their  merit,  is  that  they  treat     nevertheless  does  not  destroy  the  charm  of  the  works 


THE     SEDGE     NYMPH. 
(Pewter    Vase    by    H.     P.     H.     P.     Pan 


the  materia]  as  sculptors,  as  they  would  any  other 
plasi  ie  material,  nol  in  the  manner  of  the  old  workers 
in  pewter.     Only  M.  .Jules  Brateauhas  succeeded  in 


we  have  described.     We  must  lie  satisfied  to  regard 

these  artists  as   independent   of  the   time-honoured 
tradition  of  the  pewterer's  art.         Henri  Fraxtz. 


101 


NEW     SCULPTURE. 


S<  (ME  symbolical  sculp- 
ture of  a  rather  un- 
usual type  lias  just  been 
completed  by  Mr.  A.  ('<. 
Walker,  of  the  Cedar 
studios,  Chelsea,  for  the 
church  which  is  now  being 
built  at  Stamford  Hill  by 
the  Society  of  the  Aga- 
pemone.  Four  bronze 
fig  i  -  each  of  which  is 
about  seven  feet  high,  are 
used  as  tinials  to  the  tower, 
and  these  figures  represent 
the  evangelistic  symbols — 
the  angel  in  human  form, 
the  lion,  the  ox,  and  the 
eagle.  Each  symbol  per- 
sonifies a  i  ii  lain  virtue  : 
the  angel  intelligence,  the 
linn  strength,  the  ox  pa- 
tience, ami  the  eagle  Far- 
sight :  and  they  are  used 
because  they  are  held  to 
be   the    four   attributes  of 


EAGLE     AND     ANGEL     FOR     TOWER     FINIALS     OF     THE 
CHURCH     OF     THE     AGAPEMONE. 


the  Divinity.  The  same 
■  i  in  the  four 
buttress  groups  which  de- 
corate the  west  front  of 
the  church;  but  1. 
symbols  a  re  act  iv<  ly 
triumphing  over  t! 

posites.     Intelligen ver- 

t  oines  Sorrow,  Strength  and 
Patience  respectively  1 1  u- 
quer  Death  and  Pain,  and 
Far-sight  defi  ats  Mental 
Blindness.  Mr.  Walker's 
manner  of  handling  his 
-  is  marked  by  a 
judicious  mixture  of  real- 
ism and  decorative  conven- 
tion ;  he  has  sei  i 1  reality 

enough  to  make  the  mean- 
ing of  the  symbols  apparent, 
and  at  the  same  time  he 
has  gone  sufficiently  far 
towards  pure  decoration  to 
prevent  any  lack  of  style 
in  his  designs  or  any  want 


BUTTRESSES     OF     THE     CHURCH     OF     THE     SOCIETY 
OF     THE     AGAPEMONE. 


BULL     AND     LION     FOR     TOWER     FINIALS. 


(Sj  A.   C.   Walker.) 


102 


THE    MAGAZINE    OF    AKT. 


of  meaning  in  his  manner  of  treatment.  In  the 
buttress  groups,  especially,  there  is  shown  a  fine 
sense  of  line  arrangement,  and  excellent  judgment 
in  massing  and  composition.  As  examples  of  what 
[s  after  all  the  best  way  to  employ  sculpture— in 
conjunction  with  architecture  —  these  productions 
of   Mr.   Walker's  deserve  very  considerable  praise. 


ALMS     DISH 
Sj    A.     G.     Walker.) 


The  other  example  of  his  work  which  we  illus- 
trate— a  silver  alms  dish  for  a  church  at  Liverpool — 
claims  attention,  as  it  shows  his  i  apacity  to  d<  al  with 
a  different  branch  of  sculpture.  The  work  in  this 
case  i>  done  partly  by  easting  and  partly  by  chasing, 
and  is  in  its  resull  eminently  effective  because  it 
combines  in  a  manner  which  is  unusually  well-con- 
sidered richness  of  design  with  a  lowness  of  relief 
that  suits  well  the  purpose  to  which  the  dish  is  to 
be  devoted.  As  a  whole,  this  piece  of  metal  work 
is  acceptable  as  a  sign  that  our  younger  sculptors 
are  learning  how  to  adapt  their  art  to  practical 
exigencies.  There  is  certainly  no  need  to  disregard 
utility  in  the  pursuit  of  aesthetics;  and  it  can  hardly 


be    denied    thai    on     of   the   highest  merits  in  the 

application  of  design  is  the  preservation  of  an  exact 

balance      between 

the  decoration  and 

the  fitness  for  its 

ultimate  use  in  the 

object  decorated. 

Another  im- 
portant group  of 
sculpture  intended 
as  a  prominent 
feature  in  an  ar- 
chitectural design 
is  that  which  Mr. 
J.WenloekEollins, 
of  Glebe  Plac  ■ 
Chelsea,  has  exe- 
cuted for  the  new 
General  Hospital, 
Birmingham.  Two 
colossal  figures, 
symbolising  Phar- 
macy and  Surgery, 
uphold  a  lamp, 
typifying  Life  : 
their  arms  are 
supported  by  Phil- 
anthropy, who 
tramples  upon 
Disease  in  tin-  form 
of  a  snake.  The 
total  height  of 
the  group  is  near- 
ly ten  feet,  and 
the  figures  sur- 
round the  central  pier  of  a  triangular  porch,  which 
is  a  striking  part  of  the  design  for  the  hospital 
building.  The  dignity  of  the  composition  and  the 
severity  of  the  lines  of  the  drapery  (save  for  the 
tortuous  edges)  give  to  the  whole  work  a  significance 
which  is  entirely  appropriate  to  the  purposes  of 
the  institution  itself.  For  the  same  building  Mr. 
Rollins  is  also  busy  with  three  other  colossal 
statues  representing  "  Light,"  "  Air,"  and  "  Purity." 


3R0UP    FOR   NEW  GENERAL  HOSPITAL, 

BIRMINGHAM. 

(By   J.     Wenloch    Rollins.) 


ILLUSTRATED     VOLUMES. 


EVERY  new  volume  put   forth  by  Mr.  Phil  May 
idy  confirms  his  position  and  establishes 
his   genius— il    enhances    his    reputation    while    his 
gallery    of   characters  is  steadily  added  to,  and  his 
is    widened.     The  admirable  series  of  half  a 
hundred   drawings  included   in   the  volume  entitled 
h         Gutter-Snipes,"  which    has  been   put 


forth  by  the  Leadenhall  Press,  shows  us  the  stream 
of  his  humour  as  fresh  as  ever,  observation  as  keen, 
truth  as  inexorable;  while  the  freedom  of  touch  and 
handling  show  unmistakable  development.  In  look- 
ing over  these  pages  the   I. loner  is  startled  with 

the  verisimilitude  of  the  scenes  he  has  so  often 
witnessed,  hut  so  rarely  seen  adequately  portrayed. 


ILLUSTRATED    VOLUMES. 


103 


From  the  first  pages  bbal  present  us  with  the  game 
of  cricket  as  played  in  the  Seven  Dials,  and  a  lifelike 

portrait  of  Mr.  Andrew  Tuer,  to  the  last  admirable 
study  of  gutter  gymnasts — a  sketch  which  Leech 
would   have  liked  to  sign— we  are  presented  with 


sketch  them  down,  ami  forget  them  again  as  rapidly 
— but  they  are  permanent,  abiding  ideas.     X 
sports  nt'  Nature,  but  her  n©  rnal  cla — . 

We  feel  that  we  cannot  pari  with  any  of  them,  lest 
a  link  should  be  broken."     As  is  the  case  with  the 


VVAf£K- 


_  v^ofcV^ 


{Reduced    from    "Phil    May's    Gutter-Snipes.") 


every  variety  of  life  that  form  the  lights  and  shadows 
of  general  existence.  We  do  not  pretend  that 
"  Water-works,"  here  reproduced,  is  quite  the  best 
of  the  series;  yet  the  inimitable  figure  of  the  self- 
possessed  young  humorist  offers  worthy  testimony 
to  Mr.  Phil  .May's  comic  sense  (if  such  were  needed) 
and  to  his  consummate  power  of  placing  it  on  paper. 
There  is  hardly  a  drawing  in  which  are  not  pn 
several  types  of  charactei  searchingly  true,  and. 
withal,  a  sense  of  style  which  proclaims  the  artist 
not  only  a  master  of  Ins  craft,  but  a  very  master 
among  artists.  Of  these  studies  we  may  say  what 
Charles  Lamb  said  of  Hogarth's:  they  "  have  not  a 
mere  momentary  interest,  as  in  caricatures,  or  those 
grotesque  physiognomies  which  we  sometimes  catch 
a  glance  of  in  the  street,  and.  struck  with  their 
whimsicalities,  wish  for  a   pencil  and   the  power  to 


true  humorist,  the  ten. lei'  side  of  Mr.  May's  nature 
is  very  obvious.     He  revels  in  practical  jokes,  in  low 

humour,  and  knockabout  farce.     He  plays  the  | i 

Gutter-Snipes' games  upon  paper  and  shares  in  their 
squalid    happiness.      Not   less   dees    he   sym] 
in   their  wretchedness  and   misery,  in  their  illness, 
poverty,  and   utter   wretchedness.     So    profound    is 
the  humanity  of  his  drawings  that  we  are  almost 
tempted  to  overlook  the  line  composition  of  h 
tures,  which  is  ine\  itably  i  ight,  and  the  inst 
balance  of  his  light  remarkable 

is  the  truth  with  which  he  presents  the  spii 
the  tow  nscape  w  hich  may  happen  to  foi  m  the 

g ml  of  his  |  act  in.  s.     We  doubt  if  Charles  Keene 

ever  surpassed  with  so  little  effort    the  successful 
rendering  of  such  a   street-wil  -  n  -  see  in 

the  "  Pegtop     scene.     In    liorl    Mr.  May  is  seeu  here 


104 


THE    MAGAZINE    OF    ART. 


at  his  best,  for,  sketchy  as  is  his  work,  no  artistic 
quality  is  on  that  account  lost.  The  book  is  one  to 
get  and  to  treasure,  for  it  takes  ils  place  by  right 
among  the  best  productions  of  the  country's  humour. 


T 


V)  Mr.  Laurence  Housman  we  are  indebted  for 
admirable  essay  on  the  work  of  "Arthur 
Boyd  Houghton"  (Kegan  Paul  and  Co.),  a  book  which 
should  be  iii  the  hands  of  every  lover  of  intellectual 
and  technical  art,  as  well  as  every  lover  of  black- 
and-white  illustration  and  of  the  art  of  the  wood- 
cutter. The  volume  includes  a  number  of  facsimile 
reproductions  of  the  drawings  for  the  wood,  as  well 


as  manly  and  convincing  as  Millais'  ;  and  his 
methods  as  original  as  .anybody's.  His  character- 
isation is  not  less  happy,  as  may  be  seen  in  the 
drawing,  "  The  Indian  prostrates  himself  before 
the  King  of  Persia,"  wherein  every  face,  black  or 
brown,  is  well  accustomed  to  the  blinding  sun, 
and  every  inch  of  the  surface  is  eloquent  of  the 
Orient.  In  one  point  only  do  we  disagree  with  the 
writer.  He  says  that  Houghton's  work  is  curiously 
bound  down  to  monochrome  and  rarely  suggests 
colour — only  tone.  We  consider,  on  the  contrary, 
that  his  suggestive  colour-sense  was  hardly  less 
than  Keene's.     It  is  delightful  in  passing  in  review 


as  a  great  number  of  impressions  from  the  wood- 
blocks themselves,  executed  for  the  Dalziel's 
"Arabian  Nights,"  "Don  Quixote,"  and  other  works. 
It  is  a  pity  that  the  drawings  executed  for  Messrs. 
Cassell  and  Co.  were  not  also  included,  but  the 
collection  as  it  stands  is  sufficient  to  show  the 
greatness  of  the  artist.     There  has  been  a  "boom" 

in  Houghton  latterly,  but  it  is  a  1 m  fraught  with 

good,  for  no  attention  which  might  be  given  to  his 
work  would  be  mis-spent  by  the  student  nor  un- 
remunerative  to  the  beholder.  Mr.  Housman  does 
well  in  placing  Houghton  at  the  head  of  the  Pre- 
Raphaelite  Revivalists,  so  to  say,  for  Houghton 
had  much  of  the  passion,  the  vigour,  and  the 
humanity  of  all  the  great  illustrators  included  in 
the  "  P.-R.  P..,"  and  had,  moreover,  as  much  humour 
as  all  them  put  together.  His  black-and-white  is 
i  fine  as  Charles  Keene's;  his  devotion  as 
deep   as    Holman    Hunt's;    his  vigorous   realisation 


these  interesting  illustrations,  to  observe  with  how 
much  intelligence  Houghton — the  one-eyed  artist, 
whose  health  was  shattered,  it  was  said,  by  over- 
indulgence—  knew  how  to  profit  with  unerring 
instinct  by  the  great  improvement  which  Millais 
and   his  associates   had  forced  upon  the  engravers 

on    w 1.       It    is    not    less    delightful    to    see    bow 

completely,  bow  instinctively,  he  underst 1  light 

and  shade.  The  perfection  of  many  of  his  illustra- 
tions lies  in  the  truly  luminous  character  of  his 
illustrations  of  his  author's  meaning,  and  not,  merely 
a  reproduction  by  the  pencil  of  the  author's  ivords. 
Houghton,  in  truth,  was  a  great  imaginative  artist, 
and  we  rejoice  that  so  interesting  a  reprint  has 
been  placed  in  hands  so  capable  as  those  of  Mr. 
Housman  lor  introduction  to  the  public.  The 
unknown  drawing  which  Mr.  Housman  refers  to 
as  ".lew-  and  Gentile"  is,  we  believe,  a  fanciful 
illustration   to  the  Merchant  of   Venice. 


105 


[Fir  "Regulations, 

[8]  LORD  LEIGHTON'S  FIRST  FRESCO. — The  history 
of  fresco  painting  in  England  is  fairly  well  known, 
as  well  as  Lord  Leighton's  share  in  its  attempted 
revival.  Can  you  inform  me  whether  his  work  at 
Bowood  is,  as  has  been  suggested,  his  first  work  in 
that  method  ?— G.  A.  P.. 

#*.s  Tlie  Bowood  fresco  was  in  no  sense  an 
experimental  one.  Long  before  Lord  Lcighton 
returned  to  England,  even  while  still  at  Frankfort 
as  a  pupil  of  Steinle,  lie  executed  his  first  fresco 
painting.  This  was  in  the.  courtyard  (if  the 
castle  of  Auerbach,  in  the  Bergstrasse — where 
it  may  still  In-  seen.  Ii  is  a  fresco  painted 
by  Leighton  ami  his  fellow-student,  Gamba,  in 
celebration  of  an  artist's  festivity,  representing 
in  a  humorous  spirit  "Spring  receiving  the 
Arts."  In  this  work — which  is  still  described  as 
"Leighton's  First  Fresco" — the  portrait  of  both 
of  its  painters  are  introduced. 

[9]  THE  ROYAL  WATER-COLOUR  SOCIETY'S  OFFICIAL 

drawing  paper. — The  question  as  to  the  quality  of 
the  paper,  its  properties  of  resistance  to  damp  ami  to 
the  disintegration  caused  by  hot  climates,  is  of  the 
greatest  importance  to  us  artists,  for  the  permanence 
not  only  of  our  drawings,  lmt  of  our  reputation  itself, 
depends  on  the  material  supplied  to  us.  For  that 
reason  I,  amongst  others,  welcomed  with  pleasure  the 
issue  by  the  Royal  Water-Colour  Society  itself  of  a 
paper  stamped  with  its  own  initials  ("O.W.S.")  as  a 
guarantee  of  the  excellence  of  the  paper.  I  have 
since  heard  it  stated  that  this  paper,  of  which  a 
vast  amount,  it  is  said,  has  been  thrown  upon  the 
market,  lias  been  too  hastily  fathered  by  the  Society, 
and  that  it  is  even  less  to  he  trusted  than  old  and 
reliable  marks,  such  as  Whatman.  But  there  is 
difficult)  in  ascertaining  facts.  (.  in  you  obtain  for 
us  any  trustworthy  information  on  this  subject,  as 
the  matter  is  of  vital  importance,  and  cannot 
wait?— R.  W.  S.  (St.  John's  Wood). 

x*%  The  matter  is,  we  believe,  a  somewhal 
delicate  one  at  the  present  time.  We  ourselves 
have  heard  grave  criticism  passed  on  the  paper 
in  question,  for  which  charges  of  weakness, 
irresponsibility,  and  misguidance  were  for  a  time 
levelled  against  the  Society  :  while  it  was  alleged 
that  the  paper  in  question  was  of  a  quality  greatly 
inferior  to  oilier  standard  papers,  and  that  it  was 
adopted  by  the  Society  without  proper  examina- 
tion or  analysis.  We  understand,  however,  thai 
since   that    time    an    independent    analyst     ha 


NOTES    AND    QUERIES. 


The   Magazine  of  Art  for  November, 


examined  the  paper  and  has  reported  upon  it  in 
highly  favourable  terms.  At  the  same  lime,  we 
are  bound  to  explain  that,  solicitous  for  the  well- 
being  of  artists  and  their  works,  we  took 
some  years  ago  to  have  the  matter  of  drawing- 
paper  thoroughly  dealt  with  by  the  highest 
authorities,  and  continued  our  efforts  up  to  re- 
cently, when  the  article  on  "Mildew  in  Drawing 

Paper,"  by    Dr.    Russell,   was   tl utcome.     To 

those  remarks  we  would  refer  the  reader  (Jan., 
18%)  It  would,  perhaps,  he  well  if  this  im- 
portant, matter  were  publicly  ventilated. 

[10]  IS  THE  DRESDEN  "SISTINE  MADONNA"  GENUINE? 

— On  my  return  from  Dresden,  where  1  have  keen 
studying  Raphael's  masterpiece,  I  am  confronted 
with  the  statement,  in  Truth  and  elsewhere,  that 
the  "Sistine  Madonna"  of  the  Dresden  Gall 
hut  a  copy  of  the  genuine  picture,  which  is  said  to 
he  in  the  possession  of  a  hotel-keeper  al  St.  Moritz. 
I  do  not  suggest  that  too  much  credit  should  be 
accorded  to  such  a  claim  ;  but  in  view  of  the  wealth  of 
evidence  adduced  in  favour  of  the  contention,  the 
elaborate  pedigree,  and  the  evident,  sincerity  of  the 
claimant,  it  would,  I  think,  lie  well  that  the  conten- 
tion should  lie  inquired  into,  to  he  established,  so  far 
as  it  may  he,  or  else  swept  away.  There  seems  to  be 
more  foundation  than  is  usually  the  case  in  claims 
such  as  this,  so  that  a  service  would  he  done  to  the 
art  world  at  large  were  any  reader  of  Tin:  MAGA- 
ZINE of  Art  to  bring  the  light  of  knowledge  to  it 
and  settle  it  one  waj  or  the  other.  S.  i  Na1  ional 
Liberal  Club). 

#%  As  it  happens,  we  can  give  a  very  de- 
finite reply  upon  this  subject.  We  ma)  say  at 
once  that  in  the  slimmer  of  lasl  yeai  the  1 
of  this  Magazine  was  courteously  presented  by  Mr. 
( laspar  Badrutt,  the  proprietor  of  the  En 
Kulm  and  owner  of  the  picture  hi  question,  with  a 
copy  of  the  beautifully-produced  volume  that  sets 
forth  his  claim,  and  illustrates  il  with  excellent 
photographs,  etc     A  moment's  examination  was 

enough  to  convince  hi f  the  groundlessness  of 

Mr.  Badi  ult's  belief,  in  spile  of  an)  <\  idem  i  I  lial 
might  he  adduced.  Willi  i  he  owner's  consent,  the 
Editor  submitted  the  inal  tei  to  I  he  judgnienl  of 
the  late  Lord  Leighton  and  to  the  Directoi  of  the 
National  Gallery.  Thegisl  of  tin  Pn  ten  reply 
lay  in  his  words,"Surely  you  do  ui  wish 

me  to  i  xpn       mj  o] on  on    m  h  a  point  '"  and 

the  1  'i or's  reply  was  not  I  -    uncompromising 


106 


THE    MAGAZINE    OF    APT. 


though  it  was  more  explicit.  Other  judges  were 
as  emphatic  and  unanimous  in  their  opinion.  One 
of  the  points  on  which  Mr.  Badrutt  relies  is  the 
fact  that  the  "  Sistine  Madonna"  being  offered, 
and  accordingly  presented,  to  Pope  Paul  III.,  1  >y 
his  host,  the  Duke  Hercole  II.,  was  not  really 


handling.  Of  the  St.  Moritz  picture,  the  con- 
trary must  in  every  ease  lie  said.  Hut  even  were 
it  the  original — which  on  the  evidence  of  the 
paint  alone  we  cannot  admit  for  a  single  minute 
— the  value  of  it  would  he  gone.  It  has  been 
considerably  added   to  at  the  top,  bottom,  and 


THE     "SISTINE     MADONNA"     AT     DRESDEN.       (8»    Rup/m./.) 

presented  at  all;  but  that  a,  duplicate,  by 
Gerolamo  da  Carpi — that  in  the  Dresden  Gallery 
— was  executed  and  palmed  off  on  the  connoisseur 
Pope  (but  inexplicably  left  at  Piacenza),  while 
tin'  original  found  its  way  by  easy  stages,  and  at 
last  in  a.  shocking  condition,  In  the  Engadiner- 
Kulin.  The  Dresden  picture,  says  .Mr.  Badrutt, 
is  painted  on  coarse  canvas  with  two  transverse 
scams;  while  Raphael  always  painted  on  a. 
smooth  damask  linen,  such  as  that  on  which  the 
Si.  Moritz  picture  is  executed.  But  where,  if  he 
bolls  to  his  argument,  is  the  force  of  the  reason- 
ing '  For  surely,  if  the  Duke  wished  to  deceive 
so  appreciative  and  perspicuous  a  connoisseur  as 
i  In'  I'.ipi',  In'  would  not  have  stultified  himself  by 
allowing  "  a  coarse  canvas  with  two  cross  seams " 
tu  In'  used  iii  place  of  Raphael's  well-known 
damask  linen  '  Tin-  whole  of  ibis  argument  is 
self-contradictory. 

But,  in  point  of  fact,  the  picture  is  its  own 
argument.  The  Dresden  picture  is  sublime  in 
expression,  grand  in  its  draperies,  broad   in   its 


THE     ST.     MORITZ     "  ASSOMPTIONE ." 

sides ;  considerable  spaces,  formerly  perished,  have 
been  painted  in  :  and  the  whole  appears  so 
"  tight,"  so  poor  relatively,  so  uninspired,  thai  we 
cannol  understand  anyone  seriously  supporting 
the  theory  of  its  genuineness  as  against  the 
accepted  work.  The  refusal  of  the  Director  of 
the  Dresden  Gallery  to  allow  Mr.  Badrutt's 
picture  tn  be  placed  in  juxtaposition  with  the 
great  work  in  the  Gallery  for  more  than  one 
hour  is  apparently  felt  by  the  owner  to  be  due 
tn  either  fear  or  jealousy.  Our  own  belief  is 
thai  the  concession  is  an  unusually  covnplaisanl 
one.  If  it  were  generally  granted  a  dangerous 
sort  of  patronage  of  inferior  copies,  replicas,  and 
forgeries  would  be  the  result,  and  no  gallery 
would  be  free  from  the  incursion  of  debased 
canvases  striving  for  recognition.  We  have 
every  respect  for  Mr.  Badrutt's  honesty  of  pur- 
pose, ami  sympathy  with  what  we  regard  as  a 
pathetic  struggle  against  unrecognised  fact:  but 
concerning  his  picture  we  can  profess  neither 
I  be  inie  nor  the  other. 


NOTES    AND    QUERIES. 


107 


[11]  THE  MARQUIS  OF  HERTFORD  AND  THE  "MAR- 
QUIS of  steyne." — Was  it  the  3rd  or  4th  Lord  Hert- 
ford who  was  supposed  to  be  the  prototype  of  "Lord 
Steyne"  in  Vanity  Fair.and  what  portraits  (prints 
or  paintings)  of  the  Lord  Hertford  so  made  famous 
exist,  ami  where  can  the}  be  3een  '.     Pendennis. 


THE  ST.    MORITZ    "  ASSOMPTIONE "    BEFORE    RESTORATION. 

NOTES. 

STAGE  ART  IN  SHAKESPEARE'S  TIME.  — 1  should  like 

to  make  a  rejoinder  to  a  paragraph  which  appeared 
in  the  number  of  Tut;  Magazine  of  Art  for  Sep- 
tember dealing  with  the  above  subject. 

Mr.  Archer  says— "There  is  not  the  remotest 
reason  for  supposing  that  if  scene-painting  had  been 
practised  in  his  day,  Shakespeare  would  not  have 
availed  himself  of  its  aid."  But  the  fact  .remains, 
as  his  paragraph  admits,  that  scene-painting  was 
not  practised  in  his  day.  Ii  was  not  consciously 
rejected,   but    simply   was   not    invented;    so   that, 

although  he  might  "have  been  able,  under  th n- 

ditions  ii  (scene-painting)  imposes,  to  express  his 
genius  to  the  utmost  perfection,"  if  is  quite  clear  he 
did  not  actually  do  so.  On  the  other  hand,  he  lias 
most  perfectly  expressed  his  genius  under  the  con- 
ditions imposed  by  the  advanced  platform  of  his  day. 

The  change  from  an  advanced  platform  to  an 
arched-in  stage  humus  a  change  in  the  dramatist's 
art  .  and  there  older  and  later  forms  of  art  differ  in 
much  the  same  way  as  the  arts  of  the  sculptor  and  of 


the  painter  differ  from  one  another.  The  intermediate 
examples  of  de\  elopnient,  showing  a  painted  scene  on 
a  back  wall,  an  I  a  stage  running  far  forward  through 
the  proscenium  arch,  seem  to  me  highly  un 
i'.m  tor}  as  compared  either  with  the  old  platform  or 
the  modern  tableau.  Bui  even  so,  a  play  written  for 
these  intermediate  arrangements  would  not,  without 
trimming,  adapt  itself  cither  to  the  earlier  or  later 
stage.     For  instance,   Tin   School  for  Scandal  would 

play  best  on  just  that  sha] i     tage    md  with  just 

that  kind  of  scenery  which  Sheridan  had  to  reckon 
with  when  the  play  was  originally  rehearsed.  There 
are  gains  and  losses  with  each  build  of  stage,  and 
a  dramatist-  business  is  to  make  the  most  of  bis 
opportunities.  A  playwright  who  understands  the 
technique  of  his  craft,  adapts  his  work  to  current 
stage  conditions,  or,  rather,  uses  tin/  opportunities 
given  by  those  conditions  to  develop  his  design. 
Give  him  new  opportunities  after  his  death,  and  lie 
cannot  avail  himself  of  them;  give  him  fewer  op- 
portunities, and  some  part  of  his  design  has  to  be 
sacrificed.  The  same  plot  may  be  used  for  the  older 
or  nioie  modern  form  of  stage.  In  one  case  the 
scheme  of  scenes  and  elaboration  of  dialogue  will  lie 
quite  different  from  the  other.  To  suit  the  require- 
ments of  the  old  method  any  number  of  scenes  may 
he  used,  ami  a  full  and  literary  book  of  words  is 
demanded.  Full  "  books "  can  be  delivered  without 
weariness  to  actor  or  audience  from  the  plat  form. 
In  the  other  case,  the  playwright  will  seek  to  com- 
pass his  story  in  a  few  long  scenes,  and  will  know 
that  full  literary  development  of  dialogue  will  cer- 
tainly drag,  as  ii  is  most  difficult  to  get  its  true 
effect  through  the  proscenium  arch  and  across  the 
footlights.  Therefore,  although  a  play  can  be  trans- 
ferred from  one  form  of  playing  to  the  other,  yet  the 
transference  involves  such  recasting  of  scenes  and 
dialogue  as  can  only  be  justified  in  the  case  of  a 
greal  master,  if  dune  by  the  master  himself. 

Mr.  Archer's  paragraph  closes,  to  quote  again 
"  The  upshot,  then,  is  thai  i he  whole  configuration  of 
Shakespeare's  stage  rendered  scenery  impracti 
From   ibis   it    follows,   naturally,  that    Shakespeare, 
who  could  not   possibly  allow  foi   the  possibili 
future    inventions,  wrote    his  plays  in  such  a   way 
as   to  be,  as  they  stand,  impracticable   for  scenery, 
and   they    can   only   be  made   practicable    b\    p 
hi-   supreme    masterpieces    at    the    mercy   of   such 
"  ingenuity,  taste,  and  discretion     as  we     not  Shake- 
spi  are    can  command.     It  is  this  necessary  al 
tion  of  the  plays  in  fitting  them  to  modem  mount- 
ing, and  no  Love  of  antiquariauism  for  its  own  sake, 
which  makes  so   many  of  US  desil  e  works 

played  upon  such  a  stage  as  that  for  which  they 
were  designed— Arthur  Dillon,  Hon.  Sec,  The 
Elizabethan  Stage  Soi 


108 


THE     CHRONICLE     OF     ART.— DECEMBER. 


The  Royal  VYf  E  refer  fully  to  the  election  of  Mr.  E.  J. 
Academy.  \\  Poynter  to  the  Presidential  chair  in  our 
special  article  on  p.  111.  We  record  with  pleasure  the 
elevation  of  Mr.  T.  G.  Jackson  to  full  membership ;  and 
with  great  regret  the  resignation  of  Mr.  G.  F.  Watts  from 
active  membership.  He  was  elected  Associate  in  1867,  and 
full  Member  a  few  months  later. 

The  fourteenth  exhibition  of  the  Institute  of 
Exhibitions.  painterg  in  Oil-Colours  is  chiefly  notable  from 
the  fact  that  the  Council  has  at  last  exercised  the  long- 
aeeded  restraint  in  the  number  of  pictures  hung.  By 
allowing  a  little  space  between  the  frames,  and  by  hang- 
ing but    two    rows  of    works    in  the  central  gallery,  the 


G.     F.     WATTS,     R.A.,     HONORARY     RETIRED     ACADEMICIAN. 
(From    a    Photograph    by    Hollyer.) 

numbers  in  the  catalogue  have  been  reduced  to  the  ex- 
tent of  nearly  two  hundred.  The  landscape  painters  are 
thebesl  represented.  Mr  T.  Hope  McLachlan's  "  By  Star- 
light;" Mr.  F.  G.  Cotman's  "  Bichmond,  Yorks. ; "  Mr. 
Alfred  East's  "An  Autumn  Study  ;"  Mr.  II.  W.  Allan's 
"Cromarty  Frith;"  Mr.  J.  Aumoniee's  "Sunlight  on  the 
Downs;"  and  Mr.  Aethub  Severn's  "After  Sunset- 
West  Coast  of  Scotland,"  are  admirable  and  welcome 
amongst  much  that  is  commonplace.  Messrs.  Ai  sten 
Brown,  George  Wetherbee,  Leslie  Thomson-,  F.  Wal- 
ton, and  Julh  s  Olsson  also  contribute  works  of  interest. 
Pictures  of  humorous  and  domestic  genre  are  numerous. 
Messrs.    Edgar    Bundy,   J.   C.   Dollman,  G  Sheridan 

KnOWLES,  d.  G.  KlLBl  RNE,  and  Joseph  ClAEK  con- 
tributing subjects  in  their  own  special  manner.  Mr.  G. 
Percival  Gaskell's  "Die  Katzenzauberin "  is  interest- 
ing; and  Mr.  W.  A.  Bbeakspeare's  "Chez  Romney,"  Mr. 
Matthew  Hale's  "Once  upon  a  Time."  Mr.  T.  B.  Kin 
NINGTOn's  charmingly  conceived  "Memories,  and  Mr. 
A.  J.  Mavsogordato's  "Cadennabia"  help  to  add  dis- 


tinction to  the  exhibition  ;  but  Mr.  Chevallier  Tayler's 
"Enoch  Arden"  is  far  from  being  successful.  Mr.  Arthur 
Hacker's  "My  Mother''  is  the  most  striking  among  the 
portraits. 

At  the  Eoyal  Society  of  British  Artists  Mr.  F.  Cayley 
Robinson  is  once  again  the  most  interesting  contributor. 
"The  Foundling" 
is  a  skilfully  com- 
posed and  ex- 
quisitely wrought 
piece  of  work, 
pleasant  in  line  and 
colour.  Mr.  B.  C. 
W.  Bunny's  "An- 
cilla  Domini "  is 
t  _>o  involved  in 
sentiment  to  be 
easily  understood, 
and  his  two  other 
contributions,  am- 
bitious as  is  their 
scheme  and  elevat- 
ed their  poetry,  arc 
not  quite  up  to  his 
usu  il  standard. 
Mr.(  Iemmell  Hut- 
chison's "  Friend 
in  Need  :  "  Mr.  \V. 
T.    Warrener's 

"Torn  Dress;"  Mr.  Tom  Robertson's  " Orchardneuk  on 
the  Tay  ; "  Mr.  Arnesby  Brown's  "Fenland;"  and  Mr. 
Tatton  Winter's  "Chelsea,"  are  among  the  most  note- 
worthy works,  in  addition,  of  course,  to  Mr.  Sime's  flat  por- 
trait of  a  gentleman,  and  Mr.  J.  W.  T.  Manuel's  little  jokes. 


(From 


T.     G.     JACKSON,     R.A 
Photograph    by    Elliott 


BECKENHAM     CHURCH. 


For  charm  of  personality  and  dexterity  of  handling,  Mr. 
.1.  Mr  Lure  Hamilton's  portraits  of  Mr.  Gladstone,  Mr. 
G.  F.  Watts,  It. A.,  and  Mr.  Onslow  Ford,  B.A.,  would  be 
difficult  to  equal.     These,  together  with  about  forty  other 


THE    CHRONICLE    OF    ART. 


109 


of  his  works,  ate  on  view  at   the   Goupil  Gallery,    and 
form  a  charming  little  exhibition. 

The  two  representative  photographic  exhibitions  at  the 
Royal  Water-Colour  Society's  rooms  ami  the  1  )udley  Gallery 


(F.oai    the    Photograph    by    John    Busliby,    in    the    Exhibition    of   the 
Royal    Photographic    Society.) 

were  of  great  interest  this  year.  At  the  former  gallery  the 
Royal  Photographic  Society  had  a  collection  of  over  three 
hundred  prints  most  commendably  hung,  each  picture  being 
well  within  the  line  of  sight,  and  allowed  plenty  of  room 
for  display.  The  level  of  excellence  attained  by  the 
Society  was  well  maintained,  and  in  all  branches  of 
photography  the  results  shown  were  for  the  most  part  all 
that  could  be  desired.  Mr.  Roderick  J.  Fry's  "East 
Anglian  Landscape"  was  a  beautiful  transcript  from  nature, 
and  Mr.  John  Bushby's  picture  of  a  silent  backwater,  in 
which  a  heron  is  standing,  was  a  charming  little  plate. 
Dr.  Macdonald's  flower-piece,  "Wild  Flowers,"  was,  to 
our  mind,  much  preferable  to  Mrs.  Cadby's  spray  of  sorrel 
here,  or  to  her  "Design  for  a  Frieze"  at  the  Salon.  It 
seems  rather  an  affectation  to  designate  half  a  dozen  stems 
of  daffodils  arranged  symmetrically  in  a  row  "a  design.' 
In  portraiture  the  Glasgow  photographers  are  evidently 
influenced  by  the  artists  of  their  city.  At  Pall  Mall  Mr. 
Warneuke  had  a  half  length  portrait  of  a  veiled  lady 
which  was  very  effective,  while  at  the  Dudley  Gallery  Mr. 
J.  Crak;  Annan  showed  some  portrait  pictures  which  were 
delightful.  We  reproduce  the  best — "A  Lady  in  White." 
Mr.  Ralph  \\r.  Robinson  easily  took  the  palm  for  land 
scape  photography  at  the  Salon  with  his  "Landscape  near 
the  Coast,"  which  was  one  of  the  finest  bits  of  camera  work 
we  have  seen.  Mr.  Hollyer's,  Mr.  Maskell's,  and  Mr. 
H.  H.  Cameron's  portraits,  it  is  hardly  necessary  to  say, 
were  excellent  ;  and  Mr.  DAVIDSON'S  landscapes  were  of  line 
quality,  though  the  title  given  to  a  view  of  Charing  Cross 
Bridge,  "Rain,  Steam,  and  Iron,"  suggested  a  comparison 


which  was  fatal  to  the  photograph  as  "a  work  of  art.  In 
conclusion,  we  might  ask,  does  the  fact  of  making  a  photo- 
graphic print  resemble  as  near  as  possible  a  chalk  or  pencil 
drawing  help  to  raise  photography  to  the  dignity  it  claim.-, 
among  the  Fine  Arts  ?  In  spite  of  the  "  Fore-words  "  of 
the  Salon  catalogue,  we  cannot  admit  it.  We  much  prefer 
the  honesty  of  the  photographic  print,  which  is  avowedly 
submitted  as  a  photograph,  and  is  only  to  be  judged  as 
such. 

The  exhibition  of  prize-work  of  the  Royal  Female 
School  of  Art  supplied  striking  evidence  that  the  efficiencj 
of  the  school  is  well  maintained.  Flower-painting  is  tin- 
strongest  point  of  the  students,  for  a  National  Queen's 
Prize  is  gained  by  Miss  Emily  (!.  Court,  a  Queen's  Gold 
Medal  by  Mis-,  Lilian  Reynolds,  and  an  Honourable 
Mention  by  Miss  Hannah  Hoyland  fur  this  section  of 
work.  Miss  Mary  F.  Bell  (Queen's  Scholar)  gains  a 
scholarship  of  £60,  and  her  studies  deserve  special  mention. 
As  they  proceed  strictly  upon  South  Kensington  methods, 
originality  of  design  is  conspicuously  absent  from  the 
students'  work,  but  we  reproduce  a  design  for  a  damask 
tablecloth  by  Miss  Katharine  Smith,  which  is  among 
the  best.  Miss  H.  N.  Spanton's  and  Miss  Mullins's 
designs  for  tiles  were  distinctly  the  best. 

In  " Shakespeare's  Townand  Timesj'b)  Mr.SNO'w 
den  AVard  and  Mrs.  Catherine  Ward  (]  >awbarn 
and  Ward),  we  have  photography  put  to  a  noble  use.     The 
story  of  Shakespeare's  life,  simply  and  unaffectedly  told,  has 
been  made  the  vehicle  of  a  great  number  of  views  and  illus- 


Reviews. 


A     LADY     IN     WHITE. 


Photograph    by    J.    Craig 
Salon  ) 


the   P/iotograplii 


nations,  appropriate  and  in  their  way  exhaustive  thai  isto 
ay,  a  de  irablj  i  xhaustive  and  compli  ti  as  I  hi  actuality 
of  photograph]  could  permit.    These  photographs  -or,  as 


no 


TIIK    MACAZIXE    OF    ART. 


the  authors  would  have  us  say,  "  photograms  "— are  for  the 
most  part  excellent,  and  invarial  ily  well  printed,  and  the  text 
is  not  less  carefully  compiled  or  less  successfully  presented. 
The  interest  is  at  once  pictorial,  antiquarian,  and  historical. 
We  have  received  from  Messrs.  Reeves  &  Son  their 
new   catalogue  and  juice   list  of  artists'  materials.     It 
is  a  very  fine  catalogue,  and  no  doubt  Messrs.  Reeves 
are   able   to    supply    artists   with   anything   they   may 
require  of  impeccable  quality  :  but  the  feature  in  the 
catalogue     which     attracts    our    attention    is    the     in- 
formation given  to  artists  as  to  the  nature  of  the  pig- 
ments made  by  the  firm.    A  table  of  some  pages  gives 
information   as   to   the   nature,  manufacture,  and   per- 
manency  of   every  pigment    made,    information  which 
every  painter  should  have  at  his  fingers'  ends. 

A  happy  idea  has  occurred  to  Messrs.  G.  Rowney  it  Co. 

in  the  way 
of  sketch- 
books. These  are 
what  their  pub- 
lishers call  ring- 
bound — that  is, 
the  sheets  of 
Whatman  paper 
of  which  the 
sketch-books  are 
composed,  are 
bound  together 
by  rings,  so  that 
the  artist  has 
the  advantage  of 
turning  the  rest 
of  the  sheets 
back  upon  them 
selves  and  prac- 
tically working 
upon  a  block.  We 
can  strongly  re- 
commend thein- 
novation,  which 
sketchers  will 
be  sure  to  ap- 
preciate. 
Variety,  ingenuity,  and  taste  are  the  distinguish-  j 
ing  merits  in  Messrs.  Marcus  Ward's  Christmas 
cards  this  year,  the  whole  being  remarkable  for  ex- 
cellence of  execution.  The  humour  is  somewhat 
happier  than  usual  ;  the  imitations  of  Mr.  Aubrey 
Beardsley  are  especially  clever,  and  not  ill-natured. 
Most  of  the  processes  of  reproduction  have  been  suc- 
cessfully employed.  We  have  also  received  from  the 
same  firm  a  copy  of  a  photogravure  entitled  "The 
Spinning  Wheel,"  from  the  picture  by  Mr.  Frank 
Brindley.  It  should  prove  a  popular  publication. 
The  platinotype  and  photogravure  prints  of  pic- 
tures by  well-known  artists,  issued  by  Messrs.  < '.  W. 
Fat/lkneb  &  Co.,  are  tasteful  enough,  and  in  minia- 
ture size,  with  appropriate  lettering,  are  a  decided  ad- 
vance upon  the  old-fashioned  form  of  Christmas  card. 
Viscount  Knutsford,  G.C.M.G.,has  been 
Miscellanea.  appointed Tru8tee  ,,f  ihe  National  Portrait  Gal- 
lery in  succession  to  the  late  Sir  -1.  E.  Millais,  Bart,  P.R.A. 
We  regret  that  by  an  oversight  .Mr.  II.  W.  Wilson's 
name,  was  not  connected  with  the  Raptistery  Gates  at  Wel- 
beck,  illustrated  in  our  first  article  on  the  Arts  and  Crafts 
Exhibition.  As  a  matter  of  fart,  the  gates  were  modelled 
from  a  cartoon  supplied  by  Mr.  Wilson. 


(By  F. 


THE     DUKE     OF     CAMBRIDGE. 
Williamson.     Recently   placed   in    the  Guildhall.) 


Mr.  H.  E.  Crockett,  whose  panels  for  mural  decoration 
were  referred  to  in  the  article,  "  What  South  Kensington  is 
Doing,"  in  our  October  issue,  is  a  student  of  the  Camden 
School  of  Art,  not  of  the  Hammersmith  School. 

Owing  to  the  confusion    that  might  arise  upon  the 


(By   Andrea   Schii 


JUPITER     AND     SEMELE. 
Recently  acquired  by  the  National  Gallert 


almost  simultaneous  formation  of  two  Societies  of  Minia- 
ture Painters,  that  of  which  Lord  Ronald  Gower  is  the 
President  has  adopted  the  title  of  "The  Society  of  Minia- 
turists." Its  first  exhibition— an  admirable  one— is  now 
being  held  in  the  Grafton  Gallery. 

The  Second  International  Art  Exhibition  at  Venice  is 
announced  for  next  year,  from  April  22nd  to  October  :?lst. 
Notification  of  intending  contributions  must  be  made  by 
January  1st  to  Professor  A.  Fradeletto,  the  Secretary,  at 
Venice. 

The  establishment  of  a  Central  School  of  Arts  and 
Crafts,  under  the  directorship  of  Mr.  G.  Frampton,  A.R.A., 
ami  Mr.  W.  J!.  Lethaby,  by  the  Technical  Education  Board 
of  the  London  County  Council,  marks  an  important  stage 
in  the  advancement  of  art  education  in  the  Metropolis.  It 
is  the  first  attempt  at  a  municipal  art  school  in  London, 
and  of  its  success  there  is  not  much  doubt.  Centrally  situ- 
ated in  Regent  Street,  with  a  low  scale  of  fees,  an  efficient 
staff  of  teachers  and  lecturers,  well-equipped  studios,  and 
a  good  nucleus  of  an  art  museum  for  the  use  of  students, 
there  is  everything  to  attract  the  craftsman  anxious  to 
become  an  efficient  art-worker.  The  teachers  include  Mr. 
Halsey  Ricardo  (architecture),  Mr.  E.  Roscoe  Mtjixins 
(sculpture  and  ornament  as  applied  to  architecture),  Mr. 


W.  Margetson  (design,  colour,  and  decoration),  Mr.  Alex. 
Fisher  (enamelling),  Mr.  Christopher  Whall  (stained 
-lass),  ami  Mr.  W.  Augustus  Steward  (silversmith's  work). 
The  well  known  water-colour  painter,  Mr.  George 
Obituary.  A  pE1pPj  has  died  at  the  advanced  age  of  eighty- 
four.  He  had  been  a  member  of  the  Royal  Society  of 
Painters  in  Water-Colours  for  more  than  fifty  years. 


ISRAEL    IN     EGYPT.      (Royal    Academy,    1867.) 

(From    the    Painting    by    E.    J.    Poynter,    P.R.A.) 


EDWARD     J.      POYNTER,      P.R.A. 


BY  the  narrowness  of  the  majority  1 
Mr.  Poynter  has  been  elected  to  the  P 
of  the  Academy  must  not  be  assumed  a 
fitness  for  the  post. 
The  circumstance  was 
rather  a  testimony  to 
talent  for  leadership 
imputed  to  Mr.  Briton 
Riviere,  than  a  r*e- 
flection  on  his  own 
eminent  qualifications. 
Air.  Poy liter's  long 
official  experience,  his 
well-proved  capacity 
for  administration,  his 
striking  ability  in 
design,  his  profound 
scholarship  as  a 
painter,  and  his  nota- 
ble achievements  as 
lecturer  and  teacher, 
comprised  a  claim  that 
could  not  but  outclass 
his  friendly  rival  Mr. 
Riviere.  Sound  com- 
mon-sense and  busi- 
ness capability  distin- 
guish I »'ili  :  but  when 
the  sums  of  achieve- 
ments of  the  two  men 
come  to  be  weighed 
against,  each  other, 
we  cannot  but  endorse 

the       Selection       of       the  (From  the  Etching  by  Alplw 


By     THE     EDITOR. 

ly  which  Academicians  —  a  selection  which  vindicates  the 
residency  character  of  the  institution  for  excellent  good  judg- 
doubtful     ment  when  its  vital  interests  are  at  stake. 

No  fewer  than 
thirty-six  membei  - 
took  part  in  the  elec- 
tion—  Associates  not 
being  admitted  to  the 
privilege  of  choosing 
their  Pre  sidenl  . 
although  they  have  I  he 
right  to  eleel  Acade- 
micians. Mr.  Watts 
for  reasons  of  age,  Air. 
I  h<  hardson  t  hrough 
the  little  love  he  beai 
to  business  routine 
and  partly  through 
motives  of  health,  nar- 
rowed down  the  issue 
by  practically  with- 
drawing from  the  con 
test  The  details  of 
the  election  itself  are 
neither  uninteresting 
nor  uninstructive.  At 
the  firsl  "  scratching  " 
all  the  Academicians 
exi  epl  Mr.  Hoi  l<  \ 
received  some  rnea  '■' 

ipport,    however 
slight.      Mr.    Rn  iei  e 
obtained    sixteen 
lies,  Mr.  I'm- 


.     J.      POYNTER. 
Lcgros.      Ry  Pcrmissi 


P.R.A. 

A    Co.,    Lit 


112 


THE    MAGAZINE    OF    ART. 


fifteen,  and  Mr.  Frank  Dicksee  five  in  the  second 
voting;  and  in  the  final  ballot,  Mr.  Poynter  received 
the  suffrages  of  nineteen  of  his  colleagues  and  Mr. 
Riviere  seventeen.  So  little  bitterness  of  feeling 
animated  the  voters  that  the  result  was  cheerfully 
accepted  by  all  the  members  without  exception,  and 
Mr.  Poynter  enters  upon  his  office  supported  by  the 


of  his  sympathies,  and  his  versatility  in  the  practice 
of  his  art.  As  an  administrator  he  has  proved  his 
capacity  at  the  National  Gallery ;  as  a  teacher,  by 
his  experience  as  Principal  of  the  National  Training 
School  at  South  Kensington :  as  a  connoisseur,  by  .his 
work  as  Director  for  Art  at  South  Kensington  and 
at   Trafalgar  Square ;    as  painter,  by  his  numerous 


THE     CATAPULT.      (ROYAL    ACADEMY,    181 
(from   the  Painting  by   E.   J.    Poynter,    P  R.A.) 


goodwill  of  the  undivided  Academy,  pledged  to  assist 
him  in  his  arduous  task.  He  is  a  man  without  an 
enemy,  who  has  long  since  possessed  himself  of  the 
friendship  of  his  colleagues,  and  has  been  fortunate 
in  adding  to  that  friendship  a  sense  of  confidence 
based  upon  the  solid  merit  of  his  past  career. 

It,  is  not  only  the  position  of  Mr.  Poynter  as  an 
exhibitor  in  the  Royal  Academy  which  has  marked 
the  artist  out  as  the  successor  of  Lord  Leighton  and 
Sir  John  Millais.  It  is  ratlin  the  width  of  his  range, 
the  depth  of  his  scholarship,  the  comprehensivenes 


exhibits  in  Burlington  House ;  as  designer,  whether 
in  fresco,  mosaic,  glass,  pottery,  and  tile-work,  by  his 
lahours  in  St.  Stephen's,  Dulwich,  in  the  Palace  of 
Westminster,  and  South  Kensington  Museum,  and 
elsewhere,  and  in  his  noble  design  for  the  decoration 
of  St.  Paul's;  as  a  lecturer,  by  his  most  admirable 
series  of  addresses  delivered  during  his  tenure  of 
the  Slade  Professorship  at  the  University  College, 
London  ;  as  a  medallist,  by  the  designs  for  our  current 
coinage,  of  which  the  reverses  show  his  accepted 
designs.     Such  are  the  more  obvious  claims  of  the 


E.    J.    POYNTER,    P.R.A.      (Royal   Academy.    1888) 

(From  the  Portrait  by  Himself,  in  the  Ujffizi  Qaiivry,  Florence.) 


15 


114 


THE    MAGAZINE    OF    ART. 


ST.     GEORGE     AND     THE     DRAGON     (18701. 
(Mosaic    in    the    House    of    Lords,     by    B.     J.     Poynter,     PR. A.) 

New  President  to  the  honour  that  has 
been  conferred  upon  him.  But  his  merit 
lies  deeper  in  the  wide  scholarship  which 
has  rewarded  his  intense  industry  and 
perseverance,  and  which,  wedded  to  his 
latent  ability  and  to  his  keen  sense  of  ap- 
preciation, has  produced  in  him  an  artistic 
catholicity  not  less  generous  for  being 
strictly  disciplined,  not  less  refined  fur 
being  based  upon  a  classic  model.  It  need 
but  be  added  that  he  is  a  lit  representa- 
tive of  I  he  Royal  Academy  in  public  and 
in  Society,  that  he  is  sympathetic  and 
kindly  as  he  is  earnest  and  energetic,  and 
the  propriety  of  the  election  will  not  be 
held  in  doubt. 

When,  in  L854,  at  Rome  young  Fre- 
derick Leighton  meed  Poynter,  younger 
still,  to  study  the  figure  rather  than  de- 
vote himself  wholly  to  landscape,  and  set 
draperies  fur  his  friend  to  study,  he  little 
imagined  that  their  two  selves  would  in 
due  lime  he  called  to  the  headship  of 
English  art.  Yet  it  is  clear  enough  that 
both  men  took  the  straighl  path  ih.it 
leads,  opportunity  permitting,  to  the  Pre- 
sidential chair.     Both,  whether  they  knew 


ft  or  nut,  were  intensely  academic  in  their  aims — academic 
in  the  right  and  noble  sense.  Both  sought  out  an  ideal 
beauty,  each  in  his  own  way.  Both  aimed  at  the  perfec- 
tion of  Greek  art:  the  art  of  both  was  decorative  rather 
than  realistic:  both  were — and  ever  remained — intensely 
conscientious,  industrious,  and  sincere,  turned  aside  by  no 
obstacles  in  their  striving  after  mastery  of  technique, 
shirking  no  difficulty,  no  complexity  of  drawing,  as  so 
many  moderns  do,  but  meeting  them  honestly  and  sur- 
mounting them  if  they  could.  To  both  perfection  of  draw- 
ing was  a  goal -in -chief  ;  and  although  Leighton  must 
worshipped  Raphael  of  all  the  masters  of  the  Renaissance, 
and  Mr.  Poynter  bent  the  knee  to  Michelangelo,  both 
painters  were  heart  and  soul  fur  classic  beauty,  ami  built 
up  their  art  on  a  profound  study  of  the  history  of  their 
subject,  and  used  their  knowledge  as  stepping-stones  fur  all 
the  work  of  their  hands.  I  do  not  think  I  overstate  the 
obligation  of  Mr.  Poynter  to  Leighton's  early  influence.  It 
is  true  that  the  younger  man  might,  by  sheer  force  of 
character  and  direct  intention,  have  found  out  by  his  own 
unaided  instinct  the  road  he  was  to  travel.  But  although 
he  had  decided  three  years  before  to  relinquish  his  father's 


THE     IDES    OF    MARCH.     (Royal    Academy,    1883). 

(from    the    Painting    by    E.    J.    Poynter.    PR. A.       Emjraonl    by    H.    $.    Percy.) 


IDLE    FEARS.    (Royal    Acadeh 

Die    Painting    bij     E      J.     Pointer,     P.P. A.       By    Pi; 


1894.) 
sion    of    Lord    Hillingdon.) 


120 


THE    MAGAZINE    OF    ABT. 


ON    THE    TERRACE.     (Royal   Academy,    1889.) 

(from  the  Painting  by  E.  J.   Paynter,    P. P. A.) 

finished  and  carefully  wrought — a  relaxation  of 
principle  which  he,  above  all  others,  should  find  it 
easy  to  condone. 

"A  Visit  to  ^Eseulapius"  (1880),  which  the  ad- 
ministrators of  the  Chantrey  Fund  wisely  acquired, 
may  be  taken  as  the  fullest  expression  of  Mr.  Poynter, 


and  the  justification  of  his  principles 
and  methods.  But  other  pictures 
have  equally  been  painted  by  him 
with  a  purpose.  The  "Diadumenc" 
( 1 884 )  —  obviously  inspired  by 
Polycletus'  statue  of  a  youth  bind- 
ing his  hair  with  a  fillet — was  a 
distinct  and  challenging  attempt 
to  proclaim  in  England  the  Creek 
aspect  of  the  nude;  but  it  suc- 
ceeded chiefly  in  challenging  Mr. 
Horsley's  foolish  protestations  and 
rousing  the  hostility  of  a  public 
of  unseemly  prudes.  Frankly,  the 
picture  is  not  so  successful  in 
point  of  grace  as  others  of  Mr. 
Poynter's  figures,  and,  indeed,  it 
no  longer  exists  in  its  earlier  con- 
dition ;  but  it  is  a  statement  of 
the  painter's  view  of  art — a  cham- 
pionship of  neo-elassicism  in  its 
highest  form.  "  The  Meeting  of 
Solomon  and  the  Queen  of  Sheba" 
was  a  return  to  his  earlier  dramatic 
spirit,  signifying  no  change  in 
artistic  principle. 

It  is  hardly  necessary  to  refer 
to  Mr.  Poynter's  fine  water-colour 
portraits  and  landscapes,  or  to  his 
labours  in  other  fields.  They  all 
hear  witness  to  the  downright 
honesty  of  the  artist  and  the  big- 
mindedness  of  the  man.  Mr.  Poyn- 
ter has  not  yet  proclaimed,  as  far 
as  we  are  aware,  that  generous 
catholicity  towards  all  forms  of 
modern  thought  that  animated 
Lord  Leighton  and  Sir  John  Millais.  It  needs  but 
this  to  bring  around  him  not  only  the  members 
of  his  own  institution  and  the  adherents  of  his 
artistic  cause,  but  all  the  artists  in  the  kingdom, 
who  would  see  in  him  not  only  the  nominal,  but 
the  actual  head  of  British  art. 


MR.     POYNTER'S     DESIGNS     FOR     COINAGE 


>o 


o 

H 
in 
D 

a 

UJ 

tr 


CYMON     AND     IPHIGENIA. 
(By     Lord    Leighton,     P.R.A.      By    Permission    of    the 


THE     COLLECTION     OF     MR.     W.     CUTHBERT    QUILTER,     JV1.P. 

THE     MODERN     ENGLISH     MASTERS.—  F. 


By     F.     G.     STEPHENS. 


IN  his  London  and  country  houses  this  most 
catholic  of  amateurs  possesses  a  number  of 
modern  masterpieces  the  merits  of  which  form 
a  whole  inferior  to  nunc  in  England.  In  addition, 
he  owns  a  smaller  gathering  of  ancient  works, 
all  of  excellent  quality,  some  of  them  being  as  rare 
as  they  are  fine.  So  rich  are  these  galleries  that, 
within  tin-  space  at  my  disposal,  it  is  hardly  pos- 
sible, even  with  the  must  brilliant  and  faithful  illus- 
trations, to  do  anything  like  justice  to  any  but  the 
best  members  of  a  category  every  element  of  which 
is  of  the  choices)  kind.  Thus  an  embarrassment  of 
artistic  riches  stringently  compels  the  critic  to  re- 
strain  his  hand. 

Truly  it  is  an  embarrassment,  though  not  sur- 
plusage, of  treasures  which  one  has  to  deal  with 
when  there  arc  in  question  Leighton's  "Cymon 
and  [phigenia,"  Rossetti's  "  La  Bella  Mann,"  Mr. 
Herkomer's  "  Last  Muster,"  Millais' "  Murthly  Moss," 
"Joan  of  Ave,"  and  "  John  Bright,"  F.  Walker's 
"Bathers,"  Mr.  Briton  Riviere's  "Magician's  Door- 
way," Laudseer's  "Titauia  and  Bottom,"  !'.  Lewis's 
•■  Liliiiin  Auratum,"  Mr.  Holmau  Hunt's  "Scape- 
goat," and  Mr.  Gow's  "  Eequisitionists."  These  are 
the  leading  English  examples  now  installed  at  South 
Audley  Street,  and  with  them  arc  capital  speci- 
mens of  the  powers  of  ( '.  !•'.  Daubigny,  Corot,  J.  F. 

Millet,    and    Vail     llaancn,    and    several     oilier    Con- 
tinental   masters    of    the   modem    -train,   besides   a 
its 


thoroughly  characteristic  Frank  Hals,  a  Velazquez, 
and  various  old  pictures.  With  the  first  group, 
confining  these  notes  to  some  of  the  greater  men 
of  my  own  time,  this  paper  will  deal. 

The  reader  who  is  familiar  with  Academy  ex- 
hibitions of  the  last  generation  will  recognise  in 
each  of  the  pieces  named  above  a  powerful  and  repre- 
sentative specimen  of  its  author.  In  short,  it  would 
he  difficult  to  select,  a  group  more  til  and  exai  1  in 
that  respect  than  this  one:  while  on  "The  Last 
Muster,"  "  The  Bathers,"  and  "The  Itequisitionists," 
the  reputations  of  their  respective  painters  may  he 
.■-aid  to  he  worthily  founded.  As  to  the  first  of 
these,  it  is  veritably  Mr.  Herkomer's  chef-d'eeuvre, 
a  word  which — although  the  term-  aie  often  used 
as  if  they  were  of  equal  value — docs  not  hy  any 
means  necessarily  imply  the  same  thing  as  a. 
masterpiece  of  art  at  large.  Hut  "  The  La  I  Muster" 
is,  indeed,  such  a  mastei  piece,  and  a  great  w  o  1. 
of     that     grave    and     intensely    pathetic    sort     in 

v\  Inch  | i  ic  minds  delight,  and  which  (in  Knglan  I 

especially  )  can  ic-  all  the  world  before  it.  Fn  d 
Walker's    picture   is,  apart    from   its  energetic   and 

virile  conception   and   excellent    de  ign,  f   i  lie 

best  modern  triumphs  of  that     t'ai  iful    orl  of  realism 
w  huh  .inn-  lo    in  i  col  in  depicting  human  Hesli  i 
skilled  ei  ities     aj    I  lie  cai  nations,  from  "  the   lite." 

ling  io  Nature  and  in  sunlight.     In  this  respect 

n i  lu      'i led  better  than  the  youl  It  I  foi  sin  h 


125 


THE    MAGAZINE    OF    ART. 


was  Walker  when  he  painted  "The  Bathers ")  who, 
with  exquisite  .skill  ami  delicacy  of  perception,  and 
with  indomitable  patience  to  boot,  put  his  nude  models 
in  the  open-air  when  the  atmosphere  was  surcharged 
with  light,  and,  without  sacrificing  an  iota  of  Nature's 


JOHN      BRIGHT. 
(B,j    Sir   J.    E.    Milieu's,    P. ft. A.) 

harmony,  painted  what  he  saw.  This  was  a  task 
of  such  prodigious  difficulty  as  few  but  technically 
trained  observers  can  adequately  appreciate.  As  a 
work  ill'  art  per  se,  not  any  of  the  ablesl  veterans  might 
be  ashamed  to  own  "The  Bathers"  as  a  triumph 
of  its  kind.  As  a  piece  of  realism,  it  is  of  the 
very  highest  rank,  so  that,  while  nothing  could  be 
broader,  more  in  keeping  with  itself  and  its  sub- 
ject, or  purer,  it  is  incomparably  truer  to  Nature 
than  the  insolent  vulgarities  of  certain  French 
"Impressionists"  of  the  modern  school.  That  these 
worthies  could  not  have  seen  such  things  as  they 
were  pleased  to  paint  is  manifest  to  all  who  know 
the  most  obvious  laws  of  light  and  colour,  ami  can 
appreciate  the  classic  forms  and  natural  grace  of 
Walker's  naked  boys. 


As  to  "The   Requisitionists,"  the  third  of   this 
triad  of  "foundation  pictures,"  the  reader  will  not 
fail  to  sec  in  it  one  of  the  ablesl  and  most  successful 
outcomings  of  that  brilliant  school  of  which,  in  our 
country  not  less  than  in  his  own.  Meissonier  was  the 
founder  and  greatest   light.     This  work,  of 
which  a    first-rate   reproduction    is  before 
us,  fairly  established  the  reputation  of  the 
artist  when  (painted  in  the  year  before)  it 
occupied  a  leading  place  in  the  gallery  of 
the  Institute  of  Painters  in  Water-Colours, 
1879.     Mr.  (low,  who  began  to  exhibit  in 
1S66,  reached   his  present   level  with  "A 
Requisition,"  as   this  relatively  small  ex- 
ample   of    his    art   was   then    called,   which 
fully  illustrates  the  best   qualities   of    the 
school  in  question.      This  the  reader  will 
see  for  himself  who  tests  the  scrupulous 
care  with  which  every  detail  in  the  work 
has  been  carried  out,  from  the  poising  of 
the   feathers  in    the   soldiers'   hats  to   the 
foreshortening  of  the  boots  of  the  old  man 
in  the  foreground    on  our  left,  as  well  as 
the    trappings   of   the   horses    throughout. 
The  design  is  as  clever  as  the  execution  is 
exact  :  nor  is  the  former  in  the  least  degree 
deficient  in  spontaneity,  although  the  most 
scrupulous    thoughtfulness    and    a     rarebj 
sympathetic  vein  of  invention  pervade  the 
scene.    The  helplessness  of  the  miller  could 
hardly  be  better  rendered  than  in  his  en- 
tire lack'  of  confidence  in  the  value  of  the 
document    presented   to    him   in  exchange 
for  the  Hour — his  customers'  flour,  by  the 
way — to  carry  off  which  his  visitors  have 
considerately  provided  the  waggon  we  see 
in    the    rear    of    the    party.     The    French 
school,  in   which   Mr.  Gow  was  trained,  is 
extremely   prolific   of    work    of    this   sort, 
but,   except    by   means    of   its   first-hands, 
seldom  justifies  itself  so  well  as  in  the  present  case. 
In  England,  and  by  English  artists,  military  themes 
are  mostly  treated  in  a   manner  which  affirms  the 
astounding  ineptitude  and  incapacity  of  the  natives 
who  attempt    them:  and,  most   of  all,  their  insuffi- 
ciency,  when   that  sardonic   humour  in   which   "A 
Requisition"  excels  is  desirable. 

When  we  turn  from  Mr.  Gow's  capital  piece 
to  Rossetti's  magnificent  performance — the  superbly 
painted  and  loftily  inspired  "  La  Bella  Mano,"  of 
which  a  good  engraving  is  before  the  reader — it  is  as 
if  we  passed  into  a  new  world  of  imagination,  enjoyed 
a  pure  atmosphere  of  thought,  reaped  the  fruits  of 
centuries  of  culture,  ami,  so  to  say,  became  members 
of  a.  race  which  sets  the  highest  value  upon  beauty 
of  form,  splendour  of  colour,  and  grace  of  movement, 


LA     BELLA     MANO. 
(St/    n.    G.    tuuttf.       Engraved   by    J.    HI.    Mi 


124 


THE    MAGAZINE    OF    AET. 


and  rejoices  in  thai  spiritual  ardour  which  knows  no     "The   Beloved/'  and  its  not  distant  competitor,  the 
bonds  of  Heaven  nor  Earth,  but,  in  its  irresistible     painted  poem  we  all  know  as  "Proserpina."     The 


though  indefinable  charm,  is — 

■■  Like  an  .Enlian  harp  that  wakes 
No  certain  air,  but  overtakes 
Far  thought  with  music  that  it  makes." 

Of  course  the  title  of  this  picture  of  the  Lady  with 
the  Beautiful  Hand  is  a  mere  nominal  convenience, 


model  employed  in  this  instance  was  Miss  Alexa 
Wilding,  whose  head  and  stately  presence  surpass 
in  the  uobility  of  their  charm,  as  well  as  in  the 
amplitude  of  their  absolute  and  classic  beauty,  the 
besl  qualities  of  any  of  his  numerous  sitters,  diversely 
lovely  as  must  of  them  were  She  had  sat  to  many 
artists    before  Rossetti  monopolised  her  sumptuous 


such  as   every  work— however  soaring  its  motives     charms   and   statuesque    dignity,    but   none   among 


THE     CHALLENGE. 
(By    VI.    Q.    Orchardcon,    R.tl.) 


are— must  needs  be  accompanied  by.     All  it  signifies  these  students  were  so  fortunate  as  my  old  friend 

is,  in  fact,  that  the  masterpiece  is  not  an  "  illustra-  proved  himself  to  be .when  "  Mona  Vanna,"  "  Veronica 

tion,"  or,  if  possessed  of  a  meaning  such  as  anecdotic  Veronese,"  "  La  Ghirlandata,"  "The  Sea-Spell,"  and 

nil  'is  wont  to  aim   at.it   is   such   as   the    "spiritual  other    tine   pieces,    came    from    his    hands.      She    sat 

ardour"  of  the  painter  desired  sympathies  for,  but  to  him  last  as  "The  Roman  Widow."  an   intensely 

,„,  nauv  eared  to  analyse  or  describe  than  he  would  sad  and  moving  work,  the  morne  pathos  of  winch 

attempt    so  to  deal  with    the   melody  of   the   late  was   deepened    by  the  evident  decline  of  the  once 

Laureate's  .Kolian  harp  itself.      Designed  in   1875,  magnificently  beautiful  model, 

and  painted  shortly  after  that  date,  "La  Bella  Mano"  On   the    frame   of  the  picture  there  is  written 

belongs  to  the  finest  epoch  of  Rossetti's  mystical  or  a   sonnet  composed  by   the  painter  himself,  which 

imaginative  m I.    This  is  the  period  of  the  "  Venus  may  be  quoted  here  as  a  lit   accompaniment  to  the 

Astarte,"  "The  Sea-Spell,"  "The  Blessed  Damozel,"  engraving  before  us  :— 
and  the  almost  equally  lovely  "  Veronica  Veronese.'' 
All  of  these  are,  too,  technically  speaking,  example 


of  the  artist's  most  mature  and  finished  methods, 
and  affirm  the  perfection  of  his  pictorial  craftsman- 
ship. Of  "  imagination  all  compact,'  the  jewel  now 
before  us  rivals  in  thai  respeel  Rossetti's  greatest 
efforts,  which  are,  1  think,  that  veritable  chef-d'ccuvri 


0  lovely  hand,  that  thy  sweet  self  dost  lave 

In  that  thy  pure  and  proper  element. 

Where  erst  the  Lady  of  Love's  high  advent 
Was  born,  and  endless  tires  sprang  from  the  wave:  — 
Even  as  her  Loves  to  hei  their  offerings  gave, 

For  thee  the  jewelled  gifts  they  near:  while  each 

Look.-  to  those  lips,  of  music-measured  speech 
The  fount,  and  of  more  bliss  than  man  may  crave 


THE    COLLECTION    OF    .MI 


W.    CUTHBERT    QUILTER,    M. 


127 


"In  royal  wise  ring-girl  and  bracelet-spann'd, 

A  flower  "I  Venus'  own  virginity, 
Go  .shine  among  thy  sisterly  sweel  band  ; 

In  maiden-minded  converse  delicately 

Evermore  white  and  soft ;  until  thou  be 
O  hand  !  heart-handsel'd  in  a  lover's  hand 

So  i'.ii  Etossetti's  versed  iUustration  of  his  picture. 
As,  when,  iii  L875,  I  wrote  for  the  Athenceum  (No. 
24,941)  a  long  notice  of  this  and  other  masterpieces 
of  liis,  tlir  historical  portions  of 
which  were  verified  by  himself,  it 
will  be  desirable  to  add  from  that 
criticism  the  fact  that  "  La  Bella 
Maim"  is  simply  a  painter's  fancy, 
and  almost  entirely  dependent  on 
pictorial  qualities.  The  lady  is 
washing  her  hands  at  a  cistern  and 
basin  of  brass,  where  two  white- 
robed  ami  red-winged  Loves  in,'  in 
attendance,  one  holding  the  towel 
in  readiness,  the  other  having  on  a 
silver  tray  the  adornments  destined 
fur  her  "  bella  mano."  The  senti- 
ment of  the  design  lies  in  her  face, 
and  is  discoverable  in  the  light  of  a 
woman's  hope  which  (ills  the  eyes, 
lias  given  a  warmer  rose-tint  to  the 
full  and  slightly  parted  lips,  that 
are  red  in  their  full  vitality,  ami. 
as  the  abundant  noble  bosom  is, 
voluptuous,  not.  luscious.  This  pic- 
ture was  at  the  Academy  in  the 
winter  of  1883,  just  after  l;..ssetti's 
death. 

If  Professor  Herkomer  had 
painted  nothing  else  than  "The 
Last  Muster''  his  immortality  as 
a  designer  of  fresh  ami  profoundly 
pathetic  subjects  would  he  assured  : 
such  being  the  case,  it  i<  not  to  be 
wondered  at  thai  he  has  never  con- 
ceived nor  executed  another  picture 
which,  in  its  inventive  as  well  as  its 
technical  qualities,  approaches  that 
very    noble    example.      The    scene 

is    the    chapel    of     <    helsea     Hospital 

during   divine    service,   where    the 
inmates  have  assembled,  and,  with  admirably  di 
tied  ami  apt  expressions  ami  characteristic  atti 
listen  tn  the  chaplain's  discourse.     They  an-  the  sur- 
vivors   "I'    many    a    hardly    fought    til-Id.    of    many    a 
year's  faithful  and  valorous  duty.     One  of  them  has 
answered  the  greal   roll-call  of  another  Service,  and 
tin-  comrade  mi  his  right,  observing  tie'  stillness  of 
the    frame    from    which    the    spirit    had    departed 
anxiously   touches   tie-  cold    and    helpless   wrist    at 
his  side.     Tin-  piece,  lie-  " first    thought  "  of  which 


appeared    in    7'k,    C  i  ewspaper,    was   at    the 

Academy  in    1875. 

One  of  the  late  Lord    I  eighton's  Bnesl  ami  most 
representative   pictures   is  "Cymon  and  lphigenia" 
'  i:  A.  1884),  in  which  Leighton,  with  that  nob! 
of  voluptuousness   in  which   his  essential!)    i 
highly   cultured,   and    passionate   art    excelled,   de- 
picted  the  "noblest    nymph   of  all    Diana's  train" 


THE       LAST       MUSTEf 
[By    Hubert    Herkomer,     R.A.) 


sleeping  amid  her  companions  under  a  huge  oak 
— tin  outpost  of  the  forest  where  they  hunted 
from  "twilight  dawn  tn  twilight  eve."  The  latest 
glow  of  a  summer's  night  Hushes  the  loveliness  of 
the  damsel,  reveals  \i<  \  statue-like  form  extended 
in  amplest   of  marble-like  di  i  lingers  on 

her  stately  shape  and  face;  the  golden  raysterj  of 
the  low  large   mo 

along  the  champaign  and,  contending  with  the 
sun.  will  soon  prevail.     Cymon,  the  swain  who  till 


128 


THE    MAGAZINE    OE    ART. 


this  moment  had  contemned  the  power  of  Venus 
and  avoided  maids  and  nymphs  alike,  coming  upon 
this  bevy  of  fair  huntresses,  is,  by  Iphigenia's 
charms,  compelled  to  resist  no  more.  Here  we 
have  tlif  ne  plus  ultra  of  Academicism,  a  crowning 
triumph  of  cultured  art  at  its  best,  faultlessly  and 
completely  in  harmony  with  itself— a  really  glorious 
piece,  to  refuse  to  admire  which  is  to  convict  our- 
selves of  ignorance  and  a  barbarous  sort  of  prejudice. 
In  it  everything  that  culture  can  do  for  painting 
Leighton  bestowed— such  is  his  prodigious  achieve- 
ment of  1884.  Only  two  other  pictures  of  the 
late  President's  can  hope  to  rival  "  Cymon  and 
[phigenia." 

In    "The    Magician's    1 rway "    we    have    Mr. 

Briton  Riviere  at  his  best.  In  this  impressive 
Oriental  romance— of  which  the  architecture  repre- 
sents the  Indian  version  of  what,  for  want  of  a 
Letter  name,  we  are  wont  to  call  Gothic  art-there 
are  all  the  awe-inspiring  elements  of  Eastern  necro- 
mancy; the  palace-like  and  magnificent  structure 
of  white  stone  has  a  portal  carved  with  emblems 
of  half-forgotten  meanings:  the  long  vista  between 


columns    of    serpentine    and    porphyry    opens    its 

g] iy    depths,    baffles    our    view,    and    hints    at 

silent  and  mysterious  chambers  far  apart  where 
a  wizard  of  unknown  name  and  temble  power 
exercises  his  will,  and,  as  he  pleases,  conceals  or 
reveals  the  future— who  ean  tell  '  The  guardians 
of  the  doorway,  which  few  approach,  seem  to  be  a 
pair  of  cheetahs,  or  Indian  limiting  leopards;  but 
only  the  painter  knows  whether  they  are  demons 
who,  with  soundless  feet,  pace  the  long  dark  corridor 
before  us.  or,  sleepless,  hut  motionless,  crouch  on  the 
sunlit,  immemorial  marble  of  the  gate. 

Mr.  Orchardson's  capital  picture  called  "The 
Challenge"  tells  its  own  tale  with  fortunate  force 
and  skill.  Sir  John  Millais'  "  Portrait  of  Mr.  John 
Bright"  is  one  of  the  greatest  pieces  of  portraiture 
..f  one  of  the  greatest  artists  of  the  age  in  this 
country.  Neither  Vandyck  nor  Velazquez  produced 
a  truer,  more  powerful,  or  more  masculine  example 
of  its  kind  than  this,  and,  perhaps,  that  which  is  un- 
surpassed by  any  of  the  late  President's  portraits, 
the  veritable  chef-d'ceuvre  of  his  work,  the  surpassing 
"  Mr.  Hook,  R.A." 


THE     BATHERS. 
IBtj    Fred    Walker,     A.F:  A.        Bij    Permission    of    Me: 


PERSIMMON. 


(Dramn    and   Engrailed   by    W.    It.    P.    NkMtcn. 


IRON     BALUSTRADE     AT     THE     CONSERVATIVE     CLUB,     GLASGOW.     (R.    w.    Edit 


MR.     STARKIE     GARDNER     AND     HIS     WORK. 

By    WALTER    SHAW    SPARROW.      Illustrated    by     MR.     STARKIE    GARDNER. 

fpHERE  is  a  very  unusual  diversity  of  interests     usually    marked    by    hard,    unpliant    mannerisms, 


-L  in  the  daily  life  of  Air.  .1.  Starkie  Gardner. 
Here  Commerce  ami  Archaeology  are  always  the 
friendliest  of  near  neighbours  to  each  other:  here 
Literature  finds  that  practical  affairs  amuse  her, 
ami  that  she  cannot  he  discordant  with  Mechanics; 
and   here,  too,  in   spite  of  the  cold  influences  of  a 


formal-looking  and  mechanical.  In  no  art  is  it 
easy  to  keep  clear  of  mannered  peculiarities  of 
style,  ami  certainly  there  are  not  many  men  who 
often  succeed  in  expressing  strength  without  strain, 
and  delicacy  without  insipidness.  But  the  real 
point     is    that    the    difficulty    of    acquiring    such 


materialist    generation,   Art    ami    Science    go   quite  essential   qualities    increases    in    proportion    as    the 

lovingly    hand    in    hand.       Were    it    not    for    this  artist's   sphere   of    liberty    diminishes;   ami,   there- 

really    touching    friendship     between     Science    and  fore,    it    is     far    easier    to    work     well     under     the 

Art,  one   might    think,  without   any   meat  extrava-  guidance    of    one's    own    will    and    criticisms,    than 

gance,  that  what  is  best  in  the   South  Kensington  to  rival  Mr.  Gardner   in  the  daily    task  of   recon- 


Museum    had    found    it 
busy,    versatile    mind    of 
Mr.  Starkie  Gardner. 

These  interests  are 
all  noteworthy,  but  there 
are  three  which  attract 
us  specially  at  the  pre- 
sent moment:  those, 
namely,  which  centre 
about  the  artist's  doings 
in  the  triple  capacity  of 
art  writer,  employer  of 
the  best  skilled  crafts- 
men, ami  designer  in  iron, 
copper,  tin,  pewter,  and 
brass.  These  industrial. 
arts  are  often  seen  in 
company  with  those  other 
aristocratic  ones  which 
we  denominate  "  fine." 
It  is  then  we  perceive 
clearly  that,  they  arc 
mere  drudges,  slaves  of 
our  utilitarian  needs. 
This    is    why    they    are 


s    way,    somehow,    into    th 


iling    one's    handiwork 


FIRE-DOG     AT     SHIPLAKE     COURT,     {Ernest    George, 


with  a  given  style  in 
architecture  ami  a  given 
set  of  decorative  require- 
ments and  restra  ints. 
This  important  truth 
may  he  expressed  in 
another  way.  There  i- 
in  all  tine  architecture 
a  very  wise  and  logii  a] 
orchestration  of  many 
independent  arts  acting 
ami    re-acting    on    each 

ot  her  :  hence  Goel  he 
likened  such  architei  inn 
to  instrumented  mi 
a  frozen  form.  The  ar- 
chitect figures  here.  "II 
this  reading,  a-  a  kind 
of  bandmaster,  whose 
office  it  is  never  to  allow 
his  useful  minor  instru- 
ments   to    lie Ill'    . 

sive.  It  is  not  his  busi- 
ness to  remember  that 
i i   i'  Live  talents  seel< 


1 30 


THE    MAGAZINE    OF    ART. 


liberty  with  as  much  naturalness  as  trees  in  a  forest 
shoot  up  to  meet  the  sunlight.  He  must  be  a  dis- 
ciplinarian ;  then  all  his  instruments  will  answer 
readily  to  his  will.  As  a 
result  of  this  exasperating 
training, the  best  talents,  as 
a  rule, become  Protean; and 
as  soon  as  they  have  found 


DESIGN      FOR     ELECTRIC 
LIGHT     FITTING. 


several  outlets 
shaping  en- 
ergies the}' 
cease  to  vie 
withthevio- 
lins  in  the 
architect's 
"  f  r  o  z  i'  u 
music." 

The  fore- 
going re- 
marks are 
all  emphat- 
ically tine 
ofMr.Gard- 
uer,  whose 
art  in  iron 
is  usually 
character- 
ised by  a 
unity  of 
effect  and 
a  vigour 
and  variety 
dl'  appeal 
which  are 
never  in  the 
least  Ham- 
b  o  y  a  n  t  . 
Also  this 
certain  per- 


il:. 


art  carries  within  it 
sonal  impress,  a  token  of  the  artist's 
personality  that  is  seldom  met  with  in 
modern  ironwork.  It  was  Professor 
A.  H.  Church  who  Hist  called  atten- 
tion to  this  quality.  "  It  constitutes," 
said  he,  "the  signature  of  the  artist, 
not  the  trade-mark  of  the  manufacturer  ;  it  is  the 
cachet  of  the  studio  rather  than  the  label  of  the  fac- 
tory." True :  only  one  must  add  that  it  is  the  learned 
cachet  of  a  studio  in  which  the  past  greatness  of  the 
art  nt  Lron-smithery  is  reflected,  is  renewed,  in  a  good 
many  original  designs.  It  is  thus  that  Mr.  Gardner 
touches  us  with  a.  sense  nt'  other  times  and  their 
artistic  wraith;  and  in  doing  so,  he  should  remind 
us,  I  think',  of  Lowell's  definition  of  artistic  origin- 
ality. This  kind  of  originality  is  neither  clever- 
ness run  wild,  nor  freakishness ;    these  are  but  its 


DESIGN     FOR     ELECTRIC 
LIGHT     FITTING. 


latter-day  substitutes.  It  is  a  singular  personal 
charm  showing  through  and  modifying  the  influence 
nl'  culture,  contemporary  thought,  and  birthright 
traditions  upon  a  poetic  mind  and  a  sensitive  tem- 
perament. In  our  own  day,  this  truth  should  never 
be  forgotten,  for  the  curse  of  England  is  that  so 
many  of  her  most  gifted  children  work  too  much 
with  their  hands  and  too  little  with  their  heads. 
This  is  the  case,  above  all,  with  the  subaltern 
craftsmen  ;  and  for  this  reason,  and  no 
other,  Mr.  Gardner,  like  Mr.  Walter 
Crane,  longs  to  bring  about  a  revival 
of  the  Art-and-Craft  Guilds.  He 
sees  plainly 
enough,  of 
course,  that 
such  institu- 
tions have  too 
many  draw- 
backs to  lead 
to  one-half 
the  advan- 
tages which 
their  least 
thoughtful 
advocates 
foreshow. 
They  might 
easily  become 
centresofdis- 
cord,  trades- 
unions  ;  and 
already  the 
wages  earned 
1  >y  some  of 
our  skilled 
workmen  are 
so  high,  that 
it  is  cheaper 
to  import 
marble  man- 
telpieces 
fromBelgiuin 
than  to  have 
them  made 
in  this  country.  The  simp- 
keeper  in  the  English  artis- 
tic temperament  needs  no 
encouragement  of  any  kind  : 
what  he  does  need  is  train- 
ing, culture,  and  honesty  of 
purpose ;  and  these  things 
might  In-  gained  in  such 
guilds    as    would    welcome 

tin'  ait  worker  in  all  kinds,  from  the  painter  and  the 
architect  down  to  the  least  expert  of  Mr.  Gardner's 


DESIGN     FOR 
ELECTRIC 


MR    STARKIE    GARDNER    AND    HIS    WORK. 


131 


many  assistants.  To  bring  masters  and  men  more 
sympathetically  in  touch  with  one  another  would 
be  the  sovereign  aim  and  use  of  these  idea]  associa- 
tions; for  nothing  so  much  tends  to  ruin  British 
industries,  to  turn  the  working  masses  into  self- 
destroying  striking  classes,  as  the  prevailing  icrnor- 
ance  of  economic  principles  which  sets  the  crafts- 
man at  variance  with  his  employer.  The  goose  is 
killed  by  the  acf  of  forcing  her  to  supply  so  many 


nol   only  of  the  besl   contemporary   work,  but   also 
of  fine  old  masterpi 

Perhaps  none  of  us  will  live  to  see  this  dream 
of  guilds  realised  in  any  country.  In  the  mean- 
time, however,  Mr.  Gardner  has  set  before  himself 
the  duty  of  bequeathing  to  his  craft  his  present 
factory  on  the  Albert  Embankment,  Lambeth,  in 
order  that  it  may  serve  in  times  to  cane  as  a 
central-registry   office,  where    men  will    seek  work. 


GATES    AT     NORTH     MYMMS,     HERTS.     (Ernest   Geo^e,    Architect.] 


ignorant  egoists  with  too  many  golden  eggs  every 
week.  This  commonplace  cannot  be  impressed  often 
enough  upon  the  national  mind:  and  Mr.  Gardner 
believes  that  those  ideal  guilds,  those  truly  demo- 
cratic brotherhoods  of  art  workers  in  all  lines,  would 
not  fail  to  encourage  such  free  discussions  as  would 
centre  about  the  economic  considerations  by  which 
the  welfare  of  every  industry  is  determined.  Also 
their  directors,  for  the  purpose  of  stimulating  interest 
in  the  various  arts  and  crafts,  might  feel  called  upon 
to  employ  a  certain  number  of  travelling  lecturers, 
selecting  them  by  examination  from  among  the  mem- 
bers, and  setting  them  to  deal  with  each  subject  in 
its  technical  and  utilitarian  aspects,  no  less  than  from 
an  historical  point  of  view.  Eere  we  have  in  some 
sort  a  liberal  education;  for  a  large  boxful  of 
magie-lantern  slides  would  be  a  portable  exhibition, 


read  the  papers,  and  consult  an  invaluable  library 
of  books  dealing  with  the  metallurgical  arts.  The 
library  is,  truly,  an  inexhaustible  treasury  of  de- 
sign, and  hence  its  value  to  the  studenl  is  ines- 
timable. 1  have  glanced  through  some  of  its  great 
bulky  tomes,  with  their  curt,  suggestive  notes, 
their  original  drawings,  their  recent  photographs, 
and  time-worn  prints  and  engravings,  Each  volume 
deal-  with  a  particulai  pi  riod  and  style,  and  the 
whole  collection  strikes  me  as  being  the  mosl  in- 
n  result  of  Mr.  Gardner's  unflagging  industry 
and  delight  in  research. 

Ill-  Hue  to  -a\ .  I  think,  that  oui 
is  a  school.     There,  for  instance,  the  apprentice  and 
the  smith   nevei  mechanical     partly   b 

Mr.  Gardner  nevei   repeats  himself  in  his  desi 
partly  because  no  machinery   is  used   there,      The 


132 


THE    MAGAZINE    OF    ART. 


quality  by  which  Mr.  Gardner  putts  the  greatest 
store  is  that  continued  novelty,  that  infinite  variety 
of  character,  which  nature  has  given  to  the  leaves 

of  the  same 
tree,  and  by 
which  an 
artist.  -  hand 
i  n  v  a  r  i  a  b  1  y 


tii  ins  of  the 
selfsame 
scroll,      or 


friend.  Nevertheless  his  art  is  returning  slowly 
into  vogue,  Mr.  Gardner  tells  me.  Professor  Her- 
kotner,  in  some  big  doors  at  Bushey,  as  well  as  in 
other  ways,  lias  made  admirable  use  of  pewter  con- 
trasted with  brass;  and  another  artist  has  modelled 
the  alloy  into  exquisitely  delicate  finger-bowls,  in 
imitation  of  scallop-shells.  That  pewter  would  lie 
effective  in  a  highly-wrought  lamp,  we  may  judge 

enriches   all     from  Mr.  Gardner's  design   (p.  134);  and  Mr.  H.J. 

its  repeti-  L.J.  Masse,  Secretary  <>f  the  Art  Workers'  Guild, 
has  made  a  fender  overlaid  witli  it.  The  effect  is 
good,  though  perhaps  the  metal  is  too  soft  not  to  be 
injured  by  careless  servants  who  will  make  the  fire- 
in  ms  ring.  It  is  a  plain  fender  made  of 
four-inch  square  yellow  pine,  halved  and 


I 


BLACK     IRON 
(for    a    House 


AND     IVORY 
in    Berkeley    Squc 


DESIGN     FOR    I 
LIGHT. 


leaf,  in'   piece  of   diapered   tracery  in 
ironwork.       Then,  again,    there    is    an 
education    of    the  progressive  kind  in 
all  such  fanciful  work,  when  not  inter- 
rupted by  long  periods  of  forced  idle- 
ness owing  to  had  trade;  and   it  is  Mr.  Gardner's 
happy  lot   lo  I"1  "in  full  swing"  all  the  year  round. 
His  present    works  were  started   in   the  year   1882; 
in  1886  they  came  under  his  sole  management  and 
direction  ;  and  already  many  of  his  helpers  have  be- 
come his  rivals,  but  without  ceasing  to  be  his  friends. 
1   have  already   referred,  in   passing,  to  the  in- 
terest taken  by  Mr.  Gardner  in  the  pewterer's  craft. 
The  pewterer  was  once  a  necessary  servant  of  kings 
and   popes,  of  princes   and   nobles;    afterwards,  as     part.      The 
soon  as  more  precious  metals  came  into  fashion,  we     corners     are 
behold    him   as   "the    potter   of    the   community;" 
which  lowly  title  he  held  with  dignity  till  his  clients 
began  to  forgel  thai  cheap  crockery  would  ho  dearer 
in  the  long-run  than  his  unbreakable,  silvery  wares. 
In    our  own    times    tin    publican    is    his    only    true 


bolted  at.  the 
corners,  and 
covered  with 
good  pewter 
nailed  on 
with  round- 
headed  cop- 
per nails  set 
an     inch    a- 


mitred     ( 

studded  with 

a  double  row 

of   nails.     It   were 

ments,  but   enough  has   been  si 


LAMP     AT     THE     LEATHER-SELLERS'     HALL. 


easy  ti 


ude  to  other  experi- 
iid  to  show  that  Mr. 


MB.    STABKIE    GAEDNEB    AND    HIS    WOEK. 


1 33 


Gardner's  lecture  on  the  history  and  the  uses  of 
pewter,  delivered  two  years  ago  before  the  Society 
of  Arts,  set  a  good  many  people  thinking  and  experi- 
menting. Indeed,  a  handbook  on  the  subject,  com- 
missioned shortly  afterwards,  will  soon  go  to  press 
Science  is  usually  supposed  to  be  an  enemy  to 
the  artistic  part  of  a  man's  nature,  but  Mr.  Gardner 
believes  that  his  early  studies  as  a  geologist,  and 
especially  as  an  enthusiastic  collector  of  fossil  plants 


that  he  had  always  a  kind  of  hereditary  claim  to 
rank  as  a  collector  of  the  first  grade.  His  mother, 
for  instaner,  devoted  her  life  to  the  gathering 
together  of  humming-birds  and  butterflies,  and  of 
so  many  corals  thai  they  filled  three  bays  at  the 
Fisheries  Exhibition;  while  his  father  spenl  every 
leisure  hum'  in  hunting  after  drawings  and  prints 
descriptive  of  Old  London.  Surely  very  few  artists 
have  been  so  fortunate  in  their  early  circumstances. 


DESIGN      FOR     A     BALUSTRADE. 


and  shells,  taught  him  instantly  to  discern  those 
innate  characteristics  by  which  very  similar  styles, 
like  very  similar  shells,  arc  set  apart  from  one 
another.  The  shells,  moreover,  with  their  delicate 
curves,  their  fanning  and  their  spirals,  not  only 
charmed  him  by  their  diverse  beauty,  but  stored  his 
mind  with  a  valuable  stock  of  natural  forms,  replete 
with  decorative  suggestiveness. 

It  is  about  fifteen  years  ago  since  Mr.  Gardner 
drifted  into  his  present  career  with  its  grave  respon- 
sibilities, adding  £1,000  to  his  capital  by  selling  his 
line  collection  of  fossil  plants  and  shells  In  the 
British  .Museum.  But  the  old  days  of  science,  of 
rough  wanderings  in  I  he  bleak  Isle  of  .Mull,  in  the 
ninth  nf  Ireland,  and  elsewhere,  searching  for  speci- 
mens, are  still  the  happiest  days  of  his  laborious  ami 
useful  life.     Ami  one  gathers  from  his  conversation 


Probably  none  of  Mr.  Gardner's  many  doings  has 
made  his  name  so  familiar  as  his  success  in  winning 
fur  good  ironwork  a  place  in  the  Smith  Kensington 
Museum.  The  authorities,  true  in  their  own 
and  temperaments,  had  given  the  hack  to  this  old 
art,  and    1    know    nol    how   many  \  huri  h 

doors  in  the  country,  richly  covered  with  ornamental 
hinges,  were  allowed  to  be  villainously  repaired  and 
rained.  Even  a  singularly  beautiful  screen  al 
( Ihichester  was  palled  dov\  n  and  broken  into 
ments.  One  piece  found  its  way  in  a  neighbouring 
smithy,  where  M  r.  ( rardnei  sketi  In  d  il  .  \\  bile 
drawings  of  other  parts  are  now  published  in 
America.  Seven  oi  eighl  yea)  ago,  the  South  Km- 
3ington  Museum  possessed  only  two  examples  of 
ancient  English  ironwork,  and  these  we  owed  in 
part    In    Mr.    <  I  irdncr,    who    hfl 


134 


THE    MAGAZINE    OF    ART. 


ductions  of  several  other  an- 
tique specimens  ;  also  it  was  in 
his  atelier  that  a  duplicate  of 
the  famous  Eleanor  grille,  in 
West  minster  Abbey,  was  made 
for  the  Science  and  Art  De- 
partment. The  cost  of  the 
replica  was  of  a  piece  with  the 
original  cost,  regard  being  paid 
to  the  relative  value  of  money. 
The  grill  was  made  by  Thomas 
de  Leightone,  in  1294,  "at  a 
cost  of  £13,  a  sum  equalling 
£180  of  our  money:"  and  thus 
it  is  clear  that  the  wages 
commanded  by  skilled  labour 
do  not  improve  by  leaps  and 
bounds.  One  more  fact.  The. 
present  collection  of  ironwork 
at  South  Kensington  was  in 
greal  incisure  arranged  under 
the  superintendence  of  Mr. 
Starkie  Gardner. 

There  is  no  room  here  for 
many  remarks  on  the  artist's 
writings.  The  handbook  on 
"  Iron winl,"  published  for  the 
Committee  of  Council  for  Edu- 
cation, treats  of  the  subject 
from  the  earliest  times  down 
to  the  end  of  the  Middle  Ages. 
It  is  a  most  interesting  and 
important   work,  written   in  a 

vigorous  style,  simple,  easy,  unpretentious,  and  swift. 
Mr.  ( Gardner  has  contrived  to  convey  a  great  deal  of 
knowledge  in  little  space,  and  we  never  feel  that  he  is 
labouring  and  ill  at  ease.  There  is  a  second  volume  in 
the  press,  dealing  mainly  with  the  Renaissance  abroad, 
and  a  third  volume  will  introduce  us  to  the  various 
English  schools  of  iron-smitherv,  both  new  and  old. 


DESIGN     FOR    A    PEWTER     ELECTRIC     LAMP. 


The  distinguishing  charac- 
teristics of  Mr.  Gardner's  iron- 
work have  already  been  pointed 
out;  and  I  cannot  think  that 
any  remarks  of  mine  would 
either  add  to  the  beauty  of  the 
gates  which  are  so  well  illus- 
trated in  these  pages,  or  make 
that  beauty  clear  to  anyone 
who  cannot  perceive  it  for 
himself.  It  were  a  pleasant 
task,  no  doubt,  to  describe  the 
various  interesting  processes 
by  which  great  masses  of  rough 
iron  were  transformed  into  a 
finished  work  of  art.  But 
such  matter  would  be  out  of 
place  in  a  biographical  study: 
and  so  it  is  in  another  paper  that 
one  must  treat  of  the  history  of 
the  making  of  an  iron  gate. 

Sume  of  the  other  illus- 
trations will,  it  is  to  be  hoped, 
serve  the  useful  purpose  of 
causing  many  to  feel  dissatis- 
fied with  their  own  ungainly 
lamps,  lanterns,  and  coronae 
for  electric  light.  The  lamps 
now  in  vogue  in  most  homes 
in  the  country  may  well  be 
hidden  from  view  under  shades 
so  enormous  that  poor  vagrant 
moths  lose  their  way  upon 
them,  grow  scared,  and  quite  forget  that  their  real 
adventure  was  to  burn  themselves  to  death.  It  is 
a  pity  this  unnatural  forgetfulness  should  be  en- 
couraged. The  lamp's  the  tiling,  not  the  shade,  and 
we  may  lie  sure  that  a  really  beautiful  lamp,  which 
no  one  could  screen  from  sight,  would  be  as  attractive 
to  moths  as  to  critics  of  art. 


"PERSIMMON." 


Drawn    and    En 


ved     BY    W.     N.     P.     NICHOLSON. 


THERE  are  many,  doubtless,  who  will  regard  this 
study  by  Mr.  W.  N.  P.  Nicholson  as  a  joke. 
As  a  matter  of  fact,  it  is  intended  as  nothing  of  the 
kind.  Its  archaic  simplicity  is  genuine  and  sincere, 
and  to  artists  there  is  that  in  it  which,  for  all  its 
primitiveness  of  wood-cutting,  will  appeal  us  a 
genuine  expression.  Mr.  Nicholson — one  of  the  so- 
ealled  "  Beggarstaff  Brothers,"  whose  original  and 
eccentric  posters  are  so  well  known — one  day  deter- 
mined to  draw  the  Print f  Wales's  celebrated  horse 

ami  to  engrave  the  wood-block  with  his  own  band  : 


his  first  attempt.  The  elementary  character  of  the 
engraving,  therefore,  may  be  assumption,  but  it  is 
certainly  not  affectation.  It  is  needless  to  call 
attention  to  the  fine  drawing  of  the  horse,  nor  to  the 
quaiutness  of  the  arrangement ;  nor  even  to  apologise 
for  the  presentation  of  this  impression  to  the  leaders 
of  The  Magazine  of  Art.  It  is  included  as  one  form 
of  modern  Decadence,  highly  relished  and  applauded 
in  some  quarters,  which, immature  though  it  may  be, 
is  interesting  for  its  cleverness  in  some  measure,  but 
most  of  all  as  a  sign  of  the  times. 


THE     AYR     ABOVE      MUIRKIRK. 


THE     RIVER     AYR. 


By     W.      MATTHEWS     GILBERT.       ILLUSTRATED    BY    S.     REID. 


AYRSHIRE  is  a  county  of  renown  in  Scottish  story. 
-L\-  Its  seaboard,  laved  by  the  waters  of  the  Firth 
of  Clyde,  was  the  scene  of  fierce  conflict  between 
the  early  marauding  Danes  and  its  Celtic  inhabit- 
ants ;  it  was  associated  with  the  War  of  Independ- 
ence in  the  fourteenth  century,  and  gave  to  Scotland 
its  meat  liberator,  Robert  Bruce.  Later,  its  mosses 
and  moors  were  the  arena  of  controversy  and 
death  between  the  Covenanters  and  the  dragoons  of 
Charles  II.,  who  sought  to  force  Episcopacy  upon  a 
Presbyterian  population  at  the  sword's  point;  while 
to  come  down  to  our  own  time  and  to  more  prosaic 
affairs,  it  is  the  county  whose  farmers  have  brought 
dairy  husbandry  to  its  greatest  perfection,  and  whose 
holms  and  straths  pasture  a  breed  of  milch  cows  of 
world-wide  fame. 

But,  transcendent ly,  Ayrshire  is  renowned  as  the 
Land  of  Burns.  It  was  there,  in  the  "auld  clay 
biggin,"  near  Alloway  Kirk,  that  the  great  Scottish 
poet  first  saw  the  light;  his  youth  and  early  man- 
hood were  passed  within  its  borders;  it  was  at  Moss- 
giel,  near  the  winding  Ayr,  where  the  best  of  his 
poems  and  love-songs  were  written.  A  hundred 
years  have  passed  since  the  death  of  the  poet,  and 
we  have  celebrated  the  centenary  year  of  that  tragic 
event.  Despite  many  failings  of  the  flesh  due  to 
an  ill-balanced  artistic  temperament,  Burns  to-daj 
is  accorded  by  his  countrymen  a  heart-whole  love 
which  no  other  Scotsman  has  ever  received.  His 
name  is  intertwined  with  the  national  lift 


which  few  strangers  can  appreciate;  and  his  early 
Immes  and  haunts  have  become  as  sacred  shrines. 

The  livers  Ayr  and  Doon,  which  flow  through 
the  county,  are  in  themselves  objects  of  much 
natural  beauty.  From  the  hills  to  the  sea  they 
wind  through  diversified  and  picturesque  scenery. 
They  come  from  upland  moors  and  solitudes,  dis- 
turbed only  by  sheep  or  grouse;  they  rush  their 
foaming  torrents  through  deeply-wooded  ravines 
and  between  tree-clad  rocky  heights;  they  water 
fertile  meadows  where  the  milch  kine  feci],  and  How 
gently  to  the  sea,  past  smiling  homesteads,  and 
ancient  castles,  whose    traditions  are  of    fratricidal 

feuds    between,  branches    of    the    powerful    falnih     of 

Kennedy,  once   supreme   in  the  shire.     Bui    Burns 

by  the  witchery  of  his  art,  has  cast  over  them  a 
magic  spell  of  a  more  euduring  nature  than  those 
associated  with  the  lore  <<i  the  antiquary. 

In  an  address  to  a   brother  rhymester,  William 
Simpson,  schoolmaster  at  Ochiltree,  Burns  laments 
that  while  the  Forth  and  the  Tay,  the  Yarrow 
the  Tweed,  had  been  praised  to  many  a  tune,  nobodj 

had   sung    the    rivers   of   Ayrshire,  and   he  Calls    upon 

his  poetic  friend  to  help  him  to  remedy  this  defecl 

"  TIT  Misus,  Tiber,  Thames  an'  Seine 

Glide  sweet  in  nie  r  tunefu'  line 

lint,  Willie,  set  your  lit  to  mine, 

An'  cock  your  crest, 
We'll  gar  our  streams  and  burnies  shine 

Up  wi'  the  best." 

i  way      And   nobly    Burns  fulfilled   his  promise.     Who  has 


136 


THE    MAGAZINE    OF    ART. 


THE     AYR,     SORN. 

not  heard  of  the  "Banks  and  Braes  o'  Bonnie  Doon"? 
and  while  its  neighbour,  the  crystal  Ayr — which 
nuiiir,  by  the  way,  "Are"  or  "Ayr,"  is  Celtic  for 
i  leai  as  "  Doon"  or  "  Dhun"  is  "  dark  " — has  nol 
been  celebrated  in  any  such  quotable  line,  the  poet 
Eound  among  its  sylvan  shades  inspiration  for  some 
ill'  his  must  charming  lyrics,  and  interlaced  its  name 
with  many  a  moving  song  of  love  and  beauty  which 
poured  forth  from  his  impressionable  heart. 

The  Ayr  lakes  its  rise  in  the  uplands  of  Muirkirk 
which  march  with  the  hill  country  of  Lanarkshire; 
it  runs  through  the  broadest  part  of  the  county, 
cutting  it  into  two  nearly  equal  halves,  and  after 
a  westerly  course  of  thirty-three  miles  it  mingles 
its  waters  with  those  of  the  Firth  of  Clyde  at  the 
town  lit'  Ayr.  The  scenery  of  the  open  moorland 
district  through  which  the  infant  stream  Hows  is 
hare  ami  uninteresting.  Forests  once  flourished 
there,  but  they  have  long  sine  disappeared,  though 
vestiges  of  giant  trees  are  yet  found   in    the   peat 


mosses  by  the  cottar  when  lie  digs 
his  winter  fuel.  The  whole  district, 
however,  abounds  witli  legends  of  the 
Covenanting  times,  ami  by  many 
Scottish  Presbyterians  these  are  still 
regarded  as  a  precious  heritage. 

Just  over  the  border-line  is  the 
battle-field  of  Drumclog,  wln-re 
Claverhouse  and  his  dragoons  were 
on  a  Sunday  morning  in  June,  1G79, 
defeated  by  that  determined  band  of 
Covenanters,  who,  with  Bible  in  the 
one  hand  ami  sword  in  the  other, 
had  met  together  to  worship  accord- 
ing to  the  traditions  of  their  race. 
The  encounter  took  place  on  the 
farm  of  Drumclog,  through  which  a 
small  stream  of  the  same  name  Hows 
to  the  stately  Avon. 

As  it  neara  the  village  of  Sorn 
the  aspect  of  the  Ayr  entirely  changes. 
The  scenery  becomes  rich  and  varied 
in  character.  Now  a  considerable 
stream,  the  Ayr  runs  in  sunshine  and 
shade,  in  its  limpid  purity,  past  level 
holms  or  between  steep  and  grandly 
wooded  banks  where  the  birds  sing 
their  chansonettes  ami  the  Muses  love 
to  dwell.  Sorn  Castle  rears  its  grej 
walls  amid  such  romantic  surround- 
ings. Dating  from  the  fifteenth  cen- 
tury, the  castle  is  supposed  to  have 
been  built  by  Andrew  Hamilton,  third 
son  of  Sir  David  Hamilton,  of  Cad- 
zow,  the  ancestor  of  the  premier 
dukes  of  Scotland.  It  passed  for  a 
century  and  a  half  into  the  hands  of  the  Earls  of 
Loudon,  ami  after  several  changes  has  become  the 
properly  of  Mr.  Somervell,  of  Sorn,  who  represented 
the  Ayr  Burghs  in  the  Parliament  of  L890-2. 

Approaching  Barskirnming,  the  river  enters  classic 
ground.  The  lands  and  mansion  house  are  roman- 
tically situated  on  the  Ayr,  between  two  villages 
well  known  to  all  readers  of  Burns — Mauchline 
and  Tarbolton.  The  hanks  of  the  stream  are  here 
charmingly  wooded,  and  near  the  mansion  house  the 
Ayr  has  cut  its  way  through  the  red  sandstone  rock, 
and  runs  at  the  bottom  of  a.  deep  ravine  with  bold 
and,  in  some  places,  almost  perpendicular  walls,  over- 
hung with  verdure.  This  river  gorge,  spanned  by  a 
bridge,  and  crowned  by  the  mansion  house  of  Bars- 
kirnming, recalls  one  of  the  classic  visions  of  Poussin 
or  Claude.  At  Barskirnming  the  Ayr  is  joined  by 
the  Lurgar,  one  of  its  most  important  tributaries, 
upon  which  is  set,  also  amid  a  wealth  of  natural 
beauty,  the  mansion  house  and  castle  of  Auchiideck, 


THE    RIVER    AYR. 


137 


where  James  Boswell  entertained  I>r.  Johnson    on 
his  return  from  the  Western  Islands  in  1773. 

But  more  interesting  still  are  the  Braes  of 
Ballochmyle,  on  the  north  side  of  the  Ayr.  The 
s  >  ii.'i  v  heir  has  a  perennial  charm.  The  river 
rushes  over  a  gravelly,  boulder-strewn  bed,  between 
the  hold  cliffs  and  tree-shaded  hanks  and  braes 
which  are  the  favourite  resort  of  the  pic-nickers  of 
the  town  of  Ayr.  Bums  has  immortalised  the  place 
in  his  exquisite  love  lyric,  "The  Bonnie  Lass  of 
Ballochmyle."  This  young  lady  was  Miss  Wil- 
helmina  Alexander,  the  sister  of  Mr.  Claude  Alex- 
ander, who  had  then  recently  come  into  the  property. 
The  poet,  who  was  at  that  time  farming  at  Mossgiel, 
had  wandered  out  to  the  braes,  to  view,  as  he  says, 
"Nature  in  all  tin'  gaiety  of  the  vernal  year."  While 
musing  on  the  fair  scene  he  suddenly  saw  passing  be- 
fore him  the  beautiful  face  and  form  of  Miss  Alexan- 
der. Her  loveliness  stirred  his  fancy,  and  during  his 
homeward  walk  he  composed  the  sung  in  which,  with 
poetic  licence,  he  so  happily  extols  her  charms  : — ■ 


inspiring  vision  0f  feminine  loveliness  met  the  view 
of   tin1  singer  of  this  sweet 

Still  following  the  stream,  we  come  to  <  'oilfield, 
with  which  is  associated  Burns'  "  Highland  Mary," 
there  pursuing  her  humble  calling  as  a  dairy- 
maid. Mary  Campbell  inspired  perhaps  the  purest 
passion  that  ever  racked  the  breast  of  the  poet. 
Amid  classic  or  modern  love  lore,  where  will  be 
found  so  touching  a  recital  of  the  parting,  which  was 
to  be  for  ever,  of  these  two  lovers,  when.  Handing 
one  on  eai  h  side  of  a  small  limpid  stream  thai  flowed 
into  the  Ayr,  they  laved  their  hands  in  the  water, 
and.  holding  a  Bible  between  them,  pronounced  vows 
of  eternal  constancy?  How  exquisitely  Burns  relates 
the  tender  episode  and  describes  the  river  scenery 
amid  which  it  took  place  : — 

"That  sacred  hour  can  I  forget? 

( 'an  1  Imi  gel  I  he  hallowed  ; 
Where  by  t he  winding  A.\  r  we  mi  I 

To  live  one  day  of  parting  love  ! 
Eternity  will  not  efface 

Those  records  dear  of  transports  past. 


"'Twas  even— the  dewy  fields  were 
green, 
On  every  blade   the  pearls  hang 
The   zephyrs  wantoned   round   the 
bean, 
And    bore    its     flagrant    sweets 
alang  ; 
In  every  glen  the  mavis  sang, 
All  Nature  listening  seemed  the 
while, 
Except    where    greenwood    echoes 
rang 
Among  the  braes  o'  Ballochmyle. 

"Wiih     careless     step     I     onward 
strayed, 
My   heart    rejoiced    in   Nature's 
joy, 
When  musing  in  a  lovely  glade 
A    maiden    fair    I    chance  1     i" 
SPJ  : 
Her   look   was   like    the    morning's 

vernal 


eye 

liter    air     like     Nature's 
smile 
Perfection  whispered,  passing  by, 

Behold     the     lass     o'     Balloch- 
myle !  " 

And  there  are  other  three 
verses  equally  delightful.  But, 
alas!  for  the  sensitive  poet, 
the  "  Bonnie  Lass,"  to  whom 
he  sent  a  copy  of  his  verses, 
took  no  notice  of  him.  Burns 
was  only  then  a  country 
swain  ;  but  reparation  was 
done  to  the  poet  afterwards. 
and  now  a  beautiful  grotto 
marks    the    spot    where    this 

18 


THE     AYR,     BARSKIMMING. 


138 


THE    MAGAZINE    OF    ART. 


THE     AYR      BALLOCHMYLE 

Thy  image  at  our  last  embrace — 

Ah,  little  thought  we  'twas  our  last  ! 

"Ayr,  gurgling  kissed  his  pebbled  shore 

O'erhung  with  wild  woods  thickening  green  ; 
The  fragrant  bireb  ami  hawthorn  hoar 

Twined  am'rous  round  the  raptured  scene; 
The  flowers  sprang  want. in  to  be  prest, 

Tin'  birds  sang  love iverj  spraj  : 

Till,  too,  too  soon,  tin-  glowing  wesl 

Proclaimed  the  speed  of  winged  day." 

As  it  Hows  mi  its  way,  the  Ayr  contributes  to 
another  scent'  of  enchanting  loveliness  as  it  ap- 
proaches Auchincruive,  the  seal  of  Mr.  R  A.  Oswald. 
This  spot,  too  lias  been  rendered  interesting  by  the 
peii  "l'  Burns.  Mr.  Richard  Alexander  t  tswald  was  the 
laird  of  Auchincruive  in  the  end  of  the  last  century. 
He  was  married  to  Miss  Lucy  Johnstone,  a  noted 
beauty  of  her  day,  whose  charms  also  set  the  heart 
of  Burns  in  a  poetic  flame.  A  portrait  by  Raeburn 
shows  that  tliis  lady  was  gifted  with  much  grace  and 
beauty,  and  in  tier  praise  the  poet  laid  at  her  feet 


a.  charming  poem  "As  the 
honest  incense  of  genuine 
respect." 

As  it  nears  the  town 
of  Ayr,  through  which  it 
flows,  the  river  is  for  a 
time  retarded  by  a  mill 
weir,  and,  assuming  a 
peaceful  lake-like  aspect, 
it  composes  itself  to  rest 
awhile  before  it  loses  it- 
self in  the  sea.  This  tree- 
fringed  expanse  of  tran- 
quil water  is  known  as 
the  "Dam,"  which  in 
winter,  when  frozen  over, 
is  a  favourite  resort  of 
skaters  and  curlers. 

Ayr  itself  litis  long 
been  a  royal  burgh.  Its 
charter  dates  from  Wil- 
liam the  Lion,  and,  as  to 
its  people,  have  we  not 
the  word  of  Burns  that  it 
surpasses  all  other  towns 

"  For  honest  men  and  bonnie 
lasses  "  ? 

The  river  is  here  span- 
ned by  two  bridges,  within 
a  hundred  yards  or  so  of 
each  other,  one  of  ancient 
date  and  the  other  a  pro- 
duct of  the  end  of  the 
last  century.  They  are 
the,  "  Twa  Brigs  "  of  Burns' 
famous  poem,  which  humorously  discourse  with 
one  another  on  the  things  that  tiny  have  seen  in 
their  time.  The  "Auld  Brig"  especially  con- 
gratulates itself  that  it  has  stood  for  so  long 
the  violent  winter  floods  to  which  the  river  is 
subjected,  when — 

■•  From  Glenbuck  down  t..  the  Ratton  Key 
Auld  Ayr  is  just  ■  lengthened,  tumbling  sea." 

And  to  such  spates  the  stream  is  still  subject. 

The  estuary  of  the  Ayr  forms  the  harbour  at 
which  a  considerable  traffic  is  maintained  by  pas- 
senger  and  other  steamers  ami  sailing  vessels.  The 
breakwater  is  a  delightful  summer  promenade,  and 
the  views  seaward  from  it  are  of  a  charming  de- 
scription. The  coast-line  is  a  crescent,  with  Ayr  in 
the  middle,  and  hold  headlands  with  ancient  castles 
perched  upon  them  on  each  side.  Westward,  over 
the  waters,  is  the  Isle  of  Arran  with  its  imposing 
mountain  peaks,  and  beyond  the  foot  of  the  island  is 
seen  the  outline  of  the  Mull  of  Kintyrc.     Tin'  eye, 


140 


THE    MAGAZINE    OF    ART. 


THE     AYR:     THE     DAM. 


in  sunshine  or  in  storm,  can  never  tire  looking 
upon  a  scene  so  picturesque  and  so  strangely  en- 
chanting to  the  beholder — 


"When  still  and  dim 
The  beauty-breathing  hues  of  eve  expand  ; 
When  day's  last  roses  fade  on  Ocean's  brim, 
And  Nature  veils  her  brow,  and  chants  her  vesper  hymn.' 


AYR     MOUTH. 


DRAWN      WITH      THE      MOUTH 

MR.     BARTRAM     HILES. 


%17E  would  not  feel  justified  in  placing  before  om 
•  »     readers  the  accompanying  designs  for   frieze, 
hammered   metal,  wall-paper,  and   head-  and   tail- 
pieces, as  mere  curiosities  and   nothing  more — not 


/     ;       ' 


c/jVh 


BARTRAM     HILES. 


A 


even  as  examples  of  what  may  be  dime  in  ait  by 
pluck  and  perseverance,  but  there  is  in  the  majority 
of  them  an  excellent  sense  of  design,  of  balance,  and 
composition,  as  well  as  firmness  of  drawing  and 
precision  of  touch,  which  warrant  their  inclusion  in 
these  pages  on  their  own  merits  as  examples  of 
book-embellishment  and  other  of  the  decorative 
arts,  quite  apart   from  personal  considerations. 

The  artist,  Mr.  Bartram  Biles,  was  born  in 
Bristol.  When  he  was  eigh4  years  old  he  was 
deprived  of  both  his  arms  through  a  tramcar  acci- 
dent.    Before   this   terrible   event  —  a   catastrophe 


which  would  have  overwhelmed  most  other  persons 
— he  had  developed  a  strong  passion  for  drawing:  so 
strong,  that  the  loss  of  arms  in  no  way  diminished 
his  ambition  to  become  an  artist.  At  first  the 
check  to  the  gratification  of  his  boyish  tastes  was 
to  the  child  a  cruel  blow;  but  the  idea  soon 
occurred  to  him  that  the  main  difficulty  would  he 
overcome  if  he  could 
educate  his  mouth 
as  a  holder  fur  his 
pencil  —  for  brushes 
were  not  vet  hoped 
fur.  He  accordingly 
set  to  work  with 
courage  and  enthu- 
siasm, and  in  a  short 
time,  by  dint  of  per- 
sistent practice  and 
perseverance,  he 
found  that  he  could 
write  legibly  and 
draw  with  thinness  of 
line.  Not  more  than 
two  years  after  his 
accident.  Mr.  Biles 
obtained  a  ''first- 
class  excellent  "  in 
the  second  grade  for 
freehand  (! I  drawing 

at   the   school   la'  was 

attending  at    Bristol. 
In   line   time    he   was 
sent    to    attend    the 
art     class,    then    re- 
cently funned,  at   the 
Merchant   Venl  iirei 
Technical     ('"II'    e 
Bristol.  While  thi  n 
he   made  rapid    pro- 
gress,      successfully  door  plate. 
pa    sing     numerous               (omigma  &»  taring  ««#«.) 


142 


THE    MAGAZINE    OF    AET. 


art  examinations,  the  subjects  inchiding   modelling,     and    the    young   artist's  career   was   fairly   begun. 
His  next  object  was  to  study  applied  design   with      But  it  took  him  practically  from  five  to  six  years 


DESIGN     FOR     FRIEZE.       (By    Bartram    Mies.) 


a  view  to  competing  for  a  scholarship  later  on,  and     to   obtain    complete   mastery  over   his   mouth   and 
concurrently  he  practised  painting  at  the  studio  of     the   muscles    of    the   neck ;    yet    time  and   practice 


DESIGN     FOR     WALL     PAPER.       (By 


a  lady  artist  of  local  repute.  At  the  age  of  sixteen  made  him  ever  more  expert  in  freedom  and  touch. 
Mr.  Hiles  exhibited  a  study  in  water-colours  at  the  Eventually  he  succeeded  in  winning  a  National 
Bristol  Fine  Art  Academy;    it  found  a  purchaser,     Art    Scholarship    at    the    National    Art    Training 


DRAWN    WITH    THE    MOUTH. 


143 


HEADPIECE.     (Ora<™    by    Bcriraw    Hiles.) 


School,  tenable  for  two  years  and  valued  at  a 
hundred  guineas.  While  attending  these  classes 
he  was  awarded  in  the  National  Competition  one 
silver  and  two  bronze  medals,  and  a  bonk  prize 
for  design  as  applied  to  the  decorative  industries, 
receiving  also  excellent  reports  from  the  examiners. 
At  the  expiration  of  the  scholarship,  Mr,  Hiles 
found  great  benefit  from  a  visit  to  Paris  where  he 
attended  the  museums  and  studios,  and  he  then 
returned  to  London,  on  the  receipt  of  a  com- 
mission   to    paint    pictures    for    an    exhibition    in 

Bristol.     Settling  down  to  work   for   his  livelih I, 

he  combined  decorative  art  with  pictorial,  and 
worked  the  two  side  by  side.  The  struggle  was  a 
hard  one,  and  we  are  not  sure  that  it  is  yet  less 
arduous  than  it  was:  for  the  physical  difficulties 
standing  in  the  way  are.  not  easily  surmountable. 
Nevertheless,  Mr.  Hiles  is  an  exhibitor  at  the 
Royal  Society  of  British  Artists,  and  a  worker  for 
prominent  linns  of  decorators.  The  fame  of  the 
young  artist's  heroism  has  already  spread;  and 
the  Queen  and  the  Princess  of  Wales  have  been 
purchasers  of  his  work. 

It  is  not  to  be  pretended  that  Mr.  Hiles  is  a 
unique  instance  of  painting  without  hands.  Only 
last  year  the  Museum  of  Hyeres  was  enriched  by  a 
picture  of  singular  beauty,  entitled  "  Fleurs  de  Dunes 
dans  les  Marais  de  Saint  Grieuse  (Pas-de-Calais)," 
representing,  in  the  foreground,  flowers  which  are 
reflected  in  the  marshy  pools,  towards  which  a  flock 


of  sea-gulls  take  their  flight:  while  in  the  middle 
distance  is  a  stretch  of  grass-covered  land;  beyond, 
the  sands  of  the  dune,  and,  finally,  the  sea.  Below 
the  picture  is  the  painter's  name — Francois  de  Men- 
tholon — and  the  statement  that  the  artist,  remark- 
able alike  for  his  skill  and  his  physical  defect,  was 
born  without  arms  and  with  but  one  leg,  and  had 
gained  the  first  Raigecourt-Goyon  prize  in  the 
current  Salon.  Then  Mdlle.  AiimV  Rapiu,  also 
burn  without  arms,  paints  with  her  feet,  and  lately 
presented  to  the  Duchess  of  York  as  a  wedding  gift 
a  portrait  in  chalk  of  the  Duchess  herself— a  work 
of  distinct  artistic  merit.  (.'lassie  instances,  of 
course,  are  those  of  M.   Noel-Masson,  of  Paris,  and 

Miss  Biffin,  (he  latter  of  whom  died  at    Liver] 1 

in  1850.  But  all  of  these,  be  it  noted,  bail  come 
into  tin'  world  without  arms  or  hands;  the)-  had  been 

educated    to    use    their    feet    (or    ill    the    ease    of    .Miss 

Biffin,  their  lips)  from  birth,  ami  (hey  had  never 
known  the  use  of  bauds,  nor  the  terrible,  Stunning 
loss  of  arms  and  fingers.  For  that  reason  Mr. 
Hiles's  achievement  appears  to  us  to  surpass  in 
quiet  earnestness  and  noble  perseverance  (he  feats 
of  any  of  his  predecessors.  He  has  known  how  to 
meet  a  cruel  fate  with  ingenuity  and  courage,  and  to 
battle  bravely  against  a  lol  overwhich  few  could  have 
successfully  triumphed.  For  thai  reason,  too, we  are 
glad  t.o  bring  his  work  forward  in  our  pages,  and  to  in- 
troduce ln's  arl  and  his  persistence  to  t  \t<-  approval  ami, 
it  is  to  be  hoped,' to  the  encouragement  of  our  readers. 

S. 


144 


ORIGINAL    LITHOGRAPHY. 

THE   REVIVAL  ON   THE   CONTINENT. 

By    m.    h.    spielmann. 


EVEN   at  the  period  of   its  greatest    decadence,     Fantin-Latour,    Bracquemond,   John    Lewis    Brown, 
when    poor    lithographs    from    bad    pictures     and    Francais,  the  landscape  painter,  were  quietly 
were  discrediting   the   art    as    a    reproductive  pro-      pursuing  the  practice  of  it,  though  the  public  taste 

had  turned  from  the 
stone  and  was  eagerly 
coquetting  with  the 
etched  copper  -  plate. 
But  it  was  impossible 
that  a  method  offering 
such  splendid  range  to 
the  artist  should  be 
entirely  neglected ; 
impossible  that  a  pro- 
cess which  ottered  a 
technique  more  exten- 
sive than  that  of  any 
other  form  of  black 
and  white  art,  should 
be  willingly  given  up. 
Its  infinite  capability 
of  varying  the  grain 
— which  is  to  the 
lithographer  what  the 
lozenge  is  to  the  line- 
engraver,  or  what  line 
ainl  burr  are  to  etcher 
and  dry-pointer — was 
far  too  precious  a  pos- 
session to  be  lost.  As 
flexible  as  etching, 
its  ground  could  give 
nearly  the  whole  range, 
from  velvety  black  to 
dreamy  gray,  possessed 
by  mezzotint ;  it  could 
be  a  chalk  drawing,  a 
wash  drawing,  a  pen 
drawing.a  stump  draw- 
ing, an  aquatint,  what 
you  please.  The  en- 
thusiastic lithographer 
boasted  that  there 
were  ten  ways  of  draw- 
ing on  stone — three  to 
draw  with  the  pencil, 
cess  in  Germany  as  well  as  in  England,  in  six  to  draw  with  ink,  and  one  to  engrave;  and 
France  such  of  it  as  was  original  was  confined  although  every  practitioner  had  his  secret  process 
chief!)  to  the  production  of  song-wrappers,  show-  (or  rather  his  methods  and  recipes),  with  which  on 
cards,  and  posters,  and  such-like  baser  uses,  lint  no  account  whatever  would  he  part  ami  which  he 
there,  at    least,   lithography   was   never   really    dead.       usually    preferred    should    die    with    him,    the    mere 


DUTCHWOMAN, 
(Sj    A.    Lmois.) 


ORIGINAL    LITHOGRAPHY:    THE    REVIVAL    ON    THE    CONTINENT.  145 


rfV*2-:-"-- 


THE     HARBOUR,      FLUSHING 
(81/    Slorm    van    Gmucsaiulc.) 


ENTRANCE     TO     FLUSHING     HARBOUR. 
(By    Storm    van    Graucsandc.) 


19 


146 


THE    MAGAZINE    OF    ART. 


variety  which  permitted  of  this  artistic  egotism  was 
in  itself  an  added  fascination.     It  was  autographic 

and  suggestive  of  a.  wonderful  range  of  colour,  and 
even  the  ordinary  drawing  with  the  pencil  offered 
the  greatest  attraction  to  the  true  artist  to  whom 
the  slightest  sketch,  if  it  be  artistic,  may  be  worth 
the   biggest   picture — and   often   a   good   deal   more. 


has  created,  silhouettes,  vague  and  indistinct,  gradu- 
ally form  themselves  upon  the  surface:  their  relief 
is  accentuated;  light  begins  to  vibrate  here  and 
there,  and  the  subject  at  last  emerges. 

Thus,  although  to  the  common  lithographer  tender 
tones  and  sense  of  harmony  had  been  lost,  a  few 
artists  cherished  the  art  jealously,  and   by  dint  of 


MANFRED 
(By    Faiitin-Latour.) 


Not  only  does  lithography  charm  the  artist  by 
reason  of  its  purely  aesthetic  delights,  but  also  for  the 
particular  advantages  it  offers  when  the  work  is  in 
progress.  For  while  it  offers  a  more  complete  means 
than  etching  for  recording  the  artist's  ideas,  contrary 
to  etching  or  any  other  method  it.  allows  the  whole 
result  to  be  seen  as  the  work  progresses:  and,  as  Mr. 
Wickenden  reminds  me  in  a  letter  full  of  enthusiasm, 
the  lone,  like  the  line,  is  always  under  the  artist's 
control,  as  it  is  under  his  eye.  With  his  arm 
resting  on  a  support,  or  suspended  against  the  stone 
that  may  have  been  set  up  on  an  easel,  an  artist 
who  works  in  the  manner,  say,  of  .Monsieur  II.  P. 
Dillon,  can  play  aboul  upon  it  with  the  crayon  gras 
till  the  white  or  glossy  surface  of  the  stone  gradually 
disappears     Then  from  the  fog  and  mist  which  he 


their  disinterested  love  and  persistence  they  gradually 
brought  back  the  public  to  an  appreciation  of  its 
beauties.  For  twenty  years,  etching  had  practically 
reigned  supreme,  but  now  once  more  the  subtlety 
and  richness  of  the  stone,  the  splendour  of  its  blacks, 
the  harmonious  depths  and  vibrating  lights,  brought 
back  the  fickle  love  of  a  fashion-governed  public,  and 
artist -lithographers  —  original  draughtsmen  —  are 
again  revelling  in  the  suppleness  and  facility  of  a 
method  which  for  its  versatile  capabilities  is  sur- 
passed by  no  other.  It  was  in  L877  that  Mr. 
Whistler  came  to  the  aid  of  M.  Fantin-Latour  and 
the  devoted  little  band;  but  only  in  1844  was  the 
fact  of  the  revival  officially  proclaimed,  so  to  speak, 
by  the  establishment  in  Paris  of  the  "  Societe  des 
Artistes  Lithograph.es  Francais."     Then  followed,  in 


~^^p 

w^^ 

.-  -                        V! 

■** 

#1 

\ 

THE     GATEWAY. 
(By  H.    P.    Dillon.) 


14.8 


THE    MAGAZIXE    OF    ART. 


1891,  a  more  academic  imprimatur,  when  an  impor- 
timl  exhibition  was  held  at  the  Beaux  Arts;  and 
lastly,  in  1S95,  the  centenary  of  the  art's  birth  was 
celebrated  by  a  great  exhibition  at  the  Palais  de 
l'lndustrie.  That  this  centenary  was  established  a 
year  too  sunn  docs  not  matter;  we  need  take  it  but 
as  a  testimony  of  the  ardent  enthusiasm  that  it 
inspired,  or  of  an  over-zealous  haste  to  be  in  time. 

So  Fantin-Latour  worked  on,  not  troubling  him- 
self to  bring'  about  any  particular  revival,  simply 
in  the  full  glow  of  his  love  for  lithography,  by 
whose  power  he  could  record  in  black  and  white 
his  dual  love  for  art  and  music.  He  became,  half 
unwittingly,  perhaps,  the  main  link  of  the  old  prac- 
tice with  the  new,  and,  caring  nothing  for  the  rival 
"schools"  of  the  lithographers,  he  produced  a  series 
of  "  plates,"  inspirations,  nearly  all  of  them,  from 
the  works  of  the  great  musicians,  from  Rossini  to 
Brahms,  and  from  Schumann  to  Wagner  and  Berlioz. 
His  romantic  creations,  female  forms  suggestive  of 
those  that  Diaz  drew,  melting  landscapes,  vague 
moonlights,  and  subdued  glow  of  the  sun — these 
were  the  subjects  which  he  executed  in  a  method 
of  technique  of  his  own,  at  which  professional 
lithographers  laughed,  perhaps,  but  which  by  artists 
were  received  with  rapturous  applause.  So  long 
as   Fantin  worked,  lithography  was  kept  in  mind. 


It  was  mere  commercialism  which  brought 
Cheret  into  the  field.  His  lithographs  were  at  first 
no  original  artistic  expression,  but  wire  intended  to 
serve  the  purpose  of  the  trader.  Gradually  (.'beret's 
genius  elevated  the  thing  itself,  and  apart  from  the 
posters  to  which  his  destiny  mainly  chained  him,  he 
produced  many  lithographs  which  were  as  dainty 
and  as  tender  in  their  execution  as  the  subjects 
themselves  were  gay  and  joyous.  He  was  more 
perfect  as  a  technician  than  Fantin,  or  perhaps  I 
should  say  more  orthodox,  and  doubtless  attracted 
as  many  to  the  reconsideration  of  the  art  as  Fantin 
had  captured  among  the  connoisseurs.  His  exqui- 
site touch  in  his  smaller  stones,  and  his  intensely 
decorative  feeling  for  all  its  chic  composition,  assure 
him  his  position  as  leader  in  the  renaissance  of  litho- 
graphy. M.  Grassel  is  a  far  greater  minded  artist, 
however,  and  infinitely  more  versatile,  and  his  quaint- 
ness  as  original  and  as  taking  as  Cheret's  diablerie. 
Then  followed  a  little  army  of  young  men  whose 
object  was  rather  to  charm  with  the  beauty  of  litho- 
graphy than  by  the  subjects  they  drew  with  it — with 
whom  the  stone  was  to  be  not  so  much  a  means  as  an 
end.  But  all  of  them  had  something  to  say,  and  they 
have  said  it  so  freshly  and  often  exquisitely,  that  the 
public  delight  in  this  new  revival  is  not  at  all  confined 
to  the  methods  which  the  new  school  has  developed. 


j:+m^ 


IN     AID     OF    THE     CRECHE 
(Poster   by    Steinten.) 


ORIGINAL    LITHOGRAPHY:     THE    REVIVAL    ON    THE    CONTINENT.  140 


GIRLS     HEAD. 
{By    Roedel.) 


Iii  looking  along  the  front  rank  of  the  new 
workers  in  lithography,  we  come  across  a  number 
whose  productions  merit  respectful  preservation  in 
the  portfolios  of  the  connoisseur,  for  the  sake  alike 
of  subject,  treatment,  and  technique  ;  and  it  is  to  be 
observed  that  there  is  hardly  one  amongst  them  but 
is  unaffectedly  original  in  bi.s  style  and  method. 

At  the  head  of  these  1  should  perhaps  place  M. 
Willette,  although  his  must  notable  lithographic 
work  has  more  in  common  with  that  of  Raffet  at 
his    best   and    other   giants    of    the    earlier   school. 

But    Willette    himself   has   a    mind    bey 1     nmst 

artist:  :  he  is  a  Parisien  of  Montmartre  with  an 
appreciation  of  the  graceful,  the  dainty,  and  deli- 
cate equal  to  thai  of  CheVet,  but  strongly  modi- 
fied by  his  natural  taste  for  the  quarter  in  which 
lie  live-.  But  he  is  also  a  thinker;  an  ardent 
politician  of  a  pronounced  socialistic  turn  :  a  patriot 
never  so  happy  as  when  glorifying  France  or  railing 
at  her  enemies;  a  philanthropist  whose  pity  for 
the  poor  is  emphasised  by  his  hatred  of  the  police; 
a  pronounced  sensualist,  much  of  whose  work  not  even 
Rowlandson  would  have  cared  to  sign  :  a  lover  of  the 
army  like  Vernet  and  Raffet;  and  the  verj  humble, 
obedient  servant  of  Mile.  Nmi  the  Grisette.     With 


how  much  tenderness  he  plays  upon  the  stone! 
Whether  it  is  with  an  allegorical  "Moonlight 
March,"  or  with  a  poster  of  "  L'Enfan!  Prodigue," 
he  plays  upon  our  feelings  as  he  dor-  upon  the  slab, 
and  moves  us  with  his  art  as  much  with  his  tender 
feeling  as  with  his  silver  grays. 

For  a  more  modern,  and  therefore  perhaps  more 
interesting  technique,  we  may  turn  to  M.  Dillon,  one 
of  the  founders  of  "  Les  Peintres  Lithographes,'  and 
of  "L'Estampe  Originale,"  whose  work  is  widely  in 
request.    As  maj  be  seen  in  his  "Fi  ■  ircus," 

or  in  lii's  "  ( iateway"  ("  La  Porl  e  Co  In  re  ')  lie  loves 
black  silhouettes  sel  against  a  graduating  backgi 
with   night    effects  or   heavy   rain:    highly    finished 
character  studies  sel  into  compositions,  with  evi  i 
from  deepesl  Mark  to  dazzling  white;  with  spla 
scrati  hings  and  every  trick  know  a  to  the  draughtsman 
on  stone,  all  concentrate! ,  design,  \\ ith  often 

enough  a  dramatic  idea  r ling  through  the  whole. 

An  artist  who  began  a  ^\<-  ade  eai  liei  i  VI. 
Lunois,  whose  "  I  Dutchwoman  of  the 

use  to  which  he  puts  lithography  when  producing 
his  travelling  notes.  Since  1881,  when  he  first  began 
his  art,  he  has  been  anion-'  the  most  talented  of  the 
leaders,    preferring    the    older    method    to    wl 


150 


THE    MAGAZINE    OF    AET. 


BRUN  NHI  LDE. 
(By   Odilon    Redon.) 

scoffingly  called  the  nouveaujeu,  but  still  employing 
the  whole  resources  of  his  art,  whether  in  black  and 
white  or  colour,  in  illustration  of  the  many  countries 
through  which  he  has  passed,  or  in  the  many  works 
he  has  executed  for  book  illustration. 

The  decorative  muse  of  M.  Rcedel  appears 
graciously  and  sympathetically  upon  the  stone,  as 
in  the  charming  figure  of  his  "  Woman  at  the  Piano," 
which  is  almosl  touching  in  its  simplicity;  or  in 
tin'  exquisite  sentiment  of  his  famous  "Head.'' 
This  face  is  far  superior  in  its  artistic  appeal  to 
the  affected  form  el'  decoration  in  which  it,  is  set, 
as  seen  in  the  meaningless  terminals  of  the  stiffly 
arranged  Egyptian  coiffure — suggesting  a  possible 
origin  of  some  of  Mr.  Aubrey  Beardsley's  lineal 
eccentricities.  But  the  modelling,  as  frank  and 
nearly  as  skilful  too  as  Holbein's,  is  30  sweet  ami 
delicate  thai  you  might  almosl  blow  it  from  the 
paper.  A  similar  sensitiveness  I"  delicate  tones 
belongs  to  M.  Odilon  Redon;  but  he  has  command, 
or  at  least  makes  use,  of  a  greater  range  of  colour. 
He   is   besides  so   pronounced  a  "mystic''  that   he 


often  loses  his  ait  in  extravagant 
fancies.  Less  effective  than  Poe,  he  is 
Obviously  less  sincere  than  Blake,  and 
whether  or  not  he  is,  as  some  will 
have  it,  but  a.  practical  joker  after  all, 
he  certainly  is  always  straining  after 
an  idea  which  he  does  not  so  often 
succeed  in  communicating,  even  if  he 
realises  it  to  himself.  In  his  "  Briinn- 
hilde  (The  Gods'  Twilight,)''  we  have 
at  least  a  n  tniniscence  of  Leonardo, 
excellent  in  sentiment,  but  a  technique 
inadequate  to  the  space  covered. 

Beside  these  two,  M.  Luce  is  robust 
virility  itself.  He  uses  his  greasy 
pencil  as  he  would  his  chalk',  and  in  a 
few  lines  expresses  form  and  substance 
in  a  manner  at  once  masterly  and 
striking,  A  glance  at  his  "Woman 
Eecumbent "  is  enough  to  show  how 
admirable  in  its  truth  is  the  finely 
suggested  form  in  this  hasty  record  of 
a  woman  sleeping,  who  has  thrown 
herself  in  utter  lassitude  upon  the  lied. 
It  must,  be  admitted  that  in  the  reduc- 
tion a.  g 1  deal  of  the  effect  is  lost. 

Lastly,  among  the  leaders  must  be 
accounted  M.  Toulouse-Lautrec.  For 
him  the  stone  does  not  count  for  very 
much,  but  with  the  pencil  he  wields 
with  so  much  facility  ami  power  of 
reproducing  concentrated  character  he 
seeks  to  prove  himself  descendant  of 
Gavarni  and  Launder. 
Besides  these  men,  each  with  his  own  reputation 
as  artist,  satirist,  or  simple  technician,  others  have 
been  working,  with  every  man  his  admirers,  and 
every  man,  moreover,  distinguished  in  other  artistic 
labour  as  well— M.  Lepere,  ML  Raffaelli,  M.  Robida, 
M.  Ihels,  M.  Anquetiu,  Norbert  Gcenette,  and  M. 
Forain,  the  pitiless  exponent  of  the  cynical  side  of 
French  life  and  wit,  and  of  the'  ungraceful  side  of 
French  hearing;  with  M.  Benjamin-Constant  and  M. 
Carriere  among  painters  pure  and  simple — all  these 
distinguished  names  do  not,  exhaust,  the  list,  of  those, 
dow  or  in  the  quite  recent  past,  working  in  litho- 
graphy and  increasing  the  popular  appreciation. 

In  countries  other  than  France  and  England,  the 
lithographic  revival  lias  not  yet  given  distinct  evi- 
dence of  serious  movement;  that,  doubtless,  is  to 
come.  Other  countries,  indeed,  are  represented,  but 
for  the  mosl  part  by  artists  living  and  practising 
in  France,  and  generally  speaking  in  Paris.  Thus 
Spain  ami  Italy  are  represented  by  the  spirited  and 
sensitive  work  of  M.  Checa  (whose  -  Rotterdam"  is 
sufficient  to  assure  his  place),  and  M.  de  la  Gandara, 


(fiy   /?.    J.    Wlohenden.) 


152 


THE    MAGAZINE    OF    ART. 


who,   alter   all,    is    practically   a    Parisian.     In    M. 
Steinlen,  Switzerland  lias  produced  at  once  an  artist, 


WOMAN     RECUMBENT 
(By    Luce.) 


a    poet,  ami  a  satirist,  whose  talent  wavers  between      are  second   01 
i  I'll  of  Cheret,  Forain,  and  Willette,  with  an  added     achievements 
touch  of   dreamy,   pastoral   beauty   that  belongs  to     set  forth. 
ii"i E  these.     Neither  Austria  nor  Germany  pre- 
sents to  us  a  single  lithographer  of  tin-  front  rank: 
and  Belgium  now  but  a  single  one,  M.  Lynen. 

In   Holland,    Heer    Storm    van    Gravesande  hi 
maintained  worthily  the  repu  ation  of  lithogra] 
There  is  no  form  of  land  or  seascape  which  he  has 
not   attempted,    using  pencil    and   stump,  pen    and 
litho-tint,   to  produce  his  beautiful  effects  of  light, 
and   mist,   and    atmosphere,  ami    to  present  with    a 
bold   and   certain    hand    the    scenes    typical   of   his 
country;  always  himself  original  and  characteristic, 
he   reminds  one  constantly  of   the    most    admirable 
artists  who  have  restored  the  art  of  Holland 
tn   its    place:    and   withal   he  has   employed, 
-imply  and  directly,  all  the  tricks  and  dodges 
of   scratching,  scraping,  rubbing,  and    what- 
not that   endow  lithography  with  its  limitless 
resource  and  charm. 

The  American  in- 
is  mainly  sus- 
tained by  .Mr.  R.  .1. 
Wickenden,  for  Mr. 
Whistler,  in  his  litho- 
graphic work,  has  so 
completely     identified 

himself    with    I  he    Klrj- 

lish   share   in   the   re- 
nascence    that     hi'    is 
to   lie   considered 


away  from  it.  Nor  is  it  certain  that  Mr.  "Wickenden 
should  be  classed,  even  by  courtesy,  with  the  Ameri- 
cans; for  he  was  horn  in 
England,  and,  although  edu- 
cated in  the  States,  since  18S3 
has  made  his  home  in  France. 
There  is  no  one  more  likely 
to  achieve  a  great  reputation 
through  a  line  poetic  manipu- 
lation of  the  stone  than  he,  for 
there  is  no  class  of  subject 
broadly  considered  that  lie  has 
not  undertaken,  and  all  of  them 
he  has  adorned. 

How  far  the  work  of  these 
men  will  set  an  example  to 
the  rest  of  Europe  there  is 
as  yet  no  indication  :  hut  the 
promise  is  great,  for  the  new 
lithography  now  is  almost  a 
new  method  with  a  new  ob- 
ject. Thus  it  is  regarded  in 
England,  where  the  achieve- 
ments accomplished  by  its  aid 
|  those  in  France.  What  these 
1    propose   in    a    final    article    to 


cUut-. 


lv   t. 


•, 


LA     PLUME 
(A    Magazine    Cover    by    Cheret.) 


153 


FRANZ     STUCK. 

By     PAUL     SCHULTZE-NAUMBURG. 

OF  all  the  artists  of  the  younger  generation   in     and    unheard-of,  and  thus  become  a  leading  spirit 
Germany,  Franz  Stuck  is  one  of  the  greatest,     in  art  and  in  art-rnanufacture. 
We  have  within  the  last  ten  years  seen  the  rise  of  And  this  has  not  taken  long  to  do;  Stuck  is  hut 


PROFESSOR     FRANZ     STUCK. 
(By    Leo    Samberger.       By    Permission    of    tile    Photographic    Union,     Munich.) 


many  highly  original  and  individual  talents,  lint 
their  tendency,  for  the  most  part,  is  to  an  ingenious 
elaboration  of  their  ideas;  and  there  is  scarcely 
another  who  can  compare  with  Stuck  in  power  and 
monumental  greatness. 

German  art,  as  it  now  is,  would  he  inconceivable 
without  Franz  Stuck:  it  was  hi'  who  succeeded  in 
taking  the  painting  of  a  whole  country  out  of  a 
groove,  and  starting  it  in  a  new  path  :  his  influence 
is  to  he  seen  in  each  single  ell'urt  of  ( Jernian  art. 
Such  a  man  needs  no  subtlety  of  gift,  but,  on  the 
contrary,  the  strength  of  a  giant  who  will  unflinch- 
ingly oppose  all  that  is  familiar  with  something  new 
20 


three-and-thiriy,  and  already  he  is  recognised  as  a 
leader  iii  Germany,  li  is,  in  fact,  impossible  to  resist 
the  fascinating  influence  of  this  self-made  man.  who 

SO  early  in  life  has  won  the  minims  of  lame. 

Siuek  is  the  son  of  peasant  parents,  and  was  born 
in  1863  at  Tettenweis,  in  Lowei  Bavaria.  His  school- 
ing over,  lie  went  to  .Munich,  where  he  studied  first 
at  the  School  for  Industrial  Ait,  and  then  at  the 
Academj       He  wa    not,  howi      i  if  I  lie  regular 

students  there;  end  it  is  not  the  A.cademj  that  has 
made  him  what  he  is.  Being  obliged  at  an  earlj  age 
to  work  for  his  living,  he  first  earned  it  by  illustrations 
by  which  he  laid  the  foundations  of  liis  lame.     I  lis 


154 


THE    MAGAZINE    OF    ART. 


firs!  works  appeared  in  two  books  on  industrial  art — 
"Allegories  and  Emblems,"  to  which  lie  contributed 
largely :  and  "  Prints  and  Vignettes,"  entirely  by 
his  hand  (Gerlaeh  and  Schenk,  publishers,  Vienna). 
He  at  once  showed  that  he  was  a  draughtsman  of 
genius  :  and,  young  though  he  was,  such  a  peculiar 
individuality  and  so  strongly  marked  a  character 
were  conspicuously  evident  that  the.  success  of  these 
volumes  was  quite  extraordinary.  In  a  very  short 
time  his  name  was  known  throughout  Germany ; 
every  decorative  draughtsman  began  to  look  on 
Stuck  as  more  or  less  his  ideal,  and  to  express  him- 
self in  imitation  of  him.  Before  long  every  diploma- 
card  or  title-page  betrayed  Stuck's  direct  influence, 
and  he  was  universally  regarded  as  the  coming  man. 
And  no  wonder,  heal  talent  had  hitherto  meddled 
but  little  in  Germany  with  decorative  design  :  and 
what  had  been  done  in  that  branch  of  art  or  taught  in 
the  schools  consisted,  for  the  most  part,  in  clever  or 
stupid  imitation  of  old  styles.  And  here,  suddenly, 
a  man  of  brilliant  ability  appeared  in  the  field,  who 
with  unwonted  daring  displayed  a  new  type  of  forms 
adapted    to    decorative    purposes    from    an    original 


Stuck.      By    Permh 


THE     SPHINX. 
of   F.    Ilarj/staenol,    Munich, 


study  of    nature,    and    who   gave  expression  to  his 
whimsicalities  with  such  masterly  draughtsmanship, 
that  he  conquered  the  world  with  one  blow.     These 
inventions  were,  indeed,  novel  and  naif  rather  than 
elegant,  rugged  rather  than  refined  ;  but  the  great 
end  was  attained :  they  were  new,  original,  and  full 
of  modern  vitality,  and  already  marked  by  so  much 
sense  of  style  that  there  was  nothing  at  all  like  them 
to  compare  them  with.     The  old  time-worn  patterns 
of  the  Renaissance,  and  the  Boucher  type  of  Cupids 
which   hail   long  been   a   by-word,   were   gladly  set 
aside  in  their  favour.     There  is  not  space  enough  on 
these  pages  to  reproduce  any  of  these  works.     They 
were  in  style  a  good  deal  like  the  later  work,  "  In 
Vino  Veritas,"  though  for  the  most  part  they  were 
characterised  by  even  greater  boldness  of  treatment. 
In  many,  and  more  particularly  in  the  purely  orna- 
mental   designs,    Stuck    betrays   a    certain    leaning 
towards  the  baroque  style  of  Munich ;   but  he  has 
by  degrees  emancipated  himself  effectually  from  its 
trammels,  and  formed  a  style  of  his  own.     And  now, 
in  every  corner,  on  every  wall,  in  every  catalogue  and 
advertisement-sheet,  we  meet  with  saucy  Cupids  and 
vivacious  female   figures,  such 
as  Stuck  was  the  first  to  draw, 
and  their  bold  wit  and  type  of 
beauty  at  once  took  the  world 
by  storm.     In  Fliegende  Bldt- 
tcrn    (the     well-known     illus- 
trated comic  paper)  and  many 
other   publications    he  has 
brought  out  a  series  of  draw- 
ings   and    caricatures    among 
which  gems  of  beauty  may  lie 
found.     Still,  he  did  not  come 
Jgjgtt  forward   as    a    painter   till    he 

.-•■  lat-.jfei  ,li1,  lusive    proof 

that  he  could  paint. 

It  was  in  1889,  at  the  first 
exhibition  in  the  Crystal  Palace 
at  Munich,  that  the  name  of 
Stuck,  no  longer  unknown,  was 
appended  to  three  pictures. 
This  was  his  debut  as  a  painter, 
and  decisively  stamped  his 
transition  from  a  designer  to 
a   painter. 

The  reader  must  try  to 
imagine  what  a  picture-show 
looked  like  at  that  time  in 
Germany.  It  was  a  period 
when  unqualified  naturalism 
had  just  claimed  strict  obedi- 
ence to  its  edicts,  when  Fancy 
and  the  representations  of  all 
o».ner  0/  tire  Copyright.)  that  is  fair  in  life  was  banned, 


FRANZ    STUCK. 


155 


WAR. 
By    Permission    of    F.    Hanfstaengl,     Munich,    the    Owner    of    the    Copyright.) 


in  favour  of  a  renewed  devotion  to  nature  and  an 
avoidance  of  all  affectation.  Beauty  was  no  longer 
to  be  looked  for  in  the  treasury  of  classical  art,  but 
in  life  itself,  even  in  its  simplest  expression;  and 
thus,  from  the  very  beginning,  artists  gave  them- 
selves up  to  intense  and  exclusive  study  in  the  open 
air,  determined  to  form  for  themselves  a  store  of 
pictorial  power  which  they  could  feel  was  their  own 
and  prove  to  be  original.  But  in  these  strenuous 
efforts  they  overstepped  their  aim.  A  reaction  was 
inevitable,  and  Stuck  was  one  of  those  who  contri 
buted  to  it,  who  was  and  remains  wholly  modem, 
and  yet  succeeded  in  uniting  the  new  modes  of  ex- 
pression and  feeling  with  a  sense  of  beauty,  prov- 
ing in  his  work  that  modern  art  can  be  applied  to 
deeply  conceived  symbolism.  Side  by  side  with 
numberless    pictures    of     I  Hitch    washerwomen,    of 

humble  rooms  full  of  daylight,  with  paved  11 s  and 

straw  chairs,  hung  the  child  of  Stuck'-  imagination, 


"The  Guard  of  Paradise,"  the  angel  of  the  flaming 
sword  driving  the  sinful  pair  from  the  gate  of  Eden. 
In   it   he   had  applied   all   that  work   in   the  open  air 
had  taught  him,  but   it   was  subordinate  to   higher 
aims.     The  second,  "  Innocentia,"  was  a  symphony  in 
white,  an  exquisite  poem  of  pure  girlhood  ;  the  third 
was  a  baroque  invention  of  "  Fighting  fauns."  Their 
success  was  immediate.     The  young  painter's  works 
won  the  gold  medal,  and  were  the  talk  of  the  day. 
From  this  time  his  triumphant  career  knew  no  check. 
Each  year  he  surprised  the  public  with  work 
gave  fresh  hopes  for  the  future.  The  countei  pari 
Angel  of  Paradise  was  the  "  Lucifer,"  whose  fiei 
comes  from  green  deeps  pierced  bj  a  raj  from  heaven 
above     It  was  not  an  ordinary  personification  of  the 

fallen  angel,  recogni  table  Ivj  monplace  attribute 

it  was  the  incorporate  ide  i  of  Evil  such  as  only  a 
powei  ful  imaginal  ion  could  conceive  of.  In  these 
jrears,too  he  | luceda1     bnumber  ol    mailer  works, 


156 


THE    MAGAZINE    OF    ART. 


of  which  the  subjects  are  for  the  most  part  inspired  domain.  He,  like  many  others,  felt  that  a  man  by 
by  the  fables  of  antiquity — fauns,  centaurs,  nymphs,  persistently  working  only  in  the  open-air  might 
and  nude  figures  of  the  Golden   Age — in  which  he     assume  a  sort  of  straight  waistcoat ;  that  these  high 


embodied,  in  a  wild  and  often  coarsely  striking  way, 
a  poem  of  over-exuberant  joy  in  life.  The  wonderful 
effects  of  light  he  contrived  under  a  green  roof  of 
trees  afforded  him  the  scene  in  which  he  made  his 
idyllic  figures  lead  their  Arcadian  life  ;  still,  he  never 
made  a  servile  copy  of  nature,  nor  painted  beings 
elaborated  in  the  brain  :  he  created  a  new  world  in 
which  mythical  creatures  looked  possible  and  actual. 
Or  he  would  take  for  his  subjects  the  first  personages 
of  the  Bible-narrative — Adam  and  Eve — and  how 
through  the  woman  sin  tirst  came  into  the  world,  or 
how  the  man  and  woman  wandered  on  the  earth 
when  driven  from  Paradise.  Several  variations 
occur:  we  may  mention  the  figure  of  "Sin"  which 
has  become  famous — Eve,  with  her  while  body 
clasped  in  the  folds  of  an  enormous  serpent;  and 
others.  They  all  showed  a  great  advance  from  the 
mere  transcript  of  nature  based  on  photography,  to 
the  free  interpretation  which  simplifies  nature,  and 
is  the  artist's  manuscript. 

This  was  more  manifest  in  every  work  he  pro- 
duced till  be  had  achieved  his  present  line  style 
based  on  the  very  essence  of  tilings.  Whereas  he 
had  hitherto  relied  on  unfamiliar  aspects  of  open  day- 
light, he  now  strove  more  and  more  to  extend  his 


notes  formed  but  a  small  part  of  the  scale  of  tone 
which  an  artist  has  at  his  command  as  a  mode  of 
expression  :  he  perceived  that  the  final  aim  of  a 
painting  must,  depend  rather  on  the  harmonious  use 
of  colour  than  on  an  illusory  plastic  solidity  ;  and  he 
began,  accordingly,  to  revel  in  deep  heavy  tones,  but 
without  falling  into  the  murky,  brown  keys  of  colour 
affected  by  Old  Masters. 

The  Exhibition  of  1892  brought  to  the  front 
one  of  the  most  impressive  works  that  the  younger 
German  school  has  produced — the  "Crucifixion,"  by 
Stuck.  Though  the  careful  avoidance  of  all  re- 
semblance to  the  traditional  Church-treatment  of 
the  subject  makes  his  picture  very  startling,  or 
even  repellent,  it  must  nevertheless  be  conceded 
that  its  stupendous  power  and  passion  at  once  call 
up  the  sense  of  an  event  of  supreme  and  universal 
interest.  In  this  picture,  was  revealed  for  the  first 
time  all  the  gigantic  power  peculiar  to  Stuck's  work, 
which  makes  him  the  most  famous  of  our  historical 
painters.  The  imperfections  and  ruggedness  that 
mar  the  wmk  cannot,  blind  us  to  that.  Few  men 
could  have  sketched  these  figures  in  such  a  powerful 
mould,  or  have  given  them  such  wonderful  symbolic 
colouring. 


FUANZ    STUCK. 


157 


Still,  I  could  not  at  the  time  wholly  enjoy  the 
work.  It  had  a  magical  attraction,  and  yet  a  vein  of 
coarseness  repelled  me.  Rut  it  remained  so  indelibly 
stamped  on  my  memory  that  it  followed  tne  every- 
where, and  I  was  only  conscious  of  the  deep  impres- 
sion it  had  made  when  I  found  that  1  could  not 
forget  it. 

Since  that  time  Stuck  has  produced  the  various 
works  on  a  large  scale,  which  have  made  his  name 
famous.  The  great  picture  called  "War"  won  him 
at  last  the  encouragement  of  the  State.  It  is  here 
reproduced.  This  was  purchased  in  1894  for  the 
Pinacothek  at  Munich,  and  Stink  was  appointed 
Professor  there.  We  should  seek  in  vain  through  the 
whole  range  of  modern 
German  art  for  an  ex- 
ample of  pictorial  means 
carried  to  such  absolute 
mastery  as  in  this  pic- 
ture. The  livid  bodies 
on  the  earth  are  drawn 
with  a  simplicity  and 
breadth  worthy  of  an 
Old  Master,  the  awful 
Horseman  rides  across 
the  night-sky  in  symbolic 
hues,  and  a  lurid  glow 
flames  on  the  horizon. 

In  the  following  year 
Stuck  did  not,  as  might 
have  been  expected, 
pause  fur  rest  ;  bul  he 
exhibited  a  somewhat 
smaller  work,  which, 
however,  again  showed 
marked  progress — "  The 
Sphinx."  Though  c>  im- 
pressed on  to  a  small 
canvas,  it  has  a  stamp 
of  force  that  seems  as  if 
it  might  burst  the  frame  ! 
Stuck's  power  of  expres- 
sion is  greater  than  ever; 

and  this  is  no  less  trt f 

his  last  picture,  the  "  Evil 
Conscience,"  which  was 
exhibited  in  1896  in  the 
Salon  of  the  Secession  at 
Munich. 

The  \\«nks  here  en- 
umerated are,  of  course, 
far  from  being  all  that 
Stuck     has    dune;     lie    is 

enormously  industrious,  never  dull,  never  meretri- 
cious. Deep  artistic  purpose  is  the  essence  ,,i  his 
being;  he  never  trifles  with  a   task,  but  always  tries 


to  produce  a  real  work  of  art.  And  it  is  this  high 
artistic  earnestness  which  lifts  him  so  far  above 
many  others.  He  does  not  wastefully  consume  the 
store  of  imagination  bestowed  on  him  al  birth;  bul 
nature  is  to  him  always  the  purest  somcc  of  revela- 
tion, though  he  never  gives  a  direct  transcript  from 
nature  in  any  portion  of  his  work.  His  studies, 
particularly  his  drawing  of  figures  and  Ins  charming 
chalk  heads,  are  greatly  esteemed  in  Germany  foi 
their  masterly  draughtsmanship,  firmness,  and  ele- 
gance; he  is  rapidly  advancing  to  true  greatness. 

Stuck  is  a  quiet,  reserved  man,  who  knows  exai  tly 
what  lie  aims  at,  and  goes  Straight  to  that  aim 
with  iron  determination  and  incredible  powers  of 
work.  We  have  only  to 
look  at  his  drawings,  ol 
which  the  chalk  head 
here  reproduced  may  be 
taken  as  a  typical  ex- 
ample. There  is  not  n 
line  too  many  and  not  a 
stroke  too  little;  every 
touch  is  in  its  right  place, 
and  yet  looks  as  if  it 
had  been  put  in  with 
such  playful  ease  that 
the  unpleasant  after-taste 
left  by  laboured  accuracy 
in  a  work  of  art  is  en- 
tirely absent. 

His  feeling  for  coloui 
is  not  less  developed  than 
his  sense  of  form  :  what 
In'  can  draw  ami  model. 
he  can  also  paint.  Then- 
is  hanlly  any  branch  of 
technique  thai  he  has  nol 
mastered ;    and   whether 

he     wields     the    pen,     tile 

pencil,  or  the  etching- 
needle,  he  is  not  less  ex- 
pert than  w  ith  the  brush 
in  tempera,  water-coloui . 
or   oils,   or   with    chalks  : 

lie  klloWs  el gh  of   thrill 

all    t cupy  an  artist's 

whole  life.  All  this 
talent      is     enhanced     by 

highly    cultivated 

Though      he      is       model  11 

through  thick  and  thin.he 

industriously  studies  tin- 
ant  ique,  and  has  leai  nl  of 
the  t  Hi  I  Masters,  training  his  taste,  which  in  Munich 
has  become  paramount  in  e\  ery  deparl  tnent. 

All  this  is  known  and  acknowledged  throushoul 


iss/on   of  F.    H 

/  tltv    Copyright.) 


158 


THK    MAGAZIXF    OF    ART. 


Germany;  the  only  blame  attaching  to  Stuck  is,  still, 
that  in  all  his  work  there  is  a  taint  of  harshness,  a 
revelling  in  coarseness.  I  do  not  deny  the  impeach- 
ment ;  still,  I  may  say  that  in  such  an  individuality 
as  we  see  in  Stuck  this  is  not  such  a  very  great 
defect.  His  is  a  powerful  nature,  so  strong  that 
many  men  cannot  bear  with  him  ;  but  it  was  this 
very  exuberance,  this  healthy  flesMiness  which  ap- 
peared like  a  remedy  to  the  over-refined,  nervous, 
sentimental  art  of  our  day.  It  may  be  that  we  can 
imagine  this  strength  as  even  more  spiritualised;  still 


we  may  be  glad  that  art  was  bestowed  on  such  a 
man  as  Stuck,  who  must  always  be  placed  in  the 
front  rank  of  born  artists,  and  of  whom  it  is  hard 
indeed  to  say  what  development  he  yet  may  reach. 
Fur  he  does  not  seem  to  be  one  of  those  who 
begin  with  great  promise  and  do  fine  work  till,  in 
later  life,  they  are  exhausted  ;  on  the  contrary,  if 
we  are  not  greatly  deceived,  we  may  look  to  see 
him  long  maintain  the  leadership  which  he  has 
achieved  so  early,  and  to  write  his  name  with  those 
that    are    greatest    in    the    history    of    German    art. 


SAMSON 
Ironing    by    Franz    Stuck  ) 


ILLUSTRATED     VOLUMES 


FEW  artists  of  the  present  century  have  better 
deserved  a  tribute  such  as  that  which  Mr. 
Hueffer  has  paid  in  his  well-informed  and  brightly- 
written  biography  of  his  grandfather.*  In  spite  of 
faults,  patent  to  all  and  undoubtedly  great,  Ford 
Madox  Brown  remains  one  of  the  geniuses  of  his 
day,  great  in  achievement  as  in  mind  and  soul;  yet 
to  many  his  work  was  utterly  unknown — chiefly,  no 
doubt,  through  his  feud  with  the  Royal  Academy,  to 
whose  exhibitions  he  never  contributed,  nor  sought  to 
contribute,  since  his  youth.  Moreover,  in  consequence 
of  bis  very  obvious  defects,  he  was  unappreciated  at 

*  "Find  Madox  Brown:  a  Record  of  his  Life  and  Work." 
By  Ford  M.  Hueffer.  With  numerous  Reproductions.  (Long- 
mans, Green  and  Co.     1896, 


his  just  worth  by  most  of  those  to  whom  his  work 
was  accessible ;  and  it  is  said  that  many  citizens  of 
Manchester  speak  apologetically  of  his  mural  paint- 
ings in  their  Town  Hall,  in  ignorance  of  the  fact 
that  these  constitute  one  of  the  city's  principal 
claims  to  honour  by  all  lovers  of  art. 

The  career  of  Ford  Madox  Brown  has  already 
been  set  fully  and  clearly  before  the  readers  of  this 
Magazine  by  his  daughter,  the  late  Mrs.  Lucy  Madox 
Hossetti,  so  that  little  need  be  said  of  the  story  of 
his  life.  But  witness  must  be  borne  to  the  excellent 
critical  judgment  and  pleasant  humour  (Jf  the  artist's 
authorised  biographer.  In  this  admirable  volume  the 
literaryand  artistic  sections  are  well  balanced;  andeach 
in  its  own  way  could  hardly  be  bettered.     The  picture 


ILLUSTRATED    VOLUMES. 


159 


drawn  of  Madox  Brown  himself,  whether  as  a  man 
or  as  an  artist,  is  all  but  complete,  and  it  is  difficult 
to  choose  which  portrait  is  the  more  delightful.  Mr. 
Hueffer  tells  all  that  need  be  known  either  about  his 
grandsire's  life,  his  character,  and  his  art — the  last 
named  section  being,  as  it  should  be,  the  fullest  and 
most  detailed.  The  public  will  at  last  be  able  to 
judge  how  noble  and  versatile  a  designer  was  Madox 
Brown,  how  original — whether  in  respect  to  artistic 
view,  method  of  treatment,  or  ingenuity  and  dignity 
of  design;  how  his  poetic  sense,  invention,  and  pas- 
sionate love  of  colour  influenced  Dante  Eossetti, 
and  constituted  himself  in  some  respects  the  step- 
father, at  least,  of  the  movement  that  became  the 
Pre-Raphaelite  Brotherhood.  The  claim  of  Madox 
Brown  to  exalted  rank  among  the  artists  of  the 
nineteenth  century  is  established  with  commendable 
moderation  in  Mr.  Huefter's  book,  which  becomes  as 
much  a  treasure  to  the  art-student  as  it  is  a  pleasure 
to  the  ordinary  reader  and  a  commendable  memorial 
to  a  distinguished  man. 


THE    new  edition  of   Thackeray's    "Ballads   and 
Poems,"    issued    by    Messrs.    Cassell    and    Co., 


From     "Thackeray's    Ballads.") 


MRS.     W      M.     ROSSETTI 
(From   the  Pastel  by   Ford  Madox  Drown        From    "f 


AND     DAUGHTER     (1876) 
rd  Madox  Brown  :    a  Record  of  his   Life  and   Worl 


daintily  and  sometimes  even  ex- 
quisitely illustrated  by  Mr.  H.  M. 
Brock,  is  one  of  that  series  of 
beautiful  little  books  which  have 
worthily  followed  in  the  wake  of 
Caldeeott's  and  Mr.  Hugh  Thom- 
son's graceful  appreciation  of  our 
English  (lassies.  The  merit  of  this 
delightful  little  book  lies  not  only  in 
the  keen  intelligence  with  which  Mi 
Brock  has  illuminated  Thackeray's 
delightful  humour  and  pathos,  it 
lies  also  in  his  sense  of  decoration 
and  in  the  charming  fancy  which 
he  lias  lavished  on  his  head-  and 
tail-pieces.  The  further  credit  too 
belongs  to  him  of  being  original 
where  so  many  have  worked  before. 

HAMPTON  COURT  has  so  re- 
cently been  made  the  subject 
of  exhaustive  treatment  by  Mr. 
Ernest  Law  that  we  were  hardly 
prepared  for  another  work  on  the 
same  subject— certainly  not  one  on 
which  care  ami  loving  pains  hardly 
less  earnest  have  been  lavished. 
The  new  volume  which,  under  the 
simple   title   of    ■"  Hampton   Court." 

has  Keen  issued  hy  Mr..lohu  Xuillllo, 

is  from  the  pen  of  the  Rev.  William 
Button,  who  writes  with  all  the 
sympathy  though  with  less  historic 
aim   and    far   less   fulness  than   that 


160 


THE    MAGAZINE    OF    AET. 


which  characterised  Mr.  Law's  admirable  work.  He 
saunters  through  the  Palace  with  less  serious  puipi  >se, 
missing,  however,  little  of  historical  interest,  and 
nothing  of  the  picturesque  side,  and  with  Mr.  Herbert 
Railton  at  his  elbow  notes  down  all  that  he  finds  most 


THE  title  of  this  work  *  might  have  been  "  The 
Influence  of  Byzantine  Art  in  North  Italy  and 
Rome,"  for  that  is  really  the  main  burden  of  the 
profound  and  erudite  researches  of  the  late  Professor 
Cattaneo.     Two-thirds  of  the  book  are  devoted  to  a 


SteJ  fiauquctiut'Ilsil./ 
'dlcnry'  VIII .  . 


charming  and  most  quaint.  The  chapter  on  the  art 
collections  is  carefully  done,  for  the  author  has  had 
the  courage  of  the  convictions  of  Mr.  Claude  Phillips 
— who  bids  fair  to  become  our  English  Morrelli — and 
of  "  Mary  Logan."  Mr.  Railton's  drawings,  we  need 
not  say,  arc  picturesque  and  intensely  appreciative, 
but  their  pleasant  mannerism  sometimes  detracts 
from  the  truth  of  the  scene  and  from  the  relative  im- 
portance  of  the  architectural  "bits"  he  has  delineated 
with  so  much  skill  and  such  obvious  pleasure. 


catalogue.  raisownA  of  the  artistic  treasures  of  the 
dark  ages  as  found  in  out-of-the-way  churches  and 
in  the  lapidary  museum.  It  is  followed  by  a  long 
dissertation  on  St.  Ambrogio  at  Milan,  which  Pro- 
fessor Cattaneo  proves  conclusively  to  be  a  work- 
ed' the  eleventh  and  twelfth  centuries  instead  of 
the  ninth  century  as  contended  by  de  Dartein  ;  and 

*  "  Architecture  in  Italy  from  the  Sixth  to  the  Eleventh 
Century."  By  Kaffaelle  Cattaneo,  translated  by  the  Contessa 
Curtis-Chorneley  in  Bernano.     (Fisher  Unwin.     1896.) 


ILLUSTRATED    VOLUMES. 


161 


concludes  with  an  elaborate  description,  well  illus- 
trated, of  the  Italo-Byzantine  treasures  of  Venice  and 
Torcello.  The  translation  is  put  forth  in  a  sumptuous 
volume,  with  clear  type  and  illustrations  from  the 


CAPITAL     OF     THE     ANCIENT     CIBORIUM. 
{From     "Architecture    in     Italy.") 

original  blocks.  Unfortunately  the  translator  lias 
not  taken  the  precaution  of  submitting  the  proofs 
to  an  expert  in  English  architectural  terms.  The 
result  is  that  without  the  Italian  text  to  refer  to 
the  translation  is  here  and  there  quite  unintelligible. 


FRAGMENT     OF    THE     ST.     AMBO- 

(From     "Architecture    in    Italy.") 

THE  natural  beauties  of  the  late  .Miss  Manning's 
work  are  receiving  full  justice  from  the  manner 
in  which  they  are  being  republished  by  Mr.  John 
Nimino.  The  delightful  "  Household  of  Sir  Tho. 
More,"  of  last  year,  is  followed  by  "Cherry  and 
Violet:    A   Tale   of    the   Greal     Plague,"    with    an 


appreciative  introduction  by  the  Rev.  W.  II. 
Hutton,  the  writer  of  "  Hampton  Court."  With 
such  a  work  of  fiction  before  her  as  Defoe's 
"Journal  of  the  Plague,"  Miss  Manning  showed  not 
only  extraordinary  courage,  but  even  a  tom  h  of 
genius,  in  approaching  a  similar  theme  and  dealing 
with  it  charmingly  and  successfully.  No  doubt  sin- 
has  helped  herself  from  Pepys  for  the  background 
of  her  picture;  but  it  is  her  own  grace  and  charm 


Mm  .■:■; 


CHERRY     SEEKING     HER     FATHER 
(By    Herbert    ftailtan    and    J.    Jellicoe.        From     "Cherry  L 

which  have  rendered  this  bunk  worth  preserving,  lii 
to  place  with  others  of  oui  foremost  women  writers. 
The  dramatic  power  and  the  deep  sense  of  religion 
expressed  iii  its  pages  have  been  lefl  by  the  illustra- 
tors, Mr.  Herberl    Railton  1  Mr.  John  Jellicoe,  to 

make  their  own  impression.  Ii  is  rather  the  pic 
turesque  \  iews  of  London  and  its  suburbs  which  have 
been  deall  withbj  the  former.and  the  less  ambitious 
sceni  s  which  have  beeu  selected  by  the  latter. 


SCENE     FROM      "MONTE     CRISTO.' 
(By    J.    Marker.) 


THE     ART     MOVEMENT. 

COSTUME      DESIGNING     FOR     THE     BALLET. 


Illustrated    from    the    Original    Designs    by    C.    WILHELM. 


T 


GRISETTE     \SC     1)- 


WE  new  ballet 
Monte  Cristo 
fully  maintains  the 
high  level  of  accom- 
plishment that  dis- 
tinguished its  note- 
worthy predecessor, 
Faust,  by  the  same 
artists — whether  as 
regards  felicitous 
design,  grace,  ami 
originality.  Mr. 
Wilhelm  has  bestow- 
ed extraordinary 
care  on  the  illustra- 
tion of  the  romance, 
and  has  contrived 
sundry  effects  of 
mise-en-sc&ne  as  well 


as  of  costume  that  should  add  substantially  to  his 
reputation  as  a  colourist.  Loyal  assistance  has  been 
rendered  by  Mr.  Harker,  whose  versatile  and  skilful 
brush  has  been  happily  employed  in  giving  full  value 
t"  .Air.  Wilhelm's  schemes  of  stage  decoration.  The 
opening  picture  of  Marseilles  is  delightful  from  any 
point  of  view,  and  the  panoramic  tableaux  of  the 
Chateau  d'lf  are  admirably  devised  and  contrasted. 
A  well-observed  effect  of  moonlight  breaking  througli 
storm-clouds  over  the  sea  is  followed  by  a  scene  on 
the  coast  of  the  Isle  of  Monte  Cristo,  a  tangled 
growth  of  aloes  and  oleanders  obscuring  the  sun- 
scorched  cliffs  that  guard  the  secret  of  the  cave. 
The  "  show-scene  "  of  the  Vision  of  Treasure  is  re- 
markable for  the  resource  displayed  in  exploiting  a 
hackneyed  theme.  Masses  of  rock-quartz  with  veins 
of  ruddy  gold  meandering  through  its  whiteness  to 
develop  into  fantastic  trophies  of  wealth,  crowned 
by  guardian  sylphs,  melt  imperceptibly  into  a  vista 


THE    ART    MOVEMENT. 


163 


of  sapphire  that  accentuates 
the  gleam  of  jewelled  lamps 
hanging     from    the    vaulted 


Telbin's  final  "set"  of  the 
grounds  of  Monte  Cristo's 
mansion,     near      Paris,     is     a 


gPctyfc. 

t  vrS)_  ^" 


roof.  These  lamps, 
a  guest  (last  scene).  which  serve  for  a 

thoroughly  legiti- 
mate and  effective  use  of  the  electric  light,  Hash 
into  answering  fire  as  the  successive  groups  of  gems 
crowd  the  stage.  The  cluster  of  living  pearls  de- 
serves  all  the  applause  it  receives,  and  amethysts 
and  turquoises  prove  delightful  associates  in  colour. 
Quaint    conceits    abound    in    the    dresses    of    this 

scene,  and  they 
are  so  Oriental 
in  spirit  as  to 
cause   regret    that 


stately      composi- 
tion, marred  by  a  merceoes  (last  scene) 
certain    timidity 

and  dustiness  of  colour,  which  is  in  turn  enhanced 
by  the  lavish  addition  of  artificial  flowering  shrubs. 
The  material  in  the  scene  might  certainly  be  more 
effectively  lighted  and  displayed.  Dainty  beyond 
description  are  the  costumes  in  this  picture,  ob- 
viously suggestive  of  early  summer  and  the  time 
of  rhododendrons 
a  n d  chest  n  u  t 
bloom.  Mr.  Wil- 
helm    is    always 


VIERCEDES 


the  actual  dances  and  musical 
measures  fail  to  rise  to  the  ideal 
they  might  well  have  inspired.     Mr. 


AUGUSTE    (last    Scene) 


A     GUEST     (last     Sceni> 

happy  in  dealing  with  subtle 
harmonies  of  i  olour,  and  In  re 
the    peach    and    pansy -purples, 


164 


THE    MAGAZINE    OF    ART. 


cinnamon  and  heliotrope,  lilac  and 
lavender  and  cyclamen  tunes  combine 
bo    produce    an    ensemble    of    singular 


Dantes  deserve  more  than  a  pass- 
ing glance  at  their  pretty  nautilus- 
shell   lace    caps,   and    costumes    of 


mere  mention  of  other  feature 
mendation,  but  we  may  cite  the 
one  in  biscuit  colour,  steel- 
grey,  and  nut-brown  with  lily 
embroideries;  and  another 
symbolising  the  myrtle  blos- 
som, in  which  she  is  sur- 
rounded by  a  bevy  of  rose 
maidens  who  supply  a  charm- 
ing colour-chord  of  white  flushed 
with  faint  pink,  deepening  into 
apricot  and  emerging  through 
Gloire  de  Dijon  tones  into  deli- 
cate primrose  and  ivory.  In 
the  grisettes  and  poissardes  of 
old  Marseilles  periwinkle-blue 
predominates  with  black  and 
white,  relieved  against  cigar 
brown,  maize  colour,  and  pale 
sea  green.  The  bridesmaids, 
too,  in   the  wedding  cortege  of 


charm      and      muted   tricolour, 

refinement,      emphasised 

Space     does     again     in     their 

not      permit      bouquets  of  corn-  .ncroyable  (last  smneX 

more  than  a      flowers,     daisies, 
s   for  special   com-     and  poppies,  florally  reproducing  the  national  cock- 
dresses  of  Haidee:     ade.     Picturesque  to  a  degree  are  the  Catalan  fisher 

folk,  and  the  ingenious  trans- 
position of  the  colours — black 
and  orange,  vivid  green  and 
pale  straw — appearing  in  all 
their  dresses,  but  variously  con- 
trasted and  arranged,  has  a 
capital  effect.  The  piqiianie 
personality  of  the  Mercedes, 
the  jealous  gloom  of  Fernand, 
the  buoyancy  and  despair  of 
Dantes  are  with  ecpial  in- 
genuity suggested  in  the 
characteristic  sketches  for  their 
apparel  —  as  may  lie  judged 
from  the  accompanying  repro- 
ductions of  a  few  of  the  ori- 
ginals. These,  it  will  be  seen, 
rise  considerably  above  the 
level  of  mere  dress-diagrams. 


THE    ART    MOVEMENT. 


165 


A     CUP     BY     M.      LUCIEN     FALIZE     AND     COLLEAGUES. 


LIKE  the  greatest  artists  of  the  Italian  Renais- 
sance— Benvennto  Cellini,  Francia  of  Bologna, 
Ghirlandajo,  Verrocchio,  and  Ghiberti — M.  Lucien 
Falize  seems  long  since  to  have  understood  not 
merely  how  important  a  place  goldsmith's  work 
holds  among  the  decorative  arts,  but  what  oppor- 
tunities it 
can  otter  to  a 
sculptor  of 
his  scope  and 
talent.       M. 


of  the  highest— and  it  may  be  added  the  most 
successful— efforts,  is  the  Gold  Cup  acquired  from 
the  recent  Salon  by  the  Musee  des  Arts  Deroratifs, 
in  Paris,  and  here  represented. 

To  begin  with,  in  order  to  appreciate  more  fully 
the  craftsman's  idea,  we  must  say  a  few  words  as  to 
the  origin  and 
history  of  this 
fine  piece  of 
w  o  r  k .  1  n 
1889  M.  Falize 


WiW 


{Designed    by    Lu 


GOLD     CUP. 
nion    Central   pour   I'Encouragement   des    Arts    Dtcoratifs.) 


Falize  has  from  this  point  of  view  achieved  some 
work  of  exceptional  interest,  both  as  to  purpose 
and  form.  Not  content  with  displaying  remark- 
able technical  skill  with  the  tool,  he  has  in  Ins 
jewellery,  his  vases,  cups,  and  crystals,  designed 
forms  of  faultless  purity,  lightness,  and  grace:  nay, 
lie  lias  done  more;  he  has  apprehended  with  intelli- 
gent subtlety  the  symbolical  side  of  his  art.  In  him 
the  artist  is  seconded  by  a  deeply  thoughtful  mind, 
conscientiously  learned  in  the  works  of  his  fore- 
runners, and  imbued  with  all  their  traditions  and 
ideas.  It  is  this  element  of  deep  erudition  which 
gives  his  work  that  solidity  of  purpose  which  we 
cannot  but  admire. 

Of  all  M.  Falize's  achievements  up  to  the  present 
date,  that  in  which  these  qualities  are  most  clearly 
manifested,  and  which  has  been  to  him  the  outcome 


was  commissioned  by  the  Central  Union  for  the 
Encouragement  of  the  Decorative  Arts  of  Paris  to 
produce  a  piece  of  goldsmith's  work  ornamented 
with  enamels  on  intaglio.  He  proposed  to  make  a 
gold  cup,  out  of  which  the  Presidenl  of  the  Society 
should  drink  on  great  occasions,  thus  reviving  an 
old  custom  of  the  .Middle  Ages.  It  is  curious  to 
read  the  ideas  on  this  subject  expressed  by  M. 
Falize  in  a  report   presented  to  the  Union. 

"A  cup,"  says  he,  "isuotacomi iplace  object 

of  uniform  type  ;  il  is  susceptible  of  infinite  variety. 

.     .     .     It  has  its  place  in  everj  ci nstance  and 

;ii  every  age  of  life,  from  the  caudle-cup  of  infancj 
and  the  baptismal  cup  on  which  the  child's  name  is 
engraved,  from  the  school-boy's  silver  mug,  to  the 
magnificent  cup  to  be  presented  on  a  silvei  wedding- 
day  or  that  made  of  gold  for  the  fiftieth  anniversary. 


166 


THE    MAGAZINE    OF    ART. 


There  is  the  cup  sacred  to  the  master  of  the 
family — a  custom  surviving  in  some  provinces ;  he 
alone  drinks  from  it ;  and  there  is  the  priest's  chalice, 
the  prince's  gold  tankard,  the  covered  cup  presented 
to  a  conqueror  ;  there  are  crystal  goblets  engraved, 
mounted  in  gold  and  enamel,  and  studded  with  gems, 
of  which  examples  are  to  be  seen  in  the  Louvre,  each 
and  all  an  excuse  for  fine  chasing,  proud  devices,  and 
ingenious  ornamentation." 

Having  decided  on  the  shape  of  his  cup — and 


period  in  which  so  many  and  various  elements  were 
combined.  Thence  we  pass  to  the  Mediaeval  vine, 
with  the  sincere  study  and  conscientious  imitation 
of  nature  that  we  see  in  our  Gothic  monuments ; 
followed  by  the  vine  of  the  Renaissance,  full  of  the 
spirit  of  the  great  Italians  with  their  passionate 
worship  of  truth  and  beauty.  The  vine  of  the  Louis 
XIV.  period  is  the  last  of  the  series;  it  firings  us 
back  to  the  natural  form.  All  this  golden  vegetation 
<'rows  over  a  dark   red  enamel   background,  which 


DETAIL     OF     ENAMEL. 
by    Luc    Olivier   Merson  for    the    Cup   by   Lit 


observe  that  the  form  is  at  once  simple  and  elegant 
— he  took  two  leading  motives  for  its  decoration: 
the  history  of  the  vine,  and  the  occupations  of  the 
several  trades  which  are  represented  on  the  surround- 
ing fillet.  The  vine,  represented  under  various  as- 
pects, grows  from  the  bottom  upwards.  First  we 
have  l be  natural  vine,  its  rather  heavy  mots  and 
gnarled  branches  forming  the  starting  point,  of  the 
scheme  of  decoration.  Then  the  cycle  begins  with 
the  Assyrian  vine,  its  thick  leaves  and  graceless  form 
betraying  its  archaic  origin  ;  next  we  sec  the  Greek 
vine  in  its  purity  of  line  and  pliant  grace,  a  freer 
growth  of  leaf  and  stem.  The  third  in  the  series  is 
the  Roman  vine — less  graceful  than  the  last,  but  linn 
and  simple.  Iii  the  Byzantine  vine  we  come  to  a 
more  complex  treatment  and  all  the  eccentricity  of  a 


contributes  greatly  to  throw  up  the  elegant  forms  of 
the  plant. 

The  groups  representing  the  trade  corporations 
that  have  worked  on  matter  are  figured  on  a  circular 
band  of  gold  fifty-five  millimetres  (2|  inches)  wide, 
and  are  eight  in  number:  workers  in  stone,  earth, 
glass,  metal,  wood,  textiles,  paper,  and  leather;  all 
drawn  by  M.  Luc  Olivier  Merson.  Two  masons  are 
carving  the  stone  for  a  cathedral,  while  behind  them 
stands  the  mediaeval  architect  in  a  gown  of  moreen, 
holding  a  mass  of  rolls  and  the  plan  of  the  edifice. 
Next  come  potters,  one"  throwing"  a  clay  vase;  belli  ml 
him,  another  holds  up  a  finished  piece  to  examine. 
Then  we  see  the  workshop  of  a.  stained-glass  maker 
with  bis  glowing  forge  :  on  an  easel  is  a  window  begun, 
representing  an  artist  dressed — as  all  these  figures 


THE    ART    MOVEMENT. 


167 


are — in  the  handsome  and  graceful  .style  of  the  the  badge  of  the  Society,  and  inside  there  is  a  medal 
Renaissance.  Next  to  these  comes  the  smith,  bent 
over  the  anvil  and  wearing  a  thick  leathern  apron  ; 
by  his  side  is  a  man-at-arms, 
leaning  on  his  stout  long- sword. 
Working  in  wood  is  represented 
by  the  carpenter  and  cabinet 
maker;  and  next  comes  a  group 
of  women  spinning  and  working, 
into  which  the  artist  has  infused 
a  pleasing  domestic  feeling.  The 
border  ends  witha  printer.a  com- 
positor, and  a  binder  pressing  his 
tool  on  the  side  of  a  hook.  On 
the  bottom  of  the  cup  is  another 
incised  border  with  translucent 
enamelling.  This,  also  designed 
by   M.    Olivier   Merson,  repre-  detail  of  the  e 

sents  M.  Falize  himself  dressed 

in  a  full  robe  of  green,  wearing  a  cap.  and  by  his 
side  Pye,  the  engraver,  to  whom  he  is  giving  instruc- 
tions. On  his  knees  lies  an  open  book,  and  the 
assistant,  in  working  dress,  leans  over  him  to  listen. 
On  the  gold  background  we  read  these  words: — ■ 


LAN    M.DCCC.XCV.    LUC.    FALIZE   ORF.    ET. 

EM.    PYE   GKAV.    ONT    FAIT   CE   VASE    D'OR   A    L'EXEMPLE 

DES   VIEUX    MAlTRES. 


The  knob  of  the  cover  is  formed  of  a 


sprig 


of  oak, 


with  the  effigy  of  M.  George  Berger,  the  President, 

nd  the  names  of  his  predecessors  in  office,  MM. 
Guichard  and  Antonin  Proust 
Though  here  again  the  gold- 
smith's work  is  admirable,  it 
seems  a  pity  that  name-  so 
little  famous  should  be  per- 
petuated in  such  a  permanent 
work:  but  this  was  a  necessity, 
since  otherwise  M.  Falize  would 
have  missed  the  definite  and 
express  intention  of  the  design 
Inside  the  bowl  M.  Falize 
has  engraved  with  great  deli- 
cacy and  lightness  some  plants 
rising  from  the  centre;  a  lotus, 
rr...  „=  tUC  mm  a  palm,  and  a  lily  symbolise  the 

lOMOFTHtCUP.  r  1/         t/ 

Art   of    Egypt.  Of   (  il'eeee,  and  of 

France,  while  three  Alphas  at  the  bottom,  enclosed 
in  triangles,  stand  as  emblematic  of  all  beginnings. 
We  may  note  the  close  affinity  of  this  gold 
tankard  with  the  cup  of  Saint  Agnes,  that  marvel- 
lous relic  of  the  fourteenth  century,  purchased  of  a 
Spanish  priest  by  Baron  1'ichon,  and  now  to  be  seen 
in  the  British  Museum ;  at  the  same  time  the  com- 
parison casts  no  reflection  on  the  originality  of  this 
work,  which  displays  in  all  the  vigour  of  energy  and 
art  the  noble  gifts  of  Lucien  Falize.       H.  FRANTZ. 


WOOD-CARVINGS     AT     THE     CARPENTERS'     HALL. 


IT  lias  been  remarked 
by  competent  judges 

that    the   art  of   w 1- 

earving  at  the  present 
day  is  below  tin'  stand- 
ard of  many  other  arts 
amongst  us.  With  a 
view  of  remedying  this 
deficiency  the  Worship- 
ful <  lompanies  of  <  !ar- 
penters  and  of  Joiners 
have  organised  period- 
ical exhibit  ions  of 
wood-carving  as  well 
as  of  wood-construction. 
At  the  exhibition  which 
opened  al  the  ( larpen- 
ters'  Hall  in  the  last 
week  of  <  (ctober,  to  eon 
tinue  until  the  middle 
of  November,  it  was 
intended     to     make     a 


FONT     COVER. 

(By    *.»     Amjus.) 


prominent  feature  ol 
the  competition  for  a 
font-cover.  <  lonsider- 
ing  that  the  subji  1  1 
was  set  and  a  spei  ial 
prize  of  £l'II  offered 
four  years  ago,  it  must 
be  owned  that  the  re- 
sult is  disappointing. 
( inly  five  exhibit!  1- 
competed.  Workman- 
like, though  not  that 
which  won  the  highest 

place,    was    the     solid 

eu p ola -  shaped  and 
carved  font  -cover  bj 
Miss  M.  Cummings. 
The  work  of  Mr.  JanieE 
Smith  was  far  more 
ambit  ious,  containing, 
in  fact,  little  shml  of 
I  2,000   pie<  es.     The 


168 


THE    MAGAZINE    OF    ART. 


minute   inlay    work   of    this    example    unquestion- 
ably  showed    great    technical    skill    in    execution, 
which,  had  it  only  been  joined  to  an  equal  capacity 
of   design,    might   have    secured    the    palm    among 
hundreds.     The  central  statuette,  with  all  its  faults, 
had  a  quaint  and   archaic  character  well  worthy  of 
notice.     Beyond  the  figures  by  Mr.  J.  Smith,  there 
were  few  serious  attempts  at  introducing  the  human 
figure  in  composition,  and  such  as  there  were  lacked 
the  vigour   and   crispness  of    old  work  ;   as  anyone 
who  eared   to  examine  the   two  or  three  examples 
of   mediaeval  figures  among  the  loan  collection   on 
view  in  the  same  room  could  not  fail  to  perceive. 
By  comparison,  even   Mr.   Osmund's  seated  statues 
were   merely    neat,    spiritless   objects ;     while    Mr. 
Williamson's   figures  were  faulty   in  drawing.     The 
best  were  those  by  Mr.  Mark   Rogers,  whose  large 
carved  clock-case  won  a  gold    medal— the    highest 
award    attainable.      In    this    case,  however,    a    sur- 
rounding inscription   in   Lombardic  characters    was 
out  of  keeping  with  the  late  Renaissance  details  of 
the  rest,  while  some  draperies,  hanging  below   the 
dial  in  a  sort  of  bag  containing  what  looked  like  a 
half-concealed    skull,   could    not  be   said    to  have   a 
pleasing  effect.     For  severity  and  restraint  in  design 
we   preferred  a  humbler  work— viz.   a  carved    oak 
mirror-frame  of  early  Renaissance  character,  which 
gained   the  second  prize.     It  is  impossible  to  com- 
mend certain  strained  attempts  to  represent,  Swiss- 
like, realistic   groups   of    dead   birds  or   bunches  of 
flowers    in  a    manner   to   counterfeit    nature.     That 
which    viewed    from    one  aspect  may   seem  an  as- 
tounding tour  de  force,  is  from  another  and  the  more 


serious  point  of  view  a  melancholy 
exhibition  of  wasted  energy  and 
misapplied  ingenuity — than  which, 
after  all,  can  anything  be  more 
pathetic  ?  An  unanswerable  testi- 
mony— which  infallibly  rules  out  of 
court  all  compositions  of  the  sort — 
is  their  entire  want  of  conformity 
with  architectural  surroundings. 
But  apart  from  the  question  whether 
or  not  productions  of  this  class  are 
legitimate  if  judged  by  the  canons 
of  art,  they  are  open  to  the  practical 
objection  of  being  both  fragile  and 
perishable  ;  their  untidy  appearance, 
once  they  be  broken  or  chipped, 
causing  them  to  become  nothing  less 
than  an  eyesore.  Neither,  again, 
could  anything  more  satisfactory  be 
expected  where  one  of  the  subjects 
for  competition  was  "  a  panel  carved 
with  a  trophy  symbolical  of  sculp- 
ture."     Such     a     theme    inevitably 


CARVED     CLOCK     CASE. 


NOTES    A XI)    QUERIES. 


L69 


results  in  the  display, 
more  or  less  complete, 
of  the  contents  of  a 
carver's  workshop.  But 
this  kind  of  thing  em- 
phatically neither  does 
nor  can  constitute  orna- 
ment. Among  the  loan 
objects,  besides  an  ad- 
mirable collection  of 
examples  of  wood- 
carving  of  the  fifteenth 
century  and  succeeding 
periods,  were  to  be 
noted  r  carved  frame  of 
<  'hinese  workmanship, 
characteristic  boxes 
from  Xew  Zealand  and 
Iceland,  md  a  fragment 
of  Persi.m  wall  panel- 
ling. Mi  Harry  Hems, 
the  well-kuown  sculptor 
of  Exeter  lent  a  large 
frame    filled    with    a 

choice  selection  of  fragments  of  fifteenth  century 
wood-carvings,  gathered  mainly  from  churches  in 
the  county  of  Devon.  Valuable  as  such  a  collection 
undoubtedly  is,  one  cannot  avoid  being  tilled  with 
regret  that  gems  so  precious  should  have  been  turn 
from  their  original  settings,  from  the  places  they 
were  fashioned  ami  always  meant   to  adorn,  only  to 


CARVED     OAK     M 
(By    Charles 


become,  .1-  ii  were,  the 
labelled  exhibits  in  a 
museum.  There  was 
also  a  pair  of  bellows 
(said  to  have  been  exe- 
cuted b.r  Marie  Antoin- 
ette) carved  to  imitate 
a     lyre  '     and     a     Louis 

XVI  jewel  casket  of 
elaborate  design,  with 
panels  of  carved  pear- 
wood,  Worked  Up  to 
such  a.  pitch  of  over- 
refinement  that  tile}  bail 
lost  all  the  character  of 
wood,  and  might  have 
been  mistaken  for  em- 
bossed leather.  But 
surely  it  is  of  paramount 
importance  that  all  work 
of  this  craft  should  bear 
unequivocal  e\  idem  e 
both  of  its  material  and 
of  its  process.  In  a  word, 
11  ought  to  seem  to  be  just  what  it  is — neither  more 
nor  less  than  carved  wood.  This  sounds,  perhaps,  like 
a  truism,  but  it  is  one.  nevertheless,  on  which,  jm 
from  the  quality  of  thegreatei  part  of  the  work  shown 
— and  that,  too,  in  spite  of  the  valuable  object-lesson 
of  many  excellent  specimens  of  old  work  —  we  esteem 
it  far  from  superfluous  to  insist. 


IRROR     FRAME. 
Stephens.) 


NOTES     AND     QUERIES. 


[For   "Regulations,"   see   The   M 

[11]     THE  MARQUIS  OF  HERTFORD  AND  THE  "MAR- 
QUIS    OF     STEYNE." —  111      reply      to      '    IVlidoimis's  " 

question,  it  was  the  fourth,  not  the  third,  Marquis  of 
Hertford  who  was  supposed  to  be  the  prototype  of 
Thackeray's  "Marquis  of  Steyue" — and  of  Disraeli's 
"Marquis  of  Monmouth"  too.  He  was  the  Most 
Noble  Richard  Seymour  Conway  who  was  born 
1800  and  died  1870;  I  may  add.  speaking  with 
knowledge,  that  no  portraits  -pictures  or  print1'  - 
of  him  exist:  at  least  within  the  ken  of  his 
descendants.  —  NAMPORT   KEY. 

[12]    WEST     AND     HAYDON,     AND     THE      NATIONAL 

gallery. — Some  years  ago  I  visited  the  National 
Gallery  expressly  to  see  Haydon's  "Raising  of 
Lazarus"  (as  I  was  then  reading  the  life  of  the 
painter),  but  was  informed  by  the  attendant  that 
the  picture  had  been  "  lent  into  the  provinces."  <  hi 
my  last  visit  to  the  Gallery,  two  or  three  months 
back,  the  picture  bad  not  been  returned.  This  was 
surely  not  intended  by  the  National  Gallery   Loan 


igazine   of   A_rt  for   November.] 
Act   of    1883  ?      I    believe    that    the   above   is  the 
only  picture  by   Haydon  in  the  Gallery,  and  what- 
ever  may  be    lo-   defects  as  a   painter,   no   man   had 
a  greater  enthusiasm  for  Art,  oi  endeavoured  to  do 
more  for  its  advancement    than    Haydon,  and  he  is 
surely  entitled   to  have  one  at    least   of   his  works 
in  the  National  Gallery.     Again,   Benjamin   W< 
pit  lure    of   "Christ    Healing    the    Sick      has    been 
absent    from  the  Gallery   for  more   than   ten 
and  1  cannot  find  in  the  catalogue  ( L8S6)  that 
is  any  picture  of  this  painter's  on  the  walls.      In  the 
South  Kensington  collection  there  is  a  small  study 
in  oil   For  the  centre  group   in   the  above   pi 
labelled  "  Raising  of  Lazarus."     It   is  the  fash 
the  day  to  dei  ry  West  as  an  artist,  bul  the  painter 
of   "  The    Death    of    Wolfe."  and    President   of   the 
Royal  Ai  adeuvj ,  ought  place  in  our 

national  collection,  which,  in  my  view,  ought  to  be 
representative  of  all  our  English  painters.  West, 
as  an   American  bom.  is  highly  thought   of  by  our 


170 


THI 


MAGAZINE    OE    AUT. 


American  cousins,  but  they  look  in  vain  for  Ins 
works  in  our  National  Gallery.  Will  you  Favour 
me  with  your  opinion  (in  the  forthcoming  Notes  and 
Queries)  as  to  this  practice  of  the  Gallery  authori- 
ties ?— "  A  Provincial  Amatei  r." 

*%   We  doubt  if  there  is  much  likelihood  of 
the  two  pictures  named  being  seen  again  in  the 
National  Gallery.    Conformably  with  the  National 
Gallery   Loans  Act,  "The   liaising  of   Lazarus," 
by    Haydon,  has   been    fitly  lent    to    Plymouth 
—  the  artist's  birthplace— and  West's  picture  of 
"  i  Ihrist  Healing  the  Sid;  "  to  Nottingham.     The 
pictures,  interesting  and    representative  though 
they  are,  ran  hardly  1"'  said  to  be  masterpieces 
on  equality  with  the  rest  in  the  National  Gallery. 
They  would,  in  the  opinion  of  many,  be  eligible 
for  admission  to  the  National  Gallery  of  British 
Art  on  historical  as  well  as  on  artistic  -round-: 
but  we  think  that  the  National  Gallery  authori- 
ties arc  faithful  to  their  trust   in  maintaining  a 
very  high  standard  in  their  noble  institution. 
[13]  SAGITTARIUS. — Is  tin-  statement  I  have  occa- 
sionally seen  made  without  authorities  quoted  an  es- 
tablished fact,  that  Sagittarius,  a  centaur  with  bow  and 
arrow,  was  the  arms  or  badge  of  King  Stephen  :  and 
if  so,  does  it  prove  that  old  churches  in  England,  in 
which  a  carving  of  it 
occurs, were  founded 
or    rebuilt     during 
his     reign  '.       On 
Plate  12,  Vol.  V,  of 
"  The  Architectural 
Antiquities  of  ( treat 
Britain,"    by    John 
Britten,  F.S.A.,  arc 
engravings   of    two 
capitals    from    the 
Norman   church  at 
lillcv,    Oxfordshire, 
one    adorned    with 
two  centaurs  fight- 
ing, and  the  other, 
holding  a    bov>    in  his  right  hand,  galloping  over  a 
tailless    lion.     The  capital   of  a  column  supporting 
the  round,  beak-headed  arch  of  the  northern  porch 
of  Lullington   Church,  Somersetshire,  is  sculptured 
wiili  a  centaur  shooting  with  bow  and  arrow.      In 
the  laic  Byzantine  cathedral  of  Si.  Martin  a)  Mainz, 
near  the  left  entrance  at   the  cast  end,  on  the  column 
of  an   archway  leading   to   the   vaults,  is  a   capital 
carved  with  a  large  clumsy  Sagitti  ri  is.     This  seems 
to    point    to    the    probability   thai    it   was  merely   an 
adornment    common    to    the    different    branches   of 
Romanesque  architecture,  and  hence  of  no  value  in 
helping  to  ascertain  the  dates  of  ecclesiastical  build- 
ings in  England     -L.  Beatrice  Thompson. 


SAGITTARIUS      FROM     NORMAN     DOORWAY 
OF    LULLINGTON    CHURCH,    SOMERSET. 


i%  Miss  Thompson  is  quite  correct  in  stating 
that  I  he  figure  of  Sagittarius  is  considered  as  the 
badge  of  Stephen.  There  is,  however,  no  evidence 
even  for  this  statement  that  will  bear  investiga- 
tion, but  tradition  asserts  that  the  badges  used  by 
Stephen  on  his  armour  were  a  star-shaped  flower 
of  seven  points  and  a  golden  sagittary  on  a  red 
ground.  The  tradition  must  not,  however,  be 
taken  as  a  guide  in  determining  the  age  of  build- 
ings. As  such  it  is  of  no  value.  Neither  of  the 
badges  mentioned  even  appears  on  Stephen's  coins 
nor  on  bis  great  seal  nor  in  contemporary  manu- 
scripts, save  in  the  border  of  one  missal.  The 
figure  of  the  sagittary  is  of  frequent  occurrence 
in  architecture.  Miss  Thompson  will  find  it  in 
buildings  differing  widely  from  one  another.  She 
will  see  it  on  Notre  Lame,  on  Si.  Troplunie, 
Aries,  on  Maria  Miracoli,  Venice,  on  the  quaint 
tower  of  Albi  Cathedral  at  Amicus,  Laon, 
Alencon,  Chartres,  and  Seville. 

[Id]    A    PICTURE    BY    A.   CHALON,    E.A. — Could     }*0U 

tell  me  anything  about  a  picture  in  my  possession  '( 
It  is  a  portrait  of  a.  lady  in  early  Victorian  style, 
wearing  blue  bonnet,a  white  dress  with  low  neck  and 
short  sleeves,  black  mittens,  pale  blue  scarf  gracefully 
encircling  the  waist  and  arm,  and  a  handsome  pearl 
necklace.  She  has  a  bouquet  of  Mowers,  and  her 
right  hand  rests  on  a  low  bank.  A  sylvan  scene  is 
depicted,  with  a  stream  and  castle  in  the  distance- 
The  figure  is  that  of  a  brunette  with  a  profusion  of 
curls:  she  has  a  very  languishing  air,  the  bead  re- 
clining to  the  right  shoulder.  The  picture  is  signed 
•A.  Chalon,  is:;.",."  Its  size  is  :!1  inches  by  _■"', 
upright. — 1.  W.  W.  (Burtou-on-Trent). 

#%  In    the    year    1835,   A.    Chalon,    R.A., 

exhibited  in  the   Royal   Academy  the  following 

portraits  of  ladies,  any  one  of  whom  this  picture 

might     represent: — Mrs.    (raw  find,    Saint     Hill 

(440):    Lady    Agnes     Byng    (561);    and    Lady 

Augusta    Paring.       In    the    following   year   there 

were  Lady  Louisa  Cavendish  (466);  Mis.  Henry 

Pearse    (475);    Miss   Fitz-Clarence  (598);    and 

Mis.  Smith  (836).     "Without  seeing  the  picture 

it  is  impossible   to  say  of  whom  it  may  be,  but 

the  owner  may  perhaps  more  easily  establish  the 

identity  of  the  portrait  by  finding  out — no  very 

difficult   matter — the  name  of  the  castle  in   the 

background. 

[15]  copyright  law:   REGISTRATION. — Referring 

to  copyright    law,  may   I  ask  if   I   am  right   in  my 

belief  thai   unless  a  picture  is  registered  on  or  before 

its  first  transfer  all  copyright   is  lost  in  that  picture, 

even  supposing  an  agreement  be  made  between  artisl 

and   purchaser;    and   also  that    it    cannot   afterwards 

be  registered  by  any  further  owner? — ( '.  W.  Carey 

(Curator,  Loyal  Hollowaj  College,  Eghaui). 


NOTES    AND    QUERIED 


171 


-s**  No— in  such  a  ease  the  copyright  is  nol 
lost.  Kegistration  is  necessary  to  obtain  the  benefit 
of  i  he  Act :  such  "  benefit "  being  not  the  copyright, 
but  the  right  to  sue.  According  to  Wmslow,  the 
proprietor,  before  he  has  registered,  is  subject  only 
to  this  disadvantage,  that  he  cannot,  until  he  has 
done  so,  become  entitled  to  the  benefit  of  the 
statute;  but  lie  is  capable  of  trail sferrino-  his 
copyright  as  lie  can  transfer  any  other  property 
(Tuck  v.  Priester,  10  Q.B.  Div.  636).  Accord- 
ingly, if  the  last  assignment  of  copyright  has 
been  duly  registered,  the  assignee  may  sue  for  in- 
fringement, although  the  original  proprietor  was 
never  on  the  register,  and  prior  assignments  have 
not  been  registered.  In  Messrs.  Graves'  case 
(LI!.  4  Q.B.  715,  724;  39  L.J.  Q.B  31  >,  the  copy- 
rights of  Millais'  "My  First  Sermon"  and  "My 
Second  Sermon  "  were  assigned  by  the  painter 
to  Messrs.  Agnew  and  Folds,  and  by  them  to 
Messrs.  Moore, MacQueen  and  Co..  by  whom  they 
were  assigned  i<>  Messrs.  Graves.  The  assignment 
oj  Messrs.  Moore  had  not  been  registered,  but 
Messrs.  <  Graves  fulfilled  the  requirement  as  regards 
themselves.  In  another  ease  the  copyright  of  a 
picture  by  Landseer  had  been  assigned  to  Elatow 
and  by  that  dealer  to  Messrs.  Graves,  who  alone 
duly  registered.  It  was  held  by  the  Court  that 
it  was  unnecessary  that  <dl  the  prior  assignments 
should  he  registered,  "the  object  of  registration 
being- to  enable  anyone  to  trace  the  proprietorship 
of  the  copyright,  which  was  sufficiently  done  by 
the  registration  of  the  last  assignment." 
[16]  book-plates.  —  Lady  Albemarle  would  be 
obliged  to  anyone  who  would  tell  her  the  best  place 
to  have  a  fancy  book-plate  cut — not  like  a  copper- 
plate, but  more  like  a  wood-engraving  of  Albert 
Diirer. —  Giudenham,  Attleborough. 

¥%  If  Lady  Albemarle  wishes  a  design  al- 
ready existing  to  be  cut  upon  wood  in  the  Diirer 
manner,  there  are  several  pupils  of  the  Birming- 
ham School  of  Art  who  might  1"'  trusted  to  pro- 
duce a  satisfactory  block.  But  if  she  requiresa 
design  prepared  in  the  "  wood-cut "  fashion,  there 
are  plenty  of  artists  who  would  be  able  to  execute 
it.  In  Mr.  Egerton  Castle's  -  English  Book- 
plates" and  Miss  Labouehere's  "Ladies'  Book- 
plates" (both  published  by  Messrs.  Bell,  5,  York- 
Street,  ( 'ovent  Garden),  specimens  are  to  be  found 

of  almost  every] lorn  designer  of  ex  libris.     A 

letter  addressed  by  Lady  Albemarle  to  the  Editor 
of  these  volumes  at  the  publisher's  address,  oi  to 
the  Editor  of  this  Magazine,  would  put  Lady 
Albemarle  into  communication  with  the  artist 
whose  style  pleases  her  most.     A  design  would 

cost  from  three  to  five  guineas,  oi  i :,  according 

to  the  standing  of  the  artist. 


[L]   PICTURE      LOST     OR     STOLEN.— The       original 

drawing  of  "  Primrose-Day,   by  Mr.  C.   liii  ketts,  of 
which   we  give  a   small   reproduction   herewith,  has 
mysteriously  disappeared  from  the  owner's  pos 
The  Editor  of  The  Magazine  of  Art  would  be  glad 
to  bear  from  anybody  who  knows  of  its  whereabouts. 


PRIMROSE-DAY.      (AN     ALLEGORICAL    CARTOON: 

"  Beaconsfield    Borne    Upon    the   Ship   of    State.) 

NOTE. 

sam  bough,  Beverley,  and  SALA.— With  refer- 
ence to  Mr.  W.  J.  Callcott's  note  in  our  November 
issue,  we  have  received  the  following  interesting 
communication  from  Mr.  W.  J.  Lawrence: — "I  find 
from  my  note-books  that  Beverley  was  engaged  as 
principal  scenic  artist  by  Knowles,  of  the  Theatre 
Royal,  Manchester,  in  December,  1842,  and  his  name 
crops  up  occasionally  in  connection  with  the  more 
elaborate  productions  there  until  -111111.',  1846,  when 
he  provided  the  magnificent  scenery  for  the  revival 
of  the  opera  of  Acis  "„,l  Galatea.  But  even  if  he 
was  nominally  principal  scene-painter  at  Mam  hester 

all  that   time,   I    doubt    if  he  Was  in  continual  residence 

there,  and    must    assume,  upon   other  evidence,  that 
during  the  later  years-  he  only  worked  on  the  moo 
important  productions.     Early  in  1846  (before  June) 
he  was  principal  artist   under   Haddon  at    the   Prin 
cess's  Theatre,  London.     1   fancy  he  had  little  to  do 
with  Manchester  in  1845,  for  I  find  that  tin-  principal 
artists  at   the  Theatre  lioyal  in  that  city  then  were 
Channing,  Bough,  and  Anderson      Tin  ;e  would  prob- 
ably be  the  resident  painters,  with  Beverlej  as  special 
art  ist    for  spectacular  prodm  1  ions.     His  connection 
with   Manchester  is  accounted   for  by  the  fact   thai 
1,'oln  1!   Roxby,  his  brother,  w,i-  ptage-inanager  there. 
As  for  Mr.  Sala,  he  was  a-sislaul    -not  " labou 
io   Beverlej    in    1 850  and  described  his  master  and 
his  method   of    working   in   lie  papi  1      < 
a    Pantomime,      which    was    reprinted    in    Gaslight 
uml  Daylight.     The  pantomime  deall  with  was  the 
( Ihristmas  annual  produced  at  the  Piinci         1 
on    Boxing    N"ight,    1851,   entitled    Harlequin    Billy 
Taylor  ;  01  fi      1  0/ the 

Island  oj  Raritango,  written  I".  Sala  himself. 


FRONT      ELEVATION      OF      NEW      NATIONAL      ART      GALLERY,      SYDNEY,      NSW 


THE  CHRONICLE  OF  ART.— JANUARY. 


Art  in  Sydney,    IN  spite  of  friendly  attempts  on  the  part 
N.S.W.  1    of  the  two  Art  Societies  of  Sydney  to 

amalgamate,  they  remain  separated,  owing  to  a  division  of 
opinion  as  to  the  question  whether  artists  shall  be  judged 
by  artists  or  by  laymen.  Hence  the  young  Society — the 
Society  of  Artists— opened  its  second  annual  exhibition  in 
September,  and  the  parent  Society  a  month  later.  List 
year  the  new  Society's  exhibition  was  marked  by  great 
virility,  and  this  year  that  quality  is  even  more  in  evidence, 
for  the  Committee  has  enlarged  its  boundaries  by  inviting 
exhibitors  from  all  the  other  Australian  colonies.  The 
Hanging  Committee  was  inexorable  in  maintaining  a 
certain  standard.  Portraiture  is  largely  represented  ;  of 
figure-paintings  and  allegorical  subjects  there  is  little  or 
none.  Still-life  is  hardly  in  evidence.  But  there  is  much 
in  land  and  seascape  illustrative  of  the  life  of  Australia. 
Altogether  the  exhibition  is  distinctly  good,  and  may  lie 
regarded  as  marking  a  mile-stone  in  the  progress  of  inter- 
colonial art.  Mr.  J.  Long- 
staff,  the  first  Victorian 
artist  to  benefit  by  the  Tra- 
velling Scholarship  open  to 
Victorian  artists,  has  won 
the  coveted  distinction  of 
sending  in  the  picture  of  the 
year.  A  "Lady  in  Black" 
is  a  fine,  life-like,  full-length 
study,  the  speaking  face  and 
nervous  hands  being  paint- 
ed with  masterly  strength. 
( 'lose  by  hangs  a  portrait  of 
the  Jate  Edward  Ogilvie  by 
Mr.  Tom  Roberts,  which  is 
a  worthy  rival,  and  quite 
the  best  thing  this  artist 
has  ever  done.  As  this  ex- 
hibition is  essentially  repre- 
.,eiitati\e  ,,l  young  and  rising 
artists,  special  mention  musl 
be  made  of  Mr.  F.  M<  (  Iub- 
i:in,  Miss  I'.  A.  Fuller, 
and  Miss  ALICE  Mcskett, 
all  of  whom  have  sent  con- 
tributions ill  oils  or  pastels  (  I  Qhuar.m  Mansueti. 
from    Pai  IS,  «  here    I  hey   are 

studying.     The  trustees  of 

the  Xati d  Gallery  have  purchased  six  pictures 

Iu.iNowoKTifs  "  Bust  of  an  Abori  ;ina]  female, 

exhibiti at  a  total  cost  of  a  little  over  E230, 

Mr.    Longst  w  i  's    "  Lady    in    Black,"    Mr.    I  >. 
"A   Summer  Evening,'' Mr.  SlD   Long's  " Midda; 
Lambert's  "Bush   Idyll,"  Mr.  B.   E,  Minns's  "Studj   of 


BOLIC      REPRESENTATION      OF 


Hid 

ron 

Mr 

tin 

'hej 

an 

r.sV 

'  M 

■.  (1 

an  Aboriginal  Female,"  and  Mr.  ARTurr,  Streeton's  "Sur- 
veyor's Camp" — the  two  last  being  water-colours.  The  Art 
Society's  exhibition  lacks  any  one  picture  of  transcendent 
merit  or  interest.  At  the  same  time  it  might  also  be  called, 
the  Piguenit  exhibition,  so  much  does  this  artist  dominate 
the  whole  with  his  half-dozen  pictures,  on  account  of  their 
great  merit  and  exquisite  finish.  Having  no  connection 
with  the  Impressionist  school,  he  paints  our  atmosphere 
by  land  and  sea  to  the  entire  satisfaction  of  all  beholders. 
Next  in  order  come  Mr.  W.  Lister  Lister,  who  has  painted 
sea  pieces  and  one  landscape,  and  Mr.  Gordon  Coutts,  who 
is  as  exclusively  a  portrait-painter.  It  says  much  for  the 
freedom  of  artistic  culture  that  the  lesser  artists,  who  are 
more  or  less  pupils  of  these  men,  have  been  able  to  think 
and  paint  for  themselves  bits  of  the  everyday  life  of  Aus- 
tralia. The  trustees  of  the  National  Gallery  were  some 
time  in  making  their  decision,  for  while  there  is  no  picture 
which  stands  out  as  the  picture  of  the  year,  there  are  many 
of  a  high  average  merit. 
The  choice  at  last  fell  on 
Mr.  Piguenit's  "Southern 
Headland,"  Mr.  Gordon 
CoUTTs's  "Waiting,"  Mr. 
Albert  J.  Hanson's  water- 
colour,  "The  Close  of  Day," 
"Maiden  Meditation  Fancy 
Free;"  Miss  Mary  Stod- 
Dard's  "  Queenie,"  a  mag- 
nificent tigress  treated  with 
a  fidelity  to  animal  life  that 
is  remarkable  in  a  girl  not 
yet  out  of  her  teens  ;  and 
Mi.  .1.  Wolinski's  clever 
charcoal  studies.  Sculpture 
is  not  strong,  though  Signor 
Simonettj  has  a  speaking 
likeness  of  A.  P>.  Paterson 
("The  Man  from  Snowy 
River") :  Miss Theo. Cowan, 
a  tine  veiled  bust  of  an 
imaginative  subject,  "The 
Ve  I  id  Moon  like  1  >iau's 
Kiss,"  which  attains  its 
-i  b-j  the  N,,tm„r,i  cilery,  No.  1,178,  end  without  trickery  ;  M IS. 
Moore -Jones,  a  bronze 
head  of  Sir  Frederick 
Darley,  which  is  too  severely  judicial  tor  the  genial  Chief 
Justice,  and  might  pass  for  a  Roman  Dictator.  Our 
illustration  represents  the  front  elevation  of  the  proposed 
new  National  (  lallerv  for  Sydney,  which  is  to  be  laiill  during 
the  next  three  years,, I  a  cosl  of  612,000.  The  building  is 
designed  by  .Mr.  Vernon,  the  Government  architect. 


THE    CHRONICLE    OF    ART. 


173 


The  first  Report  of  the  Trustees  of  the 

reached  us.     It  shows  that  the  collection 
of  works  under  their  control  now  consists  of  twenty-four 


chbold.     Bequeathed  to  the  Nai 

Reynolds,    Bart.      No.  7,477,   Room  XX  ) 


!     STONE! 

/  Gallery  bj  Sir  John  Russell 


pictures— mostly  works  in  black  and  white— one  marble 
bust,  twenty-seven  pieces  of  Doulton  ware,  and  numerous 
engravings  and  volumes,  the  property  of  the  gallery.  Be- 
sides  these  they  have  on  loan  a  goodly  number  of  pictures 
and  engravings.  The  sum  of  £-500  has  been  placed  at  the 
disposal  of  the  trustees  for  the  purchase  of  works  of  art, 
£400  of  which  was  sent  to  London  for  acquiring  pictures 
by  European  artists.  It  is  an 
encouraging  fact  that  20,000  per- 
sons have  visited  the  gallery  in 
Brisbane  since  its  formation  in 
March,  1895. 

_....,.         The    Corporation 
Exhibitions.     .    ,  -A   ,  -i  ... 

Autumn  Exhibition 

at  Liverpool  enters  on  its  second 
quarter-century  this  year  under 
changed  conditions.  Alderman 
I  lath  bone  is  dead,  and  is  suc- 
ceeded by  Councillor  John  Lea 
as  chairman  of  the  Arts  Sub- 
committee of  the  Council.  This 
year  has  not  been  fertile  in  great 
pictures,  and  it  would  scarcely 
have  been  to  Mr.  Lea's  discredit 
if  the  exhibition  had  been  below 
average  :  he  has  scored  a  triumph 
by  getting  together  a  collection 
which  is  generally  allowed  to  be 
one  of  the  best  ever  seen  in  the 
Walker  Art  Gallery.  The  pro- 
fessional hangers  were  Mr.  W.  L. 
Wyllie,  A.B.A.,  Mr.  J,  J. Shannon, 
and  Mr.  A.  E.  Brockbank,  of  the 
Liverpool  Academy.  Their  woi  k 
has  been  very  well  done,  and  by 
boldly  abolishing  the  top  row 
and  substituting  a  frieze  "I  dra 
pery,  Mr.  Lea  has  secured  a  mosl 
pleasant  general  effect.  About 
2,800  works  of  arl  were  senl  in,  ol 
which  only  1,238  an-  exhibited. 
These  include  about   500  watei 


colours  and  77  pieces  of  sculpture  and  pottery.    The  late 

President's   "The  Empty  Cage"   has  a   place   "t    honour. 

The  water-colour  collection   is  a  very  strong  one,  and  the 

sculpture  includes  such  works  as  Mr.  Thoenyi  roft's  "Joy 

of   Lite,"  and   M.  Khnopff's   "Vivien."  Mr.  Chas.  .1. 

Allen  contributes  a  successful  posthumous  bust  of  the 

late  Mr.  Rathbone. 

The  autumn  exhibition  of  the  Nottingham  Art  Mu- 
seum takes  the  form  of  a  special  loan  collection.  Mr.  G. 
Harry  Wallis,  F.S.A.,  has  been  successful  in  obtaining 
many  important  works  by  contemporary  English  paint  rs. 
In  conjunction  with  this  exhibition  Sir  Charles  Sei  le) 
Bart.,  has  placed  at  the  disposal  of  the  Art  Museum 
Committee  an  important  collection  of  draw  i i , u ~  in  water- 
colours,  including  a  large  number  of  beautiful  drawings 
of  Venice  by  Mr.  Birket  Foster,  R.W.S.  To  tie  I  !or- 
poration  of  Birmingham  the  Committee  is  indebted  for 
the  loan  o(  the  whole  of  the  collection  of  water-colour 
paintings  ami  important  works  in  oils  from  the  City 
Arl   Gallery. 

In  the  Victoria  Institute,  Worcester  now  possesses  a 

Corporation  Art  Gallery,  and   its   first   exhibition  was 

recently  opened.     Over  two  hundred  works  have  been 

brought  together,  among  the  most  noteworthy  of  which 

are  "Jessica,"  by  Mr.  Luke  Fildes,  R.A.  ;  "  Fifty  Years 

After  "and   "  Autumn,"  by  Mr.  Frank   Bramley,  A.R.A.  ; 

''Season  of  Mist  and  Fruitfulness,"  by  Mr.  David  Murray, 

A. R.A. ;   and   "Ramilies,"  by  Mr.   Ernest  Crofts,   R.A. 

A  view  is  given  on  page  175  of  the  facade  of  the  admirable 

new  building,  of  which  Messrs.  J.  W.  Simpson  and   E.J. 

Milner-Ali.en  are  the  architects. 

Exeter,  to..,  has  a  new  Art  Gallery,  iii  which  is  housed 


•JEW     EXETER     ART     GAl.LER 


174 


THE    MAGAZINE    OF    ART. 


the  collection  of  pictures  belonging  to  the  Corporation. 
Among  the  most  noteworthy  of  these  is  a  portrait  of 
Napoleon,  l>y  David,  which  we  reproduce,  and  a  portrait 
of  "William  Warmond,  Burgomaster  of  Leyden,"  rather 
doubtfully  attributed  to  Franz  Hals.  Most  of  the  other 
works  are  by  the  late  William  Widgery,  an  artist  of 


Keviews. 


local  repute,  but  it  is  hoped  that  these  will  serve  as  a 
nucleus  for  a  collection  of  representative  works  by  modern 
artists,  as  the  trustees  have  a  fund  the  interest  of  which  is 
to  be  devoted  every  third  year  to  the  purchase  of  a  work  of 
art.  One  of  Mr.  Kenneth  Mackenzie's  pictures,  " Moor- 
land and  Meadow,''  was  bought  last  year. 

The  Oxford  Art  Society's  annual  exhibition  is  well  up  to 
its  average,  Prof.  Herkomer,  B.A.,  being  the  most  notable 
contributor  :  lie  has,  however,  only  sent  one  small  picture. 
"The  Home  Decorator."  Mr.  George  Carline  exhibits 
several  of  his  charming  wildflower  pieces  :  and  among 
numerous  other  contributors  are  Mr.  Carleton  Grant, 
R.B.A.,  Mr.  Reginald  Carter,  Mr.  E.  Gould  Smith, 
R.B.A.,  and  .Mr.  Walter  S.  S.  Tyrkwhitt. 

At  the  ('ity  Ail  Gallery,  Leeds,  a  large  collection  of 
engravings  of  Tdrner's  work,  with  some  of  his  original 
drawings  and  pictures,  arc  mi  view.  The  former  section 
exhaustively  represents  the  subject,  and  altogether  it  lias 
proved  an  interesting  and  successful  exhibition. 

English  humorous  art  is  agaii exhibition — this  time 

at  the  Fine  Art  Society's.  Commencing  with  examples  by 
Hogartfi,  tin-  drawings  are  arranged  chronologically,  end- 
ing with  work  by  Mi-  M  \x  Beerbohm,  the  series  including 
pecimens  of  work  by  nearly  all  the  best  humorous  artists 
"I  tli''  intervening  years.  A  large  number  of  drawings  by 
the  late  Fred  Barnard  share  a  room  with  a  collection  of 
charming   lithographs  of    the  Alhambra  by   Mr.   Joseph 


Pennell.  In  the  third  room  Mr.  A.  E.  Emslie,  A.K.W.S., 
has  eighty  pretty  water-colour  drawings  of  rustic  scenes, 
catalogued  under  the  title  "From  Youth  to  Age." 

At  the  Japanese  Gallery  there  is  an  exhibition  of 
works  by  Watanabe  Seitei  and  Kwason.  This  is  the 
second  appearance  of  the  former  artist  here  with  his 
beautiful  water-colour  drawings  of  birds, 
fishes,  and  flowers.  Characteristically  de- 
corative in  treatment,  they  are  delightful 
in  colour  and  execution.  The  "Branch  of 
Persimmon  Fruit,''  which  we  reproduce, 
is  one  of  the  best  of  them,  both  for  colour- 
ing and  decorative  arrangement.  Kwa- 
son's  work  is  equally  interesting,  except 
in  nne  or  two  drawings  in  which  he 
has  attempted  realistic  representations  of 
animals.  There  are  also  in  the  gallery 
several  cases  of  Chinese  ceramic  and 
enamel  work. 

It  should  afford  considerable 
gratification  to  Professor  Buskin 
to  contemplate  every  new  edition  of  his 
works  that  is  given  forth,  in  unbroken 
sequence,  from  the  press.  The  significance 
of  this  sign  of  the  artistic  times  can  hardly 
be  over- rated.  It  means  that  the  crusade 
that  has  so  long  been  waged  against  the 
great  writer,  mainly  by  Mr.  Whistler  and 
his  disciples,  has  had  little  weight  with 
the  general  public,  who  care  for  art  as  the 
expression  of  something  more  than  plea- 
sure sensuous  to  the  eye;  it  means  that 
the  "teaching"  of  the  Master  has  sunk 
too  deep  into  the  hearts  of  the  people  to 
be  easily  eradicated  by  the  counter-cry  of 
Art  for  Art.  In  the  famous  series  of  "Fors 
Clavigi  ra,"  of  which  we  have  received  the 
first  two  volumes  of  the  excellent  reprint, 
we  have  Buskin  at  his  best  and  in  his 
most  characteristic  mood.  We  have  him, 
primarily,  as  the  art-critic  ;  we  have  him  as  the  moralist, 
as  the  political  economist,  and  as  most  things  besides  ; 
and  we  have  him,  too,  as  the  humorist— in  which  character 
he  has,  perhaps,  acquired  more  disciples  than  through  any 
other  of  his  gifts  ;  so  true  is  it,  as  Carlyle  showed,  that  no 
great  writer  ever  swayed  men's  thoughts— Schiller  alone  ex- 
cepted— without  the  saving  virtue  of  humour.  Few  topics 
"('  Luskin. ;  teachings,  Cw  of  his  more  cardinal  opinions, 
but  are  touched  on  in  these 
delightful  pages.  Refreshing, 
too,  and  at  all  times  suggestive, 
and  in  all  respects  worthy  of  the 
enthusiastic  criticism  passed  on 
them  by  the  Sage  of  Chelsea 
himself,  whose  approval  was 
not  often  to  be  obtained  of  any 
contemporary  philosopher  what- 
soever. It  is  little  that  need 
here  be  said  in  praise  of  these 
extraordinary  volumes,  which 
now,  for  the  first  time,  are  placed 
in  a  collected  form  within  the 
reach  of  the  general  reader.  That  this  re-issue  will  be 
properly  appreciated  as  it  deserves  it  is  impossible  to 
doubt.  The  volumes  are  worthily  produced,  and  tlievaiied 
illustrations  are  adequate,  and  Mr.  COLLINGWOOD  may  be 
congratulated  on  the  result  of  his  editorial  labours.     \\  s 


MR.    GEORGE    ALLEN'S    IMPRII 
lf>.  sig /  by  Mr.  Waller  Crane 


THE    CHRONICLE    OF    ART. 


17;". 


have  pleasure  in  reproducing  the  imprint  of  the  publisher, 
Mr.  George  Allen,  for  the  Mike  of  its  beauty.  It  repre- 
sents St.  George,  England's  patron  saint,  and  Mr.  Ruskin's, 
and  was  designed  by  Mr.  Walter  Crane. 

Perhaps  few  men  know  more  about  making  drawings 
for  "  Tlu  Illustration  of 
Books  "  f  Fisher  Unwin) 
than  Mr.  I'knnell.  and 
if  he  could  have  re- 
stricted himself  to  talk- 
in-  to  the  students  of 
the  Slade  School  about 
the  things  he  has  ex- 
perience of,  the  book 
containing  those  talks 
would  have  been  much 
more  useful  than  it  is 
likely  to  be.  When  Mr. 
Pennell  deals  with  the 
practical  work  of  the 
making  of  illustrations 
he    gives    his    students 

many  good  useful  hint-. 

He    is    not    always   ac-  A   branch   of   p 

CUrate  in  his  statement-,  (From    .<    Water-Colmir    Dm 

as    we    shall    presently 

show,  and  some  of  the  despised  publishers  or  their  editors 
could  tell  Mr.  Pennell  a  thing  or  two  which  he  does  not 
yet  know,  because  they  have  a  much  larger  experience  of 
the  reproduction  of  drawings  than  he.    But  apart  from  this 

it  is  very  much  to 
be  regretted  that 
Mr.Pennellshould 
have  published  a 
book  so  much  of 
which  is  foolish 
and  offensive  and 
in  the  very  worst 
taste.  Mr.  Pennell 
gives  his  students 
to  understand  that 
the  illustrator  is  a 
kind  of  Christian 
martyr  living  and 
working  in  the 
midst  of  enemies. 
The  publisher,  the 
ait-editor,  the  en- 
graver, the  pro 
cess-block  maker, 
the  printer,  are  all 
combined  to  rob 
him.  to  insult  him, 
to  crush  out  of 
him  all  his  genius 
if  he  lias  any,  to 
force  out  of  him 
bad  «oik  for  little 

pay,   and    to   ruin 

even  that  in  its 
reproduction,  and 

FLIGHT     OF     A     DUCK.  tllL'H      to     tllli  Oil 

(From   a    Wat„-Colour   Drawing   l>9    »  his   pool'   head   the 

responsibilitj  for 
all  their  failures.  And  tin-  general  impression  produced 
on  the  reader  by  the  repetition  of  Till—  kind  of  talk  is 
that  in  Mr.   Pennell's  judgmenl  proprietor  ami  editor  are 


ignorant  and  grasping  sweaters,  that  engravers  and  process 
block  makers  are  ignorant  and  indolent  men,  neithei 
understanding  their  business  nor  taking  interest  in  their 
work,  and  who  are  only  concerned  in  having  drawings 
made  in  a  manner  that  gives  them  least  tr<  uble  to  repro 
duce.  At  the  same  time 
it  i-  r\  idi  iii  from  othi  r 
passages  in  the  1"  ok 
that  Mr.  Pennell  know- 
that  not  only  do  they 
understand  and  take 
great  interest  in  theii 
work,  luit  that  generallj 
they  are  men  oi 
ability  who  are  ready 
and  desirous  to  make 
the  best  oi  every  man's 
wink.  A  reference  to 
one    or    two    details    is 

necessary.    Mr.  Pennell, 

in  referring  to  the  gela 
tine  process  for  repro- 
ducing    line    drawings, 

RSIMMON     FRUIT.  saVS  (]  I.    74  )  I     "  TllC     pl'O- 

mg   by    Watanube   Seitei  >  re.-.-    IS    only    Used,    I     be 

lieve,  by  one  firm.     The 

result-  arc  good,  but  no  better  than  the  others."     Now  this 

process  is  twice  as  costlj  at  least  as  the  ordinary  line 
process,  and  yet  for  certain  work  publishers  these  sweal 
ing,  grasping  creatures  who  only  think  of  cheapness— will 


THE     VICTORIA     INSTITUTE.     WORCESTER. 

have  their  drawings  re] luced    bj    thi    swelled   gelatine 

I :ess  and  pay  for  it.    Can  it  be  that  it  is  "  no  bettei  than 

the  other      '     Mr.  Pennell  may  think   it  is  ig 

that  leads  them  to  throw  awnj  their  money,  bul  if  he  will 


176 


THE    MAGAZINE    OF    ART. 


take  the  trouble  to  < 
than  he  has  yet  done 
be  done  well  by  J  law 


C.     WILHELM. 
(From    a    Photograph    by    A. 


Deneulain.) 


mi  \  his  uivesl  igations  a  little  fur)  lier 

he  will  find  that  certain  thing  i  can 

mi's  swelled  gelatine  process  that  the 

other      processes 

will  (In  but  badly 

or  not  at  all.  Mr. 
Pennell  state-  in 
his  preface  that 
these  lectures  are 
.1  serious  essay  to- 
wards a  certain 
end.  There  are 
people  both  in  his 
own  country  and 
here  who  think 
that  it  is  a  mis- 
take ever  to  take 
Mr.  Pennell  quite 
seriously,  and  il  is 
a  little  difficult  to 
understand  how  a 
serious  man,  ad- 
dressing students 
who  have  to  make 
their  living  in 
conjunction  with 
publishers  and  editors  and  engravers,  should  think  it  a 
desirable  equipment  for  them  to  start  on  their  course  with 
such  foolish  notions  of  them  as  lie  here  sets  forth.  It 
may  be  that  Mr.  Pennell  did  not  intend  all  lie  has  said  to 
be  taken  seriously,  in  which  case  lie  would  have  been  wiser 
to  have  confined  it  to  the  familiarity  of  the  class-room 
and  not  to  have  reproduced  it  in  permanent  form. 

The  "Index  to  tlw  Periodicals  of  1895"  is  worthy  of  its 
predecessors.  To  the  merits  of  this  cyclopaedia  of  period- 
ical literature  we  have  before  borne  cordial  witness,  so  that 
we  have  but  little  to  add  in  praise  of  this  indispens- 
able publication.  Never  has  the  art  of  the  indexer 
been  more  exhaustively  or  more  intelligently  exer- 
cised. Every  section  appears  to  be  the  work  of  an 
expert ;  complete  yet  not  overloaded  ;  as  necessary 
to  writers  and  leaders  as  any  standard  work  you 
may  choose  to  name.  The  subject  of  art  occupies 
seven  columns,  carefully  subdivided  and  cross- 
indexed,  and  references  made,  for  example,  to  not 
fewer  than  to  some  -Jiln  articles  on  artists  alone, 
without  any  detectable  error.  It  is  an  admirable 
compilation,  which  should  be  accorded  the  support 
of  tic  public,  not  only  by  reason  of  its  intrinsic 
merit-,  but  because  the  expense  it  entails  on  its 
publishers  renders  its  issue  commercially  unprofit- 
able. The  discontinuation  of  such  a  work  we 
should  regard  as  a  catastrophe. 

One  of  the  best  of  the  Christmas  books  is  a 
delightfully  written  fairy  story  by  Miss  Siikila  E. 
Hi;  mm:,  entitled  "  To  Tell  the  King  the  Sky  is 
Falling"  (Blackie  and  Sons,  Limited,  London). 
Miss  Axice  Woodward  has  supplied  a  large  num- 
ber of  clever  illustrations  which  give  an  additional 
charm  to  the  volume  and  should  ensure  for  it  a 
gri  .'i   ind  well-deserved  success. 

Such  details  of  art  life  in  Paris  as  may  be  neces- 
sary to  the  intending  student  or  to  others  curious  in  such 
matters  are  presented  in  the  1896-7  edition  of  the  "Anglo 
American  Annual."     Art-student  life  in  Paris,  the  principal 
-tui la i   and  academies  receiving  pupils, a  list  of  the  English 


speaking  artists  and  ait  students  in  the  city,  are  given  at 
some  length.  We  constantly  receive  inquiries  from  corre- 
spondents desirous  for  information  on  these  points  ;  we  can- 
not do  better  than  to  refer  them  generally  to  this  useful 
compilation. 

We  have  received  from  the  Great  Eastern  Railway 
Companya  copy  of  their  "  Tourists'  Guidi  in  tin  Continent," 
by  .Mr.  Percy  Lindlev,  a  little  book  likely  to  be  useful  to 
intending  holiday-takers.  Its  illustrations  are  temptingly 
suggestive  to  the  lover  of  tin-  picturesque. 

Mr.  Walter  Crane  has  issued  through  the  Twentieth 
Century  Press  a  small  collection  of  his  Socialist  cartoons 
which  have  been  made  at  intervals  during  the  past  ten 
years.  They  vary  very  much  in  quality,  the  best  of  them 
without  doubt  being  "The  Triumph  of  Labour,"  which 
was  designed  to  commemorate  the  International  Labour 
Day,  May  1st,  1891. 

In    connection    with    our   notice    of   the    new 
ballet  on  p.  Hi:i  we  publish  a  portrait  of  the 
designer,  Mr.  C.  Wii.hklm. 

Through  a  slip  of  the  pen  we  referred  to  William 
Morris's  "Dream  of  John  Pall"  as  a  "poetical"  work. 
We  thank  our  correspondents  who  have  called  attention 
to  the  matter. 

The  Bohemian  artist  M.  Vaclav  Bkozik  has  been 
elected  foreign  member  of  the  Societe  di  s  Artistes  Fiancais 
in  succession  to  the  late  Sir  John  E.  Millais. 

Mr.  F.  W.  W.  Topham  lias  been  elected  a  member  of  the 
Royal  Institute  of  Painters  in  Water-Colours,  and  Professor 
Hans  Vox  Bartels  an  honorary  member.  The  following 
have  been  elected  members  of  the  Royal  Society  of  British 

Artists:      Messrs.    WRIGHT     BARKER,     BURLEIGH     PjEUHL, 

Fp.ank  Dickson,  J.  Fitz-Maeshall,  Hain-Friswell, 
Trk.vor  Haddon,  Philip  H.  Newman,  Tom  Robertson, 
and  T.  P.  M.  Sheaed. 

Mr.  Beams,  B.W.S.,  has  died  at  the  age  of  seventy-two. 


Miscellanea. 


A     NEW     POSTER. 
{Designed    by    Louis    J.    Rhead.) 


Born  at  Exeter,  he  studied  at  the  Academy  Schools  and 
became  a  contributor  to  the  Academy  exhibitions.  He  had 
several  drawings  at  the  Old  Water  Colour  Society's  winter 
exhibition  last  ye  ir. 


<§gU 


■ 


opyright  1893  by  Photograph  i  sc 


THE     LOVE    TOKEN. 

.    mission  of  t  h  .  lographic  C?J 


THE     COLLECTION     OF     MR.     W.     CUTHBERT     QUILTER,     M.P, 

THE     MODERN     ENGLISH     MASTERS.- II. 


F.     G.     STEPHENS. 


IF  anything  were  needed  to  prove  the  catholicity 
of  Mr.  Cuthbert  Quilter's  taste  in  art,  and 
illustrate  the  comprehensiveness  of  his  sympathies 
with  painters'  aims,  the  reproductions,  for  liberty  to 
include  which  in  these  notes  all  readers  are  bound 
to  join  their  thanks  with  mine,  and  the  multiform 
charms  of  the  pictures  in  question  here,  are  more 
than  sufficient  for  both  these  purposes.  The  six 
examples  before  us  include  three  world-renowned 
masterpieces,  as  well  as  Mr.  Leader's  brilliant  and 
populai  chef-d'ceuvn  ;  one  of  the  most  distinguished 
of  John  Linnell's  masculine  and  original  poems  in 
English  landscape,  a  really  noble  piece,  and  such  as 
the  most  vigorous  old  masters  might  be  proud  of; 
tnd,  lastly,  a  large  and  highly  characteristic  quasi- 


work  in  his  truest  aspect,  and  in  technical  matters 
more  like  Ins  illustrious  forerunner  than  the  radical 
differences  of  their  times  si  nurd  to  allow  possible. 
In  whatever  way  the  pathetic, devout,  and  passionate 
turn  of  each  artist's  mind  manifested  itself,  the 
likeness  between  them  is  strikingly  close.  This 
similarity  is  obvious  when  we  recognise  in  the 
modern  master's  piece  the  intense  realism  of  Diirer, 
his  indomitable  industry,  his  achievement  of  the 
effect  of  light  in  the  open,  the  glowing  and  some- 
what isolated  local  colours  of  Ins  pictures,  as,  for 
example,  the  stupendous  "Adoration  of  the  Trinity," 
wliicli    is  among   the   wonders   of   Vienna,  an 

treating  that  glorj  of  light  which  was I    Albert's 

greatest  subjects — quite  incomparable.    The  English- 


Spanish  figure  picture  by  John  Phillip,  the  latest  of  man's  turn   for  allegorising,  using   the  most   obvious 

all  his  more  ambitious  productions.  of  types,  is  more  strongly  mailed  in  "The  Scape- 

[f   one  of  the  masterpieces   thus  referred  I"   is  goat  "  than    in  anj    othei   of    his   works,  and  while 

more    important,    fresh,   and    virile    than    its    com-  Durer's  genius   penetrated    much  cl  per    into  sym- 

panions,  that    is   undoubtedly  "The  Scapegoat      of  bolical  mysteries  than  Mr.  Hunt  (his"Melem 

.Air.   Holman   Hunt.  a.  work    which    I   am    fai    from  and'Teast    of  the    Rose  Garland      to  wit),  there  is 

al in  accepting  as  not  onlj   a.  leading  member  of     not  a  little  that    i     I lil      li  the  inspiration  as 


i lie  epoch-marking  class  of  paintings  this  century 
is  likely  to  boast  of,  1ml  in  some  respects  the  best 
of  the  artist's  output.  The  Albert  Diirer  of  out  age, 
Mr.  Hunt,  appeared  by  means  of  this  extraordinary 

2:; 


well  as    111  the   !'  chnique  of   .Mr.  Quilter's  picture, 

which  I  do  not   In  hink  worth  half-a-dozen 
-  Lights  of  the  World"  0 

•■  The  Si  .ij"  goat      ■..  1  «  hole,  1  he 


ITS 


THK    MAGAZINE    OF    ART. 


legitimate  and  complete  outcome  of  these  rather 
stringent  and  self-compelling  principles  which  in- 
duced the  artist  to  "realise"  (there  is  no  better 
term)   one   of   the   symbolic   sacrifices   of    the    <  >ld 


illustrations,  fanciful  and  graceful  exceedingly.  The 
stupidity  of  Bottom  is  unexceptionable;  the  robust 
elves,  Moth  and  Mustard  Seed,  the  fluffy-furred  hares 
as  white   as  snow  with  rubies   for  eyes — nay,  the 


the    Painting    by    Sir 


TITANIA     AND     BOTTOM. 
wdseer,     R.A.      By    Permission    of    Me: 


Testament.  Nothing  was  to  be  left  to  the  imagi- 
nation of  the  spectators  of  a  picture  by  Mr.  Hunt, 
who,  with  all  his  allegorising,  is  the  most  exacting 
of  realisers.  The  more  ancient  and  gross  antetype 
lit'  the  Great  Sacrifice  must  needs  he  painted  not 
only  "to  a  hair,''  but  in  the  very  uttermost  of 
those  desert  regions  to  which  the  goat  of  actuality 
might  have  wandered  when  "driven  forth  into  the 
wilderness,"  a  red  fillet  being  twined  with  his  horns, 
whirl  i,  should  the  poor  brute  be  afterwards  discovered, 
and  the  fillet  found  to  be  bleached  white,  was  con- 
sidered as  a  sign  that  the  vicarious  atonement  was 
accepted.  The  landscape,  with  the  mountains  of 
Edom  glowing  in  the  sunset's  rose  and  purple,  the 
Dead  Sea  at  Oosdom  and  its  pallid  water,  were 
painted  on  the  spot;  at  Jerusalem,  the  goat  himself 
was  finished  from  sketches  made  mi  the  salt-in- 
crusted  margin  of  the  lake.  Painted  in  1854,  and 
brought  tu  England  in  1855,  "The  Scapegoat"  was 
.sold  to  the  late  Mr.  Windus,  of  Tottenham,  for 
£420,  and  exhibited  at  the  Academy  in  1856, 
N...  398. 

■  Titania  and  Bottom,"  popularly  known  as 
"Mid  mi, iin  i  Night's  Dream,"  one  of  Landseer's 
charming  pictures,  is  in  some  respects  among 
the  most    beautiful   ami    modern    of   Shakespearean 


fantastically  tail'  Ariel,  an-  all  we  could  desire  ;  exqui- 
site is  the  painting  of  Titania's  semi-diaphanous  robe 
starred  with  gold  ;  in  her  face,  however,  there  is  no 
passion  Oberon  need  have  troubled  himself  about. 
All  the  world  was  young  when,  in  1850,  Sir  Edwin 
painted  this  work  for  Sir  Isambard  Brunei's  Shake- 
speare Gallery;  it  was  at  the  Academy  in  1851,  very 
admirably  engraved  by  S.  Cousins,  and  at  the  Brunei 
sale  in  1860  was  sold  I'm-  £2,940  (an  enormous  price 
for  those  days)  to  Earl  Brownlow,  in  whose  possessioir 
it  remained  at  Ashridge  Park  till  Mr.  Agnew  bought 
it  :  from  him  it  passed  to  Mr.  Quilter.  Unlike  "  Bolton 
Abbey"  and  some  other  Landseers,  "Titania  and 
Bottom"  is  in  excellent  condition.* 

The  third  of  our  masterpieces  is  Millais' 
"Murthly  Moss,"  one  of  the  capital  landscapes  of 
that  most  capable  of  landscape  painters.  Worthy  to 
be  ranked  with  his  "  <  >vcr  the  Hills  and  Far  Away,'' 
in'  "Chill  October,"  it  represents  Carnleeth  Moss, 
Birnam,  late  in  a  September  afternoon,  when  pale 
and  declining  daylight  struggles  to  penetrate  the 
thin  grey  clouds  which  almost  completely  mask  the 
sky:    tins    light    is    reflected   by   the    pools   of    the 

■  Additional  interest  belongs  i"  lliis  work  by  ilie  fact  that 
it  was  while  painting  it  that  the  balance  el'  the  great  painter's 
mind,  at  that  time  in  jeopardy,  was  restored.— Ed. 


THE    COLLECTION    OF    ME.    W.    CUTHBERT    QUILTEE     MP. 


179 


foreground,  and  they  are  so  calm  that  the  images 
of  the  rushes  and  flags  do  not  move  .'it  all.  A  tract 
of  meadow  marks  the  mid-distance,  and  is  shut  in  by 
a  dark  belt  of  pines,  some  of  whose  stems  are  touched 
by  a  pallid  golden  gleam,  the  only  one  in  the 
picture;  beyond  the  pines  the  grey  sides  of  a  range 
of  hills  are  indistinctly  seen  in  that  wannish  lkdit, 
the  poetry  of  which  no  one  appreciated  more  truly 
or  painted  more  tenderly  than  Millais.  Il  may  be 
railed  a  picture  of  silence  and  silvery,  almost  shadow- 
less, light,  Tainted  in  1887,  " Murthly  .Moss"  was 
No.  292  at  the  Academy  in  tin'  next  year,  h  is 
one  of  the  most,  powerful,  soft,  ami  harmonious  of 
modern  landscapes:  as  a  Millais  quite  a  masterpiece. 
Inspired  by  imagination  of  a  very  noble  strain,  rest- 
ful, solemn,  and  serene,  the  pathos  of  this  example 
is  of  the  first  order,  and  grows  upon  us  while  we 
look,  so  that  thus  profoundly  touched,  the  spectator 
almost  forgets  to  marvel  at  the  completeness  of  its 
every  detail,  its  innumerable  minuthe,  and  their 
perfect  unison.  Nor  is  the  coloration  of  "Murthly 
Moss"  less  a  work  of  art   than  its  painting  per  se ; 


With  the  utmost  virility,  rusticity,  and  veracity 
Linnell  painted  "On  Summer  Eve  by  Haunted 
Stream,"  in  a  mood  which  never  tails  to  remind  me 
of  Samuel  Palmer's  inspire. I  ail.  It  is  very  happy 
indeed  in  that  way,  and  yet  it  is  as  true  a  Linnell  as 
it  can  be,  and  tit  to  hold  its  own  with  any  modern 
landscape  where  the  poetry  of  nature  is  represented 
in  art  and  by  means  of  art,  and  does  not  appeal  to 
letters— i.e.,  to  a  totally  different  order  of  culture — 
for  its  honours,  still  less  for  its  interpretation.  In 
an  age  of  scholasticism  such  as  ours,  it  has  almost 
gone  out  of  mind  that  art,  as  a  means  of  culture 
and  power  in  dealing  with  beauty,  is  not  less  potent 
than  literature,  is  not  a  plaything,  nor  the  hand- 
maiden of  letters,  but  exists  in  its  own  right.  In 
such  pictures  as  "Murthly  Moss."  and  that  which 
is  now  before  us,  we  find  no  "illustrations"  of 
thoughts  which  could  equally  well  express  them- 
selves by  literary  means.  What,  we  find  is  some- 
thing more  subtle,  searching,  serious,  and  true,  than 
letters  can  attain.  Of  course,  literature  is  a  mode 
of  culture,  but.  it  is  not    the  only  one;  at    least    the 


its  simple  yet  majestic  composition  conforms  to  the  Greeks, whose  pedagogues  in  thought 

intense  tranquillity  of  the  scene,  and  the  painter's  so.     The  autumnal   fervours  of  a  Kentish  laid  i  tpi 

impressive    mood    is    immortalised    in    the    manner  suited  the  taste  of    Linnell   in  his  Claude-like  i d, 

before  us.  which  is  much  the  same   i    thai  of  Samuel   Palmer; 


180 


THE    MAGAZINE    OF    AET. 


accordingly,  he  depicted  with  unusual  force  of  tunc 
and  wealth  of  colour  the  vista  of  a  devious  stream 
in  its  rocky  lied,  as  it.  is  seen  between  densely- 
wooded  banks,  and  from  the  road  which  is  flanked 
l>\  groups  of  oaks  anil  ash-trees.  A  noble  harmony 
obtains  between  tin-  motives  of  the  picture,  its 
sentiment  of  strength  seeking  repose  after  the 
efforts,  splendours,  and  triumphs  of  the  fervid  day, 
and  the  scene  itself,  as  well  as  the  artistic  treat- 
ment, ami  style  of  the  painting. 


the  levelling  nature  of  engraving,  ampler  justice 
is  done  here  in  tin-  less  noble  picture,  than  to  the 
masterpieces,  it  is  nut  difficult  to  allow  for  the  dis- 
advantages of  the  latter  two,  which,  when  the 
originals  are  studied,  stand  apart.  "Departing  Day" 
represents,  I  believe,  a  very  charming  reach  of  the 
Severn.  It  is  a  luminous  and  effective  work,  the 
character  of  which  adapts  it.  fur  translation  into 
black  and  white. 

The  last  of  the  illustrations  now  in  view  repre- 


'  ON     SUMMER     EVE 


BY     HAUNTED 


The  extreme  obviousness  of  every  element  con- 
stituting Mr.  Leader's  attractive  and  ambitious 
landscape  of  "Departing  Day"  qualify  tint  by  no 
means  unjustly  admired  work  fur  its  important  func- 
tion; that,  is,  as  I  take  it,  these  easily  lead  features 
arc  fitted  to  evoke  fur  nature  and  the  higher  ait 
(which  after  all  is  a  sort  of  nature  worship)  certain 
emotions  and  thoughts  in  usually  insusceptible 
minds,  and  tn  make  the  dull  obseryant,  susceptible, 
and  sympathetic,  and  thus  lead  them,  so  to  say, 
I  the  levels  of  Millais  and  Linnell.  It  is  nut 
an  ignoble  function  which  accomplishes  <>r  should 
accompli  h    so   much   as  this.     Although,  owing  to 


sents  John  Phillip's  thoroughly  characteristic  and 
large  painting  of  "Eelic  Sellers,"  a  scene  at  the 
door  of  the  Cathedral  of  Seville.  It  is  the  latest 
of  the  works  of  that  artist — one,  indeed,  which 
he  left  partly  unfinished  (like  that  at  the  Scottish 
National  Gallery),  although  it  is  among  those  to 
which  he  devoted  much  study  since  1861,  when 
he  began  it  at  Seville.  It  comprises  some  of  his 
astonishing!)  facile  workmanship;  thus  the  figure  of 
the  Mind  beggar's  dog,  conspicuous  in  the  foreground 
of  the  illustration,  is  as  expressive,  faithful,  and 
energetic  as  Landseer  himself  could  have  made  a 
dues  portrait  to  he,  and  yet  it  is  the  outcome  of  a 


THE    COLLECTION    OF    ME.    W.    CUTHBEET    QUILTEE,    M.P. 


1 83 


few  forthright  and  swifl  touches  with  a  sweeping 
brush,  and  was  not  worked  out  when  fate  stayed  for 
ever  the  accomplished  hand  to  whose  skill  we  owe 
the  picture  before  us,  "La  Gloria,"  "A  Chat  round 
the  Brasero,"  and  a  dozen  excellenl  pieces  of  diverse 
aims  and  sympathies.  Dying  February  27,  L867, 
the  artist  left  a  name  which  no  one  would  willingly 
let  die,  and,  as  an  eminent  Academician,  his  career 


mantle  is  looking  at  so  intently.  Mr.  Cuthbert 
Quilter  exhibited  "  Eelic  Sellers"  as  No.  I  in  the 
Academy  in  the  winter  of  1895.  The  picture  is  full 
of  power,  and  is  paiuted  with  a  firmer  and 
massive  touch  than  is  usual  with  Phillip;  his  inven- 
tion was  nevi  i  stronger,  nor  his  insight  into  character 
more  keen  ami  sympathetic,  than  when  he  I 
this  large  picture  more  than  thirty   years  ago. 


THE     RELIC    SELLERS. 
(From    the    Painting    luj    John    Phillip,    R.A.) 


ended  very  differently  from  that  of  liis  beginning 
as  a  house-painter's  apprentice  ami  colour-grinder 
of  Aberdeen,  who,  in  1834,  failing  other  means  of 
reaching  London,  became  a  stowaway  on  board  '/'.  ■ 
Manly,  a  trading  brig,  and,  in  peril  of  the  rope's  end, 
was  sel  to  re-paint  the  vessel's  figure-head.  Aitei 
which,  when  in  the  Thames,  the  lad  was  kepi  two 
whole    days    at     the    occupation    of    ballast-lifting, 

ere    the    skipper   would   allow    him    to   go   ash 

The  influence  of  Velazquez,  with  a  dash  of  Titian, 
manifesting  itself  in  painting  from  such  models  as 
Murillo  loved,  is  distinct  in  "Eelic  Sellers."  The 
theme  of  this  work  reminds  us  of  a  tradition  to  the 
effect  that  the  last-named  Sevillian  master  himself 
was  wont  to  make  for  sale  to  the  peasants  who 
thronged  to  the  city's  markets  \«'ti\<i  pictures  such 
as  the  stalwart   herdsman  before  us  in  the  striped 


Having   already    discussed    !•'.    Walker's   capital 
achievement,  " The   Bathers,"  if    is  right   I"  mention 
in  this  place  that  Mr.  Cuthberl  Quilter  has  a  small 
sketch  or  version  of   this  artist's   less  happj    i 
called  •■  Wayfan  ■  i  ing  a   road 

by  the  side  of  a  thicket.  I  >n  a  similar  ace,, nut. 
having  put  before  the  reader  some  notes  on  Mr. 
Briton   Riviere's  very  fine  and  telling,  romantic  and 

The  Magician's  I rway,"  I  ought 

to  add  thai  among  om  !i  quisi- 
tions  is  a  cartoon  of  the  design  of  "Actreon  and 
his  Dogs"  by  the  same  painter.  With  the  last- 
named  scholarly  and  is  Sir 
Edward  Poynter's  small,  solid,  and  classical  pic- 
ture, the  colorati I'  which                   n  ise  in  rose 

and  white.  Si  i  Wall,"  wliicli  was  before 

the  public  a  fev    ] 


184 


GOLDSMITHERY. 


By    ALEX.     FISHER.      Illustrated 


HE    AUTHOR. 


Ob'  the  aiicienl  history  of  the  goldsmith's  art, 
from  Bezaleel  and  Aholiab  who  made  the 
golden  vessels  of  the  Tabernacle  under  the  Divine 
direction  of  Moses,  the  ark',  the  mercy-seat,  the 
ahai  of  incense,  and  the  seven-branched  candlestick ; 
of  the  goldsmiths  who  worked  for  Solomon  in  all 
his  glory,  and  of  the  fabulous  amount  of  gold  at 
his  or  their  disposal;  of  the  Egyptian  workers  in 
the  precious  metal  :  how  these  were  conversant 
with  almosl    every  method    known  to  the    modern 


ami  as  everyone  knows  this  is  the  reason  that 
it  is  used  so  largely  to  protect  other  metals,  such 
as  silver  and  copper,  from  oxidation.  Again,  it 
is  extremely  malleable  and  ductile,  so  that  it  can 
be  hammered  or  rolled  to  an  incredible  degree  of 
thinness — it    being    possible   to    reduce   it    to    the 

LM,,,' ,th    part    of   an    inch,    or    beaten    into    any 

shape.  It  may  be  drawn  into  wire  as  fine  as  a 
hair.  It  may  be  soldered,  as  witness  the  marvellous 
productions  by   the  (heck  and  Etruscan  workman, 


7*  t 


GOLD     CLASP. 


goldsmith;  how  with  far  surpassing  skill  the  Greeks 
still  remain  the  besl  goldsmiths  in  many  respects 
that  have  ever  lived:  how  they,  in  the  very 
highest  period  of  Grecian  art,  with  Phidias  at 
its  head,  could  with  the  greatest  beauty  of  design 
and  perfect  manipulation  produce  works  worthy 
of  such  an  age  as  the  few  small  pieces  that  re- 
main to  us  testify — of  all  this  has  not  much  been 
well  and  worthily  written  \  But  rather  let  us 
study  for  a  few  moments  what  is  to  be  done,  and 
what  can  be  done,  in  the  most  beautiful  metal 
that  is  found  in  the  world. 

To  do  this  we  must   first  consider  the  properties 
of  gold  ami  its  fitness  as  a  metal  to  be  used  in  art. 
Above  all  other  qualities  it   possesses  is  its  colour. 
The  i is   of   all   time   have   sung   its   praises,  re- 
ferring to   the  light    of    the    morning  and   evening 
as  golden.     Angels  in   pictorial   art  have  nimbi  of 
The  very  word  "gold"  at  once  suggests  the 
most  gorgeous  thine-  in  nature,  and  by  analogy  the 
happiest    period  of  man's  existence  is  spoken  of  as 
ti  age."    The  next  high  quality  it  possesses 
ii it   tarnish  in  either  air  or  wate]  : 


who  could  cover  a  surface  with  such  minute 
grains  of  gold  as  to  be  almost  beyond  the  power 
of  ordinary  vision.  It  may  be  cast  and  riveted 
and  any  kind  of  surface,  from  the  rough  to 
highest  possible  polish,  given  to  it.  It  can  also  be 
hardened  and  toughened  by  alloys:  and  although 
it  loses  somewhat  its  absolutely  supreme  colour, 
yet  in  such  slight  degree,  where  little  alloy  is 
used,  that  what  it  gains  in  hardness  and  therefore 
in  utility  both  to  the  goldsmith  and  the  wearer 
more  than  compensates  for  this  very  slight  loss. 
Then  last,  hut  not  least  by  any  means,  it  is  the 
besl  of  all  metals  upon  which  to  enamel — of  which 
I  shall  have  somewhat  to  say  on  a  future  occasion 
in  this  Magazine.  So  that  here  we  have  a  metal 
which,  with  a  knowledge  and  practice  necessary  to 
use  it,  lends  itself  in  the  hands  of  an  artist  to 
the  expression  of  all  the  beauty  he  may  desire. 

Goldsmithery  is,  above  all,  the  art  which  should 
have  its  own  design.  And  yet  a  great  number  of 
pieces  of  goldsmith's  work  in  the  Renaissance — 
French  and  German  —  and  this  century  particu- 
larly, are  nothing  more  than  minute  reproductions 


GOLDSMITH  ERY. 


185 


of  architecture  and  woodwork.  The  moulding 
columns,  pilasters,  the  tracery,  and  carvings  wen 
originally  either  designed   for  stone  or  u I     am 


GOLD     CHALICE     AND     PATEN. 

probably  the  designer  was  either  a  person  who 
knew  nothing  about  the  material,  or  a  gold- 
smith who  knew  nothing  about  design.  The 
real  goldsmith,  to  my  mind,  is  an  artist  who 
is  most  intimately  acquainted  with  the  methods 
of  working  gold,  so  that  the  properties  of  the 
metal  may  govern  as  well  as  help  his  design. 
For  ii    is  not  a  matter  whether  a  design  can 

or  cannot    I xecuted   in  gold,  but  whether 

it  is  mosl  suitable  to  its  manipulation,  and 
shall  be  the  one  which  will  display  the  mate- 
rial in  all  its  loveliness.  In  return  il  is  bound 
In  show  the  design  al  its  best.  And  line, 
before  I  go  further,  perhaps  ii  would  be  of 
interesl  to  the  general  reader  and  of  some 
use  to  the  student,  were  I  to  describe  some 
nf  the  processes  which  air  employed  in  the 
making  nf  gold  objects. 

Pure  gold,  or,  as  it  is  termed  amongst  gold- 
smiths, "fine  gold,"  is  tun  -nit  I'm  general  use, 
and  therefore  an  addition  of  copper  or  silver 
or  lmtli — which  is  called  alloy  when  used  For 
tin's  purpose — is  made  to  strengthen  it.  The 
amount  of  alloy  employed  lias  given  rise  in 
tin-  practice  of  stamping  all  gold  artii  les 
with    tin'   number   of    the   carat.      Tim   caral 

L'l 


means  the  twenty-fourth  part  of  a  unit,  whethei 
tin'  unit  consisl  i  I  an  ounce,  pound,  or  any  ol In  i 
weight,  so  that  when  we  say  twenty-two  caral  we 
mean  twenty-two  parts  of  tin.'  gold  and  two  parts 
ul'  alloy.  Tin'  alloy  "!'  copper  makes  gold  redder, 
and  that  of  silver  yellower.  The  difference  i-  very 
obvious  between  our  coinage  and  that  nf  Australia. 
At  one  time  the  gold  coinage  nf  tins  country — in  the 
reign  nf  Henry  III. — was  nf  fine  gold.  In  Hem-) 
VIII.  s  time  it  was  made  twenty-two.  There  have 
been  several  changes  in  the  proportions  since  that 
time,  hut  we  have  come  hark  In  that  standard: 
and  all  English  gold  ruins  are  twenty-two  carat. 
"When  they  leave  the  mint  they  are  intrinsically 
worth  the  exact,  sum  they  represent,  and  air 
frequently  melted  down  fur  use  in  goldsmithery. 
Gold-beating  and  rolling  are  dune  in  the  following 
manner.  The  -old  and  alloy  are  melted  in  a 
crucible,  and  cast  into  small  ingots  weighing  about 
'2  oz.,  which  are  rolled  between  sled  rollers,  anneal- 
ing repeatedly,  in  order  to  keep  it  soft,  and  reducing 
it  in  thickness  very  gradually,  until  it  is  about  \ , p 1 1 1 
part  nf  an  inch.  This  is  thru  cul  into  squares, 
which  are  rolled  again  and  beaten,  cut  and  beaten 


TABERNACLE     (DOOR     IN     GOLD     REPOUSr^,    OTHER     PARTS     IN     SILVER). 


186 


THE    MAGAZINE    OF    ART. 


again    until    of    the    requisite    thinness.      In 
way  we  obtain  gold  of  any  degree  oE  thicknes: 
thinness,  from  the  gold  leaf  which  is  used  for 


is  termed  "binding  wire,"  or  in  larger  pieces  by 
clamps.  The  solder  is  then  put  along  the  line  where 
the  parts   touch  in  small  pieces  called  "  paillons," 


PENDANT     IN     GOLD     AND     ENAMEL     WITH     PEARLS. 


picture  frames   to   that  size  which 
beating   a    vase    or   cup   into   shap 

Wire-drawing  is  done  by  pass- 
ing square  strips  between  steel 
rollers  which  have  a  groove  in 
the  upper  and  lower  rollers. 
When  these  become  very  hard 
they  are  annealed.  When  line 
enough,  I  he  \\  ire  is  pointed  and 
drawn  through  a  steel  draw  plate, 
which  is  about  10  inches  long 
and  if,  broad  and  half  an  inch 
thielc,  which  has  holes  of  different 
sizes  diminishing  very  gradually. 
The  wire  having  been  drawn 
through,  it  is  annealed  again  and 
again  whenever  the  metal  be- 
comes too  haul  to  work.  All 
kinds  of  sections  of  wire  can  be 
drawn  in  this  way.  The  ancients 
knew  nothing  whatever  about 
this  method,  their  wire  being 
made  by  the  hammer  and  anvil, 
which  must,  have  been  a  great 
labour.  The  manner  of  hammer- 
ing a.  Bhape  up  from  a  flat  piece 
of  metal  must  be  seen,  so  too 
the  casting,  to  be  understood. 
Soldering  is  done  by  placing  the 
parts  together,  after  very  careful 
cleaning  and  exact  fitting,  and 
then  bound  by  iron  wire  which 


d    for 


which   ha\ 

from    the    flat,      borax,  and 


GOLD     CHATELAINE 


GOLD     AND     ENAMEL     BROOCH. 

•  been  dipped  into  a  saturated  solution  of 
the  flame  from  the  blow-pipe  is  directed 
along  these,  which  quickly  melt 
and  run  swiftly  alone-  the  joint. 
Gold-plating  is  done  in  much  the 
same  way.  The  two  metals,  gold 
and  copper,  or  more  properly 
speaking,  gilding  metal,  are  taken 
and  made  flat,  which  are  (leaned 
and  tiled  on  the  two  surfaces 
which  are  to  come  into  contact, 
and  these  are  rubbed  over  with 
borax  :  they  are  then  firmly 
bound  together,  and  the  paillons 
of  solder  placed  along  the  edges 
at  the  junction  of  the  metals, 
after  which  they  are  placed  in  a 
muffle  made  red-hot,  where  they 
become  thoroughly  amalgamated, 
and   they  are   then  withdrawn. 

The  process  of  chasing  and 
engraving  cannot  be  sufficiently 
described :  they  must,  be  demon- 
strated. Indeed,  they  are  gener- 
ally well  understood,  being  exactly 
the  same  as  in  any  other  metal. 
There  is  one  great  limitation  of 
the  use  of  gold, which  is  its  costli- 
ness. And  except  in  the  some- 
what rare  cases  of  pieces  for 
some  national  or  civic  ceremony, 
or  obi'ects  devoted  to  the  service 


GOLDSMITHERY 


L87 


of  religion  (to  which  sacred  cause  have  more 
larger  pieces  been  made  than  to  any  othei 
being  the  best  that  man  could  offer  in  wor- 
ship and  praise  to  his  Maker),  or  again, 
in  ohjects  made  for  occa- 
sion of  royal  ceremony, 
ail  icles  for  personal 
adornment,  jewellery,  and 
minor  pieces  for  decora- 
tion and  use  at  table  have 
almost  monopolised  the 
use  of  gold  in  art.  The 
Egyptian  bracelet,  the 
Greek  earrings  and  pen- 
dants in  the  British 
Museum,  the  Etruscan 
armlet  ami  bowl  and  neck- 
laces  at    the    South    Kensington 


GOLD     EARRING 


attempt    at    what    is    termed    -  finish      to-day,  ami 
which  generally   means  .1-  truction  of   all    feeling) 
the  earrings    bracelets,  rings    pendant 
linn's  heads,  serpents,  fishe     leopards,  birds, 
swans,  owls,  hawks,  dovi 
are  examples  of   this,  ami 
were  forms    cout  inually 

used.      Th. -re    have    I a 

of  late  years  very  care- 
ful ami  exact  copies  of 
many  pieces  of  this  jewel- 
lery. Ami  here  let  me 
say  that  although  these 
are  most  interesting  as 
(•"pies,  ami  most  useful  to 
tli''  student,  they  do  not 
represent  the  feeling,  the 
ispirations,  or  joys,  or  sorrows,  in 


gold  earring.  Museu i ii ,  a ii.  1  t lie  ( 'elt ic  1  >r< i. .dies      fact   the  Ih'e  of  to-day,  and  that 

in  the  Dublin  Museum  are  all  they  should  never  be  repeated 
beautiful  examples  of  work  of 
this  kind.  The  character  of 
the  design  in  the  Celtic  work  is 
well  worthy  of  close  attention 
ami  study,  ami  is  chiefly  re- 
markable for  the  extreme 
simplicity  of  the  shapes  with 
intricate  and  elaborate  inter- 
lacing i.f  wire  soldered  to  the 
ground,  or  patterns  cut  out  of 
the  solid,  or  beaten  up  from 
the  hack  in  finely  traced  lines. 
The  accuracy  of  the  drawing, 
the  powerful  character  of  the 
line,  and  the  excellent  work- 
manship make  this  period  one 
of    the   finest.     The  strength  and  simplicity  of  tl 

design  were  further  enhanced  by  si >s  being  fixi 

in    circular   raised    settings,   which    helped    to  pn 
beet    the    line    delicate   work 


GOLD   CUP 


GOLD  CELTIC  BROOCH. 

save  as  copies,  therefore  should 
be  studied  only  in  order  bo  as- 
sist in  the  expression  of  our 
own  feeling  and  individuality. 
Sum,-  of  the  larger  pieces 
that  have  hccn  made,  ami  which 
are  well  worthy  of  our  careful 
attention,  are  the  altai  froill 
now  in  the  Musee  de  Cluny, 
originally  from  Basle,  which  is 
of  Byzantine  character;  the 
high  altar  at  the  cathedral  of 
Genoa,  in  Spain,  \\  ith  plates  oi 
mild  ami  figures  in  relief  fixed 
on  to  alabaster;  the  Spanish 
crosses  of  the  eleventh  cen- 
r  relics :  the  sin  ine  al  I 
ngs  :   the  \  ol  ive  crow  n  of  King 


from  wear  and  accident.  It 
differs  in  a  very  marked  de- 
gree from  Greek  and  Etrus- 
can w.nk  in  .me  respect, 
although  in  many  others 
singularly  alike  in  treatment, 
ami  that  is  in  the  almost 
total  absence  of  the  human 
figure,  which,  if  used,  was 
made  severely  ornamental, 
ami  which  in  Greek  ait  is 
the  chief  beauty.  The  little 
pendants  with  the  winged 
Hermes,  or  Aphrodite  (the 
figures  being  east  or  stamped 
quite    simplv    without     any 


tury,  ami   caskets 
of  the   three   wise 

Swinthila;  the  gold  cup  called  the  St.  Agnes  cup 
a  i  the  Briti  sli  M  useu  m , 
which  everyone  ought  to  see 
for  himself;  the  beautiful 
ci osses,  i  ups,  nefs,  dishes  of 
the  Italian,  French,  <  !erman, 
and  English  I.'.nai 
eai  h  having  a  very  marked 
and  definite  charactci  oi  tl 
own.  <  if  these  there  arc  spe- 
cimens in  our  museums. 

iiiimarise  briefly, 
there  was  one  period  of  \ ery 
pei  Fei  i  work,  thai  of  the 
Greek  and  Etruscan,  after 
thai  of  the  la  - 
chioiis    ami   ignoble    Roman. 

GOLD      CR/ECO-2ACTRIAN      ARMLET.  This     rlhk.l      III      the     .1:11 


18S 


THE    MAGAZINE    OF    ART. 


d  by  (.lie  struggle 


into  which  all  society  was  plung 

of  cr I   and  race.     The 

first  awakening  From  the 
long  nighl  w  hicli  followed 
commenced  feebly  and  in 
;i  grotesque  and  rude  re- 
membrance of  Grecian 
art,  and  generally  as 
men's  minds  became  less 
troubled  the  arl  grew 
until  it  flourished  in  all 
ils  splendour  during  the 
Renaissance,  yet  still  in- 
spired by  the  art  of  that 
golden  age  long  past  in 
( ireece.  Then  again  it 
sank  slowly  ilowii  till  il 
was  revivified  by  t  Vllini, 
a  vastly  overrated  arl  ist, 
yet  marvellous  crafts- 
man, who  was  in  a  large 
measure  responsible  for 
of  the  worst  develop- 
ments of  the  art.  Yet 
technically  speaking  he 
was  one  of  the  must  ex- 
traordinary workers  in 
gold  that  have  ever  lived. 
And  this  leads  one  to 
make  the  observation   that  when  men  were  not 


clever  with  their  hands  they  thought  moi 
something  to  si 


A     GOLD     CHALICE 


■hance  excellim 


and  had 
5ay,  and  the 
feeling  and  expression 
were  everything  But 
when  men  became  adepts, 
the  execution  almost  en- 
tirely engrossed  their 
efforts.  Witness  the  in- 
ane Louis  Quinze  period, 
compared  with  the  earlier 
work  of  the  twelfth  and 
thirteenth  centuries,  very 
often  full  of  profound 
and  beautiful  feeling,  al- 
though of  grotesque  and 
awkward  workmanship. 

And  now  that  many 
artists  have  turned  their 
serious  attention  to  vari- 
ous crafts,  and  painting, 
modelling,  and  architec- 
ture are  recognised  as 
being  not  the  only  means 
of  expression  for  them, 
the  goldsmith's  craft 
may  once  more  flourish 
and  become  precious, 
having  a  character  of  its 
own,  rivalling  and  per- 
lllght  that    has  hitherto  been  done. 


REMBRANDT     IN     THE     BERLIN     GALLERY. 


IT  is  a  trite  reman*  that  the  world  knows  little 
of  its  greatest  men,  but  it  is  remarkably  ex- 
emplified by  the  great  Flemish  painter  and  etcher. 
His  paintings  and  etchings  have  come  down  to  us, 
and  the  two  rent uries  and  a  half  since  he  produced 
them  have  served  to  increase  his  fame,  but  have  dis- 
closed not  overmuch  of  his  history.  Of  his  daily 
life  we  know  little,  and  his  reputation,  which  is  so 
great  to-day,  rests  for  the  most  part  upon  the  works 
which  are  in  existence  in  the  various  galleries  in 
Europe.  These  works  lend  themselves  in  a  remark- 
able way  to  reproduction  in  Mack  and  white.  A 
year  or  two  ago  a  folio  of  the  works  of  Rembrandt 
in  the  Cassel  Gallery  was  issued  by  the  Berlin  Photo- 
graphic Company  in  photogravure.  They  were  quite 
the  best  mechanical  reproductions  of  the  kind  which 
had  up  to  that  time  been  published,  but  the  English 
edition  vvas  dressed  in  English  garb  and  issued  by  an 
English  publisher,  and  the  reviewers  for  the  most 
part   ignored  the  fact  thai   it  was  the  Berlin  house 


to  whom  the  credit  of  the  production  was  due.  The 
same  house  has  recently  issued  under  its  own  name  a 
similar  folio  of  reproductions  of  the  work's  of  Rem- 
brandt in  the  gallery  at  Berlin,  and  it  would  be  diffi- 
cult to  speak  too  highly  of  its  qualities.  Mr.  Ruskin 
once  said  of  Rembrandt  that  "  he  painted  all  the  foul 
things  he  could  see,  by  rushlight,"  the  elegance  of 
the  Italians,  doubtless,  blinding  him  to  the  artistic 
beauties  of  the  painter  of  Flemish  life.  It  is  this 
very  "rushlight"  mode  of  lighting — intense  gloom 
lit  up  here  and  there  by  a  strong  illumination  con- 
centrating itself  on  one  point  or  passage  of  the  picture 
— which  gives  the  works  their  chief  charm.  This 
folio  consists  of  eighteen  reproductions,  of  which  two 
or  three  arc  portraits  of  the  painter's  self,  and  one  of 
his  first  wife.  Scriptural  subjects,  of  course,  prepon- 
derate; but  whatever  they  may  be,  the  prints  are  very 
even  in  quality  and  very  rich  in  their  tones  of  deep 
velvety  black,  and  delicate  and  beautiful  in  their 
representati f  Rembrandt's  golden  lights.       E.  B. 


189 


THE     RENAISSANCE     OF     MINIATURE     PAINTING. 

By     DR.     J.     LUMSDEN      PROPERT. 


AX  article  by  Mr.  Alfred  Praga  under  the  above 
II  title  appeared  in  the  December  number  (page 
87)  of  The  Magazine  of  Art,  in  which  he  alluded 
to  what  1  have  written  at  various  times  on  the  sub- 
ject of  Miniature  Art, 
and  he  ended  the  article 
by  a  quotation  from 
the  preface  which  I 
wrote  to  the  I  latulogue 
of  Portrait  Miniatures 
exhibited  at  the  Bur- 
lington Fine  Arts  <  Hub 
in  L889,  and  which  be 
thinks  was  in  some 
way  prophetic  of  the 
present  revival  of  in- 
terest in  this  lovely  art. 
Had  he  not  thus 
pointedly  alluded  to 
me,  I  should  not  have 
ventured  to  intrude 
upon  your  readers  with 
any  remarks  upon  ; 
subject  with  which  1 
have  no  "  practical " 
acquaintance,  for  1 
think,  as  a  rule,  that  no 
one  should  attempt  to 
speak  dogmatically  on 
any  art  topic  unless  lie 
lias  himself,  as  it  were, 
been  through  the  mill, 
and  has  experienced 
the  difficulties  and  ob- 
stacles which  surround 
the-    path    to    success. 

But  there  is  an  old  saying  that  oftentimes  the  'in- 
sider sees  most  of  the  game;  and  during  the  long 
years  I  have  studied  the  art  of  portrait  rain 
1  suppose  I  bave  seen  more  specimens  of  all  ages 
and  artists— good,  bad,  and  indifferent — than  it  falls 
to  tli"  lot  of  mosl  men  to  see,  and.  in  consequence, 
1  have  formed  opinions  as  to  methods  and  styles, 
and  as  to  what  a  miniature  should  or  should  not 
be,  which  1  trust  may  have  some  influence  on  the 
present  revival.  Quite  surely,  if  the  miniature 
painters  of  the  present  day  have  the  slightesl  hope 
that  their  work  will  live  and  at  some  future  time 
be  regarded  with  the  same  affection  as  is  felt  for 
the  masters  of  n  bygone  period,  they  will  have  to 
cut.  themselves  adrift    from   their   present    a 


GEORGE     IV.    WHEN 

Unfinished   Miniature  by   J. 


and  take  to  heart  a  little  more  the  li  ssons  ol   the 
past% 

Undoubtedly,  somewhere  aboul  the  'Forties  the 
advent  of  photography  gave  the  death-blow  to  the 
port  rait,  miniature, 
I  bough  for  some  years 
previously  the  day  of 
tin-  giants  was  over.  1 
used  t"  think  that  Ross 
might  bave  done  well 
had  he  lived  at  the 
time  "i  costume  and 
coiffure,  which  enabled 
ly  and  the  res! 
to  give  a-  such  dreams 
of  beautj :  hut  the  more 
I  -  i  of  his  work  the 
I  think  that,  after 
all,  the  feu  siu  ■  was 
not  in  him.  He  was 
a  correct  draughtsman 
and  vigorous  colourist, 
but  I  fear  he  inn 
regarded  as  the  first 
monarch  of  that  ter- 
rible realm  of  conven- 
tionalism which,  from 
his  day  to  the  present, 
en  and  still  is  the 
curse  of  miniature  art. 
Supposing  that  all 
our  friends  and  ac- 
quaintances wmte  in 
preciselj  the  same 
hand  da'  sort  of  ma- 
chine stuff  that  adorns 
the  envelope  of  a  Christmas  hill  or  a  lawyer's  letter 
-  how  horribly  monotonous  and  uninteresting  would 
be  the  pile  of  letters  on  our  breakfast  table  !  win 
now.  as  we  turn  them  over  one  by  our.  the  sight  of 
the  varied  handwritings,  as  we  recognise  instinctively 
whence  they  come,  evokes  in  us  all  sorts  of  feelings 
connected  with  the  win  I        Uy  fail  to  under- 

ivhy  all  this  individuality  and  personal  charac- 
ter is  utterly  to  disappear  bi  writes  with 
a  paint-brush  on  ivorj  insti  .id  of  with  a  pen  on 
paper.      Faki         an   instam  e   the  ai  tisl   who  wrote 

article,  .Mr.  Praga     his  haudwritiii 
plenty   of   i  haracter,  ami    1    have   seen   some  small 
by    him    which,    for    breadth    of    touch    and 
refreshing   individuality,  are  quite  admirable.     i'el 


PRINCE     OF     WALES. 


Original.) 


190 


THE    MAGAZINE    nF    AET. 


when  he  touches  ivory,  he,  like  others,  seems  afraid 
to  let  himself  go.  The  handwriting  disappears,  the 
style  becomes  cramped,  and  in  the  result  he  dues 
nol  do  himself  justice.  It  is  a  pity,  for  I  think  he 
has  the  necessary  quality  in  him,  if  he  will  only  allow 
it  fair  play.  1  asked  him  why  he  could  not  impart 
to  his  ivory  miniatures  some  of  the  life  and  vigour 
he  showed  in  his  drawings  on  paper— put  into  them, 
in  fact,  some  of  his  own  handwriting.  His  reply 
was  terribly  suggestive  of  the  art  ideas  still  prevalent 
in  the  great  nation  of  sitters.  He  said  that,  though 
he  longed  to  do  so,  tyrannical  sitters  would  have 
none  of  it.  They  seem  to  love  the  pretty,  finikin, 
characterless  inanities  which  now  pass  current  as 
miniatures,  conventional  as  the  Egyptian  hieroglyph 
or  Byzantine  saint.  And  yet  there  is  plenty  of 
technical  excellence  in  the  market  just  now  in  the 
way  of  miniature  painting,  though,  alas!  employed 
for  a  fraudulent  purpose.  Naturally,  the  moment 
an  object  of  art  rises  in  value,  the  forger  at  once 
steps  in.  1  have  known  forgeries  ever  since  I  knew 
miniatures,  but  as  a  rule  the  cloven  foot  was  clearly 
discernible;  but  lately  I  have  seen  copies  of  old 
work  so  abominably  successful  as  to  make  the 
possessors  of  the  genuine  thing  very  uncomfortable, 
[f  only  the  individual  would  turn  his  talent  to  a 
legitimate  purpose,  even  though  he  might  not 
succeed  with  a  likeness  ad  vivum,  we  should  at 
least  get  work  at  once  fresh  and  characteristic, 
and  in  good  drawing.  Why  is  it^  that  so  many 
people  will  attempt  to  paint  miniatures  without  the 
slightest  knowledge  of  drawing,  as  though  they  had 
only  to  get  a  slip  of  ivory  ami  a  paint-brush  before 
them,  and  airily  conclude  that  the  necessary  know- 
ledge of  what  the  human  face  is  like  will  come  to 
them  by  inspiration  ?  or  do  they  imagine  that,  on  so 
small  a  scale,  had  drawing  will  not  be  detected  1 
And  yet,  probably,  the  exact  reverse  is  the  fact, 
for  surely  when  the  whole  face  can  be  taken  in  at 
the  lirst  coup  d'ceil  a  faulty  relation  of  parts  will 
be  more  apparent  than  in  a  larger  portrait  where 
each  feature  is  examined  separately. 

1  am  not  sure  that  the  introduction  of  ivory  was 
an  unmixed  blessing.  A  few  great  artists  of  the  last 
century  successfully  overcame  its  deficiencies,  but 
the  fatal  facility  of  producing  effects,  beautiful  up 
ton  certain  point,  by  i he  use  of  transparent  colour, 
has  certainly  led  to  a  deterioration  of  power  and 
intensity  of  expression,  as  compared  with  the  vellum 
or  card  of  the  sixteenth  or  seventeenth  century; 
and  when  the  strong  man  of  the  nineteenth  century 
really  does  arise,  he  may  lie  advised  to  make  a  trial 
of  vellum  or  line  card.  It  is  perfectly  well  known 
xx  li.it  was  the  exact  nature  of  the  Vellum  used, 
for    instance,    by    Cooper,   and,    if   the   demand    for    it 

arose   il  could  lie  as  easily  procured  now  as  in  the 


seventeenth  century.  Its  use  would  perhaps  entail 
more  knowledge  of  painting  and  conscientious 
labour,  but  that  very  fact  would  he  a  gain,  for  it 
would  weed  out  the  weaklings  of  miniature  art,  and 
tin'  sooner  they  disappear  the  better. 

At  present,  artists  appear  to  me  to  allow  ivory 
to  dictate  to  them,  instead  of  forcing  (as  good  work- 
men should)  the  material  to  lend  itself  to  the  free 
expression  of  their  thoughts.  Hence  the  timid, 
half-hearted  appearance  of  these  watery  productions. 
I  have  selected  two  specimens  to  illustrate  what 
noble,  grand  work  has  been  done  on  ivory.  One 
is  the  sketch  by  Russell  I  mention  further  on, 
the  other  is  a  portrait  of  Sheridan,  by  J.  D  Engle- 
heari,  from  my  own  collection  ;  so  that  if  present- 
day  artists  fail  to  reach  this  standard,  the  fault  is 
not  in  the  material  hut  in  the  painter.  Still  I  wish 
sonic  really  good  man  would  try  his  hand  on  vellum. 

If  ever  socialism  or  collectivism  becomes  an 
accepted  part  of  political  economy,  and  we  poor 
units  are  reduced  by  law  to  the  one  dead  level  of 
mediocrity,  life  will  lie  terribly  uninteresting.  If 
it  is  uninviting  in  the  body  politic,  surely  in  art  it 
will  he  still  more'  deplorable;  and  yet  just  this 
socialistic  dead  level  of  mediocrity  is  the  one  real 
danger  of  modern  miniature  work.  Being  as  1  am 
much  interested  in  the  subject,  I  generally  manage 
to  see  the  specimens  exhibited  at  the  Royal  Academy 
and  elsewhere.  Now  suppose  a  work  by  any  of 
these  artists  were  placed  haphazard  in  the  hands  of 
an  expert,  could  he  honestly  say  he  could  at  once 
ascribe  it  to  A.,  !'>.,  C,  or  I).,  as  he  would  with  one 
of  the  old  masters'?  I  doubt  it — at  least,  I  am  quite 
sure  I  should  fail:  indeed,  there  is  only  one  artist 
whose  work  "  in  little  "  I  could  recognise  anywhere. 
And  he  is  not  a  miniaturist ;  yet  he  contrives  to  put 
into  a  tiny  head  on  ivory  the  same  handwriting,  the 
same  strength  and  individuality,  as  characterise  his 
larger  canvases,  and  what  he  can  do,  surely  others 
could  do  also.  Even  in  the  small  loan  collection 
recently  in  the  Grafton  Galleries  there  were  plenty 
of  lessons  to  he  learned  by  those  who  will  lay  them 
to  heart.  No.  158,  George  IV.,  an  unfinished  work 
by  John  Russell,  R.A.,  ought  to  be  an  object  lesson 
for  all  miniature  painters.  It  is  really  a  magnificent 
performance,  strength  anil  handwriting  enough  for  a 
life-size  portrait.  Take  that  from  the  case  ami  place 
it  beside  the  specimens  of  modern  work,  as  I  have! 
Oh,  ye  gods  !  if  the  shades  of  the  great  men  of  the 
pasl  can  lake  cognisance  of  what  is  now  supposed  to 
he  a  continuance  or  renaissance  of  their  work,  they 
must  have  indeed  many  a  mauvais  quart  d'heurc.  I 
only  regret-  that  the  lime  limit  of  that  exhibition 
excluded  the  work'  of  Samuel  Cooper,  without 
doubt  the  lir.est  miniature  painter  of  all  time, 
for    nowhere    as    in   his  portraits  can  the   building 


THE    RENAlSSANt  E    OF    MINIATURE    PAINTING. 


19] 


up  of  Llie  human  face  be  so  profitably  studied.  The 
careful  bul  fearless  modelling,  the  bold  lines,  the 
dei  ided  touches,  each  exactly  where  it  should  be,  and 
lefl  to  tell  its  own  tale,  neither  whittled  down  nor 
covered  up  with  senseless  stippling  past  recognition, 
as  though  it  had  been  ashamed  to  find  itself  there; 
the  masses  of  hair  floated  on  to  the  vellum,  in  mys- 
terious suggestiveness,  the  portrait  filling  the  whole 
space  of  the  vellum,  the 
background  merely  serv- 
ing as  a  setting  to  the 
face,  not  as  too  often  seen 
now,  one-quarter  of  the 
ivory  occupied  by  the 
head,  and  three-quarters 
by  the  background.  But 
perhaps  it  is  waste  of 
time  tn  suggest  the  les- 
sons taught  by  Samuel 
Cooper,  for  the  reason 
mentioned,  though  I 
hope  some  future  ex- 
hibition may  pay  special 
attention  to  his  portraits, 
for  certainly  they  are  the 
grandest  that  human  hand 
has  ever  traced.  It.  has 
often  struck  me  that  one 
of  the  very  best  trainings 
for  intending  miniature 
painters  would  be  to  take 
one  of  Rembrandt's 
etched  portraits,  and  en- 
deavour to  build  up  and 
reproduce  on  ivory.lineby 
line  and  touch  by  touch 
his  method  of  shading  and 
giving   roundness  to    the 

features.  It  would  not  be  difficult,  substituting 
the  fine  paint-brush  for  the  etching -needle,  and 
once  mastered,  the  student  would  never  again  fail 
to  substitute  life,  roundness,  and  reality  for  the  flat, 
stale,  and  unprofitable  prettiness  of  the  modern 
miniature.  As  photography  killed  the  miniature 
portrait  in  the  past,  so  its  baneful  influence  still 
seems  to  clog  the  steps  of  tins  attempted  renais- 
sance, and  unless  the  professors  of  miniature  art 
can  speedily  free  themselves  from  its  deadening 
shackles,  small  progress  will  be  made. 

I  fear  I  have  wail  ten  strongly,  and  perhaps  little 
to  the  taste  of  those  who  whisper  to  themselves 
and  to  each  other  that  all  is  well,  but  if  it  be  true 
that  just  now  there  is  an  increased  demand  for  this 
charming  art,  it  is  perhaps  kinder  to  utter  a  word  of 


RICHARD     BRINSLEY     SHERIDAN 
(From    the    Miniature    by    J.    D.    Engteheart.) 


warning  ere  it  be  too  late.  The  Soi  ietj  of  Minia- 
ini  ists  was  instituted,  I  believe,  to  raise  the  standard 
to  a  higher  level  of  excellence  than,  alas!  it  now 
attains,  and  I  can  only  trust  the  artist-  concerned 
will  take  in  good  part  what  I  have  felt  it  my  duty 
to  point  out. 

I  am  often  asked  by  friends  something  of  this 
-<c  i  ,  "So-and-so  is  very  anxious  to  learn  miniature 
painting.  Whom  would 
you  recommend  to  teach 
them  ' "  I  reply,  "  So- 
and-so,  I  suppose,  has 
studied  painting,  and 
especially  port  ra  it  ure." 
The  response  always 
comes  in  the  same  jaunty 
words,  "Oh,  no;  bul 
they  would  soon  learn  !  " 
Si  ii  in  learn,  indeed:  as 
though  the  human  face 
were  a  lay  figure  !  They 
do  not  know,  these 
would-be  dabblers,  thai 
that  same  human  face, 
the  most  subtle  and  per- 
fect piece  of  mei  liam-ni 
thai  lias  passed  from  the 
hands  of  the  Creator,  is 
not  thus  lightly  to  be 
dealt  with.  If  they  must 
paint,  let  them  paint 
stocks  and  stones,  km 
leave  portraiture  alone 
until,  by  patient  study 
and    persevering    labour, 

they    have    attai 1     to 

some    conception    of    ike 

difficulties  of  the  tasl<  ion! 

the  nobility  of    the   subject,  and  not   degrade  that 

which   has  been  iast    in   form  divine,  down  in  the 

level  of  their  present   ignorance. 

In  the  t  hirteenl  k  cent  ury  ( limabue  deli\  ercd  us 
once  and   for  all  from  the  thraldom  of  Byzantium, 
and  will  not    some  great   soul   now  ride  forth 
new-  St.  George,  and  rid  us  for  ever  of  this  ■' 
of  conventionality  ?     A  little  courage,  and  the  fight 

would  soon  be  over,     It  is  a  verj  | tame  dragon, 

and  w  ill  soon  succumb.     A  few  well-directed  si 
from  a  paint-brush  will  suffii  e,  ami  \\  ken  il  -  w  retched 
bodj  no  longei   taints  the  atmospl  i  but  nol 

until   then,   maj    we   hope  that    the   renaiss :e  of 

miniature   painting   ma]  work   worth)    to 

live  by  the  side  of  the  gem  i  of  the  pa  i.  and 
public  taste  to  an  apprei  ial f  their  b 


L92 


METROPOLITAN     SCHOOLS     OF     ART. 

THE     GOLDSMITHS'     INSTITUTE. 


ONE  of  tin'  most  extraordinary  developments  of 
recent  years  consequent  upon  the  popularisation 
of  education  is  the  demand  which  has  been  made  for 


DESIGN      FOR     ROSE-WATER     DISH 
(Bj    Fred    Tauhr.) 

increased  facilities  for  the  study  of  art:  nol  so 
much  for  the  Fine  Arts— in  which  the  last  genera- 
tion loved  to  dabble  and  never  excelled — but  for  all 
that  pertains  to  the  crafts  for  the  beautifying  of  ob- 
jects of  domestic  and  everyday  existence.  This 
demand  is  an  eloquent  testimony  to  the  life-work  of 
the  late  William  Morris,  and  constitutes  the  must 
material  and  lasting  evidence  of  the  wide-spreading 
influence  of  his  teaching  and  example.  The  demand 
has  been  met  in  a  manner  equally  democratic. 
Upon  the  same  principle  as  the  Regent  Streel 
Polytechnic  there  have  been  established  in  varion 
pari  of  London  similar  institutions  which,  as 
Mr.  Augustine  Birrell  recently  said,  can  only  be 
compared  to  concentrated  popular  universities,  in 
which  every  possible  subject  is  taught  for  the  lowest 
possible  Ices.  Of  all  the  subjects  none  has  proved 
more  popular  than  that  of  applied  art.  The  classes 
are  always  filled  up,  and  the  high  character  of  the 
work  accomplished  testifies  to  the  earnestness  and 
enl  husiasm  of  t  la'  students. 

Founded     about    six    years    ago    by    the   City 
Company  whose  name  it  bears,  the  Technical  Insti- 
tute at  New  Ci'oss  has  proved  itself  both  useful  and 
u<  i <     in!,   e  pecially  a.-    to    its    arl    cla    es.      Fully 


equipped  with  well-arranged  studios  and  class-rooms, 
it  ell'ers  every  facility  I'm'  Hie  study  of  art  in  all 
its  branches.  The  principal  object  of  the  teaching 
is,  of  course,  to  fester  and  encourage  the  applica- 
tion of  art  to  the.  crafts:  and  although  the  great 
hope  of  the  founders  of  the  institute — the  estab- 
lishment of  a  large  class  for  silversmiths  and  gold- 
smiths— has  nut  been  realised,  the  general  scheme 
has  been  well  supported  and  efficiently  carried 
uut.  Design  and  applied  ornament  are  presented 
in  an  attractive  manner  to  the  students  almost 
as  soon  as  these  have  mastered  the  rudiments 
of  drawing;  interest  being  roused  by  demonstra- 
tions by  the  master  and  fostered  by  easy  exercises. 
Under  the  direction  of  the  Head  Master,  Mr.  F. 
Marriott,  assisted  by  Mr.  W.  Amor  Fenn  (in  the 
designing  classes),  Mr.  S.  G.  Enderby,  Mr.  Alfred 
Drury  (in  the  modelling  classes),  Miss  F.  I.  Morley 
(art   needlework),  and   Miss  H.  M.    Pemberton,  the 


ITHIS  BLING 
THLVNITflD 
P°LYTKnNICS 
rifuT/INNVnL' 

cn°iR  rcsTr 

A/lRCn  21st 

nDcccxcvi : 
sa&vrnnt: 

GOLDSfllTTIS' 
INSTITVTDtf 
NE1V  CROSS 

CWDICING 


pupils  are  taken  through  their  studies  in  a  manner 

desig 1     to    give     them    a    thorough     knowledge 

of  their  art.      They  are  offered   every   inducement 


THE    GOLDSMITHS'    INSTITUTE. 


10:-! 


to  study  the  arts  and  artistic  crafts  which  are 
closely  allied  to  their  principal  subject.  Wood- 
carvers  arc  thus  encouraged  to  study  modelling 
and  design; 
designers, 
modelling  and 
life  -drawing, 
repoussd  and 
carving,  so 
that  they  may 
obtain  a  know- 
ledge of  their 
material,  with 
its  advantages 
and  limita- 
tions, in  which 
their  designs 
are  to  lie  exe- 
cuted. Still 
further  to  en- 
force this  up- 
on their  minds, 

periodic  visits  are  arranged  to  leading  manufac- 
tories, so  that  designers  may  know  exactly  how  their 
designs  are  carried  out  practically,  what  should  be 
avoided  and  what  insisted  upon  to  ensure  success- 
ful repr6duction  of  their  work. 

The    life-classes    are    a.    special    feature    of     the 


school,  and  the  students  work  alternately  at  drawing 
from  the  antique— all  overwrought,  stippling,  and 
stump-work    being    discountenanced,  and    insistence 

being  made 
upon  a  work- 
manlike basis 
of  construc- 
tion rather 
than  upon 
high  academic 
finish.  Book 
illustra t  ion 
and  black-and- 
white  work 
for  the  press 
receive  their 
proper  share 
of  attention. 
Students  in 
these  (kisses 
are  induced 
to  draw  ilii.it 
from  the  life  in  pen-and-ink,  and  the  success  of  the 
result  is  estimated  by  the  considerable  amount  of 
work  by  Goldsmith  students  accepted  for  publication. 
By  the  bounty  of  the  Company  the  repoussi 
idasses  are  supplied  with  tools  and  material  gra- 
tuitously,  in    order    that   craftsmen    in    metal-work 


Nrrrawrc 


DESIGN      FOR     BOOK-COVER. 
(Sj    Julia    fus(..c«.) 


THE    MAGAZINE    OF    AET. 


NEEDLEWORK     (HALF-FINISHED). 
(Designed   iii'd   executed   by    Hilda    M.    Pembertttn.) 

may  be  attracted.  Art-needlework  has  here,  as 
elsewhere,  been  a  source  of  anxiety  to  the  authorities. 
For  some  time  the  students  merely  worked  over 
stamped  designs  supplied  by  the  ordinary  Berlin- 
wool  shops.  In  order  to  put  an  end  to  such  an 
anomaly  the  governors  transferred  the  class  to  the 
Art  section.  This  had  the  effect  of  reducing  the 
attendance  to  a  minimum  :  but  the  remaining 
students  were  put  through  a  course  of  design  and 
shown  the  advisahleness  of  each  making  her  own 
working  drawings,  laying  them  down  and  executing 
them  in  manner  and  material  suitable  to  the  design. 
It  was  slow  and  arduous  work,  but  the  action  is 
being  justified  by  results  of  a  more  genuinely 
satisfactory  nature  to  students  and  teachers  alike. 
We  reproduce  a,  piece  of  work  executed  under 
these  conditions  by  Miss  Hilda  M.  Pemberton, 
which,  though  not  wholly  successful  from  the  point 


of  view  of  design,  is  a  distinct, 
advance  upon  the  ordinary  "art 
needlework"  of  the  average  lady 
amateur. 

We  reproduce  also  several 
examples  of  work  of  a.  varied 
nature  by  the  most  promising  of 
the  Goldsmith  pupils,  Mr.  Fred 
Tayler.  The  versatility  of  his 
talent  is  well  exhibited  in  each, 
and  weiv  his  record  of  achieve- 
ments at  South  Kensington  a  safe 
criterion,  it  is  easy  to  prophesy 


mm? V>V:.;         .;    30& 


DESIGN     FOR     ARCHITECTURAL     DECORATION. 
IB,j    W.    Amor    Fem.) 


DESIGN     FOR    WALL-PAPER. 
(Sj    Canie    Thcrnhill.) 

for  him  a  career  of  unusual 
success.  This  year,  indeed,  he 
was  awarded  the  bronze  medal 
for  applied  design  ;  an  "advanced 
excellent  certificate "  for  design 
(being  placed  first  in  this  stage  in 
the  United  Kingdom);  the  Queen's 
prize  for  design:  an  "excellent 
certificate"  for  advanced  model- 
ling design;  a  book  prize  for 
drapery  study,  and  two  book 
prizes  for  applied  design.  Mr. 
Tayler  lias  been  attending  the 
classes  for  two  years  only,  being 
up  to  that  time  entirely  self- 
taught.  Always  fond  of  sketch- 
ing, he  was  especially  attracted 
by  the  sight  of  crowds,  and  Hyde 
Park  with  its  motley  assemblages 


THE    GOLDSMITHS'    INSTITUTE. 


19c 


was  the  favourite  exercise  gri  mud  for 
his  pencil.  Coining  under  the  notice 
of  Mr.  Redniayne,  the  secretary  of 
the  Goldsmiths'  [nstitute,  he  was 
encouraged  to  enter  the  arl  classes. 
At  that  time  he  was  employed  in 
an  office  in  work  of  an  entirely 
uncongenial  nature,  and  when  after 
a  shorl  course  of  study  he  suc- 
ceeded in  winning  in  open  compe- 
tition a  County  Council  scholarship 


DESIGN     FOR     ELECTRIC     LIGHT 

WALL-BRACKET     (METAL). 

(6;,    iV.    A.    BaskerfielJ.) 

he  ahandoned  his  commer- 
cial pursuit.  He  afterwards 
gained  a  •  loldsmiths'  scholar- 
ship, and  is  now  a  student  in 
all  the  arl  classes  ;  he  designs 
all  the  posters  for  the  In- 
stitute, and  exhibits  special 
aptitude  for  dealing  with 
designs  of  this  character. 
Those  which  we  repi'oduce 
show  a  facility  of  drawing 
and  an  appreciation  of 
colour  that  are  extra- 
ordinary in  one  so  young, 
while  his  design  for  n  m-r 
water   dish,   his    first   effort 


TAILPIECE. 
{Drawn    by    Emily    K.    Reader) 

in  this  direction,  exhibits  equal  promise.  We  have  had  the  opportunity 
of  examining  a  hoy  number  of  sketches  and  studies  by  Mr.  Tayler, 
which  conclusively  prove  that  his  talent  is  of  no  superficial 
ter,  hut  grounded  deeply  upon  a  broad  and  enthusiastic  love  of  art. 
The  design  by  Miss  Coggin  for  a  carved  panel,  unconventional 
and  unfinished  as  it  is,  shows  undoubted  skill.  It  may  lie  observed 
in  connection  with  this  design  that  Mis-,  Coggin  was  engaged  in 
modelling  it  for  a  wall-paper— her  speciality— when  Mr.  George  Framp- 
ton,  A.E.A.,  passing  through  the  room,  suggested  it  would  come  well 
as  a  wood-carving.  The  idea  was  acted  upon,  and  the  work  when 
finished  is  to  be  acquired  by  the  County  Council.  Wall-paper 
designing  receives  special  attention,  and  the  specimens  of  such  work 
given  here  are  evidence  of  the  capability  of  both  teachers  and  students. 
Altogether  the  work  accomplished  at  this  school  may  be  commended. 
Not  only  does  the  institution  take  the  highest  number  of  award.-,  next 
to  the  Royal  College  of  Art.  of  the  ait  schools  of  the  metropolis  in 
tlr-  National  Competitions,  but  general  results  attest  that  the  tuition 
is  based  upon  sound  and  efficient  principles.  A.  F. 


- 


*-  V 


WOOD-CARVING    (UNFINISHED) 

{By    Mau.k-    K.    Coggin.) 


196 


THE    ANCIENT    EIRE    TEMPLE    AT    SURAKHANI,     NEAR    BAKU, 


By     WILLIAM     SIMPSON.     R.I.     M.R.A.S.,     F  R.G.S.,     Eti 


Illustrated    by    the    AUTHOR. 


THE    town  of    Baku  is   situated  on  the    western 
coast  of  the  Caspian.     The  former   importance 
of  this  place  is  indicated  by  the  extent  of  its  walls 


THE     FIRE     TEMPLE     AT     SURAKHANI. 

and  the  solidity  of  their  construction ;  the  character 
of  the  mosques,  which  have  disappeared,  can  be 
estimated  now  only  by  their  minarets  yel  standing, 
which  are  of  stone,  decorated  with  sculptured  orna: 
ment  and  Kulic  inscriptions  of  great  beauty.  Beside 
the  palace  of  the  Khans,  who  were  the  Persian 
irnors,  there  yel  stands  our  building,  probably 
a  tomb,  which,  for  beauty  of  its  lines  and  the  per- 
fection of  its  rich  ornament,  it  would  be  difficult 
to  find  equalled  ou1  of  India,  and  even  in  that 
countrj  bul  lew  of  its  monuments  could  pretend 
to  rank  with  the  one  at    Baku.     The  Bay  of  Baku 


is  said  to  he  almost  the  only  good  harbour  in 
the  Caspian  Sea.  This  may  account  for  its  wealth 
— which  is  always  a  condition  necessary  to  pro- 
duce good  architecture  and  art — and  may 
also  explain  the  former  greatness  of  the. 
place.  It  must  have  been  at  one  time  the 
Tyre  or  the  Sidon  of  the  Caspian  Sea; 
and  this  will  account  for  such  remains  of 
art  and  architecture  as  are  to  be  seen, 
which,  I  must  confess,  gave  me  a  most 
agreeable  surprise. 

How  far  the  supply  of  naphtha  in  the 
neighbourhood  of  Baku  may  have  in  the  past 
added  to  the  prosperity  of  the  town  cannot 
be  estimated  ;  we  know  that  centuries  ago 
it  was  collected  and  sent  to  Persia  and  some 
of  the  regions  round  about;  but  the  cost 
of  transport  must  have  been  great,  and 
the  trade  therefore  limited,  for  it  is  only 
comparatively  within  recent  years  that,  by 
the  aid  of  steamboats  and  railways,  there 
has  been  a  great  extension  of  it  through  the 
whole  of  Eussia.  Resulting  from  this  ex- 
tension there  has  been  a.  rapid  increase  in 
the  size  of  Baku. 

El  Mas'udi,  a  celebrated  Arabic  author 
of  the  tenth  century,  is  perhaps  the  earliest 
authority  who  mentions  Baku  and  its  naph- 
tha. His  work  is  called  "Mines  of  Gold  and 
Meadows  of  Gems,"  and  is  intended  to  give 
an  account  of  all  the  known  countries  of  the 
world.  In  one  place  he  calls  the  town  "  Babi- 
kah,"  "on  the  coast  of  the  naphtha  country." 
Again  he  refers  to  it  as  Bakah,  and  says  that 
it  "yields  white  and  other  naphtha.  While 
naphtha  is  found  nowhere  on  earth  but  there. 
Baku  lies  on  the  south  of  the  kingdom  of 
Sharwaa  In  this  naphtha,  country  is  a  crater 
(chimney)  from  which  tire  issues,  perpetually 
throwing  up  a  high  flame.  Opposite  this  coast  are 
several  islands;  one  of  them  is  three  days  distant,  in 
which  there  is  a  -leal  volcano,  which  often  throws 
out  fire  at  all  seasons  of  the  year.  The  tire  rises  like 
a  high  mountain  in  the  air,  and  its  light  spreads 
over  the  greater  part  .it'  the  sea,  so  that  it  is  seen  at- 
a  distance  of  one  hundred  earsangs."  (Sprenger's 
translation.)  The  island  with  the  volcano  is.  in  all 
probability,  Cheleken,  or  Naphtha  Island,  which  is  on 
the  eastern  coast  of  the  Caspian,  not  far  distant 
from  Krasnovodsk  ;  the  crater,  or  chimney,  might 
refer  to  the  Temple  at  Surakhani,  for  the  gas  from 


THE    ANCIENT    FIRE    TEMPLE    AT    SUPAKHANI,    NEAP     BAKU. 


L97 


the  oil  conies  up  through  the  ground  at  that  place, 
and  the  temple  was  constructed  over  a  spot  where 
it  issued.  On  my  visit  to  it  I  had  to  pass  through 
Messrs.  Karkaroffs  petroleum  works  alongside,  and 
saw  a  pipe  projecting  from  the  ground,  and  at  its 
upper  end  there  was  a  large  flame  which  was  fed 
hy  the  subterranean  gas.  The  petroleum  works 
were  erected  there  in  order  to  utilise  the  gas 
coining  up  to  the  surface,  in  the  process  of  purifying. 
This  statement  will  convey  some  idea  of  the  ample 
supply  of  it  there  must  have  been  at  all  times  for 
the  Sacred  Eire  of  the  Temple. 

Marco  Polo  calls  the  Caspian  the  "  Sea  of 
Abaku,"  thus  indicating  the  importance  of  the  town 
in  his  time.  He  mentions  the  naphtha  supply,  and 
says  : — "  To  the  north  lies  Zorzania — '  Georgia  ' — 
near  the  confines  of  winch  there  is  a  fountain  of  oil, 
which  discharges  so  great  a  quantity  as  to  furnish 
loading  for  many  camels.  The  use  of  it  is  not  for 
the  purpose  of  food,  but  as  an  unguent  for  the  cure 
of  cutaneous  distempers  in  men  and  cattle,  as  well 
as  other  complaints;  it  is  also  used  for  burning.  In 
the  neighbouring  country  no  other  is  used  in  the 
lamps,  and  people  come  from  distant  parts  to  pro- 
cure  it."     (Chapter  IV.) 

There  are  numerous  references  to  Baku  and  its 
oil  wells  to  be  found  in  later  writers,  beginning  with 
Jonas  Hanway,  in  the  middle  of  last  century,  but 
it  .is  not  necessary  here  to  quote  from  these,  as 
hardly  any  of  them  give  original  information  re- 
garding the  temple.  In  the  absence  of  knowledge, 
some  have  accepted  a  date  for  Zoroaster  and  then 
assumed  that  the  worship  of  the  Sacred  Eire  would 
begin  at  that  time.  This  is  of  course  only  theoretical, 
still  it  is  probable  enough.  It  is  also  within  the 
limits  of  what  we  know  of  primitive  times,  when 
all  peculiar  phenomena  were  looked  upon  as  being 
somehow  connected  with  the  Deity,  that  such  a 
wonderful  appearance  of  flame  coming  spontaneously 
into  existence  would  have  attracted  worshippers 
before   the   time   of   Zoroaster. 

The  earliest  allusion  I  have  as  yet  been  able  to 
find  dales  from  the  seventh  century,  and  this,  il 
must  lie  confessed,  is  not  quite  certain.  I  luring 
the  war  against  Persia  the  Emperor  Heraclius 
wintered  his  army  on  the  shores  of  the  Caspian. 
The  place  is  described  as  the  Plains  of  Mogan, 
between  the  Eivers  Cyrus  (now  the  Kura)  and  the 
Araxes,  called  to-day  the  Arras.  This  was  only  a 
short  distance  from  the  present  Baku,  and  according 
to  Gibbon,  at  the  command  of  the  Emperor,  "the 
soldiers  extinguished  the  fire,  and  destroyed  the 
temples  of  the  Mayi."  Although  the  certainty  is 
not  complete,  yet  it  may  be  taken  for  granted  thai 
the  Eire  Shrine  of  Surakhani  is  that  which  is 
principally  referred  to. 


This  may  lie  said  to  exhaust  the  ancient  history 
of  the  spot  so  far  as  it  is  as  yet  known.  It  mm  be 
that  other  references  exist,  and  now  that  an  interest 
has  been  excited  regarding  this  remarkable  place  of 
worship,  they  will  no  doubt  be  noted  and  brought 
forward,  and  any  light  which  can  be  found  bearing 
on  it  in  the  past  will  be  of  very  great  value. 

On  the  north  of  Baku  the  Apsheron    peninsula 


SKETCH     PLAN     OF    THE    TEMPLE. 


projects  into  the  Caspian,  and  on  this  arc  the  oil 
wells  at  Balakhaui  and  Surakhani,  where  the  temple 
stands  about  three  or  four  miles  to  the  east,  and 
about,  eight  miles  from  Baku.  The  naphtha  or 
petroleum  is  found  in  various  places  round  the 
Caspian,  and    the  supply    seems  to  be  great.      This 

may  be  understood  when  it  is  stated  thai   oi E  the 

wells  at  Balakhani  sent  up  as  much  oil  in  one  day 
as  all  the  wells  in  America  could  do  in  the  same 
space  of  time.  At  Surakhani  there  arc  wells,  but 
where  the  temple  stands  it  is  only  gas  which 
comes  up  from  the  oil,  which  is  supposed  bo  he 
somew  here  underneath. 

The  deserted  temple,  I  understood,  is  the  property 
of  Messrs.  Karkaroll'.  whose  refinery  is  now  on  one 
side  of  il.  Those  wishing  to  visit  the  place  have 
to  pass  through  (he  works,  and  permission  of  the 
manager  has  in  lie  procured. 

For  a  long  time  it  was  believed  thai  this  temple 
belonged  to  the  Cud. re-,  who  are  well  known  to  he 
lire  worshippers;    pilgrims,  it   was   known    came  to 


198 


THE    MAGAZINE    OF    ART. 


the  shrine  all  the  way  from  India,  but  it  was  sup- 
posed that  they  were  Parsees,  the  name  by  which 
the  followers  of  Zoroaster  are  ho  well  known  in  that 
country.  This  turns  out  to  have  been  altogether  a 
mistaken  view  of  the  case.  For  at  least  a  century 
or  two  back  the  Guebres  have  had  nothing  to  do 
with  tin'  worship  of  this  igneous  shrine:  the  origin 
of  the  culte  may  have  been  due  to  the  Zoroastriaus ; 
but  we  now  know  that  the  temple  has  been  for  a 
long  period  of  time  a  Hindu  one;  that  the  priests 
who  officiated  were  Hindus  from  India,  and  that  the 
pilgrims  were  votaries  of  the  same  faith,  who  risked 
all  the  difficulties  and  dangers  of  a  long  journey  to 
perform  puja  before  "Jowalla  Jee,"  which  was  the 
name  they  gave,  to  the  Sacred  Fire  at  Surakhani. 
One  is  familiar  with  the  devotion  to  pilgrimages 
which  the  Hindus  manifest  within  the  limits  of 
their  own  country  and  the  great  distances  they 
travel  over  to  visit  the  many  shrines  of  sanctified 
repute  within  the  limits  of  Hindostan,  but  it  excites 
a  feeling  of  wonder  to  find  them  crossing  the 
supposed  forbidden  boundary  of  the  Indus,  and 
passing  through  such  wild  and  unsettled  regions  as 
Afghanistan  and  Khorassan  to  reach  the  western 
shore  of  the  Caspian  Sea,  The  mediaeval  pilgrimages 
to  the  Holy  Sepulchre,  difficult  and  dangerous  as 
they  were,  could  not  compare  to  this.  It  will  give  a 
good  notion  of  the  distance  if  it  is  stated  that  a  man 
starting  from  Paris  to  Baku,  and  another  starting 
from  Calcutta,  would  each  have  very  nearly  the 
same  amount  of  space  to  get  over. 

I  have  to  acknowledge  my  indebtedness  for  the 
first  reliable  details  regarding  the  Temple  of  Surak- 
hani and  the  Indus  to  Colonel  C.  E.  Stewart,  C.B., 
one  of  the  Afghan  Boundary  Commissioners.  He 
very  kindly  gave  me  some  notes  on  the  subject, 
which  1  here  insert,  as  they  have  a  great  value  from 
the  length  of  time  he  has  known  the  place,  and  his 
experiences  during  many  visits.  Colonel  Stewart 
writes:— "The  Hindu  Fire  Temple  at  Baku  was 
first  visited  by  me  in  duly,  18UG.  I  then  found 
there  a  Hindu  priest,  who  was  a  native  of  Delhi,  in 
India,  and  who  had  previously  been  a  priest  at  the 
celebrated  Hindu  Fire  Temple  known  as  Jowalla 
Mukhi,  in  the  Punjab.  He  told  me  that  the  temple 
had,  until  a  lew  years  previously,  been  served  by  a 
number  of  Hindu  priests  from  India,  but  that  by 
death  and  other  causes  the  number  had  been  reduced 
to  three.  One  of  these,  the  chief  priest,  having 
amassed  considerable  wealth,  the  temple  was 
attacked  by  a  party  of  Tartars,  the  chief  priest  was 
murdered,  and  his  money  carried  of!'.  One  of  the 
renin  mill-'  priest-,  was  so  frightened  that  he  tied,  and 
my  informant  was  tie'  sole  remaining  priest.  The 
same  day  that  1  visited  the  temple  a  rich  Hindu 
Buniah   from   Hyderabad,  in  Scinde,  visited  it;  and 


Hindu  pilgrims  did  occasionally  come  from  India, 
and  made  presents  to  the  shrine.  I  have  visited 
the  temple  many  times  since  my  first  visit,  nineteen 
years  ago.  On  my  second  visit,  in  1881,  1  found 
the  temple  deserted,  and  was  told  by  the  servants  of 
Messrs.  Karkaroff,  who  have  a  petroleum  refinery 
there,  that  my  friend  the  old  priest  had  died,  and 
had  been  succeeded  by  a  young  priest,  who  had  left 
in  1880.  In  1883  I  met,  in  Persia,  two  Hindu 
pilgrims  from  the  Punjab,  on  their  way  from  the 
Fire  Temple  at  Jowalla  Mukhi,  in  the  Punjab,  to 
the  greater  Jowalla  Jee,  as  they  call  this  temple  at 
Baku.  I  gave  them  a  letter  to  the  British  Consul 
at  Asterabad,  but  I  heard  they  never  reached  Baku, 
having  been  frightened,  and  turned  back.  Over  each 
cell  door  in  the  temple  there  is  a  small  inscription, 
in  a  character  which  is  either  Sanscrit  or  some 
nearly  allied  character.  There  is  nothing  1'arsi  or 
Zoroastrian  about  the  temple,  which  is,  I  believe,  not 
very  ancient.  It  is  an  ordinary  Hindu  temple,  of  a 
slightly  Buddhist  form,  such  as  we  see  in  Kashmir. 
I  was  informed  that  there  was  another  Hindu  Fire 
Temple  in  the  Bokhara  country,  making,  with  the 
better  known  Hindu  Temple  at  Jowalla  Mukhi, 
three  Hindu  Fire  Temples.  In  the  Baku  Temple,  on 
my  last  visit,  I  found  a  small  copper  slab,  with  a 
picture  of  a  Hiudu  goddess,  probably  Bosvani,  or 
Parbutti,  inscribed  on  it,  Hindus  worship  all  natural 
phenomena,  so  it  is  not  extraordinary  they  should 
worship  this  natural  fire.  The  natural  gas  which 
used  to  keep  up  the  flame  is  now  used  in  Messrs. 
Karkaroff  s  factory.  If  there  ever  was  a  Zoroastrian 
temple  here  there  are  at  present  no  signs  of  it. 
Indian  Buniahs  in  Persia  whom  I  have  met  have 
begged  to  be  permitted  to  accompany  me  to  the 
Hindu  Fire  Temple  at  Baku,  it  being  well  known 
to  them  as  a  place  of  Hindu  pilgrimage,  but  they 
were  afraid  to  visit  now,  in  consequence,  probably, 
of  the  killing  of  the  chief  priest." 

I  visited  the  temple  in  April,  1885,  and  I  found 
ample  confirmation  of  what  Colonel  Stewart  has 
written.  Having  had  some  experience  of  temples  in 
India,  I  noticed  some  peculiar  evidences  of  Hindu 
faith  which  <  lolonel  Stewart  has  not  alluded  to.  The 
most  prominent  of  these  was  a  trisala,  or  trident  of 
iron,  projecting  from  the  sikiv,  or  steeple  of  the 
temple.  This  symbol  is  to  be  found  on  almost  eve] ) 
temple  of  Siva  in  India,  and  it  may  be  taken  as 
showing  that  the  shrine  was  dedicated  to  that  god. 
This  goes  far  to  confirm  Colonel  Stewart's  suggestion 
that  the  figure  on  the  plate  of  copper  was  that  of 
l'arliutty,  the  wife  of  Siva.  In  one  of  the  cells  which 
form  the  enclosure  there  is  a  small  tile  altar,  and 
hanging  from  the  roof  in  front  of  it  there  is  a  bell. 
This  is  an  arrangement  so  peculiar  and  common  in 
Hindu  temples  that  even  if  I  had  had  no  previous 


THE    ANCIENT    FIRE    TEMPLE    AT    SUEAKHANI,    NEAR    BAKU. 


199 


information  it  would  haw  suggested  to  my  mind  some 
link  of  connection  with  India.  Equally  significant 
was  another  feature  which  caught  my  eye  as  I  first 
walked  round  the  place.  On  the  eastern  side  of  the 
temple  there  is  an  inscription,  surmounted  by  some 
objects  rudely  sculptured;  what  these  represented 
I  could  not  tell,  with  the  except;  in  of  one  symbol, 
which  is  a  swastika.  This  had  the  four  dots,  one 
between  each  limb,  which  is,  I  believe,  peculiar  to 
the  Indian  swastika. 

The  Hindu  character  of  the  temple,  it  will  be 
seen  from  tin-  evidence  given,  is  not  a 
matter  of  theory;  the  proof  is  complete 
in  every  way.  The  question  at  once 
presents  itself,  how  long  has  it  been  so? 
To  tins  may  be  added  the  further  inquiry 
as  tn  what  circumstances  led  the  Hindus 
to  make  this  a  place  of  pilgrimage,  so 
very   far  away  from  their  own  country  '. 

Colonel  Stewart  told  me  of  the  in- 
scriptions, and  I  hoped  to  bring  home 
squeezes  of  them,  but  the  day  of  my  visit 
turned  out  to  be  windy.  That,  with  other 
circumstances,  prevented  the  results  from 
being  a  success,  and  they  cannot  be  pro- 
perly deciphered,  a  failure  which  I  very 
much  regret.  It  may  be  mentioned,  as 
some  excuse,  that  they  are  very  rudely 
cut,  and  from  the  action  of  time  the  cha- 
racters are  not  free  from  encrustation. 
Professor  Max  Muller  has  seen  the  squeezes,  also  Dr. 
Post  and  Dr.  Burgess.  These  high  authorities  ail 
agreed  that  they  are  in  the  Devanagari  character,  and 
they  were  able  to  make  out  some  of  the  words,  such 
as  "Sri  Gauassaya  namah,"  "Sri  Ramaji..."  Dr.  Post 
was  inclined  In  date  the  form  of  the  letters  to  the 
fourteenth  or  fifteenth  century.  Dr.  Burgess,  whose 
experience  in  India  gives  his  judgment  a  claim  to 
our  trust,  thought  the  forms  of  the  characters  would 
point  to  a  date  of  about  two  centuries  back.  It 
should  be  here  stated  I  brought  home  only  about 
half-a-dozen  of  these  rude  squeezes,  and  there  are, 
perhaps,  about  a,  dozen  more;  the  probability  is 
that  they  are  net  all  of  the  same  date,  so  until  all 
these  inscriptions  have  been  studied  the  furthe  I 
back  date  which  they  can  supply  will  remain  an 
open  question.  Still,  in  spite  of  failure,  something 
has  been  done;  fur  even  if  we  (inly  lake  the  date 
suggested  by  Dr.  Burgess,  which  is  the  mos!  modern, 
the  temple  has  been  Hindu  for  at  leasl  two  cen- 
turies. Jonas  Hanway,  who  visited  Baku  about 
130  years  ago,  says: — "  Amongsl  others  is  a  little 
temple,  at  which  the  Indians  now  worship.  Here 
are  generally  forty  or  fifty  of  these  poor  creatures, 
who  come  on  a  pilgrimage  from  their  own  country." 
That  is  all  1  chance  to  know  that  can   be  said  as  to 


date.  Here  it  may  be  worth  recalling  the  fact  that 
there  are  Buddhists  to  the  north  of  Baku,  on  the 
s'"""  side  of  the  Caspian.  They  are  ,,,,  bhe  low 
ground  north  of  the  Caucasus."  This  is  rather 
singular,  but  they  are  Tartars,  Kalmucks  of  the 
Don.  Being  nomadic,  they  probably  moved  to  this 
pari  from  some  more  eastern  region  of  Central 
Asia,  and  brought  their  religion  along  with  them. 

As  to  what  brought  the  Hindus  to  Baku  at 
first  very  little  can  be  said.  On  the  journey  to  and 
from   the  Afghan   frontier  we  saw  large  and  well- 


INSCRIPTION 


WALL     OF     TEMPLE. 


built  caravanserais  in  ruins,  ami  what  had  been 
substantial  bridges  crumbling  to  decay.  These  were 
in  regions  which  are  now  depopulated — devastated 
by  the  Turkoman  raids.  They  are  monuments  of 
the  commerce  of  the  past.  The  people  of  India 
have  always  shown  great  commercial  enterprise, 
and  this  no  doubt  brought  many  of  them  to  Cen- 
tral Asia  and  the  Caspian.  In  addition  to  these 
means  of  knowledge  and  connection,  1  maj  hen 
repeat  what  Colonel  Yule  told  me  in  relation  to 
this  subject,  that  there  were  in  Marco  Polo's  time 
Kashmir  fakirs  about  some  of  the  Mongol  I 
In  the  ninth  chapter  of  Marco  Polo  it  is  stated  I  lial 
Tauris  (now  Tabriz),  iii  Aderbijan,  was  a  "  noble 
city."  with  a  lame  commerce,  which  brought  mer- 
chants from  distant  places,  and  among  those  men- 
tioned is  India.  We  have  thus  a  I  as  to 
bow  the  Hindus  may  have  be  ome  acquainted  with 
the  Sailed  Fire  al  Baku.  Still,  this  leavi 
in  the  dark  as  to  how  i  hej  mana  ed  to  di  pku  e  the 
( ruebres,  who  are  general!)  supposed  to  I 
the  original  possessors  of  the  temple. 

It  seems  to  me  that  the  Ti  mple  of  Jowalla 
Mukhi,  in  t  he  Kangra  Valley,  which  is  a  sacred  plai  e 
of  pilgrimage  to  the  Hindus,  must  have  had  some- 
thin-  to  do  \\  ith  the  o  if  the  Surakhani 


200 


THE    MAGAZINE    OF    ART. 


Temple.  When  the  Hindus  learned  that  there  was 
a  temple  of  the  same  kind,  although  far  away, 
they  would  look  upon  it  as  being  identical  with  the 
one  they  knew.  Colonel  Stewart  mentions  that  the 
priest  he  saw  had  been  a  priest  at  Jowalla  Mukhi, 
and  the  Hindus  applied  the  same  name  to  both, 
only  that  they  looked  upon   the  Surakhani  Temple 


THE     SMALL     ALTAR. 

as    being    the    greater,   which    they    expressed    by 
calling  it,  "  Jowalla.  Jee." 

The  temple  at  Baku  is  square  in  form,  and  open 
<>ii  each  side.  In  this  it  is  unlike  the  usual  Hindu 
temple,  which  is  a  cell,  with  an  opening  only  on  one 
of  its  sides.  The  openings  were  evidently  intended 
for  the  purpose  of  letting  the  lire  be  seen  all  round. 
These  openings  are  arched,  and  the  whole  is  sur- 
mounted by  what  may  be  described  as  a  slightly 
pointed    square   dome.      This   is    the    only    feature 


which  has  any  resemblance  to  Hindu  architecture 
in  the  structure;  the  object  in  this  case  having 
been  to  reproduce  the  form  of  a  sikret,  or  square 
steeple  of  the  Hindu  temple,  but  it  is  so  low  that 
it  fails  in  its  suggestion,  and  it  is  more  like  a  dome 
than  a.  spire.  The  workmen  of  the  locality  must 
have  been  employed,  and  they  have  constructed 
the  arch  as  well  as  the  other  details,  with  the 
exception  of  the  dome,  as  they  were  in  the 
custom  of  doing.  It  is  a  very  rude,  plain 
building,  with  no  architectural  pretensions. 
There  is  over  the  arch,  on  the  eastern  side, 
one  stone  with  an  inscription  of  about  ten 
lines.  This  is  surmounted  by  some  rude  figures, 
among  which  is  the  swastika,  already  men- 
tioned. What  some  of  these  objects  are  I 
could  not  determine;  one  may  perhaps  be 
a  bell.  The  central  object,  over  the  swastika, 
1  I  (ink  at  first  to  be  a  representation  of  the 
sun,  but  having  procured  a  ladder  to  make  a 
close  inspection,  I  have  doubts  on  this  head.  It- 
might  be  a  vine  leaf  ;  tint  the  sun  is  a  more 
likely  symbol  to  find  on  Hindu  sculptures. 
Among  the  figures  are  some  flowers,  evidently 
given  by  way  of  ornament.  On  the  floor  of 
the  temple  is  a  square  depression,  and  by 
means  of  a  pipe  in  the  centre  the  gas  was  led 
to  the  surface.  In  each  of  the  four  corners 
of  the  temple  there  is  a  small  chimney;  pipes 
conveyed  the  gas  up  to  them,  and  when  they 
were  lighted  along  with  the  principal  jet  in 
the  centre,  the  whole  would  produce  the 
"  I'aiieh-Agni,"  or  Five  Fires,  an  arrangement 
which  the  Hindus  are  familiar  with. 

The  temple  is  within  an  enclosure,  formed 
of  small  cells,  of  which  there  are  twenty-two: 
these  were  for  the  accommodation  of  the 
pilgrims.  Over  the  doors  of  these  are  the 
Devanagari  inscriptions,  already  referred  to.  In 
one  ease  there  is  a  Persian  inscription  under  the 
Devanagari  one,  and  it  occurred  to  me  it  might  be 
a  translation  of  the  other.  The.  principal  entrance 
through  the  enclosure  was  from  the  east.  There 
is  a  kind  of  tower  over  the  gate,  with  a  room  in 
it,  and  there  are  four  chimneys  on  the  top,  simi- 
lar to  those  on  the  temple,  which  were  probably 
lighted  mi  grand  occasions.  The  whole  structure 
has  equal  interest  for  artist  and  archaeologist. 


DIANA     AND     ENDYMION.      (Em, 


MR.     GEORGE      FREDERICK     WATTS,      R.A, 


By     m.     h.     SPIELMANN. 


I  WAS  a  constant  visitor  at  the  Grosvenor  Gallery 
when,  in  1882,  the  first  collected  exhibition  of 
Mr.  G.  F.  Watts's  works  was  held.  Three  years 
later,  al  the  Birmingham  Museum,!  saw  the  pictures 
all — or  many  of  them — once  more,  as  well  as  packed 
crowds  would  permit.  In  the  artist's  own  gallery  I 
have  studied  them  again  and  again,  and  have  tnel 
many  of  them  in  local  exhibitions,  and  examined 
them  in  reproduction  limes  out  of  number.  I 
have  often  talked  of  them  and  of  art  with  the 
master,  and  have  watched  him  paint,  and  have,  I 
believe,  for  some  years  past  seen  the  majority  of 
his  pictures  in  progress  of  execution.  1  have  read 
nearly  all  that  has  been  said  of  them,  critical, 
rhapsodical,  and  descriptive,  and  have  mysell  often 
contributed  to  the  public  consideration  of  them  and 
of  the  artist.  And  yet,  I  confess,  not  until  I  walked 
through  the  rooms  of  the  New  Gallery  and  stood 

2G 


before  this  noble  selection  of  the  painter's  work, 
did  I  quite  realise,  for  all  my  previous  knowledge, 
how  great  a  man  is  this  noble  artist,  how  superb 
a  painter:  how  lofty  his  sense  of  style,  and  how 
majestic,  in  many  instances,  his  conception.  Of  the 
greatness  of  his  art   there  can  be  no  doubt,  nor  of 

ln's  true   position;    nor  to  any  of  his  generati 

it  likelier  that  posterity  will  pronoum  e   the  p  ord 
reserved    only    for    the    worl  hj  :    "  I  i  and     go    up 
higher!" 

It.  is  not  on  tin1  works  of  his  later  day  that, 
his  reputation  as  a  painter,  pure  and  simple,  v\ ill 
rest.     For  during  his  second  period  lie] 

laid    aside    that     form    of    technical    i 

dazzles   and   delights  in   the   gui  e   of   '  de>  teritj 
and  adopted   a  broader  manner,  in  which  handling 
and  manipulal  ton — ii         >  >     the  mani- 

festal  i i    i  be  >  on  ciou  lj     Idlful   craftsman     an 


202 


THE    MAGAZINE    OF    ART. 


subordinated  to  the  subject  on  which  the  artist 
would  insist.  Mr.  Watts,  indeed,  stands  alone  in 
aeration.  Nature  intended  him  intellectually 
for  a  poet,  as  well  as  artistically  as  a  painter,  whose 
bard-like  utterances  are  sometimes  perhaps  fitter  for 
words  than  for  pigment.  But  this  development  had 
not  reached  its  irresistible  point  before  the  master 
had  produced  such  canvases  that,  like  it  or  not,  have 


PAOLA     AND     FRANCESCA. 
(from    a    Photograph    by    F.     Holtyer.) 

sel  up  his  name  among  the  highest,  and  placed  him 
beside  the  great  masters  of  execution  and  colour.  In 
this  respect  he  is  not  to  be  judged  by  those  works 
of  thought  and  ethical  aim  by  which  he  is,  perhaps, 
best  known  to  the  present  generation,  who,  for 
many  years,  have  watched  his  artistico-intellectual 
pictures  as  they  issued  from  his  hand  in  which  the 

painter-like  quality  in  its  appearance  of  re  high 

finish    is   sacrificed    to    the   main    intention   of   the 

picture.     Mr.  Walls's  view   is  obvious — he  regards 

ot  as  an  end  but  a  moans:  "the  language 

of  all  the  world,"  no  doubt,  but  a  language,  when 


acquired,  to  he  used  for  the  expression  of  the 
conceptions  which  arise  in  the  thinking  painter, 
as  well  as  in  the  thinking  writer,  whether  poet  or 
philosopher.  For  that  reason,  then— in  the  convic- 
tion (hat  painting  may  he  used  for  the  satisfaction 
of  cravings  higher  than  the  merely  sensuous— he 
determined  In  eschew  that  accomplishment  which, 
whether  the  manifestation  of  real  talent,  and  even 
genius  of  a  kind,  or  else  of 
unfeigned  vanity,  attracts  over- 
much the  admiration  of  the 
public,  and  diverts  attention 
From  the  more  elevated  intellec- 
tual qualities  of  the  work. 

But  when  we  regard  the 
productions  of  his  brush  which 
were  executed  before  the  full 
have  of  his  mature  convictions 
moved  him,  not  only  as  artist 
hut  as  a  citizen,  to  the  noble 
line  to  which  he  has  so  valiantly 
and  so  generously  adhered,  we 
are  struck  with  astonishment 
that  no  greater  recognition  has 
been  accorded  to  his  purely  tech- 
nical triumphs.  Mr.  Watts  may 
regard  these  achievements  with 
equanimity,  and  with  but  modi- 
tied  satisfaction  if  he  will:  but 
technical  accomplishment  in  the 
world  of  art  will  always  maintain 
its  ]. lender  place  when  the  rank 
of  a  painter  is  to  he  accorded. 
In  some  of  these  compositions, 
hung  in  the  West  Gallery,  the 
artist,  has  touched,  perhaps,  the 
highest  point  of  technical  accom- 
plishment, and  has  triumphed 
in  the  painting  of  flesh — as  in 
the  Leicester  "  Fata  Morgana," 
and  in  "  Life's  Illusions" — as  no 
other  English  painter  1  know 
of,  save  Reynolds  and,  in  small 
works,  Etty,  has  triumphed  be- 
fore. In  addition,  we  have  in  these  canvases  that 
cjrandt  allure,  that  sense  of  style,  colour,  composi- 
tion, ami  line,  that  go  to  make  a  masterpiece;  and 
to  each  of  these,  moreover,  there  is  added  that 
definite  purpose  of  subject— that  spiritual  quality 
— on  which  the  painter  already  insisted  half  a 
century  ago,  at  the  time  he  painted  them.  The 
first-named  hears  finishing  touches  that  were  ap- 
plied as  late  as  1888,  and  the  latter,  belonging  to 
1849,  is  threatened  with  destruction,  in  conse- 
quence, perhaps,  of  the  Italian  ground  on  which  it 
was  painted,  and  perhaps  not  a  little  to  subsequent 


ORPHEUS    AND     EURYDICE. 
(Engraved   b'j    0.    lacottr.) 


204 


THE    MAGAZINE    OF    ART. 


clamp.     These  two  works,  as  showing  Mr.  Watts's 
supremacy  in    flesh-painting,  deserve   a    pilgrimage 


LOVE     AND     DEATH. 


and  must    be  seen  by  those  whi 

iiiini  in  ci'  what  lias  been  dime  n 


all  In  themselves, 
would  form  a  jusl 
English  art. 

It  must  not  be  supposed,  however,  that  they 
comprise  all  or  even  the  highest  qualities  of  this 
painter's  art.  For  even  greater  subtlety  in  the 
flesh-tones  we  may  look  to  "  Bianca  " — a  picture  which 
was  painted  from  Rossetti's  model,  and  which  from 
the  collection  of  the  late  Mr.  C.  H.  Rickards  passed 
into  that  of  .Mr.  Ruston.  This  brilliant  bust,  only 
less  lovely  than  "  ( Ihoosing  "  (which,  curiously  enough, 
is  nut  included  in  this  exhibition),  was  painted  in 
but  for  excellence  of  painting  we  may  even  go 
bark  a  quarter  of  a  century  earlier — to  the  artist's 
work  \\  hen  he  was  yet  a  youth. 

Indeed,   in    the    South  Gallery    we    find  several 

i  xecuted    before   "  The    Wounded    Heron," 

the  picture  with  which    Mr.  Watts  made  bis  dibut 

at   the  A-cademj    in   L831? — not  less  than  sixty  years 

ago! — and   which   may    here   be  found    and  admired 


for  its  modest  conscientiousness,  absence  of  display  or 
sensational  handling,  and  excellent  tone.  There  is 
a  little  portrait  of  Mr.  James  Weale  (1835)  and 
another  of  a  child  ("Little  Miss  Hopkins,"  1836), 
which,  but  for  a  certain  lack  of  confidence, 
might  fur  masterly  handling  and  purity  of  colour 
be  compared  with  some  of  the  smaller  portraits 
by  Hogarth.  Between  these  small  examples  of 
boyish  genius  and  the  unfinished  symbolic  pic- 
ture of  "Peace  and  Goodwill"  of  the  present  year, 
an  extraordinary  panorama  of  the  artist's  mani- 
pulative skill  and  imaginative  power  is  presented 
to  the  eye.  It  cannot  be  doubted  that  the  highest 
attainment  of  the  painter's  band — that  band  which, 


HON.     MRS.      PERCY     WYNDHAM. 


not  even  in  bis  most  pi 
his  earliest   efforts    to 


ecise  an 
the    pi 


d  daintiest 
esent   time 


work,  from 
when   his 


LORD    TENNYSON. 

(Engrausd    by     W.    Biscombo-Gardncr.') 


206 


THE    MAGAZINE    OF    ART. 


eightieth  year  is  past,  never  condescended  to  the  help 
of°a  maulstick— is  to  he  found  in  the  West  Gallery; 
hut  the  South  Room  contains  not  a  few  of  his 
liotahle  triumphs.  Besides  the  Hawking  pictures 
there,  and  the  quaint  portraits  of  "  Lady  Holland" 
(1843)  and  .Miss  Cassavetti,  the  superbly  dignified 
"Gladstone"  (1865),  which  1  believe  I  am  right  in 
saying  was  the  earliest  executed  portrait  of  first- 
class    importance  of   that   statesman,  there  are   the 


LIFE,     DEATH 


magnificent  early  "Tennyson"  (1859)  and  the  later 

executed    in    1890    in    the    broader    manner   of 

rei  eni  years.  There  are  i  lie  "  Millais "  (1871) 
and  the  opulent,  though  not  quite  so  successful, 
"  Leighton  "  (  1890),  the  brilliant  "Joachim,"  executed 
.it  a  time  when  the  violinist  wore  no  beard,  now 
thirty  years  ago,  and  the  "Marquis  of  Salisbury" 
of  l  s).  We  have  the  beautifully-drawn  and  ex- 
hj  fell  nicl  ure  of  "  Prayer "  (  L87S)  now  the 
rty  of  Manchester;  and  the  imaginative  and 
romantic  "Ophelia."  This  has  been  worked  upon 
since  it  was  first  exhibited  at  the  Grosvenor  Gallery 
in    LS78,  the    year    it    was   painted.      Besides   these 


there  is  the  superb  "Una  and  the  Red  Cross 
Knight"  (1869) — a  work  to  me  as  touching,  for  all 
its  reticence,  as  Millais'  "Yale  of  Rest" — and  the 
sad  and  reproachful  picture  of  London  misery  called 
"Under  a  Dry  Arch."  Of  far  later  date  is  the 
beautiful  half-length  nude  of  "Uldra"  (1884),  one 
of  the  artist's  most  brilliant  exercises  in  prismatic 
colour,  for  which  the  Scandinavian  waterfall  sprite 
gives  him  the  motive.  The  sketch  and  the  finished 
picture  of  "The  Rider  on  the  White 
Horse'"  may  profitably  be  studied  to- 
gether; the  impressive  vigour  and  mas- 
siveness  of  the  large  work  with  its 
masterly  drawing  and  brilliant  hand- 
ling, and  the  smaller  one  superior  in  the 
purity  of  its  colour  and  in  the  rarer 
poetic  expression  on  the  "  Rider's"  face. 
With  the  mention  of  the  "  View  of  the 
Carrara  Mountains  from  Pisa"  (1881), 
which  displays  not  less  knowledge  of 
rock  formation  than  of  atmospheric 
effect  and  exquisite  variety  of  colour, 
we  may  pass  to  the  West  Gallery,  pre- 
pared for  a  still  liner  presentment  of 
the  painter's  art — an  expectation  which 
will  not  be  disappointed. 

Occupying  the  centre  of  the  great 
wall,  the  celebrated  picture  of  "  1'aola 
and  Francesca"  asserts  itself  magnifi- 
cently. It  is  a  splendid  specimen  of 
Mr.  Watts's  art  of  fifty  year-  ago,  per- 
haps even  finer  now  than  when  it  was 
painted,  gaining  nothing  in  its  rare  ini- 
pressiveness  and  dignity  from  the  help 
of  time.  The  subject  has  been  handled 
many  a  time  before,  from  Delaroche  and 
Scheffer  to  Dore,  but  not  one  treatment 
of  it  that  1  have  seen  comes  within 
measurable  distance  of  this  great  work, 
cither  for  imagination,  pathos,  or  poetry, 
composition,  or  even  technique.  Its 
destination,  the  reader  will  be  -lad  to 
learn,  is  the  National  Gallery,  to  which 
the  present  owner  purposes  to  bequeath  it.  It  may 
not  combine  in  itself  all  of  its  painter's  highest 
qualities,  but  there  can  be  no  doubt  that  it  will 
maintain  its  position  as  one  of  the  finest  and  most 
elevated  works  of  the  English  school.  Hard  by 
hangs  "  Britomarl  and  her  Nurse  before  the  Magic 
Mirror"  (187S),  interesting  as  proving  the  artist's 
independence  and    originality,  for,  although  he  has 

executed  SOllie   liolf-i  b  i/i-ll   pictures  ilispiled    by  puds' 

works, he  has  never, excepl  perhaps  in  the  case  of  the 
•■  l'aola  and  Francesca,"  sought  merely  to  illustrate 
poets'  words  In  this  instance,  indeed,  the  picture  is 
in  reality  a  continuation,  or,  so  to  speak,  a  collateral 


MR    GEORGE    FREDERICK    WATTS.    i;.,\.  207 

MKe'™-  3"" — - .i.-,!..,i.M:,;,;,r:,:>'!:: ;::;,1:II::i;:::;;;„;;i 


BIANCA. 

(/»     Me    Collection    of    Joseph     Raston,     fjg,      / 


./mho  rrf.) 


Fata  Morgana.      Both  Mr.  V7atts's  versions  of  Bo-  canvases.     Then  the  silenl  peat  of      Mounl 

jardos  creation  .„  "Orlando  [nnamorato"  are  here,  (1885),  rising  in  solemn  dignity   againsl   th< 

""'.  '"'■""•'■"'  the  two,  in  my  op -that  which  the  an  Eastern  night,  while ,Uah  the 

artist  presented  to  the  town  of  Leicester     beinginall  solitude,  reveals  his  deep  ,   of  the 

respects  the  finer  composition  and  the  finer  painting,  majesty  of  nature,  while    h  wholly 

ihe  two  pictures  ot   "Orpheus  and    Eurydice"  are  dissimilar,  though  much  more  fanciful,  is  to  be  seen 


208 


THE    MAGAZINE    OF    ART. 


in  his  "Neptune's  Horses" — an  upright  picture  of 
the  deep  blue  sea  flecked  with  the  foam  of  the 
breaking  waves,  which  need  but  a  moment's  con- 
templation to  realise  iii  them  the  forms  of  prancing 
horses:  an    idea  which  has  since   been  carried   out 


by  Mr.  Waller  Crane  and  certain  painters  abroad, 
though  it  is  no  disparagement  for  them  to  say, 
ueither  with  the  same  subtle  beaut)'  nor  with  equal 

I tic  touch,    Opposite  hangs  the  "Diana  and  En- 

dymion,"  in  whose  sleep  the  hunter-goddess — other- 
wise Selene,  tbe   Moon — deseeuded  to  embrace  him, 

a  [position  which  for  grace  of  line,  classic  beauty 

of    form,   and    charm    of   mystery,    Mr.   Walts   has 

surpassed.     Beside  il    is  the  fine  "Venetian 

Nobleman."   who   is,  in   truth,  none    other    than    Mr. 

Watts  himself.     In  this  room,  too,  are  some  of  the 


artist's  finest  representations  of  the  nude — not  only 
those  to  which  reference  has  already  been  made,  but 
also  "The  Three  Goddesses"  (of  which  the  sculp- 
turesque treatment,  the  supreme  representation  of 
the  ideal  nude,  and  exquisite  quality  are  beyond 
praise),  and  the  more  human 
figures  of  "Daphne''  ( 1 S 7 2 )  and 
"Psyche"  (1880);  and  it  is  in- 
teresting to  observe  the  emphasis 
with  which  Mr.  Watts  seems  to 
have  differentiated  the  human 
figure  in  the  two  classes  of  picture 
— the  symbolic  and  the  typical. 
With  these  the  "Ariadne,"  a 
modern  "old  master,"  may  profit- 
ably be  compared. 

Among  the  works  of  graceful 
fancy  is  the  daintily-conceived 
picture  entitled  "Good  Luck  to 
Your  Fishing"  (1889) — inspired, 
probably,  by  the  little  rogue  in 
"  Arion  "  (No.  117).  The  merry 
little  sprite  hovering  blithely  over 
the  waves  into  which  he  has  cast 
his  line  reminds  the  spectator 
of  the  amorini  of  Rubens  or  of 
Titian,  and,  painted  in  a  rich  and 
robust  scheme  of  colour,  possesses 
an  interest  of  surface  more  often 
avoided  by  other  painters  than 
sought. 

The  portraiture  in  the  same 
room  is  (in  a  level  with  the  sub- 
jects. The  full-length  of  "  Lord 
Campbell"  in  his  chancellor's 
robes  and  full-bottomed  wig  is 
a  work  to  be  remembered,  a 
complete  picture  of  senility  with 
its  air  of  ancient  dignity  and 
diminishing  intellectual  force 
than  any  1  could  quote :  nearest 
to  it  is  Houd on's  "Voltaire"  at 
the  Comedie  Francaise,  yet  not 
so  subtle  in  character  as  this 
interesting  work.  Not  less  cha- 
racter and  more  "actuality"  are  to  be  found  in 
"Sir  William  Bowman"  (1865);  and  in  "The  Rt. 
Hon.  Russell  Gurney,  Q.C.,"  we  see  the  transition 
to  the  artist's  later  practice  in  portrait-painting. 
The  portraits  of  Sir  Edward  Burne-Jones  (1870), 
Mr.  Swinburne,  .Mr.  Calderon  (1872),  Mr.  Walter 
Crane,  and  Lady  Garvagh  and  Lady  Somers,  and 
other  portraits  of  ladies —whom  none  in  England 
in  this  latter  century  has  painted  with  so  much 
grace  anil  beauty — are  too  well  known  to  need 
further  reference.     Bui  the  attention  of  the  visitor 


THE     HABIT     DOES     NOT     MAKE     THE     MONK, 
{Engraved    by    Jonnard.) 


210 


THE    MAGAZINE    <>F    ART. 


may  be  called  bo  the  portrait  of  the  late  Earl  oi 
Aii  lie,  and,  fur  the  purpose  of  comparison,  to  the 
exquisite  "Ganymede,"  which  hangs  in  the  South 
Gallery,  and  which  was  employed,  as  may  here  be 
seen,  for  the  fare  of  the  boy  in  "The  Childhood 
of  Jupiter,"  or,  as  it  was  first  named,  "The  Infant 
Hercules  tended  by  Nymphs."  Reference  should 
also  be  made  to  the  por- 
traits of  Mi.  Coustautine 
[onides,  of  his  wife  and  his 
two  daughters,  if  only  to 
mention  a  circumstance  the 
like  of  which  must  be  rare 
enough  in  the  annals  of  art: 
Mr.  Watts  has  painted  no 
fewer  than  five  generations 
el  the  [onides  family. 

In  the  North  Gallery 
are  gathered  together  the 
seventeen  canvases  which 
it  is  the  intention  of  the 
artist  to  present  to  the 
Nation — pictures  of  thought 
and  ethics,  and,  so  to  speak, 
of  elementary  metaphysics. 
These  nobly-designed  pic- 
i  ures  include  those  in  which 
he  lias  striven,  to  use  bis 
own  wands,  "  to  divest  the 
inevitable  of  its  terrors," 
and  in  show  the  Great 
Power  "  rather  as  a  friend 
than  as  an  enemy."  These 
are  the  "  Court  of  Death," 
with  the  attendant  minis- 
ters, "Silence  and  Mystery;" 
"The  Messenger,"  who 
summons  the-  aged  to  their 
rest;  "Death  Crowning 
[nnocence  : "  "  Time,  Death, 
and  Judgment;"  the  well- 
known  and  of t-repeated  (but 
always  with  variations) 
"  Love  and  Death,"  and  its 
tendei  companion  "  Love 
and  Life."  Then  "Faith"— the  militant  Faith  of 
the  Church,  awakening  to  the  folly  of  the  perse- 
cution she  has  practised;  "Peace  and  Goodwill," 
"For  lie  had  Great  Possessions,"  ■■The  Dweller  in 
the  Innermost" — otherwise  Conscience,  or  rather 
Geist — "The  Spirit  of  Christianity,"  a  somewhat    ai 

imentary  on  schismati    discord  :  "  Jonah  " 

hing  ruin  to  the  ungodly;  "The  Minotaur," 
the  sensualist,  and  "Mammon,"  the  god  of  vulgar 
avarice  and  insolent   cruelly  :  "  Hopi      the    anguine 


dweller  in  perpetual  dawn:  "Sic  Transit,"  the 
end  of  human  life,  considered  apart  from  the  im- 
mortality life  may  make  for  itself;  and  the  tine 
"Chaos,"  a  picture  which  exhibits,  perhaps  better 
than  any  other,  the  monumental  character  of  the 
artist's  conception,  while  the  forms  obviously  re- 
call his  study  of  the  Elgin  marbles. 

All  these  pictures, 
painted  with  a  view  not 
purely  artistic,  are  re- 
inforced by  many  others 
which  show  the  artist  in 
his  strength — "The  Rev. 
James  Martineau,"  one  of 
the  finest  of  his  portraits 
executed  during  the  'seven- 
ties ;  "  Sir  Richard  Burton," 
a  most  valuable  sketch; 
"Love  Triumphant,"  notable 
for  its  beauty  of  line  as 
well  as  of  thought  :  "  Sun- 
set in  the  Alps,"  a  fine 
example  of  colour,  painted, 
if  I  mistake  not,  on  a 
ground  of  gold;  "After  the 
Deluge,"  a  brilliant  study 
of  colour  and  light ;  and 
the  trilogy  of  "Eve":  her 
creation  and  nobility,  her 
temptation  and  frailty,  her 
fall  and  repentance. 

The  direction  of  modern 
art  criticism  would  leave 
few  painters  unscathed, 
either  from  the  philoso- 
phical or  technical  points 
of  view ;  and  the  works 
of  Mr.  Watts,  as  here 
shown,  present  many  op- 
portunities, not  of  carping 
but  of  conscientious  dis- 
agreement here  and  there. 
But  a  collection  such  as 
this  silences  ordinary 
criticism,  not  only  in  ad- 
miration of  the  master,  but  from  the  sympathy 
he  evokes.  The  man  who  produced  these  works 
is  a  king  among  painters:  and  if  he  has  deliber- 
ately used  his  art  for  the  expression  of  didactic 
ideas  it  is  ungrateful,  and  foolish,  moreover,  to 
shut  our  eyes  to  the  genius  that  would  paint 
virtues  as  well  as  trees  and  dissections,  and  would 
rather  delight  our  intellects  and  stir  our  con- 
sciences than  confine  bis  message  to  sensuous  en- 
joyment. 


AND      GOODWILL 
Photograph   by   F.   Hollyer.) 


I'll 


ANATOMY      IN      ART. 


By     DR      WILLIAM     ANDERSON,     F.R.CS.       PROFESSOR     OF 


AT     THE      ROVAL     ACADEMY 


TWO  important  works  upon  artistic  anatomy 
have  appeared  almost  simultaneously — one  by 
Professor  Arthur  Thomson*  of  Oxford,  the  lecturer 
upon  Art  Anatomy  at  Smith  Kensington;  the  other 
by  an  American  artist,  Mr.  Ernest  E.  Thompson.f 
Professor  Thomson,  a  master  of  science,  has  brought 
to  bear  upon  his  subject  artistic  instincts  and 
accomplishments  of  a  high  order,  and  Mr.  Thomp- 
son, primarily  an  artist,  has  subordinated  his  art 
to  an  eminently  scientific  spirit,  preparing  his  own 
dissections  and  executing  his  drawings  with  a  care 
that  will  give  his  win]-:  a  value  beyond  the  circle  for 
which  it  is  especially  designed. 

Until  now  the  English  or  American  art  student 
who  wished  to  attack  human  anatomy  seriously 
was  almost  compelled  to  seek  his  guidance  in  French 
or  German  honks.  The  labours  of  Gerdy,}  the 
father  of  what  we  may  call  the  Science  of  Surface 
Anatomy,  and  those  of  Richer,  the  author  of  the 
most  complete  treatise  upon  Artistic  Anatomy  in  its 
wider  sense, §  have  left  little  for  their  followers  to 
do.  The  admirable  lithographic  plates  by  Leveille* 
illustrating  Fau's  anatomyll  have  never  been  equalled, 
and  are  scarcely  to  he  excelled,  in  their  combination 
of  accuracy  and  pictorial  beauty:  and  in  Germany 
the  writings  of  Froriep,^]  Harless,**  and  Kollinanii.tf 
as  well  as  the  valuable  essay  of  BriickejJ  on  the 
beauties  and  defects  of  the  human  form,  serve  as  an 
admirable  basis  for  study.  In  England,  on  the 
other  hand,  save  for  the  learned  handbook  of  Pro- 
fessor Marshall,§§  we  have  hitherto  had  little  that 
could  help  the  painter  or  sculptor.  Professor 
Thomson,  however,  now  gives  us  a  volume  that,  for 
the  English  reading  student,  will  take  the  place  held 
by  that  of  Professor  Richer  in  France,  hike  Richer 
he  has  grasped  tin'  importance  of  explaining  each 
characteristic  feature  on  the  surface  contours  of  the 
body  by  its  relation  to  the  structures  beneath,  and 
to  make  the  lessons  more  clear  he  has  illustrated  his 
description  by  a  series  of  photographs    from   well- 

*  "Anatomy    for   Artists,"   by   Arthur   Thomson.       Oxford 
Press. 

f  ''Art   Anatomy   of  Animals,"   bj    Ernest    E.    Thompson. 
Macmillan  and  Co. 

I  Gerdy,  "Anatomiedes  Formes  Extdrieures."     1829. 

§  Richer,  "Anatomie  Artistique,"  with  illustrations  bj  the 
author.     L890. 

Fan,  "Anatomiedes  Formes  Exterieures du  Corps  Huinain," 
with  alius  of  plates  drawn  from  nature  by  J.  B.  Leveille. 

^j  Froriep,  "Anatomie  fiir  Kiinstler."     1880. 
■    Harless,  "  Plastiche  Anatomie."     2nd  edition.     L87G. 

ff  Kollmann,  "  Plastiche  Anatomie."     1886. 

J  J  Briicke,"Sch6nheit  und  Fehlerder  menschelichen  Gestalt.' 
Vienna  ;  1891.     English  translation  published  bj  Grcvel,  I don 

^  Marshall,  "Anatomy  for  Artists,"  with  wood-cut  illustra- 
tions after  .1.  S.  Cuthbert.     1883. 


selected  living  models,  showing  the  trunks  and 
limbs  in  all  their  principal  motions,  each  picture 
being  analysed  in  an  adjoining  diagram  which 
displays  in  outline  the  muscular  anatomy  of  the 
part,  lie  has  not  gone  quite  so  far  as  Richer,  who 
attaches  also  a  drawing  of  the  skeleton  form  to  each 
representation  of  the  muscles  and  surface  markings, 
but  the  result  is  little  inferior.  The  descriptive  text 
is  admirably  lucid,  and  especially  adapted  for  the 
artistic  reader  by  the  careful  avoidance  of  all  un- 
necessary technicalities.  The  arrangement  of  the 
facts  conveyed  is  simple  and  practical;  the  different 
portions  of  the  frame  are  discussed  regionally,  the 
superficial  appearances  of  each  part  are  described 
and  explained,  the  movements  are  figured,  and  their 
limits  indicated  by  photographs  and  diagrams,  and 
short  essays  are  appended  upon  facial  expression 
and  proportion.  The  artist  who  seeks  further  detail 
may,  of  course,  refer  to  purely  scientific  treatises, 
but  he  has  here  all  that  is  essential  for  him  to  know. 
With  such  a  guide  the  unsavoury  work  of  dis- 
section is  a  superfluous  part  of  the  artist's  training: 
indeed,  a  clear  description,  aided  by  an  atlas  such 
as  that  of  Leveille  or  Richer,  will  teach  the  forms 
of  muscle  and  tendon  far  more  clearly  than  any 
Ordinary  dissection  of  an  average  "subject"  if  the 
learner  will  take  the  trouble  bo  study  at  the  same 
time  his  own  surface  forms  or  those  of  a  suitable 
living  model.  He  may  then,  in  fact,  comprehend 
the  meaning  of  surface  anatomy  far  better  than  he 
would  be  likely  to  acquire  it  from  the  long  course 
of  practical  training  of  anatomical  exercise  which 
forms  a  large  par!  of  the  medical  curriculum. 

Mr.  Ernest  Thompson's  book  is  one  of  a  different 
character.  1 1-  is  essentially  an  atlas  of  plates, 
drawn  with  a  fidelity  of  detail  thai  will  gladden 
the  heart  of  'I  he  anafoinisl  pure  and  simple. 
The  first  sketch,  a  vigorous  and  original  deline- 
ation of  the  arrangement  of  the  fur  on  the 
wolf,  is  of  especial  interest,  and  ibis  is  followed 
by  some  other  drawings  of  like  object.  The 
skeleton  and  muscular  forms  of  the  greyhound 
are  next  shown  in  various  positions,  then  the 
muscles  of  the  cat,  the  proportions  and  skeleton  of 

the  lion,  the  bones  and  muscles  of  the  horse,  wilh  an 
excellent  smies  of  sections  of  trunk  and  limbs  to 
show  the  relation  of  the  deeper  structures  to  the 
surface;  the  muscles  of  the  ox,  the  proportions  of 
the  sheep  and  camel,  and  finally  a  series  of  illustra- 
tions of  the  anatomy  and  plan  age  of  birds,  i  en 
eluding  wiih  a  wondei  Eul  geometrical  plan  ol  I  he 
expanded  tail  of  the  peacock.  I!  should  be  particu- 
larly   noted    thai    the    indications   to    the    complex- 


212 


THE    MAGAZINE    OF    ART. 


muscular   forms  represented    are  printed  upon   the 

plate  itself,  a  c session  for  whicli  the  hard-worked 

student  will  be  especially  grateful,  and  thai  the 
anatomical  nomenclature  is  made  to  coincide  as  far 
as  possible  with  that  adopted  in  the  leading  text- 
books of  human  anatomy.  Thanks  to  the  latter 
precaution,  the  learner  who  has  acquired  some  know- 
ledge of  the  skeleton  and  myology  of  man  will  find 
but  few  difficulties  in  mastering  the  closely  analogous 
arrangement  of  structures  in  the  lower  animals. 

The  text  is  rich  in  material  valuable  to  the 
artist,  and  especially  to  the  sculptor,  such  as  tallies 
of  size  and  proportion,  careful  admeasurements  of 
distance  from  one  salient  point  on  the  surface  to 
another,  and  a  descriptive  account  of  the  principal 
muscular  attachments  in  the  animal  selected  as  a 
type.  It  concludes  with  a  bibliography  of  the 
subjects  treated  and  a  good  index. 

The   book    is   essentially    original,   although   its 


plan  was  to  some  extent  anticipated  in  the  scarce 
and  uncompleted  work  of  Goiffon  and  Vincent 
("Memoire  Artificielle  des  principes  relatifs  a  la  tidelle 
representation  des  Animaux,  taut,  en  peinture  qu'en 
sculpture."  Alfort,  1779).  Its  plates  are  excellent, 
but  their  artistic  value  is  injured  to  some  extent  by 
a  process  of  reproduction  which  destroys  the  sharp- 
ness and  decision  of  the  fine  lines  of  the  original 
drawing.  In  a  subsequent  edition  the  author  may 
be  persuaded  to  include  a  few  more  skeleton  forms 
and  to  add  some  outline  plates  showing  the  areas  of 
attachments  of  the  principal  muscles  upon  the  hones 
of  the  horse  and  the  dog. 

The  artistic  student-  may  be  congratulated  upon 
the  appearance  of  these  two  works,  for  they  have 
made  it  possible  for  him  to  acquire  in  a  few  months 
more  of  the  essential  facts  of  surface  anatomy  than 
his  predecessors  in  the  Medicean  age  could  gather 
in  years  of  original  research. 


HADRIAN'S     VILLA. 


BY     RICHARD 


IX  the  accompanying  reproduction  of  a  small  bul 
well-known  picture  by  Richard  Wilson  in  the 
National  Gallery,  the  readers  of  The  Magazine  OF 
Art  have  the  opportunity  of  seeing  the  results 
obtainable  by  a  new  and  most  interesting  process  of 
reproduction  in  colour.  It  is  a  process  that  has  for 
some  time  occupied  the  attention  of  scientific  and 
artistic  minds,  but  it  must  be  called  new,  for  it 
is  still  in  the  experimental  stage,  although  most 
extraordinary  results  have  been  and  are  being 
obtained  in  Germany,  America,  and  in  this  country. 
In  the  limited  space  at  our  disposal  it  is  impossible 
to  go  into  the  history  of  the  process,  but  some  little 
account  of  the  method  of  it  is  necessary  to  the 
understanding  of  its  interest  and  value.  It  is  the 
nearest  approach  to  photography  in  colours  that,  has 
yet  been  obtained. 

Simply  stated,  the  method  is  this.  The  picture 
— or  it  may  be  any  coloured  object  or  scene — is  ex- 
posed to  the  camera  and  three  negatives  are  taken, 
oiii-  records  the  yellow,  one  the  red,  and  one  the 
blue  lays  reflected  by  the  picture  or  object.  This 
i  paration  of  the  values  of  the  three  primary  colours 
is  effected  by  the  interposition  of  colour  screens 
which  prevent  the  passage  to  the  recording  negative 
of  any  but.  the  one  colour.  From  these  negatives 
blocks  are  made,  one  for  each  primary  colour,  ami  by 
printing  these  blocks  one  over  the  other  the  three 
primary  colours,  which  were  separated  by  the  process 
of  photography,  are  brought  together  again  and  the 
final  effect  produced. 

Reproductions  of  works  of  ail  by  chromo-litho- 


WILSON.     R.A. 

graphy,  good  as  the  best  may  have  been,  have 
always  been  open  to  the  objection  that  they  lose 
the  artist's  drawing  and  colour,  and  fail  to  render 
the  quality  of  the  original  work.  The  large  num- 
ber of  printings  necessary,  sometimes  more  than 
twenty,  tend  to  overload  the  subject  with  ink, 
ami  give  to  reproductions  even  of  a  water-colour 
drawing  an  over-coloured,  heavy  appearance,  as  of 
a  thickly  painted  oil  picture.  By  this  new  photo- 
graphic method  the  character  of  every  work  is 
retained.  A  water-colour  looks  like  a  water-colour, 
while,  as  may  be  seen  in  this  reproduction  of 
Wilson's  picture,  the  fat  oily  nature  of  the  painting 
is  well  suggested,  while  even  such  detail  as  the 
cracks  in  the  surface  are  faithfully  rendered,  and  the 
well-known  grey-green  tones  of  the  painter  will  be 
easily  recognised  by  everybody  who  is  acquainted 
with  his  work.  In  justice  to  .Messrs.  Andre  and 
Sleigh,  who  produced  and  printed  the  blocks  for 
this  picture,  it  should  be  stated  that  the  blocks 
were  made  under  exceptional  difficulties.  The  pic- 
ture had  to  be  photographed  at  the  National 
Gallery  where  they  could  not  have  the  assistance 
of    the   electric    light,   and    of    Course    they   could    not 

have  if  away  from  the  gallery  for  purposes  of  com- 
parison. In  spite  of  these  and  other  difficulties,  if 
will  be  seen  that  a  very  near  approach  has  been 
made  to  a  facsimile  reproduction  not  only  of  the 
drawing,  but  of  the  colour  and  the  quality  of  the 
picture,  even   to   the   discoloration    in   tin-  sky. 

We    shall    show    on    a     future    occasion    what,    is 
possible  in  reproducing  an  object  direct,  from  nature. 


THE     BLIND     HOUSE. 
(From    the    Painting    by    William    de    Gouve    rfe    Nuneques  ) 


THE     ART    MOVEMENT 


THE    usual    annual    Exhibition    of 
September  was  not   held  last  y< 
former  years  been  "held  in  turn  at  <i 
and   Antwerp,  and    it 
was  called  the  Trien- 
nial  Exhibition    in 
each    of    these   cities. 
Last  spring  a  Salon  of 
Sculpture  and  Painting 
was  opened  at    Liege, 
which    iu    future   will 
lie   the  fourth    of   the 
Belgian    centres    that 
have     the    honour    of 
giving  a  home  to  the 

newer     WOrks     of      the 

Flemish  masters.  The 
exhibition  henceforth 
will  he  quadrennial, 
since  every  four  years 
one  of  these  towns  w  ill 
boasl  nf  being  the 
metropolis  <>f  Belgian 
ai t.  This  change  was 
mil  effected  without 
some  difficulty.  There 
was  some  talk  of  strik- 
ing Brussels  off  the 
list,  ami  holding  these 
official  shows  only  in 
the  provinces,  since 
the  capital  is  crowded  (/w,  for 

during  the  winter  w  ith 
l hr  el ul i  ami  society  exhibitions  which 
a  focus  of  sestheticism.     Bui   this  sugg 
eagerly   discussed,   came    !<•    nothing, 
system  survives,  with  the  added   stre 


IN     BELGIUM. 

Fine  Arts  in  be  afforded  by  the  admission  of  Liege  to  the  roll  of 
ir.  it  has  in  towns  entitled  to  hold  Government  exhibitions  of  art. 
hent,  Brussels,  At   the  present   moment,   Brussels  is  very  busy 

about  the  Universal 
Exhibit  ion  of  Fine 
Arts  In  In-  hell  there 
this  year.  The  da  ora- 
tion of  the  town  i~. 
under  consideration, 
ami  the  artists  com- 
missioned In  i  u 
out  are  already  on 
their  mettle.  Ii  is 
proposed  to  adorn  the 
Botanical  Garden, 
which  skirts  one  of 
the  boulevards,  with 
aboul  fifty  statues  en- 
trusted tO  a  seole  of 
sculptors  all  working 
in  a    definite  scheme. 

Then  i  he  decoral  i< f 

the  1'ail  (du  Cinquan- 
tenaire)  where  the  ex- 
hibition is  to  lie  held 
will    include   the  con- 
struction  of  a    monu- 
mental fountain  in  its 
midst,    an     importanl 
work     placed    in    the 
hands  of  the  sculptor, 
M.    Charles    van    der 
Stappen.    The  scheme 
,  dull  I  have  seen  the  modi  I  .1   a  pei  soual  Favour 
promises    grandly.     The    artisl     represents    what 
iu,i\  be  called  the  History  of  Human  Clmmeras.     It, 
consists  of  five  groups.     In  each  is  seen  an  ei lous 


FOR     AULD     LANG     SYNE." 


1 1 1 , 1 1 .    B  r  11    1  ■  I 
»esl  ion,  though 

and    the   old 
ngth  thai  will 


der    Stopper}.) 


214 


THE    MAGAZINE    OF    AKT. 


( Ihimrsra  rearing,  as 
it  svere,  its  fronl  t'cel 
in  the  air;  its  neck 
proudly  stretched, 
and  its  head  raised  ; 
its  wings  spread 
boldly  to  the  sky. 
From  each  month 
rushes  h  torrent  of 
water. 

By  the  side  of 
the  first  <  Ihimsera  a 
child  is  sleeping;  by 
the  second  dreams 
a  maiden  :  sheltered 
by  the  third  we  see 
ii  mother  with  an 
infant  on  her  knees  : 
the  fourth  protects 
mi  did  man  lying 
near  it.  These  four 
groups  stand  round 
the  fifth,  which  oc- 
cupies the  centre — 
a  young  man  in  the 
strength  and  prime 
of  life  is  holding  in 
the  Chimsera,  his  hands  clutching  its  wings,  one  arm 
round  its  neck,  in  the  attitude  and  act  of  victoriously 


straining  it.    I 
oup  and  those 


'his 


THE     CHIM/ERA 
(By    Charles 


the   mother  and  of 
the    dreaming    girl 

are  especially  strik- 
ing for  the  noble 
sense  of  the  sculp- 
tor's art.  The  foun- 
tain is  to  be  raised 
on  a  base  of  rocks, 
with  no  architec- 
tural ornamenta- 
tion. The  mass  will, 
however,  be  sym- 
metrical, the  angles 
and  arches  of  rough 
stone  composing 
with  the  sculpture, 
in  lines  radiating 
from  the  cent  ral 
group  to  the  four 
others  at  their  ex- 
tremities. The  re- 
productions given 
with  this  article  are 
from  sketches.  By 
the  same  artist  we 
have  also  a  bas-relief  for  the  Art  Union  of  Glas- 
gow,  on  the  subject  of  "  For  Auld   Lang  Syne." 


AND     THE     MAIDEN. 
lan    der    Stappm.) 


THE     CHIM/ERA     AND     THt     MOTHER. 


THE     CHIM/ERA     AND     THE     YOUTH. 


THE    ART    MOVEMENT. 


215 


In  the  new  Central   Posl   Office  two  frescoes  by     to    the    interests    of    the    Worshipful    Compui 
the  painter  Van   den   Bussche  have  been  unveiled.      Postmen  and  Telegraph  boys.     Ii   would  have  been 
Our  represents  the  reception  given  al    Antwerp  to     better    to    have    had    the    walls    bare. 


ANGELS     OF     THE     NIGHT. 
(From    the    Painting    by    William    de    Gouue    de    Nuneques.) 


Major  Dhanis  on  his  return  from  the  Congo;  the  The  Club  known  as  •■  I.,  SUlon"  has  been  holding 
other  is  an  allegory  symbolising  Posts  and  Trie-  an  exhibition  of  its  members'  work.  This  society 
graphs.     There  is  absolutely  no  sense  of  decorative     consists    of   a    group   of   young   painters,    the    besl 


PEACOCKS. 


fitness  in  these  two  works;  one  looks  like  an  illus- 
tration borrowed  from  some  magazine,  the  other 
like  an  ornate  heading  for  a  weekly  paper  devoted 


of  \vl show  their  ndhesi  >ur  mil  ive  ma 

by  the   brilliancy  and    hannonj    "i    then   colouring. 
One  name   i     woi   i      of  remark :  ihn   of  Monsieur 


I'll) 


THE    MAGAZINE    OF    AKT. 


A.  Bastien.  We  look  for  good  work  from  him, 
and  he  certainly  deserves  mention  in  a  foreign 
ir\  iew. 

Among  the  new  men  who  during  the  last  few 
years  have  attracted  the  attention  of  art-critics 
in  Belgium,  two  may  be  named  as  noteworthy: 
Georges  Minne,  a  sculptor,  and  William  de  Gouve 
de    Nuueques,    a    painter.      These    two    artists   are 


disciples  of  our  Gothic  school.  The  sculptor's 
work  is  full  of  emotion,  of  deep,  human  sentiment, 
and  sympathy.  The  painter  chooses  sometimes 
domestic  and  sometimes  ideal  subjects.  As  yet 
they  both  remain  unknown  outside  the  limits  of 
their  own  country;  but  there  is  some  talk  of 
exhibiting  the  works  of  Minne  and  of  de  Gouve 
together  in  Paris.  Emile   Verhaerejj. 


THE     DECORATION     OF     ST.    JAMES'S     EPISCOPAL     CHURCH,     EDINBURGH. 


SOME  interesting  mural  decoration  lias  recently 
been  done  in  Edinburgh— in  the  Song  School 
of  St.  Mary's  Cathedral;  in  the  Catholic  Apostolic 
Church;  and,  on  a  large  scale,  in  the  MacEwan 
University  Hall.  The  latest  scheme  is  that  for  the 
decoration  of  the  chancel  of  St.  James's  Episcopal 
Church  by  Mr.  W.  Hole,  U.S.A.,  whose  fame  as  an 
etcher,  and  especially  as  an  interpreter  of  Constable, 


its  execution  is  that  of  a  master,  and,  with  his  heart 
in  his  work,  Mr.  Hole  has  imbued  it  with  a  tine 
devotional  feeling.  The  architecture  of  the  chancel 
determined  the  leading  lines  of  the  composition, 
which  shows  on  the  upper  portion  of  the  wall  the 
points  "f  two  Gothic  arches  with  tracery.  Winged 
figures  of  dignified  aspect  at  the  junctions  of  the 
arches  represent  the  four  great  archangels — Gabriel 


Millet,   and   Velasquez,   has   extended   beyond    the     of  the  Annunciation,  the  Angel  of  the  Agony  bearing 
X, nt hern  half  of  the  kingdom.     Asked  to  advise  the     a  chalice,  the  Resurrection  Angel  with  a  trumpet, 

and   the   Angel  of   Heath. 

whose  sickle  has  gathered 


managers  of  the  church,  of 
which  he  is  a  member. 
concerning  the  adornment 
of  the  chancel,  he  gener- 
ously offered  t"  undertake 
this  work  himself :  and 
for  three  years  the  time 
that  would  otherwise  have 
been  employed  in  reading 
and  recreation  has  been 
devotedly  given  to  this 
labour  of  love.  The  part 
now  completed  is  the  north 
wall  of  the  chancel  and 
the  spaces  over  the  chancel 
arch  and  east,  window. 
The  subject  of  the  paint- 
ing, the  "  Te  Deuui,"  is 
executed  in  the  process 
know  u   as  ■■  spirit,  fresco," 

and,   to   my   mind,  ! iv 

beautiful  and  joyous  exam- 
ple of  modern  ecclesiastical 
decoration  it  would  be  dif- 
ficull  to  find  in  any  church 
in  I  he  land.  Like  the  best 
of  the  old  Italian  work, 
this  of  Mr.  Hole's  is  a 
ol  Sal  decoration. 
The  design  is  admirable, 
the    ability    displayed     in 


the   Statue  by   Georges   Minn 


not  only  the  "  bearded 
grain "  but  the  flowerets 
of  youth.  <  )n  each  side  of 
the  points  of  the  arches 
are  praising  Seraphim, 
those  above  the  organ 
chamber  having  musical 
instruments.  The  motto 
over  this  arch  is,  "  To  Thee 
all  Angels  cry  aloud.''  In 
the  circular  tracery  arc 
heads  of  Cherubim, 
suggestive  of  the  contem- 
plative side  of  Christian 
worship;  while  in  the 
lunettes  below  are  repre- 
sentations ol'  the  ( rates  of 
the  New  Jerusalem  in  the 
four  orders  of  Christian 
architecture.  Below  the 
spring  of  the  arches  is  a 
spacious  oblong  panel,  ex- 
tending the  whole  length 
of  the  wall,  in  which  an 
important  part  of  the 
composition  has  been  exe- 
cuted. In  it  pictorial  em- 
bodiment has  been  given 
to  "  The  glorious  company 


ai;t  movement. 


217 


: 


'SpJB'i 


I 


l¥sf 


FRESCO     AT     ST.     JAMES'S     EPISCOPAL     CHURCH.      EDINBURGH. 
(89    IV.    tfofe,    ff.S.4  ) 


of  the  Apostles,"  "The  noble  army  of  martyrs,"  and 
"The  Holy  Church  throughoul  all  the  world,"  which, 
in  the  words  of  the  hymn,  praise  and  acknowledge 
the  Triune  God.  Of  these  figures,  all  over  life-size, 
there  are  between  thirty  and  forty  with  their  faces 
se)  towards  the  altar.  They  are  notable  foi  graceful 
draughtsmanship  and  individuality  of  expression. 
The  Apostles  are  recognisable  by  their  emblems ;  the 
group  of  martyrs,  headed  by  two  of  the  Holy  Inno- 
cents, contains  several  notable  personages  :  while  the 
"Holy  Church"  is  represented  by  bishops,  deacons, 
and  other  orders  of  the  Eastern,  Western,  and 
African  Churches,  to  symbolise  its  catholicity.  The 
heads  of  several  of  the  ecclesiastics  are  those  of 
contemporary  Edinburgh  clergymen.  The  dado  has 
a  line  design  of  vines  and  peacocks,  which  in  paint- 
ings in  thecatac bs symbolised  immortality.     Over 

the  chancel  arch  appear  an  open  tomb  and  figures 


illustrative  of  the  verse,  "When  Thou  hadsl  over- 
come the  sharpness  of  death  Thou  didsl  open  the 
Kingdom  of  Heaven  to  all  believers."  The  colour 
scheme  is  harmonious  and  beautiful,  and  a  telling 
effect  has  been  sei  ured  by  the  lavish  but  skilful 
use  of  gold,  so  thai  when  the  full  light  is  on  the 
picture  il  presents  the  appearance  of  a  lovelj 
piece  of  mosaic.  In  the  gilding  the  artisl  acknow- 
ledges   the    assists he    has    received    from    the 

verger,  Mr.  Dall,  a  house  painter,  who  asked  I" 
the  honour  of  being  associated,  in  however 
humble  a  capacity,  with  a  work  designed  to  "make 
glorious"  the  sanctuary  of  this  church.  On  the 
south  wall  of  the  chancel  the  "Te  Deum"  will 
he    still    further    il  u    for   this 

pari  will  include  figures  of  the  Evangelists,  one 
of  whom,  St.  James,  is  the  patron  saint  of  the 
church.  W.   M.  Gil 


218 


THE    MAGAZINE    OF    ART. 


EMBROIDERIES     AND     DAMASK     SILKS. 

INHERE  has  recently  been  opened  a  competitive 
.    exhibition  of  embroidery   for  ecclesiastical  and 


EMBROIDERED     BURSE. 
(By   Annie    Walker.  I 

domestic  uses.      The  exhibition   is  held   under   the 
auspices  of  the  English  Silk  Weaving  Company  and 


EMBROIDERED     PANEL. 
(By  Trixit  0.  Symington.) 

the  Spitalfields  silk   Association,  tin'  main  objects 
being  to  show    the  excellence   in   qualit')    of    pure, 


unweighted  silks  of  home  manufacture  and  their 
suitability  as  grounds  fur  all  kinds  of  embroidery. 
The  competition  was  divided  into  four  classes  ami 
judged  by  Mr.  Lewis  Day,  who  determined  the 
awards  and  embodied  his  criticisms  in  a  short 
report  prefixed  to  the  catalogue.  In  Class  A.  for 
design  and  weak,  with  the  only  restriction  thai  both 
must  be  by  the  competitor,  Mr.  I  lay  did  not  feel 
justified  in  granting  the  first  prize.  Nevertheless 
a  panel  by  Miss  Gibbons,  showing  most  artistic  treat- 
ment of  what,  strange 
to  say,  in  the  experience 
(if  practical  designers  is 
found  tn  be  an  exceed- 
ingly difficult  flower  t" 
render  decoratively  in 
ornament,  the  lily. 
seems  worthy  <>f  re- 
cognition as  an 
achievement.  Another 
panel  contains  by  far 
(he  must  satisfactory 
treatment  of  thehuman 
figure  in  the  exhibition. 
Fur  the  most  part  the 
figures  are  stiff  and 
commonplace,  withoul 
having  any  of  the  con- 
ven  tional  charac  t  e  r 
thai  should  belong  to 
them.  Miss  Syming- 
ton's Mermaid  has 
decided  style  — the 
face  surrounded  by 
and  silhouetted  againsl 
lurks  uf  ruddy  hail 
in  a  striking  man- 
ner. A  n  un  ti  n  ished 
specimen  of  work  by 
Miss  Spenser  with  a 
teazle,  presages  well, 
lor  the  colour  is  deli- 
cate ami  harmonious;  but  the  shield  of  pale  rose, 
charged  with  a  spread-eagle  of  gold  and  while 
plumage,  draws  t"it  much  upon  heraldry. 

Class  H.  "for  ecclesiastical  embroidery,"  contains 
the  greatest  number  of  entries,  stoles  being  the  ob- 
jects chiefly  chosen.  Miss  <  hearing's  stole,  which  won 
the  first  honourable  mention,  contains  a  well-designed 
shield  with  monogram,  but.  for  the  rest  is  some- 
v, hiii  thin  in  design,  notwithstanding  that  the  effeel 
is  heightened  by  plentiful  use  of  seed  pearls.  Miss 
Studley  gains  the  firsl  prize  with  a  stole  the  exei  n- 
tion  of  which  deserves  a  better  design.     The  groups 


EMBROIDERED     STOLE. 
(By   S.    K.    Yarnall.) 


THE    ART    MOVEMENT. 


219 


nf  figures  at  either  end 
drawing.  For  decoration 
should  have  preferred 
Mrs.  Yarnall's  far  less 
ambitious  stole  on 
dark-blue  ground,  with 
t  hist  Irs,  t  horns,  a  nd 
other  symbolical  orna- 
ments. Mis-  A.Walker's 
burse  in  pale  rose-colour 
and  gold  on  a  white 
ground  is  a  harmonious 
and  pleasing  specimen 
of  design  and  workman- 
ship. Another  burse, 
with  veil,  on  red,  by 
Miss  <  !opp,  shows  con- 
siderable dignity  and 
reserve  in  its  simple 
yet  bold  and  powerful 
design,  with  a  large  gold 
cross  dividing  it  into 
four  spaces  and  gold 
lays  converging  from 
the  outer  coiners.  A 
chalice  veil  by  Miss 
M.  Villiers  is  excel- 
lent both  in  design 
and  execution.  Miss  Alio 
seetine  eold  circles  is  can 


istinctly   weak 

iii 

from    orangi 

at     ll 

and    simple 

we 

light  yellow 

al   tin 

■    Cur 
ied  o 


LILY 

PANEL 

(Bj    Emils 

C.  Gibbo* 

tis 

s   St 

ile 

of    inter- 

the 

it 

on 

hi 

ingenious 

colli 

plan,   the   quatrefoils   within    the    circles    erailatiug 


ii   mities    of    the    stole    to 
k  of  the  neck. 

In  ( llass  < '.  a  damask 
silk  panel  was  pro- 
vided, to  be  worked  as 
■  i  ti  si  for  excellence  in 
e  in  In  oidery.  The  in- 
genuity displayed  by 
some  workers  in  twisl  ing 
incongruous  forms  into 
the  beautiful  damask 
outline  is  perhaps 
worthy  of  a  better  cause. 
The  class  for  em- 
broidery by  girls  under 
the  age  of  seventeen  is 
certainly  interest  ing  as 
showing  promise,  in 
some  eases,  not  only  of 
execution,  but  of  design 
as  well.  Ainniie  the 
objects  not  sent  in  for 
competition  a  set  of  vest- 
ments onEnglish  damask 

silk,  by  Sister  ( tra f 

Mah  ei  n.  displays  a  par- 
>  fcicularly    original    and 

decorative  treatmenl  of 
rphrey  in  plush  applique.     Altogether  the  loan 
■tiiin  of  ancienl  and  modern  examples  of  embroid- 
ery forms  a  valuable  supplement  to  the  exhibition. 

A.  Y. 


T 


A     NEW     DECORATIVE     MATERIAL. 

HE  fire-resisting  nature  of  the  salamander  is  one     "United    Asbestos    Company"   will    have    rendered 
of  the  commonplaces  of  mythological  zoology;      signal   service   in   introducing    them   to   the  public. 


'OLD     FLORENTINE"     FRIEZE. 


an,1  if   the  embossed   wall-  and  ceiling-decorations     As  the  "Salamander     material   is  composed  of  the 
called  after  it  be  indeed  true  in  the  name,  then  the     mineral   fibre  of  asbestos,  its   in  dm   that 


220 


THE    MAGAZINE    OF    ART. 


ii  is  sanitary  and  at  the  same  time  absolutely  proof  apart  from  the  printed  description  of  advertisements, 
against  fire.  So  far  so  good.  But  the  quality  of  un-  if  his  endeavour  be  to  make  them  present  to  I  he  eye 
distinguishableness  in    appearance    from    perishablt      the  semblance  of  an  inferior  article,  and  if  he  suffers 


/> 


I 


^      ^  -  ^- . 


^>=- 


"FLORAL"     FRIEZE. 


ITALIAN      RENAISSANCE   '     CEILING. 


plaster  moulding  is  less  likely  to  commend  it.  one  the  virtues  of  his  material  to  li<-  unrecognised  until 
would  suppose,  to  common-sense.  Doubtless  the  the  melancholy  event  of  a  fire  shall  chance  to  reveal 
manufacturer  knows  his  own  business  better  than  the     them  ?     Granted  that  asbestos  is  not  wanting  in  the 


r 


HENRI     II."     CEILING. 


ELIZABETHAN"     CEILING 


artist   can  pretend  to  know  it ;  but  the  latter  is  not  capability  of   being   employed    to  artistic   purpose, 

for  ever  dreaming,  and  in  his  matter-of-fact  mood  he  surely  the  object  of  the  manufacturer  should  be  to 

i"  inquire  how  the  manufacturer  ex-  discover  what  the  artistic  properties  are  that  belong 

o  make  known  his  ,vares  in  everyday  practice,  peculiarly  to  his  material,   and,  having  discovered, 


ILLUSTRATED    VOLUMES. 


221 


tn  develop  those 
properties  in  such 
a  way  as  tn  pre- 
serve its  unique 
character.  Lei  the 
material  not  only 
be,  but  look,  dis- 
tinct from  every 
other,  and  so  add 
the  comfortable  as- 
surance of  security 
from  fire  to  the 
sense  of  outward 
beauty.  The  de- 
signs are  said  to 
be  the  productions 
of  leading  artists. 
but  (In  not,  how- 
ever, afford  evi- 
dence of  anything 
beyond  average 
origin.  They  consist,  for  the  most  part,  of  combina- 
tions of  well-worn  details  of   Renaissance  and  later 


VENETIAN     GOTHIC 


ornament.  Among 
i  hf  ceiling-pat- 
terns those  entitled 
"  Elizabethan "  ami 
"  Strapwoi  I- 
tin'  inns!  effective 
ami  architectural 
in  character;  \\  hile 
i  In-  i'i  iezes"  Floral" 
ami  "  Old  Floren- 
tine," the  latter  a 
graceful  treatment 
nf  natural  forms, 
are  desen  ing  of 
men  tion.  Th  e 
wall-filling  "  Vene- 
tian Gothic  " — 
though,  by  tin- 
way,  it  i-  ueithei 
Y  I-  neti  a  n  n  o  r 
<  tothie,  but  rather 
riginal  nineteenth  century  work— may 
A.  V. 


bold   and 

be  singled  out  for  commendation. 


ILLUSTRATED     VOLUMES. 


THE  most  striking  feature  of  modern  art  is  its 
attempt  to  rid  itself  of  old  forms  and  tradil  ions 
and  to  get  at  new  sources  of  inspiration.  In  one 
thing  the  painter  lias  found  freedom.  He  has  dis- 
covered the  plein  air  method  of  lighting  his  picture 
which  is  the  great  invention  of  modern  art,  and  was 
never  dreamed  of  by  the  medievalists,  who  always 
used  a  studio  light  for  outdoor  as  for  indoor  subjects. 
It  is  but  a  few  years  since  the  classic  statues  of 
Greek  and  Rome  were  still  the  ne  plus  ultra  of  the 
i in M li 'i  11  sculptor,  lie  admires  them  to-day,  but  no 
longer  makes  them  his  ideal.  He  seeks  his  inspira- 
tion direct  from  nature  instead  of  from  the  antique. 
In  the  same  way  the  decorator   has  found    that  in 

natural  forms  he  has  a  mil f  suggestiveness  full 

of  freshness,  of  novelty,  and  beauty,  and  he  no  longer 
falls  hack  upon  the  antique  items  of  decoration, 
the  classic  fret,  the  scroll,  the  anthemion.  The 
"  Grammar  of  Ornament "  to-day  has  another  basis 
than  even  in  the  recent  time  of  Owen  Jones.  Not 
that  the  principles  of  ilecniai ii hi  have  changed; 
they  are  unchangeable.  Temporary  moods  of  taste 
and  fashion  may  obscure  them,  but  they  cannot 
change  them. 

Good  decoration  must  always  add  to  the  bald 
constructive  form  the  interest  of  beautiful  lines, 
forms,  ami  colours,  and   of  the  individuality  of  the 


decorator.  The  mere  application  of  natural  forms  as 
a  photographer  would  give  them  decs  not  produce 
decoration.  Natural  forms  must  be  adapted  to  the 
purpose  I'm  which  they  are  intended  by  an  artist  who 
feels  their  harmonies,  who  realises  how  certain  lines 
and  forms  and  colours  can  be  applied  to  certain  sur- 
faces without  interfering  with,  while  enhancing, 
the  beauty  of  the  original  construction.  The  gift  of 
seizing  the  spirit  of  natural  form  and  adapting  it  i" 
a  given  end  is  the  genius  of  the  decorator.  It  is  the 
mind  of  the  artist  that  constructs  the  decoration. 

The  decorator  must,  therefore,  be  able  to  make 
good,  spirited  drawings  direel  fn mi  nature, and  in  put 

them  tu  a  g I  use  w  hen  he  has   made  i  hem.     The 

laitcr  task  is  by  far  the  more  difficult    of  the   I  wo. 

Hundreds  of  students  can  make  a  v I  drawin 

nature  U>v  one  who  can  use  the  drawing  \\  hen  i 

.Messrs.  Chapman  and    Hall  are   in   the  course   of 
a   serial    publication   of  a    work,  "  Plants  and   then- 
Application    I"    <  hnameiii,"  i  dited    bj     M.I 
( rrasset,  which  has  for  its  objei  :  the  bricl 
this  difficulty.      M.  Grassel    is  a  desigi 
reputation,    who    has    h  id    yeai      of    experience    in 

teaching   his  subject.      His   I k,  which   is  a   verj 

admirable consists  of  reprodm  I  ion     oi    draw- 
ings from    nature   of   plant    forms,    whii 
companied  by  designs  made  by  his  students  showing 


222 


THE    MAGAZINE    OF    AET. 


tin-  application  of  these  natural  forms  1"  decora- 
tion of  various  kinds.  We  had  occasion  to  notice 
last  yeai  a  rerj  good  handbook  on  the  same  suhjecf 


APPLICATION     OF    THE     LILY     OF    THE     VALLEY     IN     ORNAMENT. 
(F<om     "Plants    ami    Their    Application    to    0"- 


by  Messrs.  Lilley  ami  Midgley,  issued  bj  tin-  3ame 
publisher ;  but  the  present  work  is  of  a  sumptuous 
character  in  folio  form  ami  printed  in  colours 
throughout.  Many  of  the  designs  are  very  beauti- 
ful, but  their  use  to  the  student  is  in  seeing  the 
material  from  which  the  designs  have  been  evolved. 
It  is  a  work  that  should  be  in  every  an  school,  ami 
its  drawings  from  nature,  apart  from  the  designs, 
I)    of  m  eat  sei  \  ice  to  even  decorator.      E.  1'.. 


THE  chief  matter  for  marvel  on  examination  of 
the  splendid  memorial  to  Meissonier  *  issued 
by  Mr.  Heinemann  is  the  good  fortune  and  good 
management  whereby  he  has 
been  enabled  to  bring  together 
reproductions  of  so  many  of 
the  painter's  principal  works 
ami  most  notable  studies — in 
these  days  of  jealously  guarded 
copyright  a  feat  of  which  any 
publisher  may  justifiably  be 
proud.  These  reproductions, 
moreover,  whether  in  photo- 
gravure, in  colour  (by  tone 
process),  or  by  the  ordinary 
half-tone  blocks,  whether  re- 
presenting original  pictures, 
sketches,  or  studies — for 
composition,  figure,  horse,  or 
accessories— constitute  as  an  <  n- 
senible  one  of  the  most  success- 
ful collections  of  any  master's 
works  brought  together  within 
recent  years.  No  one  can  read 
this  book  and  study  its  prints 
without  forming  a  very  fairly 
accurate  idea  of  the  painter's 
character,  and  of  the  scope, 
the  merits,  and  the  limitations 
of  his  art.  For  all  that  the 
volume  is  a  portly  and  a  noble 
one,  the  text  cannot  claim 
equal  importance  with  the 
illustrations.  M.  Vallery 
Greard's  essays  and  reminis- 
cences are  excellent  so  far  as 
they  go,  eulogistic  and  appro- 
ciat  ive.  Perhaps  they  area  little 
too  appreciative — just  as  the 
younger  Alexandre  I  luraas  and 
other  friends  of  the  decease, I 
painter  were  influenced  by 
their  admiration  of  the  man. 
and  perhaps  a  little  blinded  by 
the  very  familiarity  with  him 
which    they    enjoyed.      What 

we  miss   in    the    1 k    is   that 

fact    and    detail    of    the    artist's    life 

biography  can   give  the   reader 

M.    Greard,    through    his 


hi. ii  -hallim 

without    which     in 

all     he    wants    t,,    know. 

clever  translators,  succeeds  nevertheless  in  drawing 

tm    us    an    accurate    enough    portrait    of    him    who 

was    for    many    years    the    official    head    of    art    in 

'  ■■  Meissonier  :  His  Life  and  HisArt,"byVallery  CO.  Greard. 
Wuli  extracts  from  1 1 i-  note-books,  etc.  Willi  ::s  plates  and 
23G  text  illustrations.     (London:  Heinemann,  18970 


ILLUSTRATED    VOLUMES. 


France.  Hi.s  weakness  and  his  foibles  notwith 
standing  that  the  author  seems  not  to  realise  them — 
become  in  a  meat  measure  apparent  to  the  reader:  the 
inatter-of-factness  of  his 
art,  the  pathetic  yearning 
after  that  creative  im- 
agination which  he  never 
quite  succeeded  in  evolv- 
ing, the  simple  philosophy 
he  thought  so  profound, 
the  genre  painting  he  mis- 
tools  for  "  history,"  the 
vanity  that  was  to  him 
bul  self-appreciation,  and 
the  amazing  universal 
popularity  he  translated 
into  the  acclaim  of  real 
greatness. 

We  d I   intend  to 

underrate  Meissonier,  al- 
i  hough  we  are  convinced 
that  his  true  place  in 
art  is  far  below  the 
estimation  which  has 
hitherto  been  formed  of 
him.  <  in  the  contrary, 
we  are  si  rongly  of  opinion 
that  lie  is  and  ever  will 
be  a  great    figure  in   the 


world  of  ai t,  a  w holi  iome 
influence  especially  in  these 
daj  s  of  i  ransition,  expi  i 
men!,  ami  love  of  novelty. 
For  such  a  reason  this 
volume  lias  a  value  so  much 
greater  than  the  vast  ma- 
jority  of   I ks    published 

upon  art  that  it  should  be 
placed  within  reach  of 
every  student  and  every 
man  of  taste,  for  il  is  a 
life's  protest  against  that 
neglect  of  drawing  which  is 
thecurseofinodei  a  prai  i  ii  e 
To  the  minor  errors  oi 
the  book  we  need  not  refer. 
Although  the  list  of  en- 
gravings from  Meissonier's 
works  is  singula]  ly  incom- 
plete and  in  some  i 
incorrect,  the  elaborate  clas- 
sified list  of  his  picl  tires, 
water-colours,  dra  w  i  ugs, 
etchings,  and  book  illustra- 
tions is  by  itself  a  notable 
and  valuable  achievement,  and  the  volume  is  well 
worthy  of  a  success  commensurate  with  the  great 
care  which  has  been  taken  in  its  production. 


THE     SPY. 


224 


NOTES    AND     QUERIES. 

[For  "Regulations,"  see  The   Magazine  of  Art /or  November.] 


[IN]  zingg's  "port  of  Naples." — I  have  an  en- 
graving of  the  "  Port  of  Naples."  I  am  nol  sure 
whether  it  is  from  a  painting,  but  it  is  signed 
Mettay — and  A.  Zingg.  I  should  be  greatly  obliged 
it'   you   could   give    information    about    it. — James 

Mai  ADAM. 

i*m  The  print  in  question  is  one  of  a  pair, 
of  which  the  "Gulf  of  Naples"  is  the  other. 
They  were  executed  after  the  pictures  of  Pierre 
Mettaye,   who,  born   in    Normandy,  became  the 

pupil  nt'  Puncher  in  Palis,  lie  fore  lie  proceeded  to 
Rome.  From  tin'  latter  city  Mettaye  returned 
io  Paris,  where  he  became  a  member  of  the 
Academy.  He  was  an  extremely  versatile  artist, 
gaining  special  favour  by  liis  sea-views,  executed 
in  the  style  of  Vernet.  He  died  in  L750.  A. 
Zingg  was  born  at  St.  Gall  in  1734,  and  was 
pupil  of  Johann  Rudolf  Holzbach,  in  Zurich, 
and  of  Aherli  in  Paris,  and  for  seven  years 
of  Wille.  The  Elector  of  Saxony  railed  him 
to  Dresden,  where  he  was  created  Engraver  to 
the  Court.     He  died  as  late  as  1816. 

[10]    QUESTIONS  AS  TO   OLD   MASTERS. — Will    you 

inform  me  (1)  How  does  Paul  Potter  sign  his  pic- 
tures  '  (2)  Did  he  paint  a  landscape  with  cows  called 
"  Farm— Antwerp  "  ?  (3)  How  does  Salvator  Rosa 
sign  his  pictures?  (4)  If  behind  a  picture  is  found 
in  paint  "  Farm — Antwerp 

P.  Potter  1671"  what  may  we  con- 
clude '.  (■">>  What  is  the  value  of  a  moonlight  by 
Pether  ?  (0)  Did  Volaire  paint  an  "Eruption  of 
Etna  "  1     .1.  WALMSLEY. 

3*3  (1)  Potter  usually  sinned — "Paulus  Potter 
f.  1652" — or  whatever  the  date  of  picture  might 
be.     Less  often  "  1'.  Potter." 

(2)  He  painted  several  pictures  which  might 
fairly  be  fitted  with  Mr.Walinsley's  suggested  title. 
(.'!)  Salvator  Rosa's  monogram  was  an  R  wiih 
an  S  across  it:  but  the  S  was  not  written  hack- 
wards  as  our  correspondent  suggests  in  the 
monogram  he  sends. 

i  1)  With  such  an  inscription  we  should  cer- 
tainly conclude  that  the  picture  is  a  forgery  :  for 
Pottei  died  in  L654 

(5)  It  is  against  our  rule  to  give  information  as 
to  the  present  value  of  pictures,  hut  we  may  say 
that,  moonlight  pictures  by  Pether  (who  was 
famous  foi1  his  renderings  of  this  particular  sub- 
jecl  )  were  knocked  down  in  1802  for  two  guineas 
aid  seven  guineas, and  in  1819  for  eleven  guineas. 

(6)  We   arc    not    aware    that    Volaire    ever 


painted  an  "Eruption  of  Etna."  On  the  other 
hand,  his  "  Eruptions  of  Vesuvius  "are  fairly  com- 
mon; one  of  them  may  he  seen  in  Vienna  in  the 
rather  strange  collection  known  as  the  "  K.  K. 
Akademie  der  bildenden  Kiinste."  It  represented 
the  eruption  of  the  14th  May,  1771.  The  two 
Volaires,  father  and  son,  rejoiced  in  painting 
conflagrations  of  all  sorts. 

[20]   A  PICTURE  OF  ALBERT  MOORE. — 1    should    be 

glad  to  know  if  Albert  Moore's  water-colour  at  South 
Kensington  Museum,  entitled  "An  Open  Book,"  has 
been  reproduced  either  in  a  magazine,  a  hook,  or  by 
photography.  Any  other  information  in  respect  to 
it  would  he  welcome. — A  French  Artist,  Paris. 

#*#  The  drawing  in  question — "The  Open 
Book" — is  reproduced  as  a  full-page  in  Mi". 
A.  L.  Baldry's  "Albert  Moore:  His  Life  ami 
Work"  ((i.  Bell  and  Sons),  [t  was  exhibited  at 
the  Royal  Water-Colour  Society's  Gallery  in 
1884,  and  measures  11|  inches  by  9}  inches. 
This  beautiful  drawing  will  lie  recognised  as  a 
repetition  of,  or  study  for,  the  leaning  figure  on 
the  right  in  the  well-known  picture  "Reading 
Aloud,"  shown  at  the  Royal  Academy  in  the 
same  year.  There  are  considerable  differences 
in  details  of  colour  and  pattern. 

[21]    MR.    WHISTLER'S     PORTRAIT    OF    SARASATE.  - 

Mr.  Waller  Sard  would  lie  very  much  obliged  if  he 
could  he  informed  where  he  can  obtain  an  engraving 
or  full-length  print  of  Sarasate  from  the  painting  by 
Mr.  Whistler. 

£*„  The  portrait,  we  believe,  has  never  been 

engraved    for   separate    publication,  1ml  a   w 1 

engraving  was  issued  in  The  Magazine  of  Art 
for  L885  (p.  460). 

[22]  GUIDO'S  "PERSEUS  AND  ANDROMEDA"  AND 
"VENUS  ATTIRED  BY  THE  GRACES." — Can  any  of  your 
contributors  inform  me  what  has  become  of  two 
pictures  by  Guido,  formerly  in  the  National  Gallery, 
entitled  "Perseus  and  Andromeda"  ami  "Venus 
attired  by  the  Graces"?  They  were  presented 
io  the  Gallery  in  1836  by  King  William  IV.  The 
dimensions  of  each,  according  to  a  catalogue  in  my 
possession,  were  9  feet  3  inches  by  6  feel  0  inches. 
The  "Venus"  was  engraved  by  Sir  P.  Strange. — J. 
Crispin,  12,  Celia  Road,  Tufnell  Park. 

*%  These  two  pictures  have  been  on  dan 
for  many  years  past  since  1862  in  fact — to 
the  National  Gallery  of  Ireland  and  National 
i  ..illei  \    i.f  Scotland  respectively. 


NOTES    AND    QUEEIES. 


225 


[23]   WHAT  ARE  THE  CORRECT  DATES  OF  GIOVANNI 

mansueti? — The  new  picture  by  Giovanni  Mansuefci 
— ;i  "  Symbolic  Representation  of  the  Crucifixion  " — 
has  beeu  hung  in  the  Octagon  Hall  of  the  National 
Gallery,  and  is  inscribed  "  B.  14  .  .  ?  D.  15..?" 
Are  this  painter's  dates  so  much  a  matter  of  con- 
jecture that  the  authorities  can  give  no  information 
mure  precise  ? — ,1.  HORSACK. 

***  The  details  of  Mansueti's  life  are  little 
known.  The  dates  1450-1500  are  usually 
accepted  as  the  approximate  years  of  the 
painter's  birth  and  death.  His  pupilage,  his 
principal  work,  and  similar  facts  are  duly  to  be 
found  recorded:  but  so  much  uncertainty  exists 
that  the  National  Gallery  authorities  are  very 
properly  unwilling  to  commit  themselves  to 
anything  move  precise  than  the  vague  label 
referred  to. 

[24]  HAYDON'S  "JUDGMENT  OF  SOLOMON." — Car. 
any  of  your  readers  inform  me  who  now  possesses 
the  picture  named  "The  Judgment  of  Solomon," 
painted  by  Benjamin  Robert  Haydon,  and  1  believe 

made  a  present  of  to  Sir  Edwin  Landseer  ? — IJ.  E.  L. 


REPLY. 

[IB]  Sagittarius.-  -The  reply  to  Miss  Beatrice 
Thompson's  question  dues  not  appear  quite  complete. 
It  certainly  settles  the  question  of  the  archer  beinc 
King  Stephen's  badge — by  proving  it  undetermin- 
able; and  it  gives  us  information  as  to  other  examples 
than  those  she  quotes.  But  it  appears  to  me  that 
the  main  point  has  been  missed — that  is,  the  reason 
for  the  carving  of  the  Sagittarius  upon  ecclesiastical 
buildings.  This  is  simply  that  the  archer  is  sym- 
bolical  in  Christian  art  of  Divine  vengeance — of  pun- 
ishment belated  perhaps,  but  certain  in  its  advent 
and  sudden  in  its  effect.  For  that  reason  it  was 
placed  never  near  the  ground,  but  high  up  where  the 

ranging  eyes  of  the  worshippers  might  see  it such 

as  on  the  capitals  of  columns,  or  in  the  keystone  of 
arches.  Indeed,  it  is  to  be  noted  that  the  keystone 
of  an  arch  has,  in  architecture,  borne  the  name  of 
"sagitta;"   but   I   am   not  prepared  to  affirm   that 

there  is  necessarily  any  absolute  c ection  in  the 

circumstance  besides  coincidence.  -  X.  K. 


NOTES. 


book-plates. 

e       point.       to 


Tli 


ih 


■    Query    and    Answer    [Hi] 
follow  ing    note :     Since    bhe 
time   of    the   earlier   William    Sharp,    the    English 

school   has  produced   many  able   ex] enls   of   the 

art    of    Line    Engraving    upon    copper-plate.      The 
work  of  such   men  as  <;.  T.  Doo,  Vernon,  Graves, 
29 


and  Lumb  Stocks,  has  never  been  equalled  for 
vigour  and  solidity  by  that  of  any  Continental 
school.  Although  the  burial  service  has  been  read 
over  this  ait  by  a  prominent  journal  quite  rei  i  mi\ 
the  function  was  premature.  The  art  has  mi  I  manj 
competitors  of  late,  but  signs  are  not  wanting  thai  it 
will  survive  the  contest.  The  virile  sweep  of  the 
-lave,-  line— with  its  sparkling  lights  in  the  midsl  of 
shatlows — appeals  too  strongly  to  the  refined  sense 


"I'  tli"  aiiisi    in  allow   of  us  extinction.     The  two 

book-plates  reproduced  in  eon bion  with  these  notes 

are  designed  and  engraved   bj    Mr   <  lharles   Naish 

and  are  earnesl   attempts  to  carrj    il  ng  the  g I 

traditions  of    English    line  engraving.      The  di 

bavin-  upon  a  ribbon  the  legend,  "  Ai  -  ai ■  est,"  etc., 

is  the  book-plate  of  bhe  artist,  and  i-  already  engi 

The  other  reproduction     the'  I k-plate  of  the  artist's 

brother  -  is  copied  from  the  design,  i  he  cop]  ei  plate 
ol  which  is  now  in  progress.  Both  plates  consisl 
of  suggestions  of  phases  and  incidents  m  the  lives 
of  the  owners,  and,  although  ii  is  uol  needful  thai 
we  should  supply  the  key,  we  take  bhe  opportunity 


226 


THE    MAGAZINE    OF    AKT. 


of   commending   this    motive    in    the    designing   of 
book-plates.     The  pictorial  symbols  of  college  days, 


BOOK-PLATE. 
f/i  s/gni  I    and    Engraved    bu    '      Naieli. ) 


\-q]    of    favourite   recreations,  authors,  artists 

iincl  composers,  are  as  fragrantly  reminiscent  as  the 

-  of  spring  flowers.     The  artist,  taken  thus  far 

into  tli''  confidence  of  his  client,  needs  not  t"  cudgel 


his  brains  for  a  leading  motive,  nor— what  is  far 
WOrse— to  hunt  through  a  heap  of  "specimens"  in 
order  to  Hud  the  materials 
ha-  a  second -hand  design  : 
fur,  by  virtue  of  his  ar- 
tistic sense,  there,  arises 
before  his  mental  vision  a 
suggestion  which  his  special 
training  and  accumulated 
studies  enable  him  to  em- 
body in  the  form  of  a  fit- 
Ling  and  harmonious  design. 
All  the  details  contained  in 
the  two  designs  immediately 
before  us  are  taken  from  pen- 
and-ink  studies  from  nature 
ami  still-life.  So  long  as  our 
designers  work  in  so  con- 
scientious a  spirit,  and  due 
appreciation  is  accorded,  the 
future  of  the  art  is  assured. 
NATIONAL  GOLD  MEDALS.  — 

■  A  Bradford  Art  Student," 
referring  to  the  article  in 
our  <  Ictober  number,  !  What 
South  Kensington  is  Doing 
and  remarking  on  the  fact 
that  nine  of  the  twelve  gold 
medals  awarded  were  given 
for  modelling,  writes  : — 
'Hundreds  of  art  students 
must  feel  that  this  is  un- 
fair, lor  there  are  many  who 
never  touch  a  piece  of  model- 
ling clay,  merely  because  they 

wish   to  speeialise   some   other 

branch  of  art.    If  the  depart- 
ment examiners  are  going  to 
award    nine    of    a    maximum 
twelve  gold  medal-  for  model- 
ling, our  art   must    develop  a 
very  one  sided    aspect.     The 
reason  for  this  preponderance 
of  awards  for  one  subjeel    is 
doubtless  from  a  desire  to  en- 
courage what  is  considered  a 
neglected  branch  of  art,  and 
also    to    influence   the   metal 
workers.      But  should  it  not. 
be    home   in    mind,   by   those 
who    make    the   awards,    that 
all    branches  of  art  should  he  considered   equally  '. 
It  seem-  to  me  that  the  giving  of  the  lion's  share  of 
the  highest   awards  to  one  subject  must  necessarily 
work  to  the  detriment  of  ether  important  studies." 


•221 


THE     CHRONICLE      OF     ART.— FEBRUARY. 


The  Royal  "IT  is  long  since  the  Creswick  competition 
Academy      A    nas  produced  so  high  an  average  of  work  ; 

nze-  lving.  ^  faft^  we  have  never  before  seen  such  pro- 
mising effort  in  connection  with  this  prize.  Naturally, 
there  was  a  great  deal  that  was  poor— some  that  appears 
almost   hopeless — but    at    least   three    canvases   displayed 


a  skill  and  knowledge  of  picture-making  beyond  what 
experience  led  us  to  expect.  Mr.  Francis  Wells's  i  n- 
dering  of  the  subject,  "A  Farm,"  is  just  what  such  a 
school  piece  should  be:  frank,  solidly  painted,  realistic, 
with  no  attempt  at  effect  and  no  effort  to  do  aught  but 
to  show  the  examiners  how  much  he  knows  and  what  he 
can  do.  The  sky  is  not  only  very  tender  :  it  is  a  truthful 
transcript  nf  nature  and  thoroughly  in  keeping  Mr.  J.  Y. 
Hunter's  "Painting  of  a  Figure  from  the  Life"  easily  won 
the  medal,  and  Mr.  Eland's  painting  of  a  head  showed  equal 
excellence  in  drawing  and  brush- 
work.  Mr.  A.  D.  Davidson  won 
the  Armitage  prize  and  bronze 
medal  with  a  very  fair  design, 
not  without  a  genuine  dramatic 
sense  of  the  subject,  "Adam  and 
Eve  driven  out  of  Paradise;" 
but  the  competition  was  other- 
wise considerably  below  the 
average.  Miss  Rose  Livesay's 
"Design  for  the  Decoration  of  a 
Portion  of  a  Public  Building"— 
to  wit,  an  unoccupied  lunette  in 
the  refreshment -room  of  the 
Royal  Academy— was  by  far  the 
best  in  a  rather  poor  yen-.  The 
subject  was  "Winter,"  and  was 
handled  by  Miss  Livesay  not  only 
with  intelligence  but  with  dis- 
tincl  originality  ami  ingenuity, 
though  not  with  sufficient  ability, 
apparently,  to  secure  the  com 
mission  to  carry  it  into  execution. 
Mr.  Charles   Beacon's   set   of 

three  models  of  a    figure   from   the   lifi     were  admirable, 

illy  the  draped  female  figure;   ami  ii   is  mattei   for 

regret    that    the    rules  of  tin-  Aeademj    prevent    us   from 

placing  a  reproduction  of  it  before  oui  readei       The  arelvi 


tectural  competitions  seemed  to  awaken  little  enthusiasm 
among  the  students.  The  Landseer  Scholarship  in  Paint- 
ing was  won  by  Mr.  Morris  Bernstein.  Sir  Edward 
Poynter's  address  to  the  students  —  introductory  of 
himself,  laudatory  of  his  immediate  predeci  oi 
generally  exhortatory  -was  an  admirable  perform  tnce,  tut1 

of  spirit,  good  sen  e,  and  i 1  feeling,  ami 

the  best  impression. 

'I'm:  following  seven  pictures  have 
Airthe°nS     been  l"'^"1'-"1   >"  the  ^tion    by 
National  Gallery.  the  Misses  Lane  :  "  Portrait  ot  Miss 
Gainsborough  "  (No.   [,482  .  "Two 
Dogs,  Tristram  ami  Fox"(No.  1,483);  "  Studj  oi  an 
Old  Horse"(Xo.  1,484);  "  Two  Landscapes  "  (Nos. 
1,485    and     1,486),    all     by    <  rAINSBOROl  on.    I ..,■. 
been    hung   in    Room    XVI.,   forming  a    valuable 
addition  to  the  works  of  the  Early  English  School. 
A  sketch   in  monochrome,  also  by  Gainsborough, 
•'  Rustics  with  Donkey,"  ha-  been  hung  in  the  East 
Octagon  Room  (No.  1,485).     The  other  picture  in 
this  important  gift  is  a"  Portrait  of  Gain 
In,    Zoffan-j    i  No.    I,  is;.  Room  XVI.).    Tu 
amples  of  the  Venetian  School— portraits  o 
ators— have  been   hut   by  the  South  Ken 
authorities   in   exchange   foi    a    collection  ol    n  iti  I 
drawings  lent  by  the  Gallery  in   L895.     "A  Winter  Si 

by  Hendrick  Avercamp  (No.  I  179,  R n   XL),  and  "A 

Portrait  of  Gilbert  Stuart,"  by  himsell  (No.  1,480, 
Room  XIX.,  have  Loth  been  purchased  from  the  Lewis 
Fund.  Mr.  Martin  Colnaghi  has  presented  '-Tie  Philo 
sopher,"  by  Cornelius  I'.  Bega  (No.  1,481,  Room  \l  i 
"TheWind  on  the  Wold,  by  George  Mason,  an. I  i 
Last  Day  in  the  till  Home,"  by  Robert  B.  Martini  w  , 
have  been  accepted  for  the  Tate  Gallery. 


FLEMISH     VIRGINAL. 

i/lim    Mus, 


Tin     principal   recent    acquisition    to    the 

collection   ol    \   tioi  il    P  is   Lonn 

I. s      admi  Sit    Richard    F. 

Km  ton.'    the  ,yilt  of   the  ail  i  I  I 


The  National 
Portrait  Gallery. 


228 


THE    MAGAZINE    OF    ART. 


purchased  the  following  portraits:  "Dr.  James  Bradley, 
Astronomer-Royal,"  "David  Cox"  (pencil,  dated  1855), 
"Sir  Samuel  Garth "  (physician  and  poet),  attributed  to 
Kneller,  and  a  large  drawing  of  a  group  of  eminent  men 
of  science  in  L807  8.  The  idea  of  this  group  originated 
with  William  Walker,  the  engraver,  the  arrangement 
of  the  figures  was  due  to  Sir  John  Gilbert,  R.A.,  and  the 
actual  drawing  was  the  work  of  .).  F.  Skill;  the  finishing 
touches  were  given  by  Walker  and  his  wife,  the  latter  of 
whom  was  a  miniature  painter.  Other  additions  to  the 
Gallery  are  a  marble  bust  of  "Sir  Henry  Holland,  M  J>," 
by  VV.  Theed;  and  portraits  of  "Chief  Justice  Sir  John 
Bankes,"  "Sir  Henry  Halford,  M.D.,"  by  Sir  William 
Bi  ei  hey,  R.A. ;  "John  Curwen,"  by  W.  Gush;  "Field- 
Marshal  Sir  William    Maynard   Gomm,  G.C.B."  as  Con 


stable  of  the  Tower,  by  James  Bowles  ;  and  a  miniature 
of   I  lean  Stanley. 

„„  „  „      .         An  important  addition  has  been  made  to 
south  Kensing-    .,  .,       .  ,  .  .         . 

ton  Museum.  collection   of   ancient   musical  instru- 

ments at  South  Kensington.  The  Flemish 
virginal,  of  which  an  illustration  is  given  on  p.  227,  is 
regarded  as  the  finest  example  of  such  instruments  in 
existence.  Hitherto  it  has  been  in  the  possession  of  M. 
Terme,  the  Director  of  the  Lyons  Museum.  It  is  in  ex- 
cellent   condition    for  a   delicate    object    more   than    three 

1 Lred  years  old— as  shown  by  the  date,  L568,  carved  upon 

it.  It  is  of  finely  grained  walnut  wood,  beautifully  carved 
011  the  front  with  warriors,  masks,  and  trophies  of  arms. 
The  side.,  have  cartouches,  in  the  centre  of  which  are  hug, 
masks.  At  the  buck  or  top  of  the  cover  is  the  shield  of 
arms  of  William,  Duke  of  Guelderland,  Cleves,  Berg,  and 
Jiilick,  and  Count  of  Mercke  and  Ravensberg,  with  inter- 
lacing bands  on  either  side.  The  interior  is  similarly 
carved  with  interlacing  bands  ami  floral  ornamentation"; 
there  being  a  central  raised  boss  carved  with  the  subjeel  oJ 

Orpheus  charming  the  wild  Leasts.  This  remarkable  in- 
strument was  exhibited  at  the  Brussels  Exhibition  in  1880, 

" ''    excited    ureal    interest,   and    was   illustrated    in 

"L  \it  Ancien  a  ['Exposition  Nationale  Beige."     Qlustra- 

1 '    the   instrument    are  all  0  to  l,e  found  in  the  <;,,., ti, 

d<      Beaux-Arts,    in    the    Rewu    des    Arts    Decoratifs    for 
I  83,  and  in  Havard's  "  Dictionnaire  de  lAmeublement." 

It  has  been  open  to  purchase  for  some   time,  and   was  < 


during  the  past  ten  years  brought  to  the  hammer,  but  the 
biddings  did  not  reach  the  limit  of  the  reserved  price,  which 
is  believed  to  have  been  30,000  francs,  or  £1,200  of  our 
money.     By  judicious  management,  the  South  Kensington 
authorities  have  completed  their  purchase  for  20,000  francs, 
or  actually  for  a   little   under  £800  ;  and  the  interesting 
work  is  now  to  be  seen  prominently  placed  in  the  Museum 
collection  ;  and  not  far  away  from  it  is  another  handsome 
instrument,  the  virginal  which  was  played  upon  by  yueen 
Elizabeth,  who  is  known  to  have  been  a  skilful  performer. 
National  Gallery,    The  Rel30rt   of   the   Commissioners  and 
etc.,  Scotland.       Trustees  of  the  Board  of  Manufacturers 
concerning  the  Institutions  for  which  they 
are  responsible  does  not  contain    very  much    of   interest. 
The  only  addition  to  the  National  Gallery  reported  during 
1895  is  the  painting  of 
"  The       Abbotsford 
Family,"  by  Sir  David 
Wilkie,B.A  .purchased 
at    the    cost    of   £840. 
The  number  of  visitors 
shows    a     considerable 
increase  over  the  pre- 
vious year,  the  number 
recorded   being    87,788. 
The  National   Portrait 
Gallery  received  under 
the    will    of    its  lately- 
deceased    curator,    Mr. 
J.  M.  Gray,  the  sum  of 
£2,000,  being  the  resi- 
due of    his   estate,   the 
interest  of  which  is  to 
be  applied  for  the  pur- 
chase   of    portraits    of 
eminent  deceased   men 
and  women  of  Scottish 
birth.  Curiously  enough 
the     curators    of    both 
galleries   died   during    the   year  ;    Mr.   Gourlay   Steell, 
U.S.A.,  of  the  former  gallery,  being  replaced  by  Mr.  Robert 
Gibb,  R.S.A.,  and  Mr.  Gray  by  Mr.  James  L.  Caw.    For 
the  Museum  of  Antiquities  application  was   made  to  the 
Treasury  for  an  annual  grant  for  the  purchase  of  objects, 
which  was  replied  to  by  placing  the  sum  of  £200  in  the 
Estimates  for  five  years,  commencing  with  1S95-6. 

r  .  u-i-  The  exhibition  of  the  collected  works  of  Lord 

Exhibitions.    T  ,,,!,,., 

LiElGHTON  at  the  Koyal  Academy  is  as  complete 

as  need  be,  in  order  to  judge  of  and  appreciate  the  wonder- 
ful result  of  his  life's  work— wonderful  alike  in  quantity,  in 
quality,  in  elevation  of  aim,  and  in  brilliancy  of  achievement. 
It  must  be  said  at  once  that  from  this  trying  ordeal— the  most 
searching  to  which  any  artist  can  be  subjected— Leighton 
emerges  if  not  with  triumph,  certainly  with  honourable 
credit.  So  far  from  the  parallel  exhibition  now  being  held  at 
the  New  Gallery  militating  against  him,  as  some  men  feared, 
it  enables  us  the  better  to  judge  of  him.  It  confirms  the 
verdict  that  he  was  not  so  great  an  artist  as  Mr.  Watts,  nor 
imposes  so  great  a  personality  upon  the  spectator.  The 
pictures  of  Mr.  Watts  come  nut  to  you  and  pervade  the 
very  atmosphere  of  the  rooms  they  hang  in.  Such  spirit  as 
there  is  in  Leigllton's  works  requires  the  spectator  to  go  to 
them  and  seek  it  out.  But  in  truth  of  spirit  there  is  not 
very  much  ;  the  work  is  essentially  decorative,  and  for  that 

reas laintains  its  place  upon  the  walls,  as  well  as  its  rank 

in  the  art  achievement  of  the  country.  Leighton,  whose 
catholicity  in  art,  like  his  sympathies  and  his  knowledge, 


(Recently    erected   in    the    La 


THE    WATTEAU     MEMORIAL. 

emboarg    Gardens,    Paris.       From    a    Photograph    by    Barrier,    Pan 


See  p.  232.) 


230 


THE    MAGAZINE    OF    ART. 


was  extremely  wide,  set  down  for  himself  rules  formulated 
by  that  very  width  of  knowledge  which  became  to  him 
limits  and  restrictions.  These  were  not  so  much  bonds  about 
his  hands  as  laws  cheerfully  to  be  obeyed.  He  was  probably 
then,,,,!  learned  painter  this  country  has  produced  in  the 
century,  and  his  work  became  in  one.  sense  rather  a  scien- 
tific display  of  art  than  art  itself.  This  view  must  have 
been  taken  by  the  Germans  when  in  their  Universal  Art 
Exhibition  they  awarded  to  Millais  the  gold  medal  for  art, 
and  to  Heighten  the  gold  medal  for  science;  indeed,  if  we 
were  to  look  for  an  analogy  among  men  of  letters,  we  might 
compare  Millais  to  Hooker,  and  Leighton  to  Addison.  As 
we  walk  round  the  galleries,  therefore,  we  clearly  see  the 


restrictions  of  Leighton's  art,  but,  it  is  to  be  observed, 
think  none  the  less  of  the  artist  for  having  set  up  for  him 
self  these  limitations.  Here,  indeed,  is  one  source  of  his 
strength.  Self-control,  self-restraint,  acquaintance  with  all 
the  rules  of  the  game,  and  working  strictly  in  accordance 
with  them  ;  reverence  for  tradition,  with  independence 
enough  to  allow  himself  just  so  much  play  as  he  considered 
strictly  legitimate— these  are  qualities  which  proclaim 
themselves,  and  which  must  lie  taken  into  full  consideration 
in  estimating  the  fruits  of  his  career.  If  the  spectator  is 
surprised-  as  he  assuredly  will  be— at  the  high  average  of 
Leighton's  work,  it  is  that  within  later  years  at  least,  a 
certain  mannerism  of  waxy  sweetness  and  grace,  and  at 
times  a  certain  diminution  of  vigour  and  virility  prepare 
him  For  an  aggregation  rather  of  the  weaker  than  of  the 
stronger  pictures.  But  Leighton's  highest  note  is  so  re- 
peatedly struck  that  the  average  elevation  of  excellence, 
coming  ;i  a  surprise,  will  silence  many  of  those  critics  who 
carped  at  him  when  he  die, I. 

The  Millais  wall  at  the  Portrait  Painters'  Show  was 
unite  enough  to  render  a  visit,  to  the  Grafton  Gallery  im- 
perative, but  beyond  that  and  the  Watts  portrait  there  v  ere 
many  fine  pictures  well  worth  seeing.  Mr.  Guthrie's  por- 
trait of  "Alexander  Sinclair,  Esq.,"  is  a  noble,  dignified 
picture,  and  there  have  been  few  sweeter  groups  exhibited 

lorn y  years  than  Mr.  Jacomb  Hood's  portrait  of  "Mrs. 

Fox  and  her  Children."    The  lady's  face  is  mosl  beautifully 

[minted,  and  the  whole  compositi idmirably  balanced  and 

charmingly  carried  out.    Mr.  Symonds'  "Stafford  Allen  "is 


a  very  plucky  picture,  the  contrasts  between  the  colour  of 
the  rabbit  and  the  boy's  dress  and  flesh  being  admirably 
rendered.  Of  the  President's  work  we  like  best  the  lady 
with  the  china  bowl.  The  lighting  is  remarkably  good, 
quite  an  inspiration,  and  the  absence  of  the  usual  deep 
shadow  on  the  cheek  a  very  happy  result.  Mr.  John 
Collier's  work  is  always  conscientious,  full  of  pains,  and 
possesses  a  bold  freshness  all  its  own.  Mr.  Lorimer's 
portrait  of  Lord  Lindsay  is  undoubtedly  strong,  and  we 
were  glad  to  renew  our  acquaintance  with  the  rich 
colour-scheme  in  the  portrait  of  the  Bishop  of  London. 
Mr.  Llewellyn's  "Master  Merton,"  Mrs.  Waller's  "Lady 
Marjorie,"  and  Mr.  Walton's  "Master  Mylne"  are  all  ex- 
cellent pictures.  The  pastel  portrait 
of  M.  Helleu  helped  to  make  the 
name  of  the  exhibition.  We  all  knew 
M.  Helleu  as  an  etcher,  but  many  did 
not  know  that  he  understands  all  the 
value  of  paste],  and  appreciates  its 
beauty  and  its  limits. 

We  congratulate  the  Society  of 
Miniaturists  on  their  pluck  in  con- 
trasting their  own  work  with  that  of 
the  great  masters  at  the  show  at  the 
Grafton.  The  old  ones  are  superb, 
and  as  they  represent  not  only  the 
great  masters  but  many  of  the  lesser 
men,  such  as  Wood,  Sullivan.  Collins, 
Spencer,  Hare,  Grimaldi,  and  Smart, 
there  is  ample  scope  for  excellent 
teaching.  Our  modern  miniaturists 
have  one  great  lesson  yet  to  learn, 
and  that  is  how  little  to  delineate  and 
how  much  to  suggest.  They  have, 
many  of  them,  quite  evidently  been 
trained  by  colouring  photographs, 
anil  all  the  bad  habits  SO  induced 
must  be  broken  off.  The  exhibition 
is  a  creditable  one  but  monotonous.  Mr.  Lloyd  seems 
to  us  to  produce  the  best  work  at  present.  He  has  evi- 
dently taken  Engleheart  as  his  model  rather  than  Cosway, 
and  two  of  his  latest  miniatures  are  really  lovely.  One  or 
two  of  Mr.  Praga's  are  excellent,  specially  that  of  Lady 
Glenesk,  but  he  must  learn  not  to  over-elaborate.  Miss 
Merrylees,  Miss  RoSENBURG,  Mr.  Sainton  have,  all  of 
them,  sound  work.  There  is  a  lavender-coloured  miniature 
in  the  corner,  in  a  frame  too  large  for  it,  by  a  Miss 
G.  Burrell,  that  is  pleasing  and  full  of  merit.  One  of 
Mr.  Sargent's  and  two  of  Mr.  Cary-Elwes'  are  worth 
notice.  Many  of  the  frames  used  by  modern  artists  are 
vulgar  and  unpleasant,  and  yet  there  is  an  original  one 
of  Cosway 's  to  be  seen  in  the  room  which  is  a  model  of 
good  taste,  and  almost  all  the  old  miniatures,  notably 
Lady  Henester\  are  appropriately  framed.  As  an  educa 
tional  exhibition  for  artists  in  miniature  nothing  can  exceed 
the  value  of  the  room. 

The  exhibition  of  the  "Old''  Water -Colour  Society, 
though  purposely  not  of  equal  importance  with  the  sum- 
mer show,  yet  maintained  its  usual  average  of  executive 
excellence,  for  but  few  of  the  members  adhere  to  the 
notion  that  the  winter  display  should  be  restricted  to 
sketches  and  studies.  It  is  unnecessary  at  this  inevit- 
ably late  date  to  enter  into  particulars  of  the  exhibi- 
tion; but  it  may  be  said  that  the  traditions  of  the  ait  as 

practised  by  tl Id  masters  of  lie-  craft  are  religiously 

carried  on,  as  maybe  seen  in  no  other  gallery  in  London, 
for,  being  a  "close  society,"  the  admixture  of  the  "  newesl 


THE    CHRONICLE    OF    ART. 


231 


ADAM     AND     EVE     DRIVEN     OUT     OF     THE     GARDEN     OF     EDEN. 

(Drawn   by   A.    D.    Davidson.      Awarded   First   Armitage   Prize   ana 

Bronze  Medal  at  Ro'jal  Academy  Schools.     See  p.  227.) 

methods  and  the  levelling  down  by  outsiders  is  little  to  lie 
appreciated  here.  The  new  school,  however,  was  powerfully 
represented  by  Mr.  Robert  Allan  and  others,  and  fine 
exercises  in  colour  as  well  as  in  manipulation  were  to  be  en 
joyed.  That  some  works  that  were  shown  were  better  away 
is  an  inevitable  consequence  of  the  rights  of  membership. 
The  seventeenth  exhibition  of  the  New  English  Ait 
Club  does  not  present  much  that  is  violently  opposed  to 
the  recognised  canons  of  art  ;  indeed,  some  of  the  works  are 
distinctly  academic  in  character.  The  contributions  of 
M.  Alphonse  Legros  are  naturally  of  great  interest,  a 
frame  of  eight  drawings  from  his  pencil  exceptionally  so. 
Mr.  P.  Wilson  Steer  contributes  the  sensational  work 
of  the  exhibition,  "  A  Nude  " — the  figure  of  a  girl  sitting  on 
a  bed  is  a  remarkable  piece  of  technique,  but  is  utterly 
devoid  of  beauty.  It  is  a  mule  figure,  and  simply  that. 
The  setting  i-  the  best  part  of  the  picture,  the  dark  green 
hangings  of  the  bed  serving  as  an  admirable  foil  in  the 
white  figure  of  the  girl.  Mr.  Anning  Bell's  portrait  of 
"Mrs.  Walter  Raleigh"  and  "  Battledore  and  Shuttlecock 
must  be  counted  among  the  best  of  the  work  ;  Mr.  Will 
Rothenstein's  portrait-  are  very  clever  as  records  of  char- 
acter, with  an  added  touch  "I  caricature.  Bui  why  should 
Messrs.  Fry  and  Wilson  Steee  endeavour  to  make  their  pic- 
tures like  old  masters,  affecting  even  the  tarnished  frames  1 

And    why  should    Mr.  HARTWICK    devote    his   talent    to   tie' 

delineation  of  a  most  brutal  phase  of  a  brutal  prize  fight? 
Mr.  Sutton   Palmer's  water-colour  drawings  of  "The 

Highlands  and  Lowlands"  are  in  his  well-known  pains- 
taking   style,    hut    we  are  glad    tO    Untie-    thai     h(     at    last 

recognises  a  variation  in  atmospheric  and  climatic  effects. 
"The  Falls  of  the  Orchy  'and  "The  Summer  Moon  "  are 
among  the  best  of  the  drawings. 

Messrs.  Shepherd  Brothers   have  an  interesting  ex- 


fiibition   of   works   of    British   artists   early   and   modem. 
Anion--  the  best  are  several   Constables;   "Ophelia,'    bj 

Romney  ;   "  Elaine,'  by  P.  F.  I' ,e,  II. A. :  and  one  or  two 

typical  examples  by  the  late  Henry  Moore,  B.A.    At  the 
French  Gallery  may  be  seen  a  most  comprehensn 
bition  of  work  of  the  modern  Dutch  school.     The  names 
include  Israels,  James  and  William  Maris,  II.  Mesdag, 
A.  Neuhuys,  Anton  Mauve,  and  Adolphe  Artz. 

.  For  the  benefit  of  photographers  who,  although 
accomplished  in  the  manipulation  of  the  camera, 
are  not  artists,  .Mr.  A.  II.  Wall  has  written  a  treatise  on 
"Artistic  Landsccip*  Photography"  (Percy  I. mid  and  Co., 
Limited.  Bradford).  It  is  a  useful  book  to  all  art-students, 
whether  photographers  or  not,  for  the  author,  although  one  of 
our  oldest  writers  on  photography,  i-  more  of  an  artist  than 
a  photographer.  His  statement  of  claim  on  behalf  of  the 
artistic  possibilities  of  camera  work  is  the  most  reasonable 
of  all  that  have  been  published  :  and  he  does  not  hesitate 
to  confess  — although  at  the  same  time  deprecating  the 
habil  that  photographers  themselves,  when  they  see  a 
specially  good  print,  always  ask  first,  "What  lens  did  you 
use?"  showing  plainly  that  they  themselves  look  to  tin 
apparatus  rather  than  to  "artistic  feeling"  hn  successful 
results.  It  would  have  been  well  to  have  put  the  titles 
and  artists' names  under  the  numerous  engravings  of  pic- 
tures with  which   the  book  is  illustrated. 

Mi;    Phil  M  \v  and  Mr.  Hi  gh  Thomson  have 
anea.   ^een  e]ecrefj  Members  of  the  Royal  Institute 
of  Painters  in  Water- Colours. 

We  have  been  asked  to  announce  that  the  Annual  Con- 
versazione of  the  South  Kensington  students  will  take  place 
at  the  Museum  on  February  17. 

In    Mr.    Crane's    article    on    William    Morris,    in   our 
December  number,  the  opening  line  of  the  quotation  from 
"The  Earthly  Paradise''  should  have  been  printed  : 
"  Forget  six  counties  overhung  with  smoke." 

Mr.  E.  A.  Abbey,  A.R.A.,  has  been  commissioned  by 
the  Merchant  Taylors'  and  Skinners'  Companies  to  paint 


'By  j.  s   /  1 


HEAD     FROM      LIFE 

i      .         Schools.) 


232 


THE    .MAGAZINE    OF    ART. 


the  panels  which  they  have  undertaken  to  contribute  to  the 
decoration  of  the  Royal  Exchange. 

We  reproduce  on  this  page  a  photograph  of  the  medal- 
lion which  carried  off  the  Prix  de  Rome.  The  competitors 
in  this  section  numbered  barely  half  a  dozen,  and  the 
successful  work  was  incomparably  the  best. 

We  have  to  note  the  retirement  from  the  Headmaster- 
ship  of  the  Liver] 1  School  of  Art  of  Mr.  John  Finnie, 

R.P.E.,  who  has  held  that  position  for  more  than  forty 
years.     He  is  succeeded  by  Mr.  Frederick  V.  Bueridue. 

The  Leeds  Art  Gallery  have  acquired  the  series  of  panels 
executed  for  the  judges'  lodgings  in  that  city  by  the  late 
Sir  J.  E.  Mii.lais,  P.R.A.    The  paintings  were  done  in  the 


(By    G.     Oiiprt.       GranJ    Prix    (le    ffome    Medallion,     1896.       Photograph    bij    B« 

days  "I    the  artist's  apprenticeship.     We   hope   .shortly  to 
place  reproductions  of  them  before  our  readers. 

The  monument  to  VVatteau,  which  is  illustrated  on 
p.  229,  has  recently  been  erected  in  the  gardens  of  the 
Luxembourg,  the  cost  being  defrayed  by  public  subscription. 
The  bust  of  the  artist  is  executed  in  pewter,  and  together 
with  tin-  figure  of  the  woman  in  Louis  XV.  costume,  is  the 
work  of  M.  Henri  Gai  QUIE\  As  will  be  seen  from  the 
illustration,  the  pedestal  takes  the  form  of  a  painter's 
palette,  appearing,  on  elevation,  as  a  semicircle,  to  which 
Steps  are  attached.  It  is  in  white  stone,  and  was  designed 
ami  carried  out  under  the  direction  of  M.  Henri  GuiL 
lai  mi',  architect.  Jt  is  a  beautiful  addition  to  the 
decorative  sculpture  of  Paris,  already  so  abundant. 

Me    i  .  Graves  and  Co.  have  introduced  some  daintily- 

de  tgned     I lea     for    prints    anil     water-colour    drawings 

which  should  meet  with  great  success.     With  a  ground- 

"oil.    ol    oa me  cases  plain,  and   in  others  stained   a 

rich  olive  green— the  picture  is  surrounded  with  a  narrow 


gilt  moulding  ornament  based  upon  empire  designs  which 
bestow  a  pleasing  effect  without  detracting  from  the  charm 
of  the  picture.  Another  advantage  possessed  by  these 
frames  is  that  the  mitring  of  the  corners  as  in  ordinary  frames 
is  skilfully  avoided,  and  the  joins  in  most  cases  are  quite  un- 
noticeable.  Messrs.  Graves  and  Go.  are  preparing  a  series 
of  photogravures  of  the  English  cathedrals  and  abbeys, 
which  they  offer  to  frame  in  sets  to  suit  any  particular 
room  that  the  subscribers  may  wish. 

Mr.  W.  B.  Richmond's  work  in  the  choir  of  St.  Paul's 
has  been  completed,  and  the  whole  scheme  can  now  be 
realised.  The  effect  is  very  rich  and  harmonious.  The 
artist's  attention  will  next  be  directed  to  the  four  quarter 
domes.  The  windows  in  the  north  and 
south  transepts  have  been  designed  and 
are  now  being  executed  by  Messrs.  Powell, 
the  cost  being  defrayed  by  tLe  Duke  of 
Westminster.  They  are  to  commemorate 
the  conversion  of  England  to  Christianity, 
with  figures  representing  the  first  bishop 
and  the  corresponding  monarchs  of  each 
of  the  kingdoms  of  the  Heptarchy.  Mr. 
Richmond  has  also  undertaken  the  de- 
signing of  a  sculptural  monument  to  the 
memory  of  Lord  Leighton,  which  is  to  be 
placed  at  the  eastern  end  of  the  south  side 
of  the  nave  of  the  cathedral.  We  have 
made  arrangements  for  a  fully  illustrated 
article  on  the  mosaics  and  general  decora- 
tions by  Mr.  Richmond. 

We  regret  to  record  the  death  of 
Obituary.    Mj.   El)WARD  SaMUELSON,  J.P., 
who  was  one  of  the  founders  of  the  Liver- 
pool Autumn  Exhibition,  and   for   many 
years  as  chairman  of  the  Arts  Committee 
took   a   leading   part  in  its  management. 
Mr.  Samuelson  was  born  in  February,  1823, 
in  Hamburg,  was  brought  to  England  in 
1828,  and  in  1836  to  Liverpool.     His  suc- 
cessful commercial   career  and  mayoralty 
in  1872  did  not  prevent  his  taking  a  most 
active  interest  in  the  arts.     He  was  a  dis- 
tinguished musical  executant  and  connois- 
seur, and,  except  his  colleague  and  friend 
the  late  Alderman  Rathbone,  no  amateur 
held  so  promiuent  a  position  locally  in  con- 
fer, Pans.)  nection  with  art  matters.     Mr.  Samuelson 
was  a  collector  of  excellent  judgment,  and 
formed    the  charming  gallery  of    pictures  which  was  dis- 
persed a  few  years  ago  on  his  retirement  and  removal  to 
Wales.      There   he   interested   himself   with   characteristic 
zeal   in    bardic   matters,   and   directed    his   attention   spe- 
cially to   promoting   the  study  of   instrumental  music  by 
the  Gyniry. 

The  death  has  occurred  of  M.  Emile  Chatrousse,  the 
French  sculptor,  at  the  age  of  eighty-seven.  He  was  a 
pupil  of  Rudi's,  but  also  studied  painting  under  Pujol.  In 
L863  he  obtained  a.  medal  for  his  "  Vendangeuse,"  now  in 
the  museum  at  Grenoble  ;  a  second-class  medal  in  1864  for 
the  "Renaissance,"  now  at  Fontainebleau  Palace  ;  a-  1  in 
1865  a  medal  for  the  " Madeleine  Repentante,"  afterwards 
bought  for  the.  Dunkirk  Museum.  Other  works  of  note 
are  the  "Madame  Roland"at  the  Hotel  do  Ville,  "  Liseuse" 
at  the  Luxembourg,  and  the  "Jeanne  d'Arc'  in  the  Place 
of  the  same  name  in  I'aris 

Mr.  Luis  Falero,  the  painter,  recently  died  at  Uni- 
versity College  Hospital  at  the  age  of  forty  five. 


■ 


LI  LI  U  M      AU  RAT  U  M 


233 


OUR     RISING     ARTISTS  :      MR.     GEORGE     HARCOURT. 

Br     M       H.     SPIELMANN. 


MR.  GE<  »EGE  HAECOUET  is  a  typical  example 
of  what  good  teacliing  may  effect.  By  good 
teaching  I  mean  not  the  drilling  which  in  past  days 
was  employed  with  a  view  of  forming  an  acknow- 
ledged "school,"  by  making  each  pupil  an  imitation 
of  the  master  and  by 
multiplying  the  num- 
ber <>i'  persons  using 
the  same  methods ;  I 
mean  tie'  instruction 
by  which  each  compe- 
tent student  becomes 
a  painter  on  his  own 
account,  his  own  indi- 
viduality respected 
fostered,  and  de- 
veloped, and  his  art 
free  from  the  paster's 
impress  ami  sugges- 
tive of  11 e's  work 

hut  his  own.  This 
merit  is  the  leading 
feature  of  the  Herko- 
merSchoolsat  Bushey, 
and  it  is  the  true 
secret  of  their  sin  i 
With  a  chief  of  such 
strong  personality  as 
Professor  Herkomer, 
wi  t  li  a  met  hod  si 
marked,  with  sympa- 
thies so  characterise  ■ 
the  schools,  it  might  ,  Pc„d,  D 

well     be    supposed, 

might  strike  seme  dominant  note,  might  have  estab- 
lished some  sort  of  tradition,  if  not  indeed  convention 
— some  common  denominator  so  to  say — that  might 
be  recognised  in  the  work  of  every  student.  The 
absolute  contrary  i-  the  case.  There  are  usually,  I 
believe,  some  thn  ■  -■  ore  pi  tures  in  every  exhibition 
of  the  Royal  Academy  contributed  by  past  or  present 
pupils  of  the  Bushey  Schools ;  but  I  would  defy  the 
visitor,  the  critic,  or  the  connoisseur  to  point  to 
than  three  or  four  as  the  obvious  outcome  of  Bushey 


GEORGE     HARCOURT. 


It  was  Mr.  Haiv t's  g I  fortune  to  fall  within 

the  Bushey  influence  at  the  proper  time.  There  his 
talent  was  nurtured  while  his  individuality  was 
respected  ;  and  now.  when  he  is  advancing  rapidly 
in  public  recognition,  it   is  impossible   to  avi 

he  is  a  Herkomer 
student  or  thai  i  here 
i-  any  resemblance 
between  his  method 
or  east  of  1  hought  and 
those  of  any 
pupil  from   die  same 

He  was  aln 

draughtsman  and  de- 
signer of  some  ability 
before  lie  went  to 
Bushey.  He  had  at- 
tended the  evei 
classes  of    the  school 

ol     ,11      in     In-     i 

town  of  Dumbarton. 
and  in  1889  1  d 
obtained  a  scholar- 
ship, with  which  he 
came  up  to  town.  !  [is 
ha nd  and  ey e  had 
been  well  pracl  ised  in 
tin.'  da  oral  ive  work 
he   had   executed    for 

Messrs.    I \     B 

Unas,  of   1  iiunbarton, 
„,„,  H  „.      |  the  greal    ship-build- 

oi  -.  for  whom  I 
li  orated  the  first-class  saloons  of  the  Union  Steam- 
ship <  'onipauy's  New  Zealand  lima-.  ,i-  w<   I 
Channel   steamers.     This  work-  -not   altogetln 
similar  from   thai    to  which    I 
Professor  Herkomer,  in  the  early  days  of  his  i 
was  happy  to  execute  <\  only  of  gi 

designing  and  architectural  drawing,  bu I  glass  paint- 
ing and  panel-painting  as  well :  an  excellenl  1 1 
for  a  youl  h  w  hose  ideas  ian  , 
subject,  and  whose  imagination  was  probably  in  need 


teaching — unless  if  were  by  virtue  of  careful  draw-  of  the  control  and  self-restraint  imposed  by  the  con- 
ing, dramatic  composition,  oi    grai  :ful    Fancy.     The  ditions  of  naval  decoration.      Not  that   his  wi 
fact   is  that    imitation,  however  sincere  the  Hattery  altogether  confined   to  the  embellishment   of   ships, 
nay  be,  is  not    permitted;  every  pupil  must    think  neither.     As  early    as    L88S,  when  a  student   of  bul 
and    paint    for  himself,  and   the   warmest    praise   is  nineteen  yens  of  age  ailed  u|  on  to 

reserved  for  the  most    Freshly  independent  and  the  design  the  medal    for   the  athlel inpetil 

most  unaffectedly  original.  ection  with  Glasgow  Industrial  Exhibition;  and 

30 


234 


THE    MAGAZINE    OF    ART. 


gave  iviii  to  his  fancy  by  the  introduction  as  the 
motif  the  figures  of  Mercury  and  Hercules,  personify- 
ing swiftness  and  strength. 

.Air.  Harcourt  wastweutj  years  old  when,  in  L889, 
he  entered  the  Herkoiner  School  and  tool;  advantage 
of  the  prevailing  principle,  already  alluded  to,  by 


modern  system  is  the  more  satisfactory,  as  well  as 
the  more  logical;  but  I  should  hasten  to  add,  that 
so  strong  is  the  individuality  of  Mr.  Harcourt  that 
I  believe  he  would  have  survived  the  hardships  and 
surmounted  the  difficulties  of  any  method  of  train- 
ing.    After   three    vears   his   course   was   done,  and 


which  each  pupil  is  given  margin  in  which  to  work     since  that  time  the  young  artist  has  remained  an 


out  his  artistic  salvation,  ami  is  only  cheeked  when  it 
is  found  that  he  is  falling  into  mannerism.  I  am 
well  aware  that  this  system  might  he  challenged, and 
that  it  might  In-  doubted  whether  tin-  older  plan 
is  not  the  more  merciful,  whereby  the  majority  fall 
victims  to  the  atelier  method,  and  only  tin-  very 
strong  come  unscathed  from  the  ideal,  and  are  no 
longer  troubled  by  their  weaker  brethren  who  have 
fallen  in  the  struggle:  just  as  the  ancients  wore 
v.  m  to  expose  their  babes  to  the  rigours  of  the 
w  fcher,  so  that  the  weaklings  should  die  off  and 
only  the  hardy  survive.     To  the  many,  however,  the 


A     PORTRAIT. 


ssistant  teacher  in  the  schools  where  he  received 
his  final  education. 

Mr.  Harcourt's  first  appearance  in  a  London 
gallery  1  clearly  remember.  It  took  place  at  the 
Fine  Ait  Society's  rooms,  where  a  collection  of  the 
pictures  of  Professor  Herkomer  and  of  his  pupils 
was  In  ought  together — an  exhibition  of  surprising 
interest.  His  chief  contribution  was  a  landscape,  a 
large  canvas  called  "  Evening  Time,"  painted  close  by 
Bushey,  rhythmic  with  undulating  land  and  varied 
with  well-drawn  trees:  a  few  figures  people  the  fore- 
ground, and  boys  round  a  lire  are  busy  burning  weeds. 
There  was  also  a  subject 
picture  called  "The  Heir,'' 
a,  motive  more  suggestive 
perhaps  of  the  melodrama 
of  Mr.  Waller  than  of  the 
transparent  sincerity  of  the 
somewhat  sentimental  young 
Scotsman.  But  it  is  not  so 
much  the  young  man  who 
returns  to  his  old  home  and 
finds  it  deserted  and  over- 
grown with  weeds,  nor  the 
children  who  have  been 
gathering  flowers  and  now 
watch  the  stranger  with 
curiosity,  that  attract  the 
spectator's  attention ;  it  is 
rather  the  genuine  feeling 
infused  into  the  work.  In- 
deed, the  subject  and  its 
working  out  were  "  younger 
than  the.  spirit  that  in- 
spired it. 

In    1893    the    artist    was 
first    seen    iii    the    Royal 

Academy,  when  in   1! n  A'. 

there  hung  a  picture  so 
original  in  thought  and 
treatment,  so  free  from  ap- 
pearance of  effort,  and  vet 
so  innocent  of  all  display  of 
dexterity,  that  it.  attracted 
wide  attention  ;  and  the  fad 
thai  the  painter's  name  was 
unknown  rather  increased 
than  lessened  the  interesi 
with  which  it  was  regarded. 


on;    RISING     ARTISTS:     MR    GEORGE    HARCOURT. 


This  picture,  which  was  called  "At  the  Window," 
was  intended  to  illustrate — if  such  a  word  be  nol 
misapplied  to  the  unfettered  character  of  the  sub 
ject — Keats's  "Ode  to  the  Nightingale,"  beginning: 

"The  voice  I  hear  this  passing  night  was  heard 
In  ancient  days  by  emperor  and  clown  ;" 

but  it  has  since  been  more  conveniently  entitled  "  A 
Portrait."  Thefigureof  thegirl  standing  bythewindow 
in  a  lamp-lit  room — with  the  reflection  of  her  lair 
cast  iijinii  the  pane — is  relieved  against  the  deep 
blue  of  the  night  ;  ami  foliage  and  distant  land- 
scape are  dimly  seen  beyond.  She  is  clad  in  lettuce 
green  silk  covered  with  black  lace,  making  it  appear 
darker  in  colour,  and  the  sash  is  black.     A  vase  of 

pale  (link  anen js  is  mi   the  table  near   her,  and 

sonic  nf  the  flowers  she  wears  in  her  dress.  The 
arrangement  was  simple  ami  harmonious,  and  was 
well  dominated  by  the  strongly-lighted  face. 

A  more  striking  success  attended  the  picture  of 
the  following  year,  1894.  This  was  the  "  Psyche^'a 
figure,  1  think -all  technical  merits  apart — that  so 
haunts  the  memory  of  all  who  saw  it  as  it  hung 
beside  the  doorway  in  Room  X.,  that  it  may  fairly 
lay  claim  to  higher  considerations  than  what  may 
lie  accorded  to  the  mere  craftsman's  painting,  and 
may  assert  itself  as  a  work  of  real  art.  The  pic- 
ture, eight,  feet  in  height,  is  manifestly  painted 
under  the  influence  of  .Mr.  AVatls,  inspired  by  an 
almost  passionate  desire  to  paint  a  nude  figure, 
treated  ideally,  almost  monumentally,  but  with  such 
poetry  as  the  artist  might  command.  The  figure 
was  to  be  symbolic  of  some  human  emotion,  and 
with  it  to  combine  a  decorative  aspect.  From 
this  aim  arose  "Psyche" — much  less,  it  may  he 
observed,  like  Mr.  Watts's  "Psyche"  than  like 
his  "Creation  of  Eve."  The  (puliation  thai  accom 
panied   it   was   from  Morris's  "Earthly    Paradise": 

■■  Farewell, 
(i  Fairesl  lord;  ami  since  I  cannot  dwell 
Willi  thee  in  heaven,  lei  me  now  hide  my  head 
In  whatsoever  dark  place  dwell  i  lie  deral 

The  figure  of  the  unhappy  nymph  is  -ecu  in  the  full 
sunlight  against  flowering  meadows  bounded  by  trees 
and  blue  hills  beyond,  and  above,  a  blue  sky  flecked 
with  rosy  clouds,  which  are  reflected  in  the  water  at 
her  feet.  The  blaze  of  lighl  and  colour  is  startling 
at  first,  and  the  attempt  to  harmonise  the  rosy  hues 
of  the  clouds  with  the  red  of  the  girl's  hair  justified 
in  its  daring  only  by  its  success.  Bui  the  grace  and 
elegance  of  the  figure  and  the  true  sense  of  poetic 
passion  expressed  in  (he  face  are  raie  achievements; 
and  even  though  the  expression  is  not  of  the  most 
elevated  kind  of  all  —  which  is  mr.s-;iiv  for  I  he  tri- 
umphant treatment  of  such  a  mythic  theme  the 
picture  is  a  charming  one,  ami  nol  less  charming  Eoi 
the  rather  obvious  lines  of  the  decorative  treatment. 


FAREWELL! 


There  are  drawing,  colour,  and  sentiment  here  in 
a,  degree  which,  displayed  by  so  young  a  painter, 
prophesy,  as  clear  as  paint  can  speak,  a  striking 
career  in  aehie\ ement  and  success. 

"  Thoughl  Reading,"  a  picture  of  n  verj  different 
soil,  was  the  exhibit  of  1895.  No  emotion  is 
attempted,  and  although  a  .-en-'  of  mystery  and 
uncanniness  pervades  the  canvas,  it  does  so  in  virtue 
rather  of  the  subject  than  of  the  treatment.  The 
,iim  has  keen  to  give  an  aspect  of  modem  life  treated 

as  a  decora!  tve  col ■  scheme     an  aim  not   en 

new  to  the  Royal   Academj  exhi  dl  em  in  i  hese  later 

days,  even  with  the  si daring  introduc E  the 

pi  imarj  colours.  In  tin-  I. nee  canvas  some  ten  feci 
long,  we  have  a  drawing-room  scene  hi  by  diffu  ed 
cross-lights  from  col  mred  lanterns.  The  women  are 
dressed  in  deep-toned  colour,- :  the  figure  leaning  over 
the  piano  and  holding  a  flower  is  in  deep  yellow,  while 

sh the  right    is  in  green.     Tl intra!   female 

figure  who  with  -  i  much  dignit)  of  pose  is  "willing" 

the  medium  is  attired  in   red  :    in   the  pa E   the 

French  window  are  reflected  the  colours  from  the 
lanterns  -'ad  through  tl  glow  the  deep  blue  of  the 
njsht.     On  the  table  in  the  Eon  ground   red  flowers 


236 


THE    MAGAZINE    OF    ART. 


are  in  a  vase  of  blue  and  white,  which  affords 
relief  to  the  eye  and  keeps  the  other  colours  in 
place.  The  actuality  of  the  subject  may  be  unsym- 
pathetic to  some,  but  the  success  of  the  scheme  is 
nol  less  marked  than  that  of  the  composition:  in- 
deed ii  struck  the  .jury  of  the  Salon  so,  and  they 
awarded  to  the  picture  a  third-class  medal  on  the 
merits  in  which   I   have  drawn  attention. 


and  pity.  She  is  draped  in  deep  crimson  and  the 
man  in  low-toned  grey.  They  arc  lit  by  the  warm 
light  that  suffuses  the  evening  sky  just  after  sundown, 
and  rosy  clouds  in  the  background  are  seen  shining 
through  the  trees.  The  main  point  of  the  .spiritual  or 
intellectual  element  of  the  picture  lies  in  the  fact 
that  here — as  in  the  symbolic  works  of  Mr.  Watts — 
the  group  is  symbolic  and  not  individual.     Human 


THOUGHT     READING. 


In  "The  Leper's  Wife  "  Mr.  Harcourt  has  reached 
the  greatesl  artistic  height  to  which  he  has  yet  at- 
tained, for  he  has  succeeded  in  bringing  together  in 
his  canvas  nobility  of  thought  and  expression  and 
deep  emotion,  and  in  his  realisation  of  true  sentiment 
of  an  elevated  kind  has  combined  good  drawing  and 
line  quality  of  colour  with  impressive  composition. 
The  idea  is  of  course  based  on  Tennyson's  "  Happy, 
or  the  Leper's  Bride,"  the  motive  of  which  is 
quoted  by  the  poel  from  B  mcher  .lames ;  but  the 
figures  are   not    intended   as  Tennyson's    individual 

nian  and  w an-—  but,  as  may  be  seen  from  the  large 

allegorical  treatment  ado], d-d  by  the  artist — are  in- 
tended rather  as  types  of  suffering  and  devotion: 
the  unhappy    outcast   who     i.M       back   in  generous 

r  uiiw  illing  to  accept  so  great  a  sacrifice,  into 

of  the  dark  forest,  ;  and  the  wife,  at  whose 
Eeel  bl  lo  ei  pring,  throws  herself  forward  in  the 
pure    ;  .  I  immolation  upon  the  altar  of  love 


emotion  is  common  to  all  time,  and  awakens  the 
passion  and  emotion  of  the  artist  not  less  than  other 
men's;  and  in  the  art  which  would  seek  to  embody 
them  in  pigment  upon  canvas, date  and  surroundings 
and  costume  are  of  importance  '  only  according  as 
they  lend  themselves  I"  the  belter  expression  and 
interpretation  of  the  idea.  Mr.  Harcourt  has  shown 
that  he  well  understands  this  principle,  and,  moreover, 
that  he  is  master  of  it ;  and  it  is  not  surprising  that 
in  him  Mr.  Watts  has  seen  the  most  notable  of  all 
the  younger  men  who  are  not  content  with  the 
narrow  application  of  the  motto  of  "Art  for  Art." 
Indeed,  I  do  not  hesitate  to  place  Mr.  Harcourt 
intellectually  in  the  train  of  .Air.  Watts,  hike  him 
he  often  finds  it  necessary  to  relieve  his  feelings  on  a 
large  scale  ;  like  him,  he  cares  little  whether  a  picture 
sells  or  not,  so  long  as  he  can  commit,  to  canvas  the 
conceptions  that  lill  his  mind:  like  him,  he  is  a 
stalwarl      or  is  fast  becoming  so — with  ideas  which, 


THE     LEPER'S     WIFE. 


{"The  leprosi/  of  the  thirteenth  and  foiirit  \th  Mi 
follow  their  husbanas  who  had  been  leprous,  or  remain 
these  unhappy  beings  this  immense  source  of  consolatic 
b-j   their  faithful   wioes."— Boi  i  HI  i    .1  \  i  i  -.  ' 


•ies  was  supposed  to  be 
the  world  and  marry  an 
Willi    a    loue    stronger   (, 


legacy   of  the    I 

in.       The    Chw 
m    this    living     ■■ 


.      At   first    there   was    a   doubt   whfther   whes   should 

■■•■■    was    indissoluble,    and  so   bestowed   on 

followed    into    banishment   from    the    haunts    of   men 


238 


THE    MAGAZINE    OF    AET. 


while  lending  themselves  to  artistic  treatment,  are 
worth  painting  for  themselves.  Even  in  his  land- 
scapes, such  as  "The  Dun-lass,  Cockburnspath," 
shown  at  the  gallery  of  the  Royal  Society  of  British 
Artists,  there  is  something  more  than  the  mere 
desire  I"  hold  the  mirror  up  to  nature.  Equally 
with  the  subject  he  studies  the  design;  but  while 
the  former  may  be  as  passionate  or  as  dramatic  as  he 
knows  1ih\\  I,,  render  it.  he  paints  no  picture  for  the 
mere  sake  of  decoration  mi  the  one  hand,  nor,  on  the 


artist    seeks   to   combine  strong  decorative  quality 
with  a  subject  worthy  of  it. 

Ii  is  evident  that  what  appeals  most  strongly  to 
.Mr.  Harcourt's  imagination  are  the  ideas  that  lend 
themselves  to  the  fulness  of  colour  and  amplitude  of 
line.  Indeed,  without  injustice  I  may  express  my 
belief  that  where  he  fails  to  accept  in  the  fullest  sense 
the  example  of  Mr.  Walts  is  his  preference  for  sil- 
houette over  pure  form  and  statuesqueness.  For  him 
painting  is  essentially  a  colour  medium,  the  greatest 


mm 

A 

Bf  l,»a.??lBBMKMIWE« 

.  1m 

Br    "  ' . 

Wh 

i 

.    .    ..  _.        •  ■'''    J 

MRS.      FAIRFAX-LUCY     AND     HER     SON. 


other,  docs  he  allow  the  subject  to  dominate.  With 
this  young  painter  subjeel  and  painting  arc  com- 
bined, as  thought  and  language  must  be, and  thoughts 
may  be  expressed  in  paint  as  legitimately  as  things. 
In  a  master's  hands  the  finest  pictorial  qualities  can 
exist  in  a  work  that  has  subjeel — even  in  such  that 

j  telling,  as  fo  example,  in  the  "  Bacchus  and 
Ariadne  of  Titian.  The  same  great  quality  of  re- 
pose that  is  fell  in  the  sculpture  of  the  Parthenon  is 
to  be  found  in  this  great  mastet  piece;  yel  I  he  idea 
dominates  the  medium,  and  at  the  same  time  pos- 
■  i  i      or,  remoteness — which 

the  enduring  quality  to  the  work.  So  while 
liating  the  idea  of  painted  anecdote,  our  young 


of  all  the  charms  of  pictorial  art.  Therefore  in  all 
his  pictures  he  insists  upon  colour  combined  with 
that  tone — that  subtle  something— which  is  the 
binding  quality  in  nature,  without  which  colour  is 
not  colour,  but  mere  pigment:  not  colour  in  the 
fullest  sense,  without  that  vibrating  quality  or 
"brokenness" — the  brokenness  and  vibration  that 
belong  to  light  itself. 

This  quality  Mr.  Harcourf  has  equally  tried  to 
import  into  his  out-of-door  portraits,  of  which  one — 
that  of  "  Mrs.  Fairfax-Lucy  and  Son  " — is  here  repro- 
duced. The  design  .is  not,  I  am  assured,  suggested — as 
at  first  sight  would  appear  likely— by  "The  Duche  s 
of  Devonshire  and  Daughter"  of  Sir  Joshua  Reynolds; 


THE    LIFE    AND     LETTERS    OF    JOHN    CONSTABLE,    R.A. 


239 


it  whs  siinply  an  arrangement  resulting  from  acci- 
dent of  pose,  and  seized  upon  by  the  painter  as  a 
happy  one.     The  same  quality,  too,  may  be  seen  in 

his  water-colour  of  boys  bathing,  in  which  il legance 

of  the  principal  disrobed  figure  has  a  good  deal  of 
what  we  admire  in  Fred  Walker's  "Bathers;"  and 
similarly  do  we  see  it  in  the  oil-sketch  of  "  The 
Little  Foster-Father"  trudging  along  beneath  the 
blossoming  hedgerow;  and  even  in  some  degree  in 
the  simple  study  from  nature  the  artist  calls 
"Head  of  a  Rustic  Girl" — different  as  this  frank 
sketching  is  from  the  more  set  business  of  picture- 
making. 

As  might  lie  imagined  from  his  training  under 
Professor  Herkomer,  .Mr.  Earcourt  is  no  adherent  of 
the  Academic  school — the  school  of  Lord  Leighton 
and  Sir  Edward  Poynter — which  demands  the  making 
of  many  preparatory  studies  and  sketches  before  the 
canvas    itself   is   attacked.      As   a.   matter   of    fact,   he 


designs  on  the  canvas,  finding  it  easier  to  evolve  his 
idea  and  give  it  shape,  than  by  the  more  deliberate 
method.  In  this  manner,  like  Air.  Watts,  he  feels  his 
way  to  his  picture,  and  while  observing  no  particular 
style  of  handling  save  .such  as  appears  i<i  grow  out 
of  the  subject,  he  aims  steadily  at  Titian's  fulni 
colour.  If  methods  arc  to  be  adapted  i"  tempera- 
ments, and  nut  temperaments  to  methods,  there  can 
be  no  doubt  that  Mr.  Harcourt  has  marked  out  his 
path  straight  towards  his  appointed  goal,  lie  is 
no  vacillator ;  he  measures  his  own  powers  with  the 
same  self-confidence  as  that  which  has  evolved  his 
view  "f  art.  This  vigour  of  character  is  too  well 
marked  in  his  pictures  to  he  doubted;  ami  it  is  ;i 
quality  which  will  carry  him  over  many  obstacles 
and  will  laud  him,  if  fortune  favour  him.  not  onlj 
high  in  his  profession,  hut  in  tin-  front  rank-  of  his 
country's  painters — and  that  in  a  future  neithei 
doubtful   nor  remote. 


THE  LIFE  AND  LETTERS  OF  JOHN  CONSTABLE,  R.A. 


have  always  held  Leslie's 
Life  of  Constable  a.  master- 
piece in  its  qua  Lilt,  old- 
fashioned  way  —  as  broad, 
simple,  and  refreshing  as 
one  of  Constable's  own 
landscapes;  and  the  read- 
ing of  it  as  pari  of  every 
artistic  education.  Its  publishers,  therefore,  have 
conferred  a  boon  upon  the  .student  by  issuing  a 
new  edition  of  this  interesting  work— an  edition 
beautiful  in  itself — with  its  value  further  enhanced 
by  the  judicious  yel  sparing  notes  and  comments 
provided  by  the  editor,  Mr.   Robert  C.  Leslie. 

It  is  fifty-three  years  since  Leslie's  work  was 
first  put  forth,  and  the  skill  with  which,  through 
the  free  use  of  Constable's  correspondence,  he  made 
it  ahnosl  into  an  autobiography  has  been  ever  since 
admitted.  Hamerton,  it  is  true,  objected  that  it 
remained  for  thai  reason"in  the  raw  state,"  merely 

a-  mat  -il. il  foi  a  biographj ,  and  i  heref proi  eeded 

tu  tell  the  simple,  pleasing  story  of  Constable's  life 
in  his  own  way,  for  the  benefit  of  the  readers  of  his 
-  Portfolio  Papers."  No  doubl  a  few  of  the  letters 
might  have  been  better  omitted  and  the  whole  more 

>  ■■  Life  and    Letti  rs   of  John   I  on  table,   R.A."     By    R.  C. 
Leslie,   I.' A       With  three  portraits  of  Constable  and   foi 
illustrations.     (Chapman  and   Hall,   Ltd.     189G.) 


completely  digested;  bu)  that  is  a  view  suggested 
only  by  the  latter-day  desire  for  conciseness.  The 
correspondence  serves  more  thoroughly  to  portray 
the  character  of  the  man  —  to  accentuate  his  gentle- 
ness, his  originality,  and  his  lofty  artistic  spirit.  We 
might  have  wished  to  find  in  this  new  edition  some 
definite  reply  from  Mr.  Robert  C.  Leslie  to  John 
Linnell's  charge,  recently  made  public  in  the  bio- 
graphy of  that  artist,  thai  it  was  owing  to  Con- 
stable's je  dousj  and  influence  thai  he  was  nol  elected 
into  the  Royal  Academy.  Perhaps  it  was  considered 
not  without  reason,  thai  the  b  iok  as  it  stands  and 
the  life  it  records  are  themselves  sufficient  answer 
in  the  statement. 

It  is  hardly  necessary  to  criticise  a  work  so  long 
and  so  favourably  known  as  one  of  the  classics  of 
artistic  biography.  This  handsome  volume,  hand- 
some  alike    in    paper   and    typography,    is   a    g I 

substitute  for  that  mi  long  out  of  print  :  1ml  we  are 

bound    to   add    thai     the    llliMial  tOllS,    Collotj  pe       [<  i 

the  most  part  from  Lucas's  mezzotints  of  Constable's 
principal   pictures,  are  not    of  equal   merit.     Those 
from  mlier  works  in  the  South  Kensington    VI 
and  in   private   hands  .nr  of   better  quality.      I  In 

present,  issue  is  apparently   intern  s  of 

means:  bul  until  the  publishers  place  an  edition 
within  the  reach  of  the  arl  -i  ud  ill  thej  « ill  nol 
have  i pleted  i  h  ■  work  tit  !      '  well  begun. 


240 


FASHION      IN     ART. 


By     FERNAND     KHNOPFF. 


jNPER  the  title  of  "Unprejudiced" 
that  admirable  artist  Charles 
Keene  once  produced  a  drawing 
representing  a  "swell"  at  the 
Royal  Academy  Exhibition,  his 
catalogue  in  one  hand  and  his 
eyeglass  in  the  other,  savin-. 
"  Haw!  Ve  ymi  any  ideaw  what  fellaw's  pictchuars 
we've  in  admi-ar  tin's  ye-ar?" 

Berein  we  have  the  whole  history  of  fashion — 
or  rather  of  the  fashions     in  ail. 

The  superfluous  and  useless  man  of  fashion  who 
is  dressed,  shod,  and  shaved  by  the  most  eminent 
specialists,  \\  ishes  also  In  apply  In  a  thorough  connois- 
seur  fni'  In's  artistic  opinions.  But  it  then  inevitably 
happens  that  if  a  real  amateur  of  art  tells  him  his  sin- 
cere opinion,  the  "  swell,"  in  trying  to  adopt  it,  makes 
it  appear  perfectly  ridiculous  to  his  unfortunate  in- 
structor, who,  to  escape  the  nuisance,  finds  hut  one 
alternative:  that  of  changing  his  opinion  each  time 
they  meet.  The  result  is  an  interminable  hide-and- 
seek  of  which  the  result  will  be  the  changes  of 
fashion  in  the  narrowesl  and  most  superficial  sense 
of  the  word.  This  is.  no  doubt,  vexatious,  but  by 
way  of  consolation  they  both  might  remind  themselves 
that,  to  put  an  end  to  it,  they  have  only  to  wait  and 
give  themselves  time  to  be  sincere  and  just.  Nothing 
more  than  that,  if  only  that  were  possible!  For 
as  Eugene  Delacroix  wrote  in  his  article  entitled 
"Questions  sur  le  Beau,"  published  in  the  Revue 
des  Deux  Mondes  in  L854:  "In  the  presence  of  a 
really  beautiful  object  a  secret  instinct  tells  us  of  its 
merit,  and  compels  us  to  admire  it  in  spite  of  our 
prejudices  and  antipathies.  This  agreement  between 
persons  of  honest  purpose  shows  that  while  all  men 
feel  love,  hatred,  and  the  other  passions  in  the  same 
way,  while  tin -y  are  intoxicated  by  the  same  plea- 
sures and  racked  by  the  same  pains,  they  arc  moved  in 
the  same  way  in  the  presence  of  beauty, and  offended 
by  the  sight  of  ugliness,  thai  is  to  say,  imperfection." 
But  he  immediately  adds,  "  It  nevertheless  happens 
thai  when  they  have  had  time  to  reconsider  and  to 
get  over  the  firsl  emotion,  by  discussing  it  pen  in 
hand,  these  admirers,  for  a  moment  so  unanimous, 
no  longer  are  of  one  mind,  even  on  the  chief  points 
of  their  admiration.  School  tradition,  educational 
or  national    prejudice,  rise  to  the   top,  and   then  it 

"out!  in  thai  the  most   c petent  judges 

are  i  !i  mtenl  tous  .    For  unpretentious    folks 

asily  impressed,  or  remain  faithful 
to  their  first  enl  husia  m." 


Under  these  different  categories,  Delacroix  again 
says,  we  must  not  count  what  he  calls  the  "cohort" 
of  the  envious,  who  are  always  in  despair  over  the 
beautiful ;  and  he  does  not  even  mention  that  other 
"cohort''  who  are  never  in  despair  over  the  beauti- 
ful, and  among  whom  may  be  specially  noted  certain 
clitics  whose  whole  effort  has  been  an  attempt  to 
recognise  the  ideal  of  beauty,  to  pursue  it  every- 
where, to  study  it  persistently,  and  to  formulate  it 
in  such  a  way  as  to  lender  it  transmissible  from 
generation  to  generation  like  a  volume  of  recipes. 

It  would  be  easy  to  mention  a  gnat  number  of 
these  indefatigable  theorists;  but  the  most  perfect 
example  of  the  species  was,  beyond  doubt,  a  French 
diplomatist — a  painter,  too,  and  a  writer — Roger 
de  Tiles,  who,  in  1708,  published  an  octavo  volume 
under  the  title  "A  Course  of  Painting  on  Principles, 
with  a.  Dissertation  on  the  Painters'  Scale."  By  this 
"Scale''  he  calculates  with  great  gravity  the  various 
proportions  of  colour,  of  chiaroscuro,  and  of  draughts- 
manship, of  which  the  genius  of  each  famous  artist  is 
compounded.  Indeed,  our  diplomatist  is  very  severe; 
for  having  taken  twenty  as  a  maximum,  he  decides 
that  no  one  ever  reached  that  pitch  of  perfection; 
Michelangelo,  for  instance,  getting  only  nineteen 
good  marks  for  drawing,  and  Raphael  no  more  than 
eighteen.  All  this  cyphering  is  most  precise,  all  this 
chemistry  very  minute:  and  it  is  much  to  he  re- 
gretted that  after  the  amusing  analysis,  which  weighs 
so  scrupulously  the  gifts  of  genius,  the  critic  cannot 
recompound  them  to  his  mind.  Thus,  if  we  could 
borrow  from  Michelangelo  some  of  the  draughts- 
manship of  which  he  has  a  superabundance,  to  give 
it  to  Rubens,  whose  qualities  as  a  colourist  arc  really 
in  excess!  Or  Rembrandt  again,  often  loo  wholly 
devoted  to  problems  of  light  and  shade:  if  only 
his  attention  could  have  been  directed  to  Raphael's 
purity  of  outline,  for  instance,  and  if  he  could  have 
benefited  by  if! 

This.  i'ii  the  whole,  is  the  impression  left  by  this 
elaborate  work.  The  worthy  Roger  ^r  Piles  seems 
firmly  convinced  that  with  a  little  determination 
and  serious  endeavour,  each  of  these  great  arlists 
would  have  succeeded  in  establishing  an  equilibrium 
of  qualities  all  equally  commendable,  and  by  this 
means  would  certainly  have  attained  more  nearly 
what  he  regards  as  final  and  genuine  beauty. 

But  is  not  the  idea  of  beauty  itself  liable  to 
many  transformations  ?  Have  critics,  or  artists,  ever 
agreed  among  themselves  as  to  the  essential  char- 
acteristics  which  constitute   it  ?     To  go  no   further 


nsnmBHmsnn 


DANA1DES 


[Drawn    by    Fornand    h 


242 


THE    MAGAZINE    OF    ART. 


back  1)1:111  ITi-M.  in  a  discussion  held  at  the  Royal 
Academy  of  Painting  in  France,  Coypel  stated  that 
within  his  own  time  lie  had  seen  everything  con- 
temned which  was  not  Poussin  :  then  the  Bolognese 

school  had  supplanted   Poussin  in  the  estiinati E 

painters,  Rubens  had  succeeded  to  the  Bolognese,  and 
Rembrandt,  in  his  turn,  after  Rubens. 

Quite  recently  theGazette  des  Beaux-Arts  published 
some  notes  of  a  tour  in  Italy  by  Montesquieu  (the 
author  of  "  L'Esprit  ties  Lois").  The  notes  were 
written  day  by  day  without  any  view  to  publication, 
and  it  is  interesting  to  compare  (hem  with  the 
letters  written  ten  years  later  by  another  statesman 
on  his  travels,  the  President  des  Brasses,  penned 
each  evening  on  the  corner  of  an  inn-table,  and 
seul  to  his  friends  at  Dijon. 

We  find  in  both  certain  ideas  which  to  us  seem 
strange  enough.  On  the  subject  of  Gothic  architec- 
ture Montesquieu  expresses  himself  as  follows:  "A 
Gothic  building  is  a  sort  of  riddle  to  the  eye  that 
beholds  it;  the  soul  is  puzzled  as  when  it  is  offered 
an  obscure  poem."  The  President  des  Brasses,  on 
the  other  hand,  writes  :  "  I  know  not  whether  I  am 
in  ermr,  but  to  say  Gothic  is  almost  infallibly  to 
say  bad  work."  They  regard  the  Pre-Kaphaelite 
painters  merely  as  relics,  so  to  speak-,  of  no  artistic 
value,  but  interesting  from  their  antiquity  alone. 
This  simple  and   dignified   art  is   to   them  a  sealed 

1 k,  those  faces  full  of  concentrated  expression  to 

them  seem  dead,  and  what  they  prefer  above  all  else 
is  "  the  tire  of  passion." 

So  long  live  the  Bolognese!  "With  what  enthu- 
siasm do  they  expatiate  on  the  huge  canvases  of  the 
Carracci,  of  Guido,  of  Domenichino,  of  Guercino;  they 
at  any  rale  could  feel  and  express  the  "tire  of  pas- 
sion." To  des  Brasses  Bologna  is  the  capital  of  art. 
He  places  it  far  above,  Florence  :  and  after  a  visit  to 
the  I'lli/.i  Gallery,  he  tells  his  friends  that  they  are 
"not.  to  In-  misled  by  what.  Yasari  says  in  honour  of 
his  Florentine  school,  the  least  important  of  all — at 
any  rale,  to  his  taste." 

In  the  Campo  Santo  at  Pisa,  again,  lie  condemns 
e  1  rything  without  exception.  "There,"  writes  Mon- 
tesquieu,  "  we  find  a  fine  collection  of  ancienl  paint- 
ings, because  the  walls  of  the  galleries  are  painted 
in  fresco,  and  we  see  fully  displayed  all  the  had 
taste  of  the  time." 

But  then  the  question  occurs,  "What  is  had 
taste  '  " 

To  this  Flauberl  replies:  "Pad  taste?  It  is  in- 
variably the  taste  of  the  lasl  past  age.  In  Ronsard's 
time  bad  taste  mean  I  Marot;  in  Boileau's  it  meant 
Ronsard ;  in  Voltaire's  it  was  Corneille ;  and  it  was 
Voltaire  in  Chateaubriand's  day;  while  now  (in 
L847)  a  good  many  people  are  beginning  to  think 
him  rather  pom.     ( 1.  men  of  taste  of  ages  to  come, 


I  commend  to  you  the  men  of  taste  of  our  time! 
You  will  laugh  not  a  little  at  their  jokes,  at  their 
lordly  disdain,  at  their  preference  for  veal  and  milk 
puddings,  at  the  grimaces  they  make  over  under- 
done meat  and  over  perfervid  verse!" 

Can  it  be  true,  as  sceptic's  say,  that  in  any  work 
of  art  there  is  nothing  but  what  we  ourselves  find 
in  it;  that  we  admire  it,  not  for  its  intrinsic  merit, 
hut  because  it  answers  to  certain  feelings  of  our  own, 
and  that  we  seek  in  it  only  a  reflection  of  our  soul  ? 
After  all  it  is  quite  possible.  But  this,  at  any  rate, 
is  certain:  the  study  of  masterpieces  proves  that 
the  greatest  artists  of  all  ages  have  expressed  them- 
selves simply,  deriving  inspiration  from  a  deep  feel- 
ing for  all  that  surrounds  them;  this  inspiration  no 
erudition  can  ever  counterfeit. 

Those  who  have  survived  took  no  thought  of  the 
taste  of  the  day,  of  fashionable  preferences  in  colour 
or  drawing  ;  they  never  stopped  to  consider  these 
vain  distinctions.  Colour  and  drawing  were  indis- 
pensable elements  which  they  had  to  make  use  of; 
they  made  no  effort  to  give  prominence  to  either. 
It  was  their  own  natural  bent  which  guided  them 
inevitably,  and  prompted  them  to  emphasize  certain 
peculiar  qualities. 

It  would  be  impossible  to  find  a  masterpiece  of 
painting  which  does  not  show  in  certain  proportions 
a  combination  of  the  qualities  proper  to  the  art. 
Every  great  painter  has  adopted  the  colouring  ami 
the  style  of  drawing  which  belonged  to  his  tempera- 
ment, ami  by  this  means  gave  his  work  the  supreme 
charm  of  which  schools  can  tell  us  nothing,  and 
which  they  can  never  teach — the  poetry  of  form  and 
of  colour.  On  this  common  ground  all  great  painters 
have  met,  in  spite  of  systems,  and  from  every  school. 

In  his  notes  of  a  journey  in  Scotland,  Paul 
Bourget  has  complained  more  than  ever  of  the  odious 
presence  of  the  swarms  of  tourists  :  the  ugliness,  the 
commonness  of  men  and  women,  which  struck  him 
more  forcibly  against  those  horizons  of  tranquil 
waters  and  green  woods:  it  was  a  painful  effort  to 
appreciate  the  exquisite  beauty  of  the  scenery  beyond 
the  travelling-caps,  waterproofs,  and  knickerbockers 
of  his  travelling  companions.  Put  in  spite  of  all, 
the  visible  poetry  of  those  mountains  triumphed 
over  tic  exasperating  sense  of  his  immediate  sur- 
roundings, and  mind,  as  usual,  rose  superior  to  nerves. 
Though  there,  as  everywhere,  the  tide  of  modern 
civilisation  effaced  almost  all  idse,  the  hare  line  of 
the  glorious  mountains  will  still  survive  and  domi- 
nate over  every  civilisation  presenl  or  to  come. 

So  we,  too,  may  comfort  ourselves  by  reflecting 
that  beyond  the,  empty  verbiage  of  certain  too  asser- 
tive critics,  artistic  and  literary,  and  the  repeated 
vagaries  of  too  ignorant  innovators,  the  inaccessible 
"absolute"  of  art    will  ever  soar  supreme. 


HORIZONTAL     BORDER.      Groups    of    Flowers    Embroidere 

(Designed    by    Leslie  ) 


THE  ROYAL  SCHOOL  OF  ART  NEEDLEWORK. 


By     AYMER     VALLANCE 


IT  is  not  proposed  to  recapitulate  here  the  history 
of  the  Royal  School  of  Art  Needlework  ;  how, 
by  whom,  and  for  what  objects  it  was  founded  in 
1872;  how  it  moved,  tsvo  years  later,  from  Sloane 
Streel  to  its  present  quarters  in  the  Exhibition 
Eoad,  and  so  on.  These  facts  have  ere  now  become 
matters    of    common    knowledge,   and    the    public 

scarce])'    want    reminding  of    what    they  have  I n 

told  over  and  over  again.  That  which  is  really  to 
the  purpose  at  this  juncture  is  to  consider  the 
present  position  of  the  school,  and  what  arc  its 
future  prospects.  The  promoters  of  the  Royal 
School  of  Art  Needlework  may  with  justice  claim 
to  have  led  the  van  of  a  much-needed  and  very 
admirable  reformation,  and  that,  too,  by  means  of 
their  unique  organisation,  in  a  systematic  manner 
never     before     attempted.       A     certain    sum    was 


existence,  circumstances  have  been  undergoing  .1 
complete  change.  On  all  sides  there  have  arisen 
technical  institutes,  polytechnics,  and  class  meetings 
There,  practical  instruction  is  being  supplied  in 
the  same  subjects,  and  that  tun  in  numberless  in- 
stances by  the  very  persons  who  have  qualified  in 
the  Royal  School  itself.  Ii  is  estimated  thai  since 
its  foundation  upwards  of  twenty  thousand  lessens 
have  been  given  In  private  individuals  and  In  classes 
under  its  auspices ;  and  now  it  lias  come  to  pass  that 
many  of  these  former  pupils  are  entering  into  rivalry 
with  it  and  imparting  in  Government-aided  institu- 
tions the  knowledge  they  themselves  owe  in  the  firsl 
instance  to  the  School  of  Art  Needlework.  Herein 
lies  a  sufficiently  grave  disability — one  that  handi- 
caps heavily  the  unaided  Royal  School.  Newer 
classes   ma)'    spring   up,  and    by    the    nature   of   their 


HORIZONTAL     BORDER. 


Laid    Silk    Embroidery    on    Velvet. 

».n!     Design.) 


advanced  in  start  the  seln.nl  and  provide  it  with  the 
necessary  plant  and  material.  Aparl  from  this  it 
has  no  sort  of  endowment,  nor  has  it  ever  bad  any. 
It  is  in  mi  sense  a  Gover nl  institution  :  it  con- 
tinues self-supporting  In  this  day.  And  ><■{  this 
very  fact,  which  should  redound  greatly  to  its  credil 
and  honour,   is  also  the  cause  of  the  detrimenl   ii 

suiters.       So    long   as    the   school    held,   SO    In   speak, 

a  m >pnly,  it.  prospered.     Bui  during  the  five-and- 

twenty  years  that   have  passed   since   il    began   its 


constitution  be  en  I  itled  in  applj     do   in  fai  1 .  applj 

— for  and    obtain   grant-    f 1    the    public    funds   to 

enable  them  in  can)- <>n  their  work ;  while  the  one 
school  which  has  been  the  pioneer  of  the  movement, 
at  least  as  far  as  concerns  the  arl   of  needlework,  is 

debarred  1' seeking  the  like  assistance,  because  •  >!' 

the  mere  facl  1  hal   il   d .no   mm  ;,   busiw 

does  offer  its  products  for  ale.  Bui  to  w  hal  end  are 
the  receipts  thus  accruing  employed  '  Nbl  for  the 
lienelii  of  a  commercial  firm  or  capitalist  partnership, 


244 


THK    MAGAZINE    OF    AET. 


Inn  111  support  of  the  ladies  who  form  the  working 
body  attached  to  the  school,  and  who  are  enabled  by 
this  agency  to  turn  their  talents  to  account  in  earn- 
ing a  livelihood.  According  to  the  letter  of  the 
rules  and  regulations  applicable  to  .such  cases  it 
must  be  admitted  frankly  that  the  school  has  no 
right  In  expect  pecuniary  support  from  the  official 
purse.  But  that  such  a  restriction  should  exist 
seems  in  the  highest  degree  anomalous.  It  is  a  hard 
ease  if  the  popularity  and  wide-spread  success  of  the 
methods  of  the  school  are  to  hinder  it  from  reaping 


that  the  stains  of  the  school  was  quite  different 
from  what  it  is :  e.g.,  that  ii  had  the  use  of  its 
premises  rent  free,  that  il  had  immunity  from 
financial  responsibilities,  or  that  in  some  other 
ways  it  enjoyed  unfair  advantages  denied  to  other 
institutions.  It  would  not  be  possible  to  make  a 
greater  mistake  than  to  suppose  any  such  thing. 
Generous  commissions  from  high  quarters  have 
indeed  been  entrusted  to  and  executed  by  the  school 
from  time  to  time;  but  this  is  very  far  from  its 
being  in  a  position  to  draw  upon  unlimited  million- 


■'....     .      1 

PANELS    OF    SCREEN.      Embroidered    in    Crewels    on 

(Designed  from    Old    Tapestry    by    N.     Whidteh.) 


the  Fruits  of  its  labours;  if,  seeing  that  it  was  the 
body  that  initiated  the  reform  and  has  provided  the 
model  for  like  institutions  to  imitate  all  the  world 
over,  and  teachers  moreover  to  put  the  system  into 
practice,  it  is  now  to  be  supplanted.  It  is  impossible 
to  believe  that  the  provisions  of  the  law  were  meant 
to  be  enforced  in  a  ease  like  this;  that  no  exception 
can  be  made  in  acknowledgment  of  the  great  power 
iod  thai  the  school  has  proved  itself  to  be  in 
the  past. 

There  is  another  circumstance  which  has  without 

doubt  placed  the  scl 1  at  a  certain  disadvantage  in 

the  i  yes  of  t  he  public,  \  i/..  that  because  from  the 
outset  it  has  had  an  influential  roll  of  names  on  its 

committee,  and   has   1 n   favoured  with  yet  more 

illustrious  patronage  (in  token,  whereof,  ii  has  been 
permitted  to  prefix  to  its  title  the  distinguishing 
note  of  "  Royal  "),  it   has   been  commonlj    as  urned 


aire    resources    for    permanent    support.     As   stated 
before,  the  school  lives  by  its  own  earnings  alone. 

Again,  if  perhaps  it  may  have  been  the  case  that 
the  novelty  of  its  work  at  the  beginning  created  an 
exceptional  demand  for  its  productions,  or  if  people 
were  induced  to  patronise  the  school  because  they 
imagined  themselves  to  be  thereby  acquiring  dupli- 
cates of  embroideries  fco  be  found  in  the  Royal 
palaces,  it  is  quite  certain  that  such  custom  is  no 
longer  available  in  aid  of  the  school.  For  it  must 
be  borne  in  mind  that  the  days  arc  over — and  none 
of  us,  ii  is  to  be  hoped,  would  wish  them  recalled — 
when  the  fact  of  any  particular  article  having  won 
the  approbation  of  royalty  weighed  with  the  average 
purchaser  as  a  more  powerful  incentive  to  buy  than 
its  own  intrinsic  merit  could  afford.  On  the  con- 
trary, at  the  present  time,  so  fast  arc  we  moving  in 
the   other   direction    that    it   would    seem   almost    as 


LHE    ROYAL    SCHOOL    OF    ART    NEEDLEWORK. 


L'l- 


fchough  we  were  inclined  to 
criterion  of  inferiority.  The 
fall  into  the  habit  of 
being  influenced  by  this 
prejudice  is  not  wholly, 
perhaps,  an  imaginary 
one  after  all. 

Again,  exception  has 
been  taken  to  the  so- 
called  Wardour  Street 
transactions  of  the 
school.  Now  this  mat- 
ter is  one  which  admits 
of  the  simplest  explana- 
tion. This  department 
formed  certainly  no 
part  of  the  original  pro- 
gramme, nor  was  its 
adoption  brought  about 
directly  or  indirectly  at 
the  instance  of  the  com- 
mittee. But  when  the 
school  came  to  establish 
itself  in  its  present 
temporary  premisi  s, 
which  occupy  the  site 
of  the  Australian  an- 
nexe of  the  Exhibition 
of  1862,  it  was  obliged 
to  take  over  more 
buildings  than  were  re- 
quired by  it  for  immediate  use 
Mr.  Norman   Shaw  asked  to 


make    royal    favour  a 
dangei   Lesl   we  should 


proposal 
beginniiu 


s  a'  i  epted  by  the  -  hool.  This  was  the 
After  In-  oci  upancy  terminated,  certain 
other  ti  I  ins.  M<  ssrs. 
Liberty ,  Messrs.  t  !oop<  i . 
and  others,  offered  ex- 
amples of  their  furniture 
as  loan  exhibits,  until, 
in  course  of  time,  the 
gOI  I  i  tiing  I  odj  W(  re  led 
to  ume  this  branch 
of  business  on  their 
own  account.  The  ad- 
vantages gained  by  their 
so  doing  are  patent, 
and  cannot  he  sel  forth 
more  concisely  than  in 

the  Words  of  the  latest 
annual  report  by  the 
Executive  » lommittee 
of  the  Associates'  work. 
From  this  document  we 
learn  that  the  "  sale  of 
the  furniture  and  brie- 
tk-brac  enables  the  au- 
thorities    to     ollei      the 

worlv   of    the    members 

to  the  public  at  a  much 
lower  price  than  for- 
merly, as    1  he    profit 

of     the     School     ill     that 

department   pays  the 

Consequently  when     rent,    taxes,   etc.,    instead    of    these    item-    being    a 
be  allowed  to  tit   up      charge    on    the    work;"    a   charge   which,   in    these 


BOOK    COVER.      Gold  Ol 


ine  and  Darned  Ground  in  Silk  on  Linen. 

signed  by   N     WhicMo.) 


ALTAR     CLOTH. 


Emcroidered    in 

(Oe 


ilk,    Crewels    and   Gol 

ined    by    Seltoyn    Image.) 


on    White    Cloth    Ground. 


some  of  the  vacant  out-houses  as  show-rooms  for  a      days   of   keen   competition  and   of  cheap  machine- 
city  firm  who  carried  out  his  furniture  designs,  his      made  imitations,  the  hand-work  of  the  school 


246 


THE    MAGAZINE    OF    AKT. 


scarcely  meet   without  raising  its  prices   to  a   pro-  laid   work,   crewel   on    linen,  and   lastly   smocking 

hibitive    tariff.      The    governing    body    lias    wisely  The  second   year  comprises  shading  in  crewels  on 

declined    to   do   this,  preferring  to  supplement    its  linen,  showing    the  blending  of  colours  in  carrying 

resources  in    the    manner   described.       Few,    under  out  four  distinct  types  of  Early  English  embroidery, 

the  circumstances,  will  blame  them  for  so  doing;  This  kind  of  work.it  may  be  observed,  is  the  same 


ii  being  always  under- 
stood that  this  department 
forms  11  '  integral  pa  rt 
of  the  scheme,  and  is  one 
that  will  lie  abandoned  as 
soon  as  the  exigencies  of  the 
situation  permit.  But  as  I" 
closing  its  embroidery  supply 
department,  even  the  casual 
observer  must  he  struck,  on 
a  moment's  reflection,  with 
the  injustice  of  such  a  pro- 
ceeding. To  demand  this 
sacrifice  as  the  price  of  ils 
obtaining  a  Government 
grant  means  nothing  less 
than  requiring  it  to  cast 
adrift  the  numbers  of  ladies 
who,  as  qualified  workers,  are 
kept  by  the  school  in  regular 
employment,  and  are  de- 
pendent upon  it  for  their 
very  subsistence.  Never- 
theless, considerations  such 
as  these  ought  on  no  account 
to  be  urged  did  the  work 
turned  out  by  the  school  fall 
short  of  the  highest  standard 
of  excellence.  Nowhere  else, 
it  is  claimed,  is  the  training 
required  to  be  submitted  to 
of  so  thorough  and  system- 
atic a  character  as  at  the 
Royal  School  of  Ail  Needle- 
work. There  the  whole 
grammar  of  embroidery  is 
taught  from  the  very  rudi- 
ments upwards,  as  an  in- 
spection of  tin-  syllabus, 
which    shows    the    complete 

course     of      the      two     years' 

instruction  necessary  to  ob- 


PERPENDICULAR  BORDER  Designed  and  Executed 
by  Order  of  H.M.  the  Queen,  for  the  Tapestry 
Room  at  Windsor  Castle. 

[Designed  by  F.  B.   Wade.) 


which  prevailed  in  our 
country    t hi  oug h    various 

phases  from  the  time  of 
Queen  Elizabeth  well  into 
the  last  century.  One  of 
these  varieties,  of  which  the 
school  makes  a  speciality,  is 
named  Schneider,  after  the 
lady  who  first  brought  the 
work  to  the  notice  of  the 
school.  It  differs  from  the 
other  kinds  in  that  it  em- 
ploys blocking  in  separate 
shades  in  the  working  of 
leaves  and  other  forms,  as 
distinct  from  shading,  where 
one  colour  or  tone  is  made 
to  gradate  into  the  adjacent 
one.  The  Schneider  embroi- 
dery also  admits  of  a  greater 
variety  of  stitches,  the 
centres  of  flowers  being 
sometimes  stuffed  and  raised 
convexly,  and  the  scheme  of 
colour,  to  speak  generally, 
presenting  a  more  variegated 
effect  than  in  other  types  of 
old  English  work. 

The  second  year's  course 
continues  with  the  embroi- 
dering  a  group  of  natural 
flowers  in  silk  upon  silk, 
and  of  (  i  nventional  de- 
sign in  the  same  material, 
showing  the  forms  of  shading 
applicable  to  this  class  of 
design;  drawn-work,  silk  on 
linen,  to  be  worked  in  the 
frame ;  applique,  fine  linen 
on  velvet,  showing  various 
methods  of  fixing,  with  gold, 
and    decorating    with     fancy 


tain  the  certificate  of  professional  embroiderers,  and  stitches,  an  exceedingly  beautiful  and  effective  treat- 

of  the  further  year  to  obtain  the  diploma  of  qualified  ment :  ecclesiastical  embroidery;  and  lastly,  tapestry 

Leai  tier,  should  convince  even  the  most  sceptical.  embroidery  on  canvas.     Pupils  are  required  to  pro- 

The    first    year's    training   begins  with   stitches,  duce   samples   of   each  of   these  kinds  of   work   to 

crewel     on     linen,     to     lie     worked      in     the     hand:  entitle  them   to  the  certificate.     The  additional  year 

hading    in  the   same   materials,   to   he   worked    in  for  the  teacher's  diploma  commences  with  a  sampler 

the    frame:    drawn-work,    linen    on    linen;    applique  in    crewel    on     linen,    to    be    designed    and     carried 

linen  on    linen,  showing  various  methods  of  applying  oul    by  the    pupil    alone,  with  a  view    of   showing 

and   fixing  with  couching,  outlining  with  cord,  etc.  ;  the    result    of    the    teaching    in    the    first    suhjeet 


THE  ROYAL  SCHOOL  OF  ART  NEEDLEWORK. 


247 


in  eacli  of  the  foregoing  years;  and  proceeds  with 
conventional  design  in  silk  on  silk,  introducing  fine 
shading  and  gold  work,  flat  and  raised;  initials, 
monograms,  and  other  devices,  badges,  etc.,  in  white 
on  white,  and  in  coloured  silks,  raised  and  flal  in 
both  cases;  applique,  of  an  advanced  standard  with 
greater  variations  than  in  the  preceding  instances; 
ecclesiastical  embroidery,  methods  of  treating  gold 
bullion  and  purl,  together  with  figure  work,  drapery, 
faces,  hands,  etc.;  and,  in  conclusion,  conventional 
design  on  velvet,  introducing  raised  embroidery  in 
silk  and  raised  gold  work.  This  twofold  course,  as 
now  systematised,  forms  the  latest  development  of 
the  operations  of  the  school.  The  classes  began  on 
1st  October,  L895,  and  are  carried  on  side  by  side 
with,  and  yet  wholly  apart  from,  the  supply  depart- 
ment, where  designs  and  materials,  prepared  and 
finished  work  are  to  be  obtained.     They  are,  in  fact, 


Imperial    institute.      Under    the    sain.'    rdgimt 
announced  to  be  given,  once  a  week,  lessons  suited 

to  every  taste  and  requirement  for  scl 1  girls  under 

the  age  of  sixteen.  The  following  subjects  among 
others  may  there  be  learnt:  plain  work,  beginning 
with  hemming,  patching,  darning,  button-hole  mak- 
ing, plain  marking,  embroidering  letters  on  hand- 
kerchiefs, cut  ting  out  and  marking  garments,  as  well 
as  the  first  course  of  embroidery  in  crewel,  thread, 
and  filoselle.  In  addition  to  the  above  it  is  pro- 
this  year  to  star!  popular  evening  classes  al 
a  nominal  fee.  In  short,  the  idea  is  to  establish  a 
great  training  school  of  embroidery,  upon  a  national 
basis.  But  if  these  projects  are  to  be  carried  out  a 
suitable  building  becomes  of  the  first  necessity.  The 
site  is  already   secured — a  piece   of  land   on   which 

st I   the    French   Court    in   the    L862   Exhibition — 

the  architect's  design  accepted,  and  it   only  remains 


EMBROIDERIES.       In     SxK    and    GOLD    ON    Sll 
(Designed    by    l« 


conducted  under  a  different    roof,  rooms  having  been     now  to  ereel  the  permanent  building  as  headquarters 

secured  lor  the  purpose,   pending   the  school  being     of    the    scl 1,  which  will    '»■   commenced  as   soon 

able   to   provide   its    own    accommodation,    in    the     as  the  requisite  funds  are  forthcoming  to  justify  the 


248 


THE    MAGAZINE    OF    ART. 


committee  in  taking  the  initial  step,  with  the  pros- 
peel  also  of  having  some  endowment  secured  for  the 
subsequent  maintenance  of  the  school.  Yet  another 
scheme,  dependent  of  course  on  the  providing  of  the 
afore-mentioned  building,  is  the  formation  of  a 
women's  school  of  design  where  they  shall  be  taught 
by  practical  teachers  to  design  I'm' various  branches 
of  decorative  art.  It  is  planned  that  the  course  shall 
begin  with  good  draughtsmanship,  in  which  every 
student  shall  pass  before  proceeding  to  further 
studies,  and  shall  include  instruction  in  the  various 
styles  of  historic  ornament.  It  is  intended  ultimately 
to  form  the  nucleus  of  a  library  and  museum  in  con- 
nection  with  the  school,  although,  with  the  South 
Kensington  Museum  so  close  at  hand,  with  its  mag- 
nificent collection  of  art  objects  ami  its  Art  Library 
as  well,  this  seems  almost  unnecessary. 

The  School  of  Art  Needlework  must,  he  thanked 
t'nr  two  contributions  to  the  literature  of  the  ail  of 
the  needle.  In  1880,  by  authority  of  the  school, 
was  published  a  "  Handbook  of  Embroidery,"  by 
I..  Higgin,  a  work  containing  not  only  a  summary  of 
technical  hints  of  the  utmost  value,  but  also  some 
reproductions  of  designs  of  great  beauty.  Out  of 
this  book  grew,  some  years  after,  the  larger  and  more 
elaborate   volume,  "  Needlework    as   Art,"    by  Lady 


Marian  Alford.  The  school,  it  should  Lie  remarked, 
has  spared  no  expense  to  obtain  a  collection  of  ex- 
cellent examples  of  old  work  in  addition  to  working 
designs  by  the  best  contemporary  masters,  including 
Sir  Edward  Burne-.Tones,  Messrs.  William  Morris, 
Walter  Crane,  Selwyn  Image,  George  Aitchison, 
Fairfax  Wade, and  other  well-known  artists.  Of  the 
materials  used  in  the  school  it  is  enough  to  say  that 
they  are  worthy  of  the  designs  in  the  execution  of 
which  they  are  used.  In  a  word,  that  which  the 
school  proposed  at  the  beginning  to  do,  it  has 
accomplished  ;  and  more  than  that.  At  a  time 
when  the  arts  had  barely  begun  to  rise  from  the 
depths  of  degraded  ugliness  into  which,  soon  after  the 
opening  of  the  present  century,  they  had  fallen — em- 
broidery with  the  rest — it  was  no  light  matter  to  set 
up  and  to  persevere  in  maintaining  a  high  standard  of 
artistic  merit  in  their  work.  And  now  the  school  is 
called  upon  to  enter  upon  a  .sphere  of  usefulness  to 
an  extent  not  dreamed  of  by  its  original  promoters 
when  they  started  it.  But  that  it  is  in  a  position, 
both  from  its  prestige,  its  long  experience,  and 
matured  organisation,  to  fulfil  all  that  may  be 
demanded  of  it,  if  only  the  requisite  funds  be  forth- 
coming, may  be  asserted  with  perfect  confidence 
in  view  of  its  magnificent  achievements  in  the  past. 


HORIZONTAL     BORDER.       EMBROIDERED    IN    SlLK    ON    Silk. 
(Designed   bij    F.    B.     Wade.) 


249 


ART     AT     NANCY. 

EMILE     GALLE. 

By     HENRI     FRANTZ. 


I  AM  hardly  exaggerating  when  I  say  that  Mon- 
sieur Emile  Galle  is  at  this  moment,  and  by 
every  right,  the  most  conspicuous  figure  in  the  French 
world  of  art,  for  lie  is  unanimously  recognised  as  a 
master,  and  he  alone  in  our  day 
can  now  claim  the  honour  of 
having  formed  a  school,  of  having 
influenced  a  whole  generation  of 
younger  artists,  and  given  rise  to 
a  genuine  revival  of  industrial  art. 
lint,  strange  to  say,  this  artist, 
who  has,  it  canimt  be  denied, 
trained  many  clever  men,  has 
voluntarily  kept  far  from'Pari 
and  spent  his  life  at  Nancy.  This 
is  partly  the  reason — added  to  his 
strong  natural  individuality — 
why  he  has  remained  untouched 
by  influence,  and  has  worked 
independently  towards  the  ideal 
he  lias  himself  set  up.  Monsieur 
Galle,  alone  perhaps  among  ac- 
knowledged artists  in  France, 
excels  in  various  branches.  We 
have  seen  him  by  turns  a  fashioner 
of  furniture,  a  putter,  and  a  glass- 
worker.  To  be  thus  a  master  in 
several  lines,  to  stamp  on  each  a 
distinct  and  vivid  individuality, 
and  thus  to  revive  and  reanimate 
several  kinds  of  art,  is  not  the  lot 
of  many  artists  :  it  has,  however, 
been  that  of  Monsieur  Galle,  so 
much  so  that  he  has  come  to  be 
thought  nf  as  the  French  William 
Morris,  though  his  popularity  has 
never  equalled  that  of  the  great 
English  craftsman. 

It  is  indeed  a  great  revolution 
that  Monsieur  Emile  Galle  has 
achieved  in  the  decoration  of 
furniture,  by  reverting  to  the 
plain  and  simple  forms  of  nature, 
and  entirely  discarding  the  taste 
of  the  past,  1  emphasise  tin's  lie- 
cause  he  here  differs  widely  from 
many  Parisian  artists,  who  insen- 
sibly evolve  new  forms  while  still 
adhering  to  earlier  i'ormuhe.  He, 
like  the  great  English  innovators, 


threw  them  off  with  oneeffort.  It  was  from  Japanese 
art  that  he  derived  the  general  scheme,  the  funda- 
mental principle  of  his  style;  but  we  must  not  infer 
that  he  imitates  it  in  any  servile  manner.     Nothing 


EMILE    gall£. 

re    Portrait    by     Victor    Proutlti.) 


250 


THE    MAGAZINE    OF    AET. 


can  be  more  unlike  Japanese  art  than  Monsieur  Galle's  description  is  a  sort  of  manifesto  in  defence  of  his 
work,  though  his  critics  often  blame  him  on  this  style:— "It  is  unnecessary  to  tell  you,  my  worthy 
•  -r. mini.     ( Inly  the  idea  of  the  Japanese  style  is  also     correspondent,  that  the  very  simple  form  of  this  table 

was  adapted  to  its  purpose,  which  also  suggested  the 
decorative  treatment  borrowed  from  garden  produce. 
Though,  on  the  one  hand,  I  intentionally  abandoned 
every  time-honoured  style,  on  the  other  hand  I  make 
no  claim  to  having  discovered  a  new  one.  To  me, 
ye  dewy  and  marrowy  cabbages!  the  temptation  was 
too  great  to  record  some  fine  articulation  or  happy 
splash  of  colonr.your  noble  growth  and  characteristic 
expression;  to  borrow  the  essence  of  your  unsuspected 
poetry,  ye  endive  blossoms  of  heavenly  blue!  And 
was  it  not  well,  on  the  other  hand,  to  shake  off  the 
bondage  of  realism  as  much  as  possible  in  drawing 
and  in  colour,  so  as  to  give  an  image,  mure  suggest- 
ive than  any  servile  imitation,  of  vegetable  types  as 
phantoms  floating  in  flat  tints,  undefined  lines  and 
dreamy, unreal  shading'    As  much  as  possible!    For 


THE     HOLY    GRAIL  :    Blood-red    Jasper    Crystal,    with 
Cabinetwork    Censer    and     Bronze     Mountings. 

his;  and  given  thai  principle  lie  has  worked  it  out  by 
the  light  of  bis  own  instinct,  and  taste  He  finds  con- 
stant inspiration,  nay,  even  collaboration,  in  nature. 
When  Monsieur  Emile  Galle  reproduces  plant  form 
lie  extracts  from  it  its  decorative  lines  and  colouring 
with  the  mosl  artistic  sense.  He  seems  to  condense 
the  whole  motive  of  a  plant,  to  give  it  an  attitude,  a 
movement,  to  draw  out  its  individuality  in  a  very 
living  way.  and  yet  never  to  lose  sight  of  the  use  and 
end  of  the  object  he  is  designing.  If  seems  to  the 
point  here  that  I  should  give  some  extracts  from 
a  description  written  by  Monsieur  Funic  Galle  in  the 
form  of  an  open  Letter  to  .Monsieur  Lucien  Falize, 
which  was  published  in  the  Reviu  desArts  Decoratifs, 
June,  L892.  In  speaking  of  a  piece  of  furniture, 
"La  table  cmx  herbes  potagires"  (a  table  decorated 
with  edible  vegetables),  Monsieur  Galle  set  forth 
his    ideas    and    principles,   and    his    characteristic 


INLAID     CABINET 


'  Fruits    of    the    Spii 


the    Use    Ol     won. 
vegetable    life,    V 

quality  to  inlaid 


[y  mat 

ill    alu 
W 1   I 


.•rial 
ays 
epre 


3,  whi< 
give  i 
sentins 


h    once 
noiigh 
living 


lived  the 
decoral  ive 
forms. 


ART    AT    NAN<  ¥ 


Jo] 


"Do  you    think  ii   a  fault  in   this   green-w 1 

inlay  that  I  have  substituted  a  glimpse  of  thi ter 

air  for  the  old  sober  ami  monotonous  tonus  of  ebonj 

and  ivory  ' 
Bui  i-  not  the 
art  of  inlay  an 
art  i  if  colour, 
as  m  uch  as 
in  o saie  o  r 
painting?  The 
natural  colours 

of      Win  »1      all' 

more  various 
than  is  gener- 
ally supposed. 
Wonderful 
boldness  of 
effect  may  be 
found  in  them. 
They  lack, 
however,  some 
of  the  sharp 
tones,  the  high 
chair.  lights  and  bril- 

liancy    which 

now  fulfil  the  painter's  dream.     But  how  illogical  it 

is  to  prohibit  dyes  to  wood  when  they  are  used  in 

thread,  silk',  worsted,  and  ivory  ! 

"One  of    the    most    obvious    difficulties    in    my 

attempt  was  that  of  producing  in  vegetable  forms  the 


tendrils  of  cucumber  clinging  in  ii  with  thin,  greedy 
clutch.     But   the  real  thin-   in  hit   upon  would  be 


DETAIL     OF     A     MARQUETRY     CABINET:     "PERFUMES     OF 
other     Days." 

plastic  types  of  greal  simplicity  ami  rapid  execution 
if  we  are  not  to  defy  every  rational  rule  of  economj 
•■'I'll  turn  tu  the  decorative   use  of  drawing  ami 
colour.     The  top  of  the  table  is  made  of  the  purple 
black  wood  known  as  labaka,  inlaid  with  vegetable 


MOSAIC     IN     WOOD:    "The     Flora    of    Lorraine  " 


lines  of  mouldings  in  cabinet  work.     Eere,  as  you  emblems  seen  agaiusl    the   twilight  background    in 

see,  we  have  a  columnar  fcreatmenl  of  the  steins  of  alternate  groups  in  which  the  rhythm  "!'  tin'  plant 

the  leguminous  plants  and  the  runners  of  the  gourd  faints  ami  sinks  in  the  avenue  of  line  ami  colour, 

tribe— the  natural  creepers  of  the  kitchen  garden  Parsley,  with  its  jetty  seeds  ami  livid  lilac  leaves 

twining  ami  overgrowing  the  rim  of  the  table,  tin'  spreading  into  the  suspicious  looking  foliage  of  tin- 


252 


THE    MAGAZINE    OF    ART. 


KEYHOLE     ORNAMENT. 


hemlock:  panicles  of  the  solauum  tribe  falling  in 
natural  and  graceful  bunches.  .  .  .  The  idea  of  the 
purpose  of  the 
table  reappears 
in  vague  sugges- 
tive shapes  on  a 
narrow  border 
of  grey  bird's- 
eye  maple  from 
Swi  tzerla  nd, 
blossoming  with 
nasturtiums  and 

capers:  among  them  little  garden  gold-beetles  and  the  sible  t( 
ichneumon  fly  that  haunts 
the  kitchen  garden.  In  the 
centre,  a  dimly-tinted  mosaic 
forms  a  waving  phylactery 
lined  with  plain  wood  tinted 
heliotrope,  harmonising  with 
the  colouring  of  the  room. 
This  lilac  hue,  shaded  down 
to  that  of  a  purple  stuck,  is 
sprinkled  with  the  corollas  "I' 
crucil'ene.  In  places  we  have 
I  lie  fading  tints  of  chervil  in 
the  Inter  year. 

"  I  would  1  could  have 
shown  this  dream  of  a  kitchen 
garden  through  the  misty  veil 
of  morning,  with  hills  dimly 
seen  ami  a  horizon  of  watery 
sheen,  long  streaks  of   haze 

made  of  veined  \\ 1  defining 

or  clouding  the  objects  in  th 
] .ni  are.      But  you  will   find 

here  the  whole  blue  clan  of 
winter  cabbages,  the  plumy 

si ts  of  asparagus  with  its 

berries,  the  household  party 
of  the  male  ami  female  blos- 
soms of  the  pumpkin." 

In  glass  vessels  especially 
Monsieur  < lalle  has  made  his 
mark.     In  that  branch  of  ai  t 
he  has  become  a  classic,  a   pride 
compare  with 
the  greal   glass- 
blowers    of    old 
in    Bohemia    or 
Hungary.      For 
o  m  e     j  ea  rs 
( [alle's  '_das>  has 

held    a    place    ill 

the  collect  ion  ai 


e-ive  to  glass, 


CAMEO     VASE: 

(.From 


KEYHOLE     ORNAMENT,      IN     DRASS     AND     COPPER,      PIERCED 


wives  his  vases,  amphorae,  and  driiiking-g' asses  the 
most  various  and  graceful  forms,  reminding  us  by 

turns    of    some 
plant,    some 
flower-cup    or 
leaf.     He  excels 
in    producing 
colours  of  which 
none  before  him 
had    the    secret, 
and  which  it  had 
seemed     impos- 
From  an  oxide  of  cobalt  he 
derives    a    moonlight    sheen, 
imitating  the  effects  of  agates, 
of  rust,  and  of  the  iridescent 
lights    on     water    and    mist 
alternately  in  the  most  mys- 
terious combinations. 

Monsieur  Emile  (lalle  is 
not  merely  an  artist,  but  a 
poet  who  aims  at  amalgamat- 
ing poetry  and  art  in  an 
intimate  fusion,  This  was 
Baudelaire's  idea,  too,  as  to 
the  mutual  correlation  of  the 
aits,  and  I  need  not  here 
discuss  how  far  it  is  to  be 
accepted  or  rejected.  But  I 
may  lie  allowed  to  say  that 
in  Monsieur  Galle  it  gives 
rise  to  the  most  curious  and 
subtle  impressions,  as  in  the 
line  vase  he  made  for  Prin- 
cess Marguerite  d'Orleans,  a 
vase  of  virgin  whiteness  de- 
corated with  daisies,  and 
wreathed,  as  it  were,  with  the 
lines  of  a  poet  in  praise  of 
the  marguerite. 

Monsieur  (lalle  has,  how- 
ever, amused    himself    by 
composing    the    mottoes  and 
emblematic    meaning    of 
and  often  reveals  himself  as  a 
c.  i  nuine  poet, 
giving  bis  ideas 
some  original 
turn  or  a  quite 
individual     wit. 
He  usually  works 
out     the    notion 
suggested    by 
lines  he  quotes. 


'he     Beauty    of 
must    Die" 

Sketch    by    E.     Callr. 


le   to  our  nation   to      several  of  his  vases, 


bin    Luxembourg,  and  with  justice.     The  decorator's     This  is  the  case  with  one  of  the  two  vases  in  cameo 
i    well  as  the  chemist's  science ;  he     glass,  mounted  by  Falize,  representing  gold  and  silver 


AET    AT    NA.NCY. 


253 


lizards  twining  among  creeping  plants,  of  which 
Monsieur  Galle  has  courteonsly  given  the  first 
publication  to  The  Magazine  of  Art.    The  leading 


idea  was  borrowed  from  a  line  of  poetry  by  Emile 
Hinzelin  :  "  Tlie  beauty  of  things  that  must  die," 
and  these  are  the  words  in  which  he  describes  his 
development  of  this  idea:  ".Mists  and  dews  halt 
shroud  and  half  reveal  the  tine  veining  and  splash- 
ing on  a  grey  jade-crystal  vase.  A  thick  flushing  of 
rose-tinted  glass  is  carved  into  a  chimera-like  flower, 
half-inflorescent,  half-smiling,  half-weary,  half- 
orchid  half-pansy.     A  1 tie  drags  its  slow  length 

over  the  rust  of  the  lichens.  Side  by  side  with 
flesh  tints  and  carnations  we  see  bold  touches  of 
coral  pink.  A  pale  gleam  steals  through  the  dull 
maze  of  iridium.  Vegetable  shadows  grin  at  us. 
Phantoms  of  bloom  are  dimly  seen.  A  fossil  shell 
engraved  beneath  tin-  fragile  work  contains  the 
glass-worker's  signature,  with  the  sad  utterance  of 
the  Latin  poet  '  ffabitaculum  vetus  <i  frctgih  qitam 
fragilioris  animula  '  (The  "Id  mid  frail  abode  of 
a  yet  more  frail  little  soul).  And  melancholj .  too 
in  the  shadow  of  the  dream  of  dream-flowers,  we 
read  these  lines  by  th.'  poel  of  Lorraine — 
•  1 1  beautl  des  choses  qui  menrenl  ! 

Les  grandes  ailes  de  la  morl 
Qui,  sans  les  blesser,  les  effleurenl 

Leur  donnent  un  oharme  plus  fort.'" 


Other  passages  from  Monsieur  Galle's  pen,  such  as 
his  description  of  his  "Wreck" — the  ".Missive  void 
of  a  message,  lull  of  mystery,  inflated  with  shadow 
and  silence"— or  those  of  the  "Hazel"  and  the 
"  Balm,"  are  full  of  searching  and  subtle  charm. 
The  poet  has  also  al  various  times  published 
interest  in-  pamphlets  on  the  secrets  of  the  art 
of  glass-making,  and  this  is  certainly  a  rare  instance 
of  devotion  to  art,  since  he  thus  of  his  own  free 
will  facilitates  its  ways  to  others. 

It  is  an  exception  indeed  to  see  an  innovator 
like  Monsieur  Galle"  so  readily  recognised  by  the 
nation  for  his  brilliant  genius,  as  he  has  long  been: 
and,  judged  by  the  throng  round  his  glass  work 
at  the  Luxembourg,  he  is  popular  too.  He  was 
awarded  two  gold  medals  at  the  Palais  de  L'Industrie 
— one  for  glass  work  and  one  for  pottery;  at  the 
Exhibition  of  1889  his  glass  took  a  tir-t  prize  and 
a  medal.  Since  1892  Monsieur  (bilk'-  has  kept 
away  from  our  annual  exhibitions,  for  hi-  greal 
ambition  is  to  produce  an  impression  .if  unity,  in 
show    real    progress    in    his    art.       We   must     liope, 


CAMEO     VASE. 


however,  to  see  him  again  before  long  al  the  - 
Men    of  his  i  alibre   are       tree   in  our  day.  and   it 
would   not    be    fail    tbii    we    should    be   deprived, 
excepl  ai  wide  interval      : 


THE     SKIRTS     OF     THE     FOREST 
(From    the    Painting    by    Dtwid    Cox) 


THE    COLLECTION    OF    MR.     W.     CUTHBERT    QUILTER,     M.P. 

THE     MODERN     ENGLISH     MASTERS.— III. 

By     F.     G.     STEPHENS. 


BEFORE  us,  in  a  very  clear  and  satisfactory  en- 
graving, is  a  capital  example  of  what  composi- 
tion can  (In  in  making  a  design  acceptable,  without 
being  in  the  least  able  to  conceal  itself,  as,  in  a 
masterpiece,  it  ought  to  do.  This  much  is  distinct 
in  the  late  Mr.  Pinwell's  chef-d'oeuvre,  "  The  Village 
Cross,"  every  element  of  which  is  as  manifestly 
"composed"  with  regard  to  its  neighbours  as  any 
of  the  statues  in  a  pediment.  It  is  a  charming  pic- 
ture, quite  a  triumph  of  a  soil,  and  lacks  not  the 
dignity  ami  harmonised  masses  of  a  sculptor's  design. 
We  see  without  difficulty  thai  the  spindling  tree  on 
our  right  was  put  there  to  balance  the  shattered 
stem  of  the  ancient  memorial,  and  we  must  needs 
of  i  he  same  sort  in  the  but  too 
obvious  balancing  of  the  figures,  aid  even  in  the 
luction  of  the  iron  roil  surmounting  the  shaft 
and  cutting  sharply  against  the  glowing  sky.  Ii  is 
easy  to  see,  too,  that  the  graceful  and  expressive 
:   ii.ii  value  to  this  important 


example  may  have  been,  and  probably  was,  suggested 
to  the  painter — bis  artistic  sense  being  stirred  by  the 
charm  of  the  landscape  and  its  accessories — by  the 
sufficiently  obvious  facilities  which  the  steps  of  the 
cross  offered  to  him  for  posing  the  figures  as  we  see 
them.  It  has  always  appeared  to  me  that  just  what 
F.  Walker  owed  to  Millais,  Pinwell  was  indebted  for 
to  Walker  and  Millais  combined.  Having  already, 
ami  at  some  length,  commented  on  the  technical 
qualities  and  choice  art  of  Walker's  "  Bathers"  as  an 
epoch-marking  picture  in  the  career  of  that  charming 
member  of  the  English  school,  and  having  selected  it 
as  one  of  a  triad  of  "foundation"  pictures  in  Mr. 
Quilter's  collection,  1  may  now  refer  to  the  illustra- 
tion which  distinguishes  p.  12.S  of  this  volume,  and 
regret  that  Mack  and  white  fail  to  render  the  fulness 
of  tin'  beauty  of  this  delightful  work's  almost  Titian- 
esque  coloration  ;  to  the  justness  of  grading  of  water 
and  air.  A  great  artist  of  Venice  might,  so  to  say, 
have  painted  flesh  better  than  that  of  this  picture, 


THE    COLLECTION    OF    MR    W.    CUTHBERT    QUILTER    M.P. 


255 


but  none  of  lier  masters  treated  with  more  delicacy 
and  subtlety  the  vanishing  levels  of  the  water  or 
the  light-saturated  expanse  of  the  atmosphere.  This 
is,  in  my  opinion,  the  truth,  notwithstanding  the 
fact  that  Titian  was  not  only  the  greatest  Venetian 
artist,  but  the  first  to  paint  a  landscape  in  the 
modern  manner.  Besides  "  Bathers,"  Mr.  Quilter 
possesses  a  small  version  of  Walker's  picture  of 
"  The  Wayfarers." 

To  no  one  of  the  modern  school  of  landscape 
painters  here  referred  to  does  the  art  of  their  order 
owe  so  much  as  to  David  Cox,  who  to  greal 
brilliancy  of  colour  and  light  added  admirable 
draughtsmanship,  a  rare  sense  of  the  gradations  of 
the  atmosphere,  consummate  knowledge  of  the  in- 
fluence of  that  atmosphere  upon  the  tints  and  tones 
of  nature,  and  almost  incomparable  power  in  dealing 
with  the  masses  of  his  subjects.  Accordingly — 
while  they  are  perfectly  composed — 
in  none  of  his  pictures  thai  I  have 
seen  is  ii  easy  to  detect  those  almost 
sculpturesque  artifices  too  artificial  to 
which  the  above  paragraph  refers  in 
dealing  with  Pinwell's  really  excellent 
chef-d'oeuvre,  the  only  work  of  his 
which  seems  to  me  to  approach  the 
standard  of  F.  Walker  at  his  best 
(which,  by  the  way,  Walker  himself 
did  not  attain  in  "The  Wayfarers"). 
To  the  last-named  work  I  may  refer 
with  some  regret,  because  to  its  rare 
merits  and  happy  veracities — combined 
as  are  these  fine  qualities  with  con- 
siderable weaknesses  and  inanities  such 
as  Walker,  till  he  painted  it,  had  not 
committed  himself — seem  to  be  due 
the  excessive  flimsiness,  feeble  drawing, 
and  want  of  solidity  which  degrade 
the  more  pretentious  and  "flashy" 
productions  of  some  of  those  followers. 
Such  they  dare  to  call  themselves, 
who  seem  bent  on  suicide  in  those 
deadly  bathotic  pools,  where  solid  and 
learned  art  is  unknown  ;  for  their 
pictures  are  transparencies  in  com- 
parison  with   Cox's   standard. 

David  Cox  <  L783— 1859)  himself, 
a  masterpiece  of  whose  making  is 
before  US  in  the  extremely  tine  "Skills 

of  the  Forest,"  a  renowned  work  of 
1840,  was  already  nearly  sixty  years 
old  when  he  painted  this  "  English  " 
and  sincere  example,  lis  brightness, 
sweetness,  ami  veracity  surpass  any- 
thing Hobbema,  Ruysdael,  Waterloo, 
or  the   Norwich   Scl 1.  John   Cronie 


included,  ever  produced.  It  is  one  of  Cox's  best 
works,  and.  by  artists,  greatly  preferred  to  the  finest 
of  his  "  blots,"  which  picture-dealers  greatly  delight 
in.  These  so-called  "  Mots"  are  really  productions  of 
the  age  of  the  powerful,  faithful,  and  nature-loving 
master,  due.  in  fact,  as  it  seems  to  me,  to  the  partial 
failure  of  his  sight,  and  the  decreasing  firmness  of  his 
original  exquisitely  firm  touch.  It  is  so  hard  to  think 
that  the  sincere,  wholesome,  and  stalwart  artist  of 
Birmingham  cared  much  for  the  money  the  swifter 
"blot-painting"  secured  to  him  on  comparatively 
easy  terms,  that  I  prefer  to  accept  those  late  pieces 
as  indications  of  decline,  rather  than  as  proofs  of 
mastery  and  attainment  which,  according  to  the 
picture-doctrines,  they  are.  In  the  composition 
of  the  work  before  us  the  finest  art  conceals  its 
exquisite  fulness  of  art,  and  nothing  is  more 
truly    "rustic"   and    simple.      In    the    picture    the 


V 


m 


x    


DEVOTION. 

im    Hunt) 


256 


THE    MAGAZINE    OF    ART. 


unengravable  colour  is  of  nature,  natural,  and  in 
these  respects  it  may  be  compared  with  Liimell's 
most  poetic  "Summer  Eve  by  Haunted  Stream,"  and 
Millais'  most  pathetic  "  Murthly  Moss,"  which  have 
been  already  noticed  as  in  Mr.  Quilter's  gallery. 
But,  as  was  mostly  tin'  case  in  Cox's  work,  it  has 


THE     DUKE     OF     DEVONSHIRE. 
(From    the    Painting    bu    H.     Herkamer,     IS. A.) 

bul   little  of  the  poetry  or  the  pathos  with   which 

real   gems  of  art  enchant   as. 

We    (Line    tn    the    figure   pictures  proper  when 

Millais'  "Joan  of  Arc"  is,  as  is  here  shown,  seen 

kneeling  before  tin'  shrine  at  which  she  is  said  t < > 

have  vowed  herself  t'>  France,  dad  in  armour,  and  in 

;i   patriotic  rapture  looking  up.     The  beautj  of  tin' 

of  i  ourse,  disco'v  erable  in  the  painl  ing  of 

the  Hesh,  not  in  the  expression  of  tin'  face,  and  in 

tin'    wonderfully  happy  ami  powerful  treatment   of 

on  rse    the   armour,   as   costume, 

■  hronism  as  tin-  Face,  which  is  of 


A.D.  1865,  when  the  work  was  at  the  Academy  with 
the    future    President's  "  Romans    leaving  Britain." 
We  are  not  called  on  to  inquire  too  closely  as  to  the 
date  of  the  costume  of  the  figures  whose  passionate 
energy    gives    a    potency    to    the   design   of   Madox 
Brown's  "  Jaeopo  Foscari  visited  by  his  Wife  in  the 
Dungeon  of  the  Council  of  Ten," 
a   work  which  owes  its  existence 
to  a  commission  given  in  1869  by 
Mr.  Moxon  to  the  artist  to  illus- 
trate a  then  contemplated  edition 
of    Byron's     poems — an     edition 
which,  considering  the  genius  of 
tin'  men  who  were  to  have  taken 
part   in  it,  would  have  been  most 
truly  "adorned  with  cuts."     The 
instance  here  in  question,  touch- 
ing ami  sincere  as  it  is,  is  a  better 
example   of   Brown's   power  as  a 
colourist   than   as  a    specimen   of 
his  prodigious  merit  as  a  designer 
of  passionate  and  pathetic  themes. 
Of    these    the   best   are    "Romeo 
taking  leave  of  Juliet  in  her  Bal- 
cony."   "The    Last    of    England," 
which    is    at    Birmingham,    and 
••(  'hiisl  washing  Peter's  Feet,"  now 
in  the  National  Gallery.     Brown 
had  a   way  of  telling  his  stories, 
that  is  of  illustrating  the  motives 
of  bis  subjects,  in  a   very  direct 
ami  positive  manner,  as  is  shown 
in  thr  design  before  us.    Here  the 
stalwart  lady  draws  her  somewhat 
less  vigorous  husband  to  her  breast 
and    kisses    him   with   an    energy 
which  his  reduced  condition   and 
enfeebled  state  more  than  justify. 
We  notice,  too,  the  spirited  design 
of  her  moving  draperies,  without 
caving,  as  in  Millais'  case,  to  in- 
quire closely  into  (he  chronology 
of    tin'   costumes    of    the   figures. 
At   the  same   time  we  are   quite 
sure    the    dresses    in   Brown's   picture   approximate 
correctness,  while  we  know  Joan  of  Arc  was  dead 
long    before    the    suit    of   Muted  armour   which   en- 
closes  her  was  "made   in   Germany."     Good    as    is 
"  The    Young   Foscari,"    it    is,  as   a   design,    by    no 
means  the  best   of   his  works   in  that   respect,  and 
niii-t    he    ranked    with    such    specimens    of    his  art 
as  a  designer  with  "The  Prisoner  of  chill. in,"  though 
much   liner   than    the    unlucky    "  Haidee  and    Don 
Juan,"     a     large     version     of     which,     unfortunately 
for    Brown's   fame  in    France,  has   found.it  is  said, 
a    place    in    the    Luxembourg   of    all    galleries   in 


THE    COLLECTION    OF    ME.    W.    CUTHBERT    QUILTER     M.P. 


59 


the  world,  and  where,  his  above-named  master- 
pieces not  being  available,  we  should  have  been 
content  to  see,  not  this  feeble  thing,  but  his  stu- 
pendous "  Entombment  of  Christ,"  his  masculine 
"  Sardanapalus,"  or  that  transcendent  "  Elijah  and 
the  Widow's  Sun"  which  is  now  at  South  Ken- 
sington. It'  nut  by  these  examples,  Brown  would 
he  well  seen  in  Paris  by  means  of  his  "Death 
of  Lear,"  his  "  King  Rene's  Honeymoon,"  our  of 
the  must  delightful  of  love-making  romances,  or 
that  noble  cartoon  of  his  (one  of  the  few  relies  of 
the  great  gathering  in  Westminster  Hall  in  1844, 
and  now  in  the  South  London  Gallery,  the  gill  of 
the  painter's  admirers,  among  whom  Leighton,  Mil- 
lais,  and  Armitage  must  he  numbered),  representing 
"The  Body  of  Harold  brought  to  the  Conqueror." 
Tardy  as  are  the  honours 
that,  after  his  death,  have 
been  paid  to  the  genius,  re- 
sources, and  skill  of  this  -leal. 
though  unequal  master,  at 
least  those  honours  are  not 
unworthy  of  him  which  in- 
clude the  admission  of  his 
productions  to  the  National 
Gallery,  the  Luxembourg, 
Manchester  where  he  paint- 
ed in  the  Town  Hall,  and  where 
his  most  ambitious  "  Work  " 
has  found  a  home — South 
London,  and   Birmingham. 

Moi'e  1 1  idy  representative 
of  its  author  than  "Jacopo 
Foscari  "  is  "  Devotion  "  (see 
p.  255)  by  that  "great  mas- 
ter in  small,  William  Hunt," 
who  has  depicted  a,  comely 
country  lad,  one  of  those 
who  passed  their  lives  in  the 
neighbourhood  of  Bramley, 
near  Basingstoke — where  the 
artist  often  sojourned  at  a 
Farmhouse,  ami  where,  apart 
from  Cassiobury  anil  Hast- 
ings, haunts  of  his  earlier 
years,  lie  lived  when  "  out  of 
town."  At  one  time  Hunt 
painted  many  works  of  this 

class,      single      and      1 ■lv 

figures  of  old  men,  girls,  hoys 
(such  as  this  one),  and 
negro-lads,  such  as  we  saw  in 
Air.  Humphrey  Roberts's  col- 
lection. No  master  deline- 
ated them  with  more  tender- 
ness,  humour,  and    veracity, 


nor  with  greater  and  more  consummate  skill,  than 
Hum.  John  Varley's  and  Mulready's  pupil,  the  little 
and  sickly  japanner's  son,  who  was  born  in  what 
is  now  Endell  Street.  Long  A  re  By  the  same 
hand  Mr.  Quilter  possesses  an  admirable  and  earlier 
example  of  what  may  he  called  still-life,  the  sofl  and 
faithful  drawing  of  "A  I  lead  Snip.."  Both  lie-,' 
specimens  are  in  water-colours,  and  both  excel  in 
the  beauty,  finish,  and  delicacy  of  their  execution. 
Their  technique  is  exactly  what  is  now  assoi  iated 
with  the  works  of  such  masters  as  Millais,  who 
alone  of  modern  artists  combined  the  richness  of 
tone,  brilliance  of  lighting,  and  wealth  of  colour 
which  charm  us  in  pictures  with  themes  sM  humble 
and  so  entirely  void  of  hysteria  as  are  those  of 
"Devotion"  and  "A  Dead  Snipe."      As   it   is   thej 


JOAN     OF    ARC 

nttng    by    Sir    J.     £      t.hllais,     PR. A.) 


260 


THE    MAGAZINE    OF    ART. 


are,  liki  trial  to  whicn  we  now  come,  anything  but  age  when  he  produced  it,  and  who  was  already  in 
"impressions"  in  the  current  sense  of  that  ridiculous  declining  health.  Lewis  died  four  years  after  lie 
term.  Ii  must  not  be  supposed  that  Hunt,  though  astonished  ami  delighted  the  world  by  his  achieve- 
he  painted  dead  snipe,  pigeons,  and  even  a  group  of  raent  of  1ST-.  As  with  regard  to  a  very  large 
mussel-shells,  as  well  as.  in  please  Mr.  buskin,  a  proportion  of  Lewis's  pictures  in  oil  and  drawings 
smoked  herring,  a  Few  mushrooms,  and  a  pile  of  in  water-colour,  it  illustrates  no  story  and  is  pos- 
stones,   was   incapable   of    subjects   such    as   Titian      sessed  of  no  passion;  its  subject  is  the  beauty  and 

brilliance  of  nature  set  forth  by  means  of 
the  most  exquisite  execution.  Lewis,  who 
lived  in  Cairo  from  1S43  till  1851,  already 
a  consummate  draughtsman  ami  painter, 
studied  the  Eastern  character,  costumes,  and 
climate  with  all-powerful  care,  and  gave 
us  this  nardon  full  of  oriental  Howers  re- 
splendent in  light.  The  lovely  girl  win: 
bears  the  vase,  itself  a  rare  piece  of  Persiai 
craftsmanship,  is  as  distinctly  of  Circassian 
descent  as  her  darker  and  very  comely  at- 
tendant is  of  Moorish  blood.  The  elder 
damsel  is  moving  gently  to  our  loft  ami 
carrying  the  vase  of  roses  ami  lilies  on  her 
way  to  the  hareem  if  is  intended  to  decor- 
ate. Nothing  could  be  simpler  (ban  the 
incident,  nothing  more  graceful  ami  un- 
demonstrative than  the  design  of  "  Liliuin 
Auratum,"  and  yet  its  charm  is  irresistible, 
so  that  (be  art-lovei  returns  again  and 
again  to  look-  at  it,  and  never  lets  it  pass 
out  of  bis  memory.  To  me  at  least,  if  not 
to  others.  "  1. ilium  Auratum''  lias  charms 
which  may  compete  with  those  of  Lewis's 
much  lamer  and  more  ambitious  "Frank 
Encampment  in  the  Desert,"  which  all  the 
world  has  acknowledged  to  be  bis  master- 
piece. Next  to  it  come  Mrs.  Wbolner's 
"  Interior  of  the  Bezestein  Bazaar,  Cairo," 
and  its  rival,  the  "Interior  of  a  Hareem." 
The  "Bazaar"  was  painted  in  the  same 
year  as  the  work   before  us. 

The   remaining    English    works    I    have 

to  notice  of   the  category  now  in  question 

are   Millais'   admirable   picture  and    perfect 

likeness  of  "  .Mr.  John  Bright,"  of  which  the 

reproduction  mi   p.   122  shows   bow  simple 

might    have  essayed  with  joy.     Hunt    painted   life-      are  the  means  of  Millais' achievement,  and  how  wise 

size  ami   full   length  a   peacock   in  all  the  glory  of     be   was  iii    refusing  to   make  bis  subject  look  like 

his  plumage,  and  he  did  so  in  a  Titianesque  manner,     a   "hero,"  although  be  failed    not    in    depicting  all 

ami  as  splendid  as  Nature  herself,  bis  sterling  qualities.     In  the  same  group  may  be 

"Liliuin   Auratum,"   one  of  the  masterpieces  of     placed  the  capital  portrait   of  our  collector's  father, 

John  Frederick   Lewis,  a  translation  of  which  forms     seated    with   a   hook   in   bis  lap.   his  cheek   on   one 

ntispiece  to  these  notes,  was  painted  in  1S71,     hand,  and  in  the  aei  of  speaking.       Mr.  Herkomer's 

and,  as  No.  645,  was  exhibited  at  the  Eoyal  Academy     portrait  of  Mr.  Cuthbert  Quilter  is  good,  but  hardly 

in  L8T3,  about  which  time  it  came  into  the  possession      "  energised  "  and  solid  enough.     The  Duke  of  1  levon- 

of  Mr.  Quilter's  father.     It   is  the  latest   of  Lewis's     shire  was,  as  the  illustration  shows,  more  fortunate 

lb-'  Hi  i  -In-  and  shows  no  sign  of  failure     at    Mr,    Herkomer's  bauds,  ami   yet    the   likeness  is 

in  the  powers  of  a  man  who  was   >ixt\  -i\  years  of      not   quite  satisfactory. 


THE     YOUNG     FOSCARI. 
If.    m    the    Painting    by    Ford   Kadox    Sro:;n.) 


THE      MUNICIPAL      THEATRE,      AMSTERDAM. 
Opsra-housea  cuni   Theatres."} 


LLUSTRATED     REVIEWS. 


MODERN  Opera-houses  and  Theatres"  is  the 
title  of  a  comprehensive  work  by  Messrs.  E. 
0.  Sachs  and  E.  A.  E.  Woodrow  (published  by  Mr. 
Batsford)  on  play-houses  recently  erected  in  Europe, 
illustrated  by  plans,  sections,  elevations,  and  general 
views,  accompanied  by  a  descriptive  texl  on  theatre 
planning  and  construction,  and  supplements  on  stage 
machinery,  theatre  (ires,  and  protective  legislation. 
Only  the  first  of  the  three  folio  volumes  promised 
has  appeared,  illustrating  splendidly  the  principal 
theatres  and  opera-houses  in  Austria  and  Hungary, 
Germany,  England,  Holland  and  Belgium,  Norway 
and  Sweden,  and  Russia.  Those  oi  France,  Italv. 
and  Spain  are  reserved  for  the  second  volume;  this 
i-  unfortunate  in  one  respect,  because  in  any  attempt 
to  establish  a  parallel  of  the  theatres  of  Europe,  and 
to  draw  comparisons  between  them  from  the  arl 
point  of  \  iew,  it  would  have  been  of  advantage  to  in 
elude,  at  all  events,  those  of  Paris  which  are  the  best 
known,  and  probablj  the  most  remarkable  examples 
Mr.  Sachs  in  his  introduction  divides  the  theatres 
into  five  categories:  court,  national  and  government, 
municipal,  subscription,  and  private  theatres;  and 
lays  stress  on  the  fact  that  the  last  of  these,  the 
"private  theatre,"  though  common  to  all  countries,  is 
primarily  an  English  and  American  institution,  and 
is  built  "  to  pay  "  only ;  that  istosay.il  is  regarded 
as  an  investment,  and  is  conducted  purely  as  a  busi- 
ness speculation.  The  other  categories  originate  not 
with  a  c anal  object,  but  for  i  he  qualifical  i f 


luxury  and  for  educational  purposes.  Ii  follows, 
therefore,  that  in  the  four  first  classes,  and  especially 
in  the  court  theatre,  there  is  virtual!}  no  restriction 
as  regards  cost,  and  its  design  is  entrusted  as  a  rule 
to  the  most  capable  architect  the  country  can  boast 
of.  It  is  not  only  a  theatre  the  architect  is  called 
upon  to  erect,  but  a  national  and  historical  monu- 
ment, a  building  which  in  future  years  may  be  Looked 
upon  as  a  gauge  of  the  artistic  qualities  of  the  nation 
at  the  particular  time  of  its  erection.  In  England, 
on  the  contrary,  Mr.  Sachs  suggests  that  "  it  is  of  no 
importance  that  the  architei  I  should  have  a  true 
feeling  for  art  if  only  he  can  s&  Lire  the  latest  trick 
of  the  plaster-manufacturer  to  catch  the  vulgar 
taste."  Tin's  statement  is,  however,  qualified  by  another 
which  states  "the  building  of  English  theatres  has 
hitherto  been  put   into  the  hands  of  architects  who 

are    merely  g I    planners,  g i    constructor; 

g 1  business  men,"  with  the  qualification  of  being 

able  to  provide  foi  a  maximum  audience  at  a  mini- 
mum outlay.  The  In  the  speculat  ion 
only,  but  the  formei  requisition  probably  meets 
that  which,  on  the  whole,  i  lie  Engli  bmau  i  ares  most 
for.     The  good  i  onsti  net  ion  assures  him  ot 

of  the  the  g 1  planning  enables  him   to 

see  the  stage  propel  1\  \\  In  i  ei  er  he  ma}  be  placed, 
and  as  this  is  not  always  the  case  even  in  eourl 
theatn       it    i     pi  the    English    tin 

inartistic  though  it  max-  lie.  lias  in  the  eye  of  the 
Englishman  main  greal  advantages.     This  is  looking 


262 


THE    MAGAZINE    OF    ART. 


on  the  worst  side  so  far  as  the  English  theatre  is 
concerned,  but  is  it  altogether  borne  out  by  the  facts, 
and  may  there  uot  be  some  shortcomings  in  the 
court  theatres  of  the  <  lontinent  ' 

l.ri    us  take  one  example,  the  Court  Theatre  at 


most  perfectly  equipped  building  of  its  class  ever 
seen  in  England,  and  in  every  way  architecturally 
suited  for  its  purposes."  If,  further,  we  take  into 
account  also  the  peculiar  difficulties  with  which  its 
architect,  Mr.  Collcutt,  had  to  contend,  a  comparison 


Vienna,  of  which   Mr.  Sachs  says,  "  as  an  example  of     of  the  two  examples  suggests  that  we  have  in  the 
technical  skill  in  theatre  building  brought  to  high 


perfection,  it  may  serve  as  a  model  for  future  enter- 
prise of  a  similar  nature,  whilst  from  the  artist's 
point  of  view  it  conclusively  proves  to  what  great 
excellence  the  much  abused  German  and  Austrian 
architecture  ol  the  last  decades  can  attain  when  full 
scope  and  ample  time  are  allowed,"  and  compare  it 
with  D'Oyley  Carte's  Opera-house  in  Shaftesbury 
Avenue  which  Mr.  Sachs  gives  as  the  frontispiece  to 
his  first  volume,  and  of  which  he  says  that  "it  is  the 


THE     STAIRCASE,     COURT     OPERA-HOUSE.     STOCKHOLM 

v    -  rn    Op,  ,.,./:.  ,,■„..   and    Theatres  ") 


liil  lev  a  brilliant  design  full  of  character  and  display- 
ing a  progress  in  style,  qualities  in  which  the  former 
is  quite  devoid.     The  difficulties  referred   to  in   the 
D'Oyly  (.'arte  Opera-house  were  two-fold:  first,  that 
the  arrangement  and  construction  were  entrusted  to 
one  whom  Mr.  Sachs  describes  as  "a  master-builder 
in    theatre   construction,  and   Mi'.   Collcutt    had    to 
accept   the   block  subject  to  certain  constructional 
features  in  the  disposal  of  which  an  artistic  arrange- 
ment had  never  been  thought  of;  and,  secondly,  the 
opera-house  was  greatly  handicapped  by 
the  shape  of  the  site  on  which  it  stands, 
no  boundary    being  at   right  angles  to 
any  other.     Except  in  the  vestibule,  the 
ceiling  of  which  is  deplorable  owing  to 
its  shape  and  the  unsightly  irregularly- 
planned  girders  which   cross  it,  and  in 
the  scheme  for  the  structural  design  of 
the  interior,  in  which  there  are  no  ap- 
parent supports  either  to  the  galleries  or 
the  ceiling,  there  can  be  no  doubt  that 
Mr.   Collcutt's   design   is   in  its  artistic 
conception  far  abend  of  any  other  theatre, 
either  in  England  or  the  Continent. 

Returning  to  the  Vienna  Court  The- 
atre, it  is  possible  that,  from  its  position 
and  extent,  the  monumental  character 
of  the  principal  front,  and  the  wealth  in 
material  and  sculpture,  it  is  an  imposing 
building;  but  Mr.  Sachs  goes  further 
than  this  in  his  description.  He  claims 
that  the  theatres  published  in  the  first 
volume  (referring  only  probably  to  the 
Continental  examples)  " have  been  going 
through  an  evolutionary  process,"  " until 
the  lines  of  the  Vienna.  Court  Theatre 
were  reached;"  in  other  words,  that  this 
structure  shows  the  greatest  perfection 
which  has  been  attained  in  theatre  de- 
sign. Let  us  analyse  its  composition. 
The  centre  portion  of  the  main  front 
forms  a  segment  on  plan,  always  a  tine 
feature  on  account  of  the  play  of  light 
mid  shade  it  gives;  instead,  however,  of 
accentuating  this  feature  by  wings,  the 
arointed  destroys  it  by  affixing  a  frontis- 
piece in  the  centre.  To  the  right  and 
left  of  this  centre  are  two  enormous 
wings  containing  staircases.  The  prin- 
ciple beauty  of  a  plan  is  its  compactness, 


ILLUSTRATED    REVIEWS. 


263 


and  however  imposing  these  projecting  wings  may 
be  in  elevation  when  viewing  the  building  al  a  dis- 
tance, in  execution,  and  when  seen  en  passant,  they 
look  like  excrescences  added  afterwards.  Perhaps, 
however,  they  may  presenl  some  compensation  in 
side.  On  the  contrary,  the  view  of  the  interior  on 
page  L3,  apart  from  the  richness  of  the  decoration 
of  painting  and  sculpture,  is  about  as  ugly  as  it  is 
possible  to  conceive.     Internally  the  ceiling  of  the 


and  to  produce  a  picturesque  effect.  The  an  hitects 
of  the  Vienna  Court  Theatre  have  elected  to  go  back 
to  the  "]il  stock-in-trade  in  the  employment  of 
pilasters,  columns,  and  arcades.  It  cannot  be  said 
that  they  have  improved  in  any  way  on  the  earlier 
examples  of  Palladio  or  Michelangelo.     They  have 

lost    the   simplicity  of    th ie,   ami    the   vigorous 

though  sometimes  coarse  detail  of  tin-  other.  Can  this 
be  railed  progress:  to  return  to  the  features   oi   a 


DETAILS     OF     LOUNGE     AND     FOYER.     COURT     THEATRE,     VIENNA 
[Reduced  from    "Modern    Opera-houses    and    Tin 


theatre  is  fine,  but  it  lias  no  apparent  support  on 
the  side  of  the  proscenium  or  the  gallery.  The 
design  of  the  gallery  front  is  very  commonplace,  and 
the  decoration  of  the  balcony-front  of  the  second 
and  third  tiers  is  in  defiance  "l  the  laws  which  should 
govern  the  treatment   of  curved  surfaces. 

Coming  nov\  to  the  decorative  treatment  of  the 
exterior,  the  comparison  which  we  have  instituted 
between  the  Vienna  Court  Theatre  and  the  D'Oyley 
Carte  Opera-house  comes  to  our  aid  in  showing  two 
principles  of  design  absolutely  divergent  one  from 
the  other.  The  problem  in  both,  however,  is  the 
same,  viz.,  the  decorative  treatment  in  the  breaking 
up  of  wall  sin  faces.  Mr.  Collcutt  Hanks  his  main 
front  with  octagonal  turrets,  doubtless  to  mark  the 
absence  of  right  angles  in  the  plan,  ami  he  continues 
these  features  on  the  winding  front  facing  Shaftes- 
bury Avenue.  Smaller  octagonal  projecting  turrets 
arc  found  mi  both  fronts,  the  primary  object  of  these 
features  being  to  break  up  the  main  lines  of   fronl 


bygone  age,  and  attempt  with  new  combination  of 
large  pilasters  and  small  columns  with  arcades 
between  —  all  features  which  have  nothing  to  do 
with  constructional  requirements — t"  evoke  sorne- 
thing  new?  There  is  no  doubt  the  architects  were 
well  equipped  with  all  the  paraphernalia  of  I 
architecture,  here  and  there  enhanced  bj  the  intro- 
duction of  some  "f  ih,'  in. ire  ,  [egant  t'"i  ins  of  the 
cinque-cento  period,  but   seeing  that,  as   Mr.  Sachs 

says,  "they  had  full  SCOpe  ami  ample  time,"  wa- 
il worth  while  trying  to  bring  life  again  into  a 
skeleton  ' 

The  worst  features  in  the  Vienna  Court  Theatre 
are  the  huge  pilasters  running  th  rough  two  floors  and 
stilted  on  high  pedestals;  the  intrusion  of  these 
features  is  much  n 

square  instead  of  circular,  whilst  they  throw  oul  of 
scale  the  smallei  orders  of  the  ground  and  first  floor. 
In  this  respect  tli.  i  houses  at  Dresden,  the 

Municipal  Theatre  at  Odessa,  and  thepropo   id  ( lourt 


264  THE    MAGAZINE    OF    AKT. 

Ope use  at   St.   Petersburg  are  all  superior  iu  projection   of  the   angle  bays    and  the  orders  are 

ZZ  and  the  rusticated  ground  floor  of  .1,-  latter  only  employed  as  necessary  features,  and  on  a  - 

i  11,,,      ii„.    nvnlc  scale    to   eve   a   rich,  decorative    character    in  the 

enhances  and  gives  scale  and  wduo   to  the   diuuk  scale,  u    g  ^^      ^   .^^^ 


and  column  decoration 
of    ihr    first    floor.      In 
each  of  these  cases  tin' 
peculiar    value    of    the 
curved    ]>■  >ri i> >n    of    tin' 
front  lias  been  destroyed 
by    a    central    frontis- 
piece,  but    it    is   better 
supported  by  the  wings 
than     in     ila'     Vienna 
Theatre.     In  tin'  Muni- 
cipal Theatre  at    Halle, 
the  superposition  "I'  tin' 
I,, nir  order  on  the  first 
floor  with  columns  half 
as   high  again  as  those 
nf    the    Doric    order   mi 
the  ground   floor  is  an 
anachronism   iu    Italian 
architecture  which  sug- 
gests thai    its  architect 
was  mil  acquainted  with 
the     elementary     prin- 
ciples "f    its  design  :    a 
plain    rusticated    treat- 
ment    "ii     the    ground 
storey  would  have  given 

value  In  the  order  above. 

The     vestibule     and 

staircase  of  the  Linden 

Variety  Theatre  in  the 

Louis   XIV.  style   is 

well    designed,    judged 

Vein   the  perspective 

sketel page  28,  ami 

is  the  must   picturesque 

example  in  the  volume. 

There  is  mi  at  tempt  at 

I.   hitectural    propriety 

either    in    (he    Wagner 

( (pera  -  house    at     Bay- 

reiith    in-    i  Im-    People's 

Palace  at  Worms.     The 

best    feat  are    in    I  he 

Alhambra    in    Leicester 

Square   is   the  satisfac- 
tory support  of  the  ceil- 
on   arcades  carried 

by  slender  shafts  to  the 

floor  of   the  hall.     The  Municipal  Theatre  at  Am- 
sterdam  i-  designed  mi   the  same   principle  as   the 
rior  of   the    in  lyley    Carte  Opera-house.     The 
Lip  of  the  wall  surface  is  obtained  by  the 


VIEW    OF    PROSCENIUM     BOXES,     COURT     THEATRE, 

"Modern    Opera-houses    anil    Theatres.") 


technical  difficulty 


tunate  that  Mr.  Sachs 
should  have  omitted  in 
give  plans  ami  eleva- 
tion of  the  New  ( tpera- 
house  at  Vienna,  de- 
signed by  Siceartsburg 
ami  comp  Ieted  about 
1866,  this  building  par- 
taking somewhat  of  the 
same  character  as  the 
two  theatres  just  named, 
and  .suggesting  a.  real 
progress  in  architectural 
design  when  compared 
with  the  Vicuna  ( 'mn  l 
Theatre. 

R.  I'iienk  Spiers. 

Ml!.  RUDOLF  LEH- 
MAXX'S    happy 
passion  for  reproducing 

from    life    the     features 
of  all  the  most  eminent 
men    and    women    into 
contact    with  whom   he 
has  come,  has  resulted, 
after  a  long  and  fortu- 
nate career,  in  a  collec- 
tion  of  pencil  portraits 
which    for    extent    ami 
general      interest     has 
been   surpassed   by   few 
artists,  if  any,  who  ever 
lived.   Church  and  State, 
Literature  ami    Drama, 
Science     and    Music, 
Tainting  ami  Sculpture, 
all     have     their    repre- 
sentat  i\  es  here,  and 
eminent     ones,    too — in 
the   remarkable  gallery 
which    has    been    pub- 
lished, with  biographical 
notes,  by  Messrs.  George 
Bell.*     In    these    four 
:nna       seme    portraits—  repro- 
duced with  remarkable 
success  considering  the 
f  I  he  task — we  have  clever  art 


*  "Men  and  Women  of  the  Century : "  being  a  Collection  of 
Portraits   and  Sketches  by   Mr.   Rudolf   Lehmann.      Edited  by 

II.  c   Marillier.     (George  Bell  and  Sons.  Is'.k;.) 


ADOLPH      MENZEL. 

(Omwi:     by     Rudolph     Uhm,n,n.       Frui,, 


266 


THE    MAGAZINE    OF    Alt'I'. 


allied  to  skilful  portraiture.  These  are  historical 
documents  of   real    value,   present    and    future,  and 

tl gh  ni    times  a  little  weak  in  touch,  they  hear 

their  truth  upon  their  face.  In  several  cases,  indeed, 
thej  are  the  only  portraits  of  the  sitters  we  know 
of.  mi  Unit  tlir  volume  makes  direct  appeal  to  the 
general  reader,  the  historian,  as  well  as  to  the 
studenl  of  physiognomy  and  the  lover  of  art.  Judged 
as  tin'  side  occupation,  so  to  say,  of  an  active  artistic 
life,  tins  volume  must  he  pronounced  as  remarkable 
fur  its  enterprise  as  I'm'  its  interest  ami  success. 


remmisceni 
one  which 


is  whii 
svery  1 


if  M 


s.     The  book  if 
urger  will  rejoice  in. 


THE  amiable  weak- 
ness   of    <  reorge 

( 'riiiksliank   in  intro- 
ducing   his    portrait, 
more  or  less  furtively, 
into    his  etched  and 
drawn  work  has  sup- 
plied Mr.  George    S. 
I.avanl  with  the  sub- 
ject for  a  delightful 
monograph,  which  he  has 
treated    with    a   vivacity 
and    charm    from    which 
not  even  the  enthusiasm 
of  an  expert   can   detract. 


H.\I>  we  not  the  assurance  of  Mr.  Felix 
Moscheles  that  his  subject  nut  only  approved 
nf,  but  actually  assisted  in,  the  publication  of  this 
hunk  we  should  have  been  inclined  to  deplore,  I'm' 
the  sake  of  the  eminent  draughtsman's  reputation, 
the    publication    of   the    numerous   sketches    which 

illustrate  "  In  Bohemia  with  du  Maurier"  (T.  Fisher  We  think  we  may  claim 
Unwin).  Mr.  Moscheles  and  du  Maurier  were  familiarity  with  every 
chums  and  studio  companions  in  Antwerp,  and  autograph  portrait  in 
continued  their  bachelor  intimacy  up  to  the  time  Cruikshank's  published 
nf  the  artist's  marriage.  During  that  period  du  work;  and  we  must  ex- 
Maurier  was  a  constant  correspondent  nf  his  friend,  press  our  surprise  that 
and  made  a  host  of  sketches  illustrative  of  incidents,      Mr.    Layard's    knowledge 

not  only  in- 
cludes them 
all  wit  hunt 
omission,  hut 
that  he  has  also 
his   readers  hilh 


GEORGE     CRUIKSHANK. 


IN     THE     ATELIER    GLEYRE 


realm  Fancied,  in  their  student  life.  They  are  jovial, 
delightful,  and  as  full  nf  spirits  as  Mr.  Moscheles' 
text,  and  contain  about  an  equal  amount  nf  artistic 
excellence.  Some  very  few-  nf  these  recall  the  du 
Maurier  we  know  nf  Pimch  and  the  Cornhill ;  1ml 
us  au  illustration  nf  artistic  Bohemia  tic  book  is 
rightly  and  charmingly  irresponsible  thai  we 
look  forward  to  the  further  series  of  Mr,  Moscheles' 


n  able  to  present  to 
unknown  remarque 
portraits  on  trial  plates  —  afterwards 
cleaned  off  befoie  printing  the.  issue — 
and  many  portraits  besides  not  intended 
I'm'  publication.  The  value  and  interest 
nf  this  beautifully  produced  little  volume 
— "George  Cruikshank's  Portraits  nf 
Himself"  (W.  T.  Spencer) — is  not  In 
he  gauged  by  the  title.  It  is  full  nf 
information,  of  gossip  and  solider  know- 
ledge, which  together  form  a  psycho- 
logical study  nf  nn  mean  order,  and, 
enabling  us  to  understand  better  the 
character,  the  work,  and  the  associations 
nf  the  great  caricaturist,  constitute  an 
important  chapter  in  the  artist's  life 
as  valuable  as  it  is  pleasing.  The  illustrative 
matter  is  in  itself  sufficient  to  show  the  extreme 
limitations  nf  the  master — the  highest  point  at 
which  his  draughtsmanship  reached,  and  the  most 
playful  nf  the  liberties  which  he  took  with  the 
human  figure.  The  reproductions  nf  the  portraits 
referred  to  — and  all  are  here  —  could  not  he 
bettered. 


267 


THE      ROYAL     ACADEMY      ELECTIONS. 


IN  view  of  tin.-  unusual  importance  of  these  elec- 
tions, we  think  it  of  some  historic  interest  to 
place  on  record  the  principal  details  of  the  voting. 

Me.  J. S. Sargent's  Elei  thin.  First  "Scratching." 
Mr.. Sargent,  10:  Mr.  Leader,  L0;  Mr.  Gregory,  8 ; 
.Mr.  Seymour  Lucas,  6 ;  Mr.  Colin  Hunter,  6;  .Mr. 
Waterlow,  5;  Mr.  Storey,  3;  Mr.  Stanhope  Forbes,  2. 

Second  "Scratching."  Mr. Sargent,  16 ;  Mi'.  Leader, 
14:  Mr.  Gregory,  !> :  Mr.  Seymour  I. mas,  ij :  Mr. 
Colin  Hunter,  5 :  Mr.  Waterlow,  3. 

Final  Ballot.     Mr.  Sargent,  32;  Mr.  Leader,  20. 

Mi:.  Alfred  Parson^'  Election.  First  "Scratch- 
ing." Mr.  Alfred  East,  9;  .Mr.  H.  If.  La.  Thangue,  8; 
Mr.  Shannon,  7:  Mr.  Parsons,  5;  Mr.  A.  S.  Cope,  5. 
Mr.  Belcher,  .Mr.  M.  R.  Corbet,  Mr.  Aston  Webb, 
.Mr.  Mark  Fisher,  Mr.  T.  C.  Gotch,  Mr.  .1.  H.  Lorimer, 
.Mr.  Napier  Hemy,  Mr.  Lionel  I'.  Smythe,  Mr.  II.  S. 
Tuke,  Mr.  Caton  Woodville,  Mr.  Adrian  Stokes,  and 
Mr.  E.  U.  Eddis  also  received  support. 

Second  "Scratching."  Mr.  Parsons,  14:  Mr.  La 
Thangue,  14:  Mr.  Shannon,  10:  Mr.  A.  East,  10; 
Mr.  Cope,  5. 

FinalBallot.  Mr.  Parsons,  29;  .Mr.  La  Thangue,  25. 

Mr.  J.J.  Shannon's  Election.  First  "Scratching." 
Mr.  Shannon,  15;  Mr.  La  Thangue,  13;  Mr.  East,  7  ; 
Mr.  Corbet,  4.  Mr.  Cope,  Mr.  Belcher,  Mr.  Astou 
Webb,  Mr,  Joseph  Farquharsou,  Mr.  Mark  Fisher, 
Mr.  Lorimer,  Mr.  II.  S.  Tuke,  Mr.  Caton  Woodville, 
and  Mr.  Adrian  Stokes  also  received  support. 

Second  "Scratching."  Mr.  Shannon,  20;  Mr.  La 
Thangue,  19;    Mr.  East,  10:    Mr.  Corbet,  5. 

Final  Ballot.  Mr.  Shannon, 29;  Mr.  LaThangue,25. 

It  is  hardly  necessary  to  dwell  upon  the  achieve- 
ments of  Mr.  Sargent.  The  innovation,  both  in 
subject  ami  treatment,  that  first  marked  "Carnation, 
Lily,  Lily,  Rose,"  was  quickly  appreciated  by  the 
Academy,  ami,  under  Lord  Leighton's  influence,  tins 
manifesto,  so  to  call  it,  of  the  Florentine-born, 
Paris-taughl  young  American  was  quickly  acquired 
for  the  Chantrey  Bequest  collection.  "La  Car- 
nieneita,"  not  less  for  its  daring  ami  bravura  than 
for  its  accomplished  technique  ami  masterly  hand- 
ling, proved  that  we  had  amongst  us  a  craftsman  of 
the  highest  rank,  ami  from  thai  time  forward  the 
brilliant  series  of  female  portraits  presenting  the 
very  essence  of  life,  and  the  forceful  portraits  of 
men— such  as  Mr.  Coventry  Patmore,  Mr.  Graham 
Robertson,  ami  Mi'.  Chamberlain  showed  a  con- 
tinuous increase  of  power  and  painter-like  knowledge. 
So  dexterous,  so  brilliant,  so  facile  in  effects,  so 
genuinely  "  impressionist  "  in  the  higher  sense  of  the 
word, were  Ins  pictures,  that  the  work  of  all  Out  the 


very  strongest  paled  near  his.  Nor  will  he  stoop  in 
flattery  either  of  man  or  woman:  his  likenesses  are 
remorselessly  true,  ami  all  that  he  adds  of  grace  is  of 
his  own  painter's  self.  Of  sentiment  there  is  not 
much;  of  outside  thought,  less ;  his  art  is  painter's 
craftsmanship,  ami  the  highest  of  0-  kind.  In  hi- 
decoration,  however,  he  has  lei  us  see  that  he  ha- a 
soul  and  an  intellectual  force  of  an  elevated  order. 
Beneath  the  splendid  invention  and  gorgeous  scheme 
of  col. air  and  design  in  his  decoration  for  the  Boston 
Library,  Mr.  Sargent  showed  how  loft}  a  conception 
he  could  take  of  human  thought  ami  human  aspira- 
tion. Hi-  liisi  exhibit  was  in  the  Academy  of  1882, 
hut  not  for  some  years  did  he  come  to  reside  in 
London.  He  was  elected  an  Associate  of  the  Loyal 
Academy  in  1894,  and  not  more  than  three  years 
were  to  pass  before  the  Academy  set  the  final  seal  of 
Us  appreciation  upon  his  genius. 

A  year  before  Mr.  Sargent   introduced  his  work 
to  the  English  public,  Mr.  .lames  Jebusa  Shannon  sent 

his  liist  portrait   to  a    I. Ion  exhibition.      Since  that 

lime  in  the  exhibitions  of  the  Loyal  Society  of 
British  Artists,  of  which  he  was  once  a  member, 
and  at   the   Institute  of   Painters  in  Oil-Colours,  to 

which  he  still    belongs,  as  well    also  as  of   the  Society 

of  Portrait  Painters,  Mr.  Shannon  ha-  proved  in  a 
hundred  canvases  how  excellent  a  painter  of  por- 
traits he  is.  He  lacks  in  lire  ami  brilliancy, as  well 
as  in  spontaneity, much  of  what  uoes  to  make  up  the 
genius  of  Mr.  Sargent  :  Out  there  is  about  his  work 
a  measure  of  reticence  and  grace,  ami  originality  as 
well,  that  for  a  long  while  past  have  been  carrying 
him  steadily  into  the  favour  of  the  appreciative  pub- 
lic. Mr.  Shannon  has  a  distinct  sense  of  beauty,  a 
daintiness  of  handling,  a  subtle  charm  of  colour 
which  are  extremely  agreeable  in  themselves  to  the 
spectator,  and  most  of  all,  no  doubt,  to  the  sitter, 
while  entirely  in  accordance  with  the  precepts  and 
traditions  of  -mind  ail.  Mr.  Shannon,  hardly  less 
than  his  countryman,  Mi.  Sargent,  is  an  acquisition 
of  whom  the  Academy  may  well  he  proud. 

Mr.   Alfred   Parsons'  green   fields,  (lowering  gar- 
dens,   bloss in-   -I-  Link  undulating    uplands,  all 

brightness  and  sunshine,  have  had  their  admin 
many  years   past.     A   love)   of  robust   colour,  he  is 
nevertheless    supreme    in    pen-draughtsmanship    of 
Bowers  ami  landscape     a  master  of  black  ami-white, 
who  is  able   to  show    tl 

plants,  each  in   its  u  ol  intensity,  as  none 

before    in    England     has   ever   done.      Mr.    Parsons 

i  ned  In-  distinction,  and  will  doubtless  justify 

still  further  the  good  opinii f   Burlington   Hon  e 


263 


THE     ART    MOVEMENT    (PARIS). 


DOOR-PLATE. 
.     Executed   by    th 


I.— DOOR     FURNITURE. 

TIM-;  man  who  shall  write  the  history  of  the  arl 
of  the  latter  part  of  this  century,  when  thelapse 
of  years  en- 
ables him  i" 
judge  of  men 
and  i  lungs  at 
a  distance 
whirli  sets 
them     in    a 

true     light, 

cannot  fail  to 

assign  a  place 

lit'  honour  to 

Monsieur   S. 

B  i  n  g,    who 

has        really 

been    one  of 

the   pioneers  of   an   important   movement  in   art.      M. 

Bing  has  brought  together,  in  an  exhibition  called  L'Art 

Nbuveau,    works    oi    great    variety    in    arts   and    crafts 

And  by  admitting  contributions  from  English  decora- 
tors and  designers,  lie  affords  young 
French  artists  a  wide  field  for  study  and 
observation.  He  has  at  the  same  time 
invited  the  best  known  of  the  French 
craftsmen  to  exhibit,  and  we  here  see 
side  by  side  frescoes  by  Besnard,  glass 
vessels  by  Koepping,  pictures  by  ( larriere, 
pottery  by  Bigot,  earthenware  by  Dela- 
herche, glass  by  ( talle  and  Damn,  bindings 
by  Vallgren,  and  furniture  by  Serrurier. 
f||  M.  Bing  has  lately  added  to  his  show 

lit  another  class  of  work  which  is  interest- 

ing, and,  above  all,  new  In  the  French 
public.  I  speak  iif  fittings  I'm'  doors, 
must  of  them  the  wmk  of  M.  Gustave 
<  Iharpentier,  the  clever  sculptor.  To  the 
praise  of  this  young  artist  it  must  he 
said  that,  not  satisfied  with  his  early- 
won  laurels,  he  perseveringly  seeks  new 
ornamental  Forms  with  no  less  skill 
t  han  \  mile  energy.  His  four  locks  are 
effective  ami  elegant,  ami  very  boldly 
imagined.  He  has  striven  to  represent 
Music,  Poetry,  Painting,  ami  Sculpture, 
and  in  the  last  he  displays  in  tin-  model- 
ling a  touch  of  amazing  lightness.  His 
HJ  finger-plates  are  also  charming,  though 
window  less  marked  v\  it  h  his  strong  indiv  iduality. 

FASTENING.  \,.u      (,,      ]|is      w,„.ks    '|||||s|       .||s,,      ,'„. 

mentioned    a     pleasing     medallion,    ex- 

I  D 

i  reinely  Parisian  in  style,  by  M.  <  Iheret. 


II.— STAINED     GLASS. 

M.  Erikson,  a   Danish  sculptor,  as 
known  to  the  Parisian  public,  sends 


of  innovation  by  trying  to  repla 
plaee  handles,  devoid  of  all  style  a 


yet  but  little 
some  window- 
fittings  Hi'  a 
curious  type. 
The  style  is 
so  in  e  w  hat 
more  elabo- 
rate and  less 
marked  by 
decora  t i ve 
quality  than 
M.  <  'harpen- 
tier's,  lmt  M. 
Erikson  has, 
nevertheless, 
started  in  a 
happy  vein 
■  the  common- 
l  individuality, 


DOOR-PLATES. 


IttJ    Oustiwc    Chan 


THE    AET    MOVEMENT. 


269 


by    an    eleganl     and    appropriate    pi ■    of    orna-     ages  or  by  trying  to  follow  oul  a  new  road.     How- 
mental  design,  novel  alike  in  form  and  treatment,     ever,  a  group  of  painters  whose  efforts  deserve  to  be 


Tlit'  art  nf  stained  or  painted  glass  lias  for  long     noticed,  thougb  their  results  are  not  yet  perfection, 
years  ceased   to  be  practised  in  France.     While  in     arc   endeavouring   to   reinstate    the    art    of    glass- 


DOOR-PLATES. 
ehanmtiu       fin      ! 


England,   under    the    splendid    stimulus    given    by     painting  in  its  former  dignity.     The  painted   J 
William  Morris,  this  art  has  gone  through  a  triune      of  M.  [bels,  M.  Bonnard,  M.  Roussel,  and  M.  Ranson 


pliant  renascence,  here  no  one  thoughl  of  rescuing  it      shows  verj  marked  advance  both  in  scheme  and  in 
from  oblivion,  either  by  imitating  the  work  of  past     drawing.    With  regard  to  the  execution,  these  artists 


L>70 


THE    MAGAZINE    OE    ART. 


DECORATIVE     PLAQUE. 
(Designed  by   Jules  Cheret.) 


found  themselves  in  serious 
difficulties,  for  it  would 
have  been  almost  impos- 
sible in  France  to  realise 
their  conceptions  with  any 
approach  to  perfection. 

Here  it  is  that  M.  Bing 
lias  been  so  great  a  help  to 
these  artists.  Ha\  mg  been 
commissioned  by  the  I  Erec- 
tor of  the  "  Beaux  Arts"  in 
reporl  on  the  position  of  art 
in  America,  M.  Bing  was 
enabled  to  appreciate  the 
pel  Eection  attained  by  cer- 
tain American  craftsmen  in 
the  making  of  glass,  and 
it  occurred  to  liim  to  have 
recourse  to  them  to  lend 
their  aid  to  the  inexperi- 
ence of  French  painters 
such  as  MM.  Bonnard  and 
Ibels.  The  first  point  was 
to  shake  off  the  traditional 
but  faulty  style  still 
adhered  to  bj  some  decor- 
ators, as,  for  instance,  M. 
Gallaiid,    whose    windows 

shew  small  skill  in  the  use 
"i  the  material,  though  the 
feelin  omposition, 

and  the  inventive  powers 
of  the  arti  i  ci-  often  cx- 
treim       inl   i     ting. 


Thus  M.  Bing  has  been,  in  fact,  a  connect- 
ing link  between  French  designers  and  American 
manufacturers,  bringing  them  together  to  supple- 
ment each  other.  Fur,  while  MM.  Bonnard,  Ibels, 
and  Bauson  would  not  have  had  their  works  effi- 
ciently carried  out  in  France,  neither  could  Mr. 
Louis  C.  Tiffany,  who  has  executed  these  fine 
windows,  have  dispensed  with  the  individuality 
of  style  which  characterises  the  young  Frenchmen. 

It  is  interesting,  in  this  connection,  to  make 
some  allusion  to  this  class  of  decorative  work  in 
America.  John  La  Farge,  after  seeing  in  England 
certain  painted  windows  from  designs  by  Madox 
Brown,  Etossetti,  and  Burne-Jones,  was  the  first 
American  to  contemplate  the  possibility  of  restor- 
ing coloured  glass  to  its  ancient  importance  as  an 
element  in  general  decoration  :  and  he  perceived 
that  in  this  direction  a  line  of  distinct  advance 
lay  open   to  him. 

Louis  C.  Tiffany,  after  him,  went  further  on  the 
scientific  side,  striving  to  discover  the  rich-hued 
glass  of  the  Gothic  period.    But  he  was  not  content 


WINDOW. 
{Designed  by   Bonnaril,     executed  by 


THE    ART    MOVEMENT 


•27\ 


to  tread  a  beaten  path.     The  first  thing  to  be  clone     our  forefathers.     M.  Hanson's  glass  window  may  be 

was  to  1  i in!  the  secret  of   the  sumptuous  material,     regarded  as  a  typical  instance. 

the  whole  diapason  of  lost  harmonies,  and  the  craft  Ai  the  same  time  the  glass-workers  who  exhibil 

at  L'Art  Nouveau  are  open  t le  critical   remark, 

namely,  thai  they  do  not  strictly  confine  themselves 
to  the  true  character  and  aim  of  the  material  they 
work  in.  ( Mass-painting  to  us  is  an  essentially  sacred 
form  of  decoration,  and  it  is  a  misapprehension — 
or,  at  least,  a  serious  modification  of  its  uses  to  alter 
its  character  to  so  great  an  extent.  In  the  writer's 
opinion  it  can  never  have  its  full  significance  or 
produce  its  full  effect  elsewhere  than  in  the  solemn 
setting  of  a  church  or  a  cathedral.  And  certainly  it 
is  in  no  such  selling  that  the  painful  designs  of  one 
young  artist  can  find  a  place,  for  they  are  essentially 
secular  in  character.  Hence  we  must  pause  before 
passing  final  judgment  on  the  ultimate  outcome  of 
these  efforts.  We  must  here  rest  content  with 
pointing  out   the  glass-work  at  L'Art  Nouveau  as  a 


WINDOW. 
(Designed   by    Ibets.       Executed   bij    L.    C.     Tiffamj.) 

of  pictorial  simplicity,  without  the  intervention  of 
the  painter.  Time,  again,  has  constantly  added  to 
the  splendour  of  early  coloured  glass;  those  slow 
effects  must  be  brought  about  by  .some  new  pro- 
cess. 

Thus  Mr.  Louis  C.  Tiffany's  efforts  had  a  double 
aim.  he  endeavoured  both  to  produce  glass  of  equal 
quality  with  the  early  manufacture,  as  we  see  it 
softened  by  time,  and  to  discover  new  methods,  and 
produce  new  results  such  as  might  satisfy  modern 
requirements,  while  faithful  still  to  the  old  strict 
simplicity  of  style. 

Later  still  he  aimed  at    increasing  the  splendid 

e binations  he  hail  hit   upon.     Not  content   with 

having  invented  the  rarest  colours  in  glass  itself,  he 
proceeded  to  introduce  fragments  of  various  natural 
materials,  transparent  slices  of  pebbles  or  precious 
crystals.  These  split,  cut,  and  polished, give  singular 
beauty  to  his  work,  with  effects  undreamed  of  by 


. 


WINDOW. 
executed    bn 


tifyina 


highly  interesl  ina.  experiment,  justi 

ing  for  yel  bettei  work  from  these  young  decorators. 


272 


THK    MAGAZINE    OF    ART. 


MR.     GRAHAM     ROBERTSONS     NEW     DRESSING     OF     "AS     YOU     LIKE     IT." 


THEEE    is    t( 
much    inclini 


tion  just  now  'in  ilir 
part  of  most  mana- 
gers ni'  theatres  to 
aim  in  their  mount- 
ing of  plays  al' 
arresting  the  public 
attention  by  exl  ra- 
vagance  of  outlay 
and  excess  of  detail 
rather  than  by 
judicious  attention 
to  sound  artistic 
principles.  The 
charm  of  well-de- 
signed and  properly 
balanced  effect  is, 
more  often  than  not, 
orlando.  entirely    lost    in    a 

mistaken  effort  to 
gain  attractiveness  by  mere  glitter  and  spectacular 
display.  Everything  rise  is  usually  sacrificed  to 
the  desire  to  satisfy  the  uneducated  craving  for 
profusion  and  elaboration  without  regard  for  the 
more  valuable  qualities  which  come  from  careful 
reticence  and  intelligent  use  of  material.  Mr. 
Alexander's  production  of 
As  You  Like  />  al  the 
end  iif  last  year  deserves, 
i  hcrefore,  to  be  recorded, 
and  is  entitled  to  sincere 
praise,  because  in  it  the 
manager  steered  an  ex- 
cellent in  iddle  course 
between  concession  to 
popular  lack  of  taste, 
and     regard     for     those 

extreme    deVeh  iplllellt  s  of 

artistic  expression  which 
appeal  to  the  expert  few. 
In  the  mounting  of  the 
play  he  had  left  undone 
nothing  which  would  give 
boil  a  real  atmosphere  of 
aesthetic  intention,  lie 
had  made  il  elaborate 
withoul    profusion,  cum-  audrey 

plete     without     over- 
insistence  upon  detail;  and  he  bad  succeeded  through- 
out in  impressing  upon  il  the  stamp  of  consideration 
on  to  a  dominating  scheme  of  arrangement. 
This  is  to  bi    n  J  oned  no  small  achievement,  for  it 


implies  that  Mr.  Alexander's  design  was  to  depend 
in  the  production  upon  something  of  higher  value 
than  the  mere  convention  which  habitually  influ- 
ences most  of  his  fellow-managers.  He  deserves 
credit  for  having  departed  so  intelligently  from  a 
theatrical  tradition  which  is  none  the  less  vicious 
because  it  is  in  most  quarters  accepted. 

Not  a  little  of  the  credit  must,  however,  be  given  to 
Mr.  Graham  Robertson,  who,  as  designer  of  the  costumes, 


CUPIDS     IN      MASQUE     OF     HYMEN. 

and  generally  as  the  artistic  adviser  throughout  the 
whole  production,  was  able  to  impart  to  the  mount- 
ing of  the  play  the  right  touch  of  pictorial  effect. 
His  influence  made  itself  felt  in  the  manner  in 
which  every  opportunity  of  emphasising  the  pictur- 
esqueness  of  the  scenes  and  the  optical  attractiveness 
of  the  groups  and  situations  was  turned  to  account. 
By  careful  attention  to  juxtapositions  of  colour,  by 
judgment  in  lighting,  and  by  correct  observation  of 
the  connection  between  dramatic  action  and  artistic 
suggestion,  he  secured  that  general  consistency 
without,  which  any  scheme  of  treatment  would  be 
impossible  of  realisation.  His  colour  motives  nearly 
all  through  were  expressed  undemonstratively,  and 
withoul  the  use  of  vivid  combinations.  Hepreferred 
to  use  arrangements  which  were  gentle  and  persuasive 
rather  than  loudly  insistent  :  and  to  gain  his  effects 
by  quiet  harmonies  in  preference  to  animated  con- 
trasts. With  a  commendable  sense  of  pictorial 
climax  he  reserved  his  fuller  tones  for  the  moment 
in  the  play  when  the  clearing  away  of  the  complica- 
tions by  which  the  characters  are  affected  makes 
possible  the  happy  ending.  In  the  opening  scenes 
there  was  a  well-judged  distinction  preserved 
between  the  glitter  of  the  court  and  the  quieter 
dress  of  Rosalind,  the  daughter  of  the  banished  duke. 


THE    ART    MOVEMENT. 


In   the  forest,  where  gay  trappings   and   gorgeous  Fortunately    the    period    to   which,  historically, 

accessories  would  be   incongruous,  the  exiled  lords     As    Ton   Like  It   belongs    is   one  which    admits    of 
wore  garments  that  assorted  with  their  surroundings ;     picturesque  treatment,  and  therefore  observance  of 


•  TV 


and  Rosalind  herself,  in  her  boyish  disguise  of  green 
and  brown,  was  appropriately  in  keeping  with  the 
Landscape  in  which  she  takes  her  place  as  a  fascin- 
ating foreground  figure.  But,  at  the  end,  the  nuptial 
festivities  which  mark  the  rounding  off  of  the  story 
gave  occasion  for  much  mure  display.  Hymen  and 
lier  train  took  part  in  a  masque,  a  pretty  piece  of 
symbolism  of  which  the  meauing  was  made  no!  less 
clear  by  the  colour  progression  than  by  the  stages 
of  the  action.  The  country  youths  and  maidens  in 
greys  and  browns,  the  bridal  nymphs  in  white  dra- 
peries, the  ipniint  woodland  sprites  dressed  in  skins 
and  wreathed  with 
greenery,  served  as 
a  foil  to  the  impos- 
ing figure  of  Hymen 
herself    in    robes  of 

white    and    orange, 
and  surrounded    by 

a  1 1  enda  nt    eupids, 

(lower-crowned,  and 

gorgeous  in  tunics  of 

laight  rosy  red.   The 

whole  scene  served 

as     an     excellenl 

finish  to  the  play,  an 

ending  as  happy  in 

ils    appeal     to    the 

eye  as  dramatically 

it    was    satisfactory  sketch   for 

to  the  emotions.  (s*  "■ 


Shepherd  and  Shepherdess  in  Masque  of  Hymen. 

archaeological  exactness  did  not  obviously  limit  the 

artistic  intention  in  the  St.  James's  production.  The 
correctness  of  the  costumes  was  complete  enoi  gh  to 
satisfy  the  student  of  history,  and  yel  the  designer 
was  ii"t  denied  latitude  sufficient  to  enable  him  to 
please  the  eyes  of  the  average  inexpert  lover  of 
pretty  effects.  Tin'  scenery  of  the  play  is  subject 
to  even  less  limitations,  for.  with  the  exception  of 
the  palace  court-yard  in  the  first  act,  it  need  only 
express  that  air  of  nature  which  is  not  affei  ted  by  any 
of  the  dictates  of  fashion.  Mr.  II.  1'.  Hall  and  Mi.  \V. 
Hann,  who  were  responsible  for  the  forest  seem  had 
only  to  paint  atti 
tive  backgi  minds, 
and  did  so  with  ex- 
cellenl d iscret  ion, 
suggesting  agn 
t  ho    niysl  (  iv    and 

variety  of  the  » I- 

land  subjects.  Mr. 
i  itetl  t  he 
tural  setting 
of  the  palace  scene 
without  i 
tion.    and    avoided 

the  far  t 'omuion 

ci i   take   of   over- 

empha 

which    should    be 

FOREST     SCENE.  k'pt     '"     proper    '"'|- 

p.  Hdi.)  istic  subjection, 


^74 


THE    MAGAZINE    OF    ART. 


NEW     STENCILLINGS. 


WE  referred  al  sum.'  length  in  our  November 
issue  to  Messrs.  Aldam  Heaton's  sten- 
cilled stuffs  for  wall  decoration;  we  now  draw 
attention  to  two 
special  designs  which 
have  been  executed 
and  applied  to  the 
adornment  of  two 
houses  in  Collingham 
Gardens.  Excellent 
in  design  and  rich  in 
colour,  the  effect  is  far 
in  advance  of  any- 
thing that  can  be  ob- 
tained from  ordinary 
wall-paper. 

The  "  Fisken  " 
stencil  is  used  mi  the 
staircase  wall,  and  is 
designed  on  the  model 
of  an  old  English  tapes- 
try. By  a  method  of 
underprinting  an  en- 
tirely different  degree 
of  absorption  is  im- 
parted to  the  rest  of 
the  ground,  with  the 
result  that  all  that  is 
printed  on  it  becomes 
light  and  dark  with  a 
considerable  tendency 
to  variations,  lending  special  charm  of  colour. 

The  "  <  'alavas  "  pattern  is  based  upon  the  design 
<if  an  old  Venetian  damask,  the  stencilling  being  in  oil 
upon  a  lacquered  and  metal  ground.     Owing  to  the 


moderate  gradation  of  colour  it  has  the  rich  and 
sober  effect  pertaining  to  an  antique  velvet  on 
similar   woven   fabrics,  rendering    it    specially   suit- 


THE  "CALAVAS"  PATTERN. 


THE  "FISKEN"  PATTERN. 

able  for  the  purpose  to  which  it  has  hern  adapted  in 
this  case — the  decoration  of  a  dining-room.  Both 
designs  are  on  a  good  scale,  being  4  ft.  G  in.  or  more 
in  length,  and  of  proportionate  width. 


JOHN     LA     FAROE. 


To  tin-  many-sided  genius  of  "John  La  Farge" 
(Seelej  and  Co.)  Mrs.  Cecilia  Waern  has  de- 
voted an  excellent,  number  of  the  Portfolio.  Few 
artists  arc  more  interesting  than  Mr.  La  Farge, 
justly  celebrated  in  America  as  painter  and  wood- 
draughtsman,  as  decorator  and  religious  designer,  as 
modeller  am!  writer  and,  above  all,  to  our  mind,  as 
de  igne]  in  glass.  There  is  not  only  originality  in 
whatevei  branch  of  work  he  undertakes,  but  beauty 
and  passion,  too.  As  we  have  said,  it  is  especially  as 
;i  designer  in  glas  that  lie  rises  to  his  fullest  height. 
In  this  realm  he  is  a  creator  with  a  high  sense 
eoration  ami.  perhaps,  a  slill  higher  sense  .if 
litly   preferring  the  inherent    beauties  of 


glass  itself  to  mere  surface-paintings  and  pattern: 
drawn  upon  its  surface.  "Stained  glass"  to  him 
means  something  more  than  pictures  of  saints  and 
heroes.  Flowers,  or  even  mere  spots  of  colour,  are 
sufficienl  motives  for  him  to  build  up  an  exquisite 
pattern  more  beautiful  to  look  upon  than  most  of 
the  glass-pictures  in  our  churches  and  cathedrals. 
How  he  obtains  his  beautiful  effects  with  glass- 
moulding  and  "plating,"  and,  indeed,  how  he  has 
risen  in  the  eminence  which  undoubtedly  is  his, 
should  be  learnt  from  this  most,  interesting  volume. 
It  is  rare  to  find  an  artist  gifted  at  once  with  so 
poetic  a  spirit  allied  to  the  mure  vigorous  and 
original  power  of  design. 


FROM     A     PEN      DRAWING. 
(.By     R.    Spence.) 


THE     DECORATION     OF     THE     PRINTED     BOOK. 


mgMMM£^I^£^i%^& 


THERE  would  seem  to  be  two  notable  periods 
in  the  history  of  almost  every  one  of  the 
applied  arts:  the  one  when  the  new  method  is 
exploited  for  the  first  time  and  its  limitations  have 
not  been  overcome : 
the  other  when 
craftsmen  again  re- 
cognise, and  this 
time  consciously, the 
importance  of  those 
limitations  which  it. 
had  been  the  object 
of  their  immediate. 
predecessors  to  com- 
bat, The  results  of 
l  ho  first  period  show 
a.  happy  instinct  due 
more  to  lack  of  tech- 
nique than  to  inten- 
tional simplicity; 
the  second,  when 
the  danger  of  mere 
technical  extrava- 
gance is  felt,  and 
when  it  is  recognised 
that  to  surmount 
certain  limitations 
defeats  its  own  end. 
lias  conscious  sim- 
plicity renewed. 


ITALIAN     SCHOOL    (Fifteenth    Century). 

"  Tilt    Or My  oj   <!>■    Indies"   (Florence,    1493'j 


Of  course  such  renaissance  may,  ami  often  does, 

occur  more  than  once,  with  broad  intervals  of  lime 

and  locality  separating  each    manifestation.     But  a 

certain  aspect  of  unconscious  rectitude  or  distinctly 

loyal    obedience    i" 

the     conditions     of 

the   material    mark 

all  such  periods.     In 

stained-glass,  mosaic, 

a nd  ma u v  oi  her 
branches  <■{  the  arts 

this  theory  might   be 

applied  successfully, 
especially  so  to 
the    art    of   ■■  book 

building"(as  i lem 

,i  i  I  .-la  ne  lias  it  ). 
For,  as  we  all  know, 
in  the  verj  first  days 
df    the    making    of 

1 ks,    in    missals, 

and    other    illumin- 
ated  manuscripts, 
the  whole  pai  i 
a  panel  of  consistent 

d .ii  ion,  i  he    li  i 

ters  playing  a  part 
no  less  important 
than  ihede\  ices.  So 
in  tin'  earlier  printed 


276 


THE    MAGAZINE    OF    ART. 


^ommuindetan^ 

frame  Ibdbarti  wdinfe 
fanctifrancifci 


GERMAN     SCHOOL    (SIXTEENTH     CENTURY). 
("Pomerium    tie    Tempore"       By    Joliann    Othmar.      Augsburg,     1502.) 

books,  the  same  principle  was  obeyed  more  or  less. 
But  from  the  end  of  the  fifteenth  century  until  the 
middle  of  tins  there  seems  to  have  been  no  important 
attempl  to  construct  books  on  these  lines.  We  find, 
indeed,  admirable  type,  with,  at  times,  admirable 
decoration  and  often  really  fine  pictures;  but  all 
apparently  unrelated  to  each  other,  and  the  result  of 
the  page  seems  to  be  due  to  at  least  two — or  possibly 
three     persons,all  holding  distinctly  divergent  ideals. 

Ta  te  has  1 n  bestowed  plentifully  enough;  nor  is 

it,  l>y  any  means  "mostly  bad;"  but.  the  art  of  pro- 
ducing a  consistent  entity  is  usually  ignored.  We 
find  bound  portfolios  of  engravings,  interspersed  with 
pagi  of  text,  and  still  later  pages  of  not  particularly 
I  type  plastered  with  pictures,  wherein  by 
wood-engraving  or  process  the  aim  has  been  to 
imitate  a  wash-drawing,  bul  a  harmonious  page 
rarelj .  if  ever, 

The   decorative    illustration    of   books  has  been 

the  subjecl   of  many  lectures  and  manj   oca al 

articles,  and  in  the  history  of  early-printed  bonks 


this  aspect  of  the  subject  has  naturally 
taken  a  prominent  place.  But  a  volume 
wholly  devoted  to  it  was  not  in  existence 
until  Mr.  Walter  Crane,  an  artist  pecu- 
liarly fitted  for  the  task,  remodelled  cer- 
tain "Cantm"  lectures  delivered  before  the 
Society  of  Arts,  and  extended  them  to  in- 
clude the  latest  recruits  to  the  new  school 
of  book-building.  This  volume  in  the 
familiar  "Ex  Libris"  series  "  Of  the  Decora- 
tive Illustration  of  Books  Old  and  Xew  " 
(( ieorge  Bell  and  Sons),  is  itself  a  fair  speci- 
men of  the  ideal  set  forth  in  its  argument. 
As  every  one  of  its  hundred  and  fifty  illus- 
trations has  been  reproduced,  nearly  always 
in  its  original  size,  the  book  cannot  be  re- 
garded as  an  ideally  consistent  attempt ; 
for  it  is  of  the  first  importance  in  a  really 
beautiful  volume,  that  every  device,  pic- 
ture, or  other  decoration  should  have  been 
designed  for  its  particular  position,  upon 
a  scale  planned  with  close  attention  to 
the  "  face  "  of  the  type  employed. 

This  may  be  regarded  as  the  common- 
place of  the  subject — a  statement  that 
the  youngest  student  of  Birmingham,  or 
the  oldest  disciple  of  Mr.  William  Morris, 
has  at  his  fingers'  end.  But  so  far,  if  you 
wanted  to  refer  to  the  argument,  no  con- 
venient book  was  at  hand  ;  and  Mr.  Crane 
has  done  much  more  than  reiterate  the 
bald  statement  here  set  down.  He  has 
shown  his  sympathy  with  very  different 
ideals — with  the  purely  Gothic  style  of 
the  Kelmseott  Press,  naturally,  but  with- 
out prejudice  to  the  movement  based  on  the  English 
Renaissance  which  "  the  Century  Guild  "  revived,  or 
to  the  ideal  based  more  directly  on  the  Florentine 
Renaissance  which  the  Vale  Press  has  re-instituted. 
Even  Mr.  Beardsley,  of  the  Morte  d'Arthur  period, 
and  Mr.  W.  H.  Bradley,  the  young  American,  both 
receive  appreciation.  It  is  also  interesting  to  note 
certain  early  pictures  by  Charles  Keene,  Rossetti, 
Sandys,  and  Lawless,  which  deliberately  renewed 
the  manner  of  Diirer  or  Burgmair.  One  or  two 
unfamiliar  names  occur,  Calvert  and  Bateman  for 
instance,  which  prove  that  Mr.  Crane  has  not 
skimmed  his  subject,  but  explored  it  thoroughly. 
Even  Mr.  Howard  Pyle  in  America,  and  certain 
younger  Frenchmen  and  Belgians,  receive  a  due 
share  of  his  notice  and  their  rightful  appreciation. 
But  perhaps  the  most  valuable  of  the  illustrations 
he  has  included  arc  those  which  arc  taken  from  the 
late  William  Morris's  unique  collection  of  early 
printed  books  and  MSS.  Many  of  these  have  not 
been  reproduced  before;  and  although  we  may  not 


THE    DECORATION    OF    THE    PRINTED     BOOK. 


discover  anything  surpassingly  above  woodcuts  of  the 
same  period  which  are  familiar  enough,  yet  because 
they  are  new  they  impress  one  more  keenly,  and  en- 
force more  directly  the  lesson  Mr.  Crane  has  set 
himself  I"  teach.  But  it  is  folly  to  expect  that  an 
ideal  which  belongs  to  the  far  past  can  ever  supply 
the  average  wants  of  the  average  reader  to-day. 
We  do  not  expect  or  wish  to  see  every  volume 
that  leaves  the  press  made  into  a  work  of  decorative 
art.  As  good  furniture  or  fabrics  may  exist  without 
ornament,  and  become  beautiful  by  the  simplicity 
with  which  the  usefulness  of  the  object  is  achieved, 
so  all  we  can  ask  of  modern  fact  or  fiction  is  that  it 
shall  not  be  meanly  printed  or  made  hideous  by 
superfluous  decoration.  Books  of  real  beauty  can 
be  found  at  all  periods,  which  do  not  contain  an 
atom  of  decoration.  Some  may  not  agree  with  Mr. 
Walter  ('lane's  standard  in  a  single  particular:  but 
on  the  other  hand  every  style  is  liable  to  be  made 
unattractive  by  lack  of  care.  For  a  book  is  a 
product  of  so  many  hands;  the  responsi- 
bility for  its  production  is,  as  a  rule, 
divided  between  three  people  at  least — 
author,  printer,  and  publisher — and  in 
days  when  few  volumes  are  not  illus- 
trated we  must  add  artist  and  engraver 
to  the  essential  trio.  Nor  does  this  ex- 
haust the  total  of  those  in  whose  hand- 
the  book  is  shaped.  Printers'  readers 
have  their  ideas  of  dividing  words  and 
breaking  up  paragraphs.  The  title  page 
may  or  may  not  be  left  to  a  compositor 
of  florid  taste,  whose  effort  is  to  include 
as  many  varieties  of  type  as  its  lines 
permit.  So,  too,  the  binder  with  his 
"guillotine"  may,  and  unluckily  often 
does,  "finish"  a  book  with  a  vengeance. 
In  fact,  the  perils  which  beset  a  volume 
from  its  MS.  to  the  critic's  table  are 
more  than  an  outsider  dreams  of,  and  the 
wonder  is  rather  that  any  hooks  approach 
an  ideal  standard  of  perfection,  than  that 
most    fall  short. 

Mr.  Waller  Crane,  starting  with  early 
MSS.,  traces  the  progress  of  the  hook 
until  its  dec-line  towards  the  close  of  the 
sixteenth  century.  Tins  lie  docs  with 
much  insight  ami  appreciation,  and  per- 
haps from  a  moie  purely  decorative  stand- 
point than  that  which  any  of  the  many 
historians  of  the  period  have  adopted. 
But  it  is  possibly  in  the  later  chapters, 
where  he  formulates  certain  principles, 
and  illustrates  his  meaning  with  examples 
freely  borrowed  From  contemporai'y  work, 

that     lie    will     he     found     to     he     most     III 


structive.  For  not  merely  the  proportions  of  the 
page  and  its  margin,  the  face  of  the  type  and  the 
various  matters  which  concern  the  designer  and 
the  printer,  come  under  notice,  hut  othei  items,  such 
as  title-pages,  and  head  and  tail  pieces,  ai 
freely.  Even  end  papers  do  not  escape  notice.  The 
examples  he  quotes  ate  not  confined  to  British  pro- 
duce, but  range  from  Japan  to  San  Francisco.  In 
laying  stress  upon  the  importance  of  proportion  ami 
upon  orthodox  well-planned  lettering,  he  adva 
arguments  which  seem  entirely  unassailable,  and 
should  have  effect  upon  the  vast  army  of  illus- 
trators, some  of  whom  are  peculiarly  unmindful  of 
these  two  most  important  factors.  The  following 
passage  will  show  how  lightly  Mr.  Crane  has  treated 
the    subject,   and    yet   how    very   seriously    he    has 

Studied    his   theme.      It    is    the    charm   of    the    1 k. 

that  although  didactic  it  never  preaches,  hut  gives 
advice  and  hints  of  great  practical  value  in  a 
readable  and  non-controversial  manner-. 


278 


THE    MAGAZINE    OF    ART. 


After  discussing  the  importance  of  acknowledging 
frankly  the  necessarily  rectangular  character  of  the 
type-page,  Mr.  Crane  goes  on  to  say: — 

••But  first,  if  one  may,  paradoxically,  begin  with  'end  paper' 

as  ii  is  curiously  called,  there  is  the  lining  of  the  1 k.     Here 

the  problem  is  to  rover  two  leaves  entirely  in  a  suggestive  and 


FROM     A     PEN     DRAWING. 

(By    Patte,,    Wilson.) 

not  obtrusive  way.     One  way  is  to  design  a  re- 
peating pattern  ;h  on  the  principle  of  a  small  printed  textile, 

ature  wall  paper,  in   one   or  more  colours.     Something 

restive  of  the  character  and  contents  of  the  book 

is  in  place  here,  but  nothing  thai  competes  with  the  illustrations 

li  m;i\  be  considered  as  a  kind  of  quadrangle,  forecourt, 

irden  oi  grass  plot  before  I  lie  door. 

■■Wi  bended  to  lingei   long  here,  but  ought  lo  get 

some  liinl  o:  encourag I  to  jo  on  into  i  be  ' k.     'I  be  i s 

of  the  owner  (ii  he  is  fond  of  heraldry,  and  wants  to  remind  the 


potential  book  borrower  to  piously  return)  may  appear  hereon — 
the  book-plate. 

"  If  we  are  to  be  playful  and  lavish,  if  the  book  is  for  Christ- 
mastide  or  for  children,  we  may  catch  a  sort  of  fleeting  butterfly 
idea  on  the  fly-leaves  before  we  are  brought  with  becoming, 
though  dignified  curiosity  to  a  short  pause  at  the  half-title. 
Having  read  this,  we  are  supposed  to  pass  on  with  somewhat 
bated  breath  until  we  come  to  the  double  doors, 
and  the  front  and  full  title  are  disclosed  in  all 
their  splendour. 

"Even  here,  though,  the  whole  secret  of  the 
book  should  not  be  let  out,  but  rather  played 
with  or  suggested  in  a  symbolic  way,  especially 
in  any  ornament  on  the  title-page,  in  which  the 
lettering  should  be  the  chief  ornamental  feature. 
A  frontispiece  may  be  more  pictorial  in  treat- 
ment if  desired,  and  it  is  reasonable  to  occupy 
the  whole  of  the  type  page  both  for  the  lettering 
of  title  and  the  picture  in  the  front ;  then,  if  rich- 
ness of  effect  is  desired,  the  margin  may  be  covered 
also  almost  to  the  edge  of  the  paper  by  inclosing 
borders,  the  width  of  these  borders  varying  accord- 
ing to  the  varying  width  of  the  paper  margin,  and 
in  the  same  proportions,  recto  and  verso  as  the  case 
may  be,  the  broad  side  turning  outwards  to  the 
edge  of  the  book  each  way.'' 

It  seemed  best  to  quote  a  rather  long 
passage  in  full,  rather  than  to  attempt 
to  condense  the  argument  of  the  whole 
book  in  a  few  paragraphs. 

For  if  Mr.  Crane  has  no  new  secrets 
to  divulge  and  hardly  any  novel  truths 
to  proclaim,  lie  has  formulated  the  theory 
which  both  he  and  Mr.  Morris  have  put 
in  practice  in  a  most  intelligent  fashion, 
and  shows  his  loyalty  by  example  and 
precept  on  every  page  of  this  comely  book. 
The  construction  of  a  really  perfect 
book  is  far  more  likely  to  be  achieved 
by  avoiding  blemishes  than  by  including 
merely  decorative  adjuncts.  The  creed  of 
splendid  simplicity  is  never  a  popular 
one,  and  in  the  days  of  cheap  blocks 
and  ambitious  young  designers,  the  danger 
of  over-doing  ornament  is  more  than  ever 
one  which  lurks  close  at  hand.  Bui  if 
designers  and  publishers  will  study  the 
sound  principles  here  laid  down,  the  re- 
sult cannot  but  be  good,  for  herein  no 
eccentricity,  no  wilful  following  of  ex- 
ploded theories  is  advised.  Common  sense  with 
good  taste  sums  up  nearly  all  that  makes  for  art,  in 
a  book,  or  any  other  object  of  craftsmanship.  It  is 
this  which  the  author  of  "Decorative  Illustration" 
urges  and  insists  upon,  directly  and  indirectly:  and 
because  his  reasoning  is  sound  the  principles  he 
advances  can  be  applied  to  books  treated  in  quite 
another  fashion  than  the  one  which  he  favours  most 

E.  B.  S. 


279 


NOTES    AND    QUERIES. 

[For   "Regulations?   see   The   .Magazine  of  Art  for  November. 


[25]  PORTRAITS  BY  HOLBEIN. — Ainong  the  Holbein 
portraits  in  the  Imperial  Art  Museum  . 1 1  Vienna  are 
those  of  Queen  Jane  Seymour  and  of  John  ( Ihambers, 
physician  to  Henry  VIII.,  in  his  eighty-eighth  year. 
These  portraits  were  painted  when  Holbein  was 
installed  as  painter  to  the  Court.  Besides  these 
there  are  five  other  portraits  by  this  master,  painted 
when  he  was  in  England  ;  of  these  two  are  round 
canvases,  eleven  centimetres  in  diameter,  representing 


monogram  exactly  similar  was  adopted  by  Hans 
Bol,  who  lived  L534-83.  Is  it  possible  that  Doyle 
deliberately  copied  this  mark? — 1 ). 

*%  It  is  not  at  all  probable,  inasnru 
'  H3  "  is  in  reality  LD.  twice  repeated,  one 
'"'Heath  the  other.  As  regards  the  question  of 
originality,  the  matter  would  be  a  difficull  one 
to  set  at  rest,  for  many  artists,  painters,  and 
engravers    have    used    this    sign-manual,    eithei 


PORTRAITS     OF WHOM? 

(By    Holbem.      In    the    Imperial    Art    Museum    at 


a  gentleman  and  a  lady — probably  his  wife  -that  are 
evidently  companion  portraits.  These  portraits  are 
anonymous,  bul  the  initials  of  Henricus  Rex,  em- 
broidered upon  the  scarlet  robes  of  the  gentleman, 
indicate  that  he  was  also  attached  to  the  Court.  The 
inscription  upon  the  portrait  of  the  gentleman  is 
"  EtatlS  Sua  30,  Anno  1  53  1  "  and  that  upon  the 
other  canvas  is  " Etatis  Su;e  28,  Anno  1534."  The 
query  is,  whom  do  these  portraits  represent?  The 
valuable  opportunity  herewith  generously  afforded 
by  The  Magazine  of  Art  inspires  the  hope  that  the 

accompanying    re] luctions    of    photographs   from 

the  originals  may  iuteresl  some  of  its  leaders  to 
institute  such  comparisons  with  other  portraits  of 
tli  ■  -aiir-  individuals,  if  now  extant,  as  -ball  lead  to 
their  identification.-    -I.  IF.  I ).  <  Vienna). 

[26]  JOHN  DOYLE'S  MONOGRAM.  —  I  always  un- 
derstood thai  the  familiar  monogram  "115'*  was 
peculiarly  thai  of  John  Doyle,  the  draughtsman  of 
the  numerous  political  satires.     I    now   find  that  n 


as  ii  stands,  oi  with  some  slight  addition. 
Of  these  tnaj  be  mentioned — I.  Behan,  II. 
Bloeiuart,  J.  de  Bry,  Hans  Baldung  Griin,  Jakob 
Binck,  II.  Van  Balen,  Horace  Borgiam,  Jan 
Bockhorst,  Sigismund  Holbein,  .lau  van  Hugten- 
borg,  Hans  Brosamer,  Isaac  Brunii,  and  Leopold 
Hugo  Biirckner.  This  li-t  mighl  possiblj  be 
extended.— S. 

[27]  EARLIEST  TREATISES  ON  MINIATURE  PAINTING. 

We  know  with  fair  accuracy  t  be  age  of  i  be  eai  best 
miniatures  from  those  which  down  to  us. 

But   was   any   lilei.m     notice   given    to    the   ail     U 
contemporary  writers  '     What  was  the  fh 
written  upon  the  art  ?     J.  Henry. 

£%  If  we  exclude  as  uncertain  ••The  - 
of    .Miniature,-.,"    published     in    London     in    1733, 
and    .-aid   to   I"'   printed   "  from  an  old   MS.,"  of 
which    a    copy   is   in    i  he    Bril  isli    Museum,  ami 
if,  for   lie                   '  -on.  we  al  □  the 

•  Escole  de  la    Mignal  i i   which  t  be  second 


280 


THE    MAGAZINE    OE    ART. 


edit  inn  was  published  at  Lynns  in  1679,  the 
earliest  treatise  I  know  of  is  to  be  found  in  "  The 
Excellency  of  the  Ten  and  Pencil  "  [the  latter 
word  being  used  in  the  old  sense  of  "brush  "]  by 
an  anonymous  author,  and  printed  by  Thomas 
Ratcliff  and  Thomas  Daniel,  and  sold  by  them  at 
the  Chyrurgeons  Arms  and  at  the  Golden  Lyon. 
It  is  dated  1668.  This  book,  which  is  based  in 
part  upon  the  writings  of  Dttrer  and  Holbein,  is 
described  as  "  A  Work  very  useful  fur  all  Gentle- 
men, and  other  Ingenious  Spirits,  either  Artificers 
i  <r  others  ;  "  and  it  is  to  be  noted — a  fact  which 
will  be  appreciated  by  all  bibliophiles — that  it  is 
entirely  unknown  to  Lowndes.  Eight  pages  are 
devoted  to  "  Miniture,"  and  how  to  finish  a  head 
in  three  sittings — the  first,  of  two  hours;  the 
second,  of  four  or  five;  and  the  last,  of  three 
hours.  The  directions  are  interesting  for  the 
indications  both  for  each  separate  stage  in  the 
i  xecution,  and  for  the  colours  to  be  used:  "lake 
and  white  mingled,"  red-lead  for  the  face,  "indico 
blew,"  umber,  ivory-black,  " Uhu/lish-oker"  with 
cherry-stone,  silver,  and  "  bise."  "  Landskip  "  is 
also  dealt  with.  It  is  interesting  to  observe  how, 
while  urging  high  finish,  the  author  insists  on  the 
maintaining  of  breadth  throughout  the  whole 
operation. — S. 

[28]    MILLAIS'  "EVE  OF  ST.  AGNES."— "Will  you  ill 

form  me  if  Sir  John  Millais  ever  executed  another 
version  of  "  The  Eve  of  St.  Agnes,"  now  in  the 
possession  of  Mr.  Val  Prinsep,  R.A.  '—at  least,  in 
black  and  white. — T.  L. 

#*#  Our  correspondent  evidently  refers  to  the 
drawing  on  wood  made  by  Millais  in  1857  to 
illustrate  Tennyson's  poem,  now  the  property  of 
Messrs.  Maeinillan.  In  this  exquisite  little  work 
the  heroine  is  standing  by  the  turret  window, 
candle  in  band,  her  breath  showing  in  the  cold 
air,  as  she  looks  out  over  the  brilliant  moonlit 
church  buildings  under  snow.  There  is  another 
version  of  the  same  idea — a  wood-block,  engraved 
from  a  pen-and-ink  drawing  made  in  1854  (in 
I  he  possession  of  Messrs.  Cramer),  for  Leslie's 
"  Si. li-s  for  Little  Folks,"  published  by  Messrs. 
Cassell  and  Co.  In  this  block  the  position  is 
reversed  ;  al  least,  it  is  more  likely  that  it  was 
the  design  in  the  first  engraving  that  was  neces- 
sarily  reversed  through  being  drawn  direct  on 
weed  instead  of  being  photographed  on  to  it 
in  a  conl  rary  ense,  so  that  it  should  print  the 
right  way. 

NOTES. 

THE  LAYARD  COLLECTION.— In  accordance  with 
a  suggestion  received  from  a  correspondent  we 
publish   herewith,  by  the  courtesy  of   Lady  Layard, 


a  complete  list  of  pictures  at  Ca'  Capello,  Venice, 
collected  by  the  late  Sir  Henry  Layard,  which 
will   in    clue    course    become    the    property    of    the 

nation  : — 


Montagna,    "St.    John    Baptist 

anil  Two  Saints." 
]'..  Licinio,  "Holy  Family." 
Flemish  School,   "Christ  Nailed 

to  the  Cross." 
Buonconsiglio      or       Montagna, 

"Head     of     St.    John     the 

Baptist." 
Girolamo    dai    Libri    (attributed 

to),      "Ascension     of     the 

Virgin." 
G.  Bellini,  "  Virgin  and  Child." 
Palma  Vecchio,  "St.  George." 
Vandyck,  Portrait. 
Borgognone,  "Two  Saints." 
Sandro  Botticelli,  School  of. 
Lorenzetti,    A.,    "Two    Heads" 

(fresco). 
Bissolo,      "  Virgin      and     Child, 

Saints,"  etc. 
Sebastian    del    Piombo,     "  Dead 

<  'host." 
Bramantino,       ' '  Adoration       of 

Magi." 
Carpaccio,      "  Landing     of     St. 

Ursula. " 
Previtale,  "  Head  of  Christ." 
Jacopo  de'  Barbarj,  "A  Falcon." 
Memini    (attributed    to),    Initial 

Letter. 
Buonsignori,  "  Virgin  and  Child 

and  Four  Saints." 
<i.  Ferrari,  "Annunciation." 
Savoldo,  "St.  Jerome." 
Komanino,  "The  Muses." 
Moretto,  "Virgin  and  Child  and 

Saints." 
Moretto,  Portrait. 
Moroni,  Portrait. 
Moroni,  Portrait. 
Moroni,  Portrait. 
Gianpedrino,      "Christ     Bearing 

the  Cross." 
Gentile   Bellini,    "Adoration    of 

the  Magi." 


Gentile     Bellini,      "  Portrait     of 

Mohamet  II." 
Filippino  Lippi,  I'm  trait. 
Ercole     Grande,      "  Virgin     and 

Saints." 
Boccacino,    "Virgin    and    Child 

and  Angels." 
Lorenzo  Costa,  "Nativity." 
Bonifazio,     Sketch     for     "Dives 

and    Lazarus "    in    the    Ac- 

cademia. 
Cima,    "Virgin    and   Child    and 

Saints." 
Bonifazio,     "Solomon    and     the 

Queen  of  Sheba." 
Masolino,  "Nativity." 
Patenier,       "The      Flight      into 

Egypt." 
Flemish    School,    "The    Magda 

len." 
Cosimo  Tura,  "Spring." 
Garofalo,  Two  Portraits. 
Ercole     Grande,    Two     Subjects 

from  the  History  of  Moses. 
Giulio    Clovio,     "The    Tree    of 

Jesse." 
Moretto,  "  St.  John  the  Baptist." 
Marco  Zoppo,  "Christ  Bound." 
Garofalo,  "St.  Catherine." 
Antonello  da  Messina,  Portrait. 
Paris   Bordone,    "Christ  Baptis- 
ing St.  John  of  Alexandria." 
Carpaccio,  "Virgin  appearing  to 

a  Devotee." 
Bonifazio,  "A  Battle." 
Morone,    "Allegorical   Figure  of 

Chastity. " 
Bazzi   or   Sodoma,    "Virgin   m\t\ 

Child." 
Titian    (attributed    to),    A    Por- 
trait. 
Gentile   Bellini,    (attributed    to), 

"Portrait  of  Doge  Marcello." 
Rosalba,  Portrait. 
Longhi,  "Portrait  of  Rosalba." 


the  millais  panels  at  Leeds. — We  have  re- 
ceived the  following  interesting  communication 
respecting  the  monochrome  sketches  by  Millais, 
recently  removed  from  the  house  now  known  as 
the  Judges'  Lodgings  in  Leeds  to  the  City  Art- 
Gallery  there  : — "As  a  son  of  Mr.  Atkinson,  solicitor, 
for  whom  they  were  originally  painted,  I  am  per- 
haps better  acquainted  with  their  history  than 
anyone  else.  It  was  in  1847  that  my  father,  having 
recently  added  a  wing  to  the  house,  containing  a 
circular  ball  and  staircase,  had  the  hall  laid  with  a 
tessellated  pavement  designed  by  Owen  Jones,  who 
also  supplied  a  design  for  the  decoration  id'  the 
walls  and  dome,  to  harmonise  in  colour  with  the 
pavement.  Over  the  doors  opening  on  to  the  hall 
below,  four  in  number,  were  lunettes  which  were 
loti  blank  for  artistic  decoration;  and  over  two 
other  doors  on  the  binding  above.  Writing  to  his 
old   friend   Charles  Cope,   b'.A.,  my  father  asked   if 


NuTKs  and  queries. 


28] 


with   two  other  children,  right 
and   lefl    plaj  ing  \\  itli  lambs. 

2.  '  \- .ut  1 1.  A  pair  of 
lovers  seated  on  a  flowery 
bank,  and  two  greyhounds  in 
attendance. 

"  3.  '  Manhood.'    A  wai  rior, 
kneeling  on  one  knee,  is  being 
armed  for  battle  by  threi 
who  bear  helmet .  sword,    pi  ai 
etc.     A  lil Ihound  lies  al   i 

side. 

"4.  'Age.'      An   old   philo- 


CHILDHOOD.      (.Panel  ba  Sir  J.   E.   Millais,   Burt.,   P.B.A.     18*7.) 


he  could  recommend  to  him 
a  sl  mil-Hi  of  the  Academy  who 
could  design  and  paint  groups 
of  figures  for  these  spaces. 
Accordingly  young  Millais,  then 
eighteen  years  of  age,  was 
named  and  invited  to  stay  at 
our  house  for  a  part  of  the 
long  vacation — to  the  best  of 
my  belief  in  July  and  August, 
LS4T.  Dining  the  five  or  six 
weeks  he  lived  with  us  as  one 


YOUTH.      (Pimrl  by  Si,   J.  f    Mtllaie,   Bart.,   PR. A.     7847.) 


MANHOOD.     (Panel  b:j  Sir  J.  £.  Uilluis,  Bart.,  P.B.A.     1847.) 


sopher  instructing  youth  in 
the  sciences. 

"  Tin'  two  npsiaii  r  wen 

1  5.  '  .Music'  Three  female 
figures,  one  of  w  horn  is  seated 
al  an  organ  and  at  tended  mi 
mil'  side  by  a  singer  and  mi 
il tlirr  by  an  angel. 

"  ii.  '  A  ii.'  Also  repre- 
sented by  i hree  Female  figures 
—  l'cielrv.  L'ainting,  and  the 
I  llama. 

"  The  umiueni  e    i>>    \\  hi<  h 


of  the  family.  Tin'  six  sketches 
were  executed  in  nils  mi  semi- 
circular canvases  and  affixed, 
without  frames,  to  the  plaster 
in  the  lniii-t  tes.  They  are  drawn 
i n  se pia  wi I  h  a  M u e  ba c k- 
ground,  the  tones  harmonising 
with  the  walls  and  pavement. 
Tin-  subjects  nf  the  four  pic- 
tures in  tin'  hall  were  tin' 
following: — 

"  I.  'Childhood.'     A   female 
figure  seated,  holding  an  infant. 


AGE.     (Panel  0,,  Sir  J.   £.  Uillals,  Bart.,  P.B.A.     1847.) 


2.S2 


THE    MAGAZINE    OF    ART. 


of  detaching  them  from  the 
plaster  was  a  delicate  and 
difficult  one,  it  has  beerj  ef- 
fected with  tolerable  success. 
They  have  been  remounted  or 
backed,  and  are  now  tenta- 
tively placed  in  similar  lunette- 
shaped  panels  in  the  Central 
Hall. — Edward  Atkinson." 

[These  reproductions  are 
made  by  the  courteous  permis- 
sion of  the  committee  of  the 
City  Ait  Gallery,  Leeds.— Ed.] 


Sir  J.  E.  Millais  eventually 
rose  lias,  iif  course,  greatly 
enhanced  the  interest  in  ami 
value  I'!'  this  early  and  slight 
work  of  his,  ami  it  was  felt 
that-  in    their  original   position 

t  he  V    Were'    h  idden     frOIH    all 

hut,  the  favoured  few  who 
had  aeeess  to  the  Judges' 
Lodgings. 

"  It  was  resolved,  therefore, 
to  remove  them  to  the  Art 
Gallery;   and  though  the  work 


THE     CHRONICLE     OF     ART.— MARCH. 


Art  in  the  rPHE  Drury  Lane  pantomime,  "Aladdin"  is  a 
Theatre.  1  veritable  edition  d,  luxe,  published—  to  keep 
up  the  simile— by  Mr.  Oscar  Baeeett,  and  illustrated  by 
Mr.  WlLHELM  in  a  series  of  living  pictures  that  display  once 
again  his  remarkable  resource  in  colour  and  design.  The 
story  unfortunately  runs  so  much  in  the  one  groove  of 
( !hinese  convention  throughout  that  it  affords  fewer  legiti- 
mate chances  for  variety  than  many  other  subjects  ;  so  much 
the  more  creditable  is  the  pictorial  success  accomplished. 
Alter  witnessing  the  Egyptian  prologue,  with  its  ingenious 
animated  Sphinx  properties,  we  come  to  a  revel  of  charac- 
ter! in-  colour — heliotrope  and  chocolate,  vermilion,  slate 
grey,  indigo,  sulphur,  ami  white— in  the  city  of  Por-se-lin, 
thi  keynote  of  the  scene  being  a  bodyguard  of  state  non- 
iii  progressive  tones  of  canary,  amber,  orange, 
carlet,  crimson,  and  mulberry,  treated  in  a  hold  original 
fashion  that  arrests  attention.  A  dainty  effect  of  willow 
pattern  blue  and  white  is  cool  ami  restful  in  the  laundry 
scene,  and  an  interlude  of  Badroulbadour  and  her  ladies  in 
bio  "in  brocades  brin  ;  u  to  perhaps  the  most  charming 
n  lie-  pantomime.  Aladdin, dreaming  of  his  Princess 
inthegi  >vi  ol  if-  temple  adjoining  the  royal  palace,  sen, 
her  in  the  magic  mirror  in  a  vision  of  beauty  (suggestive  <>i 

the  cloisonne'  enamel  colouring),    mnded   bj   groups  of 

•    az robes  are   embroidered    with   purple 

iris,  rose-tinted  lotus,  and  silver  cranes;  the  background  a 


fantasy  of  bronze  and  turquoise  framed  in  delicate  gold 
tracery.  The  "cave"  scene  ends  with  a  novel  tableau — the 
Genii  of  the  Sun  and  Moon— who,  as  embodied  in  the  Lamp 
and  the  King  of  the  story  respectively,  are  happily  made 
typical  of  the  powers  of  Wealth  and  Love,  and  shower  their 
gifts  on  Aladdin  in  place  of  the  more  hackneyed  jewel 
ballet.  Down  a  starry  stairway  conies  a  phalanx  of  priests, 
warriors,  and  dancers  in  a  finely  contrasted  scheme  of 
golden  maize  and  silver  grey— an  instance  of  Mr.  Wilhelm's 
success  in  restrained  colour.  An  excellent  idea  may  be 
traced  in  the  scene,  but  the  actual  set  of  Mi'.  Emden  is 
conspicuously  lacking  in  the  true  decorative  instinct.  An 
interval  gives  us  welcome  pause,  and  presently  in  the  cele- 
bration of  Aladdin's  wedding  we  find  an  orange-flower 
retinue  of  green  and  wlrte  and  gold  in  various  tones,  with  a 
ballet  that  admirably  illustrates  a  quartette  of  precious 
white  values — ivory,  silver,  crystal,  and  pearl.  Groups  of 
pages  in  costumes  based  on  the  Lilium  nun/turn,  of  singers 
in  robes  all  a-.vhimmer  with  meandering  silver  water  lines 
and  ruddy  gold  carp,  and  maids  of  honour  in  delightfully 
harmonised  chrysanthemum  raiment,  call  for  special  notice 
in  this  scene.  Here  again  unfortunately  the  opportunities 
afforded  to  the  scenic  artist  are  frittered  away,  and  ii  ays 
much  for  the  costumes  that  they  emerge  triumphant  from 
the  conflict  with  crudely  illumined  transparencies  and  an 
ill  devised  and  unsympathetic  environment.     It  is  plea-ant 


THE    CHRONICLE    OF    ART. 


283 


i"  1"'  able  to  add  that  with  the  magical  disappearance  of 
the  Palacea  backcloth  of  distant  country  shows  Mr.  Emden 
in  a  much  more  successful  light,  but  on  the  whole  his  work 
claims  notice  rather  by  its  quantity  than  its  quality.     He  is 


seen  to  far  greater  advantage  in  landscape  "cloth-  (the 
backing  of  the  laundry  scene,  and  the  river  distance  of  the 
market-place,  for  example),  which  have  a  breadth  and  re- 
pose absent  from  his  more  ambitious  sets  already  alluded  to. 
Mr.  Harker's  scene  of  the  vision  in  the  Palace  garden  is  ad- 
mirable in  construction  and  design,  but  less  happily  handled 
than  is  his  wont.  Mr.  Caney  contributes  a  capital  opening 
scene,  and  Mr.  Telbin  a  refined  transformation  picture. 

Tor:  town  of  Bury  has  been  presented  with 
Gift  to  Bury     an  ™Portant  collection  of  works  of  art  by 

Miss  Wrigley  and  Messrs.  Oswald  and 
Frederic  Wrigley.  The  following  are  the  works  com- 
prised in  the  gift  :  — 

Oil  Paintings.— "The  Infant  Samuel"  and  "The  Child  Timothy," 
Mr.  .T.  Sunt.  B.A.;  "  Snowballing,"  Edouard  Frere  ;  "The  Fall  of 
Clarendon,"  E.  M.  Ward,  R.A.  ;  "Listeners  ne'er  hear  any  good  oi 
themselves,"  Mr.  Thomas  Faed,  It. A.  :  "The  Minnow  Catchers" 
and  "The  Cherry  Sellers,"  \V.  Collins,  R.A.  :  "  Calais  Sands,"  .1.  M. 
W.  Turner,  R.A. ;  "Sheep,"  Mr.  T.  Sidney  Cooper,  R.A.  ;  "The 
Old  Mill  at  Bettws-y-Coed "  and  "A  Breezy  Day,"  David  Cox; 
"  The  Novice,"  A.  Elmore,  R.A.  :  "  Ringwood  "  and  "Vicuna  the 
Forth,"  Patrick  Nasmyth;  "Vi  uusand  ( !upid,"W.Hilton,R.A.;  "The 
sl.nr  Market  "  and  "  Venice,"  W.  Miiller,  A.R  A.  ;  "The  Boj  with 
many  Friends,"  T.Webster,  E.A.;  "The Madrigal,"  Mr.  J.  C.  Horsley, 
R.A.  ;  "The  Happier  Days  of  Charles  I.."  Mr.  Frederick  Goodall, 
R.A. ;  "On  the  Coast  of  Brittany"  and  "On  the  River  Texel," 
Clarkson  Stansfield,  B.A.;  "Dante's  Dream,"  Sir  Noel  Paton,  K.S.A.: 
"The  First  Voyage,"  W. Mulready,  R.A.  ;  "Drawing  for  the  Mili- 
tia," John  Phillip,  R.  A. ;    "A  Landscape,"  Old  Ci .  '  Coblent; 

and  Ehrenbreitstein,"  J.  B.  Pyne  j  "St.  Michael's  Mount,"  Geo. 
Chambers  ;  "  The  Student,"  D.  Maclise,  R.A.;  "Diana  at  the  Chase," 
Sir  A.  W.  Callcott,  R.A. ;  "Apollo,"  Mr.  Briton  Riviere,  R  \ 
"The  Rising  of  the  River "  and  "Crossing  the  Brook,"  John  Lin- 
nell:  "The  Random  Shot,"  Sir  E.  Landseer,  R.A  ;  Goit 
the  Spring"  and  "Crossing  the  Brook,"  P,  F.  Poole,  R.A. ;  "A 
Showery  Day,"  Thomas  Creswick,  R.A. ;  and  "The  Cruel  Sister," 
John  Faed,  R  S  A. 

The  W.vir.i;  (.'oloues  eousist  of  drawings  l)j  thi   following   irti  I 


"IV1,]   '"V   George   Barret,  J.  M.  W.Turner,   Madame  Ron  Ron- 
hour.  S   Prout,  Sir  I'..  Landseer,  R.A..  Mr.  T.  S.  Cooper,  I;,  \     Fred 
Tayler,  W.  Hunt,  E.  Duncan,  George  Cattennole,  Sir  John  Gilbert, 
R.A..  D.    Roberts,   R.A.,   C.  Stansfield,   R.A..    1'.  do  Wint, 
Fielding,  and   F.  W.  Topi,  i,,, 

Statuary.— "  Hagar  and  Ishmael,"  by  Marii     B     .         Egeria," 
by  .T.  H.  Foley,  R.A.,  and  "  Heb  and  B 

The  works  remain  at  present  at  Timberhurst,  Bury,  the 
residence  of  Miss  Wrigley,  and  it  is  to  be  hoped  thai  an 
effort  will  be  made  to  build  a  fitting  gallerj  foi  theii 
permanent  housing.  An  offer  of  1,000  guineas  has  already 
been  made  by  Mr.  .1  uhes  Kenyon  towards  this  object. 

Acquisitions  at     ^-   WhITWORTH    WaLLIS     b; tlj 

Birmingham.  purchased  m  Berlin  for  the  city  of  Bir- 
mingham Art  Gallery  some  interesting 
specimens  of  old  German  ironwork  and  modem  gold- 
smithery.  We  are  enabled  to  publish  reproductions  of 
photographs  of  these.  The  wrought  iron  bracket  on  p.  286 
is  nearly  7  ft.  in  length,  and  :?  ft.  3  in.  wide,  and,  what  is 
rarely  seen,  is  worked  on  both  sides.  It  dates  from  tin  be 
ginning  of  the  seventeenth  century,  and  formerly  carried  the 
sign  of  an  inn  in  the  Jacobstrasse,  Augsburg.  The  knockers 
on  p.  is;  are  of  chiselled  iron,  and  date  from  the  seven 
teenth  century.  There  is.  in  addition,  a  small  circular  sign. 
painted  ami  partially  gilt,  also  of  South  German  origin: 
and  a  waterspout,  made  of  bronze,  which  came  from  tie- 
Bishop's  Palace  at  Augsburg,  dating  from  the  eighteenth 
century.  The  specimens  of  jewellery  are  the  work  of 
a  Berlin  goldsmith,  and  form  beautiful  examples  of  the 
combination  of  gold  and  enamel  work.  The  most  important 
id'  these  purchases  is  a  necklace  of  gold  and  a  pendant,  the 
latter  consisting  ol  an  opal  hear;  surrounded  with  diamond  . 
and  surmounted  by  a  ring,  the  whole  being  set  in  a  floriated 
scroll  border  of  translucent  enamels.  The  chain  is  also  do 
corated  with  enamels.    The  two  pendants  illustrated  on  p.  286 

are  also  beautiful  specimens  of  work. ■  being  set  with  dia- 

mondsand  pearls,  with  a  rose  branch  in  enamel.   The  enamels 


are  ol  extraordinarj  delicacy, ami  the  whole  of  the  wo 

hibits  the  develo] ml  of  G  I  inithei  j .  and  should 

i  ,  i  English  craftsn 


2S4 


THE    MAGAZINE    OF    AET. 


More  than  a  hundred  drawings —most  of  them 
Exhibition?.   ^  ff;l|el,ivl]liu|,    |lllt  a  few  jn  sepia     attest,  at 

the  Burlington  Fine  Arts  Club,  the  range  of  Alfred 
Hi  nt's  subjects,  and,  it  may  be,  the  limitations  of  his 
method.  Those  who  were  familiar  chiefly  with  his  later 
work,  or  those  who  in  considering  his  earlier  had  jumped 
to  the  conclusion  that  he  was  always  painting  Whitby  when 
he  was  not  painting  Durham,  had  feared  the  result  of 
assembling  within  the  four  walls  of  a  single  gallery  the 


VASE     BY     A.     DALPAYRAT. 
(From    a    S*e(e/l    by    the    Artist.) 

adequate  representation  of  his  life-work— or  all  of  his 
life-work  that  was  not  concerned  with  practice  in  oils. 
Their  fears  have  not  been  justified,  or,  if  justified  at  all, 
only  by  reason  of  the  absence  of  large  decorative  effect  on 
walls  devoted  necessarily  to  the  exhibition  of  water-colours 
minutely  wrought.  Of  course  there  are  certain  water- 
colours— water-colours  of  another  school  — which  would 
have  been  far  more  decorative.  Alfred 
Hunts  work  was  not  massive  ;  and  gain-  , — _T       - — 

ing  a  visible  finish,  not  so  much  in 
fashion  just  now,  it  lost  breadth  and  an 
obvious  decisiveness.  But  how  subtle 
it  was,  and  how  eminently  studious,  and 
how  continuously  refined  !  Of  pure 
sketching  there  is  very  little  to  be  seen 
iu  the  gallery  of  the  Burlington  Club, 
whose  Committee  have  obtained  for  ex- 
hibition, with  wonderfully  few  exceptions, 
the  things  on  which  Alfred  Hunt,  in  his 
modest  and  reticent  way,  would  most 
have  |  mded  himself.  Even  the  sepias 
arc  no  exception  whatever  to  the  rule  of 
finish.  The  interior  of  Durham  is,  in  its 
illumination,  almost  as  elaborate  as  a 
Turnerian  water  colour  of  the  middle 
period  ;  and  when  we  come  to  colour 
itself  the  elaboration  shows  itself  not, 
fortunately  indeed,  in  the  merely  patient 
Pre  Raphaelite  imitation  of  this  or  that 
mi  ural  object,  but  rather  in  the  subtlety 
nd  complexity  of  atmospheric  effect — 
ili-  thing  to  which,  more  than  to  prob- 
lems of  colour  or  problems  of  draught  - 
manship,  Alfred  Hunt  devoted  himself 
during    arduous    years.       [f     his    success 

was  not   invariable,  think  of  the  diffi- 
culties of    his  attempts!     Remember  that   from  the  range 
of   his    vision    he    deliberately    banished    the   easy.      It    is 

rciilK   1 ause  of  tie-   frequency  of   the  concentration  of 

his   attention    on    atmospheric    effect    that    we    can    suffer 
lelly  in     Vlfred    Hunt— what    we    can    suffer   gladly   also 


in  Albert  Goodwin— the  repeated  dealing  with  the  same 
place.  The  same  place  is  not  always  the  same  theme.  The 
hour  is  a  different  one:  the  light  has  changed;  another 
and  ipiite  different  sky  hangs  over  the  town,  the  harbour, 
ami  the  hill  side.  The  result,  of  course,  is  a  different 
picture.  Besides,  Mr.  Hunt  looks  at  his  Whitby,  looks  at 
his  Windsor,  looks  at  his  Durham  from  every  kind  of  point 
of  view.  What  was  background  in  one  drawing  has  be- 
come foreground  in  another  ;  only  the  arch-Philistine  could 
aver  that  the  artist  was  painting  the  same  scene.  Alfred 
Hunt  laboured  for  forty  years,  and  the  years  cannot  be 
divided  into  "  periods."  That  is  to  say,  his  maturity  knew 
no  periods:  of  course,  there  was  a  time  before  he  became 
a  master  of  his  method,  and  a  time  during  which  he,  in 
consequence  it  may  be  of  enfeebled  health,  worked  not 
quite  so  successfully  as  of  yore.  In  our  own  columns  there 
is  the  less  need  to  insist  at  greater  length  upon  the  char- 
acteristics of  his  refined  and  tender  art,  inasmuch  as  these 
have  been  discussed  sympathetically  by  Mr.  Wedmore  in  an 
article  published  in  this  .Magazine  but  a  few  years  ago. 

Latterly,  at  the  Petit  Gallery,  in  Paris,  an  interesting 
exhibition  of  ceramic  ware  has  been  held  by  the  sculptor 
M.  Dalpayrat.  The  artist  excels  in  his  gres  jlammes,  in 
which  he  has  succeeded  in  obtaining  some  very  tine  effects. 
The  tonus  of  his  vases  are,  perhaps,  less  perfect  than  the 
paste  itself ;  nor  does  the  artist  succeed  in  divesting  himself 
altogether  of  the  influence  of  Jean  Carries,  who  was  the 
master  par  excellence  of  this  style  of  art. 

At  the  25  Gallery,  Soho  Square,  is  to  be  seen  a 
collection  of  original  drawings,  lithographs,  aud  etchings 
by  representative  artists  of  the  advanced  schools  of 
England  and  the  Continent.  Among  others  there  are 
works     by     Messrs.    EDGAK    WlLSON,    PiAVEX-HlLL,    A.    S. 


BETWEEN     TWO     FIRES. 
(By    F.    D.    Millet.      See    Notice    of   Royal    Institute   Art    Union,    p.    288.1 

Hartrick,    MM.   Willette,    Rops,    C    M.ut.in,    and 
Louis   Legrand. 

To  Mrs.  Hkni:v  Aon  (whom  many  of  our  readers 
Reviews.  ^-^  iietter  recosnise  under  her  name  of  "Julia 
Cartwright,"  a  valuable  contributor  to  these  rages)  we 


THE    CHRONICLE    OF    AET. 


285 


owe  the  important  volume  "Jean  Francois  Millet:  His  Life 
and  Letters" (Swan  Sonnenschein).  For  this  book  we  have 
little  but  praise.  Mrs.  Ady  in  her  devout  admiration  of 
the  great  peasant  painter,  moved  by  the  knowledge  that  the 
numerous  Fives  and  Memoirs  hitherto  published  have  been 
incomplete,  though  inter- complementary,  took  upon  herself 
the  task  of  bringing  them  all  together,  harmonising  mis- 
statements, collating,  arranging,  and  correcting,  and  in  the 
result  has  set  before  us  a  biography  which  is  in  many  re- 
spects an  autobiography  and  a  critical  estimate  which  tell  us 
all  we  need  to  know  of  Millet.  It  may  be  thought  that  the 
treatment  of  the  book  is  a  little  emotional,  and  that  Millet's 
disappointment  at  his  non- 
appreciation  a  little  exagger- 
ated. We  do  not  think  so. 
.Millet  was  a  man  himself  so 
sensitive,  and  of  an  artistic 
temperament  so  nervous, 
that  the  picture  strikes  us 
as  complete.  Certainly  the 
tone  i  if  his  character,  as  of 
his  life  and  work,  is  skil- 
fully maintained  throughout 
the  book  ;  his  letters  have 
been  well  selected,  and  the 
whole  well  edited  and  com- 
piled. His  career  naturally 
fell  into  three  parts— that 
spent  at  Greville  from  181-1 
to  1837,  that  at  Paris  from 
L837  to  1849,  and  that  at 
Barbizon  from  1849  to  1«7">. 
Within  these  sectional  divi- 
sions Mrs.  Ady  has  dealt 
with  the  artist's  life  and 
work,  and  has  added  a  post- 
scriptive  criticism  not  only  of 
the  artist's  work,  but  of  the 
estimation,  artistic  and  com- 
mercial, in  which  they  have 

since  been  held.  It  constitutes  a  grave  indictment  against 
his  countrymen,  who  could  no  more  appreciate  his  greatne.-s 
than  they  could  the  greatness  of  more  than  one  of  their 
most  masterly  musicians,  and  who  as  a  nation  yet  pose  as 
the  arbiter  elegantiarum  in  matters  of  artistic  merit.  We 
are  apt  to  deplore  the  non  appreciation  of  our  own  Alfred 
Stevens,  luit  his  fate  was  the  happier  of  the  two  ;  lor  if,  like 
Millet,  he  was  to  a  great  extent  ignored,  he  was  not  attacked 
and  even  hounded  as  Millet  was  hy  his  critics  and  his 
countrymen.    On  a  few  minor  points  we  may  quarrel  with 

the  author.    It  is  hardly  possible  that  Rossetti ild  come 

back  fired  with  Millet's  example  in  L863,  and  with  it  in 
flnence  the  Pre-Raphaelite  school.  We  do  not  see  why 
"La  Nnee  de  Corbeaux"  should  be  translated  "The  Flight 
of  Birds;"  nor  is  it  correct  to  suggest  that  "  M."  [onides 
owns  only  two  of  Millet's  oil-paintings  ;  as  a  matter  of  fact, 
he  has  four.  These,  however,  are  small  points.  Acknow 
ledgment  should  lie  made  of  the  excellent  little  photo 
gravures  which  illustrate  the  book  ;  we  only  regret  that  il 
has  been  found  impossible  to  add  a  greater  number  and  a 
greater  variety  of  reproductions  from  the  master's  works. 

The  volume  issued  by  Messrs.  Cassell  of  "77/.  Works 
■  >t  Charles  Burton  Barber,"  with  an  introduction  by  Mr. 
Ha i;i; v  Furkiss,  is  intended  as  a  tribute  to  tic-  memory 
of  a  most  sympathetic  animal  painter  and  an  amiable 
man.  Mr.  Barber  wa  highly  esteemed  bj  the  Queen,  for 
whom  he  executed  numerous   pictures  of    Her   Majesty's 


pets,  and  a  certain  number  as  well  of  tic  Sovereign 
herself  and  of  her  grandchildren.  The  animal  pictures 
will  doubtless  be  the  most  popular— not  the  portraits  alone, 
but  the  canvases  in  which  the  subject  or  the  story  appeals 
to  the  public  as  unerringly  as  sir  Edwin  Landseer's  or  Mr. 
Briton  Riviere's.  Among  the  forty-one  plates  are  several 
already  in  high  favour  with  the  public  ;  many  other-  in 
this  admirably-printed  book  will  be  hardly  less  appreciated 
—especially  those  in  which  child-life  is  happily  associated 
with  animal  drawing.  How  well  Barber's  animal  ire 
drawn,  and  how  justly  observed,  the  peruser  of  this 
pleasing  book  will  be  quick  to  appreciate. 


Tn  "Modern  French  Masters"  (T.  Fisher  I'liwini  Mr. 
John  Van  Dyke,  the  editor,  has  made  a  bold  and  successful 
experiment.  Under  the  enterprise  of  the  Century  Maga  t»< 
he  has  brought  together  a  series  of  critical  and  biographical 
reviews  of  a  score  of  the  leading  painters  of  France  of 
the  present  and  the  immediate  past,  written  bj  the  hand 
of  American  artists  especially  familiar  wit!  the  masters 
with  whom  they  deal.  We  find  plenty  of  minor  points  on 
w  Inch  we  might  challenge  the  writers,  such  as  the  astonishing 
statement  thai  Bouguereau  will  be  considered  bj  posterity 
one  of  the  greatest  factors  in  art  which  the  nineteenth 
century  has  produced.     Bttl  of  the  intelligence,  tl gin 

ality,  anil  freshness  of   these  essay-   there  can    he   no  doubt, 
and  were  the  1 1;  uuillilstr  itcd  it  would  still  he  of  iimii-ii.i1 

interest  aid  value.     As  a  matter  of  fact,  however,  tl 

gravings  take  precedence  in  point  ol  importance.  These 
are  specimens  equally  divided  between  woo, I  engraving  ami 
half-tone  " process,"  each  tic  fines!  of  its  kind  thai  America 
can  produce,  tit  the  Mock-  bj  Mr.  Timothy  Cole,  Mr.  T. 
Johnson,  ami  one  or  two  others,  we  can  say  no  more  in 
praise  than  we  have  already  expressed  on  othei  occasions 
The  technical  excellence  oi  the  craftsman  can  hardly  further 
go;  luit  when  (as  in  the  case  of  Mr.  Elbridge  King  lej 
methods  are  adopted  which,  from  the  clas  ic  point  ol  view, 

.lie     carcely  legitimate  and   arc  certainly  tricky,  anil   when 

others  become  such    laves  ol  tone  a    to    el  up  the  appear 
ani  e  of  i  photograph  as  tic  cm  I  ami  aim  of  wood  engra;  in 


286 


THE    MAGAZINE    OF    ART. 


we  are  bound  to  deplore  the  loss  of  art  in  the  triumph  "I 
skill.  Anions  the  marvels  of  purely  imitative  engraving, 
thai  by  Mr.  Wolf  after  "The  Lovers"  of  Diaz  stands  among 
the  first.  It  is  not  even  surpassed  by  M.  Haider's  rendering 
of  tin'  "Study  for  the  Love  of  Gold"  by  Couture,  anil  "  On 
Cape  Martin  near 
Mentone"  by  Mon- 
net.  The  tone 
blocks  arc  just  as 
surely  master- 
pieces in  their  way 
of  the  modern  art 
of  retouching  them 
so  as  to  relieve 
them  from  what 
is  often  their  un- 
interestingness  of 
surface.  We  would 
point  tothe"Fried- 
land— 1807"  by 
Meissonier  as  be- 
ing .one  of  the 
most  successful 
that  have  been 
executed.       These 

pages    are     full    of 

interest,  and  in- 
deed deserve 
longer  notice  at 
our   hands ;    but  we  haw    aid 

book  the  attention  it  merits. 
One  of  the  I  est  samples  ol 


A\   to   claim    for   the 


tb 


work  ol  Mr.  Ai  r.i:i  i 
Beardsley  which 
we  have  seen  is  to 
be  found  in  "  The 
Rapt  of  tin  Lock,"  a 
new  edition  of  Pope's 
poem  (Leonard 
Sm  it  hers).  There 
are  traces,  of  coursej 
of  the  disease  under 
which  the  imagina- 
tion of  this  artist 
labours,  but  they  are 
less  offensive.  We 
have  lived  under  the 
impression  that  em- 
broidery was  needle- 
work.    We   ui:  1  ir- 

stand    that    a  1 k 

may  be  illustrated  or 
decorated  or  embel- 
lished by  drawings  ; 
but  this  book  is  said 
t,,  be  "  embroidered 
with  nine  dram  ings  " 
an  affectation,  if 
not  an  actual  ab- 
surdity) but  affecta 
tion  is  the  keynote 
to  Beardsleyism,  and 

we  are  not   for  deny- 
ing that  it  may  have 

The  1 1   is  beautifully  printed  al  the  Chiswick 

d  its  v  bole  gel  up  verj  tasteful. 

i|    i;  ibi  i  i   Bi  rns,  which  has  been  i  eh  ■ 
on    i  b: ue  uem  edil  i"M  of  his  poems,  ha  ■ 


GOLD     AND     ENAMEL     PENDANT 
Uy    the    City    Art   Qal, 
lham.     See  p.  283.) 


brought  forth  none  more  delightful  than  that  edited  by 
Mr.  James  A.  Manson  and  published  by  Clement  Wilson, 
with  an  excellent  arrangement  in  the  classification  of  the 
poems,  with  luminous  mites,  glossary,  index,  and  biograph- 
ical sketch.     To  the   scholarship  of  this  edition  we  bear 

willing  witness, 
nor  do  not  think 
the  editor's  claim 
over-strong  —  that 
it  is  "  produced  in 
a  style  of  supreme 
typographical  ex- 
cellence," although 
published  at  a 
popular  price.  In- 
deed, we  know  of 
no  edition  more 
likely  to  please  any 
true  lover  of  Burns. 
A  special  word 
should  be  said  for 
Mr.  Manson's  esti- 
mate and  defence 
of  the  poet  against 
hostile  critics. 

W  i  t  h  t  h  e 
"Winter  Book,"  the 
fourth  number  of 
"  Tlo  !■'.'•  i gret  n 
(T.  Fisher  Un win)  completes  its  cycle  of  "seasonal"  volumes, 
[n  general  aspect  it  resembles  the  other  three  ;  there  is  a  dis- 
tinct intention  in  the  volume  and  not  a  little  bold  origin 
ality,  especially 
in  the  text,  but  we 
are  made  to  feel 
that  this  extremely 
black-and-white  art 
is  being  somewhat 
overdone, ,  and  that 
grace  and  elegance 
are  too  obtrusively 
flouted.  Three ladie- 
are  allowed  to  run 
riot  in  head  and  tail 
pieces  of  a  more  or 
less  elemental  cha- 
racter, and  there  i- 
hardly  a  picture 
among  them  which 
rises  in  dignity  or 
artistic  excellence 
to  the  level  of  some 
of  the  ai  tides. 
Nevertheless,  there 
is  a  certain  clever 
power  of  suggestion 
here  and  there,  as 
in  the  "  ( lottage  in 
a  Wood"  by  Mr. 
CADENHEAD  ;  and 
many  will  be  found 
who  will  appreciate 
the  delicate   feeling 

of  Miss  Catherine  Tynan,  the  charming  study  by  M. 
Elie  Reclus,  and  "The  Megalithie  Builders"  (of  Edin- 
burgh) 1>\  Professor  Patrh  k  Geddes. 

With   ■'Tin    Parade"  (Henry  and   Co.),  Mr.  Gleeson 


(«< 


GOLD     AND     ENAMEL     PENDANT. 
".ently    acquired    by    the    City    Art    Gallery, 
Blrmingha 


See  p.  283.) 


THE    CHRONICLE    OF    ART. 


287 


White,  as  editor,  has  aimed  at  producing  an  illustrated 
gift  book  for  boys  and  girls  out  of  the  ordinary  style.  For 
persons  like  ourselves,  interested  in  all  modem  develop- 
ments of  art,  the  experiment  is  a  successful  one,  but  it  is 


CHISELLED     IRON     KNOCKER.      (GERMAN.) 
(Recently    acquired   by    the    City    Art    Gallery.    Birmingham.     Sec   p.  283.) 

doubtful  whether  young  people  will  fully  appreciate  the 
beauty  of  .Mr.  Laurence  Housnmn's  Houghton-like  "Noodle 
and  Eire  eaters  or  its  more  original  companion  ]  i-tur<  or 
will  be  more  attracted  by  the  severity  of  .Mi-.  Alfred  Junes 
than  by  the  more  realistic  treatment  to  which  he  Las 
hitherto  been  accustomed.  There  is  a  good  deal  of  artistic 
originality  and  interest  about  the  work,  and  prettiness  too  in 
Mr.  Yungman's  touch  and  fancy.  Mr.  Housman  alone  ren- 
ders the  hook  worth  keeping  by  grown-up  persons,  and  Mr. 
Solon's  decorations  add  to  its  interest.    But  why  "  Parade  "  .' 

The  new  number  of  "Phil  May's  Illustrated  Winter 
Annual"  (Neville  Beeman)  is  a  masterpiece  of  art.  and 
hardly  less  of  humour.  The  printing  is  not  all  that  could 
be  desired,  but  Mr.  .May's  work  is  so  admirably  adapted  to  the 
exigencies  of  ill-printing  that  it  is  pre-insured  against  failure 
on  this  account.  The  drawings  are  not  all  humorous  ;  not 
a  few-  are  studies  of  very  high  achievement  and  interest. 

The  mystery  attaching  to  the  "hinterland"  of  North 
Western  Africa  has  been  largely  dispersed  in  the  volume 
"  Timbuctoo :  the  Mysterious,"  by  Felix  Dubois  (William 
Heinemann),  which  has  been  translated  into  English  by 
Mrs.  Diana  White.  While  M.  Dubois'  account  of  his 
journeyings  through  this  portion  of  the  Dark  Continent 
annexed  by  the  French,  with  glimpses  into  its  wonderful 
history,  is  fascinating  reading  matter,  tin-  one  hundred 
and  fifty-three  illustrations  are  sadly  disappointing.  Had 
the  photographs  been  well  reproduced  just  as  tiny  were 
taken  they  might  have  been  successful  as  illustrations,  but 
many  have  been  indifferently  drawn  in  pen  ami  ink,  and 
nearly  all  are  poorly  reproduced.  Many  have  been  reduced 
by  merely  chopping  away  the  edges  without  any  effort 
being  made  to  vignette  them  properly.     The  book  should 


prove  of  interest  to  .,1]  [overs  of  travels,  and  espe  iallj  to 
students  of  African  geographj  and  mythology. 

The  illustrated  "Catalogs  of  tht  Loan  Collection  oj 
Paintings  by  William  J.  Miiller"  (W '.  II.  Ward  and  Co., 
London)  reflects  great  credit  on  its  compilers,  Mr.  \\  n  1 1 
worth  Wallis  and  Mr.  A.  Bkxsi.ky  Cii  wiberxain.  The 
illustrations  consist  of  twenty  four  reproductions  of  paint- 
ings and  drawings,  well  executed.  Being  printed  in  the  very 
best  manner,  the  volume  forms  not  only  a  beautiful  record 
of  the  exhibition  at  the  Birmingham  Art  Galleries,  but  a 

history,  so  far  as  it  goes, , if  the  art  of  Miiller.    Tin K 

matter  of  regret  is  that  a  complete  list  of  the  artist's  works 

and  their  whereabouts  was  not  added,  thus  making  the  I k 

an  authoritative  one  on  the  subject. 

The  intention  of  the  convenient  handbook  called  "  F\ 
Drawing  and  Composition,"  by  Richard  G.  H  itton  (Lon- 
don: Chapman  and  Hall,  Limited),  as  declared  in  the 
prefatory  chapter,  is  "to  assist  the  student  and  designer 
in  their  study  of  the  human  figure."  The  author  expressly 
disclaims  any  idea  of  offering  a  guide  to  figure  drawing 
which  might  pretend  to  enable  the  student  todispense  with 
a  proper  course  of  drawing  from  the  living  model.  Eisaim 
is  rather  to  give  in  a  systematic  and  comprehensible  manner 
hints  and  suggestions  that  would  incite  tin-  young  beginner 
to  observe  closely  and  aid  him  to  assimilate  properly  what- 
ever knowledge  he  might  acquire  by  such  observation. 
Judged  from  this  standpoint,  the  book  is  undoubtedly  a 
useful  one,  well  arranged  and  intelligently  treated.  It 
contains  an  inde 
finite  amount  of 
important  det  iil  of 
the  type  that  every 
would-be  artist  must 
study.  About  two- 
thirds  of  its  space 
is  occupied  with  a 
descripti if    the 

manner  in  which  the 
various  muscular 
anil  bony  forms  in 
the  human  anatomy 
affect  the  surfaces 
of  the  body  and  the 
lines  of  the  figure  ; 
and  the  remainder 
deals  with  the  draw- 
ing and  casting  of 
draperies,  and  w  ith 
the  rudiments  ol 
figure  composition, 
decorative  and  pie 
tonal.  Many  appro- 
priate illustrations 
emphasisethe  points 
made  in  tin-  text. 

A  batch  of  books 
for    young    people 

conies    from    Messrs. 

Blackie  and    Son 
excellent      in      lone. 

exciting,  instructive, 

and  healthy  in  cha- 
racter,  such   as   we 

are  used  to  from  Mr.  Ilenly  and  others.  The  illustrators 
are  among  the  best  draughtsmen  in  black  and  white  ,,\  the 
day,  including  Mr  W.  II.  M  irgi  tson,  Mr.  Vn  toe  I 

ami    Miss  (  i.   I  MM  \|\    II  LHMOND, 


288 


THE    MAC XV. INK    OF    ART. 


A  beautiful    photograph  of  the   west   front  of   Peter- 
borough Cathedral  has  just  lieeu  published  by  the  Autotype 


Company,  and  in  view  of  the  discussion  concerning  the 
building  should  prove  of  great  interest.    We  are  enabled 

to  give  a  small  reproduction  of  the  print,  the  size  of 
whirl,  is  IT.1,  by  14|  in-  The  negative  was  taken  by 
.Mr.  R.  (!.  Sc-RIVEN,  F.S.I. 

Mb.  Holman  Hint's  well-known  picture, 
Miscellanea.  ..  The  Hire]ing  Shepherd,'  has  been  pur- 
chased for  the  Manchester  City  Art  Gallery. 

A  new  society,  of  which  the  programme  is  not  an- 
nounced,  has  been  formed  under  the  title  of  The 
Society  of  English  Painters. 

The  following  have  been  elected  Associates  of  the 
Royal  Society  of  Painter-Etchers  :— Messrs.  C.  Cope 
man,  C  E.  Hayes,  B.  Schumacher,  ami  l>.  Spence. 

Th.'   Emperor  of  Kussia  has  conferred  upon  Anto- 

kolsky,  the  Jewish  sculptor,  the  position  of  Councillor  of 

Stair,  which  gives  the  right  to  the  title  of  "  Excellency." 

Mr.  Walter  Crane  points  out,  in  connection  with 

the  remarks  in  the  arti.de  on  "  Mr.  ( !.  E.  Watts,  R.A.," 

last ith,  concerning  the  picture  "  Neptune's  Horses,:' 

that  his   version  of   the  subject  was  exhibited  at  the 

Royal    Water    Colour    Society's    Winter    Exhibiti 

1892  :',.      It    was    therefore    before    the    public   some 
months  earlier  than  Mr.  Watty's  picture. 

The  memorial  to  Frank  Boll,  II. A.,  in  the  crypt 
of  St.  rani's,  has  bem  in  position  for  nunc  little  time, 
but  having  been  unveiled  without  any  public  ceremony 

little  attention   has  been   attracted  to  it.     Our  illustra- 
tion of  it  may  therefore  prove  of  interest. 

The  dispute  between  Prince  Scian a  and  the  Italian 
Government  has  now  been  settled.  Qndei  the  agree 
nieiit  the  Prince  presents  certain  of  the  principal  paint- 
ings t"  the  nation,  and  is  left  free  to  dispose  of  the 
others  as  he  pleases. 

\n  anonymous  donor  has  offered  to  the  Ecoledes 
Beaux  Aits,  for  the   use  of  the  three  most  deserving 

nis  without  private  means,  three  rooms  in  a  villa  at 
Neuilfj      The  apaitments  are  suitably  furnished,  and  the 


gift  includes  the  services  of  an  attendant.     This  curious 
form  of  prize  should  be  most  acceptable  to  its  recipients. 

The  scheme  to  purchase  Holbein's  picture  of  Henry 
VIII.  presenting  the  Charter  to  the  Barber-Surgeons' 
Companyfor  the  Guildhall  has  fallen  through  from  lack 
of  support.  As  we  understand  that  an  offer  was  made 
fi  ir  the  picture  by  a  foreign  art  gallery,  the  opportunity 
is  now  presented  for  accepting  it.  We  hope  it  will  be. 
In  our  advertisement  pages  will  be  found  par- 
ticulars of  an  Art  Union  arranged  by  the  Royal 
Institute  of  Painters  in  Water  Colours,  and  we  draw 
attention  to  it  because  of  the  unique  value  of  the 
prizes  These  are  to  include  three  drawings  bj  Mr. 
Buskin;  fifty  by  the  great  masters  of  the  English 
school  of  water-colour  painting,  and  many  others  by 
present  members  of  the  Royal  Institute.  Subscribers 
will  be  entitled  to  a  choice  of  two  presentation  plates, 
of  which  small  reproductions  are  on  pp.  -2*i  and  285  ; 
"Between  Two  Fires,"  by  Mr.  F.  D.  Millet,  is  a 
photogravure  of  the  picture  in  the  Chantrey  Bequest 
collection— the  trustees  having  afforded  facilities  for 
its  reproduction— and  is  1-U  by  18  in.  Turner's 
"Approach  to  Venice"  is  a  successful  line  engraving 
=,  by  Bobert  Wallis  (15i  by  23  in.).  A  special  feature 
of  the  Art  Union  is  that  the  number  of  prizes  w  ill  m  »t 
be  dependent  upon  the  number  of  tickets  sold,  but 
all  will  be  distributed  under  any  circumstances. 

M.  Paul  de  Katow, a  water-colour  painter 
Obituary.    of  soffle  not^  hag  (|i(,(|  .(t  Asllitl.c.s  (Seine). 

Born   in  Strasburg.  in   1870   he  served   as  war  correspon- 
dent of   the  Gaulois.     He  studied  art   under  Delacroix. 


PETERBOROUGH     CATHEDRAL 
permission    of   the    Autotype    Com, 


From  Naples  the  ,1 
ALTAMI  RA,  a  popular 


?ath  is  announced  of  Signor  Saverio 
painter  in  Italy. 


•- 


IsCJ 

ii, 


289 


ORIGINAL     LITHOGRAPHY. 

THE     PRESENT     REVIVAL     IN     ENGLAND. 


By    m.    h.    spielmann. 


"VTEARLY  half  a  century  went  by  before  litho- 
.i_i  graphy  was  to  be  regarded  in  England  as 
an  original  and  spontaneous  method  for  recording 
artistic  impression.  Mr.  Whistler  began  in  1877 
in  work  upon  the 
stone,  and  joined  his 
efforts  to  those  of 
M.  Fantin-Latour  and 
others  in  Paris  to  use 
and  awaken  interest 
in  lithography  for  the 
sake  of  its  own  in- 
herent qualities.  His 
"  Early  Morning"  ap- 
peared in  Mr.  Theo- 
dore Walls's  paper, 
Piccadilly,  in  1878, 
and  other  drawings 
such  as  the  "Lime- 
house  "  a  ml  "  Xoc- 
t  nine  "  —  exquisite 
studies  in  wasli  grada- 
tion—  which,  though 
executed  in  1877,  were 
only  issued  nine  years  ,;'; 

later,  in  portfolio  form.        ^ESSSH 
Then    came    amongst         j '.  .,.; 
in  a  n  v       Hi  hers      !  lie  ;£■- '         '" 

-  Little  Model  Read- 
ing," and  afterwards 
the  "  Brittany  "  and  K*£'-:;' 
the  Luxembourg  series, 
in  all  of  which  the 
draughtsman's  artistic 
(asle  as  well  as  his 
artistic  v  ie  ws  a  re  [  : 
daintily  and  firmly 
recorded.    <  renerally  ,.   Pnfesi 

speaking,  Mr.  Whistler 
prefers  to  use  the  chalk  for  line  v 
wash  for  tint  work,  reserving  the 
than  stumping,  for  the  covering  of 
the  modern  dodges  have,  so  far  as 
been  entirely  neglected   by   him.      It 


irk  only,  and 
latter,   rather 

spaces  :  \\  hile 
I    am    aware, 

should  be  ob- 


served that  all  Mr.  Whistler's  earlier  work  was 
executed  direct  upon  the  stone,  the  rest  for  con- 
venience sake  upon  transfer-paper;  and  it  may 
be  added  that  he  has  attempted  in  a  limited  sense 
chromo-lithography  by  touches  of  colour  here  and 
there  upon   the    design.     Slight    though    these   are 


they  of  course  have  necessitated  a  separate  printing 

for  each  colour. 

In    due  time  Mr.  Way— who,  with  the  Messrs. 

Hanhart,  and  Vincent  Brooks,  Day  and  Sons,  had  by 

his  admirable  print  ing 

-      r  ...  -  ,  -  .....  rendered  artistic  litho- 

*  "■   .-  graphy  possible  in  this 

H|        country     persuaded  a 

I    ?.  ';?;?jis^        number   of   artists   to 

■    '  ;  ex perimen t    in    the 

method,  believing  that 

..;  I        an  acquaintance  with 

its  qualities  would  not 

■  '•  ■  '.•*-'  ■  -■  only    entitle    i t  -   ado]P- 

.-m.„.j&*~.        :'    "'■'  I  Hill,     hut      Would      in 

',.  '•'  ■       ;''  \ elop  such  ent husiasm 

as    would    ensure    the 

."    -.'  I  i  iiiniph     of     t  he    ,n  |. 

"a        Several    members    of 

-    *--*.,  ,;|  I  he      I  loo. i  ill,      I    lnl, 

.:.  willingly      responded, 

alld        ill."       I  llll  Wele 

^^MkY^yB  collectively      issued. 

iOKSrai\|  Among     the    chid' 

WBSmBM  these  admirable 

-    '':,"■'■'  ".'-*./    ;5i  ll'jlll  i  l.\         ^'  I        .1. 

^HB^^yffi  Linton:    and     Messrs. 

('.    E.     Hollow  ;i  v.     E. 

I  ;,''   ..■;'    '  '.  .1.(1  |e-o|  \  .         (       ill  |e.- 

\:.  ,  -'l   -.  ( liven,  Buxton  Knight, 

';-v'i.-!,!fj  Thome     Waite,     and 

&Ml  Edwin   Hayes,   with   a 

few    more,    were    in- 
cluded   in    the    band. 
<.;'.,;"  The    work    was    of 

niii-i        experimental. 

consisting  of  one-hour 
sketches;    and    thej 
were  executed  at   Mr. 
wn  house:  but  although  twenty   years  have 
passed,  and    though    every    draughtsman    expo 

his  pleasure  in  the  work  and  | ■      noi f  these 

artists  save  Mr.  ETolloway  can. I  to  pursue  it.  In 
1893  a  similar  effort  was  made  bj  the  \n  Winkers' 
Guild, when  .Messrs.  Frank  short.  Lethaby,  II.  Paget, 
A.  Mackworth,  J.  Pennell,  and  I  i.  Mc<  !ulloch  met 
to  produce  twenty-minutes'  drawings  on  the  stone. 
The  result  was  in  this  case  more  satisfactory,  and 
must    be   counted  in    the   develop- 

ment of  the  in  w   taste.     Then  other-  continued  the 


\\ 


THE    MAGAZINE    OF    AKT. 


and  dainty  touch  in  these  drawings  upon  the  stone, 
he  is  one  of  the  few,  notwithstanding,  who  is  not 
enamoured  of  the  process.  "However  artistic,"  lie 
tells  me,  "  however  well  done,  there  remains  the  cheap 
work."  Not  necessarily,  I  think:  as  the  exquisite 
results  produced  by  many  men  have  proved — results 
which  not  only  could  not  have  been  better  obtained, 
but  could  not  have  been  obtained  at  all,  by  any 
other  method. 

The  most  prominent  of  the  younger  school  of 
lithographers  is  unquestionably  Mr.  Charles  Shannon. 
Since  1889  he  has  with  admirable  persistence  pro- 
duced some  two  score  lithographs,  all,  with  scarce  an 
exception,  drawn  direct  upon  the  stone,  and  printed 
with  his  own  hand  and  press.  The  charm  of  his 
work  is  distinctly  that  proper  to  lithography  itself, 
with  an  added  daintiness  and  delicacy  of  the  artist's 
own  temperament.  He  can,  as  the  French  say,  "  make 
the  stone  sing/'  His  work  is  not  without  faults, 
though  tenderness  is  its  chief  note ;  his  compositions 
are  sometimes  detracted  from  through  the  propor- 
tions, occasionally  peccable,  of  his  figures.  But 
with  such  drawings  as  his  portrait  of  "  Mr.  Van 
Wisselingh,"  his  " Linen  Bleachers,"  "The  Sisters," and 
"  Sea  and  Breeze,"  he  will  always  lie  remembered  for 


*P 


BACK     COURT,     ST.     BARTHOLOMEW'S. 

(Cj     T.    R.     Way.) 

experiment  ;  Mr.  Robert  Macbeth  on  a  large  scale, 
and  Mr.  Mortimer  Menpesand  Mr.  Aiming  Bell  more 
tentatively.  But,  for  the  most  part,  they  have  left 
the  field  free  for  men  more  constant  and  appreciative 
than  themselves;  and  when  considering  those  who 
an-  really  identified  with  the  English  school,  we 
must  eliminate  the  names  of  those  who  have  merely 
coquel  ted  with  t  he  art. 

Among   the   earlier  men    to   whom  lithography 

c: naturally  is  Professor  Herkomer.     "When  the 

process  was  still  spurned  by  those  who  did  not   un- 
derstand it,  or  whose  judgment  had  been  prejudiced 
by  the  miserable   productions  of  commercial  litho- 
graphers    uttered  and  passed  into  currency  for  the 
most,  pari  from  abroad — he  produced  many  plates  of 
Bavarian  life, of  which  a  few  have  been  made  known 
to  the  greater  public  as  subjects  of  several  of  the 
most    dramatic  pictures  of   his  earlier  period.     For 
minor  purposes  too,  he  mad"  use  alike  of  stone  and 
mploj  ing  brush,  stump,  chalk,  and 
Inn  although,  even  in  these  later  days,  he  has 
■  es  of  plates  for  his  "  Violin   Pieces," 
s  shown  power  and  delicacy, and  a  sympathetic 


*     \     ■ 


LORD    ST.     CYRES. 

(By    Will    Rothenstein.       By    Permission    of    Mr.    John    Lane.) 


ORIGINAL     LITHOGRAPHY:     TDK    PRESENT    REVIVAL    IX    ENGLAND. 


29] 


the  exquisite  and  perfect  quality  of  his  work.  The 
public,  moreover,  are  beginning  to  find  this  out.  I 
am  informed  that  in  1891  the  artist  issued  eight 
portfolios  of  his  lithographs;  of  these  not  one  was 
sold.  But  when  a  year  later  their  merit  was  suddenly 
discovered,  they  were  bought  up  within  the  space  of 
two    months.      That    the    purchasers    were    for    the 


especially    in    freedom;    bill     the)    might    well    be 
studied  in  comparison  with  them. 

Like   Mr.   Shannon,   .Mr.   George   Thomson   is  a 
lithographer  inspired  with  sufficieul   enthusiasm    to 
have  a  press  of  his  own  and  to  take  his  own  impn  s- 
si°ns.     Delicacj    ami    daintiness   of    touch    an 
whether  in  head  or  figure  drawing,  or  in  representa- 


,.  .  ,■    .  ,  tv '    "5«i'     uiciwiui;,  ui    in    iv morula- 

most     part    artists    does   not   matter;    or  perhaps,      tion  of  riverside  landscape  or  Thames  township.     In 


rJ& 


i    JRlSli 


lis 


■h- 


UNDER      KEW     BRIDGE. 
(B»  George    Thomson  ) 


indeed,  it  matters  very  much,  fur  it  shows  a  pro- 
fessional appreciation  of  line  workmanship,  as  in  the 
plates  already  mentioned:  or  of  fine  design,  as  in 
the  "  Ministrants." 

Mr.  T.  I,'.  Way  himself  has  contributed  net  a 
little  to  the  success  el'  his  art,  less  in  the  direction  of 
portrait  ire.  than  in  his  townscapes  drawn  with  pencil, 
stump,  or  brush.  "Sea-gulls  at  Charing  Cross"  is 
not  less  interesting  as  an  example  of  tint  work  than 
of  the  rare  event  ii  records,  and  his  " Disappearing 
London."  of  which  "Hack  Court,  St.  Bartholomew's," 
is  an  interesting  specimen,  shows  him  [n  the 
artistic  character  peculiarly  his  own— thai  of  the 
classicist.  In  conjunction  with  him  Mr.  < '.  E. 
Holloway  has  worked.  This  draughtsman's  contri- 
butions to  the  "  Ten  Auto-lithographs  of  the   Lowei 


the  "  Strand  on  (,he  <  ireen,"  or  in  ■■  1'nder  Kew 
Bridge,"  texture  of  grain,  silveriness  of  quality,  and 
precision  of  touch  are  alike  charming;  and  in  his 
"  Brentford  Eyol  "  In-  rendet  -  for  us  a   n 

spheric  effecl   with  a  success  m often  sought   by 

lithographers  than  obtained. 

The  spiril    of    French   litho  the 

work  of  Mr.  Will  Rothenstein,  whose  work,  essentially 
unacademic,  successfully  aims  at  being  al 
tie  in   feeling  and  aimisant  in  design.      His  "  Millu- 
uiaiii  "  isa  skilful  renderingof  a  seventeenth  centun 
lady  wii  h  powdered  hair  and 
of  sir  Henry  Acland,  Mr.   Robinson   Ellis,  Visa 
Si.  ( lyres,  ami  otli  holars  and  athlel 

well  as  i  hose  of  |  ie  ( loncom  ;    I 
E  rendi  i  ter  apart   ft         In  ippre- 


Thames,"  drawn  direct  on  the  stone,  for  the  most  ciation  of  tin  stom  Mi  Raven-Hill,  like  Mr.  I'hil 
part  in  pure  chalk,  are  achievements  not  perhaps  May,  on  the  othe  ham  pn  ei  to  use  the  surface  of 
the  equals  of  those  of  M.  Storm  van  Gravesande         the  transfei    i  rface  foi 


292 


THE    MAGAZINE    OF    ART. 


ordinary  drawing  purposes 
studies  of  his  infant   dauu 


4  ,0'rm.. 


and  the  former,  with  the 
iter,  and  the  latter  with 


when  it  leaves  the  artist's  hand,  what  he  dues  for  the 
etcher's  copper-plate.  That  is  to  say,  by  stumping 
and  manipulation  to  smooth  down  in  the  proof  what 
was  left  bald  upon  the  stunt' — to  impart  the  tone  and 
quality  demanded  by  the  artist:  to  humour  ami,  in 
short,  interpret.  To  those  who  applaud  lithography 
as  an  absolutely  autographic  method,  Mr.  Gould- 
ing's  innovation  must  appear  to  some  degree  revo- 
lutionary: but  judged  by  results,  the  impressions 
when  they  leave  his  hands  have  qualities  and  beauties 
which  we  might  look  for  in  vain  elsewhere.  The  pro- 
cess, indeed,  enables  even  a  beginner  in  lithography, 
through  his  printer's  assistance,  to  produce  work  in 
which  lack  of  experience  is  little  evident,  and  for 
which  effects,  painter-like  and  pleasing,  need  not  be 
wanting.  What  the  result  of  experience  on  the  part 
of  both  artist  and  printer  cannot  yet  be  foretold. 

Mr.  Goulding  has  gone  further.  In  the  first 
place  he  has  invented  a  new  transfer-paper  which 
possesses  a  surface  free  from  the  ordinary  me- 
chanical grain  hitherto  identified  with  lithography. 
Whether  or  not  this  is  an  improvement  as  the  new 


a*. 


STUDY     OF     A     CHILD 
{By   L.   Raum-Hill.) 

"  We're  a  rare  old,  fair  old,  ricketty,  racketty  crew," 
present  us  with  lithographs  which  to  all  intents  and 
purposes  arc  chalk  drawings  of  well  calculated,  mas- 
terly touch — artists'  sketches  thrown  rapidly  hut 
with  unerring  effect  upon  the  stone.  Again,  the 
portrait  of  Mr.  Le  Gallienne  by  Mr.  Wilson  Steer 
reveals  the  hand  that  may  achieve  sensitive  and 
notable  work  in  the  process  here  used  with  some 
indecision. 

The  latest  movement  in  lithography — an  original 
movement,  too— belongs  exclusively  to  England.     If 

the  adherents  of  il Ider  classic  method  show  some 

tendency  to  scoff  at  innovations  of  the  more  modern 
i  li'H.l  as  nouveau  jeu,  not  for  a  momenl  to  lie  toler- 
ated or  acknowledged,  they  combine  at  least  in  pro- 
testing against,  or  at  least  in  criticising  with  some 
hostility,  this  heterodox  departure,  introduced  by  Mr. 
<  roulding,  the  celebrated  printer  of  etchings. 

This  craftsman,  hardlj  less  an  artist  than  those 
to  whose  work's  hi-  ministers,  has  not  lone  since  com- 
bined with  his  brother,  Mr.  Charles  Goulding,  to  in- 
troduce a  new  method  of  printing  lithographs  which 
shall  do  for  the  lithographic  stone  or  transfer-paper, 


THE     WATER     SPRITE 
(Bs   C.   Sainton.) 


■ 


ORIGINAL 


THOGRAPHY:     THE    PRESENT    REVIVAL    IN     ENGLAND. 


>95 


adherents  declare,  or  .1  sai  rilegious  innovation  rob- 
bing the  stoi E  its  characteristic  quality,  as  may 

be  maintained  by  the  rival  school,  I  need  not  stop 
to  discuss.  Furthermore,  Mr.  Goulding  obtains  ex- 
traordinary painterlike  effects  by  a  first  printing  of  a 
tint  upon  the  paper,  gradating  it  with  the  utmost 
care  and  feeling  in  relation  to  the  subject  to  be 
super-printed  upon  it  in  black  or  coloured  ink  — all 
the  while  avoiding  the  unsympathetic  flal  tints"  of 
the  school  of  Haghe   and    Harding,  in    which    the 


among  the  mosl   charming  wo  pi  inted  from 

the  stone.     I   may  here  rem;  tween  these 

works  ami  Mr.  Watts's  previous  essay  with  litho- 
graphy, more  than  sixty  years  had  elapsed;  for  as 
a  boy,  lie  privately  practised  his  hand  and 
youthful  attempts  at  composition  by  designing  illus- 
trations on  a  stone  of  his  own  to  one  of  the  romances 
of  Sir  Walter  Scott. 

So,  bitten  by  Mr.  Goulding's  mezzotint-ground- 
transfer-paper  and  tempted  by  his  delightful  print- 


TIGER. 
{By    Herbert   Die 


colours  were  cold  and  conventionally  used,  and  the 
lights  cut  out  with  sudden  and  often  with  jarring  effect 
— generally  artificial  and  wholly  out  of  tone.  Not  a 
few  of  our  leading  artists  have  tried  the  method  : 
and  to  many  of  them  it  has  so  strongly  appealed, 
that  in  the  near  future  we  may  assuredly  look 
forward  to  the  execution  by  them  of  numerous 
works  of  the  highest  charm  and  of  great  artistic 
importance. 

Among  the  first  to  try  it  was  Lord  Leigh  ton,  who, 
as  late  as  August  14ih.  1895,  wrote  to  me:  "I  have 
just  lithographed  for  the  forthcoming  Centcnairc  de 
In  Lithographit  to  be  held  in  Paris,  a  small  female 
head,  in  order  to  show  my  interest  in  and  to  help  the 
British  section.  It  is  the  first  time  that  I  have 
touched  lithographic  chalk  and  paper."  Aboul  the 
same  time,  Mr.  Watts  executed  Ins  beautiful  "  Study 
of  a  Boy's  Head,"  and  followed  it  up  with  a  similar 
work  which,  whether  Mr.  Goulding's  method  be 
heterodox   or  not,  will  certainly  be  remembered  as 


ing,  many  of  our  most  reputable  artists  have  pro- 
duced plates,  the  beauty  and  charm  of  which  arc 
indisputable.  Those  who  form  the  list  include 
Messrs.  Frank  Dicksee,  Prank  Short,  J.  W.  North. 
Oliver  Hall,  A.  Hartley,  Herbert  Dicksee,  P.  Strang, 
( '.  .1.  Watson,  with  sir  .lames  Linton,  Mr.  Alma- 
Tadema,  Mr.  E.  A.  Abbe}  Mr.  Herbert  M  irshall 
Mr.  Corbet,  Mr.  Sargent,  Mr.  Alfred  Parsons  Mi 
Goscombe  John,  and  Mr.  Poottit.  In  the  works  of 
some  of  these,  inexperience  and  tentativeness  arc 
manifest  enough  to  place  them  in  a  lower  rank  than 
the  rest  Bit  taken  as  a  whole,  the  collection  of 
them,  together  with  the  more  reci 
of  Mr.  George  CI  of  Mr. 

Sainton,  is  to  be  1  imple- 

ment to  ih"  vvoi  k  of  arl  1  >l  -    ibroad  and  a  very  valu- 
ichievement  in  the  field  of  English  art. 
So  valuable,  so  beautiful,  and  so  interesting,  in- 
deed, are  tin    re  alts  of  the  new-  movement,  that  it  is 
1  that   the  productions  to  which  I 


296 


THE    .MAGAZINE    OF    ART. 


have  referred  in  these  articles  on  the  Revival  of 
i  triginal  Lithography  will  leave  the  public  cold.  The 
merits  of  the  art  are  not  less,  in  their  way,  than 
those  of  etching;  to  the  vast  mass  of  etchings  which 
for  the  last  score  of  years  have  found  their  way  upon 
the  walls  and  into  the  portfolios  of  art-lovers  and 
collectors,  it  is  vastly  superior.  The  public  need  but 
assure  itself  of  the  truth  of  this  to  come  to  look  with 
unprejudiced  and  appreciative  eye  upon  these  works 
of  the  British  and  foreign  schools,  and  to  learn  that 


taste  and  knowledge  both  require  that  they  should 
support  the  new  manifestation  in  the  future  as  they 
supported  etching  and  mezzotint  in  the  past.  They 
need  but  satisfy  themselves  that  it  has  nought  in 
common  with  the  machine-printed  work  that  helped 
so  greatly  to  discredit  the  older  lithography,  to  see  in 
it  the  freshest  expression  of  the  artist's  power — to 
feel  in  it  the  thrill  of  the  painter's  emotion — to  hear 
in  it  the  most  candid  and  the  sincerest  tones  of 
the  master's  voice. 


—  •:  -#jO*e     > 


THE     WALLACE     COLLECTION.— I. 

THE     OBJECTS     OF     ART. 

By     THE     EDITOR. 


THE     MUSIC     LESSON. 
me's    Engrauing    of   the    Picture    by    Watteau.) 


rnHK  announcement  thai  for  the  second  time 
X  the  splendid  patriotism  of  the  late  Sir  Richard 
Wallace  has  enriched  the  great  art  treasure  of 
London,  has  amused  an  enthusiasm  commensurate 
with  tin'  importance  of  the  gift.  On  the  first  oc- 
iii  L871,  Sir  Richard  Wallace  presented  to 
the  National  Gallery  Terborch's  masterpiece  of  the 
'         :    -        i    picture  which   had  cost  him 


hardly  less  than  nine  thousand  pounds.  The  new 
gift,  actually  bequeathed  by  his  wife  in  accordance 
with  her  husband's  wish,  includes  a  collection  of 
pictures  which  in  the  year  of  the  Commune  num- 
bered no  fewer  than  736.  These,  indeed,  are  ail 
which  were  exhibited  at  Bethnal  Given  from  L872 
onwards;  hut,  a  quarter  "I'  a  century  has  elapsed 
since  then,  during  which  Sir  Richard  did  not  cease 


THE    WALLACE    COLLECTION 


297 


from  exercising  his  taste  as  a  connoisseur.  Indeed, 
iie  brought  al  firsl  as  many  of  Iris  treasures  to 
London  as  were  sufficient  to  stock  his  house,  leaving 


go  very  fat  back.  It  was  formed  by  the  late 
Marquess  of  Hertford  enriched  and  completed  by 
his  presumed  kinsman  and  life-long  friend,  Sir 
Richard  Wallace.  The  former,  who  was  a  bachelor, 
resided  for  the  mosl  pari  in  Paris  from  1842 
onwards,  and  lefl  his  collections  as  well  as  all  his 
wealth  to  the  latter,  who  had  assisted  him  not  a 
little  with  his  taste  and  diplomacy.  After  the 
Franco-Prussian  War,  the  new  owner  of  the  col- 
lection brought  it  to  England  for  safety's  sake,  and 
for  convenience  lodged  it  in  Bethnal  Green  Museum, 
pending  the  preparation  of  his  house-museum  in 
Manchester  Square.     Had  his  son  lived,  the  country 

assuredly   would    to-day    be    vastly    the   ] t< 

the  father  had  become  reconciled,  in  spite  of  his 
refusal  to  marry  —  moved  partly,  perhaps,  by  a 
sense  of  loyalty.    The  collection  had  nol   lou«  been 


MARGUERITE     DE     FRANCE. 

(£n<nne/    by    Man    lit    Court.       Fifteenth    Century.       From    U.    Liitm's 
' '  Musee    Graphique . ") 

the  rest  in  Paris;  and  1  believe  I  am  righl  in  say- 
ing that  in  a  large  room  in  the  latter  residence 
pictures  were  slacked  together  like  packs  of  cards. 
reaching  from  the  fireplace  to  the  opposite  door, 
and  that  along  the  top  of  the  frames  boards  were 
placed  to  allow  of  another  layer  of  pictures  being 
similarly  ranged.  How  rich  is  this  superb  col- 
lection the  lines  which  follow  are  intended  to 
show;  and  it  may  safely  he  asserted  that  this 
bequest  is  of  unprecedented  magnificence  even   in 

England,  which  has  had  the  g I   forti to  possess 

a  Carr,  a  Sheepshanks,  a  Wynn  Ellis,  a  John  Jones, 
and  a  Tate,  and  which  will  probably  find  no  rival 
in  any  land  until  the  Due  d'Aumale  fulfils  his  in- 
tention of  acting  the  Wallace  in  his  own  country, 
and  presents  Chautilly  with  all  it-  treasnn 
the   Institut  de   France. 

The  genesis  of   the  Wallace  collection  does  not 

3S 


"  MORTIER" 

■tenth    Centm 


(7  PERFUME     BURNER). 

i.      From    M.    litere's    "«>i*    ' 


removed  to  Hertford  House  when  sir  Richard  made 
overtures  to  the  English  government  tor  present- 
ing the  collection   to  hi    i it  i ) n  in  the  house 


298 


THE    MAGAZINE    OF    ART. 


which  they  now  occupy;  but  he  was  received  with 
the   characteristically    stupid    objection   that,   inas- 


1.    CLOCK    AND    BAROMETER, 


CLOCK    AND    PEDESTAL.    Boul 

of    Ymrdon,    Switzerland.      French,     Fit 


and  Gilt  Metal     (By  Ferdin 
Q    GILT    METAL.     (Formerly  in 

Century.) 


much  as  his  house  had  but  a  definite  term  to  run, 
he  had  better  amend  and  improve  his  offer  in  that 

direction,     [t  should  be  undersl 1  that  Sir  Eichard 

had  ;i  distinct  motive  in  requesting  that  the  Govern- 
ment should  concern  themselves  with  the  casket 
for  which  he  was  providing  the  gems;  inasmuch  as 
that  casket  was  specially  and  carefully  devised  to  re- 
ceive the  treasures.  The  public  dues  nol  sufficiently 
reali  ■  I  hat  e:  cept  in  a  purely  industrial  museum, 
the  surroundings  of  works  of  art  are  of  the  first 
importance.  Anyone  can  prove  this  for  himself  by 
walking    along    the    gallen    at    South     Kensington 


Museum  Idled  with  the  objects  of  the  Jones  Col- 
led ion.  There  we  have  a  collection  of  a  kindred 
nature  to  that  of  Sir  Eichard  Wallace. 
Cabinets,  tables,  escritoires,  chairs,  in 
glass  cases  or  railed  off,  display,  it  is 
true,  the  beauty  of  the  piece:  but  they 
lack  much  of  the  charm  that  would 
belong  to  them  if  they  were  placed 
in  still  more  appropriate  surroundings. 
Sir  Eichard  Wallace  had  in  a  great 
measure  adapted  his  house  to  its  con- 
tents. There  was  the  gallery  for  the 
pictures,  and  there  were  the  pictures 
for  the  rooms.  French  furniture  was  in 
rooms  properly  designed  in  the  French 
style  to  show  them  off;  and  the  armour, 
both  Mediseval  and  Oriental,  was  dis- 
played in  a  manner  best  suited  to  its 
aesthetic  needs.  For  this  reason,  Sir 
Eichard  desired  to  stipulate  that  either 
his  own  house  should  be  taken  over  or 
a  similar  one  built  for  their  reception. 
As  lias  been  said,  the  Government 
treated  Sir  Eichard  much  as  they  after- 
wards treated  Mr.  Henry  Tate,  doubtless 
presuming  upon  that  admirable  sense  of 
public  spirit  by  which  both  men  could 
rise  above  the  niggardly  trafficking  of 
the  Treasury.  Although  he  would  give 
no  assurance  and  withdrew  from  further 
correspondence,  Sir  Richard  Wallace 
patriotically  decided  not  to  visit  the 
sins  of  the  Treasury  upon  the  heads  of 
the  people,  but  reserved  them  for  ac- 
ceptation by  a  more  sensible  and  more 
magnanimous  Minister.  He  still  hoped 
that  the  Government,  if  it  would  not 
secure  the  present  Hertford  House, 
would  erect  another  on  the  same  ideal 
plan — with  a  quadrangle,  with  rooms  all 
round — and  be  availed  himself  of  .Mr. 
J.   H.   Fitzhenry's    taste    and   belli,   and 

e   Town  Hall  J  l 

of    M.   I'iolaine's    intelligence,  as    agent, 
to  develop  still  further  bis  unique  col- 
lection.      In    this   condition    it   has  come  to   us — in 
many  respects  the  most  remarkable  incident  of  this 
annus  miraiilis,  1897. 

Worthy  of  entering  into  rivalry  with  any  gallery 
of  pictures  in  the  world,  the  Hertford  Collection  is 
not  less  remarkable  for  its  furniture,  its  decorated 
anus,  and  other  objects  of  art.  Yet  among  its 
masters  of  painting  are  many  not  hitherto  repre- 
sented in  our  National  Gallery,  by  whom  the  nation 
is  now  to  be  enriched.  Amongst  these  are  Albano, 
Boursse,  Brauwer,  Cagnacci,  Camphuyzen,  Alonzo 
Cano,    Everdineen,    Jordaens,    Mirevelt,     Pynaeker 


THE    WALLACE    COLLECTION. 


290 


(though  South  Kensington  possesses  aire  example),  of  which  an  illustration  is  here  given.  These  tri- 
Vanderwerff,  Vanloo,  De  Voys,  Peter  Wouvennans,  pods  are  raised  upon  sphinxes  and  cany  a  vase  of 
and  Zerman.     In  the  great   French  art  of  the  late     lapis-lazuli,   from   which   spring   Bower -hranches   to 


seventeenth  and  eighteenth  centuries,  from  extreme 
and  reproachful  poverty  England  passes  to  enviable 
wraith.  Here  we  have  of  Watteau  (11  examples), 
Pater  (15),  Boucher  (11),  Oudry,  Gudin,  Charlet, 
Corot,  Diaz,  Delacroix,  Delaroche  (15  examples), 
Decamps  (Hi  oils  ami  1.".  water-colours),  Eousseau, 
Troyon,  Fragonard  (5),  Isabey  (4),  Greuze  (22,  of 
which  the  Pourtales"L :ence" alone  cost  the  Mar- 


hold  lights;  between  them  is  shown  an  encoignure, 
oi  angle-cupboard,  made  of  amboyna  wood  and  orna- 
mented in  -ilt  metal,  li  i>  the  work  of  two  of  the 
greatest  French  masters  of  luxurious  furniture 
Rieseuer  and  Gouthiere— and  comes  from  the  Palace 
of  the  Trianon  at  Versailles.  The  clocks  an-  not 
less  abundant,  nor  are  they  less  admirable  in  quality. 
I        "ii  the  right  which  is  here  mown  erected  upon 


quess  (it  Hertford   £4,000,  and  the  Fesch  "Nymph     its   pedestal   is   probably  by  Andre"    Boulle   himself, 
Sacrificing  to  Cupid,"  £1,355),  Largilliere,  Le  Ducq,     ami    comes   from    the    town    hall    of    Yverdon,    in 
Lemoine,    Nattier    (5),    Roqueplan    (12),    Prud'hon,     Switzerland  (see   p.  298    :    its  companion,  nol    less 
Raoux,  Horace  Vernet   (41).  Gerieault,  ami  Claude     admirable  of  its  kind,  is   of  ebony  ami  gilt    metal, 
Vernet,  as  well  as  Dupre,  Couture, 
Gerome,  Eosa  Bouheur  (.'I,  includ- 
ing "The  Waggon  "  and  "  Highland 
Sheep  "),  and  Meissonier  ( 15,  whirl, 
include  some  of  the  master's  most 
brilliant  work,  such  as  "  The  Sign 
Painter,"     "The     Dreamer,"     and 
"The    Print    Collectors").      These 
are    hut    some    numbers    ■<(     the 
French  school,  and   vet    they  give 
little    more    than    an    idea   of    the 
richness  of  the  collection  in  other 
schools; — Italian,  Spanish,  Flemish, 
Dutch,  ami  English. 

Leaving  awhile  the  pictures,  to 
which  I  propose  to  return,  1  de- 
sire to  direct  attention  to  the 
other  works  which  hardly  less 
than  the  paintings  themselves  she  1 
glory    mi    the   collection.     Of    the 

tapestry    I    n 1  say  little,  partly 

because  sir  Richard  Wallace  -old 
a  considerable  portion,  if  not  most  _ 
of  it  some  twenty  yea)  -  ago,  and 
parti}  bei  ause  whal  t  here  was 
did  not  belong  to  the  besl  pei  tod 
of  production.  Bui  of  bric-a-brac, 
of  decorative  objects,  bronzes  and 
furniture  of  the  very  highest  kind, 
there  is  so  much  that  the  mere 
catalogue  of  them  would  probably 

occupy   a    sci f   pages   of   this 

magazine.  In  Boulle  work  hardly 
any  collection,  even  in  Paris  or 
in  Windsor  t'astlc,  is  richer  or 
finer,  li  is  here  in  all  its  variety  of 
fcortoiseshell  ami  metal.  The  work 
of  Gouthiere  may  1m-  seen  in  the 
score  of  -in,,  ill  cabinets,  and,  ap-  „      _..___.__  (  ,-  i 

'  .     .  '  CANDELABRA,    Gilt    Metal    {by  OoullMre) :     and    ANGLE    CUPBOARD  ("  Encok  IN 

plied  to  a  style  somewhat  different,  0F  AMBOYNA  wood,  ornamented  in  gilt  metal 

may    l»'    seen    in    the    candelabra  «*•  ran™  «/  Trtamn,  v.,.  <  datura.) 


300 


THE    MAGAZINE    OF    AET. 


and  is  bhe  work  of  Ferdinand  Berthoud.  The  and  fashion  have  imposed.  There  is  marquetry  by 
table  carved  and  decorated  with  gilt  metal,  bear-  David,  there  is  Vermis  Martin  in  quantity,  there  is 
ing  a  green  porphyry  slab  (p.  301),  and  the 
mahogany  cabinet  with  gilt  ornament  (p.  303) 
,ii  perhaps  not  boast  of  a  provenance  so  distin- 
gui  hed  as  many  other  examples  of  fine  French 
work;  but  they  at  least  represent  the  perfection 
of  taste  and  execution  as  well  as  of  style  which, 
if  our  officials  of  South  Kensington  had  had  their 
way,  would  have  been  excluded  for  ever  from  their 


ENAMEL    CASKET. 

From    HI.    Uiare's    " Musee    Graplii 


■a  table  (if  various  woods  with  a  top  of  Rose  dtt  Bam 
(which  perhaps  ought  rather  to  be  called  Rose  du 
Pompadour),  there  is  the  musical  clock  by  J  >allie, 
there  are  bronzes  after  Girardon  and  Falconet.,  with 
splendid  specimens  of  the  finest  Chinese  work  in 
bronze   and   cloisonne   enamel,    Italian  Renaissance 


END     VIEW. 

courts.  In  evidence,  it  is  only  necessary  to  recall  the 
turdy  opposition  mid  scornful  criticism  passed  upon 
the  Jones  Bequest  when  that  munificent  gift  was 
bestowed  on  the  Museum,  Beside  these  objects 
there  may  worthilj  take  their  place  the  two  chairs 
hero  shown  (p.  301):  they  are  of  carved  and  "ill 
wood,  upholstered  in  tapestryof  Beauvais.     All  these 

ii   need  hardly  be  said,  are  at g  tin1  finest 

nens  of  French  eighteenth-century  work. 

evet )    master  of  the  meubles  de  style  is 
n ted,  and  ever}   excellence  that   luxury 


(Hit 


PLATE 
teatl,    Ccn 


MAIOLICA     OF     FAENZA 


Gmphlqnc") 


statuettes  and  groups,  marble  vases,  English  silver 
eighteenth-century  ewers,  and  a  vast  number  of  other 
works  of  similar  character  and  equal  magnificence — 


CHAIRS,     IN     CARVED    AND    GILT    WOOD,     COVERED     IN     BEAUVAIS    TAPESTRY. 
(French.    Eighteenth    Century) 


'WS 


•cmmii&n-^r-  .■■'■^ms'^  ^r 


TABLE,     CARVED,     WITH     GILT     METAL,     AND    SLAB     OF    GREEN     PORPHYRY. 
(French, 


302 


THE    MAGAZINE    OF    ART. 


many  of  them  royal  pieces,  and  not  a  few  historical. 
To  give  a  definite  idea  in  a  single  magazine  article 


WHEEL-LOCK     ARQUEBUSE. 
nth    Century.      From    M.    Lieure's    "Mush    Qraphique.") 


of  the  quality  and  extent  of  this  section  of  the  col- 
li i  i is  impossible. 

N'ni  less  important  is  the  collection  of  armour, 
which  may  be  divided  roughly  into  Mediaeval  and 
( rriental.  The  fine  pieces  in  both  seel  ions  are  of 
remarkable  quality,  and  include,  moreover,  trappings, 
o)  iddles,  and  the  like;  and  il  is  interesting  to 
note  thai  some  of  the  finest  examples  in  this  col- 
lection are  in  be  found  drawn  in  the  MS.  book  of 
Jacobi     u  luourei     '    Queen   Elizabeth   of  which  the 


South  Kensington  Museum  lately  became  possessed. 
As  a  specimen  of  decorated  armour,  we  repro- 
duce from  the  illustrations  in  M.  Edouard 
Lievre's  "Musee  Graphique"  the  six- 
teenth-century inlaid  arquebuse  and  the 
superb  morion  helmet,  embossed,  of  the 
same  or  a  slightly  earlier  period,  doubt- 
less of  Ilalian  design.  From  the  same 
source  we  are  enabled  to  reproduce  an 
exquisite  object  in  metal-work,  a  mortier 
(p.  297),  tine  alike  in  design  and  work- 
manship. Equally  admirable  is  the 
enamel  casket  by  J.  Penicaud  (p.  300): 
and  the  portrait  enamel  of  Marguerite 
ilr  France,  by  Jehan  de  Court  (six- 
teenth century),  is  not  more  beautiful 
in  quality  than  is  the  frame  in  design 
(p.  297).  In  addition  to  these  there  are 
among  a  notable  profusion  the  two  fine 
bronze  groups  of  Jupiter  triumphing 
over  the  Tritons,  and  of  Juno  supported 
by  the  winds — Tuno  being  the  goddess 
of  rain  (French,  seventeenth  century). 
To  the  sixteenth  century  belongs  the 
superb  portrait  bust  of  Charles  IX.  of 
Fiance. 

Maiolica  and  other  earthenware  form 
a  remarkable  section   by    themselves,  in- 
cluding   nearly    one    hundred    and    fifty 
numbers;    and   among    the   examples   of 
Limoges    enamel    is    the    great    dish    by 
Martial  Courtois,  representing  Apollo  and 
the  Muses,  with  binder  and  back  of  arab- 
esques, which  is  worthy  to  be  named  along 
with  the  other  masterpiece  of   the  same 
artist,  formerly  in  the  Magniac  Collection 
and  now   in   that  of  Mr.    Borradaile,  of 
Brighton.     It    can    hardly   be    pretended 
that   the    maiolica,  magnificent  as   it  is, 
includes  examples  of  every  factory  :  never- 
theless, it  is  extremely  representative  of 
the  best.     Of  these  we  reproduce  a  rave 
piece  of  maiolica   of    Faenza  with   char- 
acteristic decoration  (p.   300).      Moorish 
lustred    maiolica    is  well   represented    in 
the   fifteenth -century   dish    which    bears 
the  shield  of  Castille  and  Leon  in  the  centre,  and  in 
another  which  adds  to  those  the  shield  of  Arragon. 
Palissy  ware  is  shown    in  a   few  admirable   speci- 
mens, and  della  Robbia  enamelled  earthen  ware  in  a 
characteristic  group  of   the  Virgin  and  child. 

The  section  of  miniatures — to  retain  Sir  liichard 
Wallace's  own  classification  —  includes  some  two 
hundred  ami  twenty  examples,  most  of  them  very 
line  in  their  way,  but  not  all  of  them  to  lie 
identified     with     either     sitter     or     painter.       It     is 


THE    WALLACE    COLLECTION. 


30  ■ 


sufficient  to  know,  however,  that  there  is  amongst  Eitz-Herbert,  Miss  Crofton,  ana  others;  and  Ozias 
them  a  portrait  of  Lord  Conway  of  the  period  ol  Humphrey,  Bone,  and  other  English  miniaturists 
Charles    I.,    by    Samuel    Cooper,    and    another    of     are  also   here.      The  French   miniaturists,  perhaps, 


VHOGANY,     WITH     GlLT     ORNAMENT, 
nc/i,     Eighteenth    Century.) 


Oliver  Cromwell  by  the  same  master,  together 
with  Lord  Faulkland  and  an  unknown  male  por- 
trait.     The   features  of   another   unknown   man   of 

tlii-    time    of     Elizabeth    have    1 n    immortalised 

by  Nicholas  Hilliard.  Cosway  is  represented  by 
miniatures  of  the  Duchess  of  Devonshire  and  Lady 
Duncan non,  of   George   Prince   of   Wales,  of    Mrs. 


(•annul  show  so  many  masters,  but  [sabey,  Aubry, 
Guerin,  and  Nattier  have  given  their  exquisite  art, 
the  former  i"  notabilities  of  tin'  Napoleonic 

and    tin'    last  nat I    i"    Madame   de    Pompadour 

herself.  It  should  be  added  that  a  miniature  por- 
trait in  nil.  Jean  de  Thou,  shows  the  early  days  of 
thr  ait  in  tin-  Eoui  teenth  century. 


304 


AT     THE     SIGN      OF     THE      DIAL. 

MR.     RICKETTS     AS     A     BOOK  =  BUILDER. 

By     GLEESON     WHITE. 


by    Charles    ft.cfietts.) 


HE  quality 
w  li  i  c  1 1  has 
distinguished 
Mr.  Ricketts's 
wink  from 
the  first  is 
"personality." 
In  Art,  per- 
sonality is  hut 
another  name 
fororiginality; 
and,  as  in  life, 
there  are  two 
sorts.  The  one  fostered  hy  ignorance,  whether  of 
social  amenities  or  precedent;  the  other  restrained 
or  fantastic,  pedantically  simple  or  complex  and 
profound,  is  alike  based  upon  sound  knowledge, 
which  is  power, 

To-day  a  few  designers,  anxious  for  a  short  cut  to 
success,  appear  to  think  that  if  they  follow 
the  track  of  a  single  predecessor  they  can 
slip  through  the  thorn-brake  with  no  per- 
sonal effort  and  succeed  in  awaking  the  sleep- 
ing beauty.  But  the  path  must  be  cleared 
anew  for  himself  by  every  true  artist,  who 
disdains  the  solitary  trail  as  much  as  the 
common  highway  :  for  by  either  mute  a  tra- 
veller will  find  when  he  reaches  his  goal  that 
the  prince  has  already  carried  off  the  prize. 
Mr.  Ricketts  is  himself  always.  It,  is 
open  In  dislike  his  aims:  but  common  fair- 
ness musl  admit  that  they  arc  his  own, 
and  owe  little  to  any  predecessor.  <  >f  the 
school  of  Rossetti — does  someone  whisper? 

Yes,  i c  sense:    but  only  in   the   sense 

that  the  younger  Pre-Eaphaelite  has  learned 
from  the  sources  whence  the  earlier  drew 
his  inspiration,  and  first  gave  expression 
I-  a  certain  intensity  new  to  English  art. 
Besides,  Rossetti — maker  of  poems  and 
pictures — was  not  to  anj  extent  a  designer 
of  books,  and  it,  is  in  that  aspect,  we  are 
considering  Mr.  Ricketts  here. 

I ■  aspect   of  his  art    Mr.  Ricketts 

appears  distinctly  akin  to  Rossetti,  for  he 
is  dowered  with  the  highly  nervous  tem- 
perament which  feels  the  commonplace  as 
positive  pain.     Most  of  us  can  hardly  suffer 

gladly  the  reiterat  i f  a  monotonous  note 

11  or  the  foolish  ineffectual  whine  of  ;i 


chained  puppy.  The  repeated  sound  provokes  a  dis- 
proportionate sense  of  irritation.  It  is  told  of  Walter 
Savage  Landor  that  he  hated  mixing  indiscriminately 
with  his  fellows  because  the  platitudes  which  they 
uttered  inflicted  actual  torture.  "  Fancy,"  he  said 
on  one  occasion,  "if  I  chanced  to  he  sitting  by  the 
sea,  and  a  stout  motherly  female  came  ami  .sat 
beside  me,  and,  as  a  steamboat  came  in  sight,  said — 
"Lor,  sir!  what  should  we  have  thought  of  that 
when  we  were  young?"  The  fatuous  astonishment 
of  the  average  person  at,  something  that  he  recognises, 
but  cannot  understand,  is  as  maddening  to  a  thinking 
man,  as  the  same  person's  self-satisfied  familiarity 
with  other  wonders  which  are  equally  beyond  his 
comprehension. 

It  is  hard  that  no  word  exists  to  describe  accu- 
rately the  builder  of  beautiful  hooks.  "Editor"  or 
"publisher"  expresses  too  much.  The  architecture 
of  book-building;  is  at  once  an  art  and  a  science,  and 


REDUCED     FROM      '    DAPHNIS     AND     CHLOE. 
(Ora«,»    by    Charlw    Ricketts.) 


AT    THE    SIGN    OF    THE 


305 


in  many  respects  would  show  a  near  parallel  to  the 
third  of  tlic  fine  arte  which  is  included  in  that 
trinity  of  which  many  believe  thai  the  lasl  is  also 
greatest.     But  it  is  wiser  to  ai  i  epl  them  .1-  1  o-equal. 

Now  mosl    people   still  express  surprise  at   the 
marvels  of  printing;  and  still  show  apparent 
faction  with   the  meanest  and   ugliest   examp 
that  art,  which,  they  recognise,  lias  done  so   much 
to  change  the  life-history  of  the  world.     They  will 
gaze    in    open-mouthed    astonishment    at    so 
many  thousand  copies  an  hour  being  thrown 
off  steam  presses,  and  yet  purr  with   - 
approval  over  the   hideous   volume   which   is 
the  result  of  all  this  applied  mechanism. 

The  artist  is  always  amazed,  and  is  for 
ever  appalled,  by  common  accidents  of  light 
and  movement  which  do  not  excite  the- man 
in  the  street  in  the  smalls:  degree.  The 
emotions  which  move  an  artisl  to  joy  or  grief 
seem  the  veriest  trifles  to  the  orthodox  British 
citizen:  while  all  the  toys  of  the  taxpayer — 
politics,  religious  factions,  and  other  burning 
questions — interest  the  artist  rarely,  and 
seldom  deeply.  This  may  seem  discursive; 
Imt  unless  you  are  willing  to  realise  thai  to 
an  artist's  eyes  the  production  of  a  beautiful 
book  is  worthy  of  as  much  patient  study  as 
the  result  of  an  international  cricket  match, 
the  passing  of  a  Bill  through  Parliament,  or 
the  shibboleth  of  one  sect  as  opposed  to  the 
shibboleth  of  another — until  one  is  ready  to 
allow  that  the  subject  which  attracts  him 
interests  him  as  honestly  and  wholly  as  these 
other  matters  interest  the  larger  number,  it 
were  foolish  to  consider  seriously  a  few 
volumes  issued  under  the  direel  control  of  a 
young  artist. 

The  art    of    producing   a    1 k    differs  in 

infinitesimal    degree    only,    whether    it    be    a 
cheap    and    nasty    edition    or   a    masterpiei  ■  ■ 
that    satisfies   the  mosl    exacting  critic.     The 
possible  variations  allowed  in  good   lioman  typ 
few  and  exquisitely  slighl  :  the  paper  1-  necessarily 

paper,  merely  a    1 ■  quality  for  a    had   book   and 

a    tine  quality   for   a    good    one.      Every    pa 
margins :    those    produced    by    artists     of    the    pa 
or  present — are   finely   proportioned;    the    n    I    an 
Left    to   chance.      The    ink    is    nominally    black    in 

each  ease:    in  the  fine  1 k   ii   is  really  black;    in 

the  badly -printed   one   sometimes    black,  sometimes 
a  dull  neutral  colour.     The   ugly   hook   is   usually, 
though  not  always,  unreadahle  in  some  degree;  it- 
pages  are  often  shiny  and  its  type  thin  and  11 
But,   after   all,   the    po  sihle   difference    betwei  11    a 

beautiful  hook  and  a   1 k    of   no   beauty  at    all    is   a 

mailer  of  surfaces,  tones,  and    fractional   variations 


of  nea  urement — all  trifles  of  small  importance  to 
the  pracl  ical  man  of  bu 

But    we    must    remember    that   trifles    rule    the 
world;   a   fraction  of  difference  in  the  curve  of  an 
1  outour    of    a    nose,    separates    a 
Cleopatra  ft  lowdy.       In    An 

there  is  no  such  thin-  as  a  trifle;  every  item  of 
perfection  must  be  perfect,  and  only  those  who 
know    the   thousand   and  one  possible  errors  which 


REDUCED     FROM      "DAPHNIS     AND     CHLOE." 

{Drawn     bij     Cha 

would,  an\    ,  l.<iii.  mar  a   pei  foci    i k.  can 

iate  the  result.     The  right   thing  often  lool  s 

the  easiest  :    hill    if    it    l>e  the  niOSl    dircet    way   to 

lie  result,  a.-  it   often  1-,  the  natnra 
of  animal     ua  are  has  to  he  fought  in  e.verj  0 
the  thousai 

renovation  of    the    1 k    from   it  -    nor 1    ug 

to    a  isfactory    in    evi  1  must 

It      must      l|o|      In 

founded    with    the    pretl  •■  ith    a 

I     !l,ll   Mi!  i     I  "111 

1  he    mo  point    of   \  iew   "  the  hook 

dispense  with  thesi    adjuncts,  and  become  beautified 
by  rea  1  decoi  itions 

Th.  re  1  ■  much  decoi    I  ion  al   pre  cut,  good  in 


306 


THF    MAGAZINE    OF    AKT. 


ool< .    in    borders,   for 
many    young    artists 
oriiers. 
beautiful  book  are  at 


that  does  not  beautify  llie  I 
instance,  you  constantly  find 
have  uo(  learned  bow  to  turn  < 

Logical  efforts  to  produce  a 
presenl  the  secrei  of  England.  In  France,  Holland, 
and  Belgium  they  know  this  well  enough.  This  was 
apparent  al   i  lie  exhibi- 

1 1 i'  /.•  Livre  Moderne 

in  Paris;  although  the 
Kehuscott  editions  do 
not  seem  to  have  been 
treated  there  so  seri- 
ously as  their  import- 
ance warrants,  and  Air. 
Ricketts's  hooks  were 
]n  act  ica  1  ly  unrepre- 
sented. 

As  tlic  Vale  Press 
books  owe  everything 
except  the  actual  press- 
work  to  Mr.  Ricketts, 
who  is  responsible  for 
the  type,  the  build  of 
the  page,  I  he  paper  with 
its  "  Vale  "  watermark, 
the  illustrations  and 
decora  t  ions,  a  n  d  I  he 
bindings,  it  will  lie  best 
to  trace  the  evolution 
of  these  editions  from 
earlier  volumes  which 
w  ere  only  part  hilly 
under  his  control. 

Of      these,      the      [irst 

number  of  "The  1  lial  ' 
is,  I  believe,  the  earliest; 
and  the  plan  of  this 
sum pt  uously  -  printed 
quarto  reveals  attention 
l,o  those  details  of  book- 
building  which  later 
works  develop  more 
fully.  The  prospectus 
to  announce  "  The  1  lial," 
No.  1,  and  thai  to 
proclaim    the    advent    i 


REDUCED    FROM    "  NIMPHIDI A,' 
(Bs     Michael    Dr.ijton.        Vail     Prill     Edith 


X. 


are    delightfully 

original;  indeed,  with  all  respect  for  Air.  Ricketts's 
latei  amis,  one  can  hardly  restrain  a  certain  amount 
of  regret  that  the  invention  displayed  in  arranging 
ordinary  types  in  well-balanced  masses  has  been  set 
.i  ide  for  a  stricter  adherence  to  the  canons  laid 
down  by  the  early  lialian  ami  other  master  book- 
builders  of  the  past.  "The  Dial,"  No.  |,  appeared 
from  tin-  Vale,  Chelsea."  in  1889;  No.  '1  in  Feh- 
ruary,  L892 ;  No.  3  in  October,  is1.):;;  and  No.  4, 
with  the  imprint   " Hacan  and    Llicketts,"  in    1896. 


The  earliest  book  produced  under  Mr.  Ricketts's 
entire  control  is  "  Silver-Points  "  (  Lane,  1891  )     a  tall 

tin itavo,  which,  in  its  dainty  cover  (designed  by 

Air.  Charles  H.  Shannon),  is  a  treasure  to  collectors 
and    a    continual   joy    to    the   lover   of    fine    hooks. 
Several  points  in  it,  then   entirely  fresh   in   modern 
book  -  making,    deserve 
mention.      The   poems 
are  all  in  italic,  except 
the  initial  letter  of  each 
line,  which   is   Roman  : 
the  titles  are  in  Roman 
capitals  :  the  dedication 
in  smaller-sized  capitals, 
thewhole  packed  tightly 
together,  with  margins 
that    fulfil    the    estab- 
lished rule  of  the  great 
pri  a  t  ers  —  tha  t     is, 
narrowest  on  the  inner 
side,  the   outer   margin 
double  the  width  of  the 
inner,  the  top  still  more 
ample,    and    the    lower 
wider   still.     Except 
that    a    simple    decora- 
tion surrounds  a  few  of 
the  initials,  there  is  not 
a  spot   of  ornament  in 
the   whole   hook-,   which 
owes  its  beauty  entirely 
to  the  arrangement    of 
the  type.    In  "A  House 
of       Pom  eg  ra  ii  iitrs" 
(Osgood,   Mcllvaine, 
1891)— as  the  prospec- 
tus   duly    announced — 
"  the  design  and  decor- 
ation   of    the    hook    are 
byC.  Rickettsand  < '.  II. 
Shannon."  Here  we  find 
that    the    pictures    are 
deliberately  planned  to 
decorate    the    page,  and 
that  certain  roundel  de- 
signs are  dotted   here  and   there  on   the  margins  for 
the  same  purpose,     other  hooks,  notably  "Grimm's 
Fairy  Tales,"  with   Air.   Walter  Crane's  designs,  had 
long   before   attempted    to    bring   the    illustration    to 
accord  with  the  type-page;    but,  this  is  nearer  the 
ideal,    for    the    massing    of   the    type   itself   seems   to 
have  been  more  thoroughly  supervised  by  the  artist. 
'  Lord  Arthur  Savile's  Crime"  (ditto)  and  "Tin'  Bard 
of  the   Dimhovitza"  (ditto)  also  show-  strong  trace 
of  Mr.   Ricketts's  influence  in  their  title-pages. 
Put   these  preliminary  efforts  must  not,  he  dwelt 


AT    THE    SIGN    OF 


IK 


A  I.. 


307 


upon.  With  "  Daphnis  and  <  !hloe,"  a  quarto  volume, 
we  encounter  what  is  said  to  be  the  first  book  pub- 
lished in  recent  times  with  woodcuts  by  the  artist, 
in  a  page  arranged  by  himself.  It  must  not  be 
forgotten  that  Mr.  Bicketts  is  distinctly  a  revivalist 


of  original  engraving,  never  common  at  any  period. 
Mr.  W.  J.  Linton  admits  only  two  original  wood- 
engravers  in  the  sixteenth  century.  One  of  the 
blocks  reproduced  here  will  convey  an  idea  of  the 
"Daphnis  and  Chloe,"  which  is  modelled  obviously 
on  the  "  Hypnerotomachia  "  (Venice,  1499)  and  other 

1 ks  of  thai  period.    Not  a  few  people  have  blamed 

.Air.  Bicketts  severely  for  his  faithful  adherence  to 
the  manner  of  the  early  Italians  ;  and  a  few  of  these 
have    at   the  same  time   approved   equally  faithful 

imitations  of  1 ks  of  another  race  and  time.     The 

question  is  purely  a  matter  of  taste  :  but  in  choosing 
the  Italians  as  models  to  follow,  Mr.  Ricketts  stands 
alone  at  present.  Not  a  little  decorative  book- 
making  inspired  by  Teutonic  and  other  early 
fashions  has  been  put  forth  of 
far  my  inquiries  have  discovei 
which  has  been  directly  inspire 
Rappresentazioni. 

"Hero  and  Leander,"  issued  in  L894.au  octavo, 
is  conceived  in  a  different  manner,  and  cannot  be 
traced  to  the  direct  influence  of  any  predecessor. 
The  type  of  beauty  which  Mr.  Bicketts  adopts  in  its 
illustrations  is  not  one  that  appeals  to  the  lovers  ol 
the  quaint  or  the  pretty,  who  may  be  repelled  by 
its  severely  archaic  lines  and  the  decorative  in- 
tention which  depicts  a  strangely  fantastic  ideal  of 
humanity.     To-day,  when  realism  and  imitation  are 


late 


ears:  tint  so 
I  no  modern  book 
by  the   Florentine 


dominant,  the  deliberate  intention  of  an  artist  to 
make  his  subject  express  the  idea  he  wishes  to 
convey  within  a  rigid  convention,  without  binding 
himself  to  the  canons  of  academic  draughtsman- 
ship, is  apt  tn  be  taken  as  treason.  Bui  those  who 
are  offended  should  remember  thai  a  draughtsman 
of  Ah'    Bicketts's  ability  dues  not  err  (if  la-  err  at 

all)   through    ig ance   or   carelessness.      Emotion", 

passion,  and   the  decorative  pattern    of    his   ■ 
sway     him     most  ;     and     to     that     end     lie     i 
types   of    humanity    which    are    uol    common,   and 
proportions  which  do  nol   agree  with  the  record  ol 
the   Kodak. 

In  -The  Sphinx  "  1 1894)  a  delicately- wrought 
small-quarto,  (dad  in  white  and  gold,  and  printed 
in  red.  green,  and  black — the  illustration-,  ale  slid 
more  severe,  and  are  certainly  entirely  remote  from 
the  direct  influence  of  any  work-  past  or  present. 
The  artist,  I  believe,  ranks  this  as  one  of  hi-  most 
satisfactory  works;  ami,  caviare  though  it  must 
needs  he  to  the  average  taste,  its  singular  beauty 
needs  no  praise  here.  The  absence  of  sensuousness 
in  designs  that  ate  passionate  in  intention  is  pecu- 
liarly noticeable.  Hut  for  the  moment  we  may 
regard  the  illustrations  of  these  three  books  as  a 
side  issue;  except  iii  one  very  important  factoi  : 
the  quality  of  their  line,  and  the  amount  of  white 
paper  left  untouched,  which  has  been  decided  en- 


tirely  with    regard    to  position 

with  the  type.  This  is  a  point  which  Mr.  Bicketts 
considers  to  be  of  the  highe  I  importance.  It  is  the 
build  of  the  page,  the  relati f  the  "coloui 


308 


THE    MAGAZINE    OF    ART. 


the  engravings  to  the  type,  and  the  symmetry  of 
the  whole  volume,  which  he  insists  upon;  and 
in  these  respects  any  person    who  lias  studied  the 

beauty  of   a    well-planned    1 k   cannot    fail   to   be 

interested,  even  if  the  resull  is  unlike  his  previously 
accepted  ideal. 

But    all   these   volumes   air   only  steps   in   the 
history  of   the  Vale   Press,  and   do   nut   represent 


FROM     "THE     SPHINX." 

{Drawl:   by   CI   ■ 

the  ideal  which  .Mr.  Ricketts  wished  in  attain.  In 
I  196  the  results  of  long  experiments  wre  made 
public,  and  the  firm  of  Hacon  ami  Ricketts  was 
established.  At  present  its  publications  are  con- 
fined t"  books  decorated,  not  illustrated;  unless 
,ni  occasional  frontispiece  entitles  certain  volumes 
to  !«•  so  considered. 

For  these  Mr.  Llicketts  designed  a  special  type, 
.nid  carried  out  an  idea  he  had  projected  for  a 
long  time.  The  type  has  already  been  the  theme 
of  dispute,  and  has  betrayed  many  hasty  critics 
into  rash  statements.  'I  he  possible  innovations  in 
a  fount  confessedly  based  on  the  precedent  of  the 
hesi  Italian  alphabets  leave  little  room  for  violent 
novelty.  One  set  of  critics  has  objected  to  the 
st  \  le   as    too  invital  ive ;    other?    liave   found   it    too 


novel.  But  no  critic  so  far  seems  to  have  been 
sufficiently  impressed  by  its  fundamental  idea.  Mr. 
Ricketts  believes  that  the  plan  on  which  all  letters 
should  be  based  is  that  of  the  perfect  circle  or  the 
perfect  square;  it  matters  not  which  geometrical 
form  you  choose,  .since  a  certain  number  of  letters 
— M,  L,  H,  and  the  like — demand  a  parallelogram, 
and  others — C,  G,  Q,  0 — an  ovate  or  circular  plan. 
If  to  draw  this  distinction  between  types 
based  mi  the  oval  or  the  circle  appear  a 
mere  quibble,  we  must  remember  that  the 
difference  between  the  Byzantine  and  Pointed 
style-,  which  divide  architecture  into  two 
great  sections,  is  one  of  similar  limit.  There 
is  all  the  difference  in  the  world,  to  a  spe- 
cialist in  types,  between  a  small  "  1>,"  "  g,"  or 
"o"  that  follows  the  circle  [O].  and  one  that 
is  planned  upon  an  oval  [0]-  1  wish  to 
emphasise  this  point,  because  I  know  that 
the  designer  regards  it  as  vital :  and  I,  for 
one,  agree  entirely  with  bis  estimate  of  its 
importance.  The  question  of  "seril'ls"  and 
the  angles  of  certain  strokes:  whether  a  W 
consists  of  interlaced  Y's,  or  of  two  con- 
nected only  by  the  seriff;  whether  the  serin's 
of  a  capital  T  are  vertical,  or  slant  divers 
ways,  or  parallel — all  these  aie  secondary 
matters,  but  the  plan  of  the  letter  is  not 
seci  'Hilary. 

In  the  beautiful  Kelmscott  type,  as  in 
the  famous  Foulis  founts  and  other  notable 
instances,  the  ()  is  ovate,  and  all  other  letters 
agree  with  it.  In  Mr.  Ricketts's  "Vale" 
type  tin.  square  and  the  circle  dominate  every 
letter.  If  this  distinction  be  passed  over  as 
unimportant,  further  contention  is  useless. 
lint  on  this  point  no  compromise  can  be  en- 
tertained. If  it  be  unimportant  whether  the 
arch  is  a  semicircle,  or  planned,  like  Euclid's 
first  problem,  upon  the  intersection  "I  circles, 
then  it  matters  little.  But  so  long  as  archi- 
tecture is  separated  by  such  a  structural  difference, 
it  follows  that  an  0  based  on  a  circle,  or  an  H 
based  on  a  perfect  square,  must  be  entirely  unrelated 
to  the  ovate  0  or  the  oblong  H.  When  taste  is  in 
question,  one  allows  the  adversary  equal  vantage; 
but  when  geometry  comes  in,  axioms  must  be 
observed.  Therefore  the  ill-founded  assertion  that 
Mr.  Ricketts's  type  copies  any  modern  fount  cannot 
be  allowed.  You  may  dislike  his  symbol  ha'  the 
ordinary  "A',"  or  dispute  over  the  beauty  of  his 
seriffs  and  the  oblique  strokes  of  certain  letters: 
hut  if  you  maintain  that  a  circle  and  an  oval  are 
practically  alike,  the  question  of  these  nicer  points 
need  not  he  raised. 

The  Vale  Press,  with  its  own  type,  its  own  paper 


AT    THE    SIGN    01<    THE    DIAL 


309 


with    its  own    watermark,  has   so   far   produced  a     experiments  at  early  stages,  I  can  unhesitatingly  re- 
comparatively  small   number  of  books;    but  a  few     cord  his  fervid  anxiety  to  leave  nothing  undone  thai 


INITIAL-    AND     C'JLS-DE-LAMPE 


months  could  hardly  be  expected  to  yield  a  hundred 

volumes.     The  output  before  the  autumn   holidays 

of  1896  comprises  "The  Early  Poems 

of  Milton,"  "The  Poems  of  Sir  John 

Suckling,"     "The     Nimphidia"     by 

Michael  Drayton,  " Spiritual  Poems" 

by  John  Gray — all  with  frontispieces, 

borders,  and   initial  letters,  designed 

and    cut    on    the    wood    by    Charles 

Ricketts;    also  "Epicurus,  Leontine, 

and  Ternissa,"  by  W.  S.  Landor,  with 

a    border   designed   and    cut    by   the 

same  artist. 

It  would  be  easy  to  draw  up  a 
plea  for  the  appreciation  of  tins 
effort  :  but  to  do  so,  since  a  com- 
mercial enterprise  is  by  the  force  of  circumstances 
allied  with  an  artistic  experiment,  would  be  to  for- 
sake a  platonic  attitude  of  disinterested  appreciation, 
and  descend  to  the  puff  oblique.  As  one  who  has 
had   the  privilege  of  seeing  many  of  Mr.  Eicketts's 


shall  perfect  his  books  according  to  the  ideal  he  has 
developed.  The  aspect  in  which  they  concern  us  is  the 
aesthetic  result.  The  t\  pe  is  legible, 
the  printing  by  Messrs.  Ballautyne 
as  good  as  one  could  wish,  the  paper 
and  all  the  details  which  complete  a 
volume  show  the  uttermost  care.  Of 
the  bindings  nothing  has  been  said,  nut 
only  because  Mr.  Ricketts's  designs  for 
cloth  covers  deserve  a  papei  i"  them- 
selves, hut    because  they   have    been 

hitherto  applied  in  1 ks  net  entirely 

under  his  cont rol.  The  Vale  editions 
(the  Suckling  excepted)  are  clad  in 
seller  paper  boards, or  white  buckram, 
with  simple  labels.  His  effort  deserves 
the  sympathy  of  all  interested  in  the  applied  arts: 
and  if  its  ideal  he  net  theirs,  let  them  he  quite  sure 
first  whether  it  is  not  even  better;  and  if  thej 
themselves  it  is  net,  then  one  might  ask  why  011I3 
one  ideal  of  a  beautiful  hook  is  to  be  entertained. 


nq  by  Charles  Ri\ 


THE  WANDERINGS  OF  THE  TAMAR. 

By     ANNIE     GROSER     HURD         ILLUSTRATED     Ev    JOHN     FULLWOOD,     R  B.A. 


$|:[EN  Nature  wants  to  mark 
off  one  county  or  one 
country  from  another  she 
does  her  work  thoroughly  : 
she  plants  an  ocean  or  so 
to  denote  that  that  land  or 
continent  has  reached  its 
limits,  or  sends  a  river  roll- 
ing along  to  divide  her  shires.  It  was  evidently  her 
intention  that  Devon  and  Cornwall  should  only  lie 
nodding  acquaintances,  fur  straight  down  between 
them  trickles  and  ripples  aud  mils  the  Tamar.  The 
Tamar  and  the  Torridge  rise  close  together  in  a. 
bog,  or  rather  they  ooze  through  a  bog  so  soon 
after  thru  birth  in  Wooley  Moor,  a  desolate  spot 
not  five  miles  from  the  ocean  that  washes  Devon's 
northern  shores,  that  the  hundred  yards  of  rivulet 
between  the  six-foot  pool  —  which  in  summer 
lies  almost  away— and  the  bog  is  hardly  worth 
a   mention.     It  is  rumoured   in  the  legends  of  the 

neighbour] 1  that  the  Torridge  once  had  leanings 

towards  flowing  down  between  the  two  western- 
most counties,  where  was  the  wannest  climate  and 
tallest  soil,  and  that  their  two  genii,  after  a  violent 
contention,  fell  asleep.  Torridge,  first  awaking,  ran 
slowly    oil',    and    was    well    on    his    way    before    the 


Tamar  awaked.  He,  however,  being  angry,  posted 
after  with  all  possible  speed,  but  was  much  hindered 
by  the  stones  that  lay  about.  Notwithstanding 
these,  he  hurried  so  violently  that  he  got  the  ad- 
vantage, and  the  poor  slow-going  Torridge,  dis- 
covering that,  it  was  of  no  use  to  strive  any  more, 
wheeled  about  and  took  a  northern  course. 

■■  Torridge  stole  away  while  Tamar  sleeped  : 
Tamar,  he  woke  up  and  roared  and  weeped  " 

is  a  local  rhyme  which  sums  up  the  encounter.* 

"  The  Tamar  at  first  for  haste,"  the  legend  con- 
cludes, "made  few  indents  or  wheelings,  having  an 
earnest  desire  to  visit  the  warmer  climate  :  bill 
having  once  obtained  the  goal  disports  himself 
wantonly."  Ami  wanton  indeed  is  his  course  after 
he  has  run  half  the  length  of  the  counties,  though 
not  by  any  means  half  his  own  length.  For  in 
sinuous  folds  he  wanders  first  east,  then  west,  then 
north  again,  showing  an  indecision  of  character 
detrimental  to  his  reputation,  though  highly  en- 
livening to  the  scenery. 

Its  upper  reaches  are  not  only  inaccessible,  hut 
comparatively   uninteresting    in    a.   district   like   the 
West  Country,  where  each  turn  is  supposed  to  show 
*  Quoted  by  Mr.  John  LI.  Paige. 


312 


THE    MAGAZINE    OF    ART. 


more  fascinations  than  the  last.  But  catch  the 
Tamar  at  Greystone  Bridge,  which  crosses  it.  near 
the  old  village  of  Duuterton,  or  even  a  few  miles 
further  down  at  that  Eden  in  England,  Eudsleigh 
Cottage,  and  you  will  not  want  to  part  companion- 
ship until  the  soft  woods  of  Mount  Edgcumbe  on 
the  one  side,  and  the  hard  reality  of  Devil's  Point 
on  the  other,  warn  you  that  its  life  i.s  spent,  and  it 
has  merged  its  own  identity  in  the  broad  waters  of 
Plymouth  Sound.  But  at  Eudsleigh  the  river  is  in 
all  the  glory  of  early  youth.  The  so-called  cottage, 
one  of  the  homes  of  the  Bedford  family,  is  built 
high  above  the  river  in  its  Devon  side,  and  in  its 
sheltered  grounds,  sloping  to  the  water,  are  gar- 
dens, walks,  shrubberies,  and  avenues  full  of  rich 
southern  loveliness. 

Opposite  are  woods  which,  even  in  Devon,  are 
famed  for  their  unspoiled  beauty.  And  coyly  the 
river  wanders  on  in  districts  rarely  seen  by  the 
tourist,  for  they  are  the  private  property  of  the 
noble  house  of  Russell.  But  to  all  appearances 
the  river  has  no  modern  grudge  against  land-owners, 
for  it  meanders  on,  bubbling  over  stony  shallows, 


few  miles  arc  hardly  to  be  equalled:  gently-sloping 
hanks  lined  to  the  edge  with  woods  rich  with  all 
the  undergrowth  of  fern  and  moss  or  flower  that 
Devon  knows,  or  abruptly-rising  scaurs  of  stern 
grey  granite  boulder  to  break  the  monotony  of 
gentleness. 

With  a  swift  turn,  after  leaving  the  romantic 
woods,  where  the  hand  of  man  has  left  no  trace,  the 
river  suddenly  wakes  to  a  sense  of  worldliness  by 
coming  on  that  mine  which  i.s  one  of  the  romances 
of  mining,  the  Devon  Great  Consols.  Ugly  and 
disfiguring  it  is  without  doubt,  with  its  wheels  and 
refuse-heaps,  scaffolding  and  tunnelling,  but  here, 
away  in  this  far-off  corner  of  the  West,  fortunes 
have  been  made  and  lost.  In  justice  to  the  Devon 
Consols,  it  is  only  fair  to  say  more  were  made  than 
lost;  for  although  the  shares  were  not  fully  paid 
up,  at  one  time  the  one-pound  shares  changed  hands 
at  the  giddy  price  of  £600,  and  in  twenty-one  years 
of  working  £40,000  was  paid  to  the  Duke  of  Bedford 
in  clues  alone,  while  the  profits  paid  to  shareholders 
amounted  to  £180,000.  In  its  palmy  days  it  had 
thirty  or  so  miles  of  tunnelling,  thirty-two  water- 


MORWELL     ROCKS. 


stopping  in  dark  hollows  which  anglers  love,  and  wheels,  nine  miles  of  shafts  and  winzes,  and  a 
growing  gradually  deeper  until  it  becomes  of  some  reputation  that  sent  the  county  mining-mail.  Now 
ii  e  ,i    ,i  i,i   igable  stream.     But  for  loveliness  those     the   wheels  move  slowly,  and   in   its  very  decrepil 


THE    WANDERINGS    OF    THE    TAMAR 


313 


old  age  the  ore  has  forsaken  it,  ami  though  it  is 
worked  fur  arsenic,  the  return  is  nol   great. 

But  the  river  still  rolls  on  as  steadily  as  in  the 
days  of  .".UNO  per  cent,  and  by  the  time  il  lias 
passed  under  the  New  Bridge  it  hasalraosl  forgotten 
that  there  ever  was  ;,  mine  whose  refuse  once  dis- 
coloured  its  waters. 

This  New  Bridge  gives  the  lie  to  its  name  at  first 
sight,  for  itisof  old  grey  stone,  half  covered  with  ivy. 


far  and  no  farther"  has  been  writ  across  the  weir. 
which  marks,  too,  the  limit  of  the  tides.  It  is  for- 
tunate   for    the    tourist    on    one    of   these    -i 

that   the  weir  dors  not    a    few  miles  further 

down.  For  between  it  and  the  village  of  Calstock, 
famed  for  its  donkeys  and  it-  strawberries,  lies  a 
stretch  which  is  the  loveliesl  pari  of  the  river — in 
ii-  il i\  igable  fracl  ion  at  anj  rate.  <  in  the  I  >evon 
>ide  rise  steep  crags,  three  hundred  feet  sheer  from 


DANESCOMBE. 


but  it  lias  several  distinctions.  It  is  tin'  key  of 
Cornwall,  or  it  was  when  armies  marched  through 
the  country,  and  more  than  once  it  has  seen,  and 
felt,  too,  hard  fighting  between  the  Roundheads,  who 
kept  the  bridge,  and  the  Cavaliers,  who  forced  it. 
Then  it  i<  the  last,  or  the  first,  bridge  which  crosses 
the  Tamar.  always  excepting  Brunei's  great  achieve- 
ment at  Saltash.  lint  that  is  a  railway  bridge,  and 
deprives  one  oi  the  childish  excitement  of  standing 
with  one  fooi  in  each  county,  which  the  New  Bridge 
affords.  The  Cornish  side  of  the  bridge  hail  to  split 
the  difference  with  the  steep  hill  thai  drops  down 
from  the  quaint  \  illage  of  ( runnislake,  ami  jump  up 
to  meel  ii,  Bui  1  >evon  and  ( lornwall  are  never 
expected    to   make    things    pleasant    Eoi    engineet    . 

their  r6U  is  to  make  picl s,  and  they  do  it. 

In    the   summer   days   a    paddle-steamer  indus- 
triously tramps  up  and  down  the  twenty-five  miles 
or  so  of  water  from   the  sea    to   the    Weir    Head 
Doubtless,  it  would  go  higher  if  it  could,  bul  "Tims 
in 


the    i  iver  :   in   evei  j    nil  he    ■ 1 1  ound  a 

home;  the  whole  stands  a  great  scene  of  grandeur, 
softened  1>\  green  and  brow  n  touches. 

There  is  a  path  to  the  top  of  these  Morwell 
Rocks,  and  it  were  a  crime  to  stop  half-way,  for 
from  ii  is  a  view  which,  even  in  Devon,  is  accounted 
line.  The  river  winds  and  bends  and  twists  for 
miles,  and  in  the  end  has  got  about  two  nearer  to 
the  sea  ;  the  Cornish  hills  stretch  blue  in  the  west, 
and   behind  are  i  lie  tors  of  I  (art  n r. 

( lalstocli  a  mile  or  so  fui  t  her  on,  would  be  a 
profoundly  uninteresting  riverside  village,  its  cot- 
tages lazily  scattered  about  the  hill,  wen'  it  not 
for  se\  era!  mund  <  rations;  I  he  first    : 

that   it   has   been,  from  tin it  of  mind,  pre-emi- 

mmth  the  ~p"t  for  tea.  There  is  an  old  inn  on 
the  Devon  side  which  is  the  joy  of  artists  seeking 
i  fore  round  and  there  is  a  sttpph  of  fi  nil  w  hich 
is  the  joj  of  the  thirsty  sou]  seeking  refreshment, 
["hi    quaint    old    Cornish    women    awaiting   you    on 


314 

the   quaj 


THE    MAGAZINE    OF    AET. 


with    their   clean    aprons   and    big   sun- 

i its,   and    baskets    filled    with    fruit    from    the 

irdens    which    cover   the    hill-sides   for   miles     Eor 


Edgcumbe  did  in  all  historical  probability  escape 
the  vengeance  of  the  followers  of  Richard  III.,  who 
regarded    him    as   an    enemy,  by   flinging    his    cap 


CARGREEN,  FROM  CLAMOAK. 


this  is  the  centre  of  a  strawberry-  and  cherry- 
growing  district  which  exports  tons  a  day  to  the 
London  market  in  the  season — are  quite  primitive 
enough  to  satisfy  the  seeker  for  the  picturesque. 

Bui  what  Calstoek  lacks  in  romance  is  abun- 
dantly made  up  for  in  Cotehele  House,  which  is 
round  the  next  bend  of  the  river,  though  it  must 
be  taken  on   faith,  fur  it   is  out  of  sight. 

Every  stone  has  its  story;  it  contains  rooms 
full  of  treasures  collected  by  its  present:  owners — 
the  Mount-Edgeumbe  family — some  of  them  relies 
of  royal  visitors  who  have  made  a  sojourn  there; 
and  its  battlemented  walls  have  felt  the  assaults  of 
the  marauder.  On  the  river,  just  beyond  Cotehele 
Quay,  is  a  little  chapel  built  on  a  rockj  bank,  as  the 
thank-offering  of  a  Sir  Richard  Edgcumbe  for  his 
escape  from  his  enemies.  It.  is  particularly  desired 
that  no  historian  will  attempt  to  deprive  the  Tamar 
oi  i  !)i  tale,  or  of  the  tree  on  the  banks  lower  down 
<  hiiiies  I.  climbed  and  watched  his  pursuers 
pass  underneath  :  as  the  unfortunate  monarch  seems 
to  have  some  twenty-five  lives  up  and  down  the 
sacred  to  his  hiding,  this  one  in  the  West 
areiy    be    left    in    peace.       But    Sir    Richard 


full  of  stones  into  the  river,  and  leading  them  to 
think  him  gone  with  it.  He  lived,  however,  to 
build  this  chapel,  he  knighted  by  Henry,  and  enjoy 
the  estates  of  his  pursuers,  whieh  were  confiscated 
and  given  over  to  him.  A  combe  above  the  chapel 
has  also  a  ring  of  the  past,  for  it  is  said  t«i  he  the 
spot  where  the  Danes  landed  in  G77,  and  whence 
they  inarched  to  the  battle  en  the  moorland  above. 
Hence  the  name,  Danescombe. 

More    bends    ami    windings    between    low-lying 
meadow-land  on   the  one  hand  and   sloping  woods 

on    tl ther,   ami    the   stream,   grown   muddy   and 

blown  ami  big  with  its  contact  with  the  haunts  of 
men.  tlows  past  Pentillie  Castle  grounds,  the  home 
of  a  West-country  family,  the  Corytons.  The  house 
itself  owes  its  chief  interest  to  its  situation,  crowning 
the  hill,   Rhine-like  fashion,  and   peeping  out    from 

the    luxuriant    growth    of    the    Maidens    and    w is 

which  surround  it.  In  coming  iq>  the  river,  there 
i-  a  curious  effect  with  which  the  native  loves  to 
mystify  the  visitor.  For  when,  two  miles  off  by 
the  river  though  only  a  third  of  a  mile  in  a  straight 
line — Pentillie  comes  in  view,  the  unsophisticated 
stranger  is  ready  to  stake  all  bis  possessions  to  hack 


THE    WANDERINGS    OF    THE    TAMAR 


315 


his  assertion  that  Pentillie  is  on  the  Devon  bank. 
Bui  thai  is  bei  ause  he  lias  uol  yel  leai  tied  ;  he  « iles 
of  this  snak;  1 1\  er,  or  discovered  his  way  of  doubling 
back  upon  himself. 

In  its  middle  age  the  Tamar  is  at  its  worst  and 
most  uninteresting  period.  Fields  and  low-lying 
banks  rob  it  of  all  romance.  It  is  simply  a  stream 
not  broad  enough  to  be  impressive,  and  not  narrow 
enough  to  be  romantic.  Cargreen,  a  little  village 
which  clusters  round  its  own  quay,  has  been  inf 
l'\  the  i  harai  ter  of  ill''  river,  and  is  prosaic  enough 
to  belong  anywhere  but  where  it  is.  It  has  a  link 
with  tin-  past  in  its  near  neighbour,  Llandulph, 
which  has  a  church  in  which  is  a  tomb  which  holds 
tla-  bones  of  an  emperor,  "in-  Theodore  Paleologus, 
the  last  descendant  of  the  Greek  Emperors  of  Con- 
stantinople, who  died  in  1636  while  on  a- visit  to  the 
neighbourhood.  It  is  when  it  gets  on  nearer  the 
works  of  men  that  the  river  again  lias  any  interest, 
and  now  of  a  different  kind.  It  broadens  out  into 
what  tn  all  appearances  is  ■■<  lake,  joins  forces  with 
the  Tavy,  and  reaches  that  colossal  piece  of  engineer- 
ing, the  Saltash  Bridge.  Brunei  is  said  to  have 
ruined  himself  over  the  contract,  being  unable  to  find 
a  bottom  I'm  the  shafts,  and  to  have  been  so  nervous 


nt'  wm  k  before  his  deal  h.     i  ■       -  the  quaint 

town     from     which    it     springs,    had    a    nana'    and 
two    members    of    Parliament    lung    before   i;    had 
a  bridge,  and  it   still  has  the  name,  though 
lost    tin'  members. 

Now  it  is  a  mo  here  the  Tamar  i  • 

would  end  it-  career  with  Saltash.  others  with 
the  Devil's  Point  :  but  it  seems  a  hard  thing  to  rob 
its  identity  just   where  ii    becomes  a   national 
institution,  for  its  i  i  tilled   the    II 

ug-ground  for  old  three-dei  kers  that 
have  been  put  toother  uses  than  sea-going,  obsolete 
men-of-war  used  as  store-houses,  two  training-ships; 
and  as  well  it  is  the  first   element   into  whicl 

Devonport  dockyards  si t  their  new  vessels.     Here, 

active,  sea-going  war-vessels  come  and  go,  ami  it  forms 
:  he  safi  si  and  mosl  sei  hided  harbours  in  the 
world.  Ii  receives  the  Lynher,  a  Cornish  river,  and 
sends  water  up  a  shorl  Mind  alley  called  the  Mill 
Creek;    it    sweeps  pasl    Mount    Edgcumbe,  with  its 

lordlj    v Is   and   watei  girl    loveliness,  and   finally 

-in  cumbs  in  the  sea  nil'  I  >e\  il's  Point,  when-,  saith 
the  tradition,  his  Satanic  Majesty  turned  back  in 
despairing  disgusl  in  his  travels  on  hearing  that  the 
Methodists  were  in  Cornwall.     But  the  Tamar  dues 


THE     HAMOAZE,  FROM     SALTASH. 

about     the    results   that    on    tin-    opening    daj     he  not   give   itself   up  without                              at    the 

went    tn    hed   with  orders    that    he  was   uol    to   1-  Point  il  enga  es  iu                          fight  with  the  sea 

disturbed  until    the    first    tram    had    passed    over,  tl                        even    m    calm     \                   swirling 

Be   that    a-   n    may,   In-    never   did   another   piece  whirlpool  to  marl 


310 


THE    COLLECTION    OF    MR.     W.     CUTHBERT    QUILTER,     M.P. 

IV.-THE    DECEASED    ENGLISH    MASTERS.       LOW    COUNTRY    PAINTERS. 

BY     F.     G.     STEPHENS. 

AS  George  Vincent  (1796 — c.  1831)  was  nol  only  "Hastings,"  which  is  now  at  South  Kensington, 
-la.  one  of  ili-  ablest  and  most  original  of  the  shared  the  revived  honours  of  Vincent  in  1862. 
pupils  of  John  Crome,  an  English   marine  painter     In  the  "Greenwich  Hospital,"  which  is  before  us, 


NUREMBERG. 


par  excellence,  who  was  born  a  century  ago,  it 
is    pleasant    to   begin    these    notes   with    references 

l"  his  ham y  of  colour  and  tone.     The  beautiful 

"Greenwich  Hospital,"  which,  like  a  dark  pearl, 
is  almosl  iridescent,  excels  in  the  super -delicate 
beauty  of  the  water  in  front  and  the  seemingly 
trenail  ms  expanse  of  the  atmosphere.  It  embracesa 
scene  which  Vincent  made  the  subject  of  his  greatest 
work,  the  large  and  famous  "Greenwich  Hospital," 
which,  when    it    was   at   the    international    Exhibi- 

t took  the   modem   art    world   by  storm.     Until 

that    time,  although    Vincent    had    1 n    dead   only 

thirty    years,  and   many  who  knew  him   were  still 

living,    this    brilliant    and    powerful    leader   of    the 

Norwich    school   was   already    almost    forgotten    -in 

re  einbling    his    contemporary,    John 

Hi,  a   landscape   and   coast   painter  of, 

he   first   water,  who  i  ea  <  1   to  p  lint    in 

I    oul      E    note    nil    Ins    masculine 


the  artist  showed  himself  a  master  of  composition; 
the  masses  of  his  grouped  sailing  craft  are  disposed, 
it  is  true,  with  skill  of  a  somewhat  conventional 
sort;  while  the  row-boat  and  the  buoy  in  front 
are  as  obviously  intended  to  connect  those  masses 
in  the  fore-water  as  the  curving  lines  of  the  land 
are  designed  to  bring  them  together  in  the  distance. 
Composition  of  this  simple  sort  was  always  zealously 
aimed  at  by  the  Norwich  school.  In  fact,  a  large 
pari  of  the  charm  we  enjoy  in  the  works  of  the 
men  of  that  category  is  due  to  their  success  in  this 
really  difficult,  though  seemingly  simple,  element 
of  design.  The  most  successful  of  the  Norwich 
composers  —  who  were  likewise  line  sea  painters, 
like  Vincent— was  John  Sell  Cotman  (1782-  1842), 
whose  capital  "Town  in  Holland"  is  before  the 
reader  in  a  good  cut  which  amply  justifies  the 
reputation  of  this  well-endowed  artist.  Any  one  of 
his  drawings  will  serve  to  illustrate  the  principles 


THE    COLLECTION    OF    ME.    \V.    CUTHBEET    QUILTEE,    .M 


-17 


of  composition  of  a  less  obvious  sort    than  obtains 
in  the  Vincent  we  have  just  examined. 

It  is  noteworthy  that,  while  the  Norwich  school 
— which  based  its  principles,  and  not  a  little  of  its 
practice,  upon  the  Dutch  land  and  marine  paiuters 
of  the  seventeenth  century  and  earlier  half  of  the 
eighteenth  century — was  flourishing  in  East  Anglia 
and  London,  another  very  brilliant  group  of  artists 
was,  under  the  auspices  or  the  example  of  John 
Varley,  rapidly  cumin-'  to  the  front  in  the  metro- 
polis, in  the  Midlands,  and  in  Wales.  This  group 
comprised  realistic  landscape  painters  of  the  calibre 
of  Mulready,  Linnell,  Edridge,  \V.  Hum,  and  David 
Cox,  of  the  last  of  whom  I  have  previously  spoken. 
At  this  point  1  may  be  allowed  to  say  that  in  the 
lately  deceased  George  P.  Boyce  we  have  lost  the 
last  of  ('ox's  eminent  and  original  followers.  Cox 
was  born  within  a  year  after  Cotinan ;  but  from 
the  first  he  worked  on  different  principles,  and  it 
may  be  said  that  this  divergence  illustrate-  the 
characteristic  independence  and  abundant  origin- 
ality of  the  leading  professors  of  English  landscape. 
The  one  group  looked  at  nature — if  I  may  say  so  — 
through    Dutch    spectacles;    the   other   group,   who 


nature.  This  is  manifesl  in  W.  Hum-  remark  to 
lie'.  I  ne\ i  i  drev,  even  a  pin  w  ithoul  nature." 
These  conscientious  artist-,  were  not,  however,  the 
first  confessors  of  the  -aim-  faith.  Tin-  fact  is 
attested  by  the  life  and  work  of  tin/  next  p 
who  enjoyed  such  length  of  days  that,  born  twelve 
years  before  J'avid  Cox  and  thirteen  years 
Cotman,  he  survived  them  till  1859,  when  Cotnian 
had  been  dead  seventeen  years  mid  Cox  about  two 
months. 

This  earlier  confessor  'if  nature's  charms  than 
Cox  was  James  Ward  (1769  L859),  who  founding 
himself  as  a  painter  on  nature  alone  (he  was  trained 
as  an  engraver),  shows,  with  a  heavier  touch  than 
Cox's,  tin-  like  Englishness  and  vigour  in  the  tine 
and  solid  group  of  cattle  mar  a  finger-post  at 
roads,  which  is  an  ornament  of  this  collection.  Hut 
it  has  little  of  Cox's  or  Vincent's  airiness  and  ex- 
pansiveness.  None  of  these  artists  had  the  least 
taint  of  what  may  he  called  scholasticism;  but  the 
next  English  contemporary  of  theirs  we  come  to  here 
is  Samuel  Prout,  whose'  well-known  "Nuremberg 
(which  I  think  has  been  engraved  in  an  "Annual") 
and  the  more  admirable   '.Milan  Cathedral"  (much 


GREENWICH     HOSPITAL. 
(From   the  Painting  by   Qeorgt 


were,  nevertheless,  by  no  means  indifferent  to  coin-      rejoiced   ii    by   Mi.  Ruskin)  nan  each  other. 

position, looked  at  nature  direct — so  much  so, indeed,      lb n   'hat  quality.     1  delight  in  tl 

that  some  of  them  refused  to  do  anything  without      teritj    i  i  of  Prout's  "pencilling,"  but,  pi 


318 


THE    MAGAZINE    OF    ART. 


because  of  those  characteristics,  1  can  never  reuse 
wondering  why  Mr.  Buskin — devout  prophet  of 
Turner.  Cox,  and  William  Hunt  as  he  is  —  ex- 
perienced  raptures  over  a   Prout,  the  craftsmanship 


of  which  represents  to  me  the  ne  plus  ultra  of 
drawing-mastership.  Like  a  vast  ivory  shrine  set 
in  sunlight  is  the  front  of  "  Milan  "  here  in  question. 
To  be  adapted  to  quite  another  standard  than  that 
which  befits  the  author  of  "Milan"  is  the  grave, 
broad,  and  pathetic  "  <  >ld  Mill  "  hanging  near  it,  and 
doing  honour  to  the  honourable  name  of  De  Wink 
Mr.  Quilter's  lather  had  several  capital  specimens  by 
the  same  hand,  its  delightful  "dewiness"  and  mas- 
sive style,  [f  I  rememher  aright,  this  is  one  of  the 
best  of  them.  With  these  may  be  grouped,  besides, 
minor  instances  by  (1)  Collins  see  his  verj  charac- 
teristic "  Cromer ; "   (2)  Constable     the  view  of  the 

i  d I    a    h I,  with   a    pool,  boy,  dog,  and  cattle, 

which  happily  reminds  the  student  of  a   Waterloo, 

and,  l'\    the  s e,  two  earlier  works,  in  one  of  which 

i    t"  be  -ecu  the  house  of   Golding  Constable,  the 

R.A.'s    father;   and  (3)  Cotmau,  whose    "Town    in 

iduced  as  a  good  specimen  of 

kill   of   one  of   our   English    masters  of   com- 


position— which  includes  selecting  the  elements  of 
pictures  with  an  apparent  artlessness  that  masks 
the  rarest  art. 

By  way  of  disposing  of  the  groups  before  me  of 
English  landscapes  proper  and  landscapes 
with  figures  I  shall  here  call  attention  to 
a  famous  example  in  which  the  influence 
of  Venice  is  strongly  shown — it  is,  perhaps, 
the  best  of  all  Tinner's  paintings  includ- 
ing nude,  or  nearly  nude,  figures — the  re- 
nowned "Venus  and  Adonis,"  which,  painted 
some  years  before,  was  an  ornament  of  the 
Academy  Exhibition  of  1849.  Here  we 
have  .i  spirited  design  showing,  with  ex- 
ceptional vigour,  the  goddess  supine  upon 
the  bed  whose  whiteness  adds  to  the  glow 
and  rich  colouring  of  her  flesh;  she  is  at- 
tempting to  detain  the  eager  huntsman, 
whose  moie  eager  hounds  chafe  at  his 
tardiness.  As  to  the  subject  of  this  work 
Turner  had  Titian's  example  before  him, 
not  only  in  regard  to  the  colour  scheme 
of  this  the  latest  of  all  his  finer  pieces, 
but  in  the  idea  of  placing  the  hovering 
group  of  amorini  in  the  sky,  impatiently 
making  ready  their  mistress's  chariot  ;  in 
the  serenity  of  the  deep  blue  and  un- 
fathomable firmament  and  the  shining 
white  clouds  which  catch  the  lustre  of 
the  morning  sun,  the  gold  of  the  chariot, 
the  languorous  ardour  of  Venus,  and  the 
dark  roses  of  her  draperies.  Turner,  who 
defied  Claude,  here,  with  still  more  daring, 
ventured  to  measure  himself  with  Titian! 
Another  Titianesque  and  more  original  pic- 
ture in  this  collection  is  a  delightful  version 
of  Sir  E.  Burne-Jones's  choicest  art,  the  lovely 
"Green  Summer,"  in  which  a  group  of  charming 
dames  and  damsels,  diversely  clad  in  green  of  various 
tints  delightfully  harmonised,  sit  on  the  sward  of  a 
glowing  landscape  consisting  of  a  sunlit  glade  and 
background  of  dark   trees. 

The  most  remarkable  of  Mr.  Quilter's  Low- 
Country  pictures  is  the  life-size  bust,  or  half-length 
figure,  seated  nearly  in  front  view,  of  a  Dutch 
gentleman  of  distinction,  one  Heer  Pieter  Tiarck, 
who  was  fortunate  enough  to  find  a  short  and 
easy  way  to  immortality  by  sitting  to  Frank  Hals 
when  that  master — the  first  of  all  realistic  portrait 
painters,  not  only  of  his  own  time,  but  of  all  time — 
was  in  possession  of  his  highest  powers.  Horn  in 
1584, Hals  entered  the  world  not  fewer  than  twenty- 
two  years  before  Rembrandt,  to  whom  is  generally 
awarded  the  honour  of  leading  the  way  in  that 
direction.  The  fact  is,  however,  that  it  is  Rubens 
who,  born   in    L577,  and   a    portrait  painter  of    the 


THE    COLLECTION    OF    MR    W.    CUTHBERT    QUILTER,    M.I'. 


319 


first  class,  a  stupendous  master  of  the  forth-righl 
touch,  may  justly  claim  to  have  initiated  this  very 
precious  achievement.  Hals,  with  a  firmer  touch 
than  Rubens's,  ami  equally  consummate  accomplish- 
ments, carried  portraiture  nearer  to  nature  than 
tin'  great  Sir  Peter  Paul  himself.  Rembrandt  thus 
found  doubly  prepared  for  him  the  way  for  work- 
ing those  wondrous  charms  of  portraiture  in  regard 
tn  which  none  have  surpassed,  ami  very  lew  ap- 
proached, him.  His  debt  to  Hals  was,  undoubtedly, 
greater  than  to  any  other  master,  but  we  must  re- 
member that,  like  every  great  painter,  both  Hals 
and  Rembrandt,  as  well  as  Rubens  and  Van  Dyck, 
attained  freedom  and  mastery  by  means  of  strenuous 
and  indomitable  care  carried  to  the  utmost  of  what 
the  bolder  class  of  "modern"  critics  and  our  more 
audacious  and  ambitious  practitioners  call  "niggling." 
That  is,  these  incomparable  masters  of  the  brush, 
like  Millais  and  "old  William  Hunt"  in  our  own 
time,  and  Velazquez  two  cen- 
turies ago,  began  to  draw  as  if 
for  their  lives,  to  paint  without 
flinching,  and,  with  the  utmost 
research,  to  study  from  nature. 
It  is  owing  t«i  such  studies  as 
these  that  Hals  contrived  to 
depict  Heer  Pieter  Tiarck  (of 
Amsterdam,  1  believe  he  was) 
in  the  wonderful  fashion  our 
engraving  accurately  reproduces 
— just  as,  some  two  hundred 
and  eighty-four  years  ago — say, 
in  Hiits,  Tiarck  turned  quickly 
in  his  chair  (it  was  a  way  many 
of  Hals'  sitters  had),  and,  still 
holding  the  full-blown  rose  he 
had  been  trifling  with,  lifted 
up  his  lace  so  that  the  shadow 
of  his  broad-rimmed  black  felt 
h.ii  did  not  cover  his  eyes, 
looked  at  the  painter.  Being  a 
staid  and  business-like  worthy, 
whose  time  was  worth  money, 
he  e\  idently  set  tied  to  his 
sit  I  ing  \\  ith  the  sana1  decision 
as    lie    Would    have    exercised    ill 

any  oilier  occupation  in  \\  liich 
he  took  aii  interest.  Energetic 
and  reserved,  distinguished  by 
his  cautelous  and  self-contained 
air  and  expression,  his  feal  ures 
and  their  aspect  are,  so  to 
say,  a  biography  which  Hals 
thoroughly  mastered  and  pre- 
served for  a  future  as  long  as 
paint    and    canvas   ran   endure. 


That   endurance  will,  barring  accidents,  be  long  in- 
deed  if   the  next    i  In- (in  hi  ies  woi  1.    no  greatei 

changes    in    Tiarck's    portrait    than    the    past    cen- 
turies have  effected.     The  execution  of  this  w ler 

is  the  delight  and  the  de-pair  of  countless  artists. 
There  was  no  masterpiece  to  which,  when  Mr. 
Quilter  lent  it  to  the  Academy  as  No.  ill'  in  L891, 
Leighton,  eclectic  to  the  heart  as  he  was,  gave 
more  attention  than  to  the  mosaic-like  modelling 
of  the  features  of  this  face.  The  handling  of  the 
falling  lull'  in  its  numerous  plaits— every  one  of 
them  being  compact  of  study,  and  yet  the  whole 
as  "  broad  "  as  the  "  broadest  "  Rubens  i  r  Rembrandt 
ever  painted — is  a  technical  feal  the  achievemei 
which  one  requires  to  be  a  painter  fully  to  appre- 
ciate. Nor  is  the  execution  of  the  hand  less  mar- 
vellous. It  would  seem  that  such  merits  as  this 
picture  possesses  would  from  the  lirsl  have  ensured 
I'm  i  he  a 1 1 i-i  a  thorough  welcome  in  our  own  veraeity- 


AND    ADONIS."     OR     "DEPARTURE     FOR     THE     CHASE. 


320 


THE    MAGAZINE    OF    ART. 


loving  country.  It  was  not  so,  however.  So  lately 
as  1830,  John  Smith,  who  compiled  the  famous 
"Catalogue  Raisonne,"  did  not  include  Hals  among 
the  Low  Country  masters  whom  he  thought  the 
artistic  and  amateur  world  cared  most  for.  I  am 
much  in  doubt  if,  before  1860,  any  Hals  had,  if  at 
all,  been  engraved  mi  the  master's  account.  The 
British  Institution  included  in  its  more  than  sixty 
exhibitions  only  eighteen  Halses,  of  which  some 
were  shown  twice  or  thrice.  In  twenty  years  the 
Academy  did  not  borrow  more  than  twenty-eight 
Halses.  Until  1872  no  Hals  was  sold  in  England 
for  so  much  as  a  hundred  pounds;*  from  fifteen  to 

*  Note.— The  Wallace  "Laughing  Cavalier"  cost  the  late 
Marquess  of  Hertford  £2,010  at  the  Pourtales  sale. — Ed. 


twenty  pounds  was  the  normal  price  for  such  works. 
In  lS7-">,  while  visiting  a  well-known  private  collec- 
tion of  pictures  in  Yorkshire,  I  encountered  a  capital 
portrait  by  this  master  among  numerous  then  more 
fashionable  works.  The  fair  and  stately  owner 
asked  me  which  painting  1  liked  best  in  her  col- 
lection, and   when    the   answer   came,  "I   like   best, 

Lady    ,    that    Hals    which    hangs    between    the 

windows,"  she  evidently  took  me  for  a  false  prophet, 
and  cried,  "Why,  my  late  husband  bought  it  at 
Amsterdam  for  twenty  pounds!"  However  this 
might  be,  I  think  it  is  within  the  mark  to  say  that 
Mr.  Quilter  gave  more  than  four  thousand  pounds 
for  the  portrait  of  Heer  Pieter  Tiarck  which  is 
before  us  now. 


THE     HERMITAGE 


SOME  time  in  the  year  of  our  Lord  1743  the  great 
ones  who  directed  the  affairs  of  the  Empire  of 
Russia,  were  casting  about  to  find  a  bride  for  the 
young  heir  to  the  throne,  a  grandson  of  the  great 
Peter.  He  was  at  this  time  only  sixteen  years  old, 
"weak  and  sickly  of  body,  restive,  impetuous,  and 
brutal  iii  temper;  this  lad  even  at  that  early  age 
exhibited  a  pronounced  passion  for  drink."  But  a 
Tsar  must,  have  a  wife,  and  the  young  German 
Princess  Sophia  of  Anhalt  was  invited  to  St.  Peters- 
burg "on  approval."  A  chill  of  fourteen,  she  arrived 
early  in  the  year  1744  with  her  mother,  and  found 
when  she  reached  Russia  that  she  had  to  play  as 
difficult  a  part  as  ever  fell  to  the  lot  of  any  young 
gii  1  or  grown  woman.  She  was  alone  and  without  a 
friend,  but  she  had  come  to  Russia  to  fulfil  a  greal 
destiny,  and  she  was  not  to  be  deterred  by  difficul- 
ties that  would  have  overwhelmed  and  disheartened 
l  less  strong  and  vigorous  mind.  She  kept  herself 
so  well  in  hand,  so  lived  down  the  misrepresenta- 
tions, that  at,  length  she  was  officially  betrothed  to 
the  young  ( I  rami  Duke,  and  in  174.")  they  were 
married,  withoul  the  existence  of  a  spark  of  affec- 
tion on  either  side. 

On  the  death  of  the  Empress  the  Emperor  Peter 
III.  was  proclaimed  in  her  stead.  The  first  ads  of 
his  hie  wen-  all  si i  unpopular  that  the  army  turned 
againsl  him.  Amongst  other  things  he  publicly  in- 
sulted his  wife,  issued  an  order  fur  her  arrest,  pro- 
posing In  repudiate  her  ami  marry  his  mistress.  But 
he  did   not    know  his  wife.      Whilst  he  was  with   his 

'  The  Hermitage.  Eighty-four  photogravures  directlj  re- 
original  paintings  in  the  Imperial  Gallery 
at    si     i  :',   authoi  ity  ol    ll  '  M,  the  Tsar,  with  an 

ii luction    i,\     Sir    Martin   Conway.     (London:    The   Berlin 

I  o.) 


boon  companions  arranging  for  her  arrest  and  pro- 
bable assassination,  she,  with  her  usual  decision,  drove 
to  the  capital  and  put  herself  in  the  hands  of  the 
army.  They  were  filled  with  enthusiasm  for  this 
Empress,  who, in  the  uniform  of  a  colonel, at  the  head 
of  fourteen  thousand  soldiers,  inarched  straight  to 
the  palace  of  the  Emperor,  who  was  forced  to  sign  his 
abdication,  conferring  upon  his  wife  all  his  rights  and 
privileges.  Three  days  after  he  died  in  his  prison, 
and  his  wife,  the  great  Catherine  I.,  reigned  in  his 
stead.  It  was  this  Empress  Catherine  of  Russia  who 
founded  the  Hermitage,  now  one  of  the  finest  picture 
galleries  in  Europe.  She  did  not,  intend  it,  for  a 
picture  gallery  only.  She  had  literary  as  well  as 
artistic  tastes,  and  she  had  about  her  many  who  came 
to  her  gatherings  at  the  Winter  Palace,  where  she 
placed  her  books  and  her  collection  of  pictures  in  a 
special  pavilion  erected  for  the  purpose,  named  the 
Hermitage,  because  to  it  the  Empress  ret  i  red  for  seclu- 
sion in  her  leisure  moments.  Successive  monarchs 
have  added  to  the  collection,  until  Nicholas  I.  built 
a  new  museum  to  lake  the  place  of  the  old  pavilion. 
There  exist-  in  this  museum  about  eighteen  hun- 
dred works,  and  as  it  falls  to  the  lot  of  lew  people 
to  go  to  St.  Petersburg,  we  may  he  grateful  to  the 
Berlin  Photographic  Company  for  having  obtained 
the  sanction  of  the  Tsar  for  the  reproduction  of  the 
chief  pictures  to  be  found  there.  It  is  the  intention 
to  publish  reproductions  in  photogravure  of  eighty- 
four  of  these  canvases.  The  first  part,  containing 
eighteen,  is  in  our  hands,  and  we  have  no  doubt  that, 
not  only  from  the  interest,  in  the  pictures  them- 
selves, but  also  iai  account  of  the  admirable  way 
they  aiv  reproduced,  the  collection  of  plates  will  find 
its  way  into  every  library  where  art   has  a  place. 


PETER     TIARCK. 
(fit.*    M.    PaMing   by    Fran,    Hah.       I„    a,    Ccllntlon   of   Mr.    W.    Cuil.b.rt    QMitr.    MP.       E„gmm,   6,    M.    ta*k) 


323 


THE     "KING     RENE'S     HONEYMOON"     CABINET. 

BY     JOHN     P.     SEDDON. 

THE   cabinet    here    illustrated   was    designed    by      painter,  sculptor,  and  musician,  though  unfortunate 
myself  in  the  year   L861,  and  was   exhibited     in  his  political  career,  being  driven  out  of  Sicily  and 
in    the    International   Exhibition    of    1862.       h    is      Naples  by  Alfonsi  of  Aragon  in  L442,  and  << 


led    by    J.     P.    Seddon. 


CABINET. 
rated   by    D.    G.    Rossetti    and   Ford   Madox    Brown  ) 


•  purple 


.the 


lib 


made  of  oak  inlaid  with 
coloured  woods. 

The  firm  of  Messrs.  Morris,  Marshall  and  Com- 
pany then  recently  established  and  associated  with 
several  artists  since  become  famous,  including  Ford 
Madox  Brown,  Dante  Gabriel  Rossetti,  and  Edward 
Burne-Jones,  undertook  the  commission  to  paint  for 
ii  the  four  large  panels  of  the  lower  part,  to  illus- 
trate "Architecture,  Painting,  Sculpture,  and  Music," 
ami  the  six  small  panels  of  the  upper  part,  to  repre- 
senl   subsidiary  arts  and  crafts. 

Ford  .Madox  Brown  suggested  For  the  purpose  a 
series  of  imaginary  incidents  in  the  honeymoon  of 
King  lean',  the  titular  Kingof  Naples,  Sicily,  <  lyprus, 
and  Jerusalem,  the  father  of  Margaret,  queen  of 
Henry  VI.  of  England.  He  was  a  man  of  wide 
and  artistic  cultivation,  an  amateur  poet,  architect, 


of  Anjou  by  Louis  XI.  of  France  in   147-"':  he  then 
retired  to  Aix,  where  he  died  in  1480,  still  loved  by 

his  ] pie,  who  called  him  "  Le  Bon  Roi  Rene." 

In  the  subjects  chosen  for  illustration  ii  is  sup- 
posed thai  after  his  marriage  he  would  build  a  palace 
for  himself  and  his  spouse,  and  carve  and  decorate 
it  himself;  and  finally,  when  complete,  rejoice  and 
make  melody  in  it.  Consequently,  the  figure  of  the 
king  attended  by  his  queen,  appears  in  eai  h  of  the 
large  panels ;  in  the  fii  -i  they  are  both  seated  on  a 
bench  « it  h  i  plan  of  their  palace  spread  al  their 
feel  :  she  is  e\  identlj  making  some  proposal  in  a 
coaxing  manner,  to  which  he  is  giving  serious,  perhaps 
puzzled,  consideration.  This  picture,  representing 
\,  hitecture,"  is  by  Ford  Madox  Brown,  and  is  a 
remarkablj  beautiful  and  graceful  composition.  The 
i)  the  queen  is  white,  embroidered  with  (lowers 


324 


THE    MAGAZINE    OF    AKT. 


and  edged  with  'lark  fur;  that  of  the  king  is  of  a 
rich  purplish  red,  lined  with  blue,  and  his  shoes  are 
scarlet.  The  two  central  panels  are  by  Sir  Edward 
Burne-Jones,  and  represent  "Sculpture"  and  "Paint- 
ing In  the  former  the  king  is  standing  and  caxvmg 
a  slat iir,  with  his  queen  behind  in  an  admiring  atti- 
tude. In  tlic  latter  he  is  seated  and  drawing  the 
figure  of  a  woman,  while  his  consort  is  looking  on. 
There  is  great  dignity  combined  with  simplicity 
in  these  two  designs.  The  fourth  panel,  depicting 
"  Music,"  is  the  work  of  Dante  Gabriel  Rossetti:  rich 
in  colour  and  in  treatment,  thoroughly  characterist  i<- 
"I'  that  gifted  artist.  The  queen  is  playing  on  a  kind 
of  regal,  or  chamber-organ,  the  bellows  of  which  the 
king  i>  blowing,  even  while  bending  over  the  instru- 
ment to  kiss  her;  her  dress  is  green,  ami  a  fur  cloak 
lined  with  orange  falls  from  her  shoulders. 

The  six   smaller  panels  are  occupied  by  three- 
quarter  length  figures  of  two  men,  one  glass-blowing 


and  the  other  hammering  wrought  ironwork,  and 
df  four  uiiis  embroidering,  etc.,  but  out — that 
which  represents  "Gardening" — is  by  Dante  Gabriel 
Rossetti,  and  the  rest  are  by  Sir  Edward  Burne- 
Jones. 

The  whole  are  remarkable  not  only  as  the  works 
of  artists  of  genius,  hut  as  specimens  of  truedecora- 

tive  art,  so  seldom  underst 1  and  realised  in  these 

days.  The  rich  harmonious  colour  of  the  wood  and 
metal-work'  make  a  rich  setting  to  the  paintings  and 
produce  a  splendid  general  effect,  so  that  no  small 
interest  is  attached  to  this  unique  cabinet  both 
from  an  historical  ami  artistic  point  of  view. 

[This  interesting  example  of  co-operative  art  lias  lately  been 
mi  exhibition  at  the  Grafton  Gallery,  properly  (akin--  its  place 
among  the  works  .a'  Ford  Maclox  Brown— a  collection  which, 
better  than  any  that  has  hitherto  been  brought  together  or 
ever  likely  to  be  made  again,  displayed  in  a  remarkable  manner 
the  master's  noble  mcriis  ami  his  striking  limitations.  Ii  was 
the  final  vindication  of  Madox  Brown's  genius. — Edituu.] 


THE    ART    MOVEMENT. 

APPLIED     AND     DECORATIVE     ART     IN     GERMANY. 


Bv     PAUL     SCHULTZE-NAUMBURG. 

IT  must  he  difficult  for  English  readers  to  form 
any  act  urate  conception  of  the  state  of  things 
from  which  the  recent  attempts  at  applied  and 
decorative  art  in  Germany  have  been  developed- 
The  conditions  were  so  tinlike  those  prevailing  in 
any  other  country  that  they  can  only  be  explained 
by  a  brief  historical  retrospect. 

Artistic    vitality    in    Germany   may    lie    divided 
into  two  main  periods — the  first,  from  the  beginning 


victory  over  the  French  and  the  contemporaneous 
unification  of  Germany  marked  the  beginning  of 
an  epoch  in  the  artistic  life  of  the  nation.  While 
in  England,  for  instance,  throughout  this  century, 
art  has  never  lost  its  hold  on  taste  so  completely 
as  in  Germany;  in  France  artistic  crafts  triumphed, 
especially  under  the  Second  Empire,  when  applied 
art  was  at  its  lowest  ebb  in  (Germany.  Not  taste 
alone,  but-  technical  skill  too,  had  almost  died  out; 


Pianos,  Harmonium 

:hiedmayer, 

PIANOFORTEFABRIK" 

L,      vormals  J  8.  P  Sc! 

■STUTTGART 
"  SOL 


V  V[ 


EMBROIDERY     DESIGN.     (S» 


of  this  century  to  t  lie  year   L870 ;   the  othi 
I    down    in    i  Ii''    present    time 


from 

The 


artists  re; 
a    helping 


arded  it 

hand     to 


beneath  their  dignity  to  lend 
he    work   of   the  artisan,  ami. 


THE    ART    MOVEMENT. 


325 


indeed,  they  lacked,  for  the  most  part,  the  necessary     water"  for  ten  years  inundated  the  land,  till  here 
training.  as  in  other  countries,  taste  wenl   through  the  wholi 

After  the   war  of    1870  71,  when   the  German     gamut  of  styles — Baroque,  Rococo,  Empire,  and  all 


people  re- 
covered their 
balance,  they 
made  a  great 
il  iscovery  — 
namely,  that 
they  had  a 
noble  tradi- 
tion of  ail  is!  ir 
h  a  u  d  i  work. 
By  studying 
the  surviving 
masterpieces 
of  the  Renais- 
sance, they 
discerned  the 
worthlessness 
of  their  own 
produel  ions, 
ami  now  si  rove 
with  eager  zeal  to 
the  masters  befon 


Lchievi 
them. 


It     never     oc 

curred  to  an) 

one  to  try  to 
find  genuine 
expression  for 
i  nd  i  v  i  (1  ii  a  1 
ideas.  The 
]i  u  r  c  hasing 
public  was 
satisfied    witli 

"  a,  1'  r  a  II  g  e 

ments  "  in  the 
most  dissimi- 
lar styles: 
thusthedining 
room  would  lie 
"( >ld(  rerman," 
the  study 
"  Baroque,"the 
lady's  boudoir 
such  works  as  those  of  " Rococo,"  and  the  reception-room  "Empire;"  and 
This  they  at    first   did     everyone  was  pleased, especially  when  each  style  could 


VASES.       (Designed  and  Executed  by   Max   Longer.) 


Eintagsgllick. 


cissi  Du  es  noch.  wit  cmsi  am  fruhen  Tag 
I  Dlr  rucrsi  In  gruncr  Waldcspracht 
:n  Wad  gesreun?  -  Stark  wic  cln 

Zauberschlag, 
id  doch  so  mild,  hat  Reiner  Aue.cn  Macbi 
cln  lunges  Hen  an  Dclne  Huld  gebanni 


HasttnirDeln 

Und  leuchtend  dog's 


i  [)u 
s  Haupi  niLhi  .ih^.Ji.Ji 


n  Huslern  durch  den  Buchenhat 
gnld'nem  Nell  rrau  Minne  e 
m  Wald,  der  lauicn  Well  s-er- 

borgen 


Vcrsehwicg'ncs  GIGck  zu  hellcm  Jubel 

Kaum  war  Ich  frePnus  Delncr  Nilhe  Bann 
So  scblug  mcln   Her?  schon  bang  und 

Nach  Dclocm  nachsien  Ku.s.     Dcm  Augi 

irank 
Aus  mclnen  Bbcken  Sinn 
Von  Hir  .erlassui,  war  mcln  Mr  nk<  n  krank 
Geoesung  war  und  Lcbcn  nui  bel  I  'i.  * 
Da-,  war  em  Schenb.cn,  da 


Wlr  licblcn  noch,  die  Hcrrcn  brannlen  lorr. 
Doch  nicht  so  wild  und  nielli  so  rlcllos  mchr 
Und  bin  und  ««Jtr  bel  cm  ubhes  Wort' 
„\X'nbm,  a/ohln?"  Das  klang  so  unhcll- 

W.r  Rihlicn-s  Hcidc,  doss  das  Endc  kani  - 
Ls  mu-.sie  scin.  sonsi  siarbcn  svlr  darant 
O  bbsc  Siundc,  da  Ich  Absehicd  nahm  - 
Wle  klammcric  an  Dlch  mcln  Her:  llch  an! 
i  ireu  gcnicint! 


I  aurs  Knicc,  da  hai  e 

ni;c  ilchl  In  Dl  ill  i  .'  v. 


Mar 
grabend  - 


Die  Monde  roltlcn  iragc  ihrcn  Laul. 

lis  war  vorbel   und  kciol    I 

Mir  rilcln  tu  Llcbe 

Doch  venn  slenledcrtank,  so 

Dann  kam  dor  I 

!,|  wcisscn  Kleld,  dan  Brauikrjnr  auf  dcri 

tt  ic  ruckle  da  mcln  Her.-  auf,  Dlr  so  nab, 
n  Glii  I 


'lie 


i  Weme. 


vcrwirrr. 


MORNING,     AFTERNOON,     EVENING,     AND     NIGHT       i 


by  simply  copying  them.     "Old  German     was  the     be  said   to  !»■  strictlj   "carried  out        an  historical 
watchword,   and    this    German    "  Renaissance    and      museum  on  a  small  scale.     German  craftsmen   had 


326 


THE    .MAGAZINE    <>E    ART. 


indeed,  never  learnt   in  these  various  schools  to  do     encouragement    from   the  public,  who  were  wholly 
anything  but    multiply   the  recognised  patterns,  re-     ignorant  of  the  principles  of  aesthetics.    The  crafts- 
peating    them    by    hundreds,   ami    overlaying    the 
typical  forms  with  more  or  less  tasteful  ornament. 
The   quantity    of    the   ornamentation    thus   applied 
determined  the  price  from  the  simplest  to  the  most 


tmtlKUIUtKY     DLSIUN.      (S„  Hermann  Obrist.) 

costly.    There  was  no  sign  of  purity  of  style,  natural 
harmony    appropriateness,  or  logical  fitness. 

Such  methods  naturally  could  not  fail  to  incur 
tl»'  contempt  of  all  true  artists,  especially  when 
they  had  become  familiar  with  the  work  of  Waller 
Crane  ami  other  foreign  designers;  ami  we  began 
i"  say  thai  this  impossible  slate  of  things  was  no 
longer  to  I"-  endured.  <  llever  men  there  were  in 
plenty,  who  had  ideas  and  invention  for  new  and 
original  work  :  but  the  execution  was  a  matter  of 
greater  difficulty  than  in  any  other  country.  Artists 
brought  up  to  be  painters  or  sculptors  had  no 
comprehension  of  the  technique  of  handicraft  :  they 

had  mil   the  m y  to  devote  to  the  purpose,  and, 

In  )   had  doi i  hey  would  have  found  no 


'  / 


EMBROIDERY     DESIGN.      IB,  Hermann   Obrist.) 

men  themselves  showed  no  originality  or  initiative, 
the  dealers  met  with  no  purchasers,  and  the  artists 
lacked  capital.  Tims  all  the  conditions  were  as 
unfavourable  as  possible,  and  it  is  a  proof  of  great 
energy  and  determination  on  the  part  of  the  artist 
world  that  it  should  at  last  be  beginning  to  conquer 
such  difficulties.  Though  even  now  it  seeks  in  vain 
freer  conditions  and  better  executants,  more  voiceaare 


EMBROIDERY      DESIGN.       (Sj   Hermann   Obns 

t) 

■  heard  every  day  asking  for. such  imp 

rovements ; 

if  the  well-to-do  and  wealthy  ( lerman 

mblic  were 

uy  sufficient  extent    to  patronise  it, 

i  new  and 

THE    AET    MOVEMENT 


327 


spontaneous  growth  of  art  would  flourish,  as  applied  to     produce  original   inventions  in   black  and  white,  the 

manufacture,  as  it  has  done  in  England  and  America,      natural    medii E  the  draughtsman,   reverting    to 

The  arts  of  drawing  for   reproduction   and   the      the   use    of    outline,   nol    competing  with    ordinal"} 


VASES.       (Designed  itn:l   Executed  bij   Max   Longer.) 


EMBROIDERY     DESIGN 


various  branches  of  the  engraver's  art  led  the  way  reproductions    by    other   processes,   but    giving    full 

in    Germany;    their   products    are    relatively    inex-  play  to  their  own  individuality, 

pensive,  and   the  craftsman    needs   less  capital   for  Self-evident  as  this  may  now  he,  it  was  a  novelty, 

such  work  than  for  individual  handiwork.     Hitherto  The  illustrated  papers,  now  so   important    a   factor 

not    many   attempts   had    been  made    to  bring  the  in    the   development    of   graphic    art,    did    little    to 


MM 


;wlc  fit. 


I 

Mill 


BOOK     COVER.      (Designed  <•.,  Fritz  Erin  ) 


special    character    of    the    reproductive    arts    into  encourage  the  movement.     The  indirect   result   was 

prominence   and    general    use.     Most    of   the   illus-  the  startin     of  periodicals  that   made  the  ne 

trations  that    bad   appeared   in  books  were  reduced  of  art  a  conspicuous  feature,  especially  the  m 

from  pictures,  uncoloured.     Then   artists  began   to  called  Jut/end  and  the  periodical,   /'■ 


328 


THE    .MAGAZINE    OF    ABT. 


BOOK     COVER.      (Designed  by  Fritz  Crier.) 

Other  fields  of  applied  and  decorative  arl  were  at  first  but 
little  cultivated.  Now  and  again,  at  exhibitions,  designs  were 
In  be  met  with  for  textiles  and  ceramics  which  bore  a  striking 
stamp  of  originality  and  talent,  but  they  were  rarely  seen 
carried  into  execution.  Furniture  of  German  workmanship,  of 
which  the  details  were  wrought  with  artistic  purpose,  was 
occasionally  brought  into  the  markets  side  by  side  with  English 
and  American  productions;  but,  as  has  been  said,  this  met 
with  nil  encouragement.  Still,  in  spite  of  this,  there  was  every- 
where a  sense  as  of  a  ferment  working  below  the  surface; 
and  it  is  a  mere  question  of  time,  for  all  these  suppressed 
energies  will  sooner  or  later  effect  a  revolution  in  this  jiro- 
vinee  ill'  art. 

I  am  enabled  t<>  give  here  a  few  examples  of  what  has 
been  doing  in  Germany.  These  include  some  examples  of  de- 
corative work  from    Dr.  lliilh's  weekly  magazine,  Jugend.     Hue 


of  the  most  ingenious  ami  inde- 
pendent designers  <it'  ornamental 
subjects  is  Otto  Erkmann,  from 
whose  pencil  we  have  the  four 
borders  reproduced  mi  p.  325. 

Erkmann,  born  in  Hamburg  in 
1865,  could  not  get  the  training  he 
sought  in  the  Academy  at  Munich, 
and  found  out  for  himself  the  line 
in  which  he  might  achieve  distinc- 
tion, lie  exhibited  a  number  of 
oil-paintings  which  had  a.  marked 
success,  hut  he  ultimately  found  his 
peculiar  province  to  lie  in  design. 
For  details  he  worked  mure  ami 
more  closely  from  nature,  and  thus 


BOOK     COVER       'Designed  b,j  Frit,  Erhr.) 


EMBROIDERY     DESIGN,      (fi,,  Hermann  Obrist.) 

was  instinctively  led  in  ornamental 
inventions,  for  which  he  modified 
natural  forms.  As  he  worked  on 
original  drawings  fur  wood-blocks, 
i'ii-.,  he  found  himself  simplifying 
all  he  did.  and  thenceforth  en- 
deavoured to  extend  his  efforts  to 
every  form  of  artistic  craft.  I  hope, 
at  seme  future  date,  tn  have  an 
opportunity  of  introducing  t"  these 
pages  examples  of  his  designs  fur 
pottery,  furniture  decoration,  book- 
binding, metal-work,  and  textiles. 

In  the  course  of  this  winter 
a  collection  was  displayed  in  the 
Exhibition    Gallery    of     Lilian     of 


THE    ART    MOVEMENT. 


329 


sonic  highly  characteristic  and  effectively  treated 
vases  by  Heir  Max  Langer.  This  artist,  a  professor 
in  the  School  of  Decorative  Art  at  Carlsruhe,  was 


VASES.      (Designed   and   Exec 


btj    Max    Langer.) 


originally  an  architect  and  then  a  painter,  and 
finally  was  led  to  direct  his  gifts  as  an  inventive 
designer  to  practical  ends.  [n  the  course  of  a 
residence  for  purposes  of  study  in  his  native 
district,  the  Black  Forest,  he  visited  the  potteries 
in  that  neighbourhood,  and  was  struck  by  the 
fascinating  material  and  fine,  rich  colours  of  which 
the  workmen  could  malve  no  adequate  use.  He 
himself  began  modelling  in  one  of  these  workshops, 
and  turned  the  material  to  good  account,  with  what 
success  the  reader  may  judge.  The  designs  on  these 
vases  are  worked  out  in  strong  but  harmoniously 
combined  and  brilliant  colours,  by  preference  in 
vivid  contrasts.  The  ornamentation  is  borrowed 
immediately  from  plant-forms,  growing  flowers  and 
plants  treated  in  a  free  and  fanciful  style.  The 
"poster"  on   page   -'!l!4   js  also   by   Langer;    it  ob- 


VASES.     (Designed  and  Executed   by  Maj    I 

tained   the   first    prize   in    a  competition,   and    was 
printed  and  used. 

The  book-bindings  by    Fritz   Erler  en  pages  327 

and    328   were  sent  u>   the   Exhibitii f    1896  at 

12 


Munich.  The  design  is  outlined  and  finished  on 
white  parchment  with  Indian  ink;  the  effe 
both  elegant  and  original.  Heir  Erler  is  by  birth  a 
native  of  Schleswig,  and  has  studied  as  a  painter 
principally  in  Paris.  lb-  was  so  fori  unate,  al  an 
earlier  time,  when  studying  at  Breslau  under  Bi 
a  singular  and  hermit-like  man,  as  to  lie  taughl  in 
appreciate  the  marvellous  beaut;  of  rial  ural  foi  in .. 
and  thai,  in  details  where  ii  is  often  little  observed, 
as  in  skeleton  structures,  in  shells,  in  the  sections  of 
plants,  and  the  like.  Thus  predisposed,  Erler  threw 
himself  eagerly  into  tin'  new  movement  towards 
applied  art.  He  interests  himself  in  pottery,  bul 
more  especially  in  all  that  concerns  the  beauti 

of  I ks— bindings,  ex  libris,  wrappers,  and  the  like 

— and  strives,  with  the  aid  of  lithography .  to  give  to 
each  bunk  the  individuality  of  an  early  manusi  ript. 


VASES.     (Design.  I   and 

Herr  Hermann  Obrist,  again,  whose  arti  Lie 
needlework  has  lately  attracted  much  attention, 
began,  nol  n  a  craftsman,  bul  as  a  sculptor,  i !  oui  h 
he  always  took  the  greatest  interest  in  the  minor 
arts.  His  youth  was  spent  in  Weimar,  and  he 
subsequent  ly  si  udied  mil  ami  science  al  I ' 
nil  i he  impulse  waxed  too  strong  in  him  to  di 
himself   to   i  he   pursuit    of  art.        \  ling  a 

low  \  ears  to  no  greal  purpose  in  the  School  of 
Decorative  An  al  <  'at  Isruhe,  he  began  to  work  in 
the  potteries  of  the  hill-countrj  of  Thuringia,  and 
there  fit  si  found  hi-  ti  m  vocnli  m.  lie  afterwards 
spenl  a  few  \  ears  in  I'.n  is,  working  al  Jul 
studio,  and   w  hen   he   ha  ti   factOl'J    pi 

in    sculpture     the    arl    of    hj     choice     he   w 

Berlin  and  to  Munich.     Here,  in  <  ollabora w  nh 

Friiulein    Rucliel      w  ho    was   a    perfect    inistri        ol 

einbi  lidery   in  bi 

(lesions. 

Tli>  I.I-    of    the    representati 

oi'    i  he    new    Arl    movemenl    in    Germany.      B 
rjreatei   futun    lit 


330 


THE    MAGAZINE    OF    ART. 


nil  longer  exclusively  devoted  to  painting,  cease  to 

swell  the  ranks  of  that  overcrowded  profession,  and 

to  apply  themselves  to  the  artistic  treatment 

of  objects  of  common  use.     This,  indeed,  is  really 


needed,   whereas,   in    the    prevailing  feeling  of  the 

public  —  and    especially    in    comparison     with  the 

constant    flow   of    their   production  —  pictures  can 
hardly  be  said  to  be  a  necessary  in  demand. 


ART     IN     SCOTLAND. 


THE    GLASGOW    ROYAL     INSTITUTE. 
milE  exhibition  of  the  Glasgow  Institute  of  the 

J.  Fin  ■  Ails  opened  in  the  beginning  of  February, 
and  the  Royal  Scottish  Academy  followed  suit  a 
fortnight  later  in  Edinburgh.  This  year  the  [nsti- 
tute  celebrated  the  addition  to  its  title  of  the  word 
Royal,"  the  use  of  which  her  Majesty  has  been 
graciously  pleased  to  sanction.  Founded  thirty-six 
years  ago  "to  diffuse  among  all  classes  a  taste  for 
arl  generally,  and  more  especially  of  contemporary 
art,"  the  Institute  may  claim  to  have  succeeded  in 
a  remarkable  manner  in  carrying  out  these  laud- 
able objects.  It'  has  been  the  fostering  home  of  the 
young  and  vigorous  '  Glasgow  School,"  which  has 
exercised  con 
able  influence  upon 
landscape     art     at 

home  and  abroad  : 
and  it  was  in  the 
Saucbiehall  Street 
gallei  ies  whei-e  the 
early  exuberant 

and      unrestrained 

fancies     of     the 

"school"  were  seen, 

when  other  exhibi- 
tions   were    closed 

againsl    them.     To 

the  members  of  the 

Institute     is     also 

due  a   large  share 

of    the    credit    of 

li;i\  in-  •  educated" 

the  Town   <  loum  d 

of  ( Uasgov    into  a 

bod)  with  as  strong 
mpathies  as 

were  possessed   by 

Venetian  or  I  lutch 

coi  porat  ions  of  the 
This 

feeling    :  '     mani- 
itself     not 

only    in     the    pur- 
ividual 


DAISY. 
the    fainting   by   D. 


the  Corporation  galleries,  but  in  their  recently  lay- 
ing upon  the  city  the  responsibility  of  building  a 
magnificent  new  art  gallery  and  museum,  which  is 
estimated  to  cost  not  far  short  of  £200,000.  An 
art  society  which  can  point  to  such  results  may 
fairly  congratulate  itself  upon  its  past  work  and 
look  forward  to  the  future  with  increasing  hope. 

This  year  the  Institute  exhibition  is  one  of 
much  merit.  Several  valuable  pictures  obtained 
on  loan  enhance  the  interest  of  the  collection. 
( Ihief  among  these  are  M.  Dagnan  -  Bouveret's 
"  Dans  la  Foret,"  from  the  collection  of  Mr. 
George  McCulloch,  London:  a  lady's  portrait  by 
Sir  Joshua  Reynolds  ('The  Duchess  of  Ancaster"), 

and  one  by  Sir 
Henry  Raeburn 
("  .Miss  ( lleghorn"); 
Mr.  La  Thangue's 
"  Man  with  the 
Scythe,"  from  the 
Chant i ey  trust : 
Corot's  "  Cray- 
fishei ,"  now  in  the 
possession  of  Mr. 
James  Jli  nald  : 
and  characteristic 
works  by  James 
and  Mathew  Maris 
and  Claude  Monet. 
The  President  of 
the  Royal  Academy 
exhibits  two  small 
water-colour  draw- 
ings— a  sketch  of  a 
stieet  in  a  Swiss 
village,  chiefly  of 
architectural  inte- 
rest .  and  a  head  of  a 
pretty  girl  he  calls 

-  Rose  in  Bl n  : " 

and  Mr.  Whistler 
has  contributed  by 
sending  a  coast 
scene  entitled 
"  Sea  and  Rain,"  in 
a     luminous    grey 


THE    ART    MOVEMENT. 


33  J 


"Daisy" — a  pretty  little  girl  in  white,  who  I  inted  with 

ranch  distinction  of  style.  Mr.  Cameron  made  his  early  reputation 
by  etching,  but  his  later  works  show  thai  he  has  qoI  only  a  Bne 
appreciation  of  form,  but  also  of  eleganl  colour.  Landscapes  of 
note  are  contributed  by  Mr.  A.  K.  Brown,  Mr.  Maeaulay  Steven- 
son, Mr.  R.  M.  <;.  Coventry,  Mr.  II.  W.  Allan,  and  Mr.  E.  Sherwood 
Calvert;  and  genre  pictures  of  interest  by  Messrs.  Jami  I 
Christie,  George  Henry,  Tom  McEwan,  and  John  McGhee.  The 
water-colour  room  is  Fairly  furnished,  and  of  sculpture  there  is  a 
small,  attractive  display. 

THE  ROYAL  SCOTTISH  ACADEMY. 
At  the  inauguration  of  the  Royal  Scottish  Academy  there  was 
a  pleasant  exchange  of  compliments  between  the  Academy  officials 
ami  the  Corporation  of  Edinburgh,  the  Lord  Provost,  magistrates, 
ami  Council  as  usual  attending  the  private  view  in  state.  One 
thousand  four  hundred  ami  fifty  pictures  were  submitted  I"  the 
jury,  ami  places  were  found  for  727 — an  increase  of  71  over  last 
year.  Not  for  mam  years  has  the  exhibition  presented  so  much 
variety  ami  interest.  A  splendid  leading  feature  of  it  undoubtedly 
is  the  display  of  works,  seven  in  number,  by  the  late  Sir  John 
Millais,  who  was  an  honorary  member  of  the  Scottish  Academy. 
These  include  the  "Ophelia"  of  his  Pre-Raphaelite  period,  ob- 
tained on  loan  from  the  Tate  Collection;  the  charming  "Rosalind 
and  Celia,"  painted  in  1868,  which   is  now  in  the   possession   of 


MASTER     NED     MARTIN. 
(From    the    Picture    by    J.    Guthrie.) 

scheme  of  tender  quality.  The  Glasgow 
artists  themselves  maintain  their  reputation 
for  fresh,  vigorous,  unconventional  work.  The 
early  extravagances  of  the  school,  which  have 
been  already  hinted  at,  are  now  not  much 
in  evidence.  Conspicuous  among  such  work 
are  two  canvases  by  Mr.  Hornel,  which 
provoke  attention  by  their  audacity.  In 
tin'-.-,  with  a  marvellous  wealth  of  colour 
at  his  disposal,  ami  in  a  broad  impressionist 
method,  he  has  rendered  two  Scottish  wood- 
land seines  with  children,  with  something  of 
the  flatness  of  a  Japanese  painting  and  the 
beauty  of  ■■■  rich  mosaic.  Mr.  .lames  Guthrie 
and  Mr.  John  Lavery  are  well  represented  by 
examples  of  their  graceful  portrail  art.  Mi. 
Guthrie  semis  his  "Mastei  Ned  Martin" 
(which  we  reproduce),  and  Mr.  Lavery  the 
full  length  "f  "Miss  Mary  Burrell,"  in  white 
satin  ami  Mack  velvet  tippet.  These  beautiful 
works  were  both  exhibited  Iasl  May  at  the 
Salon  Champ  de  Mais,  and  there  received 
much  attention  from  French  artists  and  i  I 
Another  outstanding  portrail  which  we  re- 
produce) is  that   by   Mr.   D.   Y.  Cameron  of 


STRATHEARN. 
(From    the    Painting    t>»    J.    Sm  I 


332 


THE    MAGAZINE    OF    APT. 


Mr.  J.  C,  Bunten,  of  Duualistair,  Perthshire  :  and 
the  first  and  famous  portrait  of  Mr.  Gladstone, 
exhibited  in  1879,  which  Sir  Charles  Tennanl  lends. 
There  are  also  portraits  of  Mr.  Fleetwood  P.Wilson 
(H  ;  | »,  Sir  Robert  Pullar,  the  Marchioness  of 
Tweeddale,  and  a  young  son  of  Captain  <  'rabbie  of 
the   Scuts  Greys,     The  endeavour  of  the  Council 


LADY     REID. 

(from    the    Painting    by    Alexander    Roche,    A  U.S.A.) 

of  the  Academy  was  to  present  to  the  public  a  view 
of  the  work  of  Sir  John  in  his  early,  middle,  and 
late  periods,  and  in  this  they  have  been  very  suc- 
cessful. The  last  three  mentioned  portraits  were 
all  painted  in  the  latter  end  of  1895  or  early  in 
L896;  ami  the  "Marchioness  of  Tweeddale,"  il  inaj 
be  recalled,  was  in  the  Royal  Academy  last  year. 
The  boj '  porl  rail  « hicb  was  one  of  the  last  Sir 
John  worked  upon,  has  not  been  seen  before  in 
public.  To  it,  therefore,  attaches  a  melancholy 
interest,  foi  although  il  is  Far  from  perfect,  there 
>'  mi  iii  ii  a  suggestion  of  the  old  charm  with 
the  late  President  painted  pretty  children. 
Othei  Scottish    Academicians   whose    pic- 


tures also  appear  upon  the  walls  of  the  Academy 
for  tlic  last,  time  are  Mr.  Denovan  Adam  and  Mr. 
Otto  Leyde. 

One  of  the  great  portraits  of  the  year  is  a  three- 
quarter  length  by  Mr.  Orchardson  of  Mr.  II.  Balfour 
Fergusson,  Dundee— peerless  for  style  and  suavity 
of  colour;  and  the  President  of  the  Academy,  Sir 
George  Reid,  has  bad  two  interesting  sitters 
—  Emeritus  Professor  Masson,  of  the  Edin- 
burgh University,  and  the  Rev.  Dr.  Maclaren, 
of  Union  Chapel,  Manchester.  They  present 
very  marked  contrasts  of  character,  but 
both  have  been  painted  in  that  incisive, 
trenchant,  and  artistic  style  for  which  Sir 
George  Reid  is  famous.  Lady  Reid,  treated 
with  considerable  pictorial  licence  as  re- 
gards costume  and  environment,  has  been 
painted  with  much  accomplishment  by  Mr. 
A.  Roche,  one  of  the  younger  associates. 
A  reproduction  of  this  picture  is  given. 
Another  social  celebrity  of  whom  a  full- 
length  poi!  rail  appears  on  the  walls  is  Sir 
Charles  Farquhar  Shand,  who  has  been 
treated  in  a  dignified  manner  in  his  pic- 
turesque red  robes  as  Chief  Justice  of 
Mauritius  by  Mr.  Robert  Gibb ;  and  in 
the  same  department  of  art  Mr.  .lames 
Guthrie  and  Mr.  John  Livery  exhibit,  very 
artistically  handled  ladies'  portraits.  A 
lady's  portrait  of  much  promise  has  been 
contributed  by  Miss  M.  Cameron,  and  works 
by  several  other  lady  artists  of  the  city  have 
commanded  good  places.  Landscapes  are,  as 
usual,  greatly  in  evidence  at  the  Mound. 
One  of  the  largest  shown  is  an  admirably 
composed  and  ably  painted  view  of  "Strath- 
earn,"  by  Mr.  John  Smart,  which  is  here 
reproduced.  Mr.  Lawton  Wingate's  cabinet 
works  are  notable  for  their  keen  sympathy 
with  nature,  poetic  sentiment,  and  delight- 
ful colour.  Mr.  W.  1 ».  M'Kay's  contribu- 
tion is  aii  agreeable  hay-making  scene,  with 

labourers  enjoying  the  aften n  rest:  and  pleasing 

examples  of  the  river-scenery  of  Scotland  are  sent, 
by  Mr.  G.  W.  Johnstone  and  Mr.  J.  Morris  Hender- 
son.      These     names,     however,    do    lit  it-    exhaust     the 

list,  which  would  not  be  complete  did  it  not  include 
those  of  Mr.  A.  K.  Brown  and  Mr.  dames  Paterson, 
whose  landscapes  never  fail  to  attract  notice  on  ac- 
count of  their  thoughtful  and  artistic  character.  To 
Mr.  G.  Ogilvy  Reid  the  exhibition  is  indebted  for  a 
large  historical  picture,  in  which  is  depicted  with 
considerable  dramatic  effect  and  with  evident  con- 
scientious care  the  death  of  Viscount  Dundee  aftei 
the  Battle  of  Killiecrankie.  Mr.  Paton  Real  also 
shows  pictures  with  costumed  figures  whose  subjects 


THE    ART    MOVEMENT. 


;:;:; 


are  indicated  by  such  titles  as  "Tin  Courier"  and 
"A  Last  Throw."  Works  with  figure  subjei 
figures  in  combination  with  landscape  are  also  con- 
tributed l'\  Messrs.  Hugh  Cameron,  George  Haw 
Robert  Macgregor,  ( ;.  Henry,  W.  E.  Lockhart,  W.  S. 
MacGeorge,  J.  Lochhead,  and  Mr.  Gemmell  Hutchi- 
son. Mr.  George  Henry's  "Symphony,'  in  rich 
brown  tints,  the  subject  of  which  is  a  girl  playing 
the  piano,  is  very  happily  rendered.  Works  with 
animal  subjects  which  give  variety  to  the  walls 
are  sent  by  Messrs.  Robert  Alexander,  George  Pirie, 
and  George  Smith.  In  the  water-colom  room  the 
principal  exhibitors  are  Messrs.  R.  B.  Nisbet,  Henry 
Kiir.  Tom  Scott,  Skeoch  dimming — who  shows  a 
representation  of  the  Black  Watch  at  Fontenoy 
which  has  cost  him  much  research  in  connection 
with  the  costumes  James  <  'adenhead,  -W.  I  i  I  on 
Brown,  T.  M.  Hay,  ami  Miss  Amy  Stewart.     It   is 


I3  tn  the  credit  of  the  Academj 
best  of  the  year's  pictures  air  the  n 
own    Members    ami    Associal  Fli  a    men 

outside    its    pale    exhibit    nothing   this  year  which 
betokens    anj    gn  at    advance    on    previous    1 
though    not    a    few   of   them    paint    up    to   . 
standard  and  show  much  promise.     A  special  room 
has  tin-    yeai    1  een   sel   aside   for   the  architect  nral 

drawings,    1    the    sculpture    I  usual,  been 

distributed    with    decora  throughout    the 
galleries.     The  sculpture   is,   for  the  most    part,  an 
exhibition   of    busts   of    no   great    interest.     ' 
these  desert  ing  of   not  ice   for   its   stj  le    is  tl 
Miss    Maclaren,   by  Mr.    Pittendreigh    M 
who  also  exhibits  several  exci  llent  medallion  heads. 
A  sketch  for  a   statue  of  George  Buchanan,  by  Mr. 
John    Hutchison,  shows   the  old   humanist   and  re- 
former in  a  meditative  m I.  \Y.  M.  G. 


A      HOSPITAL      DECORATION. 


MR.  W.  GRAHAM  RO- 
BERTSON'S picture 
is  desl  ined  to  fill  a  particular 
wall-space  in  the  Victoria 
Jubilee  Hospital  at  Folke- 
stone, to  which  institution  it. 
has  been  presented  by  Mr.  J. 
s  1  1 1  es  1  he  painting  is 
both  in  character  and  treat- 
ment excellently  adapted  to 
as  a  mural  decoration. 
In  design  and  colour  arrange- 
ment 11  combines  agreeably 
the  qualities  of  serious  for- 
mality and  judicious  re  ei  \  e 
which  are  the  source  of  all 
that  is  best  in  decorative 
prai  1  ice.     1 1  is  free  from  any 

exaggeral  i f  gesl  ure;  and 

its  sentiment,  though  appro- 
priate I"  the  posit  ion  and  sur- 
rounding in  which  the  pict  ure 
is  tu  remain,  is  n  iil  her  ob- 
truded umliiK  nor  allowed 
to  degenerate  into  anything 
approaching      sentimentality  • 


What    story    the  composition 
has  in  tell  is  hinted  at  1 
than  insisted  upon,  suggested 
i.\  delii  ai  ies  of  fai 
sinii  and  by  appropriati  111 
grouping,  not  by  melodramatic 
action  and  obvious  contrasts. 
1  I  1     ,inc  subtlety  of  sugges- 
tion is  carried  into  the  colour 
scheme.     Pale  tint 
white,  light   \  ellow  .  and  grey 
predominate.      The    robes    of 
the  watching  angels  are  \\ bite, 
the   yellow    is    introduced   in 
the  aureoles  and  in  <\r\ 
the  dresses,  and  i he  grey  per- 
and    finds 
in  the  irid- 
e   of    the   wings.      The 
w  hole  effect    is  luminous  and 
quietly    restful,   and 
therefore   well  suited  t"  find 
a   place  in 
ii  is  important  1! 

d  should  be    1  ntle  and 
withoi  disi  ordance. 

A.  L  B. 


334 


THE    MAGAZINE    OF    ART. 


OPALINE     GLASS. 


ALTHOUGH  this  beautiful  coloured  -lass,  which 
11  was  discovered  some  twenty  years  ago,  lias 
as  yel  received  scarcely  any  practical  recognition 
in  this  country,  its  great  merits  and  unbounded 
possibilities  are  well  known  to  artists  and  to  all  who 
have  seen  in  the  United  States  and  at  the  Paris 
Exhibition,  in  L889,  examples  of  the  work  of  John 
La  Farge.  The  erection  of  a  church  window  in 
this  material  at  Wickhambreaux  seems  to  be  an 
opportunity  for  describing  what  to  many  persons 
is  little  understood — namely,  the  manner  in  which 
opaline  glass  is  made  and  how  a  window  in  this 
material  is  constructed. 

The  history  of  stained  glass  dates  back  to  the 
earhj  days  of  Christianity,  when  Pope  Leo  III. 
adorned  the  Lateran  church  in  the  tenth  century 
with   coloured    windows.      Theophilus,  in  the   same 

century,  describes   minutely  in  the   second  1 k  of 

his  "  Divprsarum  Allium  Schedula "  the  process 
of  manufacturing  stained  glass,  and  the  information 
which  he  gives  is  most  interesting,  as  it,  not  only 
throws  light  on  the  art  oi  glass-painting  during  his 
time,  hut    throughout   many  subsequent   centuries, 

when  the  process  remai I  practically  the  same. 

Undoubtedly  the  finest  specimens  of  English 
stained  -lass  arc  those  of  the  twelfth  and  thirteenth 
centuries;  of  these,  however,  only  few  are  left,  for 
the  great  war  of  the  Reformation  passing  over  the 
country  turned  the  peaceful  workman  into  a  fanatic 
savage  whose  reckless  hand  destroyed  by  thousands 
the  many  beautiful  monuments  which  were  the 
glories  of  the  early  Middle  Ages.  In  the  seven- 
teenth century  the  glazier's  art  began  to  decline, 
and  subsequently  in  the  eighteenth  century  became 
practically  extinct,  stained  ulass  being  superseded 
by  the  use  of  enamel  and  paint.  It  is  not.  until 
the  end  of  the  nineteenth  century  that,  we  find  a 
revival  of  the  art,  and  in  the  present  day  many 
beautiful  windows  have  been  designed  by  such  men 
as  Sir  Edward  Burne-Joues,  Ford  Madox  Brown, 
Mr.  Henry  Holiday,  ami  others,  not  to  speak  of  the 
many  imitations  of  old  windows  w  hich  are  constantly 
being  erected  in  the  churches  to  till  in  the  traceries 
robbed  of  their  beautiful  adornments  during  the 
time  of  the  Reformation.  Not  only  in  England, 
hul,  in  many  other    European   countries,  the  art,  of 

I,'      painl  in-  has  been  revived :  but,  we  owe  to  an 

American  artist,  Mr.  John   Li   Farge,  the  invention 

of   the    new   material,   which,    il     may    well    be   said, 

rivals  even  the  best  glass  of  the  thirteenth  century. 

In    L873  Mr.   La    Farge   accidentally    discovered 

he  white  sui i -i se  of  certain  imitation  china- 


ware,  when  insufficiently  mixed  with  the  clay  and 
colouring  matter,  produced  a  curious  opalescent 
quality,  semi-transparent  and  of  great  beauty.  He 
subsequently  concluded  that  by  perfecting  and 
developing  this  translucency  and  opalescence  he 
would  ultimately  produce  a  glass  more  harmonious 
and  varied  in  colour  than  anything  hitherto  known. 
That  his  surmise  was  correct  lias  been  abundantly 
proved  by  the  success  of  bis  work,  and  he  is  now 
at  the  head  of  an  industry  which  is  yearly  in- 
creasing. The  manufacture  of  this  glass  differs 
greatly  from  the  way  in  which  ordinary  pot-metal 
is  prepared.  Besides  having  the  addition  of  opal 
(white;,  it  is  often  made  in  sheets  containing  two 
or  more  colours  imperfectly  mixed.  To  obtain  the 
desired  effect,  the  different  coloured  glasses,  when 
in  a,  molten  state,  are  ladled  from  each  pot  on 
to  an  iron  slab,  where  they  intermingle  under  the 
pressure  of  a  heavy  roller.  The  sheets  vary  in 
thickness,  the  edges  being  usually  thick  and  more 
or  less  opaque,  the  centre  very  thin  and  trans- 
parent. 

Advantage  is  derived  from  tins  peculiarity,  as 
through  it  gradation  of  tone  is  given  to  each  sheet. 
It  would  lie  impossible  to  describe  the  infinite 
number  of  colours  and  tones  of  which  this  glass  is 
capable.  The  mere  fact  that  two  pots  of  glass 
are  never  quite  alike  shows  that  the  variety  is 
endless. 

Much  abuse  has  crept,  into  the  making  of  the 
glass  owing  to  the  lack  of  discrimination  and  taste 
mi  the  part  of  the  manufacturers;  artists  cannot 
possibly  attend  to  the  making  up  of  the  pots,  and 
have  to  accept  what  is  turned  out  of  the  factories, 
relying  upon  their  own  judgment  in  selection  of 
pieces.  Another  kind  of  glass,  called  Drapery  glass, 
has  been  brought  into  the  market  by  one  of  the 
leading  firms.  It  derives  ils  name  from  the  fact 
that  it  is  actually  crinkled  into  shapes  like  drapery 
folds,  for  which  reason  il  is  now  much  used,  since 
it  saves  a  great  amount  of  leading  in  the  delinea- 
tion of  drapery,  and  so  lessens  the  expense. 

The  construct  ion  of  an  opalescent  window  differs 
somewhat  from  that  of  one  in  ordinary  glass,  so  that, 
it  may  perhaps  be  interesting  to  follow  the  process. 

Having  chosen  a  subject  and  made  a  small 
coloured  sketch  indicating  the  composition,  colour- 
scheme,  and  tone,  the  artist  prepares  the  carto r 

full-size  drawing  from  which  the  window  is  con- 
structed. In  ill-signing  the  cartoon  particular  atten- 
tion must,  be  paid  to  the  lead-lines,  as  all  lines  in 
the  composition  will  appear  in  the  window  as  such, 


THE    ART    MOVEMENT. 


335 


no  painting  or  drawing  being  done  upon  the  glass     glass  cut    from   templates,   which  in   their  turn  are 

except  where  faces,  hands,  or  feel  are  introduced.  made  from  the  tracings.     The  selection  of  glass  now 

The  cartoon   is    therefore  practically  a   skeleton     commences.     Usually  some  important   figure  in  the 


WINDOW     IN     OPALINE     GLASS     AT     WICKHAMBREAUX. 
{Designed    ami    Dram    b<j    Baron    Rcscnkrantl.) 


design  of  the  lead-lines,  and  these  must  be  so  disposed  design  i    fii  I    ;lazed 

as   to  represent    the  whole   composition  ami   . I. •line  from  which  little  by  little  the  work  grows,  until  the 

each  figure  in  the  window.     From  the  cartoon  three  whol  red  with  irregular  shaped 

;,  ;Ml.  made,  two  on  papei  and  one  on  glass;  piea  -  o    various  sizes  fixed  on  the  frame  with  wax. 

this  latter  is  the  so-called  glass  frame,  which  is  set  The  nei       i  j   of  the  coloui   sketch  is  obviou 

up  against  the  light  to  receive  the  coloured  pieces  of  facilitate    the  selection  ol   pi 


336 


THE    MAGAZINE    <>F    ART. 


The  window  is  now  taken  down  and  Leaded 
h  'i  o\  ei  one  of  i  he  paper  draw  ings.  As  it 
is  impossible  to  obtain  the  desired  harmony  of 
colour  and  depth  of  tone  in  one  thickness,  the 
window  is  unci'  more  placed  against  the  light  and 
plated  —that  is,  backed  by  or  covered  with  other 
thicknesses  of  glass.  This  plating  largely  contri- 
butes i"  the  beauty  of  opalescent  windows. 

With  regard  to  the  semi-opacity  of  the  -hiss, 
it  may  be  said  that  the  beauty  of  colour  is  enhanced 
thereby,  since  the  opal,  which  gives  it  its  opacity, 
may  be  said  to  resemble  a  t i  1  in  of  mother-of-pearl, 
suggesting  complementary   colours;  it  also   gives  it 


a  certain  solidity  which  makes  ordinary  modem 
stained  gla  =s  seem  thin  beside  it. 

Opaline  glass  is,  perhaps,  the  most  perfect  colour 
material  ever  invented,  and  in  the  bands  of  a  sound 
artist  it  becomes  as  precious  jewels,  beautified  by 
the  setting.  It  therefore  lies  with  those  who  can 
and  will  personally  undertake  the  construction  of 
windows  tu  show  the  public  its  possibilities,  and  it 
may  safely  be  asserted    that  if  the   use  of    opaline 

glass  be  adopted  by  our  brother] 1  of  artists  we 

may  look  forward  to  seeing  our  cathedrals,  our 
churches,  and  other  buildings  become  shrines  of 
beautiful  and  resplendent   windows. 


NOTES    AND    QUER8ES. 


[For   "Regulations" 


The  Magazine  of  Art  for  November,  1896.] 


[29]    A    DOUBTFUL    PORTRAIT    OF    THE     QUEEN.— I 

have  an  oil-painting  about  9  feet  by  4  feet  ti  inches 
of  the  Queen,  painted  by  Solomon  Hart,  RA.     (Jan 

you    tell    me    in    what    1 k    or    otherwise    I   can 

obtain  information  as  to  this  artist's  works? — J.  B. 
Sequeikay,  Forest  Row,  Sussex. 

x*#  We  are  sceptical  as  to  the  genuineness, 
or  lather  as  to  the  ascription,  of  this  picture, 
for    we  kimw  of  no    such  picture  by  the    artist 

in    question.     A    small    1 k    was    published  in 

18S2  by  Wyman  and  Sons  for  pi'ivate  circulation, 
entitled  'The  Reminiscences  <>i'  Solomon  Alex. 
Hart.  RA.,  edited  by  Alexander  Brodie."  The 
book  is  autobiographical,  the  contents  having 
been  dictated  to  Air.  Brodie  by  the  artist,  but  left 
incomplete  through  death.  Il  is  an  interesting 
literary  work,  full  of  information  dealing  not 
only    with    the    painter's    works,   but    also    with 

the   artistic  community  in  which,  by  reas E 

his  learning,  he  was  a  favourite.  Hut  in  it 
he  makes  no  reference  to  the  painting  of  any 
portrait  of  the  Queen.  The  most  august  person- 
age whom  he  painted   was  the   Duke  of  Sussex. 

[30]     LORD     LEIGHTON'S      '-FLAMING     JUNE."     The 

sketches    by   Lord    Leighl n    p.  74-   (December, 

1896)  of  The  Magazine  of  Art  are  described  as 
b  mi"  for  "  Flaming  June."  Is  not  the  upper  one  a, 
\icl  stud)  Eor  the  central  figure  in  his  picture"The 
Garden  of  rlespei  ides "  on  p.  214  ( March,  L896) '. 
above  inference  is  cm  reel ,  may  he  nol  have 
gol  hi-  first  idea  lor  "Flaming  June"  from  the 
upper  figure  i  Is  sketching  in  the  two  lower 
ugle-figure  picture  ?     <  Iottonopolis. 

No.         The      -I   n||,.         [jke    the    picj  lll'CS.    a  IV 

distinct.    The    central    figure    in    "The 

i  was     the     OUl ic    of 


deliberate  design  by  the  artist.  That  in  "Flam- 
ing June"  was  the  adaptation  of  a  chance  pose 
assumed  by  the  tired  model  during  the  period 
of  a  ''rest.'  So  the  present  writer  was  informed 
by  the  artist  himself.  Lord  Leighton  was 
charmed  by  the  unusual  attitude,  expressing  as 
it    did    the    utter  lassitude  of   an   exceptionally 

supple    figure.     He   at   :e    made   a    sketch  of 

it  and  used  it  as  decoration  in  the  small  bas- 
relief  painted  in  the  lower  right-hand  corner 
of  the  bath  in  "  Summer  Slumber."  He  stated 
at  the  time  that  he  proposed  enlarging  the 
scheme  into  an  important  picture  for  the  fol- 
lowing year.  He  kepi  to  bis  intention,  and 
"Flaming  June"  was  the  result. 

[31]  THE  ENGRAVERS  OF  MEISSONIER'S  "LARIXE."- 

I  acquired  a  proof  of  Bracquemond's  etching  after 
Meissonier's    "  La    Rixe  "   on    its    publication,   and 

hi--  rendering  is  the  only  one  1  see  indexed  in  the 
catalogue  of  the  master's  works  in  M.  Greard's  great 
monograph.  1  now  see  a  reference  to  another  en- 
graving of  the  picture  by  one  Chenay.  Can  this 
In-  correct  ' — Poissy. 

Quite  coiivci.  It  -heiil, I  he  noted  that 
the  catalogue  in  question,  at  least  as  regards 
the  reproductions  of  Meissonier's  pictures,  is 
extremely  incomplete,  not  one  half,  probably, 
of  the  plates  executed  after  Meissouier  being 
included.  "La  Rixe"has  been  rendered  not  only 
by  1-'.  Braequemond  and  Paul  Chenay,  but  also 
by  Henri  Coppier  and  Ad.  Lalauze.  Similarly 
the  picture  known  as  "1814"  has  been  repro- 
duced by  Charles  Courtry,  Jules  Jacquet,  L. 
Unci,  and  A.  Mignon. 

[32]     ONE      MAN      EXHIBITIONS      AT     THE      ROYAL 

academy. -I    should  be  glad  if   your  readers  could 


NOTES    AND    QUERIES. 


337 


inforui  me  what  are  the  "One  Man  Exhibitions" 
organised  by  the  Royal  Academy  in  their  Old 
Masters  exhibitions.  I  believe  that  several  have 
been  held. — II.   NORTH. 

w%  Our  correspondent  is  right.  In  the 
first  old  Masters  exhibition,  held  in  1870,  a 
special  collection  was  included  of  the  works  of 
C.  R.  Leslie,  R.A.,  and  Clarkson  Stanfield,  R.A. 
They  filled  Galleries  V.  and  VI.  In  1874  the 
winter  exhibition  consisted  wholly  of  the  works 
of  Sir  Edwin  Landseer ;  they  included  532  items, 
and  occupied  Galleries  I..  [I.,  III.,  IV., Y., and  VI. 
Gallery  X.  was  tilled  with  engravings  touched 
by  Landseer  himself,  together  with  a  few  others 
of  well-known  pictures  not  in  the  exhibition. 
In  1875  a  special  selection  from  the  works  of 
Sir  W.  Callcott,  R.A.,  and  D.  Maclise,  R.A.,  was 
added  to  the  attractions  of  old  Masters.  In 
1878  the  principal  representatives  of  the  Norwich 
school  were  especially  honoured,  old  Crome, 
stark,  Vincent,  ( iotman,  and  Stannard  comprising 
the  quintet;  and  a  collection  of  impressions 
by  our  great  masters  of  engraving  was  another 
feature  of  the  year.  In  1879,  75  drawings  by 
Raphael,  36  by  Holbein,  and  50  by  Michael 
Angelo,  amongst  others,  were  brought  togethei 
and  41  miniatures  by  Cosway  and  37  by  Samuel 
Cooper  were  shown.  In  1880  the  Old  Masters 
included  a  special  collection  of  the  works  of 
Holbein.  In  the  following  year  Flaxman  re- 
ceived special  attention,  when  1  s  1  of  his  draw- 
ings were  exhibited,  In  1883  the  works  of 
John  Linnell  and  Dante  Gabriel  Rossetti  were 
included.  The  works  of  the  former  filled  Gal- 
leries I.  and  II.,  those  of  the  latter,  Galleries 
V.  and  VI.  In  the  following  year  there  was  a 
special  selection  from  the  works  of  I".  Falconer 
Toole,  I!. A.,  filling  Gallery  No.  V.  In  1886  a 
portion  of  Gallery  I.  was  devoted  to  the  works 
of  Joseph  Wright  (of  Derby),  A.RA.,  and  the 
Water-colour  Room  was  idled  with  53  drawings 

by   Turner.     A    further  select) >f  72   of   the 

latter  artist's  drawings  occupied  the  Black-and- 
white  and  Water-colour  Ri ;  and  yel  a  third 

collection  in  L889,  73  in  number,  filled  the  last- 
named  gallery.  On  this  occasion  54  pictures  by 
frank  lloll  were  bung  in  Galleries  1 V.  and  V. 
It  is  hardly  necessary  to  bring  the  mailer  to 
a  later  date,  but  it  may  be  said  thai  up  to 
and  including  the  year  L889  no  fewer  than 
540  of  Landseer's  works  have  appeared  al  the 
winter  exhibitions  of  the  Royal  Academy:  212 
of  Gainsborough's;  :;:;:;  of  Reynolds';  256  of 
Turner's;  II'.)  of  Rubens';  and  111  of  Romney's. 
[33]  haverbergl.  I  should  be  very  glad  if 
any  of  your  readers  can   give    me  any  information 

43 


respecting  an  artist  named   Haverbergl.     lb    is  evi- 
dently  a   Dutchman,  but    I    cannot   find  any  mention 
of  him  in  various  bonks  on   Dutch  artists   or  else 
where.      I    have  in  my  possession  a  small  oil  j 
ing(?)    "n    panel    4',    in.    oval— a    man's   head    with 

hair  and  ruffle  in  the  style  of  ■  0f  the  Gi 

It    was  pun  based  some   forty  or  fifty  > 
the    firsl     Manchester    Fine    Ait    Exhibition,    if    I 
mistake  not.     The  signature  is   indistinct,  and  was 
only  discovered  on  a  recent  cleaning  of  the  picture. 
— EXQUIKER. 

**■*  We  have  carefully  examined  the  eata- 
logueof  the  Manchester  Ait  Treasures  Exhibition 
to  which  our  correspondent  refers,  and  while,  as 

we    expected,   we    do    nut     find    the    l ie    which 

be  mentions,  we  suggest  that  the  signature 
has  been  misread  lor  that  of  Liversedge,  whose 
"Captain  McHeath "  was  numbered  412  in 
Saloon  I).  If  "Enquirer"  will  forward  us  a 
photograph  of  bis  picture  we  will  do  our  besl 
to  settle  the  point. 

[34]  MORE  UNFAMILIAR  ARTISTS.  -Will  you  kindly 
throw  some  light  on  the  painter  of  a  picture  which 
I  have  in  my  possession  '  The  latter  is  an  ideal 
Italian  landscape,  and  is  a  very  fine  work  signed 
"Walsh."  It  is  supposed  to  be  by  an  Irish  artist, 
but  I  cannot  trace  the  name.  Please  also  tell 
tell  me  who  is  the  W.  Pike,  landscape-painter,  the 
author  of  a  work  of  a  friend  of  mine.— JoUN  Todd 
(Belfast). 

2*4  If  the  first-named  painter  to  whom  re- 
ference is  made  is  Mr.  Tudor  E.  G.   Walsh,  we 

may   say   that   he   has  exhibited    bill    once    in    the 

Royal  Academy  up  to  the  year  1893,  accord- 
ing to  Mr.  Graves'  Dictionary.  That  was  in 
1885.  If  it  is  W.  Walsh  it  is  the  contribute 
of  31  landscapes  to  the  Royal  Academy,  British 
Institution,  and  Society  of  British  Artists  be- 
tween   I.^L'-'i  -and    1834;   but   both   these  artists 

gave  their   addresses  from    London.     Tl thor 

artist   mentioned  is  doubtless  W.   II.   Pike,  who 

from    I.S7I    onwards    has   been     well    known 
contributor   of  landscapes    to    Suffolk  Street    to 

the   number  of   e  than    60.     He  is   also  an 

artist    in    black-and-white  very    populai    among 
the  readers  of  the   Daily  Graphic,  to  which   he 
contributes  under  a  pseudonj  tn  whii  h  we  , 
feel  called  upon  to  rev  eal. 

REPLY. 

In    respeel    t"  Query    X".  24  we  have  received 
the  following  interesting  line  from  Mi.   Krith,  R.A. : 
■■  The    lusl     lime    I     saw     Haydou's    -  Judgmenl    ol 
S.T, in, ,n  '  was  ai    Edw m  Landseei 's,  \ ears  an, 
ago,  when,  if  my    rnerm  rue,   he  told   me 


338 


THE    MAGAZINE    OF    AKT. 


he  had  boughl  it  for  £150.  I  thought  it  a  tre- 
mendously fine  thing."  If  may  be  of  interest  to 
add  thai  this  picture  was  exhibited  at  Spring 
Gardens  in  1814,  when  the  Directors  of  the  British 
Institution  voted  the  painter  a  prize  of  a  hundred 
guineas,  while  the  picture  itself  was  sold  for  six 
hundred.  He  stated  in  1827,  "My  'Judgment  of 
Solomon  '  is  rolled  up  in  a  warehouse  in  the  Borough." 


carefully  collected  every  scrap  of  old  work  that 
the  apathy,  greed,  ignorance,  fanaticism,  or  down- 
right wilful  wickedness  of  those  in  charge  have 
let  slip.  The  result  is  that  upon  the  walls  of  my 
studios — classified  and  well  cared  for — we  have 
the  finest  collection  of  fifteenth-century  Perpen- 
dicular carved  oak  work  in  the  kingdom.  It  was 
from    these    that    the  samples   of   destroyed  seieen 


FRAGMENTS     OF     FIFTEENTH     CENTURY     CARVED     OAK     WORK     COLLECTED     BY     MR.     HARRY     HEMS.     OF     EXETER. 


NOTE. 

WOOD-CARVINGS  AT  THE  CARPENTERS'   HALL. — lie 

ferring  to  our  expression  of  regret  that  such  choice 
fifteenth-century  wood-carvings  as  Mr. Harry  Hems, 
of  Exeter,  lent  for  this  exhibition  should  have 
been  torn  from  their  original  positions  to  become 
mere  labelled  exhibits  in  a  museum,  the  well- 
known  w l-carver  in  question  writes: — 

'Tin'    series    (112    specimens)    I    1ml    in    the 

Carpenters'  Company  were  those  I   used  illustrative 

"I'  my  paper  upon   Devonshire    Rood  Screens,    read 

'  fore  'li"  So  iety  <>(  Architects  al  St.  James's  Hall. 

Pi    :adilly,    in   March    last.     In    that    paper   1    gave 

tbe    names   of    no    fewer    than    eighty     Devonshire 

churches    thai    -mostly  during  the  present   century 

have    los!    their   once    chief   glory,    their   carved 

oak     fifteenth -century     rood     screens,     and     si. me 

thirty    more  in  which    only  a   few  isolated  remains 

of  what    were  once  grand  old  screens  still  exist. 

"  I  luring  my  sojourn   in  the  capital  of    Devon's 

ti  m     more     than     thirty    years— I     have 


work  were  taken  for  the  exhibition  in  question. 
The  utter  carelessness  of  the  majority  of  residents 
in  the  'West  Countrie'  as  regards  the  preservation 
of  old  things  is  most  deplorable.  In  this  city  old 
houses  are  constantly  pulled  down  to  make  room 
for  so-called  improvements,  and  almost  the  first 
sight  that  met  my  eyes  when  I  came  here  first  in 
L866  was  the  deliberate  destruction  of  the  Norman 
tower  of  St.  Mary  Major's  church  directly  oppo- 
site to  the  west  front  of  Exeter  Cathedral.  I 
am  "lad  to  say  that  the  ancient  fragments  that 
I  have  so  systematically  got  together,  even  in 
their  mutilated  state,  are  not  entirely  in  vain. 
Although  we  do  not  copy  them  slavishly,  they 
form,  as  it  were  unconsciously,  the  alphabet  by 
which  we  labour;  and  many  a  creation  from  the 
chisels    of    my    sons,  or    self,  or  pupils,    now  doing 

g llv  duty  in  some    distant,   cathedral    or  historic 

church,  had  its  motif  in  one  or  another  of  those 
mice  despised,  but  to  us  highly-prized  fragments, 
to  which   you  have  drawn  attention.'' 


SCENE     FROM      "THE     DAUGHTERS     OF     BAB",  LON. 
{Drau.n    by    W.     Telbm.) 


THE      CHRONICLE     OF     ART.     APRIL. 


The  Poster      rpHE  result  of  the  competition  is  as  follows  : 
Competition.     1     ut  />,■/>(£:.,),  "Sagittarius,"  Mr.  Henry 

Holiday,  Oak  Tree  House,  Branch  Hill,  Hamp 

stead. 
%nd Prize (£15),  "Scottish  Lion,"  Mr.  Robert  Hope,  Hotel 

de  la  Haute  Loire,  203,  Boulevard  Raspail,  Paris. 
&rd  Prizt  (£10),  "  iEquo  Animo,"  Mr.  Henry   Ryland,   i. 

Pembroke  Studios,  South  Kensington. 
These  three  designs  are  reproduced  on  tin-  next  page.    Two 
hundred  and  thirty-four  designs  were  sent  in,  and  we  pro- 
pose next  month  to  publish  a  number  of  those  which  were 
highly  commended  by  the  adjudicatoi  - 

Ir  would  be  no  easy  matter  to  overprai  i  thi 
Arhe!Ttrefc  beautiful  scene  painted  by  Mr.  Telbin  to  illus- 
trate the  first  act  of  Mr.  \\  elson  Barrett's  new 
Lyric  Theatre  play,  "  Z%<  DaughU  rs  of  Babylon."  The  clus- 
tered olive  trees,  entangled  with  vines,  bordering  a  stretch 
of  cornfields,  and  the  picturesquely  garbed  Israelites,  are 
elements  in  a  picture  perfect  alike  in  composition,  in  colour, 
anil  in  its  representation  of  the  atmosphere  "i  an  I 
afterglow.     Mr.  W.  Hann  is  also  to  be  comnn  ndi  d   for  his 

view  of  Babylon  by  night,  as  seen  from  the  terraced  I  oi 

[shtar's  palace,  though  the  foreground  rather  lacks  convii 
tion.  A  front  cloth,  "Hall  in  the  House  of  Alorus,"  is  well 
imagined,  but  other  scenes  are  less  happily  inspired,  Mr. 
Ryan's  final  landscape  being  awkward  in  arrangement  and 
superficial  in  technique.  Roses  that  are  aggressively  arti 
ficial  ami  gems  of  the  gingerbread  variety  are  too  much  in 
evidence  in  tli       irmcii  itai       ol  I  iaa1,  but  other- 


wise the  difficulties  of  Assyrian  attire  are  succi 
mounted.     At  the  Avenue  Theatre  the  liberally  displayed 
engravings  after  Romney's  lovelj  pictures  of  Lady  Hamil- 
ton make  it  an  ungrateful  task  for  the  lady  who  essays  the 
title-role  of  "  .V<  (son's  Enehantri  In  i  audience. 

The   gallant     Admiral    is   himsell    'e    fortunate    in    his 

impersonation  by  Mr.  Forbes  Robertson,  who  presents  a 
"  living  image"  ol  the  familiar  portraits.  Mr.  Perki 
not  quite  grasped  the  possibilities  of  "  Romney's  Studio"  in 
Act  L,  but  it  is  i  '  ir  betti  i  stage  picture  than  "The  Ball- 
room of  the  English  Embassy  at  Naples,"  by  Mr.  Harker, 
who  must  be  cautioned  against  allowin  rush  to 

rate  into  slovenly  execul  ion  and  tawdrj  i 

The    follow  ing    works    h 
ThallleV?.naI   acquired  :-"  Portrait   of  a    Lady,"  attributed 

to  Allan  Ramsay.     From  South  Kensington 

Museum  (No.  1,491,  Room  XIX.) ;  "  Christ  and  the  \V an 

of  Samaria,"  bj    Gi  orgi    Ru  hmon  d,  R.A      I 

the  I  imily  of  the  painter    No.   1,492,  Room  XXL); 

scape  « itb    i   Vie  ■  I  i  Mountains,"  by  Signor 

Giovanni  ( losi  \.     Presented  bj  a  bod)  ol  sul 

1,493,  Room  XXL);  and  "  Thi    *i  eoman  ol  the  '  luard,"  by 

Sir  John    M  illais,    Bart.,    P.R.  \.      l: 

Hodgkinson    No.  1,494,  Room  \  X). 

\\    admirabl)    com 

colour  painters,  from  Turner   and    Bonninoi  in    to    Mr 
MacWhirter   ami    Miss   Gow,  delighted   the   visitors   to 

Mi     i  ut    It 


Exhibitions. 


340 


THE    .MAGAZINE    OF    ART. 


is  sm-li  exhibitions  as  this 
which  sustain  the  reputa- 
tion of  British  art  and 
maintain  the  level  of  public 
taste.  N'h  connoisseur  or 
collector  should  miss 
Messrs.  Agnew'a  exhibi- 
tions. 

The  collection  of  mili- 
tary pictures  at  the  Han- 
over Gallery  was  good  of 
its  kind,  French,  English, 
and  Dutch  being  nil  repre 
sented.  .Many  masters  of 
the  art  were  included,  but 
no  opportunity  was  afforded 
of  comparing  the  methods 
of  ancient  and  modern. 
The  names  of  Detaillk, 
Dupray,  Caton  Wood- 
ville,  Mi:issiin[i;i:,  Die 
Neuville,  Beene-Belle- 
coue,       Bead  quesne, 

KoEKKOEK,      ChELMINSKI, 

Bavakh,  and  Crofts,  R.A., 
were  among  the  names  of 
the  exhibitors. 

Mr.  Wallace  Riming- 
ton  exhibited  at  the  Fine 
Art  Society  the  artistic 
harvest  of  a  picturesque 
pilgrimage   through   Italy. 


POSTER   COMPETITION. 

[By    Henry    Holiday.    London.       See    p.    339  ) 


His  water-colours  showed 
with  power  and  vigour,  as 
well  as  with  taste  and 
delicacy,  how  thoroughly 
the  artist  has  appreciated 
the  scenes  through  which 
he  passed,  and  how  inde- 
pendent lie  is  nC  the  con- 
vention which  appears  to 
taint  the  work  of  most 
painter  -  tourists  through 
Italy.  Not  only  are  the 
drawings  artistically  good 
in  point  of  execution  and 
selection,  but  they  presage 
a  success  far  beyond  what 
the  artist  has  hitherto 
achieved. 

The  late  Mr.  C.  E.  Hol- 
low a  v's  water-  colours, 
oils,  and  pastels  at  the 
Goupil  Gallery  arc  not 
merely  unconventional  : 
they  fling  defiance  at  all 
who  prefer  topographical 
fact  and  accuracy  to  indi- 
vidual "impression."  In 
drawing  the  majority  are 
wild  enough,  wilful,  and 
even  reckless.  As  sketches 
they  are  almost  invariably 
charming,    and    subtle    as 


THEQUIVER 


2VNILLVS-  i 
/TR&TED   ? 


mm 

READING 


POSTER     COMPETITION. 


CASSELUCOMPAM 
(LIMITED:LONDON- 
PARI5&-rAELB0VRNf 


iENERAL  READING 


'    Hone,    Pans.       See    p.    339  I 


SECOND     PRIZE. 


POSTER     COMPETITION.  THIRD     PRIZE. 

(By    Hen.y    R/land,    London.       See   p.    339.) 


THE    CHKONICLE    OF    AKT. 


colour,  and  poetic  in  sentiment.  This  is  art  for  the  few 
who  can  appreciate  bold  handling  of  brush  and  chalk,  and 
who  can  feel  a  responsive  sympathy  to  the  sentimenl  o 
the  painter.  Some,  however,  will  regard  Mr.  Holloway  as 
carrying  Mr.  Whistler's  jokes  a  little  too  far. 

The  series  of  water-colour  drawings  made  by  Mr. 
Aumonier,  K.I  .  about  the  nooks  and  corners  of  the  old 
Chaiu  Tin-  at  Brighton,  supplemented  with  a  few  admii 
able  pictures  in  oil,  painted  in  Lincolnshire  ami  Sussex, 
fill  Messrs.  DowdeswelTs  gallery  with  distinction.  Mr. 
Aumonier  is  individual  in  his  own  way,  has  a  vivid  sense 
of  the  picturesque,  and  a  devout  adoration  of  Nature.  Like 
many  of  the  great  masters,  he  prefers  the  flat  country,  ami 
shows  an  appreciation  of  light  and  atmosphere,  as  well 
as  colour,  that  raises  him  high  in  the  opinion  of  his  critics. 

The  nineteenth  spring  exhibition  at  Southport,  under 
the  auspices  of  the  Corporation,  opened  on  the  22nd 
of  February,  contains  744  pictures,  as  compared  with 
754  last  year.  It  is  a  good  and  well-varied  collec- 
tion, in  which,  however,  the  high  average  of  quality 
does  not  entirel)  compensate  lor  the  scarcity  of 
really  notable  works.  Among  those  which  will 
attract  most  notice  are  Mr.  L.  Alma-Tadema's 
"A  Family  Group;"  Mr.  E.  A.  Waterlow's  "In 
the  Mellow  Autumn  Light;"  Mr.  W.  .).  Laidlay's 
"Tantallon  Castle;"  Mr.  Weguelin's  " Cupid  and 
the  Nymphs;"  Miss  Jessie  Macgregor's  "News 
from  Trafalgar;"  "The  Castaway,"  by  Mr.  <!.  I'. 
Jacomb-Hood  ;  "Mists  Lifting  off  Dartmoor,"  by 
Mr.  E.  M.  Wimperis ;  and  "In  Tow,"  by  Mr.  Aim  in  r 
Hopkins.  The  most  noteworthy  pictures  by  local 
artists  are  Mr.  W.  II.  LoNGMAID's  "  Chloe,"  and 
"The  Cloisters,"  by  Mr.  S.  Lawson  I  Sooth.  There 
is  a  very  interesting  collection  of  water  colours.  The 
pictures  have  been  arranged  to  the  best  advantage 
by  the  curator,  Mr.  P. W.  Teague,  and  his  committee. 

.  No  one  but  an  enthusiast,  a  collector,  and 

an  expert  of  his  subject,  such  as  Mr. 
Warwick  Wroth,  could  have  produced  so  com- 
plete a  book  as"Lnndon  Pleasun  Gardens  of  th 
Eighteenth  Century"  (Macmillan  and  Co.).  The 
subject  has  often  been  dabbled  with  but  has  never  (s«  ■ 
before  been  properly  handled  ;   and  that  it  is  one 

of  great  possibilities,   Mr.    Wroth   has   seen   and    | ! 

The  London  pie 'sure  grounds  naturally  include  low-  as 
well  as  high-class  place-  ol  entertainment,  many  of 
classic  fame.  The  number  of  them,  together  with  the 
interest  of  their  history,  will  probably  be  a  revelation  to 
the  general  reader.  The  fulness  of  the  illustration,  which 
comprises  man)    reproductions  of  rare   plates,  adds  greatly 

to  the  value  of  the  book  and  offers  much  useful  material 

to  the  artist    who  concerns  him-cli   with   the  | I  and 

subjeel  covered  by  the  work.  Mr.  Wroth's  copious  biblio- 
graphies, literary  and  illustrative,  raise  it  almosf  to  the 
dignity  of  a  cyclopaedia. 

The  annual  magazine,  so  to  call  it,  published  by  Messrs. 
limy  and  Co.  under  the  title  of  "The  Pageant,"  is  a 
genuine  delighl  to  those  who  take  a  vivid  interesl  in  the 
most  modern  manifestations  of  arl  and  literature.  The 
editors,  Mr.  Gleeson  Wmn;  and  Mr.  Charles  Shannon, 
have  done  good     irvice  by  sampling  for  us  in  so  satisfying 

a    manner    each    his   own   section.      Authors  and   artists  of 

repute  have  combined  to  give  of  their  best.  In  the  section 
of  art,  which  contains  no)  a  lew  works  already  known  In! 
alwaj  -  "'''"  with  pleasure,  the  chat  u  teri  I  ii  minot  kej  i 
struck  and  maintained,  in  harmonj  with  the  eentimenl 
of  poetic  art    from    Rossetti  and    Bume-Jon<     to  Gustavi 


Moreau,  Puvis de  Chavannes,  and  G    I'.  Watts.    Th 
on  Moreau  by  Mr.  Gleeson  White  is  aval  bution. 

Mr.  Mc(  toll's  note  on  Cam  ould  h  ive  been  still 

more   interesting   if,    instead    of   confining    himsell    I 
artist's  engravings;  he  had  pursued   his  inquiry  it 

I  drawing,  and  -et  forth  the  reason  foi  the  tscription 
of  some  of  his  works  to  Titian.    Anothi     i  tion  ol 

premier  importance  is  Mr.  Ricketts'  illustrated  arl 
original  w 1  engraving  ;  but  hi  a  omis- 

sion, for  Mr.  Ricketts  appi  I  nc  his  attt  i  I 

the  original  engraving  of  a  decorative  sort  in  which,  as  in 
Mr.  Reginald  Savage's  admirable  page,  values  are  wholly 

■  Lcrificed  I ntra  I  and  dei  orative  efli  1 1      1  \n>    ■  utimeni 

I  well  fell   line  are  indeed  a  pure  delighl  ;  but  rei 

treatment  and  atmosphei  ic  effect  have  charms  ol  th<  ii  own, 
and  cannot  be  ignored  as    -  function  ol  the  art.     We  may 


STUDY     OF     AM     OLD     HORSE. 

Natl i/   So 


say  of  this  volu as  of  the   last,  that    we  know   of  do 

book  giving  better  art    and   better   literature  at  so  small 
a  cost,     tt  is  fat  above  the  i  ■ 

The  new  "  Illustrated  English  Library,"  issui 
Messrs.  Service  and  Patot  ha  bi  ur  excellently  well  with 
Thackeray's  "Esmond"  Kjngsley's  •■  // 
Lytton's  ''Last  of  tin  fiarons;  the  6rsl  named  charm 
inglv  illustrated  by  Mr.  Chris  Hammond,  the  second  by 
Mi.  Lani  ii  or  Speed,  and  the  last  by  Mr.  Fred  Pegram, 
all  three  artists  employing  pen  and  ink  with  great  ability, 

but  in  totally  diflerent  i n      The  I  ook    are  v<  rj  well 

printed  on  g 1  paper  ;  and  the  low   price  at   win. 

are  published  is  not  i  lie  least  i  sue. 

A   prai  ewoi  th)    effort,   i 
curiosil 

Quartu  r   Latin"  compile*  Paris,  and 

publish*  'I  bj  Mi  i  tliffi  and  Son  in  London.  It  i 
extreme])  unconventional,  yet  sane  withal,  illustrated  with 
the  cli  ks  well    for  cert  lin   ol    tl 

ii  ibutors, I  embellished  in  it  with 

.-I ial  Llocl     printed  in  two  col 

Will    Bradley,  tho     Ii      ■  ' 

.on  item  production  by  \ I  remely 

promising  and  amusing,  and  de  i 


342 


THE    MAGAZINE    OF    ART. 


as  may  be  extended  to  it  The  portrait  by  Mr.  Murphy, 
and  tin-  Rembrandtesque  "Resurrection  of  Lazarus,"  by 
Mr.  Tannke,  display  exceptional  feeling.  There  are  the 
brightness  and  earnestness  in  this  little  work  distinc- 
tive of  the  Quartier  Latin. 

The  whole  range  of  literature  of  the  art  of  fence  and 
of  the  duel  has  been  rendered  accessible  through  the 
extraordinary  volume  compiled  by  Captain  Cael  A. 
'I'n i mm  under  the  title  of  ".I  Complete  Bibliography 
of  Fencing  and  Duelling"  (John  Lane).  This  monu- 
mental work  well  deserves  its  title  ;  not  only  does  it  deal 
with  every  book  and  treatise  issued  upon  this  extremely 
opular  subject  in  every  country  and  in  every  language, but 
nil  the  articles  of  any  value  that  have  appeared  in  magazine 
or  newspaper  down  to  the  present 
year  of  grace  find  lull  record  : 
while  the  elaborate  classified  index, 
duly  arranged  in  chronological 
order  according  to  language,  com- 
pletes the  value  of  the  book.  Never 
before  has  such  a  work  been  is- 
sued from  the  press.  Mi-.  Egerton 
Castle's  "Schools  ami  Masters  of 
Fence  '  deserved  all  that  was  said 
or  could  be  said  in  praise  of  it, 
but  the  field  was  much  narrower 
than  that  so  courageously  covered 
by  Captain  Thimm.  The  use  of 
such  a  cyclopaedia  to  all  painters 
ol  history,  anecdote,  and  genre  of 
a  military  or  chevaleresque  kind  is 
too  manifest  to  be  insisted  on. 

It  was  clear  when  Mr.  ALFRED 
Lys  BaldrY:  published  his  finely 
illustrated  biography  of  "Albert 
.]/<„,!■: "  (George  Bell  and  Sons) 
that  a  cheaper  edition  would  soon 
lie  called  for.  The  position  of  few 
artists  lias  been  better  assured  than 
that  of  Albert  Moore,  for  all  that 
he  was  denied  admittance  to  the 
Royal  Academy,  ami  the  reputa- 
tion of  none  not  even  of  William 
Linnell,  I  (ante  Rossetti,  Romney,or 

ELolman  Hunt— is  less  likely  to  suffer  than  that  of  the  man 
who  returned  scorn  for  neglect,  and  who,  in  spite  of  all, con- 
quered recognition  as  one  of  the  most  original,  graceful,  and 
elegant  artists  who  wedded  painting  to  decoration  and  prac- 
tised art  for  art's  own  sake.  It  is  not  necessary  to  repeat 
our  former  verdict  as  to  the  beauty  of  this  volume— the 
mere  lingering  of  which  is  a  lecture  upon  art  anil  the  most 
eloquent  exposition  of  the  painter's  life  and  art  theories 
that  could  be  imagined  or  desired.  Mr.  Baldry's  text  is 
well  informed  ami  will  expressed,  and  indeed  could  hardly 
be  bettered,  were  it  not  that  he  has  taken  a  little  too 
seriously  academical  lack  of  appreciation  and  critical  ob- 
Ih  eness.  Mis  attitude  is  defensible,  Lut  we  doubt  the 
advisablene:  1  of  raking  up  newspaper  criticism,  long  since 
Forgotten,  which  probably  had  no  more  influence  in  keep- 
ing Alberl  Moore  oul  of  Turlington  House  than  had  the 
articles  in  the  Spectator,  in  this  Magazine,  and  in  one  or 
two  other  quarters  in  carrying  him  in.  Moore's  pure  and 
beautiful  art  has  the  merit  that  it  can  be  enjoyed  by 
all  who  can  appreciate  suave  ami  exquisite  line  anil  line 

composition,  as  well    as   imagination    in   colour   anil    decora 

i i    i  lie  highest  order,  ami  a   statuesque  dignity  that 

belongs  only   I"  a    master.      Invention    and   originality  were 


Frampton,    A.R  A 


his  ;  and  to  all  these  noble  qualities,  with  the  necessary 
exception  only  of  colour,  this  charming  volume  does  ample 
justice. 

The  devotion  of  Mr.  Hugh  Thomson  fo  our  eighteenth 
century  classics  of  humorous  memory  is  not  only  touching, 
it  is  triumphant.  The  success  of  his  illustrations  to  Jank 
Austen's  "Emma  "  (Macmillan  and  Co.)  is  complete,  with 
the  daintiness  of  Mr.  Abbey  and  the  humour  of  Caldecott. 
With  the  grace  of  both  and  an  individuality  all  his  own,  he 
has  produced  a  series  of  drawings  which,  in  their  delicacy 
and  charm,  maintain  him  far  ahead  of  all  the  imitators 
whom  his  success  has  brought  forth.  No  others  have  quite 
his  appreciation  of  humour  or  of  character,  nor  is  their  hand- 
ling so  ilclrate  and  pure.  We  suspect  that  the  technical 
excellence  of  his  blocks  and  the 
capital  printing  which  they  allow 
are  due  to  the  fact  that  he  makes 
his  drawings  on  a  large  scale  with 
open  line  and  allows  for  reduction. 
The  highest  compliment  we  can 
pay  the  artist  is  that  his  work 
adds  greatly  to  the  pleasure  with 
which  "  Emma  "  will  be  read. 

The  "  Portfolio  "  monograph  on 
"Richmond"  (Seeley  and  Co.) 
could  not  have  been  put  into 
better  hands  than  those  of  Dr. 
Richard  Garnett.  Richmond, 
the  historical,  the  artistic,  the  pic- 
turesque,  is  a  subject  full  of  possi- 
bilities for  a  writer  so  learned  as 
Dr.  Garnett  ;  and  it  is  one  of  the 
charms  of  the  book  that  to  its 
merits,  which  will  appeal  alike  to 
the  student  of  history  and  of  art, 
is  to  le  added  that  of  profound 
knowledge  and  strict  accuracy. 
Richmond  on  the  Thames  has 
played  almost  as  important  a  part 
in  history  as  in  art  ;  ami  if  the 
copious  illustration  does  more  jus- 
tice to  the  latter  than  to  the 
former,  it  is  because  of  the  temp- 
tations that  are  offered  by  the 
works  of  Hollar.  Reynolds,  Turner,  Peter  de  Wint,  Sandby, 
Westall.  Daniel],  and  others.  We  hardly  agree,  however, 
that  Mr.  Hi  son's  capital  reproductions  of  old  prints  ami 
pictures  should  be  spoken  of  as  "engravings,"  as  the  word 
is  unintentionally  misleading. 

Designedly  written  as  a  popular  book,  "An  Introduc- 
tion to  the  Study  of  the  Old  Italian  Masters  in  the  National 
Gallery"  (A.  S.  Hewlett  :  Thomas  Hibberd,  Loudon)  is, 
nevertheless,  both  useful  and  entertaining  to  the  serious 
student.  The  author,  though  necessarily  fettered  by  the 
s,  ice  it  In:,  disposal,  shows  i  famili  int\  with  his  sutjeel 
only  to  be  obtained  by  wide  reading  and  intimate  ac- 
quaintance with  the  great  Continental  collections.  It  is 
a  pity  that  the  illustrations  are  so  poor  in  quality  ami  so 
indifferently  printed. 

A  translation  of  Schiller's  " Lay  of  the  /A//,"  by  A. 
(  !.  FosTER-BaRHAM,  has  been  published  by  Mr.  Fisher 
Unwin.  The  illustrations  by  Mr.  W.  Alison  Phillips, 
while  being  well  composed,  are  monotonously  dull  in  tone. 
Executed  in  pen  and  ink,  with  a  good  sense  of  decorative 
effect,  they  tall  short  of  success  by  their  lack  of  strength 
of  line.  The  result  is  an  even  greyness  which  seriously 
inteifsres  with  thiir  artistic  \  due. 


THE    CHRONK  LE    OF    ART. 


343 


TdJESPOSlZlONE 

PMNErnazi©ale 

DME-DElLAClM 
DlVENEZIA^j59Z 


22APR1LE 


We  liave  to  acknowledge  the   second   edition  of   Mr. 
James  Ward's  "Principles  of  Ornament"  (Chapman  and 

Hall),  which  has  been  edited  by  Mr.  Aitchisox,  A.RA. 
We  have  nothing  to  detract  from  the  approval  with  which 
we  received  the  first  edition,  but  to  add  a  further  word  of 

commendation  to  the 
A]i]>endix  by  Mr. 
■Aitchison  on  the 
Orders  of  Architec- 
ture, a  chapter  which 
i.s  effectively  illus- 
trated. 

Mr.AsHBY  Sterry 
has  long  been  a  de- 
votee  of  the  Thames. 
Aided  by  Mr.  Bathe- 
rell  he  has  produced 
in  bis  "  7'"/.  of  the 
Tli'iim  %  "  a  story  both 
in  subject  and  treat- 
ment worthy  of  the 
author  of  "  The  Lazy 
Minstrel.'' 

Messrs.  Liberty 
and  ( '".  have  recently 
produced  two  daintily 
attired  pamphlets  on 
"Cashmeres"  and 
"Silks."  Each  con- 
tains a  .short  history 
of  the  development  of 
the  manufactures  of 
tin-  fabrics  dealt  with, 
accompanied  by  ex- 
cellent reproductions 
of  this  well  known 
firm's  di 

•'  'Hi:     Rouse"    is 
a  new  magazine  de- 
signed    to     promote 
artistic  influences   in 
the  home.     We    are 
glad    that    the    pub- 
lishers  of    The   Queen    think    there    is    mom    lor   such    a 
periodical;  the  first  number  certainly  ought  to  obtain  for 
it   the  favour  of  the  public  to  which  it  appeals. 

Mi:.  William   T.   Dannat,  the    well  known 

Miscellanea.  American  ,„, inter,  has  been  promoted  to  the 
rank  of  officer  in  the  Legion  of  Honour. 

A  lower  room  in  the  National  Gallery  is  to  be  devoted 
to  copies  of  pictures  made  in  the  gallery.  These  will  be 
selected  by  a  committee  of  artists  and  critics,  and  will,  of 
course,  be  for  sale. 

Mr.  1'.  \V.  AliAM  has  been  elected  a  member  of  the  Royal 

Scottish  Academy  in  succession  to  the  late  Mr.  J.  Denovan 
\,|inl.  sir  E.  J.  Poynter,  P.R.A.,  and  Dr.  Row  uid 
Ajsderson,  architect,  "ere  elected  honorary  member.-.. 

In  connection  with  the  International  Art  Exhibition 
:,t  Venice    the  poster  announcing  which  is  reproduced  on 

this  page-  three  prizes,  of  the  value  of   I   >00,   1, id 

;,o(i  lire  respectively,  are  to  be  offered  to  arl  critics  lor  the 

best  notice,  of  the  exhibition  which  are  published  i ig 

the  first  month  of  it-  being  open 

The  prizes  won  by  students  of  the  Royal  Female  School 
of  An  ue,v  pecentlj  distributed  by  the  Countess  of  [Ichester 
at  the  Mercers'  Ball.  The  Queen  has  purchased  three  ol 
the  successful  works    viz.,  "  Bead  from  tbi    Life,    by  Miss 


PATROCINIO :  America: s.i*rf- 

Vn,:,7.:,'  sIH  V-'.M.HERIV  '•",  ..nhj..  '■',  ■  ['.i^mt  Ajn 
Hajncn-BtlC10:ecijrtcnil-\jnd;rSijppcn-bAMMAPCA: 
Krovcr-EBANCIA:  Cjrolus  Dur.in-D.agn.in  Bouverct- 
nutioi5.Frcmiei'Hcnner«G.Moreau-Piivts<l*'Chavannes- 

.INCHUTEPPA:AlmaTjdcma- 
MlllaiS  •  Orchjrdson  _ ITALIA : 

Carcano-Callort-MJccjri-Micrictli.Montcvcrde-PJSini. 
INORVECl^:  Petersen  _OLANDA:  Dc  HaaS'IStacis* 
H.W.ML-sdJsi-PysSIA:  Antocolsk,  ■  Pcpm  _sPACA_j,  - 


' 


PREMI  40,000  LIRE 

VENICE    INTERNATIONAL    EXHIBITION    POSTER. 
{Designed    by    A.    Sezanne.) 


W.  F.  Bill  (winner  of  the  Queeu'   Scholarship  .  "AGroup 
of  Gueldei    Roses,     by   Miss  Lilian    Reynolds  (Q 
medallist);  and  ''A  Group  of  Eucalyptns f rom  Natui 

Miss  11.   BOYLAND. 

A  memorial  to  the  late  Charles  Keene,  the  - 
several  personal  friends  oi  the  deceasi 
placed  in  the  entrance-hall  of  the  Public  Library,  Shi  | 
Bush.    As  may  be  seen  from  the  illustration  on  p.  342,  it 
consists  principally  of  a  portrait  of  Keene.     This  is  i  s 
in  bronze,  and  is  placed  on  a  slab  of  Sienna  marble.    On 
the  top  are  two  admirable  small  figures,  one  ol   which  n 
presents  Art  mourning  on  it-  knees  over  some  dra 
and  the  other  Humour,  also  mourning  :   the  latter  holds  a 
-tall',  on   the  top  of  wh:ch   is  the  head  of   Punch.      I 
memorial  is  the  work  of   Mr.  George  Frampton,  A.li.A. 
The  Shepherd's  Bush  Library  was  dedicated  by  Mr.  Pass 
more  Edwards  to  Leigh  Hunt  and  Charles   K 

The  exhibition  at  the  Queen's  Hall  of  4,000  pictures  and 
drawings,  entered  for  a  competition  inaugurated  bj   Mi  ssrs. 
Mellin.  was  both  unique  ami  interesting.     The  clifl 
classes  in  the  competition  enabled  unskilled  children  and 
accomplished  artists  to  compete  for  prize,  to  the  value  "i 
£1,000.     We  reproduce  on  p.  :?44  the  water-colour  drawing, 
"The  Blacksmith's  Shop,    by    Mr.  Alei    Gordon,  which 
gained  the  first  prize  in  its  class.    The  work  ol  tl 
winners  was  of  more  than  average  merit.     The  proceeds 
accruing  from  the  exhibition   have  all   btei 
charitable  purposes. 

The  South  Kensing- 
ton Museum  has  agreed, 
on  Mr.  Philip  Burae- 
Jones's  suggestion,  to 
accept  the  engraved 
coppers  of  engravings, 
which  otherwise,  by 
the  practice  of  mem- 
ber- of  the  I  'itiii  sellers' 
Association,   would   be 

d ued  to  destruction 

as  a  sacrifice  to  the 
buying   public.    The 

arrangement  is  a 

one  if  only  the  plates 
themselves  are  worthy 
of    preserva tion    on 

-round-  either  of  art- 
istic merit  or  oi   tech 

uical  value  and  instruc 

tion.    A  less  admirable 

concession     has     been 

made     bj     the     Print 

boom    of    the    British 

Museum    in   .e  ci 

rolls     of     "  anii 

photogi  iph      "i 

I  events    U  ap 

to  it-  thai    He   ' 

little  in  common  with 

the  purposes  for  which 

the    1'rint    Room 

founded      tnd    ■ 

fitter   place   would   be, 

say,  the  Ri  ■  i 
'  it  i.-with  pleasure  that  we  publish  the  illustration  on  this 

.     3h0W     .he    development     Ol      BClllptUnil     Hit      1H       llldl.,. 

,,.  Temple     is  a  lifi  ""'  is  ,l"'  xvo 

native  Hindu,  Mr.  G    K.  Miiati 


TO     THE     TEMPLE 
(fld  0.  " 


344 


THE    MAGAZINE    OF    ART. 


years  of  age,  who  is  a  student  at  the  Bombay  School  of  Art. 
This  is  quite  a  new  departure  from  the  usual  grotesque  and 
unidealised  work  of  native  sculptors,  and  bears  high  testi- 
mony to  the  influence  and  teaching  of  the  school  of  which 
Mr.  J.  <  IkiffitHS  is  the  head  master.  The  figure,  which  is 
;:  yet  only  in  plaster,  the  student  hieing  unable,  on  account 
of  the  expense,  to  translate  it  into  marble,  is  in  the  Bombay 
School.  As  there  is  no  interest  or  appreciation  for  this 
kind  of  art  among  the  wealthy  Hindus,  we  offer  the 
suggestion  to  some  of  our  patrons  of  ait  to  afford  Mr. 
M  hat  re  the  necessary  facilities  to  complete  his  work. 

The  death  of   Mr.   G.  P.  Boyce,  at  the  age  of 
uary'    seventy-one,  removes   one  of   our   oldest   water- 
colour  painters.    As  he  retired  from  active  practice  in  1893 
— when  he  resigned  his  membership  of  the  Royal  Water- 
Colour  Society — his  name  and  work  have  been  overlooked 


THE     BLACKSMITH'S     SHOP. 
ir-Colour    Drawing    by    A.     Gordon.      See    p.    3*3.) 


of  late  years,  but  nevertheless  the  beauty  and  daintiness  of 
his  drawings  entitle  him  to  a  high  position  on  the  list  of 
British  water-colour  painters.  Born  in  1826,  he  was 
educated  as  an  architect,  and  was  articled  to  Mr.  Little. 
During  his  years  of  training  he  travelled  largely  on  the 
Continent,  and  was  a  diligent  sketcher  of  the  various 
tyles  of  architecture,  hut  it  was  not  until  1840  that  his 
tn"'  ™ad  of  life  was  found.  In  that  year,  when  touring 
through  the  South  of  Wales,  he  met  David  Cox  at  Bettws-y- 
Coed,  and  that  incident  led  to  his  taking  up  enthusiastically 
the  study  of  landscape  art.  in  which  his  natural  talent 
soon  enabled  him  to  become  a  proficient  exponent.  It 
was  nol  until  1853,  however,  that  he  exhibited.  He  then 
sent  two  drawings  to  Suffolk  Street,  "Beeches"  and  "The 
Royal  Oak,  Bettws-y-Coed,"  and  two  to  the  Academy, 
"Timber  irard,  Chiddingstone,"  and  "  Hast  End  of  Edward 
the   Confessor's  Chapel,  Westminster."     In    1864  he    was 

cted  ciatc  of  the  old  Society,  but  he  had  to  wail 

until   1878  for  his  election  to  full   membership.     Be  was 

11  !«lar   c ti'ilnitor  to  the  galleries  in  Pall   Mall   until 

'''"  year  he  retired  from  active  membership.  Mr.  Boyce 
was  a  founder-member  of  the  original  Eogarth  Club,  and 
;l  ^ose  friend  of  Dante  Gabriel  Rossetti,  of  whose  work 
Ih'  n'as  an  enthusiastic  admirer.  He  was  brother-in  la»  to 
'''  K-T.  Wells,  R.A.,  and  had  a  large  and  intimate  circle 
of  artistic  friends,  and  to  these,  if  not  by  the  general  public, 
his  work  always  appealed  by  its  delicacy  and  refined  beauty. 


THE    LATE   J.    PYKE    THOMPSON 
From  a  Photograph  by  No-man  M<rj  , 


The  sudden  death  of  Mr.  J.  Pyke  Thompson,  of  Penarth, 
removes  one  of  the  most  energetic  and  devoted  workers  in 
art  matters  in  the  provinces.  For  the  past  twenty  years 
he  was  allied  with  every 
movement  which  had  for 
its  object  the  furtherance 
of  art  in  Cardiff.  To 
Penarth  he  presented  a 
gallery  and  a  fine  collec- 
tion of  works ;  he  was 
chairman  of  the  Fine 
Arts  Sub-Committee  of 
the  t  lardiff  Museum  Com- 
mittee, to  which  gallery 
he  had  also  given  a  col- 
lection of  pictures,  and 
he  also  loyally 
aided  the  South 
London  Art  Gal- 
lery. He  was  a 
pioneer  of  the 
Sunday  ( Ipening 
1 1  f      M  u  s  e  u  m  s 

movement,  and  from  its  establishment  his  gallery 
at  Penarth  has  been  opened  on  Sunday  afternoons. 
Mr.  Thompson  was  also  the  possessor  of  a  repre- 
sentative collection  of  works  by  great  artists. 

It  is  with  great  regret  that  we  record  the  de- 
cease of   Mr.  C.  E.  Holloway,  RI.      In  another 
column  will  be  found  a  notice  of  an  exhibition  of  his 
works  which  was  being  held  at  the  time  of  his  death. 
Belgian   art   has   suffered  a  heavy  loss  by  the 
death   of    M.   GuSTAVE    Dex    Duyts,   a    landscape 
painter  of  great  skill,  whose  work  was  recognised 
not  only  in  his  own  country  but  in  France,  where 
it  is  represented  at  the  Luxembourg.     Rut  it  was  as 
a    designer 
of  pageants 
that  he  was 
best  known, 
and  as  such  will  be 
most    missed.      He 
had  been  entrusted 
to    prepare    them 
for  the  forthcoming 
International  Exhi- 
bition at   Brussels, 
and     had     actually 
prepared  the  draw- 
ings of  the  cars  and 
group?,  for  the  cor- 
tei/t     ili  x    clocht  s, 
which  is  to  be  one 
of    the    attractions 
of  the  exhibition. 

The  deaths  arc 
announced  from 
Paris  of  M.  Henri 
Pji.i.e,  the  well- 
known  painter  ;   of 

M.  Frederic  Theodore  Lix,  at  the  age  of  sixty-seven  ;  of 
M.  Leonce  Lelarge,  marine  painter  of  llouen,  at  the  age 
of  seventy-six  :  of  M.  .1.  SCOHY,  formerly  proftSSor  at  the 
Lyons  Municipal  School  of  Design;  of  Mdlle.  Marguerite- 
'/'' ie  Lberan,  a  painter  of  portraits  and  religious  sub- 
jects, at  the  age  of  seventy-nine;  ami  of  M.  Haro,  one  of 
the  best  known  connoisseurs  and  art  experts  in  Paris. 


(from    ci  Photograph    by 


Alloy  in  Gold.  ISo 

Alma-Tadema,  L.,  R.A.,  The  Artist's  House, 
13;    Early    Years,    41:    Assumption    of 

prefix  "Alma.'  Studies  at  Antwerp, 
"  Clotilde  at  the  Tomb  ot  her  Grand- 
children," "  The  Education  ot  ths 
Children  of  Clovis,"  45;  "An  Egyptian 
Festival  Three  Thousand  Yearn  Ago," 
Gold  Medal  at  Antwerp.  Fir  it  Visit  to 
Italy,  46 ;  Introduction  to  Gambart, 
"The  Egyptian  Chess-Players,'  The 
Pyrrhic  Dance,"  Criticism  by  J.  Raskin, 
47 ;  "  The  Roses  ot  Heliogabalu»," 
"  Phidias  in  the  Parthenon,"  "Claudius, ' 
"Vintage  Festival."  Comes  to  London, 
Letters  of  Denization.  "L'n  Amateur 
R ain."  "{"»  Jongleur"  "The  Em- 
peror Hadrian  visiting  a  Romano- 
British  Pottery."  "The  Sculpture 
Gallery,"  "The  Picture  Gallery."  48: 
"A  Connoisseur,"  "The  Convalescent,'1 
"After  the  Audience.'  "Audience  at 
Agrippa's,"  "  Fishing."  "  Spring,"  The 
"  Rose  Picture,  "Catullnsal  Lesbia's," 
"  Antony      and      Cleopatra."     "  Helio- 

gabalus," The  "Poppy  Pictures, far- 

quinius  Superbus,"  "A  Hearty  Wel- 
come,  I'hc  Idyll,  or  Young  Affections," 

"Sappho,"  "  The  Imjirovisatore."  "An 
Old  Story,"  "  The  Reading  from  Homer," 
411 ;  "  By  the  Bridge,"  "Claudius,"  "  Arc 

Ciesar!"       "16       Saturnalia, I'll  ■ 

s,  tilptoi  s  Model,"  His  conscientiousness, 
"An  Earthly  Paradise."  Honours,  50 

Anlokolsky,  Made  Councillor  of  State  by  the 
Czar,  288 

Art  on  the  Stage:  My  Girl  at  the  Gaiety, 
Rip  Van  Winkh  at  the  Alhambi-.i. 
Cymbeline  at  the  Lyceum,  55;  Monte 
Cristo,  Hi-':  As  Yon  tiki  It,  272;  Aladdin 
at  Drury  Lane,  232;  The  Daughters  oj 
Babylon  at  the  Lyric,  Nelson's  h'.;i 
chantreSS  at  the  Aven 

Artz,  Adolphe,   Elected    President    of   the 

Hague    Art    Club,    a    c.  .   .    In 

Hague  Academy  of  Arts,  President  of 
the  Netherlands  Section  of  tie  I  nivei 
sal  Exhibition  (Paris),  Pupil  of  Israels, 
Studies  in  Paris,  81  ;  "  '"//  Loup  i/.  Mer 
deboui  dans  s",i  Bdteau,"  "Past  and 
Future."  82;  "Orphanage  at   Katwyk," 

83;     'Women  in   a   Potato  Field. I'hc 

Poor-House  at   Katwyk."  "  A 
Hoy  Plaj  ing  on  a  Pipe,"  "  Effecl  oi  Sun 
set  through  the  Woods.'   "  A   Shepherd 
Girl  Sleeping  among  her  Sheep  in  the 
Woods,"  "  The  Pel  I  im  Return  of 

the   Flock."    Head  of  a  Schi 
Woman,  Death   *i 


'»  ibe    ■'-  asa  Decorative  Material.  _'l!) 
Aumonier,     J..     R.I.,     "Sunlight     on    the 
Down-     103 

Barker,      Wright,      Elected      .Member     of 

R.S  B.A.,  176 
Beardsley,  Aubrey,  "The  Morte  d'Arthur, ' 

'J,  HI;    "The  Savoy,"  "Rapeof  the  Lock.'' 

"  The  Yellow  Book,"  10,  11 
Bcechey.  W.,  1;  A  .  "  Chiet  Justice  Sir  John 

Bankes,"   "Sir  Henry  Halford,  M  B.    228 
Bega,  C.  P.,  "The  Philosopher     227 
Bell.  R.  Aiming,  Designs  for  Court  Playing 

Cards,    School-Board    Certificate,    39; 

"Mrs.    Walter    Raleigh,"     "l: 

and  Shuttlecock,"'  231 
Birmingham  Art  Gallery.  Acquisitions  at. 

283 

Book-Plates,  171,  22o 
Books  Reviewed:  - 

"Albert  Moore,    by  A.  L.  Baldry,  342 

■"  Anatomy  for  Artists,"  by  Arthur  Tl 

son,  211 

"■  Anglo-American  Annual.    1715 

"Architecture  in  Italy  from  the  Sixth  to 
the    Eleventh    Century,"    by    rlaffai 
Caltaneo,   translated    by   the    Contesso 
i  "mi  is-< Ihomelcy  in  Bernano,  160 

"Art  Anatomy  of  Animals,    by  Erni 
Thompson,  I'll 

"Arthur  Boyd  Houghton,"  by   Laui 
Housman,  mi 

•'  Artistic    I ...  ography,"   by 

A    II.  Wall.  I'll 

"  Ballads  an  l  Poems,"  by  W.  M.  Thacke 

ray,  159 
■■  Barber,  The  Work    of  Churl      B 

Iir.ro  luction  by  Harrj  Furni 
"  Burns.    Robert,   Poems  of,"  eJited  bj 

.lames  A.  Manson,  280 

"  i  lashmeres  ami  Sil         I  "l  Co . 

343 
"  i  .ii. ile  ;uc    of   the    Lean    Collection    i  1 

Paintings    bj    William  .1.   M tiller,"   by 

Whit  north     w  allls     and      A.    Bonsley 

Chamberlain,  2-7 
"Cherry  and  Violol  :  a  Tali   cl 

Plague,"  bj    Mi      Manning   with  Intro 

duction  by  Rev.  W.  Uutton,  lid 
"  Emma,    by  Jane  Austen,  342 
■■  Esmond,"  by  W.  M.  Thacki  ■ 
-  fencing  and  Duelling,  i  Ion 

graph]  of,"  bj  I  Thl 

342 
"Figure  Drawing  and  Composition,'  by 

Richard  (i    Hatton,  287 
"  Find    Mad. ix   I'.ri.wn  :    a    1:  II 

i  .  .     tid  Work,"  by  Fori  M.  II 


1> cs  Reviewed  loontinued): 

"Fors  Clavigera,"  bv  Professor  Ruskin, 

171 

Portraits  of  Him 
self."  by  ti.  S.  Layard,  2C6 
"Hampton    Court,"    by     Rev.    William 
Hutton,  159 

■  I  h  i  mi  ,  .  n  iur  Photo- 
gravures, with  an  Introduction  bj  Sir 
W.  .Martin  (  "on  way.  320 

"  Hypatia,"  by  C.  Kings 

"  Illustration  ot   I  li  by  Joseph 

Penned,  175 
"In   Bohemia  with  du   Maurler,"   by   F. 

Moscheles,  266 
■  index  io  tin-  Periodicals  of  1895,"  17H 
"  In  she  a  and  Times."  by 

Snowden  Ward  and  Mis.  c.  w 

Jean     Francois    Millet  :     His 

Lctters,    bj  Mrs.  Henry  Ad 
"John  l.a  I  are     le  Cecilia  Waero,  274 
"  Laurence  Alma-Tadema,  R.A.  :  A  Sketch 

of  His  Life  and  Work."  12 

o(     the     Bell."     'Translation     of 

Schilli  ster  Barham,  342 

"Life   and    Letters   of   John    Constable, 

R.A. 

i Ion     Pleasure     Gardens     of     ihc 

Eighlcenth     Century,"     by     Warwick 

w  roth,  ail 

Vallery  CO.  Greard,  222 

""  Men  and  Women  of  the  I  'enlii ry,"  being 
Portraits  an  I 
bj    Mr.   1  in  inn,    edited    by 

li.  c.  Marillier,  2C4 
•  Modern    French    Masters,"   edited   by 
John  Van  Dj 

■  Mo  hi:,   Opera-R 

by  F.  i  '  E    We  allow. '.'til 

•in  the  Decorative  Illustration  of  Bonks, 

(lid  and  New  ,"  I"    W  ,.,;,      I 

An  Introduction  to  the  Stud} 
,,f.    by  A.  s  Howh  tl 

■  Hi  White 
Shannon,  all 

u  While, 

' 
■•  Phil  VI  w  Inter  Vnnual, ' 

nieiit,'  edited  bj  F.  Grassct,  221 

"  Principles  of  i  irnami  nt," 

ion,   \.l:   \..  2nd  edltiot 

"(in  i 

"  Rape     :  by  A     I'ope.  new 


346 


INDEX. 


Books  Reviewed  (continued) : 

Reeves   and    Son,    Messrs.,    New    Cata- 
logue, 109 

"  Rembrandt  in  the  Berlin  Gallery,''  188 

"Richmond"      [Portfolio),    bj      Dr.     R. 
Garnett,  343 

Soci  ill  i  Carl s,    by  Walter  Crane,  176 

Tale  of  the  Thames,"  by  J  Ashby  Sterry, 
312 

"The  House,"  343 

"Timbuctoo    the    Mys'eri  uiV'   by    Felix 
Dubois,  translated  by  Mrs.  I)  White,  387 

"To  Tell  (he  Kins  the  Sky  is  Falling,"  by 
Sheila  E  Braine,  176 

"Tourist's  Guide    to   the   Continent,"  by 
Percj  Lindley,  176 

"  Winter  Book,    being  the  fourth  number 
of  "The  Evergreen,"  286 
Bough,  Sam,  ami  Beverley,  .">",  171 
Brantley,     Frank,    A.R.A..    "Fifty    Yeirs 

After,"  "  Autumn."  173 
Bratean,  Jule3,  Pewter  Pottery,  '.is.  inn 
Brown,  Ford  Madox,  Loan  Collection  at 
"  Arts  and  Crafts ": "  Tlic  Summer  Day," 
'The  Romans  Building  Manchester," 
Book  Illustration.  "  Brown  Owl." 
"Oliver  Cromwell  on  His  Farm," 
"William  the  Conqueror  Finding  the 
Hi.ili  of  Harold."  "Cromwell  at  St. 
Ins"  "King  Lear."  Portrait  of  him- 
self, "The  Entombment  of  Christ," 
"Tlio  Young  Foscari,"  Cartoons  for 
Stained  Glass,  Designs  and  Sketches 
fur  .'Mural  Paintings  at  Manchester,  68 ■ 
"Thi'  Young  Foscari,"  256;  "King 
Rene's  Honeymoon"  Cabinet,  323 
Brozik,  Vaslav,   Elected  Foreign  Memberof 

Societe  des  Anites  Frangais,  176 
Hume  -Jones,  sir  Edward,  Ht..  Cartoons  for 
Stained  Glass,  36;  Daily  Chronicle 
Cartoon,  51;  "Green  Summer,"  318: 
"  King  Rene's  Honeymoon"  Cabinet.323 
Bury,  (lifts  to:  Works  of  Art  presented  by 
Miss  Wrigley  and  Messrs.  O.  and  F. 
Wrigley,  283 

Calleott,   Sir  A.  W.,  R.A.,  "Diana  at   the 

Chase.'  283 
Canova,  "  Hebe  and  Bacchante,"  283 
'.ii  in, ni\   .1    B.,  Bronze  Works  of,  53 
Caw,   .1.   L,    Curator  of  National   Portrait 

Gallery  of  Scotland,  228 
Central    School  of  Arts  ami   Crafts.  New. 

Professors,  etc.,  110 
chain n.  A.,  R.A.,  A  Picture  by,  1711 
Chambers,  George,  "St    Michael's  Mount" 

■.'S3 
(  ha  ling  ami  Engraving,  186 
'  >hi  rel    Lithographs  by,  lis.-   Medallion,  2,;s 
Collier,  Hon.  John,  at  the  Grafton  Gal'ery,  230 
Collins,  VV  .  R.A.,  "  The  Minnow  Catchers," 

"  Tin-  Cherry  Sellers."  283 
Constable,  .1..  R  A..  231 

'  'oopc  i .  T   - .3 .  K.  \.,  "  Sheep, '  283 

iii  Law  :  Registration,  170 
Cotman,  !•'.  G.,  "  Richmond,  Yorks,"  ins 
'  lotman,  John  Sell,  "  Town  in  Holland,"  316 
Cox.    I'i  o!    th.'    Purr:,!,"    255  : 

"The  (il. 1  .Mill  at  Bettws  y-Coed,"  "A 

Bn  ezj  1  * .  i  -. ."  283 

o  ins  for  Stained  Glass, 

3H:       illustrations      ami       Decorations 

(!•     Spenser's      "Faerie     Queem         S; 

Design     of       'I'hi-     Five    Senses"     for 

Damask  i  lloth,  66;  "  Note  mi  w  ml.  .mil 

l.ii''     "I      W.     Morris,"    89,     HI  :     "  The 

Triumph  of  Labour,"  17(1 
' "    wick,    Thomas,    P. A.,     "A    Showerj 

Day,     ' 

Ernesl    I ;   \ . .      Ramilies,"  173 
'    '"Hi'-,  .i  ,  "  A  Landscapi 

I    I  "i  i  rail  m  Napoli  on  I..  i;i 

■■-■'  I  mi  and   E  Lith,  I  !up  in  Hcatcn 

.ii-     38;   Trowel  m    \\  roughl 

ml    Heraldic  Design,    65;     Uma 


Pay,    Lewis,  39;    Designs   for    Panels   and 

Tiles,  66 
"  Delia  Robbia,"  Potteries  at  Birkenhead,  0, 

66 
"  Devon  Great  Consols''  Mine,  312 
P.-  Wint,  P..  "Old  Mill,"  318 
I  in.\  le's  Monogram,  John,  279 
Dresden  "Sistine  Madonna,"  Is  it  genuinel 

105 

Past,  Alfred,  "An  Autumn  Study,''  108 
Ecole  des  Beaux  Aits.  Gift,  to.  288 
Electroliers,  designed  by  B.  Mackennal,  A. 
E.    Lewis,    14;    J.    M.    Swan,    A.P  A  , 
exhibited  by  Messrs.  Bellman,  Ivey  and 
Carter.    Benson,    Faraday,    Perry    and 
Son,.  Hi:  Millerand  Sons,  Designs  by  W. 
Starkie  Gardner.  IS 
Exhibitions  - 

Arts  and  Crafts  Exhibition,  The,  32,  63 

Aumonier,  J.,  R.I.,  at  Dowdeswell's,  341 

Burns  Exhibition  at  the  Royal  Glasgow 
Institute  of  Pine  Arts,  56 

Dalpayrat,  M.,  at  the  "Petit  Gallery," 
I  'aris,  2S4 

Early  and  Modern  Briti-h  Artists,  Messrs. 
sin  phi  ril  Brothers,  231 

English  Humorous  Art  at  the  Pine  Ail 
Society.  171 

English  Silk  Weaving  Company  and 
Spital  fields  Silk  Association  Exhibi- 
I  mil.  21S 

English  Water  •  Colour  Painters  at 
Agncw's,  33!) 

Exeter  Art  Gall  rr,  173 

French  Gallery,  The,  231 

Hamilton,  J.  McLure,  at  the  Goupil 
Gallery,  108 

Holloway,  C.  E.,  Water-Colours  at  Goupil 
Gallery,  310 

Hunt,  Alfred,  R.W.S.,  at  the  Burlington 
Fine  Arts  Club,  284 

Institute  of  Painters  in  Oil-Colours,  108 

"L'ArtNouveau  "Exhibition,  268 

Leighton,  Lord,  P.R.A.,  at  the  Royal 
Academy,  228 

"  Le  Sillon  "  Club.  Brussels,  215 

Liverpool  Corporation  Autumn  Exhibi- 
tion, 173 

Miliiary  Pictures  at  the  Hanover  Gallery, 
340 

New  English  Art  club,  231 

Nottingham  Art  Museum  Autumn  Exhibi- 
tion, 173 

Original  Drawings,  Lithographs,  and 
Etchings,  at.  the 25  Gallery,  Soho  Square, 
284 

Oxford  Art,  Society,  174 

Palmer.  Sutton,  "Highlands  and  Low- 
lands," 231 

Photographic    Exhibition    at    the    Poyal 

Water  <  'nil. or  Society,  109 

Photographic    Exhibition    at   the  Dudley 

Gallery,  109 
Prize  Work  at  the  Royal  Female  School 

..f  Art,  Kill 
Rimington,    Wallace,    at    the    Pine    Art, 

Society's,  340 
Royal  Glasgow  Institute,  330 
Loyal  Scottish  Academy,  331 
Royal  Society  of  British  Artists.  The.  108 
Royal    Society    of    Painters    in    Water- 

Colouis,  230 
Society    of    Miniaturists    at    the   Grafton 

Gallery,   110,  23') 
Society  of  Portrait-Painters,  230 
Southport,  Spring  Exhibition,  311 
Sydnej  An  society,  172 
Turner,  .1.  M.  W.,  R.A.,  Original    Draw- 
ings ami  Pictures  and  Engravings  from 

the  Artist's  Works  at  City  An   Gallery. 

Leeds,  171 
Victoria  Institute,  Worcester  Corporation 

Art  Gallery,  173 
Watauabe    Seitei    and    Kwason    at    the 

Japanese  Gallery.  171 
Wood  car \  ings  at  Carpenters'  Hall,  1C7 


Faed,  John,  U.S.  A,  "  The  Cruel  Sister,"  283 

Faed,  Thomas,  R.A.,  "  Listeners  ne'er  hear 
any  good  of  themselves.    l's:i 

Falize,  Lucien,  Gold  Cup,  Extract  from 
Peport  to  Central  Union  fcr  Encourage- 
ment of  Decorative  Arts  of  Paris,  165; 
Detail  of  Cup,  167-S 

Fildcs,  Luke.  R.A.,  "Jessica."  173 

Foley,  J.  IL,  R.A.,  "Egeria,"  283 

Foster,  Birket,  R.W.S.,  Drawings  of 
Venice,  173 

Frampton,  George,  A.  R.  A.,  Screen,  "Music," 
Carving  fur  .Mantelpiece,  3s ;  "Keene 
Memorial,"  342 

Frere,  Edouard,  "Snowballing,"  2S3 

Gainsborough,  T.,  R.A.,  "Portrait  of  MPs 

Gainsborough,"  "Two  Dogs,  Tristram 
and  Fox,"  "Study  of  an  Old  Horse." 
Two  Landscapes,  "Rustics  with  Don- 
key,' L'L'7 

Galle,  Emile,  Decoration  of  Furniture,  249; 
Extracts  from  Letter  to  M.  L  P.ili/.c, 
250;  Glass  Vessels,  Cameo  Vase,  252; 
Gold  Medals  at,  the  Palais  dc  1  Industrie. 
1st  Prize  and  Medal  at  Paris  Exhibition 
of  1SS0,  253 

Gardner,  starkie.  Electroliers  designed  by, 
18;  Factory  at  Lambeth,  131 :  Design  for 
a  Lamp  in  Pewter,  132  ;  as  a  Collector, 
Ironwork,  133;  Replica  of  the  Eleanor 
Grille,  Handbook  on  "Ironwork,"  131 

German  Decorative  and  Industrial  Art, 
324  ct  seg. 

Gibb,  R.,  R.S.A.,  Curator  of  National 
Gallery  of  Scotland,  228 

Gold  Plating,  186 

Goldsmithery,  English,  181  ;  German,  283 

Goodall,  V.,  I!. A..  "The  Happier  Days  of 
Charles  I.,"  283 

Gow,  Andrew  C,  R.A.,  "The  Requisition- 
ists,"  122 

Grasset,  M.,  Lithographs  by,  148 

Gravesande,  Storm  van.  Lithographs  by,  152 

Guido's  "Perseus  and  Andromeda"  and 
"  Venus  Attired  by  the  Graces,"  224 

Hacker.  Arthur,  A.R.A.,  "My  Mother,"  108 

Haghe,  Louis,  Lithographs  by.  "Belgium 
and  Holland,"  "  Fall  of  Jerusalem," 
after  D.  Roberts,  7S 

Hals.  Franz,  "  William  Warmond,  Burgo- 
master of  Leyden,"  174  ;  "Picter  Tiarck," 
319,  321 

Hamilton,  J.  McLure,  "  W.  E.  Gladstone, 
M.P.,"  "G.  P.  Watts,  R.A.,"  "Onslow 
Ford,  R.A.,"  108 

Harcourt,  George,  Studies  at  Bushey,  Early 

Work,    233:    "Evening    Time. the 

Heir,"  231:  "At  the  Window"  or  "A 
Portrait,"  "Psyche."  "Thought  Read- 
ing," 235;  3rd  class  Medal  at  the 
Salon,  "  The  Leper's  Wife. "  230  ;  "  Dun- 
glass,  Coekburnspath,"  "Mrs.  Fairfax 
Lucy  and  Her  Son,"  23S  ;  "Boys 
Bathing,"  "The  Little  Foster  Father, " 
"Head  of  a  Rustic  Girl."  23!) 

Harding,  J.  D..  Lithographs  by,  "  Pictur- 
esque Selections,"  78 

Haydon's  "  Judgment  of  Solomon,"  225,  337 

Helleu,  1'..  Pastel  Portrait,  230 

Herkomer,  Professor,  R.A.,  "The  Last 
Muster,"  121.  127;  "The  Home  Decora- 
tor," 171:  "  W,  Cuthbert  Quilter,  Esq.," 
"The  Duke  of  Devonshire,"  260 ;  Litho- 
graphs by,  21)0 

Hermitage,  Founding  of  the,  by  the 
Empress  Catherine  I..  320 

Hiles,  |ia  .Irani,  Early  Studies  at  Bristol,  141; 
Exhibits  Firsl  Picture,  Gains  National 
An  Scholarship,  142;  Silver  and  Two 
Bronze  Medals  and  Book  Prize  :  studies 
in  Paris  ;  Sillies  in  London.  113 

Hilton,  W.  R.A..  "  Venus  and  Cupid,"  283 

Holbein,  H,  "  Henry  VIII.  Presenting  the 
Charter  to  the  Barber-Surgeons,"  288; 
Unkt.own  Portraits  by,  279 


INDEX. 


347 


Hole,  W.,  R.3.A.,  Mural  Decoration  at 
St.  James's  Episcopal  Church,  Edin- 
burgh, 218 

Holl.  Frank.  R.A.,  Memorial  of,  in  St.  Paul's, 
288 

Hood,  G.  P.  Jacomb,  "Mrs.  Fox  and  her 
Children."  230 

Hunt,  W.  Ho!nian.  "The  Scapegoat,"  177; 
"The  Hireling  Shepherd     Z8S 

Hunt,  William,  "Devotion,"  "The  Dead 
Snipe,'  259 

Iron- Work,  Modern  English,  131;  Old 
German,  283 

Jack,  G.,  Chironeypiece  and  Carved  Oak 
Leg  for  Settle,  6.5 

Jackson,  T.  G.,  R.A.,  10S 

Jenkins,  F.  Lynn,  New  Decorative  Art  by. 
92;  studies  at  Lambeth  and  I:  \. 
Schools.  Medal  from  It. A.  and  city  of 
London  Guilds,  Gains  British  Institution 
Scholarship.  9ti,  97 

Joy,  George  W  ,  "  Lear  and  Cordelin," 
t  Ihrist  and  the  Little  Child,  '  "  The 
King's  Drum,  "The  Danaids,"  "'7: 
"Truth,"  "Joan  of  Arc'  "First  Union 
Jack,"  58;  "The  Bayswater  Bus," 
"Christ  and  the  Little  child.  59; 
"Nelson's  First  Farewell,"  "Welling- 
ton's First  Encounter  with  the  French," 
"The  King's  Drum  shall  never  be 
beaten  for  Rebels,"  "Flora  Macdonald's 
Farewell  to  Prince  Charlie."  "  The  Lord 
Warden  of  the  Cinque  Ports,"  Early 
Studies,  Work  in  Paris.  60;  Succi  sses 
Accuracy  in  Detail,  "Death  of  General 
Gordon     62 

"Jxigend,    327 

Keene,  Charles,  Memorial  to.  343 

"  King  Rene  a  Honeymoon "  i  labinet,  ::"." 

Khnopir,  F.,  "  Vivien.'  173:  Fashion  in  Art, 

210 
Kneller,     sir    ti..     "Sir    Samuel    Garth' 

(attributed  to),  228 
Knutsford,  Viscount,  G.C.M.G.,  Appointed 

Trustee  of  National  Portrait  Gallery,  110 

La  Farge,  J.,  Stained  Glass  bj    270  271,331 

Landseer,  Sir  E.,  It. A.,  "  Titania  and 
Bottom,"  178  ;  "  The  Random  Shot  "  283 

Lane,  Misses.  Bequest  to  the  National 
Gallery,  227 

Layard  Collection,  The,  280 

Leader,  B.  W.  A. I;  A  "Departing  Day." 
180 

Leighton,  The  Late  Lord,  P.R.A.,  Extract 
from  Letter.  Eight  Characti  i 
the  Artist's  Sketches,  611-71  ;  Firsl  Fresco, 
10.5;  "Cyniiin  and  Iphigenia."  127;  "Sir 
Richard  F.  Burton."  227:  Exhibition 
of  Artist's  Works  at  HA  .  228  .  on  Litho 
graphy,  295;  "  Flaming  June,    336 

Lewis,  John  F..  R.A.,  "  Lilium  Auralum." 
2r.ll 

Linnell,  J.,  R.A.,  "On  Summer  Eve,  by 
Han. iied  Stream,"  179:  "The  Rising 
of  the  Stream,"  "  Crossing  tin'  Brook," 
283 
Lithography,  Revival  of,  75,  ill.  289 
Lorimer,  J.  H..  "Lord  Lindsay,"  "The 
Bishop  of  London,    230 

Mackennal,  It..  Table  Lamp,  II 
Maclise,  1).,  lt.-\..  "  The  Student,  '233 
Manchester  City  Art  Gallery    \.cqul 

288 
Mason,  George,  "  The  Wind  he  Wold 

227 

Mansueti,  Giovanni,  What  an    thi   correel 

dates!  225 
Marquis  of  Hertford  and  the  "Marquis  ol 

Stcyne.'  The.  107.  1  >.". « 
May.  Phil,   Elected  Member  of  R  I 

Lithographs  by.  2.12.    (See  '  1; 

viewed   1 


McLachlan,  T.  Hope.  "  By  Starlight,"  108 

Meissonier's  "  La  Rixe,"  336 

Merson,   Luc  Olivier,  Drawings  Repn 

in-  Trade  1  lorporations  for  Goli 

L.  Fah 
Millais,  Sir  J.    E.    Bt ..    P.R.A.,       Autumn 

Leaves,'    53;  "John   Bright,1     128,   260; 

Murthlj     Moss,      178;    LI    the   Grafton 

Gallery,  230  :    Panels  for  Judg 

ings,  Leeds,  232,  280  ;  "  Joan  of  Arc,"  256  : 

"  Eve  of  St.  Agnes,"  Panelsal  I 

Loan  Exhibition  at  Edinburgh,  331 
Miniature      Painting,     51,     87  ;      Earliest 

Treatises  on,  279 
Miniatures  in  Wallace  1 
Moira,  Gerald  E.,  New  Decorative  Art  by. 

'.12:     "Mrs.     Cyril     Plummer,"     "Mrs. 

Nares,"       "The      King's      Daughter,' 

"lii-cmli.    Daughter    of   C.    Svedburg, 
-indies  at  R.A.  Schools,  At  the 

Fine  Ait  Society.  97 
Moore    Allien.  A  Picture  by,  221 
Moore.  Henry,  R.A     231 
Morris,   William,    Note  on,   by    W.    Cram 

Committee  of  Artists  an. 1 1  Iraftsmen,  90  : 

.The  Kelmscott  Press.  91 
Mnllcr,  W.,  "  Tie  slave  Market,"  "  Venice," 

283 
Mulready.W.,  LA.  "Tin'  Firsl   Voyage," 

2S3 
Murray,   David,  A.M. A..    "Season  of  Misl 

and  Fruitfulni 

Nancy,  Decorative  Art  at.  219 

N.i-niytli.  Patrick,  "Ringwood,"  "  View  on 

the  Forth.'   283 
National  1  taller]    w  esl  and  Has  don  at,  169; 

Acquisitions  at  the.  227.  339;  Room  for 

Copies  at.  313 
National  Gallery  of  Queensland,  Thi .  17:; 
National  Gallery  of  Scotland,  Acquisitions 

t...  228 
National  Gallery  of  Sydney,   Acqui 

172 
National  Gold  Medals,  226 
National    Portrait  Gallery,  Annual  Report, 

51;  New  Trustee,  110;   Recent   Acquisi 

tions.  227 
National     Portrait     Gallery     of     Scotland, 

Bequesl  by  J.  M.  Gray,  Esq.,  228 
Newman.      P.      H,      Elected    -Member    of 

It  s.B.  \  ,  1:1; 
Nuneques,  w.  de  Gouve  de,  216 

1 11:11  r  Miii  -  : 

Altamura,  Saverio,  2ss 

Barnard,  Fred,  56 

Beavis,  G.,  R.W.S.,  176 

Boyce,G.  P.,  R.w  .-    341 

Chatrous-e,  Entile,  232 

Den  Duyts,  G,  311 

flu  Maurier,  Geot 

Falero,  Luis,  232 

Fripp,  George  A  .  R.W  S  .  110 

Ilaro    \l     ::n 

Holloway,  c.  E.,  K  I. .311 

Katow,  Paul  de,  288 

Lagye,  Victor,  56 

Lccran.  Mdlle.  M    /..  311 

Lelargi    1 

Lix.Theod 

Morris   William.  56 

Pill...  Henri   311 

Reinhardl   C.  S.,  56 

Samuelson,  Edward.  J  P.,  232 

Scohy,  J.,  in  1 

Thompson,  J.  1  '■ 
1  ipaline    Gla        W  indow     in,    al 

hambreau     331 
Orchardson,  W    '.'.-  R.A    "  1  he  I  ' 
128 

\. 
Membi 
n,"  327 
Sir  Noel.  R.S 
283 


Pennell,     Joseph,     Lithographs     ol 

"i,i.  171 
Phillip,    John,    R.A.,  "P. -he  Sellers,'    180; 

1 
Pinwell,  George,  "The  Village  Cross,"  251 
.  !■'.  VY\,  Lectern,  38,  67 :  Overdoor 
in  Coloured  Plaster,  10;  Burns  Statue,  56 
Pooli     P    1      1. ■   '■.      '  Elaine,"  231  :   "Going 
to  1  he  Spring,"  "  1  rossing  the  Brook,"283 
Poster  Competition  P.  - 

Sir    E.    J.,    P  R.A  .    Elec  lion    as 
P  P   \     in-,  in  ;   Versatilitj 
112  :  Eat  orative  Work  at 
Walthain  Church.  Carl,, 
Glass,    Illustrations    Dalziel     B 
irsl  Picture  at  R.A.,  M 
-    G  lorge,"  "Apelles,"  and  "Phidias," 
115;  Frcsi  .     al  St  Stephen's,  Dulwich, 
".room  al 
Kensington  Muei 
I  Pom.-    ol    St.    Pauls.    "Andromeda." 
"  Israel  in  Egypt,"  "Thc'Catapult,"  110; 
, usican  ami  Her 
Maidens  Playing  at    Ball,"   "The   Fes- 
tival,  l'he Golden  Age,'  118;  "AVisil 

I    culapius,"    "  Ilia. '.inn.  no.'    "The 

Meeting  and  the  Queen  of 

Sheba,"    Work    in    Water-Colour.    120; 

183 

front,  Samuel.  Lithographs  bj  .7-;  "Nurem- 

Milan  Cathedral,  '317 
Pyne,  J   It   "Coblentzand  Ehrenbreitstein." 
2-.; 

Queen,  Doubtful  Portrait  of  II. M.  thi 
Quilter,  Mr.  H    Cuthberl    M.P  ,  The  I 

n. ,11  of,  121    1; 

Rembrandt       1  of     Artist's 

Works  by  Berlin  Photograph! 

ihens,  VV.,Dining-table  1 

plal. 
Richmond,  W.   It.  PA..  North  and  South 
Transept  Window-  for  -1   Pan 
for  Monument    to  late  Lord    I 
232 
Ricketts,  Charles,  as  a   Boo 
•■  The  Dial,"  "Si 

,11    p.,  11,    ran  ites,"  306;   "  Daphnis  and 
Chloe,"   "Hero  and    Leander,"   "The 
Sphinx,       3l)7;     Firm     of     Ha.  on     ami 
bli  hi  d,  308  :   "TI 
Milton         1 

■    I  hi        \1111pl1i1lia." 
Ill  'in-    I. routine,  and  Tri  II 
Riviere,    Briton,    R.A  .    "  The    Ma 
Doorwaj ,"  128  :  "  Acteeon  and  1 1 
1    ;  .  ■    \i',.   0,  '283 
1:0b in -01 1.  f.  Cayley,  "  The  Foundling,"  108 
Romm  v,(  helia,   2:11 

!  he  Appreciation  of,  52 
Roa  etti,    D,    G.,    "  La    Bella    Mano,     122: 
I 
in.  Will,  as  a  Lithographer,  291 

.  ing,  227  :  1  In.    Man  I  xhibitions 

,     ,      1  ite    of    p.iiin. 

1  olours,  New  Mcml  1 
Royal  Institute 

ing,  216  :  "  Hand  I  00k 

\ii.     Examples, 
Mali-rials.  21s 
Royal  '   my,   Exhibition   a', 

tj     ,,f    British    Artists,    Now 

Royal 
Draw 

S.ixitta: 

Kelm- 
scott "Chauo 


INDEX. 


Sant,  J..R.A.,  "The  Infant  Samuel,"  "The 

Child  Timothy."283 
Schumacher,  B., Elected  A.R.E ,  288 
Scott.  II.  B.,  Pi  inoforte  designed  by,  07 
Seganlini      Giovanni,     Early    Years,    '-'.",: 
Studies   .-n    Milan,  26;    "Coro  di   Sant' 
Amonio,"    "  Galloping    Consumption," 
"II     Naviglio,"    "La    Falconiera," 
"Prode,"    Settles    at     Brianza,    "Ave 
Maria,"  Gold  Medal  at   Amsterdam  in 
>:;.  "The  Mothers,'  "After  a  storm  on 
the    Alps.'     "A   Kiss,"    "A    Moonlight 
Effect,"     "Early     Mas?,"     27;     "Alia 
Stanga,"    Influence   of  Millet,   28;  Re- 

yes     to     Malaga,     "The     Drinking 

Trough. "  Gold  Medal  at  Paris,  "In  the 
Sheepfold,"  "The  Shepherd's  Income," 
"  At  the  Spinning  Wheel,"  "Ploughing 
in  tlic  Engadine,"  Gold  Medal  at  Turin, 
"Midday  on  the  Alps."  "Winter  at 
Savognino,"  "  The  Retnrn  to  the  Sheep- 
fold,''  "The  Return  to  His  Native 
Village.  "  The  Punishment  of  Luxury," 
"The  Retribution  of  Unnatural  Mo- 
thers," "The  Angel  of  Life,"  "The 
Fruit  of  Love,"  31 
Severn,     Arthur.      "  After     Sunset— West 

( loasl  i >f  Scotland,"  108 
Seymour,  Robert,  Paintings  by,  51 
Shannon,  J.  .1..  Studies  at  South  Kensing- 
ton, "Hon.  Horalia  Stopford,  "Henry 
Vigne,  Esq.."  2;  First  Class  Medals  at 
Paris,  Berlin.  Vienna,  and  Chicago, 
"Mrs.  Charlcsworth,"  "Josef  Hoff- 
mann," "Mrs.  J.  .1.  Shannon,''  "Mrs. 
Magniac,"  '(■.  Hitchcock,  Esq.,"  Mem- 
berof  N.E.A.C.  and  Institute  of  Painters 
in  Oil-Colours,  Exhibition  of  Works  at 
Fine  Art  Society,  "  Heir  Poznanski," 
"  Marchioness  of  Granby,"  3;  "Babes 
in    the    Wocd,"    "Spot    Red."     "The 

Squirrel, I'he  Doll."  4;    "Sir  Henry 

Irving.''   "  In    the    Springtime,"     As    a 
Colourist,  5;  Hanger  at  Liverpool,  173; 
as  a  l.iihographer,  291 
Societe  des  Artistes  Lithographies  Franeais, 

Establishment  of,  llii 
Society  of  English    Painters,    The    Newly 

formed,  288 

Solon,L.V.,Pi,tterj  ■  Panel,  "LesPrintemps,  "66 

South   Kensington   Museum.   Collection   of 

Ancient   Musical  Instruments,  228 ;   En- 

i  I  opperplates  at,  348 

Stage  Art  in  Shakespeare's  Time,  by  Arthur 

Dillon,  107 
Stained  Glass,  Modern  French,  269 
Stanfield,  Clarkson,  R.A.,  "On  the  Coast  of 
Brittany,"  "On  the  River  Texel,"  283 


Stappen.  Charles  van  der,  "  History  of 
Hainan  Cliiniaras,"  213;  "For  Auld 
Lang  Syne,"  214 

Sleer,  P.  Wilson,  "A  Nude,"  231 

Stiick,  Franz,  Studies  at  Munich.  153;  Illus- 
trations for  "  Allegories  and  Emblems," 
and  "Prints  and  Vignettes,"  "In  Vino 
Veritas,"  Exhibits  First  Picture,  154 ; 
"  The  Guard  of  Paradise,"  "  Innocentia," 
"Fighting  Fawns,"  "Lucifer,"  155; 
"Sin,"  "Crucifixion,"  156:  "War," 
" The  Sphinx,"  "Evil  t tonscien.ee,"  157 

Sumner,  Heywood,  Cartoon.  "  Star  of  Beth- 
lehem." "A  Floral  Trellis  Paper,"  36 

Swan.  .1.  M..A.R.A.,  "  Venus,"  15 

Tamar,  The,  310 

Tate  Gallery,  Acquisitions  for  the.  227 
Taylor.  Fred,  Bronze  Medal,  Certificate  for 
Design,  Queen's  Prize  for  Design,  Certifi- 
cate for  Advanced.  Modelling,  Prizes,  etc., 
194  ;  t  ounty  Council  Scholarship,  195 
Technical  Institute,  New  Cross,  192 
Tcnniel,  Sir  John,  as  a  Decorative  Artist.  53 
Thomson,  George,  as  a  Lithographer,  291 
Thomson,      Hugh,      Elected     Member     of 

R.I.,  231 
Thornyeroft,    Hanio,   R.A.,  "Joy  of  Life." 

173 
Tiffany.  Louis  C,  Work  in  Stained  Glass, 

270 
Turner,  J.M.  W.,  R.A.,  "  Calais  Sands,"  283 ; 
"  Venus  and  Adonis,"  318 

Vale  Press,  306 

Van  der  Bussche,  Frescoes  at.  Central  Post 
Office.  Brussels.  214 

Vincent,  George,  "Greenwich  Hospital," 
"  Hastings."  316 

Von  Bartcls,  Hans,  Elected  Hon.  Member 
of  R.I.,  176 

Voysey,  C.  F.  A.,  Design  for  a  Quilt.  Forty 
Designs  for  Bo-Pccp  Carpet.  61 ;  Lamp- 
post, Clock  and  Barometer  I 'uses,  65 

Walker.  A.  (;..  Sculpture  for  Church  of  the 

Agapemone,  Alms  Dish,  101,  102 
Walker.  Fred,  A.R.A.,  "The  Bathers,"  121, 

254;  "The  Wayfarers,'  183,  255 
Wallace  Collection  :  The  Objects  of  Art.  296 
Ward,  E.  M..  "The  Fall  of  Clarendon."  283 
Ward,  James,  as  a  Landscape  Painter,  317 
Watts.  G.  F.,  R. A,  Gift  to  National  Portrait 
Gallery,  54  ;  Becomes  Hon.  Retired  R.A., 
103 ;  "  Fata  Morgana,"  "Life's  Illusions." 
203;  "Bianca,"  "The  Wounded  Heron." 
"  Mr.  James  Weale,"  "  Little  Miss  Hop- 
kins."    "Peace     and     Goodwill,"    201: 


Hawking  Pictures.  "Lady  Holland," 
"Miss  Cassav,  tii,"  "  W.  E.  Gladstone," 
"Lord  Tennyson."  "  S'r  J.  E.  Milla's," 
"  Lor  J  Leighton,  P.R  A.."  "Joachim," 
"The  Marquis  of  Salisbury,''  "  Prayer," 
"Ophelia,"  "Una  and  tho  Red  Cro?s 
Knight,"  "  Undera  Dry  Arch,"  "  Uldra," 
"The  Rider  on  the  White  Horse," 
"  View  of  the  Carrara  Mountains  from 
Pisa,"  "Paola  and  Francesca,"  "Brito- 
mirt  and  Her  Nurse  before  the  Magic 
Mirror."  206;  "Orpheus  and  Eury- 
dice,"  "  Mount  Ararat."  207  ;  "  Neptune's 
Horses,"  "Diana  and  Endymion," 
"Venetian  Nobleman,"  "The  Three 
Goddesses,"  "  Daphne,"  "  Psyche." 
"Ariadne,"  "Good  Luck  to  Your 
Fishing,"  "Arion,"  "Lord  Campbell," 
"Sir  William  Bowman,"  "Right  Hon. 
Russell  Gurney,  Q.C.,"  "Sir  Edward 
Burne-Jones,"  "A.  Swinburne,"  "P. 
Calderon,  R  A,"  "Walter  Crane," 
"I. aily  Garvagh,"  "Lady  Somers,"20S; 
"Earl  of  Airlie,"  "Ganymede,"  "The 
Childhood  of  Jupiter,"  Portraits  of  the 
Ionides  Family,  "Court  of  Death," 
"Silence  and  Mystery,"  "The  Messen- 
ger," "Death  Crowning  Innocence," 
"Time.  Death,  and  Judgment,"  "Love 
and  Death,"  "Love  and  Life,"  "Faith," 
"Peace  and  Goodwill,"  "For  he  had 
Great  Possessions,'  "The  Dweller  in  the 
Innermost,"  "The  Spirit  of  Christian- 
ity," "Jonah,"  "The  Minotaur,"  "Mam- 
mon," "  Hope,"  "  Sic  Transit,"  "  Chaos," 
"The  Rev.  James  Mnrtineau,1'  "Sir 
Richard  Burton."  "Love  Triumphant," 
"Sunset  in  the  Alps,"  "After  the  De- 
luge,'' "  Eve,"  210  ;  as  a  Lithographer,  295 

Webster,  T.,  R.A.,  "  The  Boy  with  Many 
Friends. "  283 

West  and  Haydon  and  the  National  Gal- 
lery, 169 

Whistler,  J.  M.,  Portrait  of  Sarasate  by.  224  : 
Lithographs  by.  "  Early  Morning," 
"Lime'.ouse,"  "Nocturne,"  "Little 
Model  Reading,"  "  Brittany,"  Luxem- 
bourg Series.  Method  of  Drawing,  etc., 
289  ;  "  Sea  and  Rain,"  330 

Wilkie.  Sir  David.  R.A  .  "Village  Festi- 
val." 51 ;  "The  Abbotsford  Family."  22s 

Willette,  A.,  '  Moonlight  March,"  "L'En- 
rant  Prodigue,"  119 

Wire-drawing,  Process  of,  186 

Wood-Carvings  at  Carpenters'  Hall,  167,  338 

Zingg's  "  Port  of  Naples,"  224 

Zoffany,  "  Portrait  of  Gainsborough.''  227 


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