Full text of "The magazine of art"

•4

THE

MAGAZINE

ART

\Jo\.1.'

CASSELL AND COMPANY, Limited

LONDON, PJRIS, NEW YORK id MELBOURNE

1898

/
Mo-

Contents

PAGE

'■A Social Ei>dt : Left ky tiik Tide": Xote on i\\v.

PlCTlKE bV \V. 0. OUCHAUDSON, K A. . . . 540

'■ AiPHAiiETs," Autistic lofl

Ai'oTHEosis OF Homer, The. By Hemy W. Nevinsou . 439

AUT ASU AuCllITECTfRE IX JIoDEUX OpEllA-HoiSES AND

Theatkf.s. By R. Phene Spiers, F.S.A . . . 476
AuT at ocit PciiLic Schools : Rugby School Aut JIuseim.

By Thomas M. Lindsay 590

Art Collection at "Bell Moor," the hoise of Mr.

Thomas J. Bakratt, Th-?. By Joseph Grego

132, 189, 2G1, 289

Art from Ai stralia. By A. L. BalJiy .... 378

Art IX Scotlaxi) ........ 334

Art Sales OF 1897, The. By W. Robeits. . . .139

Art Teachixo at the Public Schools .... 263

llARR.irr, Thom.\s J., The Art Collectiox at " Bell

Moor, "the house of. By Joseph Grego 132, 189, 261, 289

B.iTTERSEA Polytecuxic, Tiie. By Arthur Fish . . 381
Beardsley, Aubrey, The Ixventiox of. By Aymer

ValLince 3G2

Bfloium, Currext Art ix. By Emile Verhaeren . . 41iS
BiLi.oTTF, Rexe: The Paixtek of the Parisi.ax Suburbs.

By M. 11. Spielmann 121

Bookbixdixo, Something New ix. By Will II. Edmunds. 500
British Silk Ixoustry, Revival of the .... 393
BriLDisc UP of a Picture, The. By the late Lord Leigh-
ton, P.R.A 1

BuRNE-JoNLS, Sir E., Bart. : Lx Memouiam. By Robert

de !a Siieranne, Fernand Khnopff, and ihe Editor . 513
Calderox, Pi il p Hiemogenes, R.A. By G. A. Storey,

A.U.A 446

Calderox School, The. By Aymer Vallanee . . . 252

Carrieke, Euge.ve. By Mathias Morhardt , . . 553
Chaklto.v, John : Painter of Spurt and War. By JI. H.

Spielmann. . . . . . . . .401

Ch.aracteristics and Peculi.arities of Roger Payne,

BixDER. By S. T. Piideau.t 607

Chateau de Chantilly and the Muses Coxde, The. By

Robert do la Sizeranne . . . . . .157

CuATAXNES, Puvis DE. Bv Princc Bojidar Karageorgovitch 659

Cheeet, Jules : P.iisteu. By M. H. Spielmann. . . 304
Cheoxicle of Art

43, 114, 166, 232, 283, 339, 397, 452, 507, 573, 627, 677

CoLouTiED Windows. By Av-mer Vallanee .... 419

" COXTEMPL.ITIOX " : NoTE ON THE PlCTURE BY SiH JoSHUA

Reynolds, P.R.A 88

CcHREXT Art 97, 101, 103

Da Costa, Joiix, The Work of. By Gleeson White . 345
Dance, George, and His Portraits. By W. Roberts . 656
Decoe,\tions at Her M.ajesty's Theatre. By Arthur Fish ' 10
Uecoeative and Applied Art ix Germany. By Paul

Schultze-Xaumburg ....... 669

Decor.itive Art ix the P.ulis Salons of ISPS. By Henri

Frantz 549

DECOB.iTivE .Sculpture by Mr. Alired Dkury. By A. L.

Baldly 442

Detaille, E. By Prince Bojidar Karageorgevitth . . 659
Development of Modern English Architecture. By R.

Phene .Spiers ........ 83

Ecclesiastical Art at Nottingham 106

Ecclesiastical Embroidery. . . . . . .164

Kxamels. By Alex Fisher . . . . . . .127

ExrosuBE OF South Kensington Museum, The. 79, 660

F.iCE OF Christ, The : A Painter's Study of the likeness
from the ti.me of the Apostles to the Pkesi-..vt

Day. By Sir Wyke Bayliss, P.R.B.A , F.S.A. . 173

F.iLizE, LuciEX : A Great Goldsmith. By Henri Frantz . 414

Ford, E. Onslow, R.A. : New Statue of the Queex . 618

Fowler, Robert : Artist. By E. Rirabault Dibdin . 3

French Art at the Guildhall. By M. H. Spielmann . 597

French Wood-Carvixgs. By Lewis F. Day . . . 104

Frullini, Luigi. By Helen Zimmern .... 276
Gainsborough, A New Life of . . . . .613
Ghirl.axd.uo's Vespucci Fresco, Discovery of. By

"Leader Scott" 324

Gilbert, Sir John, R.A., P.R.W.S. : A Memorhl Sketch.

By the Editor ........ 53

Greek Landscape and Ancient Greek Architecture,

Sketches of. By Alfred Higgins .... 33

GuERix School of Art, The. By Henri Frantz . . 4S5

II.IDLEY P0TTEi;Y 072

H.iRDixG, J. D., Remimscexces of. By W. CoUingwood,

R.W.S ' .... SO

Harrow School; A Notai;le E.xperiment. By J[. H.

Spielmann . . . . . . . . .19

Hitchcock, George: Painter. By Arthur Fish . . 577
How A Ballet is Designed : The " Press Ballet " yr the

Empire Theatre . . . . . . .371

Humour in Anim.il Paixting: The Work of Mr. A. W.

Strutt, R.B.A. By Alfred Lys BalJry . . . 309
IIuxT, William : Rk.mixiscencls. By W. CoUingwood,

R.W.S 503

In Memoriam: Henry St.^cy JIauks, R.A. By George D.

Leslie, R.A 237

Lv Memoriam: Sir Edward BurxeJoxe.s, Bart. : — A

Tribute from France, by Robert de la Siieranue.

A Tribute frcm Belgiu.m, by Fernand Khnopff.

A Tribute by the Editor . . . , .513
Invention of Auhrev Be.uidsley', The. By Aymer Vallanee 362
Irish Textiles Exhibition, The Recent. By Annie B.

Maguire ......... 161

Ironwork at Hampton Court. By J. Starkie Gardner . 300
"Jugexd": Some Decorations and a Moral. By Gleeson

White 40

Julius C^sar : A Shakespeari.\n Revival . . . 331
LocKWOOD, Sir Frank, Ax Appreciatiox of. By Hairy

Furniss 394

" M.\gazine of Art" Poster Competitio.n. . . .118

Marks, Gilbert, Silver Work 5C4

M.\rks, Henry St.acy, R..A. : Ix JIemokiam. By George

D. Leslie, R.A 237

M.\SKS AMONG Greeks and Barhaui.\ns, Curious. By

Charles De Kay .... 583,651

Mesdag, H. W. : Painter of the Sea. By M. U. Spielmann 73
Metal Work, Artistic. By Aymer Vallanee . . . 273
.MtT.iL AVoRKERs' ExHiiiiTiox, TiiE. By J. Starkie Gardner 569
JIetropolitax Schools of Art: —

B.iTTERSE.1 Polytechnic, The. By Arthur Fish. . 381
Calderox School, The. By Aj-mer Vallanee . . 252
H.uiRow School : A Notable Experiment. By M. H.

Spielmann 19

Modern English Architectuue, Development of. By R.

Phene Spiers ........ 83

National Art Co.mpetition, The. By Aymer Vallanee . 621

NnEDLEWORK A3 A MoDE OF ARTISTIC EXPRESSION. Bv

Walter Crane 144. 197

CONTENTS.

Nelson CtLVTEXAUY, The: How Nixson looked in the
Yeau oy THE Nile. By Doiiglus .Slidiii

New Exolisu Art Club, The

New Gallehy, The. By Fornnnd Khuopil'

New Galleuy and " Old Masters "

Notes and Qt'EitiES

4G. 112, 164, 279, .337, 39.5, 431, 505, 5C5, 626,
Okikxtal Puzzle Locks. By 11. T. Pritchett
Payne, Rookk, Bindek. Chauacteuistics and Pecull\kitii-.s

op. By S. T. Prideaux

Peuvoini, C. E. : Painteu. By 51. 11. Spielmanu .
Prints of the Yeau, Fine, By Fredcikk Wedmoro
Proi't, Samiel: Reminiscences op ax Old Painter. By

W. Cullingwood, R.AV.S

"Press Ballet" at the Emi'Iue Theatre, The
Queen's Treasures of Art, The: Decorative Art at
Windsor Castle. By Froderick S. Robinson : —

Arms and Armour

BouLLE Work

Candelahra

French Bronzes ........

Inlaid Wood Furniture ......

Italiax and Frexch Broxzks

Later Wooden Fi rmiuui; ......

Porcelain

Tapestries .........

WooDEX Furniture

Recent Illustrated Volumes: —

"An Alphabet. " By Willi.im Nicholson .

" Chippendale Period in English Furniture, The."

By WaiTcn Clouston

" Decorative Heraldry." By G. W. Evo .
" Detaille, E." By Marius Vachon ....
" Etciiixg, Engraving, and Other Methods of Puixt-
ixo PitTUHEs." By JIessi-8. Uans Singor .ind

William Strang

"Historic Ornament: A Treatise on Di-.i-ouative
Art and Architectural Ornament." liy .lanics

Ward .

" Historical Portraits." By H. B. Wheatlcy .
"Mary Powell" and '-Deiiorah's Diary." 15y Jliss

Mannin- Edited by W. H. Hutton
"Modern Opera-Houses and Theatres." By Edwin

0. Sachs

" PuiL May's ABC"

" Puvis de Chavannes." By Marius Vadion
" Stained Glass as an Art." By Henry Holiday
"Thomas Gainshorough : A Record op His Liie and
Works." By Mrs. Arthur BeU ....

■128
222

675
643

GOT
459
603

588
371

470
20
511
408
119
318
319
203
SO
245

156

31G
316
6C3

317

.■iI3
314

31C

4;c

150

i;.')0

270

613

Recent Illustr.vted Volumes {eonliiiurd) :—

"Undine." By Do la Motto Fouque. Illu^tlMted by

Miss Rosio M. M. Pitman 271

"Windows: A Book arout Stained and Painted

Glass." By Lewis F. Day . . . . 419

" With N.vn ue and a Camera." By R. Keartun, F.Z.S. 272
Renaissance tiuiLiiooo, .\rt and Kumanck oi--. By " LeadiT

Scott" 647

RoDix, Nevy Door hv. By Henri I'rantz . . . . 274

Rodin's St.^tue op Balzac 617

Rood Screens in England. By Cliail<itte F. Yongo . . 433

RoTi', Oscar. By Henri Fiantz. ..... 356

Royal Academy Elections 281

Royal Academy Schools 229

Royal Academy Exhiiiition, The . . . 421, 403, 547

Royal Glasgow Institute, The 334

Koval Hiuernian Academy, The 558

Royal Scottish Academy, The 335

Royal Worcester, Recent 388

Ruouy School Art Museum. By Thomas Jl. Lindsay . 590
St. Paul's, The New Decoration op, hy Sir W. B. Richmond,

R.A. I'.y Alfred Lys Baldry 12

"St. Stephen": A Note on the Picture hy Sir J. E.

MiLi.Ais, Bart., P.R.A 202

Salons, The Paris. By the Editor . . . 4S9, 535, 549

Schultze-Naumhuug, Mme. : Portuait-Paixtek. . . 336

Sculpture in 1897. By Alfred Lys Baldry ... 65

Shakespearian Reviv.'VL, A: "Julius C.icsau ". . . 331

Shaw, Byam. By Alfred Lys Baldry 633

South Kensington Museum, The Exposure of. . 71), OGG

Stencil Decoration. By Ayiuer Vallance . . . 45

Stencillings, New oG3

Strutt, a. W., R.B.A., Tin; AVokk of: Hvmouu in

Animal Painting. By Alfred Lys Baldry .
Swansea Poucelaix. By Cosmo Monlihouse
"The Ofperixo": Note on the Picture iiv Sir E. J.

POVXTER, P.R.A

Two Great Frexch Artists: Puvis de Chavannes and

Detaille. By Prince Bojidar Karageorgcvitch .
Vallgren, Artificer and Sculptor. By Prince Bojid;ir

Karageorgoviteh

Van der Stappen, Charles. By Emile Verhaercn .
Wall Decor..vtion. By Aymer Vallance ....
Wall-Paper Design and Manufacture, Development op.

By Aynier Vallance

Waterlow, Ernest A., A.K.A., the New President op

the Koyal Water -Colour Society. By M. H.

Spielniami

309
257

G59

218
295
501

328

211

Women Painters, More Noted. By HeU-ne Pi.sllethwaito 4S0

List of Plates,

A Cup ok Tea

The Ofpehixo

contkmplatio.v

Mr. Soi.omo.v .1. .Soi.oMox. A.Ii.A., ai Work ox his
"cliaiii.ks i." kou tiik koyal k.xciiange

Lady' Scott-Moncriepf

St. .Stei'Iikn

Pencil Studu--')

A Belli-; ok Skvii.i.i:

Stuiiv

Dazzled

IlK.AD IN Col.OUHKD C'llALKS

HovAL WoHCESTEii Va.sk (Colour Plate)

A Kkconsaissance

Aftkk Sedan

CUI" AND UAI.I

A Social Kddv : Left hy Tin; Tiim: . . . .

Saint Caecii.ia

Love's Uauulbs

Study FOR " Love's Baubliuj"

H.V K. Aiidrootti (Plio(ograviirc) . . . .
Hy .Sir 10. .1. I'oyiiter, PH. A. (Colour Plate)
Hy Sir Joshua Reynolds, P.Il.A. (" Ucinbrandt '

Photogravure).

frontispircc

'Jii face :i8
8S

Hy Arthur Gamilt

Hy Sir Henry Haeburn, I!..\. ('• Iteiubraurtt " I'holiigravure).

Hy Sir .1. K. Millais, Hurt., P.K.A. (" Itemhrandt ' Pholosravurc)

liy :Mis3 Imogen Collier

Hy .?olm H. Hurgess, 1!.A. ("Rembrandt" I'liotouravure) .

By .Inles Clu-n-l

Hy Alfred \V. Sirutt, R.B.A. (" liombraiuit " Photogravure!

Hy .lohu da t'osla

Hy .1. L. I''. Meisaonier (Pholoxravure)

Hy .lolin Charlton i"Hemhrandt" Photogravure) ....
Hy C. K. Perugihi (" Uemhrandt " Photogravure) ....
Hy \V. {). Oiihnidson, I!..\. (" Hembramll" Photo iravurc') .

Hy (Jeorgo llitehcoek (t'olour Phile)

Hy Hyam Shaw (" Uemhrandt " Photogravure)

Hy Uyoni Slmw

iin
i:«

202
252
2G0
■Ml
312
348
Wi
3i)0
lot
4G2
510
,')"«
032
G3G

Index to Illustrations.

ARCHITECTtTRE :— page

Akt .4M) Arciiitectuke IX Modern-
Opkra-Hoises an-l> Theatkks:—
The Courl Theatre, Vienna . 479
The Shakespeare lleniorial

Theatre, Stiatford on Avon . 177
The Staircase of the Opera-
House, Paris .... 473
Chantilly : The Chatelet . . .161
Design for a Cliurch. with approach

for Pilgrims (by M. Diquesxe) 52
Harrow Art School .... 19
Lodge in Kew Gardens (by W. E.

Xesfield) 87

New Art Gallery at Readine. The . 167
Regent's Park Lodge (by \V. E. N'es.

FIELD) . . . . S3, 81, 85
Rood .Screens ix Exgl.axd:—

Screen at Brarfuinch, Devon . 437
Screen at Edinglhorpe, Norfolk 435
Screen at Hempstead - cnai -

Eccles 435

Screen at Ran» orth. Norfolk 436, 438
Screen at Tnnstead, Norfolk . 436
Screen at \VorsIed. Norfolk . 431
Staverton Church Screen . . 433
Sketlhes of Axciext Greek
Architecture (by Johx Fclley-
LOVE. RI.):—

Caryatids. Erechtheion . . 33
Street of Tombs, Athens . . 34
The Acropolis , . . . ,37
The Parthenon .... 36
The Theseicin and Lycabctlos . 35

ARTS AND CRAFTS :-

DESIGN :-

ii.lTlERSE.l POI.YTECHXIC. ThE :—

Exercise in Brush Work (by E. J.

Laxgmax)

Exercises in Elementary Design
Lace Collarette (designed by

M.ABEL Cai'E.s) . . , ,
Modelled Sketch for Frieze (by

J. H. COLLIXGWOOIi)

Sgrattito Panels (designed by W.
G. Thomas) .... 387,
Working Design for a Carpet
(by F. Cox) . . . . .
BooKBiXDixGS :— •' B r o w n i n g's
Poems' (hy Miss Dux.v),
"Omar Khayyam ' (by H.
CJraxville Fell), Spensers
■■ Faerie (Jueen ' (by Faikka.\
MucKLETi, "The Blue Fairy
Book" (by Alice Shep-
herd) 561,

Book Illustration (by Margaret

Thompson)

Cartoon for Wall-Painting, Lust-
leigh Church, Devon (by
Reginald Hallward) .
Decorative Landscape (by il.

Bolrdix)

Design for a Rug (by Archibald

\\ ATSON)

Design for Lace Curtain (by

Mdli.e. Milesii ....

Design for Printed Cotton Fabric

(by Hele.na Appleyard) .
Design for Sign of an Inn (by

Gamble Lemasxie)
Design for .Strained Glass (by
Mdlle. Milesi) ....
Design in Wrought Iron (by M.

SCHLIMBEKGERI ....

Friezes: "Chrysanthemum," "The

Poppy. "The Ship" .
Group of Figures (by Miss Mary

Newill)

Harrow School of Art :—

Adaptation of the Pansv to a
gii en space (by E. W. Swax)

Application of Marguerites to
Circular Tiles (by C. H. Green
and F. Harrild)

Application of the Pansy to a
given space (by L. J. Wallis)

Designs for Borders : The Fuch-
sia (by D. A. Nightingale) .

Design founded on the Colum-
bine (by W. S. ilEDLICOTT) .

"Jcgend": Some Decorations
AND A Moral :—

Covers 40, 41

Eaater Morning (by J. Carbex) 44
The Great Balance (by L. Diez) 42

385
386

385

388
387

562
623

108
488
623
486
623
621
486
486
502
62.i

22 I

ARTS AND CRAFTS {continued) :— pace

design (conliitttc.t) —

The JIarsh Flower(by Caspari) 42
The Portraits of the Painter,

ilodeslaw ]\Ianierewicz (by

Himself I 43

"Lily" Design (by Mdlle. Chau-

^-EAl) 485

" Magazine of Art " Poster Com-
petition, Prize Designs . 118-120
Mosaic Decoration in the Apse of

the American Church at Rome

(by Sir E. Bl rxe-Joxes, Bt.) 526
Mosaics at St. Paul's (bv Sir

W. B. Richmond. R.A.)":-
A Panel in the Choir . . . 18
A Window in the Chancel . . 14
Cartoons for the ilosaics . .12
Central Figure as it appears in

the Apse 16

Central Figure in the Apse

(from the Cartoon) . . .17
Group in the Apse . . ,13

Melchizedek 15

The Creaticin of the Birds . . 18
The Persian Sibyl . . . .14
The Temptation of Eve . . 13
Part of a Frieze in Gesso on Wood

(by Robert Higiiami . . 6'21
Poster Design (by Frederick

Taylori 625

Stencil Decorations :—

"Fig-Tree" Frieze (by A. L.

Gwatkin) 45

" Grenville " Frieze (by F.

Graiia.m Rice) . . . .46
" Peuinia ' Filling (by L. Pix-

ItOKX ^VOOD) . . . .45

"Sunflower" Filling (by A. L.

Gwatkin) 15

Stencilled Friezes . . . 563, 564
Studies of Plant Form (by M. E.

Dawsox) 622

Wall Paper. Early Victorian . . 328
" Wild Iris " Design (by M.

SCHLfMBiatfiER) . . .485

HEEDLEWOKK AND FtJHNITttKE :—

Altar Frontal (executed by Messrs.

Watts and Co.) . . . .164
Bracket: "The Stag" (by Mdlle.

AxxA Martix) . . . .487
British Silk Industry, Revival
of the:—
The " Guelder Rose " Brocade . 394
The " Honeysuckle ' Brocade . 393
The " Patley " Hanging . . 393
The "Renaix" Brocade . .393
The " Sakura" Brocade . .394
Cabinets (by H. K. vox Beh-

LEPSCH) .... 672, 673
Carved Cabinet (by Mdlle.

Bertue C'HAtVIN) . . ,487
Chimney Piece in Oak and Inlaiil
Brass (by Prince Bojidar
Karageorgevitch) . . 55!
Chimney Piece in Wood (designed

by J. A Simpson) . . . 233
Embroidered Panel (by Ev.\

Shocldi.xgCann) . . .624
Irish Textile E.xhibitiox, Recent—
Carrickmacross Guipure . . 162
Collarette, Clones Crochet Gui-
pure 163

Handkerchief in Youghal Point 162
Lappets in Carrickmacross Ap-
plique 163

Lace Collarette (by Mabel Capes) 385
Writing Table (by H. E. vox

Berlepscu) . . . .070
btained glass :-

Baltentine and Gardner —

Jubilee Memorial Window,
St. Agnes' Church, Moseley . 343
Colocreo Wixdows : —

All Souls College. Oxford . . 420
Arab Glazing in Plaster . . 421
From Salisbury Cathedral. . 120
German.Fourteenth Century 419, 121
"Nativity,"" Great Malvern . JIU
Davis, Louis. — Window for

Kelvedon Church, Es=ex . 107
GalU. Emile.—^ew Glass, "Niu'ht.
lights.o'er what do ye watch ' ;
Vase," A thing of beauty does
not die without making some-
thing pure" . . .550

ARTS AND CRAFTS (continued) :- page

STAINED GLASS icmilinuM)-

Hemminu. .1/r.— East Window in
the Chapter House, Canter-
bury Cathedril . . . .109
Uorct, Albert.— Design in Stained

„ Olass 549

Panel from ths East Windowof the
Church of Ihj Epiphany, Wol-
verhanipton 270

LEATHEK AND WOODCAEVING :—
I^rullini. Pro/cs.for—

Amorini symbolical ock (Henri II) . . .• 101
End of Wooden Shutter: Louis

XV (in the Edinburgh Miiseuin) 105
Part of I'pright I'ancl : Lilies and

Olives ^$p.

Fulmar Petrel, The . ■ . . -<-
Greek and Roman lerraCotta

Lamps ^■^

Haurow ART School:—

\ftcr a Demonstration • • ' €!
Class at Work . . . • • '20

"JULIl-3 CjiSAU" AT HEK MA-
JESTY'S :—

" Et tu. Brute) " .

"The Oration"

Kingfisher, A . • .

Nantgarw \\ orks, the.

Rugby School Art Mcseim :—

Case of Prehistoric Klruscan,

Veneli.in, Greek, and Roman

Pottery ?9f

The Art Nlusoum .... aMl
The Siaircase ■ ,^ . , •, .• .'•'■'■'
Scene from Mr. Forbes Robertsons

Revival of llamlct . ■ ■ . ICJ
Studio of H. W. .Mesdag . . • 'J
Swansea Works, The • •."«•*"
Tabernacle, end of tifteenth Cen-
tury (Italian)

332

. 260

. 313

IJSDEX TO ILLUSTRATIONS.

PAINTINGS :— paoe

Alejcandcr. J. IP —

•'Ijtllf i;irl wilh noil" .539

AltsoH. Abbey,I{.B.A.—"yieA\la\ion" 103
Benjamin-Constant—

■■])r. Salmon. LL.D., Provost of
Triniiy College. Dublin " . .559
BUlotte. Beni—

'• Evening at Harfleur " . . .125
" KveninK at the Porte (ie Cour-

celles(lS97)" 123

" Quan-y of Naiit erre "... 122
" The Walls of Paris at the Porte

d'Asuieres " 124

Bianche. Jacques E.—

■• The Jlisses Capel taking Tea " . 536
Bouffiicrcau. II'.—" Charity " . . 280
Bramleu, Frank. A.R.A.—

'• A Mute Inglorious Milton " . . 4-30
Brexclnall. E. /■.. B.li:S.--Doamci" 97
Bunny. Rupert. C. \V., MBA —

" All AUego-y " 98

BurnC'Jonc^, Sir E., Bt.—

" Chant dWmour " . . . . SOS
** Idlentssand the Pilgrim of Love" 524
" Love among the Kuins " . .523
■' t~ibylla Dolphica ' . . . 519

" The .Adoraiion of the JIagi " . 527
" 'I'hc Bath of Venus "... 520
•' The Hays of Creation : ' The First

Hay ■ and • The Sixth Day ' ". . 521
" The Heart of the Rose " . 522

" The Pilgrim of Love " . . . 525
" The Tree of Life " . . .101

" The Wheel of Fortune " . . 518

Burns. Robert—- La Tapissiire " . 628

Calderon, Philip //., R.A.—

'* A little face at the windo^v
peers out into the night " . . 448

" Ariadne ' 450

" St. Klizabeth of Hungary "■ . . 149
" SighiDg his soul into his lady's

face " 447

" Spring-Tinie," or " Hagar " . .451

Cameron. M —

"Archbishop Macdonald" . . 51

Carriere. Eugtne —

" JIaternity ' 556

" M. Alphons6 Daudet and His

Daughter " 557

" M. Gabriel Seailles "... 555
Portrait of the Artist. . . . 554

Chardin, J. B. S.—" La Fontaine ' . 078

Charlton. John —

" Bad News from the Front " . . 401

" Besieged " 403

" Colonel John A. Cowen " . .404

Hussar's Saddle 406

'* Ormonde " 405

" Placing the Guns ". . . .403
" The Rojal Jubilee Pr*cessi< ii " . 404
*' Will he come ?" . . . .407

Chavannes. Puvis de—

" At the Fountain ' . . . .660
" St. Genevieve " . . . . 537
" Work ■ 659

Claus, Emile—

" In the Orchard " . . . .499

" Koseke ' 501

" Sunlight " 199

" The First Comniunjon " . . 500
" The Sluice of the Lys ' . . .498

Constable. John. R.A. —

" Hampstcad Heath ' . .189

" Sir Richard Steele's Cottage " . 190

CormoTt. F. —

" Funeral of a Chief in the Iron
Age '' 601

Carol—

Sketch of a Landscape . . . 567
" The Bent Tree " . . . .599

Cox, David-

" The Vale of Clwyd " . . .135
" Going to the Haytield " . . . 261

Crome, J. —

" The Way through the Wood •" . 191

Da Costa, John-

" A Pa-storal " 315

" Childhood " 347

" The Promise of Spring " . . 347
'• Youth and Age " . . . .316

Daanan-Bouverct, P. A. J. —

** Bretonnes au Pardon " . . . 597

Davis, H. W. B.,R.A.-

" A June Evening" .... 403

Vemont- Breton. Mme. Virginie —

"In the Blue Water" . .493

De Wint. Peter—

" Lincoln, from the Brayford
River- 2S9

Diaz. X. B.—" The Storm " . . .599

Dow, T. Millie --Kre" . . .334

Dyce. Ifitliam. R.A.—

" The Woman of Samaria " . . 2S4

Facf. of Christ, The—

Frescoes in the Catacombs . .176
From a p*inting by 7?c?/('h( . .17'.'
From a painting by Leonardo da
Vinci ISl

PAINTINGS (.coHtinunl):— paoe

FiCE OF Christ, The (.continued'—
Front "Christ disputing with the

Doctors" iby Lhjjju . . . 185
From "Christ healing the Sick"

(by Vandyck) 187

From " Easter Jlorning" (by Fritz

von I'hde) 188

From " E^ce Homo" (by Cor'

reggio) 184

From "EcceHomo"('oyGi(irfoiJeni') 186
From "The Crucifixion'* (by i^'o/i

Bonnat) 188

From " The CruclBxlon " (by

J'cla.tquezi 188

From " The Last Judgment " (by

Michael Angelo) . . . '. ISl
From "The Light of the World "

(by rr. Holman Hunt) . . .188
From the painting hj FraAngelico 180
From "Tne Transfiguration' (by

Raphael) 183

From "The Tribute Money" (by

Titian) 1S2

Glas3 Relics from the Catacombs 173
Likeness attributed to St. Peter . 171
Mosaic from the Baptistery of Con-

stantine 178

Jlosaic from the Catacombs . . 175
Mosaic in the Church of SS. Cosma

e Damiano 177

" Rex Regum " (by T'an Eyck) . 180
The Veronica LikPuess . . .174
i^('5Acr,-S'.J/e/^o?i—'' Silent and chaste."

etc 100

Ford. J. A.—

" By the Light of the Lanlerns " . ol
Fowler. Robert. R.I.—

"Apollo" 5

"Ariel" 10

"Stars of the Summer Night" . 4
Study for "After Music". . . 7
"The Enchanted Glade". . . 9
" The Voice of Spring" ... 8
Fox. E. Phillips-

" Adelaide, daughter of Professor

Tucker " 382

Friant, M. — '" Sorrow " ... 535

Gainsborough, T., R.A. —

Preliminary Study for '"The Blue

Boy " 615

"Interior of a Cottage" . . .616
" Landscape : Evening " . . . 614
Ghirlandajo—

" Ginevra del Benci "... 019
"The Vespucci Fresco" . . .325

Detail of 324

Gilbert, Sir John, R.A., P.R ll'.S —

'• A Bishop " 61

" An armed host drawn up below " 60
" Breaking up the Encampment " . 57
"Convocation of Clergy " . . 55
" Crusaders on the march " . .61
"Don (jnixote di-courses upon

Arms and Letters " . . . .62
" Ego et Rex Meus" . . . , 59
" Fair St. George " . . . . oS
" FalstafF reviewing his Itagged

Troops" 53

" Richard II resigning his Crown " 56
" The Battle of the Standard " . 63
" The Enchanted Forest" . . 60
"The Return of the Victors'' . . oS
Goodall, F. R.A. -

" The Ploughman and the Shep-
herdess " 397

"Henrv A. Blvth, Esq." . . .467
G«d(fcy,Xi^.-"The Blood-Drinkers " 495
Hacker, Arthur, A.R.A —

" Mrs. M. Burne " . . .426

" J. Herbert Mai-shall, Esq.. J. P." 467

Hanson, vl.— " In theheat of thedaj'" 380

Harcourt. George— " Too 'Late '' . . 4*28

Hayes, Eduin, R.H.A.. R.J.—

" Alone on a Wide. Wide Sea " . 99
Hemy, C. Xapier. A.R.A. —

"Homeward Bound ' . . .422
Henner, J. J. —

"TheLcvite of Ephraim" . 490

Hitchcock, George—

A Study 583

"The Annunciation " . . .579
"The Flight into Egypt" . .381

"Talip-culture" o7S

"Vanquished" 580

Horncbolt. Luke -" Henry VIIl ' . 315
Hughes. Talbot--"' Joan of Arc " . 54
Landsecr, Sir Edwin, RA.— "'V\ie

IMonarch of the Glen " . .263

Lawrence, Sir Thomas, P. R.A. —

"Miss Farren" . . . .139,265
Lely. Sir Peter-" Nell Gwynne " . 314
icro.v. P.- 'The Bath " . . .191
Lhermitic, L. A.— '■ Denth and the

Woodman " .... 602

Linnell. John —

" A Barlev Field, wilh Waggon and

Haymakers " 133

" The Sheep Drove ' . . .281

PAINTINGS (-on(tnwcrf) :— pace

Linton, .Sir J. D., P.«.f.— "Re.-it" . 97
Lister. leister, IF.— "Stoi.ehcnge,Xew

South Wales" 3'3

Longstaff, J. M.—.K Portrait Siudy . 382
MacColl. D. .S.— " Bushey Park" . 227
llcCubbin. F.—" On the Wallaby

Track " 381

MacGeorgc, TV. S.— "The Water-Gale " 335
Macgregor, IV. V. — "The Quarry'' . 227
Margetson, TV. i/.— "Castles of

Sand" 465

Marks, H. Stncy. R.A.—

"An Odd Volume ' . . . .241
"Chairman of Committee" . 243

" St. Francis preachingto theBirds" 238
" The Apothecary " . . . . 239
Meade, Arthur, R.B.A.—

"Morn " 102

"Golden Grain" . . . . 468
Mesdag. H. IT.-

"Back from the North Sea " . . 78
" Otf to the Fishing Groimd " . 75

"The Lifeboat" 74

"Waiting for the Tide" ... 77
Millais, Sir J. E., P.R.A.-"The

Order of Release " . . . . 455
Millet, F. J.—'- Going to Work " . 398
Mooic. Albeii-

"Jlidsummer" 224

"Reading Aloud" . . . .223
"White Hydrangeas" . . .2*26
Morland. George-

" Belinda, or tiie Billet-Doux " . 13t
"Contemplation" .... 267
" The Farmyard '■ . . . .193
"The Pledge of Love" . . .266
ilfoi'/OHr;, ifenrj/—" Lady ironing" . 284
Miiller, JV. J—

" A Waterfall on the Lyn, near

Lynmouth" 195

" Cottage and Children " . . . 196
" The Opium Seller ". . . . 192
A'/CHian?). i?. tA.- "DeerstJilking " . 287
Olsson., Julius, R.B.A.—" SeiFro'ic" 466
Orchardsnn, C. M. Q.—- A Lock " . 229
Usbnrne, Walter. R HA.— -The Rt.

Rev. Lord Bishop of Cashcl". . 560
Perugini, C. E. —

"A Summer Shower" . . .461
" Dolce far Niente ■' . . . .460
" Flower-worship " . . . . 4.19

"LaSuperba" 458

" Airs. Perugini "' -162

Philip. John, R A.—- U\ Gloria" . 142
Pinwetl, GcoiY/c— " Out of Tune" . 225
Poi/nter. Sir E. J, P.R.A. — -'T\\e

Skirt Dance " 4-23

P)-!'cs<, -4.-" After Glow" . . .229
Prin.iep, Val C, R.A.—" A Student

of Necroojant-v " .... 464
Rcid, J. R—- The Mill Stream " . 427
Riviere, Briton, R.A.—"In Manus

Tuas, Domine " 631

Roberts. Tom-'- A Break Away " . 378
i?ocAai-d—" The Fair Widow" . .291
Roaer. ir.— "Vulcan chaining Pro-
metheus " 50

Poyftrf, P.— "LaSarabandc" . .600
RtisscWerghc. Theo. van — " The

' Flaming Hour " 500

Romney, George—

"Anne Kershaw" .... 140
"Jlrs. MarkCurrie". . . .283
"Group of Adam Walker and his

Family ' 3,39

Roty, Oscar. Medals by . . . .117-361
Sanicnt. JohnS., i?..l.— "Mre. Ernest

Franklin" 4'29

Sckultze-Aetumburg, Mme.—

Portrait of a Child . . . .337
Portr.iit of a Lady . . . .336
Shannon, C/tai'les Jl --

" Souvenir of Vandyck " . . . 228
Studies for " Souvenir of Vandyck" 223
Shatc. Bycnn —

"Love, strong as Death, is dead ". 63S
"Queen of Spades" .... 6:iii

"Truth " 637

"'We two,' she said, 'will sock
tl)C grove where the Lady

Mary is ' " 634

"While Roses are so Red" . .640

"Whither?" 636

Solomon. .Solomon J.. A R.A.—" Visit

of CharlesI to IheGuildnall " . 169
Stanton. Hughes — '"Joan of Arc" . 511
Stark, James— "The Path through

the Wood " 290

SIreeton. A—" ' Purple Soon's Trivns-
parenl Light' ; HawkesburvRiver,

N S.W. " 379

Strutt. .1. TV.. R R.A.—

" A Firing Visit " . . . .310
"How'Many More.'". . . .309
Sketch for "The Run of the

Season" 312

Studies of a Hound . . . .311
" The Return Visit ' . . . .310

INDEX TO ILLUSTRATIONS

PAINTINGS (»n(inKf<():— pjice

J'iVu<''i>-"St. Hi-lcn" . . . .676

Turnn: J. M. If.. li.ll'.S—

" Mercury uiid Hert*e" . Ul

"Salisbury ralhedml " . . .287

Van dcr Plaa,t, i*iV^'r — " John
Milton" 315

J'hircnl, Georyc —"L'rosalng 'the
Uro.ik" 202

Uailliam. ri'. .A—" Glacier lianRCS " 285

II tilcrliouse. J. 11'., Ji.A. — "St.
Kulalia " 59J

ll'alcrluu: rvnest A.. A.K A.—

" A Hainji^itiie S ream ■'. , .216
" FrieUiif* ur Kocs " .... 211
"lireen Pastures" . . . .213
Siuity in oils of KorcRround . .217
SI liily of Trees (Water Colour) . 2U

Watts, a. t..liA.—

" Kve liepentant " .... 19
" Love TriuMipliant ". . . . 125

irilliains. A.. Ji.H..i. — " AmW
Showers, Bellinghau) Harbour" . 558

PORCELAIN :-

ll.\ni,Evs PorrERV. Mh. :—

Canillesiick an<l Inkstand in
•llaiiley " Pottery . . .673

Vases 673, 671

nicKNT HovAL Worcester:—

])es«Mt Plates 390

Form of the *' Vaisseau i\ Mat"

in (lark hlnc and Rilt . . .390
Tea ami liroakfast Cups and

Saucers 389

Vase in dark hlue . . . .391
Va.**es in Tur(|uoise and Apple

Green 389

Vases in Turquoise and dark
blue, painted and gilt . . . 392
Swansea Pdhcei.ain :—

Plaque (Half Size) . . . . 2,i9
The -Vurieula (Kull Pizt): Painted
by (1) liillingsley : (2) T. Pardoe ;
(3) Morris : (4) P,.llard ; (5) Web-
ster; (6) Unknown . . .258
The Queen's Treasihes of Art :
Decorative Art at \\'indsor
Casti.e : The Por(i:lain—

"Case A," in the Grand Corridor 203
" Case K." Chelsea Vases, with

the "Vaisseau !\ Mat" . .201
"Case F," Three Hose Pompa-
dour "Vases on Centre .'<helf . 20fj
"Case G." Vase with Satyr
Handles ami "reil de pcrdrix "
Vase i)airtted by jMorin . . 207
Dresden Vase with Louis XV

Mounts 210

Oak-Leaf and Ribbon Vase and
Two Va,ses "en Caniaieu "
("CaseU") . . . .209
The "Vaisseau A Mat" . .205
Vase by Morin, and Chelsea
Vases 208

PORTRAITS :-

Abbey. Kdwin A.. R.A. . . . 573

Aitchison, G.. HA 281

Angerstein. Mr. (by G. Dance) . .657
Harton, Miss Hose (by M. H. Car-

T.ISI.K) ISO

HiUolte, Renii (by Caroi.us Duran) . 121
Hosweli, .lames (by G. Dance) . . 657
Hrandard. Thelalc K P. . .344

liurgess. The late J. H,. R.A. . . 172
Hurne-Joncs. Hart., .Sir KJward (by

G. K. Watts. HA.) . . . .513
Burnet. John (bv James (iiTiiRii;.

I! S.A.) 232

Calderon, P. II , H.A. (by H. Her-

KOMER. H.A.) 416

Carriere. ICugenc (by IIimski.k) . . .Wl
Charlton. John (by Ili.MSEi.K) . .102

Cheret, Jules 303

Crane, Walter (by G. K. W.\TTs, H.A.) 632

Crofts. Krnest, i:..\ 627

Dance, (ieorge, H.A Iby HiMSEI.E) . 6.i6
Dobson, The late W. C T., H..V. . 288
linvilion. The late Sir Henry . . 172
lowkr, Robert, H.I. (by R. E. MOR-

Riso.N) 3

PORTRAITS (c»n/inu»l) :— i'Aot:

(Albert, Sir John, R.A. , P.R.W.S. . 53
Goodman, Miss Maud (by F. L.

SCANES) 181

Green, R.I., Charles (by Himself) . 1.t6

Gregory, E.J. . R.A 281

(;urnev, Husscll(l>vG. F. Watts, H.A.) 39S

Harding. J. D SO

llcMiv. C. Napier, A. H.A. . . .282
Uililiiock, GeorKe(by J. J. Sii.vNXON,

A. H.A.) .377

Hunt, William (by Himsei.fI . . 503
LaThangnc, H. H., A.H.A. . . .281

Leader, R W., HA 281

Lebrun, Mnie Vigee (by Herself) . 398
Ijucas. J. Sevniour, R.,-\. . . .281
Marks. II. Siaey, H.A. .The late (by

W. W. Oii.is.s. H.A.) . . .237
Millais, The late Lady .... 4.55
Millard, Miss Kvelvn, as " Portia" . 331
Nelson. Lord (by L. F. .\iinoTT, 530;
as Viee-.\dmiral, 3:^0 : Sir W.
Heeciiey. H..\.. ,'>3l ; J. P. Knight,
R.A., 532; J. RlOAUn. R.A., 529;
from a print, ,t,'!1-.')3I)
Nordgren, Miss Anna (by Herself) . 181
Orford, Earl of (by (i. Dance) .6,38

Overenil, The late W. H. . . . 400

Parr. Katherine 283

Peai-son, The late J. L , R.A. (bv W.

W. Olless. R .\ ) . . . .236
Perugini, C. K. (by Himself) . .4.37

Prout, Samuel 588

Robinson. Mrs. Harewood . . . 4,S2
Rogers. Samuel (by G. Dance) . . 656
Hops. Felicien (bv P. .M.vthev) . . 680
Itost^etti, Dante Gabriel (by Himself) 2'22
Roty, O.scar (by A. liESNAKii) . .356
Salmon. Dr., LL.D , Provost of Trinity
College. Dublin (by Be.nja.min-

CONSTANT) 559

Shaw, Byam (by Gerald F. Met-
calfe) 633

Sbei', Sir Marlin Archer. P.R.A. . 113
Siiivthe, Lionel P, A.H.A. . . .281
Sliiplis, Jlrs. (by Herself) . . .483

Tate, Sir Henry, Hart 512

Thornycroft, Jliss Helen (by Her-
self) 481

Walton. Frank, P.R 1 456

Waterlow, E. A., A.H.A., P.R.W.S.

(by L. Alm\-'I'a1)EMa. H.A.) . . 213
Wright, Miss Ethel (by Herself) . 4S1

SCULPTURE :-

.Vpoilieosis of Homer, The . . .441
Bronzes (French and Italian)
at Windsor Castle:—

Boulle.A. C— Allegorical Group 109
Bronze Gilt Group of the
Sciences ..... 322
David with a Sling(afterBcJ-Hiii!'') .T.'ll
" Diana and .\ntaeus " . .319
Vumond. Fraitrois — " Prome-
theus and I be Kagle " . .323
" Hermes conducting Pandora

to Epimetheus" . . .411
Nvmph and Satyr (after Clo-

' liion) 412

Xymph and Youns Salyr (by

Zoffoli ov HhiiiettV) ■ ■ ..321
" Nymph of Diana, A" (style at

Falconml) 413

PigaHc. J. Ii.~" Boy and Bird-
cage " 322

" Little (iirl with a Bird" . 109

" Rape of the Sabines " . . 318

" liape of Proserpine. The" . 410

" Venus and Cni)id " . . . 411

Busts. Late Roman, in Coloured

:Marble 591

(■/i(|/i'(/i'k— " The Due d'.\umale" . 137
CuRiois Masks among Greeks
AND B.\i:m.vkian.s :—

Burial or Decorative Mask . 581
Child holding Jlask of Ozumi- , 6.33
Comic .\ctiirs and Jlnsicians

wearing Masks . . . 633
Finger JIask ot Esquimaux

\Voinan ,387

lloroie Mask from Greece or
Asia Minor .... 585

SCULPTURE (■•on(iarifd) :— pace

Ci.'Riofs Masks (ron(iiiii«0: —

Mask of Samba .... 652
Mask of Tengu, or Demon . . 653
Mask of Tengu with cloth over

his face 633

Mask of the Heroine Sliiuka . 652

^I'lsk of I'lirceyed Demon . 6.32

Painted Wooden Musk . .586

.Salvr Ma.sks .... .381, ,383

TerraColta Mask for Tragedy 654

nampt. .Utiii Bas-Helief . . .550

Dressier. Conrad—" The Crucinsion " 107

Dnirt/. Al/rfU-^

The Terrace, Barrow Court
The 'i'welve Months .
Winged Lions ....
Fchr, II. C-

" Invocation to the Goddess

Love"

" The Battle ot Wakeflchl " .
J'\rraru, M.—

" Leda and the Swan "

" St. George "

Ftaxman. ,/., li.A.—" Lord Nelson '
Ford. E. Onslow, Ji.A.—

" Her Majeslv the Queen" .
"Sir J. E. Millais. Bart., P.R.A
" Professor Hcrkomer, R,A." .
Dale Memorial ....
Framptoii, Ucorffc J., A.R..I. —
" Dame .Mice Owen ' .
"lieigblluni Jleniorial".
"The (ialpin Jlemorial" .
OU}SOn. John. li,.l.—

" The Tinted Venus "
Harris Memorial, Drury Lane
Hamii. //e/irj/— Alms-Dish .
Hodiic, Albert-A "Newel Post "
Levick, Rubu—" Figure of a Biy "
Marhcnnal. lirrtram—" Oceana"
Nelson Death Mas'.i
Nelson, The Greenwich Bust
Pomeroy. F. IC— "The Nymph

Loch Awe"

Prouvti, I'l'tfor— Brooches .
Phiiid. Jiirnie, A.R.k.A.-Unst

H.M. the Queen 576

Podin—

"Balzac" ."1°

New Doorwa.v .... 271-276
Poqcrs. Mark, yimr.— Jubilee Memo-

iial. Bury St. Edmnndi . . . 312
liitlot. Joseph.—" Marianne
tei/ojlin, A. J. ('.—"Orpheus and

Eurvdiec "

.S'lniH, ./. M.. -l.ye.J.— "Leopard

playing with Torioisc" .
Tlionii/erofl. Ilamo. li.A.-

Stanley Jlonument ....
T«i'(ic>', -li/'nrf -"Charily "
Vallf/ren, C.—

A Benitier

A Door Knocker

Chimneypiece

Cinerary Urn

"Curiosity"

" Despair "

" Girl Flowers"

"(Jirl of Loctudy " . . . .

"(iriet"

" JIaternity "

" Reverie "

" The Weeper "

" 'The Widow "

" Youth '

I'aii dcr atappen. Charles -
" Imperious Fancy " .
" Jean Portaels" ....
" Monument to Labour' .

" Silence "

" The OetO]ius"

"The Wrestlers" ....

. 113

HI. 115

. 112

ot
. 67
. 311

. ,351
552
S'33

. 619

". 69

'. 117

. 71
. 2X6
. 310

. 137
. 116
. 235
. I'.21
. 621
. 61!
. .331
. 533

198

231

171
230

218
219
218
221
220
221
221
220
221
219
220

221

2%
2!*
297
298
299
295

TOPOGRAPHICAL :-

Holliam House: View from the Ter.

race 679

Sketches of Greek Landscape (by
John l''tLi.EYLOVE. R.I.):—
Delphi and Parnassus, from Itea . 38
Tlie Plain of .\Uica, looking to-
wards Salainis . . . .33

Contributors to this Volume.

The l»te Lord Lkighton, P.R..\.

G. D. I,K.«LiE, R.A.

G. A. STOREY, A. R.A.

SIR \\ VKE Bayliss. P.R.B..\.

w. coli.inowood, r.w.s.

Fernanh Khnoi'FF.

Harry Kiuniss.

Walter Crane, R.W.S.

l>K\vis F. Day.

J. Starkie Garu.nrr.

.\i.EX. Fisher.
Ci.EESoN _ White.

It. PlIENli SlMERS.

.\. L. BAi.iiitv.

S. T. I'RIOEAtX.

Ay.meh Vallaxce.
Charles he Kay.
T. .M. LixiisAV.
F. S. HoniNsoN.
Annie It. Maui irk.

IJ. DE LA SiZERANNE.

Emile Veriiaeren.
Prince B. KAR.vfiEOROKVicii.
Henri Frantz.
Mathias Morhardt.

P. ScIHJI.TZE-NArMBURO.

" Leader Scott."
Helen Zimmerv.
Charlotte F Yoxoe.

UELENiS; L. POSI'LETIIWAITE.

Cosmo MoNKiiotTSE.
Frederick Wedmore.
J. Greco.

H. W. NEV1N.SON.
E. Rl.MBAri.T DlliDIX.
A. HlUGINS.
DOI'C.I.AS SUDEN.

\\'. ItouiCR'rs.
AKTI117R Fish.

M. H. Sl'IELMANN.

A C U H V

The Magazine of Art,

THE BUILDING UP OF A PICTURE.

By the late lord LEIGHTON. P.R.A.

Deai; ill. S-

■2, H..l]aii.l Talk liuail, W.
Miiicli 20, IHSd.
, — It strikes lue that, as ymi
take a seiiinis interest in the snbjeet of our con-
versation the other day, viz. luy mode of procedure
in the Ijuilding up of a picture, and as possibly
some of your younger readers may deri\e assist-
ance from the knowledge of it, I ma)' as well
slightly amplify the information which I gave you
orally on that occasion.

(o) I will take, for simplicity's .sake, the ea.se
of a one-figure picture like the " Sybil," of which
you have the studies. I njay say in the first
instance that in so simple a design (and, indeed,
somctiiiHs in a more complex one) the first mental
conception is not necessarily committed to paper
at all ; and that the study from the model, or rather
the study in the pr-esence of the model, is in fact
the fii-st external operation. At that stage, as I
told you, I put the iigure before myself in the
life, as exactly like what I wish ultimately to repre-
sent as is possible— ;-like, I mean, in regard to /((/■/;(
exclusively, nihmr being always treated more or

less ideally. I explained furtlier that if in this
first stage the figure is draped, it is partly on the
ground that liuman lieings do not move in the
same way diaped and undraped, and that also the
bulk and material of the drapery in some degree
necessarily modify the attitude and general appear-
ance of the figure. Taking tliis first sketch as my
starting-point, I

(6) draw a study of the figure in the nude. The
next operation

(c) is the jilrtcing of the figure in its surroundings
and establishing its exact relation to the canvas.
The result is the first .sketch of the entire design,
figure and background, and is built up of the two
previous ones. It must be absolutely exact in the
distribution of .•spaces, for it has sulisequently to be
squared off' on to the canvas, which is ordered to
the exact scale of the sketch. At this moment,
the design being absolutely established, the coloured
sketch is made. It is deferred till now because
the exact placing of the colours is, of cour'se, of as
much importance as the harmony.

('/) The whole design being thus squared off

TiiK .m.\(;azixk of ai;t.

oil llif c-aiivas, the luiiU-s aiv painU-il in a warm
luoiKicluDiiK' from Xaliin', ami willi, as far as
jinssiliK'. tin- iitni'isl ])i'('i'isiiiii. U is my aim, ami
line wliicli I jii'm-ially fairly ai'liii'Vr, iii'Vi-r In dciMil
by a hair's lucaillh fium tlu' outlines ami I'uinis
tinis (il>taiii('il, over which, thiM<'fiiro, as you will
umliTst^iml, much caic ami thoiii;lit mu.-t he once
for all i'.\]icmlc(l.

((■) I now lake a sheet of lirown iiapcr ami ilraw
nut on a larj^er scale than in the previous skclrlics.
ami in siniitle chalk outlines, the nude as ]iainliil
from Nature on the canvas. (Tliis is a vital poini.)
(/') The tlrajH'iies are now' laid with inlinitr
eare on (lie liviuj,' model, and made In ajiiiroximate
as closely as jiossihle to the arraiii^jenient i;i\en in
the first sketch, which, as it was not liajiliazard, hut
most carefully worked out, must of necessity he
atlhered to; the larger <lesigns heinu;, of course, only
an am])lit{eation of the smaller. These ilrM]ii rics
have often to he tlrawn iiiecemeal, as the li\iiiL;
model cannot hy any means always retain llir
attitud(i sutlieieully long I'm- Ihe design whnlly
to he carried oiil ;il unc r.isi. The (ha]ieries aiv
then drawn wiih thi' iiUiinsl r;ire in l>lacl< ami
white on llic ]i,ilMT, lilited MS 1 aliii\e siiid, with
special reference to jiiiin/hii/ — that is to say, gi\iiig
not only the form and ligiil and shade, hut tlie
relation and " valui'S " of tones. These <lra]pciies
all' drawn o\er ami made to confoi-ni e.xaelly to
the forms copieil from tlie nudes of the underpainteil
|iicture. This is a cardinal i)oint, liecause in carry-
ing out (he picture the folds aic found lilting
mathematically on to (he nudes lirsl. eslalilislicd
on the canvas.

1'lie ne.\t step then is to hansl'er these dia))eries
to the canvas on whicli the design has lieen siiuaicil
oil', and this is done with Mowing colour in Ihe same
monocln'ome as hel'ore ovi'r the nudes to which
they are intelligently aj)plied, and whicli nudes
must never be lost sight of. I should have .said
just now that the canvas itself is jinliilnally ]inpared

with a grey tone, lightish or less light according to
the suhject in hand, and the ettect to he obtained.
The backgniuuil and accessories being now added,
ilic whole pictme presents a more or le.s.s comjtleled
aspect, like, say, that of a jtrint of very warm tone.
In the case of draperies of very vigorous lone, a
rich Hat local colour is jirobably rubbetl over them,
the modelling underneath being, though thin, so
sharp and delinite as to usstr/ it.self through this
wash. ('(Tlain portions of the jiicture again might
probably be prepareil with a wash or Hat tinting,
of a colour the njipusilf of that which it is I'Ventually
|o icceive. A blue sky, for instance, would possibly
have a .soft rudily tone spivad over the canvas (the
sky. which is a veiy delinite and im[ioitant i)art
of the composition, being, of cour.se, as fiuiijilitcli/
ilidirii in iiinniirli riniir us mil/ iilhir jioiiinn of f/ir
ihaiiji)): or if 1 iiad to deal with rich blue mountains,
il is jiossible that a strong orange wash or tint
might lie used as a lied. \i this point, the structure
of ihe picttii-e being absolutely complete, and the.
(•ncii being ilistinctly deteiniined by a sketch which
il is my wIkiIc, and oficii unsuccessful aim to enual,
I have nolhing |o think of but the colour, with
wliiiji I now proeei'il deliberately but rajiidly.

These disi<iiiiled reniaiks, with the assistance
of the drawings which you lia\e, may. I think, or
at all (Vents hope, be of use to students who read
your article in siiowing the me'.liod by whicli at least
one artist linds it convenient to build \;p his picluic.

1 sboulil ask you. Jiowever. no| lo allow nie to
speak in the first jierson, for I lie reasons which 1
have given when you recpiestcd nu' to contribute to
your jiajn'r,*

lielieve me,

Kaithfully yours.

I'l.'Kii. l.i:ii;nTi)N.

• I'hc ifiisdiis lieie refprreil to — nnw, iilas, no Iciiifrer to be
i-iiiisiileifil— consistcil in tlie stercolypcil lefusiil willi wliii-h
r,onl I.,elt;litiiii wa.s forccil In meet tile cimlinii.-il ivqucsls with
wJiich lie Wius efininmnly delii'reil for a(l<lre.<se.< and coiiliibiilion.>i
to ncwsiwiper.s and nmgiizincs. — EdITOH.

PENCIL STUDY.

ROBERT FOWLER: ARTIST.

By EDWARD RIMBAULT DIBDIN.

FliOM uiii! fiul o( C'aslle Stivul, Uvt'iimnl. till- iiilialiitiMl llir
domed Town Hall looks pidiully <h<\\\\ In llir c|iuiiiit cliiiiitri
dome of the Custom Hou.se.
which closes the prospect.
Eound one are clustered the
stately buildings iu wliieh
banks, insurance offices, mer-
chants, and brokers dn their
business ; while the otl;er is
the centre for all those indus-
tries savouring of tar or biine
that exist for the convenience
of shipping. Midway, in the
zone of ditt'erentiation, and
upon the site of our mytliical
mediieval ca.stle, is .situated
the studio which ^Ir. liobert
Fowler, It.I., has occupied fur
nearly twenty years. There is
nothing "aesthetic" in its sur-
roundings ; indeed, the immortal
Mr. Postlethwaite would find
the place unapj)roachable be-
cause of the blatant lilast of
discordant colour from a flag-
.shop window which adjoins the
entrance. The stairway admits
to various ship-otJices, but

from time to time a good many robert fowler r.i.

artists great and small have (From un- p„mtm,j bn a. e. «omso.,.)

upper riKims nf the liuildiiig, and
< ill llie life of Bohemia might be
culled from the lives of some
pievious tenants.

His painting-room is fairly
spaeinus and bare of meditated
adoiiiuient. Few of the access-
ilile wall -spaces are without
eliarcoal studies of the nude
figure, drawn rapidly and with-
iiut revision. In some the germ-
iileas of long-.since executed
pirlures are to be traced. So
much of description must be
forgiven me, fur, liroadly speak-
ing, .Mr. Fowler's artistic life
has lieen passed in this room.
Nay, more, it is a place in whieli
mail}' young men have lieen
slroiigly influenced. It is one
of ilr. F'owler's qualities to
attract all sorts and conditions
of artists, and his studio has
long been a rendezvous for
aspiring poets, ])rose-writers,
musicians, and painters. It goes
without .saying that some of
liis c3-gnels develop into birds
of a less noble strain: but, on
the other hand, it would be

Tin-: MACAZIXK (W AUT.

ilifficult til iiMiiH' iiiiy iiiiiiililc |ii'i>iiii riiiilriliiiU'il
liv Liverpiiiil tu tlii' .si'ivieo i>f tin- arts in rci-cnl
years wlio 1ms not liet'n a fri>r|iioiitiT of this iiiiiiiuc
school of (lisimtatioii. To it coiiu' poets with
their sonnets ami tratjeilii's, tonijxiseis wilii llnii
fricassees of Wagner, pianists willi their latest feats
of le^'erdeniain, painters with their newest designs.
All are weleonie, and few go away without lienefil :
and tiic advantages are reeiprocated. Mr. Fowler is

and a mother wlio.se character was marked l>y sin-
cerity and intensity, as well as that strong personal
etVeitivene.ss which is a magnetic (|uality of genius.
Hiirn at Anstruther ou the wild coast near the
" East Neuk," and hroughl up there cliieHy at an
uncle's hou.se (parents globe-trotting the while), the
lioy .scarcely knew that the scheme of life in-
cluded .such a thing as art. This, however, made
no ditlercnce. Mr. Fowler's earliest recollection is

STARS OF THE SUMMER NIGHT.

fully ciinvinced nf the wisduni of Solomon's axiom
;is to the sharpening of iron upon iron, and he never
]iaints with such /'/•/« as when he is simultaneonsly
hearing and criticising freely the productions nf nu
author or composer, or the dexterities of a pianist.
In this way he jjarlakcs of that .social relaxation
which, otherwise, he avoids. Ajiart from art and
artists and domestic felicities, he lias no use for his
felliiW-mell.

ll is 1(1 this all round artislii' eipiipmcnl lliat
Ml-. i''iiwler is indeliteil for much of the distincliim
which characterises his wmk in the branch of art
he practises. AVhence lie h;id il I cannot .say: for
those who exalt the Celtic genius it will he sntlicient
that he was born in the Kingdom of Fife, because,
S)iy.s the old sjiw, " If you're a Fifer, you're half a
llielander" — a ]ironouncement which is s\ip|iorteil
by i\w fretiuency of (Jaeiic place-names throughout
the county. For parents he had a father who com-
bined business aptitude with a roving disposition;

iif an nld-fasiiioiicil clninncypiece — jiaiuted a light
colour — upon which he was in the habit of drawing
with a lead-pencil: ids indulgent aunt winking at
tiie misdemeanour, and, indeed, encouraging it by
having the panels cleaned once a week. Liti-r, wlieu
drawing-liook and paints were substituted, there
seems to have been no opposition, and the aid of tiic
'■ taw.sc " was not invoked even when the youngster
yiit lumps of clay and invented the ait of mndelling
for him.selt'. On the .settling down nl Mr. Fowler
llic elder in Liverpoul, his son was lnnught there,
and pliiced at the l.iveriionl Cnllege, where he
e.sca]icd much of the deadening eflect of English
education by getting other lioys In do his lessniis
for him in consideration of drawings. At sixteen
or thereabouts he was placeil in a eoniiuercial otlice,
where his success as a caricaturist caused such an
incrca.se in the stationery bill that his employer
soon begged to be relieved of ids services, remarking
that the bov would never be of use at anything but

APOLLO.

{From the Painting by Robert Fowler, R. I. )

KOBERT FOWl.Ki;: AKTIST.

art, so tlie sooner he was put to it tlie better. The
hint was taken, and Robert was sent to Loudon,
where he seems to liave pursued his studies with
much the same apparent disregard of routine and
inward steadiness of aim as the youth wlio at one
time in Anstruther lodged under the same roLif
with him — to wit, E. L. Stevenson. Mr. Fowler's
own opinion is that he learned as mucli at this
period at the Britisli ^Museum as anywhere else ;

pittnres to Munich and Paris, and his art has been
particularly well regarded in Germany. A recent
issue of Die Knnst unserer Zeit was devoted ti) an
appreciative monograph upon him by Herr Ma.\
Xonnenbruch, with excellent illustrations of a
numlier of his most important pictures.

]\lr. Fowler has arrived at what he is to-day
after having burned incense on many altai's. The
gods and demigods of his polytheism are a \ery

STUDY FOR "AFTER MUSIC/

lie drew from the antique theie, and wa.s par-
ticularly captivated by the Elgin marbles, of wliich
he declares tliat lie who once looks steadily at
tiiem is never the same man again. His chief re-
la.xation was the gratification by constant attendance
at concerts and operas of an intense curiosity in
regai-d to music. At tlie Academy schools he got
no further than being a probationer, for after some
years in London liis liealtli gave way, and so he
went into Yorkshiie for a long period of rest and
outdoor study, thence to Llandudno, where his
health was at length so far re-established that about
twenty yeai-s ago he determined to return to London
Liverpool lay in his way, and, dallying at home
there, he drifted into taking a studio temporarily ;
he is there yet, and though he still talks periodically
of completing the long-suspended journey, we all
hope he will do nothing of the sort. His first pre-
tentious picture was produced in 1876, and since
then he lias been a constant exhibitor in London,
Liverpool, or elsewhere. Latterly he has sent

respectable band — he has no need to lie ashamed
of any one of them. Fiom AValker, Albert Moore,
Leighton, Mr. Watts, and Mr. Wliistler he has
taken what lie wanted : in landscape as many more
ha^•e paid him toll ; and in the combination of figure
with landscape, as well as a characteristic perception
of lovely qualities of colour, he stands indebted to
tliat wayward, subtle artist, Mr. David Woodlock,
who seems to take as much pains to avoid due
recognition as others to obtain it. It was from him
that"]\Ir. Fowler first had that bias towards Japanese
pictorial ideas which has significantly enlarged his
artistic aims. In his beginnings Mr. Fowler in-
clined to be classical, and so he remains to this
dav, though with such a substantial difference that
few cla.ssicists would be prepared to accept him as
belonging to their camp, because of the strange
guise in "which the desired thing appears. For the
same reason the open arms of welcome are as little
likely to meet him on the other si<le, because he
pursues the elusive mysteries of aerial colour, and

TiiH .MA(;.\/i.\"K (IF ai;t.

L'VL'iy ik'licacv and ivfiiK'Hiciit <>f tonal iclalion (l>e-
j,'iilU"M of Ills intc's.sant iiaiiUing i>f ujn-n-air stiulicsof
liglit)on canvases wliicli aboiinilwilli allusion to classic

THE VOICE OF SPRING.

fal)k' and romantic story, with allegory, symbolisiii,
idealisation, and conscionsly decorative design. 'J'lie
cliaracteristics that make Mr. Fowler .so dilHctdt to
a.ssigii to any set category, any accepted school, are
])artly due, no donl)t, to the iieculiar isojalion in
which he has always worked. To In- in i.i\cr|Miol
at tlu! ]ir<'sent time in itself suliicieiitly cuts an
imaginative artist 'ill' from free comnninioii with
llm.se who ar<' working in the same liehl with similar
aims. Still more .solitary is an artist in Liveriiool
who, like Mr. J""owler, evades free intercourse, with
all and sundry, preserving his own atmosplierie enve-
lojie almost as intact as (leoige Kliot hers, while
jealously guarded from chill draughts of criticism,
or the miasma of philistinism by the faithful (icorge
Henry Lewes. It is a favourite legend of the Li\(r
Sketching ( 'liili that during the year when Mr.
Fowlev was its president he was never .seen in ihe

cluh rooms. Such artistic fellowship as he has conies
to him by atlinity, and he usually is the inspirer,
not tlic ins])ircc|. Anoiiicr cause of Jlr. Fowler's
aloneiicss is the iniusual conibiiia-
lion in him of land.scape jiainter and
man of literary idetis. In the studio
lie rarely ]iaints landsca]ie pure and
simple, which .seems a pity to those
wbo have the ))rivilege of looking
through the i)iles of swift sketches
ill oil-colour he usually firings back
as I lie residt of going into the
country for a rest. The freshness,
modernity, subtle colour, and spark-
ling suggestiveness of touch in these
studies almost )irovoke regret that
lie has to(.) well furuisiied an imagin-
ation lu \ir a land.scape paintei'. Vet,
after all, perhaps this is what, in his
own ]ieciiliar fashion, he is.

I'or what are his pictures but
]aiidsca]ics seen with a (Jreekish eye,
which gives to every Iri'e its dryad,
every stream its nyniplis: which sees
ihc )ia.ssiiig of glorious' gods and
goildcsses in every gleaming shaft of
sunlight, I'an piliing ever among the
sedges, ceiitauis prancing across the
|ilaiiis, Iritniis and niermaids riding
uiei'fiilly nil eai h rolling breaker of
the .'-iiiiiiidiis sea ' 'i'he persons de-
jiieied beloiiM (o ilir la iiil.seape scttiug
latliei tliaii il to them, and yielil up
their iiuli\ idiialities of ciilour to the
jiaiamount tone-scheme of the scene.
A ie)iroduction in black and white
can 110 more show this adeijuately
than it can suggest the peculiar tech-
nical methods employed in brushing on the pigments.
'J'lie illustrations given, howevei', sulliciently show
the unusual lialance held between the parts of the
i>ictiire and the memorable thought fulness, viEfOur,

I .""1 » O '

ami truth of the land.scape design, ll might be .said
lliat the god I'an he is so fond nf lejuv.senting is
an emblem of Mr. Fowler's art, which is in .syni|iathy
with all things in Nature. In .some recent pictures
one okserves evidences of a growing regard for the
jiossibilities of what are conveniently called ]ire-
liisloric limes — siraugc moiinlain bains, trees, and
re]ililes lliat might belong lo a past geological
jicriod, lakes, in who.se sullen deiilhs the kraken
is surely lurking, and uncouth huiiian beings with
mailed hair and wild regard from which no .soul
looks out. The nearest ajtproach to this among
the jiictiires rei>roduced here is seen in "The A'oice
of S]uing."

nor.Kirr fowlku: artist.

The latest stage of Mr. I''(i\\k'i's i.k'veln])nifnt, to
whifli almost all our illustrations belong, is only a
few yeais okl. It succeeded a period in which he
devoted himself chiefly to watev-Cdlour, and pr(id\ued
many fine things, full of jewelled colour, illustrat-
ing such themes as the ]>eath of Virginia, I'msjiero

ceased to be, but its purpose was attained, for, after
all, it was but the gestation of ]\Ir. Fowler's new
departuie. It is unfortunate for his fame that as
yet comparatively little of his maturest work has
been seen in this country : much of it has gone
direct to Germnny and remained there, and the.

and L'alilian, Socrates and Xanthippe, the jiealh of nuly iniimrlant example thai has been seen at Bur-
Socrates, and the "Witch nf Atlas. This jicridd of lingtim lliaise is " The (.'onnng of Apollo," his largest

THE ENCHANTED GLADE.

aquarelle culminated soon after his election as a
member of the Institute in a life-size recundient
" Sleep," in a landscape composition measuring some
eicrht feet long, shown there in 189;>. When the art
of Mr. Hornel and other Glasgow painters made such
a stir in Liverpool that the echoes of it even reached
to the quiet back rooms of South Castle Street,
!Mr. Powler returned to oil, and forthwith from his
brain there sprang into brief existence a sort of
secret society which had for its purpose the C^uest
of the Xew Beauty. I remember one or two delight-
fully mysterious micturnal meetings in Mr. Fowler's
studio, to which some half-dozen kindred spirits
lirought the results of their trial explorations. We
examined them painfully bj- liad lamplight, as Afr.
Fowler expounded the new gospel (making it up
as he proceeded), while Mr. Woodlock kept up a
iire of criticism from a sofa in the obscurest corner,
and Mr. Morrison occasionally interjected fragments
of the lore of Parisian schools. The society soon
88

eftbrt. In a work exliibited at the Eoyal Academy
this year ^Ir. Fowler shows that he has by no
means come to the end of Ins inspii'ation — indeed,
the picture seems to me likely to be one of the
linest of his imaginative work.s. The landscape,
studied in the Conway Valley, is transmuted to a
bosky glade in sunny Greece :

" Deep in the sliady sailne.ss of a vale

Far sunken from the healthy breath of morn,
Far from tin- fiery noon, and eve's one star."

Here, amid tangled greenery, stands a girl — one of
the most gracious figures the artist has imagined
— gazing with a fascination akin to terror on a
weather-worn terminal image of the Gorgon Medusa.
One is impressed first by the lich and harmonious
chord of colour, then by the winning suavity of
design, last of all by the half-suggested reference to
myth — the momentary glimpse into Arcadia from
which each for himself may weave a story half

THE MACAZIXE OF ART.

liiiiU'il ill in tliu fi)rtuiiiik' title, " Shiik- Eiuliant-
iiieiit Old, Whose Spells liavc Str.leii my Sjiirit."

(ffcfroriucrd >n>m tbi- Otigimil Painting in tlie Po$$fBslon of the Corporation
of Liverpool.)

Tills, sii f;ir as 1 have hIjsimaciI, is tlic
111 (lev in wliicli Mr. Kuwlcr's ]ii(Uin's cihih'
into lii-ing. (liven llie t;eini-i(lea, (lie lirsl
business <if llie ]iainter is t" realise its eniu-
tional eiilciur. Finni this frnin iiinTLtes, like
eontrapnntal order from tlie lirsl eliromalie
iniprovisings of the (■lealive ninsieiun : and
last of all llie full expression of the f;evni-
idea is alleiideil to. 'J'hen, like tlie musician
still, the ]>ainler sils down more coolly lielore
his accomplished work, to co<fitale on its exact
relation to artienlale thought, to wranj^le upon
it with whomsoever may happen there, until
in .some jjif^oon-hole of his well-sHilVed mind
an alisolutely Mttinj; line or jdira.se is I'mnid.
Sometimes Mr. Fowli-r has lieen fortnnale
cnoufjh to have a jMiet handy at the haptismal
ho\ir. .\mon" others who have .vervrcl him

thus is Mr. William Watson, wlm supplied admiraMe
epigrams for several of the important pictures nf his
water-colour period. Such a picture as the one I
have Just described affects me much in the .same
way as a memorable pas-sjige by, say, Schubert; in
which the witchery of harmonic colour seizes the
imagination even before the sweet melodic progres-
sions are unfolded, and long before the mind can dis-
entra<'e itself for the elVort of thinking alwut the
creator's meaning. Even if you should afterwards
escape the spell enough to be coldly critical, and
should discover .some perversity of drawing, you are as
little inclined to cavil as would a lover of Sclmbert
,il that ma.stcr's inability to wiite a double fugue with
]iiMliintic propriety.

Other works tliat illiistiatc ihis distinctive ipiality
I if Mr. Fowler's latest jieriod include his "Eve and
llie Voices," one of the two pictures by him in the
permanent collection of the Liverpool Corporation, his
" After Music " and " The Enchanted fUade," which
are now owned by the well-known collector, Herr
Seeger, of Berlin. One feels, in looking at the.se, that

STUDY rur

i;()1'.ki;t fowlei;: ai;tist.

ilr. Fowler's iiiiagiiiatioii, afti'v ln'uting the air in alL
ilirectioiis for liis ideal with a passionate desperation
equal to that of d'Albert, has at last found it. They
hold in perfect solution some of the best ([ualities
of Japanese art, and at the same time utilise the
painter's powerful instinct for landscape lieauty.
his literary ecpupment and his unusual laiuwUMlne
i>f music. He has workeil out for himself the
a.xiom that " Xature is a purely anthrKpumorphic
conception to be used by tlie artist witli perfect
freedom," and in this connection styles liini.self an
" optionalist." The technique does not cry out for
notice: there are none of llie lumps and truwcl-
marks of a certain lusty order of executants, but
yet Mr. Fowler is an undoubted technician. His
finished surfaces ha\"e a mysterious elusiveness as
of paint softly blown on the canvas, whicii is all
the more ditticult to understand after having seen
their first state of swiftly-smearcrl brush-marks of
crude, violent colour.

Such i)ictures are peculiarly ill-adapted fur re-
production in monotint, even by the most expressive
methods, but those which are selected for illustration
here retain, even when so reduced, sufhcient of tlicir
significance to convey a tolerably definite idea of the
character of Mi\ Fowler's imagination and nf his
concej)tions of pictorial design. The "Ariel," which
is the first picture by the artist purchased for llie
Liverpool Galleries, dates from 1890, and belongs to
the end of his earlier period, as appears in its more
conventional composition, its detiniteness, and its
frank exposition of a well-known pas.sage of poetry.
Here the painter keeps strictly within his recognised
province as an illustrator of a poet's conception : it
is quite otherwise in the "Eve and the Ynices " of
four yeai's later. I believe (thougli duubtless .Mr.
Fowler would contradict me with characteristic
vivacity of denial) that the germ-idea of this picture
originated in talk about the " Eve" of Mr. (Ireiflen-
hagen — that suinptiiou.sly imagined "fit mother of
mighty nations" who seemed to lielong to (Ircek
mythology (Dutch edition) rather than to I'.iblical
story. Mr. Fowler's Eve presents the conqjlete
antithesis of the other's ample contours and (piiet
unconsciousness of aspect. She is a nineteentli
century Eve, who with neurotic introspectiveness
lies dreaming troubled day-dreams of the future
in the midst of an appropriately occidental Eden.
As the last suljtle stanza <if Mr. ('harles Dyall's
poem on the picture has it —

"The present wouiIct, ;iii(I more wond'rous fate.
As portenis glisten in lier troubled eyes ;
But, ah ! no carthlv wisiloni can translate
What good or ill unfatlionir-d in them lies."

The order is changed : the poet now follows the
painter. Such an Eve in such an Eden was surely
iie\er bef(.)re imagined ! ^Ir. Fowler here is no
longer a mere illustrator, but has added tlie part of
thinker in .symbols to liis eipiipment. Apart from
the main allegoiy the picture is full (if incidental
symbolism — even the moist, opalescent river-mist
that veils the landscape lias its contriljutory signili-
cance. In ^Ir. II. E. ilnnisdu's memorable portrait-
picture of 'Sir. F'owler one sees most clearly tliat
very habitual mood of mind wliieh lias given birth
to sucli pictures as "Eve and tlie Voices," and tlie
weirdly fantastic " The Enchanted Glade " whicli
lias no relation to any story at all Inil what you
may read into it. There are other moods, not least
remarkable of them that of humorous fantasy,
whicli is illustrated in the highly-original poster
designed in 1895 for the Liverpool Autumn Exlii-
bition — one of several very clever and effecti\e
things of the sort done by Mr. i'owler. Yet
another iiniiid, and perhaps tlie most admirable,
is that wiiicli brings forth the placidly sensuous
Ix'auty of sucli compositions as "Stars of the
Summer Niglit" and "After ]\Iusic," whicli latter
is, I think, the most beautiful picture 'Mr. Fowler
has yet painted — excepting, perhaps, the unfinished
work 1 have mentioned, which bids fair tti run it
\'ery closel}' for the first place.

Mr. Fowler's full recognitinn has pmbabl}' lieen
retarded by his residence in Liverpool ; retarded
even there, fur pnixincial npinion looks humbly to
tile metropolis for guidance, and the nietnjpnlis,
ha\ing a family big enough of its own to look after,
is excusably slow in discovering talents not atfiliated
to any of its own associations. Like the silver-
smitli's .spoons, genius must be hall-marked in
London liefore we dare accept it unquestioningly as
lieing of precious metal. j\Ir. Fowler, however, is
now a member of tlie Eoyal Institute; metropolitan
criticism begins to be conscious of his existence, and
liis sudden successes in ^lunicli and Berlin promi.se
to react in this country. Few painters of the day
are so ready to be disco\-ered as he — so fully
equippeil with intelligence, entliusiasm, imagination,
versatility, and technical facility for the toilsome
climb towards F'ame's highest [)innacles.

THE

NEW DECORATION OF ST. PAUL'S BY
SIR W. B. RICHMOND, R.A.

Bv ALFRED UYS BALDRY.

rpilKltK all- iiiii iiiiiiiy aiiiuiij,' iiioilcrii lU'cinalivc
-L uiidi'itakings wlikli can Vn- siiid to aiiiiiDatli
ill imiinitiimr tlu- work that is being <"inioil "Ht I'v

CARTOONS FOR THE MOSAICS
ifihotographed In Sir W. B. fficftmonrf's Studio.)

Sir W. 1'.. Kicliiiioiiil, I!. A., in St. Paul's Catliedral.
Even llir ciiiiiparalivfly small sccliiin uf Iht' wlink'
(Icsii'ii wliicli lias now bci'ii ciniiiilflvil is In lie
n-i'ardcd lis a nR'nmrablL' acliievenienl, valnalili'
nul nicri'ly on aci-nuiil of its iii(le]»fnd('nl iiitcivsl
and ailislii- meaniiig, l>uL fsjiwially liccaiisc of ils
Ki<j;nifirance as an ejiniest of ultimate iierfeelion.
TIr- ailonmu-nt nf the choir, which has liccn

successfully accom|)lislu'd, is by itself an effort
of which any artist might lei,'itiiiiately feel proud,
for it i-: a record, excellently expressed, of in-
telligent appreciation of what is aj)-
propriate, and of strenuous lalmiir
111 overcome in the right way ditli-
ciilties inaeparalile from work on a
lartie scale ami in an uiiaccuslomed
medium. Ihil il is also extremely
instructive on account of the manner
in which it not only foreshadows the
decorative com])letion of the entire
liiiililiiig. but also sets the key in which
the general harmony must be tinally
carried out. To deal with the choir
as an independent fact would be an
artistic mistake. At present, circuni-
slanci's impose upon it an apparently
si'iiaiaic interest; it affords the fii-st
proof of the sjiirit and intention of
the many art-lovers whose niinils are
exerci.sed by the long continued neglect
nf St. Paul's Cathedral: but a.s time
giies on and the necessity for inde-
fatigably jiushing on a work which
lias already been too long delayed be-
comes more widely appreciated, the
iiicliiiatinii to .set il ajiart must give
wa\' to il laiu'cr and more gem-rous
\ lew.

it can certainly not be said of

Sir William that in his treatment of

the choir he has forgotten the needs

I if tlie wiiole cathedral. He has al-

liiweil no limitation of his idea and

no use of principles ajiplicable only to

a jiartial .scheme to hamjier the pos.si-

liility of treating the great interior in

the right way. On the contrary, what

he has already done has been leally

in the nature of a Judicious preparation

for what is to follow. He has laid a

foundation, and on it has now to be built up a

sjileiidid supei-structure. This foundation, in view

of the I'reat editiee which it is destined to carry,

has iieee,s,sarily been treated with all ])ossible care.

It is elaborate, perfected in all its details, full of

iiiifeiiious devising, and an embodiment of endless

experiment and many experiences. lUit the very

care witii which il

has lieeii laid makes the

THE NEW DECOKATIOX OF ST. rAUL'S.

subsequent operations the

more eertain. There is

little now over whieh

there is any cause for

hesitation. All the facts

of the work are known, and all the

ways of setting about the execution of

what is to come next have been tested

and settled. It is only in minor matters

of artistic treatment that there remains

any n>om for variation ; eveiything else is fixed art workers, and

and decided. but little used by our

This decision as to methods was nut arrived native artists. It was re-
at without a very serious amount of imiuirv and cognised that only in mosaic
investigation, not only in matters of principle, but could permanent decorations of
as well in details of practice. The question that a satisfactory kind be executed
had at tlie outset to be settled was not merely in a building like St. Paul's Cathe-
the devising of a decorative .scheme, wliich was dral, .set in the midst of the grime
capable of the fullest extension, there was also the and gloom of a great and V)usy city.
more complicated scheme of practical execution But the troulile that bad at once to
to work out and perfect. This latter part of the lie faced was a very serious one. Sir AVilliam,
undertaking was made more dithcult by the fact judiciously enough, took exception to the pictorial
that the medium in wliicb the artist luid mosaic wliich has become fashionable- in modern

time.s. He felt lliat what merely jiro-
fessed to be imitation, as exact as the
limitations of tlic medium would permit,
of picture painting on canvas was quite
unsuiled for tlie adornment of the large
spaces at great altitudes which were pre-
sented to him in the cathedral. .Such
work was too lifeless, and too mechanical,
to be well adapted for the particular pur-
jiose in ^iew. He reipiired something fai-
mure rolmst, and more exactly calculated
to produce the right effect among im-
portant arclntectural surrounding.?. So he
decideil to revert to a more primitive
style, and to seek in the less laborious
metliods of the Byzantine school a t)"pe
of expression which would accord with
tlie particular needs of the undertaking to
which he was committed.

In coming to tin's decision, he was, as
the result proves, unquestionably judicious,
but at the moment he found himself in
no small difhculty. He was anxious that
all the work should be executed l.iy British
workmen, and be intended that it should
be done in tlie manner that he felt was
most suitable. But the workmen wei'e
hard to find, and those that were finally
discovered had only had a very limited
amount of piactice, and that in the very
ela.ss of mosaic which he wished above
e\'eiything to avoid. Two members of the staff of
carried out was one comparatixely novel to British ilessrs. Powell, to which tirm was eiitrustetl tlie

from the first decided that the work should h

TlIK MACA/IXK OF .\1;T.

liiviiai'Jiliuii III' iliL' iiiaUiiiils I'nr llii' iliTuiatiiui, had,
it fliaiK'i'tl, alicaily eairicd out u panel in glass
iimsaif, and tiieiv ended tlieir exiieiience. Unwexcr.

THE PERSIAN SIBYL
(From the Cartooit.)

\\illi lliriii and Mime liall'-iln/.rii ntlieis wlm witc
I'nini lime to time added tn the .nrnii]i of wdilieis
Sir William eummeiieeil his ii]Hraliuiis. Of eouise
this meant liiat lie had iml (ndy tn invent ]li^s
<lecorative scheme, hnl also llie way in whirh il was
to bo aeeomplislied : and liial lie had as well In train
his whole stall' of exeeutants from ]iiactieally lie
very lieginning. Even the miihuniral details, smli
matters as the best shape for (lie tessera, llie
number of eolours neeessary for iirodueing a ]iio]ii|-
etrect, and the nalnie and eomposition of thr i innnl
by which they were to be atlaehed to ilir wall
surfaee, were by no means eupable of immediate
arrangement. A long course of ex])erimenls was
neeessary to settle thes<! uiid kindred ipiestions ;
iiiul it was only after numerous experiments and
by many modilieations based upon troublesome
exiierienec, that the way of aiiiving at the best

results withiiiit waste of time and ell'orL was linally
lixed. AVheii these ex]ierinients were, however,
emuluded, he found himself in ]iossession of a
valuaiile stole of praetieal knowledge, tested in
every possible way, and adapted for the over-
eoniing of all the ditiieulties whieh he was likely
to meet in eanyiiig out his great undertaking: and
he also saw himself surrounded with a body of
assistanls u|ioii whom he could depend. The skill
whieli his workers then po.sse.s.sed was the innnediate
result of his own training, perfeeted under his
supervision, and establishrd, by his eonstant ex-
jilanalion of the why and wheicfore of every detail
of practice, npnii a secure basis of intc'lligent
aiipieciation of what was rei|uired for the ellicient
completion of the schinie he had devised.

^\'hat was ari-i\cd at duriin,' this ediieational

P^;^ ;^-^ ^r^ ^iti ^K ^.' :'■■

Ai\\>; .I'll '

SI ii^am fig^t r^'jfi^^ %"ii^ Wf

it.ii*,ii

1^ '•

MB*

"^^'

A WINDOW IN THt CHANCbL.

stage of the
bcai-iiiu npiiii

]iroceedings had ,i \v\\ iiiipuiinit
the work thai followed. .\o| unh-

THK AfACA/IXK iiF AIJT.

were the stability ami iicnninii'iic'c of tin- UKisaics
assured by the successful contrivance of a cement
which wnuM retain it,s elasticity long enough to
make tiie jilacingof the tesser;e a matter of certainty,
and yd would, in no great ])eriod of time, harden

CENTRAL FIGURE AS IT APPEARS IN THE APSE
{Pltotographfd from thp Mostiic.)

So absolutely as to be imiiossible to remove excelit
by the most violent liicaiis; liul the cliaractci- also
and the etli'Ct of the decorations were deliiiitely
settled liy tiie exact adjuslment of the range ami
variation of coloiii- |(eiinitted by the materials at
his dis]iosal. The colour ([Ucsljon was, perhiqis, the
most diiVicult of all. In a Imilding like St. Paul's
Cathedral, where the spaces to be decorated are
lighted in all sorts cif ways, and the siu fares that

otl'er llieiiisehes for treatineiit ai'e at considerable
distances from the eye of the spectator, simple
chromatic statement is by no means likely to prove
successful. Sir William found very early in
his ]iicliniiii;ny labours that a .system of curious

juxtapositions and
accentuations would
iiave to be followed,
and that this sy.stern
wouM have to be
constantly varied in
its details to meet
llie ditlicultics jn-c-
sented by the ab-
.sence of any common
Condi I ions luidef
w li ieli the many
a \ II i la Idc s])aces
luiiM 111' trealt'd.
W'heiv tile dct'ora-
lions eiiiilil lie seen
only by rellected

light, a jiarticular
cla.ss of colour a[)pli-
cation was necessary,
an aiiangemenl in
many respects un-
like that which was
liossilile wher(> the
ineidcnce of the
light was direct and
the amount of it
unlimited. I'nijcc-
tions, too, needed to
be managed with
discretion, lest, their
relief should lie
exaggerated ; and in
depressions the mean
between blankness
and excessive ela-
boration had to be
iniisl judieionsly
arrived at.

All these eon-
llirting ]ioiiits were
oidy settled by the
ii.se of a very elastic .system of colour distribution.
It was found in practice thai the manner in which
colours in contact intiiieiiced one another had to
betaken very seriously into account, andliial very
inuch di']iendecl upon the ehaiaeter ami strength
of the mil line by which the forms in I he designs
wei'c detineil. InsuHicieiit separation of llie various
nias.ses not mdy caused a want of clearness in these
forms, but produced as Well a mixing of tli<' colours

THE NEW DECOEATIOX OF ST. PAUL'S.

which reduced tlieir individual value and bi'oiight
the efi'ect of tlie wliide dangerously near a mono-
chrome. So a consUml watch had to be kept upon
the work in progress, and every tendency which
threatened to become dangerous had to be vigorously
counteracted. For in-
stance, white in anv
quantity was quickly
seen to be unsuitable on .
account of tiie optical
effect which it has of
spreading and obliterat-
iu'f iir miiditVin';' colours
close beside it. Silver
has a similar quality of
greying the whtile har-
mony into wiiich it is
introduced, and has tlie
additional disadvantage
of being very dark in
places whei-e it does not
gleam in a direct light.
Strong yellow greens
hardly tell as they
shonld uide.ss they are
surrounded with a thick
line of red or warm
brown ; and liurnished
gold has an ettect, like
silver, of shining ex-
cessively in light and
becoming in shadow
disproportionately dark.
Knowledge of all these
pitfalls was necessary
before any safe method
of working could be
arrived at, and on this
knowledge had to be
built up the more subtle
experiences upon wliicli
depended the proper ap-
plication of all the other
colours. There was al-
most as much to test

and settle in these minor matters. The modiHcation
of a colour mass by the outline was a practical
fact upon which gi'eat stress had to be laid. A
red outline makes blue purple; a blue or a red
environment gives to greys of any shade a strong
tinge of its own hue; pale pink loses its value
unless outlined with red ; black round a blue mass
accentuates the blue and prevents its modification
by an adjoining colour. Even a flat gold background
requires to be humoured, for its force would be
greatly reduced if in the spaces between the tessera;
89

a white cement appeared insicad of a red one. To
codify and reduce to order such a series of niimite
matters necessitated, as may be well imagined, almost
endless consideration .ind a really vast amoiuit
of contriving': and liardlv aiiv better evidence of

the devotion both of the artist him.self and his
assistants could be found than is supplied liy the
fact that in the face of all difficulties the first
division of the work has been carried through in
a fashion fully appropiiate, and with a degree of
success quite proportionate to the gi'eatness of the
opportunity.

Another vital secret of the success which has
Jjeen achieved by Sir William and those working
under his direction is explained by his assertion
of the importance of executing the actual work

THE MACAZIXK OF AKT.

oil the spot. Mosiiics of tlie luodeni type are loo
often pi-eimietl in sections in a distJint workshop,
anil then fasteiieil together scetioii by section on
tlie wall space wliieli they are intenileil to decorate.
Under sncli a system no living appropriateness is

A PANEL IN THE CHOIR.

pos.silile, and an almo.st inevitalili! alisciiee of artistic
ajireenient results between tiie work done and the
position in wliicli it is perniaiieiitly seen. In tlie
ca.se of tiie St. Paul's mosiiics only one pair of
spandrils was, at the very comniencenient, treateil
in this way, and the uiisuitability of the iiicllmd
was made vividly apparent to tiie artist hiiii.self
directly the .sections were put into jdace. So
strongly was he convinced that such a manner of
working had failed to give him what he was aiming
at, that he had e.vtensivc alterations made in these
spaudiils as soon as they were fi.xctl ; and from that
time onward no part of the permanent translation
of his designs was carried out
anywhere except in the t'atlie-
dral. and actually on the wall
it.self. By this precaution he
sjived himself from the annoy-
ing neces.sity of revising his final
statement, and gave himself the
valuable o}iinirtuiiily of altering
and adapting, ilnring the actual
progress of the work, any deUiils
in which conditions of situation,
juxtaposition, or lighting neces-
sitated a special manner of
treatment. He was able, too, to
consider ."ystemalically, as he
watched each put glowing to-
warils completion, what was desiralile to bring the
existing details of the Imilding into agreement witii
the new features that were being introduceil. Kvery-
tbiug under tliis .system proceeded naturally and in
projier setpience ; iiiptliiug was done in baste or umier
mi.saiiiuehcnsion of its bearing iii"iii ibi' wlmle: so
that what is now open to our insjjectinn in thi'
Catbedial is a logiial and consistent iiroduction, tile
outcome of dominating circumstances, and valual)le

liecause it expres.ses the spirit of tiie locality
lather than the abstnxct conclusions of a particular
artist. Artistically, this is the great characteristic
i.f llie St. Paul's decoration: it is impressive by its
completeness and liy the skill with which it has
lieen adapted to the peculiarities of tiie L'atliedral.
It isas, too, Ijoth in sul)ject-matter and in style, a
welcome reticence and dignitied reserve — finalities
(if incalculable value in a building wiiere any iiint
of triviality or poverty of intention would have
l>een painfully .jarring and inapiiroiiriate. Neither
in ciioice of motives nor in liis manner of treating
tliem lias Sir William committed himself to any-
liiiiig like matter-of-fact realism, and yet he lias
avoideil tiiDse symljolical conventions which have
done so mucli to limit the scope of ecclesifistical art.
He iias steered a wise miildle course, wliicii has left
liim free to deal faitlifully witii natural foinis and
yet has not denied to him full opportunity to turn
to account those formalities of line and mass anaiige-
meiit which liave a lieliiful ell'ect in tiie formulating
of a serious decorative scheme. He luus, indeed,
varied liis maimer as the occasion demanded. Tlie
windows, loo, of the ciioir, and tho.se wiiicli have been
added in other parts of the Cathedral, are purely
formal, line and colour arrangement designed to be in
exact accord with the mosaics. The idea wiiicli runs
all throutrh the work is to arrive at iiannonious
nnifoiiiiity witlioul liie .sacrifice of tiiose e.s,sential
variations bv wiiicii alone liie suggestion of viUility

THE CREATION OF THE BIRDS.

and well sustained interest can be given. Nothing
seems meebanical or perfunctory ; we feel instead
that liotli the initiating artist and tliosc wiio have
laboure.l lo carry out iiis intentions liave the right
kind of enthusiasm in their work, and have striven
tiieir utmost to show wortliily tiieir aiipreeiation of
tiie greatness of the occasion.

NoTK.— All till- illuslrnlioiis in tliis article an- from photo-
^'rnplis l)v Mr. F. Hollycr.

METROPOLITAN SCHOOLS OF ART : HARROW SCHOOL.

A NOTABLE EXPERIMENT.

Bv M. H SPIELMANN.

ALTHOUGH the art school of Harrow is but u
- ilepartmeiual section of Harrow School itself :
although none hut pupils of the great College on
the Hill arc eligible for instruction there; and
although — if I judge it aright — the ultimate aim

there than tliat entertained by the average school-
master throughout the kingdom. But about
tliat time Mr. AV. Egertou Hine was appointed
art master, and apparently carried with hiin the
enthusiasm for art and not a little of the force of

Fig. 1. HARROW ART SCHOOL

of this model institution is less the practice than
the appreciation of art (a point to which I return
later on), the inclusion in these pages of this young
but promising training-place among the ateliers of
the iletropolis needs no apology. The importance of
the experiment, which is now, in fact, fast passing
from that elementary stage, as well as the interest of
the details which together constitute its importance,
render an examination of its origin and its working
of more likely profit to the reader than the consider-
ation of nine out of ten of the ordinary art schools
established and conducted on the well-known lines.

It is, of course, too soon to judge by results how
far the art school of Harrow has succeeded in the
objects it set out to achieve, for no more than
five years ago the view of ait education held
tberp seems to have been little liiifher or broader

character that marked his distinguished father —
H. G. Hine, one of the greatest water-colour
painters England has produced. He appealed to the
Governors and the Headmaster against the relative
neglect which art suffered at all schools, at Harrow
as elsewhere; and reminding them that art should
be considered as something more than a mere
"subject "in the curriculum, and was capable of the
highest utility in the development of the character
and intellect, he claimed sympathy with tlie view
tliat the teaching of it sliould be treated witJi proper
.seriousness of aim and eftbrt. Fair conditions were
asked foi-, ;ind were readily granted. A small
room was hired and a sum of money was allowed
for the purchase of casts and models, and Art was
set up upon her pedestal on a level with Science and
llusic. This practical form of syuipatliy produced

THE MAGAZINE OF ART.

Fig 2 CLASS AT WORK.

ill Harrow at onoe a strong iinpre.ssiun ; Imt I am
IjouikI to say, as a n-snlt of observation on llii'
spot — tliongli I am willing to ho coiniiiced that I
havi- misjiulgt'd aiipcaranccs — that mnsic is still tlu'
favoiircHl sister-art. The feeling is, I imagine, " singing
fii-st anil (li'awing af'terwanls": ihc fmrncr, liy reason
of the nioie imnieiliate ami pleasing resnlts, lieing the
more popular. For it iloes not jet appear to he
uiiiversiilly recognised thai tlie technieal excclleiiee
arrived at hy the pnjiils in art at least eqnals, it' it
does not e.\cel, artistically con-
sidered, that achieved in mnsic.
Not less than the Head-
master, the a.ssistant masters
encouraged, in so far as they
could, the novel scheme of
granting to art the ojiporlnnily
of advancing towards its logical
devidopnii'lit. liefiire long, tlu'
greatest lunidiiT of pupils for
drawing and ]iainting ever
known in Harrow were eiowil-
ing into tiie room: and as soon
as they were made to feel thai
elementaiy art instruction conlii
he so placed liefoie thi'in thai
there was little actual myslciy
in till- aci|uisition of it, the
lioys rcspondc'd with evident
interest; and. it is to he suji-
poscd, liie strange suspicion in-
lierent in most Englisli lads,
that the arts arc etleminale and

not Worthy of entirely serious
attention at the hands of hoys
and men, gradually disaj)peared.
So promising hecame the out-
look, and so widely Wius the idea
of sup])lenientaiy private tuition
taken up hy the parents of many
of the hoys, that a further step
was felt to he ncci'ssary. The
liappy idea of calling upon the
liatriotism of an old Harrovian
to found a huilding for art-
teaching worthy of its dignity
occurred to Mr. Hoswortli
Smith, who thereupon laid the
suggestion Ijefore Mr. Henry
Vatcs Thomj)son, at one time
head of the scliool. Mr. Thomp-
son responded immeiliately, and
with characteristic niuiiiticence
gave £4,000 towards the huild-
ing and its eiiuipment, on the
condition that the governors
provided the site and added .£1,000 to the funds.
In IHOtj the inadeipiacy of the previous arrange-
ments, which had to a great extent crippled the
eflorts of the art ma.ster, made way for what i.s,
so far as 1 am aware, the linest art school in any
pulilic sehool in England, liughy and AVellington not
excepted. Xay, more ; I know of noni- more per-
fectly adapted to its purpose, more completely ap-
pointed, or more worthily ei[uippeil. 'I'lic liuilding —
ilesigneil liy Mr. William Marshall, rharacteiistic in

Fia 3. AFTER A DEMONSTRATION

METROl'OLITAX SCHOOLS OF AET : HARP.OW SCHOOL

stylo, aiul H good exainpk-
of liitf- Victorian aiclii-
tccture — stands npon
the brow of Grove Hill,
next to the great Speech
Kooni. It contains one
large studio, forty feet
S(()iare and over thirty
feet high. It is divided
on the north si<le into
three sepanite studios by
long curtains and screens,
and each of tliese divi-
sions is lit by a large
window seventeen feet
high by nine feet wide.
These bay.< are used for
advanced dmwing ami
painting; the centre of
the riioni, receiving light
from all tlnee windows,
is used for class-teaching.
From a large upper gal-
leiy along the .south side,
kicked by sliding dooi-s,
tlie art master's studio,
an excellent room, is
reached. These details
are here given, as the
arrangement of such a
school is of high import-
ance ; and who knows
but that it may haply
come to the mind of one
of my readers to help his

lid

a signal service as that
whicli Mr. Yates Thomp-
son has rendered Hanow ?
The .system adopted
is at once intelligent an<l
eH'ective, and accordingly
appeals to the intcUi-
genceand the .syuipatliy of
the scholars. That other
conditions prevail in many
schools the readei- need
hardly be reminded — nay,
stippling for lireadth at
."^outh Kensington " was
at one time a standing
witticism much en-
jnyed by students of a
,« .^ r y>r M# \/^ BH w \ former day. Perhaps the

V^rVV; ^BL \ f^ K common-sense course

was the more necessary
at Harrow, inasmuch as
there, as at most public
schools, drawing is for the
greater numlier of pupils
not compulsory; in-
deed, only a certain pro-
portion of the Fourth
fijrms is obliged to take
drawing in class, singing
being taken as an alter-
native by the remainder.
Xot more than ninety
Itoys are in the compul-
sory classes, while aljout
sel 1 witii just such sixty fmin all other parts nf the school take up

.V/WaOH.

FcG. 4.-PEN-AND-INK DRAWING.

(8« G. L Watson, aged W.)

Fig. 5.-APPLICATI0N OF MARGUERITE TO CIRCULAR TILE.
{By C. H. Green, aged J5.)

Fig 6.— application OF MARGUERITE TO CIRCULAR TILE.
(«j F. Harrild, aged 14.)

THE ^r.VflAZIXR OF AT^T.

the stiuiy uf iirl Vdhmlarily us a speciiil sultject — u variety of ohjwts; cmiyiiig fi'Mu tlio Hal — usualh
these boys <,'iviiij; «ii> their leisure tiim- freely, e.aeli
Imviiif^ not less than two lessons a week, ami sonic
as many as four or live: licyond whicii nunilui
they cannot go.

The voluntary hoys conu' up in liatehc^s of frnm

on a (lifllerent seale — in order to cultivate firmness of
liiic^: Howcr- ami plant-drawina, eaeli lji>y havinj^ his

PlO 7. ADAPTATION OF THE PANSY TO A GIVEN SPACE.
<S» e VI. Swan, afed 14.)

two to ei^ht at a time, ami aie variously occiiiiieil.
while the siime suKJect is taken Wy the classes,
consisting of ahoul thiity hoys each. To liiese the
lesson is e.xplaineil from the platform vcrlially
anil by tlenionstratioii mi the blackboard, ami every
(hawing is criticised ami to .some extent corrected
in fortv minutes: and the next live minutes are

Fig. 8.-APPLICATI0N OF THE PANSY TO A GIVEN SPACE.

(Sj I. J. Wallis. nsitrl 15)

own separate specimens in a bottle hung to the front
rail of his desk. Klemeiitary design is also taught.

Figs 9, 10. DESIOI.o i oii BORDERS : THE FUCHSIA,
(fly D A. Nifjktingnle, agfd t6.)

occupied with preparations for the class following, generally based upon the ilowcr studies already made,

so that no time be wasted in class-teaching. aided by demonstrations on the blackboard. Draw-

Tlie subjects taken in class are freehand, from ing from memory is part of the course of study, the

METKoroLlTAN SCHOOLS OF AKT : HAKKoW SCHOOL.

object being fii-st shown to tlie class, its construction the attention of the boys and foices them to think,
explained, and its proportion and tlie direction of Plane geometry is also' taught in class — a u.seful

Fig. 11.- design FOUNDED ON THE COLUMBINE FOR TEXTILE OR WALL DECORATION.

(ffj IV. S. MtMcott, aged !7.)

its lines insisted upon. Tliis
demonstration lasts about five
minutes, and the boys have then
to draw the object from memory,
Ijeing allowed to look at it fur
one minute towards the end of
the le.«.son. During its e.xhibi-
tion no line is drawn : all pencils
are laid upon the desks. Then
the object is again withdrawn,
and the boys conect and finish
from memory.

" Dictated drawing " is an-
other subject in which consider-
able interest is taken. To cite
an elementary instance : the class
is told to draw two vertical lines
parallel and of equal height, and
two other parallel lines uniting
the bases and tops of the ver-
ticals. It is explained that these
two horizontal lines are the major
axes of ellipses: and, the length
of the minor axes being given,
the curves are drawn and tlie
result is a cylinder. Sucii dic-
tated drawing, especially when
more advanced, always secures

FiG. 12.— STUDY FROM LIFE
(PEN-AND-INK).

{By D, Ueinerlzhagen, aged 79,)

and highly Mppreeiated branch.
The private pupils proceed as in
ordinary art schooLs, excepting
tliat the hours which they can
spare from the regular school-
work are few enough. They
(haw and paint from casts, from
still-life groups and landscape,
and at original design. For por-
traiture they draw from them-
selves in mirroi-s, or from one
another. ]\Iodelling, macliine and
architectural drawing, and draw-
ing from flat copies and by
measurement, all come within
the range of the teaching.

The prevailing idea which
seems to govern the instruction
is — that systematic demonstra-
tion should be combined with
tliat elastic sort of guidance
nece.s.sary to the nursing of ori-
ginality or the respecting of
mental bias or indivi(hial taste
in the pupil; in the belief that
tlie best teaching is not so much
that which " puts in " ideas as
tliat which brings them out.

THE JrA(;AZIXE OF AKT.

Tlif art niastiTs— Mr. Him- and liis as-sisLant, l.oiiiid \\[> wilh ilie success .if <mi- natiuiial lliuutiiiL
Mr. (iilLcrt— (Iniw si.lc l.y side with llie Iwys, .so and inanufactuics, and that lainiliaiity with them
tliat finni the l.e-iimin- t.. tlie end uf a stu.ly the will nut l.e with.jiit later inlhience on lliose students

wiui, when they lake their
idaees in tlie world, may he-
eume interested in the evolu-
liiin of IJritish education and
of r.ritish tradi! in its nioredec-
orativi^ aspecLs, whether from
the point of \icw of the legis-
liiliir oi- of llic ]ii()diicer.

Ilaxin;,' watched the boys
in class and examined the
results of the training they
receive, I can hear witnes.s to
the value of the system and

I he i|iia]ily of the work.
Tastt^ is fostered, and oii.serva-
tion and indei)endence are eu-
coniai^cd as far as [wssible.

I I is plca.sant to see the in-
li]]it;-cnt lenilerin.ns of the
nhissi's of flowers placed hefore
cacli studcHt, liuti pleasanler
still to note with what in-
;4enuity and fecliii;,' these lads
proceed to a]'ply them, hy con-
ventional treatment, to purely
decorative purposes. 'J"he ex-
ani](les here chosen for illus-
I rat ion niii^ht no doubt have
licrn bcll-crcit liad a sterner
selection for the jjurpose been
exercised, but they demon-
strate fairly enough the system

anil its a\craL;e working. The vai'iation in the two
xcry youtliful adajilations of tlie marguerite ( Fig.s.
O and tt) alliinl an exanijile of tlie iniiependence of

Fig 13— study FROM LIFE (PEN-AND-INK)
(Bij 0. Ueinerlthmjcit, agfit 19.)

pu]jils may see clearly how the work may be done.
iSul lo every student there is allowed a certain
latitude in departing from the exact method em-

ployed liy the ma-sters, if tlu; desire, to do so indicates mind exercised, whether in resjiect to the treatment
original feeling on the impil's ]iart. ,\s little as
]io.ssible is done by the hand of the teacher on the
boy's own work, .save .sometimes when the pupil's
fLspu-ation ranges beyond the limits of liis ]iower.

I'>ut a wider view than is connnonly entertained
in public schools has been taken of juimary art
education and of art instruction generally. It has
recently been decided by the Headmaster, Jfr.
AVelldon, that in order tf) encourage the interest
and add to the kiiowh'dge of the studenl,s of art

subjects in general, lecturers on various Iminelies of advancenuuit is attained, and that .several among
art shall from time to time be invited to the art them .show strong tastes and peculiar juecision of
.sclio(jl to address the boys, the lectures, if po.-^sible,
to be illustrated by lantern-slides or demonstration ;
and it is pinposcd in due coui.se to vary these studies
with a practical grounding in certiiin of the art crafts.
?'or it is recogni-sed that these are more than ever

of the Mowers oi- the leaves. 1'iie ])ansies (Fig.s.
7 anil S) are not, ]ieiliaps, miieli nime advanced,
being the Work of boys who are still scarcely more
llian children. I'.iit in tiie treatment of fuchsias
as a border fur stencils or textiles (Figs. and id)
a great adxance is evident: and a design still more
ambitious by \V. S. Jledlicott, lia.sed upon the coliini-
liiiie, proves a considerable .sen.se of decoration.

It is only natural, ]ierhaps, that among the fifty
private pu]iils a higher average of merit and

manner. Of these a nund)er not unnaturally lind
tlieir favourite sketching subjects — especially for
Imliday tasks — in natural history. Kcjirescnlative
examples arc to be seen in Figs. I L', 1 1'., ami 14:
while Fi''. !."( is a serious studv thrown oil' at

METKoroLlTAX SClIUDLS ()F AIl'l

]iAi;i;()\v SCHOOL.

high speed by one of the cleverest pupils of the
school.

It must be borue in uiiiul tliat tiiuse boys arc
uot — as is the case in iiU
ordinary art classes — young
students who believe that
they have a "call" for art,
and who are working at
what they believe to be the
serious pursuit of their life.
They are probationers
rather, whose desire it is to
discover whether tlicy have
any talent at all, or at least
enough to justify tlieni in
lioping tiiat they may sonie'
day perhaps produce work
of some sort of merit ; but
well aware, meanwhile, that
failure, abject and profitless,
cannot by any means result
from so admirable a training,
and that, whatever liap^jens,
they will always be so much
to the good.

But the chief, the highest
value of this school, which
is, perhaps, liable to lie lost
sight of, is that its main

result will always be, not to teach the youth that
seeks its up-bringuig in Harrow to produce art,
but to understand and appreciate it. The great
trouble in England now and for centuries past —

greater tlie artist, as a rule, the less recognition
he finds among the people ; the greatest of all finds
too little employment if he Ije unfortunate, and, if

Fig.

Fig 15.— rapid STUDY FROM LIFE (PENCIL).

(By 0. Meinertzhagen, aged 79.)

little recognised because not most obvious — has
uot been the lack of artists, but the lack of a dis-
criminating public to appreciate those we had. The
90

14-STUDY FROM LIFE PEN-AND-INK\
(By C. Watioit, aged 16)

he be fortunate, too little appreciation outside the
narrow circle for whom and in which, he works.
Harrow Art School, then, is not only — or, at least,
not so much — an institution to educate boj's into
artists : it is rather to educate tliem to under-
stand artists and their work, to appreciate wliat
is finest and what is beautiful, and why it is fine
and beautiful. It teaches that art is not only a
".subject," but that it is a refinement, and that so
far as it is a subject it teaches to see and feel and
think and do. It is therefore clear why the new-
art school has awakened so much practical sym-
pathy and enthusiasm in headmaster, governors,
and all others whom it may concern, and why tlie
boys themselves regard the de\ elopment with ever-
increasing interest and respect. The matter appears
to me to be one of national importance, and in the
opinion of many likely henceforward to mark out
Harrow as the school beyond all others— j-te- ipsa
loriidttir — to which boys of artistic tendencies
shoidd be .sent. To be taught how^ to appreciate
Art and Nature is a boon infinitely greater thau the
old-st}'le idea of stereotyped instruction how to draw
" common objects " ; and that this is the aim, and
likely to be the achievement, of Mr. Egertou Hine
at Harrow School, it needs but a little observation
to discover.

THE QUEEN'S TREASURES OF ART.

DECORATIVE ART AT WINDSOR CASTLE : BOULLE-WORK.

By FREDERICK S ROBINSON.

\ (lur I'uiiiiLT ailicle on
IIk- funiiturc in the
slyli' (if I'xuilk' we al-
tri 1)11 ted the red-sliellud
examples to Dutch
eonlt'iiiiiovaries of tlie
great artist, anil sug-
gested that the little
eahinet woik-tahle on
eight legs whieh, from
the profusion of white
nietal and {iilniired Imrn eiiiiiloyed, is so eliariiiing
in colour, might he the work of Philippe I'oiton. It
is a matter for great regret that signatures of artists
upon the furniture of the end of the seventeenth
and first half of the eigliteenth centuries are so
excessively rare, even if they are to he found at all.
Not till ITol was tiie practice of stamping furniture
with the maker's mark, whieh was only commenced
under Louis XV, made compulsory. Then, hy some
evil fate, the same ordinance was not impoi^ed upon
the brass-founders and sculptors. So that, tlnough-
fiut the whole of the eighteenth century, we are
lucky if we can find an occasional signature upon
the ormoulu whieh was such an important adjunct
of finiiilure of every kind. Wc sh dl tind that tiicrc
is a pretty controversy which can never he definitely
settled, as to whether a " C " with a crown over it
is the signature of the celebrated Philippe Catlieri, or
merely the mark to denote that the objects on which
it is found were made in the Crown work.shop.s.

If it is impossible to state with aksolnte ceitainty
that a particular piece of furniture was the work of
Andre Charles P>onlle the elder, it is equally diliicult
satisfactorily to describe successive periods in the
development of his style. It seems to us, on the
whole, rather unnecessary to make the attcm])t. In
))rtinting, nature is said never to allord us the luxury
of a definite line to mark the contours of objects.
One mass melts into another, so that it is almost
impo.ssible to see exactly where one edge eniis and
another begins. We have seen that there is no
(ixeil date which we can jjut forward for the com-
mencement of the style of Louis XIV or the end of
that of lA)uis XV. Oiir logical, cut-aud-dried minds
are always hankering after these visible signs, which
scarcely exist. It is exactly the same in the case of
the style of Poulle. Any division must be but a
makeshift, as there is not miicii duubt that late in

life he employed his various manners concurrently
to suit tlie taste of his patrons.

It seems, however, certain that Houlle did not, at
the outset of his career, begin with the brass and
tortoi.seshell inlay with which his name is a.ssociated.
We have seen that he had po.ssibly a grandfather,
and certainly a father, who was an inlayer of wood
and gave him his first instruction. His earliest
royal connuissions were on the panjueting of the
floors of the jjalaccs. We find also, from the in-
ventory which he made after the destructive fire in
his workshops iu 1720, that Uiere were "five ea.ses
filled with different flowers, birds, animals, foliage,
and ornaments of wood, in all sorts of natural
colours, mostly made by the Sieur IJouUe the elder "
(Andre Charles Poulle's father) " in his youth. —
Twelve cases of all .sorts of rare coloured woods for
making inlaid furniture." These last were, no doubt,
not a legacy from his father, but the products of his
own workshops. As he reckoned the whole at 8,000
livrcs, it is probable that he regarded these un-
fiiiisliiil details as valualile for stock-in-trade: and
tliat at tlie end of his long life, as well as at the
begiiniing, he was making furniture in inlaid w'ood.
His first cabinets were of ebony inlaid with lines of
white metal, and with central panels of wo :d inlay.
Parrots and tulips in woolI, tinted and shaded, are
characteristic of his early style, which was, no doubt,
indtative of Dutch iiday. That he did not entirely
give up this manner in later life is proved by a tine
cabinet in the Jones collection (No. l,04o) most
typical of IJoulle. This piece, mounted with satyr
ma.sks with a fan shell or scallop ornament roniul
the head (wliich are exactly similar to those on the
cabinet with applitpie ornament and the secretaire
with a bronze relief of our illustration.s), has the
iipjicr part of its side-panels inlaid in wood inlay of
marked Dutch character. It may be noticed, as an
instance of unity of conception in the design, that
the satyr mask is repeated in the coloured wooils
with a iileasing elVect at once of resendilance and
dissindlarity. We have already attributed the
" William and Mary " cabinet, illustrated in our
former article, to the massive style of IJoulle, and it
will be remembered that in this, too, wood takes the
place of shell.

In middle life beseems to have abandoned Dutch
influences and followed, .says M. de Champeaux, by
means of inlaid brass and tortoiseshell ulonc, the

THE QUEEN'S TREASURES OF ART.

grandiose spirit of the compositions of Le Brun. To tlie grotesque style of Bcrain at all, and bears a

tliis phase belong tlie examples with large ormoulu much closer resemblance to that of the " William

figures and sweeping curves which are illustrated and Mary " cabinet. The close resemblance of its

by most of the reproductions in this article. curved tripod to tho.se of the silver pair may, por-

Lator still he may liave adopted tlie more fan- liaps, be taken as a sign that there is not luHch

BOULLE-WORK TABLE AND SILVER TRIPODS

tastic style of Berain, and strewn his grotesques and
comic or mythological figures upon a field of shell,
touched witli ditterent colours, in combination with
white metal.

The beautiful little work-table with folding flaps,
photographed between two silver tripods of Charles
II, is in the most elegant style of Boulle work in tlie
natural colour of the shell. There is a large ad-
mixture of white metal, which should place it in
the third of M. de Champeaux's periods, were it not
that the delicately waving scroll pattern is not in

difference in date l)etwcen the three. Tliese .■silver
tripods have the monogram of Charles II, which
would give them a date before 1(JS.5, and there is
no reason why we should not, in spite of the white
metal — which, by the way, is found as far back as
16.5.3, at least, in furniture of Cardinal JIazarin —
attribute this lieautiful little table to the second
period of Boulle. This was the time when lie was
making the " conunodes en tombeau " — such as that
now in the Bibliotheque Mazarine, which M. de
Champeaux (" Le I\Ieuble," Fig. 14, Vol. II) takes as

THE MAfJAZIXK OF ART.

of genuine work of Boulle
to nuHleni repetitions. The
Boulle furniture in the
I/Hivre has suOV-rpil fr<uii
restoration in a terrible tle-
gree. King I>onis Philijipe
was a dreadful sinner in
this respect. He did not
hesitate III make two pieces
of fuinitine out r'f one liy
separating tlie njiper pari
of fi eahinet from the lower,
and putting both pieces
npiin entiicly new ba.ses.
\(\v plinths, ni'W spiral
jiiiiiiliil feel, new staring
while iiiarliie ti>p slalis,
were anmngst his minor
altera tion.s.

The best large examples
at Windsor are four ini-
porhmt ealiinets in the Cor-
ridor. Two of these are tall
" arnioire.s," similar to the
IVrain one (Xo. l,Ol'()) of
Ihe .liincs eollcctiiMi. A ri -
tile type of lliadle's tinest work — and also tho.se pimluction of one was slmwn in mu' last article on
sarcojihagu.s-shaped marriage chests for the apart- I'.nullc. It has nrnmulii ninunls representing Apollo
nients of the (liaud Itanphin, which fninicd scune :iiiil li;i|ilnie ;ind .Vpnlhi ami Mar-sya-s. The pede.s-
of the chief treasures ("Le :\leublc," Fig. 12, Vol. If) i.ijs mi whjeh these lignres .stand have a ground of
of the San Doiiato collection. It is interesting to blue horn inlaid with brass. The inlay is " h'rst
note that the single standard of onr little w<irk-lable ]iarl," and veiy linely engraved. The side panels
resembles in its .s.piare terminal shape the legs of are not one whit inferior to the front in this respect,
the coiLSole of the San Doiiato coft'ei, and that the and are ilecorateil with oinioiilu figures <if Yontli

BOULLE CUPBOARD WITH APPLIQUE EMBLEMS.

inlaid ornament on the legs of the two is e.\trenicly
sindlar. The jliur-ili-iia lepeated once or twice
might almost prove that this beautiful little work-
table was -made for the Dauphin's biiile, i|, is
admirably constructed, inlaid, and cngiaved, and
most hainionious in cfilour.

S]iciiking of the Windsor collciiion, M. de
Champcanx <leplores the reno\alions which have
taken ]i!ace. Such renewals are unavoidable, but it
is better to preserve by their means the central
panel of an undoubted ]iiccc of ISonllc of line (piality
than to allow the whole to be made away with.
'i'here was illnstialed in our introductoiy article a
long cabinet wilii two glass doors, which supports
two white Dresden va.ses and an elaboiatc ormotdii
candelabrum. Tiie centre ]iancl of this is superb,
but the rest of the eahinet has been built round il.
The ormouln coriu-r and keyhole ornaments, the
hitter showing two cock's heads facing each oihei.
are slock ])atterns, .scattered itroadcast. 'J'he exe-
culion of the newer parts of tiiis " vitrine " give us
an excellent object-le.sson in the striking superiority

on one side and Age warming itself at a lire on
the oilier. The small uiijier and lower panels of
the front ha\e while metal in tlicni, which is not
the case with the companion armoii'c. 1'his latter
— which, on account of its posilion, could not be
adeipiately re]iroduced — has a thinner and more
wispy design of brass inlay There are two large
o\al i-cliefs in oiuioulu repicsenting mythological
subjcets, and I lie hinges and keyhole ornaments
are very linely and sharply chiselled. On (vuh
side, panel is a liguie — the one of l''loi'a, the other
of Ceres. The Duke of "Westminster has, we be-
lieve, two siniil,-ir tall cabinets to these: while
thci-e is yet a third at ^\'indsor with a glass front
and some line inlay.

.\notber of our illustrations re|)rescnls a wall
eu|iboard with " ap]ilii|ni' " ornaments of (uniouhi
repiescnting ini[ilemeiits of the eha.se and agri-
eullnre, pistols, oars, and lishing-nets, sii]ieriniposed
upon an elaliorate and very line design of black
iioulle. This is also one of a ]iair, and is in " tirst
part." The Hying cupids in ormoulu which make a

THE QUEEN'S TREASURES OF ART.

feature of the upper end of tlie two iloor-paiiels, the to tlicse, wliieli were in tlie Tuileiies. Bonlle had
cockleshell ornaments of the locks, and some of the executed a commission for this palace of fourteen
" applique " emblems, are found repeated on a tall pieces of furniture adorned with these figures of

armoire which is in the Louvre, and is figured (Fig.
IG, Vol. II) liy M. de Champeaux. There seems,
at first, sometliing quite irresponsible in the manner
in wliich the emblem.? are placed over an elaliorate
scroll-work design. It will be found, howe\er, that
the effect of UouUe furniture is very carefully con-
sidered. The Dutch tulip and carnation wood inlay
is rather striking tlian restrained. The flowers
scattered all over a piece of furniture prevent the
eye from considering tlie outline of the piece. This
is a mistake in art. Xo such accusation can be
made against tlie inlay designs of Ronlle's work.
They are extremely elaboiate; tliere is an endless
involution of their wispy curves, besprinkled willi
vases, birds, and beasts: but the LmiisXIN' designer
never loses sight of the importance of the general
eflect. The actual .shell and lirass inlaid work is
kept as a quiet ground. The finely gilt niDunt.-
emphasise the general shape, and are the lirsi things
to attract the eye. The skill witii which in this
cabinet tlie curves of tlie ground are made to
enuuiate from and condiine witli lliose of tlie ap-
plied ormoulii mouldings is a puinl to be noticed.

The illuslrati(jn ui)on
this page re])reseiits a very
typical piece. It is one
of a pair adorned with
large figures in relief of
"Religion" and " Sages.se,"
and also witli ormoulu
gailaiids wliirli serve as
settings fur medals com-
memorative of the vic-
tories of Louis XIX. The
medals bear such legends
as " Victoria comes Fran-
corum, 1697," " Francorum
exercitus ad Rhenum Ter
Victor," " Confecto Bello
Piratico, 1684." The.se
pieces are more suggestive
of BouUe's own woik in
design than in execution.
They have not the fine
engraving which is chai'ac-
teristic of the best period
of Louis XIV. Great in-
terest, nevertheless, at-
taches to these " medal "
cabinets. The Garde
Meuble Xational de France
pos.sesses ten cupboards
with double doors similar

Religion and Wisdom, wliieh were supposed to in-
sjjire the actions of the great Louis. Upon them
were fixed, as seen in tlie I'eproductioii, the medals
fur which tlie "Academy of iiLseriptions " had Cdiii-
posed tile legends. Baron J lavillier has found
a document wliich establishes the fact that this
series of furniture was repeated in the reign of
Louis X\'l by the well-known cabinet-maker,
Montigiiy, In replace the originals, which were
worn out. ^lost of the ten belonging to the Ganle
Meuble ha\'e the stamp of Jlontigny on them,
and the rest that of G. Jacob, an equally famous
maker, whose successor, Jacob " Desmalter," became
the noted furniture-maker of the period of the
emiiire and later. " Four other cabinets," adds M.
de L'liampeaux, " are to be found in private collec-
tions. We have already mentioned tliose similar
ones belonging to the (j)ueini of England. I'xiulli',
moreover, often reproduced this design." Although
we did not have the chance of disco\ering the name
of ilontigny stamped upon the Windsor exauqilcs
there would seem to Ijc nnt much doubt that they
are Montigny's repnjduelioiis of the original wiak

BOULLE CUPBOARD WITH FIGURES OF RELIGION AND WISDOM.

THK :\IA(;.\ZIXK OF AIIT.

of Bonlle. While admitting thsit tliey are some-
what inferior in workmanship to the other four
cabinets in the Corridor, tliey cannot hut be interest-
ing as good reproductions of a known series of
l!(jullc's furniture, and valuable in themselves as
works of the jieriod of Louis X\'I and by the liainl
of the well-known maker who was eonnnissjoiied to
make these reproductions.

The commode witli four drawers has a very
handsome front design of red shell inlaid upon brass,
wliich is similar in pattern to that on one in tiie
]ialaee of Fonlainebleau (Fig. 2Ci, Vol. If, " I.e
Meiible"). This piece was " purcha.sed by l^uid
liavenswortii for His Majesty CJeorge IV in 18S0,"
as a label on tlie back informs us. It has a superb
top slab, finely engraved. Tiie sides are also very
line; but the from, in "second pari," is lianlly
eepial to the rest.

Tiie secretiiire upon I'our .sliml legs, bciidly
mounted with massive ormoulu leaf ornaments, is
anotlier handsome piece of furniture, nearly five feet
iiigh, as to liie atlributiiiii nf which il is iinpnssible
to speak with certainty. The bronze relief on llie
falling front represents infant huiiler.s. The ciiasiiig
of the leg mounts is very tine. Mounts e.xat-tly
similar to the.se, including the mask of a satyr witli
scalloped head ornament, are found on a commode of
one drawer described as "en forme de tond)eau" by JI.
Jlenry Havard, iu his little liook on " L'Kbcnisterie,"
lail lie omits to mention where tlie piece is to l)e
found. He attriliutes it to Bonlle, but there .seems
a probability tiiat it is a rather later specimen,
jieihaps by Cres.sent, who, witli Oeben, was one of
lioidle's most succcssfid pujiils. Tliere is a com-
mode by C'ressent, with remarkably similar acantlnis
mounts on the legs, which points to this conclusion.
We have noted before that the satyr mask is found
again upon the cabinet with ap])liiine ornaments.
It should be said tiiat the maker of the catalogue of
tiie South Kensington Special Exhibition in 18G2
describes it as "probably one of the finest woiks of
Ciiarles Andre Boulle."

It nuiy easily be inferred that it was impossible
for Boidle to have executed himself a tithe of the
work whicii was produced under ids name. He was
obliged, therefore, after making the general designs
of ids furniture, to apply to other artists for the
completion of details. F'or ins ormoulu mounts —
winch are large in treatment, as a rule, and not .so
lhini( king as those of tlie latter )iart of the eighl-
eenth century — lie employed i>omi'nico Cucci,
another of those clever fonugneis wiio were located
at the (io)ielilis. I'ut although he eliildoyed the
collaboration of others, tliere is no ilouijt that, excci>t
in the cn.ses where, jjcrliaps, the king directed lierain
to supply the design, he kept the general directinn

of the work to himself. A versatile genius, who
excelled in various branches of invention and exe-
cution, he was able to impress his ideas upon his
collaborators and attain, in his particular style,
results beyond anything before accomplislied.

'I'liere has so far been little but jiraise for lioulle.
It is only just to point out the defects of his new
style of French furniture. These, to onr mind, are
largely theoretical. M. Havard describes threj
phases in the history of the art of furniture. Medi-
a\al liirnitiire, he says, commenced by being made
iu a cumbersome manner of thick, .solid planks
pegged together without any attempt at ornament-
ation (such as carving) arising logically from tiie
construction or material of the object. The chest of
the tliirteeiitli century was dejiendent for its beauty
uiHiu iiun hinges exaggerated to a large size, and
jiainted canvas afterwards applied. In other words,
when the patron retpiired a chest (and there was
very little other furniture then used), the joiner
fastened jilain boards clumsily together and then
handed it im to the artist, who painli'd hi.s design
on eiuivas. This was spread over the rough wood,
;ind, with the adilition of the ornamental ironwork,
the structure, if smh it might lie called, was
cdmplele.

Next, with the lieiiaissauce, came the application
of architectural ideas. Extraneous painting upon
canvas was gradually given up, and ciilniir ceased to
l)u the main means of ornament. The sides of a
chest were no haiger solid Iioards jioorly pegged
together. A science of construction intervened by
means of which a framework' (" ossat lire ") was first
made, inln wliii-li |i;incls were litteil, " jmur bdiieher
Ics vides," as M. Havard .'lays. \'u\\y skeleton
framework was filletl in with ])anelliiig to cover
the sipiare holes between the pilasters and stiles.
(Ireater strength by means of better joints, and at
the same tim(> lightness, was thus attained. Orna-
ment is derived from carving the woodwork, and the
sim])lo oak chest, with moderate carving on its
panids and stiles, and, perliaps, the linen-fold jiattern
to enhance them, is the most logical type of furni-
ture ever made. I'ut the sculptor steps in and
adds heavy mouldings ;ind figures, till we get the
ponderous dressers and cabinets of the fifteenth and
sixteenth centuries, which yet are logically orna-
mental, not mere boxes with ornament a])plied. At
the .same time, people begin to miss the colour of the
old Jiainted furniture, and have recourse to rich-lined
hangings to deck out the ]dain oak or other wood.

Wood-carving can no fin I her go. Some new
start must, be made, but what shall it be !

The intiodiictinii nf exulic woods has suggested
the new iiiaiiiier, may be. Why iinl, by inlaying,
let the variiiiis cdIduis of these woods lake the place

THE (,)rKKNS TKEASURES OF ART.

of the adtled hues of daiuask and Uipestiies ? So be
it. But gradually it is found tlmt inlay requires
Hatter, less broken surfaces, than those of the heavy
Renaissance furniture, iloreover, exotic woods are
rare and small in size ; they cainiot be carved in
the solid. So, by a swing of the pendiduni, though
there is no return to the solid boards of tlie Middle

ornauienl from the uiaLeiial. The decoration is even
purposely made in another material, namely metal.
At this point we come back to Boulle, and find
that he is one of the greatest and most splendid
sinners in this matter of illogical shape and orna-
ment. He will make you a chest shaped like a
sarcophagus which sliould open at the top with a

BOULLE COMMODE.

Ages, it is found that a simple flat surface of panels
and plain stiles is best adapted to show oft' inlay.
So variety of profile becomes of less importance, and
inlay — i.e. added or superimposed ornament not
logically emanating from the construction or the
material of the chest or cabinet, as the case may be —
becomes of highest consequence. Fashion has thus
swung back almost, but not quite (for it preserves
panels and stile construction well mortised and
tenoned), to the mediceval times, when ornament
was a thing apart, put on by someone — viz. the
painter — other than the joiner who made the
cabinet. But at this time of day ornament added
thus is .so skilfully made and so rich in material
that it completely ousts all ideas of logical de-
pendence on architecture or derivation of the

lid ; but, beliold ' it has drawers in the side made to
tit its bulging shapes! Again, he will build you
an irreproachable cabinet, and its lower doors, with
all the appearance of being real, are merely sham.
Hence he incurs the accusation of having been a
maker of " meubles d'apparat," or show furniture.

There is, no doubt, ground for this condemnation,
both by reason of the shapes of his furniture and tlie
delicacy of its external ornament. To its want of
dependence upon architectural form we do not
attach much importance, while agreeing that an
occasional sham door, or a tomb-shaped chest with
unexpected drawers at the side, is a not altogether
welcome surprise. There is no doubt that, on the
other hand, Boulle made much furniture — such as
the little work-table here illustrated — which was

.-^2

TH1«: MAGAZINE OF ART.

L'liiiiiciilly lit I'ur service. His veneer was so good busts, emerges from slmde into liglit, is liiirniuiiioiis
tlmt it wouKl, and does still, stiind a great deal of to a degree. It is adniiniljly adapted to sliow oft
wear and tear. Tlio aecusation tliat his works the colour of fine porcelain or Japanese lacquer, for
are merely "nieubles d'apparat" .seems to us to be which it lias a pronounced affinity,
carried too far. 'l'l,o charactfrislics of lioulle's style have been

As In his merits, we entirely agree willi M. .Icsc i iheil as ivinciiig .sobriety combined with rich-
ness, a line arrangement
I if lines, proportion, and,
lastly, extreme care in
details. Mariette a.sserts
that Uoidle condiined taste
willi solidity, and that his
line furniture is as intact
alter one inuulred years of
usiige as when it left his
hands. As.selineau, writing
later, says that it is still
so, afti'r aliuost two cen-
tuiies ; and this is hardly
beyond the tiutli. AViien
one considers tlie nnndjcr
of skilled workmen who
must have been employed
on tills furniture, the cost
i>{ it at tlie time and
the ]iiices now paid for
uiiiuiue speciimens arc
butli Justilicd. * The de-
signer, tlic j'liincr, tlie
sciilptoi-, the bra.ss-founder,
the iiilayer, the engraver,
and nther intelligent as-
sistants, had to co-operate
for the production of a
single piece. The vogue of
I'm mile has lasted straight
1)11 into the nineteenth
century. JI. "W'illiam.son
attributes its lasting
populavily tn the nnbh'.
ness of ils lines, wliirh
lla\ard: — " Kntre ce qn'on salt de la cour de Vii- were due to the inspiration of ^lansart, Le Ihuii,
sailles et les meubles de lioulle, il y a en ellet iiiu' and Herain : to the richness of its material; to
correlation ab.solue ; ceux-ci sont la panne iiaturelle tlie faiiiy, varicly, and sure taste of its ornament-
de celle-la, et les chefs-d'cenvre enfantes par le grand atioii : and, lastly, to the thorough coiiscieutiousne.ss
artiste .sont restes I'expression niobilieie la plus of its original wtakiiiauship. As a comment on this
complete de la snmi)tuosili' de Louis X I V." It is hist, we may end wilii a (piotation from Anguste
nol easy to imagine anything more suited for the l.ucliat: "Nowadays I know of a inanuraetory of
decoration of the great galleries and c<prridors of lloiillc work in wiiicii the shell (made of gelatine),
palaces than the .style of Uniillc II altiarts ImiIIi the lioin. tlie iirail, tlie ivory, all are false. Ebony
by its line tinish and the eoiitrast of the glittering has been given up in favour of dyed pear-wood,
orniiMilu mtanits in relief upon the .sombre shell, lieeause ebony is not supposed to take variii.sh well.
IJy light of lamp or candle it is at its best; but by r.i,iili<' had no need to varnish his work. Now," he
day at Windsor in the Corridor the elVect, as the adds, " is the day of rubbish (/(( raiinlutt) and work
series of lioulle cabinets. Hanked by line bronze wit laait inlellii'ence and without good faith,"

SECRETAIRE WITH BRONZE-RELIEVO PANEL

THE PLAIN OF ATTICA. LOOKING TOWARDS SALAMIS.

SKETCHES OF GREEK LANDSCAPE AND ANCIENT
GREEK ARCHITECTURE.

By ALFRED HIGGINS. ILLUSTRATED EY JOHN FULLEYLOVE. R.I.

IN every l>runcli uf ait we timl lliat the woik.s of
the greatest masters, ami llie noblest tyj)es of
beauty, remiire a certain amount of traiiiiii;^ fur
their due appreciation, even by
those who have fine artistic
iustiucts ; and this is no less
true of natural scenery than it
is of works of art. It applies
as truly to Cireek landscape as
to Greek sculpture or archi-
tecture. A strong feeling for
beauty of line and for pure
and bright colour is also an
indispensable requisite for the
full enjoyment of the scenery of
Greece. It is eminently neces-
sary, therefore, for a painter
who studies Greek landscape
that he shall be not only a
good colourist but also an ac-
curate and fine draughtsman.
Whatever may be the merits
of the blottesque and sunless-
grey schools, tlieir professors
may safely lie warned off such
a land of definite forms and
bright colour. There could,
however, be no greater mistake
than to suppose that in Greece,
or in the similar climate of
91

Sicily, tlic fiiinis
degree hard bet
dcHned. lu liiost-

' ' ' jr- -^>

Caioatids- jk

C *tKWU^KYj^(a f

of the huuLscape are in tlie least
ause they are clear and well
countries, as also in Egypt, at
all events in the cool season,
notwithstanding that minute
details are seen an enormous
way off, nothing can exceed the
I'efiuement of the modelling of
distant mouutains or the soft-
ness of the delicately coloured
shadows.

From wiiatever side the
traveller approaches Greece, he
will be almost sure to obtain
a foretaste of the magniticence
of the scenery of the country
before he actually lands. If
he should happen to go by the
convenient direct route from
Marseilles, and should have the
good fortune to be coasting the
Peloponnesus just after stormy
weather in spring, when the
sea is mightily swollen and
seems to consist of immense
floes of half-molten glass, sap-
phire in colour and laced with
sil\-er foam, he may see range
after range of lofty mountains
of the most striking and varied

THK MACAZIXK OF AltT.

form; sonic of them luilliaiitly wliiu- or yillow,
anil others elolheil willi an intensely rieii, inii>iil-
pcible purple, which can only be compared with
the most ilelicute bloom on a dccp-colotired plum.
It nnist not be assumed that the romantic ami
imjiosing coast of the Peloi)(>nnesns often presents
itself under such a sjilendid aspect as T have just
attempted to snf;<j;est. Kre(|uently, no dnubt, a

especially in tiie neii;hlj(jnrhood of Megalopolis, are
often extremely tine.

After turning his back on the snow-clad range of
]\I(iunt I'arnon, which he will have had upon his left
hand fur some hours, the traveller driving from Trip-
olilza to Sparta soon begins to descend into a wide
valley, whose upper slopes are covered with bays,
and the lower with olives and oleanders. Iteachinj;

STREET OF TOMBS, ATHENS.

visit to the finest parts of^he inleiinr of the eoiuitry
will first give an adeijuate idea of the real character
of the scenery. If the visitor lands at Nauplia,
under the lofty castle-crowned clitls of I'alamidi, he
entens almost innnediately upon the Argive Plain,
with the famous and most striking sites of Tiryns,
Myceuie, and Argos within easy distance. Tiienee
by a mountain railway, hanlly less interesting liian
tlie St. (lolhard it.self, he may be carried as far as
Tripolitza, in the centre of Arcadia. The upland
jdain of Arcadia, ringed round on all sides l)y high
mountains, owes its fame to its complete seclusion
and the simplicity of the life of its inhaliilants.
In beauty it camiol be compared with tlie valleys
which radiate from it; and yet it comes as a jileasanl
contrast after the richer and more Southern type
of .scenery in Argolis : and liie mount. lin fnims,

tile bolloiii of llie valley, lie passes llirough groves
of white poplars — perhaps with their delicate yellow
spring foliage just fully out — and he almost imme-
diately cro.sses the clear, shallow, pleasantly rippling
river Eurotas, in full sight of the imposing chain of
Mount Taygetus with its sununits (the loftiest 7,900
feet high) sharp-edged, in spite of their covering of
snow, and its lower langes of strange eleidiantine
form and curious mouse-like coloui'. Except by
liie river, the valley is filled for the most part with
olive trees, far deeper au<l ridier in colour than
those familiar to many of us in Italy and the South
of France ; but round the village-like town of New
Sparta there are orange gardens, which .sometimes
maki^ the air oi)prcssive with tlie over]>owering scent
of their bIo.s.s()ms.

I ba\e not the space in wbieli to dwell ujion

I-

THE MAOAZIXK OF AT^T.

THE PARTHENON. FROM THE PROPYL/tA : EARLY MORNING.

the gianik'ur of the views seen by tlie travelli'r
wlio cr<is.ses Taygelu.s by the I^nngada pass to
Kiilauiata ami so on to the monastery of Vourkano
on Mount Illionie in Mcssenia : anil I nnist foibear
ti de.scrihe the further route by An.lril/.ena, the
nioiuitain temple of Apollo at Basste, the wonder-
fully situated mediaval castle of Karyt;enu, and
even the beautiful valley of the Alpheios, with the
excavations at Olympia and the niu.seum containing
the noble pudimental sculptures of the great temple
of Zeus and the marble Ifermes by the hand of
I'raxiteles liim.self.

At Olympia we reach the railway once more ;
and a few lionrs' journey, through vineyards first
and then throngii forests of oak, lirings \)s to Talias,
where we are in sight of Zante, Cephallenia, and
Ithaca, and may hope to have the good luck of
seeing lhe.se fannais islands bathed in the goj.lcn
light of a brilliant sunset.

Words woidd entirely fail to convey any notion
of the astonishing and varictl beauty of both sides
of the Gulfs of I'atras and Corinth, whicii are usually
seen but too hurriedly by travellers passing, either
bv train or by steamer, from I'atras to tile I'iraus.
We sholdil do well to stop, if possible, for a day ol
two at Itia.and visit the plain of (irrlia and the site
of the Uelii'iic oiade on tlie moin:tain-slope liclow
I'arna.'^su.s. A whole gallery of diawings would be
reipiiied to give anyone who jisus never seen the
place any iili-a of the surroundings of Delphi. The

p\ibli.shed descriptions and piints are, for the most
part, entirely misleading. The illustration on p. 38,
from a drawing by !Mr. Fulleylove, who recently
visited Greece for the purpose of making sketches
and studies of Greek landscape and architettui-e,
will indicate in a general way — so far as a dis-
tant view can do so — tlie position of Delphi with
regard to the plain below-, near Iteji, and Mount
rarnassus above, lint, in order to understand tlie
arti.'^t's intention and liie .scale of the illustration, we
nnist remember that the snowy niasfe of Tarnassus,
in the distance, rises to a height of more tiiaii S.OOO
feet, and that l)elphi itself is over 2,000 feet above
the sea-level. We see the site of Chryso (the ancient
Kiis.sa) and also that of the new village of l>elphi,
on tiie sloping ground conneiting the mountain to
the left Willi the dark hill in the centre of the
ihawing. This hill lies on the left {i.e., our right-
li.ind side) of the opening of the valley of the
rieistos; an! above it we can make out the en-
trance to the gorge through which tlows the water
of the t'astalian spring between cliffs n.scemling
almost vertically to a hcigiit apparently of many
hundred feet.

The illuslralioii can, unfoi tunately, give no
suggestion of the extraordinarily line colour of the
laiiiiscaiie, the dark rich green of the olives, or the
warm red of the soil. We mi.ss, loo, the colour of
the mighty rocks, red also, but relieved by a warm
grey where they have been exposed to the action of

SKETCHES OF GREEK LANDSCAPE AND AXCIENT GEEEK ARCHITECTUEE.

the air for ages. The iniposhig character of tlie
scenery of Pelplii depends not only on the colossal
cliffs behind and iu front of it, or on the grand
nionntain valley to the eastward, but also on the
superb prospect to the west, with the top of Kiona,
8,000 feet high, in view above and a glimpse of the
pale blue of the bay of Itea below. To the south,
.•iLso, the blue and white of the niountaius of the
IV'loponnesus are visible and are delightful in colour,
even when — owing to the aUsence of bright sunshine
— they do not tell wilh full effect. It would be beside
my purpose to dwell upon the intensely interesting
discoveries recently made at Delphi by the French
School of Archeology. Although no single drum of
a cohunn or other stone of the superstructure of
the temple of Apollo remains in situ, the elaborate
substructures required for a large building erected
on a siiarply sloping mountain-side, and also the
wall of the .sacred enclosure (temeiios), covered ^vitll
inscriptions, are intact. Enough also remains of
the adjacent treasure-houses, altars, aud votive
offerings to enable us to picture to ourselves some-
tliiiig of the general aspect iu ancient times of the
most famous of the sanctuaries of tlie Greek world.

It is deeply to be regi-etted that the enchanting
scenery of the Gulf of Corinth was unknown to
Turner, who of all the painters who ever lived could
best have done something like justice to the infinite
beauty of its ever-varying colour. "We most of us,
perhaps, picture it to ourselves witli a hard dark
blue sky overhead, whose monotony would soon pall
upon us ; but such skies are not found in Greece,
where the constant changes of temperature, due to
the nearness of lofty mountains to the sea, produce
in the finest weather filmy clouds aud fine wisps
aud bars of white vapour, which give beauty and
x'ariety to the sky, and consequently to the sea.

When we are sailing in the Gulf of Corinth, \\ ith
Pariuissus and Helikon or the mountains of the
Peloponnesus iu view, it seems to us that nothing
can match the loveliness of that enchanted region :
but we find out that there is a beauty even greater
tlian tliis when we become familiar with tlie land-
scape of Attica. The colonr may nut be so rich, but
it is even yet more delicate; and the refinement of
the lines of nionntain and plain exceed all that we
find in Greece elsewhere. Tlie illustration at the
head of tliis article sliows a bit of tlie seaward end

THE ACROPOLIS FROM THE PHILOPAPPUS HILL.

■AS

THE ^rA(;AZIXK of apt.

(if the Attic plain, looking towards Salninis. Over siunniit lie can clearly make out the remains of the

the long stretch of olive-grove.s in the valley of the most iierfeet building ever erected by the hand of

Keiihissus is seen, to the extreme rigbl, the end of man— the rarllicHdn, ni- triii]ilc i.f the virgin goddess

the range of Jlount -Kgaleus, connected liy low hills Athene.

with the promontory, far to the ji'fi, on which stands Terribly marred and ruined as that building is

the town of I'ira'us. Uliniiises of tin- Culf of Athens by lime, and still ueiiv by viojemi' sulVered at the

DELPHI AND PARNASSUS. FROM ITEA.

are visible, and over iheni apiiear Ibe island of. Siilimiis liaiid (if man, we are slill able lo rmiii sunie con-
and .some distant mountains of the i'ilniionnesu.s. ception of tlie elleet it pi-.tdueeil as a eonsiiicuous.

The master-mind of .such a writer as Sir AValter and, indeed, the most cousiiicuous, feature of the
Scott, who describes .so well in " The Heart of jMid- landscape in the inuuediate neighbourhood of .\thens
lolhian" the intricate topography of the coiiuiry when ibc liiniile was tirst eomjileted, more than
round Kdinlairgh, could alone convey by words any twenly-tbree centuries ago. From certain jioints of
conception of the wonderful e.aiiple.xity of the ini-
iiosin" asscmhlaw of incinnlains and rocky heighls
surrounding Athens; a ccaiiplexily (|uite liewildering
to the vi.sitor on his lirsl arrival oil' the I'iraiis. •■inxioiis
to identify at least the main features of mir uf ib.-
niiwt famous scenes of the world's histoiy. He somi,
howevei', li'arns to recognise the real centre of the
landscape in a steep-.sidcd, rocky hill, some five pediment remains to give the general I'.irm ,if tiial
miles inland and about I'tlO ferl iiigh, uimn whose most iniinirlanl feature; and if, owing lo the great

\ irw on the iiills near the Acropolis the terrilile gap
wliiib was iiiadr in the outer circuit of enbimns
whrn I be Turkish maga/ine was cNplodi'd liy a
\'ciii'liaii shell ill lii.ST, may almost. ]»■ n\i'il"okei|
ami till' tiiiilili- br mtii as a \\li"lr uiire more. To
a \cry large extent ibis I'lVcil drpnids ii]iiiii liie
forlmiate circumstance thai eiicnigh of ihc vMstcru

'^?'

The OFFERlNCi
{From a Water-Coiour Oruwing t3y Sir Edwara J Poynter PR. A.)

■THE OFFEP.ING."

fissures in some uf the marbles of Uie western arelii-
trave, the superstructure shouKl collapse, tlie loss
would be most Jeplorable. But lliis source of danger
is well known to responsible persons, who are doing
their best to guard against it. There is, in my opinion,
no good reason for the alarm which has recently
Iweu raised in the Tiring newspaper on this sulijett.

The illustnition on p. 37, which is a \ iew taken
from the neighbouring I'hilopappus hill, shows
very admirably how the rarthenon is poised, as it
were, higli in air, visible to its full extent from all
sides, and in the very centre of the landscape. The
distant mountain to the right, witli a slope recalling
the outline of the pediment of a Greek temple, is
Pentelikon, from who.se quarries came the marble of
the Parthenon and other public buildings of Athens.
In front of it is seen the fine mass of Lycabettus,
over 900 feet high, wliich lie.s on the north-east
outskirts of the modern city. Another and more
distant view of the Parthenon — that is to say, from
the north-west instead of fiom tlie south-west — is
given in the illustration on p. 34. It has in the
foreground an interesting series of sepulclnal monu-
ments, cliiefiy of the fourth century B.C., from the
street of tombs outside tlie Ceramicus.

In the illustration on p. 30 we get a near view of
the Parthenon taken from underneath the Propyhea,
the splendid luarble gateway leading to the sacred
enclosure of the Acropolis, and dating from the
later part of the fifth century B.C. Of this gateway
nothing is here visible except the lowest drum of
a column in the right-hand corner. Within the
line of the eight columns of the temple facing us

is seen the inner row supporting the western frieze,
a thing of indescribable and inexhaustible beauty
when studied in sifii ; yet some poor tasteless
archaeologist not long since actually proposed to
take it down and stow it away in a museum, where
it would be a dead thing, hanlly of more value than
a good set of casts.

An interesting feature of Mr. Fulleylove's faithful
drawing is the way it sliows the extraordinary
extent to wliich tlie live rock of tlie Acropolis lias
been cut away to serve as a backing and support
to the wall of the sacred precinct of Brauroiiiaii
Artemis. In fact, the original water-colour, from
which the illustration has been redrawn, is of first-
rate importance, not only for its rare and beautiful
colour, but also un account of the absolute faithful-
ness with wliich not merely the Parthenon itself
but also its exact relation to its site is rendered.

There is another temple in Athen.s, almost
comtemporary with, and in a far better state of
preservation than, the Parthenon — the well-known
Tiieseum, or temple of Theseus. A good represen-
tation of it, from a fine point of view, is given in
the full-page illustration on p. 3-5. It show.s, I
think, how admirably the simple form of the
Greek temple is adapted to its native .soil; but
the immediate site is really immeasurably inferior
to that of the Parthenon ; and the temple itself,
though built of fine Peiitelic marble, and not
wanting in the extreme refinements of constructive
skill, to whicii the Parthenon owes so much of its
beauty, cannot for one moment be compared with
the masterpiece of Ictinos and Phidias.

^-» >^»» O » g n; t-

THE OFFERING."

By SIR EDWARD POYNTER. P.RA.

THLS reproduction of the charming drawing exe-
cuted last year by the President of the Eoyal
Academv has been made, not on artistic mounds
alone, but in order that we may show the exact
point to which what is known as the " three-colour
proce.ss " has developed. Xot quite a year has
passed since we demonstrated in a startlingly
truthful representation of " Hadrian's A'illa," by
AVilson, in the National Gallerv, the hiirhest desn-ee
of excellence which this wonderful process had
attained. But the qualities of oil pauit, its texture
and surface, as well as colour, are much easier
of reproduction than the more delicate subtleties
of water-colour. These difficulties ha\e been met
to a considerable extent, though not altogether, in

the plate which, by Sir Edward I'oynter's courteous
interest in the work, wo are enabled to publish
with this part. Some of the delicacy in the sihery
touches has been lost, but there are passages wliich
represent the original with curious felicity. It is
difficult for those wdio are familiar with colour-
printing as known and practised heretofore, to realise
that in a plate such as this, with its infinite grada-
tions and passages of delightful tones, no more than
three blocks — tliree coloured inks: red, blue, and
yellow — liave been used in the printing of it. The
process is rapidly being perfected, and it is con-
fidently expected that within a very short time
absolute facsimile, not of pictures only, but of
objects, will be within its capacity.

THE ART MOVEMENT.

"JUORND": SOA\E DECORATIONS AND A MORAI

Bv GLEESON WHITE.

WllATKVEri may prove to lio tlie uUiinaU' value
of the so-called " ilecoialive inovement " in
illustration, one fact is certain, that it has become
alarniin^'ly jHiimlar. This in itself should inspire
douht ; for a fashion
tliat spreads rapidly
throuf^h different na-
tiiins is evidently not
inimitable, and can no
longer lie considered
indificnons. If in
other countries this
movement still ap-
pears mainly indlative
and exotic, the chances
of ita proving to be
more than a passim^
inlluence are few. In
Knjiland it was indi-
tjenous - to a Ljreat ex-
tent — and existed long
before Mr. Aulirey
Ik'ardsley. Vuv it was
mxiuestionably that
young artist wlio set
many draughtsmen in
Europe and America
on the quest of the
■' weird inten.se." So
much may l)e granted
without ignoring his
f (lie runners. The
moment was anspici-
ou.s, and tiie infbuMice
of a most individual

COVER {1896\

{D<tigned by Fritz Brier. )

together with fantastic, nervous lines, almost or quite
unrelated to nature. Of cdurse, later events prove
clearly enough that while Mr. Beardsley coiilil play
antics in a grand manner, his imitators are more

often become merely
absurd.

Tlic public, how-
e\er, welcomed the
unorthodox melliod,
and this fact gave
other illustrators the
ciiurage t<i break away
fiiini realism and
academic convention.
Hitherlu in Western
art, Vierge stood al-
most alone in his
use of solid blacks.
Thiisf artists who
sdughl to revive the
■• decdrative " style
conimoidy employed
tlie Diirer line,
whether as Rossetti
used it in the dozen
illustrations which
created a school, or
as ^Ir. Walter Crane
employed it in his
" ( Jrimm's Fairy Tales,"
or as Mr. Howard I'yle
in bis "Wonder Clock."
Ill all these, and in
designs by Mr. Sandys,
by M. J. Liiwless, and
voii felt that it is to a great

if erratic designer was felt almost immediately, not one or twn more,

merely at home but abroad. Of course the toy books extent a revival of the tiernian school of Holljein,

of Mr. Waller Crane, the legend of William Morris,
and the Arts and Crafts movement bad attracted
tlie attention of foreign critics. IJul all decorative
illustratoi-s before Mr. IJeardsley had obeyed, more
or less, the conventions of previous centuries. It
was left f<ir him to di.scard the trammels of Mediaeval
and Iienai.s.sance draughtsmen, and to embody .some
of the spirit of the work of both jieriods, with other
and newer influences ilrawn fifim Japan, the French
poster, and other sources. Yet the one factor in his

Diirer, r.urgmair, and the rest, or more rarely of
certain unknown Florentine artists.

Since Mr. Beardsley showed the way the decora-
tive movement has liecomc an orgie of riotous ex-
periment. The ultra -eccentric school has found
nowhere more ample imblicity than in the pages of
JiKjciul, a weekly paper issued in Munich. In its
volumes you will find a few ellbrts to continue the
I>iirer tradition, but the majority may be traced to
Mr. lieardsley, to Japanese colour-prints, to all ami

design that has in a way effected a levolution is evejy source except the sober conveiiii ii iliai lair
undoubtedly his dexterous use of solid blacks, knit Engli.shmeii of the school had employed up to 1S'J2.

THE AKT MOVEMENT.

To consider Jiujend entirely for itself would be
not without interest : but as you study its pa^es
you cannot help feeling that it is still better
worth regarding as a late nineteenth-century docu-
ment of uncanny import. For here is " the move-
ment" at its maddest, so that even those who
applauded its first experiments begin to doubt their
wisdom in so doing.

It is one thing to let loose a whirlwind and
quite another to prevent it from doing miscliief.
As you study the pages of the German Jitycnd, of
the French I/Auhe,
or of the American
Bradley : His Book,
and other "up-to-
date " efforts to be
" decoi-ative " at any
cost, the old sjibe rinjrs
ag-ain in your ears —
" To be decorative one
must first learn how
not to draw." If not
in the abwe three,
yet in the rank and
file of their imitators
you find faults of
drawing flaunted
bravely which no half-
penny comic paper
would tolerate if they
appeared in reali.stic
illustration. In this
craze there lurks un-
ijuestionably a deadly
taint which may de-
stroy not merely the
feeble but the strong
also. It is just be-
cause the German
phase of the move-
ment is le.ss open to
attack on this score,
that Jufjend, Pan, Simplicissimus, the books illus-
trated by Joseph Sattler and many other publica-
tions, may be taken as fair samples of the decorative
movement to-day, at its strongest ; and that, side by
side with appreciation of their good qualities, a
wai-ning may also be set down For in Germany
these new artists of grote.sque and fantasy show, as
a rule, sound academic craft. It may be that this
very knowledge is apt to confuse their convention,
.so that they unconsciously strive after more subtlety
of modelling than the Diirer convention penuits and
leads to a compromise. To begin in sinqjle outline
or .silhouette, and finish with realistic shading and
stipple, is apt to yield a very unpleasant result.

COVER.
(Designed by A. itort Uleisst.)

In not a few modern designs we find that it is
easier to tamper witli the convention another illus-
trator has evoh'ed than to obey it. In the work of
Eo.ssetti or Lawless, of Jlr. A^'alter Crane or ilr.
Howard I'yie, of Mr. Anning Bell or Mr. Gaskin, of
Jlr. Laurence Housman or Mr. Selwyn Imat^e, of
:Mr. Beardsley or Herr Joseph Sattlei-, you dist-o'ver
rigid observance of certain self-set rules. But in
the work of too faithful disciples of these artists the
manner of eacii is nii.Ked, or made absurd by the
lack of unity. In decorative illustration that obeys

its own convention
you find a limit which
is never pa.ssed ; much
of it may be quite
unconcerned with the
accidents of light and
sliade : it may ignore
not merely the model-
ling of nature, but
even perspective.
These qualities may be
suggested in "decora-
tive" compositions, but
the artificial exjjedient
of a broad outline, or
of silhouettes sharply
contrasted, replaces
nature -imitation en-
tirely.

This long preamlile
is almost essential to
bring one to the right
frame of mind to es-
timate fairly a most
amusing journal, that
by its very audacity
and vigour may easily
provoke undeserved
censure or exaggerated
approval. Jugend, its
title, is obviously not
Youth as we accept the word. It is not the youth
of innocence, virginity, and ignorance, but the jeitn-
cssc doree of A'igour and vivacity as often applied to
mischief and extra\agance as to more worthy ends.
Yet this attempt to explain tlie meaning of its title
must not be misunderstood. It holds nothing that
— especially in the ob.scurity of German text — need
exclude it from a suburban drawing-room, even if
it is not quite adapted for the .«chool-room, as its
name wiien Englislied might suggest.

Its chief purpose is social satire, with a \\eekly
political cartoon usually devoted to not very kindly
ridicule of John Bull : here represented no longer
as a country squire in obsolete costume, but as a

TllK MAGAZINE OF ART.

sleek, clean-shaven Stock "(l) As may be seen from these eight portraits, M. Maniere-

Fxclianr'e man witll wicz has passeiltliroughalH he styles of painting fasliionable at

... % , . ' f 1, MiHiicli since 1878. In No. 1 we have his portiait painted in

U4inlMie teatures, laim- ^^^. ^^^^^^ ^^^ scliool); motto, 'Once I wa.s a youth with curly

less garments, pointed |,j,jj. i„No. 2 wc have his likene.ss in faint Munich light (IhhO).

patent-leatlier hoots, antl Sauce hoUnndaise ; genial mool of the studio; brown in brown;

irreproachahle silk liat. masterly treatment of still life — unmistakable influence of

lUlt unlike ni0.st of onr *"'''''"^ "■"" "«'■■'=?*■''''■• ^"- 3 (18«5) is'j/leia air,' in chalk and

spinach, all browns carefully avoided. Device, ' true rather
than beautiful;' exactly done as by a camera (see the right
hand). The artist's homely love of nature is apparent even in
the frame, which is made out of the lid of a chest. No. 4 (1888)
is Impressionist in the seven colours of the spectrum. The
exact impression made by the picture is obtained if you look at
the sun for five minutes, about the time of sunset, then at the
model, then at a white wall. Observe the rococo frame in green-
gold upon .strawberry-coloured plush. No. !> (1890) is « la
henbach, painted under the influence of the works of that master
in the Glass-palace. Rest three-hundred-years-old-gallery-lone.

.satirical paper-s, the car-
toon is relegated ti> a
small hlock, on a hack
page. Its cover, always
newly designed for eacli
niinihcr, is elalmrately
printed in colours, and
many of its full- and

Die

Son HP pflan-{e •

CA5PAF11 •

THE MARSH-FLOWER.

are also cliromatic. Thi'
variety of these cover-
designs is a very striking
. _ 'i^m^^^m fi'atiirc of the pcriod-

V' /WB^BB ^ iral. Sonic arc in simple

^^" • ' Hat-col ours, after tlie

manner of a modciii
jwster — as, f(]i- iiistnncc,
the nude hoy on
a leaping horse
here reproduced :
others are in
mi.xed schemes of
iiiouoi'hronK! and
colour, as tlie head
in grey, crowned
with pink roso ;
others, again, are conceived in ukhkIs as
wiileiy dilVereiit as an oil-painting of the
older Munich school ami the latest vagaries
of .symltolists or imiiressioni.sts, and repre-
.sent tigures and landscapes now grave, now
gay, and at times positively dazzling. The
restless eflbrt to he new at any cost, altiioiigh
tlie most pronounced feature of tlie pajier,
gives way at times to far more academic
methods: hut it is never commonplace, and, if
often ephemeral, as a rule escapes idatitude.
It i.s impossihleto give an ade(|uate samide of
its illustrations; one, of "The Marsh Flower,"
will suilice to show the ultra-decorative .stylr
which is, perhaps, too prevalent, especially
in recent issues. But its more serious moods
cannot he ailequately represented here.

That JiKjcnd believes itself to rcjjre.scnt
the latest school may he deduced from »
very amusing series (here reproduced in much
smaller size) of " Portraits of tlie I'uinter
Modeslaw Manierewicz, by Himself." The
text behjw the.se, freely Iranslaleii, runs : —

d(aihle-page drawings ^-id, soulful painting. Notice the expression of the eyes, and

the newest 'antique' frame! No. (i (1892) Synd)olisf, with
aniline chromatic treatment. Naive, iiitime, and full of ' feeling.'
Inlluenee of Botticelli not to be denied. The painter's depth
and sincerity are shown in the monogram. No. 7 (1894), dotted,
sti/le vihrhle; i)rismatic colours, with masterly use of comple-
mentary oppositos. 'I'o be looked at with half-closed eyc.«, through
the hollow of the hand, from a distance. No. 8 — u la title-page
111' Jugciiil. Portrait of the artist, together with the whole of
human life and some things bordering on it. Wonderful! the
deeply intellectual slate-pencil art of (he end of the century."

•Oirqro|xl^ac[

B£

illt irt ttr Hiiiiunrr, (a nit btiiuilir. iilo p!i,iirio i<>r[dilri1ii ill,

D.il) rill ItljtiiDiiiro Rtitit tiriiitm (rljriiiiigcii luirii.

eViidil (|l|r mil tiliiliiiitltr liriifl lUidi !)if L^rtinlr Hir iHIiiat nnili uiiltii

l>i|)Uiirtr iilo tucr ^tmlilil iirllihl ilrc paplttnir liruml

THE GREAT BALANCE.
(Sy L. Ditt.)

T}i]<: ai;t .movement.

These a.nusiug eonnm.nts deserve ^uotii.g at versions, some serious, others conceived in the broad-
length as sm.uuury noi wliully saluu-al uf the course est burlesque, of old-world legends-such as "Eve

of art-fasliions fur
a quarter of a cen-
tury. From their
rapid succession we
can hardly augur a
very long career for
the "Jiiiji'wl" style,
not inaptly bur-
lesqued in tlie
eiglith example.

The variety of
subjects that Jncjaid
finds place for in
its papers is far be-
yond that of any
Englisli weekly —
any one, that is to
.say, confessedly frivohjus

THE PORTRAITS OF THE PAINTER, MODESLAW MANIEREWICZ.
{hi his sti'.ccssiire manners. See p. 42.)

and tlie Serpent,"
"(Edipus and the
Sphinx," "Circe,"
"Hero and Leander,"
and the rest. One
vei'sion of this latter
theme in N"o. 25,
1897, by J. R. Wit-
zel, would suffice to
justify every pj-o-
test raised ]u>re l.iy
its api)alling though
clever eccentricity.
Here also are moral-
ities, as "Tiie Great
Balance," by L.
Diez, which is re-

ni character. Therein produced; a grimly didactic conception after the

one finds a really powerful "Easter Morning," by manner of Holbein; or anotlier entitled "Civilisation,"

J. Carben, a "Madonna," treated as Von Udhe .set which shows a young man and woman in fashionable

the fashion, with modern environment. Others are attire dancing over a Held tliicklv strewn with

Till-: MACA/iXK t'F ai;t.

skeletons and hones. Nor are sill its illnstmtitins
by fJennan nitists, for Vallalon ami .lossni (who
aie Frencli hy repuUtion, wluik-ver tlieir hirlhi)lace)
appear fn-iiueiilly with desij-ns cluiraclerislic of
tlie strongly imliviilual manner each has developed.
Other iiietures are artists' studies, pure and simple,
not always of '• the altogether : " hut frankly studies

EASTER MORNING.

(0y J, Carlren.)

with no pretence <jf suhject, or anecdote to exjilain
tlieir presence.

It is somewhat depressing to lind thai a move-
ment which many of us believe to be full of vigour,
is, as Jiif/fiul shows, not only over-blown already,
but likely to perish. Yet, since extravagance has
brought almost its own <lecay, a certain moral is
enforced. And its chief le.s.son is surely that the
only style which lasts is the one a painter evolves
for him.self. It is not a Beardsley who will be
forgotten, hut his followers; although for a time
the imitators succeed in bringing ridicule on liieir
Icadere, and a certain period must elapse before the

really fine .[ualilies of a master are recogni.sed again
at their intrinsic value. It would be ea.sy to name a
dozen Engli.sh illuslratoi-s of the decorative school
whose work will no doubt survive the inevitable
reaction which may be ipiite near, or still many
years ahead.

lU'Sjiiie its lollies, some good things will cer-
tainly survive; one, a right use of

colour — in printing — which the

r "^1 .lapam'.se discovered long ago, is

J I brought nearer by Jiujuul and other

" publications of its kind. No lover

of illustrations .should overlook this
amusing journal, which is is.sued
ill London by H. Grevel and Co. ;
for if its pages show the rcduclio
ml nhsurdioH of the decorative
school, they also show many e.\-
aiiiples of its rightly ordered man-
ner. It would not be fair to regard
Jiii/>'ii(/ only as a presage. For its
delirious moments are succeeded by
sane periods. Among a little that
is crazy there is much tiiat is good,
and even at times very good. No
designer should ignore its pages, for
its technique should make Britons
humble. But all the same its final
effect should he to make him still
more eager to attain that " simplicity
which is the final refuge of the com-
]plr\." It may be that England —
tlie land of the Renaissance of
■ decorative " illustration — which has
hitherto escaped most of its excesses,
may also preserve its vitality. But,
if this is to happen, one hopes de-
\outly that the style may soon go
out of fashion. Tlien the compara-
tively few who will continue to em-
ploy it will stiiud clear of their
incompetent followers, and e.xcape
the vulgarity wliich is reflected Just
now upon tlie whole school from the inanities
of its imitators. No true appreciator of the work
of :\Ir. Waller Crane and Mr. Charles IJickelts
(to name but two representative artists) will feel
anxious to defend the prepo.sterous extravagance
of the great army of decorative (Iraughtsmen ; but
whether you di.slike, or sympathise with, the pre-
sent fashion, if it is pushed farther in the direc-
tion of sheer oddity its doom is certain. One
can bill lioiif liial its sterling merits, over-
shadowed for tiie moment, may he uUiiiiately re-
garded as worthy a place in the ranks of jiermanent
art.

THE A1;T ."\roVEMEXT.

STENCIL DECORATION.

AS distinct from those examples previously noticed upon textiles of jute or silk. Xow, in the case of
-L\. in these pages, some stencilled ornament asexe- wall-papers that are printed (since tlie process must
cuted by Messrs. Hayward and Sons is in water-colour, needs result in uniformity of tint), the joints otter

THE "FIG-TREE FRIEZE

In this medium, varied and effective decorations are no ditliculty to an average papei'-lianger, thougli
produced upon plain paper, ingrain paper, flock, and parts of tlic pattern o\eilap from one breailtli tn

THE "SUNFLOWER FILLING,
(fiy A. L G^ntkin.)

THE 'PETUNIA' FILLING,
(Bij L. Pinltorii Wood.)

THE MAOAZINE OF ART.

iinotlior. T'.ut witli stoncilloil surfivces tlio reversi" and ImM iialleni is taken ; and some of .Messrs.
holds good. IIi-ii>, so fur from evenm-ss of tint Hayward's designs arc very elnborato and even
lieing .sought or attained, a cliaracteristic feature is coinplicatid. 'i'he stencil decorations upon a flock

that variety
and gradation
which belongs
naturally to
iiand-work. A
leaf, for in-
stance, cannot
he stencillcil in
two halves and
then made to
correspond ; the
design, on the
contrary, has to
he so arranged
that the several
jiarts may be
contained, as
far as may be,
within tlie com-
pass of one
breadth; and
the paper is
not cut with a

THE "GRENVILLE' FRIEZE.
(fl|/ F, Oraham Rice.)

gromul present
a wonderfully
rich and velvety
a p p e a ranee,
especially when
viewed side-
ways. Looking
at them straight
from the front,
one scarcely
obtain.s the full
\alue of llie
efVect.

Though ver-
bal description
conveys but an
inadequate ide^i
of the designs,
tile "haiigliam"
frieze (by Mr.
A. Beresford
rite) in russet
greens and reds,

straight edge, but according to a metal template tlie " Water I.ily " frieze (by Mr. F. (Irahani Kice) in
which follows the main lines of the pattern. It
will be understood that rather more tlian usiial
care is rcfpiired in the hanging to make the re-
])r'iiis of the pattern lit propeily.

When canied out on paper, the design is outlined
lpy printing just like ordinary wall-paper. Tliis
method generally is an advantage, as it lieljis to
define the oriianuMit. Whereas the absence of
(Mitline in other materials is apt to give an involved
efVect confusing to the eye, unless a very simple

indigos, the "Fig" (by Mr. A. I.. (Jwatkin) and the
" Dalmeny ' (liy Mr. Cleiuenl Heaton) friezes may be
mentioned. The last is emlio.ssed with a roller and
afterwards enriched willi etdouring by band. Among
wall lilliiigs the " Thistle," wiiicli looks well with a
dark oulliue, and tiie " I'etuida " — both designed by
Mr. L. I'. A\'ood — in grey -greens and indigo, are both
llowing iiattenis, suitable for living-rooms; while
for halls and large public rooms JIi-. (Jwatkin's
"Sunflower" may l>e named as an excellent design.

.\VMKi: V.\I.I..\XCE.

NOTES AND QUERIES.

[7<i| WILKIE'S PRACTICE AND TAX ON ARTIST'S

CANVASES. — I should lie glad to .see inl'oi mat inn on

the following:- — ^\'b() suj)plied I)a\iil "W'ilkie will:

canvases, (^tc, when he first painted in London ( In

what year was the duty on artist's canva.scs taken oil'?

How were they stiimped and by whom !'— S. .1. W.

,*, Messrs. lioberson and (./'o., of !)!), Long

Acre, inform us that "this firm was in existence

in 181!», while Wilkie <.nly died in 1H41 ; he

vised our materials, not always direct, but throngii

some Scottish house, as we supplied tlu-m all al

that time. The duty upon prepared canvas was

removed about 1S."><S: previous to that date every

yanl of canvas had to bear the Government

stamp and ton.secutivc number: lair firm and a few

others held a licence f(U- stamping canvas, and

blind manufacturers who had printed designs

upon linen had to bring llieni to be stamped."

[77] DE TESSIER AND OARELLI. — I should be

obliged if you could gi\e me any information as to

two gem engravers. He Tcssier and (larclli. 1 have

an onyx cameo head of Diana by the one and an

intaglio of the Three Graces on cornelian by the

other.

NOTES AND QUERIES.

,*j. There are no means of ascertaining the
facts desired by our correspondent. The names
of neitlier De Tessier nor (iarelli are to be found
ill any of the standard books upon gem-sculpture,
nor are they known to the authorities of the
British and South Kensington Museums. The
([uestion ouglit rather to be addressed to a dealer
in modern engraved gems.

[78] A CRUIKSHANK CARICATURE OF CHRISTIE'S. —

Will you kindly state what was the picture by

Cruikshank of Christie's referred to in the article

" Glimpses of Artist-Life : ChristieX" by Mr. M. H.

Spielmann in the Magazine of Akt for 1888 ? I

cannot find it in Reid, and neither of the several

auction ]>ictures by George Cruikshank fits in. — W. R.

^*^ The print in question is a caricature —

No. 889 in Reid's Catalogue, inscribed : " Sales

by Auction I — or, Provident Children disposing

of their deccivsed ^Mother's Effects for the Benefit

of the Creditors." | Yedes inrf. \ G. C. fed. |

ruljlislied\May Gtli, 1819, l)y S. Sidebottom, No.

'287, Strand." And it is thus described : The

Prince Regent represented as an auctioneer, and

standing tip-toe on his rostrum, offering some of

his late mother's clothing for .sale. The Duke

of York, seated at a desk, having one arm in a

sling, is officiating as clerk. The remainder of

the Royal family stand behind. The buyers

consist of five women seated round the table, and

a few male bidders, who stand further off,

near a gorgeous bed and hangings, which was

presented to Queen Charlotte by Governor

Hastings. Various garments hang behind the

royal auctioneer : strewn on the floor are the late

Queen's old china and snuff- jars. The Regent

calls on his " good people " to " bid liberally,

or the children will be destitute," and states that

the rags in his hand " were never worn, and that

his mother died very poor, having given away

nil her 7nonei/ in charity." The scene is said to

be intended for (_'liiistii''.s first room.

[79] WORKS BY THOMAS HEARNE I have Several

engravings of ancient churches and castles executed
in the eighteenth century liy "William Bryme from
drawings by Thomas Heariie. Can you tell me
anything of this artist and his woik ? — J. E. T.
(Bournemouth.)

^*^ Thomas Hearne must be accounted one
of the founders of the English school of water-
colour painters. He was born in 1744, at
Briukworth, near Malmesbury, and in 1765 was
apprenticed for a term of six years to William
WooUett, the great engraver, in London. In
1777 he began the great W'ork of his life, by
which he is best known, "The Antiquities of
Great Britain." It i.s doubtless some of the

plates of this series which " J. E. T." possesses.
The drawings, fifty-two in number, were made
on the spot in every case, and the whole collec-
tion was exliibited in the Spring Gardens Room.s.
Between 1780 and 1802, Hearne contributed
twenty-four drawings to the Royal Academy
exiiilntions. His work had a strong influence
upon (iirtiu and Turner, who copied his drawings
at Dr. ^[iinro's and ^Ir. Ilcmlerson's houses.
[80] STOTHARD'S " SEVEN AGES OF MAN." — A
friend of mine owns a copy of this work, engi-aved
by William Bromley and coloured by hand. The
plates are in good condition, but the colouring is
somewhat crude. He tells me that a copy was sold
some time ago in London for between £200 and
£300. Can you or any of your readers inform me
if any such price has ever been paid for a copy
(or what its probable value may be); and also
whether tlie plates were ever really published in
coloui-s ? I have an idea that the set in question
has been coloured since i.ssued by some amateur,
and that the price mentioned is fpiite imaginary. —
" ExyriKEF;."

[81] "THE BLIND FlDDLER.'^Did AVilkie ever
paint a replica of "The Blind Fiddler " for one of
his patrons ? — S. J. W.

[82] A PICTURE BY THOMAS WOODWARD. — ilay
I in(|uire, througli the medium of " Notes and
(.Queries," if any of its readers know of a picture
entitled " A Tempting Present," painted by Thomas
Woodward, exhibited at R.A. 1841, and if for sale;
also if any other works by tlie .same artist in col-
lections, and if for sale .' — H. A.

REPLY.

[ti9] CURIOSITIES OF THE ROYAL ACADEMY CATA-
LOGUE. — I may add a few examples to the curio.?ities
of the Royal Academy Catalogue which appear
in the Magazine of Art for October. It was
in 1797 that the list of the members of the Royal
Academy was added to the Catalogue, but no place
was definitely assigned to the page, which was
dodged about the book, generally at the end in
front of the index, until 1828, when it was finally
placed in its present position, facing the first page
of the Catalogue. Until 1819 only the names of
Academicians, Associates, and Associate-Engravers
were given under headings, but in that year the
Professors weie included. In the year 1855 ap-
pealed for the first time a new division — " Associate-
Em^ravers of the New Class," and in the following
year " Academician-Engraver of the New Class."
This was Samuel Cousins : and the incident repre-
sented the triumph of a great struggle and the
complete, thougli tardy, recognition of engravers

THE MAGAZIN1-: OF ART.

lis full Acacleiniciiuis. "Associate-Engravers of tlu-
New Class" ai)i)i.'areil in the Catalogue up to 1872,
when .St(x;ks was made a full AcAcleniician and
Thomas I^ndseer disappeared. It was in 1815
that the letters " P.R.A." were fii-st used after the
President's name — Benjamin AVest, like his pre-
decessors, Reynolds and Wyatl, having theretofore
been content with tlie ordinary " R.A." In 1806
J. Wyatt's name appears with " President " after
it, ui<t " President-f/rt-/ " — a proof (when the in-
variahle custom of the Academy is considered)
that Wyatt was considered full President and not
merely President-elect, as it is now pretended. The
list of " Honorary " exhibitors, abandoned a few
yeai-s after the t)i)ening of the Academy, was resumed
in 1792, when nineteen works were so included — from
their titles if they may so be judged, very childish
productions. Tiiese " works " were hung among tlic
ordinary exhibits, doubtless to please these amateur-
patrons or the amateurs' friends. Some of the con-
tributors were clever, such as Sir George Beaumont
and X. ]>anee. Tliis list and practice actually
continued until 1807! In the previous year the
honorary list consisted of Henry Cole, C.B., Miss Cole,
Sir U. P. Collier, Solicitor-(!encral, and Sir Coutls
Lindsay. The list of the works in the Academician's
l)il)loma (iidlery was begun in ISll, when it

numbered tifty-one, and was cunlinucd up to 1836,
when seventy-nine were catalogued; the practice was
thereafter abandoned. "Honorary Foreign Acad-
emician " composed a new ( )rder, invented in 1870.
These were Gallait (misprinted then and the year
following Gallais), GcrAme, Viollct-le-1 )uc, Henriipiet-
Dupont, Meissonier, and duillaumc. (H these only
(Jerome and Guillaume survive. In the year
187."i the practice was abandoned of atVixing a red
star to a picture which was .sold. The catidogue-
notice as to the meaning of the star had appeared
from ISB:'. I'p to hSe.''), but not after, appeared
a notice at tin- head of the Catalogue explaining
tlie conditions upon which artists might put their
nauu's down for election : this notice had been so
printed since the previous lS."i2. " Honorary Retired
Academicians" were tirst conslituted in 186:^, when
Edward Hodges Baily, .sculj)tor, and Cliarles Robert
Cockerell, arcliitcct, availeil themselves of the new
regidation. In lSt;i) tlie I'lan of the galleries of
Burlington Hou.sc, into the possession of which the
.Vcadcmybad ju.st entered, was added to the attractions
of this most entertaining Catalogue. I may add that
a tine copy of the Catalogue, from 1760 to the
present day, is worth about .£7U, though incomplete
ones, or completed by rcpiints of certain numbers,
arc now and auain to lie liad a bargain for £.jO. — S.

THE CHRONICLE OF ART. -NOVEMBER.

Acquisitions at fj'IIK most imiiortant recent addition to
the National 1 tlic National Collection of I'orfiaits
Portrait Gallery. ^^ .^ ,„i„ting of "Sir Martin A. She,
IM'i.A," l>y liinisclf. .\ tine exainjile of lioMNKv's work
has al.so been acinired — a portrait group of .\d;ini
Walker, with liis wife and children. It was bequcatliiil
by Mis.s E. E. tiiBsoN of Duiluun, a granddaughter of
the subject of the picture.

At a general meeting of the Hoyal .Society
New Members. ^^ Hritish Artists the following gentlemen
were elected member.s, viz. -.—Messrs. A. I). McCohmk k,
H.UiitY (!. SiiiKi.Ds, H. Goodman, Percy Ci!akt, .Iamks
<!rki<;, I!. I'oNsoNiiv Stai'i-Es, Ivvstan HKAriiKitiNorox,
and \S. G. KsioiiT.

'I'uK Scottish Artist.s' Society, which is
mainly com|)osed of the jonng artists of
the Ka.st of Scotland, opened its fourth annual exhibition
in the beginning of last month. One of the olyects of
the Society is to procure for exhibition "interesting and
educative exaniplci of various .schools of modern art,"
ill which purpose tlie Council has been very successful
on this ((c<asion. One of the features of the exhibition
is u .series of works from the last Paris Salons. It inclndcs
jiictures by Paii, hnsNAitn, Caston i.a ToitiiK, A. /oitx,
I'ai'L Vav.son, and KitiTZ Tuacuiw— artists whose works
have po.s.sibly never before been seen in Edinburgh in a
jaiblie exhibition. They have been cordially welcomed

Exhibitions.

and very much appreciated by the general imblic. There
are in all 387 oil ])aintings. water-colour drawings, and
pastels placed, as also eleven pieces of sculpture. Not
a few of those works by the younger artists are exceedingly
interesting, showing as they do a tine feeling for tone
an<l colour and increasing teclmical ability. In this connec-
tion may be specially mentioned Mr. W. S. .Ma((!f,orc;k,
whose three cabinet landscajies with Hgm-es condiine happy
subjects and glowing colour. Mr. 11. lUuNs has a clever
study in low tones of a gip.sy girl ; two young artists who
have done well in landscajjc are Mr. C. H. Woolford and
Mr. T. H. Hlacklock, ami two pleasing pictures of the sea
in grey tones are sent by Mr. Marsiiai.i, Hrown. Mr.
.1. H. Foul) contributes a striking study of a head under
strong lamplight. The lady artists of iMlinluugh arc also
well represented. One of the outstanding portraits in the
gallery is that of Arehbishop Macdonald, in ecclesiastical
vestments, by Miss M. Camkron {.vcc y. iil). In the
water-colour room, drawings by Messrs. H. B. NisBET,
.Iames Cadexhkai), H. W. Kekk, .T. M. Hkown, T.
.Maiuorihanks Hay, and h'.owiN Alexander are in-o-
minent. The best sculpture is contributed by .Mr.
I'nTENiUiicii .Mai(;ii.i.ivi!av.

An cxhil)ition of work executed liy the art students of
the South West bondon I'olyti'chnie displayed the wide
scope of the .system of tuition carried on under the direction
i,f Ml. C, 1,. liUKN.s. The drawing and painting section

THE CHRONICLE OF AKT.

was the strongest, some i)iistel and
water-colour drawings by j\Iiss M. Kejip
Welch being particularly noticeable.
The wood carving and modelling ex-
hibits were too few to give an adequate
idea as to what is being done in this
direction, although .Mr. Hawkins had a
beautiful design in plaster for an electric
light fitting, to be idtimately executed
in bronze and copper and hammered
iron. There were two designs in stained
wood which call for special mention-
one, a small panel with a poppy pattern,
which had been awarded a bronze medal
at South Kensington, and which the
National College of Art authorities have
l>urchased ; the other is a book cabinet,
with a design with figures in stained
wood on the door. This is the work
of Mr. Br.\(;g, which was awarded a
national silver medal. The needlework
exhibits were, on the whole, excellent :
a design of poi)pies and seagulls, in ap-
plique and embroidery, by Miss Hewitt,
quite admirable. Miss Simons's speci-
mens of weaving were interesting, and
novel from the fact that the ground
work of her designs was executed on
the loom, and the colour effects obtained
various and cltarming.

The exhibits at the forty-second
annual exhibition of the Royal Photo-
graphic Society are of very high average
merit. Few are poor and very many
of great interest. Among the pjortraits
which are specially noticeable are 'Sir.
W. M. Wakxeuke's "Girl with Violin,'
"Three Studies of Heads" by H. W.
Barxett, an exceedingly good study of
"John Leighton, F.S.A.," by the Rev.
F. C. Lambert, a characteristic head of
"Xapier Hemy " by Mr. Frederick
Hollyer, and some clever "studies" by
Mr. Harold Baker. A series of four
subject-] lictures by Mr. Fred Marsh—
" Gas Works : Clinkering," " Charging
Retort," "Warm Work," and "A Vil-
lage Smithy "—are triumphs of flash-light
photography, and are to be reckoned
among the best prints in the gallery.
The landscape section contains some
beautifully fini-shed prints of charmingly
selected views, while the interior views of
churches and other buildings by ilessrs.
Bdlbeck and S. B. Bolas and Co. are
all that can be desired in this respect.
Composition pictures are few ; the most
successful, in that it is least suggestive
of the deliberate photographic pose, is
"A Pleasant Occupation," by Mr. Wil-
liam Gill, which is awarded one of
the Society's medals. The exhibition is
praiseworthy as giving us, on the whole,
.subjects which legitimately come within
the scope of the camera and the jio.ssi-
bilities of the skilful operator, with
but few of the stilted strivings after
9a

EVE REPENTANT.
{By G. F. Wntls, f{.A. Fiom "Sacred Art." See p. 52. Photograph by F. Hollyer.)

THK MACAZINE OF ART.

effects wliicli tiinnot successfully be |iroihiced directly
by either. The judfjes in tlie Art section wore Messrs.
V. P. Ck.mhk.xN", Junr., 1!. W. Lkadeh, .\.1;..\., (i. A.
Stokky, A.K.A., \\. L. Wyi.i.ii;, A.1!..\., and Sir .1. I >.
LisTox, IMi.l.

The fifth exhibition of the I'lmtographic S;il(m at tlie
Dudley (inllery iigain invites com|iiirison with that of
the older Society's, referred to in the iireceding jiara-
graph; and we again come to the conclusion that the best
work is .shown at the I'all-.Mall liallery. In spite of
the "colour and character of the walls u|poii which the
Pictures lians '(''"/'' the "Forewords" of (he catalogue),
the striving after "subtleties of Pictorial etlects " do
not compare favourably with the genuine woik of the
camera and duveliipin.^
room. The beautiful plioti -
graphic portraits of .Messrs.

W. t'ROOKE, R.\I.I'H W.

l!iiniNsoN, F. Hor.LYEK, and
II. 11. H. C.vMKKox are all
that can be desired, and
show at once the afiectation
of work such as that of
yiv. Iloi,i,iNiii;ii, who gives
us just the face of the sitter
without the rest of the liead
or any of the body. The
landsca]ies of Me.s.sr.s. Lan
KKSTKH, Robinson, and
Hoi;si.KV fliXToN, too. arc
photo>,TaphicaIly excellent,
and emphasise the fatuous-
ness of the exhibitors whii,
by mis-si)ent labour, make
their photographs take the
appearance of crayon or
jiencil drawiog.s, or even oil
monochromes. Of these
there are not a few at
the Dudley (iailery. Of the
" pictorial ])liot onraplis,
the nude "dryads" perched
among the trees, the
" coloured ' land.scapes and
impressionistic effect.s, it can

only be said that they are iKior as photograiih.s and worse
as pictures; they are neither "documentary facts" nur
"works of fancy and inia;iinatiiin," liut a hii|iiUss Jumble
of both.

Th: hundred and thirty jiiclures selected from the twt)
salons exhibited at the Continental (iailery are for the
mo.st part uninteresting iind commonplace The land
scaiKNs by the Scandinavian artist, .M. .\. N'ok.manx, of
which there are four, arc good cxanii>lc.s of his work, and
are the most striking pictures in the tlallcry. Other.s
of note are "Ulaukc and Thaltia,'' by .M. P. A. Laukens;
'Christ and the Holy Women," by M. D. Sf:itA[.iM ;
"The liily " (The .\nnunciation), by .M. .\i.nKi;r Tmoma.s;
" On the Downs at Katwyck," by M. Kli:i:NK Ji:tii:i. ; and
"The Last liende/.vous," by PitoKKssoit (iiiosso of Milan.
The latter is a repnl>ive sub;t'(t, but a skilful ex.imple of
llesh'paintiiig.

Silt KiiWAiii) Povntkk'.h "/.(vViorx (III Art" are too
Bev ewB. ^^.^11 j.,„,^y„ .j,„i j^,Q liigijiy Hjipreciated to need

et'iticism or analysis afresh ; but as nearly twenty years
have pas-Kcd since first they were i.ssucd, an<l longer still since
they were delivered, Rerious attention must be accorded to

VULCAN CH/:.IN1NG
{From the Pitiiitimj by M. Rjj-r. /lu

this fourth, annotated edition, recently put forth by Mes.srs.
Chapman and Hall. So much .sound sense, sound learning,
and true artistic ])erception are gathered in these pages
that the )ierusal of tlicni is incumbent on every art-student,
and on everyone at all intelligently (as o|iposcd to senti-
mentally) intereste<l in the tine arts at the present day ;
and few there are wlio will not recognise how powerful
an antidote they provide to much of the neurotic extra-
vagance that infects and infests many of the younger
arti.sts and art talker.s, not in Kngland oidy, but on the
(,'ontinent as well, not less in Europe than in the I'nited
States. A tidal wave of morbid passion for novelty
and eccentricity has been |iassing over the land for these
several years past : and although Sir Rdvvard's warning

voice may not serve to stem
the torrent, it may, »t least,
be heard by some sturdy
souls who may be saved
from the .suicidal folly of
plunging into the rush of
waters. We are, on the other
hand, certainly of o)iinion
that Sir Edward goes too
far, and justifies to .some ex-
tent those of his critics who
charge him with some disposi-
tion, in certain directions,
tiiwarils reaction : with too
great a tendency to accord
undue importance to subject
in ]iaintiMg; and, above all,
willi s. inie touch of cruelty
ill the licrci'ncss with which
in more than one lecture —
lie meets I'rofcssor Ituskin on
the subject of Michelangelo.
This great master, indeed, is
Sir Edward's ideal — he calls
him "the Divine"— and he
(lel'cnds him with a iiassion
at which many who know the
critic only by his pictures may
stand amazed. I'.xceiit in this
bout, Sir lulward is calm,
judicious, and disi)a.s.sionate
in his wilting, entirely hone.st ami free from cant ; inspiring
the conliiknce of reader, and in the cour.se of his pages
justifying the sentiment. The book is more than a iier.sonal
eoiifessicin of faith ; it is an exposition of art and a'sthetics
eoncciveil with honesty, felt with sobriety, and rea.soncd out
with logical mind. The words on realism, style, idealism,
decoration, the romance of mediievalisin and the reticence
of the ( Jreeks, are as jiregnant with excellent suggestion
as the more instructive portions of the book are fruitful
in good advice. Put there are certain other points to
which excciition must be taken : to the deliiiition of
"stylo" (p. 44) as inade(|Uate ; to the assertion as to
the "low level" of the Dutch masters on account of their
• gross representations of drunken .scenes"— i|uality in a
jiainting being wholly independent of its subject, however
foul or commonplace : ainl to the .statement that "the
worst and most tasteU^ss ell'oits in architecture ....
are better than the outrages your men of .science inflict
on us in their railway bridges and other work.s." Profes.sor
liuskin never said anything more imimlsive and, we venture
to .say, more ill-advised. We hold the theory false and
mischievous which teaches that liad art is better than no

PROMETHEUS.
tuttad the Prix de Rom

Pan>.)

THE CHRONICLE OF AKT.

ait : and we assert that a railway bridge w liieli pretends tn
no beauty is infinitely preferable to a ]>retentious Imilding
that defies the eanons of taste : and we prefer a blank lirick
wall to its decoration by "the worst and most tasteless"
picture. Absence of taste can lie more readily remedied t li;ui

HIS GRACE ARCHEiSHOP MACDONALD.

{From the Painting by M. Cameron, in the Exhibition of the Scotti-h
Artists' Society.)

presence of bad taste. A mind without a]>preeiatioii of
art is at least fallow ground ; but one which is taught to
delight in false and tasteless art there is no hope for, and
we are surprised to find the President of the Koyal
Academy acting to such alarming purpose the advocntus
diahoU. Nevertheless— and these blemishes notwith-
standing—we recommend everyone of our readers to become
po.ssessed of this volume, which, it is no e.xaggeration to
say, they will find of far greater usefulness for practical
purposes and everyday thought than the discourses of Lord
Leighton, or the lectures of Barry and the addresses of
Fusel i.

For the first time it is possible for Frenrh readers to
judge Professor Piuskin eonipletely and thoroughly. Here
in England, where for half a century he has fought for
his idea.s and ideals, for his great principles of morality,
economics, and art, and maintained them with a vast section
of the public in spite of furious and extremely alile oppo-
sition, Raskin has been understood, and misunderstood, by
the light of the truths he has established and the mis-
takes he has made, and is becoming a tradition in the
land— even with those who go .so far as to suggest the
fjundation of Anti-Pvuskin Societies. Abroad there has
been far too little opportunity for thinkers to form any real
independent estimate of Ruskin's work as a whole— of his
synthetic j.hilosophy, of his manner and his methods, of the
greatne.ss of the man, of his brilliant understanding, of the
width of his jierceptions, the depth of his sentiment, and
the breadth— we had almost said the universality— of his
sympathy. He has been fortunate in the latest of his
e.xpositors. M. Robert de la Sizeuanxe, who in his admir-
able study entitled " Jiiis/cin, et La Relicjum de In Bertntf"
(Hachette), places before his countrymen a view of the
Ma.ster of Coniston, his work and his philosophy, that

must raidv witii the very be.st books of the sort published
in this country. To any scholar so .sensitive and intelligent
as M. de la Sizeranne a clear exposition is of course
possible; but the author possesses the rare gift— rarest
of all, we are accustomed to believe, in a Frenchman— of
appreciating at once a British author and the nation to
whom that author prmiarily addresses himself : and the
completeness of his understanding and the lucidity of his
criticism cannot be pronounced otherwise than masterly.
We are not quite sure that he has plumbed all the depths
of Ruskin's many-sided philosophy— perhaps because we
doubt whether he has read all the works to which he refers,
perhaps satisfying himself in some ca.ses with the sum-
maries of previous writers. But of this we are certain :
that no one has more readily quickened, without surrender-
ing in any way his independence of thought, to Ruskin's
;esthetie philosophy ; no one has more freely or more sympa-
thetically criticised the main aspects of it, artistic, literary,
social, or moral. He defines "Ruskinism" as the " Religion
of Beauty," resisting the temptation to narrow it down
to the " Beauty of Pieligion." In truth there is good reason
why Ruskin should find one of his ablest critics and
commentators in France, for Ruskin's genius, we think—
his imagination, his picturesqueness, his versatility, his re-
finement—is perhaps nioreaffinitively French than p]nglish ;
the gracefulness of his i)rose, the daintiness of his humour,
the ))lialiility of his reasoning, and the fineness of his
intellect, all are perhaps less Saxon than Gallic; indeed,
his sympathy with French Gothic architecture, which sym-
bolises all that exijuisiteness of character which is e.ssentially
French, is such as no Englishman has ever before so fully
displayed or expressed, and may be quoted in proof of our
contention. It is not many years since we drew attention
t ) an Italian criticism in which our great writer was

BY THE LIGHT OF THE LANTERNS.

{From the Painting by •]. A. Ford, in the Exhibition of the Scottish
Artis's' Society.)

referred to as " one Ruskin," his fame not having yet
penetrated the land to the glory of which he had devoted
so many of the best years of his life and the best pages of
liis eloijuence. And, except to lovers of .-esthetics, he was
not much lietter known to the serious readers of France up

THE MAGAZINE OF ART.^

to recent years. M. de la Si/cianiR's volume, wliiili leaves
so little room for critieism, even for disiussion, will at
lust make known in its entirety the )iersonality anil the
intlnence of one of the most remarkahle geniuses of our
day : and that, we jiresume. even his adversaiies will not
deny, even tliou;.'h they denounce as false the premisses of
his'art-philosophy, and cry ahmd unto Haal to dry up the
streams of elo.iuencc which he has poured ajrainst the social
economy and false morality of his day.

The idea of telliuR the liilile story l)y well-known pic-
tures executed l>y well-known painters is a happy one. The
selection is made liy the Editor, .Mr. A. C. Tkmim.k, K.S..\.,
Director of the Art Callery of the Corporation of London,
who has shown in his choice a most catholic taste and
a wide knowledge of coiitem|)orary art. In the tirst ]>art
appear works by Sir K. Ht'itXK .Fonks, Messr.s. Watts,
Caldeuos. Hoi.man Hunt, Cokmos, Bou.herk.au, and Sir
Noel Fatox, together with Tikner, .Mautin, Hellaxuek,
Maclise, Ettv. and others. The pictures are well repro-
duced and admirably i^rintcd-a full-page picture on one
side of the i«a|ier only. '• Surml Art'' (as the new serial
work is called), accompanied by explanatory te.\t of the
pictures, will doubtless bring to Me.ssr.s. Ca-sscU and Co.,
the pulilisher.s, the great popular success it deserves.

The excellently illustrated and ta.steful series of stnndard
English novels now being issued by ilessrs. Service and
Paton, at a low price, is being continued with spirit.
Firstly, we have Tiiaikekay's " Va7uti/ Fair," with
sixteen pen drawings by Mi.ss Chris Hammo.np, and
Scott's " J!<,h Jio>/," with as many by Mr. Y. H. Townsknd.
The former arc dainty, conceived with full .sympathy not
only with the story,
but with the ]ieriod in
which it is cast, and the
latter a<lmiralile alike
in design an<l execu-
tion, in character, ob
servation, humour, and
dramatic jiower. It is
a plea,sure to see such
stea<ly inii'rnvemcnt in
this accomplished young
artist. "0/-/ M"rl;/
ill/" has been admirably
pictured by .Mr. Sidney
I'AUET,who.se work with
the pen is as good as
with the bru.sh, and

whose fine drawing and studied characterisation lue
.striking merits of his work. .Mr. E. .). SriXlVANs illus-
trations to '• T/if I'ir-ite" are a degree le.ss .satisfactory,
desjiite the charm of his touch. Yet there is elegance in
.several of them, and in " Fear Confers Wings"- the flight
of Triptolemus— the inspiration of Mi. Hugh Thom.son
has been very cleverly followcil.

The Hr.st report of the County Council Schools in Molt
Court, E.C., ha.s just been issued. Intended for craftsmen
connected with printing and its allied professions, the
work of the school includes photography, "process " re-
jiroduction, and lithography. Some e.xiellent lilocks and
lithographs are jiubli.shed in the book. The fact that the
little book is printed entirely by students of the St. liride's
Foundatir)n In.stitute— and excellently, too-len.ls it an
additi')nid interest.

A <:oi,i> medal has been awarded at jlrcsden
MiBcellanea. ^^ y^. f;^.,,,,,;,.. HiT< liroiK for his picture,

"The Flight into Egypt."

.Ml. Wai.tkk Ciiank has been ajipointed Art Director of
the Iniversity Extension College at Heading. Mr. Crane
has. we believe, been granted a free hand in the organisation
of the classes, so that a happier result may be looked for
than that which attended his Manchester enterprise.

Mrs. l?i>YtK, the widow of the late Mr. (!hori:e P
l'>oYi E, It.W.S., has luesented to the Chelsea Public
Library, Mainesa Uoad, his well-known water-colour draw-
ing of '-St. Bride's Church, Fleet Street, in ls(i7." The
drawing wa.s recently on loan at South Kensington, and .Mrs.
Boyce selected it for deposit in the J.,ibrary in memory of
her hu.sband, who resided for twenty-eight years in Chelsea.
The death has occurred, in his seventieth year.
Obituary. ,,,■ j|,. |),,\vxwAi!li Hiitcii, a landscape artist of
great ability. In his early years he exhibited at the Royal
.\cadeiny and other London galleries, but afterwards
retired to Italy, where he worked at his art without
seeking for public recognition. An exhibition of some of
his pictures is to be held at Messrs. Oraves's (iatlery
next spring.

Another artist little known to the public, .Mr. II.
PiLsHi'RY, has recently died at the age of sixty .seven. As
.\rt Director of Messrs. Moore Hrother.s, of LongtOD, he
exerted a powerful influence upon English ceramic art.
For many years with Messrs. Minton, he was one of
the first to produce designs based ui>on natural flowers for
the decoration of pottciy and chiii;i. He received his early
training at the Hurslem School of .\rt, where he gained
no fewer than twelve national medals, six of them in
one year. In 1^*51 he gaineil a scholarship, and went into
training at South Kensington for an art master. This,

however, was not con-
genial to him, and he
returned to Piurslem
and engaged in the
occupation which he
followed for the rest
ol his life.

-Mr. .1. M11.0 Grif-
I rrii, the Welsh .sculp-
tor, has recently died
after a .short illness.
His earliest public work
was done for LlandalT
( 'athedral, where he
carved many of the
.stone capitals. In 1S8:?
he commenced exhibit-
ing at the Itoyal Academy. He wiis the designer of the
siWer shield pi-esented by South Wales to the Prince and
Princess of Wales in 1S88. For .some time he was Pro-
fessor of .\rt in a college at San Francisco.

The death has occurred of Mr. Charles Hossitkh, wlm
for a (piarter of a century Invs been the .\rt Master at
I'ppingham School. The Tercentenary window |)laced in
the schoolroom in 1HH.''> was executed from his design.

The death hiis occurred, at the age of seventy-two, of
.M. Alois Schienn, Profes.sor at the Academie dcs Reaux-
.\rts at Vienna. He acqun-ed a reputation as a painter
of Eastern- princijially l-^gyptian— scenes. He studied
under Fuhrich and Horace Vernet. and was created Knight
of the Legion of Honour in 1H78.

OwiSi; to the pressure upon our space,

we are comiiellcd to hold over until next

month the rejiroductions of the successful design.s. Com-

jictitors desiring to have their drawings returned must

send sUimjis to cover the cost of carriage.

DESIGN FOR A CHURCH. WITH APPROACH FOR PILGH'-.
(By «. Duqufsne. ti^arded Ihe Omml Prix </■■ Rom,. Paris Pholog-aph bf Poilrclial, Pnrii. I

Our Competition.

FALSTAFF REVIEWING HIS RAGGED TROOPS. (lVu(er-Co/oi.r, WS3.)
{In e/ie Colhctimi of Gilbert Moss, fsg )

SIR JOHN GILBERT, R.A., P.R.W.S. : A MEMORIAL SKETCH.

By the editor.

T F Llie public fails

to appreciate the
riiiisiimniato ability
of the great artist
who has passed
:i\vay, it has at least
this excuse — that
his greatest qualities
were not those which
jiroclainied them-
selves the loudest,
and that the merits
by which he achieved
1 1 is amazing popu-
larity, sound and
even commanding as
they are, belong less
to the technical ex-
cellences which raised him to his pinnacle than the
appeal they made to the undeistanding, not neces-
sarily artistic, of the people. Though Sir John
Gilbert practised art in many of its branches, it
is only in one — and tliat not, in the public estima-

SIR JOHN GILBERT, R.A., P.R.W.S.

{From the Photograph by Messrs. R.tsiell
and Sorts.)

tiou, the one by which he ilelied the rivalry of all
comers — that he showed himself head and shoulders
above the draughtsmen of Ids time. Distinguished
as he was as a painter, whether in oil or water-
colour, it is in virtue of his achievements in black-
and-white that he takes his place among the few
masters, not of his age and country only but of
all time, who, through the medium of the hand or
printing press, have ranged themselves among the
highest. He may be voted " old-fashioned " for
the moment; but real art rises superior to mode
or vogue in taste. It has Time upon its side.

When Captain C4eorge Felix Gilbert, of Black-
lieath (where John Gilbert was born in 1817), found
by the disbanding of his regiment — the Eoyal East
London ililitia — that his income shrank to an incon-
venient degree, he adopted the calling of a land and
estate agent ; and when a friend engaged in a similar
pursuit offei'ed to take young Gilbert into his office,
the father accepted with gratitude. So for two
years the firm of Dickson and Bell entertained an
unwilling recruit, whose chief — indeed, his only —
iov was to look from the windows in C'iiarlotte

THE MAOAZIXE <^F ART.

THE

l.'mv ii|Kiii till' siilt'-tloor of lliu M:insiiiii Hmisc, ln^ik ivfiij;i' in Iteyu'ilils's " Discctiirses" .ind Hurnct's
wliL-re the fieiiuent displays of civic pomp — the " I'lacticai Hints," anil sought a few lessons from the
gorgeous conches, gorgeous servants, and gorgeous fruit-iiaintei- Ceorge I^mce, who, the distinguished
trappings, all the showy details of state and circum- pnpil of I'.cnjamin l!<>l)ert Haydon, was tiie most
stance, with the crowds and movement in the City's skilfid oil-))aintcr in liis line we have ever had in
throliliing heart — giive ojiportunities for the pencil England, just as Wilji.nn limit was in water-
ami material
for the sketch-
iiook that wore
the Old}- solace
of the young
estate-agent in
revolt. Hiscom-
lades sarcastic-
ally declared
ihathissketches
uni|Uestionably
proved him
"excellent at
Jii/iirf< ;" but it
was these same
n o t e s t h a t
saved him from
a life of ollicc
drudgery hy
convincing his
parents of the
ability and
power that
were in him.

He had
sketched njicin
his l)Ook at
school, he liail
sketched upon
his blotting-pad
at the oflice.
and gave littl
attention to tli-
original pui-
pose of either.
He now de-
voted himself
to sk(Uching

from nature and, like so many other self-taught
artists before Iiim, to coi)yiiig prints as a guide
to art— Just as his contemporaries Mr. Watts

OFFICE, 13. WELLINGTON-STREET, STRAND.

AGSN TS

m WCfTy.Jii^Tfc t.fiMi . 1 ^ W.wixWrtK I «-

««•»•■. Wtlilwwa ft Wrtftt

THE FOURTH COVER OF "PUNCH.'

(Designed oy Sir JaUn Oilbtrt, 1843.)

iiilmir.

Willi that
energy and in-
dustry of his
whicb, main-
tained almost to
the end of his
long life, have
always been one
of the wonders
of the art world,
( ; i 1 b e r t ap-
plied himself to
the acquisition
of every pro-
cess of his art ;
and with a per-
severance not
less intense for
being quietly
■iiid modestly
sustained, he
Icariu'il to work
upon paper,
\v<io(l, canvas,
111 r I a I , a n d
stone, and, we
are told, to
model in clay
and carve in
marl lie, as well
as to etch, to
paint in fresco
(on ihc chance
of c<immi.ssions
happening), and
to execute por-
traits from the
l!ut the earliest
colour — " The

Mr.
Ituskin, and iMr. Frith, for all their diirerence in
artistic aim, were doing at about the .same period.

largest dimensions to the smallest

Work which he exhibited was in wati

Arrest of Lord Hastings at the Council l>oard in the

Tower by the Protector, liichard of (Jloucester" —

contributed to the Society of liritish Artists in ISti.S,

He h:id taken all the prizes that were oll'ered for when he was nineteen years of age; and the second,

drawing at his school; but when he attemjited to a picture in oil, " The Coronation <if Inez de Castro,"

enter the cla.s.ses of the Itoyal Academy he failed, as at the .same gallery in 1.S;'.7. In lx;«S, two years

Mr. Yeaines and others have done bef(ir(> and since : after his first oil iiicture had been rcfu.scd at the

though the Academician, Sir William I'.cechey, who Academy, he contributed there a " Portrait of a

had Ix-en attracted by his talent, gave him all the sup- (ientleman," and in the dozen .snb.sequent years he

port and advice that he .seemed to need. .Si. the l.nl was represented in Trafalgar Si|uare by some ten

SIR JOHN GILBERT, II.A., I'.R.W.S. : A MEMolMAL SKETCH.

Works ill fitlifv nu'tlium, illustralivu uf scenes in
Shakespeare, Cervantes, or Scott. His tiisl SuHiilk
Street picture iuul found an inunediate puicluiser ;
and although " Holbein painting the I'ortiait of
Anne Boleyn," exhibited at the Academy in 1S41,

But just as he was embarking on hi.s career as a
painter his pen-and-ink sketches, including .some of
tlio.sc wiiich iiad been the despair of iii.s father in
the days of the son's abortive estate-agency, fell
under the eye of Jlr. Slieepshanks (happy days,

CONVOCATION OF CLERGY (Oil PUfl.rg. 1871.)
ijn the Difiloma Gallery of the Royol Academy. Engnwed oy C, Constantine.)

failed of a like success, ''Don Qubcote advising Sancho
Panza upon entering his Government," shown in the
same year at the British Institution, was acquired at
once by the famous collector, Mr. "Wells, of Kedleaf,
on the strength of its fineness of chaiactei', its
power, and its judicious self-restraint. From the
first, Gilbert was an in\-eterate illustrator — " Art
for Art's .sake " had few advocates sixty years ago
- — and the adventures of Don Quixote, Tristram
Shandy, and Gil Bias provided him with many a
congenial subject. Xot till 1S4.5 did he begin wliat
may be called the long gipsy series which afforded
him opportunities for rendering the more rugged
side of picturesque humanity, and that rougher and
raggeder side of nature in wbicli he .so delishted.

those, for youthful talent \), who, at the suggestion
of Mulready, backed by Duncan, advised that young
Gilbert .should devote himself to drawing upon the
wood. The notion was not altogether original, for
Gilbert had some little while before put Clarkson
Stanfield's drawing for ]\Iarryat's " Poor -Tack " upon
the wood for Henry Mzetelly.

From that time began Gilbert's career as a
black-and-white artist, especially as a drauglits-
man on wood; and to the connoisseur's interposi-
tion and encouragement Gilbert primarily owes the
greatness of his position, and we the brilliant
illustrator who.se fame and name are, I believe, im-
perishable : among artists, if not among the public,
rnprecedented as became his popularity, his success

THE MACAZIXK (»F Ai;T.

was not inuk-servea, wliellKT fur llie novelty of l.is " Iti.l.fns" on the paper drove hnu oil it, and he was
luuidlin.' or for its more solid artistic merits. At .•nuMed, in response to the n.v.tation ot Mr. Herbert
the be.'h.nin-. his more deliberate work was not so Ingram, who had jnst started the Illu.lrnk,! Lornhni
dashin" as that whi.-h he e.xe<.«ted for ih.- news- Xar., to throw hiin.self, with all his inexhaustible
papers^.or as " blottes.,ue " as his n.etho.l grew later energy, into the Krst worthy illustrated newspaper
toU; indeed.his "fowper" shows designs as minute that the country had known, .lerrolds animus was
and .•areful in liui.sh as the work of Mr. I'.iiket Foster entirely defei.sil,],. ; for although Cilbert was. or soon

bi'eame, a powerful rival to
William Harvey — indeed, his
only rival — he was no match in
the comic line for John Leech,
who on purely artistic grounds
cannot be mentioned with him.
It is interesting to observe
tluit the tliree early coiitribu-
l(irs til /'/'/(cA-riiiket Foster,
11. (I. iliiii', and .loliu Cilbert
—all developed into highly
popular and distinguished
artists (Mr. Foster, of course,
the least of them) whose
English feeling and devotion
to English landscape are their
cliief eliaraeleristics. For Sir
John, England was always the
England of St. (Jeorge, Old,
and Merrie, fertile mother of
stalwart sons, rich soil of
.^..Itlcn liarvcsls, with a strong
tlavour of Itobin Hood and
the tlreenwood Tree, modilied
— e.Kcept in Ins tinest con-
ceptions—by a suggestion of
Ihuiy l.ane transferred to
llii' oiirii. Ill Ills dramatic
niiinieiils he is a sort of genial
and kindly Salvator Kosa, a
\ igorous Gaspar I'oussin, lov-
ing grandeur and broad ettects,
^■arious though they be, power-
ful, and iiiuiaiitie ; and, though
iidl aiming at absolute truth
(ir aeeuraey of detail, succes.s-
I'ul in bis attempt to har-
luouise the landscape, lioth in
its lines and in its atmospheric
of the same jieriod, with whose feeling, indeed, iiis conditions, witli ibe siiiril and sentiment of his sub-
landscape at tiiat time .showed much alliuity. His jecL Yet through it all, as .Mr. Quilter once observed,
.liawings for bo(,k illu.stiatioiis were always careful Sir John (iilliert is an optimi.st ; and be draws smiling
jin.l delicate ; but it was in his work for the pictorial valleys and Masl.d heaths with the pride and eiijoy-
I'ress, only then spiinging into real lieiiig, that his ment of Millet in the peasants of France, or ..f Henry
cai)ae'ily for initiation and bis full fieedom ami vigiuir Moore in the blue waters of the Engli.sji Chaniiel.
liisl showed themselves. In the early pages of Above all other .pialities, Cili.ert's artistic in

RICHARD 11.

RESIGNING THE CROWN TO BOLINGBROKE.
{In tha Walker Art Oalltr^, Liaerpool.)

{Oil Puinting, ISJ6.)

jtages of

I'miili (1842) he had proved his i|Uality in the cover
lie wrought for it and in a few unimiiortant illustra-
tions ; but the hostility of Douglas .leirold to a

stinct declares il.self the fountain of all ins work,
at once explaining and justifying his almost in-
eleiUlile outiml. It lias been miiiputed— allliougb

."is

Till-; .MAdAZIXK oK AllT.

tlie estimate appears to
me exaj;u:pral('(l — lliat
for tlie III list ralal Lunilnii
Nfii's alone lie drew not
fewer tlian;U),000 "cuts,"
some of tliem of j^reat
size anil extremely com-
j)Iieati'(l design — prnees-
sions, Ciinrt ceremonies,
:iiid tlie like; and to
llii'se must lie added tlie
innumi'ialile eonliilin-
tiniis In tile Liiiiiliiit
•liiiiriiiil and ti> e[)iie-
meral newspapers, paiii-
plilets,and liooks.iiesides
liis tlinusaiids of careful
iliustratiiius t" the wmks
of nearly all tlie I'jiglisli
poets and many I'liilisli
antliors, to l.iiiigtVlliiw,
( 'crvaiites, Le Sage, and
others.* And liej-ond
these are tin' 400 pie-
tnies — in nil iiiid water-
ccildiir — eiiiilriliiilcd (u
till- l.'ciyai Afiidciny
(abiuit ."p.">), the (lloyal)
Society of I'lilish Art-
ists (-JO), till' liiili^h In-

slitutiiiii (40), and the l.'nyal Society of Painters in
• of (lie fulii) catalogue ol tliclirilisli Mii-^ciiiii no I'owir
l)i:iii six |i,iges are covered with 150 entries inider liis name.

FAIR ST GEORGE. (Oil P„mim,j. 1881. I„ ihv CilMali.)

Water-Colours (a liou t
L'7"): and in aclditioii
nil' the works lie lias
iiiver exhihited at all.
Figure, landscaiie, beasts,
hirds, and fishes+ — they
were all I iralnl ly him
with tiie same care,
kniiwledge, and artistic
sucee.s.s.

Vet, though his un-
]iri'i I'deiited fertility was
iliir tn iai>idity not less
than tn industry, there is
iin .-^igii nt haste in his
iliiiwings: they ai-e often,
11 n d nil lit, "sketchy,"
liiit llicie is Untiling
ill tliem which suggests
lliat greater excellence
wniilil have attended
greater delihi'rat ion.
Moreover, whether the
ta.sk he story-hook or
I'.ilili', till' '■ rrnvi'ilis of
Siilniiinii," M ackay 's
" 'I'lia iiii's," nr the
"Wnrks nf AIilti)n,"or of
"Shakes]M'ai('" ( Knight's
and St aiinlnn's, \\ilh
many Imndieds of pictures), ov " "Wnrdsworth," or

t .As in llu' lirilli.-ml " liouli nf .Ji>li," willi lifly illustrations,
imlilisliL-d in IS.JT.

THE RETURN OF THE VICTORS. (0.1 Pah,li«Q.)
{In thu C/'fv 0/ Bhmlnghnm Art Caller^.)

Slli JOHN (ULllKKT, II. A.. T.II.W.S. : A :\n:.Moi;i AL SKETCH.

" Scot t," or tlie early " Cowpui " (witli its t'xlri'iucly
dainty drawings, tight and snincwliat liiiuiking in
handling tliough they are), he was ruiiijiletely at
ea>se in theui all. At a time wlieii illustrated hooks
were the fashion — even more the vogne than they
are to-day — "he contributed U< nearly every im-
portant illustrated work." His rapiility never
slackened, and it rather insured than
impaired the artistic quality of Ins
work anil its sense of style ; for the
speed of his practised hand followed
Imt the quickness of his intelligence
— ^the intelligence with winch he ap-
prehended the author's meaning, and
"saw" the picture in which it slioidd lie
realised. He thought out the subject
with the point of his pencil. r>esides,
he had not niurh need to study ; he Jiad
stored his nund with a marvellous stock
uf knnwledge of })eriiids and costumes,
of races and types of men, of figures
and proportions, of architectural orders
and facts of natural history, oinament
and arclueology, arms and decoration and
Styles — all the details winch most art-
ists have to " work up" when a snbject
is delivered to them ; and as he rarely,
if ever, made studies — at least, for his
journalistic work — but drew direct ujnm
the block, ins working hours were every
minute of them prnductive. Nothing
came annss to his pencil : his facilitv
was as prodigious as his readiness and
his memory, He "extemporised u]ion
paper" willi originality, nrn\ mul 1iril-
liancy. He would make a full-page
drawing upon the block widle the
inessengei- would pace tlie lieatii for
an honr or so, or refresh himself in the
kitchen. According to Mr. Harrison A\\'ii-, (iilbiMt
on one occasion drew two-thirds nf all tlic ilrawini^s
in one week's issne of the Illiinlr((liiJ. S(j ipnck
and deliberate was he, both in point of woik and
knowledge of composition, that when lie was engaged
npou such a block he would, in time of stress, proceed
without sketching liis subject in, finishing it off as he
w-ent on, and as he completed parts of it, would un-
screw tile .s(piares of which the whole is composed and
send the bits one by one to the engravers — tluis never
seeing the finished work until it was cut. He kept the
mental picture of the composition before him and
never lost sight of the general elTect. Tlie engravex-s,
wliom iie was educating away from the dull convention
that ruled before (though Mr. W. J. Linton curiously
declared that "he wizs-leil them l)aek to mechanism" —
i.e. facsimile cutting), received with delight the new

method and new technique wiiich he initiated — so
brilliant in its spots of lilack and telling wlutes
— a Spanish toucii, widcli, tliough ea.sy to engrave,
was so eHecti\e in its result.* Although jiis
facility of execution and inexliaustiljle inxention
are leading ([Ualities in his black-and-wdiite work,
he had that feeling for beauty of line which is a

EGO ET REX ME US. (0// Paintin<j, !880. If, the Ouildltall.)

in(:;ril ol higher \aliie a,iid importance. In fact,
his (pialiLy of artist is well matched b}' his skill
as draiigbtsman, and power as illustrator.

He was a liuniorist too, but had rather the
appreciation anil power of realisation of other men's
humour than a broad creative liuniorous faculty of
his own. Mis drawings for I'luirJi liave little fun
in them, exeejil, perhaps, the drawing for " Aloke-
aiiiui," in wliieli he caricatures his own style. Pnit
we must iie\'er forget that it is to liim we owe
that .'■'coteh joki' of perennial entertainment —

* Sir Juhn Gilbert w;i.s, on llic wliole, very fortiinate in his
engraver.s. His '"C'owper," for e.xatnple, was e.-iquisitely en-
graved by Orrin Siiiilli, assisted by .Alfred Harral; bis Staunton's
'• Shakespeare " and " Longfellow " by Dalziel ; the " Perey Tales "
by Kircbncr and others as clever; the "English Ballads" liy
FoU<ard ; and otiier works by Wliyiuper, Nicholls, Mr. \\. L.
Thomas, etc., of like ability.

THE ma(;azl\e uf aut.

THE ENCHANTED FOREST [Water-Colour, t$8li. In the Cuildhall.)

•• liiiiiL; wfiiL saxpeneu" — l'(jr il was (
licaril tliu words, utteix'il sm-iously,
to Mr. llirki'l Foster,
hy wliose iiiluriiied-
iary they icadied
Cliark's Kwiic.

Gilbert's water-
colours always re-
call to ine the
(1 ra ugh tsui a u's
lieucil. I doulit if
lie ever felt what
Alfred limit used
to cull the " witch-
cry" of the iiu'tluid,
rather regarding it,
like all the other
niediuiiis he prac-
tised, as an iiistru-
iiiciit for expression,
and little mure. He
cared for thesulijcct
lii'stly iind .secondly
too, and he never
prohcd far the ]m's-
sihilities of water-
colour. That he
couM have done .so

had lie clliisrll, 1

liavc no douht.
His early sketch-

lilhcrl wild Hist wiii'lhcr or iiol lie

drawings in pure wash are
delightful in their tender-
ness, and as far removed
from the heavily laden
body - colour drawings of
later years as the broad
dashing handling with pen
or pencil of his maturity
are removed fioui the ex-
quisite touch of tiie early
'forties. Some of his archi-
tectural sketches — such as
•La Cliapelle du Sang de
l»ieu, ISnigcs," now in the
(iuildhall— are worthy of
ihf line point of Ituskin
m of Turner, with whose
iiHthoils, indeed, they have
much ill common : while his
(Ir.iwingof l'"reiich dragoons
Kiiret or Cliailct might
li,i\c lieeii proud to sign.
Nothing was at that time
too refined for his firm hand
and observing eye. lUit
aimed at the appearance of

anil gave tlic-ui iriupcTa-iiainliiig, wlirtlier he kepi his colour pure

"AN

ARMED HOST DRAWN UP BELOW. A BATTLE IN THE SKY. («-<.(,. a/.o,)

(/n (/i« (juitdtialt.)

SIR .TOHX GILBERT, R.A., P.R.W.S. : A MEMORIAL SKETCH.

or lapsed into lehitive uuKkliuess, he was invavi- them for the same end. That end, whether he liked

ably the nia.'iter of composition. it or not, earned him the sobriqiicf of the " Scott of

His composition, indeed, always seemed to fall Tainting," so far justifying the charge brought against

right rather than to be deliberately devised, in him of sharing Carlyle's disdainful denunciation of

striking contrast with such a master as I.eighton, tlie Northern AVizard as indulging in " the bulf-

whose ingenuity always seems to the spectator to jerkin business." Though narrow in ids artistic

CRUSADERS ON THE MARCH. (0,7 Painting.)
ija the South Kensington Museum. Engraved by Madame Jacob-Bazin.)

have been planned with ileliberation. The grouping
was insthictively good, and always in admirable
relation to the elTect of the whole ; while no
frequency of repetition in the class of subjects with
which he had to deal ever betrayed him into repe-
tition of the scheme. His composition, in fact, was
never the bald arrangement accepted by so many
painters and their admirers: it was Design in the
higher and broader sense, invariably spirited and
picturesque, full of vivacity and dramatic force.
Cilbert was .so much of a stylist that we lo.se sight
of his near approach to being a mannerist, and in his
versatility we forget that his range was compara-
tively narrow. He used many methods, but most of

view, he was .so widely .sympathetic within tIio.se
restrictions that e\ery subject and every passion
.seemed to come within his power — passion, that is,
tlie emotions of tlie heart, though not tlie higher
conceptions, the emotions of the soul, and the
sentiment of the higher intellect. In liis more
elaborate compositions the management of crowds
is astonishing. They are instinct witli life and as
full of movement as Tradilla's, and drawn with
infinitely more thoroiigimess — not, one would say,
more carefully but more successfully. Crowds iu
all ages, of all classes, civilians, soldiers, armies,
in all sorts of circumstances, yet rarely suggest-
ing confusion ; pompous State piigeautry, imposing

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SIR JOHX (ULBEirr. i;..\., t.r.av.s.; a ^rEM()l;l.\I. sketch.

procession, tlie dasli nf ca\aliy thavge, or siniplL'i'nu-
clave of calm electoi-s or assemblage of street on-
lookers, all are depicted so judiciously as not to
bewilder, while yet convincing, the spectator. .Vnd
even if the ihawing be sometimes loo.se, it is not
noticeable (and if it were it wei-e certainly pai-
donablc) for the sake of the vigour, the delightful
impetuosity and ease of the perroruianee.*

In expression (Gilbert could be as noble and
dignilied as he pleased, imparting to his figures a
grand air — superb in gesture, robust in action — almost

tlie surf;Ke merely — neither in colour, handling, nor
quality of paint is there any real resemblance ; and
it is certain that in ids work he was as much in
.'sympathy willi lli'udir.iudl and \'clasnU(V as with
the great master rif Flandiis.

As an oil-painter lie showed a subdued tlam-
boyancy. so to speak, tliat is full of spirit and yet
well within the bounds of good taste. His shadows
were often heavy, but he wa.s so good a craftsman
that his colours ha\e never changed. He had a
fre(pient trick of modelling by "pencilling" or

THE BATTLE OF THE STANDARD, NORTHALLERTON. (Water-Colo„r, 1S79-S0.)
{In the Guildhall. Engraved by Madame Jacob-Bazin,)

achieving the heroic. His dramatic and narrative
powers %vere equally great ; he could tell his story
unfailingly, and w^ould sometimes ri.se to the dignity
of history, without falling into the common fault of
stiltednes.'i. Incident he loved, and treated it with
vigour and ma.sculinity : and he was always sensitive
to beauty, whether in line or in touch, in Kgure
male or female, or in nature. There is hardly a
sketch by iiim but what is full of charm. Clrace was
his, too, when he sought it — but rarely repose. And
he loved opulence in colour, line, and form ; for
which reason superficial obser\ers have dubbed him
the " Engli.sli Eubens." ISut the resemblance is of

* Like Mr. G. F. Watts, .Sir John Tenniel, Gustave Dote,
and other eminent cle.«igners. Sir John Gilbert did not draw
from the model.

hatchin", by which he gave fulness to his forms,
that was .sometimes irritating — the result of his
draughtsman's practice — not at all neces.sary, how-
ever, as liis admirable portrait of Thackeray at the
Garrick Club, for examiile, abundantly proves. With
" tones " and " values "' lie troubled himself not
at all, and not gieatly with tlie rroblems of atmo-
sphere. Kreadth he sought for and obtained, and
suiticient verisimilitude to force his conventions
upon tlie spectator. So successfully did he achieve
his aim that his pictures are never merely costume-
pieces. His colour, though rich, was sober, and was
admirably adapted to tlie representations of those
impo.sing .scenes from history, scenes of chivalry and
poetry, and subjects of a spirited kind, that made him
2)((r excellence the painter of robust medi;T?valism.

TiiK ma(;a/^ixi-: oi' aut.

A BISHOP. (IVul.r-fo/o"^, 18S'j.)
(/n the Ouildhitll. Engraved by Itomaynoto. )

He loveil wliat Wits (Iraiiialif, whc'llior in scene
ur eliaiaeter, Iml lie was never sLaj^c'v in the render-
ing nf it ; anil eouM be not only dramatic hut traj^ie
tori, iiscending on some occasions frimi tlie grandiose
to the grand. Vet liis gnmdeur was not tliat <if
.Mr. Watts: for he lacked tlie necessary elevation
ol" llionglil and loftine.'^s of loneejilidn.

It was in 1S")1' tiiat (iilbert was eleclccl Assn-
eiatc lit' ihc Old Water-(Jolour Society, and in the
fi)lliiwiiig year lie was created full Mi'inhcr. lie
was elected to the ['residency in 1S71, the hniinur
of knightiiood being signified In him .soon afterwards,
tlionyh onlv actnallv conferred earlv in the fiillowiiii'
year. He rrsigneil his post in l.SSS, liut was nnanini-
fiu.sly re-elected, a few members being a|p]ioinlc(l
l>i'|iuly ill turn to |ierforni the ilnties of his nlhee.
It was ibiiing ids teriii nf service that he iiiitiatcil
the mniual exhiliition of sketches wiiicii has proved
so ))oiiiilar a feature witii tlie patrons of the Society.

Ill- liad been liailiv hung in tlie early yeai's of his
exhibition at the Itoyal Academy, and refrained.

therel'iire, from sending again from
IM.". I for si.Nteen years onwards, save
on a single occasion — in 18G.">, when
" The Army on the JIarch " was placed.
In l.S()7, however, he resumed the
regular c(jiitrihution of important
Works, ill IS71 sent in his "Con-
volution of the Clergy," and on
■ lamiary '1\)\}\, 1S72, he was elected an
.Vssoiiate. I'our years later (June I'iHh,
lN7(i) he was-promoted to full member-
shii), when " Itichard 11. resij'ilin" tiir
Crown to llolingbroke " (now at tlie
Walker Art (iallery, Liverpool) jtistilied
his election.

lns])ired l>y the sjiirit, if not by the
example, of Mr. ^Vatts, Sir dolin (iilbert
ill IS'.):') carried out the long-cheri.she(l
iiiliiition of presenting to the nation an
iiiiportanL collection of his works. AVilh
tliis view lie brought together a noble
series representing his work from 18;!S
to 18!) I, and distributed I hem among
London, lUrmingham, Liverpool, ilan-
eliester, and Dlaekburn, depleting his
own hou.se for the greater satisfaction
he sought. London acknowledged the
gracious act by conferring its freedom
upon the donor, the lirst artist ever
so honoured. It must be adniitti'd
that, seen together, the number of his
works somewhat suggests monotony,
lacking that independence of intention
that gives variety to Mr. "W'atts's col-
lected works. His collection of sketch-
books he had already jncsented lo the Itoyal
Academy.

The end of liis long life, so larking in incident
tlimigh so full of iiidiistiv, clo.sed sadly for the gentle
and the kindly old man, who.se iihysiial iiiliiniity
iiotwithslaiidiug, up to a year or two before his
death, was powerless to sulidue his will or damiien
bis artistic aidour. One who.se independence and
individuality bad wilhstood the inlluence, positive
or negative, attractive or repellent, of the I're-

li'a|ilia(dite nuAcmeiit on ll ne band, or of any

oilier siiccessful ailists of the day on the other,
when art-dialectics were at their height, was surely
of no common sort. He always showed it in his
work, and he proved as much by giving liack lo
Ihe public at the last much of what he had so
nobly earned from the beginning, and (on the ."Ih
of Octobt-r, IS'.I7) .sank back i|uicily iiilo ihc
grave — bidoved by all who knew him, without a
single enemy, and in the lull knowledge of a life's
work done.

CONTEMPLATION (THE HON. MRS. STANHOPE).
(From Caroline IValsoii's Sliffle Etigraving of the J'ieliire by Sir Joihiui KeynoMs, P.K.A.)

MAOAZIHK Of ART.

<v-^- --.f^.. <^.>3fc>ii«-yt.''-*,a>.>.:Kj»r.-<Mi.^-»*-<i.<^.^'>4^^. Vi'- ■ ■.■■ . ^.■>^ -■-.■■^■.v

LEOPARD PLAYING WITH TORTOISE
{By J. M. Swan. A.R A.)

SCULPTURE IN I897.

Bv ALFRED LYS BALDRY

ri"^lIKi;E i.s IiiiiiUy iiiiy luaiieli ul' art in wliicli
J- so gical ail atlvaiice lias Ijceii perc<'[ililik' in
tliis cuiintiy dining recent years as in seul[)turc'.
It is not so long ago tliat liio sculptor's prufessioii
was rogardud as one that itivi.JNed endless struggles,
and one for wliicli any real ixijailar appreciation
could not be expected. Absence of support was
until (piite la-tely the lot of most of the men who
had the temerity to try and work out original ideas
in sculpture, or had any aniljition to attempt any-
thing better than commonplace portraiture. Ideal
work was distinctly discouraged, and neither in
•piality nor (|uaiitity was it, as a rule, calculated
t(j do credit to the British school. But this con-
dition of aflkirshas now under<rone a marked change.
Not only lias there sprung up, in response to a
quite sincere and widespread demand, a considerable
group of thoroughly able sculptors; but there has
also developed, soundly and systematically, a spirit
of truer iestheticisni, which has allected the j^eneral

pulilie ijuile as niucii as the workers themselves.
A vastly im[)ro\ed type of production has resulted
from this change. Sculptors have gained heart, and
have, in lesponse to the more sympatiielic attitude
of their patrons, set themselves to raise their art
from its former state of despondent resignation to
a definitely progressive one, full of vitality and
robustness of spirit. Already sculpture has become
one of the most active of modern artistic influences,
and the promise it gives of even greater advance in
the near future is most hopeful and encouraging.

It is sufficient to review the achievement of a
single year to gain an idea of the position which this
one branch of art occupies at the present moment.
Although it may happen that during the period
chosen for examination some of the more notable
artists have been prevented from doing themselves
fullest justice, or may even have failed to show any
work at all in the various exhibitions, there are so
manv men now who aic able to arrest attention that

Tin-: ^r.\(;AZiXK of aiit.

11,. absence ..f .vc. . ,Moat master docs not cause Uul ll.i. y-n iLcre were compensations even f

the blank that woul.l not so very long ago have such gaps as these. W
been only too plainly

l)erceptible. During the
past twelvemonth the
record has in one sense
sulfered by the inade-
quate representation of
such modern leaders as
Mr. Thornycroft, Mr. Cil-
bert, and ^Ir. Brock, and
by the failure of Mr.
Harry Hates to complete
anything at all for ex-
hibition ; and yet 1S97
deserves to rank as a
year of marked success
in sculpture. It is true
that Mr. Thornycroft's
biis-reliefs at the Aca-
demy, though small and
departing little from
the beaten track, were
technically of great ex-
cellence ; and that ^Iv.
lirock's one large woik.
the memorial "Efligy ul
a Lidy," exhibited at
the Academy, was a tine
piece of design and ad-
mirable in its display of
executive skill. It musi
be conceded that Mr.
Gilbert's metal-work, in
the same exhibition,
.showed the most attrac-
tive side of his super-
lative capacity, and re-
vealed to perfection that
sense of applying mate-
rials which puts him
justifiably amon^ the
chief decorative sculptors
uf any period. r>ut :dl
liiree arli.sts have in pa.-l
years given us .so much
evidence of energy as
well as skill, that we
have become accustomed
to expect from them an
array of important
ellorts: ami tn have no-
Ibinj; IVniu .Mr. Harry
I'.ates, one of our most
poctie and cla.ssic sculp-
tors, is to lose one of the attractions of liie ait s.sison. with .luestions ot e

OCEANA,
(flv fli-rlf.nn AfcirA.'H(in/.)

have had instead a demon-
stration of all-round
ability that is most in-
structive, and a proof of
the power of the younger
men that is full of sig-
nificance and of promise
for the near future. Ob-
viously, there is no cause
for alarm lest the pro-
<rress of modern sculpture
should be checked or in-
terrupted by any falling
off in the number of
artists capable of great
achievement. We can
plainly .see that among
those who are now coming
to the front there is a
lull measure of the right
sjiirit and a strong sense
I if what is appropriate
in .sculpture : and we are
left in no doubt concern-
in"' the sounilness of
the technical knowledge
wliicli tiiese younger men
liaveaeipiired. They are
11(1 less .skilful in exe-
cution than they are
judicious in design and
intelligent in manner of
treatment -. the combina-
tion of these nualities
fives to their work a
degree of vitality that is
a sure sign of further
ileveloimient.

One of liie most re-
markable of the larger
examples of sculiiture in
ihis year's Acailemy was
tlie statue of " Dame
Alice Owen" by Mr. O.
.1. I'rampton, an artist
wliu has accustomed us
111 expect from him a
very hapjiy alliance of
(iriginality and power.
ill this piece of work he

had to fare tlie dillieult

pi.ililem of ciimliiiiiiig

liai iiioniously various

materials, and had to deal

an- as well as form : Imt his

■^1 ri.iTrKK IX ]s!)r.

(>7

success was bcyoiul dis-
pute. Xo hint of dis-
cordance spoiled the
general eflect of the
statue, and the admir-
able workmanship, hotli
of tlie bronze and the
tinted marble, could
scarcely be too highly
praised. Equal skill
was shown in his two
bronze reliefsof" Charles
Keeiie "at the Academy
and " lieginald Stuart
Toole" at the Xew
(Jailer}-. Another
young sculptor, Mr.
Bertram ^lackcnnal,
added appreciably to
an already .sound re-
putation by the work
which he sent to the
Academy. His " Oce-
ana," a marble statue
slightly under life-size,
was a delightful piece
of idealism, charming
in its 'refinement and
yet perfectly rolnist
and real in its represen-
tation of a wholesome
physical type. A mar-
ble bust and some .small
bronzes exhibited at
the .same time were, if
less impcjrtant in scale,
no less interesting as
evidences of his de-
finite and striking in-
dividuality. :\Ir. F. W.
Pomeroy, too, made his
mark at the Academy,
where his skilfully com-
posed and daintily
handled statuette, " The
Xymph of Loch Awe,"
found favour with the
Council and was pur-
chased for the Chan-
trey Fund Collection :
and he was represented
more than .satisfactorily
at the Xew Gallery
by a bronze statuette,
"Pensee." Mr. Alfred
Drury's chief produc-

INVOCATION TO THE GODDESS OF LOVE,

tions during the year
liave been devi.sed for
other purposes than e.\--
iiiliition, for the de-
coration of Ijuildiiigs or
Tor erection in pulJic
]ilace.s, .so that a .single
bust, "The Age of In-
nocence," was all that
III' .sent to Burlington
Mouse. This, however,
by its exquisite apijro-
priateness and charm
of manner, fully con-
linued the good im-
pression caused liy his
" Griselda," to which
last year was accorded
tlie same honour that
has now lieeii gained
by ]\Ir. Pomeroy's
" Nymph of Loch Awe."
I\rr. Toft, Mr. Pegram,
iMr. F. E. E. Schenck,
and Mr. Felir all aided
materially in keeping
up the artistic standard
of the season. Mr. Toft's
statuettes — " Sjjring,"
at the Academy, and
" An Invocation," at
tile New Gallery : :Mr.
Felir's statue, " Invo-
cation to the Goddess
of Love:" and the de-
corative figures Ijy :Mr.
P e g r a m a n d ;M r .
Schenck, were marked
by quite notable power,
and were very welcome
additions to the varied
series of illustrations
of the modern point
of view which were
gathered together in
the two chief galleries.
Among the sculp-
tor - Academicians the
only one who availed
himself to any great
extent of his privilege
as a member was Mr.
Onslow Ford. He
showed as manyas eight
examples of his work,
all in his very best

TIIK ^FACA/IXK (IF AIIT.

iiianiuT jiiul all wurtliy el' tlic I'loscsl alteiilimi.
Si'VL'ii of tlii'in wore portrait l)usts almumling with
vivid reality ami treaUMl with the siiieerest sense
of style: and the eighth was his t|iiaiiit and
imconvciitional "dowett Memorial," intendecl fur
the eliajiel of lialliol College, Oxford. It would
be dillienlt to .say whieh of tiie seven hnsts
could be faii'ly regarded as representing him most
adequately, for all were in dillerent ways as complete
as the best balance of artistic ipialities could make
them. I'erliaps the jjreferenee might be given to
the portrait of I'rofessor Hevkomer, which revealed
a singularly .sympathetic apprecialion of character:
but the .subtle delicacy of Ihe " I'ortrait Bust" nf
;i lady, (he virility iif ibc bronze of "The Lati^ Sir
.1. v.. .Millais," and ihu judieinnsly dillcrentialril
individuality of the others, make any alteni|)t at
serious eomjiarison of e.\cellen<e iiii'treclivc, if nut
impossibl(>. ^\'e may fairly feel giatefnl to him
for his industry: we could not have sparnl any cine
of his contriliutions. hi addition to thes(> cxhibitid
Works he has also ijuite recently com])l('l('il Ibr
masterly statue of l)r. jialc, wliich will, in llic
I'irmingham Art (iallery, serve as a jicrmaiient
mi-morial of the great Xonconformist leailer.

About a dozen exanijilcs of siidiitiuc of various
types repr<'sented the total contribution of the rrsl
of the Academy mendiers. ]\fr. I'lrock, in adilition to
his " Klligy of a T,ady," sent an adniiralili' iiiaiMr Ijiist
of Sii- IJichard Quain : Mr. .\rnistcad a statue, ' i'lay-
mate.s," of a iiuile girl jilayingwith a liittcn : and .Mr.
Thornycroft some jiorlrait medalJinns — tliesc, with
^fr. Frampton's two works and ."\lr. Ibiton b'ivicre's
"Anatondcal Lion," eoiii]irisiMi nc.-nly Ibi' wboic nf
the Academic edbri in ait of lliis class. ,S(inn> piiccs
of melal-woi-k niusi, however, lie added to coniplrti'
the list. yU: (lilbcrl's cxtrcm(dy licautiful " Mwcr
and Kose-walcr liis!i,",nid bis gnld iiic(lal fui aniiii.il
]iresi'nlalion at St. llartliolonicw's Jlos)iilal in memnry
of the late Sir AVilliam l.awicncc: ]\lr. d. M. Swan's
silver group of a young Indian leopard |ilayiiig with
a tortoi.se: and I'rofessor Iferkumrr's gold and i\orv
Pi'esidential badge foi- (he JJoyal Water Colour
Siwiety, made a most iiujiorlant addition (u the snin-
lotal of the interest whieh was to be derixcd from
an inspi'ction of the two roonis assigned at Ibirling-
ton House to sculpture, and, with the silver bon-bnn
dish liy y\r. Heynolds Ste|)hens, gave a )ilcasanl hint
of till' progress whiidi is being rajiidly madr towards
the creation of a really worthy .school of workers
in the more costly nu'tals. Another a])pliiation of
the sculptor's craft was illustratrd in the lolmired
plaster relief which Mr. .\nning I'.cll exhibiti'd in
the spring show of the New ICnglish Art Club— a
successful coinliination of colour with m<idelled form
which could only be juilicionsly altiinpti'd bv an

artist who po.s.sesses, as Mr. iSell certainly does,
a most .sensitive feeling for colour arrangement as
well as a true sense of line coniposition and dccuia-
tive balance.

Even outside the exliiljition galierii's the record
of sculpture for l.SilT is lacking in neither value nor
variety. The steady demand for the .services of thi^
.sculptor as a coadjutor to the andiiteet, which has
lieen very plainly perceiitible of late, shows every
sign of becoming year by year more active and
gives every promise of growth into a great art move-
nu'iit. Scvcial i>( mir younger artists lind constant
oc'cupalioii in the trcatnieiit of the ornamental
driails of anbitcitinal designs, and the eHecl of
tbrir jiarticipation is seen in a markiMl im])rovement
ill the decorali\(' accessories of newly erected bliild-
ing.s. A\'liat was fdiiiirrly niciidy a matter of
mccliaiiir.al iiiainifactiuc lias now become a subject
for artistic .ittcntion, tbcrcfoii' no consideration of
till' scid[itnre of to-day can be complete unless
iiolicc is taken of wliat is liciiig ibme in tlic |iiiblic
pl.ices and streets of dur cities and towns. Indeed,

tn omit tllis lliilice Wnuld be to (iNellook SOliie of

the liest eltbrts of our ablest sculplor.s. Jjr. StirlinLt
Lee, fur instance, has dining this yi'ar ]iiit himself
ill i'\idciicc at liiilir iif the galli'lii's, as liis lime has
been entirely taken ii|i wiib aicliitectiiral work.
.Mr. |)iniy lias been cbielly oceiijiied with terra-
cott.i liiiidrlliiig for xariiius bui]ib'nn> in LuiidiPii .and
the eounti}', and lias also made considerable pro-
gress with the clay models of sniiie colossal bronze
ligures intemled to serve as electric light stand.irds
at Leeds. .Mr. I'omeroy's siailiitiire and plaster-
work- fdi- a bouse in .Mayfair li.is been I'cccnlly
iefeii'e(l In in this Magazine, Mr. .'sebenck's energies
lia\e Iieen almost entirely ilevuted to the ileeora-
ti\e features of the (txfonl Town Hall. Mr.

I'egiani's Hilly exhibits at the .\c;ii|eniy were ;i

ciiu|ile (if ligures intended fur tiie base of a candela-
biiiin; ,iiiil iniicli of Mr. .Maekennal's ontpiit for the
year lias cniisisled of desi^ilis fur niel.d-wiil k rei|llired
f(ir ileclricdiubl linings, a class of prodiietioM for
wliicli be is. by bis strong sense of line value,
|ie(iiliarly well siiiled.

Several iliipcutunt memorials lia\e lieeii bnnielif
to coni]ilelioii or consiili'rably ad\anced during 1S!)7.
.Mr. ford's "Iir. llale" has been already referred
to. and among olber jiroduetions of the saliii' class
must be reckoned .Mr. 'J'hornycrofl's statue of ()liver
Cromwell I'm- a site at "Weslminster ; Mi. II. Monl-
fords bronze tigiire of Charles 1 )arw in, nn\ liled in
August at Sliri'wsbury ; ^fi'. (biscombe dohn's" Me-
morial to the Laic Canon (iuy, I ). I •., " I'm I be cliapid of
Forest School; Mr.( )nslow Ford's moimnicnt to Ihclate
Ifaniilliiii ftraeallum at I'.eer : and the statue of 'Myk
Siddoiis bv M. ( 'lie\alliand. nn\ eilcd at I'addinglon bv

SIR J. E. MILLAIS, BART.. P.R.A.

(By E. Ons'.oto Ford. R.A. Presented by f/it Smlptar tu the Royui Ai:udtit»y, to be pIoL^d in the Vestibule.)

DAME ALICE OWEN.
(By Georgi! J. Frampton, A.H.A. Unueileil at tile Luiiy Owen School, October 2Ut, 1897. Seep, 60.)

THE ^rAGAZIXE OF AHT.

THE NYMPH OF LOCH AWE.
{By f. W. Pomeioi/, In !/;»• Chanirey Col/i^ction, MHIbank,

Sir llciiiv Ii\ili,Lr- Alimii^ llii' chii.'rj wmk.s ic<i'iill\ liu(lal>. Aimlln r Wdik liy lliis lasl -iiniitiulR'tl sculi)-
ciiiiiiiieiiceil are llif sUiUil' of -liid.^' Hughes lor toi', "Tin; First lallLtlioii/' was i>urclia.suil From
]{ii"ljy Sclioul ami llic iiicMiiorial of Fonl Lciglilon the Dresden Exliiliilioii for the Queen of Saxony's
for St. I'aul's Catheihal, for lioili of whieli .Mr. eolleiiioii. Il is worlli iiotjnif, too, as a matter of
IJroek is to l)e resjionsilile : llie eaiioiiied loiiili hy some sii;iiifieanee, lliat in the National Competition
Mr. .laekson and Mr. r)roek in meni<iry of the lale at South KeHsinulon five out of llie si.xleen gold

medals, oriered for art-work of all kinds from all
tlie art seiiools in tlie eountry, were awartled t(j

modelled work, against

Arehbishoi) of Canterbury, whieli is to he erci ted in
Caiiterlmry Cathedral: and a statue of the i'uke
of Norfolk which .Mr.
()n.sloW Ford has heeu
eonnnissioned to e.xerutc
f<pr the new Town Hall
at Shetiield. As a natu-
ral eonse<|Uenee of the
.Inhilee, several statues
or statuettes of the
(j>iieen have been com-
menced or actually com-
pleted. Among the
smaller works of this
elas.s, jierliaps the most
interesting are .Mr. Mar-
kennal's small full-length
of till' Queen in her eort>n-
ation robes, and Mr. E. E.
(!etlowf<ki's reduction of
his largi- statue at Singa-
1 11 ire.

Aniong the hiiliolU>

gained by .seuliiture this
year, the awards at the
I'rns.sels Exhibition aic
most important. Mr.
Onslow Ford receiveil a
first-class medal there,
and Mr. Fianii)ton and
Ml'. Drnrv second-cla.ss

■^'

PROFESSOR HERKOMER,
(By £• OniJow Font. R.^.)

R.A.

one nidy for figure-draw-
ing and none for ]iainting.
The success of tlu' model-
lers in the comiietition
was, indeeil, secoml only
to thai of the designers
of all ela-sses, to whom
seven gold medals were
givi'U. t )n the whole, the
record of the past twelve-
month is an e.xt'ellenl
one, and full of promise
for coming years. It is,
too, a matter for rejoicing
that death has removed
from the .sculptors" ranks
only two men of note —
Mr! d. Milo Crillith, the
Welsh artist who.se com-
paratively brief career
was u very distinguished
one, and Jlr. Ci. A. Itogers,
the veteran wooil-earver
who, tho\igh he had prac-
tically retired from active
work, was up to tin- very
last a man of inlluence
in the art world.

A MODERN DUTCH MASTER.

H. W. MESDAQ, PAINTER OF THE SEA.

By M. H. SPIELMANN

THE headship of modern Dutch art belongs to career.* The book is a beautiful one and a credit
Josef Israels on land and to Hendrik Willeiu to its printer, Mr. A. W. Sijthoff, who has produced
Mesdag on the sea. To many beyond the borders it in a manner uniform with the "Henriette Eonner,"

THE STUDIO OF H. W. MESDAG.

of Holland the names of no other living artists are
so well known and so universally recognised — not
even those of the brothers Maris. Eobust, original,
sincere in his observation and skilful in recording
it, il. ilesdag takes his place without presumption,
with the acquiescence of his fellow-painters. His
popularity is based on giounds personal as well
as aitistic, and with these his otficial cliieftain-
ship has combined to call forth the tribute of a
handsome biographical "album," in honour of his

9()

which I wrote for the same publishers. The etchings
are good examples of their class ; but it can hardly be
said that the fine point with whicli they are wrought
is well adapted to the translation of work so vigorous,
bold, and \irile as ]Mesdag's, nor is the biograpliy
or the criticism so complete as might have been
expected from an artist judging another with whom

* " H. W. Mesdnar : The Painter of the North Sea." With
etchings and descriptive text by Ph. Zilcken. Translated br
Clara Bell. (C.-issell & Company.)

THI-: MAGAZrXK OF ART.

he is in corJial ami friendly sympathy. I may
perhaps be permitted to review the facts of the
artist's life and add such estimate of his work as
appear to me to be necessary.*

Tlie use of adversity as a sort of incubator of

* It should be remarked that the illustrations accompanying
this |)aper are not borrowe 1 from the volimie in rjiiostion ; they
liriv"' li'cii ill IcppiidiTilly prep:\reil.

THE LIFEBOAT.

t^ilent is widely believed in by many of those who
have seen genius spring forth in spite of hardships
and of a lifetime of poverty and disappointment.
Poverty, it is true, often acts as a stimulant to
literary talent, just as sulfering may bring forth
the loftiest and deepest note of the poet. But
it has been observed in the case of the artist tiiat
care and wretchedness, if they do not always stunt

his fancy, tend to
cripple his capacity
'^■■Mjl^HH for his best work,

l^^^^l weighting his hand

^^^^B and burdening his

^Sk touch. Art, no doubt,

lias often ilourished
on unfavoured soil;
liut that is only
Ijecause Art has no
si)eeial allection for
wealth, and poverty
is g<Jod for a student
if not for the accom-
])lislied craftsman.
The fact is as clearly
recognised in the
ueighbouriiooil of
i.'hel.sea as in Munt-
martre, where the
proverb " jueux
fomtiie un ]>einlre"
is as applicable to-
ilay as it was when
Tbaclceray wooetl the
unwilling goddess.
There are .some who
go so far as to say
liiat if an artist is
not born to wealth
lie should " marry
money," in order that
he nuiy quietly pur-
sue, uutorn by care,
the jiraclice of that
art which demands
unceasing devotion
not less than mental
e(|uanimity. History,
no doubt, affords us
few examples of art-
istic genius nurtured
liy wealth: but that
is less an argument
against the theory
tlian an illustration
of the well-known
inriudice, existing

II. w. :\iKsi»A(;, I'AiXTKi; of tifk sea.

until within recent years among the rich who set
their faces against their offspring embarking upon a
career which in their hearts they despised as much
as the Romans despised it in a former decadent age.
^lesdag is one of the few banker-artists who
have appeared to the world : indeed, I know of but
one other — Seymour, the pmir caricaturist, whom,
in spite of all, misfortune dogged and ihii\o liim
finally into self-destruction. r>orn in (ironingen in
ISol, the son of a merchant and banker, he was
brought up strictly
to a commercial
career, to which
he remained faith-
ful tmtil after his
marriage. Xever-
theless, from the
liist lie had sliown
something more
than an aptitude
fur drawing: all
liis spare time he
devoted to the pen-
cil ; he practised
witli diligence and
took lessons, as
Israels liad done
before him, from
Buys. At the age

of thirty-five, encouraged by his wife, he linally
quitted the counting-house for the studio — or rather
for that larger studio of nature, the open fields and
highways of his country. He threw himself into his
art with feveri.sh passion, and studied still-life and
natui-al objects continuously, and with the humility
and intense application of a l're-1'aphaelite biother.
His hand, guided by his natural talent, soon re-
sponded to the work, and in 1SG8 he exhibited in
the towns of Holland and Bru.ssels the fii-st-fruits
of his laliiiur. He was only an amateur as yet;
still an amateur of the stamp of Seymour Haden
and the Marchioness of AVaterford : that is to say,
a heaven-born artist for whom practice alone is
required to transform him into a painter. He had
begun comparatively late in life; so had Corot, so
dicl Verheyden, so did Renouard, and others of his
contemporaries : and with a genius so natural lie
was not long stayed in attaining the position at
which he aimed. At first he was uot appreciated
in his own country. Brussels showed more en-
coura.crement ; so to Brussels he went to live. But
in the summer he spent his holiday at Norderney
and saw the great North Sea sjjread out before
him, palpitating under the breeze and dotted with
the lumbering boats of the fisherfolk — so picturesque,
so quaint, revealing in their heavy lines few of those

sailing qualities with which they ri\al the luggers
of Norfolk and of Kent. This spectacle established
his career: the .sea was his destiny, and to it he
deternuned to devote the practice of his art. For
that purpose he settled in the Hague, and not long
elapesd l>efore he forwarded to the Paris Salon his
'■ lireakers of the North Sea" — a work which brought
him the amazement and delight of the gold medal
and a letter of congratulation from Millet. He con-
tinued to paint the sea under every aspect, and to

OFF TO THE FISHING GROUND

study cloud-forms and all the landscapes of the sky
by day and night, which he treats with such unsur-
passed harmony of feeling in the whole series of his
pictures. The details of liis boat-drawing were open
to criticism by tlie sailni', and his handling had
hitherto been somewhat tight, as might be expected
from so mature a reciuit. But facility was being
rapidly conquered and jir.n.'lically Ijeen almost ob-
tained. Mesdag had the good sense to vary his sea
studies with pictures of the surrounding landscape;
and it must be confessed that some of his exquisite
pictures of lishing village and of street scenery in
summer anil under snow, and even of orchard trees
white with Ijlossom, are certainly not less charming,
not less true, or well felt than the marine-paintings
with which he established his fame. But it is e.s.'-en-
uially as the pictorial liistorian of the North Sea
coast of Holland that lie appeals to us. He repre-
sents nut i-inly the sea but the weather: he paints
not lady the wind lint the .salt air itself. He shows
us the people and their occupations at all .•reasons of
the year — when the men work in fair, brisk weatiier
under a clear sky or lie becalmed under the rays
of the sununer sun ; when the snow is thick, and
boats are beached, or their black hulls lifted by the
packed ice ; when storm is brewing and luggers
flying for safety before the wind. He can paint

TIIK MAGAZIXK OF ART.

atniospliuiu as uncniiigly as he can jiaiiil mm. and
llie st'a lie sliows us in every phase known to that
slmllow shore, all luit its l.rillianey Hashing' in the
sun — the life of the mariners from Sclie\eninj,'en to
Katvvyck he has stuilieil ami jiainted with vigour
and virility, infusing into his pictures a noble
sympathy and a keen insight which to the foreigner,
at least, is of hardly less account than the technical
merits of the work itself.

There is never any donbt as to the meaning
of Me.sdag's work. In this quality he carries on
admirably the tradition of his great ancestors in
art. His realism is of a sturdy sort and his .sense
of composition an accomplishment natural rather
than ac(|uired. Deliberate in his methods and
forceful in his expression, his pictures are deliberate
and forceful too, and a sense of space and movement
gives tlii'm life. His touch is somewhat rugged ; the
rather, I imagine, that emphasis of statement comes
natural to him than becau.se he has any express
contempt for linish or delicacy of handling. ISoldni'ss
is in his touch, and in all his pictures an absence
of att'ectation wiiich in these latter years of realistic
and impressionistic art and jinrla.-iite is dcliglitinl
and refreshing.

Another acliicvcnicnt to wbicb i-cfmcnre ninsl
now be made is the great i]anorania which sunic
twenty years ago ^I. Me.sdag painted for a jmbjic
company that was erecting these great circular jm-
tures in several of the cities of Eurnjic. Tlu' bcsl of
such woi-ks of long, if not of high, art, \viti:in recent
yeai-s, will be remembered by the reader: the great
battle panoramas of action liy I'liilippotcaux and De-
taille, the portrait panoramas by (icrvcx and otlicis,
the snjierb picture of Cairo and its ncigbbnurluKiil
liy Kmilc Wautcrs — now pciniancntly set uj) and
splendidly housed in liru.s.sels — and otlicis more sen-
sational perhaps, but less striking in tlicir artistic
merit. 'J'hc panorama of Mesdag rcjiri'senting the \iew
around his beloved Schevcningcn ranks higli amongst
the highest. Assisted by his pupils IJreitncr and
I)e liock, as well as liy his wife, he produced a work
of very remarkable beauty. 'J'iic illnsion is complete,
but at no sacrifice of technical ([Uality. The sea and
the- 1 tunes, the church and town liuildings, some of
them since then removed out of their i)ictures(|ne
surroundings, all appeared as truthfully on canvas
as they did to the eyes of the painter and his
a.ssistants when they stood upon the sandhill cm
which the Seinpost now resounds to the music and
laughter of merrymakers. The atmosphere and
space are not less remarkable than the relief; the
people working on the beach; the little lishing town
with its blue smoke rising into the air — all combined
t M infiisi! sweetness and tjuiet beauty into this pictui'e

a picture three hinidred and si.\ty feet long.

Not the rendering of landscape, nor even the
study and rciirescntation of the human face and
figure, reveal more certtiinly than .sea-painting the
temperament of the artist or the idiosyncra.sy of
his taste. Man's sympathy with man — at least
with man reproduced in paint on canvas — often
blinds us to .some extent to the humour and the
■' point of view " in which the painter has regarded
ills model : he is apt to con.sider less the bigness
or the peculiarity of the artist's conception of his
fellow-man and to ignore any special idio.syncrasy,
unless unmistakably manifest — sucli as the mighty
impressionism of \'elasfiue/, and llals, the fine
realism of Millais and Holl, or the poetic iulellec-
tualism, so to call it, of ilr. Watts.

In the case of the sea it is diH'erent. "We -see
at a glance that one painter loves it for its colour,
another for its form, a third for its mighty movement,
a fourth for its gentle swell. One worships the fury
of its \va\t's and its threatening grandeur, anotiier
regards it simply as an element in which and on
which to float his ships. Its wetness fascinates the
one, its Iranslucency another; for a third it is
merely tiie mother of a cloud of snowy foam, and
for another the medium of reflection of tiie .sky
and of a comjjlex probleiu of the refraction of light.
According to the man is the love thereof; and
whether his all'ection is for the sea itself, or for
its ([ualities and its ciiaracteristics, it is clear that
it is regarded by few indeed for all its beauties,
coniprciiensiveJv considered.

Allliniigli Mcsdag knows t lie sea and represents
it more sympathetically tiian any Dutchman before
him, it is idle to eontend, as JI. Zilcken does, that
his kiiHwlrilge and acliievruirnl wnuld exceed that
of any lecent master — if any other sea painter could
1m' said to exist. Of the general character and
the conilurt of the sea round almut the shores of
Holland — yes; but of its details a little further of^',
when its sandy grey or brown, and nunky blue,
give way to a thousand tints and waves cut into
a myriad facets — emphatically no. The variety of
the si-a is iulinile, and its devotees numerous beyond
liouuds 111' M. Ziiiken's ituagining. Think of the
blue seas of Henry Moore — blue, in general effect,
but in reality compo.sed of every colour on the
palette, to express the infinite play of hue that
dances all over in and out of the niarvellmisly drawn
waves — rolling in majesty or dancing in sparkling
]ilayfulne.ss, vaguely receding to the horizon. And
his grey shore-seas, great gloomy breakers bursting
on the beach, or his tempestuous wave crumbling
into foam away out to .sea, more threatening than the
clouds that scud under the winds that lash them to
fury and tear them into rags. Is this great nuLster
of the deep .sea to be ignored to brighten the fame

IT. W. :\[KS1)A(;, PAIXTEi; ^W THE SEA.

V (

of the iiKiu who in generous sincerity returned to
him the homage he received ? Tliink of the gi-een
storm-swept seas of ilr. Peter Graliam, bursting
into columns of foam against the clift" round wliich
the gulls are sporting. Eecall the green, translucent
wa\es of Mr. Walter Shaw or of Mr. Olsson — now a
hollow cave, now a marble pillar, now a cloud of
mist, as Euskin somewhere puts it ; the rich depths
of opalescent blue of Mr. Watts ; the oily ground-

personality as to realise on canvas so universal a
sympathy even did it exist.

IJut it is enough for Mesdag to be wliat he is —
tl>e supreme master of his line. The sea a.s a mass
he appreciates, and he can give us with unsurpassable
truth its humours : but its characteristic details are,
if not beyond, at least outside, the range of his art.
As Mr. Watts regards humanity so does il. Mesdag
regard the sea — with a broad generalisation that

WAITING FOR THE TIDE

swell of yh: Wyllic ; the tempestuous grey-green
waters of Mr. Edwin Hayes or ]\Ir. T. B. Hardy ; the
realistic calmness and optically-distorting ripples of
Mr. Tuke ; the in-sweeping tide, bearing in its white
line of crests, of Mr. J. C. Hook ; the Scotch waters,
brown and green and blue, of ilr. Colin Hunter ; the
sparkling expanse of the English Channel of Mr.
Brett ; the grimly realistic poetry of ilr. Brang-
wyn's storm-driven ocean — and then endorse, if you
can, M. Zilckeu's claim on behalf of il. ilesdag.
As I said, the aspects of the sea are too various,
the humours too many, to find a sympathetic
response in the bosom of one man. Still less could
we hope to find an ability so complex in any one

suggests, though it does not specify, detail such as is
realised by some of the painters I have mentioned.
As Courbet jjainted his "Wave" — and Mr. Whistler
following him — so Mesdag the broad characteristics
that have so fascinated him and have claimed the de-
votion of his life. Compared with him Schotel, Cuyp,
and Backhuyzen were mere dabblers in sea-know-
ledge, and Clarksou Stanfield a surface specialist in
luminosity. Turner alone among our older painters
could head him, for he could see the mass as well
as the detail. De Loutherbourg, our first real sea-
painter in England, was theatrical rather than truth-
ful in his observation ; but Turner, in this, as in all
else, intensely sincere and earnest in his passion for

THE MAGAZIXK (»K AlIT.

truth, woiili) have himself lashed to the iiiast tliat lie
might, without tho risk of lieing washed overboard,
study the teiujiest and wateh sea anil sky. Tlie
result he gave us in several of liis mighty can-
viise.s, such as "The Slave Ship" and "The Calais
l$oat." In these cases, it is true, lie makes us feel
that his first aim — fully attained — is to fippress us
with the majesty of the storm, hut in sueli a way as
to impress us too with the artistry of his composi-

truth of the sentiment enhances the truth of the
icpresentation. Moreover, the excellence of liis .seas
is matchi'd hy the massive grandeur of his skies. In
this respect, it must be admitted, he suri)as.ses
Henry ^loore, who. magnificently and trullifully
as he ananged his clond-cflects, rarely, as it appears
to me, succecde<l in entirely removing a certain
])ainty ipiality that militates against some of liis
finest canva.se.s. I'.iit M. Mesdag rarely fails so; and

BACK FROM THE NORTH SEA.

lion. Willi M. Me.sdag we feel rather, witli jiim, tlie
lyninny of the waters over the poor fisher-folk who
eke out a jireearious livelihood on its treacherous
iMj.som : aii<l when we see them calm and Itlue,
lapping gently the sides of the liatlered lioats tiial
tiike their rest in them — even when we .see their grey
streaks dimly shining under the misty rays of the
rising siiu — our thoughts are always those of the
sailors who.se home they are. M. Me.sdag's .seas are
the domain of the Dutch tishernicn — their liuiiting-
groiiiul and tlieir cemetery — loved peiiiaps by the
men, but feared, with good reason, by the women.
Herein lies one of the chief charms of M. Me.sdag's
art : it is as human as it is .sincere, and the unerring

fieriuently he adds ,i subtlety of lighting, efTects
rather felt than .seen, by which his pictures are lifted
into the front rank. It is this power tliat elevates
the jiainter into tiie artist. Tiie .sentiment is not
only true, it is modern and intensely national in
chaiacter, and is rai.scd by its individuality and
originality from any suspicion of conventionality.

There are few moods of the .sea that M. Me.sdag
has not recorded. His aim is not so much iierfection
of tecliiii(pie as the faithful record of tiie emotion
aroused in him.self. Herein. 1 lielieve, he succeeds
completely: he is the .Millet of Holland— a little
more materialistic, perhaps, and less e.\([uisite in
colour, liut as true to nature as Old Crome or

THE EXPOSURE OF SOUTH KENSINGTOX MUSEUM.

Constable, Morlaud, or Segantini, or Nvhoever eke
you like to whom the intention of realisation
came before idealisation as the iirst duty of art.

M. Mesdag is somewhat ill-known in this country,
certainly not known as he should be, for he takes
rank by right among tlie great artists of the day.
"We pride ourselves upon our appreciation of the
school of Barbizon ; we accept in greater measure
or in less the latest ^•iews of artistic France and
accord a welcome to style and no-style from what-

ever country it may emanate. But we take little
pains to increase our knowledge of men of established
reputation. If M. Mesdag were encouraged to con-
tribute from time to time to our periodical exhibi-
tions, even though our painters might not learn
much from him of wave-form and colour, they might
at least receive in.spiratiun from the sight of his un-
aftected canvases with their finely worked-out pro-
blems of light and composition, and their noble
virtues of breadth, simplic-ity, and style.

THE EXPOSURE OF SOUTH KENSINGTON MUSEUM.*

WHEX, a year ago, the Select Committee for in-
quiry into the administration of the Museums
of the Science and Art Department was promised by
the Leader of the House of ('onnnons, we publi.shed,
under the title which heads tliis article, some ob-
servations upon the imperfections of system and
management which needed piactical reform. Al-
tiiougii this mass of evidence will be added to wlien
the Committee i-esumes ne.xt session, the reader will
find enough in these interesting pages to satisfy him
as to the justification for the vast majority of the
charges which have been levelled against the ad-
ministration. He will also discover other facts of
serious import which we did not touch upon. Tiiat
the imminent risk of fire lias placed the collections
iu continuous jeopaidy ; that boaid-meetings have
been suspended by the present Lord President and
Vice-President (the Duke of L)evonshire and Sir
John Gorst) ; that thousands upon thousands of
the books and photographs in the Art Library are
uncatalogued, and are therefore inaccessible to the
public — unknown, many of them, to tlie ofHcials
themselves : that, owing to this ignorance, money
has been wasted on repetitive purchases, sometimes
up to many copies ; that spurious, soplusticated,
and undesirable objects have been acquired at liigh
prices ; that useless things have been bought ; that
the Director for Art has no belief in ciycrlisc, and
is not much concerned as to the genuineness of an
object so long as it is beautiful ; that tlie Ciiairman
of the Committee withdrew from the chair after a
heavily adverse vote, and thereafter stood up for
the Deimrtment of which lie is the parliamentary
chief ; that the Secretarj' of the Department, its
permanent head, made a number of stiange slips in
his evidence, some of which he afterwards modified
and set right, and was often uiialile, in common with

* "Museanis of the Science and Ai( Department. Second
Report." With evidence. Her Majesty's Stationary Office. OljO
pages. 1897.

several of his subordinate officers, to give replies
to questions asked ; that records had been destroyed ;
that Mr. "Weale, the Art Librarian, who has since
been peremptorily dismissed, gave evidence which
told against the Museum and some of its officials,
and that the Director for Art, who.se .services have
since been continued by an extension of his term,
defended his Department. He will see that the ab-
surdly inaccurate " Catalogue of National Engraved
Portraits," compiled by ^Mr. Julian ]\Lirshall, against
the compilation of whieli the Librarian protested, is
still being sold in the Museum at the approximate
loss of £1 OS. 6d. per copy, tlie sale price being
OS. Gd.; and that, generally speaking, blunders are
admitted enough to justify the criticism which the
officials and their champions professed to resent
so bitterly. It is not difficult, after mastering the
evidence, to understand tiie witty opinion expressed
by the late Mr. Hodgson, P.A., for many years con-
nected with South Kensington, tliat the Department
was bound up so tight with red-tape lest it should
fall to pieces.

Now such a contingency would undoulitedly
be a national disaster. South Kensington is doing
a considerable work ; reformed, it would fulfil its
great mission. It is recorded in the evidence that
two of the reforms we asked for have been, to
some extent, introduced — after the Committee was
appointed. " Circulation " has been placed under
a new cliief, and tlie shifting about of the staft' (by
which they were prevented from becoming experts)
has been stopped. But much more is needed : and
we look forward to the recommendation in tlie final
Ileport tliat military control be dispensed with ;
that the system be thoroughly revised ; that the
office of Secretary be shorn of nmcli of the power
which, contrary to the original plan, it has gradually
acquired ; and that South Kensington be raised
to the same standard of efficient working as the
British Museum and the National Galleiy.

REMINISCENCES OF J. D. HARDING.

By w. collingwooo, rw.s.

TT is pleasant to remember old friends who have small drawings, half original and half "cribbed,"
1 lomr since passed off the stage. I have a which I sold by the dozen to some drawing-master
..ratefuf memory of J. D. Harding, to whom 1 I knew, till by degrees these little successes, and
" my love for the employment, awoke

in me, as in too many others, the
desire to be an artist. With this
feeling the thought possessed me.
Could I but get to know the great
man whose works I so admired and
whose name I so reverenced ! It
secnu'd fur a long time too high for
my ambition to grasp, till one day,
silting with my fatlicr, out it came:
and wliat was my delight when he
at once said he would himself Uike
some of my drawings to show him-
This he did that very week. Jlr.
Harding e.Kpressed a wish to see me,
and not only encouraged me to per-
severe, but used his influence with
the tinn to whom I was apprenticed
|i> induce them to give me up to
what 1 had .set my heart upon, only
sorrowing at my prospects lost, and
a life thrown away on such a miser-
able occupation.

Harding was true to his kind

purpose. Though he had now almost

reliM(|uished the practice of teaching

lie .said he would give me a st^irt in

four lessons. I knew something of

his lines of thought from his "Kle-

mentary Art," which had just been

jmblished (about 183o), and I was

prepared to find he could teach me

.something somid and earnest. How

I drank in every word in those four

important hours! Kacli night before

I went to V)ed I had written out all

a.s neatly word for word as possilile: for it Wius so

orderly, plain, and forcible, that it could not fail

to lie graven on my luemoiy, at least when fresh.

After this he turneil me over to oiu- of his favourite

pujiils for practical work, inviting nie to come to

him from time to time with the results.

This is perhaiis more about myself tlian Hard-

J. D. HARDING.

owe my adoption of art as a profession. As a

boy, amusing myself with drawing, 1 reverenced

his name as one of the great ones of the earth.

It was partly from family assoeiation ; for his

father, a drawing-master of tlie old sdiool, and a

most worthy gentleman, was a neighbour and

friend of mv father; and the .sim's ri.se into

eminence was" naturally a source of pride to both, ing; but it is recalled for the sake of the man and

My first efforts at learning to draw had been from his generous character, which many besides myself

his drawing-books, which then came out annually, have proved.

These 1 had a.««iiduouslv copied and studied, and Out of our connection as neighbours with Hard-

bv de-Tees had arrive.! at the stage .if making ing's father aro.se an intimacy between Har.hng

KK.MIXISCKXCKS OF

n. HAKDIXC.

ami my uncle, tlu' father of Colliiigwiioil Smitli.
He was a shrewd ami thouglitful man. Hanling
was pleased to say, in jn-esenting him with a f<'i>y
of his Hi-st lai-ge work, " Elementary Art," that if
there was any good in it he owed it to him. It
was not surprising that young Smitli, who inherited
his father's penchant for drawing, should lie destined
for an artist, or that Harding should take liim
under his wing. He was like an adopted child.
artistically ; and hence the influence of Hanling
on his manner all thiough life. Smith could never
speak of liim hut witli gratitude for the miwaver-
ing interest he took in jiis career.

Harding was a man of independent and original
thought. He found the landscape art of his early
days to consist in imitation of the Old Masters,
wlio in that department hardly claimed to be
studeiit.s of Nature but of each other, (heat and
aliimst unapproachable as are the works of the
early schools as to the figure, as to landscape
they liad never pursued the same coui'se or reached
the same goal. Their ideal too often was art, not
Nature, nor sincerely founded on Nature, And in
the art prevailing in the early part of tliis centuiy
tiie l)eau-ideal was attained when it was on the
model of some great man of jiast times, when a
work could be called Kemlirante.sque or Cuyp-like,
or in tlie style of Kuysdael, and e-specially the
art connnonly taugiit, that of the popular drawing-
mastei-s of the ilay, was the purest mannerism, in
the formation of which Nature had absolutely no
share. In the pencil, mere smoothness of execution
passed for " finish," while truth seemed never to
be thought of. And again, there was " the bold
.style," a libel on all that it pretended to pourtray,
violating every sense of beauty or correctness.
These defects Harding keenly felt, and steadfastly
set his face against them. He early went straight
to Nature, and humbly sat at her feet. One of
his first lithographs was given to me as "a Pre-
Kaphaelite Harding," servile only to Nature as
he .stiw it, with no mannerism yet evident, no
copying of anything but wliat he had before hiui.
He learned to see how- trees grew, studied their
habits, their " manners and customs,"' entered into
their life, perhaps not so deeply as Ruslcin : but
he did what liuskin has since done better still
and caiiied furtlier. No wonder, then, that he
abhoiTed the ropy cur\es that make up the ideal
of tree-life in the art too common at tliat day.
No wonder that he struck out for himself a new
" style," which should be founded on Nature. And
if he became a mannerist — which he would hardly
himself deny — it was a manner of repeating truth,
telling all the truth in the best way he could
devise for that end.
97

He loved Nature ; but he lo\ed her best at In r
led. He loved trees: but lie did not lo\e their
deformities. He did not love to repi-esent disea.se.
His was the ideal of an Apollo. He sought the
highest standard, tlie most perfect model for what-
ever he drew. He eschewed the rule on which
the Pre-Iiaphaelite .school was founded — that of
'"selecting nothing anil rejecting nothing." He
wouM paint nnly what was beautiful, or wliat he
thouglit so. Ii was not with the courtier feeling
that would Hatter his subject ; it was the love
that would cover all faults. He would .'ipeak evil
of nothing in Natuie ; if he saw it he would .seek
to hide it. Nature to him was .synonymous with
beauty ; and since that beauty was so far beyond
him in the race, he at least would not be handi-
cappeil by anything ugly. He .said of William
Hunt tliat if he had to paint a beggar he would
be sure tn give liim a cut finger with a rag upon
it ; and as lie remarked to nie, " in the next
exhibition there it was 1 " Hunt could make a
saint of his beggar witli bis .sores. Harding's
feeling was clifl'erent : eacli. it may lie, right in
its place.

Of course he abhurred rre-llapliaelisiii ; tn liim
it was the apotheosis of deformity. He had liailed
the first appearance of " ]\Iodern Painters " as the
advocacy of an abler pen of tlie great principles
lie was teaching : and lie was willing enougli to
have Turner held up as a model : for though he
never emulated his imagination, or accepted the
extent to which it was carried, in Turner's work
lie found an example of what he taught about
looking out for Nature's beauties and making
them the theme of art. But when it came to
the .setting up of a school of ugliness — as it seemed
to him and to most — in the palmy days of the
P.-E.B., he could not abide it. Perhaps he ought
to have foreseen that tlie.se cliildLsh beginnings,
these outcomes of boyish conceit, would give way
to more sober experience, and that the youth who
painted the " Carpentei's Shop ' would become the
man wlio should produce the loveliest touches of
infant lieauty, and the boldest strokes of life-like
liortraiture. As it was, Harding's antagonism to
what he saw growing up damaged him by holding
liim back from lessons he himself might have
learned, and which would have made him a greater
painter.

It was always a treat to go iuuud llie exhibi-
tion with tlie man who was undoubtedly by far
the best teacher of his day — one who had studied
art thoroughly and practically, who had unusual
power of eommunicating what he knew, and no
less lo\ed to do so. Many a point of lasting
instruction I have thus gained from him. If I

TIIF. :VIA(:.\ZIXK OK AliT.

iiiciitioii any I'xaiiiiilc. it niiist !«■ sunn, that would
interest tin- icadfr. 1 icnn-inlK-r standin;.' ln-fcirc
a Slanficld, the principal fcalurr in wliidi was a
largi' lioiit in tlie fitifginund high ami dry nn the
sjiiid, most carefully studied, antl every hit of light
and shade <in it dniwn. AVe had heen talking of
the inipoiUince of drawing shadows correctly : I
reniarketl, "There is a man who understands this."
' How so'" he leplieil : "he does not seem to know
what a shadow is. That hoat has heen drawn
from the oiiject with care: he has put in liic
'darks' us he juit in tlie colour, hecau.se he .saw
them, hut only for their picture.S((Ue value. When
he comes to j)aint his hoat on the .shore, it never
occurs to him to jiut any shadow on the dry sand."
So in fact it was. The hoat had been studied in
the water in full sunshine, hut now on the .saml
it cast no shadows.

Harding laid great stie.ss on the part w hidi ■
.shade or shadow plays in expression. In the lioyal
Academy (it might have been on the .same occasion)
we came upon two pictures placeil near each other
— a head by Kastlake and a <log by I.,!indseer. He
])ointcd out how, with a fortnight's lalioui and
all his sweetness of Hesh tint, Kastlake had failed
to make the head apjiear round : there was none
of Nature's shade anywhere. In I.andseer's dog,
by one stroke of a large Hat l)rush just at the
junction of tin- light and shade, the licad stood
out in startling leality. Harding ever enforced
the tintling out and emjjhasising of that on wiiicli
expre.ssion deitends, and leaving other tilings to
take their time and their chance.

He was always inventing some new appliance,
some new mode of Work. The solid sketcli-liook
was first his idea, to u.se up old scraps of ]iaper
too small to be stretched on a board. He bad
bis own drawing desks ami nests of models, his
stump and his ])ort-eiayon, and numberless other
things were the fruit of his ingenious brain.
I'erhaps the most impoitant was his " pure draw-
ing paper," which he got made up to his ideal —
perfect as suited to his habit of work, and certainly

for tho.se whose work it suited it was a great 1 n :

a machine-made pa[ier, with two suil'ai;es, the rough
side having a pleasant tooth, unbleached and there-
fore with a slight time. .So long as be li\ed to
superintend its make it was perfect in its sort.
This nnist not be judged of liy the rnbliish aftei-

wards turneil out with his initials u)ion it. and
which is a libel on his reputation. I have .s.ived
.some pieces of the old, and as they can never he
replaced. I gitnlge to desecrate them by working
on them.

To one who did so much with the jjoint —
liencil or c:halk ^ lithograi)hy was a great gain,
and he carried it to its full strength, applying
it ever in new ways. Among the.se was litliotint,
in which, at great cost of time and experiment,
hi- ultimatelv succeedeil, giving what was till then
unknown, a reproduction of Indi.in ink or sepia
drawing. The efi'ect was .so charming, and the
j)ropess, as he comjileted it, .so siinjile, that I have
often wondered bow it sbn\il(| ba\e .so .soon fallen
into disu.se.

He worked sometimes with great decision and
designed with facility. I remember a large draw-
ing — antiiiuarian, I think — of a distant view of the
Alps, which, when be saw it on the exhibition
walls, he took from its fiame and sponged out
tlie lower half, putting in an entirely new fore-
ground and restoring it to its place in three hours.

Xeither of Harding's two sons iidierited his
lalcnt for art. His mantle, as a teacher, fell on
\V. \\'alkei-, of Manchester, a man ipiite his eipial.
if not suiierior, in the power of communicating
instruction. This Harding highly appreciated, and
left to him the rci>ublication of any of his works.
Walker's teaching was known in and around Maii-
chestei- as Ijcing of the higliest order, and to his
inthuMice Society owes many a useful member,
lie never went in for artistic reputation, but gave
himself u]i to the work In- could do so well, till
paralysis laid liini low, and has di.sablcd him fiom
all active labour. He lea\es it to bis son A\'m.
lyvre \\'alker. IJ. W.S.. to take rank as a iiaiutcr.

I should not do justice to these rcmini.scenres
of Harding if I omitted to mention his religious
character, which those knew best who knew /liiii
licst. .\nd bis con\ictions sloo(l biin in good
stead when his enil drew near. Though his fame
never could rank among the greatest, he had
fulHlh'd his mission. His inllucnce in the develoji-
ment of art was far more than he is nsu.illy
credited with. Others have reaped the fruit of
his laboui's: but it was be that did more than
any to .set the ball rolling which has gathered
the force we see at this dav.

DEVELOPMENT OF MODERN ENGLISH ARCHITECTURE.

Bv R. PHENE SPIERS. F.S.A. Master of the Architectural School, Roval Academy

IX llie Hi'st half oF this contiuy. iliiiiiii;- llir ]H'riii(l Tlie (livck rrvi\,il l;i[isnl wiih the di'iilli (if

of tlio (iivt'k rexival, tliovc wen.' ihH wanting CnekeivU, anil sn far as imr jmhlii.' namunients ami
jicvsiins (if inrineiiio anil pusiiinn whu, iliivrily or ilmui'stic arrliiti'iturc -aw (■(jnciniinl, iho (Idtliic

REGENTS PARK LODGE; VIEW FROM NORTH-EAST.
(Ors/i/iiM/ by W f. Hesfirltl.)

inilirectly, materially assisited [in the developnuMit of
architectural style. The publication of the series of
measured drawing.s of ancient Greek woik, which
was commenced by Stuart in 1762 and eai'ried on
by the i)ilettanti Society till 18G2, stand.s forth as
evidence that the keenest interest was taken by the
\\\>\>vv and more cultui-ed clas.ses in what they con-
sideied to be a purer and more rational style! than
that which had previously existed. Equally through-
out the Gotliic revival a similar interest was takm
by the more intelleetual classes and writers of eniiii-
ence, just as Hope, Freeman, am! lluskin ]iiipnl,iiiseil
the study of the new architeelural de\elopnient.

revisal came almost to an end with the death of
Street, Scott, and lUirges.

Already, however, in the "seventies a new influence
liegan to dis|ilay itself, and I he last twenty years
has witnessetl a. I'eactioa which in its scope and
variety far eclipses any of its predecessors; but, up
to the present time, with one or two rare excep-
tions, no lay writer or [lerson of emhieuce has come
forward to critici.se advci'sely or otherwise tlie new
movement. The Architectural Gallei y of the i;o\;il
Academy is fre([uented by thos(» only who search lor
solilude, or more rarely liy ihose who, ha\ing alreaih'
Ijuilt oi' intendin'4 to do so, are anxious to refresh

THE MAGAZINE OF AKT.

their iiiumory or to attempt to failiom iliu uiysteiies
of aicliitectural design.

Wliat maybe called a iiegJitivc (ipiiiiou was given
three years ago liy Mr. (iladstone in the course of an
address delivered at a National AVorkincn's Exliihi-
liiiM in the Agricultural Hall, when he expressed his
dismay at the tendency in nii)derii duniestie archi-
tecture to redundant ornamentation. "There are,"
he .Slid, "a great number of new buildings in Lnndon
with regard to which, if ynu lunk at them, yon will
lin<l that the architect had either a horror or a ilieail
(if leaving bare a single square foot of wall— as if
there were .something indecent in leaving it bare.
Kxce&s of ornamentation is of all things the most
hostile to a due appreciation of proportiiui. because
it is in proportion to ibe perception of lireadth and
beauty and line, and in the adjustment of linis to

Mr. Ciladstonc was not lecturing on architecture; but
we have every reason to be grateful for the opinion
ex]ires.sed, especially as it was ))receded by reference
to Early Christian architecture, in which the " chief
characteristic was its extreme simplicity — every line
instinct with a beauty which the rudest and most
untutored could hardly fail to recognise."

If "redundance in ornament" was the only
failing in modern work, architects might be con-
gratulated on getting olV so easily. Unfortunately,
at the present day. not only is there an excess
of ornamentation, lait the ornament itself is fre-
(jueutly so vulgar and out of .scale that it becomes a
blemish, and it is almost as often as not ])Ut in the
wrong jilace, being occasionally an addition which
has notldng whatever to tlo with the destination
of the structure or its constructional requirements.

REGENTS PARK LODGE. FROM THE WEST

one another, that the essence of the art lies, and .\ writer of eminence was once asked by a friend

in that you will find the hope of attaininu high how he managed to make his descriptions so clear

excellence in great work.s." and lucid, and he rei)lie<l, " By cutting out all the

'I'he occasion was not one on whiih the spcakci- useless ailjectives when I am revising my prot>f-

coidd be ex]iected to enter mole into ilie subject, as sheet."

T»EVEI.orMKXT ( )F -MdHElIX KXCLISH AKCHITKrTUEE.

If the architect could be prevailed iiiiou to cra-e
all the useless ornament in liis design and to trust
to the material itself — stone, brick, or wood, with
tlieir ever-varying tints,
tintij which are further de-
veloped by age — how much
more s;itisfactory the result
would be ! Tin's is espe-
cially the case in I^ndon,
where the dust, blackened
by smoke, rests on the
upper surfaces of the orna-
ment, showing black lines
where evidently higli liglits
were intended.

Mr. Gladstone not only
reflected on the excess of
ornamentation in modern
architecture, but, by way
of contrast, referred to tlie
l)eauty and simplicity of tlie
remains of Early Christian
aichitecture. " In those le-
niains," he s;iid, " beauty
is not supplementary and
occasional, but uniform and
invariable;" and continued,
" I am not now speaking of
the works which were pro-
duced in the later middle ages, but of those wiiich
present most of the character of simplicity as their
main characteristic." " Salisbury has less ornamen-
tation on its exterior than any other cathedral, and
I believe in a gi-eat many hou.ses in London."

The conclusion, therefore, to whidi ilr. Glad-
stone's remarks lead us is that the hope for progress
lies rather in a search for simplicity than in over-
elaboKitiiin.

I have already, when speaking of the redun-
dancy of ornament in modern architecture, pointed
ont that it is frequently put in the wrong place,
and is occasionally an addition which has nothing
to do with the destination of the structure or with
its constructional requirements. It is in this latter
sense that modern design suffers the most, and it
is some consolation to find that the more eminent
of our architects have recognised the fact, not only
that ornament should be applied sparingly, except
in cases which call for great elaboration and rich-
ness, but that it sliould be u.'ied rather to enqihasise
and give life and cbaiacter to the constnutioiial
requirements.

As an example of the application of ibis piin-
ciple, we give an illustration of a small building
which at the time of its erection came as a revelation
to artists, and may be said to have been llie fore-

runner of that type of country domestic architecture
which superseded the Tudor lodge style of the first
half of this centurv. Tlie small lodge built at the

REGENTS PARK LODGE: THE ENTRANCE.

soutli end of the central avenue of llegent's Park,
from the designs of the late AVm. E. Xestield, in
lSti4, being in a Eoyal park, was fortunately not
subject to the regulations of the London Building Act,
so that picturesque features, which are more or less
confined to the country, were here adopted, almost,
it may be said, in the centre of London.

Xesfield in his early days had drawn, measured,
and analysed a large nundjer of the half-timber
and tile-hung cottages which are still to be found
here and there in the Kent and Sussex tillages, and
had recognised that these simple structures (the
work probably of the village bricklayer and car-
penter) not only contained in their design the most
rational and the simplest construction, but, in the
framing of their timber-work, tliey constituted, with-
out any architectural pretensions, the most pic-
turesque outlines, absolutely iu keeping with their
rural sun-oundings.

ilany an architect and artist had selected such
subjects iuv a picture or sketch, and had taken the
keenest delight in depicting these simple structures,
Itut Xesfield was, perhaps, tlie tii-st to recognise that
their chief elciiiciits could not only be reproduced,
so far as the principle of their design was con-
cerned, liut that they were really of tlie simplest and
most ecoiii.puiical character, and only required slight

.S(i TIIK MACA/INF, OF AUT.

iiic>;litiiatiuii-; Id make tliL'iii iiiipliciiljlo to tlio wantsof Tlii' wliole of tlic first floor is in iialf-liinlii'r
the int'scnt ilay. It is true that sucli slnicliires ic- wmk, ami this allows of jfieater size heing given
(jiiiro till' eye of an artist to conceive tlu'in, and of an to Ihe room l>y a portion of it heing hrougiit
archilcct tliorotiglily acfinainted with the most soliil out to overhang the groinul stoiy. This portion, as
ami (liiialile methods of framing limher to work ont well as the whole of the north side of the eastern
the necessary drawings: but otherwise, heyoml llu' half, is tile-hung, so tiiat in material as well as in
taking of inlinite pains to instruit the workmen (as eolour the (^iiaracter is homogeneous. \'ariety, huw-
I'uiiin had to d<i when working out iIk- details for ever, is given to the vertical i)ortions hy the use
the Ifo\ises of j'arliamcnt), there was no dilliculty in of sealloped tiles, except in the four lower courses
reprodueing not only many of the forms, hut th<' of tiles, which ai-e brought forward to throw oH" the
real spirit of the ancient <lesigns. To the casual rain. The roof is covered with i)lain tiles and a
visitor walking round the licgcnt's I'ark Lodge, the jilain ridgi- roll, and these, liy their simplicity, add
design nn'ght seem to be of the most <'oniplicaleil in i he ilecorativi' iiualily of the scalloped tiles,
chaiactei-. \o two palls present the same design. In the west front (p. S4) the lower portion only
The i>nijecling eaves in the lower poitiMii of ilie of wlial might have been an<ithcr gable is carried Up
roof all seem to be at diirereut levels, and no two \(itic;dly, overhanging as liefoic the ground story:
windows .seem to be of the same size or foinuaiiil ihe reniiiiiider is hi)ipeil back. To gi\e more
yet there is not a feature in llie building whicii is rooui inside, ib<- window is brought forwaiil as a
not the natural outconie of an actual re(|uiii'iiii'iil dormer-w iiidow under a pent roof, and the; uppei'
and the sim]ilest means of meeting it. 'Hu- plmi pnriion of roof, instead of licing lii[iped back, is
is, with the exception of tiie liou -\v inilow and ibe enipba>isc'd liy being made \'eilieal. The lirei)laces
porch, as nearlv as po.ssible sipiare, and conlaius are all arranged in the centre of ibe building, so
ou the grouml-tlooi' a sitting-room (once used as ihal there is only one ehinuiey-stack, wlii<li forms, it
a refreshnient-rooni, whence the luxury of a bow- may be said, tin' crowning feature of the structure,
wimlow), kitchen, .seullevy, and oilier i>Hices, ami liie ( )ii the norlii sidi' of the lodge, umlerncath jrarliiJiis
staircase: and on tlie up))cr lloor three bedrooms: of ibe beilrooms, is an open loggia, entered under the
a sini[)le probli'in, which in Italy would ba\e lieen gable with the oriel window before referred to ami
met by carrying up thi' walls through the two floors, carried acro>s lo the west frcjul. There was a low
and covering the buiMing with a flat oi' Iow-])ilched fiiice Nvall enclosing ibis latter portion with a central
roof. In France, and as may be seen evi ii in the support in wood turned with beautifully designed
]iarks and sid>urbs of I'aris, the roof would lia\e bad mouldings. The fenci' wall is now remo\ed, and
a higher l)itch, all four siiles sloping e(|ually iiiwaiils the turned-wood sb.ifl lias be<'n replaciMl liy a cast -
.ind terminating in a point or short ridge, the iimi cohiiun of e\ecrabh> taste. The south front
chimneys in both cases taking their chance in the is so masked liy trees, (hat no jiliotograph of it ciaild
composition. If a more ornalc building weie ic- betaken, ll follows on the same lines as that of the
(piired, the window and doors woidd have pedinu'Uts north fiont, except, that the gabb' end, instead of
added afterwards with pilaster strips or stone ipioins, being brought forward on tin' moidded beams which
none of which formed any part of the necessary carry the floor, as seen in the illustration, is carried
structure. The, general a])pearance woidd have by a coved coinice which luns riutnd the bow-
been that of a lio.x pii'rced with holes. And how- window aiul entrance porch. This coved cornice was
ever rich the decoration might be, howevei- elaborate run in ]ilasler, and whilst still wet Xestield scorcil
ami artistic the carving of tin' detail, tla^ general ii o\i'r with a geonielrieal design encrusted with
ell'ect woidd be ,just the same. This, however, was In it lie-ends suggest ive of the lil.igree work and .jewels
not Xesfield's interpretation of the pinblcni. Tlic wbich enriched the old chalice.s. I have only here
front or eastern half he covers with a high-piiched described I he leading I'ealures of llu' lodge, but every
roof, the other half with a similar roof of sligbtl,\- detail of it, large and small, is full of design. More
le.sser height running at right angles to and jn'iie- artistic thouglil, in fact, has been bestowed mi this

tratiiig the first roof. This is the lirst eh 'lit, as little structure than on many a town-hall twenty

seen in illustrations on pp. S."! and X4, whiili show to thirty times its size. The old Latin motto of

that the u|i]>er floor, devoted to bedrooms, is \ir- nrs <•.</ rrhiri' (irlciii was never better exemplilied

tiially almost in the roof. 'l"o give variety to the than in this lodge, for whilst the design .seems to

roof ami gel lid of ils formality, a ))orlion is carried be of the most v.irii'd and coniplii'aled char.icter. all

down to a li>wer li'Vel oVer the bow-wimlow (see Ihe problems solved in it are conslriictioiially of (he

p. S:!). The upper )poi til f Ihc roof on ihe right- sinqdi'st kiml — they an' of the same type as those

hainl side is brought forward to juotcMt the oriel shown in man}" of the Kent ami Sussex villages,

window which lights the eliiel" bedroom. probably carried out liy the village earpeiitei-, who

DKVKI.orMKXT OK MoUKKX KXCI.ISll A IMIl ITKcTrUK.

was iii)t iMily a inaslcr nf his riafl always mi llic nn ihi' arrliili'cl iiir nf this last (iiiaitiT nT tlif iiiiic-

Iciiik-dul I'lir sDiai' licw riiinliiiiatinn, lull w Im w mki'il tmiili rciilarv llian iiiaiiv iiiuiv iiiipnsiiiL;' irci-lidus ;

■ 111 till' Uailitiiiiis liaiulfil tlnwu In liiiii Ky liis Ion'- ami alllmuuli \vc lia\e no Iniimn- that wealth in

fiitlifi's, of good solid \vovkiiiaiislii|i aiul sound r(in- Kn^lish linihcr jiosst'sscd in the sixleeiilh and seven-

stnietion. It is on these latter qualities thai Iwish lecnth ceiiluries, suiiplies from the lialtic ha\e

to lay stress, for in this lodfje the whole dcsiL'ii leiidertMl if possihle to levive the aneient tradi-

is based, [first on the actual rei|iiiivineiits as tar tions, so that within 1 lie last twenty-five years half-

LODGE IN KEW GARDENS.

{Desirjrecl by W. £. Hesficld.)

as aeeoniiiiodatioii is required, and, secondly, in the
rational treatment of the materials used in the
construction. Tlieie is not a single exotic archi-
tectural feature employed ; there are no ornaments
applied or nioiddings introduced which ilo not
arise out of the best and most rational treatment
of the woodwork, the tiles, or any of the mateiials
which constitute the building. The result was a
revival of a long-lost tradition, the tradition of
the village bricklayer and carpenter, who in Kent,
Sussex, and Surrey produced uncou.sciously, two or
tiiree hundred years ago, the most picturesque and
the most artistic rural cottages, the chief qualities
from their point of view being that they were ad-
mirably adapted to their rer^uirements, soundly and
solidly built, and of the best materials for the jiurpose
which the artificers had at hand. There is no doubt
that this small Imlge has exercised more influence

timbervil houses of considerable size have spi-irng
up in \aiious parts of the country.

I\Iany other lodges of a similar kind were sub-
si^-queiitly l.juilt by Xestield, all varied in design
in conse(pieuce of other re(|uiremeiit.s. 1 have
now, however, to refer to a design of a different
natui'e by the same architect in one of the lodges
of Kew Gardens. Here again the plan is .square
with a single ground story, all the bedrooms being
arranged in the roof and lighted by large dormer
windows. The ground story is in brick with a
coved cornice, the roof is covered with plain tiles,
and till.' lii[)s of the roof, the sides of the dormers,
and tlii'ii' roofs are covered with lead. A central
chimney-stack here again forms the leading feature
— it has the defect of being too lofty, but this
may have been necessitated liy the proximity of
high trees. The chimney-stack is a beautiful jiiece

THE .MACA/IXK (U' .\l;T,

of ilesif^ii, bill oiU I'f tlmiacliT, it seems ta me, willi
tlie fjnuiinl story, tlif walls <>f wliieli are deenralfil
with Hal Dnrie pilasters siirmoiinted liy an arelii-
travu ami eaiveil eoniiee, llie latter in plasler ile-
corateil with rosaces ami spirals roughly incised on
the wet jilasler. The material of tiie ground story
does not lenil itself naturally to liie evolution of
Itorie pilasters with their eji]>itals. They were,
however, favourite features in the li)ueen Anne days,
and as one of the leaders in the intioduetion of
the revival of that style during the last twenty-live
years, it can only Ije sui)posed that Xesfield, charmed
hy the decoratixe etlect of these features in old work,
conceived the idea of reproducing them here. Tlie
l>rinciple was proliahly wrong, and if he had sought
for some other methoil of breaking up his wall

surfaces based more mi lln' ilcsign sliowii in his
ehimney-stack, the result might have been more
lational. The mouMings, however, are so simple and
so completely in accord with the dimensions of his
bricks, that we may forgive the introduction of this
cinc! exotic feature, the more so as he returns to
his rational methods in the mouldings of his window-
frames. The two doiniei windows .shown in the
illustration are of the same design, a third dormer
window on the furliier side, as it lights a larger
room, is ilouble llie widlli. of less height, and roofecl
with twin, high-i'ilched gables, instead of the semi-
circular peiliuieut of the examples shown in the
illustration. Tliis .second lodge was built in ISOG
— many years, liiercfore, before the icvival of the
so-called li)uecn Anne or free Classic style.

"CONTEMPLATION."

By SIR JOSHUA REYNOLDS.

IIS giaccfnl portrait —
one of the most
licautiful, yet one of
llie least known, or
most rarely seen, of
Sir.iosinialteynolils's
semi-subject ]ii(-
t ures — represents
I he Hon. Mrs. Stan-
ho]ie. Tlie lady wa.s
a Miss Eliza Fal-
coner, who, we are
told, " mai-ried the Ibm. Henry Fil/.roy Stanhope,
second son of "William, second Earl Stanhope. She
was one of the fashionable beauties of the day, and
spoke the epilogue at l^dy Craven's private play."
Sir Joshua's first portrait of ^Irs. Stanhope is well
known through the mezzotint of .f. 1!. Smith in
178.'{, but it is not so lieautifnl as that which
Caroline Watson reproduced, in stipple engraving or
"mixed manner," in 1790. The latter was issued,
under the title of " Contemplation," by the Koydells,
but in the fourth state the fancy title was removed
and the lady's name appended. For the tirst-namc(l
she began silting before her marriage ; it is probably
the picture, at one lime called " Melancholy," for
which Mr. Stanhope made a " second payment " to
the artist of £7-'I 10.s. in 1777. At the Thomoiul

sale, in ISi'l, " Mi.s. Stanhope as Contemplation"
was knocked down for £iri2 os. to one Tinney ; but
another "Mrs. Slaidiope " was acquired by the .same
purchaser for £l,Hl."i. In IS(i;', it was bought by
Lord Xormanton at the Allnutt .sale for £l,OoO;
while the other picture of the .same name, the
Thomond picture, was bought by llaron Alphon.se
de Itothschild, of I'iiris, at the Munro of Xovar .sale,
in IS7S, for .">,000 guineas.

Caroline Watson, the engraver of this charm-
ing plate, was one of those finished artists whom
Alderman l>oydcll not only employed, but, prac-
tically speaking, educated for his stupendous Shake-
speare scheme. She was the daughter of -lames
Watson, the mezzotint engraver, whose name will
always be remembered in connection with that of
Sir doshua I'cynolds. The pupil of her father, she
Worked with equal ease and excellence in mezzotint
and stipple, and became in time engraver to (.i>ueen
Charlotte. She engraved not only from Iteynolds,
but also from ( iainsborough, Komney, (Jilberl
Stuart, Correggio, and other jiaintcrs, bei- plates
lieing i.ssued by llichanlson and others, as well as
by Boydell.

It should be atlded that in the picture before
us the lady wears a white dress, her hair is brown
the riband green, llie velvet liands at the wrists
black, and the curtain in ihc background red.

MORDECAI REFUSES TO BOW THE KNEE TO HAMAN.
{By Jiaii Fiancois de Troy )

THE QUEEN'S TREASURES OF ART.

DECORATIVE ART AT WINDSOR CASTLE : TAPESTRIES.

By FREDERICK S. ROBINSON.

IF the fine tapestries at A\'iiulsor Castle belonged
to the earlier golden age of these fabrics, a
description of them should have been given sooner
in this series of articles — especially as at Windsor
itself efforts have been bravely made to revive their
manufacture. Tliose which are tlie subject of our
sketch belong to the period of the art when the
original purpose of tapestry had been very much
modified, and a new function found for it as the
handmaid of painting. When the tapestry was a
wall-hanging, and often hung in folds, tlie idea of
a pictorial composition witli a central group of
figures did not e.xist. Each part of the field was
equally valuable, and .so the early design was
crowded with figures untrammelled by perspective
laws, which were not even known. Fold it how you
might, there was always something intei'esting to
see when no central motive reigned supreme. We

must not stop to trace how tlie influence of Italian
painting altered tliis conception, tending to spread
tapestries fiat and make them imitations of the
paintetl picture. It was a fatal misconception
which cau.sed the tapestry maker, whose chemical
knowledge was not e([ual I" his infatuation for
a technical triumph in the illusive copying of a
picture, gradually to employ by the hundred tones
which were doomed to fade. His predecessors had
been content with few, and those strong, saturated
blues and scarlets and greens which were known to
last. They kept their flesh tones nearly flat, relying
on the outline for effect. The painters insisted tliat
they should imitate the colour of paint, ignorant of
the fact tliat the pale faded more quickly tlian the
deep tones, and that, consequently, their composi-
tions would soon be out of joint. Faded as the early
works of Arras, Brussels, and Paris may be, they

THE MACA/IXK OF AIJT.

ESTHER S PETITION
(By Jenn Francois dc Troy.)

iiresevve ihcir ilcrDiativi' t'dV-cl, I'cn it iicW'i' (Iciiciiilrd
on llio sulillcliL's of luoik'lliiiii. Willi tlic I'liuiiduticiii
t>i Llie iiiamifacUivy of tiic ( inliclins lliis vrxdliilinii
liail beou carried far.

That faiiioiis wi)iksliu|i liml not, siuiiiil;' iiitn
fxislcnoc witlioiit a fiiivrmiiu'i in I'aiis. Ilrnii 1 \'
hail hroiinlit ilarc di' Coinans and Fianiuis dc la
I'lanclu! fiiilM l-'landcis in KidT. Tlicii' snccrss
(•iinii>cllfd llicni lu sci'k larger i|UarUrs, which Ihcy
found al llic Hotel iles (hihelins, wlio \ww seal let
(lyuis lirst licanl of in Talis in HoO. ('(jnians ami
ik' la rianclK; were iiarlnt'is till 102'.), and then their
son.s eoiild not a.^ree. The younger (,'oniaiis .stayed
al tlie (!ohelin.-i, wliile de la I'laneiie went elsewheri'.
Colhert ru-nnilc-d these two lirnis ami oIIkts in
llifi:.', and, with larger ends in view, was Ihr iniinc
cause of the action of Louis XIV, who, in KiliT,
instit\iled at the (iohelins the " Manufaclmv 1,'oy.dc
des uieuhlcs de la Couronne." Not "uly la|)cstry,
hut carving and wood and Moreidine stone inlay,
gold and silver work, all kinds of decorative furni-
ture, iu fact, were to he made at this one great
centre. Such an insliluliou could nexcr hinc

lliairishcil wilJioul the l^l'l'V accident of a genius
to direct, it.

Charles l.i' I'.i uii. Imhii al I'aiis in llilli, luit of
Seciieh origin, a luiiiil of Simon \'nuet and Nicholas
I'oiissih, lieeame the ri\al >>i l.e Sueur. Though,
as r.r\aii imts it, lie was " more suited to thai
cast of eomiiositioii called the great machine . . .
he possessed a nolilc ciaiceiitioii and an inxcniixc
genius: he |Undiiced with facility the most ahundant
conii)ositions, and was a |>erfccl master of the
mcchanisni of the art." .\s a jiroof of his facility,
d'Argenville tells us that while the iioisoning .Mar-
(|ilise de r.rin\illicrs was on hel way tu cxccntiiiii,
the ciilerinising l.i' Ihun asked the " cxi'cutcur des
halites (ciivics" to stop the caii for a iiiomenl. .\
wheel, he saiil. Was wrong. The execiil imier com-
plicil, ;ind "ill fiiiii pencil strokes he made a
perfecl likeness. Her haiiils were joined holding
a torch, and the eonfe.s.sor al her side." .\ good
deal to he done "in four strokes," hut, d'Argenville
.s.ivs he saw^ the sketch and, indeed, had a tint>
copy "of this line chawing" male for himself
liv an .Vcademiciau. W'v niay take the talc

THE QUEEN'S TKEASURES oF AltT.

cum grano, but Le Bruii's des^igiis foi' every sort
of deeonitive fiuiiiture besides liipcstries wore
niusterly ami iiinuiiiLnalik'. Ilryaii's is a jcjiiiiL'
accouul of the niau wlin directed Llie slyle nf Louis
XIV and united the artists of the (iohelins, so
different in their methods and their aims, int) one
j;reat family eonneeted liy ties of marriage, as liy
loval helpfuhiess, beneath his \ersatile and masterly
domination.

There are not tapestries at Windsor after tiie
designs of Le Brun, but the decorative series there
to be found is from the drawings of one of his
collaborators, while the more pictorial ones are from
the paintings of a man wiio continued his grandiose
tradition. These last are, moreover, examples of
two of the most popular series tliat were, perhaps,
ever made — The Story of Esther, air.l of Jason and
the Golden Fleece.

The painter of these, .lean Franrois de Troy,
was the son of the .successful Frani-ois de Troy,
who had stuilied under Nicholas Loir, a chief
assistant of 1,^' I'.iun. Jean Franrois, tlie son,

might have been, say.s d'Argenville, a great painter,
if he had only worked. He was liorn at Paris in
Ui80, and went, as everyone did in those days —
except his father — to Itome in l(i!}9. In Italy he
stayed nine years. He was made an Academician
in 171:!, and Professor in 171'.). His pictures were,
many of them, too careless for the public taste, and
had not a ready sale. " He showed me, one day,"
.says d'Argenville, "more than thirty CMjuipIeted
canvases of which he had been unable to get rid."
This determined him to ask for employment at
Itome, "not being able, as he .said, to live honour-
aWy at Paris." In 17o8, accordingly, he was
appointed director of the Academy of Eome. "No
one," .says his biograi)lier, " was more polite with the
fair sex, or more gallant, than De Troy." He fell
in love with the widow of an officer of the C'hatelet
who had a beautiful daughter. The widow died,
so i)e Troy consoled himself with the daughter,
whose face appears in all his " inorccau.r (joJuim."
As .slic had a cast in her eye, he always tactfully
drew her in jirntile. His marriage brought him some

JASON ANU THh BROOD OF THE DRAGONS TEETH
{6ij Jean Frctncois du Jru'j- )

TlIK MAGAZINE OF ART.

money. Wi.sliing tu occui)y hiinsL-lf, he undertook neither, liis place at Rome was tilled ui), and he died

to paint jiictures for the king's tapestries at a disappointed in 1752.

cheajier rate than that whieji his colleagues apj)rove(l The tapestries of the story of Esther are arranged,

of — two instead of three thousand livrcs. He chose four in the Queen's Presence Chamber and three in

the stories of Esther and of Jason for his suhjects, llie (.Miecn's Audience Chamber, without following

THE POISONED ROBE,
(fly Jean Francois rfir Troy.)

and three of tlie Kstlier series of .seven were e.\-
hiliiled at the Sahjn in 17"!!~> before his departure
for Italy. " The dispositions," says d'Argenville,
"were magnificent — especially tlie triumpii of
llordeeai. The jtrevailing tone of colour was as
much admired liy Italians as by Frenchmen." The
Itidians made him "Prince de rAcademie de St. Lue"
in 174:3. The Jason was not so successful as the
Estlier. I>c Tioy's s])irit was broken liy the loss of
hi.s wife and nidy iliild. I'.csides, "his ])ecu]i,ir
talent for the njiislimcna i/iiliinx (a deliglitfid ex-
pression) was more advantageously displayecl in
till! tii-st works than in tin' last, where passinn
and haired are sulistituted fur grace and ilianii."
\ sliglit from Court made liini icsign. \\r had
still hopes of obtaining lodgings in tlie Lmixre and
tile litU' "f "jiyiiiilir jidntrc;" bni he iilitiiined

the iiistorie tirdei. Thr lir.-l wliidi is liere re[>n)duced
i-e)iresents Mordeeai refusing to bow tlie knee to
H.inian. "Sulus Mardoehaeus non tieetebat genua "
is tlie iiiolici in a cartouche on the imitation gilt
frame border of tlu! tapestry. Ilanian in a criiiisun
roljc, suppo.sed to be of elolii of gold, is the central
figure. The figure on the left is resplendent with
.scarlet. Mordeeai stan<ls up very still" and iimud
upon the right, clad in a blue mantle anil yellow
under-garment. As a colour scheme this piece,
though brilliant, is now deficient, liecause, the whole
iif tile top of the tapestry being taken up with
liiiiMiiius .'ind .--Uy. the lilue ill llir latti'r li.is faded.
The anati'iiiy of .Mordeeai is a eom]ien.sation tu the
(iliservant. ' hily one of his feet is in \iew, and cm
that foot the gre.it toe i.s light-heailedly placed mii-
side. No Wonder, if that was his uiiiiiue construe-

THE QUEEN'S TREASUEES OF ART.

own white horse
I," the man whon
For the last sub

lirilliaiitlv tuM in these

tioii, Mordecai was not as other men, and refused williii-- Hauian leading the king's
to bow the knee. It would be interesting to know on wliich Mordecai rides in triumph," the man whom
whether this peculiarity— did it lie with the "care- the king delighteth to honour.
less" De Troy, or was it a copyist's mistake ?— was ject, " Etiam reginam vult opprimere," we may refer
perpetuated through all the numerous replicas that to Esther vii. verse S.
were made of this series. This particular specimen, The wliole story is

signed " Feint pas de Troy a Rome "
on the base of the steps, is a very
late copy, completed thirty-two years
after De Troy's death. In the right-
hand lower corner of the picture is
the large signature in capitals of
the " oitrcprencur" or contractor in
whose atelier it was worked, that of
Cozette, in 17S4. Anotlier piece in-
scribed " Esther pro populi sui vita
precatuv " shows (eh. iv., verse 4) the
queen in great distress at the plot
against the Jews. She is sujiported
by three tearful ladies of her court.
The second illustration represents
Esther at the banquet proffering her
request to Ahasuerus for her own
life and that of her people — " Dona
milii animani pro (pia rogo." This
is a more striking composition tlian
the last; the great twisted colunnis
in dark relief against a light sky —
again faded— are quite striking in
effect. Tiie rendering of the pattern
on the white tableclotli with its bor-
der of drawn threads was probably

rewarded at the time as a triumph

of technique. Tlie inevitable altera-
tion of such light tones in tapestry

was ignored by the painters, thougli

the tapissiers had in vain protested

against the principle of striving for

the illusion of oil-paint. This piece

was completed in Cozette's rtfclier in

178::!.

The remaining subjects have such

explanatory texts as these : " Circumdata est gloria

sua." Her servants make Esther's toilet — " Now it

came to pass on the third day that Esther put on her

royal apparel : "' " Fecit eam reginare." This has in

the foreground a cassolette or scent-box with winged-

fif'ure handles, copied, as many of the accessories

of the tapestries were, from one of those made b}-

the goldsmiths of the Gobelins of the Louvre. On

it is the name of "Audran, 1785." He witli Xeilson,

the clever Scotchman, wei'e the other tw(j "entre-

preneiirs" besides Cozette. Devoted as they were

to their art, their accounts were not paid liy tlie

Crown, and they were all brought to ruin together.

■ Rex ilium voluit honorare " represents the un-

THE SEASONS: SUMMER
(Bj C. Aiidnm.)

tapestries after De Troy, with turbans thrown in as
an enterprising touch of local colour. Of religious
feeling there is, of course, less than nothing. M.
Muntz (" Fa Tapisserie ") is severe. " As to that,"
he says, " the artists could plead their absolute
impotence. Considered from the point of view of
expression, the few religious suites of tapestry
conceived at this period were better calculated to
provoke scandal than devotion."

Of the story of Jason and llie Golden Fleece
M. llavard (" Les Manufactures Nationales ") says
tiiat tlie Mobilier National possesses eight suites of
from six to seven pieces. " Lhie tenture complete
decora la salle de bal du chateau de Windsor. II

THE MAGA/IXE OF AKT.

en existe encore Jans une des galleries <le ce ineiiie
chateau nn uulre non nuiins belle." Here \vc fancy
lie is in crmr. Tlicre are not, as far as \vc kmtw,
two sets of tlic .lason tapestries; bnt tliere are,
liesiiles "The Seasons" taiu'stiies in the Tajieslrv
{'lianil)er, ti> which we siiall presently refer, repeli-
tifins iif ihcni in the State Ante-l!<«ini. M. Havard
lias in.ulverlcnlly confouiulcl ihc thixr. Tlic ^[»\y

THE SEASONS: AUTUMN.
(0y C. Audran,)

iif .hi.s.pu, in the hcautifiil (liaml l!(r()iliiiii IJunin, is
in a «iuictcr .sdienie of colonr, grey and hluc pre-
dominating. The mottoes arc in Freneli. " JtiMiii
I iiijiiijf Ml /hi It Mvih'x, i/iii hii iniiUiiU Irs xcvimrx ilf
mill nrl." The hero and tiic witch are together, with
enpids .syndjolicaliy Hying above them. This, tlie
must striking iiiTiia])S of all, is too much in tiie
shade fur successful reproduction. The ne.xt in liis-
tnric order reproduced iiere lias tlie motto, " Lis
siililiils vd-s dfs ihnts (hi scr/irnt (nuriinil Iriirs
nriiiM ruiitre tiw iiiciiu-t" and is signed " De Troy a

Itnltl

The br<' 'I ■■<' 'b" scr]icnt's teeth are

fi'ditint: in the background. The oxen Jason has
subdued tn tin' phiugh liKim in the distance. Tiie
liero in the centre seems to be awaiting breathlessly
the result of his conjuring trick, the .secret of
which, to judge from the decent atlitu<les nf the
king and courtiers, is nut entirely unknown to
them, ".ia.son " next "asximpi/ />■ ilmi/on, cnletr If
/../«-;/ il'iir, <■/ jiiirt iinr Miilvr." Tiie tleece hangs
ipu a tree, from which .Ia.son, standing
nil tlie dragon, cuts it dnwii witii his
swciiil. "Cozette, 1770," is tiie signature
of tliis. Jason now, " inJiilMi- ii M<ili'i\
,'/iiiiisf Criiisii, jtllf ii'ii mi ilii Corinlr."
Till' simplicity i>f the hero ai)i)ears to
have bi'iciuie a little contaiiiiiiated by the
cour.se of events. He is a most affected
ligiiif ill this tapestry, which is signed
'■ Dc Troy a IJomc, I74.">." I'mt his feli-
city is not of long duration. In our
next illustration Creusa is consumed
" /)'(/• /'■ fill (If I" riihr fiiiiilr (hint ih'iler
I'll /nil prrscnli:" Tiiis is a .scene of
Inilv (billic laiiicnlation produced from
llic ,1/ilin- of Audiaii. This tapestry
was one of those wiiicli was condemned
to be altered, on September lOtli, 1704,
by the Ivevolutioiiary .scum, which ordered
the portrait of Marat to be reindduced
lOi tlie looin.s. One would have thought
ibal the obliteration of llie iieiir-de-lis
ill the four corners of the border would
have satisfied the sensitive ".•ums-
iiiliillc ; " but the father of ("reusa, it
will be noticed, has a diadem besides his
1 urban. This it was which was "calcu-
lated to wound the eyes of a i;ei)ublican."
Tliesr AVindsor specimens, Iiowever, came
over as presents before the llevolution
was thought of, and so they have es-
cajied till' cliildish mutilations of the
.s<-oundiils wlio.se miseralile successors in
1S70 wciv lo do their best to burn the
(lobelins to the ground.

Ill tlie last of the .series, " Meilei

/loii/iliifili lis i/iii.r Jils ijiiilli- Ill-nil ill.r ilf JilsOH,
iiiilii-iisr Corinlr, rl sr irliir <) AUieiirs." This
picture, .signed "l>e Troy a Koine, 1740," and
"(.'o/.ette, 177()," represents Medea escaping with
the dead chihlreii in lier llying-diagon chariot, after
settiii'' tire to Coriiilii, while Jason inetlectiially
draws his sword below. The background is a line
one, of a general tone of grey.

With two other picture subjects of a more
modnii datr, in lh<' Oak I'.reakfast Room, repre-
senting Atalanta, and Meleager hunting the Caly-
doniaii bmr wbiih were pie.sentiil by Kiir_' I-ouis

THE ^lAGAZIXE OF ART.

I'liilipiic, ihc cullcilioii iif piclDiial lapL'Stries at
"Wiiiilsor c'oiiu'S t<i an i-iitl.

In the small Tapestry Itooiii arc four fine
decorative tapestries from the ilesigiis of Claiule
Aiulraii the y"iiii}ier. If M. Muiitz is correct in liis
attriliution, amongst so many Aiulrans to choose
from, he was the second son of Clanile, hrother of
diaries, tirst of tlie line, and was horn at Lyons in
1G39. He studied with his uncle Charles, and suh-
sequently went to Home. On Ids relinii "he was
enj^'iiged," says Ihyan, " liy l.r Uruii at I'aris, and
iv-ssisted him in his Battles of Alexander. ]lei)aintvd
also in fresco, under the direction of Le IJrun, tlie
chapel of Colbert's Chateau de Sceaux, the gallery
of tiie Tuileries, and the grand staircase at Yer.siilhs.
He drew well and had great facility of execution."
Aiidran died at Paris in IGS!), having given designs
for these four tapestries of " The Seasons," a similar
series of "The Elements," in wliidi the main lines of
the ornamentation are so imuli alike that a Irasty
observer might confound tliem, and the " .Alois
Grotesques." AVe reproduce the " Sununer " and
"Autunni" of "The Sea.sons," approinialcly c\-
pre.s.sed by ligures of Ceres and of llacciiu.s.

Opinions may dill'er as to the resiu'Clivc merits
of these tapestries, pictorial or frankly ilwMirativi'.
The latter are in an irresponsible style, formed of the
a""lomeration of an imiiossible architecture with a
niost illogical assortment of accessories, let the
very recklessness of this kind of decoration is not
without its charm, which seems as suitalile to the
approaching age of Louis XV as tlie i)i(torial style
is more characteristic of tlie grandiose days of the
Grand Monarque.

The la.st of our illustrations is of a gilt sofa and
two chairs from the suite in the Kubens llooiii,
which are covered with tapestry of ISeauvais. This
manufactory was founded very soon after the
Gobelins, but it was not till 1bS4 tlial it began to
prosper, and especially aflei- l(i'.l4, when the ( lobelins
was closed for four years. I'.eaiivais was always a
low warp manufactory, witli methods more summary
and less artistic than those of the (iobelins. Critics
like M. r.urly have fallen bad of the new deveh)p-
nient which placed pictures Hat uiiou chairs. " I'.y
a manifest ernn- of ta.ste," he say.s, " {'.ouclier and iiis
pnj)ils made their enterprising shepherds and sheep
witii lilac bows come down from the walls, and jilaced
tliem on the horizontal seats of sofas and arm-ciiairs.
So you might sit on a pigeon-house ami rest your
feet on a seaport." IJeauvais is connecti'd with the
name of < )udry, whose inlluence on tlie fortunes of tiie
Golwlins also was artistically fatal. Jean liajitiste
Ouilry, ip.iinter and engraver, was born at I'aris

in l(iS((. A .scholar of Lugilliere, he lirst painteil
historical pictures, but took to executing hunting
pieces and animal sul)ject.s. The success, perhaps, of
his '■■ Cliasses di; Louis XV" — painted in 17."!<S and
reproduced in tapestry — and the favour not only of
the (jueen, but also of her rival, Madame de I'om-
jiadour, obtained for him the inspectorship of the
(iobelins. He had some years before that been one
of the contractors at Bcauvais, wliere his animal
subjects were in great demand. Those of our
illustration represent fables of ^K.sop.

Oudry came into contact with the "iiifir-
pirnnif'i" of tlie Gobelins — Audran, Monmerque,
Le liloiul, and Cozette — through a too great anxiety
to teach them their business. He wished them to
inipoil into their work " all the spirit and intidli-
gcnc(> of paintings, in which alone," he avers, "lies
the secret of making tapestries of the highest
beauty." Oudry was unaware that tiie.se .same
igiioiant tapestry makers had interpreted his
])icturcs alieady into sonu-lhing better than the
originals. " If you conqiarc to-day at Fontaine-
bleau," says il. Miintz, " the pictures of Oudry,
smooth and nionotunous in execution, witli the
woiiilcrful translations, so vibrating ami .so full of
life, which the tapissiers of the last century have
made of them, you cannot but be sorry for that
eminent artist who so comjilelely misunderstood the
interests of his re|iutatioii." It was in 174S that
Oudry complained that all the advice of tiie artists
was neglected for inctended reasons of teclini(]ne.
The tapestry makers had refused to multiply tiie
lighter tones in order to obtain iierfect imitation
of oil paintings. They .said that the extra labour
swallowed nji all the profits, besides resulting in
iiuiek-fading work. Their reasons of technique were
not fanciful. They coiiqiared the old tapestries in
deeper, simpler colouring of tlie days of Jans and
Lefevre with what had been turned out at Beauvuis
"under the direction of the Sieur Oudry." The.se
had faded iriciiaiably in six short years.

It was a luetty quarrel, and it was aggravated
by the fact that Oiulry in his dealings at Beauvais
bad entered into trade competition with the Gobelins.
'J'lie latter factory had commenced in ]74iS the
making of chair and ])ortiere tapestries similar to
those which fashion demanded in such numbers
from r.eanvais. That Oudry had been victorious
before he died in 175r> is jirovcd by the signifi-
cant fact tiiat in 17(>."' pictures and their illusive
translations in tapestry were hung side by side
in the Salon. " Fatal victory," says M. Muntz,
" the con.se(iUenccs of which arc still felt in our
own days."

-'^-^N

— -"■"

Cwlrjivv n

(XA^^^'

hflR SOLOMON J. SOLOMON, A.R.A.. AT WORK UPON HIS "CHARLES L' FOR THE ROYAL EXCHANGE.

{Drawn by Arthur Garratt.)

CURRENT ART.

WHATEVER truth may Ho in tlie eliarnv that
we Englisli are not an artistic nation, it cannot
be saiil that we do not caiv for art. Xo capital in

REST.

iFrom the Painiing by Sir J. D. Linton, P.R.I., at th<! Institute of Pulntet

the world can vie with London in the nundjer of
exhibitions held within the year at the recognised
galleries, and few can compare with the average
standard of excellence of the works displayed. The
love of art is manifestly there, or these numerous
galleries would lack the necessary
support ; so that it is obvious
that the limit of endurance of the
pulilic has not yet been reached.
The responsibility, therefore, lies
with the artists, who this year
show that they can fill the current
exhibitions with works, produced
for the most part within the annual
term, of importance sufficient fur
the purpose. Xow this is exactly
what the French artists cannot
do ; they, even with their single
exhibitions a year, cannot fill their
galleries with works of serious ait,
deliberately conceived and sincerely
executed. We made this clear, we
thirdc, when criticising the Salons ;
and we have no doubt that it is
in no slight degree owing to this
incapacity that so many of them
99

think it necessary — or, at least, excusable — to joke
or experiment upon canvas, well persuaded that their
pictures will be hung — not so much because of their
merit as because the walls of a given
number of rooms have got to be
covered. At any rate, this system
of producing works that will startle
rather than works that will charm
lias not yet become acclimatised
in England ; less through any very
superior degree of resthetic morality
than through that happy, yet oft-
denounced, slowness of the English
mind which, in other respects than
ill art, prevents us from accepting
without careful deliberation the
" newest thing out." It was just the
same with telephones, electric light,
and motor-cars, as with " tones,"
" values," and the many movements,
true and false, that have sought to
impose themselves here ; they had
become recognised for good or evil
in most other countries before they
so far penetrated to this island to
make themselves recognised for anything — for any-
tliino- at all. This slowness of evolution is good —
at least, in art — and we have" now^ our reward; for
while we find some other nations deploiing their
decadence and wondering if it is all the beginning

OiV-Ci/ours.)

COOIVIED.
Painting bt/ E. F. Brewtnalt, F:.\t. .S., at tiie institute of Paint^i

Oil-ColQurs.)

TiiK maoazint: of art.

of tlie uiiil, wo lieur Eiighind liuiled iis the most of the Frencli scliuol ; but tlicy uve strong uud
living and vigorous of all tiie homes of national liarmonious, and full of individuality and charm.

art, and welcomed as a leader,
itself in the galleries to-ilay.

Tliis vigour sliows

THE INSTITUTE OF PAINTERS IN OIL-COLOURS.

Itarely has the Institute presented a better dis-
play of jiictHres. The collection is considerably
.smaller than of yore and iiilinitely better liuiig—

Mr. Tiiaeker's " Threatening Weatiier " is an ad-
mirable little study of sea and sky — not much more
than black-and-white, but finely felt, drawn, and
realised. ]\Ir. \VaUer Osborne, chiefly known for
his portraits and figure subjects — even here well
represented liy liis line sketch of an old Irishwoman
smoking in her cottage, called "The I'ipr uf IVace"

AN ALLEGORY
{From the Palntlrtg by flupert C. W. Bunny ^ R.B.A., at the Imtttutt of Painters In Oil-Colours.

far nunc of art and less of commerce tlian usual,
relatively. The pictures are usually of cabinet size,
and are placed a distance apart, eaeii from each, as
if they were works of art, not mere goods. Wliat-
ever the rejected painters may think of it, tlic
jjublic cannot but applaud the new policy, wliich,
in the long run, must be as advantageous to the
mendjers as it is pleasing to the visitors.

It is in landscape tiiat the e.xliibition is strongest;
and the front rank includes painters who.se names
are little familiar to the general ear. Cliicf among
these rising men is Mr. Alfred Witlicrs, whn,
though he has been an occasional exhibitor at tlir
IJoyal Academy since 1881, hardly won general
recogiiiiinn fpcfoie his recent Salon succe.'ss. "The
While :MiH" and " Tiie Linn .Mill" are doubt-
less founded on Constable, moditied liy a study

— proves in "A Conneiiiara ^'illage — Evening" Imw
line an eye he po.ssesses for nature and for fjuality of
ciildur. Tiie little picture is one whicii will ap]>eal
(jidy to tlie true connoisseur; but it may be looked
upon as a little bit of Honingloii, luminous and
delicate. Mi: Peppercorn, too, has abandoned his
eccentricities and given us, in " 'J'he Solent near
Yarmoutli," an altogetlier excellent study of grey
clouds and .sea; and in " Fresliwater, Isle of AVight,"
a grey, C'orot-like sketcii that siunvs his jiower
better tiian the deep green ma.s.ses which he has
hitherto cliielly adected. Mr. East has not juit
forth his full strength; but Mr. Aunioniei-, one of
the truest and most masteily of our English land-
scape-painters who love nature smiling and at peace,
carries on the line tradition of the true school.
A\'beii. it may fairly lie asked, will ihr Royal

Q 5

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3:
Z td

o ,.

z =

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100

TTTK MAOAZINT; OF AKT.

Aciuleiny do Justit'e to these two fine painters ? Mr. trammels of foreign scliools, the painters proceed,

Itoliert Xohle lias recovered from paintiiij^ in what each one, to realise their artistic views. With them,

at one time appeared to be bitumen, and now uives in short, independence means individuality, not po.se.

us pure instead of smoked country. His " IJlink Mr. U. V. Watts's opulent picture of a ruddy

o' Sunshine " and " Harvest

Jfoon" aie both inspired by

the right feeling, witlinut

undue straining after eilect.

For a true touch of ]ioetry we

may look at the posthumous

exhibit of tiiat untutored

artist, ^Ir. Hope McLacliliUi,
whose Millet-like "Evening
<.i)uiet " and the less spon-
taneous yet still impressi\e
" Ste. (Jencvieve " bear wit-
ness to the fine ;uid lender
snmbreness of his sympa-
thetic imagination. Mr.
Leslie Thomson is here to
ciirry on a good deal of liis
past spirit, but with a nmre
accomplished brush ; there is
a fine feeling and breadth in
his " New ^bion, '\\'areliam."
Mr. Spenlove-Spenlove is fol-
liiwing in much the same
direction, just steering clear
of the monotony wliiili at one
time threatened liim. Had
Mr. r.rewtnall's "Doomed"
— an ancient ves.'iel on the
rocks by the sea-shoie, with
a lurid sun setting behind —
been endowed with some air

of mystery, it would have been dramatic ratlier
than melodramatic ; as it is, there is a fine line in
the picture, and strong and extremely well-managed
colour. There is little of the Fun draughtsman to
lie discovered here ! ^Ir. Wimjicris has brought back
from Devonshire "A Dartmoor Storm " — a powerlnl
composition of fen and flood; and Jlr. Arthur Sevuiii
shows a subtle and highly agreeable study of " lee
on the Thames,'' a delightful opportunity success-
fully, aiul even .subtly, seizt^d. There are the highly
finished study by Mr. Ib-iglit Morris of "A Corner
in a Spanish (larden, (Iranada," Mr. Archibald I'eid's
.sensitive little view in "Cromarty," Mr. Orrock's
vigorous "Estuary of tin
"Hamjiton Court," Mr. Nicolet's .sunny studies by
the I'aillon at Nice, and Mr. Ceorge Thomson's
curious view of tlie Moinnnent and tlie surround-
ing district as seen from the top of a neighbouring
building, in which dillieulties of ijcrspeetive are de-
libertitely courted. There is here, ns will be seen, a

faced, low-necked, gorgeously-
attired young woman in a
chair is not at first sight
attractive, but as an exer-
cise — it is frankly called a
"Study" — in reds and fiesii
it is a Work worthy of bini ;
ill all respects, we think, to
lie pieferred to tlie head he
coiitrilnites to the (Jrafton
(Jallery. Sir dames Linton's
"Kest" seems almost a
finished design for pielural
tapestry, so subdued and
i|uiet is it, full of careful
work and well-observed de-
tail. Mr. Sargent's sketch of
■' Fgyptian Indigo Dyers" is
biilliaiit. and snnimary work,
not ilesigned for e.xhil.iition ;
lull it laejvs (lUality of colour,
exeepl ill jiaits. and makes
no strong ajijieal. A sound
study of fk'sii is to b(! seen
ill tlie".'-^tiidy" liy Ml. Mellon
f'islier of a gill's back ; but
Ills far more dainty and
popular contribution is tlio
" Silent and Chaste " whieli is
here ii'iiroduci'd, tender alijce
in handling and eoloni-. The
ambitious composition of Mr. Kennington — "Cephalus
and I'roeris" — capital though it is as f]esh-iiainting
and as a reticent display of the painter's knowledge,
so fai' fails in its subject as Trocris is clc:irly not
dead but .sleeping. Mr. Robert Fowler's " .Mutual
I 'uriosily " is one of iiis most successful works;
entirely conventional, of course — or, rather, arbitrary
as to lighting and colour, but a fascinating study
of diaphanous greens and of tlie graei' of a iiym|>li
who i.s clearlv not of ibis world. .\ii iiiiporlaiit
eoinjiosition by Mr. -lames ('lark "The [•'oiiii-
laiii," round wliieli are groujied semi-nudes and
iiarmoniously elad figures in jewel-like colour — is
Nith," Mr. FuUeylove's inspired by the better tradition of tlie French school

(ffoni

"SILENT AND CHASTE
SHE STEALS ALONG, PURE BOSOMD."

tlif Painting by S. Melton Fither, at the Institute of
Painters in Oil-Colours.)

of half a century ago; it is well we should have (jue
artist in Fngland to .show us in so able and |ioetic
a rasliioii Ihe full signilieiiiiee of the liio\eiiiiiit thai
iiilliieiieed 1 )iaz at the beginning, for such wc take
it lo lie. '{'he agreeable fancies of Mr. St. (Jcorge
Hare, and the originality he embroiders on to them,

reniurkable variety of work, in which, free from the always impart an extraneous charm to his painting

CURRENT ART.

101

ami his green-haired " Sea reojilf," ami ihe infant
girl wounded by her chubby " Dangerous Playmate,"
a remorseful Cupid, deserve credit for their intrinsic
cleverness. Mr. Hugh Carter's Israels-lil<e " Old
Highland "Woman," Mr. Dudley Hardy's r)rangwyn-
likc " Nomad " and ' Tlie Stream." and tlie spirited
figure pictures of Mv. AVollen, .Air. Bundy, and ^Ir.
Lomax give their full abilities to the exhibition.

Tiie various aspects of the sea are given by ^Ir.
Edwin Hayes in his impressive and well-composed
" Alone on a Wide, "Wide Sea : " by Mr. Allan in his
sea-shore pictures; by Mr. Wetherbee in "A Nymph
of the Shore " (too sketchily brushed in for accurate
truth of effect) ; by ^Ir. Julius Olsson in " Tlie
Siren's Tool," in which he has sought only for tlie
brilliant colours and flashing lights ; and by ]\Ir.
Pickering in " The Keep, Holy Island " — which, for
all its silveriness, would have been better without
the obtrusive squareness of his touch.

For the rest, M Fantiu-Latour is again at his

no falh'ng off fmm licr high standard; Mr. Rupert
Bunny's enignjatical " Allegory " is a good-humoured
piece f)f decoration — of brightly coloured costumes
set ir. mysterious atmosphere ; but Mr. C. E. Swan's
" Jatruars Drinkiuf;," cjood as they are, sugf?est too
close an imitation of his namesake.

THE SOCIETY OF PORTRAIT - PAINTERS.

Only in an exhibition such as this can tlie visitor
fully realise the development of the theory of
modern portraiture. In former times the art was
accepted as signifying the reproduction upon canvas
of the form and features of a sitter with as much
truth and realisation of character as the painter was
capable of, witli the addition if need be of decoration
founded essentially upon ornament in personal or
architectural adornment. It is only in recent times
tliat this view has lieen extended Ijy certain schools
of innovators ; and we find not a few who care less
fur likeness and character tlian for decoration and

THE TREE OF LIFE.
(From the Painting by Sir E. Burne-J^ms. Ba.t., at tlie R^yal Society of British Artists. Piiotographzd bj F. Hodytrr.)

best in the flower-piece called " Fleurs "\'ariees ; " " arrangement ; " others who regard the sitter as
Mme. Ronner's group of cats in " Indolence " shows a mere accessory in their " scheme ; " and others

105

THK magaztnt: of art

ajmin, for whom likeness, arranfjement, and scheme
are alike of subordinate importance to sentiment ;
and a final sect for whom portraiture is merely the
inolij for a colour-sympliuny to he played — if very
advanced and original and clever and up-to-date —
upon a I'oujile of strings.

In tile tirafton (ialleries all these pliases and
denii-semi-phases are to be recognised and studieil
more easily than in an ordinary exhibition. And
it i.-5 not to be denied tliat, contrary to what might

but blackened in certain passages of its colour ;
Professor Herkomer's beautiful "Madonna "and his
" Hon. Cecil Kliodes;" Mr. Whistler's charming little
note (if Mr. V. E. Hulloway, re-christened "The
rhilosopher:" Lord Leighton's early " Mr.s. Hanson
Walker: " and M. Emile Wauters' powerful and
learned pastel portrait of the editor of this magazine-
The other foreign paintei-s form a group of
extreme interest. In " Miss I'apel " M. Hlanche
continues his delightful practice of engrafting his

(From tht Painting b^ Arthur Ueadc, R.B.A., at the Rojat SoQiati/ of British Artists.)

be expected, these portraits are infinitely more in-
teresting when seen in the mass than when met
with in a mixed collection : a .^ympiilliy is awakened
for these painted personalities and .';lill more for
their painters, not unconnected, perhaps, with that
deep appreciation of portraiture, which, beyond
ever}' other section of art, has always been a dis-
tinctive feature in English taste. This collection,
as u.«ual, contains pictures new and old, I'ritish
and foreign, oM-fashioned and ncw-fangl.'d, ollering
opportunities for the formation of opinions and the
drawin<' of conclusions denieil by most exhiliitions.

Among the leading portraits which have been
seen before in London are HoU's two masterpieces
—his "T/.rd Spencer, K.G.," and "Lord Overstone."
both vastly mcUoweil with time: Millai.s' toider
" Shelling Peas " of his penultinuite i>eriod, and
" Miss Siddall " of bis earliest, exquisite in its way

own dainty grace and delicate colour on to the
sentiment and manner of lleynolds and Komney,
and in the result produces a picture of singular
charm. A more subtle scheme in a prevailing tone
of lilac and russet in .M. .\man Jean's "'Madame
X," poetical as it is, shows a predominant care for
colour: while M. P.esnard's raliiei' revolting "Portrait
of a bxdy," for all the rather fussy chromatic exer-
cise, has for its real aim and achievement the play
oi' light about a liead. In method of handling ami
treatment, XI. Nicolet, in his eaiiital " Miss XIaud
Iiitchie," appears to be a disciple of M. I?esnard.

The realistic party among the exhibitoi-s show
some works of power, headed by Professor Herkomer,
with his " ' (Jenenil ' Hooth," a forthright portrait of
(hamatic intensity and em])ha.sis of characterisation.
Mr. lionne's "Dr. Williamson" among his books,
Mr. .'^tuart Wortley's highly attractive " Portrait

CUERFXT .\T;T.

103

Sketch " of a beautiful sitter, Mr. Watts's " Study,"
Mr. Kenniugtou's " Lsidy Hartlaud " — reproducing
iu the picture the colours of tlie Chinese picture-
book she holds iu her hand — ilr. John Collier's
charming " Joyce and her Grandfather " (the latter
a bronze bust of the late Professor Huxley), all
belong to the same category. Eanged in opposition
to these are the " Opal and
Grey " (a rather dirty grey) of
I\Ir. Arthur :Mel\ille ; the " Mrs.
Sauter" — a harmony in tender
whites, greens, aud tlesh-tiuts —
by Mr. George Sauter ; the ex-
tremely dainty and graceful, if
a little affected, "Portrait of a
Liidy " in greys aud pinks, by
Mr. A. Neven du ^lont : and
Mr. Lavery's "White l)uchess,"
also in greys — ajnrUuel aud in-
dividual. They are representa-
tive of that CJrey-Ghostly school
which, in its yearning after a
charming effect, ignore almost
completely the qualities of ex-
pression and character in the
model. AV'heu well done, these
effects are charming in an ex-
hibition, but in one's own room
they tend to become very
shadowy companions. Mr.
Guthrie is far more ^igorous
and virile, and not less artistic,
in liis portrait of a middle-aged
lady with weak eyes, an un-
compromising study. Mr.
Rothenstein, Mr. Strang, Mr.
]Muirhead, and Mr. William Stott
is each somewhat of a "poseur" in the portraits lie
exhibits ; but each is remarkably clever, and helps
to a sensible extent the piquaucy of the exhibition.
One of the most dashing studies iu the collection is
the extremely bold and delightful and wayward
little full-length of " Captain Wisely," by Mr. E.
A. Waltou ; a work which justifies some protest
against the principle of leaving a brilliant piece
of painting with its accidents thick upon it.

MEDITATION.

{From the Painting by Abbe^ Altson, R~8.A,
Scciettf of British Artists.)

cartoon for the great mosaic of " Christ upon the
Tree of Life" — a decoration for the Church of St.
Paul in Rome — was shown at the New Gallery
(Magazine of Akt, 1895, p. 295). There is
little inducement to feel contented with Mr.
Cayley Robinson's charmingly fanciful design — an
early Burne-Jones seen through modern Belgian
spectacles — of " The Retui-n of
Spring." The imagery is dainty
and even poetic, but the whole
is utterly ruined by the trans-
parent affectation of a primitive
inability to draw that trans-
forms the picture from a delight
into a frank irritant. Mr.
Montague Smyth's reminiscence
of Artz in " Across the Dunes,"
Mr. Armstrong's powerful
Scottish aspect of a "Torrent,"
^Ir. T. Robertson's sombre yet
luminous view, "On the
Lagoons, Venice," Mr. A.
Meade's " Morn " (a compo-
sition of some importance),
and works by Mr. G. C. Haite,
Mr. Lee Hankey, Mr. Ryle,
and Mr. Spenlove include the
[irinciiml efforts in land and
seascape. We have an example
of tender charm in figure sub-
jects in Mr. Schiifer's " Open
Book ; " of quiet realism in the
" Meditation " of the Austra-
lian painter, ilr. Abbey Altson
— a little too equal iu its effect
throughout, l)Ut a clever work
HuLwithstanding; and of violent
action in Mi-. McCormick's " Soug of Triumph :
Kaffirs of the Hindu - Koosh returning from a
Raid " — a picture which seems to be based upon
genuine experience. Sir Wyke Bayliss's interior
of St. Peter's at Rome is a more than usually
good specimen of his elaborate church interiors.

The policy of the Society in including so manj^
schools is the feature of its galleries to-day. The
increase of its roll from 28 in 1852 to 145 in
1897, .signifies not alone extension of membership
in point of numbers, but also in width of view.
The artistic surve}', as shown upon these walls, seems

at the Roya.

THE ROYAL SOCIETY OF BRITISH ARTISTS.

The contribution of an important work by Sir

Edward Burne-Joues lends unusual importance to to display not alone the academic and the " modern

the exhibition of this Society. This exquisitely schools, but also tho mystic, tiie independent, and

poetical and pathetic picture, so original in con- the " intransigeant." The visitor, therefoi'C, must

ception and so beautiful in execution, has already look for no special style of art upheld, but will find

been dealt with in these pages at length, when the before him a little of everything.

104

FRENCH WOOD=CARVINQS.

By LEWIS F. DAY

UXDKi; till' lilk' uf "Flench Wooil-Carviiigs
from the Xiiliuiml Mnseiinis," Miss EleaiiDr
IJowe hiis edited for Jlr. Hatsfoid a series of collo-
type plates after wood-carvings selected for the
most part from the recently ac(|uired Peyre Collec-

^Vv

o«V ^J^ •^^''' ^-*^. '^^ - ••^- »*^^' :^'-

CHAIR-BACK (HENRI II).

(/« tht Situlh Ktnu'ngton Muivum.)

tion, now dislrilnited among the nuisetims of SdUlh
Kensington, Kdinliuigh, (ilasgow, and Diiljlin.

The liook is a valnaliic record of a most valualilc
national purchase ; Imt it is not merely that. The
l'rin(ii)al of the School of Art Wood-t'arving could
iiardiy edit a work of tliis kind without a very
delinite view to its practical use to the particular sumptuous plates form the most conspicuous feature
class of studi-nts whose wants she, if anyone, is may be referred to oidy for their illustrations, and
in a position to understand. Siie has catered never he reatl at all. .Miss liowe's letterpress
accordingly for wood-carvers, and yet more espe- deserves a better fate tlian tliat. Ilri cnlicism
cially for students of wooil-carving, ciioosing occa- of liie examples given is euougii to help llie

sioually, as she tells us, plates .such as Nos. XXV,
XXXI, because they meet the wants of teachers
having charge of umateur and " Home Arts" classes
where the student can hardly be expected to
know much about modelling, nor yet to be very
expert in the u.se of his tool.s.

So it happens that, although the
examples given in these fifty-four
folio plates are ample " to make
known the carvings in our national
museums," and include, indeed, some
\ciy licautiful specimens of art, they
do not always represent the highest
types of design ; for, as every teacher
knows, there is many a time a les.son
ill what is perhaps rather crudely
ilniie, which would not be so readily
conveyed by means of work more
tcclinically acconi])lished. liude
woi kiiiaiiship lias, that is to .s;iy,
sometimes just that over-empha.sis
which is neces.sary to enforce a moral,
though not so well calculated to
adorn a page. Tiiis moral the editor
is most careful to inculcate. For ex-
ample: "Note," she says, "how the
pattern is united with the ground
by a few gouge cuts, suggesti\e of
the luider-side of the leaves, and
how ell'ective the simple gouge cuts
arc round the jilain surface of the
niiilallioii," I )r again: " The margin
is elfectively treated with a lillet and
deep hollow lieyond, uiid although
in tlir plate the lillet looks de-
tacheil, it is not so, as the inner
line is not cut straight down, but
sloped to the ground with rather a
deep hollow." There is no pretence
of literary llavour about this kind
of explanation, IniL it tells the workman what
lie wants to know. In many ca.scs very minute
information is given as to the deptii of the c^irving
in its various parts, and occasiwnally this is siii)-
lilemcnled by sectiou.s.

There is a danger alwavs that liiioks in which

FllENClI WOOD-CAKVINdS.

10^

stuik'nt to see what is gnod and bad in tiu'Ui, Iml
never too nmcli : it is practical without being so
highly seasoned witli technicalities as to make it
unpalatable to tlie popular taste. In souie lew

PART OF UPRIGHT PANEL: LILIES AND OLIVES,
(/i the South Kensington Museum. )

instances she points out, almost too obligingly, the
new use to which certain old examples could be put.
That might well he left to the initiative of the
student. AVe pamper him too much in these days.
Enough to provide him with food : he must mentally
masticate it himself.

The book is in three divisions. The first treats
of Gothic woodwork, the second of KenaLssance ;
and Miss Howe gives just the outline of the history
of the Revival in France neces.sary to make clear the
course of Style; in the third section, dealing with
the seventeenth and eighteenth centuries, she dis-
tinguishes the characteristics of the styles to which
the later Louis gave their names, and tells something
of the men responsible for the changes of fashion,'
giving prominence naturally to those who were
wood-carvers. One cannot, however, even on the

100

authority of iM. I'eyrc, accept (iille-Marie Oppenord
as in any sense a precursor of the style Louis XVI :
he was one of the most hardened sinners of the
lloeoco, untouched by any redeeming grace of
(_'la.ssicisni. The panel-end attributed to him
(see below) is i[uite unlike the rest of his work.
Apropos (if tills sliuttcr-pancl, it is pointed out
that tiie .s}'sleni of " interpanelling" there shown
is about tlie best legacy left to us by the artists
of the IJegency: and wnnder is cx^jressed that
modern decorators workiug in other styles have
n(.)t taken a. hint from it : they might certainly
ha\'c done so with advantage.

In discussing the period of Louis XVI it is
e.xplaiued that in neither of the preceding reigns
are details so delicately and gracefully carved;
" tlowers are treated much more naturally, and "
— (" but " would have been the more appropriate
word) — "the \ciuing of the petals, which is a very
characteristic feature during the reign of Louis
XI\', is (|uite discontinued." That broad and
simple yet delicate treatment of leafage is shown in

END OF WOODEN SHUTTER : LOUIS XV.
{In the £clinburtjh Museum.)

the olive wreaths illustrated on this page, a curious
instance of eighteenth-century ornament to which it
is not easy to assign a very precise period. The editor

106

THK MACAZINE OF AKT.

finds it strange that tlie carver sliouUl have given
the lily five petals ; but " 'twas ever tlius." Never,
from niedia-val times to our own clay, ha\e the " free-
lances " of design scrupled to rob tiie lily of a petal
— or of a sepal, rather — to which Ijrutality may be
attributed a certain just resentment of that conven-
tionalisation in whose name deeds like this are done.
Not content with describing the rendering of the
acanthus scroll peculiar to the period of Louis XVI,
Miss Kowe goes on to explain the way in whidi the
stem of the scroll or " spiral " is most siitisfactorily

treated in carving, Ijy outlining it, that is Lo say,
" with a tluter or veiner, using the sides of the tool
to cant the edges ; the spiral then seems to blend
with the background, and has not ti)at dclaciicd
look wiiich is so often noticeable when the edges are
cut down vertically."

The (piolations above given will show the kind
of information which is to be gathered from the te.xt.
^Vttention is called to it rather than to the plates,
because tliey speak for themselves: they are well
chosen and most aihniralily i)roduced.

THE ART MOVEiVlENT.

ECCLESIASTICAL ART AT NOTTINGHAM.

I.-THE CLERGY AND ARTISTS' ASSOCIATION.

THIS Association, which was opened in May ot
last year liy the Bishop of Stepney — on whi< h
occasion addresses were gi\'en by
Mr. W. Holinan Hunt and others
• — seeks to establish the means
througii wliich liio.se desirous of
infonnation in regard to the best
work being done by individual
artists may be iielpcd in Viuious
ways towards obtaining it. Its
object is to enable the clergy
and others to approacli the artist
more directly, and to secuie tliat
work in cburchcs shall be llu-
work of artists of individual
attainment. It lias 1)ccn felt by
many of tiie cleigy that some
central jdace where examples of
artists' work executed in churches
could be seen would have great
value at the present time, so
niucii of the difticnlty being thai
tiie clergy do not know wiiere
to go to olitain such vvcjik.

A central consultative body
has been formed, with exhibition
rooms at (i, ^lillbank Street,
Westminster, fi>i- supplying in-
f(jrmalion ami advice — a body of
representative clergy and artists
meeting periodically, to whom
applicaticjiis are made. An op-
portunity is thus presented of counteracting Ibc
facilities ofl'ered in wrong direction.s. The com-
plete mystification of the public nnnd can liardly

CHALICE AND PATEN,
(0y IV. Biilntirltlitr ffryfto/rf«.)

lie loucbcd oil licie. lint nolhiiig is commoner
tliaii for the artist working in cliurches to be
iiskrd ill iriiaid lo his work wlicliicr he is goinj'
lo do il liim.self, or to be told
that " S. Peter and S. I'aul are
such well-known figures I sup-
pose they Would be cheap."

The Association is adminis-
ti'icd ill the interests of art
as a whole, and not of any
pavlicular school or cli(|ue.
.\iiioiigsl the patrons, in addition
lo liie liisiiops of London, I'etei-
liorough, and Stepney, are Messrs.
C. F. Walls, H.A., W. Holnian
lluul, and Jolin lliiskin. The
( 'omuiiltee of Direction includes
Ibe names of Sir W. 1!, llicii-
iiioiid, 11. .\., Mr. Conrad Uresslei',
.Mr. and .Mrs. Reginald Hall-
ward, Messrs. Louis l)avis, .\. 11.
Slvipworth, and W. I'lainbridgc
Reynolds. Membenship of the
.Vs.socialion is open to the pul]lic
generally. Tlie Clergy and Art-
ists' Association depends solely
on the sulisciiplions and dona-
tions of its nii'iiibcrs. No com-
missions of any kind arc charged
on the artists working through
tile Association, or from tiiose
seeking its aid. With the excep-
tion of the Assistant-Secretary,
liicers are unpaid. Tliis is considered es.sen-

lial to sustain the independent position of the As-
sociation, which has no commercial object whatever.

TITK AP.T :\r()VE:\IKNT.

107

Tlie soc'iind Clniieli Congress Exliibitidii of the
Clergy ami Artists' Association was held at the

Castle Museum,
by permission of
the Committee of
the City IFuseum
and Art Gallery,
who came forward
ill a generous way
to further wiuit
they felt to he a
great object. Jlr.
Wallis, the Art
Director, gave the
warmest assist-
ance to the under-
tailing.

It would be
inipo.ssible to in-
clude the names
of all the coiitri-
liulors to an exhi-
bition wiiich was
of the most repre-
sentative kind, but
amongst tlie most
prominent of them
were the names
of Messrs. W.
Holman Hunt,
Frederic Shields,
George Frampton,
A.E.A., Henry
Holiday, Conrad
Dressier, A. G.
Walker, Nelson
Dawson, W. liain-
bridge Reynolds,
J. D. Batten, Mrs.
Sargent Florence, Mrs. Ileginald Hallward, Mi.ss
Emily Ford, and Miss Mary Newill. The cata-
logue records 195 exhibits, including painting,
sculpture, gla.ss (cartoons), metal-work, embroidery,
a special feature of which was the exhibition of
work executed under the auspices of the Clergy
and Artists' Association, either tiirough its mem-
bers or otherwise. Amongst these may l>e men-
tioned the cartoons for windows in Kelvedou
Church, Essex, by Mr. Louis Davis; the decoration
in tempera of the roof of a chancel in course of exe-
cution, by Mr. J. D. Batten ; the cartoons for wall-
paintings executed in Lustleigh Church, Devon, by
Mr. Keginald Hallward ; the design for rood-screen,
reredos, retable, altar, etc., for Adiniore Church, by
Mr. A. H. Skipworth ; and designs for two windows
in St. Paul's Church, Hamstend, by C. M. Gere.

WINDOW FOR KELVEDON

CHURCH, ESSEX.

(Bu Louis Dav/3.)

In regard to the work done by the A.ssocia-
tion, it is gratifying to be able to state that,
through the means adopted of setting up direct
relations between artist and employer, there are
now working in churches individual artists who,
but for the existence of the Clergy and Artists'
Association, would not have been employed, and
who, previous to its existence, had never for want
of opportunity worked in a church before. The
Association has also Ijy its advice already been
able in several cases to prevent the carrying out of
inferior and mechanical work, and has begun to set
a standard interfering with the easy acceptance of
work of purely commonplace commercial character.

The permanent exhibition of artists' work is open
til members, who receive notice of any particular
example of work on exhiliition. The Association is

THE CRUCIFIXION.
(By Conrad Dressier. Glazed Eartheniuare.)

hoping to obtain the support of the Church and the
public in its efforts to foster a more living art in
churches. The Church cannot afford to lie without

108

THK NrA(;A/IXE OF AHT.

«40(xl art, and llie l>est can come only from tliosc
whose cultivated talents give them the independent
position of artists, and in it from tliosc who turn tlie
siiitjily of cliurch decoration into ordinary trade.

This Association has been able to replace the
purely negative criticisms of snch a wearisome
clianicter by definite practical steps to improve tlie
sUite of things — made possil)le by tlie loyal co-
operation of those concerned in the movement — and
is able to show that united action is more capable

CARTOON FLih vv^i_._ PAU-iTlMj, ..i^o.^L.o.i ^ii,^,,>^ii

DEVON.

(Sy Hr\firtatd Haltmard.')

of achieving the end in view tlian oi-cans of merely
barren criticism .umI \vi:iiv cnmplainl.

II.-SIR W. B. RICHMOND. R.A., AND DECORATION IN
ECCLESIASTICAL ART.

At a meeting of the Congress at Notlingliam, Sir
\V. 15. liichmond delivered an addre.«s u])i(n "l>eco-
ratinn" as it allects religious art. After referring
to mediiival art, whim Ixdief in religion went hand
in biiiiil willi tiiste and executive skill, he (iiiiqiiiicil

LECTERN.

(fiy Messrs. Benham and Froud.)

the condition of the present time, when " content-
ment with the commonplace — ay, preference of it^ —
has permeated every
class and industry nmre
or less, and has crept iiit"
the Church . . . There,
as in our public buildings
and in our hou.'scs, the
trailesman is more evid-
ent tliaii the artist, the

commercial rather than

the creative instinct."

.Vfler reviewing the

progress ami decline of

religious art up to and

from the IJenaissance.

lie dealt with English

modern work, and

a.sked, " How is it that

the most renowned

])aintcrs of our time

have been .so rarely

employed in the ser-
vice of the Cliurcli,

whilst there hits been

so much opportunity

presented in that direc-
tion ^ The Gothic revival naturally led architects

towards antiquarian research. Hence there has

arisen a clear

definition of the

styles of various

epochs. To ac-
commodate these

it has been

sought to permit

no decoration in

glass, sculpture,

or wall-painting

which did not

belong to the

style chosen . . .

i)f whatever cen-
tury, Gothic or

Itenaissance I

The real artist,
painter, or .sculp-
tor, being so be-
cause he has
something t" say
for hiiii.sclf ill his
own style .
would l>e siiy oi
obeying an archi-
tect's demantl to supply him with wliat is, practically
speaking, iMithing but ii niclhdd of statement foreign

ALTAR CROSS FOR ST. MARY
MAGDALEN, OXFORD.

<0y Kvsvft. Harl, Pra'tl nnd Co.)

THE APvT :\IOVEMENT.

100

10 his iiiipul.se, Ik'nre the lesri'Sf of sjiiiutaiU'iuis.
So he would not safiifiee liis own iiuli\ iduality as
one day to design in the fourteenth-century style,
another in the sixteenth, to order. Seeing that
there was business to be done, enterprising persons
established trades in
church decorative art,
whei'e the various cen-
turies have been turned
out at the conunand of
the architect, hopelessly
artificial manufactures.
Precious little vitality
could e\'en a genius en-
dow upon such an un-
convincing convention.
. . . Surely, it is not
' styles,' but ' style,' that
is wanted — the expres-
sion of something that
an artist has to say after
liis own fancy, in accord-
ance with such traditions
as he has accepted as
monitors. . . . Surely,
when art is obliged to
be in exact obedience to
dates she may be said
to be dead. It is the
merit of the design, the
quality of style in the
drawing, the beauty of
colour, not its accordance
with a particular date,
that matters in a work
of art. You will never
get art worthy of your
religion until you care
for it and realise its great

importance. You will never get it if you treat it
as furniture. ... I have tried to show that art
which has survived, or that will live in the future,
has been and must be spontaneous, that manufac-
ture of styles is fatal, and that it must proceed
from the heai-f as well as from the head and
hand. What better motto is there for conclusinu
than ' Walk in the liglit of your own fire and
the flames which you have kindled ' ? "

III.— MR. JOHN HART'S EXHIBITION.

Mr. John Hart's Commercial Exhiljition of Ec-
clesiastical Art was a feature of great interest
during the Church Congress in Xottiiigliaui, the

EAST WINDOW IN THE CHAPTER-HOUSE,
CANTERBURY CATHEDRAL.

{Ba Mr. Hemming.)

object of which claims tn lie the furthering of the
industrial arts in relation to church decoration. The
exhibition was divided into two sections — viz. the
trade and general division, and the loan collection.
To the former the leading ecclesiastical and educa-
tional firms contributed
largely.

Messrs. Benham and
Froud, of London, who,
in 1821, made the ball
and cross of St. Paul's
Cathedral, had an excel-
lent display of commu-
nion plate, altar furniture
and lecterns. On p. 108
is an illustration of one
of the latter. It is exe-
cuted in solid brass, and
represents an angel sup-
porting a tracery stand
of Gothic design. Messrs.
Hart, Peard and Co. had
also a very attractive
stall of art metal-work
for churches, and we
illustrate an altar-cross
executed by them for the
church of St. Mary Mag-
dalen, Oxford. It is in
the late Decorated style,
with ogee fleury ends,
Tudor rose centre, and
enriched with faceted
crystals. The vertical
and horizontal bands be-
tween the rose centre
are decorated with vine
brandies and grapes, em-
blematic of love. The
knop upiiii wliieli the cross proper is set is pierced
and engraved. The whole is supported by a circular
base, with gadi'oon ornamentation, and fleur-de-lys
above.

The examples of stained glass work sent by Mr.
E. Frampton were exceedingly meritorious of their
kind. Mr. Hemniing's fine collection of drawings
of stained glass attracted a good deal of attention,
and included one of the east window in the Chapter-
house of Canterbury Cathedral which Mr. Hemming
executed a short time ago. By Messrs. J. Harris
were contributed church embroideries, banners, and
flax fabrics for decorative purposes ; and by Messrs.
Bnrnet and Co. a stand of beautiful textiles.

THE MAGAZIXE OF ART.

DECORATIONS AT MER MAJESTY'S THEATRE.

BK-VrTIlTL in t-veiy ivsiu-tt avLliitecturully,
Mr. r.(erli<>liiii Tree's chiiiiniiifj; tlieatre in the
Haviiiiiiket is (Iwoniled inteniallv in u manner

if^s

STUDY FOR "SUNRISE."

(S« Arthur C. S/cK*. )

that leaves little to he dcsiretl. The white and
fiold i)f tlie walls and auditorium are pleasing in
thein.selves, Imt the paintings on the ceiling ami
in the spandrils (<( the arclies of the side walls
add consideraltly to the heauty and efl'ectivene.'^s
of tlie sehenie of deeoration. The general design
was snpidied liy Mr. H. ItomaineAValker, hut
the i)aintings themselves are the work of .Mr-
Arthur .1. riiafk. hy who.se courtesy we are euahleil
to icpuxluee some of the cartoons on wliich (lie
paintings were liiused. Notwithstauihng tliat in
liiemselves they bear no evidence r>f jiasty execu-
tion, from the day when the commission was
placed hy Jlr. I!c(;rhohm Tree in tlie iiands of the
arti.st, to tliat on which the seafrnlding was removed,
Imrely three weeks elajised : not, of course, nf tlie

artist'.s choice, but from unavoidal)le necessity. In
that time Mr. IJlack had to choose his subjects,
make 1ms sketches and drawings, and execute his
complete work. Considering tliat sixteen .spaces
had to be filled, and that time did not permit of
colour-studies being made, no small credit is due
to iiini for the satisfactory result ol)tained.

l"or tlie eiglit ceiling panels Mr. lilack has
chosen .symbolical representations of the diHerent
divisions of the day, and has produced figures for
the most part poetical in conception and gi-aceful
and varied in po.se, wliile the colour scheme is
delicate and relined, and in full harmony with his
subjects. Heginning with "Dawn," the cycle pro-
ceeds witii "Sunri.se," "Morning" (perhaps the least
satisfactorv of llic fiu'uii's\ "Noon" — an extrenudv

STUDY FOR "SUNSET."

(8« irthar C. Black)

charming figure — "Afternoon," " Sunset," " Twiligiil,"
ami " Niglit." I'dues. pinks, and yellows are the

THE Airr :\l(n'EMENT.

principal colours,
and the series of
panels form a most
eftective centre-piece
to the decoration of
the liuikling.

In the eight
spandrils, in which
the stoiy of Tsyche
is illustrated, Mv.
Black has taken ad-
^■antage of the op-
portunity ottered him
for poetic treatment.
The figure of Psyche
throughout is charm-
ing, and each com-
position skilfully
adapted to the spac'e
for which it was
designed. The first
painting of Psyche,
in which she is look-
ing anxiously for her
god -lover, is excel-
lent in pose, and the
pathos of the story

^^^

U-

--'-' h'.'

STUDY FOR "PSYCHE BEFORE VENUS.'

Ill

after her desertion
by Cupid is daintily
expre.?sed in the .sub-
sequent pictures. The
nude figure in the
fifth panel and the
descent of Cupid in
the seventh are prob-
ably the best of the
.series, but all are
full uf interest, and
l)ro\e :\Ir. Black to
be both a skilful
draughtsman and a
clever colourist. The
drawings we repro-
duce are crayon
studies from the
model, and are suffi-
cient to sliiiw — for
their lines have been
carefully followed in
the finished pictures
— the freedom and
accuracy of the
artist's toucli.

Ai;Tiin; Fish.

STUDY FOR "TWILIGHT.'

STUDY FOR "NOON.-

11:

NOTES AND QUERIES.

[8:3] AN "Edition de luxe" of -the magazine
OF ART." — I have often wnmlereil wliy no edilwn
ill' hi.ir is issued uf The Magazine uf Ain;. The
vnhie of the publiealioii anil tiie lieauty of its
iUiistrations wouM l)e warmly weleoniecl in a
more hixurions form, 1 am sure, by every lover of
art and of beautiful books. Other publications do
so — sueh as Ln Menu' de I'Art Anckn ct Moderne —
the price being just double of that of the onlinary
edition. Surely there must be many who, like
myself, would be willing to pay, say thirty sliillings
IV year, for so fine and useful a work. Only, of
eourse, the edition must lie strictly limited in
nundier — A SuHscRiitKi;.

.*. Our Subscriber's liallering suuiicstiun is
not entirely new to us. Wo can only say that
if his view is shared by a sullicient numljer of
subscribers, the Publishers of TiiE ^Iacazixe ok
Al!T Wdulil be most happy to fall in wilii llic
suggestion. Perhaps those of our readers wim
think with our correspondent will oblige us by
connuunicating with us. — Kn. JlAiiAZlNE ok Aht-

[84] THE AUTHORSHIP OF THE LOUVRE "APOLLO
AND MARSYAS." — Where shall 1 find any reference
In tills picture, especially as In ils authorship ' —
.1. Haktlbv, Leeds.

•*• *'"'' correspondent c\identlyhas in niiiul
the contest of view as to the proper ascription of
this beautiful work. Since Mr. Morris Moore
sold it to the Louvre, it haslieen called a l'a]iliacl,
but it is iloubtful if anyone (piite accepts the
ascription. From Passavant to ilorelli, nearly
all the analytical critics have denied it that
authorship, though wlicllicr it is by Perugino,
Tiuioteo Yite, Francia, I'inluiicchio, or other
painter, it is impossiiile to get them to decide.
Mr. iloore bouglit the picture as a ALmtegna,
and solil it to the Louvre for £8,000 as a
liaphael. Morelli a.s.serts positively that it is
liy Perugino, and we incline to the same
ojiinion. The cartoon, or drawing, for this
picture is in the Venice Academy. Bacchi-
acca, curiously enough, plagiarised the design
for iiis "Adam and Kve," the figure and iiosc
of Apollo being cleverly adapted to tiic needs
of the l'"irst Mother.

[8o] MERUN. OF THE ROYAL MINT. — \\\\ni Were
the Christian names of the French artist, Monsieur
Merlin, who was employed at the IJoyal Mint,
London, during tlie reigns of (leorge i\', King
William 1\', and the eaily pait of that of (^lueeii

N'ietoria, as an engraver of dies for striking coins ?
His initials, " I. B. M.," appear in relief on the
obverse of the two-pound piece dated 182."i. — Henuy
(lAltsiUE (201, Burnley Koad, Accrington).

^*^ Although Merlin is mentioned in Haw-
kins' ".Silver Coins of England," in Kenyon's
"(!old Coins of England," in Henfrey's " (iuide
to English Coins," and other books, English and
French, his lirst names do not appear. Probably
the only aulliorily able to throw light on the
matter is the Jlint itself. At the same time, we
never heard of a Frenchman whose initials were
■ I. 1!." (/.('. "J. B.") which did not represent
the ever-popular " Jean-lSaptiste." — S.

[Slj] M. VAN HELLMONT. — W"\\\ you or your readers
inform uie what is llie pnsitinn, artistic and other-
wise, of the pictures signed by " M. van llellmont" ?
There is here in Eio a picture signed by tliat name.
It represents a kitclien with two persons in ex-
tremely friendly conversation, painted in the style
of Tenier.s. It is named "The Propo.sal," and is
unquestionably an old picture; and, whether or not
an original, it is painted by a good artist. I never
heard the name of the painter. — CAlil.us Amekico
DOS Santos (12, Una de Monro lirito, Rio de
.lanciro).

^*„ Matthew van Hellniont was a little
master of the Fleniisli sclionl whose appro.ximate
dates are 1650-1724. lie was born in Bru.ssels.
His more importiint woiks resemble tliose of
N'an iler Mculen, and his smaller ones — like that
referred to by our ipicrist — tluise of Teniers.
Indeed, at a short distance these small pictures
uiigiit well be taken for those of the greater
master. In his skies and backgrounds Van
Hellmonl's cohiuring clo.sely resembles Tenier.s',
liul not his brush-work. Only a ndnority of
N'an Ilellniont's pictmes are signed. They are
not in great request; indeed, the prices fetched
at Christie's rule so snudl that neither Mr.
Unbelts nor lledford has recorded them. Seguier,
jiowevcr, states that " A Flemish Market, with
numerous tignres," was knocked down for £40 in
ISdl, iiiid lliat certainly for forty years later
lliat price was never touched again. The facts
of the i)ainter's caieer are very obscure.
[SV] AN UNKNOWN PORTRAIT OF NELSON. — 1 liave
latelv fallen in with an old jiortrait in oil of i^ord
Nelson. It .seems a good work of art, and 1 would
lie glad to receive, through your "Notes and
li)ueries " cnlumn, any information as to the painter.

XUTES AND QUERIES.

113

as there is no name on it to be seen now. I .semi
lierewith a photo of tlie portrait. It does not appear
in G. Lithoni Browne's " Xelson : His Pulilic and
Private Life (1891)." It would lie obliging if you
could let nie know whether it appears in any of the
other Lives of Xelson. — Collectoi; (Bank House,
Csistle Douglas).

»*, There is little doubt that tliis portrait, of
wliicli our contributor sends us a photograph,
is by Lemuel Francis Abbott, the painter of
two portraits of Xelson — the one a replica of
the other. That now brought to our notice —
apparently in somewhat poor condition and
unfini.slied — is slightly different to that in the
X'ational I'ortrait Gallery, and coutiiins sucli
modifications as to preclude the idea that it is a
copy. AVe lean to the opinion tliat it is probably
a picture by Abbott, but abandoned by liini
before completion in favour of those to which
we have already referred.

NOTES.

A GREAT "ARTIST -PHOTOGRAPHER:" MR. F.

HOLLYER. — It is a fact — wiiicli will not, it is to be
presumed, seriously be contested — that nearly every
important discovery or great reform which has been
introduced into photogiaphy from its inception to
the present day, has been the work of the "amateur."
The professional has, as a rule, done little beyond
confirming and establishing the discoveries of the
amateur — beyond walking in the path whither the
non-professional has pointed the way. Tiiis curious
circumstance, which is almost unique in the worlds
of science and art, does not stop short at the point
of theoretical inno\'ation ; the phenomenon is to be
observed not less clearly in the ranks of the practical
professional photogi-aphers, the majority of the most
artistically-distingui.shed of whom have invaded the
circle of the craft from the wider, but more imagin-
ative and intelligent, field of the amateur. A typical
instance is to be seen in ilr. Fred Hollyer, whose
name is familiar to ai'tists and photogiaphers througli-
out two continents. He would doubtless be the first
to admit that not himself only, but liis rival Jlr.
Cameron, and one or two others iiardly less successful,
have adopted as a profession what was at first a
hobliy, and that they are better pliotogia pliers for
not hiiving been bred up with their eyes and wits
narrowed and confined between the two blinkers of
profe.«sionalism and convention. Mr. Hollyer being,
as has been .said, a type of the creative pliotographer
— so far as a photographer can ever hope to become
"creative" at all, especially in the ditlicult art of
lul

the reproduction of pictures — a few words as to his
career may be helpful to the reader. In 18G1 he
first began his experiments; but it was oidy when
he found that tho.se experiments led him beyond
the usual goal either reached or aimed at liy others,
that he adopted photography as his profession. He
had many friends among artists and art students, but
it needed not them to convince him that photography
was limited and cramped in its capabilities, and that
its creative potentiality was not less restricted. He
began experiments on the reproduction of pictures
by his friends, who, ha\ing nothing to pay, freely
damned his efforts. This encouragement was chiefly
useful in taking the conceit out of the worker. The
first picture successfully copied was Miss Osborn's
" Christmas " in 1865, and this was quickly followed
by ;i series by the late Albert Moore, who took a
\ivid interest in the process, and was never tired
of criticising, instructing, and helping, with special
reference to the rendering of colour values into
monochrome. Then the attention of Mr. G. F.
Watts, H.A., was attracteil to the increasingly suc-
cessful efforts of the young photographer, and he
devoted considerable time to examining the plates
after his own work, and to showing when and why
success had been attained ; for to the photographer
it is difficult enough to know when he has done
his best with the pictures of a subtle colourist and
a mystic in paint. Defects were explained and
remedies suggested in the case of failures, until at
last the photographer found himself fully equipped
not only for the reproduction of the subject of a
picture, but even for some suggestion of its colour
and feeling. How could the humdrum everyday
photographer hope to go through such a training to
arrive at such attainment ?

FRENCH IMPERIO-REPUBLICAN COINS. — There has

recently been .some correspondence in the Times as
to a " mysterious " five-franc piece which on ob^'erse
and reverse bore respectively the imperial and
republican legend.s. There is no mysteiy about
it at all, and little rarity. It must be remem-
bered that at the time when Bonaparte became first
consul and then emperor he was very circumspect
in his changes, and slow to introduce innovations.
From 1799 to 1802 he permitted the old type of
national coin to prevail, and not till the next year
did ho place his own portrait upon it. When he
became emperor a year later he substituted " Eni-
pereur " on the coin for " Premier Consul," but
retained tlie republican legend until 1808. This
applies not only to five-franc pieces, but also to the
rest, the smaller coins and the greater. It must be
borne in mind that the smallest values were plated
— copper was not thereafter u.sed in France until
184S.

114

THE CHRONICLE OF ART.— DECEMBER.

The South IN nii)ditii'ation of the indignation aroused
Kensington 1 i,y ^\^^, treatment of Mr. Weam:, late art
Scandal. |ii„.j,.ian at Soutli Ken.sington Mu.seum, it lias
been circulated that the Lords of Committee of Council
on KJucation are guiltles-s of the hai-sh injustice attrihutcd
to them in respect to the sudden dismi.ssal of the ofHcial
who had had the pluck to .speak out ; and that when
the papers are forthcoming it will ap|)ear — as might
indeed, have hecn e.xpocted from .so shrewd and diplo-
matic a department — that everything is in order, and that
Mr. Weale lias not so very much to complain of. If this
is really .so, it merely means that responsibility is shifted
to other shoulders. It is stated that the Director of the
museum strongly insisted in a report to the Secretary
upon the retention of Mr. Weale's services, on the ground
that there was no other man e(|Ually fitted in the kingdom
to carry on his important duties ; and it is known that tiie
Treasury, in the Minute laid upon the talile of the Hou.se,
continued Mr. Weale in ottice, according to the Thms, for
another year. It is now put forth that tlie e.xtension was
"during the sitting of the Committee.' There is therefore
only one conclusion to draw— namely, that the Secretary
must have presented, instead of the Director's report,
another merely retaining Mr. Weale's services for the benefit,
not of the public service in the museum, but of the
Committee in the Hou.se of Coinnion.s. But his evidence
could ei^ually have been given without his being retained
in office— better, in fact, as no official leticence would liave
weighed upon liim. Of course the Committee has not yet
completed its labours, and is to be reappointed next Sessicm ;
but as, technically speaking, the Committee has lai).seil
during the prorogation, advantage has been taken of it to
dismiss this most efficient officer. Meanwhile, it is to be
noticed with interest that Mr. Armstrong, who.se time has
also lapsed, and whose examination before the Committee
was a curious enlightenment as to his views regariling his
po.st,but wliiMifTcrcd out-and-out support to his department,
lias without deniiu- had his service extendeil. It is to be
observed that^Mr. Arm.strong, who is jointly resjionsiljle
for i)urcha.ses for the museum, actually informed the Com-
mittee that he did not care whether an object was genuine
or not so long as it was beautiful, and that this Committee,
he .supposed, had knocked the bottom out of ej-jicrtu'e.
This gentleman's .services have been retained ; but we
would like to know what would liaiipen to any expert in
the National (iallery or British Mu.seum who gave vent
to such extraordinary opinions.

Wh.vt appears to bo a serious i)iece of reckless
Civic Haste, j^^^^j^, g,, j,,^, j,.,,., „f j,,g ^.^^^ j^„,.,, ;^,.,j,,„.^ >^|,.

I'audel riiiilips, jiromi.sed to place the Common Coun<il
and Corporation of London in a .somewhat ridiculous
position. The offer to the Cori)oration of no fewer than
two hundred Old Masters, pul)licly announced by the Chief
Ma'iistrate lus a .sort of blaze of triumph in the midst of
which he should retire, woulil have been a happy tlmught
had the examination and judgment of the pictures in
i|Uestion by the I'resident of the lioyal .\cailemy been
given before, instead of after, the statement was made
public. And, to crown the blunder, the gift was accepted
by acclamation, without apparent reference to the possible

adverse verdict that might bs forthcoming. The facts are
at once simple and sug,'estive. Mr. Seilar, a collector
whose name is not well known to those most concerned non-
comniercially in works of art, drew considerable public
attention upon himself during the past season by sum-
marily withdrawing from Christie's, during the sale, a
collection of alleged Old Miuster.s, which were fetching the
most insignificant prices. Certain experts who saw the.se
pictures did not consider the prices too low in view of the
(juality of the works themselves. It is therefore only
natural, when the same gentleman olTcrs his collection
shortly afterwards cii btai; that the public should, rightly
or wrongly, identify the pictures with those to which such
disigreeable notice had already been drawn. As Mr.
Seilar luus acknowledged the identity, we must deplore
the injudicious conduct of Sir Faudel Phillips in not
taking expert advice before placing his friend and himself
in so unpleasant a |)redicainent. As to the Art (Jallery
of the Cluildhali, no false delicacy must be allowed to
jirevent the final refusal of the pictures .should they be .as
relatively worthless as dealers and experts have thought
them. In any case, no huge collection should ever be
accepted en bloc without a careful e.xamination and re-
commendation in respect to every separate item. In
France, where ])ublic spirit is far less generous than here,
and valuable imblic bequests infinitely less numerous, no
gift of any sort is allowed to be accepted on behalf of the
public without a special commission approving of every
item. Tiie jiuljlic taste should not be le.ss jealously
guarded here than abroad, even at the risk of hurting the
feelings of an intending donor. But it need hardly be
pointed out that should the general suspicion be correct,
and the present collection prove no better than dealers and
collectors lately suggested, no particular tenderne.ss need
be .shown towards one who has chosen to pit his own
challenged opinions against those of connoisscur.s, and has
risked the victimising of the public before the verdict
of our chief official authority has reinstated the rejiuta-
tion of the collection.

Titi': fortieth annual Iteport of the National

The National i>o,trait Uallery, dealing with the twelve

Portrait Gallery. •" .. f . ., .

months from April, 1896, to April, 189i,

has recently been issued. It records the appointment of
Viscount KxuTsFoui) to the triisteeshii> vacant by the
death of Sir .lohn Millai.s, r.B..\., and the succession by
virtue of his office of Sir Hdw.uu) Povntku, I'.K.A. During
the year .sixteen jiortraits were presenteil to the fiallery,
of which the following are the most important : "John
Cinwen," iiaintcd liy William (itsii ; "Sir Henry Holland,
M.D., I'.lt.S.," marble bust sculptured by W. Tiikko; "Sir
Henry Halfonl. M.D.," painted in 1811 by Sir W. Br.KciiKv;
"Sir .lohn I'.ankes,' i)ainter unknown: "Sir Hicluud
Fnincis lUirlon," jtainted by Lord Lkuiiiton ; "Sir Wil-
liam Maynaril (loniin," )iainted by James Bowlks ; "Dean
Stanley," a miniature; "William Morris," painted by Mr.
(1. F. Watts, U.A.; ••Coventry K. D. ratmore," i>aiiited by
Mr. J. S. Sakc^kni-, li.A.; "Dr. Colen.so," painted by Sami'KL
SeklIvV ; " liichard JeHeries,"' a bust in plaster; and
" Jo.seph Hume," by L". B. Lekiiitos. Thirty one iniroha.sea
were made, including twelve works by the late CjEorge

THK CHRONICLE OF A TIT.

llj

KlcHMOSli, It. A. The total nuinl>cr of woiks now in the
(ialleiy is l.UfvJ, of wliicli 933 are jiaintiugs, 123 works of
sculjiture, and -20 miscellaneous works in cases. As we
foreshadowed when the (.iallery was first opened, the space
at the dispo&il of the Director has ah-eady become tco
lituited. Screens have had to be erected, and warning is
duly given in the Report that many of the pictures will
have to be placed in iwsitions v.here the light is too bad
for them to be seen. The vandal has been at his tricks in
the Gallery; for, besides a series of minor injuries, a serious
damage was perpetrated upon
Lelys portrait of the first Earl
of Sandwich, the result of which
has Vieen the strengthening uf
the jiolice force : and the trus-
tees make a recommendation
that all pictures within reach
shall be placed under glass in
all cases where it does not al-
ready exist. The total numbei
of visitors was :J54,94i, the
highest previous record being
146,178, when the collection
was at South Kensington. In
pursuance of their desire to
jiromote the educational influ-
ence of the collection the fol-
lowing new regulation has lieen
made : " Parties from schools,
wishing to visit the (jallery
for educational purpo.ses, can
be admitted free on .students'
days (Thursday and Friday), on
notice being given to the Secrc
tarj', stating the number of the
jjarty." Arrangements have also
been made whereby lectures
can be delivered in the Gallery,

students" tickets being issued ui)on the application of the
lecturers. The number of students' tickets applied for
since the opening of the Gallery is seventy-.seven, twenty-
seven of which have been renewed.

We are glad to be able to announce that the
picture entitled " Salvator Mundi," in the
National Gallery, hitherto attributed to John
Jackson', R.A., but which we have more than once
denounced in these pages as a false ascription, has been
withdrawn from the walls. This act is entirely satisfactory,
and worthy of Sir Edward Poynter's courage and judg-
ment. How so weak a picture was ever accepted as the
work of the jiainter in question is a mystery — not so much
that it was incompetent and unworthy of a place in so
august a collection, as that it is neither in the style nor the
spirit of the artist. It Is gone, and we are thankful for it.

. ™_- J ™ , The rumour that a further split is immi-
A Third Salon ? ^ ■ -c i • i • ^ i^ • ^i

iient in Jr ranee, whicli is to result in the

formation of a third Salon, is of evil import. It was

thought, when the Societe des Artistes Francais of the

Champs Elysees fell out among.st themselves and resulted

in the Societe Xationale des Beaux- Arts of the Chamji

de Mars a.s an offshoot, that the final con.sequence would

be a healthy competition out of which a striking advance

in art might spring. The result has been unfortunate. So

far a.s we can see, expectation has been wholly disappointed,

Comijetitirin has borne effort, but an effort which is strain,

unhealthy and morbid on the one hand, and ever duller

academicism on the other. No new work of merit, no new

Reviews.

SIR MARTIN ARCHER SHEE. P R A.
(Sy Himself. Recvntly acquired by the National Portrait Gallery.)

The National
Gallery.

painter of genius. ha.s it brought forth that would not
naturally have emerged from the Champs Elysees. The
principal thing achieved has been the proof that a certain
group of artists despises "medals," while they retain to
the full the passion for the rosette in the button-hole. A
further secession will be still more disastrous, and the
exhibitions of the two main sections balder than hereto-
fore. Internecine war is always suicidal, and even
so admired a group as the artists of France cannot
but suffer from so foolishly wilful a policy.

Just as a boy at .school
may learn to compose
Latin ver.scs, so may a draughts-
man be taught in a way to
make patterns. But what, in
either ca.se, can be the result
other than a lifele.ss, rule of-
thumb production ? For de-
signing that is worth the name,
designing that has vigorous ori-
ginality, is a gift not to be
acquired by learning. Xcver-
theless, the gift is such that
needs training and disciplining:
no artist, however talented, can
dispen.se altogether with certain
elementary rules of construc-
tion. If he be a designer of re-
peating ornament, he must be
acquainted with the mode of
[ilaiining a pattern upon a
" drop,'' a " net," a "scale,' and
a few other rudimentary bases ;
and, moreover, it is essential
that he should know the exact
measurements current in certain
manufactured goods such as
wall-papers,silks,damask-linens,
and so on, as well as some details of technical jiroces.ses
Thus there is a definite use for such works as "A Te.vt-Bo(A-
Dealing with Ornanifntal Drulyn for Woven Fabrics" b3' C.
Stephessox, Bradford Technical College, and F. Siddard.s,
the York.shire College, Leeds (London : Methuen and Co.,
with 66 plates, and 6:2 diagrams in the text), in which the
authors treat their .suliject.in a systematic and fairly ex-
haustive manner ; and especially for their last chapter, on
"The Limitations Imposed by the Structure of a Fabric."
At the same time, there is a marked tendency towards
over-analysis. A young designer who Is going to hara.ss
his bidin over the complicated directions given for the
construction of the various "sateen" orders, for example,
is only too likely to lose heart in the nece.ssary strain and
tension involved in the effort. Mechanical regulations
inevitably stifle rather than stimulate the spirit of aesthetic
creation, and ought to be mastered from the teacher's
demonstration on the blackboard of the lecture-room, only
to be forgotten at the actual moment of designing. Wide
a.s is the .scope of the book, it .shares the common fault
of others of its class — viz. it does not treat of the forms
of historical architecture, ujwn which, indeed, all true
ornament must be founded more or less directly : and it
devotes but one chapter to animate forms, an unaccountable
omission being the noblest and most difficult of all — the
human figure to wit. Floral design, then, forms the stajile
of the illu.strations, though some designs given are not
ornamental, others not even bad ornament. Thus there are
drawings from nature of a moss-rosebud, and of that most

116

THK MACAZIXE <)K A1!T.

exquisite flower, the columbine, in lx)th c!\se.s accomi)anie(l
by the identical form translated into the language of
mechanical rcpnHluction, instead of any attempt being made
to convert them into ornamental desi^tn. If it is suggested
that a unit of this sort, by any repetition or disposition
whatever, ran constitute ornament, it is misleading in the
extreme. In Plate XL1\, which gives a design founded
upon the crocus, is committed
the unpardonable artistic oftence
of making two distinct stalks
from two distinct roots terminate
in one and the same Howcr-head !
However, in sjiite of these ob-
vious defects, the work is one
that contains a suHicient amount
of solid advice and information to
entitle it well to i-.ink among the
classics of the j)rartical designer.

A work which ihould prove of
great interest to arch;eologists is
" Tlif Hill of (he Tlirtr (,' races,"
by U. S.Cowi'KR, F.S.A. (Methnen
and Co.). The author has tra-
velled through the interior of
Tripoli with a camera, and has
jihotographed the curious mcga-
lithic remains known as "senanis,"
scattered throughout the hill
districts. In ap|iearance they
are not unlike Stonehenge ; and
the author reproduces a Baby-
lonian .seal, upon which is en-
graved a priest engaged in the
observance of a rite before a
structure similar to a .senam, in
supi)ort of his theory that they
are of t'liaKhean origin and
connected with the worship of
Ashtoreth aTid Baal. To tbe migratory I'hienicians is
a.scribed their translation to African .soil. The title of
the work is presumably taken from a beautiful marble
relief representing the Three (Jraces found among the
ruins of Tarhuna, the original of which is in the author's
possession. Similar to an Athenian work in the British
-Museum, except for some of the details, it i.s, however,
later in date, and is jnobably a Homun copy of a (!reek
work, the original of which has not been discovered.
Accom|)iinied by maps and ]>lans, the book contains
valuable information respecting the hitherto comparatively
unknown country of Tripoli.

We have received the new " Directory of the Science
iind Art Schools niid CIkssis" which we recommend all
intending South Kensington students to aci|uire at once,
as the moditications, shown in italics, are very numerous
and of great importance. It is notewoithy that many
reforms have been introduced. A glance at this con-
siderable work will convince the most uninitiated how
great and intricate a machine is the Science and Art
Department, and how ditticnlt it must be to introduce iin-
ytrovements of any sort if those who are responsible for its
working chrxme to raise difficulties. Mow admirable an
instrument for good it might be under hapjiier conditions
is not less obvious.

A fine sen.se of decoration di.stingui.shes .Mi. .\NNiNii
Bki.l's emliellishments to Messrs. (ieorge liell and Sons'
beaulifnl i-diijon of Kkats' "J'oems." Decorations they
are, not pictorial illustrations, which really add greatly to

W^!i>tjt>ed by Sirf'iry ft.

the charm of this exquisite work : and the beauty is
enhanced by the sense of style. Facial comeliness is not
usually among the merits of Mr. Bells work, but chaim
of silhouette, refinement, excellence of composition, and
l)tirity of form. There is evidence of the Italian influence
throughout, but the elongated forms which belong to
the " modernity" of Mr. Charles Hicketts and others of his
school does not always help the
attractiveness of the designs. Ad-
niiral)le pea-work is to be seen, as
in the " Ode to Autumn," and fine
appreciat ion of masses of white and
black, ius in that to "Melancholy."
Lovers of Cruikshank will
thank .Mr. Fkkdkuk-k .Maium-
Mo.N'T lor his attempt at a biblio-
grapliical catalogue of the chief
works of " 7'he Three Cruit-
.•ihaiil.s ' (W. T. Spencer). So far
as it goes this little book may
be accepted by collector.s, but
only as a work that is under
revision. The arningement is
neither the happiest nor the clear-
est that might be adopted : nor
can it be .said (esi)ecially con-
sidering that "a few etcliings and
loose plates ' are included) that it
is complete. At the same time,
there is the making of an excel-
lent and most useful handbook
in this little volume.

To the usual autumn i.ssue
by Messrs. Blackie of illustrateil
liooks for boy.s, Mr. IIknty, that
hardy annual, contributes three.
His "With Moore at Coriiitna"
is illustrated with siiiritetl draw-
ings by Mr. \\ AL Paokt. Mr. \Y. H. Makuetson sup-
plies some spirited drawings to "A March on London:
a Tale of Wat Ti/ltr's liisiiif,;" and Mr. Wai, pAiiET
also illustrates with characteristic vigour " With Frederic
the Great : a Tale of the Seven Years' War " — a rather
more seriously historical story than Mr. Henty usually
gives US. Drawings even more attractive by Mr. BalI'H
Pkaiock embellish the liev. A. .1. Cin'Kcii's "Lords of
the World" a story of Carthage and Corinth -as good and
attractive a book for boys as the otiiers.

The ra isterpieccs of literature in inexpensive form, but
well printed and admirably illustrated with jien drawings
by some of the cleverest draughtsmen of the day, continue
to be Issued by Messrs. Service and Patten. Thackeray's
" Xevcomes^' with nearly a .score of skilful and synq)athetic
drawings, for halfa-crown, must be accounted among the
marvels of latter-day publishing. Perhaiis Miss Clims
Ham.moxd's realisations of the Colonel and ('live Xewconie
will not be those of other readers of Thackeray, but tiiey
are clever and i>lea.sing, all the same. Mr. F. H. Towns-
exd's illustrations to " Th^ House of the Sevai (,'aljles" [unA
an added charm to Nathaniel Hawthorne's (luaint and
delightful if somewhat stilted masterpiece. The mo.st
important of these reprints is Scott's '• Ladij of the Lake"
well edited, with a bright and interesting introduction by
Mr. .\xi>i!Kw Kam;, and eml)ellished with more than a
score of Mr. C. K. Brock's agreeable drawings, dainty and
humorous. The is,sue is admirable in every respect, tasteful
alike in typography, paper, and binding.

THE HABBiS MEMORIAL, ORURY LANE.

F.R.I.B.A. S,r II. 117.)

THE I'HKONICLE OF ART.

117

Among the Christmas books for the little ones are
•• AJieittuiyg in Toi/lanJ," l>.v Edith Ki.no Hall, and
"BeJ Apple and ililver Bet/s," by Hamish Hesdry
(Bhickie and Son, Limited), both illustiated by .Miss .\lke
B. WooDttAUD. Although this lady's designs are very
uaeiiual in merit, there is a dainty fancifulness about them
that will appeal at once to young readers. I'nlike man\
pictures designed for books of this sort, they are not mere
decorations, but skilful illustrations of the text. From
the same publishers comes also "Jusl Forty ll'i'nfc," by
H-Uiisu Hendky, with illustrations by Miss Gertrude M.
Bradley. These pictures, again, are all that can be de-
sired in tlie way of illustrations : being entirely free from
the vagaries of the ultra modern school of black-and-white
artists, they are to be welcomed.

A charming " iJooi o/ Xtirser!/ H/ii/mex " (Methuen
and Co.) has been very ])le;isantly illustrated by Mr.
Francis D. Bedford, in manner sivouring equally of
the styles of Randolph Caldecott, Mr. Walter Crane, and
Miss Kate Greenaway Printed with all the old skill by
Mr. Edmund Evans, it is a book to delight children, who
will appreciate the pictures if they do not esteem the
decoraliims, perhaps the most meritorious of the designs.
There is st)me lack of vivacity of expression, but the general
eflect is very satisfactory.

The Christmas and New Year Cards sent to us by

Messrs. Marcus Ward display the taste, novelty of design,
and excellence of execution characteristic of the productions

of this firm. There is naturally more fancy and ingenuity

than serious art in these cards and calendars, but they

are admirably adapted to the needs of the jovial, merry,

and religious season.

The Czar has conferred upon Professor AnvA-

MiEcellanea. g^,,,,,^^. jhe Alexander Newski order, on the

occasion of the artist's jubilee.

We projwse soon to treat more

fully of this artists work.

Messrs. Debenham and Free-
body are the publishers of a

statuette of Lord Nelson, by Mr.

J. H. M. Furse. It is twenty-
eight inches in height and is east

in bronze.

We illustrate on this page

the memorial statue to the

late Dr. Dale which has

been placed in the Bimiingham

Municipal Art Gallery. The

statue, which is life-size, is

the work of ilr. E. Oxslow

Ford. K.A.

Probably as a peace-offering

for the withholding of awards

from British exhibitors at the

recent International Art Exhi-
bition at Venice, the following

works by British artists have

been purchased by the King of

Italy:— "Ludgate and St. Paul's,"

by Mr. W. Logsdail : " Moon-
rise," by Mr. Tom PiOBERTsox :

'^The Old Windmill," by Mr.

^Macaulay Stevexsox ; and

" An Evening Pastoral," by Jlr.

Archibald Kav^.

Mr. George Feamptox'.s statue of Dame Alice Owen

(see p. 71) has been placed in the entrance hall of the

STATUE OF THE
(By E. Ons-'OMT Fcni. R.A. In

Lady Owen Schools at Islington, where it forms an im-
posing memorial of the foundress. On the wall behind are
two conventional trees, from the boughs of which hang
the arms of Lady Owen and the Brewers' Company (the
tru.stees of the schools), executed in gesso by Mr. Frampton,
and immediately over the head of the figure, in a niche
bordered with coloured marble, are the remains of the
effigies from the tomb of Lady Owen, removed from St.
Mary's Church, Islington.

On November 1st was unveiled the memorial erected to
the memory of Sir Augustus Harris at the north-west
corner of Drury Lane Theatre, designed by ilr. R. J.
Smith, F.R.I.B.A. The memorial is in the form of a
drinkingfountain, a niche over the water jet containing
a bust of Sir Augustus by Mr. Thomas Brock, R.A. The
structure is twenty-one feet high, the base being of
rusticated gr:inite, the body and pediment of red Man.s-
tield. and the columns of polished granite. Oiir illustration
shows the design to be of an imposing nature, classical, and
refined in feeling (see j). llfi)-

The rumour that several of the finest pictures from the
Six Collection in Amsterdam, including Rembrandt's por-
trait of the I'urgomaster himself, had been disjio-sed of to
the Duke of Westminster for sonic fabulous sum for the
purpose of a Jubilee presentation to the Queen is, as might
be expected, practically groundless. It is, however, true
that three pictures have been sold from the collection to
Baron Rothschild of Frankfort— we believe for the sum
of £G6,6G6. These pictures are Ter Borch's " Music
Lesson," Gerard Dou's "Girl at the Window," and
CcYP's "On theDort."

The death has occurred at Philadelphia of Mr.
Obituary. ^Villiam Sartaix, at the age of fifty-four. He
was the son of .John Sartaiu, the engraver. After studying
in Paris under il. Bonnat he
returned to America, becoming
a member of the Society of
American Painters upon its
foundation in 1877. He was
chiefly known for his pictures
of Algerian and Italian life and
scenes. He was an Associate of
the National Academy.

From Berlin is announced the
death of Herr Ludwig Gurlitt,
the landscape painter, at the age
of eighty-five. He was born at
Altona, and, after studying at
Hamburg, travelled and worked
in various countries till 1873,
when he returned to Germany.
He was a member of the Copen-
hagen Academy.

M. Gustave Maixcent, the
painter of the Seine, has died
at Paris at the age of eighty-
seven. He was a pupil of Pils
and Cabasson, and found nearly
all his subjects on the banks of
the river of Paris. He obtained
an honourable mention at the
Salon in 1881, and was a Knight
of the Legion of Honour.

We have also to record the

deaths of M. Gastox Bethuxe,

the water-colour painter; of M. Abolphe Varin, the

enTa^er- of M. J. J- II- Van Wickerex, the Dutch

LATE DR. DALE.
the Birmingham Art Gallert/.)

118

THK >rA(;.\zi\K i»i- Airr.

portrait-painter, at the age of eighty-nine; of Sife'norTw A, Artistes, ami M. 'I'mkciduui: Lkcuand tliu landscape

the Italian caricaturist of '• J'ngquino :" of the liitssian jiainter.

artists, MM. I'ai I. A. K. Sovkosow and A. 1). Tchikkink: Owin? to the great pressure upon our space, we are

of M. Ciiari.es (JoiBoT, secretary of the Soci^te des compelled to liold over several notes on exhibitions.

"MAGAZINE OF ART" POSTER COMPETITION.

IT i.s idli' l(» deny tlial llie lesull of this coin- iinioiuit of iiij,'eiiiiily cxiiiiiili'd in the bust of the

jiptition i.s to soiiio t-xtcnt ix disnppointinont. designs sent in : Iml of tlio.sf tliiit are worst, scores

Tliere 1ms liepii :i <;ood deal of talent and a vast did not conic ii)) to the average of the former

SECOND PRIZE. £15
tOM.u" tv B. W. Swnh.)

THE

GAZINE

CA , ULL lCOH(W*.UMinil.lONt)0H.FWU51Mn.BOURHE:

macazm;^

® gfART® :

aiLii^^Li iaaSi 8 ™-M^^3w^

THIRD PRIZE, £.^0.
{Drawn by Frofrbwr Sezanne, Vealet.)

/. i 3 O PRIZE.
[Dnian by £fnrtt C. Sand*-'* )

£3 3 PRIZE
Oramn by Thotnnu KinttUa.)

£3 3 O PAIZE.
(Drawn bg Rrgtnald F. Wtl',.)

.AIACAZLXE OF AUT" rOSTER COJiU'ETITFoX.

119

£3 3 PRIZE.
(S. P. Artist's name not linown.)

£3 3 PRIZE.
(Draun by ffobert Hope.)

i^J 3 O PRIZE
(.Drrnm (■!) Dudley Heath.)

couipetiliuii. What appears tu liavt; set tliu luajoiity
of capable designers on tlie wrong path is that
passion for " modernity " and novelty at any price
which, as reaHsed by the younger school, is not
at all essential to work of art : nay, as understood
by them, is in opposition to it. The inevitable
result has been a loss of balance, a lack of dignity,
and an absence of style.

In the majority of cases no heed was paid to
tlie character and dignity of such a periodical as
The ^Magazine of Art. Some designers relied upon
their humorous powers, of which the drawing Ijy
"I'loumanac'h III." (J. Hoiiiy) is the most whimsical ;

other.s, such as " EUil ' (J. W. Lisle), upon clever
characterisation — more suitalilu for shop use than for
the purpose explained; and but a fractional propor-
tion of the competitors sought to suggest in their
desisrns the aims or even the tone of the Journal
they were to herald. Some relied solely upon ela-
borate ticket-writing; others upon the vague pre-
vailing notion that Art must be represented by a
female figure, classic or modern, but usually so far
out of all harmony with the views which we enter-
tain and ui)hold that excellence of figure-drawing
was not among their merits. Now anyone who is
familiar with this Maga,zine is awaic that we are

f/V\AGAZINE OF^RT

£3 3 PRIZE
{Drawn by J W. Li$le.)

£3 3 PRIZE.
{Drawn by Baron A. Rosencrantz.)

£3 3 PRIZE.
{Drawn by J. Houry.)

120

Tin: >r.\oAZiN'E of atjt.

THE

AVAGAZINE
. ofART .

^kD

£3 3 PRIZE.
(Drtlun ti^ W. C. GrUwe.)

■JOCKEY. •

by James T, Archer.)

THLMAGAZINEofARJ,

not of llicse who recognise niodeniity-at-any-price as
art, and who con.sider mere novelty and " origin-
ality " an excuse for bad drawing, ill-considered
design, or slieer irresponsibility witli the pencil. We
liave made, tlierefore, a careful selection of tiie best,

Xot all of thcin fultil the conditions laid down,
either as to propoilionate space left for lettering, or
the limit-number of colours permissible, and some
have been disqualified by being left unlinishcd.
For tiie rest, these small posters, or contents bills.

which we place before our readers in order that speak for themselves; the best of them do not

tliev may jiulge approximately of their respective come under the strictures we have felt compelled

,ii,.,'il.s_approximately, because in this uniform re- to express ; and we desire to thank the competitors,

duction eccentricities of colour and drawing are to prize-winners and unsuccessful alike, fnr the eflbrts

a ''reat extent softened and modified. tlicy iiavc made.

pvmLmm

lie MsGAzme of

A .J^A oz.i^A.ViLA.5 ^

.JUS, .Ji?£.«i i:b<r-A. i^-^^

SELDOT."
{Drawn by Hwnry S, Ctinkt.)

"LABORE DECUS "

S.f tirnrv l:>ul.»r<>, R.A . ;i.ii.f

LADY SCOTT-MONCRIEFF.
f/n tie Co/lfilipti ff Ihonias J. fiartall, Esq.)

121

RENE BILLOTTE: "THE PAINTER OF THE PARISIAN SUBURBS."

By m. h, spielmann.

THE I'aiiiter i>f tla- Sul.uibs."' Il is nut an liicki-iy uf ninilcniisiji, cxiji'viiiiuiit, ukl-inasterisiii,

inspiring: or very expresMve title, perliaps— lie. r (ir oiiu-r d.-x ice uf tiie .lay. that Monsieur IJeiie

one wliieli at first lieariiig cimfers any paiticnlai- HillDtte has ea[ituivcl the s\illVa<'es of the in-

ilistinetiou on the artist tn whnni it is a[i|ilieil. telligent puMie ami wmi the ailniiration of the

REN6 BILLOTTE.
l^Frjm t:ie Pant'ng bif Carolus-Durtm.)

Jjiit to ha\e earned the aohriqinf at all at the hands
of tiie Parisian publie is a good deal ; to he reeog-
nised with gratitude, almost with aH'ection, hy the
mass of metropolitan art-lovers, for the devotion
and tenderness with which a hitheito neglected
zone of their beloved capital has been digniKed
and ennobled by his brush, is a great deal more.
It is by no concession t" popular taste, by no

102

critic and the cunnuisseur. It is by originality
unforced, by " modeniity " natural and artistic, by
nnaSected sincerity, and by total ab.sence of imrti
prU — by the very (jualities, in fact, which are
entirely unassociatcd with the majority of the
pictures with which P'rench painters of to-dav
profess to demonstrate the rejuvenatiou of Axt.
lie ap[>cais to lue I'l bi' as th'jroiigli as many uf his

122

TIIK MAGAZINE OF ART.

QUARRY OF
(from ttw Puiiiliny ..i the i(

c'onli'ini>(jr:iiii's aic iiisimiic, Iw llicy cxjK'riiucut-
iilisls or iiiaiiilVsl fiimin-.-i. l-'nv sninc IVw yr:ns ]Kist
I liaVf iii<'kc'l liiiii ciul 111' ihc fxliiliildis nf the Saluii
uf tlic Cliiiini) ilv -Mars as, :\hn\'^ willi .M. Caziii,
one of llie ffw laiulscaiR' paiiiU'is Kiaiui' ran at
liiX'seiil Ijoast, piissessiiij,' al oiu-l- .stiil<iii,ii imli-
viilualilv ami uiiLtiiiality, ii'iiiail<aMi' rMrllnirc,
ivliiiciiic-iit, ami cliariii.

Xi(\v, il is alLojicllier uiijusl, lliis liili' of "llir
I'aiiiler uf llic Siilmrlis." .M. llillnUr is a vast deal
iiLPic tiiaii till- maker i»f i)ii'tinvs uf I'aris, cvl-ii with
tilt- afiin-mciitiniirit liij^iily-liclaii'liil \iitiii'S as allii-
biilL'S. h is Inic that lie lias maile I'aris in certain
aspufls his ii\vii,aml so lias caiitured \\u- lieail ni the
iiiosl fiilliusiaslie inetropnlilan paliii.i- in ihe wdild.
I'liil IIk! .subjeel of his pielures is llieir lesser merit.
Xnr is tliuir greatest exeelleiiee their teeluiieal
uitistry. It is tlie jMietry that pervailes them that
has raiK(Ml tiie painter to liis present positiiMi, already
imposing upon the collector the necessity, or at least
tlic delight, of phieing in his gallery heside, say,
a ("orot or other work of silvery lieauly, a Item''
r>ill<itle to keep it company. I would call him
rather " tlie painter of ellects" — of city atniosphiMv,
with its strange (|Ualities, full of sadness and signili-
cance to those who can understanil its appeal : hut
ahove all 1 would name liim •'llie laureate of the

NANTERRE.

ijtfinboilry Museun), Paris. ^

Iwiliglit." It does not sulliee to him to en\elop the
des.iiale streets or inlerminalile hoidevards with that
strange "civic air" that .seems to weigh alike upon
llie spirits and the lungs of their indwellers; lie
enwraps the whole in the kind twilight of the early
nioining or the exening, ha/y oi- murky or clear, and
seems to jienetratc tlie s]iectaioi- witii the very spirit
oi' the scene. l''or the very essiiice of such scene is
the inexorahlcness of its trulii. ami, ahove all, the
s\nipaliiv of the man who has di.scovcred beauties
wiiieh wi' iie\er fully kin'W hej'ore.

\'ct he does imi ( line himself to urban scenery.

Landscape in the hioadest .seii.se sometimes engages
his brush, iiowever muih iiis admirers may begrudge
ihe lime and allenlion he di'Votes to ilistiiets lying
withniii the circle of (Irealer I'aiis. \'cl there is
no diieei relation liitucen liie great classic land-
.seape of Clamle. of Turner, of llarpignies, and the
work of Monsieur liillotte. lie does not ail'ect
the "grand style," though he docs not, (//.sailed il.
lie luetends to no coiilempt for tradition, not even
for the academic. It is merely that he is sincerely,
honestly natural — a man who desires to paint what
he feels: and he stands head and shouUlers above
most of his fellow-painters by also wishing to paint
what he .sees, not what might .seem to apjicai in that
fractional Hash of a .side-glance which breeds the

IJEXK lULLoTTl

AIXTKi; <)l-

"IIK TAIMSIAX srr.riM'.s."

12;!

iiiorr laliiil t'onii of Iniprt'ssiniiisiii. Tlu' rrsult is
that like a tnu- poet and uenuinc artist, \w Ims rvnh cil
witliout t'Hovt a style of his own — a style tiial is tine
ami noble, ami lliat eonipels tlie adniiiation ami re-
spt'ct of t'Vfvy artist. I see in M. ISillottc's work imirh
of tile ilelieaey of M. CazinV, alike in sentiment ami
sense of colour, and nmeh of the uneon\ enlionaliy
trutliful appreciation of city and life of M. llaffaelli.
Hut never eonld one mistake a ]iiilnn' of his for
theirs, nor point to another painter in all France
who could produce a work tliat — unless deliherately
imitative — would resemlile a llillotte.

Now, what are the artist's qualities and siili-
.jects, the characteristics and ehiid' excellemies, that
togetlier constitute his universally acknowledged
ciiarni ;' He is a niauician in L;n>ys of the most
delicate and heautiful ipiality, rather ])early than
silvery. He loves the lilue-orey distance that cloys
the atmosphere of a city at a liinidred yards, and
liangs like a idoiidy curtain in the country at
five miles distance at sumlown. IJelonging to the
small group of truly creative artists, he can impart
as much charm to a picture of a factory llaid<ed
iiy a row of hare trees with a liaM ami harreu scrap

of wilderness for a i'ore<'r(Jund, as to a hroad niece
ot open landscape whose sylvan loveliness is primarily
its own ]iossession hel'ore the jjainter sets about
adding to it u|)on his canvas. Or a broken-down
li<i\cl, a ruin of plaster and rubl)isli, affords a sub-
ject, uninxiting enough, one would think; yet as
pregnant with be.inly foi- Al. llillotte as the grev
]ierspeeti\e of an outlyini.; Parisian lioulevard.

And tin's grey misty air of I'ai'is, which he lo\cs
with such deep and constant di'Mition ; and the
town itself, with its lortitications and ramparts, its
suliurbs, and its winding river with the quays that
Hank it ; and the [daster-works and worked-out
quarries — (he (piarries of JMontrouge, Clamart, Xan-
terre and Hezons and the surrounding country, and
the forest of ilontmorency, the Laniles, anil, travelling
nnicli further, the wilds and mountains of Albania
— all of these he lias made pictures of, wliich may
claim coiiqiaidonsliip with the work of any modern
master. I'lUl whether it is the fortifications of the
north and west, and the .sidjurbs, Asnieres or C'ourbe-
voie, just lieyoiid them, or whether it is the vast
sketchinLJ-Liround of thi' llalkan I'anti'e, that engage
him. M. llillotte remains tln' true and sinqdi' artist,

EVENING AT THE PORTE DE COURCELLES (1897).
(from tlie Pamling at the Acriileing of Fine Ails. Philadelphia.)

124

THE MAOAZIXK OK AltT.

piolting into Niiluro in siaivli uf lici i"ictiy, ;mil
laving it on tlic canvas with unerring toufli. Hf
lias paintetl tin- ninuutains of Alliania witii as niudi
iiisiglit and sympathy as tlu' fortitic-ations of Paris,
anil has realised the immense solitudes as eomjilelely
as the eity streets. Tlie hluc ami liuiiiinins waters
of the liay of Arta are mit less faithfully renilered
than the grey stream nf the Seine, or the mountain
heather than the murky muther-of-pearl of the

have formed iianimiiiuus haekgruunds to some uf
Charles Diekens's sterner and more dramatic scenes.
Melancholy i Often more than that. It is not
thai the scenes chosen constantly deal with poverty-
stricken suhjeets. These scenes are often desolate,
distressing, ))enetratingly depressing, and are only
saved, artislieally, hy tlie striking heauty of the
treatment and handling. Then it is that the painter's
higher ipialilies hecome apjiareiit — Ids refinement

THE WALLb OF PARIS AT THE PORTE DASNIERES.
(Sit/on 0/ llm Champ dr Mors, ISgf:)

nietroiwlitan canals. And the limjiid air and azure
sky sliare with the wintry fug of I'aris twiliuhl
the (|Halily of harmony and Irulli.

His pictures have a true melody of culi.ur and
the orchestration is perfect of its kind, even though
the harmony is in some respects restricted. They
are lender without being sickly, and the lints of his
palette are subtle and pure. His pictures have
much of that quality, contemplative and genially
sad, that sngg<!sts the "reverie," fur his note is
mfire often set in the ndnor than the major key.
In his best works, indeed, he is usually .subdued in
feeling, not to .say poitically melancholic, though not
without vi"our; so much so, indeed, lliat one of his
critics hius declared that liad tiie artist painted
Eu'dish landscape, his piiluies woidd,niany nf iIhmu,

and tenderness bolii of .sentiment and execution;
liis simplicity and sensitiveness, directness and dis-
irclion: his exquisite taste and excellent colour.
As a subtle colourist :\I. Hillolte has few rivals in
France, and his gradations are as delicate as Mr.
AVidstlcr's, and, moreover, \>\:\y along the whole
gamut. Gaze at his pictures of tlie desolate ramparts
in winter; see the unatrected cleverness of their com-
position, and the vivid realisation of the scene. The
trees bare of leaves, the snow jjowdering the way wind-
swept into curves upon the frozen ground : a .salmon-
l)ink sun set in the mist-grey sky, hardly colouring
the frost with its struggling rays— all so coldly true
that it sends a shiver tinough the spectator, as con-
vincing in its actuality as in its artistry. Yet the
picture is one to whidi we return with jilcasine

KKXfi r.ll.lOl'TK:

■|'H1

I'AIXTKi; OK 'I'lll': I'AIMSIAX SI'lU'lMiS.'

1-^

iivei ami onlt again, fur liesiili's iIil' clianii ol' (jiialily
there i.s u eevtaiu ntiinie of coinposition — always
riglit althougli for the most part transparently
unsophistieated — tliat never fails to please, ami
whieh, eoniliined with other merits, constitutes JI.
Billotte a true artist fur the eonnoissenr. Altiioiigh
he has as much feeling for heauty in laiulseape.
ami can render a hit (if Ilollaml or a gem of syhan
scenery with the same relish as another, he has a
felicitous way of seizing what to many eyes is at
the first glance ugly, or at least uninteresting, and
transforming it into a thing of heauty— e\-en as
Eemhramlt, or ^Morland, or Van Ostade lo\ed to do.
And when a man can touch a scene of desolation

— forbidding in itself and
his brush, and prove
clearly and at once
that he can draw and
can paint, and that he
has taste and soul, he
makes good his claim,
it may be maintained,
to be accepted as an
artist and a poet.

r.ut M. Billotte can
be bright and pleasing
too, and paint the sun-
shine he learnt to love
in tiie days of his early
youth ; for he was born
in the land of the sun,
at Tarbes. This cir-
cumstance! is to me not
nniiiteiesting, inasmucli
as there is no doubt
that the great school
of landscape belongs to
tlie Xorth, not to the
South, at least in its
highest walks. There-
fore the justness of Ids
feeling for landscape
(that is to say, not for
its colour merely, noi'
its sunshine, nor its
sadness or otln-r ipiali-
ties which most attract
ordinary paintejs) is a
"document" to be taken
into consideration by
those wiio love to
generalise upon artistic
psychology. Perhaps it
was in rebellion against
the reputation, or the
liiintation, aserilied to

almost repellent — with

him — that be was the Turner of the suburbs pur
e.irclleuir — tiiat he paiiilcd ibe hundred little pic-
tures for exhibition in London. The versatility was
wonderful, and sadne.ss gave way to gaietv, and
joyousness lilled nearly every one of tliese little
ean\a.se,s. Nevertheless, I was not wholly pleased.
These pictures were charming and <-ould un(iues-
tionalily extort the tribute of tlie critic. I'ainter-
like, artistic in point of view and sentiment,
always good and sometimes line in colour, giving
proof of deep obser\ation, yet — well: l]i(>y were
hardly "Ibllotles." Dordrecht was lovely, and the
windmills ileligbtful, and the whole collection was
gay and liiniinous, full of delicacy and even dainti-
ness; and here and I here, a really touclnng bit : yet

0**-:

EVENING AT HARFLEUR.
(Sii/on 0/ thr Champ tie Mara, ISS4. Past,/.)

126

THE ^r.\n.\ZIN'K OF AT!T.

the artist was nut in tliciii so fiiiii|)li'tcly as in tliusc
to her works in which he is aeknowledf^etl master.

Another class of suhject — the nearest ai)])roach
to a convention of his own — is broad iandscaije with
the sun or moon nt tlie full in much the same
relative s|iot in all of them. Of course, this practice
(if the wor<l he not too insistent) hecoiues ol)jec-
tionaltle oidy when many of the class are seen
toj^ether; hut in some sort <jf defence it may he
remarked that attention is thereby drawn to the
excellence of the skies, witii tlicir fulness of clouil
incident or hrokenness of surface, from wiiich they
derive their interest, breadth, and vibration.

It is, no doubt, from i)is cousin and only master,
Eugene Fromentin, tiiat M. liillotte has derixcd liis
sulitle sense of charming colour, or at least his
]iowcr of realising it. I say " master:" but I siioulil
i-.xjjlain tliat Fromentin fully understood the value
of non-interference, and accordingly allowed his
young kinsman to run riot in the studio, play or
Work wilii the colours as he listed, and pick up
sudi education as lir inuld acipiire by watching
the progress of his own noble canvases. ]>ut, as it
turned out, the training sutticed : and not only di<l
^r. r.illottc master the craft of the oil-]iainter, but
he became known as })iaclised eipially in the arts of
water-colour and pastel. His pastels, indeed, are of
the highest merit — not mere .sketches with colouicd
liialks, but pictures as subtle as oil-paintings, as
didiberate in the execution and as conscientious in
tinisb. In them we see the full attractiveness of
jiastel, tile llaltery of tlie luedium, so to call ii,
which, in the hands of a master, loses the tri\ iality
that seems inherent to it in less jiractised and
intelligent hands, until it stands beside oil alike in
dignity and etl'ect. Except fiU' these works, the
])ainter is one who always paints out of doors — .save
for his Very large oil-canvases — and defies wind and
weather, rain and sun, mud ami ice and snow, in iiis
enthusiasm for iiis art. Indeed, all of iliusc it is
fiom time to time Ids particidar purpose to paint :
and you may meet him, on the forlili<ations. or
lieside th(^ cau.seway, in weather tiial would drive
a cowboy \nider cover, sitting at Ids work, feet
caseil in top-boots and body swatheil in furs, good
hinuoinedly jiroceeding with his damp or rliilly
labours. He makes no stuilies — with tlie afore-
mentioned exce[)tion, as to pastels and large canvases
— and does not alter (the ".selecting nothing" in
.Mr. I'uskin's early creed) what he sees iicfore him
when he has chosen his point of view ; iind for
'■composition" prefers to paint what is there, har-
monising all by the tone and the sentiment of the
whole. This is where his " modernity " lies — original,
no doulit, but reverent in the love ami rcmlrring
of natine. and honest and laborious in hi< woik-

He will sit down and begin the picture forthwith, and
finish it, however unpromising the subjei-t may lie
in appearance, the while another artist is spending
a week in " finding" his picture. I'.iit M. IJillolle is
otherwise eclectic. His touch is tirni, delicate, and
even precise, hut there is no hint of " fiddling."
\'ainish, it may In- observed, you will never find on
a ])ieture of his: for, .says he, it robs a picture of
all verisiuMlilude. "There is no varnish in nature."
I am not quite sure of that; 1 am not sure that it is
not just \arnish — that and lilllr else- lii.it piinled
sunlight lacks.

It was in IS7X, that .M. Ililloite, dicu lliirty-two
years of age, began ])ainting and exhiiiiting his works,
and from that lime onward his name is to lie fomid
in llif catalogues of the Salons, first in tlie ("hanips
Elys(''cs and then of the t.'hamp de ^lars. At the
I'aris Exliiliitii>n of 1S89 he recei\ed a tirst-cla.ss
medal, and be has the still higher distinction of
bi-ing tlic initiator of I lir niovcnu'ut which split the
meud)crs of the olil .'>alon into twij sections, and
accordingly became one of the chief founders, and
was appointed Secretary, which he still remains, of
the Socictt' Xationale des 15eaux-Arts — better known
in England as the Salon of the Champ de Mar.s.

It is difficult to make a selection of M. I.illotle's
licsl works; liut reference to our annual reviews of
the Salons will satisfy the reader of the position and
rcjiutation the artist enjoys. Chief among tho.se
of the year l.SDT are the " C^uarry of Xanterre,"
wliiili has been liouglit by the State, and "Evening
at the I'orte di' ( 'ourcelles," .-i most accunite repre-
sentation of a I'arisian scene, accpiired for the
^lusiMiiu of rbil;idi-l|iliia. .Vuiong iiis snow pictures
the most striking and popular aie perhaps ".Snow
at the I'orte d'.Vsuicres," which is in tlie Luxembourg;
"Evening in liic .V venue de \'iiiieis: Snow EH'ect,"
Iji'longiiig to tlie Uijoii .Museum: and " Snow Eirect
at I'rey (Eure). Among the numerous pictures of
the other favourite cla.ss are "The I'oitifications
of I'aris," still in the artist's possession, and "The
Forlitiialions at ('ourcelles," which is the iiroperty
of the Musce de la N'illc de I'aris. Typical nt
the " fog ]iictures " is tlie " Fog at the I'oitc
Ciiain]ienct ;" and of the twilight pictures, "Twilight
at the (jhlatlies, " now ill tlli' iliiliciial .Musrlim of

lierliii. " lly tile llarliour of Li lioclicUe " is a
rcmarlvalili' work of another i/rmr, the projierl}'
of ijie I'loiuges Muscuiu : "The Seine at the lj)uai
d'lbsay," a notable dccoiatioii for the I'aris Hotel de
Ville; while " At Dordrecht : the Hay I'.oat," which
gained a gold lucilal at the Cniversal Exhibition
in ISSO, shows the painter in his wider and less
a<customed hitmoin' — as much "bigger" than his
usual iJiaiiiHT as, say. Old Cronie is broader than
Mr. Ilcib.rt .Maisbill. Finallv, I would refer to

ENA:\tELS.

llif iiUH'li-appiveiated scries ol' pielurcs of the gii'ul
buildings of ruriw, suuli as "The Tnwt'r.s of Xutru
l>aiiiL': tlie Fleetino- Haze," luiw at tlio ^liiseuni df
liueliaiest : ami to tiie exquisite pietuivs of llie
type of •• Haitieur at Xight," whieii uioie liiaii
justifies, by its exipiisite aiul lianiionious colour,
its originality, and charniing treatment, e\ervtliing
I liave said of .AI. p.illotte as a iia>trlli.si.

1 hardly think that 1 have sjHiken of M.
r.illoiie's talent with too nnieh enthusiasm. Two
conditions are to be considered in stud\ing a paiiitci-
ill the present state of art-opinion : first, the actual
merit of the craftsman and liis works; ami secomllv,
the circumstances under wliiili he has formed him-
self and j)rovcil the excellence that was in him.
There is surely le.ss merit in achie\ing public sni'cess
and in choosing the right path when, as once on

it time, in the general opinion and by common
consent there is only one path to tread; than in such
a fussy, transitional period as at present, when
many of tlic cleverest men seem demented with the
crazes that inject the very atmosphere of the art-
world. Jb.insicur Ilillolte has })roduced a long series
of works which are unquestionably works of fine
art, altogelhci- independent of the discussions, the
arguments, ,ind the taunts of colliding ".schools."
lie has pnidiiccil them unmoved by all the disturbing
pranks of p.iinter, Morris-dancers, and the temporary
success of the artistic Kings of Jlisrule: his sensitive-
ness, his poetry, and his art, per.sonal and individual,
pro\ ing him a man of characler as well as a. man of
ability, and a.ssuring him an important jilacc in his
country's loll of fame, when the liarvest of the
centur\' is taken into acciamt.

ENAMELS

By ALEX. FISHER. ILLUSTRATED BY THE AUTHORS WORK.

WHEX one watches the fire-flame leaping round
the ciucible in the enameller's furnace,
caressing the inert mass of silica and lead, giving
it its own life and
brilliancy, one's
thoughts revert to
tliat great furnace
of nature below us,
which gives the
black carbon its
wiiite gleam and
makes the diamond,
"with all the beauty
that we worslii[) in
a star." And so the
eiiamellei-, watching
over his little fire,
iineonsciously ful-
filling like laws and
methods common
to the universe, in
earth and sun and
stars, Kives the

DAMASCENED STEEL CASKET WITH ENAMEL PANELS.

gla.ss adhered to metal, and, secondly, that it gave
a colour which it had not before. He may then
have endeavoured to co\er pieces of metal with the

glass, and perhaps
to have made a
pattern with it.

However, the
discovery at its in-
ception was not
carried very far, or,
if it were, then it
was allowed to fall
inti-i disuse. For
many centuries
elapsed, the Egyp-
tian, the (treek, and
Roman civilisations
passed, without the
artist - goldsmith
paying much heed
to enamel — not be-
cause he did not
lo\e colour, but

world an array of colours that is matchless in the partly perhaps on account of the initial difiiculties

realms of art. Tiiis thought leads one to wonder
who was the first to discover this beautiful art.
Perchance by accident, in a dim remote age, un-
known, unrecorded, when the making of glass was
in its infancy, a glass-worker was stirring his pot of
" metal " — as it is called — with a copper or bronze
rod, and iji withdrawing it ob.served, first, that the

to be overcome, and, again, by failure to perceive its
great possibilities. So we find that not until the
eighth and ninth centuries of tlie Christian era did
enamelling play any important part in the decoration
of metal-work, when we ha\'e Byzantine and Celtic
enamels, both of a very high order, most beautiful
in execution, and of extremely simple workmanshiii.

ll'S

TiiK ma(;azixe of ai;t.

From lli;it lime, luiiiLipally at Liiniigu.s — lliu home exeeiilinii of llie beauliful process c.iUed pliqiic-
of eiiiimelliiii;— lliure was u steady progress in tlie a-jour. Tlie initial diliiiulties are etionnous, as uU
art until the fifteenth ceutiirv, wlieii, <>\vin',' tu liie who iiave ever tried lii \vnrl< them out have fouiul.

renaissance of all
tiie arts, together
with tsv(j important
discoveries in the
method of work, a
great change and a
great advance took
place. The two dis-
coveries were these.
First, it was found
that by covering the
back of a piece »(
metal with enamel
as well as the front
there was no neces-
sity to carve out
spaces to make the

GOLD AND ENAMEL BOOK-COVER.

^Reproduced by Pt-rmission of the Hjn. Mrs. Percy H'ynt/'uini, )

To state some of
these dilHculties at
the very outset in
the making of
enamel may be in-
teresting. It is
comparatively sim-
ple to make a glass
or enamel of almost
any colour, but to
make such an one
that will not crack
and ji.'el oil' when
applictl til the sur-
face of metal is by
no means an easy
matter. For one

enamel adhere ; and, secomlly, that white enamel must bear in mind that the expansion of metal —

could be painted over a ground of enamel in with tlie exception of platinum — is enormous by the

ditlerent thickne.s.ses, giving it the etlect of a l.ilaek- action of beat, wbriciis tlie expansion of enamel is

and-white drawing", and, fuitiiiT, that this wbilr praitirally uoihinu : so tiial in the ( lini; the eon-

BELT IN STEEL AND TRANSPARENT ENAMELS. SUBJECTS FROM WAGNERS OPERAS.

would receive coloured enamels. Lp to that time traction of tiie one and the non-contraction of the
the proce.s.ses of champleve, cloisonne, and ba.s.sc- other appears to be a ditliculty which it is impossible
taillc had been exclusively u.sed, with the very rare to surmount. Nevertheless, it is overcome, as we all

EXA^IELS.

129

know. The next thing to be considered is that
iron, copper, standard silver and gold — not tine gold
— develop a large anionnt of oxide when put in a
furnace. Xow, as all enamels depend upon nietallio

oxides for their
colouring mat-
ter, it will at
once bo per-
ceived that here
we have an-
other gigantic
obstacle to con-
quer, especially
when trans-
parent enamels
are used ; so
that what is
required in the
manufacture of
enamels— which
are by no means
perfect to this
day — is, first,
that they shall
adhere; second-
ly, that their
colour shall not
change by the
influence of an
additional and
different oxide
to the one already used in its composition ; and,
thirdly, that no action of damp, of air or water or
gas, or length of time, shall have any deleterious
effect upon them. It took me some years to under-
stand and estimate these various points at their true
value, and to get over them. And it is with no
small wonder, and in some cases with profoundest
admiration, that I regard the achievements of the
old enamellers, who had none of the advantages
which modern science has so lavishly laid at the
feet of all earnest workers.

Copper is, and has been, used more than any
other substance for enamelling upon. It is in its
pure form extremely beautiful and pliable, and
capable of a very high degree of polish. Its one
great drawback is that it oxidises very rapidly under
heat.

Silver and gold have also been very largely
employed. All enamels are coloured by the o.xides
of metals, as I have previously stated. From oxide
of copper, red, blue, and green are obtained. The
red is an opaque Indian red ; the blue a turquoise
blue ; and the gieen ranges from pale emerald to
deep olive, from a light-yellow green to a dark-blue
green. The oxides of iron and copper used together
103

MEMORIAL PORTRAIT OF THE LATE

EARL OF WARWICK.
(Enamel Transparent and En Grisaille.)

(ttepfoduced bi/ Permission of the Douiager
Countess of Warwick.)

give another green and another red : from antimony,
a yellow and orange ; from iron, orange, a brown
and red: from manganese, a violet; from gold, a
ruby; from cobalt, a blue; from tin, a white; and
from iridium, a black enamel. The oxides of these
various metals are combined with silica, minium,
and potash to form an enamel. Many of them
require the gi'eatest possible care and experience
both as to temperatui'e, length of time in fusion, and
exactness of proportions in their manufacture.

Ilegarding these ditticullies at their true value,
we find the reason of the methods employed from
the earliest times up to the present hour. It has
never been so mucli a question of what the artist
wished to do as of what he was able to do. And for
this reason we find the first attempts were naturally
in the simplest of all forms. The method called
" champleve " consists of a j^late of metal carved
out into little cells, which are afterwards filled
with enamels ; this, being the simplest, was there-
fore the first discovered. The enamels at this time
were always opaque. "VVe find this so in the
Byzantine crosses, pyxes, and chalices; we see it in
the Irish brooches, the horse-trappings, the many

GOLD AND ENAMEL PENDANT.
{Reproduced by the gracious Permission of H.M. the Queen.)

bronze ornaments which adorned the shields, swords,
and helmets of the warriors and the costumes of
the women.

Then it must have been after a considerable
lapse of time that an interesting departure took

130

THE MAGAZINE OF ART.

place. For tlie-iuetal oells were prepared in quite dirticulty of this process. But where enamel, of all
another way. Thin strii>s of metal were bent and things in the world, is capable of giving the most
soldered on'to the ground to f.irm the pattern, which beautiful coloui', that mere black and white should

lie the form in wliich it is most jjrized is a great
unappreciated mystery to me. Fortunately for us,
we are not all collectors, or at their mercy either:
nor, acain, arc all collcct(ns of enamels so devoted to
this style that they are blind to every other. We
have at this same period a great range of lovely
colour, of most exi|uisite design and feeling. It is
llic cine manner of all otliers where beautiful draw-
ing, expressi(jn. and colom- are possible — where the
art has a freer life, and is no longer arbitrarily
dominalcd by tlie exigencies nf material reiinire-
ments. Still, for all thi.s, it has limitations sufficient
to compel tlie artist to be more or le.ss decorative
and severe. So we 11 nd that while the draperies are
f'orgeous and luminous, lit up with gold, the hands
and faces are generally cold white, which was no
iloubt owing to the fact of the inability of the artists

PAINTED ENAMEL PORTRAIT IN SILVER FRAME
(ffr7rorfuc*t/ 6j/ (At* klni P,-rmisston of H.R.H. the Prince of Watts.)

was afterwards filled with enamel. It may have
been suggested by the way in wliicli paste gems
were cut to fit into sudi a ]iatlern. This mctboil
is called "cloisonne," and is the une invariably eiii-
ployed by tlie Jaixinese.

Many centuries pa-ssed ere it was discovered that
by placing a thin layer of enamel on both sides of
thif metal they both adhered without furtiier assist-
ance, and sinuiltaiicou.sly it was found that a pattern
might be forme<l without cloisons or carved cells.
The whole surface was covered witli enamel, and
figures and ornament and laiulscape were paiiil<ii
in white on a dark ground, generally black, I lie
whole being modulated, giving the eHect of a sliadrd
drawing. This is the method known as grisaille,
and was very greatly used during the lifteenth
century, the names of Penieaud, Leonard and Jean
Limousin being the foremost artists of that date.
To connoisseurs and collectors the history, the
antiipiity, and above all the extreme dilliciilty of a
l»roccss liave very strongly appealed.

The execution of tlie work, the originality of tlie
design, and the artistic merit of the whole have
never been so much thought of. Ami perhaps that
is the reason why some of these enamels in grisaille
or black and white have always commanded such
enormous prices. There is no i|uestion of the

ate

GROUP OF ENAMELS.

to treat tlieiii ill a warmer and rieliei

of tliat
colour.

There are two other ways that are quite distinct
and unique ; they are known as " bassetaille " and

ENAMELS.

131

" pliqiie-a-jour." The word " bassetaille " is tlescrip-
tive, meaning " low-cut," and this method is gener-
ally ou gold or silver. Tlie word refers to the way
the metal is prepared, and not to the enamel. The
ornament or figures, or whatever the subject may be,
is carved below the general surface of the metal, in
exactly the s;ime way as an Egyptian bas-relief,
which is afterwards covered over with transparent
enamel, the difterent heights of the relief giving the

divisions, and which cannot follow the outlines
minutely, here the " cloisons " or metal divisions
t'olldw the pattern, and the whole is fused together.
This is the last, and in .some respects the most en-
chanting and fascinating of all the methods.

In presenting to my readers the few illustrations
of my own work, I trust they will view tiiem in the
spirit with which I show them, as though they came
on a visit to my studio and workshop, where I should

SILVER AND ENAMEL BOAT. "BIRTH OF APHRODITE."
(Enamet encrusted on the figures and plique-a-Jour on the Sides of the Boat.)

effect of light and shade through the colour, which
is very .splendid. Here the goldsmithery plays as
important a part as tiiat of the enameller. Tlie
St. Agnes Cup at the British Mu.seum is the most
perfect piece extant of bassetaille. The other
method, known as "plique-a-j(jur," has been developed
very greatly these last few yeai-.s. It is a beautiful
process, and has all the appearance of a cloisonne
enamel witiiout tlie metal gromid. It is like a
miniature stained-glass window more or less, the
main difference being that, whereas in the stained
glass the pattern consists of separate pieces of glass
which are held together by means of the lead

endeavour to explain the various processes and illus-
trate and elucidate them by examples. The subject
of enamelling on metal is one that would fill many
volumes ; to deal with the history, the manufacture,
and the art in one article is, of course, impossible. I
have confined myself chiefly to a description of the
methods, to enable those who were not cognisant of
them to enter into some knowledge of this side of
the subject. It is one of the most beautiful as well
as one of the most difficult arts to acquire, and tlie
knowledge and practice of it so rare that it is to be
hoped the public will cherish and foster it, so that
it may never again sink into obscurity and oblivion.

13:;

THE ART COLLECTION AT "BELL-MOOR," THE HOUSE OF

MR. THOMAS J. BARRATT.

By JOSEPH GREGO.

ENTRANCE HALL. BELL-MOOR."
[From a Photogrttph by Ucasrs. Bedford Lirtjcre c.ntt Co.)

BKLL MlM)i;,' Mr. j;anitLL'.s pleasiiiit le.sideiifc
oil the liealtliy elevation of the I'pper Heath,
Hainp-stead, lias been .selected for tiie beauty of its
situation, coniniandin;.;, as it does, on all sides exten-
sive lamlscajte prospects, such as are probably uniiiue
in tlie vicinity of any great metropolis. Facin;^
every window, and from all sides, are spread distant
views so varied as to constitute the finest landscape-
gallery the eye could desire, pictures fresh from the
hand t)f bountiful Nature, sullicient to delight and
content tlic most ardent lover of landscape beauties.
Tliese inexliaustilile external attractions are
supplfincnled williin doors liy a no less vast, varied,
and comj)rch(Misivc collection of the first landscape
])ict\ire8 of native art, by the hands of the univcis-
ally recogni.sed great masters of the Kuglish .school ;
in this gathering most conspicuou.sly figure picked
examples of paintei-s wh", in their resj)ective careei's,

liave tile further local interest of iiaving been associ-
ated with Hainpstead and its vicinity, such as John
Constable, \l.\., Williani -1. Mnller, (Jeorge Borland,
William Cnllins. It.A., IVter de Wint, .lulin Lin-
nrll, .Idlni X'ailey, Thomas Collier, and others, the
history of some portions of whose lives is associated
with the locality. Mr. Rarratt's full appreciation of
lvigli.sh art is practically demonstrated in his nnual
surioundings, which include line examples of David
Cox, llaeburn.SirThomas Lawrence, I'atriik Xa.smytli,
JJonington, C'reswick, H. Dawson, C. Ciiambers, Sir
Jolni Cilbert, l'..\., Sir Edwin Lind.seer, i;..\., T. S.
Cooper, R.A., dames Holland, ami so on, tlirough the
history of native pictorial art; the owner's artistic
preferences and liis love of lainlscape painting being
furtlier illustrated by liis fondness for the sterling
productions of the leaders of the " Norwich School ; "
it is not saying too much to assert that foremost

ME. BAEEATTS AET COLLECTIOX AT • BELL-MOOE."

133

examples of Old Croiue, of Stark, and N'inceut are
seen at " Bell Moor " to the best advantage.

Evidence of Mr. Barratt's taste for good
art is displa\-ed in the "speaking" contents of
one wall in the principal dwelling- room of this
treasure-house, whereon hang three undoubted (•/«•/)>-
iroruvre, Sir Edwin Landseer's " Monarch of the
Glen," David Cox's paragon, "Vale of Clwyd," with,
!is a pendant, the noble work by George Vincent,
"Crossing the Brook;" witli David Cox's breeziest
version of "Going to the Hayfield," and Cronies
gem, probably unequalled, " The Way through the
Wood" (left by the painter in his will to a paili-
cular friend) on one side, and, balancing these, Cox's
" Fisherint'U hinding from the Xet Boat," and a
marvellous harmony by Diaz, " A Group of Flowers."
This is an in\entory of the contents of one s!de of
the apartment under consideration. A masterpiece
of sculpture — Gibson's "Tinted Venus," standing in
an appropriately classic background of beautiful-
coloured marbles — tinislies tlie vista at the lower
end of this uoble room. The side facing what

may be described as ' the wall of masterpieces "
exhil)its a large and important pastoral picture by
George Morland, " A Farm Yard," for silvery tone,
glowing, gem-like pigments, and spontaneous freedom
of handling unequalled, or at least unsurpassed,
even by this master of harmonious colouring ;
Eueburn's superb portrait of Mrs. Scott-Moncrieff,
hanging on another compartment ; while set within
the car\ed architectural framework of the deep-
toned mahogany overmantel is one of Sir Thomas
Lawrence's most favourable studies, "iliss Farren,"
replete with delicate charm, an example of the
master's technical ease and dexterous handlincr.

Within the entire range of John Linnell's art it
would be difficult to find an example rejoicing in a
greater breadth of full light and buoyancy of atmo-
sphere than the beautiful English pastoral we havehere
reproduced, which in its present position is enclosed
in a carved overmantel of rich-coloured wood. The
effect of looking at this brilliant example amidst
these surroundings is aljsolutely illusory ; it is like
taking in the actual scene direct from Xature, of

A BARLEY FIELD WITH WAGGON AND HAYMAKERS.
{From the Painting by John Unnell.)

134

THE MAGAZINE OF AET.

wliicli it is .1 niiuvL'llim.s tiaiisiciiiit. Tlie fiul'ject is
" A Barley Field, witli Waggon and Haymakers,"
ami it was painted in ISG"), described as " tlie cul-
minating period " of Linnell's reniarkalile powers,
when he was producing such glorious masterpieces
as the •• Noonday Itest " (lS(i2), "The llaylield"
(18G4), and "The Moorlands ' (ISd.".), all exliil.itiii;j;
a niiislery which even liie painter had seldom
excelled.

Mr. Harratt's l.iinu-ll, whiili is nni'iiuiillcd of its
kind, was secured at the Harter s<ile in 1890 : it
had prexionsly figured at IIh' (Iriiu' sulr in 1SS7,
when it was sold for .i'.inT.

Noteworthy amongst the list of illustrious painters
who have, at one or another jieriod of tlieir artistic
careers, heen attracted by the scenic bcaulies of
Hanipstead to reside in the xiiinity of the Ilciilii,
is John T.iiniell, wlio in early days was induced to
take uj) his abode on the Heath itself; and it was
within tiiese picturestpie surroundings llial be iirst
ilireeted his attention to land.'<cape, aUliouuh at tlie
time his actual piactice was portrait-painting. His

diary records that he made bis earliest pastoral
sketch from Nature at Hanipstead in July, 1S22.
This was in the first sunnner of his residence there.
" He afterwards ma<le a large nundier of sketches in
the neighbourhood of his home, ami used many of
ibcm in subseipient pictures. Tliese studies are still
in existence., and very tine work they display."

In the summer of ISl'L', when in his thirty-first
year, Linnell took lodgings for his wife and children
at Hope Cottage, North iMid. His studio continued
at Cirencester Place, to which he travelled by coach.
Finding that the fresh air of Hanipstead had proved
beneficial to himself and family, then nundjcring
four children, he, the following year, took lodgings
at Collins' Farm, North End, and removed thither
Augu.st 29, 18:!:'.. In 18J4 Linnell took Collin.s'
l'"arm for a peiinanent residence ; two years later,
August, 1 SL't), he built a small additional room to
tlie other apartments of the farm. This was of
wood, and was his first venture of this description,
the forerunner of the hou.sc building of which he
did a great deal later on.

BELINDA, OR THE BILLET-DOUX.
{from Ihf Painting by Ocoryr Borland.)

yn\. P.AERATT'S ATIT COLLFXTION AT "BELL-MOOR;

THE VALE OF CLWYD.
(From ihf P<tlnt!i:g by David Cox.)

It was wliile on liis way to town from tliis spot
that Linnell had an adventure with an infuriated
bull, wliicli might have terminated tragically but for
the painter's presence of mind. On the high road
between Highgate and Hampstead, he suddenly
heard the cry, " Mad bull I " followed by a charge of
the animal Linnell's cloak was swiftly thrown over
the bull's head, while he nimbly sprung aside ami
thus saved his life.

While enjoying several pleasant years at Collins'
Farm, Linnell was a.ssociated with Blake and Varley,
who were accustomed to argue on their pet theories,
Blake's visionary sitters from the dead and ^'ailey'.s
besetting craze for casting nativities. These meet-
ings occurred in the painter's parlour at North End,
where he was accustomed to sketch the spiritual-
istic pair whilst in animated discussion. Here,
too, Linnell, Constable, and Collins formed another
friendly triumvirate of Hampstead artists, who were
accustomed to exchange visits at their respective
houses, and also to meet on the top of the Hamp-
stead coach on their journeys to and fro between
town and suburb.

In the fine example of Sir Henry Eaeburn's
feminine portraiture which forms the frontispiece to
the present notice, Mr. Barratt has been so fortunate
as to secure one of the first and foremost examj^les
of that great and characteristic portrait-painter, the
Scottish Velasquez. His own countrymen, with

Willde at their Iiead, quickly recognised tlie ex-
pressive and masterly art of tliis native painter,
who was so happily at home amidst the scholarly
and intellectual society of Edinburgh, the leaders
of which ranked as his friends. To Eaeburn's
vigorous manipulative skill is due tlie transmission
to posterity of speaking likenesses of the most
illustrious of "nortiiern lights." It was suggested
of old that, powerful as was Eaeburn's genius in
delineating the individualistic and forcible characters
of his male friends and sitters, his magic brush was
less successful in treating female portraits. Disproof
of tins prejudiced insinuation is sufficiently given
in the example at Bell Moor, " Isabel," otlier-
wise Mrs. Scott-MoncriefF ; of which wondrous
ei'lbrt of portrait art anoth(^r ^•ersioll, more famihar
and equally convincing, is in tlie .Scottish National
Gallery. With these examples in point may be joined
the winsome portraits of Mrs. Robert Bell, and the
exquisite full-length of the painter's wife ; there is
an air of romance, which empliasises the interest in
Eaeburn's likenesses of the lady whose alliance so
materially added to his fortune and social position.
By a lucky freak of fortune, when in his twentv-
second year, he was asked to paint the portrait of a
young lady, whom he had previously observed and
admired while he was sketching from nature in
the fields. She was the daughter of Peter Edgar of
Bridgelands and widow of Count Leslie. The lady

136

THE MAOA>:[XK OF ART

was speedily fascinated by the liuiidsome and intel- original sitter's (;?!se?)iWf. The fine " Mrs. Scott-^Ion -

lectual young artist, luid in a month she iH'canie liis cricIV" is a fuithcr instance of liaeburn's marked

wife, Ininj^ing an anijilc furluno. After the aii])nived adopiidii of llie theory, shared !iy Gainsborough,

fashion of artists of tlic time, it was resolved that that as ])ortraits are intended In be viewed from a

IJaebiirn slionM visit Italy, and lir aceordingly distance, and, rurllicr, as jilaced at a certain elevation

started witli liis bride f(ir that jiaradise of aspiring on the walls of the a])artnicnt in wliicli they are

artistic genius. Later on, it fell tij liaeburn's lot to e.xliibited, so ought the sitter to be elevated on the

LIBRARY AT "BELL-MOOR."
(F:om a PItotigrafili by Butl/urd Uwire nt\cl Co.)

immortalise by liis portraiture the peisonalities of
the illustrious woi-thies wlio ha]ipenpd to lie liis cdn-
teniporaries ; cnriou.sly enough, in addition to the
jiortraits of his wife, and of Mrs. Scotl-Moncriell' —
amongst the finest examples of his fully- matured
manner in the regions of male portraiture must be
esteemed Ids own likeness, and that of the llev. Sir
Henry Moncrieil' Well wood ; all of these arc veiitable
vhcfs-d'wuvre of tiie first interest.

As in the instance of Eeynokls, liis genius soared
beyond liie effort of copying mere features, the
studied exact proportions of brow, eyes, nose, and
moutli — his brusii aimed at great breadth of char-
acter and treatment of individuality, lidelity of ex-
pression, and that " resemblance " which is as much
intellectual as physical in its suggestiveness of the

.same priiiciide, the jiainter Innking upwards at his
model from an infeiinr level. .\ plausible idea,
rei|uiring genius for its ajiplication, which other-
wise might run to exaggerated foreshortening.

When the critical world lirst lieard that the
illu.strious .sculptor Jolni (libson wis thinking of
reviving the tinted statuary whicii found favour in
the heroic times of (Ireek art, people began to say
that "a coloured statue could not fail to be vulgar,"
until they went to tiie sculptor's studio to see for
themselves. Perhaps Gibson's own theories on the
subject are of the first interest. Here is an extract
fi-om liis letter to Professor Scliarf (4 October,
18"i4) throwing all the necessary light upon this
question, from the point of view held by liie
great sculptor.

^Ul. liAKKATT'S AUT COLLECTION AT " P>ELL-M()( )i;.

"Polyi-bioiiiy applied to sculpture has for a long time
occupied my thoughts. I now join those who are of that
sect, because I have attempted the effect. My 'Yenu.^ at

she looked like a celestial spirit before me. As many
people— who came to see it— .said that no words can give
a true idea of the effect of the statue — it must be seen.

THE "TINTED VENUS."
{By John Gibson, R.A.)

Rome ' is entirely coloured, flesh, eyes, hair, and gold
ornaments in the head, and the apple in her band. I had
to do and undo before I could satisfy myself, at lust I
felt satisfied — as I sat before my Venus, alone and intent,
104

" During the winters that the statue has been seen in
my studio some hundred people came to see it, numbers
expressed their objection, but the majority admired the
effect. I am convinced that if the moderns had always

1.-.8

THE ^rAGAZIyE OF ART.

seen statues colouieil tlii-y oiukl not luivc toltrateil the
cold white stoney-eyed statues. Such an object in a
furnished room is out of liarniony with everything around
it. On my arrival in Eufjland this year I coloureil my
statue of tlie Countess lieaui'hanip, Imt a jiortrait statue is
riot so favourable a subject as an idiai figure.

"The colouring of the Venus is ranch more careful and
lierfect. From my own e.\|icrience at jire.sent I am con-
vinced that it would be very easy to iinnluce viil^'ur etlects.
I'olychromy in sculpture should be applied with nice taste,
the colouring' should not interfere with the plastic character
but be subordinate to it. t'ornelius last winter in i!ome
came to see my Venus. After conteniplatinf; it for .some time,
he said, 'The ettect is beautiful. This is just my idea as to
the degree it should be carried, and I have no doubt this is
the kind of eftect the d'reeks ]irodu(c<l.' I was gla.l to have
the opinion of so great an artist ; afterwards \isconti cx-
pre.s.sed himsfjf the .same. I)nt he .said, 'The dillicuity will be
to brii.g over the public.' 1 .said, ' I .seek to please my.'^clf,
and do not care for the public.' List winter I finished a
stivtue of Cupid, which was ordered .some years ago by .Mr.
Holford, etc. To his ijuestioning, I replied, ' Polychromv
wa.s practised by the Greeks, as we all know, in the best
period of art. I have given this subject my most serious
reflection, and I am convinced that our superiors, the
Greek.s, were right in everything they did in art. I have
attempte<l t he etiect— T am .satisfied. To my eyes polyclironiy
gives a charm that cannot be described by words. The
Cupid I will colour, and I never can complain if you reject
it on that account.'

"The Duke of Wellington wanted to have my Venus,
but as his Grace could not have it, he has ordered ma to
make him a coloured statue ; it is to be Pandora. Another
gentleman lias orderoil also a coloured statue, and that is to
be Helie, etc."

When Gibson ventured uimhi tbi.s e.Npt'iiinent, lie
occupied llie proud position of being esteemed llic
foremost .sculptor of the age. The so-callod "1'iiitcd
Venu.s," froin being tlie conversational theme of
Itonie, came with a full herltiige of popular fame,
some few year.s later, as the most-talked-of attraction
of the Great International E.xhiiijlion of IXC)2, when
the original in (piestion belonged to Mr. rrestoii, of
Liverpool, the lirst proprietor.

The colouring is the merest suggestion of delicate
tinting; the flesh has the faintest blush of warmth,
lending an air of feminine .softness to the figure. " The
hands and feet," wrote a critic in l.sr.4, "arc small,
beautiful, and ])eifeetly formed ; they seem as if
they would be iiuite .soft and warm to the touch. "
The eyes have the lightest touch of blue. The hair,
plaited and arranged in the graceful and beconn'ng
cla.ssic fashion, i.s touched with a pale auburn
tinge, it is shown confined in the kekrupiiallos, a
fragile net of threads and fillets heightened with gold
and accentuated by a line line of pale blue down the
centre; the armlet and the apple held in the left
liand are gilt, and the earrings are of gold. Gibson's
Venus is represented with a tortoi.se at her feet, as
of old the Queen of Love and Beauty wius worshipped
in lier temples at F^lis.

The statue was sent to Christie's by the family
of the first proprietor, June, 1S90, when a warm
competition between the Master of the Drapers'
Company and the present owner advanced the
bi.lding to nearly .£J,000.

Ihivid Cox, whose pictures of breezy commons
and spreading heaths are nneiiualled, has not been
fixed as a student of ilampstead Heath. Apart
from tho.so loL'al a.s.sociations, whicii in this instiinee
are incomplete, Mr. ISarratt's collection is rich in
fine oil paintings by David Cox. Noteworthy as
examples are that celebrated masterpiece " The
^'ale of Clwyd," the most breezy example of all
David Cox's numerous versions of " Going to the
Haylicld" (isn^), Welsh land-seape from tlie Mar-
quis dc Santurce's sale ; " Fishermen landing from
tlie Net-Boat" (lSr,2) (same collection); "Welsh
Itiver with Water-Mill and Bridge," from the Mur-
rieta collection ; and among water-colour drawings
from the same source, " Flint Castle."

"The A'ale of Clwyd" is certainly David Cox's
most ambitious and famous production; the scene is
taken from the neighbourhood of St. Asaph, half-way
between Kliyl and Denbigh; the first version (184G)
was by the painter priced at eigiity guineas, and
remained at Liverpool from July, 184(5, to March,
1847, when it was returned uns(dd. The handling
of this earlier exanijjle falls somewhat short of tlie
freedom generally distinctive of the artist's appar-
ently spontaneous work. Tiie r/icf-tro.tirre "Vale of
Clwyd," dated lS4il. was painted for Mr. Briscoe,
who paid Cox .£9."> for il : in ISdd Mr. Timiiiins
secured it for £278 ; and it subse(iuenlly came into
M de Munieta's collection for £2,:>0U. In 189l'
this paragon examjile came to Christie's, and after
a spirited competition amongst the chief connois-
seurs of the day, was secured by Mr. ISarralt : as
.Mr. .himes Orrock wrote on this occasion in Tin-:
M.\<i.\/.IXK or A Itr (September LS 9 1'), "although the
price, viz., 4,riOU guineas, astonished the imblic, Mr.
liarratt is nevertheless to be congratulated on the
possession of t/ic Jtiust juislornl ^kV/ioy in the nvrld."
Mr. ( )rroek, as an artist and expert critic, has
pointed out (hat David Cox's "Vale of Clwyd" is
a convincing jnoof that English art jio.sse.s.ses a
school which is une(iualled for cerUiin (pialilies ;
thus elo(|uentl3' sunnnarising its pre-eminent merits:
— "Like Turner, De Wint, James Holland, and other
masters in water-colours. Cox carried the pure and
brilliant character of this medium into his oil-pictures,
and the ' Vale of Clwyd ' in tone also retlects the
' modesty of Nature,' and is therefore an ' impres-
sionist ' picture of the highest cla.s.s. . . . Cox, like
a true Briton, stepped boldly into daylight and
painted Nature as tlie sweetefit piustoral singer only
could, and as the healthy, unjaundiced eye sees her."

139

THE ART SALES OF 1897.*

By W. ROBERTS.

THE fact which becomes uicwt clearly crystallised
in tlie uiiiid of tlie student of past iiiid present
art Sides is that the best period for selling nr
collecting objects of art is when history is not
being made. When affairs at home and
abroad are in what may be described as
a comatose state, money is secure, and
collectoi-s never hesitate to buy or sell as
the occasion may be. Wars, rumours of
wars, straitened relations between neigh-
bouring countries, internecine squabbles
and boundary differences — good as these
things are for the proprietors of daily
new.spapei-s, they are the purgatory of
the pastime of collecting. The last few
seasons have been periods of unrest, and
the few gi-eat collections which have come
under the hanmier have been, almost
without exception, 2^ost-moiicm Sides.
The past season, however, compares very
favourably with its immediate prede-
cess(ji-s. If one had tij specify what the
drapers describe as the " leading lines "
of the season, the answer would be :
Sir John Pender's pictures, Mr. Massey-
Mainwariug's snuff-boxes, the Montagu
coins (which are perhaps more correctly
classified as antiquities than as objects
of art), and the Bessborough engra^^ngs.
It is a fairly obvious fact that when
fashion dictates a run on any one special
phase of art collecting all the others
suffer. The Early English .school of
painters has more than maintained its
position with collectors during the past
season, and absurd prices have been paid
for pictures which do not bear the test
of scientific criticism. Verj' few modern masters,
living or dead, have been able to hold their own.
It is true that many of the modern men have
pauited far too many pictures to exhibit a uniform
excellence in their works. The temptation to make
hay while the sun shines is umleniably great ; but
the wintry blasts of the auction-i-oom h;ive shat-
tered many popular idols. Collectors invest their
money in the Early English and the Dutch schools,
but other phases of art they regard as extremely
hazardous. The great founders and consolidators
of the English school — Reynolds, Eomney, Gains-

• Except when otherwise stated, the sales referred to in this
article have taken place at Messrs. Christie, Hanson and Woods'.

borougli, Liiwrenee, and Hoppner— well maiiiUun
their position in the favour of collectors — not quite,
liowever, in the order niinied, for this yeiir, as
last, the top price of the season has been carried

MISS FARREN. (2.250 Guineas.)

{From the Painting by Sir Thomas Lawrence, P.R.A.)

off by a I'lOmney. This picture, comprising life-
size portraits of two children in a garden, and
was sold at Messrs. Foster's, realised £5),100 ; its
beauty as a work of art is undeniable, but its
authenticity has been vigorously assailed by some
experts. The Eomneys of tlie year included the
beautiful portrait of Anne Kershaw, who married a
cousin of the iJuke of Bedford, sold at Christie's
for 2,300 guineas; and othei's of Mrs. Tickell and
Mrs. Grove, for 2,000 guineiis and 3,.500 guineas
respectively.

No first-class examples of Reynolds occurred
during the season ; those offered were, I believe,
either replicas or copies. The pictui-e of Lady Anne

140

TIIK .MAfiAZlXK OF ART.

Fitzpatiick as "Sylviii" brouglit 1,800 gviiiieas ; ii por-
trait of Alexander WuiUlerbuni, Lord Loiigliborougli,
afterwards Earl of Rosslyn, sold for 1,200 guineas.
The Gainsborouglis make a very much more im-
posing array than the Reynolds's. Baron Hirsch'.s
portrait of I.nid Midgravc sold for 700 guineas — a

ANNE KERSHAW. (2,300 GUINEAS,)
^from the Painting 61/ Gecfyc Romnetj,)

distinct advance n\ the 570 guineas paid fur it

about four years previously; Colonel I'agel'.s purlrail
of Mrs. Paget {nee Hawkins), in an oval, went for
4,800 guineas; that of Charles Frederick Abel, the
German musician, for 1,200 guineas; whilst otlier
pictures, portraits and landscapes, realised very good
figui-es. By far the most interesting "f tlic works
of Sir Thomas Lawrence sold during tlie season was
the Chohnondeley portrait of Miss Farren, after-
wards Countess of Derby, in wiiite silk dress,
trimmed with fui', and fur mull'. The full-length
Liwrence of this lady is exceedingly well known,
and is, perhaps, the artist's finest woi'k. An o\(r-
zealous weekly )ia[ier oljlaincd an engraving of the
well-known picture and jiubli.shed it as representing
the Cholmondeley example ! The latter portrait is
totally dillorcnt; it was formerly in the pos.se.s.sion

of Sir F. Grant, I'.R.A., at whose sale in 1863 it sold
for 70 guineas ; it now realised 2,250 guineas. Tlie
same artist's unfinished canvas of the ilisses Fullar-
tons realised the high figure of 2,200 guineas ; whilst
the amounts fetched by the series of family portraits
by Raeburn of the Frasers of Easter ^Moniack, N.B.
suggested the possibility of a not very
remote boom in the portraits of this
artist. A few perfect specimens of Land-
seer came umler the hammer, and helped
considerably to disprove the general im-
pression tliat the works of this great
animal painter are declining in value.
On March l.'Sth, "A I'iper and a I'air
of Xuiiraekers" and "The Eager Terrier "
icalisiMJ l,."i."i() guineas and ."i40 guineas
respectively, anil in each ease more than
twice the amounts at which they had
]ire\iouslv clianged iiaiids. The exquisite
little works of William IFunt fully main-
tain their high raid< : whilst Borland,
Ansdell, and .1. l.iunell are still obviously
in favour with collectors. The finished
w^orks of the last two (deceased) I'resi-
dents of tlie Royal Academy continue to
command higli figures, but for some of
Lord Leighton's pictures the demand
was not at all keen. The highest priced
Millais was "The Proscribed Royalist,"
in Sir John Pender's sale, 2,000 guineas.
I'liillips' masterpiece — and, indeed, one of
the greatest works of the English school
— "La Gloria: a Si)ani.sh "Wake," reached
IJie (piite unexpected figure of 5,000
guineas ; and it is now in the National
(iallery of Scotland. Tlie Pender Turners
ollered one of the sensations of the year,
the four — "Mercury and Herse," "Wreck-
ers, Coast of Northumberland," " The
State Procession," and " Venice "—realising 28,000
"■uincas. They ]U-obably cost Sir John Pender con-
siderably under £10,000.

A few good specimens of the Dutch sclun>l were
sold, notably at Roliinsnn ami Fisher's, on April 1st,
when a portrait of a genii. man by Franz Hals
went for .'l.l'ioO guineas; next to Ibis in jiriee came
Sir .lohu Millais' example of Holbein, a portrait of
a man, :'.,000 guineas— it cost Jlillais 70 guinea.s.
.\ N'andyek portrait of a boy in purple dress, 1,G00
guineas: a good Hobbenia, a rural village scene,
1,900 guineas; ami a very good Hondecocter, 2,180
Ljuineas. The liesl N'elasiiue/ of the year, a \ irw of
a back door of a house, with birds, was in the
Cholmondeley sale, and fetched 1,.'U0 guineas :
whilst of the Italian school, Messrs. Robin.son and
Fisher sold a portrait— catalogued as by Giorgione,

THE AET SALES OF 1897.

141

but obvious!}' uiuch later than this artist — for the It is impossible uot to be forced to the conclusion that
sum of 900 guineas. Perhaps one of the most these prices are absurd ; they are very many times
curious facts in connection with the past season's more than the sums which Reynolds received for the

original paintings, and as objects of art an engraving
bears no kind of relation to the original picture.
Engravings after portraits by other English masters
than Sir .Joshua have realised fancy prices ; notably
a fine proof Ijefore all letters of theHoppner portrait
of the daughters of Sir Thomas Frankland, by W.
"Ward, sold for 280 guineas, whilst another copy of
the same, " finely piinted in colours," fetched 290
guineas. One in colours of (ieorgiana, Duchess of
1 >evonshire, after Gainsborough, by W. liarney, ran
it close at 240 guineas. The highest price paid for
an engraving after Itomney was £180 for a very fine
early impression of .1. A\'alUer's engraving of Mrs.
Clusters. It is curious to note that .T. 11. Smith's
rendering of Sir .Tosluia's portrait of the same lady
iinly fetched 102 guineas. The quite inexpliealile
demand for engravings printed in colours appears to
lie as keen as ever. Comparisons are proverliially
odious, but these smudgy productions of inartistic

EMBOSSED AND DAMASCENED CASQUE.

i^rom the Zichil.e Collection.)

(£300.)

auctions is the number of artists' "clearance"
sales — E. Beavis, G. Fripp, Hamilton Macallum,
Sir John Millais, and George Kichmor.d, li.A.,
come within this category.

So far as the sales of engravings are con-
cerned, the season ■ has been pei-haps more
than an average one. The dispersal of the
collection of the works of Bartolpzzi and of
the very complete collection of engravings
after Sir Joshua Eeynolds, formed at the
end of the last and beginning of the present
century, by Frederic, Earl of Bessborough,
gave a distinction to the season which it
otherwise may have lacked ; but even more
remarkable than cither of these was the very
small but choice collection of old mezzotint
portraits after Eeynolds formed by the late
H. T. Broadhurst, of Leamington. In respect
to engraved portraits, Sir Joshua ranks first
— 300 guineas were paid for a first state of-
Lady Catherine Pelhani Clinton, by J. E.
Smith ; 28.5 guineas for a similar state of
Jane, Countess of Harrington, by \'alentine
Green ; and two first states of Lady Eliza-
beth Compton, by the .same engraver, fetched
275 guineas and 19.5 guineas respectively ;
for Mrs. Carnac, by J. E. Smith, 265 guineas ;
and for Lady Betty Delme, by Y. Green, 250 guineas, printers bear the same relation to finely-printed
But these prices fade almost into insignificance beside engravings as German-made cups and plates do to
the staggering sum paid for the first state of Green's old Sevres. To what extent collectors are willing to
engraving of the Ladies Waldegrave — viz., 560 guineas, pay for these "prints in colours" two illustrations

MERCURY AND HERSE. (7,500 GUINEAS.)

{From the Painting by J. M. W. Turner, R.A.)

142

THE MAOAZIXE OF ART.

iiiiiy be sutticient. Two complete sets of "Tlie Peter Lely's collection, and this sold for £290.
Montlis," after Hamilton, by IJartolozzi and Gar- The two sales most talked about during tlie
diner, appeared in the market; for one of these in pa.st season were distinguished for v.-iy difl'ir.nt

LA GLORIA. (5,000 Guineas.)

(from the Painting 6y John Phillip, ft. A., now in thf National Galltrg of Scotland.)

colour.s .£17'' wa.s the sum jiaid : that in brown only
realised 70 guinea.><. An open letter proof of Mis.
Siddons, after Downnmn, by Bartolozzi, sold for
3"' guineas ; but one
in coloui-s realised
100 giiincius: The
sales of the year
inelude Mr. H." W.
Bruton's choice
colleetion of works,
illustrated by
Cruikshank, and
the complete series
of original water-
colour drawings to
Kiekens's "()l<i
( 'uriositySiiop" and
" Harnaby Hudge,"
and these ilrawings
— 121 in all-
fetched £(ilO. or
the vcr)' few etih-
ings by the old
masters whii-h oc-
curred during the
year, I he only one

LOUIS XVI GOLO BOX. (1,450 Guineas)

[{From th* IKatuiflllalnmarinff Sale)

reasons. The earlier of lliese eompri.sed water-colours
and sketches made in ditlerent parts of the world
in his travels during the last thirty-Kve years, by

the liight Hon. the
Karl of Dunmore;
I lie day's sale of 117
lots realised about
tJUi! Tlie second
" sale " comprised
the collection of old
masters of Mr. 1 ). P.
Sellar ; the sale was
ti.xeil for July 8,
but, after fourteen
lots were knocked
down at prices
wliieli varied from
l.'is. to 10 guineas,
ibe fiwner refused
111 allow the sale to
proceed. This fine
collection of inferior
copies, and of jiie-
tures which have
not even tiie merit
lit being copies, has

of note was a brilliant impression, lidl of burr, since been offered to tiie Corporation of bjudon, the
of AlU-rt Diirer's "St. .lerome," formerly in Sir oiler, according to the newsjiaper reports, be-ing

THE ART SALES OF 1897.

143

received with "■ loud cheers." But after exaniiiiation gentleman embracing, S inches high. A few un-

of tlie collection by the ex-Lord Mayor and Sir E. usually big prices were paid for Chelsea ware — an e.\-

J. Poynter, the gift was declined. Tht Times of ceptionally tine group representing Boucher's famous

Xovember 20th contains Mr. Sellar's account of picture, "The First Lesson on the Flute," 10 inches

the history of the pictures. Yet another incident high, 460 guineas : two vases, each of tlie highest

of the year's sales may be mentioned as showing quality, with two medallions and scenes after Boucher,

how little association influences prices.
A Hower piece, signed and dated, by
Mary iloser — one of the only two
women ever elected to the Eoyal
Academy — sold for the small sum of
8 guineas. This picture was exhi-
bited at the first lioyal Academy
E.\]iibition in 1769, and is Xo. 74
in tlie catalogue.

Xo great collection of ohjds (Vart
occurred in the sale-rooms during
1897 ; but one of the smaller ones,
that of the late Rev. Montague Tay-
lor, was remarkable on account of
its antique bronzes and gems of the
fifteenth, sixteenth, and seventeenth
centuries, and other objects of art,
many of which were exhibited at
South Kensington ii; 1862, and at
the Burlington Fine Arts Club in
1879 ; the collection of 436 lots real-
ised £6,362. Of its kind the old
Xankin porcelain of the late Cieijrge
James was the choicest which came
inider the hannner, seventy-five lots
realising £2,700 ; it included an ovi-
form vase and cover of tine quality,
decorated with branches of hawthorn,
lOi inches higli, 410 guinea.s. From
another collection came a pair of
oviform old Xankin porcelain jars
and dome covers, i)| inches higli, ex-
hibited at Xottiugham in 1880 : the
price paid for this pair amounted to

J. , _""« ■. *•*

360 guhieas ; a helmet-shaped ewer
and dish, dark blue and gold ground,
p.iinted withgarden scenes, 3 lOguiueas.
Mr. ilassey-Mainwaring's sale, at
Robinson and Fisher's, of old I'rench
suuff-boxes, bonbonnieres, etui.s, cas-
kets, etc., of the periods of Louis XIII,
XIV, XV, and X\'I, comprised a very
choice array, the 114 lots realising
£13,100; the collection is said to
have cost close on £20,000. The
choicest article in the sale was a
Louis XVI gold box, with six plaques
i>f figure subjects by Fragonard in
brilliant colour.s, and measuring 3^
inches long, H inches high, and 2f
inches broad: it sold for 1,450 guineas.
A large Louis XVI oval crold box sold
for 535 guineas, and a Louis XIV
octagonal- shaped ditto for 520 guineas.
Anotlier collection of quite a different
character — Herr Richard Zschille's
armour and arms and hunting equip-
ments — may be liere mentioned, 862
lots showing a total of over £11,200.
A few very good pieces of tapestry
occurred during the season. Sir John
Millais' suite of fine old Beauvais
panels brought 2,000 guineas ; a .set
uf four panels of old Gobelin.s, 2,150
guineas; and a panel of old Mortlake
woik, £380. The demand for old
French, English, and otiier decorative
antique fuiniture is as keen as ever,
1,220 guinea.?. In another sale two cylindrical vases and renliy genuine specimens fetch very high prices.
of old Chinese faniille verte, richlv enamelled, one The Rev. Sir Aluernou Coote's mairuificent oblong-
being 29i inches and the other 28 inches high, shaped table of inlaid lapis-lazuli and coloured mar-
brought 650 guinea.s. The unique collection of bles, with a wreath and burder of flowers, foliage,
fruit and vegetables in porcelain and pottery, and other ornament in Florentine mosaics, brought
formed by Captain P. Green, and numbering in 300 guineas. I have space for but two further
all 734 pieces, may be mentioned as a curiosity illustrations from the sales of the past season : — A
rather than on account of either its beauty or its complete set of Jacobean silver apostle spoons (one
prices, which were small. The small collection of of three complete sets known!, with the Loudon hall-
porcelain of his Highness I'rince Viotor Dhulccp mark of 1617, realised £650; a portrait of George
Singh comprised some capital old Dresden groups, W, enamel by H. Bone, in gold locket set with
figures, serN-ices, of the highest quality, the highest eighteen diamonds, presented bj' the King to Eliza-
price, 235 guineas, going for group of a lady and beth, first Marcliioness Conyngham, brought £450.

PANEL OF GOBELINS

TAPESTRY.

{Design after Berjine.)

144

NEEDLEWORK AS A MODE OF ARTISTIC EXPRESSION.

IN TWO PARTS. PART ONE.

By WALTER CRANE

I\ tlial rcmaikiililc iMi^lisli revival nf (Iccnialivo
(If.sigii and liaiidicrat'L wliicli lias taken ])Iaee
during the last tive-and-tueiitv vcavs, tlie ait and

PORTION OF BAYEUX TAPESTRY.

craft of the needle hdld a distinctive and disliii-
gui.shcd position. J)is/iiic/iir, I would say, lieeause
of the peculiar eliarin and dedicate beauty <if needle-
work among the sister arts of deediation ; di-'i/in-
f/iiis/iei?, because of tlie skill, taste, and devoticm of
individual eraftswomen who liave rai.sed the standard
of acconiplishinent.

We sliould have to go back to tlu; early seventies
to trace the movement, which seems to have deriveil
early in.spiratioii and practical stimulus, in comnmii
with so many of the other arts and handicrafts, from
the work.shoj) of the great poet-craftsman we have
so lately lost — William Morris — and his (olle^gues,
wlio may Ite said to have carried into juactical
shape the ideas of the great romantic and realist
revolt of the mid-nineteenth century, associated, in
painting, with the rise ami inllneiice nf the I're-
Kaphaelite school.

lmnie<liat(dy jiriur to this period the leading
kind of what was called "fancy needlework" took
the form known as Berlin-wool work, elaborate
designs for which were sometimes prepared (liki'
carpet desigiLs) on squared paper. The design was
outlined upnn a very open kind of canvas, or still'
white net, ami worked by means of a cross-stitch
which neatly covered each hole of tlic camas, .sepiare
by square, building up — in generally the crudest
colours olitainable in dyed W(jo1 — the design, which
was apt to take the foini, after the first geometric
essays in eliequcrs, of ratlier emphatically shaded
flowers relieved upon positive grounds of black or
some dark hue ; or even, in its more elaborate

])hases, of reproductions of some popular painting,
undaunted l)y the mechanical necessity of turning
every outline into that of a staircase.

The i)eriiid was marked by an extensive deposit
of slijipers — the favourite objects for daring ellects
of I'olour, and olleriug not too arduous a field <if
work to fair amateurs, while at the .same time they
afforded a graceful mode of expressing .sentiments of
esteem, .say, to a popular ecclesiastic, who, perhaps,
nnght emulate Chaucer's squire, with

'* l*;nilf\s window.'* (Nirvrn on liis sliocs,"

by designs .still more woiiderful and fearful. The
earlier forms of sutdi work, however, were agreeable
enough, as may be seen by an example on page 14S
(■ontaiiiiug tiie royal arms. The sciuare stitches are,
in this case, smaller.

This was fiefore the roniiation of industrial art
museums like oui' unri\'alled i^outh Kensington.
.'Vnd hei'c let me .say, in expressing my oliligations
to the authorities, who placed every facility in
my way as regards illustrating the.se remarks from
their magnificent collection of textiles, that it is
impossilile to put too high iin educational value
upon such collections, the mdy jiity being — indeed,
1 would say it is nothing shoit of a national re-
jiroaeh — that they cannot yet be properly housed
and therefore not projierly dis]ilayed. It is, I think.

PORTION OF BAYEUX TAPESTRY.

Hot, sullieienlly realised by the piililie at large that
a museum such as this is ically a reference library
of e.xam]3les to the designer and the craftsman of

XKKltl.KWol.'K AS .\ MdHK ok aK'TIs'I

KXIMIKSSION.

Uii

iacalc'ulalile iuipoitaiiw aiul valiu\ aiid, as sutli, it
bears upon the iiuhistvies i>{ ihc wIkiIo coiiiiliv.

The cultivation of taste liy means of the study of
the best examples of old work in such collections
and existing in many historic houses in dillercnl-
piirts of tiie country, the charming samplers of our
great granil mothers' days, tlic influence of rich
specimens brought from Italy and the East by
travellers, or imported by commerce, all these had,
no doubt, an important ellect in the creation ur
revival of I)etter ideals and aims
in decorative needlework.

Before tlie Royal Sciiool of
Art-Xeedlework was founded,
which has done so nnich to spread
the knowledge of the ditl'erent
methods and applications of the
craft, and has olVered both train-
ing and employment to many
workers; from wliicli, also, have
sprung .so many branches and
oH'shoots, and which is now enter-
ing ii new existence as a tecii-
nical school under the Technical
Educatiitn J>oard of the London
County Council ; before these
organised eflbrts in teclniical in-
struction and revival, here and
there an enthusiastic needle-
woman (ptietly set to work with
coloured cottons, or crewels, or
silk, to endeavour to give ex-
pression to the new-old concep-
tion of decorative beauty which
not only was capable, in tin

XanibilS

BOHEMIAN SHIRT-FRONT,

in the work. There is no background, and there is
an ornamental border of (piaint animals, divided by
diagonal bands, framing tlie frieze of subjects above
and lielow. The design has very much the character-
istics of the contemporary design of tlie same period
as found in oilier materials (allowing for differences
of adaptation)— as, for instance, carved stonework,
illuminated ]\1SS., and mosaic — while showing a
certain siiiipliliealion of treatmenl adapting it to
that fonii of needlcwoi-k.*

Tlie history of design in
needlework, too, shows much the
same characteristics and seems
to fall under similar influences
in the course of its evolution as
design generally speaking. "We
have the common origin of
necessity and utility in tlie primal
function of the needle — to join
textiles together and to form
garments — and in its early forms
we find it closely united with
weaving. We iiave the early
symbolic period, the jiicture-
writing, the ecclesiastical influ-
ence, and we may trace, all alono-,
the purely ornamental feeling
influenced by the desire for
naturalistic representation, the
]nctorial influence from tlie tif-
teenth century onwards, and this
again mingling with tlie ideas of
the classical revival, meiged with
the later rococo forms, and so on

omas

\'ii""i^ forms of its to natuialisni again; all these forms or styles now

ippheation, of giving a touch of peculiar refinement existing side by side in their revived forms, to the

to the domestic interior and ciiaructer to dress, but confusion of modern taste, struggling to maintain

aLso lent itself to the representation of certain its equilibrium amid such contrasts; albeit, one may

forms and textures, and even to suggestions of be aware of a new spirit— a feeling distinct and

spirit/ — a
modern — asserting itself ; derived, it may lie, or in-
to tlie past, needlework lias spired, from many sources, but with a certain fresh

the record of important
ich the famous S(j- called
is an instance. Here we have

l)oetry and romance.

Indeed, if we look
been tiie medium for
historical events, of w
" Bayeux tapestry
the history of the events connected with and in-
cluding tiie Xorman Conquest of Saxon Kn^daud.
It is expressed in ;i very simple but very direct
and dramatic manner. The figures are worked in
coloured worsteds upon linen, mostly in a kind of
chain-stitch. The design being treated as a con-
tinuous patteiii, in frieze-form, the subjects are on
the same plane, as in picture-writing, leading on
without break one to the other; legends in Latin
worked clearly upon the linen ground evplaining
each incident and giving the names of the piincipal
characters, the lettering forming a decorative item
10.-,

infusion of natural feeling, and a determination
towards primitixe simplicity of form and arrange-
ment.

"We may trace the origin of decorative needle-
work, as I have said, in necessity and utility. "We
may see its traditional forms in the peasant em-
broidery still surviving in some European countries,
in patterns and methods handed down probably
from quite early times, and often show-ing traces of
media-val and Oriental influence. We all know the
ffsta apron of blue or green cloth of the Itoman

* 'J'lie work — wliich was said to have been bylfatiltla. wifo
nf William the ('i)nqiu'i(ir — is to be seen in the little miisemn of
the fjiiiet anil quaint Novnianrly town, whieh retains in this pieee
111' needlework anrl in its noble eatlieilral llie relics of its former
historic importance.

14U

TlIK MAGAZINE OK AIIT.

IK'iisaiit, with its bands of ljii<;ht worsted iMiibioidiTV,
soiuetiuR's lieigliteiicd by spangles. In pails of
Doliemia peasiint women still deeoralo their cos-
tumes with ernbruiilery. I sketched a man fioni
the Austro- Hungarian frontier, at I'rague, who luul
his name beautifully worked upon his shirt-front
with a tloral design in red and yellow thread,
'i'iie beanlitnl embroideries of the Cretans are
well kiiiiwn: and in travelling in (irecce I saw a
])easant woman by the wayside endiroidering one
of those woollen Albanian jackets wliich are i)art
of the distinctive national costume of the people of
modern (!reeee. The Country-women sometiincs

TOWEL BORDERS.

(/(I Ihf South Hiitsington UtiKum.)

wear a kind of .sleeveless overcoat of wool licavily
endiroidered or darned with blue, green, and lirown
worsted, which adds both weight and warmtli.

There is a form of blouse worn by llussian girls
whicii is decorated by bands of end^roideiy in bold
conventional patterns worked in cro.ss-slilch. These
garments arc worn liy (|uitc young girls, and growth
is allowed for by simply adding on e.\tra rings or
bands of endjroidcry, the garment being sulhcienlly
amply constructed otherwi.se, and intended to be put
on over the head. These cross-stitch borders recall
those found on Spanish and Italian linen cloths and
towels of si.vteenth-century date, of which beautiful
specimens are to lie found in the Museum. 'I'hcsc
arc workeil in red silk, and are generally of a ic-
peiiting pattern of a wo\en textile character, wliiih
may aiise from the pattern liaving been woven in
the linen, as in damask talile-clolhs, and afli'rwarils
empliasised by tin- in'cdlcworlc.

Tlie Ivist, as the great source of the glowing
stream of pattern invention and colour, however,
seems to have been the natural home of endmmlery
from the time of Solomon — who j)laces the art
amom'the occupations of the ideal woman — onwards.
.Modes of life and iiabits of the people continuing
with but little ciiange, the artistic traditions have
been much more ju'riuanent.

The I'lisian women, for in.stance, still work, I
believe, beautiful covers, carpets, and hangings for
their marriage. The material may be only cotton,
but the (lerorative I'll'ect produced by their large
bdld pallerus of rich red llowers and the serrated
green leaves and stems, worked in
silk, is extremely fine. In tiie
hangings from I'.okhara the Persian
feeling is very marked. The pat-
tern is iinely distributed over tlu^
grouiul, and the ri.dation of bonier
to lielil well maintained. Tiiey are
interesting, loo, ;is illustrating an
inijiortant princi|)le in lloral design,
well understood throughout the
Mast, of a controlling shajie oi- en-
closure which determines the limits
I if the sprays — the favourite being
the ci\al, or ]iine, (U- palmette shape
from which llie iiiodern designer
may learn much.

Like sculpture and painting, in
its early and media'\al forms, the
most splendid arii ie\enien Is of
iieeillework were dedicated Id re-
ligion, anil had their place in its
functions, the accessories of sym-
bolic and .sacramental ritual. Per-
haps .';onic of the most magnificent
specimens III' the arl and craft of needlework are to
lie I'linnd in the class of ecclesiastical vestments.

i'roin the symbolic, .severe, and mystic dignity of
llie endiroidered designs of the earlier centuries of
Ihe Christian era Ihal have been pn'ser\ed — .say
of the eleventh, twelfth, and thirteenth centuries —
which retain traces of Iiy/anline influence, to the
lloral and decorative frceilom of those of the si.\-
leenth century onwards, w^e may see a wonderfid
series of examples of metlujils of needlework ex-
pression, gcnci'ni'd by motives of ceremonial
splendour.

I'lnsely allied in s]iiiil and method were the
heraldic embroideries contemporary with lhe.se,
which .set forth in all llie beauty of material and
splendour of texture, gold, and colmn', tlie bearings
and badges of feudal families, of stales, aiul of cities.
The colour condiinations and devices of heraldry,
taking (Jothic modids, are peculiarly ad.ipleil to

\ki:i>i,k\V(ii;k as a moiu-: ok AirrisTic EXPiiKssiox.

147

ik'forative expression by means uf tlie needle. The Apyliciue neetllevvork, \>y the judieiuus anil

neeessan- boldness of design, and the typical imaginative use of textile material, may have a

seleeti\(

haraeterisation of form, tlie frank

THIRTEENTH CENTURY CHASUBLE (ENGLISH).
(/n fAe South Kensington Museum,)

"irnamental system of edloratimi, all leml liicin-
selves to its remarkable adaptability to the \arious
metliods and materials of needlework, from the
finest piece of delicate silk work on the scale of a
book-cover to the boldness of a large appliqiu'
hanging.

There is jirnlialily i\n
more effective method of
covering large surfaces,
such as lower wall spaces
and large doorways where
ilrapcries can be used, than
by designs in ajjplique
needlework of an heraldic
character. Much, of course,
depends upon the design —
upon good (if simple) form
of silhouette, good spacing,
appropriate choice of scale,
and harmonious if bold
colour scheme. But tiiese
considerations are connnnn
to all decorative art.

ricliness and distinction all its own, and posseiss
([ualities which no flat painting or inlay can really
rival. We have nuly to consider the difierent
qualities of surface and texture represented by linen,
liy wool, vehet, satin, and silk, and the ])ower of
expression and emphasis of the needle in defining
and uniting tliem — to realise the range and resource
of the textile palette, in fact — to be convinced of
this. Yet needlew(jrl< lias tiiis in common with the
ai't of design generally — that it is not dt'iJCiidfiil.
upon richness or costliness of material. A good
and suggestive design, well spaced and judiciously
treated, may be most elfectively and adequately
expressed on linen with crewels, or cottons, or
Hax-thread, and the result may be highly decorative.

Needlework, too, has tiie advantage o\er manv
other arts that it requires liut little space. Its
niatrrials arc fi'W, light, and purtable; it is an art
that can be i)racti.sid anywhere, requiring no ex-
pensive plant, or even any special sort of workshop
or studio. It is an entirely ilomestic art, and its
greatest charm is its personal and homelike cli;iracter
and suggestiveness.

It was a gratifying thing to .sec so niucli good
work of this kind anunig the works in the national
competition at South Kensington last sununer, both
as to design and execution. Much depends, as to
choice of material and treatment, upon the object and
purpose of the work, its .scale, position, and relations
to its conditions and surroundings — the same con-
siderations, in fact, which govern all decorative arL.

I tliink we nn'ght discern veiy distinct differ-
ences of aim in needlework which .should natur-
ally regulate the treatment and choice of material.
"When the design and expression is of a very
abstract character, and its decorative effect mainh-

PORTION OF A
{From u Dratii

COPE 'ENGLISH

ncj by «155 Hunter in th

FOURTEENTH CENTURYV
South Kensington Museum.)

148

I'lIK MACA/IN'K OF AIIT.

(lepeiiiis upon anaiigeiui'iil am! nuality of line, one afiaiil llial in neetllework, us in oilier things, llieie
wuuUl say the simpler the belter, since the ideas are is but a step from the sublime to the riiliculous.
(•onvi'ved bv means of su<i''estion rather than bv anv The unlv way rif avoiilini: ibis pitfall is in <;ettiiiL;
attempt at realisntiim "f form in its full substance veiy simple ami slraightt'i>r\vai(l drawing to follow,
and coloui'. which gives no complexities, and convcj's the ex-
Designs of symliolical or typical figures on a pression with the utmost economy of line.

liU'ge scale, for instame. can !»■ rendered ill'ectivcly,

Large scale faces, owing to grealer cli'arness anil

HERALDS COAT OF PHILIP 11.

if the drawing be simple, in outline of one, cir of
\arious colours, in thread or crewels upon an
unlileaehed coarse linen ground.

Sueli designs as some of tiiose of Sir Ivlward
iJurne-Joncs, where the decorative cU'ecl depcn<ls
rather upon the disposition of the lines, their iiuality,
and the .sentiment of the figures than of iiualities
of colour, texture, or surface, can be ai)]iro[irialely
rendered in a bold but elo-sely-stitclicd outline
which gaiirs a certain richness owing lo lb.' nlief
of the needlework from the giound. The chief
dilliculty in treating figures in needlework lies with
tlie faces and features, where the expression is apt
to be dislorteil liy the buckling of the material
uniler the tension of the stitches, and of course the
slightest twist of a line or displacement of featme
makes all the dilVcrence. So that it may .sometimes
happen that what is intended for an cxi)ression of
gentle beiiignancu is a]it to liecome a grin. I am

openness of drawing, are probalily easier for inter-
pretation by meairs of llie needle than small ones,
and a profile easier than a full face. When a face
is filled up wilh stilchilig to give llie etl'ect of ihe
full local colour, and the outline becomes distortei!,
sliglil corrections to counteract it can be made by
painting in lines or additions to lines wJiich may be
I'ollowcil by tile needle. If faces and figures mr
u.sed, it is lietter, however, to struggle with the
ditliridlies and nial<e it ihroughnut a genuine jiiece
of needlework llian to fly to the specious aid of
anothei- art, as was done in the last century, in tlhw
specimens of silk work we have .seen on fire-.sereens,
or (^ven assuming the form of framed ])icturcs. where
the faces are jtnin/nl in. the worker ha\ ing exhausted
the resources of the silk in the endeavoui- to indtatc
the cllects and <|Ualily of painting. Tlie ]iainled
faei's always remain |)alehes more or less, and hasi'
no real relalion to liu' ncedlewnrk.

t^HII'iluti-it. )

149

THE QUEEN'S TREASURES OF ART.

DECORATIVE ART AT WINDSOR CASTLE : INLAID WOOD FURNITURE.

Bv FREDERICK S. ROBINSON.
'BY SPECIAL PERMISSION OF HER MAJESTY THE QUEEN'

IF our lluyal I'olleetois haw j^liowu a pirtVience
for the style of Boulle, it is possible, neverthe-
less, to illustrate almost every variety of eiuliti'enlh-
eentury Freneli furniture from the colleitiiius al
Windsor and liuekiughaui
Palace. In tlie lattei- are
to be found the earlier spe-
einiens of that Florentine
work in coloured stones or
•" pietra dura " which Louis
.\I\' and Colbert trii'd \n
aci-jimalise in France at
tlie (iobelins with no very
happy result. The style it-
self is. perhaps, one of tho.se
mistakes to which artists
of all limes, besiiles our
own much- maligned ceu-
tuiy, are occasionally
prone. Tossibly the inlay
of coloured stones in flower
and landscape pictures re-
([uired a more delicate
colour sense than French
craftsmen po.s.sessed. The
llat mosaics are unsatisfac-
tory enough: tho.'ic in which
fiuits arc lepresented in
high relief are more unfor-
tunate still. The names of
certain Italians imported by
( 'ardinal Mazariu ha\e come
down to us. The brothers
Ferdinand and Horace ^lig-
liorini, liranchi, and Louis
(iiacetti were employed in
making table tops and in-
laying the Hoois of the royal

palaces. Associated with llicm was a Frenclimaii,
Lctclliei-. I'nder Lc llruu and lioberl de Colte
successively these men executed many works, wliich
M. de L'hampeaux admits were vei\" inferior to the
Work of the artists employed by the Oukes of Tus-
cany. Italy was the country in which this stone-
work tiouiished, haviisg been introduced aliout the
beginning of the seventeenth century. It was only
continued for a time in Fi'ance. Louis .\I\' at the
clo.se of iiis reign was compelled to restrict his sub-

sidies to the (b.iljelins. and under Louis X \' the
manufacture nf furniture ceased altogether, and the
(iobelins wa.s conlined to tapestry. AVe cannot
regret that the ri'lini[nishmen|. of pietni dura left

CABINET WITH PIETRA DURA INLAY AND LOUIS XVI MOUNTS.

tlie Held open for wood inlay and oiiimulu work,
which wa.s .--o much belter suited to the French
genius.

Of the examples which we illustrate, the lirst
has lale Lo\u's XVI ormiiiilu mounts. The round,
fluted corner pillars, spiral feet, and striateil Hats
of bra.ss on the plinth abo\'e tiie feet are char-
acteristic of some nudvcr — possibly liencman —
\vbo Houiished when that "industrialising" of the
art was eonnuenciuL; which was fated to bring it

150

THE MACAZIXK nV WW.

to ruin. Tlie stone panels liave a border of good
liunlle work in brass and white nieUil. Tliis coni-
l)ination is not happy, but it is interestin"; as
suggestive of tlie attempt to naturalise an Italian
mosaic style alongside of the more truly Kreiicli
manner of Boulle inlay. The bronze statuette uixm
this piece is French of tlie latter end of the seven-
teenth, or early eighteenth, century.

Our seconcl illustration shows mounts of a most
pronounce<l Kmpire type. The coldly - UKjdelled
Sphinx ■• console.s," the " palmettes " above and
below them, and tlie cential trellis mounts of llu'
two columns on each side of the middle panel may
be set down as the work of J. Jacob or, jjcrhaps,
his successor, .Tacidj Desmalter. On the marble
slab is a pair of green and pink striped vases of
Sevres, piite fhnr of the Louis .WI pt'riod, of a
beautiful (piiet colour. These two iiank one of a
pair of va.ses, mounted witii winged figures, whicli
are also very tine of their kind. Thi'V arc euaniclliMl
on coi)per. may be either (iernian or French, anil
are more than two feet idgh. It will be nuliced
that on both of these pieces of furniture the "Cniwu
Imperial " lily is used as a motive. It occurs
freiiuenlly in pielra ilura — probably beeau.'^e its
peculiar grey-green and dull orange colour can be
very exactly reproduced in certain stones.

It is a subject for i)erennial i-egvet tliat the
makers of line furniture have nut always made a
]>oint of signing their woiks. If tliey had realised
that, .some day, their achievements would fetch
prices e<pial to those paid foi- the linest paintings,
tiiey would not have helped, by this fatal habit
of anonymity, to depress the status of the line art
of furniture. For it is a Hue art, however wide llie
gulf wdiich fashion has set in later days l)etweeu
the arts of painting and sculpture on tlie one liand,
and what are called "decorative arts" and " miiKir
aits," on the other. In the splendid days ui ihe
iJeiiai.ssance there was but one art, wilii many
manifestations. Tiie goldsmith was a sculptor,
and he often became a famous painter of pictures.
Indeed, as N'a.sari tells us, if he did not show a
competent knowledge of modelling and draughts-
manshi)), he was reckoned no true goklsmitli. Men
were not conlined to a narrow groove in the ilays
when every obji'Ct <if daily use was imested with
arlistie beauty. The decorative art of the eighleeiith
century in France was the outcome of a similar
versatility. AN'e have seen th.il Houlle hail a
" vocation mixte," an iiitens(> desire to be a painter,
a wonderful skill in the \arious processes neces-
sary for the |)loiluetinu of his lliastcrpieees. It, is
reasniialple to suppose that the pupils of a man
who ruined himself by his love for tlie iiainlings
and drawings of tin; Old Masters would have had

no illiberal teacher. At any rate, the best-known
pupil of Boulle was also a great artist. It is a
pity that the collections at Windsor and Bucking-
ham I'alace cannot show a masterpiece of the
work of Jean Frant;ois Oebeii. It is, however,
necessary to mention him as the master of the
consummate liiesener, whose work is splendidly
represented in both palaces. The date of Oeben's
liirth is unknown, but in 17"4 he obtained the title
of "I'beiiiste du loi " and lodgings in the Arsenal.
I »ii his diploma was noted the fact that he was a
pujiil of lioulle, and we tind him soon liHlging at
the Louvre in rooms let to him by Charles I'xaiUe,
and behindliand in his rent to the latter. He
■ supjilied much tine furniture to Madame de I'oin-
padoiir from the years 174."'i to I7-'>0, as may be
learnt fiuiu the journal of Fazare Diivaux, who
was ( 'ourt furnisher and inti'rme<liaiy at that time
belweeii Oel>en and the Mari|uise.

.\s I haM' meiilioiied, early i.ouisXIN' furniture
is uciierallv straight-silled. < )rmoulu work is, com-
pared with the later style of Louis XV, sparingly
used, and runs in lines, generally .speaking, parallel
with the nulline of the cabinet or commode which
it adorns. There are, of course, as we have .seen
on the ISoulle fniiiiluie, medallions at the tops of
central panels, and line aeantiius scrolls ending in
lions' feet below, wliile rosettes and ribands and
garlands are added. Hut, on the whole, the oiimmlu
oinament is kept wilhin the outline of the piece
of funiilure it enlmnces. Xow, ()elieii was above
all things a wood iidayer. Hence we lind that his
work is not conspicuous for a profusion of ornioulu
mounting, wliieh would have distracted the eye from
the inlay. He seems lo ha\e been the legitimate
artistic descendant of the earlier I lutch inlayers.
Their. style of inlay, as I have already pointed out,
was rather uiiiisl rained. The bold shajies of their
tulip tlowers compel attention overmuch. It .seems
characteristic of French inlaid work that it does
not usurp the main fuiieliniis of ornament. It is
kept as a i|uiet ground of a trellis ny lozenge
pattern running all over the ])ieee. If natural
objects are introduced, such as parrots or tlowers,
they are coiitined to a panel in the centre, which
is surrounded by the trellis or lozenge ground we
have deseriiied. Characteristic Louis .\1\' inlay,
indeed, is oflcn of a more simple character still, and
merely consists of the clever disposition of the
natural grain of one wood, four jiieces of veneer
lieiii" so arranged in a jianel tiiat the lines of the
grain start from a point in the centre and radiate
oiilw.-irds. There is, )>erhaps, a band of darker wood
to act as a fiaiiie fur the panel, This ipiicter
Louis Xl\' fashion of inlay seems Letter calculated
til show oil' line oinioulu mounts than that which

THE (H'KKN'S TRKASUltES OF AKT.

ir.i

Jisplavs tlowiTS ruiuiiiiL; uiM in \ai'ii)us cdlimrs.
Tlie intvicatc designs of IJonUe weiL' upon u vury
<|uiot dark gvoiuul, and avoided very large masses
whieh niiglit interfere with tlie ormoidu mounts.
The straggling foliage of the Louis XV Cattieri's
style of ormoulu is nut seen to the utuiiisl ad-
vantage on fmniture veneered all ii\er witli tlnwers.

day the steam saw was unknown. If we rememher
that N'eueer, properly laid in the first instance, has
been pro\-cd to last l.'iO years and more if preserved
from damp — wliieh is oidy a reasonable precaution ;
that beautiful etl'ects of opposition of grain are
produced by it — a thing impossible to effect in the
solid on accmnit nf warping: and that, if veneei

CABINET WITH PIETRA DURA INLAY AND EMPIRE MOUNTS.

The strong colours of the wood interfere somewhat
with the effect of the elaborate mounts. A\'e shall
find that the profuse Louis X\' ormoulu looks best
upon a ground of dark lacquer.

The process of veneering is much decried at
present by a certain class of narrow-minded de-
signers, who are all for simplicity and solidity of
furniture. Sheraton i-emarks that, in his day, " in
most cases the (oak) gi'ound, glue, and extra time
are equivalent to the expense of solid wood, except
it be to save verv rich solid board.s." But in his

were given up, many kinds of beautiful wood (such
as tulip, which is seldom more than five inches
wide and four feet long) would have to be avoided,
it will, we think, be conceded that the present
prejudice against veneer is unreasonable.

The work of Oeben is a sufficient answer to
the critics of veneer. It is difficult to imagine
anything more delightfully refined than some of
his pieces in the Jones Collection at South Kensing-
ton. They recall the warm tones of a Dutch
picture, or the fim^ amber colour of the earlier

ir,2

THE \rAf:.\/iXK OF at;t.

MAHOGANY CABINET WITH DIAGONAL VENEER.

IlalJMii mari|iietiist,s. Speaking dt' llic l)iiteli inlay
<i(' dalle ami A'orilt, Mv. Willianisim say.s, " I.cs
cniilenis vivcs sc sont fondnes ilaiis un tonaliti'
jannatic (pii nc niani|iii' \>a:< il'liiirminiir." A ic-
fcrcnce Id Hobens winU in liie .loiii'S CollecliDn
('/. Xu. 1107, 1111, 1114) will show lliat this
"general tnni' (if aiiiiier or yellow " is eharacteristie
of him. <>eljen hail married a certain Franc;oise
Marguerite van der Cruse, hy whom he had a
daughter, who married Cjiarles Delacroix, and was
the moilu-r of the c(debrated ]iainter, Kugrne De-
lacroix. When Oehen die<l — about 17()"> — his widow
continued his Ijusine.ss, and soon mail ied her " pre-
mier gan.-oii " or " eontre-maitre," tiie i)U]iil who
had long assisted Oebeii, and actually completed the
celebrateil " r.nreau du l.'oi," figureil in Mi. Willium-
son'.s book, which ( )eben had begun. Tiiis is one
of the live famous bureaux extant, one of which
by liie.sener, is among ihi' chitd' glories of liiickint;-
ham I'idace.

.Fean ilemi Ilieseiiei- was aiiotiiei of those
versatile foreigners who found iheir wmv to Paris
as the centre of art. He was born at (Jladbeik,
near Cologne, in IT-!"', and liecaine, the year after
he iimrried Oeben's widow, " maitre inenui.sier-
I'beiiiste," in ITOS. Horn in the reign of I,ouis W,
his life-work wa.s accomplished chielly in the reign
of I.ouis XW. Conseijuently there is not much
trace left in him of the parsimony of ormoulu
iiiounling which Oeben seems to ha\c had as a
legacy from the style of l.ouis .\ I \' Tiiat slvle.

ple(

as we have .seen, restricted
the metal inounts, on the
whole, within the outline;
but befoi-e the death of
Louis .\1\', the fa.shioii had
set in which was to end in
the negation of all straight
line.s, and with its splayed
curves and twisted endive
fi il iagc, to be called " liococo."
The lines of legs and table-
tops take tho.se .shapes with
which we are familiar in the
age of Louis X^'. Ormoulu
work s]ilays all over the
fronts of ciumnodes, and
colli in uously edges their
outlines. As Mr. Williani-
son ]iuts it, there is " un
lilet lie cui\re uiii epousant
loiitcs les combes de la sil-
iioiielte," and in the earlier
work of Rie.sener the.se con-
tinuous lines of bra.ss which
are " niariied to the sil-
of furniture are found to

boUette
perfection.

This new manner was perhaps due to liobert
lie Colte (lii.'iii I7-''"i), biotiier-iii-law of ^lansart,
eliief architect of Louis XIV in Hi'.)!). De Cotte
ehietiy concerned himself with tin? elaborate panel-
ling of rooms in oak or painte<l wood, out of which
the spU'iididly profuse leaf ornament is so beautifully
and lightly carved in that "style IJegence " which
succeeded the more formal fashion of Louis .\I\'.
That more jtouipoiis style, in which r>oiille winked,
was lictter suited to the galleries and halls in which,
during the palmy day.s of Louis XIV, the ever-public
life of the king and court was pa.ssed. l?iit with
the re\erses of France at the end of Louis X 1 \"s
reign, and the iiiinoiity of Lmiis .W. the way of
life liad changt'd. Privacy became '" the mode," and
into smaller looiiis a lighter, more profuse, more
delicate style was iiitiodiK ed. There is a still
greater di\orce than ever between furniture and
architectural influences in the days of Louis X\'
than there was in the reign of the luevious monarch.
If, for instance, you Hnd a pier-glass of Louis X\'
of which you are comi'clled to admit that the
.sides are straight, you will lind that the .straight
line is completely niodilied by a continuous gar-
land of flowers, which winds over the upiight
mouliliiig from top to bottom. The Cabriole leg iu
consoles, chairs, and tables, conii)letely takes the
place of the straight, tei'miiial-shapcd leg of the
severer stvle of Louis .\ 1 \'. Voii ijiiglit look in

THE QUEEN'S TREASURES OF ART.

153

vain, perhaps, for a cabinet made during the reign
of Louis XV with square, straight, tapering legs
such as those upon the little inlaid piece we repro-
duced in a previous article as having belonged to
""William and Mary." The tall clock by Le Roy,
which we illustrated in our chapter on the Windsor
clocks, has the quiet angulated veneer of Louis XIY,
but it is impossible to tind a straight line either in
its vertical elevation or its horizon till plans. It is
of king wood, and contains an elalwrate movement
" invented in ITotJ by Jnlieu Le Roy, of the Society
of Arts," thirteen years after the end of the Regency.
It is a typical specimen of Louis XV work in its
shape and the style of its ormouln mounts. A
companion barometer is b}- Ferdinand Berthoud, of
Paris, and made later. The same diagonal veneer is
found in the commode which we illustrate with a
casket on the top.

The work of Riesener is remarkable for a pro-
fusion of ormoulu mouutintr. He combined tliis

with considerable elaljoration of inlay, but by con-
fining his " picture " to a panel in the centre and
surrounding it with a trellis or lozenge pattern, he
prevented llie one means of ornament from inter-
fering with the other, and produced furniture very
sumptuous in effect. At Windsor there are several
beautiful and typical examples of his work. Most
notable are a priceless commode and its two similar
encoignures — all " en suite." It will be seen from
our illustrations that although the fronts of these
fine examples are curved so as to entail tlie utmost
possible difficulty in fitting and fixing the inlay,
and to add enormously to the expense, and al.so to
the effect, the vertical lines are straight. This
commode and its encoignures show, in fact, the
distinct characteristics of the reaction from the
perpetually curving Louis XV style, though they
have not attained tlie greater severity of late
Louis XVI work. Tliese pieces, which were ex-
hibited at the great exhibition of " Art Treasures "

INLAID COMMODE BY RIESENER.

lOG

154

THE ^[A(:AZINK OK AI.'T.

at ^[aIl(■llt'stl'l•, havf an inlay of jialo woods. The
coniiiiotlo lias two lait;i' " sliapi'il " tlrawt'is anil tliioc
small oni's in llic fianio. The two side-panels of
the front are liouiincts of flowers, such as tnlips and

INLAID ENCOIGNURE BY RIESENER.

roses in vases. The centre panel has llnwcis in a
basket, a whealsheaf, agricultural impli nionls, two
J(jves, and other objects. The end panels are in
a trellis inlay of u difl'erent kind to that wliieh is
found on the front of the two encoignures. There
is a eliarniin^' u.'<u of j^'reen stained wood. Tlic
ornionln nionnls are niagiiilicentiy niodcili'd ami
gilt. The caryatid consoles at the side, the scroll-

work of the frames beneatli the Kosa marble slabs,
the "enlot " ornament beneath the centre })anel, and
the acantlms-iraf feet, are all entirely lulmirable.
The eneoignures, mounted in similar style, have
door-jianels inlaid with trfipliies of
armour, a cock surmounting a
wreath, and other (nnaments. Each
piece has a drawer in its shaped
liaine. A commode which has some
vesenililance to the Windsor e.\amj)le
is ligiiied ("Le Meuble," l'"ig. 04,
A'ol. II.) by M. de Champeau.x, and
is in tlie Palace of Fontainebleau ;
Imt tiie only point in which the
two are exactly similar is in the
tine ormoulu mounts of the feet.
Ii'iesener could design his own brass
mounts, though there is not much
doubt that he emj)loycd others also.
A portrait of him exists which re-
presents him sitting, pencil in hand,
before a design placed npon one of
those oblong slender tables with
straight legs and a brass pierced
railing on three sides which he made
towards the end of his life. Al-
tliougii liis work shows great variety,
there are two general characteristics
which mark his style. One is his
ti'ndeucy to conline his picture in-
lay to a ]ianel in the centre of his
furniture, the rest being filled up
with a trellis or lozenge design.
Another great characteristic is his
fondness for elaboi'ate ormoulu
mountings, especially in the " cein-
lure " or "frame" of tables or com-
modes, just beneatli the top slali,
and in the "enlot" einitre ornament
oil tlie lower frame below, between
the legs. He used lnli[i, ro.sewood,
liolly, niajile, laburnum, and purple
Woods, lie was also paitial to trel-
lis inlay upon mahogany, as may lie
seen in the secretaire with Sevres
plaques and little short legs (No.
1,040) in the Jones collection. An-
other very fine piece in the .same
coiicclion is tile cupboard (No. 1,0S2) with Horal
inlay in \arious woods, and exiiuisite GouthicVe
mounts of tiie freest possible execution. Others are
the pedestal secretaire in tulip and king wood (No.
1,117), two similar ones (1,012 ami l.Oil'.v), ami a
charming little writing-table of tulip ami sycamore
(No. 1,(117). The Wallace collection jiosses.ses amost
celebrated example — the bureau made for .Stanislas,

THE QUEEN'S TREASURES OF ART.

155

King of Poland, which we shall have to compare
with the bureau at Buckinghaiu Palace. It was,
perhaps, Eiesener who popularised the use of nia-
liowany and the cylindrical-fronted bureaux which
in England degenerated into those fearful pieces of
furniture familiar to us all.

Rieseuer's first wife, the widow of Oeben, diinl
in 1776, and, six years after, he married Anne

Delacroix, who married the daughter of the widow
of Oeben, was one of the directors of the sale. Quite
possibly he bought up his owti works cheap ; and
if so, it is pleasant to think that at least it came
l)ack to appreciative liands. Thus " No. 205, Secre-
taire d'acajou a dessus de marbre (du petit Trianon)"
is adjudged "au citoyen Riesner, .':i26 livres ; " No.
2,3-10, " Une table a ecrire en bois de palixandre

INLAID COMMODE.

Grezel. "When he first married he had no resources
except his talents ; but on his second marriage he
possessed — in money, and owing for work done for
the king, the royal family, and private clients —
more than 500,000 livres, without counting his
stock-in-trade and other considerable effects. He
was in full work when the Revolution broke out.
Two pieces which were in the Hamilton collection
bear the dates of 1790 and 1791 in their inlay.
They were made for the Palace of Saint Cloud, as
was to Ije gathered from the mark put upon them
by the officials of the Garde-meuble of Marie
Antoinette. He was appointed with David, the
painter, to guide the members of the Convention
in their selection of pieces of furniture which were
to be reserved from that terrible sale described in
our introductory article. It is interesting to find
his name as a purchaser. His operations were
probably facilitated by the fact that Charles

en mosaique richement ornee de bronze dore d'or-
moulu, au Cn. Riesner de Paris, 3,240 livres; No.
2,503, Une pendule de Le Pautre, au Cn. Riesner,
4,200 livres."

But the glorious days of artistic furniture were
over, and things did not mend. In the second year
of the new calendar, on the date of the 11th
" pluviose, au II" — a terminology which makes
one wonder who was the stilted idiot that invented
it— we find our poor Riesener, in spite of having
discreetly become a "citoyen," compelled to announce
a sale of fine furniture. A large part of it comes
from the private rooms of Versailles and Trianon.
But the taste for such fine things was gone, or else
people had not time for them, and the sale had
no great success. Riesener's last years were sad-
dened by differences with his wife. They divorced
each other as soon as they got tlie chance in tlie
new order of things. He muv-ed froni'the Arsenal,

156

THE ^fAGAZINE OF ART.

where he lind continued to live on the royal con-
cession which had been made to Oeben, anil died,
at the age of seventy-one, on the 6th of January,
1806, in the "EncUis des Jacobins," leaving one
son, who became a portrait-painter of repute.

There are other fine pieces of furniture at
Windsor which mav lie attributed to the most

versatile Eiesener, " without a doubt," says M. de
Champeaux, " the first of the cabinet-makers who
lived in the reign of Louis XVI." As, however, they
are in an entirely dififerent style to that which we
have been considering, we shall reproduce them in
a later article when we review the furniture with
Sevres plaques and examples in ebony and in lacquer.

ARTISTIC "ALPHABETS."

rilHElIE is vastly more than the charin of the
JL old chap-bnoks in "An Aljihabct" (\Villi;iin
Heinemann), which Mr. William Nicholson has de-
signed with as much spirit
as originality. Those of
our readers wlio remem-
lier the design of " Per-
simmon " in our pages
last year — Mr. Nichol-
son's debut in this style
of art — will realise in
some degree the quaint-
ness, the suggestiveness,
and the artistic quality
of these apparently rough
and summary pictures.
As a matter of fact,
despite the archaism
afTected in these admir-
able designs — in two or
three colours apiece —
and despite, too, the
reticence practised, the
character of each respec-
tive subject is truly and
unerringly obUiined. "M
for Jlilkmaid," bold as
the rest, reeks with the
sentiment of the chap-
book and the horn-book.
" T for Trumpeter " is
Velasquez-like in vigour, firmness, spirit, and dignity.
The nias.ses of black are happily introduced tlinnigh-
out. Children may not appreciate all of the designs,
but there is no doubt that many of these are more
within their undcrstiinding than some of the pic-
tures of these latter day.s, wliicii, nominally addresse<l
t<i cliilili. ti in reality make their appeal to adults.

On the other hand, "Phil May's ABC; forming
two humorous alphabets " (The Leadenhall Press),
will be

a delight

THE BROKEN HEART,
(from "PHI IDay't A SC")

to old and young alike who
can appreciate fun and
humour, and who could
.see how common subjects
can lose their grossness
if but the hand that pre-
.senls them is refined. Mr.
Phil May's pen is as skil-
ful as ever, while he is
inqiorting a delicacy into
his work to a degree be-
yond what we have ob-
served heretofore. He
can render character
in the single line of a
feature, or in tlie dot for
an eye, with all his old
facility and certainty,
but he often seeks now
for something more
subtle and complete in
the rendering of model-
ling and expression.
Strictly speaking, these
"alphabets" consist
practically of groups of
guttersnipes.East-Endei's,
and so forth — without
any special reference be-
tween the art and the letters ; but they are so full
of hinnour, of human nature, of pathos, rendered
with such unsurpassiible skill and feeling, that the
.sketch almost suggests inspiration, and the volume
is worthy to stand beside any work of the young
master. A good example of the work is here
reproduced — " Tiie Broken Heart."

1^7

THE CHATEAU CHANTILLY AND THE MUSEE CONDE.

By ROBERT DE LA SIZERANNE.

THE most notable artistic event that will take
place in France in 1898 will probably be the
transformation of the Chateau of Chantilly, the
residence of the late Henri d'Orleans, Due d'Aumale,

THE DUG D AUMALE
^from the Medal bg Chaplain.)

son of Louis Philippe, into a public museum, open
to all the world under the designation of the " Musee
Conde." I say " probably," because Chantilly is not
yet in the hands of the Institut de France, to which
it was left by the Prince, and when the Institut does
come into possession next May, many months must
elapse, in all likelihood, before the public can be
allowed to visit the art collections of the Chateau
" at least twice a week," as the Prince laid it down
in his will.

But this transformation is inevitable. Here,
then, hard upon the Louvre and upon Versailles, is
yet another palace about to turn museum ! Yet
another home to become a place of passage for the
bearers of " Bfedeker " and the hordes of Cook !
Yet another lordly mansion, peopled by the shades
of some among the gi-eatest personages in the history
of royal France, and screened until now from prj'ing
eyes, to be invaded and overrun by Sunday sight-
seers ! — persons who will wake with their vulgar
talk echoes lulled of yore by the soft voices of prince
or diplomat or academician, and who will find an
absurd amusement in seeing themselves reflected
in the polished floor ! Such, perhaps, will be the
thoughts of certain fastidious partisans of the old

order of aristocratic pomp. But let them not
remain the victims of a misconception ! In opening
its dooi"s to the public the Chateau of ChautLlly will
change its character hardly at all. It became a
museum long since, and the illustrious general
who dwelt in it had long worn the air less of an
owner than of a curator. Pending the actual trans-
formation, however, that is to be, there is a certain
melancholy pleasui'e for a lover of art in sketching
out some idea at once of the treasures soon to
be shown to all and of the artist-prince now gone
for ever.

If, a few years ago, a stranger had been led,
witliout explanations, into the galleiies of Chantilly
on some Sunday afternoon, he would never have
had a doubt but that he was in a museum. On
every side he would have seen long and well-lit
halls filled with works of art, their walls hung with
pictures by the gieat masters, from Giotto down to
Eeynolds, and from Jehan Fouquet to M. Eonnat;
here and there glass cases full of gems and medals
and precious manuscripts ; beyond, examples of
antique statuary, busts, specimens of old stained-
glass designs, and tapestries arranged in proper
sequence, as though by conscientious guardians bent
on enlarging the minds of the people. After the
lapse of a few minutes the stranger would, without
surprise, have seen passing in front of him a group
of visitors — men and women of position, a score of
them, perhaps — preceded by an old man (leaning
on a stick and limping a little) holding forth in
a somewhat high-pitched and monotonous voice.
Seeing this old man with the sparse white " im-
perial" and with hands dreadfully disfigured by gout,
dressed in black and wearing in his buttonhole
a great red rosette of the Legion of Honour, the
stranger would naturally have taken him for some
old soldier, some pensioner appointed to the guardian-
ship of the museum. This assumption would have
been confirmed had he listened to the detailed but
stereotyped explanations given by the cicerone every
now and again as he raised the thick end of his stick
towards some masterpiece which called for admira-
tion, and had seen him then, his explanation ended,
proceed upon his way with the air of a man who
has carried out conscientiously his daily task by
stages that have been mapped out beforehand and
admit of no modification. The group would follow,
silent and admii-ing, without understanding very
clearly, without attending very closely, and not
differing, therefore, very much from the ordinary

loS

THE MAGAZIXK OF ART.

tourists to be seen making their way through any
of the museums of tlie world. From time to time
the words of the guide would be followed by a
try of admiration uttered confidently, to which,
liowevcr, he paid no attention. Then the whole
parly would be lost to siglit in tiie distance, at
the end of the galleries, wiio.se Hooi-s, like mirrors,
become peopled with reHections. The uncertain
footfall would die away, the monotonous voice
become inaudible ; and never fur a moment would
the stranger, thus distracted from his mediUitions
on art, have formed the idea that these people he
had seen were tlie guests — often the illustrious
guests, generals, academicians, masters, great per-
sonages from all countries— of the guide who had
preceded tiiem, and that this guide, victimised l)y
gout, was the greatest princely figure contemporary
France had ever seen, the Maecenas of the great
sculptors of his tinie, the author of the history cif
the Condi'-s, the fortunate soldier wlio at twenty, in
his devil-may-care fashion, by a wild heroic charge
at tlie liead of tive hundred weary cavaliyincii, had
routed the " Smalah " and five thousand fighting
men of Abd-el-Kader.

Every Sunday, in tnilh, ihe Due d'Aumale re-
ceived a certain number of his friends at this spot,
" situated on the confines of France, ten leiigues from
Paris, and one from the town of Senlis;" and the
wliok- reeei)timi tiwk tlie form of a di.ssertatioii
on war and un ait, in the midst of trojjhies and
masterpieces. When the guests arrived they were
shown into the Salon, decorated by Huet, and in
which the I'lince was to be found, engaged in a
discourse uiion the friezes, imitations ascribed to
Walteau ; or else, perhaps, into the Galerie des
Batiiilles, where he would l)e pointing out the
pictures by Martin representing the victories of the
grciit Conde. In tlie middle of this gallery was
to be seen the portrait of that hot-headed and
troublesome hero who for eight years had fought
against his king, and who, we see, in token of
remoi-se, has torn some pages from the book of his
life; these pages have fallen to the ground in front
— but on them, in l)ig l(;tter.s, easily deciphered, are
to be seen, carefully in-scribed, the names of tlie
victories ("onde has gained in the eour.se of his
rebellion, and whicli he is ready indeed to deplore,
but not to allow to be forgotten ! From tlie.se
salons one pas.sed to the gi-eat Salle des t'erfs, made
one's way under the adiiiiral)le Uijiestries of Van
( »rley, and took one's seat at the table placed under
the mantelpiece, decorateil liy liaudry with a " Cha.s,se
de St. Hubert " — in which it came as a surprise to
one, in the midst of ilu> meal, suddenly to recogni.se
in the tiaiutly hunter M. le Due ile Chartre.s, and, in
a round-cheeked, ro.sy-hued, fair-haired .s(iuiie, the

young Duke of Orleans. The dijcuner over, the
picture-gallery was resorted to. Tiiere the Prince
seated himself, drank his coftee, filled and lit his
little briarwood pipe, and began to describe the
marvels liy which his guests were surrounded. All
around were paintings of the French .school of this
century — paintings full of movement, for the most
part, spirited, lavish of sport and war, whether in
Africa or the East; ]5as!ii-l?azouks by Decumps,
caravans by ilarilhat, hawking scenes by Fromentin,
and the ^^('//V.s rhasseurs of Vincennes, by Protais, as
seen both before the fight and after. They were all
so many illustrations to the memories the Duke
would unfold. He spoke of the wars of the First
Empire, and we looked up at "The Plague-Stricken
of Jafifa," by Gros; or of the Algerian expedition, of
tiie most brilliant episode in wiiich — the tiiking
of " Smalah," rich as a treasure and elu.sive as a
mirage — he had been the hero, and one's g;ize
was turned at once upon tiie delicate productions of
Fromentin ; or he would speak sadly of the engage-
ments of 1870, and all eyes were directed towards
Neuville's " Combat on the IJailway-line." Or did he
refer to the ehtsseurs a pied, about whom lie had
written in former days, there they were in tiie
paintings of Protais. On one occasion he had
pointed out a drawing by Detaille in which he
himself was depicted leading a cavalry charge, with
a few riders ahead of him, liut the bulk of them
behind ; and on the beauty of the drawing having
evoked expressions of admiration — " Yes, yes," he said,
" it is very beautiful, but it is not accimite. When
I cliarged I had nobody charging in front of me."
Ill the midst of tlie smoke-clouds ditTii.sed by his
little pipe, the old soldier-prince seemed to live over
again, delightedly, the days he had had the good for-
tune to pa.ss before the eiieniy's fire : and in those
blue eyes of hi.s, so infinitely kind and sad, one could
read his regret that there had not been more of
such days for liim to live. He thought mournfully
on all the bailies llial lia<l been fought, irilhinil him,
in France, while be iiiiist stand siside, quivering
with impatience, and .see himself refused, for that
he was a Prince, tiie right to tread his country's
soil — in her defence ! Then lie would place his pipe
upon the table, rise to his feet, and, that he miglit
shake oH' these painful niemories, resume his pro-
menade among the works of art he had gathered
round him. Wiieiiever he came to one of iiis own
]iorlrails, all of them by masters of the modern
French school, one found oneself comparing the
head that spoke with Ihe he id that the painter or
.sculplor had produced. Turn by turn, he was to be
seen represented as a chilil in a garden, by Tony
Kobert-Fleury ; still as a small boy, by Winterhalter;
at nineteen, as Colonel of tiie 17th Light Cavalry,

THE CHAtEAF CHAXTILLY AND THE MUSEE C'ONDE,

1.-.9

by Eaffet; ivs Marechal de Camp, by tbe same
artist ; by M. Bonnat, as a General of Division in
command of a corps d'armee ; the bust by il. I'aul
Dubois, to be seen at the end of the gallery, should
also be mentioned : and, finally, that profile portrait
on the medal, executed by M. Chaplain for the
Institut, with which one could compare his features
as they were in his later yejirs, and in which, indeed,
the Prince seems to live again (see p. 157). From the
purely critical and a?3thetic point of view, a series
of opportunities for comparison was thus secured
of uiestimable value, for it Ls seldom they are tlius
afforded in the presence at once of the model, the
works, and the workmen themselves. One portrait,
however, was lacking — that by M.Benjamin-Constant.
It coidd not long figure in the collection at Chantilly,
having been finished very shortly before the opening
of the Salon of this year, and when it returned from
the exhibition, the Due d'Aumale was no more.

The story of this portrait is a curious one. None
of the likenesses of the Due d'Aumale quite satisfied
his friends, and, in truth, whenever the royal guide
pjvssed by these pictures, one could not but contrast
the dull and commonplace aspect of the paintuig
with the bright blue of the mobile, alert eyes of the
Prince — that quality of blue which was peculiar to
his family, and whieli prompted the remark of the
Comte de Paris on his exile's death-bed, when
speaking of his son : " In the eyes of D'Orloans I
seem to see the sky of France." il. Benjamin-
Constant was eager to make his attempt, also, at
achieving the impossible, but those blue, ever-moving
eyes were soon to be his despair, and there went the
round of the studios of Jloutmartre a story about
the woes of this eminent and amiable artist hunting
among all his colour-tubes for " the blue of the
eyes of the Due d'Aumale."

His first idea had been to depict the Prince in
his library, standing under the bust of the great
Conde, with his hands in liis pockets to hide the
great disfigurement produced in his fingers by the
gout. He abandoned this idea, however, and painted
the Prince, as is known, sitting on a bench in the
garden, on his return from a walk, wearing gaiters,
his head bare, his hands disguised in great fur
gloves — the whole figui'e standing out in relief from
a Ijackground of foliage a la Gainsborough. " Mon-
seigneur," he said to his subject, " I want to paint
you for the populace, for the masses who throng the
Salon, for the Sunday crowds." Thus it was, indeed,
he appeared to his visitors tired, his shoulders bent,
but his spirit ever ardent and on the alert, simple,
hearty, and infinitely bright. Eeceiving a visit one
day from Mme. Benjamin-Constant, who is the
daughter of Emmanuel Arago, he told her of an
umusini; conversation he had with the illustrious

Fi-anv,ois Arago at the Tuileries in the time of Louis
Philippe. " Arago was wearing his dark gi'een
coat " — members of the Institut dress in dark gi-een
from head to foot on occasions of great ceremony —
" and I being ten years old," so ran the Prince's
story, " and being audacious enough for anytliing,
a,sked the illustrious savanf how he came to be thus
attired. ' Because,' he replied, ' I am extremely
fond of parrots, and do all I can, therefore, to look
as much like them as possible.' "

Eecalliug these stories and a thousand others,
the Prince would make his progress through the
galleries, followed by his ever-gi-owiug fiock of
visitors. Among them there were always some
old generals who, in front of a Giotto or a BotticeUi,
would exert themselves to conjure up some senti-
ments proper to High Art ; and artists who would
declaim with warmth concerning cavalry charges
and firing at long range. And these things set one
thinking of the twofold physiognomy — the soldier
and tlie lover of letters — of the great figure whose
shade haunts the chateau —

'• Le grand Conde pleurant aux vers du grand Corneille" —

and whose portraits by Juste d'Egmont or Teniers

the yomiger (and the bronze by Fremiet) greet us

at every step, as we pass from room to room.

Simultaneously with the.se memories, there

appeared before us on the walls a series of ad-

miral)le works by the greatest men who have ever

held a brush. There was the " Mystical Marriage

of St. Francis of Assisi with Chastity, Poverty, and

Humility," by Pietro di Sano, in whicli you see, on

the earth, near the walls of Portiuucule, a great

expanse of green stretching out behind, the monk

affiancing himself with the three Virtues — with

their long, slender fingers and in their long robes —

and, if you look again, in the sky, these same

Virtues winging their fiight. Poverty turning her

face tiie while towards the .saint once again. This

strange bride,

'■ a cni, com' alia morte,
La porta del piacer nessan disserra,"

is ascending in the air and treading the azure with
her feet, conscious that she has no place in a world
wliere she has found with difficult}' a single suitor,
and where in all likelihood .she will not find a
second.

There, too, was the " Belle Simonette Vespucci,"
by Pollajuolo, with her high, bulging, somewhat
bare forehead, surmounted by clusters of pearl-
besprinkled locks thrown backwards, her white
profile broken into by the dark thunder-cloud behind,
lier face full of sensuality, and as tliough revelling
in the cold touch upon her neck and naked breasts of
the snake in enamel, twisted, as it were, into a living.

ItiO

TIFK MAOAZINE OF AIIT.

liissing rope. And there was the " Vierge f Jlorieuse "
of Perugiuo, painted for the church of St. Jerome at
Luc4ue.s, in which tlie traditional lion places his
hejivy paw on the cardinal's liat : there, the panel
of a ciisKont painted hy l-'ilippino Lippi, in wiiicli
you see the old king Ahasuerus on liis tlnone, in
almost as deep a .sleep as is he in Burne-Jones's
" Hriar IJose," and yet this king is receiving Esther
in ids Ix'st style, siie bowing to liini modestly, while
the eunuchs move oH' tlie other beautiful young
women of the kingdom, who are marvelling at these
beautiful porticos built by the Medici, ami at that
distant coiiih- in wliicii they are keeping holiday
in the Florentine fashion; and thei'e, the "Three
Graces " of IJaphael, a quite smidl j)icture, a pretty
piece of .symbolism, in which eacli of the three nude
women holds in her hand not an apide but a sphere
of gold, emblem of the world over which she reigns.
Opposite this the Due d'Aumale would stand still
and point out that the three figures represented
woman at the three ages which corrcsjiond with tlie
principal pha.ses of lier beauty. Tliere, liiially, was tlie
" Vierge de la Maison d'Orleans," by Uapliael, thus
entitled because it was in tlie gallery of tlie I'alais
lioyal so far back as the eighteenth century. The
Virgin is simpler and more humble, is surrounded
by commoner objects, than in any other work by the
same nuxster. This picture was sold for 1 2,500
francs in 1798, for 24,000 francs in 1843, and
finally repurchased by the Due d'Aumale in LSlii)
for ir>0,000 francs.

Xe.xt, we passed before that grave ami frigid
l)ortrait, attributed to Iioger van der Weyden or to
I'go van der Goes, representing tlie strange "(Jrand
Hatard de Bourgogne," the valiant warrior who, having
siifrereil himself to be taken prisoner by the I)uc de
Loriaine, was sold by the latter to Louis XI for
10,000 crowns. On his bead is a wonderful black
felt hat, cylindrical and iiigli, similar to the horrible
stove-pipe all'air we wear to-day, the centenary of
which wc celebrated last year. Of this portrait, it
is said, there are replicas or copies in the Orcsden
Museum and in the SLall'ord collection in London.
The " (Jrand Batard," in tliis picture, has the intract-
able, inhiispitable air which .seems to be promised
by his motto, " Nnf iic k'i/ froth:"

A long stay u.sed to be made in tin- room that
was devoted to the forty small jdctures by one of
the gi'eatest of our old French painters, Jelian
l-'ouijuet, that is to .say the miniatures detached from
the "Heures" of Ivstienne Cavalier, jiainted in tiic
middle of the fifteenth century. It was an amuse-
ment to note the delicious anachronisms in these
latter— the "Annunciation" taking jilace in a Gothic
cliurch full of statues of the saints, to whom tlu;
Virgin is j.raying; the representation of the

"Adoration of the Magi," in which Charles VII,
surrountled by his (jrand' garde, plays the rdlc of
the Magi Gaspar, and in which, lest so exalted a
personage should soil him.self, a cushion lias been
placed under his knees, and under his feet a fine
carpet embroidered with Jhur-dc-li/s; and then the
picture of poor Job, whom his friends seem in no
way astonished to see sitting on his dunghill at
the foot of the prison of Vincennes !

But the modern French school claimed even
more attention. The gaze roamed over the ceiling
painted by Baudry — "The Rape of P.syche " — a
deliciously-veiled " Matinee " by Corot; the famous
" L'Assiissinat du Due de Guise," by Delaroche ; a
replica of the " Malaria," Hebert's first success ; two
masterpieces by Ingres, the " Stratonice " and the
" I'ortrait de Mme. I )avau(;ay ; " " The Two Foscari "
of Delacroix ; the " Turkish Children by a Foun-
tain " of Decamps. The whole of the romantic
school and part of the great school of landscape
painters are represented there, to greater or less
extent; and a visit to the Musee Conde will certainly
be as \aluable as a visit to the Louvre to anyone
who would gain an idea of the French school of the
nineteenth century. The Prince did not conline
himself to the works of the great painters who are
dead. He gave many orders to living masters, en-
couraging young sculptors, as he did, for instance,
M. Tony Noel, for whose earliest works he paid a
price far higher than had been agi'ced upon. Another
picture to be seen there was the "Jeanne d'Arc" of
Chapu. As we made our way round the gallery on
one occasion, we talked of how the lievolution of
1780 had destroyed the treasures of the Cliantilly
of those days. How many statues of bronze and
lead had gone to the making of artillery ! Tliere
was a group by F'alcoiinet, " L'Amour ct Ic Silence,"
which disappeared, and was believed to liave been
converted into cannon — a singular touch of irony !
Love and Silence transformed thus into a symbol
of Xoise and Hate !

By the end of a couple of hours tlu' royal vinronc,
tired by his exertions, would have regained his
library. There he would sit down again by a table,
littered with books, newspapers, and reviews, and
would proceed to refill his jiipe. His white head
was seen, thus, surmounted by the dark bead of the
great Conde. Tiicii, his guests took tlieir leave of
iiini. Descending to the court where the carriages
were waiting, we looked out again on the calm
horizon, on the expanse of wood and lawn and lake,
stretching out in lines sim]de and maji'stie as a
tragedy of Kacine. And now, in turn, (piite near us
or far oil", we saw the eqiiesliian statue of Anne de
Montmorency by M. Paul Dubois, the statue of
P.ossuet by .M. Guillaume, that of Li lb uyi'ie by

THE KEL'EXT IllISH TEXTILE EXHIIUTIi ».\.

KJl

M. Thoiuixs, of Le Notre and Molieie by ]\I.
Tony X'ot'l, and of Conde by Coysevox. We heard,
too, the fountains — fountains which were singiug
tlie same song already in the ears of Louis XIY,
and which sobbeil through the oration of Bossuet
at Conde's burial. The can-iages crossed the moats
at full trot and, traversing the wood, reached at
last the station. In our eyes we retained a twofold
vision — the vision of warlike and royal monardiy
grown old and worn, and the vision of Art, young
eternally.

To-day silence reigns at Chautilly. The tribune
of the Salle des Cerfs will resound no more with the

blare of trumpet. The arms of bronze thai .stretch
out from the walls to hold the torches in which
gas-jets shone brightly in the guise of Jleurs-de-lys
will illuuiine no more the whitened head of the old
Prince. None will go now to Chantilly as to a place
of royalist pilgrimage or as to a soldier's sanctuar\'.
The pilgrims that the train will discharge upon the
station platform will be more numerous, they will
be of every party and every race; the pilgrimage
to the Musee Conde will be one of those in which
all the creeds, religious or political or social, blend
and are forgotten in a sentiment more wide-em-
bracing — it will be a pilgrimage of Art.

"i^^K JSciw

'>e3^L*-

r:«Trfr«t'^^^

1 - « c B ~~ =15"=^

CHANTILLY : THE CHATELET.

THE ART MOVEMENT.

THE RECENT IRISH TEXTILE EXHIBITION.

FOR some yeare past an industrial revival has
been taking place in Ireland, but of its extent
and importance few people had any conception, until
the end of August, when the Textile Exhibition,
organised by H.E. the Countess Cadogan, was opened
in the Eoyal University Buildings, Dublin. Though
the Irish Industries Association has expended time,
money, and infinite patience in fostering old and
promoting new industries, the results of its efforts
were only locally known, and the recognition of
Irish dexterity and skill by the public of Great
Britain and other countries was still a longed-for
but unaccomplished fact.
107

It needed the energy of Lady Cadogan and the
practical co-operation of her committee to focus all
the isolated industrial efforts, and to present them
to the public in an exhibition which, if up to the
present unique in Dublin annals, will, it is hoped,
be repeated at no distant interval, and on a larger
scale.

No longer can it be said that tlie hand of the
Irish lace-niaker has lost its cunning ; on the contrary,
several famous specimens of old Limerick and
needle-point lace ill bore comparison with recent
efforts. In almost every instance the superiority of
the new designs was apparent, this being due to the

\&2

TIIK MAiiAZINK ol' AI!T.

to-oinT!iti>>ii of llie Scieuce ami Ail I )ri(iinineiit lace sclmol al ("lossmagk-ii lunis oui nmdi Ki-aiiti-

(Soulh Keiisiiij^toii) with the Irish Indiistrii.'S Asso- fill work.

elation, liy whitii means a constant supply of new In the Inishinacsaint, or raised point lace, some

of the most beautiful
work in the exhiliitiDii
was fouiul. So like is it
Id Venetian rose point
liiat it needs an expert
lo discover the diller-
enee : except when the
suhjeet of priee is
mooted, and then the
Irish laee is found to
be very much cheaper
— a somewhat curious
fact when it is remem-
bered that the cost of
liviiiLj ill Italy is in.
tiiiilrly less Llian in tliu Kmerald Isle.

Si. Joseph's IndiisLrial Sclmol, Kin.sile, showed
some good Limeiiek luce, and St. .lohii's Industrial

conxents, where tlie lace-workers receive their School, Hirr, several fans, pocket handkerchiefs, and

CARRiCKMACROSS GUIPJRE.

and really artistic designs are h'lit to thi- \aiious
centres, and grants are made foi tin' juodiutioii of
trial jiieces. The best lace comrs from the large

training, often continuing to work under tlie iiuiis,
though some undertake orders in their own cottages.
A fan of Irisii point made at the I'lcscnlatinn
Convent, Youghal, was a beautiful exaiii]ili\ lioth in
design and workniaiisliip ; the festoons of flowers
connecting the medallions were exiiuisilely woij^ed.
ami the centres of the medallions wcir liljcd in willi
the very finest diaper designs. From the same
convent came notable .sampli-s of ))oint lace co])ie(l
or adapted from the tiiifst old lli iisscls and Italian
])oint. A deep tiounce of run lace from the conveiil
of the Good Slie]iherd, Limerick, is considered the
best specimen of
this lace exlaiil :
many other ex-
amples from Linie-
rifk were shown,
including \'al('iici-
ennes, which has
only lately been al-
tcmiited in lielaiid.
Till' r>atii and
Shirley School's
exhibit of C'ariick-
luacross lace was
remarkably line,
and a vast imiir(jve-
meiit in the designs
u.seil was notice-
able. Another im-
]iortant exhibitor
of this lyjiical
Irish lace was Mrs.
l)onaldson, whose

flounces of point lace of exquisite ipuility. Oilier
notable exiiibits were those of Jlrs. ^'ere O'l'ricn,
the convents at Kin.sile, Keiimare, New Ko.ss, Airs.
MacMorrogh Kavanagh, Miss Keane ((Jreek lace),
and the magnificent ca.ses of the Irish Industries
.Vssocialioii, containing lace from every centre in
Ireland, all of wliicli, il is pleasant to record, was
sold on the first day of the exhibition.

Tile display of Clones guipure was excellent.
This essentially Irish production is a fine kind of
crochet, closely resembling the old raised N'enclian
point, from which the designs are generally adapted.

HANDKERCHIEF IN YOUGHAL POINT

THE RECENT IRISH THXTILI' KXII I I'.ITK )N'.

li;:!

Fiisliion hiiving recently
fiivouieil luces of heavy ami
decided style, this <;iiipure
has found a ready market
liotii in London and I'aris.

Tlie embroidery sections
were extremely interesting,
and it was difticult for visi-
tors to realise that much of
the most beautiful silk work
was executed by peasant
girls in their own cottages.
Naturally tlie exiiibits of the
Royal Irish School of Art
Needlework, Viscountess
Duncannou's Garry Hill
classes, and the l>elfast School
of Art Needlework take pre-
mier place. The first-named,
in addition to some large cur-
tains, replicas of the seven-
teenth and eighteenth century
designs, .showed .some charm-
ing work on white satin, the mofifs being chiefly
of the Empire period, and most suitably applied to
the decoration of fans. Mrs. Dalison's work was
very good, notably a large piano-cover, decorated
witli a floral design : the entire background being
worked in white silk formed a wickerwork pat-
tern. Several needlework pictures were likewise invariably good.

commendable. In bold, striking work nothing could White embroidery and " sprigging " belong

compare with the large portiere shown by Miss Terry, more properly to the " Linen Section," which, though

the most important, cannot
adequately be commented
1 in. The improvement in de-
signs for Irish damask is of
world-wide importance; and
now that the in.signiticant,
niggling patterns of thirty
and forty years back have
lieen cast on one side,
naught l)ut praise can be
accorded tlieir successors,
wliich include classical
(Ireek motifs, Pompeiian
designs, and adaptations
from the Dook of Kells ;
and certainly notliing shows
to more advantage on the
surface of a damask table-
cloth than the "Kells
Beastie " in various pos-
tures, or the interlacing pat-
tern which was tlie Celtic
representation of eternity.

LAPPETS IN CARRICKMACROSS APPLIQUE. AXXIE B. ilAlU'lHE.

COLLARETTE, CLONES CROCHET GUIPURE

Crawford School of Art, Cork. Amidst effectively
coloured foliage, magniticent peacocks, half-life size,
disported themselves, their gorgeous colouring lieing
well thrown up Viy a dull russet green bacl^ground.
In ecclesiastical work originality of design was
somewhat lacking, though the workmansliip was

THE AFAiiAZIXE OF ALT.

ECCLESIASTICAL EMBROIDERY.

SOME beautiful examples of needlewurk, of whicli robes of the Virgin beiiij; \Aw and ruil. Tlie angels,

a series of alUiv frontals for tlie new eluirch areliaic in type, are worked in gilt tiiread, and the

of St. Mary at Sledniere, now being built from roses in dflicate pink. Tlie shields along the top

the designs of Mr. Temple Moore for Sir 'i'atlon havt' a blue ground with gilt oruiiment, and the

Sykes, were tlie principal features, have lately been fringe is pale green and gold, .\notlier frontal of

ALTAR FRONTAL.
(Designed by TL'mtih' Moorv, Executed by Measrs Watta and Co.)

e.xecuted and e.xhibiled by Jlessrs. Watts and Co.
The one which wo illustrate is a most ornate piece
of work, delicate in colour and texture, and very
etlective as a decoration. Worked entirely on a
white ground, the colours of the embroidery are
charmingly blended and harmonised. The centre
jjanel, containing a representation of the Virgin
and ('hild, as the most important part of the tlc-
eoration is executed in the brightest colours, the

a red ground, with blue .shields and conventional
roses in gold, when complete, will form a work
of great richness. Two other frontals for side
chapels ai'e executed, one in tapestry nf liliir
ground and gilt ornament, and the otlici- witii
the same decoi'ation on a red ground. Still an-
other is of blue and wliite tapestry of excellent
design. The wIidIc wimc designed by Mr. Temple
Moore.

NOTES AND QUERIES.

[.S.SJ WHO WAS 0. LUCAS?— 1 have in my pos-
.se.ssion a pair of oil paintings by (). Lucas of nude
ligures(18 inciics by 24 imhes). Will you kindly
inform me if he is a prominent artist, as the pictures
are so well executed ? — W. C!inB.s (Old Marki't
Street, IJiistol).

,*, O. Lucas was certainly not an artist of
jirominence, nor Jire we aware of ever having .seen
any works by him. The artist-family of T-ucas
is, of course, widi known, and tlicir wurks, for the
most part, stand high in the estimation of Ihr
connoisseur. Jiut no ])ainter with the initials
given had ever contributed, up to 18!).'?, to any
of tlie leeognised exhibitions held in London.

[S!)J REMBRANDT'S ETCHING OF UYTENBOGAERT.—
Is liembrandt known lo liave painted rytenbogaerl,
and where is the original if existing :' ! have a
small oil-picture on panel, apparently contemporary,
which in all main re.spects agrees with tlie etdiing.
— T. (Cardill).

„*,j .Ian l'ytcnl>ogaci'l (or lijienborgacrd —
written " ^'vtenbogardus " on the Goltzius etch-
in'') was the ^reat liciiionstrant Miidster and
active theologian of Kcmbrandl's day, whom
lacob Backer painted, the portrait being to this
day shown in the Municipal Orphanage of the
Kalvcrstraat. When liembraiult made his etch-
ing in l(i.!."i (Bartsch, 27ft; Middleton-Wake,

NOTES AND QUERIES.

105

114; Wilson, 281) liis sitter was seventy-eight
yeai's old. Xow, there is a painted portrait of
Uyteiibogaevt, or so believed to be, by Eembrandt
at the Stockholm ]Museum (No. n85 in the cata-
logue), probably painted in ICoo. This is a half-
length life-size picture called " Portrait of an
Old Man," which used to be in the Adolphus
Frederick Collection. Uut the master sometimes
painted small oil sketch-portraits of persons he
was about to etch, as in the case of the study
(belonging to il. Bonnat) for the Burgomaster
Six, so that it is not absolutely impossible that
our correspondent has an original study. This
Uytenbogaert must not be confounded with the
Treasurer of the States of Holland (known as
" The Gold-weigher" or " The Treasurer "), whom
Kembrandt etched, and of whose country-house
he also made a plate in 1651, known as " The
Gold-weigher's Field." It was to the latter officer,
and not, of course, to the theologian, that Eem-
brandt so urgently and so pressingly applied for
the moneys due to him for official portraits, when
the instalments fell due for his new house in the
•Tewisli quarter. — S.

[90] SCULPTURE. — "Would you kindly inform
me the subject and origin of the group of statuary
of which I enclose a rough sketch, and, if practicable,
the present location of tiie original ? — ( '. B.

^*, The gi'oup is entitled " The Eape of
I'olyxena." and is tlie work of a modein sculp-
tor, Signor FedL It is in the Loggia dei Lanzi,
in the Piazza della Signoria, Florence, and was
erected in l■'^'Uj. Imitations are often sold.

[91] COPYEIGHT AND ART SCHOOLS. — Is it lawful

for the students of an art school to copy vithovf
permission, for exhibition in fhir own roomf, any
pictures which are freely circulated or published —
such as " Bubbles," " Long Bill," etc., appearing in
various Christmas numbers ? — Nemo.

^*3, Copyright is the right to copy ; and,
whether published or not, a copyright work
had better not be copied, even for the innocent
purpose named by our correspondent ; for, though
the intention may be innocent, the result may
eventually be damaging to the owner of the
copyright. It is not difficult to imagine the
students of the art school referred to all making
excellent copies of " Bubbles " " for exhibition
in tlieir own rooms ; " liut who is to guarantee
that these pictures will stay there and that they
will never be seized, say by a landlord, and thus

tinil their way upon the market ? The best
way is to avoid all copyright works. E\en the
National Gallery contains some copyright pic-
tures, for we have not yet reached the point
attained abroad by which a picture loses its
copyright as soon as it is Ining permanently in
a public gallery or museum.

[92] "THE CASCADE," BY J. RUYSDAEL. — Have

you ever seen the original painting of "The Cascade,"
by .T. Euysdael, engraved in the Ar/ Journal, 1852,
on page 183 ? It is there stated "that we have
no clue as to where this picture is, nor can we oir
referring to Smith's catalogue find any description
of it." I have a painting by J. Euysdael, which
is like it in every detail, signed thus — [signature
copied]. I am certain it is the picture they have
engraved in their Journal. Could you tell me if
you ever came across this picture and who it
belonged to ? I have written to the Art Jourmd,
but have not succeeded in getting any light on
it, nor even ascertained where the engraving was
taken from. It is painted on oak, eighteen inches
by fourteen inches, and it is in good preservation ;
evidently been taken care of, carved frame, and
covered with glass. — J. E. Symox.s.

^*^ It is impossible for the present writer to
give any positive reply — though other readers
of this Magazine may be acquainted with the
picture. That this is one of Euysdael's Norway
pictures there is no doubt, painted under the
influence (in a sense) of \'an Everdingen. It is
probably, but not certainly, the picture in the
Antwerp Museum w^hich was acquired at the
Hodston Sale at Amsterdam in 1871^ for 58,000
francs. That jiicture is not in good condition.
But it must be remembered that Euysdael re-
peated himself a good deal in his Norwegian
pictures and painted a vast number of " cascades;"
liut a picture signed as the querist says it is,
may as likely as not be the original or a replica.
It depends greatly upon the intrinsic (juality
of the picture. The glass is against it.

REPLY.

[8li] PICTURE BY T. WOODWARD, — Colonel Malet,
of 12, Egertou (burdens, writes : " The picture by
T. Woodward, entitled 'A Tempting Present,' is in
the possession of my brother-in-law, and I have the
same subject (also attributed to this artist) in water-
colours. If 'H. A.' cares to write to me, 1 shall be
pleased to show him my drawing."

SCENE FROM MR. FORBESROBERTSONS REVIVAL OF "HAMLET-; ROOM OF STATE IN THE CASTLE.

{By Hatoes Craven. By Courtesy 0/ the Nassau Sttam Prtss.)

THE CHRONICLE OF ART.— JANUARY,

Art in the \1/'ITII the advance of autumn a goodly
Theatre. } > j,^,,p ^^f stage productions lias riiiened
in theatrical tiehls, and here and there one may glean
evidence of an artistic appreciation of possibilities. In
the happily-named White Henthn; at Drury Lane, a
plea.sant suggestion of rising mists on " the moor "
and a suital>le employment of the hydraulic lift in the
scene of " Houltcr's Lock " may lie noted ; hut in lioth
pictures Mr. H.\uker's growing tendency to a coarse
technique is to he deplored. The rest of the scenery is
contriliuted liy Messrs. ("aney, Perkins, and I'ui'ce-Smitii,
and perhaps the most convincing .scene of the play is that
of the divers and the sunken yacht, with an admirably
contrived effect of real fi.sh looming vaguely amidst a tangle
of wreckage and sulnnarinc growths — a subject difficult to
realise without risking compnri.sons, here skilfully avoided,
with effects familiar in pantomime. The Sloik Exchange
scenes are satisfactory and unc.xaggerated. and the final
tableau of "the Costume Hall ' — reviving the splcmlonrs
of a recent notable Society function — is commendably
dignilied in treatment. The Balter,seu Park scene is less
successful, and one of the interiors shows a wall-decor.i-
tion (1) needlessly crude in colour and design. At the
Adelphi the Wellington drama. In the Dai/.< c</ Me Didr,
present-* a .series of curiously uni><|nal scenes by .Mr.
Hmikoimi. His best iiictnre is that of the prologue, with
the sunglow on the distant Himalayas a capital snggc.ilion
of height and distance. "A H>istelry near I'lymouth " is
unatmospliciic anil reminiscent of ".Skelt," whilst his

"l)nchcssof Richmond's Ball'" sets all accepted tradition
at defiance. The closing picture, from the brush of Mr.
Harkku, of the "Field of Waterloo" gives us a sky of
unusual accomplishment. The mounting of ^fr. Furbes-
Kobertson's revival of Hamlet at the Lyceum scarcely
touches the high-water mark of distinction, and some of
the costumes — those of Horatio and other courtiers, for
instance— are singularly unpleasant in colour and device.
The scenery, if fairly adequate, certainly does not represent
Mr. Hawks Craven at his best. His " Hooin of State
in the Castle," which does duty for the greater part of
the play, is well composed, and lacks the mannerisms that
mar the " Orchard " set of Act IV. A promising effect
of dawn over the sea at the close of Act I is disajipointing
in its deveiopuKMit, and the churchyard .scene is tame
anil conventional. A new version of Ltt Prrivlmle at the
Garrick Theatre hius attracted attention, but neither the
sccnciy by .Messrs. SroNii ami HliKs nor the dre.s.ses
designed by Corneli.i call for detailed criticism. Hotli are
on accepted lines, and reveal no new iierception of colour
or comjiosition.

With reference to the article upon the

Ha^rowTchooI."' <^'^i<-'l>i"K of drawing at Harrow School
which apjiearcd in our November num-
ber, we have received with .some surprise from .Mr. .Ani.l-rrr,
the honorary director of the lioyal Drawing Society, a
protest against our u.se of the word "exjiL'riment " in
describing the teaching adopted by Mr. 1v;ert<>n Hine.
Mr. Alilctt a-snres US at some length that such teaching is

THE CHRONICLE OF AlIT.

ICi

no experiiueut, and that he himself has used it in connec-
tion with the operations of his Society. No doubt. We
never intended to suggest that memory drawing and so
forth were an invention of Mr. Hine's, or were being tried
for the first time. In referring to this teaching as a "novel
experiment, " we meant — as surely the vast majority of our
readers must have understood — that the system was an
experiment as applied to Harrow School ; nor do we
injagine that the Itoyal Drawing Society itself would claim
any monopoly in the initiation of the system. This Society
is doing good work, but credit should not be grudged

much to be doubted whether as a whole it does itself any good
in permitting so considerable a proportion of its members to
exhibit '■ works " not only incomplete but to a sad extent
unaccomplished. When the Society began there was some
attempt to admit only miniaturists of a certain proficiency,
but it appears that .since that time no sort of test is
applied or standard exacted. The exhibition of maiden
or very early efforts can have only one result — the ad-
vertisement of the worthlessness of the Society's diploma,
l^pon the roll of members are two or three miniaturists
of distinct ability, even though some of them appear far

THE NEW ART GALLERY AT READING. (See p. 16S.)

to others who are helping forward the cause of art educa-
tion. We are glad to hear that, as a consequence of our
article already referred to, the headmaster of Up])ingham
School has decided to follow the example of Harrow, and
that Mr. F. S. Eobiuson has been appointed art master,
charged with carrying the scheme into effect.

The new President of the Royal Water-
PUW^S Colour Society, in .succe.ssion to Sir .John
Gilbert, was finally selected on the evening
of November 30th. Thirty members out of the nominal
forty assembled to vote, and considerable feeling was
shown. Professor Herkomer, the energetic Dei)Uty-
President, was for some time jiast considered certain of
election ; but latterly an objection took root that he was
not a naturalised Englishman, and the vigour of his efiforts
in favour of the Society were interpreted as "autocracy."
The ballot resulted in a tie— fifteen for each candidate.
In the second voting one member spoiled his vote, and
Mr. Waterlow, A.R.A., the admirable artist both in oil
and water-colour, was elected.

The Society of Miniaturists has held its ex-

hiliition at the < irafton Gallery, and is believed

to show some slight improvement on that of last year. It is

too photographic in their method.s. The admission of tin-
incompetent is injurious to all ; and though among them
there may be embryonic Cosways and Hilliards, it would,
we think, be better, until their talent is more fully fledged,
that they be relegated to Associate rank or their little
pictures subjected to the judgment of a jury not too com-
plaisantly indulgent.

The autumn exhibition at Messrs. Graves and Co.'s
galleries consists of over three hundred water-colour draw-
ings by living artists, British and foreign. Two charming
little drawings of " Wood-Xymphs," by Prof. Hekkomer,
R.A., are noteworthy among the former, though there are
many others of high merit, among them being "Stirling
from Abbey Craig," by Mr. Sam Reid ; "Lucerne," by
Mr. Albert Goodwin, R.W.S.: and " Wensleydale,
Yorks," by Mr. Oliver Hall, R.E. "Red Azaleas" and
" Landscape and Animals, ' by Miss Bertue Arte, are two
charming drawings by this talented German artist.

At Messrs. Shepherds winter exhibition there is an
interesting exhibition of British work, both of old masters
and modern artists. Among the former the chief place
must be given to a magnificent portrait of Mrs. Trimmer,
by GEOR(iE RoMNEV. It is a dignified picture of an old

IGS

THE ^rA(;A/lXE of ai;t.

lady, broiul in treatment and cliurming in colour. By tiie
.same artist tliere are two smaller porti-ails of the Ladies
Charlotte and Anna Walilejjrave. l!y (Jaissiiokol'uh there
are three works — a portrait of "John Kestin," and two
landsca|>es. One of these is a large early work, showing
an expansive landscape, enrionsly Wilson-like in ](arts. Six
CoNsTAHLKs. a good "Old Crnnie" ami a licautifiil " Welsh
\'alley ' l)y Cox also claim atteiiticm. "Sir O. Cromwell '
(uncle of the Protector), by Houkkt Walkkr, is a charac-
teristic example of this portraitist's work. Among the
work of modern men, " The Empty Saddle," l>y Mr. !•'. A.
Stokky, A.K.A., is of great interest, painted as it was in
ISfiS under the inHuence of the Pre-ltaphaelites. "On
Dartmoor,' l>y Mr. E. M. Wimi-khis, is ]ierhaps one of the
finest works executed by this artist. The view of the
m<mrlan<l stretching away in the distance, with a sky tilled
with masses of cumnlus clouds, constitutes a i)icture re-
markable for [lower and breadth of handling. "Sun
ri.se," by the late Kdwin ICllis, is another strong piece of
landscape painting, and Mr. C. G. Johnson's "Sunrise,"'
E. J. NiKMANN s "(Jrand C^uay. liouen,'' " In Normandy,''
and "Golden Noon," and Hkniiy MooKK's"OfF Margate,"
are all interesting. Among the subject pictures, there is
an early work of Mr. W. Q. OitcHAliDsox—" Imogen in
the Cave of Keli.sarius'"— and a good example of Mr.
Denhv Sadleu— "Shelling Peas."

At the new Burlington Art Gallery are to be seen
.several examples of the work of those extreuiely clever, if
eccentric, artists, Messrs. Manuel, S. H. Sime, and Oscak
EcKHAKDT, with, among others, pictures by Mr. G. C.
Haiti':, W. A. PiHeaksi'eakk, and W. 1). Ai-monh. A series
of Lanuham sketches is also included, the best of wliicli
are two landscapes by Mr. Wai-tkf! Fowi.ki;.

A collection of drawing.^, lately on view in illustration
of r.unyan's "Pilgrim's Progress," has introduced to the
World the dccoiative pen-work of l'"ord Madox Brown's
pupil, .Mr. "WooLLi.scitoFT Bheau, and his two brothers,
Frederick and Louis. There is no tloubt that the first-
named is the strongest of the three, vigorous alike in his
concejitions and his use of the pen ; all of them show
decorative ability in imitation of the old ( ierman masters on
wood. But there is a certain affectation about this rugged-
ness which appears to be merely assumed in order to fit in
with the great allegory— a suggestion, in our opinion, thai
the book is not " for all time." .Some of the drawings are
weak and lacking in relief, but others are striking in
conception and excellent in design. Despite their defects,
they should jirove satisfactory illustrations to the book.

-Miss HosA Wai.ms has been exhibiting at the Rem-
brandt Head a series of bright and clever drawings of
Italian landscape, for the most part at the moment when
trees are in blossom and flowers in full glow of colour. She
manages her jialetle with considerable skill, and the reti-
cence with which she meets the temptations to common-
place efTcct is highly commendable. I'niikc most painters
of Italy, she gives efl'ects of atmosi)here so as to add
peculiar interest to the beautiful land which often lacks
that particular charm.

The pastels of Mr. FitANcis E. Ciiaudon at Messrs.
Dowdeswell's Gallery constitute an interesting novelty.
The chief merit of this large collection of views of Italy,
Switzerland, and (icrmany lies not .so much in their
felicitous choice of .scene as in the skill with which the
medium is handled, and the delicate and often sul)tle
appreciation of colour which is shown. In .some drawings
Mr. Chardon is naturally le.ss successful than in others,
but there are few indeed where he fails to prove his

Miscellanea.

mastery of Ids material. The adaptability of pa.stel to
landscape is little recognised amongst Engli.sh artists
The exhibition, therefore, is not less interesting to pro-
fessional men ihan to others.

Mr. C. L. Burns, of the Chelsea Polytechnic, has
been appointed head ma.ster of the Caniberwell School of
Arts and Crafts.

The latest completed wnrk of the series at
the Iloyal Exchange is that by Mr. Solomon
.1. SoLo.MuN, A.H.A. It represents the visit of Charles 1
to the Guildhall for the purpo.se of demanding the giving
up of the live members of Parliament whose arrest was
resisted by the House of Commons. The jucture is the gift
of Sir Samuel Montagu, Bart., .M.P.

We have received the .syllabus of the second winter
session of the Northern Art-Worker.s Guild of Manchester.
The papers to be given form a sequence of subjects relating
to a one-staircase house, commencing with "Planning,"
and including " Furniture," " Household Pottery and Table
(ilass," and "Exterior and Gardens." It is projwsed to
hold a public exhibition of the work of members at the
close of the se.s.sion in May next.

We cannot congratulate Brighton on its memorial of the
.lubilee. This statue of Her Jlajesty the t^ueen imiirosses
us neither as a portrait nor as an exaniiile of .sculpture,
liut what can be expected when the commi.ssion was placed
with a commercial sculjitural company which undertakes
to supply "busts of statesmen and others executed from
photographs," together with "stairs, balusters, headstones,
and other marble works " ( We have received from them a
eulogistic descriiition of the Brighton statue, accompanied
liy a biographical sketch of the "eminent sculpttir" who exe-
cuted the work, which, however, omits that most im|iortant
detail, his name. Is it that the company in i|uestinn is
afraid of being outbidden f()r his services, (u- is the eminent
sculptor — presumably an Italian — ashamed of his coiniee-
tion with commercial sculpture I

Upon a site given by the late Mr. Georiie Palmer and
Mr. Samuel Palmer the Corporation of Reading has
recently built a new art gallery. The building adjoins the
l'"ree Public Library, and, as may be seen in the illustra-
tion on ])age HiT, the whole forms an imposing block of
buildin;;s. The position of the main gallery is shown by
the tiroad unljroken wall surface between the ornamental
bands. The room is (i^ feet in length, and is lighted
throughout its whole length from the top. One of its
features is a dado comjiosed of a reproduction of the
Bayeux Tapesti'y, which was presented some time ago by
Mr. Alderman Hill, J. P. In a smaller room arc dis-
jilayed the British Roman mosaic pavements discovered at
Silchester. The design of the new galleries was necessarily
inlhunced by the jueviously existing buildings, but the
architects— .Messrs. Cooi'Ki! and Howell, of Reading —
have done well in their work. The modelieil frieze,
executed by Mr. W. C. May, consists of four panels repre-
senting " Ancient Britons," "Roman Arts and Industries,"
" Literature, " and " Science."

Mr. llAMoTiiouNYrROKT, R.A., has lately completed and
erected at Holyhead a monument to the memory of the late
Hon. William Owen Stanley of Penrhos, Lord-Lieutenaut
of .\nglesea, and for many years nn-mlier of the House ot
Commons. It is a work on which .Mr. Thornycroft has
been engaged for .some years, and is of rather iniusual
importance as an intra-nuiral monument. It is jilaced in
a chapel esiiecially built for its reception on the south side
of the choir of Holyhead old church, and is visilile tlnough
wide arches opening into the choir and transept. In >tyle

108

VISIT OF CHARLES I TO THE GUILDHALL.
{From the Wall P„i„ti„g b) Solomoj, J. Sohnw,,. A.n.A., i„ tl,e Sgj,,/ £xvlHi«ge.)

THE CnnoXTCLE OV ART.

it is Italian Renaissance, and consists of a lifesized re-
cunilient statue of the deceased lying on an altar tomb,
with winged angels at the ends — the one at the feet with
inverted torch representing; " Death : " the one at the
lieatl " Ininiortality," who places a wreath upon the pillow.
The wings of these attendant tigures are outstretched, and
form an arch-like curve aliove th? rocumHent one. The
front and ends of the liasc immediately below this snnip
are enriched by panels in low relief : the centre one of
these contains the in.scription tablet, with kneeling winged
figures of children su)>-
|iorting it. The whole
is executed in white
Carrara marble, except
the steps l>elow, whicli
are of polished green
.\ngle.sea marble. In
front, and at some
distance from the
monument, is a finely-
wi-onght iron grille,
which jirotects, but
does not greatly ob-
scure, the work. The
chajiel, wliich was de-
signed by the archi-
tect, Mr. H.\Ki)i.n
HucHKs, is lighted by
stained-glass windows
from the designs of
Sir E. BuRXE JoxES.
The principal one,
which especially lights
the monument, is in-
scribed to the memory
of the devoted wife
of Mr. Staidey. This
is appropriate, as it
wa-s by her will that
the monument was
erecte<l to him.

_, . It is with monument to

Obituary.

^ great regret

that we record the

death of .Johx Ba(;n-oli> Bcrgess, I!.A., in the sixty-seventh
year of his age. We have so fully dealt with the art and
career of ilr. Burgess in a previous volume of this Magazine
that we need not recajiitulate the details of his art-life. We
would remind the reader, however, that this popular painter
—popular alike in his art and personality— was born on
Octi>ber 21st, 183(J, and, visiting his relations in Spain in
company with Edwin Long, he became fascinated with the
pictures. luene.ss of the land. A better draughtsman and a
truer story-teller than bis comiianion, he regarded his sub-
jects, not with the breadth of .John Phillip, but as an
accomplished painter of anecdote, deliberate in composi-
tion, conscientious in his craftsmanship— in fact, as a
distinguished painter oi genie. His long series of pictuies
of Spanish and Moorish subjects (the latter perhaps the
best), and the numerous types of female beauty, gained
him a circle of admirers which n<.t even the work of his
later and less accomplished age very sensibly diminished.
"Bravo, Toro!" ''The Letter-Writer," and other works
of the kind gained him critical comparison with the
decadent masters of the Italian and Spanish .school. His
'• Licensing the Beggars, Spain," is in the Koyal Holloway
College, purchased for it for £l,!G-"i. He began exhibiting

at the Koyal Academy in 18.52, when he was twenty-one
yeai-s of age, and thereafter contributed with regularity,
the total number reaching to seventy, while those sent to
other exhibitions amounted to a further sixty. Mr. Bur-
gess was elected an Associate of the Boyal .\cademy in
1877, and a full member in 1888. He often complained
of the comparison with .John Phillip to which he was
constantly subjected, iiointing out that to be .second in
painting Spain seemed to be less ori.dnal and less ex-
cu.sable than to be the two thousandth in painting Italy.

THE HON. WILLIAM OWEN

{By Httnw Thoniycroft, R.A.I

Sir Hexry Doultox was a business man, an admini-
strator. His value in this capacity was very great to
many public in.stitutions. In his own business he showed
that rare power of judging character which enabled him
to surround himself with men of ability in the various
departments of his great pottery, and it was characteristic
of him that having found his man he trusted him and rarely
interfered with him. But there was another side to his
character. When you met him in yonr house or his own,
"busine.s,s" was never mentioned. If he knew you in-
timately, and you were an interested visitor, he might
show you the last achievement of the potters art which had
just reached him from Ijurslem or Lambeth, but you might
see him a hundred times and never know that he was the
head of one of the largest businesses in England. In
literature, art, science, politics, men. he was profoundly
interested. He had always read the latest books that
were worth the reading, and his memory of what he read
was marvellous. His knowledge of the English jioets and
in quoting them his power and aptness were (|uite unusual.
It was this side of his character that led him to develop an
art branch of his business. Long before the development
of what is now known as " Doulton Ai-t Potter^'," he be<»an

172

TIIK MACA/IXK nF AllT.

THE LATE SIR HENRY OOULTON.
(from a Photogrnph ty C Vandgh. )

of his own initiative to improve the forms und tlie decora-
tion of some of tlie conunon ai tide- of daily use made in
the pottery, and it was towards tlio end of the fifties that
lie applied to South Kensington for desifins and models.
At that time the I^mbeth Sch<x>l of Art, which was ulti-
mately to play so im-
portant a part in the
develojinient of his
business, hardly had
an existence. It was a
night school, meeting
in theXational School-
room of St. Mary the
Less, of which church
Dean Gregory was
then the Rector. Mr.
Sparkes, the present
Principal of the Hoyal
College of Art at South
Kensington, was the
master,an(l .Mr. Edwin
Bale had charge of
the modelling class.
Their difficulties may
he judged liy the fact
that every night all
signs of work had to
be packed away to make room for the children of the Na-
tional School the next morning 1 Dean (Jregory was chair-
man of the committee of the school, of which Sir Henry
Itoulton became a member. If the Doulton Art Pottery
was due to the suggestion of Mr. Sparkes, it was not less
due to the way in which the idea was taken up by Sir
Henry. Mr. Sparkes found the designers and worker.s, but
Sir Henry supplied the sinews of war. It has been .stated
that Sir Henry Doulton made enormous sums out of this
art pottery. This is mere go.ssip. Sir Henry Doulton lost
heavily in money, but he got a new and intense interest in
his work, and he gained much kiitlns. It was only when
the change of fashion set in, which tended to the
diminished demand for "'Doulton ware," that the more
paying practice of manufacturing more or less artistic
jiatterns for trade purpo.ses was adopted. It was a matter
of sincere regret to Sir Henry that this change in fashion
led to the necessity of parting from several members of
his art staff, which took jilace some ten years ago. The
effort to graft an art nuality on to a common material was
fruitful in bringing intoexistence many similar undertakings
all over the country, and it may lie .said that "Doulton
ware" is the father of the numerous art pottery works that
have been started since InTO, some of which .still exist.
Sir Henry Doulton was an interesting combination of
busine-ss man and arti.st. A love of the beautiful was
always strong in him, but the perception of business
necessities was also keen, and this is a key to many things
in his life that to outsiders are enigmatic. He was a strong
man ; he wa.s a Jnst. kind, and generous master : he was a
good friend ; and the world is the poorer for his death.

Signor Giovanni P).\tistk Cvv.m.caski.le has survived
his collaborator. Sir .losejih Crowe, by little more than
a year. Horn in IK^o, he studied an<l practised art, and
threw himself into the political troubles in Italy in 1h4s
and the succeeding year.s, and, e.scaiiing to Kngland, worked
again at his art, and finally entered into literary harness
with Sir .1. Crowe, whom he had met on the Continent
years before. For twenty- five years they worked together

in mutual friendship and esteem. In 1H57 appeared "Early
Flemish Painters:" in 18(J4, "A History of Painting in
Italy ;" in IHTl, " History of Painting in North Italy ; " in
IK77. "Life of Titian;" and in \Hs-2, "Life of Kaphael."'
When it was safe for Cavalcaselle to return to Italy, chieHy
through the efforts of Sir Charles Eastlake, i>ermission was
with tlifficulty ol)tained, and he became In.spector of the
National Florentine Gallery, and afterwards Chief Inspector
of Antiquities and Fine Arts in Home. His knowledge of
art was profound : but he never succeeded in acipiiring the
English language.

We regret to have to record the death of Mr. JoHX
Alda.m Heatox, the well-known decorator. Horn and
brought u)) aniong.st the looms of Yorkshire, he had the
fullest technical knowledge of what could lie done with
every sort of fabiic, and tlii.s, united to an exceptionally
good eye for colour, enabled him from the first to make
interesting combinations of materials and to enrich his work
with the most charming embroidery, every jiart of which
he designed and arranged with his own hand.s. Whatever
he produced was invariably stamped by his strong in<lividu-
ality, and was always conspicuous by its freedom from
affectation, its graceful drawing, ami vigorous colour.

THE LATE J. B. BUROESS. R.A.
(from a Pttotogrnpfi 6y Bo't^'O and Small. Sngraurd bj/ If. Klialiicnt,)

.Mways a busy man, he had little time for the literary side
of the central object of his life and work, but his chief
book, in two folio volumes, " Furniture and Decoration in
the Eighteenth Century,' published in 188!), is recogni.sed
as the first authority on the subject.

We have also to record the deaths of .Mr. Waltki;
Cafkvx, the landscape painter, and .M. Cmiu.Ks Louis
CoriiTKY, tht engraver.

THE FACE OF CHRIST;

A PAINTERS STUDY OF THE LIKENESS FROM THE TIME OF THE APOSTLES

TO THE PRESENT DAY.

By sir WYKE BAYLISS, P.R.B.A., F.S.A.

v^-) ;>'/Y'»-^

b^.^

GLASS RELICS FROM THE CATACOMBS. IN THE MUSEUM OF THE VATICAN. (S-.

175. J

HEX I eiitoieil my studio this luoniiiig I
found a tiower on my writing-table. It was
a rose. I admired its beauty and then wondered.
For it is December — and the time of roses is long
past. If I look into the garden all is colourless and
sad — the lawn is covered with frost, the landscape
is a pale etching in black and white. What is this
lovely creation that brhigs colour into the dull light
of the decaying year ? The children are busy in the
house, decorating everything for Christmas. Is it a
rose, then ? or is it only one of tho.se clever imita-
tions in which the mind of a child takes delight.

Whatever the thing may be, it is certainly
beautiful. It looks like a rose — but one's eyes may
easily be deceived by the cunning of the artist. It
smells like a rose — but its perfume may have been
imparted by the skill of science. I may be told
that it was cut from the tree to-day — but that
would be testimony, not proof.

See, I will make sure for myself : I will examine
the delicate texture of the petals ; I will pu.sh aside
the corolla, and come to the stamen ; I will obser\e
how these grow out of the sheltering calyx ; I will
reach the living sap, and there shall be no longer
any doubt. If the thing has the life of the rase,
it is the rose itself.

Xow in the Paradise of Art we have many
beautiful flowers, and amongst them one more
lovely than the rest. Whether or not it be the
White Rose of the Paradise of God, it is at least
the rose of our garden. Is it real ; or is it a sham ?
Is the face we recognise as the face of Christ the
real likeness of a real man ? or is it only the fanciful
creation of an artist's dream ?

The ddubts wliicli have been expressed with
regard to the authenticity of the commonly received
likeness of Christ have not arisen tlirough any
defect in llie chain of evidence by which it is
supported. Apart from religious sentiment, every
(I 2>rlori consideration leads to the belief that it is a
simple historical record — drawn by men who liad
seen Christ, for men who had seen Christ — in an
age and amongst a people with whom the art of
portraiture was a common practice — imperfect, it
may be, from the point of view of the artists of
to-day, yet fairly trustworthy, or it would not have
been generally accepted at the time. Against this
common-sense view of the question, however, is to be
set an esoteric feeling that it cannot be true — that it
is too good to be true. It is held that Christ, lieiiig
God — the very God who forbids the making of an
image of God — cannot have given to the world an
image of Himself. This argument, however, is
based on incomplete premises, and contains a three-
fold error.

In the first place, it ignores the dual nature of
Christ. These pictures of our Lord do not pretend
to be representations of his Divinity, but only of his
Humanity. Xo doubt the conanandment stands :
He who is the same yesterday, and to-day, and
for ever, will not be worshipped through an image,
even though it be an image of Himself. And
yet, in taking our nature upon Him, the Master
gave us the right to look upon His face. If we
refuse to look upon His face we deny Him as the
Son of Man.

Secondly, the argument takes no account of facts.
As a fact, the direct teaching of the stoiy of the

174

THE ^rA(;AZ[XE of art.

Cross Wius — at least for the tii-st niilliMiimii of tin-
('hureli's history — committed to Art rather tliaii to
Lettere. Since the invention of printing; the written
word lias taken tiie place of pictorial represenUition.
liut forty icenenitioiis had lived and died and tiie
World hail liecome Christian, hefore the sjvcred text
WiUs in the iiands of the jieople, and the people were
eilncnted to read it for themselves. In tiie preface

LIKENESS ATTRIBUTED TO ST. PETER.
(//t the Baulioa of S. Praistdt. Stt p. 178.)

to the Kevised Version it is stated that the earliest
MS. of the ( >ld Testament of which the age is
certainly known, bears date A.i>. !)16; and that, of
the New Testament, nearly all the more ancient
of the documentary authoj-ities have liecome known
only within the liust two centuries : some of the
most important of tiiem, indeed, witiiin the last
few yeai-s. So that, if the nearness of the record
to the event counts for anything, the frescoes of
the catacomhs have an advantage over the l?ible
of nearly a thousaml years.

In tin- third jilace, tlie ai'gunient is iirelevanl
to the i.ssue. If it means anything it means tiie
total jirohiliilion of all jiictorial representations of
our Lord. I'.ut if ti/f are forliiddcn it matters nut
whether they are true or false; the general iiitei-
ilictiiiii would destroy true ;nid (,<]«■ Mlike.

With this l)rief reply to tiie dillicullics wliicii
have been rai.sed by theologians, I shinild be ccniient
to leave Theology altogether, and pa.ss to the con-
sideration of the snliject as it alleets .Art and artists
alone, lint since l«!t:! — when, in the Il/u.s/rnf,,/
KiiijIUh .\ffii/(ninf, I .set forth the evidence which 1
think e-Htabli.shes the anthtmticitv of tlie likeness —

tile Very Reverend the Dean of Canterbury has
contributed to the discussion a work of inestimable
value. "Tiie Life of Clirist as Represented in Art"
sums up for the tirst time all that can be s:iid
against the views I have expressed. Hitherto
olijeetions have tid<en the form of parenthetical
allusions, scattered through the pages of many
writci"s. At last a distinguishetl autiior has ad-
dressed liim.self to the .subject, with tiie result tiiat,
to his own mind at least, the controversy is closed.
1 >r. Karrar .says, " Whatever may be written to the
contrary, it is alisohitely certain that the World
and the (."hurch have lost for ever all vestige of
trustworthy traditirm concerning the a.spect rif
• Ipsus on eartii."

This is a bold statement ; and of cour.se, if it is

THE VERONICA LIKENESS. (S« P. I7B.)

^tn the Church of S, Sitvritri}, ffowe.)

true, there is nothing more to be .said, except that it
is as sad as it is strange. Happily it is only neces-
sary to read a little further in Dr. Karrar's book to
find that it is only a pessimistic view of the ca.se, not
based on any solid argument.

One notices, tirst, tiiat, liet'inniiitr with the assur-
aiice that the likeness is fictitious. Dr. Farrar follows
it through the long centuries into every ramification
of time and jilace, style ami material — fresco, mosiiic,
.sculpture, painting — with an aHeetion and reverence
and ap]neciation ditficiilt to conceive in one who
all the while believes it to be a fraud. One then
perceives that the authorities he quotes against it
are not historical or nrclueological or artistic ; tliey

THE FACE OF CHRIST.

175

;nv solely tiieological. Moreover, they do not touch
the question of the verisiuiilitude : they ileal only
with the question whether an/i representation, true
or false, should be permitted by the L'hureh. And
on that question, on which alone the Church — as
distinct from the Studio — has a right to speak, l)r.
Farrar does not himself accept the authorities he
cites. On the contrary, he gathers together in his
beautiful hook nearly two hundred of the forbidden
things, which he says invaded the Church at a very
early date, and publishes them for the edification of
the Church of the nineteenth century.

And what are these authorities which l)r. Farrar
himself sets quietly aside ? They are certain of
the Fathers, of the second and third and fourth
centuries. But it is obvious that if these objected,
they were in a minority — that their objections
were o\erruled by the Churdi — and that the
Ciuirch itself became the guardian and keeper
of the likeness. The first is Tertullian — " the
tierce Tertullian," as Matthew Arnold calls him
— who said : " The shay He saves, the ijoats He
thifh not S(n-e." Xow, I am not concerneil with the
opinions of Tertullian as a di\"ine ; but I can see at
once that they are in direct antagonism with the
belief of the artists who, in their humble way,
taught Christianity by means of Art in the catacombs.
With them the favourite subject for illustration was
Christ as the Good Shepherd. And I observe that
it is not always the lamb — it is the kid of the goats
— that is carried upon His shoulder. The sheep can
run by Mis suh ; it is the (jout that /iiusf needs be
saved. Art is already in conflict with dogma. If
Tertullian cannot liend it to his will, Tertullian will
break it.

But then there is Origen. The Church had been
taunted by an Epicurean philosopher on the ugliness
of their Ood. The first pictuies of Christ in tiie
catacombs were indeed ugly — to Celsus — just as the
teaching of St. Paul was foolishness to the Greek.
But that is strong evidence that they were honest
attempts by inefficient artists to represent one whom
they had seen, and not ideal creations of tlieir own
imaginations. Celsus was right in describing them
;is ugly. The second-rate painter who can make a
likeness, absolutely startling in the vividness of its
physical re.semblance, will often fail to show the
beauty of soul that underlies and transfigui'es the
face of a man who has passed through the fires of
suffering or tribulation. If Celsus could have seen
the face of Christ as painted by the masters of the
Renascence, he might have withheld that taunt.

The time had come, however, when the Church,
in defining her dogmas, had to face the subtleties
of the Philosophers. ()rigeM undertook to answer

Celsus. He admits the ugliness of the outward
form: but to those who have eyes to discern spiri-
tual beauty, he thinks Christ will ajipear beautiful.
The likeness of Christ, so far fiom beiug unknown
either to His diseiples or to His adversaries, had
become a battle-ground even in tlie second century.
The pagan Philosophers, to whom physical beauty
was an attribute of deity, derided it. Some of the
Fatliers weie for destroying it altogether — Ijut that
happily was impossible — it was treasured in too
many hands. Iren;eus inveighed against the Gnostics
for elainiiug to possess a likeni'ss made by order of

MOSAIC FROM THE CATACOMBS. (See p. 178.)
,Now in ti.e Museum of the Vutican.)

Pilate, but that only demonstrates at what a very
early dale the claim was nuule. Eusebius gentlv
reproves the Empress Coustaulia for asking' him
to send her one of these likenesses. He does not
say that he has it not ; nor does he (juestion its
existence. < >u tlie contrary, he speaks of it as
a thing well kuown. But he dissuades her from
desiring it. " Do you desire," he writes, " the true
unchangeable likeness whicli bears His impress, or
that which, for our sakes, He took up when He put
around Him the fashion of the forui of a slave i
Such images are forbidden by the Second Connnand-
ment. They are not to be found in churches."
These words could scarcely have been written liy
a man to whom the real likeness was unknown or
inaccessible. He adds, moreover : " It would be a
scandal if the heathen supposed that we took about
with us the pictures of Him wlioni we adore." That

176

THE MAGAZIN1<: OF ART.

was at lilt' tinii' wlii'ii tlic Climcli, iMiiergiiig from lu'iifc that paintings of tlu' mule were not ailniitteil

tilt' tlavkness of the catacombs, Itrought in her haiul to exhihitions of the Koyal Academy in the nino-

ihe treasured likeness of the Redeemer. Fifty years tt;enth eentnry because a distinguished Academician

later Epiphanius was not so gentK-. Seeing one of inveighed against them at a ( 'lunch ( 'oiigress 1 No

these jiictuics of Christ ])ainted upon a curtain in a aitist would believe it, especially if he fo\ind some

church, he tore it down with his own hands, and of ihv condeunied pictures in the Kiploiiia (iallery

ordered the vertjer to use it ius the shroud of a at Burliuirtou House.

X2.W

Now, the catacombs are in effect the Diploma
(iallery of the early Christian painters, where we
may .see what they were doing eighteen hundred
years ago, and discover what were their ideas upon
the subject which was the light of their life and the
crowning glory of their Art.

And the very first thing we note is that these
artists, living in the time of Ciirist and His A](Ostles,
were before all things painters of portraits.

In the Text-Hook on ('lassie and Italian

A FRESCO IN THE CATACOMBS.
{from the Drituiing by Ur, Heaptiy, '" the Britibh Wi»st»/ii.)

]iauiHM-. Hajipy pauper, to be wrapped in llie arms
of Christ ! Was ever warrior or ecclesiastic or king
bui'ied in sucli panoply as that .' Epi])liunius was
counted one of the saintliest ami most (jrthodnx
jirelates of his age, and he tells us this story of
himself, .so we must l)elieve it. It is hard, how-
ever, to rcccpiicilc the good Bi.shop's views witli tin'
ideas of the early painters in the catacombs. Soiiic-
tliing had hai)pened. The simple likeness, drawn
by the contemporaries of Chri.st and llir Apostles,
and cherished by their imme<liate friends and fol-
lowers, conflicted with the subtle definitions which
were being t'oiiiiulatcd by tliu ginwing Cliurcli.
The Church was surrounded by idolatrous practices.
Whichever way the conti'ovei'.sy as to tiie ])ei'.sonal
beauty of ( 'lirist was settled, I lie Chuicii coidd not
suH'er the likeness to l)e treated as that of one more
adde(l to the many Sons of the(Jods in the raiilheon
(tf liome. Theology was stronger than Art, and .\il
perished in the conflict. I'ut not before it had left
records which are unchangeable and imperisli.-ible.

Such is the array of the o])inions of tin' latbris
a.s to the unlawfulness of ])rcserving the likeness of
I'hrist. The thing may have been unlawful, but it
was done. To say that it was not done bi-cause
after it was ilone it was condennieil, is illogical. T<i
say that it was not done because it was forbidiien, is
to attribute to the artist a spirit of docility to which
he has no claim. Such an argument is about as
cogent as would be the contention a hundred years

A FRESCO IN THE CATACOMBS.

(From the Drawing tt i ¥r. Hfaphy, in (/le British Wuscuni.)

raiiiling, by Sir j-Mwanl Toyntcr and .Mr. I'crcy
Head, we read that " i'lnui the time of Augustus
to the time of Diocletian was the jieriod during
which line Koman Art, such as it was, chiefly
llourisiied. l*oitrait-j)ainting engrossed the energies
of the most capable artists. Portraits were indeed
produced in great abundance : ])iclures or statues of
eminent men were multiplied in public j)laces and
private collections: and portrait-painters in this
(■[loch are mentioned for the first time as a distinct
cla.ss of artists."

'i'he scene is llumi'. The persons coiiicincd
arc the early converts to ( 'hristianity. Tlic lime
is when Paul, abiding in his own lioust' for two

THE FACE OF CIIKIST.

years, is teafhing tlie things coiicuniing the Loiil
Jesus Christ with all hoklness, none forbidding liiui.
He writes afi'ectionutely to Tinioliiy, sending sahi-
tations from Fibulas, and I'lKleus, and Linus, and
Claudia, and all the brethren. It is ineoneeivable
that none of these should have had any authentic
knowledge of the likeness of Christ. It is still
more ineoneeivable that they should ha\'e sanctioned
the perpetuation of any repi-esentation of Him, know-
ing it to be untrue. The practice of portraiture
was common amongst them. Chiist had himself
pointed to the likeness of C;esar and based an
argument upon it. Why should they have the like-
ness of Ctesar, and not that of the Master i The
writings of the Apostles are absolutely silent upon
the sulijeet. Minute as are the instructions of
I'eler and I'aul and James and .Fohn, in their
Epistles, as to the management of the churches,
there is not a word to be found in any one of them
ftu'bidding ti.i the followers of Christ this natural
desire to loiik up(.)n His face.

What, then, were these pictures in the cata-
combs ^ We see in our municipal galleries por-
traits of mayors and councillors who have served
their city well. But tlie citizens would not accept
these portraits if they were imaginary sketches made
in London by artists who had never seen the men
they desired to honcjur. We see sometimes round
the neck of a woman a miniature of husband or
father or mother or child. But it would not hang
there unless it bore resemblance to the dear original.
And it is so with these portraits of Christ. They
were sketches passed from hand to hand by the
early Christians to remind each other of their Lord,
or sent, as a newspaper is sent, to distant places tii
spread tiie light. They were pictures painted on the
walls of the Krst places of assendjly, to show to new
di.sciples what the ^Master was like. TJiey were
ornaments worn round the neck, which recalled to
llii'ir nwners the face of their Friend and Kedeenier.
When the Apostles preached in the catacombs it
must have been with these pictures looking down
ujiun tlieui. ( )ne seems to hear their very words.
It is St. Paul wlio, witli great boldness of speech,
says, " We are not as JLjscs, who put a veil upon his
face, whiclr veil is done away witli (_'inist ; " and
again, " We have the knowledge of the glory of (iod
in the face of Jesus Christ." It is St. Jolui who
says: "That wliich we have seen witli our eyes,
which we have looked upon, whicli our hands Jiaxc
handled, that declare we unto ynu — tiic Word dl'
Life. No man hath seen Cml at any time; but \\\v
Word was made Hesh, and dwelt amongst us, and we
beheld His glory, full of grace and truth." I d(j
not say that these words were spoken before these

1U9

l)ictures, but men who both speak and write find
\ery often that the same words fall from their lips
as from their pen. I do not say that St. John
pointed to the.se pictures as he spoke. They were
but poor works of art, and the beloved disciple may
have been a connoisseur in painting. They would
have been suHicient for his purpo.se, however, if his
desire was to .show that, without derogating from
the majesty of the l)i\ine Being or materialising

MOSAIC IN THE CHURCH OF SS. COSMA E DAMIANO.
{From the Dmminj bij Mr. Hmi}lnj, ill the British Museum.)

tlie spirituality of our conception of the Father, we
might yet tipproach Him as little eliildren without
fear through the huiiianity of the Redeemer.

The three medallions mi the first page are
demonstrably of the time of the Apostles. They are
of lilass, ensraved with lines filled in with gold. I
have examined them very carefully in the Museum
of the Vatican, where, through the courtesy of the
late Carilinal Manning, 1 received great and special
facilities for jiursuing this study. Observe, in tlie
iirst of them, the individuality of the heads. Tiiey
are oliviously poilraits. But when were they done '
Obviously again, while tiie men were living. They

ITS

TilK m.\(;a/.ixh ok aut.

are not tr;tiliti(.iiial iiiiiij'iliiiii'.s ol I'uui Saints. Tliivo,
iiuli-eti, aiv now ealletl Saints, bul llicst' iiiusL lia\o
been drawn before they were so called, wliilr 1 »iiuias
(who was Hamas .') was one of them, and tlu-y were
not dill'erentialiMl by an anreole. No doubt .lohn
and I'eler and I'aul had jiieaehed or ))rayed in
these dark ehandiers, and Hamas may have takiMi
tlie eliair. Tliis mechillion is periiaps the reeord of
their visit, and Damas stands witli the other tliree,
not knowing that while his name will be forgotten
theirs will live for ever. But now turn to llie
second and third of these medallions, and you will
sec a strange thing. Again the figures are portraits
— St. I'eter and St. I'auI, Timutliy and Justus. The
four are treated alike. Over their heads are no
aureoles; but One is crowning them with the Crown
of Life — or of martyrdom, it may be, for Paul was
beheaded, I'eter was crucified, and Timothy was stoned
to death. The point is that these likenesses were
executed before the three were diflerentialed from
tlie fourth as Saint.s, when the aureole was for Christ
alone. See, then, what follows ! At that early date
the One who awards the ( 'rowu of Life, or gives the
martyr's palm, bears tlie likeness we know to-day.
And the artist, who thinks it necessary to write the
names of I'aul and I'eter and Timothy and Justus
over their portraits, does not think it necessary to
write the name of ( 'liiist. AVhy :' liccause His face
is so well known IhaL un Cbiistian amongst them
can mistake it.

I'lUl liow small are these tinv cnLfravinus I
Surely they are a slender foundation upon which to
build so migiity a structure as that of the likeness
of Christ through nineteen centuries. \ow, it is
in this snuillness, this .slightness, tliat the force of
this jjart of the argument lies. It is not supposed
that the masters of the Eenascenee — to say nothing
of the nui.saic workers of the middle aws — rested
on an outline so sliglit, an idea so falteringly
expressed. They did not take the likeness from
these tiny heads; it was these that indicated to
them which was the true likenes.s. It was these
that identilied the larger pictures — painte<l on tlic
walls, or wrouglit in mosaic, or faintly sketched on
cloth — us real portraitures and not exercises of the
imagination. Imaginary likeiies.ses are ijuiti' out of
jilace while tlie original, or those wlio knew him
Well, are living. These minute outlines were made,
not to .show to strangers what ('liiisl was like, liut
to be recogni.sed liy thos(> who knew wliat ('hiist
was like. That is a very dill'ercnl, thing. Tlie men
wiio accepted the.se portraits of llicii' fiiimls — I'eter
and .bihn, anil r)amas and rani — would not ha\e
aceejited a mock likeness for the face of tlu' Civcr
of the Crown.s. It is not the crowning siiiijily

the crowning by anybody — that they asked of the
artist ; it is the crowning liv Christ.

The next three illustrations may be passed
with little comment; for they are legenilary, and
the evidence of the authenticity of the likeness
is complete without reference to them. They are
from fac-similes, now in the IJritish Museum, made

MOSAIC FROM THE BAPTISTERY OF CONSTANTINE.
(From tbv Drawing by Mr. Hvophtf, in ttiv Britiili Musnum.)

liy the late .Mr. Ilcapliy, and Ihey lind a place here
liccause of their very I'arly date. The first is the
likeness atliiljuted to St. I'eter — to enshrine which
St. Helena built the basilica of S. Pra.ssede. The
second is tlie most remarJvable of the Veronica
likencs.ses, or cloth pictures, in the church of S.
Silvestro, IJome. Tiie third is a mosaic from the
catacomlis, said to have been the. work of a jiagan
artist, and to iiave Ijorne an in.scriptiou to the
eH'cct that llic likeness was not satisfactory, having
too much the appearance of a Creek philo.sopher.
I say these likenesses are legenilary becau.se, be-
yoiiil a ceilain puiul, (lie liisturv attachccl to them
caiMiot be verilied. 'i'licre is nothing, however, in-
credible or unworthy of belief in the story of their
origin. The N'cronica picture I lielieve to be a face-
clolii taken from the grave of one of ihe martyrs,
updii whiih had lieeii originally drawn a likeness of
uui 1,1 iKJ. Till' ci-inlacl n|' tile di 'ad f.icc with the linen
wiiulil result in a slain or imjirint sujicrinipused on
the original outline, that might well suggest the
raiicit'ul Ic'icnd iif the N'ci'nnica handkerchief. The

Til

VM'K OK ClIKIS'l'.

interest attaching to the likeness ;itLvilinteil In SI.
IVter is i)f a tlilTereut eliaiaeter. It is said to iiaxc
been drawn liy the Aimsth.' lor S. I'rassede wiien
he was slieitered in the linnse ol' iier lather, I'ihKmis,
a leunan senator. It is liul a I'ainI jiennndira i>r a
sketeli, but before tiie elo.se ol' the liiird century it
was of venerable antii|uity, and it demonstrates that
the likeness was not sineular to the cataeouibs, Imt

FROM A PAINTING BY BELLINI.
(/n the Gallery at Berlin, From a PI'ototjrapfi by Fram Hani stafiifjl )

existed and was treasured in the houses of the eai'Iy
Christians of liome.

But, passing from those likenesses which have
traditions attached to them, let us look at one or
two of the faded frescoes of the catacombs. They
were painted over the graves of the martyrs, so
that the face of the Eedeemer might at least
overshadow the place where they lay, until once
more they should see Him as they had seen Him
before they fell asleep.

That these men had a clear peiception of tin.'
likeness of Him whom they should see when they
awaked, is evident by the words of St. Paul. He
appeals, in pioof of the Resurrection of (.'hrist, to
more tlian five humlred witnesses, and he adds that
the ,ii;reater part of them remain unto this day. It
is obvious that their witness would have been vain if
they had not known the face to which they testified.

Two of the.se frescoes will be found on page
170, The iirst is an attemjjt, for some reason un-
known to us now, never completed. It has the

miniistakable iiiaiks of portraiture — no! jiorlraiturc
III' the highest class, liut of such a kind as a loniiaii
artist could accomplish who felt his way, and iiad
a moilel befort' biui. lly a niodid I do not mean
Christ Hiniselt'. This jinrtrait was jiaintcd in lln'.iie,
where Christ had ne\er been, and where His
followers were hunted down like dogs; but it was
done by a iloiiiaii, for iloiiiaiis who expected a
portrait tu be a likeness.

The other is a more tinisbed work', and of later
date. It is proliably of the second century, and
forms a connecting link between the earliest relics
and the later frescoes of tin* third century — when
the knowledge of the likeness of Christ had become
tile connnon po.ssession of all the artists of Itonie
and Byzantium.

These are a few only of many records still
existing of the face of Christ as represented by
the contemporaries and in\mediate followers of the
Apostles. But the argument does not rest upon
numbers — if one petal can be found of the true
substance it proves the e.xistence of the tlower.
And yet men are so slow of heart to lielieve things
concerning Him, that they tear the corolla to pieces
— not kuowint;. Their bands are wet with the
living sap — and they think it is oidy from dew
that fell an hour ago. They pass through the
catacombs and observe pictures on the walls, by
I'loman artists, in the Boman style, of a Koman
youth, a Fair Shepherd, an Orphens — and they say
"These are imaginary likenesses of Clirist — but
Christ was of the Jewish race — and these are
Bomans — these are not like Christ — we have no
likeness of Christ — we have no likeness Ijut that
of (.'lesar."

But consider. It is true that in the catacombs
are found many representations of Christ that do
not bear this likeness in any marked degree, and
many more that do not bear it at all. There is
the likeness as w-e know it, of which I have been
speaking throughout, and there is the representation
of Christ as a Iloman youth, showing no attempt at
portraiture. Under one or other of these two types
all the pictures in the catacondjs may be classified.
There is no third type. The beardless lad, with
crisp, curling locks ; or the solenni face we know,
witli drooping eyebrows, long masses of waving hair,
and parted beard. If we have the likeness of
Clirist it nnist be one of these.

How, then, came the conventional type into the
catac(jmbs ;■ That is one of the most interesting
episodes in the history of the likeness. To the early
Christians it was not always safe to declare their
faith by openly bearing upon their persons the
portrait of their blaster; nor, iiidei'd, would it have

ISO

THE MACA/IXK OF ART.

been in-iulent fur tlie iirtists tlu-y cMiijil.iye<l [n li:iw sucixrtl.d lo lUv lIuDiir, umbiaci.l ClirisLmuily, aiul

ideiitifiwl tlieniselves with tli.' new sect \>y iiiiintiii<,' adojiUMl the Cross as llie Imperial ensign. Tlio

or engiavinj,' the lilceness of Llie Calilcan. The Clirislians were free. Tlie Kniju'ror l)uiU many

nalnral allernalive was syniliol. That which they chnnhcs, ami nmlcrtoolc a jonrney to .Icrnsalcm to

could not venture to paint under llie direct likeness discover tlu' Holy Sepulchre. He erected a niagniH-

tlU'V painted in a fmiii fannliar tu tlie i;,,iiians— cent hasilica at I'.cthlehem. At this time Die < 'lunch

FROM THE PAINTING BY FRA ANGELICO.

(In (/IP Cnlhry al Munkli. From ii Pholoqrnpl, bij From HanfslaemjI.)

artists and people alike. ■■ i'aiut me Udw " — they
would say — " I'aint me now the leopards and the
lions we saw yesterday in the arena— and in the
midst of them one playing upon a harp." And
thus Ciirist subduing the hearts of men, was
typified in the form of ( )ipheus attracting the
wild beasts with his lyre. Christ, whose word
runneth very swiftly, is tigured by D.ivid with a
stone in his sling. Christ, as the good shepherd,
is represented by a youth carrying a lamb ,iei-oss a
stream. These were syndjols — safe yet intelligible.
lint the casenUal aindiiion i>f them irriJi thut tliei/
should not hear f/ic /ih-oiexx. And so a ty]i(! was
adopted — a simple h'oman type which Itoman
artist.s, taught in the great jiagan .schools, umler-
stood anil followed. ]'>ut side by side with it
e.xistc'd always the other type— tlu' true type— the
face at which Celsus .scoffed as being too ugly for
that of a god — which fewer iiauds could reproduce —
Itut which tiie di.sciples loved, ami in which artists
1" day, as well as in the days of Constantine (U- the
days of JJaphael, recognise the cliaracleristics of
line portraiture.

1 now piuss to tile eousideralion of the ino.saics
of the basilica,s. In the year .\.i>. .SOU Constantine

"REX REGUM," BY VAN EYCK.

{hi titc Birlln dtlhry. From <i Hiotoijraph by Fram Htwjstacngt )

was torn by the controxersy between Arius and
Athauasius. One triumphed for a time, and then
the other. Like the figures in a Dutch clock, one
was always in banishment. l!ut the final victory
rested with .Vlliauasius. In a.h. :V2^> the Nicene
Creed was adopted and the Arians were condcnmed.
It was during this period that the likeness as seen
in the basilicas was finally accepted by the Universal
Church as the likeness of Christ. lUit it did not
originate then. As we have seen, it came from the
catacombs. It existed in frescoes l)y lloman artists:
in enamels and small mosaics imported from Uyzaii-
tium : in relies of ghu-^s engravcil with portraits of
the .\postlcs; in pictures on linen wbieii had been
usimI as face-cloths for the dead : in a faint outline,
drawn not by an artist at all, but evidently ;in
attempt to delineate the features l)y one who was
not an expert. These were the materials out of
which the beautiful mosaics of the basilicas wci'c
<lesigneil — just as, in the lleiiaseeiiee, they ami (he
mosaics of the basilicas together were the materials
out of which llaphacl and his conlemiioraries de-
signed their wonderful creations. The liken(>ss had
never changed, and now it became stereotyped. For
the difl'erenee between mo.viaic-woik and painting is
that the one is mechanical, the other is the action of

THK FACE OF ('111! 1ST.

181

a free liuiul. There is no briusli-work in the uiosaie,
110 touch of a nuister's humi, no infirmity of a false
fve or tloubtful vision. Tiie design being complete,
the tessera^ can be counted as a child counts the
t^titeiies in a sampler : and though there may lie
good or bad workniansliip, there is little room for
the difference between good and bad Art so far as
the worker is concerned. And the workers of tliesi;
mo.saics were copyists ; they learned the design liy
rote, and executed the likeness as they had learned
it. ( 'nly there could be no advance, no reaching
out towards the infinite, no attempt to express
passion. It is to tins limitation that we are indebted
for tile preservation of the likeness during tlie ten
(lark and silent centuries when Art scarcely so much
as existed. On pages 177-178 will be found two of
these mosaics. The first is the magnificent figure
in SS. Cosma e Itamiano: the second is from the
Baptistery of Constantine.

These beautiful examples sutliee to illustrate the
mosaics of the basilicas. Serene, solemn, dignilieil,
they possess some of the finest characteristics nf .Vrt.
They are a priceless inheritance. But they dn not
give us all that we a.sk from Art. or that Art can give,
in the likene.ss of Christ.

" Full of grace and trulii," St. John says. His
words are — ir\r)p7]<; j(apno(; kuI a\7]6eta<;. Now
"grace" {yapiTO<;) means "kindness," and "truth"
(uXr}6£ta<;) means " honesty." A kind and honest
face — that is what St. John saw with his eyes. But
St. John was speaking of the face of the living
Christ, of which these early drawings give, as I have
said, but a poor resemblance. To express adequately
the exalted character and higher emotions of the
spiritual life is the noblest achievement of Art. It
needs the vision of a great painter, and the language
of a great poet, to define the Art of portraiture at
its highest. Lord Tennyson once asked Mr. G. F.
AVatts to describe his ideal of what a true portrait
painter should be — and Mr. AVatts' reply is en-
shrined in the " Idylls of the King " —

"As when a painter, poiins; on a face
Divinely, throiigli all liinflrance, finds the man
Behind it, and so paints him that his face.
The shape and colour of a mind and life.
Lives for his children, ever at its best."

In this sen.se we have no likeness of Christ. Such
an achievement would have been far beyond the
reach of Itoman portrait painters in the time of our
Lord. To delineate the features — the fine broad
forehead, the arched eyebrows, the straight no.se,
the kind and yet serious mouth, the falling of the
hair upon the shoulders (for He was a Xazarene),
the pai'ting of the beard — all this was well within
their power. Beyond all this lay the soul, which
lo:i*

to their Art was an unknown quantity — ^,just as the
Divinity is still an unknown quantity even to the
greatest of the painters of to-day.

Thus, if we look for expression in these pictures
of the face of Christ, we shall look for it in vain in
the earlier records of Christian Art. It came with
the Picnascence. " Full of grace and truth," says
St. John — and the frescoes of tlie catacombs say the
same thing. The solenni eyes never change; the lip
never quivers with emotion, is never compressed

FROM "THH LAST JUDGMENT, BY MICHAEL ANGELO.
(In the Sisline Chcipel, Rome.)

with anoei' or rebuke. Ami (huiug the long centui'ies
— from the time when the Church came forth from
its hiding-place in the catacombs to the days of the
early painters of the lienascence — the great mo.saics
of the basilicas have repeated the same story. In
S. Paolo fuori le Mura, in SS. Cosma e Damiano,
in the Baptistery of Constantine, in S. Pra.ssede, in
S. Pudenziana, it is always the same Christ, with the
same grave and serene countenance, full of grace
and truth.

Then came the great change. The likeness re-
mained, but to the likeness was added expression.
The change is not very noticeable in the works of
tlie Pre-Eaphaelites. Bellini, the immediate foi'c-
runner of Titian, jjainted the figure of our Lnrd
as the Great Teacher, His right hand pointing to

182

Tin-: MAGAZIXE OF AKT.

licavi-n, ihf hvok in His loft, Uiil Uelliiii's picture
is little more lliau a transcript of the mosaic in 88.
Cosma e Damiano, where our Lord stamls in the
same attitude, but holds in His left hand a scroll
instead of a book. The faces are wonilcifully alike,

FROM "THE TRIBUTE MONEY. BY TITIAN,
(/n the Drtsden Cullcrif. From a Photograph i)i/ F. Haii/itaerg'.)

and there was no occasion for the c.Npi'c.ssion of
pa.ssion or emotion in the action of the bcnitin I.aw-
j^iver. A generation before this \':i\\ l']\ -k had
jiainted his " Hex llegiun." 'J'iiis iiicLuii; marks
tiie transitiim from the simple poitraitme with
which the Chunh had hitherto buen content, to
the imaginative renderings which were to follow.
'I'he frescoes and glass pictures of the catacondjs
had .served tiieir purpo.se in securing the likeness.
'I'he mo.saics of the basilicas had preserved it
through the dark ages. And now the dawn of
the ]Jena.scence of Art was breaking. The sun
was indeed high in the heavens wiieii \'an lOvck
invented oil painting, and painted his - l!e.\
lieguni." The .sacred tradition, however, sullices.
The King of Kings is grave, but not wrathful.
Van Eyck, liki- Hellini, is content to folluw the
mosaics of the basilicas.

And .so, when Venice and Flanders begin to
speak the language of Art, they tell the .same story.
J5ut they ilo not .speak alone. It is being told alsn

at Florence. Fra Angelico da F'iesole, iiowever, lias
a did'erent problem to meet. He paints the L'ruci-
li.xion. Surely there will be a difference between
the face of Christ upon the Cross and that of the
Uivine Teacher, or the King of tHory! And so
Angelico turns to the Veronica or cloth pictures,
ill which, though they show the same likeness,
he liiids a darkness and mystery more consonant
to his subject. F'rom this time the painter is
no more content to paint the likene-ss of Christ
apart from expression. The whole story of His
life must be told, not in the passionless simplicity
with which it had been told in the catacondjs by
men iif limited imagination, but with the fervour
of tile great revival of Art, and with the knowledge
tliat makes the human face an open book to the
artist.

<l|^the great jiainters of the Jtenascence there
.ne live men In whom we must look as repre-
sentatives (if Italian Art at its highest. Tliey are,
naming tlu'in in the order of their liiith — Lionardo
dii \'iiiei, Michael Aiigelo, 1'iiian, llaphael, and
('oireggid. From this ijuintet have come the finest
interpretations of the face of Christ the world has
ever seen. Let us consider them for a moment.

I w ill tal^e tiisl llic \w,id of our Lord by Lionardo
da ^'inci. It is the work of a Florentine, a man
hiijiily educated, and erring — if he err.s — in the
direction of over-refinement. All his associations
in Art were with the old school ; and his Art is, in
effect, a transition between the simplicity of the
earlier men antl the masterful daring of his later
companions. His greatest work, jierhaps, is the
picture of "The Last Supper." It is a fresco in the
refectm-y of the Church of the Dominicans at Milan,
and was painted abnut 1 404. I'ul the iiead of our
Lord in that jiainting is not available for the
purpose of showing Da Vinci's conception of the
face of ( 'iiiist. He studiously avoided fiinshing
it ; and, although he lived five-aud-twenty years
after the picture was jiainted, he left it still only
a shadow. The heail I lia\e chosen is from the
Liehteiisteiu Callery in \'ienna. It has both the
strength and the weakness of this great painter.
Tiie tenderness — the learned teehnieality — become
alniDst affectations, and distress us, as we are
distressed by the works of the Decadents. We
feel tiiat Da \'iiui liiid not yet seen the direct
visiiin — just as we feel that (Juido Ileui had lost
it, and that Carlo Dolci had never even been con-
.scious of its existence.

I'.iU when we turn to Michael Angelo it is a
very dilferent matter. Michael .Viigelo Imlds us as

THE FACE OF CHRIST.

183

ill the grasp of a giant. If we are distres,sed it is
only for a moment, aiul it is with tear latlier than
witli donlit; a fear, liowever, tliat ue\er degenerate.s
into weakness, hut is rather transmuted into love.
The head whieh I have chosen in tiiis case is
undoubtedly from the painter's noblest work — the
great fresco tliat covers the wall of the Sistiue
Chapel.

In aii[)roiuhing such a subject as this picture
of tlie '■Dies Ir;e" one must move with careful
step.s. Almost every writer seems to come with
some pre-conception, tliat gives a false bias to his
judgment. One critic describes Michael Angelo's
Christ as "a thundering athlete — a nude, wrathful
giant, without one toucli of pity or mercy in
Him," and contrasts it with the " Fair Shepherd "
of the catacondjs, the sweet, solenni mosaics of the
basilicas, and the lovely sculptures of our Gothic
churches. He condennis it as partly the cau.se
and partly the effect of the cruel, dark views of
Christianity prevailing in the sixteenth century.
What a chasm, he says, sepaiates the Christ of the
Sistine Chapel from tlie Fair Shepherd of tiie cata-
combs 1 Yes : but what a chasm separates also
lieaven and hell !

It is the common failing of amateur criticism to
look for ipialities in a work of Art that are incom-
patible with the artist's primary intention. Tims
one complains that tlie eyes are stern — forgetting:
that they are tlie eyes of ( 'hrist when He was
rebuking the I'harisees. Anotlier objects that they
are too tender — forgetting that they are the eyes
of Christ comforting the women wiio wept as Hr
fell beneatii the cros.s. When Angelo represents tln'
infant Saviour, caressed by Joseph and Mary, ]ic
represents Him ;is a child. "When he shows us
(.'hrist as Creator, he gives Him divine strength
and knowledge and benignity. AMien the dead
Clirisfc lies once mon; on His mother's knee, Ik
shows the pity of it. Wlien Christ rises to judgr
the world, Miciiael Angelo represents Him as tin
Avenger. Did the beloved disciple darken thr
imagination of Christendom i and yet he writes :
" Behold, He cometii with clouds ; and every eyr
.shall see Him, and all kindreds of the earth shall
wail because of Him. Even so, Amen." Tiiiit is
wiiat Michael Angelo has painted.

But whether Dr. Farrar's ciiticisin of Jlichacl
Angelo's great picture is just or not, his description
of it is magniticent. " This nude, wrathful giant,"
he says, " looks down upon the damned, whom he
is liurling into darkness as a crushed, agonised,
demon- tortured rainstorm of ruined humanity,
with inexorable rejection. His muscular right ann
is uplifted as though at once to drive away and
smite. He is just rising from his seat, and in the

next moment will stand terrifically upright. The
\'irgin shrinks terrified under the protection of
His arm."

Is there a cryptogram underlying all great Art,
that different men read such different meanings
ill the same line, the .same brush-mark, the same
presentment of vision ? To me it seems that the
ilother, so far from shrinking from Him in terror,
turns to find shelter in His wounded side. She
remains a woman still, but He is a God. The picture
wiiieh the Dean places in comparison with this is
the "Dies Domini" of Sir Edward Burne-Jone.s.
lUit I believe that both pictures are right. The
attitude is singularly the same in each. Tlie right
arm is uplifted. In the "Dies Irae " it is uijlifted
to strike. "Thuti shall Ircak t/icin in pieces like a
poffei's vessel." In the "Dies Lioniini " it is raised
to show the pierced side. " Come un/o Me." Vmt
it is the same Christ. Surely, as our Lord moved
amongst men, the features remained the same.
Suridy also, under dilferent circumstances, the ex-
pression of his C(.)untenance changed. That is what

FROM "THE TRANSFIGURATION." BY RAPHAEL.
(/h Si. Peter'3, Rome. From a Photograph by Franz Hnnfstaengl.)

Art says in the works of the great painters of the
Renascence. Does the Church teach diflerently ;"
Does the Cliurch say there is no wrath, no terror,
ill the " Dies Irae" J'

184

THK .MACA/IXK OF ART.

Hut tlieie is iti-ril to the critic wlm attempts to From Micluiel Angelo we turn to Titian. I'li-

iiiterpret the work of a great painter through liis haj)pily, tlie relations between Angelo and Lionardo

eliaracter, or to interpret liis character tlirough his 1 la A'inci were strained. Micliael Angelo drove

works. Art is a force tliat Kends uii-n to its piirpo-se 1 »a N'inii from Florence: but Titian was his friend.

FROM A PAINTING BY LEONARDO DA VINCI.
(/n fAe Lichttntlein Gallery. Vienna. from a Photograph 1)1/ franz Hanfitaengt.)

ECCE HOMO. BY CORREGGIO.
{In the Naticn^l Callerv, London.)

despite llirir cliaractei'. .Vt llir \eiy time wlu-ii
Michael Angelo was paiiitinu lliis picture of tin-
terrors of the Last dudgnieiit, lie wrote to \'ittoria
Colonna, the woman he loved : " I am going in
search of Irulli with uiieerlaiii slep. .My heart.
always wa\ering between vice and virtue, sull'ers
and faints, like a weary traveller wandeiing in the
dark." There is no fierceness in this. Xor, indeed,
when the great painter turns from tiie mood of .self-
inlrospeetion to the controversies of the studios, does
he a])j)ear to be the " terribli' tVllow " the critics lo\e
to paint him. He contenils for tiie supremacy of
Italian Art. But that is natural in a i)ainler born
in Arezzo, educated in flonnee, living and working
in Home. Flemi.sh Art, he tliiid<s, is mine devout
than that of Italy. " kalian painting," he .says,
" will never bring a tear to the eye, while Flemish
will make many a tear to How. Flemi.sh Art will
always seem beautiful to women and jiriests and
nuns, and even to nol)le s])irits if they are deaf to
true iiarmony. But it is only works executed in
Italy that are really true Art." And he adds that
"(iood jiainting is in itself religious and nolile. It
is a reaching after His jierfection, the shading of
His jiuneil, and unites us to (iod."

Tiiey were nearly of llie same age, and met each
other in N'eiiiee and Floreni-e and Home, each the
accredited master of a great school. Titian is a
man strongly built, full of life and movement; the
jnoportions of his face are perfect, the forehead high,
the blow bold and projecting, the features finely
chiselled. There is a marked likeness between
Titian and .\ngelo, t'ven to the lines of their beards,
worn a little short and pointed, and thi' linene.ss of
their hands. I'.ut how dilVercnt are their tempera-
ments ! How diiVerent tiieir Art! Angelo is "of
imagination all compact." Titian is altogether con-
Irolleil by the sense of lieauty — and of beauty
especially the beauty of cijlonr. .\nd now these two
men, both masters of their craft, but each from a
diU'erent ])oint of view, approacii the subject of the
likeness of Christ. The bead I have eho.sen to
rejiresent Titian is from the i'anions picture at
Dresden of "Tiie Tribute Money." Christ is stand-
intr between the two disimtants, who think to dis-
arm him \\itii a little tlattery. " Master, we know
that Thou art true, and teachest the way of God,
neither carest for any man. Tell us, therefore : Is
it lawful to give tribute to (.';esar:'" One is showing
Him the coin, not yet realising the signilicance of

THE FACK OF (Hi; 1ST.

185

tlie niit«tiou, " AVhose is lliis image and suijersei ip- lias yet been painted, even as 1 am by so many years

tion ? " There is no great manifestation of passion the nearer to seeing Him myself." Titian was an

t>r ennttion in this. It is tlie strong pre.sentnient of old man then, bent with the age of ninety-nine

a living man ; it is the spliMulnin- of cdlmir : it is tlie years, and the " pieta " was never finished.

And then, from a little town in the East, be-
tween the Apennines and the Adriatic, comes
Raphael d'Urbino. Eaphael was, as so many great
painters have been, himself the son of a painter.
Nothing that Art conld yield in the way of teaching
was withheld from hiai. Xot only was he trained
from his earliest years by his father, but he was a
pupil of I'erngino. Michael Angelo and Da Vinci
and Masaccio were his inspiration in Florence and
Konie. He had learned all that could be taught
'if perspective, of the technique of Art, of the science
of Art. Artists were employed for him to make
.sketches in Southern Italy and Greece. And now
he too must paint this face of Christ. Again we are
able to turn to the greatest work of a great master.
The picture of the Transfiguration is his masterpiece.
The figure of Our Lord is sublime. And the face I
It expresses the rapture of actual communion with
God. The hair is lifted bj- a breath that comes
from Paradise. The eyes, large and fidl, look up
without fear, without regret. There is no cloud
between Him and the Father ; there is no exulta-
tion; there is no pain. Eaphael has realised the
words of St. John more nearly than they have ever
been realised Ijefore.

FROM "CHRIST DISPUTING WITH THE DOCTORS, BY LUINI.
{In the NatiQnaJ Gallery, London,)

mastery of technique ; in a word, it is the work
of Titian. But it is also tlie face of Christ — not
agonising in the garden, not dying upon the Cross,
not transfigured witli blissful emotion : but calm
and thoughtful, the Jewish type well ob.served, the
likeness vividly realised. It cannot be described
better than in the words of St. John — an honest
and kind face.

Titian, however, is by no means limited to the
expression of beauty without passion. His range is
through all the regions of intellectual, sensual, or
emotional Art. How this subject of the likeness of
Christ held his imagination may be seen in the few
patlietic words with which his life closed. " Dear
to me," he says — " dear to me are the mountains of
Cadore and the rushing waters of the Piave, and
the mnrmur of the wind in the pine-trees, where
my home lies far away. But not there 1 In the
city where I have laboured, in the church where
I achieved my first triumph — bury me there !
Promise to bury me there, and I will yet live to
paint for you another ' Christ,' a ' Christ of Pity,'
that shall be more near to what He is than anv that

Eaphael and Da Vinci died in the year l."i20 —
the one a veteran of seventy-ti\e, the other scarcely
having reached the full strength of manhood. And
now we come to the youngster of the group,
Correggio. Titian and ilicliael Angelo were still
living, both of them men of between thirty and
fort}', when Correggio was a lad of nineteen. There
is nothing more interesting in Art than to observe
the relation between the elder and younger men.
Xaturally the young learn from the old, but the old
learn also from the young if they are true artists.
Correggio has left his mark upon Art, wliich can
never be effaced ; but lie was not a follower of any
School. He never studied the antique, yet he is the
apostle of the grace of form. He never ti-oubled to
visit Eome, yet Giulio Eomano, a Eoman born and
bred — the favourite disciple of Eaphael — declared
that the paintings of Correggio were the finest he
had ever seen. There are no smart touches in
his handling; his technique is tender and sweet.
Women and children, and angels, nymphs, and
goddesses, are his theme ; but the face that every
Christian painter is painting draws him by its
fascination, and he too must paint Christ. He paints
" Tlie Agonv in tlie Garden " and the " Ecce Homo,"

ISO

■]•]]]■: MACAZIXK (IF AKT.

and of tliesL' I have taken llie laller fiuni dui- own
Xational (Jalleiy. As Da ^'illc•i shows us llie (.'oni-
fnrtiT, as Amlji'Ii) shows ns the AvenLjiT, as Itajiliacl
shiiws ns iho Sim ccinininninL; with llie Kalhi-r, as
Titian shows ns the Man <'lnist .Ic^sns reasonin"

reasonableni'ss. Tliu likeness is linely invseiveil,
even thoujfh there is no beard, for it is the face of a
yiiiith. It is the lad with kind and true eyes, with
whimi St. .Iiilni had ]ilayed wlien they were eiiildien
togetlier — one of the most beautiful visions left to
us liy the painters n( the Itcnascence.

FROM "THE CRUCIFIXION,' BY VELASQUEZ,
(n f/n- Priii o Munrimi, UadriJ.)

with His opponents, .so C'orre<^tj;io simws us tlic
Christ "made flesh " and sufferinf^.

Tiiere were, of course, many otiier groat painters
of the IJenascence who not only exalted ,\.rt, but
poured out the passion of their lives upon this
subject, fihirlandaio, the master of Michael Angelo,
the favourite of Florence and Home and Pisa and
Lucca and Siena — a little dry, perhaps, and stifT in
manner, but fertile in invention. Uotticelli, tlic
master of Lippo Lippi the younger, as lie was the
disciple of Lippi the elder. Fra Lippi, the scape-
t^race of convent life, who, again, was the disciide of
Ma.saccio. Then there was Andrea del Sarto — the
special rival of Itaphael — with capacity for the highest
achievements, but weighted ditwn with the chains
of a dissolute life. There were ('imalme, tJiotto,
( )rc;igna, ( 'inia, Mantegna, Verrocchio, I'erugino,
Tintoi'etto, \'eron(\se, (iiulio Ifomano. The woiks of
these men, masters and pupils, cover tlie whole
period of the transition from twilight to dawn, from
dawn to midday, of Italian Art. Anil thert' were
besides these, Mcmling of Mandeis, .Morales of
Spain, lliirer and Ilollicin of (lermany. .\mf>ngst
the Italians, Luini has left a record more lovrly
than the rest, in the painting, now in the National
Gallery, of thi- youthful (.'hrist discoursing with tlie
doclor.s. The face is fidl nf aiiimation ancl sweiM

Tlie.se iiii'ii all painli-d ( lirisl, whether they
knew Him or not, whether they iollowed Him or
not. Theii' paintings are the corolla of my flower,
as the mosaics of the ba.silicas and the relics of the
ratacombs are the stamen and the caly.x. Hut the
[letals witiiered in the Decadence, and though they
retain something of the colour and perfume of tlie
rose, they are scattered leaves rather than the rose
it.self. In the three heads which I have selected
lo represent tlie likeness of Christ as rendered by
llie iiainteis of this period there is still much to
remind one of the great niagician.s. (iuido Ueni
amongst the Italians, \'elasiiuez of Spain, and
N'andyck of the Low Countries are not unworthy
i>r tlu! traditions they inherited. The " Ecee Homo"
of (iiiido is fiuiii tlu! famous picture in Dresden —
one of many painted by the artist, in his dextrous
ami arcomplished manner. It is, perhaps, more
human and less di\iiie — if we know what it is to
l)e divine — liiaii tlie conceptions of the earlier
schools. The ■ ( lucilixioii," by \'clasriuez, is the

FROM "ECCE HOMO BY GUIDO RENI
(/ri the Qiilttr^ nt Ort9<1»n, From a Photograph by Frant Hanfstarngl.)

expression of the agony of dealli, by llie most
realistic of ])aiiiters. How many times had Wdas-
ijuez seen such suH'ering as that in lh(> li\iiig — the
ilying — faces of the mailyis in the eily of Madrid,
where Ihc picture now bangs ' The magnilici'iil

THK FACE (IF ('HKIST.

187

head by ^';UKlyL•k is from liis iniiuliiii; in liiKkiiig-
haiu Pahice, of Christ liealiiig tlie sick. Tiiere is
little sentiment in it, but tliere is tine painting —
and its frank realism almost disarms the critic.
But when the petals have fallen from a rose they
never grow again.

Of the likeness of I'hrist in Modern Art the slory
is ([uickly told. It does not change — any more
than it lias changed during the darkness of the
eatucombs, or the twilight of the middle ages, or
the blaze of meridian splendour tliat made Art the
glory of the world during the llenascence. Ci'eeds
have differed : Churches have separated ; Nations
liave struggled for the mastery in religion, and for
their particular interpretation of the teaching ol
Christ ; but they have all alike accepted Him a>
represented in Art. If Art was the battle-gronnd
of tiie early Church, it is now the only common
ground on which there is no strife. There is no
difference between the likeness as adopted in Italy,
or Spain, or Germany, or France, or England ; there
is no difference between the Latin, the Greek, and
the Englisli communions ; there is no ditlerencc
between Catholic and Protestant; there is no
difference between the Old Woikl and the Xew.
As the petals of the Hower are one and live by the
same .sap, so the likeness is one and is inspired by
the s;ime original.

This fidelity to a tyjie does not l)y any means
detract, however, from the originality of conception
with which tlie modern painter can deal with his
tlieme. To have a theme is not a restraint tn
genius but an incentive. It is only the fal.se that
cannot conform to facts. The portrait painter
never claims to iiave invented his subject. Tlu-
problem he has to solve is to put before us, not
something new and strange, but something we shall
recognise. Thus, in taking for his theme the his-
toric likeness of Christ, the painter has inherited
all tlie splendoiu' of the past and all the promise
of the future. He holds in liis hand treasures the
use of which can be limited only by liis capacity
to reflect the di^•ine mind.

Ho\v are these treasures being used to-day {
The three examples by Holman Hunt, Eonnat, and
Von I'hde are from England, France, and Germany.
They serve to show the retention of the likeness,
lint that is an incident only in tlic movement that
is taking place in ilodern Art with regard to tlie
representation of Christ. It is a necessary incident,
however — for, without the retention of the likeness,
the special meaning of tiie new school would be
unintelligible. I refer, of course, to tlie painting
of the figure of Christ in tlie midst of scenes and
accessories of the present moment.

l-'ur instance, in \'on Chde's beautiful painting
of " The Journey to Enimaus," we see a lane outside
a 1 )utch village ; the light lies low on the horizon,
tiie trees are dark against the sky, for it is evening ;
two men are trudging liomewards along the lane,
wliiii tliey are joined by a third — (Jhrist. It is the
old story freshly told, and seems to make I'alestine
lie \ery close to our doors.

After all, however, the new movement is not
so very new. It is just what Eembrandt did when
he painted Christ amidst Dutch Boers. It is what
the Churcli ie(]ni)ed wlicii it nsked for altar-pieces

FROM "CHRIST HEALING THE SICK," BY VANDYCK.
{//I the Buckingham Palazt' Collection. From a Photograph by Fram Hunfstaengl.)

in which Ciirist and His Mother should appear,
surrounded by ecclesiastics. Or is Christ oiil}' for
ecclesiastics and not for laymen '.

Before 1 lay down my pen I would refer to a tine
passage by one who differs altogether from my views
on this subject. Dr. Farrar says that " Art can-
not deceive. It is an unerring self-revelation of the
character Ijotli of nations and of individuals. The
Art of e\ery age and country infallibly reHects the
tone, the temper, the religious attitude of wliich it is
the expression." If this be true — and I, of course,
cannot but accept it, for it is the wiiole thesis of my
book, "The Witness of Art" — if this be true, then
everytliing that I iiave said here is vindicated. The

ISS

Till'; MA<;.\/IXK OV AKT.

relics of the catacombs infallibly
temper, the religious attitmle of
from the days of the Apostles,
chambers beautiful as with the
the Master. His face over-
shadowed the graves of his
martyrs. His likeness hung
round the necks of women
who died in the faith. His
acts of love and mercy were
l)ictured on the dreadful
walls. Since then the ( 'luirch
of Christ has been the guar-
dian and keeper of the like-
ness of Christ.

We are told to-day that
this likeness is a delusion.
If so — has the Cliurch been
the deceiver — or has it been
deceived ? Looking back on
what I have written I per-
ceive that it is not the year
only that is growing old — the
centuries^ the millenniums
— are growing old too. It

rellect the Lone, LJie phaiilasm — a will-o'-the-wisp ? Before we can bc-

the caily Christians, lieve it to be so we must be convinced that two

They made the dark special miracles have been wrought — the first to

visible presence of conceal the true likeness, in order that it might

ne\'er be degratled to .super-
stitious uses ; the second,
for the purpose of mislead-
ing the Universal Church
into accepting the false. In
reply to the first hypo-
thesis, it is sudicient to point
out that if a miracle has
been wnnight for such a
purpose it has been ineflec-
lual. The second hypothesis
is even more untenable. It
violates our faith in the
Divine IJeing as the Author
of Veiity. If the petals of
our rose were only artificial,
n(jt all the gold of Arabia
or the wisdom of the Wi.se
]\[en could so put them to-
gether that tliey should grow
as a living llower. I'lUt if

FROM "THE CRUCIFIXION.- BY L^ON BONNAT.

(^M>i» (I PliLtojr.iiili bij Sraiin )

FROM "THE LIGHT OF THE WORLD.' BY W. HOLMAN HUNT.
(Sfi Pi-rmistion of tht ArtUI.)

FROM "EASTER-MORNING.' BY FRITZ VON UHDE.
{By Permission of From Hanjstaciigl. )

is noL (inly Liial the time of roses is i>asl — we are Liiey are real, even though they may be torn
invited to throw away the (jne ro.se that remains to asunder and scattered, their colour remains and

us, because it seems a little touched by the frost.
And yet — as the children are still decorating the
house — so our artists arc still striving to make the
world more beautiful. Amongst tlieir highest con-
cept ions of beauty 1 liiid this lik<'ne.fs. They liav<'
followed it fi>i' nearly two thou.sand years. Is it a

tluir fragrance clings to them still.

.\nd it is .so with the likenesses we have
been considering. They are but scattered petals;
nevercheless they come from :i living stem, and
.\rt reverences tiiem, beiiiL' trui', for their truth's

ST. STEPHEN.

(From the Painting by Sir J. E. Millais, Bart., P.M. A., in the National Gallery of British Art, Millbank.
By Permission of Henry Tate, Esq., the owner of the Copyright.)

Maoazihc or Am

HAMPSTEAD HEATH,
(from the Painting by John Constable, R.A.)

THE ART COLLECTION AT "BELL=MOOR," THE HOUSE OF
MR. THOMAS J. BARRATT.— II.

By JOSEPH GREGO.

FOI'KMOST ainonL;st the works of piiiiiters
ideiit-ilieil witli Hanipstead, the pictures of John
Constable, IJ.A., iiud WilHani J. Miiller arc most con-
spicuously represented in Mr. Barratt's collection.
At " BcIl-JIoor" tliere are found nine examples of
Constable in vai ious degrees ; three of these possess
a local interest, " Hampstead Heath," " Hampstead
J'ield.s," and " Sir Richard Steele's Cottage, Haverstock
Hill." There are further, by tlie same artist, one
of the" Dcdham " series ; the fine examples — smaller
s-ersions of two of Constable's well-known master-
pieces — " Hadleigh Castle near the Nore " (1829)
and " Sunmierland," a view near Bergholt. Another
wondofnl harmony of colour is a palette-knife sketch
for another of Constable's famous works, the water-
mill with " Willy Lott's " liouse. It is familiarly
known that the artist manipulated his palette-knife
with marvellous dexterity, and, allowing for the effect
of being viewed from a distance, the example in
question is unsurpassed for its breadth, brilliant
colouring, glowing harmonies, atmosphere, and
illusory qualities. Theie are also two small worlcs
— one from the Wells collection. " Hampstead,
sweet Hampstead " — as Constable designated his
no

chosen spot — held out for the painter special
attractions; picturesque nature, of which his art
is the best interpreter, completely satisfying his
requirements as regards the presence of unri\alled
atmospiieric effects, with boundless expanse of
varying prospects, themes most congenial to Iiis
hand and to his pictiirial preferences. Writing of
the artist's best efforts in 1818, his .sympathetic
biograplier, C. 11. Leslie, E.A., has recorded: " Con-
stable's art was never more perfect, perhaps never so
perfect, as at this period cjf his life. 1 remember
being greatly struck liy a small picture — a view from
Hampstead Heath — which I first saw at his residence
in Kcppel Street." This refers to a picture appa-
rently wholly painteil in tlie open air, in wliieh the
midday heat of nudsununer is so admirably expressed
that, but for the shade thrown over the foreground
by some young trees that border the road, and the
cool blue of water near it, " one would wish, in looking
at it, for a parasol, as Fuseli wished for an umbrella,
when standing before one of Constable's showers."
The year following Constable " settled his wife
and children comfortably at Hampstead," things
being in an agitated condition in town, owing to the

100

THE MAGAZrjTE OF ART.

excitement of Queen Caroline's tiiiil then proceeding.
Tlie results of this retirement amidst these favour-
able surroundings were sent to the lloyal Aradcniy
in 1821, where the painter exhibited another of his
wondrously faithful versions of Hampstead Heath.

In tlie summer of the same yeiir Constable was
residing at 2, Lower Terrace, Hampstead, where
he was working assiduously from nature. AVitli
characteristic ardour he wrote to his friend Arch-
deacon Fislier : " I have made some studies, carried
farther than any I have done before ; particularly a
highly elegant group of trees (ashes, elms, and oaks)
wliieh will he of as much service to me as if I had
bought the fielil and hedgerow which contain tlicm ;
I liave likewise made many skies and elVects ; we
have had noble clouds, and ed'eets of light and dark
and colour, as is always the ciise in such seasons as
the present." The world of art-lovers has long since
realised liow perfect were these studies, absolute
transcripts from evanescent effects, on which pic-
torial truth must rest; they are set down with
seeming ease, yet, like everytliing that wears the
rare charm of spontaneity, they were the outcome of
constant efl'ort and untiring observation, and the
indefatigable artist wrote from the same address in

the autumn : ' 1 have done a good deal of skying,
for I am determined to conquer all difficulties, and
that among the rest." Hampstead studies were
turned to account at tiie following Academy (1822).
where three of Constable's five exhibits were drawn
from tliese experiences : " A View of the Terrace,
Hampstead " (wliere he still kept liis residence), " A
Study of Trees from Xature," and another vereion of
the practically inexhaustible aspects of " Hampstead
H&ith."

Existence at Hampstead, with the ever keen
delight of drawing at will direct from the undiluted
font iif nature, evidently refieshed and stimulated
Constable's energies; under tlu'sc invigorating aus-
pices he is found writing (1822): " I am determined
to overcome all my dillieulties while a great deal of
health and some little youth remain to me." "Green
Highgate " was engaging his attention at the time,
and he I'ecords having " made about fifty studies
of skies, tolerably large to be careful." This close
application, directly in toueh with tlie effects he
thus diligently assimilated, rendered Constable's
work the perfect embodiment of local truth.

After a protracted familiarity with the varied
beauties wliich there delighted his eye, Constable

SIR RICHARD STEELES COTTAGE, HAVERSTOCK HILL
{Fnm Iht Painting by Jahn Can^tabt^, ft. A.)

Mi;. BAREAITS AltT COLLECTION AT " BELL-MOOl!."

191

seems to have felt that
he had found the spot
best suited to his artistic
aiiibitioi), and there he
hoped to pass the rest of
his career. In 1827 he
sent to the Academy his
picture of " Hampstead
Heatli," produced on the
spot, and here he painted
the very numerous studies
of those unsurpassable
sky effects and eloud-
modellings, more readily
secureil on "Hampstead's
breezy heights " and ex-
pansive heath than else-
where. "Steele's Cottage"
belongs to this series of
Hampstead pictures, and
dates from his temporary
residence there, which he
trusted to make perma-
nent. In tlie August of
ISl'7 the painter was
fixing up his abode in
Well "Walk, Hampstead.
He wrote: " Jly plans in
search of health for my
family have been ruinous;
but I hope now that our
movable camp no longer
exists, and that I am
settled for life. So liate-
ful is moving about to
me that I could gladly
exclaim, ' Here let me
take my everlasting rest.'
. . Tliis house is to
my wife's heart's con-
tent : it is situated on an eminence . . . and our
little drawing-room commands a view unsurpassed
in Europe, from "Westminster Abbey to Gravesend.
The Dome of St. Paul's in the air seems to realise
Michael Angelo's words on seeing the Pantheon : 'I
will build sucli a thing in the sky.' We see the
woods and lofty grounds of the East Saxons to the
north-east."

Sir Ricliard Steele's cottage stood on the ri^ht-
hand side of Haverstock Hill, within a "arden facinar
the public-house known as " The Load of Hay," now
modernised into the usual suburban tavern. The
cottage was pulled down in 1867. Steele's retreat
had a further literary interest as a link with the
past, for the gay courtier, witty poet, and playwright
of the " Piestoration" epoch, the notorious Sir Charles

THE WAY THROUGH THE WOOD.

(^rom the Painting by "Old" Crome.)

Sedley, liad died in tlii.^ retiicment in 17ol. In
his " E.ssays illuslralive of the I'athr, Spcctcdor,
and Guardian," Drake has set down concerning the
fortunes of Steele that, in 1712, he retired to
Sedley's cottage from motives of choice, for the
advantages of pri^acy and seclusion, or, more prob-
ably, from the necessity of keeping away fiom those
unfortunate creditors whose importunities constantly
harassed the careless author. Steele himself is
found writing to Pope, June 1, 1712: "I am at a
solitude, an house between Hampstead and Loudon,
where Sir Charles Sedley died. This circumstance
set me thinking and ruminating upon the employ-
ments in which men of wit exercise themselves."
Steele describes himself as writing in the very room
in whicli eleven years previously the brilhant Sir

192

THIC MAGAZIXK OF AHT.

Clmrk's Sedley breathed lii.s liusl. Nichols alleges
pecuniary reasons for Steele's refuge in tiiis retreat.
Here, at least, the Sprtntor was able to work at
peace, and, at the same time, was within easy access
of his friends and fellow-members of the famous Kit
Cat ("lull, w!io«c summer meeting-place happened

THE OPIUM SELLER.
{From fAe Painting bg William J. Mftl'tr.)

to be the "Upper Flask" at Hamp.slead Ilealli,
premises still standing witliin extensive grounds,
and merely divided from " Ik-ll-Moor" by the patli-
way leading down to the Lower Heatli.

Ajjpropriately, the original i)ortrait-slu<Ues by
Sir Gotlfrey Kneller of the most brilliant members
of the Kit Cat Club— Steele, Addison, ("ongreve,
Vanbrngh, t-tc, "The Wits among Lords," and inclu-
ding "Lords among Wits," such as tlie Dukes of
Marlbornngh, Kingston, CJrafton, etc. — are in Mr.
liarratt's collection of Hampstead notabilitii's.

In LS28 Constable sent to the Academy his large
upright landscape " iJedham Vale," wiiich he frankly
mentions, under the .seal of friendship, writing

to Archdeacon Fisher, his " father confessor," as
"perhaps one of my best, and noticed by John Bull
as a ' redeemer '; " and another, " Hampstead Heath,"
of which he tiius speaks in the same letter, " le.ss in
size but eipial in quality, purchased by Cliantrcy."
In IS.">0, when Constable was elected into the
Academy as a full member, another im-
portant " View of Hampstead Heath " was
his principal contribution. "Well Walk"
continued Constable's address in 1830, and
in the opening of the year, as he wrote
to Leslie, his attached friends the brotiiei-s
< 'halon — as usual, in.separable — " were
liere on the Heath for si.x weeks, and it
was delightful weather."

Among the artist's contributiuns to
tlie British fJallery in 18.>4 was another
" Heatli," and to the Academy he .sent a
large diawing in pencil, "A Study of Trees,
made in the grounds of Charles Holford,
l'".s((., at Hampstead." This connection wa.s
life-long; "his placid and contented wife,''
who.se delicate health was another motive
fur the painter's choice of the invigorating
llcath, had died at Well Walk, Xoveni-
bor 23, 1828, and was buried in tin- vault
pmchased by Constable in Hampstead
f'liurchyard, and tlicre the painter was
laid by the side of his loving partner
nine years later, tiuis carrying out the
expression in his letter already quoted :
I could gladly exclaim, 'Here let mc
take my everlasting rest ! ' " " Alas ! by
liow slender a lliread hangs whatever in
life is most firmly set up" is tin- render-
ing of the Lntin in.scriptit)n by Constable
placed upon the tablet over his wife's
last resting-place.

With the evidence of Constable's nu-
merous paintings of Hnnqxtead it mu.-;t
be realised that the breezy locality exer-
cised a well-marked influence over his
jiractice. Whenever tlie most favourable aspects
of Hampstead views, with their wondrous atmo-
spheric ell'ects and their wide-spreading horizon,
present them.selves to the eye familiar with the
artist's masterpieces, the suggestion at once arises to
the mind : " There is a true Constable of the freshest
and cri.spest description." The place and the artist
.seem made for each other, and to Constable's
thorough insight into the charms of Hampstead are
due the most perfect reali.Siitions of its ever fresh
and picturesque resources.

Constable's interest in Hampstead has be-
queathed to po.sterity a scries of pictures which must
be esteemed amongst the foremost achievements

Q: ?

? I

I- »

IME. BATJKATT'S AET COLLECTION AT " BELL-MOOE."

19c

ac-

llie asseniMy-
remeniber that
on the day on

of huulscape painting. Beyond tliis tlie painter
has also left the strongest literary evidence of his
attachment to the spot, for he has embodied the
fruits of his experience and deep knowledge in
the form of three lectures, which were there de-
livered, eloquently conveying, with a charm which
was Constable's gift, the teachings of his
lifetime in the series described as "An
Outline of the History of Landscape Paint-
ing." Tlie first lectui-e was delivered in
June, 183o, at the Literary and Scientific
Society of Hampstead at the assembly-
room ; the abstract of this discoui-se is
printed by liis biograplier.

The second lecture was given June,
l<S3o, at the same place. Leslie, who
companied Constable to
room, has recorded : " I
the sky was niaguitieent
which it was delivered, and as 1 walkeil
across the West End Fields to Hampstead,
towards evening, I stopped repeatedly to
admire its'splendid combinations and their
effects over the landscape, and Constable
did not omit in his lecture to speak of the
appearances of the day."

The third and last lecture was given
under similar circumstances on July 2'),
1836, but a few months before his death.

Few examples of John Crome of Nor-
wich, known as " Old Crome," surpass the
tine picture engraved in this notice from
the collection of Mr. Barratt. It must be
remembered that Crome's art was largely
founded on Euysdael and Hobbema. The
specimen in question recalls the foremost
landscape art of the Dutch school, with
certain inimitable qualities distinctive of
native British art of the eighteenth century
in addition, a combination which leaves
nothing to desire, and attains the per-
fection of technique. Another example, re-
markable in various respects, is the freely-handled
version by George Morland of one of his " Farmyard
Scenes," of important size (36 by 28), which must
be esteemed a rare instance of that gifted genius's
most successful efforts. Painted con amove and with
phenomenal facility, it retains all the spontaneous
qualities of a " first painting," and really seems to
have been executed " sti-aight away," so fresh, clear,
bright, and juicy is the colouring, so breezy and
dexterous the handling. Monochrome fails to convey
the special attractions of this most harmonious
picture, and its silvery tones and glowing hues are
imtranslatable by any black-and-white process, and
this may account for the circumstance that this tine

work, strange to say, has liitlierto remained nn-
engraved.

The works of William J. JMliller are equally
well represented in Mr. Barratt's collection. One
of the most important examples is the fine and
powerfully coloured " Waterfall on tlie Lyn, near

A WATERFALL ON THE LYN NEAR LYNMOUTH.
{From the Painting by William J. Mnller.)

Lynmouth" (55 by 40), painted in Mtiller's strongest
manner in 1844, and, as mentioned in the artist's
biogiaphy, for the most part direct from natui'e.
This admirable work was secured from the David
Price collection, and was exhibited at the Municipal
Art Gallery, Leeds, in 1889, and, at the present
moment, is at the New Gallery. Other important
works by ]\Iiiller are the " Landscape with Cottage
and Children," concerning which the artist wrote
in 1844, " The one ' Cottage ' is very Ijrilliant,
and, I think, is as fortunate as any picture I
have painted for some time past ; " and " The
Opium Stall, Cairo," from the collection of Samuel
Mayou of Edgbaston. Examples of Midler's

196

TJiK :\rAf;A/iNK of ai;t.

Egyptian experiiMiccs suv fouiiil in Lhc glorious be imagined, as it is painted in a daz/.ling key of

specimen of colouring, " Slave Market at Manfalout, transparent colours — suggesting translucent enamels

r])per Egypt," and another "Slave Market, Cairo." — which "pale the ineffectual tires" of nearly every

The painter wrote: "1 only wish some artist would picture jdaced in proximity.

make this the spot of his studies, and i)aint tlie In tlie .same collection arc some water-colour

figures and the groups." drawings hy Miiller, " Turcoman Tent, Eycia," and

In his subsciiueiil work Mullrr puL lliis siiu- "(Innipsof Fir Trees," studies from clumps of firs

gestion into practice: many weiv tlic womlnful slill slandin;.,' on the neighliouring heatli.

l^uTTAut AND CHILDREN.
(fri)m (ft.- Painting 69 William J. Uulhr.)

versions of .slave markets, ylnwing wiili all the
ellulgencc of Oriental cdlouiing, which spnad his
reputation as the foremost colouristof his lime. \vi
his ))icturcs fre(iuently sold for the modest ei|uivalent
of ten pounds: and, willi llir ad\anced n'(|ncsl I'di-
his splendid ])r(Mluctions, destined ultiniatidy to bring
their lucky i)osses.sois as many hundreds. l'"or in-
.stance, "The Slave Market, Egypt" (1841 ), 1 .'> in. by
'!'< in., from the collection of Charles I>inb. bnnight
at the Oillolt .sale, ill J.STli, .t 1 ,-"i 1 0, w hen "The Chess
Players, Egypt," from the same collection, reaehrd
ni'arly .t;4,(>00. Another transcendent cxamjilc of
glowing harmonies painted in the full breadth of
tirecian suidight — a group of dancers, with musi-
cians seated, one of the Lycian jiietures — is in Mr.
liarratt's pos.sc.ssion. Nothing more brilliant ran

It is intcTcsliiig to note the artist's partiality for
llaiiipstcad as asketching ground. Oiie of numerous
exainph's of "Ifampstead Heath" is described as
formerly in ;\Ir. Koberlsoii P.Iain's collection : " A
view 111' ibr licatli, with trees and a few ligures ; a
.sandy, gravelly bank and a pool of water complete
the foreground : the colouring is warm, rich, and juicy;
the baiidline very rapid." " l>ird Catchers, Hanip-
.stead Heath," was another ]iicture of local interest,
painted in 184:1. Of this the artist wrote to Mr. 1!.
.Idlinsdii, the pureha.ser : — "The • I'.ird Catchers' is
another inlililnij bit, being clear, etc. ]\Iy price will
be .£10, and this evening I will get your .son to
leave it at the ollice for you." The ydutli mentioned
was Harry .bihii.son the artist, Mnller's impil, the
eonipaiiidn df bis journey to I.yeia in 184:1 4.

107

NEEDLEWORK AS A MODE OF ARTISTIC EXPRESSION.

SECOND PART.

By WALTER CRANE.

WHERE the whole gist and beauty of needlewoilc
lio in the qualities of surface and texture
over and above that of form and abstract or symbolic

T^Sr&'c^^^

#-i^i^-^:

t^.

'-^

"THE FIVE SENSES," Coverlet of Light Red Linen, worked
IN Coloured Threads. (Sixteenth Century German.)

{tn the South Kensington Museum. )

expression, material becomes of great consequence,
as, for instance, when we desire to work a design of
birds and flowers, for the purely decorative beauty
of their natural tints, and when the work is intended
for comparatively small panels, .screens, or hangings
near the eye.

If a peacock were our subject, and we desired to
present the bird in all its glory, we .should naturally
choose the lustrous surface and sheeny quality of silk
to work in, and in that material might approach as
near to nature as perhaps it is po.ssible to do in any
art, since the natural beauty of the silk, by means of
cunning stitches, is enhanced by the way in which
the light falls upon its surface when worked ; and in
meeting that contingency — regarding it as an essen-
tial condition of the work, and making the most of
it — all the skill and resource of the worker, all the
art and craft of the needle, may be exerci.sed. Look
111

iu his fresh phunagc, as he may be
day in Ken.sington Gardens by the

at a peacool

studied any

Serpentine, with the promise of a fine London spring

morning. See him on the grassy slope, the tender

green of the new .springing grass leading up to, as

tlie highest note of the harmony, the flashing gold

and emerald of the tail coverts.

Tliei-e are, perhaps, no otlier decorative methods
which could reacli the pitch of brilliancy in the
rendering of such qualities of colour as is attainable
in silk endiroidery, and none can rival it in beauty
of texture and surface, and therefore in fidelity to
the character of plumage.

The atmo.sphere, whicli mal;es a difference to our
vision, only painting can express, but that is its
prerogative, and the attempt to imitate the special

..*•

'' ^ '>K ^■

-;^

^W-.t

,.^f -^iK

.,:N I

^^^^' »^ -^

yjg-^:^. ■■-.^■'■^'- --..■■■.:^:«^,^/j^.

HANGING OF WHITE COTTON. (PERSIAN. Eighteenth Century.)

{In the South Kensington Museum.)

qualities of painting in any other art is a mistake
and quite beside the mark.

I'erhaps the best examples of beautiful silk work
in the I'endering of birds and flowers are those of

198

THK MAGAZINE OF A1:T.

CliiiKi and .lajjaii, wliicli for tiiRiii-.s>, luniiiiss, uni\

IJiecisioii of Wdrkniuiisliip, liiilliaiifT «>f lolmii-, and

chaiacU'iisatiou of iiatmal fi>iiii are woiideiful.

liutli birds and flowers lend tlicnisi'lvi's peculiarly

well to represenUilioii in needlework, not only

lieeaus(! of their obvions decorative value,

but also owin<^ to the fact that both the

structure of feathers and the structure of

llowei's and leaves can be rendered witli

close fidelity by means of the needle. A

feather, for instance, very obviously adapts

itself to repiesentation by stitches, and

in fact it might almost be said that in

this ease representation and imitatii'U inr

synonymous — by no means fi/irii;/s the

case. The feather, by the way, gives its

name to a particular stitch familiar to

needlewomen.

The structure, colours, and surfaces of llowcrs and

leaves can be expressed witli extraordinary fidelity

ill needlework, iiml
Imi niucii attenlioii
can hardly be given
to the study of the
direction of line
which characterises
in nature the differ-
ent types of leaves
:iiiil llowcrs, for not
only will the design
lie stionger and ninre
lull iif character, but
lia\e more beauty of
line whore these
things are (il)ser\eil.

or iTiVcHti

IH LEAVES
FLOW6R ^'

.'}!?

/////iiiif n

//////| WW

It is tolerably evi-
dent that the nature
<if a leaf (of, say, a
bay oi' laurel) ami
the law iif its growlli
are conveyed with a
better sen.se of design if it is represented by
stitches .springing from the central stem and slojiing
upwards towards the point, tlian they would be if
jilaced the reverse way and nature contradicted.
A leaf of the plantain or arum character and the
palm tribe, on the other hand, would be represented
by veitieal stitches diminishing towards the poinl.
It would be jKissible to work leaves, .say, like lime
and hazel, by long horizontal stitches at right angles to
the centre stem, and afterwards cross them by single
lines of stitching to express the veining, after the
method kmjwn as "laid " work (p. I9!l) we may iind
in I'ersian and Portuguese and old Italian silk work.
The steins of trees are very suggestively expre.sseil
by a series of vertical stitches cro.ssed liy closely

laid horizontal ones, which plea.-;:iiilly lecall llie
texture and sm-face of the baik.

The lines of structure in llower petals, again,
demand diflercnt trealnienl, though lliere is no
doubt more range for varied treatment. A ro.se,
iK'rliaps, might be treated
ellectively by stitches laid
either horizontally oi- veiti-
cally (or by .satin or feather
stitch) according to the ile-
gree of convention, realism,
iir relief drsiicii, llHUigb
the best means of ulilain-
ing the proper colour value
would be of more import-
ance here, perhaps, than the direction of line. The
lily, however, would naturally be worked on the
.same principle as the palm
leaf, the stitches tapering
liingitudinally towards the
]iiiiiils iif tlie petals or
worki'd in the laid method
before mentioned.

(Inlil lliread has always
been a fine decorative re-
souixe ill embroidery, and
when judiciously used

rich and splendid ellecl.

->>\^

it may be

THE TREE OF LIFE," Linen Cover Embroidered i<i Cdloured
Silks. IPehsian )

(/n ttiK South Kvniington tfuMum.)

Ni-:i:i>i.r:\V(»i;K as a mode or aimistic exi'kession.

199

used throughout a ilesign as au oiuliuo to uui-
phiisise tlie silhouette of, or dear the colours of,

distinguish precious things, as

■^7t^^

■^

CARPET OF WHITE COTTON. EMBROIDERED IN Coloured Silk.
Persian. Seventeenth or Eighteenth Century.)

(/n the South Kensington Museum.}

an araliesijue of flowers and leaxes (soiue%vhat after
tile method of cloisonne enamel); or it may he used
to heighten the effect of parts only and used in masses,
as in the case of an aureole around the head of

saint iir angel, or to
gold ornauients, ar-
mour caskets and
vessels, much on
the same principle
as such things were
introduced in mural
paintings hy the
early Italian paint-
ers, raised in gesso
and gilded.

The Japanese
kinimo u.se gold
eftectively in em-
broidering parts of
a printed ilesign, while otiier parts are enriched
by coloured silks, and others left in the printed

SQUARE FOR MANDARINS ROBE, GOLD Thread Laid,
{In the South Kensington Museum.)

Chinese.)

pillow mat Embroidered with Storks. IChinese.)

(fn the South Kensington Museum.)

pattern. Persian and Indian printed cotton and
linen hangings and colours are often found em-
broideied upon wholly or in part. This suggests
that the piint was originally intended as a guide
to the embroiderer. The Japanese, in their large
chain-stitch worsted
embroideries of figures,
generally rather dark
and sombre in colour,
frecpiently introduce
large disks of gold
thread with wonderful
eflect and apparently

5piRA.- /METHOD

oF L/\frN<; <;OlD THREAD

200

TilK MAGAZINE OF AKT.

solely with oriiiiiiienUil piupusu, the thread in laiieil'ul pdiiiegraiiate-like fruits and flowers wliicii
these disks Ix-ing s]iintlly twisted rnund and miind form tlie pattern. Tlie nieUil lias no doubt blac-k-
froni the centre ami stitched down or laid on to the ened a j'ood deal witli time, but a certain ciiarni

PORTION OF BORDER OF A COVER IN YELLOW SILK. Damask Ground. Embroidered with Birds and Flowers. (Chinese.)

[In the SQUth Hen^ington Uusrum)

fabric by fine thread.
U])on the masses of
gold tiius formed tlie
light falls into broad
radiations of shade and
shine, planes of lumin-
ous gold with all sorts
of variations of surface,
so that the efTect is
extraordinarily bold
and ricii. "We have be-
sides from the Japanese
embroideries entirely of
gold thread, which are
very wonderful. The
u.se of gold in Cretan,
Syrian, and Persian em-
broideries is very effec-
tive. Silver llnead,
owing to its liability t<i
Uirnisii, is difficult to
use, though tliis does
not appear to have been
an obstacle in old work.
In a sixteenth-century
cope in my po.s.se.s.sion
silver thread i.s very
beaut ifuily wmught
into the culoui's of the

^E^^^^B^^^^B^Bl

W^^^^^^K^P'mK^^^^^^^^K^

^^^Ifak^"

^fl

^^H
^^^»

rJ^^^^H

wB.JffS^^^^^^^K ^^^^^H

^^^^^T^fc^

^Mrafev^lNiPBJ^W- ^^ ■ -

COVER OF DARK BLUE SATIN. Embroidered with Storks in
Silk in Gold and Silver Colour Silk Threads (Japanese )

{In tfif Sauih K*raington IKumum,)

attaches to its present
condition as of a kind
of subdued crystallised
splendour. The method
in which the flowers
and leaves are worked,
the direction ' and use
uf the stitches, etc., are
well wortli study.

To revert again to
such forms, as their
natmal characteristics
are capable of being
expressed by needle-
work, animals may
be included, with
flowers and liirds, as
being extremely adapt-
able, their forms being
decoratively valuable
as j)atterns, while the
colours and textures of
iheir coats, the direc-
tion of tlie hair and
cliaiacteristics of its
li'Ntuies, distinctive
markings, all belong
to the methods of ex-
pression by the needle,

NEEDLEWORK AS A MODE OF AKTISTIO EXPHESSION.

201

iiUR'h ill the same way tliat was obser\ed in tlie
case of feathers and leaves. The Howing mane of
the lion, the blaek stripes of the fiery tiger, the
spots of the yellow leopard, the rough coat of tlie
wild boai', the dappled sides of the fallow deer, the
woolly fleece of the sheep, all seem to fall into the
range of what might be called the natural expres-
sion of the needle, which by the very necessity of
its Kbrous method can characterise the rongli and
the smooth, the wavy, or the straight.

In the adoption and adaptation of the forms of
nature by any art or form of handicraft we slionld
expect some distinct and characteristic treatment,
separating them in the particular design and
material from any other; and so far from trying
to imitate in one material or method efl'ects or
treatments only adapted to another, we should rather
seek to obtain more distinct character by eiiqfhcoiia-
itiff the tcchnmd difcnnccs between one method of
design and expression in handicraft and another.

Xature in all art is the great storehouse of

important in ilesign of any kind than the use made
of natuial form and fact. They may only reappear
in highly abstract shape after passing througli the
crux of ornamental and technical demands, or they

PORTION OF PIECE OF EMBROIDERY FORMERLY
BELONGING TO TIPPOO SULTAN. (Indian)

(//I the South Kensington Museum.)

suggestion and revivifying inliuenee, Init it is often
through art — historic or traditional art — that we get
the key to its fitting expression, and this is perhaps
especially so iu needlework. Nothing is more

SAMPLER IN COLOURED SILKS. (Spanish, Seventeenth
Century.)

{In the South Kensington Museum.)

may be almost a direct transcript. Much depends
upon method and material, and more upon decora-
tive use and purpose; and within this range both
abstract ornament and close naturalism must have
due place. Everything finally depending upon judi-
cious individual choice, or what is called taste —
perhaps more important in these distracting days
tlian any other factor in art.

We shall find no better models for treatment of
Horal design in textiles than in Persian art, of which
our South Kensington ^Museum contains a wealth
of beautiful specimens. Persian Horal design appears
to me to be so donnnated by decorative instinct
and invention, that tliu blend of naturalism anil for-
malism is ])erfect. The unity is so complete that we
feel here is a world of ornamental beauty with
laws and harmonies as well as forms of its own,
just as natural, on its own plane, as Nature herself,
because just as much the result of adaptation to
conditions. We can identify the rose and the pink
and the iris, the palm and the pomegranate in
I'eisian embroidery, but they are each of a spe-
cialised decorative genus perfectly adapted to tlieir
purpose, and governed by the principle of controlling
boundary before alluded to.

Now I feel that the ideal to aim at in needlework

202

TIIK MACAZINK OF AUT.

tlesij,'!! is soiuetliinj,' ili.stiiu-tivc uud iiist'iPiinibU' tVoui
tilt' i-liar;iett'ristics ami (.'uiHlitions of tlie craft. Wo
slioiilil not 1»L' foiiteiit witli ini'ivly imiUdinij citlier
luituii', or Pei-siaii work, or Indian, or Chinese, or
Japanese, or Cretan, or Italian, or Siianisli. If em-
broidery is to be a living art it must, lila' the otiier
arts, find its own distinctive forms of expression,
gatliered from many sources, perhajps, and havinj,'
roots in the traditions of the past, liul liflonginj^
to the present.

A general survey of needlewiprk as part of tiie
great historic record of design, after lis rude and
l)rimitiveefrorts, shows us, in the course of its artistic
dcvidopnient, e.\(|uisite workmanslii]) perfectly united
to decorative licaut}' both of form and colnur: we
may .see, perhaps, tlu^ results of patient years of
labour la\ishetl upon a few square inches of line
silk or gold work ; we may find the sacred sym-
bols of religious fiiilh. llie badges of family and
race, the fraid< colour and artless traditions of tlie
pea.sant, the proud ensigns t>f nations and peoples,
tile little child's sampler, the timr ik force of the
expert, the (plaint shadows of human follies, fancies,
and fashions, and the romance of faded lives — all
these the needle has recf)rdcd for us in unmistakable
characters, so that there can be no ([ucstioii of its
place in art and liistoiy, its human interest, its range
of suggestion and expression, ajiait from its un-
doubted dec(jrative and domestic value.

Yet all this decorative richness and liistoric
significance has sprung (Put of the eummnn ^muiiil
of necessity and utility — the necessity of tlie neeille
and thread applied to the fundamental utility of
cl<pthing. So it is with any baiidiciaft: pursued
under natural, human, and free condiliipiis it is cer-
tain, sooner or later, to blossom into design, .'^o it
conies aliout, 1 suppose, that (.'inderella, stitciiing
tipwels or marking linen by the kitchen fireside, is
Iransformcd in the course ipf time into a dre.im ipf
decfpiative lieauly in a fairy iialace.

It is well that the technical metbipcls and
mysteries of needlewoik should be studied, just as
we shcpuld sludv the grammar and liteialuie (pf a

language while eiidea\(puiing to write or to speak in
it ; the traditional stitches adapted to the dill'erent
kinds of work, the expression of surface and decora-
tive efl'ect, and so forth.

AVhat beautiful works s.implers can be made may
be seen in the fine Sjianish specimens of the .seven-
teenth century in the South Kensington Museum,
one of which exhibits forty dillert'iit i>alterns of
stitches. Yet I presume there is no Knality in the
art of the nee<lle, and it may be passible to invent or
adapt new ones and new fipinis of design.

The nunc thoroughly the resources and limita-
tions of a craft are understood the better for the
W(prk, since in meeting conditions we really coiujuer
them, and working freely under them, are more
alple t(p make them the medium of new nuptives in
design.

A few years ago, I remember, in \ew ViPik the
head of a school cpf industrial design there wrote
to me, and he said, "We have a primitive art n/iic/i
/.-mnrs iiolhiiif/ iif ta-hnique, and we have an up-to-
date art wliieli Innws noihimj hut tfchnique."

That, [)erha))s, is a condition of things character-
istic of the age. \jii us take care that Ipi'twcen the
two stools art does ikpI fall to the grouiul. I.et us see
that while we strive to [perfect ourselves in methods
of expression — tip mastei' the technical dillicuUies and
necessities of any art or handicraft — we do iKPt lose
sight of the ciiil in t'udeavouring to realise the iiu'iinx.
Let us not forget that every art is a method of
exincssinu, and that the highest expression of any
ait is, afti'r all, the expression of beauty. And how
can that expression Ipo full or perfected unless it
springs (Hit of the joy of life and pleasure in handi-
work, and answers to the spijiitaneous demand of the
linnian .spirit for harmonious ccjiulitions ^

Nip'i'i:. — 111 Ihu firsi iii.'^l.iliiR'iit cf lliisiirliclc. whioh iipiioaRMt
ill llie .laiuiaiy mimlici' of Till-; Ma(i.V7.ink oi' Aur, llio refcrpiico
111 llio licialil's coal of I'liilip II illii.-liaU'il on i>. 1 Is was iiiserlol
liy iiiislatic. Till' i'.\aiii|iU' iiilomloil to l>c rcfcircd lo (on p, Ml)
is one of tll<^ lime of our James II, aiiil is in the iSoiilli Kensing-
ton Miisoiiin, but not, illiistiateil in the ailiolo. Tlio heralilV
coat was, of coiiise, jfiven as an example of ,'ip|>lii|ii('' ami its
I'lTc'diveiiess in rendering licialilie devices.

"ST. STEPHEN."

By SIR JOHN EVERETT MILLAIS, BART.. P. R A.

I).\l.\TI';ii towards the close of the career of tiie on detail. The feeling for colour, ahhoiigh almost

arti.st, llie ])icture forming our fronti.si)iece, serves, monochronmtic, and beauty of line is still here, and

with the "Ojihelia," tlie [purpose at the Xational the .sentiment of the jiainter, religious and ])oetical,

(ialiery ipf liritisli Art of atlording a means of com- as the martyr is discovered lying in thi> early iiiorii-

parison between the methods of the rre-riaphiielite ing light, is true — reminding one not a little of

and lali'st periods of his work. We see how breadth I lidaripche's " Christian Martyr"— but there can be

of treatment has given place t>p the early insisteiiee little doubt as to which is the greater picture.

'CASE A, IN THE GRAND CORRIDOR.

THE QUEEN'S TREASURES OF ART.

DECORATIVE ART AT WINDSOR CASTLE : THE PORCELAIN.

By FREDERICK S. ROBINSON.

IT is difficult to give any iideciuute idea of the
porcelain collections at "Windsor witliiii the
limits of one paper. A V(jlunie would be require<l
to do justice to the hundreds of pieces there to
be found, and then the tale of these royal treasures
would remain incomplete, for at Buckingham Palace
are other .splendid examples of Sevres, and an
astonishing collection of Oriental porcelain adorned
with French mounts. We are compelled to restrict
our remarks to the more important decorative
specimens, which are now no longer in daily use.

The gieat andjition of the potters of the eighteenth
century was to produce a genuine hard porcelain
similar to the Oriental, whicli had been introduced
to Europe by the Portugue.se.. How Bottcher the
German .succeeded in 1715 at the great Meissen
factory, near ]Jresden, is an interesting story too
long to repeat. The exportation of the kaolin or
white clay, which was its base, was strictly for-
bidden, and the endeavours of other nations to
obtain the secret do more credit to their persistence
than to their honesty. But technical artistic secrets
of this nature are bound to leak out in time. (Jne

of the foremen of ihe l)re.-iilen factory — wliich was
ordered almost as a prison — escaped to Vienna, and
from that city the knowledge of the u.se of kaolin
spread all over Germany. From 1731 to 17"iG was
the great period of the Dresden porcelain.

In England as early as 1G9S a ceramic factory
had existed at CheLsea, and in 174.5, wlien Louis X^'
gave exclusive pri\ileges for thirty years to tlie
predecessor of Sevres, " for the establi.shment of the
manufacture of porcelain in the manner of Saxony
(i.e. of Dresden) at the castle of Vineennes," cue of
his inducements was the desire to counteract the im-
portation of the wares of England and tiermany.
Chelsea flourished exceedingly from 1750 to 1705,
and its ware " does not disgrace the company " of
fine Sevres.

In 1754, owing to tiie buildings of Vineennes being
too small, the company formed by de Fulvy, brother
of Ony, tlie director of the King's buildings, moved
to Sevres, where a place less like a factory than a
French chateau, with its outside blinds and dormer
windows, received the workmen in 1750. Tlioudi
unsuiled for a factory, tlie new abode was well

204

THE MAGAZINE OF ART.

CASE E,' CHELSEA VASES, WITH THE "VAISSEAU A MAT.

Ill (

tioii

adiipleil for a loyal lioliliy. A suite (jf idnins, iii-
cliiilin;^ a cliaiio'l, was rmiiislu'd and kept up for
llic Kiii;i's us(> when lie sliould visit tJic iiorcidaiii
works, in wiiiiii lir iiad at liist, a liiird sliaic
\'inf'('iiiics liad Ikm^ii too lar away IVoin \'cisaiil(',s
and the Court. Tliougli ijuantilics of cliiiia were
made for coiinuoii use — generally of a jilain wliiic
ground painted witli flowers in ])atfcrns or medal- of tlie discovery in France of the earth required.

llie .lones collection may be seen speci-
mens of nearly every colour that was
cvei- made at Sevres.

The products of the factory attained
]M'rfection for anotiier good rca.son besides
that of royal support. To pay his ex-
penses, in 17"'9 Louis XA' had, like his
predecessors, resorted to a wholesale melt-
ing of plate. Even the Church had been
"invited" to contrilmte to this destruc-
tion. Till' nobility, who, following the
example of tiie Due d'Antin, had dis-
covered ill 170!) that they could manage
to eat tJieii dinner off earthenware as
well as oil' silver i>late, were eager to buy
a fine porcelain as soon as it was made
in France. Yet the management of Sevres
were always in financial ditiicnlties, chiefly
owing to their methods of distribution,
and in 17(J0 Louis XV took over the
iiiinpany, and Sevres liecame a hkiiui-
jKrhtir ivi/alf.

Its artistic history is very similar to
that of the Gobelin.s. At first triumphs
ill colour were rightly aimed at. The
best painters and modellers — Boucher,
■jiciiifrr I'll tifir to Madame de I'ompadour,
1 )iiplessis, the King's goldsmith, who sup-
plied the shapes and the beautiful metal
mounts, helped to make the }Mr tendrc
what it is. I'.ut for every day use the
pdlf Inidir was not ]ierfect. It rubbed
easily, and tiioiigli it was not so tender
as its name ini])lies, it was apt to break
iiijisy liaiicis. Tile exiieiise and complica-
of the paste, and its habit of falling
during the process of firing, were anathema to
tiie seieiitilic ])otter. .'-^o the chemists set them-
selves to work, and the hanl porcelain, pdti-
ihnr, was iineiited sixty years after it had been
maile at 1 •icsden. \'erv interesting is the tale

lions — the firlir/fx ilr lii.ce, with which we are con-
cerned, were the special cruze of ibe Kin.;- and
the nobility. The grounds of these were in the
well-known colours, " gros bleu" c)r "bleu de roi,"
first to be invented; then, in \7i'>-. luii|iiois(' or
" lileu de ciel," discovered by llellot. In 17."i7
came the " rose carne dit I'ompadoui'," called after
llie ill-natured woman who cost the nation in ti'ii
years' time the sum of thirty-six millions of francs.

Tiic desiri'd object was gained at last, but at
wiiat an artistic sacrifice ! Tlie liard jiorcelain
would not give the .same depth of glaze and
softness of colour which so beautifully sufl'u.seil
the ]in/c tinihr. The more compact and less ab.sor-
bent material Iroublwd the painters, and the glory of
finest Sevres was over. It was ruthlessly sacrificed
by llie chemists, just as at the Gobelins they were
alielted by the painters in forcing the ta))estry-

She died in 1704, and was succeeded by the good- maker to muUiply his shades and overstej) the

natiired Madame du ]5arry, after whom the pink limits of Ins art,

colour invented Viy one Xzrovvet Ls erroncfiusly Kioin I74U to 1774 is the great period of pdtf

called ill Juigland. Then came "violet pensce," /<■«</«' at Viucenues and Sevres. In the latter year

" vert pomnie," "vert anglais," and "jonquille" In IJoileiiu, the able ilirector, died, and llie manufacture

THE QUEEN'S TREASURES OF ART.

2or.

of till.' hard porcelain was first in full swing. In
17^>0 began the manufucture of porcelain decorated
witli enamels, "jewelled" with little drop.s set in the
glaze to imitate rubies and other precious stones.
There are several specimens of this species in the
(Jreen Drawing Room at Windsor. It may be
observed that examples of jewelled Sevres which
have a ground other than "bleu de mi" shduld be
regarded with suspicion.

These are beautiful things, but the artistic
quality of the porcelain was waning. In 1780
Hettlinger the Swiss, who, with Regniev as co-
director, succeeded Boilcau, in\ented the snull-box
imitative of agate — a bad sign of artistic degeneracy.
He had also a desire to make big things, and follow
tiie example of the Gobelins in imitating j)ictures.
In 1784 eommenced the practice of copying .sculpture
in while " biscuit." Louis XVI had been as great
a well-wi.sher of the Sevres manufactory as his
predecessor. l)uring his reign the best artists had
always been employed. Amongst
the sculptors were Caffieri, Pa.jou,
and Clod ion ; amongst the painters
Fragonard and Boizot, .lulien and
Roland. Up to 1780 the inspira-
tion of lioucher and Watteau cun-
tinues. Gradually, says M. Havard,
" allegory ceases to be galant and
becomes philosophical." It is the
ideas of the Revolution which are
approaching — " Friendship stretches
a haml to Love," "Hymen conducts a
young L'ouple to the Altar" — ^'enus
and Cupid make way for these. To
amorous mythology succeeds his-
tory, with portraits of heroes and
inventors. An evilly inspired real-
ism is superadded, worthy of the
Revolutionaries who voted that
Marat's portrait should be repro-
duced broadcast in tapestry. "As
at the (bjlielins, the habit of crea-
tion is gi'adually lost. I'ainters no
longer make special designs for por-
celain. The potter begins to bor-
row from pictures." Then come the
financial ami revolutionary troubles
of 1789. The workmen starved, as
they did at the Gobelins, but still
they worked and remained faithful.
Both factories survive, and tiourish
to this day ; but the artistic glory
of Sevres, the fine flower of finish,
the best work of the artists of the
old rdfjime, who worked for Kings
of France and a feudal nijbility,

112

belongs to the first three or four decades of its
history.

The collection of Sevres, Dresden, Chelsea, and
other porcelain at Windsor is placed partly in eight
large cabinets in the corridor, partly in the Green
Drawing Room, but large and beautiful examples are
scattered about on furniture in many other rooms.
Let us begin with the first cabinet that we meet as
we enter the corridor. "Case A," or rather its con-
tents — for the cases are not beautiful — is in many
respects one of the handsomest of all. The centre-
piece on the upper .shelf in our illustration happens
to be a piece of Worcester on three dolphin feet
in a Sevres style. On the white satin quilted back of
the cabinet are Chelsea plates. The two white vases
fianking the Worcester centre-piece are Sevres of a
2>dfe tcmlrc model, but made of ixite dure. "As good
as po.ssible of their kind, with genuine Louis XYI
mounts," says the inventory with pride. " Worth
.filTiU the pair." The outside end pieces on this

'VAISSEAU A MAT.

206

THE MAGAZINE OE ART.

shulf arc Sevres "jarcliiiitrus" willi ilaik Miie groiiml,
riclily pencil-gill, and nine inches liiijli. The flowers
are painted with birds encircled in wreaths of
fluwci-s. The marks on these are for 177:2 and
1785, and they are worth a matter of £l,r>00 apiece.

curling handles. The height of these is one foot five
inches each. The inventory marks them as " Dresden,
very good, fine old Erench C'atHcri mountings, £100
the pair " — a price which, we fancy, would be far
exceeded now. Lurking in the two cornei-s, next to

■case f.— three rose pompadour vases on centre shelf.

On the lower .'^hclf of "Case A" is auKihcr Wor-
cester centre-piece, Hanked by two little ])iecc.s of
Tournay, a factory established in 17o0 and tlourisb-
in" most in 1702. Then conic two iiiiii;iiitifcnt
iJresden va.ses with covers ami si>lt'ndid orinoulu
mounts. The ground of the.se is dark blue and purple,
jicncil-gilt. The pastoral subjects on white panels
are very strong in colour compared with the painting
of Sevres. Of one of these we give a large repro-
duction for the .sake of the beautiful fine detail of the

these broad 1 Ircsden \ases, are two Sevres vases of
" gros bleu " with acanthus handles rising from the
lower body. These handles are in white and gold,
and arc connected round ilic neck uf the vase by
a reeded and riliboiieil baud in while, which is very
pretty in ellect. The panels are Oriental figure-
subjects by the hand eilhcr of I.e Ouay or Durand
perhaps, who were both miifd painleis in this style.
" Cabinet 15" contains nothing but apple-green
Sevres " vert pomnir," ami has a very fine efl'cct.

THE QUEEN'S TREASURES OF ART.

207

The next Ciise is full of white Dresileii painted
with flowers. Amongst the numerous pieces are
fijie tui-eens with Cupid handles and lemon tops to
the covei"s.

" Cabinet 1) " vies with the cal>iiiet-full of " vert
pomme " which we have mentioned, by the complete-
ness of its series of turquoise -blue Sevres.
It includes sixteen plates, en stdlf, with pale
turipioise-blue borders and a medallion por-
trait on a white giound in the centre of each
plate, representing, in each case, an historic lady,
such as Diane de Toitiei-s. These are of the
date of 1761. Tureens, ice-pails, and sauce-
l>oats complete the cabinet.

In "Cabinet E," whicli we illustrate, the
upper shelf contains a soup tureen and dish
of Chelsea, and two superb Chelsea vases with
covers, about thirteen inches high. These have
a dark blue ground and pierced handles, necks,
and covers. They are beautifully painted with
conversational groups. The brilliant scarlet
of the coats against the greyish background
of the pictures makes an extremely gay and
unexpected piece of colour. These are of the
finest Chelsea, and " certainly worth £2,000
the pair." They appear again in our illus-
trations as pendants to a very tall Se\res
vase, which we shall presently describe.

On the centre shelf are Chelsea dishes and
small pieces of Tuurnay. The curiously -shaped
" jardiniere " on the lower shelf, which rears
its steeple head above the centre — a foot and
a half high in all — is not Sevres work, though
it seems to be at first sight. It is Messrs.
Mortlock's copy of the celebrated Buckingham
Palace " Vaisseau a Mat," to which we referred
in our introductory article. This specimen of
modern English skill in china-painting was
made by command of Her Majesty in 1S80
at a price of 240 guineas. It was purposely
varied from its prototype. The gi'ound is
" gros bleu " pencilled in gold " vermicelli."
One picture panel represents a battle scene,
with officers on horseliack, illustrated in our
large illustration ; the other panel is of flowers.
There is no danger of this being confounded
at any time with any original example, as the
Buckingiiam Palace prototype has a mixture
of " gros bleu " and green for giound and a differ-
ent picture-subject. Messrs. Mortlock's mark upon
their own piece — in which the pictures are paler
in colour than Se\Tes work would be — will prevent
it being confounded with the similar specimen
which is reproduced in colours in T. Marryat's
" Historj' of Pottery and Porcelain" (second edition :
MiUTay, 1857). Further description of this curious

form, made fur holding bulbs or flowers, we shall
defer till we come to the genuine piece at Bucking-
ham I'alace.

"Case F" is very beautiful to look at, and con-
tains most priceless treasures. In the upper shelf is
a Chelsea soup tureen of white, dark blue, and gold,

"CASE G. — VASE WITH SATYR HANDLES AND "CEIL DE
PERDRIX VASE PAINTED BY MORIN.

with binis, flowers, and butterflies, backed by three
large dishes, all marked with the well-known anchor
on the back. The smaller pieces are Tournav,
painted with oblong panels of birds and butterflies,
the names of tlie birds being w^ritten under each.
This ware is very pretty, but the gold pencilling,
though elegant, is very thin aud empty compared
with the best of Sevres. In the centre shelf are

.'OS

THK ^lACJAZINK OF AHT.

the great prizes. Tliese me tliree pieces of the
colour "rose came dit I'onipiulour," known liere ns
"roseihi Barry," thoiij,'h the only recoiil,. says Marryat,
of Madame du Harry in conneclion with Sevres is a
label atlixed to two vases in liic model room, " \'ase
dii liarry." It was, however, probahly her favourite
eolciur, and hei- ehaleau al \'iiiccinies was stoekcd
with Sevres, as lielle \'\w was fur Madame du
Pompadour before her. This lovely pink, wliicli
shows against tiie ivoiy-white .satin as a warm
"strawberry ereani " colour, is ipiite superiur in
((ualily to its faded counterpart in the tapestry of
liie period. Tiie centre-piece, over fourteen inches
high, is painted with flowers and hihoiivs, and is
perforated to serve as a "jardiniere." The cover has
(lowers in relief, and the date of the piece is IToT,
us the K between the two L's interlaced signiHos.
The two side vases in siii/r are also perforated.
In the design of tliese three the inHucnce of the
silvorsniith upon iinicclaiu uiodcls is wry apparent.

VASE BY MORIN (••• !•■ 301; AND CHELSEA VASES (••'' v ^m}- ENLARGED REPRODUCTION

It is an instance of one medium being tortured into
the shapes more suited to another.

On the lower shelf are two soup tureens witii
covers, ten inches high. The ground of these is
turquoise-blue ; tiie handles and feet are white
and gold. The blue is splendiiUy brilliant, though
one tureen luis a fire (law at the bottom to
show how diHicull it was to produce perfect pieces
of tiiis precious puii'clain. Wlien the practice of
forging Sevres commenced in England, by alteration
of tiie old stock, which was bought up by dishonest
dealers, the turi|Uoise-blne was found to be the
easiest to sophislieate. Tliere is more of this about
than of any otiier colour, and, thougii dilticult of
detection, the coiiiparative deadncss of the colour
is one sign by which it may be known. Tiie double
" V>\\" mark on these signilies the date 177S. CJilt
artichokes form the knobs of the covers. Tlie three
plates that Hank them are bordered with pale
diapered blue and white, and have Cupids in the

eeiilie panels.

" Cal)inet ( 1 " has on the
upper shelf of its centre
jiart a splendid vase of a
"gros bleu" ground, with
raised trellis-work on its
cover, richly pencil -gilt.
Oval medallions of Cupids
ill ornioulu mounts also
decorate tiie cover, which
rests on an open liin of
vine foliage in ormoulu.
Tiie handles are satyrs'
heads, with long, curved
horns. Tlie base is of
ormoulu, with a large guil-
loclie ornament and four
lion's-paw feet. Tliis hand-
some vase is one foot eight
and a half inches iiigh, and
has tlie mark " E," proving
it to be /«/'/( tiiiihrol i7"i7.
( )n the lower shelf is
a very tall vase of "gros
bleu," pencil -gilt in the
dotted circle pattern known
as (/■// f/c prrdru: A pic-
l lire -subject of a quay,
witli lish, lisbfiineii, and a
niasl with a lateen sail
furled in the background,
adorns the iiody of tlie
vase. A bouquet of lloweis
is on the other side. This
vase, nearly two feet six
inches high, is iiioiintfd

THE QUEEN'S TKEASUEES OF AKT.

•200

witli griU'L't'ul onnoulii liaiulles, and its vowv rests musical instruments. Four small rings take the
on an open-work ornioulu rim. Tlie painting is liy place of handli's. These are pdfr kndrc of the finest
Morin, and is of the very finest (|uality. We give a quality, and worth at least .£2,500 the jmir. The side

OAK-LEAF AND RIBBON VASE AND TWO VASES EN CAMAIEU" ("CASE H

large reproduction of this vase, flanked hy the two
fine Chelsea vases before described. Oidy two otlier
specimens of this shape of Sevres vase are known.
Mr. Harvey I'arkes had one, Mr. Angerstein the
other — a broken one — a good many years since. On
December 6th, 187o, a well-known dealer cheerfully
offered to pay £o,000 for the Windsor vase — if it
were only for sale! It may be noticed that on the
cover of this v;ise there are pendent gilt garlands
sunk in the Mutes, just as one finds the little ornioulu
hanging garlands in the flutes of contemporary
furniture.

The illustration on this page is of three vases more
or less en suifr on the upper shelf of cabinet " H." The
centre is of a dark-blue ground, with o-il dc peirh-L'-
pencilling. It has a long oak-leaf festoon going over
the centre medallion, which represents two Cupids,
and a ribbon flutters above it. The medallion and the
base are ornioulu mounted. This vase has suffered
misfortune. Its top is a clever wooden imitation, and
the whole was found in the stores broken to pieces.
It was carefully mended in 1874. The two vases
which flank this are of a plain " gros bleu " ground,
and ai'e decorated with white circular medallions en
camcdcu painted with Cupids, torches, quivers, and

wings of cabinets " (t " and " H " are tilled with a tea
and eofl'ee service of the finest Dresden, said to be
" King's-raark " — i.e. when the factory, in 1778, was
under the immediate direction of the King. It con-
sists of two cro.ssed swords and a dot between the hilts.
The Green Drawing Eoom contains the celebrated
dinner service which was ordered in 178-1 by Louis
XVI, but only used on two or three State occasions.
So numerous and crowded are the pieces that they
do not lend themselves to photography. It is "gros
bleu," pencil-gilt. Each plate has five medallions,
separated from the blue by a thin zone of white — a
large medallion in the centre and four smaller ones
on the rims. The most talented artists, including
Dodin and Le Guay, were employed to paint the
pictures, which represent classical subjects and
animals, and only about <a dozen pieces could be
completed in a year. All were of the highest finish,
defective pieces being i-eplaced and the bad ones pre-
sumably destroyed. The details of the Windsor
inventory are copied from the sedulously kept
archives of the Sevres factory for each separate piece.
This is important, as we shall see. George IV used
the service at Carlton House and St. James's Palace.
During that period some of the pieces, doubtless,

L'lO

THE MACIAZIXK OF ART.

weiv broken, for tliore are iwx'lvu inissiiiy in all. one other, in llic exliilMlinn of IS.SJ. The Sevres

In 18S2 there took pkce in buulon an exliibition archives are of inestimable value for allirniing the

of fine Sevres, promoted by a well-known dealer, authenticity of a piece — or the revor.se I
Amongst the exhibits were sixteen piece.s, which Tlicre are also in the (Jreen Drawing Kooni two

were said to belong to the celebrated Windsor other .sets which rctiuirc notice in this context. The

service. That could hardly be, for only twelve were first is of twelve plates of "gros bleu " ground with

DRESDEN VASE. WITH LOUIS XV MOUNTS

ini.ssing. I biy had been culKclcd liy anolbci dealer
of a former generation, who in 1S40 had oflered them
to Her Majesty for Cld.OOO. The oiler — very wisely
refused — gives some notion of the approximate value
of the entire service. The.se sixteen pieces have
been comjtared with the Sevres list, and found not to
agree wilh the record of the twelve mi.ssing from
Windsor. The di.screpaney between twelve and
sixteen — an extra four— seems puzzling enough, but
is capable (jf explanation. In the Loan ]'^\hibition
at South Kensington in 186!) there were lifteen
pieces ajuiarently belonging to this celebrated
Windsor .service. Two only of these were the
jiroperty of the dealer who matle the oiler in 1840.
These fifteen specimens were similar to the Windsor
service, but were not authenticated by the Sevres list.
It is possible that they may have been extra jiieccs
made in case of necessity, or else that some of them
were .slightly imperfect, and were condemneil but,
as not unfnMpiently happens in a case like this,
not destroyed. They may have figured again, with

figures of llir nine Musrs, and of Flora, Teres, and
Pomona as centre subjects, and Cupids on the
borders; the second is a breakfast service of "gros
bleu " painted with medallion portraits of celebrated
painters. Uotli ol' these, though i|uitc excellent,
are counterfeit. Tiicy have the double"!/' mark

of Sevres, and underneath a signature, " S ."

The old ixile imdir was not made after 1804. In
1812 the white unpninted stock was sold to three
workmen, .Iaci[uemart, Peres, and Irlandc. These
men speculated in having the stock finished as old
Sevres, emidoying, in particular, for the s\ibjects one
Soiron, a very clever painter and cnanieller, Swiss by
origin, but working in Paiis. He u.scd the signature

"S "here found. The Sevres Museum has a

cott'ee service of " gros bleu " with portraits of Louis
XIV and the ladies of his Court, which these
workmen palmed oil" on lx)uis XVI 11 as having
belonged to his brother, Louis XVI. When counter-
feits are as clever lus this, it behoves the amateur
of Si"vres to be wary !

FRI ENDS OR FOES ?

{Engraved by P. Hahdtmann. )

THE NEW PRESIDENT OF THE ROYAL WATER=COLOUR SOCIETY.

ERNEST A. WATERLOW, A.R.A.

By M. H. SPIELMANN.

THE election of Mr. Ernest A. "Waterlow to the
Presidentship of tlie Iloyal Societj- of Painters
in Water-Colours was one of the principal events of
the art-jear 1897, and a surprise alike to the public
and to the eminent painter on whom the honour fell.
Xot until within a few days of the election had he
con.sented to be nominated, when he was assured of
substantial support, and when Sir Edward Burne-
Jones (to whom he was personally unknown) put
forward his name as a candidate — as a character-
i.stically English painter who had for many years
been connected with the Society. How the first ballot
was a tie, while the second was won by a Ijare majority
(through one voter marking the name of an artist
immediately above that of the loser), constitutes an
exciting incident in the annals of recent art-history.
Mr. Waterlow accepted the honourable office, and
with it responsibilities of an onerous kind. And,
inasmuch as the "Old Society" by seniority ttikes
precedence of the Pioyal Institute of Painters in
Water-Colours, he assumed the headship of English
water-colour art, which for years pa.'^t had lieen the

undisputed possession of his great predecessor. Sir
John Gilbert.

In Ernest Waterlow there reappejired a talent
for art wliich had lain dormant in his familv for
nearly two hundred and fifty years. Antoine
Waterlo (or ^^'atcrloo), who was born at Lille in
the early part of the seventeenth century, painted
landscape with unaffected simplicity, into which
Jan Weenix would paint the figures, coming to his
chateau near Utrecht for that friendly purpose. In
the Low Countries, too, he executed his seven-score
plates before the family name dropped permanently
out of the roll of artists until ilr. E. A. Waterlow
revived it in the catalogue of the Pioyal Academy.
Born in 1850, the boy was so delicate that his health
was a serious anxiety to his parents, who in due
course decided — in order to provide him with an
easy, an agreeable and light profession — to encour-
age him in his passion for drawing, and to help
him enter on an artist's career.

parents : who devote your children to Ai t,
little do you wot of the severity of the fealtv

212

THE MAGAZINE OF ART.

I'xacleil liy llial stern l)iviiiily : Lillleilo you know
of the intensity of the application deniandeil ; little
do you <;uess of seliocls liy day and classes l>y niglit,
day after day and niglit after niglit, of work in an
atmosphere suited better to the needs of tlu' uii-
drapcd model than of the student, in a liglil that is
often enough a strain to the woi king eyes ; little have
you heard of the training in which to the earnest and
detfiniined the day's work is never dune, the day's
progress is m^ver enough, tiie day's aiiiliitioii never
sjitistied. And when the student has become the
ind.-iiendent jiainter, and the ligure-draughtsiiian
stands before his ](icture in the studio all llir live-
Ion"' day in anxious toil, or is stopjicd in liis w<irk
by the many accidents that attend liiin: or when,
having to sacrifice a whole morning's work witli
which he has become discontented, he tiiids tlie
responsiliilities of life weighing heavily upon his
spirits and cramping his hand : or when the land-
scape-painter haunts the fields all through the trying
day, and works by weather— in sun, and wind, and
cold, and wet— that strains the very strongest: the
(piestion arises whether the calling of the painter
is of siuli luxurious ease, and whetlier it is not to
be ranked in very deed among those dangerous oc-
cupations for which tlie interference of legislation
lias been railed into play. The Arts hold forth
an enviable judfessioii for tlie apt and healthy:
painful and t'dliiig toil, for all its delights, is the
price that must be paid by the weak. And this
you may see by reference to the history of artists

in the extreme longevity that is commonly the

lot of the robust among them, and the early
extinction of the weak and ailing. The names of
Kred Walker and Cecil l.awson spring from the
pen at the word.

So Ernest Waterlow was .sent to study at Carey's
School of Art at Dloomsbury— stmlying from the
life : and when he left, he travelled through
Switzerland and Germany, and ]iainled on tlic
wav. This practice fixed him in bis future w.nk:
be applied himself to landscape, ;iiid lamiscaijc be
lias been jiainting ever .since. lie ivluinrd {><
Englaml in I'^^T'J, and .set to work with all the
eon.scientiousne.ss and care that diaracterise him.
I hiive se(!n a study of the steps and terrace at
Haddon Hall, worked out with an accuracy of
perspective and detail that is almost pathetic :
and it is worthy of note that this early work is
a water-colour, strengthencil with boily coloui.
which, however, might almost be taken, by its
vigour, for a picture in oil. Tlicn be entered the
Itoyal Academy .schofils, and there w.nkcd f«ir a year
and a half, when he gained the Turner gold medal
for a laiKl.scape (exhibited at the Academy in ISTI)
on the given subject— " A Lmil Stmiu"- in wliidi

a wind-blown figure strives along tlic palli, while the
trees are bent sharply liack, and the driven mist
sweeps nil. .\ course of out-of-door land.scape
study followed, inlluenced .somewhat by the fact
that his first contribution to the exhibitions of
the Academy (in 1872) had been hung— but
skied. That treatment, of course, matters little
to a young painter in regard to a first picture :
the artist is content to find himself upon the
walls on any terms, and the lesson he learns from
the aspect of his work in such surroundings rarely
fails to leave an indelible, as well as a valuable,
impress on his mind. "An Evening in Dovedale,"
,1 scciic in Derbyshire, had been accepted — that was
the main point; and the encouragement was not lost
upon the ])ainter. Next, a visit was made to Newlyn,
before that village hail been invented by the School
of that name, and there he painted a strongly
coloured iiicture (not very well composed, by the
way), which would iiave been the despair of those
of the subseipieiit colony for whom Nature is only
at iier best on "a nice grey day" — when colour is
melancholy, emasculated, and subtlued, and there
can be thought of little beyond tones and values.
Then ]\Ir. Waterlow seems to have passed under
the influence of (ieorge Masi}ii and Fred Walker,
with whose sentiment he then and since constantly
showed himself in harmony, just as in later years
lie over and over again proved his strong symjiathy
with Constable and Corol.

The 2^l<^'» ""■ theory — work in the open air — he
was now po.ssi'.ssod of ; but it was a theory with a
limitation. The artist, he felt, must conceive his
jiicture upon the spot, and collect all the necessary
details, make numerous studies — bring about him,
so to say, all the materials and the scallolding of
the work which he had already planned and which
he was about to construct. I>ut that construction
had to be carried out in the studio. The ever-
shifting light and colour of nature, comiiaii'd with
which the chameleon is a beast of permanent hue,
render the comiilete painting of an elabdiate laiid-
sca]ie upon the .spot a feat almost impossible, ;is if
is undesirable, of execution, save in exceptional
circumstances, it was the natural dillicullies of
the task wbicli led the great Northern landscape
seliool ^ which has had to deal with a climate
and a sky far more variable than is to be found
in the sunnier but less interesting S(hi|1i — in adopt
with few exce])tions the studio system, liuysdaid.
Van Everdingen, and Hobliema, for example,
carried the principle too far. and appear to have
)iainted their pictures ihrongliout, with but few ex-
ce)itioiis. in their ill-liglitcd studios— anil that not
finm ]iainted studies, but lather fniui iieiicil noles,
so lliiil ihe artists po.s.sessed nol e\eii a rapidly

113

ERNEST A. WATERLOW, A.R.A., P.R.W.S
{From the Painting tiy L Alma~Ta(tema, R.A.)

214

THE MAGAZINE OF AKT

executed colour scheme to guide thoin. The residt
was tliat their pictures are all wrought ou oue or
other of a few well-differentiated types of composi-
tion, light, and atmospheric cllect — exquisite as paint,
but, from tiie point of view of truth, unrepresentative
of brilliant nature. Indeed, save for the pine trees
introduced into some of tliem it is impossible to tell
whicii of Euysdael's and ^'an Everdingen's pictures
represent Holland and wiiich Norway ; nor can it be
pretended tliat the rich greens of Rubens' landscapes
and the browns of Rembnindt's arc aspects of nalurc
seized upon the spot.

On tile other liand, painlers wlio execute tlicir
linished works eiiLireiv out of doors dare not matcii

STUDY OF TREES (W„Ur-Colo,„

their colours by tlie nature before them, or the result
— as well they know — when viewed indoors will
appear ilat and devoid <ir himinosity. The work niusl
be "forced" in order to impart to it sonic of ihul
vividness which Nature puts into her landscapes,
but wliidi .siie witbludds fiom mere ]]igmenls.

For tiiis main reason Mr. AValiilow lives and
cairies out in London tlie jiicluies lio has ])r('-
pared in the cnunlry. Such a man, indeed, could
hardly live elsewhere, for without the companionship
of artists, and without communion with men upon
whose brains to sharpen his own, his vigour and
interest in life and art woulil alila; evaporate. For
the artist is a man of .sentiment; and he has been
true enough to him.self always to have painleil what
pleased him, uidfonnly indiflerent to the sugges-
tions of dealers and the reijuesls of picture-buyers.
He has never listened to the blandishments of the

tempter who has lured so many an artist to his ruin
— never consented to repeat a work which has gained
the success of popular approval, or to embark upon
a ])re-eommissioned series, how seductive soever the
ofler might be. One of his first paintings was a
picture of the sea, and he was, in consequence of its
merit, referred to as "our coming marine painter;"
yet not for many years did he produce another.
Landscape, sheep, cattle, the beasts and birds of
the farm, claimed him in turn ; he was always
changing, and so contracted no mannerisms. Sincere
and modest in his work always, he has gone on his
way sinijily and (quietly, and .such success as he
has gained has come to him by itself.

Every summer
the artist makes his
usual trip to form
ideas and collect
material for bis
year's work. Bui,
in the first place,
he always paints,
jn carefully wrought
studies, what strikes
him at the moment;
it may not be re-
quired at once, but
it is stock-in-trade
that is sure to have
its use. He takes
iiis box before him
and makes studies
of foregrounds —
leaves, ilitches,
sedgy bits and reeds,
water, road, rock,
and all the rest —
(if middle planes
and dislaiices nt upland and inmir, nl' Iri'cs and
stream and waterfall, of skies and rlmids and
atniosphcric crrrcLs; of I'verylhing, in shml, lliat
comes williiii ihr landscape-painter's ken. These
studies are veiy elaborate. In the vast nundier
which he has collected (every mie of which he
remendjers whenever lu^ rtHjuires to refer to it)
are accurate studies of cloud forms and eH'ects, of
tree-form searchingly portiayed, of waggon and
cart and plough, of horses and cattle in every sort
and variety of attitude and position, all with back-
grounds painted in, that true relation of tone may
lie jneserved. I have .said tlial tliese studies
— all cif them i'aiily large and iniimrtant — are
numerous ; but a word of explanation will alVord
a better idea of the labour they represent. Last
year the painting-tour was at Walberswick — that
(luaint and charminu district which Charles Keene

GREEN PASTURES.

21G

THK MAGAZIXE OF AliT.

discovered — and it produced forty studies of land-
sc-ape and thirty of cattle ; so that, as tlie artist lias
been painting fur a quarter of a century, tiie aggre-
gate number, at a like rate of arithmetical progression,
would amount t<^ something like l.T'iO. And in the
ineansvinle Mr. Waterlow has exhibited, in round
ligurcs, oO works to the IJoyal Academy, 100 to the
Ito^'al Watcr-Ciiliiur Soeiety, 2"i to the (Jrosvenor
and New (Jallcrics, and 100 U) various other ex-
hibitions; and we have a total of l!7'> jtictures in
oil and water-ciilour and l.T'iO studies — which is
eloquent enough of industry and enthusiasm.

The fii-st tinu' I visited Mr. \\',i(crli)w lie had
moved into the house in liavswater which had lieen

A HAMPSHIRE STREAM {l.V.,1. r-Colm

occupied by Fred Walker, his sometime ideal. It
was not for some while after iliat he erected a
gla.sshouse behind the house and painted in that
Tlie result was magical. Surrounded by a strong
and brilliant light, the artist's health and eyesight
were improved, while the result upon his work was
not less marked. His colour became lighter and
Mu>rc sparkling, and his outlook upon nature entered
into a more poetical and more .sympathetic pha.se.
Tlie human intei-est and sentiment — which have
always been one of the characteristics of Mr.
Waterlow's pictuies — were not .sacrificed : but there
Wius a disposition to become more thoughtful and
to invest iiis pictures with a finer feeling than tlie
more romantic element of previous year.s.

.Since 1H72 the jiainter has lieen a regular ex-
hibitor at the lioyal .Acailcmy, the year 1S7C only

excepted, and lias touched every subject tiiat comes
within his range. He has painted them all with a
love that tells of close observation and intimate
knowledge : only of winter have I never .seen a
picture from his liand. He has been charged with
liaving imitated Corot in I'icardy and Brittany, and
Constable in Sutlolk. IJut surely it is fair to believe
his pictures aic wliat they are, not because they are
like Constable or Corot, but because tiicy are true
to .Sullblk or I'icanly.

It was in 1XS7 that "Oalway Gossips" was ex-
hiliited at tiie Academy, and was bought fur the
sum of £:!(I0 under the terms of the Chantrey
rn'i|U<'st. He liad been for .';even years past an

Associate of the
i;nyal Water-
Colour. Society; but
liillierto the Aca-
demy had shown
him no more at-
tention than is
conxeyed in the
acceptance and
hanging of his
works. Xow, how-
ever, things were
changed, and in his
case, as in that of
so many before
and since, such
" Chantrey notice "
was a first official
acknowledgment of
success, and herald-
ed furtiier advance-
ment. Tliisoccurred
tlnee years later,
when he was elected
an Associate of the
Academy (1S90). The election, no doubt, was in
immediate recognition of the admirable exhibits
of 1888 and 1889 ; for in the former year there
was the touching picture of "The Orplian"^ — a
shepherd feeding a lamb — and in the latter "St.
.MacDara's Day" (a ti.shernuin's religious custom) and
"Wolf: Wolf!" In 1800 there appeared "Friends
or Foes ? " — childien frightened by an advancing
phalan.v of gee.se. The .same subject had been
worked out before by Fred Walker and others, on
much the .same plan : but Mr. Waterlow's rendering
had mucli individuality and charm, and his drawing
of tiie gee.se — the long-lived, loyal, vigilant, and
courageous ausn- (/omcfitints — (thougli to the un-
thiidiing it is only " silly " and ungainly) was at
once correct, characteristic, anti humorous. In the
same year "Homewards" was exhibited — a well-

THK XKW I'KESIDENT OF TIIK IJOVAL WATER-COLoli; soclKTV.

217

liglited scene of sheep returning from pasture, along
the dunes by the sea. Then in 1891 came "A Best-
ing Place," representing Bavarian peasantry resting
by u wayside shrine on the borders of a town.
" Launching the Salmon Boat " was first shown in
18!):;, but as 1 first saw it in the studio it appeared
sciniewhat lieavy. This fault has since been removed
by careful re-toucliing, which has rendered it at
once more brilliant in parts, more delicate and tender.
His other works need liardl}- be mentioned in detail,
for during the past decade they have nearly all been
reproduced in these pages or in those of " Boyal
Academy Tictures."

So far 1 have spoken of ^^'aterlo\v almost ex-

Moor" first carried his name into the catalogue he
has diligently pursued the wooing of Art in her most
fascinating and lier most winsome aspect. In 1894
he was promoted, along with Professor Herkomer
and Mr. Lionel Smythe, to full membership of the
Itoyal Water-Colour Society, and after an interval of
only three years has been selected to rule the affairs
and guide the destinies of the " Old Society." His
career has therefore been a brilliant one; its develop-
ments will lie watclied by all who take an interest in
him and his art, for the distinctiun whicli fortune has
put in his way offers a fiebl for action wliich most
men miglit envy and \Miuld turn to best account.
Every year his art improves, liis touch becomes

STUDY IN OILS OF FOREGROUND

clusively as a painter in oils. But, as I lia\e sliown,
his earliest work with which I am acquainted is
a water-colour, and to that medium he has lieen
constant during the whole of his artistic career. It
may be observed that he never talces up the practice
of this branch of painting now and then between
whiles; feeling that the medium is so essentially dif-
ferent to that of oil, he must have a spell at it when
oil-colour and oil-painting are for the time wholly
laid aside, and if possible forgotten. His general
pi'ocedure, notwithstanding, is not so very different.
For his water-colours as for his oils he makes his
studies of tree, sky, and country with the same care,
accuracy, and elaboration. Tliis method of work he
has adopted ever since the opening of the Dudley
flallery in 1870 — in several respects the most im-
portant and pregnant event in tlie political history
of water-colour art during the last half-century —
I'ave him his chance. Since "The House on the

more sympathetic, his \ision better focussed, and his
appreciation — or, at least, his power of demonstra-
tion — of the sentiment of landscape, quickened.
How true this is may be seen in the little exhibition
of landscape which he, along with five fellow-artists,
now annually organises at the Dudley (iallery.
There, in my opinion, you may see the most
poetical of his work — little pictures, apotheoses of
the potboiler, some miglit say, in which he tells us
all he has to say of Nature, in his tenderest and
most unaffected way. These works may not have
what is called the " importance " of pictures in-
tended for tlie Iioyal Academy: but to my mind
they are all the more valuable for that — more
intimate, more truly felt, awakening more readily
and gratefully an echo in a responsive chord of the
spectator's heart. Tliey show that IVIr. AA'aterlow
has not yet readied tlie lieyday of his career, and
in truth hold out the bright promise of the future.

CHIMNEVPIECE.

VALLGREN: ARTIFICER AND SCULPTOR.

By prince bojidar karageorqevitch.

A BOT'T tour years ago, Pierre Loti, passing Uirougli artist, wliicli I spnku oul Idud, " Vulli/rcti." A geii-
-Lx. I'aris, asked nic to take him to tlio ('liaiiip ile tlcmaii who liad lici'ii rullowing vis all tlie time
^lars to see the pictures — I have now furudttcu we liad lieen walking i(unid the tahle, very much
what — III' some famous painti'i'. (In ifadiing the amused liy nur conversation, smiled outright as I
e.\hiliiti<in, wc both almost inxuluntai ily stoj)])ed i)ron(iunceil the name, and. as I turned away, we

exchanged a little sympathetic
glance, idmost a how.

JMen in the presence of
the masteipieces we had come
to see I was haiuited l)y those
statuettes ; their intense art-
istic feeling, their truth, so
genuine, free and living,
certainly detracted from the
other works exhiluted, and 1
iiiaile the round of the gal-
leries thinking of them alone,
and presently of the gentle-
man's smile a rather large-
made man, very fail', with a
genial, ojjeu, hapjiy expres-
sion — and I racked my hrain
to imagine what tie there
might he between him and
the artist Vallgren, the sculp-
tor of fragile forms, of the
widows of the shipwrecked,
(■yes looking for ghosts, and
of cinerary urns wet with the
A BENiTiER ^'^"■^^ °^ heartbroken women.

to look at a group of statu-
ettes, bronzes, and busts.

A wonderful heail of a
woman of liritlany, with a
light in hi'r wide-open eyes,
gazing into infinite distance,
captivated Loti ; and I, for
rny part, was no less in love
with an ex([uisite statuette
of a widow bearing in her
arms, with a most expressively
caressing gesture, the urn con-
taining her husband's ashes.
Another statuette of a blind
woman, reminding us iHjtli in
its rigid action of one siniilai ly
ulllieted whom we knewso well
on the Bridge of ( 'iboure, nnuh'
us exclaim with admiration ;
and we lingered looking at
these ligurcs, and finding
some new perfection every
moment.

At last we looked in the
catalojruc for the name of the

VALLGEEX: ARTIFICER AXD SCULPTOR.

219

A week later I
happened to be on
a visit to some
friends at Grez, in
the Forest of Fon-
taiuebleaii, when a
message by tele-
graph announced
that Vallgren was
coming. AVe all
went to the station
to meet the gi'eat
artist, to whom I
was already de-
voted, and I natu-
rally expected to
see a being con-
sumed b y art,
haggard and absent-
minded. And the
man I saw was
my friend of the
Champ de Mars.
We needed no in-
troduction ; he re-
membered what
Loti and I had said
so freely of his
work.and the statu-
ettes and sketches
were stamped on my admiring memory.

Still, I was a little disconcerted. He ami
Madame Vallgren — such a pretty, fair creature, as
lively and cheerful as her husband — talked without
ceasing, and in the garden they took to running;
and my ideal, compounded of poetry and romance,
had vanished into thin air, when Vallgren, presently
gathering a flower, selected a huge purple poppy.
But never have I more thoroughly felt or under-
stood the sculptor as I did on seeing the caressiuL'
touch of those hands as they held the flower, the
eyes that drank in its form and colour. This
Vallgren, holding the poppy so lovingly, suddenly,
and as if transformed, was the A^allgren of his
work, of his sorrowful statuettes, of his dreamy
and exquisite art.

Since then we have been intimate friends; and
many hours spent in the studio with these two
artists — for iladame Vallgren is also a subtle and
refined seeker after novelty in art — have bound
nie to them more and more closely by the ties of
afTectionate admiration.

From a bust Vallgien turns to a monumental
fireplace ; sunflowers supply the motive for the
decorative ornament in slight relief; an old man
and woman crouch humbly to wann themselves on

A DOOR-KNOCKER.

each side of the hearth, while, on the front, a group
of children that may have sprung from the flames
dance with nimble grace.

Then he moulds flowers into fruit-dishes, twists
leafy tendrils round the handles of spoons, and
adapts poppies to the bolts and handles of a glass
case. Again, he takes up a bust, or a group, giving
life and actuality to every subject.

A large statue of " Hunger," a man cramming
his fist into the gaping mouth in the middle of his
horror-stricken face, is one of the most terrible
things I have ever seen in art; and, by the side
of it, tlie bust of the Comtesse de C. displays a
womanly grace in lines of perfect harmony, finish-
ing below in a plinth wliicli gives to the whole the
magical effect of a flower which has expanded into
a woman.

In his curious glass cases, made by Vallgren him-
self out of bits of old carved wood, worked over
again by his own hand, and joined by engraved
metal of sober and original design, dwells a whole
crowd of little statuettes — Luxury and Misery,
hieratic dancers supported on pointed pyramids,
their hands calmly clasped on their bosom and their
heads crowned with a tiara, side by side with a
mother sitting on the worn steps of some old
church, suckling her infant, and a nymph on tip-
toe, her slender body stretched to the utmost to

MATERNITY.

220

THE MAGAZINE OF ART.

smell a flower that liaiigs above l.er. A "Door vestigalions, tentative triuls, aiul great iiuputience

Knocker " represents tlie figure of a suppliant, witl. over tlie huge stu.lio stove brought to a while heat,

hands uplifted to tlie barred glass panel, behind

which a drama may be imagined ; she strikes with

all tiie weiglit of her supple body, whicii ends,

siren-like, in drapery that clings to her feet and

finishes in a flower, the whole admirably projior-

tioned. " Consolation " is a group of two figures

closely clasped in an eternal embrace— an almost

REVERIE.

painful grip; in spite of their nudity exquisitely
chaste, a i)ure kiss of souls.

Here are admirable busts of IvIcllVIl ;iiiil df
Strindberg, and another of Madame Segoiid 'Weber ;
three busts of children forming one group, elbow lo
elbow, crowded together in sweet harmony; another
chimney-place where wonien-ilowi'is spread tlicii
skirls like fragrant petals, and their liny feel, like
pistils, .scarcely touch the ground.

Vallgren gels a patina on his bion/.es of amazing
brilliancy ami vivid ricimess, shaded oil' by .some pro-
cess, from verdigris green to a rosy tint, through all
the tones of gold. A little girl, her Ixidy of a warm
gold, smells a flower of very dull red ; tlie iiliiitli
and the leaves of the spray are of a pale soft green ;
at a short distance the slaluetlc api)ears to be all of
one colour— it is only on looking into it llial tlie
varving lints appear and charm the eye. This is tlie
result of elaborate chemical trealmenl, liiing and
re-firing the bronze witli din'crenl acids thai affect
its colour; the outcome of curious experiments, iii-

CURIOSITY.

ill which llie statuettes are baked, oniing out
iride.scent witli every colour of llie rainbow, lo be

GIRL OF LOCTUDY.

rubbed down, scraped here and there, and polished
with the application of some other acid perhap.s.
^■alll.:ren was born at Borgo, and educated at tlie

valu;i;en: autifkki; and sculptoil

221

THE WIDOW.

GIRL-FLOWERS.

THE WEEPER,

Polytechnic School at Helsingfors. His parents had
decideil tliat he was to be an architect. As a favotir,
his masters, with whom he was very popular, allowed
him to copy some Pompeian frescoes and architec-
tural ornament ; but liis instinctive predilection, to
wliich he could give himself up entirely only in the
holidays, was unmistakably for sculpture, so, in spite
of the adverse judgment <>f the learned professors of

Arts, and became Cavelier's pupil. Nothing can be
funnier tlian his account of his first arrival in Paris;
he could not speak a word of French, and his pro-
tector was a fellow-countryman who was, like him,
studying at the Beaux-Arts, and knew mi language
other than Russian and Italian.

He could fill chapters of jest and fun witli the
story of his first efibrts as a student— a student

GRIEF.

CINERARY URN.

art, after producing a bust of liis father, whieh was destined, indeed, to become a master — the master

a marvel of likeness and vitality, Vallgren obtained of sculptured elegance, of undulating female forms

parental permission to become a sculptor, and even ending in flowers, of funeral urns suggestive of the

the unlioped-for joy of being sent to study in Pari.s. void and of the woes of the poor, appealing, when

He was at once admitted to the Ecole des lieaux- admiration lias had its s.iy, to Charity and to Pity.

Ill

009

NEW GALLERY AND "OLD MASTERS."

IT is fifteen years since the IJnyiil Academy, wliicli
for Wfll-di'fiiR'd reasons liad never recof^iiise<l
Dante tJalaiel Itossetti with election, paid postliu-
nions liononr to his genins. The attitude of the
Academy was doubt-
less clear niul loj,'ical
enough. Suiii insti-
tulicjns are jirimarily
establislied to teach
the crafts of diMwinu
and painting even
before it preaches the
l)eauty of sentiment
or the elevation of
thought and style.
It is not their busi-
ness — nay, it is not
their right — to en-
courage the neglect
of the grammar of
art by honouring
relatively untutored
genius, however genu-
ine, passionate, and
powerful that genius
may be. We all,
academies included,
admit the existence
of higher qualities in
art than mere draw-
ing ; but academies
are bound to insist
on .some degree of
])roficiency in school-

DANTE GABRIEL ROSSETTI.

i^From tln' Portriilt by Himself. Tha Properly of Af. H. Spitlmann, Esq. Reprinted
from "The Magallne of Art,'' 1SS9, p. I3S.J

hibition, better than all ilic writing in ihe world,
sets l)efore the visitor the full merits and defects of
the man. His career, indeed, resembled the life of
a flower. There was the early growth and budding ;

there was tlie fidl and
gorgeous blos.somiiig ;
and there was the
noble <lecay — a decay
t liat reminds us
always of the glory
that has p;issed. Hut
this, unhappily, is
niislakrii by many as
a n-inearMation of the
beaUiiy s])irit of the

IliiWrr. I liileeil , in

the.^e splendid fail-
nies — such as "A
N'ision of Kiammetta"
and "The Hlessed
i 'amozel," for relative
failures they unques-
tionably are — many
collectors see Hos-
.setti's apogee, and
contend for their
posses.sion with all a
coinioi.sseur's eager-
ness, while they look,
almost unmoved, on
such miracles of
glowing colour as
" The Borgia Family,"
" I'aiilii and l'"ra n-
The DuLlilcliem tJale," and on surli

granwnar in the members of tlie society. lUit when cosca," or

the artist has died, their protest being made, they a pure piece of pious painting as the early "(iirl-

may not illogically claim to pay the highest respect hood of Mary Virgin" (wrongly named in the cata-

in their power to the genius of the man. Even in
France, Manet, Monet, and their schools have been
flouted by the Institut with cold disdain ; l)Ut the
doors of the Lu.xembourg have been openctl to
them notwithstanding.

Now the imperfection of technical accomplish-
ment in the work of l'ios.setti — whicli (ills the whole
South Koom of the New Gallery — is sufficiently
obvious to need no ilenionslration. lint there is a

lognel .\t the Koyal Academy there were eighty-
linci' nnnibci's; here there are seventy-four; yet in
sjiite of this ninnerical inferiority, and in spite, too,
of the absence of many of lios.setti's best-known
works, the artist is perhaps better represented than
if the whole of his .'lilo works, in all medituns and
methods, had been collected together.

There are, no doubt, two ordinary classes to
whom liossetti's work will never appeal: the first,

sustained poetic vein of thought, an opulent .sense of those who see in him merely tlie imi>i'rfect ])ainter

decoration, a strictly original and creative reali.salion
of romance, an ability to nnike colour ling and
re.soiuid, .so to speak, like; the strains of the organ,
that force tlie .spectator to rcali.-^e tlie s|)lendid
gifts of this extraordinary artist-poet. This ex-

<if dreams, whose power over hand and materials
is limited: and the second, those who legard with
temperamental aversion his " heart-sick, sad refrain
of Love, Love, Love," of Dantesque yearning and
of nivth — who decline to forgive, for the sake of

224

TlIK MAC.AZIXE OK AKT.

Uk' puiiL'liatiii",' poL'try, liis eleiiial subjcclioii to
woiiiiin's tliriill, to love uiirefiiiiteil or elsu requiti'd
too iiiudi, to sensuous human passion oftentinios
yuilty, or else to some mystic (Jrail, or else, again,
to the siieriKce of robust ami healtliy life to beauty
of affected pose. To none of these ilocs Rossetti all

combines in some measure the poetry of Itossetti
with the strengtli and the disposition towards the
hcl/v lionrnr of ^lillais at tliat period. Kich and
strong in colour, the work is of higii merit, of great
interest, and considerable facility ; but the stsitement
of the catalogue that this is the only picture of

MIDSUMMER,
(from (/!• Painting 6y Albrrt ¥oorc. The Profivrtj/ of W. Coniial, £»q., juit. fli'pn'nti-d from " Tliv Magatine of Art," 1894, p, 361,}

aflame appeal — nor liy any nf Uiciii iiiusl ln' lir
judged; robustness, breeziiiess, tlie vigorous health
of the Anglo-Saxon, must not be asked from this son
of the South, wlioin only chance brouglit to our
shores, and who — for all his lov(! of England and
prejudice against f(>reign nations— in his ciiaracter-
istics lus in liis (pialities, belonged little essentially to
liis foster-country. In proof df wliich it maylie pointed
out tliat his pictures illustrating 1 )ante (4."«) about
c<pial in number tho.se illustrating all otiier writers
]>ut logcllier. Among his ])ictun'soiu! is set which is
from the brush of W'ilbam Morris— a practical joke
of tlie I'irectors, one wnuld say, upon the public.
Tliis powerfid little woik, " (^lueen ( !iiiiicvcr,"

W'illiiiin Mciiiis is a liltlc uniiitclligililr. Why,
lluii, is no account taken of liis " Sii- 'rrislraiii and
Isi'ulL's I'og" ?

Tlie duty wliiili tlie itnyal .Veailemy lias leliii-
i|uished — at least, for a time — lias been a.-^sumcd at
this ( lallery, where there has been brought together
a gathering of Old Masters, not quite, perhaps, up to
the standard of llurliiiglon llimse, yet line, never-
theless, and supported by .several famous collections.
We have here tlie Duke of Norfolk's masterpiece by
\'andyck, "Thiiiiias Howard, Karl of .Vrundel.aiid his
(IraiiilsiMi," and Mr. Charles I'liUler's line " i'lulrait
of a I-idy and Child," by Cornelius de Vos, and Mr.
Mailiii Cnlnaghi's still mure remarkable "rditiait nf

? I

o ^

I- I

3 =

O "

22G

TTiK :\rAr.AzrxK of akt.

ii I-uly," liy Cornelius .Tiiiissens. Tliere is Mr. limn
jiliry Ward's pleasing "Juditii," with tlie lieail <<
lldliitVrni's by Sir IVtcr I-dy^ — (.'liieHy ri'markiiblo
jK-riiaps, apart fnini llie unjiislitiahly engaging \nvl
tiness of the principal figure,
for being one of the few snl)-
Jecl-pictures of tiie painter.
Then there arc the fine dasli-
ing sketch by I{ul)eiis of " The
lioar Hunt:" liie sui)erb little
portrait of a demure young
man in a black doublet sla.shed
with red — ascribed to Hans
Holbein, and certainly worthy
of his brush ; and the ex-
tremely important rjriniillli
painting by Albert Diirer of
" The Procession to Calvary,"
of which other versions are
known. These three master-
pieces all belong to Sir Francis
Cook. Tiie Duke of Norfolk
sends his " Lord Mowliray and
JIaltravers," by Vandyek, an-
othav chcf-croiuvrc ; Mrs. Samuel
Joseph the superli little .Ian
Ochterveldt — "A Singing
Practice" — exquisite in touch
and entirely individual as to
colour. Lucas ^■an Leyden's
" Ecce Homo " is another work
of exquisite delicacy and
beauty. There is interest in
the series of pictures illustra-
tive of tlie att'airs of the King
and (^ueen of Bohemia, attri-
buted to Otto van Veen — the
master of Enliens. I'tit tiie
pictures are evidently I)utcli,
l)otli in subject and method, and
the authorship of lliese laigc

canvases recoiding Duteli events in Holland re(iuires
.some further proof than mere catalogue statement.

Some of the chief among the later ma.sters of
llie liritisli school are admiralily represented. Of
Miiller there is tin' superb " Ciie.ss Players" —
glowing like Jewels, ami sliuiding testimony of how
colonr can repay rapid, fortiiright, iioni'.«t work,
even wiieii a ))icture is painted in two days —

WHITE HYDRANGEAS.

{From tht' Painting by Albert Moort. The Property of

W. Connal, £tq., jun. Reprinted from " Tlie

Magaiine of Art," 1894, p. 383.)

aihaiitage in "The (lander" and "The Calves"
and tiie cool " Young Anglers ; " while the celebrated
" Evening Hymn," a little too obvious in its com-
po.^ition, perhaps, is here to roinind us of his more
ambitious work. Fred A\'alker
is represented by "The Plough"
— the large work with the
ruddy glow — and " Tiie AVay-
farens." Hut Walker suffers
!)y being seen in too many of
his works; in his larger tiguie
subjects his (ireek swing of
body — his view of "style" —
;i]i]ii'ais ahnost an affectation
and (juile an unreality; and
ill his water-colours such de-
vices as spotting in his back-
ground sky with blots of
wliite body-colour becomes a
trick neither (|uite honest nor
effective. Indeed, at near
(luarters, his l)lotted-iii sky
among the trees looks more
like blos.som. Pinwell, curi-
ously enough, looks more sym-
]iatlietic liere, especially in the
wilter-eolours, lent cliieily by
Mr. H. Hartley and Mrs.
.Io.sepli, such as "The New
Book," " Mamma's AVatcli,"
" Old Time and his "Wife," and
"The A^igrants." His famous
"Village Cross" — here called
" ( )ut of Tune " — is here from
Sir Cuthliert l^luiUer's collec-
tion.

The older painters — such as
"Wilkic.Coiistable.Gainsborough,
Ktty, and Wilson — are not
iiiadei|uale] y represented ;
and of the lale Albert Moore
there are " Iteading Aloud," " Tiie (j)uartette," " The
Toilette," " An I'liiibroidery," " .Miilsuiiiiiier," and
" Wliite Hydrangeas." Tiiese are, all but the lirst-
iiaiiii'il. hung togellier, and support one another by
llieir delicary and lemler deeoialivciiess. They
have already been fully described in tbe.se pages, so
tiiat no further comment is needed ; but satisfaction
may at least be expressed that Albert Moore has

and tiie "Waterfall on tlie Lyn," illu.straled on at la.st been reeogni.sed not only as a " ma.'^ter," but
1). Hl.'i of tiiis Part. (leorge Ma.son, liner in his as an "old master," and that he rises to tiie ranks
smaller than in his laigei' works, is seen to great of the non-academic Iniiiiortals.

00-

THE ART MOVEMENT.

THE NEW ENGLISH ART CLUB.

XE is apt to forget when consiileiing the New the all-saving elanse in art, instead of securing
English Art Club that it is after all a club, some one particular excellence of the sort which

for many years has played
the will-o'-the-wisp to so
many of the painters.
Such " style " may be found
in the elegant " Souvenir
of Yandyck,'' by Mr. C. H.
Shannon. This child, mas-
querading in a cook's dress,
graceful and, with very
slight qualification, exqui-
site in drawing, charmingly
posed, and seductive in the
technical quality of the
paint, proclaims the artist
a painter of a high order
who, if he adheres to oil and
canvas, should develop an in-
creasing reputation, swiftly
and surely, in the coming
years. "The Quarry"
of Mr. W. Y. MacGregor
is equally distinguished in
style — a landscape, broadly
seen and executed with
sobriety yet strength of
and iKjt an exhibiting society of the ordinary kind, colour, which contains an element of nobility. These
and that accordingly the members have a right to are the chief works upon the walls, but others claim
exhibit what they choose —
however experimental, how-
ever " a m using ," however
incomplete — without justi-
fiable complaint on the part
of the critic. There is the
greater reason, therefore, foi-
congratulating the club on
the increasing reticence and
sincerity displayed in their
last collection. French in-
fluence of the worse sort is
disappearing gradually from
the walls, and the sjjirit of
the old masters of England
and the Continent is re-
a.sserting itself in many
of the contributions, herald-
ing the complete return
of the intransigeants to
sanity. There are several

attempts, singularly success- bushey park.

ful too, to achieve " style," ,f™„, „„ p„,„„„s, 6,, o. s. «accoH.)

THE QUARRY.
(From the Painting by W. Y. Mncgregor.)

228

THK MAOAZIXK OF AKT.

STUDIES FOR ■SOUVENIR OF VANDYCK
(8y Charles H. Sliannon )

iilteiition. Tlic lajiid ouL-of-iloor
clleet of Mr. D. S. ^racO ill's
" Biishey I'ark " suggests the
honest swiftness of Constable as
nnich as Mr. Fred lirown's
"Coming Storm " recalls his im-
pressiveness in llie emnposition
of cloiuls against a blue sky.
Tiie ideal treatment of " Tiie
Sliiulow of the Cliir," liy -Mr.
Henry Tonks, gives ns a eharm
ipf atmospheric (piality and a
ci.linir wliieh could only have
been obtained by an intelligent
study of Turner. Another atmn-
spheric cfliect bathed in sunlight
is Mr. Charles Condor's " Sea
N'iew," which represents a female
tigiire bathing in the sunlight
beneath tiie dill'. Mr. Francis
r.ate has never done better than
ill his thoroughly ca])ablc sylvan
study, entitled " 'riiniiigh tlie

Trees." ilr. Wilson Steer, in an unfinished
.sketch which he calls " l?y Lanii)light," gives
us a clever imitation of a laughing head by
Komney ; Mr. Fry, in " Xeini," a coniposition
by WiLson ; Mr. Titcombe, in "Misty Morn-
ing," a study after Whistler; Mr. Artliur
Toni.sdii, ill " \\'alberswick Church," reminds
the spectator of Old Croiiic ; and .so on — all
of them clever and welcome, and all of them
founded upon the men who helped to make
the great traditions of art. To Mr. Douglas
liobiiison's "Nude Figure Heading" we re-
tViied when dealing with the Salon of the
I lianiii ill' Mars: tiie flesii-paiiiting is ex-
cellent, ami tlie little picture altogetiiev an
achievement. It is, unfortunately, on too big
a .scale for its frame, for a perfect effect, lie-
sides tiiese, we have tiie well-designed " Pre-
lude "—a girl at the piano — by Mr. David
.Muiilieail : tlie powerful study of "An Autunui
Cluuil," liy Mr. liertraiii I'riestnian : and in-
teresting diiiwiiigs by Mr. lliabazon, Mr.
Laurence llnusniaii, Sir William l*Meii, and
iliss Mary Hogarth.

SOUVENIR OF VANDYCK.
<0y Charitt H. Sttantton.j

THE ART MOVEMEXT.

229

THE ROYAL ACADEMY SCHOOLS.

THE gold inetlul competitions for tlie Iloyal
Academy students for the year just ended
revealed the fact that landscape painting was by

SUBJECT: "A LOCK."
(from the Painting tiy C. ¥, Q. Orctiardson. Atvarded the Cresuiick Prize.)

Tliu fourth gold medal, for design in architecture
was gained by ilr. Arcliibald H. Christie.

In aildition to tlie gold medal for historical
painting, the first Armitage prize
for a design in monochrome for a
figure picture ("Jephthah meeting
his L)auglitcr ") was not awarded,
nor was the silver medal for a
design for a Jubilee medal. Aliss
Mary E. F. Brickdale carried off
the prize for the design for the
decoration of a public building,
upon the motive of " .Spring."

An interesting series of works
was submitted for the silver medal
for the painting of a head from
life. The first prize was secured
by ^Ir. Alfred Guy Smith and the
second by 'Sir. Edmund L. \?i\\
Someren, the latter gentleman also
being awarded the Landseer scholar-
ship for painting. The silver medal
for a cartoon of a draped figure
(" Hermione as a Statue ") was
easily secured by Miss Mary Tow-
far the most successful branch of the work of the good, and that for a painting of a draped figure

schools. So unsatisfactory, indeed, were the com- (open to ladies only) by Miss Hilda Koe.

peting woiks for the gold medal

for histoiical painting that the

prize was not awarded. While

making full allowance for the diffi-
culty of the subject — " Cleopatra

clandestinely introduced into the

Presence of Cicsar" — it must be con-
fessed that the performances were

unexpectedly poor. Of the Turner

gold-medal work (Mr. Alfred Priest)

and the Creswick prize picture

{Mr. C. M. Q. Orchardson) we give

reproductions, as well as of Mr.

Turner's group " Charity," which

gained the gold medal and travel-

ling scholarships. For the sake of

comparison we have placed opposite

to it the illustration of the work

which was lately awarded tlie Grnnd

Prix de Rome, and it will be seen

that the result is not altogether

confounding to the English student.

Mr. Turner was also awarded the landscape: subject-" after-glow.-

Landseer scholarship for sculpture. (From the Palmlng by Alfred Priest. Awarded the Turner Cold Medal.)

115

SUBJECT: "CHARITY."
(»» Hfrtd Turnir. t„ard,d Ih, OM Mtdal at l(i> Kffal Acadtn,, Sctiodt.)

orphsus and eurydice.

(By A. J. \l Segegin. Awarded the Orand PrU de Some tit l/ie fco/e des Beaux-Arts. Plintojraph by Barier, Paris.)

THF: CHRONICLE OF ART. FEBRUARY.

The Camberwell TYWiK oiieninj; of the Siliool of Arts and
Art School. 1 t 'rafts at Camberwell marks an em

in the advance of art education, inasmncli a.s it is the
first institution of the kind in London to l>e placed
under the control of the local yoverning l.ody— in this in-
stance the \cstry of Caml«erwell. The l.uilding has l)een
erected at the .joint cost of Mr. 1>.\ssmoke Edwards
and the City IVirnchinl Charities, and is intended as

MR. JOHN BURNET, ARCHITECT.
(from thr Paintino fey Jumts Gutlirit, U.S.A.)

a memorial of Lord Leighfon. Sir Edward Poynter,
I'.IS.A., oiiened the institution, and took the opiiorlnnity
to eulogise his |iredeccssor as an artist, for, as he said,
"the very exalted i>lace which lie held as a jiaintcr
was, in view of the ceasele.ss energj' he displayed in
other matters, and his numerous brilliant accouii>li»hments,
apt to l«e overlooked."

Sir Wvkk Bavu.ss, IMt.H.A., when dis-
■■ The Bogey of t,ilmtiii- the prizes to the students of the
the Studio." nj,,u^gj. g,.|,„„i „f Art, .lelivercd an in
tere.sling ond cloi|Ucnt address on "The Bogey of tiie
Studio." Me referred in the first place to the incrcising
competition against which young artists have to contend.
"Art was such a common thing that everyone diil it,"
and to that he replied, "Well, let them do it, it will
raise the standard of the world." "Art might be common
as everything in nature is, it might be imperfect, as every-
lliinu the aititt did must be, but there was one thing
it could not be— it could not be conmionplace." The
second liogey " wiis that art must not be commercial. ' His

reply to that was " Let your work be sincere and your

commercial dealings honest, and the art shall sanctify the

commerce.' The final part of the lecture dealt with the

assertions "that the English are not an artistic race, and

that the golden age of art is past.' Sir Wyke reniinde<l

his audience of Turner. Cox, and Con.stable, and that two

special devel<>i>ments of modern painting— landscape and

water-colour— hail come from the Engli.sh School.

(J.NcK again the School
The Goldsmiths' _ . ^ ^ ^j^^ j^^^^. ^.^^^^

Institute. . . , , ,

Institute leads the way

for London schools in the National Art
Competition, its record for 1897 being
three silver medals, si.xteen bronze medals,
twenty liook prizes, and tight other prizes.
Out of this total of forty-seven awards
no fewer than twenty-eight were for
applieil design — strong evidence that the
tuition in this .school is being carried on
in the right direction. The silver medals
were gained l>y Mr. Albert Coi.MitKK,
for architectural design ; Xfr. t'r.ANK P.
Maiskiott, for nio<lelled design (figure);
and Miss Mauuaret E. Thompson, for
applieil design (book illustratioui. Mr.
Marriott and his stati" of a.ssistants are
to be congratulated upon this eminently
satisfactory outcome of the year's work.
On De<-eniber 2S the art students held a
conversazione in the large hall of the in-
stitute, the principal feature of which was
a very successful series of Utlihaux " re-
prcKluciug the styles of illustration." About
l.')0 students were in costume repre.scnt-
iii:; cliaiacteis from the drawings by Jliss
K. ( Jrkksaway, Caldkcott, Sir Edward
IliRNK .IoNKs,Messr.s.E.A..Vi!BEY,A.H A .
Waltku Crane, .\nnin.; Hkll, Hi'ch
Thomson, Ai'hrey Heaudslky, etc. A
number of the costumes were made by
students of the dressmaking class from
designs .supplied by members of the book illustration class.
lioYAL Institute of Painters in Water-
New Members, o.iou,..,. Mes.srs. .1. (ii'i.KH, Mortimek
.Meni'es, Di'Di-EY TIardy. W. W. Collins. Charles
Sainton, and 1>avid (iliEEN. Institute of Painters in
Oil-Colours :-Mes.srs. L. Alma-Tadema, 1!.A., and .loiiN
S. Sargent, I!. A. (Honorary .Members): E. Matthew
Hale, Dudley Hardy, (!aiiriel Nuolet, G. C. Hindley,
.\. I). liEiD, A.K.S.A, and It. (!. Somerset.

We have so lately dealt at length with the art
c'^hW*" °^ ^''' ''""^ -Millais that it is not iiecessjiry
to review in detail the wonderful collection
of his works brought together at the Winter E.\hibitiou of
the li.iyal Academy. The collection as it stands. numl>er-
ing l;io oil iiictures, besides a few black-and-white drawings
— although it leaves out of account over a hundred pictures
in oil— presents his full jiower to public view with a com-
pletene.HS which is amazing. The virility, the independence,
the variety, the brilliancy of this wonderful painter— our
greatest jiainter of the century and on the whole our most

THE (.HKONICLE OF AltT.

233

other

Exhibitions.

remarkable colourist — stand forth with triumphant splen-
dour. This is an exhibition to draw not only all London :
it will draw all England, if Millais' memory is to be duly
honoured, or his countrymen are to do justice to thenlselve^^.
Thk landscape exhibition, which has now
become an annual feature at the Dudley
Gallery, is as usml exceedingly bright
and iutere-sting. Messrs. E. A. \V.\tei;low, P.K.W.S.,
A.RA., J. AuMoxiER, E.I., A. D. Peppekcokx, R.I.,
Lesue Tho.mson, E.I., K. W. All.\s, R.W.S., and James
S. Hill contribute works each in his own style, which are
sufficiently diversified to destroy any sujcgestion of mono-
tony. Mr. Waterlow"s drawings, for the most part, repre-
sent scenes in and around the picturesque Sufl'olk
village of Walberswick. "The River Blyth ' is a
delightful little transcript from nature— the fa.'^t-
llowing stream, the red-roofed cottages, the decaying
jetty, the solitary fishing-boat, forming a character-
istic representation of this charming old-world village.
His largest contribution is "Launching the Salmon-
Boat," referred to in the article on p. 217 of this Part.
One of the best of ilr. Aumonier's dozen pictures
is "On the River Arun," .showing a stretch of the
stream above Arundel, with the curious patch of
bald white cliff at the end of a vista of wooded
banks. " Lingering Sunlight "' is an exceedingly
clever drawing of a flock of sheep seen in the twi-
light. The moon is already up, but the reflection
from the setting sun still illumines the scene, tinting
half of the flock with its rosy hue. Jlr. Peppercorn's
" Corn Ricks "' is full of the atmosphere of evening,
and "The Estuary of the Avon at Christchurch ' is
delightful in its silvery greyntss. The river scenes
in Dorset, SuBblk, and Essex by Mr. Leslie Thomson
are excellent, "On the Waveney"— a stretch of
typical f5road scenery, with a lofty sailed wherry on
the sluggish stream — being noteworthy among liis
other works. The sea pieces of ilr. Robert Allan
are as refreshing and invigorating as ever ; while
his " Lowlands of Holland " and " Moret, France,"
prove that his powers are not confined in one groove.
The.se landscapes are fully equal in excellence with
his paintings of his well-loved North Sea. Mr. Hills
work shows once more his talent as a poetic landscape
painter, his "A Canal," with its white horse on the
towing-path, being one of his most successful pieces.
If the selection of the Queen's Jubilee presents
on exhibition at the Imperial Institute is a represen-
tative one, it can only be said that artistic merit, generally
speaking, is more than commonly absent. The infinite
opportunity aflbrded, in the innumerable Addresses which
have been presented to her, for the displaj' of such national
improvement in design as has been effected under the rule
of the Science and Art Department, appears to have been
thrown away. Caudy intricacy seems to have been mis-
taken for design, and highly coloured fussiness for decora-
tion. Of course there are exceptions both in the direction
of taste and skill. But the vast majority of these Ad-
dresses irresistibly suggests ticket-writing in e.rct/sis. The
ca-skets, similarly, are for the most part of the old pattein,
turned out, like the Addresses, by firms and not by artists.
Exception should l>e made of the charming cover in olive-
wood, diamonds, and gold, by the Jewish Board of
Deputies, and of the presentations from the English
colonies in Munich and Milan, and the French colony
in London. M. DetaUle's equestrian portrait of the Prince
of Wales and the Duke of Connaught has already been

noticed in The M.a.g.\zine of Art. The gifts from the
Emperor and Empress of China and their Ambassador
to England are without question the richest and most
magnificent : superb ancient bronzes with rare patinas, fine
jade, both white and yellow (including symbolic Joo-ees of
the same stone), rare porcelain, and magnificent cloisonne
screen, form a group which alone demands a visit to the
Imperial Institute. Besides these are the two superb
gifts of the Emperor of Japan — the first an incomparable
cabinet in gold lac, and the .second a screen in silk
embroidery, which in its own way we have never seen
surpassed. To the other rich gifts of value, except the
little vases pre.sented by the Comtesse de Pari.s, we need

CHIMNEVPIECE IN WOOD
Designed by J. A. Simpson. Executed by J. Aldam Heaton and Co.)

not refer, as art has not in them been tlie chief con-
sideration.

The Glasgow Art Club Exhibition, which was open
during November in the Royal Institute Galleries, Sauchie-
hall Street, is always of an intere.-ting character. Glasgow
at the present time is undoubtedly a centre of art activity
and influence. Within recent years it has done much to
leaven — in one direction, at all events — the landscape art of
Scotland ; and as the Club exhibition is confined to mem-
bers, it affords an opportunity of taking stock, as it v.'ere, of
the "Gla.sgow School." Judged by the work on the walls,
the Club is still, artistically, in a healthy state. Many of the
members show a keen perception of tone and good colour,
and the 2.3i) works exhibited attain, on the whole, to a high
standard of merit. Two of the members of the Club w hose
reputation extends far beyond the boundaries of the "second
city " are Mr. James Gutheie, R.S.A., and Mr. John
Layery, R.S.A. The former shows a masterly portrait
in a grey scheme (which we reproduce) of Mr. John Burnet,

THE ^rA(!AZTXK OF AIJT.

architect in Glasgow, aiid the latter a graceful half-length of
a lady, posed and painted in the style of the early Kntrlish
masters. One of the most jironiising of the younger men
is Mr. David Gai'i.d. His landscapes attracted attention
on account of their 1>rilliant lighting, and latterly he has
taken to portriiturc witli excellent results. On this oc-
casidu he exhibits a full-length of a l>oy in a yailor costume,
ivhich has some admiralile i|ualitics. .Mr. W. ( !. Gli.i-lKs
also docs cretlit to himself as a young artist hy a dainty
portrait of a pretty giil in pinii and lilack. Mr. .Maiaim.ay
Stevknson and .Mr. (tH(isvi;n(.1{ Tiio.mas sliow poetically

BOARD ROOM AT

MESSRS. KACMILLANS NEW OFFICE. (*«•' P' !3e.)

treated landscaiic? ; Mr. RTfAiir 1V\i;k iKiuitiriil fluwor
studies ; and Mr. W. Fulton Hkow.n limad and effective
water-colour drawings.

The Oxford Art Society for the first time holds its
exhibition in the gallery of the fine new Municipal liuild-
iiigs wliicli have been contributed by Mr. Hauk to tiie
nrcliitectural attractions of the university city. The
Society, it should be explained, has adopted the somcwliat
dimbtful policy of exhiliiting the work of none but men
identified with Oxford either by biitli, residence, or
university connection. It may well be questioned whether
this exclusivencss will in the long run be the more bene-
ficial to the Society, or whether it will not ratlier militate
against its ]ii)i)ularity amongst the visitors to wliosc support
it jiartially appeals. .Apart from the several distinguished
arlist.H, such as Sir IOdwakd I'.iune .Ioxks and .Messrs.

HUITON ItlVlKIti:, Al.l!KUT (lOODWIN, J. Fl' I.I.KVI.OV K,

.Matiikw Hai.k, and Si-encek Stasiioi'k, together with
Mr. T. F. .M. SliKAlii) and Mr. Cari.ktos Orant, the
exhibition contains over two hundreil paintings. It must
be adndtted that the majority of the.se do not stiunl the
test of exhibition witli any degree of credit, as the work
proclaims itself that of amateur.s, clever though many of
them are. Mr. Walter S. Tvuwimtt, however, the liack-
Ijone of the Society, as well as its honorary secretary,
shows a number of drawings, chiefly of the East, in which

sunlight, colour, and luminosity are so remarkable that
they deserve to be seen in the Metropolis. It is unneces-
sary to refer to the exhibition in greater detail, but we
would suggest the propriety, if the Society is to be in-
tluential for good and to obtain the popularity anil ajiplause
of the general public as well as of its members, of raising
the standard by stitleniiig the back of the Selecting
t'ommittee.

The work of the students of the Royal Female School
of Art for the past year is well up to the standard of
previous exhiliitions. Two of the National Queen's Prizes

were awarded, one to Miss
E.MILV (!. GoiRT for a
study of flowers in water-
colours, and the other to
Mi.ss .Mildred Jackson
for a monochrome painting
of ornament from the cast.
Mis9 linuTiiA Smith, who
for the second year gains
the (iilchrist Scholarship,
shows some interestingly
varied work. A wallpaper
and frieze and an altar-
cloth and super-frontal
gained for her National
Silver Medals : a water-
ciplour drawing of cocka-
toos; a clever liesign for a
fan to commemorate the
Queen's reign wsis awarded
the prize of t'lO at the
Fan makers' competition.
Besides these, .she has a
good design for a lace collar
and some clever landscajie
work in water-colours. The
Queen's (iohl Medal was
awarded to Miss EvKLlNE
M. .(. IlowKi.i. for a char-
coal drawing from the life
of the head of an Italian peasant. Tlie water-colour sec-
tion was the strongest of any of the work shown, the black-
and-white being relatively weak and uninteresting. Among
tlie modelling exhibits Miss Si'illi'.r's design for the back
of a mirror and her panel of "Wild Hops" were the mo.st
original and dainty.

.\ HOOK to be connnenled wiiliout ipialification of
Reviews. .^^^^. |.j|j^j j^ ^[,. ],>|,^.,,^^, j^^^^.-^ •' Short lli^U,,-,! of

Ilninplon Cmti-t" (George I'.ell and Sons). That admirable
work in three volumes whieli we de.dt with at length as it
appeared, being t.io exi)ensive for the ordinary book-l)uyer,
has here been condensed into a single volinne not less au-
thoritative and, it may be added, hardly less delightful than
the fascinating work ujion which it is ba.sed. Indeed, we are
not sure that, from a certain jioint of view, this last book
is not the more useful one, unencumbered as it is Ijy much
of the discursive mitter which, thoroughly in jilace in
" History of Hampton Court I'alace," is nevertheless not
indis|>ensablc to the reader. In oidy a few cases can wo
make any re.servatior^s as regards the utility and adeipiacy
of the numerous illustration.s, those exceptions being the
reproductions of certain of the pictures, which, over-
reduced in size and printed on rougher i)aper than is
suited to them, are somewhat blurred. In a work of such
importance, however, the technical ipiality of the illustra-
tions is a matter of comparatively little concern.

UO^^I

THE f'HROXICLE OF ART.

235

la daintiest garb, beautifully jiriuted and tastefully
arranged, the extremely well-selected anthology edited by
Mr. Frederick Wedsioee and Miss Wedmore, and
entitled "Poems of Love and Pride of Enr/land" (Ward,
Lock, and Co.) is one of the daintiest volumes of patriotic
verse ever issued. The selection, which extends from
Skelton to Mr. 'William Watson, is intended to inculcate
patriotic virtue and to inspire a pas.sionate pride in
the great deeds which form the Englishman's noblest
inheritance.

The tirst six parts of Mr. Will Rothexstein's ''EiKjlifh
Portraits' (Grant Richards) testify not only to the artistic
ability of the young artist but to the very real imiiortance
and historic interest of the work. Mr. liothenstein's method
is to select men and women of distinction in the worlds
of art, literature, science, criticism, and so forth, and to
execute for each part two portraits. Now these portraits,
whether as heads and as likenesses, are admirable ; they
are executed with a sympathy and a ready skill that make
xis forgive the often summary and careless drawing of the
bo(.lie.s under them. The)' are exercises in character and
expre.ssion— sensitive, keenly seen and realised, and well
sustained throughout— that are surprising in so young a
man. As "lithographed drawings," too, they have great
charm for the lover of the stone. Mr. Rothen.stein has
learned the secret of making the stone, or the transfer-
paper, "sing;" his touch is delicate yet firm, and the
silvery quality of his delicate greys is charming. Though
sketchy in effect, these drawings are often very subtle ;
but the suggestion of amateurishness affected at times
by Mr. Rothenstein now and again militates against their
effect. All the same, the series is one to be iiossessed
by every lover of lithography who can appreciate the true
touch and good jfrinting.

A work of great value— not even so much important
by what it gives as by what it heralds — is the altogether
admirable "Leonard Limosin : Peintre des Portraits
(Societe Francaise d'Editions d'Art ; May : Paris). For
many years past the authors, Messrs. L. Bocedery and
E. Lachexaud, have been engaged on a complete survey
of the works of enamel painters of Limoges, accumulating
some 17,0(10 slips, descriptive and critical, dealing with
every detail of technique, of particulars, of collector's facts
of every sort : and the first volume of the series is now
before us. This remarkably detailed handling of the
subject, it must be observed, treats of Leonard Limosin
as a portraitist only, setting forth the facts, dates of
exhibition, and symposia of criticism of the 1.31 portrait-
enamels known to be by, or traditionally attributed to,
the master. But there is nothing here of Leonard's
purely decorative work — dishes, tazze, and so forth •.
these will come into another volume. The elaborately
classified indexes and tables would satisfy by their com-
pletene.ss a German profe.ssor. I'nder the heading of
" Collections,' however, some of the most recent changes
have not been included — such as the Francois ler. and the
Queen Claude from the Seilliere collection, which now
belong to Mr. George Salting, and the Henri d'Albert
(91), now the property of Mr. .1. E. Taylor. It is diffi-
cult to praise too highly this scholarly work. (Illustrated,
15 francs.)

We have more than once borne witness to the excep-
tional ability of Mr. Byaji Shaw as an able revivalist in
his own person of the Pre-Raphaelite school. In the
volume of " Poems hy Robert Browning " (George Bell and
Son) he gives another phase of his individuality, and
displays a Rossettian appreciation of the poet, and the

possession of a responsive talent, that will be cordially
recognised by every reader. Rich fancy, beauty of design,
and excellence of draughtsmanship are evident in most of
these drawings, and feeling and humour too. He is some-
what imequal, and the printing is not always of the best ;
but such an illustration as, for example, "' Hist ! ' said the
Queen,'' compensates for a great deal more than there is to
forgive.

Mr. Wm. Nicholson has followed up his "Alphabet"
with an " Almanac of Twelve Sports " (Heinemann), accom-
panied by clever verses by Mr. Rudyard Kiplixg— verses
which as often poke fun at the sports as celebrate them.
These lithographs show a developing talent and a keen
appreciation uf the value of masses of black. It is a book

ALMS DISH.
(By Henry Hnruey. See p. 236.)

to acquire as an entertaining curiosity. Mr. Nicholson
thoroughly understands the capability of the rough wood
block.

To all lovers of the " West Couutree " we can recom-
mend " //Ay/( (cays and Byways in Devon and Cornirall,"
by Arthur H. Norway (Macmillan and Co., London).
The author starts from Lyme Itegis and takes us round the
coasts of the county of Devon and " The Duchy " — making
occasional jaunts inland to places of interest — and dis-
courses pleasantly upon the folk-lore, historical associations,
legend.s, superstition.s, and topograjihical beauties of this
delightful corner of our country. There is not a dull page
in the whole book. Mr. Joseph Pexnell supplies illus-
trations of many of the places mentioned in the author's
itinerary, some of which are not altogether satisfactory —
as, for example, the view of Plymouth (page 109). Mr.
Huc;h Thomson contributes half a dozen or so charac-
teristic drawings of old-time scenes, which add to the
interest of the volume.

Mr. .lewitt would hardly know his old magazine,
^' The Reliquary" (Elliot Stock), in quarto form and full
of illu-strations. It still keeps up a high reputation, and is
more instructive and valuable than ever. An article on
the "Florentine Caged Crickets" is a very important
contribution to a little-known subject, and those on

2:-iG

THE MACAZIXE OF AT!T.

"Tallies" (fully illustrated) are worthy of the Society of
Antiquaries' Proceediiij;s. This volume is thoroughly in-
teresting, and its articles are of permanent arc'ha;ol>>Kii-al
value and well illustnited.

We have received the "Ooldnmil/m' Instilule Calentlm;
Set'ion 1B97 8"— a volume extending to over a hundied
pages, and dealing with the work being accomplished
under the diri-ction of the enerj.'ctic secretary, Mr. J. S.
ItKKMAVXK, M.A. It is well illustrated liy photograi>hs,
and drawinfis l>y memliers of the art classes.

To all interested in the progress of phutograpliy during

the jiitst year " J'/i'iloi/inins <>/ ''.)' " (l)ii«barn and Ward :

London! is an indispensable

volume. The work of the

leading photographers in

England, France, and .\mer-

ica is dealt with by comiie-

tent writers and illustrated

liy excellent re)iroduitions.

The book is faultlessly

printed, (is. cloth.)

Mi:..I..I.SirAN-
Miscellanea. ^.„^._ .^ ,. ^^

was awarded a gold medal
(with £30(1) at the Pitts-
burgh, U.S. A., International
Art Exhibition.

Mr. T. A I!. MsTKoXi :,('.!'...
has been permitted by the
Treasury to retain his posi-
tion as Director of Art in
the Science and Art de-
partment for another year.
Mr. Whale's dismissal has
not been rescinded.

The illustration of Sir
.JoilN (Jilhekt's "Itichard
II resigning the Crown to
Holiugbroke" in our No-
vember I'art was wrongly
described as a reproduction
from the oil-painting at
Liverpool. It was done
from the water-colour draw-
ing in the possession of W. .1. Baker, Esq., of Streathiim.

The work of the late Mr. .\li>am Hkatox is not to be
lost, for the business established by him is to be carried
on botli at liloom.sbury Street and at the iircniises opened
shortly before his death at Mount Street. We illustrate
on p. -S-Vi a cliimneypicce in wood, a laudable feature of
the firm. It was designed by Mr. .1. A. SiMi'sos, and
has been exec\ite<l in tlie Hlooinsbury workshop.s.

The alms-ilish illustrated on p. 235 is the work of
Mr. Hknkv Harvkv, and gained for him some time ago a
)irize of £•")(» given by the (ioldsmiths' Company. The
central pla<|ue has for its subject "The Scapegoat,' the
whole design being .skilfully tieateJ, especially in the
border. Mr. Harvey gained a National Scholarship fi>r
three successive yenrs, the last two of which were spent
under M. Dalou. lie has exhibited several busts at the
Uoyal Academy, one of them " < ieneral Lord IJoberts.'

The new publishing otficcs of Messrs. Macmillau are a
miKlel of good taste, architectural and decorative. I)e-
•signed by Mr. .Iohn Cash, the building is a good exam])le
of (.'lassie, moditied with a few touches of Renais.sancc.
It is particularly in the interior that the .sober an<l judicious
taste of the architect is most ajiparent, in the )>lanning and

THE LATE J. L.
(From thf Paintlnij by

the designing of the fine hall and staircase, the corridor,
and principal roonn. The high oak-panelling, the refine-
ment and general reticence of the decorative treatment,
impirt an air of elegant luxury at once charming and re-
jjoseful. The carving in stone and wood, by Mr. William
.\u.MoNlEl!, is not less admirable; an excellent craftsman,
he has shown himself an artist as well. The well-known
series of portraits of distinguished authors, by Mr. F. Sasdv.s,
and other pictures now acijuiring the interest of tradition,
add considerably to the pleasing etJ'cct of the whole.

Wk regret to have to record the death of Mr.
Obituary. ^^^^^^ LouiilluoKoL'cH Pkakson, H.A., in his

eighty-first year. The emin-
ent architect w;is the .son
of a water-colour arti.st, and
Wius born in Durham. At
the age of fourteen he be-
came an articled pupil of
Honiuii, and early in his
jirofessiiinal career showed
his predilection for ecclesi-
astical architecture. Com-
ing to Lcmdon, he worked
firstly tor .\ntliony Salvin
and afterwards with Philip
Hardwick, and it was not
long before his talent at-
tracted attention. Holy
Trinity Church, Vauxhall
liridge, was his first public
work, and this Wivs followed
by St. Peter's Church and
Art Schools in the siiine
neighbourhood. His repu-
tation rapidly spread, and
in course of time he became
architect to Hochester, Bri.s-
tol, Peterboi'ough, Lincoln,
and Exeter Cathedrals. In
1KT4 he was elected A.sso-
ciate of the Koyal Academy,
and in ISHO full member.
His greatest aehievenicnt
in F.ngland was the design-
ing of Truro Catheilial, a work which he had the satisfac-
tion of .seeing completed. As a student and exponent of
(iothic arehiteeture his knowledge was unrivalled.

The death is announced of Mr. W. .1. LiNToX, the
ceLbrated wood-engraver, at the advanced age of eighty-
live. At the age of si.xtcen he was ajipniiticed to Mr.
W. (i. P.onner, and fourteen years later he entered into
partnersiiip with Orrin Smith, and worked for the llhtit-
triiti-il Lrtiii/iin ^'firs. He took rank as one of the most
artistic exponents of his craft, and wrote one or two books
dealing with its history and practice, and extolling the
"white line." He lived in America from IHW!, and was a
niemler of the American Society of Water Colour Painters
and the National Academy of Design.

The death of Mr. T. B. Haudy removes one of our most
])Oiiular marine painters. He was pos.sessed of extra-
ordinary caiiabilities, being probably one of the most
rapid and pmlitic of our water-colour men, and this
doubtless militated against his latterly accomplishing
much work really worthy of his talents.

We regret to learn as we are going to press of the
death of Mr. H. Stacy >rAnKs, R.A. We shall deal more
fully with his career in our next number.

PEARSON. R.A.
W. W. Ou/os<, R.A.)

A BELLE OF SEVILLE.
(From Iht Painting by J. B. liiirgess, A'.I. /« Iht ColUction of Tliomas J, Barratt. Esg J

KUouaa or Am.

THE LATE H. STACY MARKS. R.A.
(from Ihc Painting ij W. W. OuUss, R.A.)

^n ())Xemonam:

HENRY STACY MARKS, R.A. : born Sept. 13, 1829: died Jan. 9, 1898.

By GEORGE D. LESLIE R.A.

IN the obituary
notices, that
iiave latel}' ap-
peared, it seems
to iiie that those
writers have been
somewhat hasty
in forming their
opinions who as-
sert that Henry
Stacy Mark.s was
not a genius. It
is quite true that
liis works lack
the glamour of
mystery, that he
had but little
feeling for grace
or beauty, or for
grandeur of effect
and composition, and that his execution is neither
brilliant nor facile. But are there not many man-
sions in heaven ! Are there not glories of the moon
llG

SCIENCE IS MEASUREMENT.'
(From a Sketcli by the Artist. Diploma Work.)

and stars as well as of the sun ? Originality, a keen
and refined sense of humour, an infinite capacitv
for taking pains, a reverence for truth and nature,
— are these not also characteristics of Genius ? All
these qualities "Marco" possessed in a high degi-ee
and, what is more to the purpose, made good u.se
of theuL

Although of course we may not rank him on
the same shelf with ^lichael Angelo, Kembrandt,
or Velasquez, yet is he entitled to find an honour-
able place on that whereon Hollar, Bewick, and
Chodowiecki repose.

Marco had a good and sufficient education for
his work. Not at school, nor at tlie Eoyal Academv.
nor even at "Dagger Leigh's" nor M. Picot's. Thanks
to his father, Marco made an earlv and thorough
acquaintance with the works of William Shakespeare:
these he knew, loved, and appreciated. His Shake-
speare was very nearly his only book, but he knew it
well, by heart and in heart, and it sufficed for him.
It was to Shakespeare that Marco owed the refine-
ment that always characterised his humour, and tliat
reverence with which he always approached nature.

238

THIC MACAZIXK OF ART.

ST. FRANCIS PREACHING TO THE BIRDS.

Miiico's pictures are never viilg;ir. He never
dishonours his Creator by giving human eyes and
Inunan expressions to the bird.s that lie portrays in
order to gain a ciieap pojiularity for liuniuur; he
seeks to raise feelings of kin.sliip in our hearts to-
wards the creatures, but never at the expense of their
true bird nature and aspect.

Marco always painted everything he liad tn, as
well as he possibly could; ids works have ever a
sense of completeness and sound execution about
them that gains them llie approbation of his fellow-
craftsmen.

To the younger artists of the i)resent day —
when flimsy shorthand painting is so much in vogue
— Marks' works may appear dull and laborious
lirodueti<jns ; but, no matter what the pa.ssing
fashion may be in the art world, there will always
be those capaVile of appreciating the merits of siich
complete and con.scientious work, coniilecl with such
earnest purpose and refined humour as arc to bo
found in his jiicturcs.

Born and bred in town, as he was, and brought
up under the influence of the gloom of Calvinism,
with but rare glimpses of sweet country life per-
ndtted to iiim, we are not astonished to find in Ids
later life a strong reactionary attachment to nature
and her beauties. His exquisite little water-colour

landscapes ought to be better known ;
they all testify to his feeling for the
truths of nature. I especially recollect
one of a rabbit warren that I think I
coveted more than anything he ever
painted.

He passed many weeks in the country
sketching with me, and I was particu-
larly struck by the intense enjoyment
that he showed in rural life and scenes.
T, who had been always accust<imcd to
liie country, used much to envy the keen
appetite and relish that his early en-
vironment had given him : whilst he used
t'r('i[uently to lament that his knowledge
of plants and the animal life of nature
was but limited, owing to his having
been forced by circumstances to pass the
greater part of his early youth in town.
.\ similar lament occurs in the conclud-
ing lines of tlie first chapter of his
Ileminiscences : — •

" It has ever Ijeen a matter of regret
to me that I had so little acijuaintance
with country .sounds, scenes, and occu-
jia lions in the more impressionable hours
of rliililhood and early youth."

My introduction to Marco took place
in tlie Antique school of the Koyal
Academy, in tlie winter of 185.1 He was en-
cased on a chalk drawing from the (.Jermanicus,
but his heart was very little in his work ; he de-
rived, I believe, but little good from our school ;
lie never succeeded in getting into the Life Class,
and left the place altogether soon after I first met
him. 1 remember tliat almost his first words to
me were from Shakespeare, apropos of the weather
— "The air bites shrewdly; it is bitter cold."

Those were exciting times for a young artist just
commencing his career. The electrifying eilbrts of
the Pre-lJaphaelite Brotherhood and the writings of
.bihn Kuskin were stirring the hearts of every-
one. At each succeeding e.xliibition the new scliool
increa.sed the numbers of its adherents, and that
such a painstaking and conscientious worker as
Marco should have inclined towards this revival
of nature rrrxus conventionalism can scarcely be
wondered at.

But thougli greatly taken by the aims and
lu-inciples of the new sect, Marco never became a
mere imitator or plagiarist, for he was, above all
thin"s, honest and original in all he did. His little
]>ictnrc of "Dogberry" and his "Toothache in the
Middle Ages" exliibitcd a style and methoil and a
refined dryness of humour which was entirely his
own. Marco retained tiiis style to the end, for

m MEMOBIAM : HENRY STACY MARKS, ll.A.

239

although in the choice of his subjects and in the
arrangements of his compositions he varied occasion-
ally, according to the changing fancies of the times,
lie never altered his simple and effective style of
execution, and always told liis stories with t!:e same
delightful nuainlness of humour.

Marks hated to be considered as a comic artist,
he never intended to raise a broad giin, and he care-
fully avoided all vulgar exaggeration. His humour
was, perhaps, somewhat akin to Hogarth's, but it
diifered from Hogarth's in that it had little or no
satire or moral attached to it. Marks resembled
Hogai'th very closely in the skill he displayed in
the introduction of details and accessories, every
object introduced having some bear-
ing on the subject. And like Hogarth,
Marco gave his spectators credit for
discernment, leaving the pleasure of
finding out these little bits of by-play
to them : neither artist ever forced
these accessories upon the careless and
unobservant.

Marks always shone to the best
advantage when the subject of his
picture admitted of simple treatment
— in such pictures, for instance, as
" The Franciscan Sculptor and his
Model," "St. Francis Preaching to the
Birds," "Science is ]\Ieasurement," "A
Page of Eabelais," " The Apothecary,"
" The P>ook\vorm," " Cowper and his
Hares," and many others of a like
character. In those pictures which
had many figures in them he was at
times embarrassed by the difficulties
of composition, trammelled by the
cares of correctness of costume, and
haunted by recollections of the works
of Baron Leys and Viollet-le-Duc.
But when engaged on the more simple
themes, his works have a peculiarly
naive and placid charm about them
very analogous to that which is to be
found in the writings of Isaac 'Walton
or iJefoe.

We are captivated Ijy the very
artlessness of the work and the utter
absence of all attempt at cleverness
or show off. 'No one succeeded better
than he in portraying some little
episode in the everyday life of an
old-fashioned country gentleman. You
cannot help feeling an interest in
these old men, for the artist himself
has been so fond of them, and has
painted them so carefully and lovingly.

It is tlie same with his bird-portraits, for in these
Marco is in entire sympathy with his subjects,
levelling in their quaintness of expression and
habit. Marks did not possess much feeling for
ideal beauty, nor, indeed, did he succeed in his re-
presentations of women or children, and in his
bird-paintings he is far more at home with birds
of quaint and grotesque form, sucli as the pelicans,
storks, parrots, penguins, and kingfi.shers, than he
is with the nightingale, the swallow, the robin, or
the thriLsh, to grasp the slender and dainty beauty
of whieli seemed beyond his power. I do not think
we sliould find fault witii him for this ; an artist
is not to be blamed for the fewness of his talents

THE APOTHECARY.

240

THE MAGAZINE OF AlIT.

so long as he makes the best possible use of those
which lie possesses. Marco had a very strong ami
keen natural perception for tjie charms of age and
ciuaintness of form and ciiaracter; by means of this
he interests us in tliat with whicli he sympatiiises
ami feels an interest himself.

.Marco made good use of the Zoological Gardens :
his kindly, .sympathetic nature gained liim the
friendship of all connected in any way with the
collection there. He was always a good picker-np
of information, and possessed the art of extracting
it from people of all .sort.s. I even fancy the birds
themselves must have liked him, for these creatures
have a wonderful faculty for recognising a friendly
eye and voice, and are known to take strong likings
or dislikings to persons at first sight.

I only paid one visit to the Zoo in Mark.s'
company, but it was a great treat to me, and I
regret much that, owing to my residence in tlic
country, I had not the opportunity of going there
many times with him. 1 can well imagine the
delight which .Idhu Knskin must, have jiad in going
round the gardens with his friend Marco.

In his bird pictures I lliink he always succeeded
best in those in whiili lie was unembarrassed by
having to think of a subject or title, in order to give
a popular handle to them at the exhibition. When
not thus troubleil, as in his water-colour studies or
in his decorative panels, the individuality of the
liirds is, perhaps, better preserved. Mast uf his
water-colour studies are astonishingly beautiful in
colour and execution, and full of the very essence
of bird character; a good .selection of these should
certainly find a place in our National collection.

Marco had to work hard for his living from first
to last, for, though his pictures were always welcome
to the public at the exhibitions, they pleased only a
few of the most discerning of the i)alions ; in cou-
.seqnence of which the prices he obtained were never
over high. Marco, however, though he gruml)led a
little at times, never lost heart or became sour or
discontented; he would redouble his industry and
energy, and when he foinid any diHiculty in disposing
of his productions in one branch of art he would
cast about and find a means of Inci'ative occupation
in another. Thus it is we find liini busy at one
time on oil pictures, at others on water-colour work,
wood-<lrawing, decoration, or even turning an honest
penny by designing book-plates or Christmas cards.
Decorative work, at least as far as the execution was
concerned, came easily from his hand, which had
had an early ami accurate training in the days when
he was employed Ijy Me.ssr.s. Clayton and Hell, and
others. His designs, though generally a little con-
ventional in treatment, abonndeil in pleasant and
even Ixfautifnl pa.ssuges of composition. The dancing

figures on the frieze for the Gaiety Theatre are full
of the pastoral feeling of the Shakespearian age.
" Here a dance of shepherds ; " one seems to hear the
drum and tabor and the morice bells. The little
frieze which was bought for the South Kensington
Museum, and which most of my readers will be
familiar with from the reproduction of it, on tiles,
in the refreshment room, is replete with honest,
liealtliy life, as well as being a very beautifully
balanced little piece of line aiul colour.

Of liis decorative work at Eaton Hall I cannot
form a just opinion, never having seen the works
in gi(u, but certainly the bird panels are bright and
pleasant in a.spect, ami cleverly varied in arrange-
ment and composition.

Wiiatever work he umlertook, Marco always
tried his very utmost towards success, and in
forming our judgment of him as an artist we shouM
not forget to take into account his great versatility.
Indeed, it would lie diflieult to point out any other
artist of the present day who held his own so easily
in so many difVerent liranches of art. Ami, be it
remembered, he was no "Jack of all trades and
master of none." His subject-pictures were full of
iiiteresl and originality: his waler-colonr drawings,
both of landscape and of birds, were marvellously
beautiful ; he was the first to introduce a new
departure in the illustrations of our children's
books : his decorative skill was far above medi-
ocrity, and his little boolc-plates and Christmas
cards were the best of his day.

That Marks had consideralile literary skill the
two volumes of personal reminiscences entitled
"Pen and IVik il Sketches" (Chatto and A\'indns,
1894) 1 think amply testify. In these volumes will
lie foinid .several .songs and venses which he com-
posed and used to sing to his friends at their
convivial meetings. I felt sorry when I found that
he had in.serted these in his book, because read
tiiere, in cold blood — po.ssibly by many who would
be strangers to the personality of ilarco — the
impression they convey is, I must confess, to a
certain extent, one of feebleness. These same songs
were fidl of allusions to the doings and sayings of
the time when they were written, and of person-
alities which have since lost their force. They were
intended to be sung at our "clique suppers," or
after one of the Greenwich dinners of the Royal
Academy Club, and thus sung by Marks himself in
his unique and inimitable manner they delighted
everyone. Hut it seems to me that they might very
well have been left to the recollection of those
friends who heard them sung at the time and place
for which they were intended.

It wius very much owing to Marco's good nature
in amusing his frieiuls so readily at all times by his

AN ODD VOLUME.

242

THE :\rAf:AZTXK OF A TIT.

siuging and dramatic power that people came to re-
gard him as a comedian, and no doubt it happened
thus tliat Marco unconsciously tied the very
label iif •'Comic Artist" on himself that he so
bitterly resented as the deed of others. Tlie fact
of the matter is tliut Marco was liardly ever any-
thing else but grave and serious; even when singing
these songs his face reUiined the utmost gravity, as

His impersonation of a drunken man entering a
public-house was one of the most terrible pieces
of reality in the way of acting that I think I
ever saw.

.Marco was a most delightful companion : lie had
a wonderful power of adapting himself to times and
circumstances ; no one could be more gay and play-
ful on a lioliday; no one more .sympathetic and kind

A SKETCH IN THE ZOO.

the little caricatures of him in the act of .singing,
by F. Walker, bear witness.

As an evidence of the triilli of my assciliun tli;it
gravity was the prevailing tone of INlarco's character,
1 would also point out that in no portrait of him
that remains — not even in the caricatures and
little <lrawing3 of him by his friends — can llie
slightest ajiproacli to a smile be traced. Mr. Onless,
in liis wonderfully succe.s.sful portrait, lias bit exactly
tlie iisual grave and tliouglitfnl expression ti^at was
habitual to him. .Marco himself has .supplied us
with a clue to Ids most inner self by introducing
a skidl lieneatli the jester's cap and bells in the little
book-plate which adorns the cover of one of bis
volumes of Reminiscences; and by tlie setting siui
and ]iensiv(' expression of the jester whieli appenr
outside the other volinne.

At any rate, his comedy was not of the vulgar
musie-ball tyjic. He had great dramatic powers.

in the day of trouble. There was no self-a.ssertion
ill his manner ; he was a good talker and a good
listener, always ready and glad to obiaiu informa-
tion from those able to allbrd it, paying the utmost
(leferciice to the aged, and winning the hearts of
eliildreii by nuiiierous little tricks and devices.

It was the siniplicily and maidy sincerity of
Marco's personal character that gained liini the
hearts of so many fiieiuls: it was for tliese quali-
ties that dulin Kuskin loved him .so well. Marco
was always welcome in the stn<lios of his friends;
for they trustc<l him, and bis advice was ever sound
and wiiolesomc.

Marco had ([iiite his share of this world's troubles,
lint he never aired his grievances in the presence of
his frienil.s. He was heroic in his ciulurance, his one
and never-failing solace and comfort luing hard work.
No more fitting motto for Marco's gravestone could
be found than — " T.id)orare est Orare."

CHAIRMAN OF COMMITTEE.

245

THE QUEEN'S TREASURES OF ART.

DECORATIVE ART AT WINDSOR CASTLE : WOODEN FURNITURE.

IBY HER MAJESTY'S SPECIAL PERMISSION!

BY FREDERICK S. ROBINSON.

IX our last chapter upuu wood-iiilaid furniture we new nietliod of shading. Until his advent shading
dealt chiefly with tiie nianiueterie of Riesener. had been accomplished through scorching the little
He was not the' only master in tliis beautiful style pieces of veneer by plunging them into hot sand, or

else by skilful gradations with a brush filled with
a biting acid. Eoentgen's method, which greatly
impressed his contemporaries, was to attain the
modelling of his figures by letting in small pieces,
each of suitable colour or duly tinted, to form the
sliadows, so that the juxtaposition of three or four
pieces in successive tones produced the effect of
modelling required. He no longer used " etching "
or engraving, or the burning process to make a
graduated tint on a single piece of wood. At
Windsor there is no example of his work, but at
South Kensington, in the Jones collection, he is
very well represented. An oval-topped table with
an inlaid representation of .Eneas carrying Anchises
away from Troy is a good example of his style of
tiiiure shading. A similar one with the same subject

JAPANESE CABINET ON LOUIS XIV GILT CONSOLE. {Seep. 247.)

of decoration, though he seems to have understood
the artistic limitations of his craft better than any.
A younger compatriot was to carry it by his
wonderful technique too near to the confines of
realism. David Roentgen was the successor of
Eiesener in popular favour. He was born at
Nieuwied, in Germany, about 17-45, and became a
master ebhiiste, thanks to tlie patronage of Marie
Antoinette in 1780. He was, however, not a
resident iu France, but had his workshops in his
native town, from which he used to make periodic
visits to I'aris. The development of inlay with
which the name of " David "—as he is sometimes
known, or " David of Luneville " — is associated,
consisted in a use of large figure subjects and a
117

JAPANESE CABINET uN fcMPiRE

^0;vaUuE. (Sec 11.247.)

246

THE MAGAZINE OF ART.

is ill tlie boiuloir of tlie Marquise de Scrilly (No.
1,736), which is set \\\> in anotlier part of the
nmseinn. A thinl example is tlie large writiiig-
tahle (No. 1,076), with Sevres plaques and two
figure groups on the top, wliicii M. 'lo Champeaux
regiirds as the most interesting of all his work.
These are an addition to the t^ible, which had
originally oidy a leather top. They represent
Geographv ami Maritime Commerce.

1790. He left France completely at the Revolution.
The Convention, never averse to seizing anything,
pronounced him an emigre — on the score of his
iiaviug had a shop at Paris and a diploma from the
queen — and confiscated his stock. He died about
the year 1807. M. de Champeaux conspares him
unfavourably with Riesener, though he admits that
the vigour and brilliance of his iidav is remark-
able. As to the form and shape of his design and

LACQUERED COMMODE, WITH CELADON VASES. MOUNTED IN ORMOULU. (I- ihc R^bt.» Room. S^, p. 24S.)

Wliile admiring the .skill willi which his inlay
is executed, it is penni.s.sible to regret tiiat Roentgen
.should have Ijeen tempted to embark upon the
inlaying of human figures nine or ten inches high,
instead of confining himself, as Riesener did, witii
a more correct taste, to qtiiet tlower-panels ui)on a
ground of lozenge or trellis inlay. Uoentgeu was
not the first to euqdoy figures; Cressent, a suc-
cessor and pupil c)f I'.oullc, and I'henistr to the
Regent Philippe d'Orleans, had made a .'specialily
in his panels of diildren jdaying with dugs and
monkeys, during the Regency and the commence-
ment of Louis XV's reign. These, however, had
not the realistic nature of Roentgen's wfirk.

Roentgen's Hourishing time was from 17f^0 to

decoration, "the (ierman workman," lie remarks,
"is crushed by the French artist."

Now this opens up a very interesting subject,
for the truth is that, as we have seen, neither the
one nor the other was a Frenchman at all. Riesener
came from near Cologne, and Roentgen from the
neighbourhood of Colilenz, and it is a fact that for
many of her most famous furniture-makers France
was indebted to Cermany and the countries north
of France. In the early years of Louis -XlII
Fiviicii furniture had so lost its reputation that
for a royal present of a cabinet, recourse was hail
to Germany. When the fresh impulse was born
for making inlaid furniture, it was the Dutch who
showed the way. We need oidy repeat once more

THE QUEEN'S TREASURES OF ART.

247

the names of Golle, Vordt, Somer, Oppenonl, and
Staber, wlio wei-e all eithei- Low Country natives or
men who had been apprenticed there. For stone
iulay it will be remembered that the Italians
supplied the workmen with such names as Miglio-
rini, Branchi, and tliacetti. Even for sculpture,
Domenico Cucci, an Italian, was the chief artist
employed by Boulle, who himself was probably
Swiss, if his family did not come from Flanders.
The Caffieri family, his celebrated successors, also
came from Rome. Then we get the famous Oeben's
name, which is not French, though we have no data
as to his birthplace. He is succeeded by Riesener,
Roentgen, Pieneman, Janssen, Weiswei'er, Jacob
Desmalter. Amongst the very best known of the
cabinet-makers as many are foreigners as French,
and the most famous are the Germans.

It seems, therefore, quite unnecessary for il. de
Champeaux to draw any distinctions of race between
Riesener and Roentgen. Neither would it be wise
to lay too much stress on the assumption that
French taste always guided foreign workmanship.
The Cafheri family certainly themselves helped to
make that taste, nor must we forget Jacques
Yerberckt, of Antwerp, who directed the decorative
sculpture-work at Versailles during the whole reign
of Louis XV, and was a most versatile artist. Oeben,
too, as M. Maze-Sencier says, was " a master of the
first rank, and the expert Remy rightly styled him
famous." Riesener was equally skilful as a designer.
Roentgen invented his own technique and colouring.
No doubt they assimilated French ideas, but in
their turn they helped to guide them. It is better
to agree with M. Havard (" L'Ebenisterie "), and to
extend his dictum to the eighteenth century, when
he says, " It seems that our craftsmen in the Middle
Ages and in the period of the Renaissance seldom
practised the art of the inlayer, which necessitated,
in particular, qualities of precision, patience, and
perseverance little in accord with the somewhat
hasty and unthoughtful genius of our race. These
qualities, on the contraiy, are characteristic of the
slow and methodical natives of Germany and
Flanders."

It was a happy concatenation of circumstances
which brought the patient and skilled foreign work-
man to the assistance of the Frenchman with ideas.
The splendid results of their co-operation could not
have been otherwise attained, and it would be a
very great mistake to suppose that in the partner-
ship the labour only was on one side and the brains
on the other.

A reference to Roentgen was necessary, if only
for the sake of comparing him with Riesener, who
stands out as the greatest of the inlayers. We
should not, however, be doing justice to the latter's

versatility if we did not include him amongst those
who produced the charming furniture which was
constructed either from old Chinese and Japanese
lacquer panels or from French imitations of the
same.

Japanese and Chinese lacquer cabinets with gilt
metal mounts are comuinnlv known to most of us.

LACQUERED CORNER CUPBOARD. WITH PORPHYRY
VASE, MOUNTED IN ORMOULU. (,See p. 250.)

Many an old country house contains a specimen
similar to, tiiough perhaps not originally so tine or
in such perfect preservation as, the two which we
illustrate on p. 24.'i. They are nearly always of the
same type, with a large centre key-plate of fantastic
shape profusely but sketchily engraved, triangular
corner-pieces, and six or eight hinge-plates on each
side. Their two folding doors reveal, when opened,
lacquered drawers of various sizes; and they are
mounted, as a rule, though not at Windsor, on

248

TiiK :\iAOA/!:rxE of art.

four spindly plain black legs, with peviiaps a C
curve at the junction of the latter with the frame.

Louis XIV attempts at lacquer - producing were
made. So nianv cabinets of the kind were included

ORIENTAL LACQUER SIDEBOARD. WITH ORMOULU MOUNTS. PROBABLY BY RIESENER, AND
CISTERN MOUNTED BY CAFFIERI. (Sm p. ^50.)

Tlie J)ulih were prubaljly the fir.st importers of
these, and Louis XIV is said to Iiave been presented
with many of tlieni by the embassy from the King
of Siam, which created such a stir at his Court.
These cabinets in their original state did not long
satisfy French taste. The cabinet-makers saw their
way to turn them to account. The panels were
divested of their hinges, were framed in ebony
stiles, and were decorated with the handsomest of
ormoulu mounts. The transformation was complete,
and though sometliiiig was lost, French furniture
gained in the process. There are many fine
specimens at Windsor like those wliicli we illus-
trate. Tliey look very handsome on their gilt
con.«ole.s. The most elaborate of the latter is in
I^uis XIV style ; the more simpli? and .slender one
in late Ix)uis XVL

The French very soon began to imitate the
Oriental lacquers. It is probable, indeed, that tlie
imitation was prior to the adaptation of the genuine
pieces into new furniture. In the first years of

in tlu^ inventory at his death tliat it is very likely
some at least were imitation.s. lluygens, a Dutch-
nuin, is .said to have been liie tirst to invent an
imitation lacquer which was very deceptive, but
even earlier rougli English attempts are found.
Tiie " Livre Commode " of I'radel, published in
1692, mentions a maker named Le Koy as a painter
of all kinds of furniture " en vernis de la Chine."
The celebrated Martin family of four brother.^,
while endeavouring to imitate the Oriental lacquers,
discovered tiie varnish which has made their name
famous, and which led to the production of that
charming furniture painted with Howers or Watteau
and P)Oucher figure subjects on a line gold (or .some-
times green or red) ground, with which most of us
are familiar. Tiiere is no example of this at
Windsor, but at BuckingliaMi I'alaee there is a
notable piece, to which we siiall refer in due course.
For the present we must confine ourselves to the
black and gold lacijuer, of which the Martins were
granted a monopoly for twenty years in IT.'^O and

THE QUEEN'S TEEASURES OF ART.

249

1744. In 1748 their several establishments were
declared " Manufacture Nationale."

Windsor is rich in this beautiful style of furni-
ture, and Buckingham Palace also. An elegant
example, which also is earliest in date, is the
commode with two drawers which we iUustrate on
p. 246. This has Louis XV mounts in the style
of Caflleri (to whom, in another article, we shall
refer), but with a certain l)utch element liesides.

It will be seen that in this beautifully-shaped
piece of furniture there is no trace of the pomposity
of the earlier age of Louis XIV. "We have stepped
into the period of a court life carried on in private
rooms with less ceremony and greater intimacy.
The long, lofty gallery is deserted for the boudoir
scattered with a hvuidred little playful ornaments
in the Rococo style which jnirists condemn. In
its less extreme manifestations, nevertheless, how
charmiuir it is 1 The ormoulu mounts are no longer

silhouette " is here found to perfection. How
devoid of awkwardness, and yet how free from
weakness, are the lines of this commode ! AVhat
unity there is between the shape of the structure
and the ornament applied to it may be .seen from
our illustration.

A favourite device on these pieces of furniture
is to raise the twisted ormoulu stems of trailing
foliage from relief to full solidity so that they may
be grasped by the hand and act as handles for the
drawers. This system of occasional complete solidity
may be found in exactly the same way on the carved
oak panelling of rooms in late Louis XIV style.
I have seen a complete room from the castle,
near Bordeaux, of PhcEbus d'Albret, Baron de Pons,
in which the motive of ornament on the oak panel-
ling carried out almost exactly that of the ormoulu
mounts on a Caffieri commode placed against the
wall. On the wall the stems were detached merely

"ViW""-'^i

Vi-7'f?'

LACQUER SIDEBOARD. WITH ORMOULU MOUNTS, PROBABLY BY RIESENER, AND VINCENNES
VASE MOUNTED IN THE STYLE OF CAFFIERL (S«e p. 250.)

confined, as in the furniture of BouUe, within the as a wonderful four deforce. On the commode they

straight outline or profile of the piece. They seem admirably serve a useful purpose. In the Jones

to run at their own sweet will, and the " continuous collection are one or two magnificent lacquer Caffieri

thread of brass married to every curve of the commodes with handles fashioned in the same style.

250

THE MAGAZINE OF ART.

The lacquer upon " bonibe " or curved and swelling
furniture is probably of French manufacture. It
would not be esxsy to find Oriental panels wliich
could be adapted into the curves of the Louis XV
style. Tiierefore tlie surface of this connnode, which
has a liosa marble top, cannot be conii)ared wilii the
mirror-like polish of true Oriental wi>rk. It has,
however, a fine character of its own.

Tiiere are two "corner cupboards" or " enci)i,L;ii-
ures," one of which we illustrate on p. 247, which
may be reckoned as being ru siii/c witli this commode.
Their panels are in black and gold lacquer, but tlie
borders are of a red wiiieli makes them very pleasing
in effect. Tlie ormoulu curves, round wliich light
foliage so beautifully twines, are almost identical in
feeling with the mounts on a book cupboard in rose-
wood in the bishop's palace at Mans (" Le Meuble,"
Fig. 4;j, vol. ii.), and are very characteristic. Tiiese
encoignures also have Itosa marble slabs, and came
from 105, Tall Mall, bouglit August ord, 182'J,
from Mr. Owen, of Bond Street." Whether the
commode is from the same house we have not been
able to discover, as we were not able to see tlie back
of it, but it is more tliaii probable. The two green
Celadon vases on the top are mountfd with good
ormoulu ornaments chased and repou.sse in the same
style. On the encoigmire is a porphyry vase with
ormoulu mounts of the later date of Louis XVf.

We must remind llie reader that the llocoro
style of shell .uid mck work and twisted endive leaf
("feuilles tordues en chicoree ") has many manifesta-
tions. Tiie less pronounced is better than that which
was carried to extremes. There are one or two
clocks at Buckingham I'alace wliich will show us
what it could become, Viut we may refer here to
one of Caftieri's pieces of furniture as a pronounced
e.xample. It is a bureau in the collection of riinee
Jletternich, and is figured (Fig. 4:3, vol. ii.) in M.
de Champeaux's book " Le Meuble." At the same
time it is well to state thatCafiicri was quite callable
of otlier forms of design.

Our next illustration (p. 24S) is of a sideboard in
which the panels are stiaight and probably of genuine
Oiiental manufacture. Tiiis is a very interesting
example. M. de Champeaux says, "Windsor Castle
contains some large pieces of furniture wliich come
from Versailles. Amongst them are some low side-
boards with mounts representing female figures."
Tliese he attributes to Iliesener. He makes, however,
the mistake of referring to tliese in connection with
the furniture with Sevres iihupies wliich Iliesener
also manufactured. Now of the three tine pieces of
furniture with Sevres plaques at Windsor not one
is a "sideboard with female figures." But there are
three pieces of lacquer furniture which may be
described as having terminal ends with figures of

women. We can only imagine that his survey was
neces-sarily hasty and that he has confused the
dillerent pieces of furniture. It will be remembered
thai the Kiesener commode and encoignure whicli
we illustrated in our former article on inlaid furni-
ture had terminal female figures at the corners. In
our sideboard, one of a pair here shown with three
mounted pieces of porcelain, are similar figures.
Moreover, there is rich ormoulu scroll ornament on
the "ccintuic"or frame (below the marble top slab),
and beneath the centre panel is a rich " culot "
ornament. Tiiese characteristics of Hiesener's style
incline us to attribute this piece to him. It is very
likely that if it could be moved his stamp would
be discovered. Perhaps the finest examples of his
work in this style were bought from the Hamilton
I'alace collection. They are two secretaires from
St. Cloud, sold for a song at an anonymous sale
" le 28 Germinal an XI." They are now in the
possession of the Vanderbills. The fine pair in
the Vandyke IJoom, one of which we illustrate, are
six feet long and fitted with three doors in the front
and three drawers in the frame. The mounts are
finely gilt and cliased. On the top slab of whiti'
marlile onr illustration shows a beautiful blue
Oriental porcelain cistern with exquisite scroll
handles and base of ormoulu in the style of Catberi.
This is fianked liy a ])air of green jiorcelain vases
with mounts, iiududing twisted drop handles,
probably made for George IV. (See p. 248.)

Tlie other "bullet" is found in the Eubens Koom.
This also might be attributed to Kiesener, but not
perhaps with so great imibabilily. It is, however,
worthy of anyone on account of its splendid corner
busts. Clodiun ])er]ia]is might have modelled and
Gouthitre have executed them. ( )n the top slab is a
low chandelier surmounted by a \-ase of a Vincennes
shape, but with the enamel " jewels" of ^vvves pdte
Inithr, which attracted the notice of M. William-
son, the French connoisseur, when he paid his visit to
Windsor. Tiie ormoulu base might be by the same
hand as that whicli ]iiobably executed, with such beau-
tiful freedom, the mounts of the Oriental cistern above
mentioned— namely Thilippc Callieri. (See p. 249.)
Tlic name of Carlin is best known amongst the
men wlio began to use up tlic old Oriental lacquer
panels in the construction of new furniture, because
they fouiiil that the previously popular imitation
lacquer was not refined enough for their oriiKiulu.
lb' liecanie «(''(7;v f'/ie/((.syc in I Tliti and worked in a
]iure l.oni.s XVI manner. In his roiidiicss for a profu-
sion of ormoulu, especially on \.\\v. upper frames of his
riirniture, he rest'uibles Biesener, but his designs are
generally in a smaller, less massive style, with much
detail. ^lany of his works were made for the Chateau
de Bellevue, the former pleasure house of iladame de

Q
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h
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D
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THE MAGAZINE OF ART.

Pompadour. After lier death it was stripped of its
furniture, and the two daughters of Louis XV,
Victoire and Adelaide, lived there during the reign
of their nephew Louis XVL They were great
collectors of lacquer and porcelain, and called in
Carlin to construct their furniture to match. The
circular table with two tiers and Sevres top in the
Jones collection (No. 729) is signed by Carlin, and
another small table (No. 1,0;"^) has the stamps nf
both Carlin and I'afrat, his collaborator. A special
interest attaches to a cabinet (N<i. I,ii74) in cliony
and black and gold lac(|uer in the .same collection.
It has a main panel lacipiered with a large va.se
of Howurs. The edge mounts are elaborate beads.
There arc also large corner rosettes, and pretty little
leaf ornaments in onnoulu are sunk in tlie llutcs at
the corners. This is stamped N. Petit, and is .«aid to
be similar and c<impaiiion to one in possession of
Her Majesty at Buckingham Palace. Carlin also
was addicted to the use of these little ornaments
sunk in the flutes of panels, and legs of furniture.
In the liubens Itoom is a very large and striking
piece of furniture which, on account nf the profusion
of its moiuits, their design, and tiie presence of the
sunk ornaments before described in the flutes of its
round legs, we are disposed to attribute to Carlin,
though it is not in lacquer but entirely of ebony
veneer. This writing-table, on eight leg.s, si.\ of
which are fluted, is .seven feet lliree inches long, and
contains live drawer.s. A cabinet on the top of this
table at the back lias eight deep drawers (t'uur at
each end) and sI.k shallow ones in the frames. lu
the centre is a cupboard with mirror doors. This
very hand.some piece has an additional interest as
the keyhole mounts of foliage liave tlie monogram
DL everywhere repeated. U wrndd be inteiesting

to know who was the DL for whom lliis was made.
It was hardly a royal personage, or the monogram
would have been probably removed by the Pevolu-
tionists. The "swag" wreath iiandles and the mag-
nificent gilding are two very characteristic signs of
the work of Carlin. This effective piece, which is
placed under the equestrian portrait of the Arch-
duke .\ll)ert, (iovernor of the Netherlands, helps
with the rest of the black and gilt furniture to
nialo' the lUibens Poom one of the most hand.some
in Windsor Castle. Thr vase im the centre of the
irrih: untiijiic top slali is of blue Oiiental mounted
with angulated and curved ormoulu handles, and
is pniliably the wnrk nf ^'assnn, wlm affected that
shape. (See p. 2.jl.)

It will have been noticed that the furniture we
have been describing is, with the exception of the
Caftieri style commode, in a straighter and more severe
manner tlian that of the style known as Louis XV.
Towards the end of iiis reign the Kevolution had
swung back, and a reaction had taken place in
favour of straight instead of curved lines. At
lUickingham Palace we .shall find charming little
straight-legged tables of Louis X^'I, which at length
make way for the cold classicality of the Empire.
In nur cnucluding article upon the "Windsor furniture
we have to deal with the inlaid examples with Sevres
])laques which became the fashion when that porce-
lain attained its great perfection. We have also to
notice the propensity towards plain mahogany with
ormoulu mounts. This jjliase will be exemplified by
the magnificent cabinet nuule for the Comte d'Artois
and called after the name of the incomparable
CJouthiere. This is the pride of the Windsor Castle
collection, and can scarcely lie apprnailicd by any-
thing of the kind in the world.

METROPOLITAN SCHOOLS OF ART: THE CALDERON SCHOOL.

By aymer vallance.

rpiIE princiide to which the Sclmol of .\nimal
-L Painting in Paker Street owes its existence is
tliat. just as a regular and definite training is required
for the proper understanding and delineation of the
human figure, so for the correct representation of
animal forms a special cour.se of study is no less
indispensible. This is obviously true ; and yet,
strange to say, while schools for human figine study
abound, it hail until recently no adequate means of
being put into effect in the Metropolis. It is only
fair, however, to record that a somewhat similar

attempt had been made previously in Gower Street ;
Ijut, at the lime when .Mr. Frank (.'aileron established
his cla.s.ses for tlu' purpose, some four years ago, his
enterprise stood alme. It had to be so far experi-
mental that the school was started for landscape
study conjointly with that of aninud.s. Put the
iai)id development of the latter feature, and the
success which the school began to attain, attracting,
as it has done, jiupils fnim France and Auu'rica as
well as frniu all parts of the I'nited Kingdom, proved
liiiw real a want tiiere was for an institution nf the

\
,1/

o "=

I- s

CO cj

_ c

o i

UJ j

Q- I

THE (Al.DFJJON SCHool

253

sort, iiud justified Mr. I'aUlerou in ciirryiiig out his
intention more fully rhan he had ventured to do at
the first. And so, as his coadjutor, llr. Johnson,

weekday during term time, and furnishes accommo-
dation for forty students, a considerable proportion
of whom are ladies. The school year is divided
into three terms of twelve
weeks each, commencing re-
spectively at a given time in
• lanuary, April, and October.
In tlie interval between the
end (if the summer term
and tlie betrinnin" of the
next, the London school is
closed and 'Sir. Calderon
conducts a class for the
purpcjse of (ipcn-air work
in the country. Last year,
for example, he seemed a
farm in the pictures(iue
neighbourliood of ]\Iid-
huist, Sussex, and pupils
ti) tlie number of forty
availed themselves of the
opportunity thus afforded
to study animals and figures
in relation to their natural

transferred his landscape
cla.ss to Eiuiunond, the
Baker Street .school, from
the beginning of last year,
has been devoted exclu-
sively to the study of ani-
mal painting and anatomy.
Mr. Calderon's method,
it may be observed, .so far
commands the approbation
of distinguished authorities,
that they act as official
visitors of the institution.
Foremost among them is
:Mr. Briton Eiviere, ll.A.,
wiio has taken the live-
liest interest in the school
from its foundation. To
popularise the school, and
for the benefit of those
students to wliom pecu-
niary assistance may be
helpful, the Principal ofl'ers
three Free Studentships

annually. The competition is open witiiout re-
striction, save that any intending candidate is
recpiired to have attended regularly throughout
the school course of three months preceding the
examination in April. The school is open every
118

N THE STUDIO AT BAKER STREET.
(From Plwtogniphb bij Elliott atui Frtj.)

siUToundings and under varying conditions of light,
and so on. A constant supply of horses, cows,
calves, goats, donkeys, and sheep was forth-
coming ; and, since Mr. Calderon has his own
studio on the spot, his pupils were enabled to

254

THE MAGAZTXE OF ART.

work every day in all weathers. It will naturally the study of dogs and three for horses, the latter
be understood that the country offers the readiest occasionally mounted, or otherwise accompanied

THE OUTDOOR CLASS AT MIDHURST.

{From a Pltotouropii bg F. Cozf, Midhurst.)

facilities for obtaininj^ animal models. But neither by a human figure in costume. So fewer than
is tiiere any lack for the use of the London three hundred horses are posed in tiie Calderon
classes. Two days a week are set apart for studio in the course of the year. Many of them

STUDIES OF FOXHOUNDS. SHOWING METHOD OF SUPPORTING THE ANIMALS

(«( Kfll /mogxi Co//itr.)

THE CALDERON SCHOOL.

255

are pressed into the service from the various livery
stables round about the school headquarters, but
others are brought thither from more distant
parts ; for Mr. Calderon is continually on the
alert, in the streets of London and in the country
also, to note and apply for suitable models for his
purpose. In the kennels upon his own premises

hour at a time tlirougluml the day, while an
attendant — as, in fact, in the case of horses and
other animals too — keeps watch lest they should
show any inclination to be restive. Experience
proves that, no matter how vigilantly tended, an
animal rarely stands for long together absolutely
motionless in one position, and even a slight change

COSTUME MODEL ON HORSEBACK.
[By the late R, Shober.)

he keeps a terrier, a greyhound, and three wolf-
hounds — splendid animals the last-named, one of
them of Eussian, two of Irish breed — all trained
expressly for "sitting." It is wonderful how
quickly they can be accustomed to it, the chief
difficulty being to make them keep in a standing
posture while required. "With this object a light
band or halter is passed round tlie middle of the
body and attached to some point above at such a
height as allows the animal to stand quite com-
fortably but keeps him well suspended should he
attempt to lie down. Moreover, the dogs are
relieved by being made to take turns for half an

is enough to shift the balance of the body and alter
the whole attitude. The students, therefore, are
encouraged not to trouble themselves with over-
anxious endeavours to complete a drawing in the
first position if the animal shall have moved before
it is completed, but to begin to draw the model in
the next position assumed, and the next again if
a further change should interfere with the second
For it often occurs that the animal returns of its
own accord to the original position, or to somethiug
so nearly approaching it that the first drawing
begun and perforce left unfinished can, after a little
patient waiting, be completed. Not only are these

■2r,G

THE magazine: of akt.

stuilics useful iu tlieniselvcs, but lliey help the Dccasionally the study of horses and dogs is varied
student to acquire a vei-satility, a riuickness of by the introduction of cows or donkeys. Even-
observation, and a facility of handling, perhaps nut ing classes for black-and-white work are held on

PEN-AND-INK SKETCHES WITHOUT PRELIMINARY PENCIL WORK-
(«(, «.S8 «. A. ermn.)

to be surpassed by any other kind of artistic training. Mondays and Thursdays. Five days a week the
Of this fact the spirited pen-draW'ings wliicli some school is under tlie iiiiiuediate personal direction of
of tile students learn to ])niduce bear witness. Mr. (.'alderon, but on Saturdays it is in the hands

LIFE STUDY.
(S> «/•> ( Collltr.)

SWAXSEA POECELAIX.

257

of Dr. Armstead, for the purposes of the class
for Animal Anatomy, on which subject he is a
specialist. To this department Mr. Calderon rightly
attaches particular importance, for though, of course,
the subject is necessarily incidental to all studies
in the school, under Dr. Armstead it is systematised
in a way that pre\ious teachers do not appear to
have deemed it worth while to do. The anatomy
lesson takes the form not so much of an oral lecture
as of actual demonstration by means of dissection
and by the display of diagrams, etc. The collection
of casts is, indeed, a special feature in the school.
Many of them have been moulded expressly from
dissections made by Dr. Armstead, others taken
from dead animals under his and Mr. Calderon's
joint supervision ; and these, together with a quan-

tity of casts of wild and domestic animals selected
from among the best existing supplies attainable
in Paris and in this country, and a number of
skeletons and life-size diagrams, constitute a valuable
museum of animal anatomy. There is, in addition,
a reference library of standard works on the subject.
If there is anything that one might wish changed
with regard to the Calderon School, it is its situation.
Could it only be transferred to the region of South
Kensington, and the ample resources of the Xatural
History collection there made practically available
for the use of Messrs. Calderon's and Armstead's
classes, the usefulness of museum and school to-
gether might be capable of being augmented to
an almost indefinite extent to the advantage of
all concerned.

SWANSEA PORCELAIN.

BY COSMO MONKHOUSE.

iT wiis quite time that somebody should attempt
to rescue from oblivion the still surviving facts
about the once
famous potteries of
Swansea and Xant-
garw. Except what
may be called the
brief but brilliant
Billingsley period,
there is not much
that is fascinating
in their historj', but
if it were only for
the sake of that
potter's gallant at-
tempt to make an
ideal porcelain com-
bining the qualities
of Xankin and
Sevres, the pains
which Mr. Turner
has taken would be
well justified.* But
of course Mr. Turner could not confine himself to
Billingsley and his products, and having once set
his shoulder to the wheel he has done his work
thoroughly, and presented such a picture of the rise
and decline of Cambrian pottery that his name will
hereafter be ranked as an authority with Binns of

* " The Ceramics of Swansea and Xantgarw," by William
Turner, F.S.S., with an Appendix on the mannerisms of the
artists, by Robert Drane, F.L.S. (Bemrose and Sons.)

THE SWANSEA WORKS.

Worcester, Owen of Bristol, and Haslem of Derby
— at all events, as far as liistory is concerned. Nor

is it only with re-
gard to historical
facts that his book
will in tlie future
be sought for re-
ference. Although
he modestly dis-
claims any technical
knowledge of cera-
mic processes, and
distrusts his ability
as a critic of art, he
has done his best
to provide connois-
seurs with all a^•ail-
able means to de-
termine not only
the dates of their
specunens but the
artists by whom
they were decorated.
To aid in tliis he has called in the assistance of a
learned lover of Cambrian pottery, Mr. Eobert
Drane, who has selected the illustrations with the
special object of distinguishing the mannei'isms
of the china-painters employed at Swansea and
Xantgarw, and has contributed a very helpful ap-
pendix on this difficult subject.

Like every other serious and determined in-
vestigator of the truth, Mr. Turner has had to

258

THE MAGAZINE OF ART.

eijcoimter great difficulties, not only in discovering
new facts but in demolishing old falsehoods, and
he gives one very amusing instiince of the latter.
"Another error," he writes — "a newspaper one — is
this : the rea.son for the works being open at
Xantgarw is there said to have been because
(amongst other advantages) there was plenty of
china clay at Caerleoii, near Newport. By corre-
spondence and search I traced tliis error to its

was 1811 to 1824. It might be called Billiugsley
porcelain, for though it was made at Swansea for
some five years after that remarkable man returned
to Nantgarw, it was made there after his receipts,
more or less modified.

These facts assumed, one would have thought
that there could not be much ditliculty in deter-
mining pieces of Nantgarw and Swansea china,
especially as (thaid<s in a great measure to Mr.

THE AURICULA (Full Size). Painted bv- 1. Billingsley 2 T.

5. Webster. 6 Unknown.

Parooe. 3. Morris. 4 Pollaro.

.source. The writer — an anonymous one — was dis-
covered ; his alleged authority was interviewed. I
found it was a misunderstanding, and lluit, in all
])robability, as Marryat had mixed Pardoe up with
Billiugsley, so he (the anonymous writer) had mixed
up the words Cacrleon, a village, witli Kaolin, a
china clay."

One advant^nge of Mr. Turner's subject was the
definiteness of its limits. Altogether the Cambrian
potteries had but a short existence. The Nantgarw
works were sUirted in ISll and finally closed in
1822, the finest porcelain being jjroduced from 1S12
to 1814 and from 1817 to 1819, while Billiugsley
atid his son-in-law Walker managed the works. The
works at Swansea la.sted from about 1704 to 1870,
but it was only from about IKLS to 1824 that porce-
lain was made there, and the best of it was produced
from 1814 to 1817, when Billiugsley and Walker
were working for Dillwyn ami lievingtun. Tiie
entire jxTiod, therefore, of that renuirkably trans-
lucent porcelain which, under the names of " Nant-
garw " and " Swansea," is so sought by connoisseurs.

Turner) we know pretty well all the artists who
were employed at both tho.se places ; but as a
matter of fact the right assignation of pieces to
tliese factories and to the artists who decorated
tliem is of iniusual difliculty. In the firet place,
a great quantity of white china maile at Swansea
was stamped Nantgarw, and at Swansea also two
receipts (and probably a good many more) were
used, as experiments were consUmtly being made
to get a more trustworthy paste, and so save the
enormous loss cau.scd by the habit of Billiugsley 's
" body " to crack and spit and shiver and fuse in
the kiln. Though not " refractory " in the technical
sense, it was very refractory as we use that term to
a naughty child, and the continual destruction of
a \ery large percentage of the pieces fired, many of
them after elaborate and costly decoration, wa.s, no
doubt, the reason why the works both at Nantgarw
and Swansea were ultimately abaiuloned. The
" body " was very beautiful, clear, and white, and
with a soft glaze in which the enamels melted
almost, if not quite, as Ix'autifidly as in the soft

SWANSEA PORCELAIN.

259

paste of Sevres. At tirst it dift'eretl little fruui
the Pinxtoii " body," being principally composed
of a grit, made of Lynn sand, and bone with a
little potash, whicli was ground and mixed with
very varying proportions of china clay. No paste
so nearly uniting the beauties of glass and porce-
lain has ever been made, but it would not pay,
and all attempts to make it more practical by

white stock was decorated for sale, and the same
happened with Nantgarw when Billingsley removed
to Coalport, some of the pieces not being painted
till many years afterwards. In order to help the
collector in the midst of all these dillieuU.ies 'Sh:
Turner and j\li'. Drane have done what they could
in a manner not before attempted, by giving
examples of tlie styles of all tlie painters which

PLAQUE (Half Size). {Pamted t,y William Pegg.)

increasing the proportion of china clay and the
addition of other materials appear to jiave been
unsuccessful.

Tlie difficulties of the collector are greatly in-
creased by the fact that much of tlie ware made
in AVales was not decorated at the factoiy. To
begin with, a good deal of it probably was brought
by Billingsley to Swansea and decorated there,
and more was sent out in white to London and
other places, to such fiiiiis as Mortlock's, and
painted by London artists to suit the custom of the
dealer. iMr. Turner tells us of one service in which
pieces of Sevres were mixed with pieces of Swansea
and decorated to match. After the manufacture of
porcelain ceased at Swansea a quantity of the old

are known to have decorated china at Xantgarw
and Swansea, examples attributed with some
certainty to the respective painters themselves.
Unfortunately this method has its limits, as the
painters as a rule did not sign their work, and
therefoi'c the number of indubitable specimens of
their skill is very limited. Jlorcover, many of the
artists — Billingsley himself, for instance — had two
styles, perhaps more. Of Billiiigsley's two styles
Mr. Turner gives illustrations on one page, contain-
ing portions of Billingsley's "Prentice Plate" which
ser\'ed as a pattern for boys at the Derby Works
for seventy years, and of a plaque in the collection
of F. Walker Cox, Esq., of Breadsall, Derby. The
" Prentice Plate " has an interesting history of its

260

THE MAGAZINE OF AIIT.

own wliicli is well told by -Mr. Turner, and it lius
now found a resting-place in the Museum at Derby.
On iinotlier page Mr. Turner gives I'.xainpli'.s of tlie
slyli" in wliicli several painters drew the auricula.
Tliese artists are Billing.sley, T. I'ardoe, Morris,
riiUanl, Webster, and an " unkimwn." It is im-
possible, in looking at tliese two full-page illustrations
— incomparably the most imporliint of the illustra-
tions to the volume — not to wonilcr why they aie
in monochrome, for the ah.scnce of I'olour robs them
of at least half their value.

Of all the ])ainters on .'^wansea chinii, though

THE NANTGARW WORKS.

liillingsley is the most celebrated, and probaldy
unsurpassed in knowledge and fiidsli, the work by
I'ollai-d is marked by tlie greatest originality and
the linest artistic feeling. Examples of his painting,
both of giirden and wild (lowers, are given in this
book (I'lates XI and \I\') and justify tlie admira-
tion whicli Ml'. Turner cordially eiitert;dns for this
artist. The author has given us too little critieisin,
probably through diliidciice, liiit his description of
a i)late by I'ollard shows what a true apprecia-
tion he has of tlie special quality of a finely
decorated Swaii.sea jilate. liillingsley with all his
skill could never have inspired a passage like
that, but he was a reinaikaide man, forming,
indeed, the central interest of this book. Mr.
Turner traces his history with more tliorough-
ne.ss and care than has hitherto been done, and
writes of him with that enthusiasm which is so
often generated in an author by his subject. The
little " clouds " in his career — the dilliculties which
prevented him from visiting his native Derby after
he left it about 1700, his separation from his wife,
his breaking his engagement with I'lighl and I'.air,
the a.ssnmption of a fal.se name to avoid arrest —
are all brushed aside very lightly. It is certtiinly
in his favour that iiis daughters followed his for-
tunes rather than remain with their motlier, ami

he no doubt devoted a great part of his life to
the improvement of English porcelain, but there
is sciircely suflicient material to make a hero of
him. Nevertheless he was a remarkable man of
talent and energy, if not of genius, and his life
of constant edbrt and invariable misfortune cannot
fail to enlist our .sympatliy. Nor can anyone
who reads his letter lo his wife after the tleatli
of his two daughters doubt the dejjtli of his
allectioiKS. Altogether he certainly demands our
admiration and our pity, if not lair love and our
worship. Not the least i)athetic fact of his life
was the obscurity of his later years.
He had risen to be the best china
painter at Derby, perhaps in England.
He had founded the porcelain works at
I'iiiNldU and Nantgarw. If unsuccessful
commercially he was at least successful
in tliis, tiiat he made porcelain of a
ipialily so laie and beautiful that it
was the admiration of his contempo-
raries, and is now a treasure for the
rich. Vet of his last nine years scarcely
a record is left, except that he lived at
Coalport or near it, and painted china
for Mr. Uo-se, until his death in 1.S2S.

Mr. Turner has spent so many years
in collecting the information contained
in his book, and has cstablislicd so much
that was doubtful, that it seems ungrateful to sug-
gest anything in the nature of a defect, or to hint
iJiat lie sliould add to his labours. He has supplied
us with mucli interesting information about the
" Etru.scan Ware " made by the later Mr. Dillwyn,
and some good illustrations of it, but our curiosity
is not satished with regard to tlie early light stone-
ware made at Swansea, or the once celebrated
" opaipie china." Of a very important ligure in
the history of these Cambrian Works, Mr. William
Weston Young, he supplies a number of very in-
teresting facts, l)ut he gives but one illustration,
and that an uncoloured one, of his remarkable skill
in painting. The book would also be improved by
a fuller index to the plates, which sliould tell us
where these objects were made, by whom they were
painted, and to whom they belong. A chronological
list of events in the history of the factories would
also be convenient. This book and its illustrations
have been very carefully produced by -Messrs.
liemro.se and Sons, of Derby, the head of which
lirni is a well-known collector of china. 'i"o the
valuable ]iaiiiphli'ts which he has already written
upon Isnglish ci'ramics it is understood he is about
to add a small volume containing some hitherto
unpuijlished documents relating to the history of
the factories at liow, Chelsea, and Derby.

THE LIBRARY. BELL-MOOR, SHOWING "THE TINTED VENUS.'
{From (I Photograph by Bedford, Lemire and Co.)

THE ART COLLECTION AT BELL=MOOR, THE HOUSE OF
MR. THOMAS J. BARRATT.— IIL

By JOSEPH GREGO.

IX tlie present chapter nii ]\Ir. IJarratt's pictures
at Bell Moor, a selection has been drawn from
the tine apartment here illustrated. On the prin-
cipal wall of this artistic chand)er are found side
by side "The Monarch of the (lien," "The Vale of
Clwyd," witli the breeziest version by David Cox
of " Going to the Hayfield," besides the masterly
example by George Vincent, " Crossing tlie Brook."
The winsome example by the late John Bagnold
Burgess, R.A., one of that accomplished artist's
happiest efforts in portraying female comeliness, in
which his art excelled, was formeily in the col-
lection of Mr. (i. Godwin, F.PlS. The picture
of this typical Spanish belle is reproduced as tlie
frontispiece of the present number. The qririfvelk
head of Miss Farren, by Sir Thomas Lawrence, has
already been described as inserted in the overmantel
of the fireplace, which faces the more noteworthy
masterpieces here reproduced. It has been men-
tioned that Mr. Barratt's predilectinn for landscape

119

art is practically evinced by the numerous picked
examples of tlie English school found in liis col-
lection — among others, t!ie Norwich school being
adequately I'epresented. " Tlie Way through the
Wood," by " Old " Crome, already reproduced, was,
by the founder of the Norwich school, bequeathed
to Mr. Rainger, Secretary of the Carlton Club, and
was bought l)y tlie late Mr. Henry ( Iraves at that
gentleman's .sale, in ISIjlI. Besides the cltcf-d'diiny
by Croine's great pupil, " Crossing the Brook," at
Bell Moor there is quite a collection of the finest
specimens of George Vincent's fascinating art : " ( )ii
the Yare," a perfectly Cuyp-like example ; another
"View on the Yare," surpassing in golden atmo-
spheric effects ; a Hobbema-like " Land.scape, with
Group of Cows and Haycart ; " " Cattle Crossing a
Bridge;" and "A Mill, with Women and lioys on
a Bridge." All tliese Vincents are typical examples,
and full of the subtle "charm" which that deliglitful
painter liad tlie .secret of conveying in so unusual a

m-2

THK MAGAZIXK OF AUT.

degree. "The I'atli tlirougli ilie Wnod " is one nf Tlicit' an- also two beautiful examples of .rmnes
the choicest siieciniens of Stark's most prized land- Holland's tlower-puintiiig in oils, from the Huth and
scapes: and a large picture of '• Win<lsor Forest, Burton collections respectively; and examples of

CROSSING THE BROOK,

(from the Panilintj by Gvorge fr/ocenf.)

with Jlen Ferreting Italibits," liy the same painter,
ranks as another niasteipiece of the Krst importance.
In the list of leading examples of landscape art
nuist be mentioned two choice specimens of I'atiick
Xasmyth, of unusually distinctive (juality and crisp-
ness of execution ; one, a sea-piece, possesses the
most perfect freshness, and expresses all the buoy-
ancy and colour of real nature at its breeziest. Xor
must the works of R. P. Iionington pa.«s unrecorded;
the characteristic work. ' Church at Kouen," from
tilt; collection of Mr. .1. \V. Adamson ; and one of
that gifted painter's interesting [lictures of the quaint
French cities by the sea, like St. ^lalu. aTi<l the
.sea-board towns of Normandy and I'.riltany, whicii
Iionington loved to paint. .lames Holland is also
well re](resented, in his richest key of hainiony and
most brilliant efforts of colouring: from the Manpiis
de Santurce's collection and the Murrieta sales come
the glowing ^'enetian examples — " On the Grand
Canal, Hiallo in Distance," IS'iS, "San Giorgio, from
the Dogana," and " A Canal Scene in Venice," 1852.

tlie same gifted artist's water-colour drawings.
Thomas Creswick, R.A., is appropriately represented
by one of his waterfalls ; and at Hell Moor may
be seen two superlative examples of Henry I)awson
— " The Bend in the Biver, " and " The Keeper's
Pool : " the latter example presents the finest pos-
sible ett'ect of sunlight in full ell'ulgence, and was
painted at Sutton Coalfield Park, near Birmingham,
towards Warwick. A more gorgeous representation
of the glories of a resplendent sunlit sky it is
difhcult to imagine. The artist and his family
esteemed this the most successful typically rich
sunset ever jjainted by Henry Uawson; one of the
happiest efl'orts of sun-delineation, when the painter
contrived to hold Apollo's team harmoniously in
hand by a marvel of cleverness rarely achieved and
almost unsuri)assed — a veritable r/irf-i/'a iinr as
regards richness, luminosity, and the glowing bril-
liancy of sunlight, seized at the most impressive
stage of a "jlorious sunset, where all is molten and
dazzling.

MK. BARKAIT'S AET COLLECTION AT I5ELL-M00I!.

263

The majestic " Mouarch of the Glen " is ac-
counted by many the foremost achievement of animal-
painting: in fact, it rises to the memory as the
best -recognised masterpiece of this order of de-
lineation, the chef-d'(einre with whicii the fame
of Sir Edwin Landseer must be most pnpularly as-
sociated. It is interesting to recall the lines, from
"The Legends of Glenorcliy," appended to the title
by the painter on the i)icture's first exiiibition in
the Iloyal Academy, 1851 — verses which fully ex-
plain the artist's intention : —

•'W'lien first the dav star's clear cool light
Chasing night's shadows grey,
With silver touched each rocky height
That girdcil wild Glen-Stras,

public attention, and the famous " Historical Car-
toon " competitions had been lield for three or four
years at Westminster, Landseer received from the
" Conmiissioners on the Fine Arts " a proposal to
paint in oils tliree subjects illustrati\e of tlie chase,
appropriate for the embellishment of the Peers'
Eefreshment Eoom. The remuneration suggested
for this commission was, according to some accounts,
£:500 each picture: or, on more trustworthy authority,
as stated by Mr. F. G. Scephens in his account of Sir
Edwin Landseer, £.500 apiece ; the sum in either case
was wretchedly inadequate, and it is evident that the
painter undertook this congenial task on patriotic
grounds.and for honour rathertiian for profit. Happily

THE MONARCH OF THE GLEN.
{From the Painting by Sir Eduin Landseer, R.A.)

Uprose the monarch of the glen,

ilajestic from his lair,
Surveyed the scene with piercing ken.

And snuffed the fragrant air."

As early as 1848, when extensive schemes for
decorating the Houses of Parliament were engaging

for Laudseer's interests, but to the national lo.ss, the
scheme was burked. The House of Commons, as
paymasters, marked their disapproval of the manner
in which the plans for decorating the palace of
Westminster were being conducted by the Fine Art

264

THE MAGAZINE OF AKT.

( 'oinniissioiiers : for when llie iU-iii of .tl.'iOO was
suliuiittcd ill the estimates as the projioseil payment
to one of the ffieatest artists of the time for these
three important works, after a sharp debate this sum
was struck out by a vote of the Commons, and
Ijindseer was tliereby released from an uiiiemunem-
tive baruiiin.

"The Monarch of the (IIi-d," intended liy

on steadily inereasiiiL; in value. From Lord I.ondes-
borough's collection it passed into the hands of other
art-lovei-s. In 1884 "The Monarch of the Glen,"
sent to Christie's by Lidy Otlio Fitzgerald, was
pureha.sed by Lord Cheylesmore (then Mr. Eaton,
-M.r. ) for £0,510. On the death of Djrd Cheylesmore
liis collection was sent to Christie's in ISOii, when
an animated competition for Lind.seer's masterpiece

GOING TO THE HAYFitLi
(From the Panting by David Cox.)

Ijuidscer to occupy in the I'eers' Kefresbnifiil Knoni
one of the ])aiiels of the then new Houses of I'ar-
liament, was thus free to be sent for e.\liibiti(jn to
the Iioyal Academy. There, in IS.'d, it evoked
iiiiiver.sal adiiiiiatioii, ami was ])romi>tly purchased
by Lord Londesboiougb for £840 ; Lamlscer, at tin-
same time, having sold llie copyright for engraving
to Messrs. Henry (i raves for a further sum of
£ri(.Hi : thus at once bringing up the amount to the
more adequate Hgiire of £1,.S40. The eiigiaving by
Thomas Lindseer, publishetl in I8,">:i, has enjoyed
the vast popularity such a work was certain to eom-
iimnd, proofs having mounted up to high lignres.
For instance, an artist's jiidcif realised £ll.'0 at
Christie's in 18'.I4.

The painting, as was inevitable, has since gone

brought the price up to .£7.1^4."i. Mr. T. J. Barratt
subseciuently purchased this covelable painting from
^lessrs. Agiiew.

Messrs. Graves's copyright ha\ ing expired, " The
.Monarcli of the (Hen" was .successfully engraved
a"ain in ISO:', by Mr. .1. H. I'ratl. and iiublishcd
by another lirm.

The works of that -aniens genius George
Morland — " Nature's favourite eliild," according to
the \crdict of his coiitciiii)onuies — are extensively
ici>resented at ISell Moor. There arc installed,
amidst congenial surroundings, nearly all his most
interesting engravings — choice examples juiiited in
colours, which constitute the " Morland liooiii," and
are fnund lining the walls of three stairca.ses. In-
deed, in itiis respei't the collection offers the best

ME. BAKEATT'S AKT COLLECTION AT F.ELL-MOOK.

265

possible review of those popularly-appreciated ex- the first time. In this collection there are several of

amples which have iniiiiortalised the artist's name, the artist's choice-st cabinet specimens, displaying his

for nowhere can Morland's productions be seen art to perfection — examples which, in their beautiful
under more favourable conditions.

ease of treatment and glowing harmonies of colour.

MISS FARREN.
{From the Painting by Sir Thomas Lawrence. P.R.A.)

In speaking of ilorland's more interesting original
paintings, I have already alluded to these in The
Magazine of Art for February, the impoitant rustic
example (36 by 28) being reproduced for ab.solutely

can only be compared with corresponding cJirfs-
d'uiuvre by Watteau. The pen may describe the
subject, or the engraver's art may paraphrase, but
nothing short of the originals can convey true

266

TIIK MAC.AZINK OF AKT.

iiniUL'ssians of till' iiiicM|Uiilli'd tocliiiical iiiiiililies, per- foniied when it is lueiiLioiied thai XGU was Llie
vailini,' mellow iic'ime.s.s, witli the charming secret of price recently asked for an original impression of
wrapping up gem-like pigments in enduring glazings "Contemplation" jjrinted in colours (publisiied in
wiiiili are the specialities of these rare masterpieces. 17HU) ; while, as regards the original paintings,

As legards
subjects, 1 may
mention " IJeliiida
or the I'.illet-
D.mx." Of this
example a graphic
version has al-
ready heen given
(Tart I.) which so
far tells the story,
hut of necessity
fails to convey liie
principal i|uality
of this work, the
lieautiful harmony
and surpassing
richness of its
colouring. Tiie
suljject is that of
a fashionaljle
nymph, supposed
to iiave hci'U
aroused from a
siesl)! by tlie in-
sistence lit" her
pet spaniel. Tlie
awakened .sylpii's
emotion is caused
liy the discovery
on her table of a
liMider etrnsion
from an admirer
— Uelinda's first
view of the hillel-ihiu- in (juestion.

THE PLEDGE OF LOVE.

(from the Painting by Georye hlorland.)

Tlie

£1,200 represents
tlie elevated figure
demanded for the
three foregoing
cabinet examples
the last time they
were sold.

.Air. IJarratt
had tlie singular
\\wk til add to
tliis little group of
cabinet gems liy
Morland another
examjileof C(|ually
choice (jualily — a
well-known work,
familiar to Mor-
land collectors
tliroiighW.Ward's
engraving, and
originally painted
in illustration of a
ballad; the stipjjle
version was pub-
lished in 17.HS
under the title of
■' Constancy ," com-
panion work to
" A'ariety."

It was while

travelling in Spain

that this work was

di.scovercd by the

I early history of

some interest, for it passed from the artist's own

possession into that of J. Hassell, who, in 180r>,

favoured Mmiand's admirers willi a life of the

artist, bt'aring the apposite motto from I'ope, "His

ait was Nature." " ' Constancy ' " — wrote Morland's

biographer, who at that time treasured the original

painting — " u sweet, engaging lignre leaning against

a rock, with a handkerchief in her hand. The ex-

aving fortunate proprietor. It has

of this work by Ikirrows appeared in IT'.M, with e.v-
planatory verses. In the hall at ISell Moor, side
liy .side with "the gems" by James Holland, hang
the two wonderful examples alike of " quality "
and alisolute imstudied ease of execution, " Con-
templation " — otlierwi.se "Caroline of Liciitield " —
and the companion painting " Contemplating the
Miniature," works familiar through the engravings
liy William Ward ; the latter was published in 17SH prcssion of the countenance is truly indicative of
under tlie title "The Pledge of Love," with the .sorrow for the loss of her lover. The liguie is simple,
following descriptive lines engraved beneatli to elegant, and emiilematical of innocence; a white
explain the subject : —

"Tlie lovely Knir willi riipliirc views
Tliia token of tlieir love :
Tln-ii nil her promises renews,

Ami hopes he'll const.iiit prove."

Some idea of the value, in the estimation of
collectors, attaching to these engravings may be

dress witli a straw hat and white feather. In the
distance is tlie ocean." \\. \\'arirs engraving of
"Constanry " appe.ired with the exjilanatory lines: —

'• l'"inn as tin,- mclv mi which I le.in.
Mv iiiinil is li.'cl, and eniiiint rove,
The fdiiniinK bilhiws roll between —
I'll ni''er forsake tlie \oiitli I love."

MR RAERATT'S ART COLLECTION AT BELL-i\IOOE.

2G';

It is iiiidci-stooil, fmiu tlie evidence of the time, records his beinn-, witli a party of friends returning
tliat "Variety" was painted from Mrs. Morland from Hampstead, confronted by Morland. who had
(sister of W. Ward, the engraver); while :Maria taken a passing fancy for turning night-patrol.
Morland (Mrs. W. Ward) was the nnulel for " ('(Ui- There was the ]minter " mounted on horseback, with
stancy." The
cabinet examples
of ^Morland at
Bell Moor all
belong to the best
period of tlie
painter's powers,
wlieu his art
attained its amaz-
ing ease and per-
fection of tech-
nique — long be-
fore he became
indiflerent to his
professional
standing or de-
generated into
careless manner-
isms, the beset-
ting sins of his
declining days.

Among local
traditions, espe-
cially as concerns
the Hampstead
Road, the eccen-
tric i-eputation of
George Morland
cannot easily be
forgotten. "\Mth
his friends and
colleagues, Fran-
cis Wheatley,

R.A., and P. de Loutherbourg, R.A., ]\Inrland was
accustomed to seek at the Heath, and the lanes
near Hampstead, Hendon, Willesden, and the neigh-
bourhood, inspiration and materials for his rustic
pictures ; and there, from early days, and while
following in the footsteps of Wheatley and J. C

CONTEMPLATION.
(from the Pitiiithtg by George Morland.)

a parish great-
coat, girded round
with a broad lielt,
and a pair of pis-
tols depending."
In this assmned
character he chal-
lenged the party,
crying "Horse
patrol ! " but, fail-
ing to disguise
his natural voice,
the painter was
quickly discover-
ed, much to his
own relief, as he
promptly seized
tiie opportunity
of shedding his
official trappings,
and carried off
his captives to a
deep carouse at
the " Mother Red
Cap " — more to
his inclinations
than patrolling
the lonely roads
at night.

On another
occasion Morland,
from acting as
volunteer patrol,
for which office his ardour cooled with the approach
of cold weather, was tempted to test the courage of
the real patrol. Returning to town late at night,
or in the early hours of the morning, it is related
that the painter, armed with a brace of pistols,
discharged both weapons close to the ear of the

Ibbetson— whose success in the treatment of English guardian of the night, to try his resolution, and
pastoral influenced :\Iorland to produce compositions
of rural nature — he also sought appropriate human
interest to animate his delineations of the surround-
ing scenery. With .spirit he studied those groups
of sturdy peasants, with cattle, horses, donkeys, and
dogs ; especially the incidents of gipsy camps, which
he introduced with picturesque effect into his fore-
grounds and middle-distances.

Morland's biographers relate instances of the

started off at a run. The watchman pursued with
h.xed bayonet, but, being unable to overtake the
fugitive, threatened to fire if he did not stop,
" when Morland, having carried the joke as far as
he durst, laughed and disclosed his name."

Another escapade in this connection was the
painter's assumption of the duties of "head borough."
It is related that he paid a friend, who was cast as
constable, for the privilege of serving as his sub

buoyant spirits and of the boyish love of practical stitute. Morland fancied that, while wielding the
joking which were characteristic of the painter's dis- staff of civil power, he would enjoy plaguino- his
position at this early period of his career. Hassell friends and mal;ing things unplea.sant for anyone

2(58

THE MAGAZINE OF ART.

aj,'iiiii.st whom lie clu'iisln'il a grudge. His discliarge
of these duties — billeting soldiers hy day and jne-
.siding ill the constables chair by night — amused
him for awhile; but he found this emiduymeiil
iiiconvenieiil in many way.s. " If he had to serve
a summons for a Jury he was ever behindhand in
executing it, and seldom aecoini>lished it till he had
exhausted the [latieiiee of the coroner, who did not
fail to reprimand him severely. He was not only
embarrassed in the di.scharge of his duties as ' head
borough,' but his companions, the hired constables,
imposed on his inexperience by feigning that there
were disagreeable commissions to be executed, to
get rid t)f wiiich he would treat and bribe them
in various way.s." Tiie inevitable consequence of
Morland's disillusionment was that he was obliged
to pay someone else to relieve him of tlie dis-
agreeable duties he had bribed his friend to
transfer in his own favour. It has been wondered
that Morland should neglect his opportunities for
such eccentric whims, but even the.se ciicum-
stiiuees were turned to artistic account. His ex-
periences of billeting soldiers brought the artist
into acquaintance with a serjeant, drummer, ami
trooper in pursuit of deserters ; this party he
promptly carried olf to his own hou.se, regaled
them liberally, detained tbeni in his painting-room

carousing freely for a couple of days, while
seizing the opportunity of painting their por-
traits, cross-examining tiiein upon the business
of recruiting; by iiKjuiries making himself familiar
with the usual practice in relation to deserters, and
obtaining everything suitable for the purpose he
had conceived of painting a ihaniatic sni/i- of pictures,
in the Ilogarthiaii spirit, grapiiically unrolling the
story of " The Deserter," thus eflectively arranged
in successive fxhlani.v : —

1. Enlisting a Itecruit.

2. Itecruit deserted, and detected hiding in his
wife's room.

• ">. The Deserter liaiulriilled, and conveyed to
a court-martial.

4. The De.serter pardoned and restored to his
family.

Tlie Consideration of the tine original Morland
pictures — amongst the choicest examples of that
painter's art — and the vast collection of rare en-
gravings, printed in colours, gathered at IJell Moor,
togetlier afford the most complete evidence of tlie
talents and industry of that gifted genius, and fully
Justify the epitaph written by the artist's friend,
William Collins : —

■• Pine X:il hit's dniling son, of nils tlio prMe,
Thy works the test of ages sliall abiilo."

ART TEACHING AT THE PUBLIC SCHOOLS.

THE article on the .\rt classes at Hariow School,
published in TiiK Mac.vzixk ok Akt for November,
has in some ([Uarters been somewhat misunderstood.
The sub-title of the paper, " A Notable Experi-
ment," which was intended to apply to Harrow
only and not to art teaching in public schools in
general, has been interpreted by several inlliun-
tial correspondents in the narrower .sense. They
have drawn our attention to the fact that certain
portions of the system in vogue at Harrow have
for many years been practised at Ilugby under the
distinguished direction of Mr. Thomas M. Lind.say.
It is hardly neces.sary for us to .say that not the
slightest desire exists to deprive anyone of tlie
smallest fraction of credit that may be due to iiim
for having initiated the attempt to popularise art
teaching in its fully developed form in our public
schools. That this credit lielongs to the art master
at Uugby is an undisputed fact which we duly
recognise and record. The good w(jrl< which he
accomplished at Helfast, and which he is accomplish-
ing at 1 1 ugliy, secured I'^r him the reputation, alike

in tiiis country and mi tlie ( 'initiiieiit, as tlie most ex-
perienced exponent up to his day of modern methods
of art education. In Ireland he holds the position of
art examiner to the Intermediate Education lioard,
and from the .Minister of Education in France a per-
mit wliicli enables him to enter any governmental
schiHil in the country where art is taught.

Whilst adhering to .some extent to the South
Kensington methods, he has adajiled the .system
suggested by Kichard Kedgrave, 1!.A., to the needs
of public-school teaching; whereby incorporating
with them ideas born of his own experience, he
has been enabled to produce at Kugby a revolution
ill the art education of the great school. What he
has there accomplished can best be told in his own
words, taken from a lecture whicii he delivered in
tlie Nottingliani .Vrt tJallery in ISO:!.

" The problem to be solved was 1k)W to make the
study as practical and complete as possible, con-
sidering the jieriod the lioys are under instruction.
I'ntil live years ago drawing at Hugl)y was, as it
is still in many public schools, a voluntary subject.

ART TEACHING AT THE ITIILIC SCHOOLS.

260

Too often it lias been treated as a pastime or amuse-
ment. I'nder Dr. Pereival, drawing lias been made
a compulsory subject, of one hour a week, for all
boys in the middle and lower schools, as well as for
the army class. Many of these, together witii a con-
tingent from the upper school, .attend tlie \oluntary
classes on the half-liolidays. Eecently a scheme has
lieen started so that boys may ' specialise,' taking
drawing as a technical subject in place of Greek or
Liitin verses, which enables them to get about six-
hours a week in the drawing school. At Kugby
drawing from Hat copies is confined to beginners
and backward boys, large diagrams being mostly
itsed. As soon as a boy can use the pencil he takes
up model and object di'awing. All boys draw from
flowers and foliage in tlie summer term ; they liaxi;
also to take a course of geometrical drawing, and are
trained to draw rapidly from memory — a practice
they delight in. Freehand sliould be essentially free;
it should represent graphical!}' what the eye sees
or the mind apprehends ; it is a misnomer to apply
it to the methodical, the meciianical mapping out of
the Hat examples. A little perspective is taught as
a friendly guide, and the blackljoard is largely used
for all explanations. Boys are induced to attend the
voluntary classes, where they may immediately take
up shading from models and the cast. Shaded
copies and elaborate outlines are never used. Pencil
is used by most of the army class for rapid work,
but the ' stump ' is chiefly in favour. There is a
plentiful supply of the best examples for study, such
as pictui'esque objects, casts from fruit and foliage,
ornament, masks, busts, and full-length figures, etc.
Occasionally there is a draped life model, which
causes considerable excitement.

"The institution of the modern side at Eugby has
brought a large number of boys whose future career
will demand a knowledge of the use of instruments.
The.se take up practical geometry, machine and
architectural drawing and building construction, from
copies and actual measurements. Twice a year
there are set examinations for prizes. First a pre-
liminary trial secures the best of the pupils, and
these afterwards go in for the further examina-
tions.

"All boys have to take up a holiday ta.sk, some
latitude being allowed in its choice. Parents are
thus enabled to judge of the unaided ability of their
sons. Xot a few bring back well-filled sketch books
after the long holidays, drawings of ancient buildings,
landscapes, boats, etc. One pupil after leaving school
carried off the Pugin Silver Medal for a set of draw-
ings from English cathedrals."

In addition to the .subjects he mentions in this

extract, Mr. Lindsay furllier interests his pupils by
delivering lectures in the museum on various pliases
(jf ail, witli talks upon the pictures and objects
there; and the results are said to be eminently
satisfactory.

Thus when, tliree years or so ago, it was decided
to give to art a more prominent place at Harrow,
and Mr. Hine visited various schools in order to
.see the latest developments that might help him
in his work, Paigby claimed a due share of his
attention. ^Ir. Hine readily acknowledges in-
debtedness to ^Ir. Lindsay's methods in certain
particulars, and the excellent plan of the Eugby
drawing school-room was partially adopted in the
new building at Harrow. Mr. Hine, too, secured
as his assistant 'Sh: Walter Gilbert, who received
his early art training in Mr. Lindsay's South Ken-
sington class — a class outside his school-work — and
afterwards liecame his assistant at the "big"
school.

The methods wOiieli are in practice at Harrow
were fully de.scribed in tlie article, but ^Ir. Hine
subsequently painted out to us that " the sub-
stance of teaching there is essentially design with
the intention of after application to handicraft.
The principal antecedents of my methods of teaching
— for I do not claim to have a fixed system — are
first my Continental training at Xiirnberg, Paris, and
a fair amount of travel in Italy, but more recently I
owe somewhat to the progressive ideas emanating
from Birmingham." Mr. Hine's colleague has been
of much .assistance in carrying out this part of
the scheme; fur after leaving Eugby he worked in
schools and studios at Leicester, West Broinwich,
Birmingham, the Eoyal College of Art, and at
Bushey, with Professor Herkomer's craftsmen.

It will thus be seen that both at Eugby and
Harrow the masters, with the same enthusiastic en-
deavour to make their teaching attractive to their
pupils, and working on somewhat similar lines, have
each adopted modifications, dictated by their own
personal experience, of a system not entirely inaugu-
rated by either. Mr. Lindsay, as the pioneer among
Public School art- masters in renouncing the old-
fashioned iron-bound methods which were calculated
to destroy rather than foster the art instincts of the
pupils, has attained a reputation which places him
in the forefront of art -masters in England. His
experience, like that of all reformers, will be of
the greatest service to those who follow him.

We hope at an early date to place before our
readers some account of the Art ]\Iuseuni at Eugb}'
— a development of art school work which we be-
lieve, so far, to be unique.

120

270

RECENT ILLUSTRATED VOLUMES.

A "WliITEli wli.i, I'rimi motives of delicacy, illus-
.£JL tnites an important work upDii iii.s craft
almost entirely with his own designs, liiys himself
open to a charge of weakness. IJeally, in his
elaborate essay on "Stained Glass as an Art " (llac-
millan and Co.), Mr. Henry Holiday need have had
no sneh scrnples. E.xpert in knowledge and dcter-

I^ANEL FROM THE EAST WINDOW i)i 1Mb CHURCH
EPIPHANY. WOLVERHAMPTON.

mined, if not still', in his opinions, he would liave
liad nothing to fear had he decided to inclnde
s]iecimens of other leading workers besides iiimself.
The hook snU'ers .somewhat from tlie similarity of
character in the profuse and beautifully executed
illustrations (alike in colour, collotype, and half-
tone); but if the author's intention was to impress
the reader liy the numerical and
artistic importance of his work, he
certainly lias achieved his j)urpo,se.
The amount of his work i.s very
considerable, so that it would be
strange were he not entirely com-
petent to speak upon his fa.scinating
art, whi'tlicr as designer or crafts-
iiKiii. .Mr. Holiday is a painter of
singular suavity and grace of line,
witli an academic correctness of
drawing (a \irtue not too connnon
ill Ihis counliy), witii jileasing, even
dainty, ideal of beauty, with in-
vention and resource, and a gentle
liaiiiiniiy of ciildur that fairly corre-
sponds with bis facile sense of com-
l>osition. I '.lit of vigour there is
very little, and imt much more of
tliat sort of "grit" we look for in
great ilesigners of such important
and enduring works as stained gla.*<s
winclow.s. Tliis is the more surpri.'--
ing as ]\Ir. Holiday's well-known
opinions — artistic, political, or .social
— are extremely well-defined, vigor-
ous, and uncompromising, overflow,
indeed, licre anil there into Ids book
ill fashion soniewlial more insistent
lliaii to some woulil appear needful,
liut ]\fr. Holiday's work is a
\-eiy \alualp|(' one all the .same In
the tiisl ]ilace, it is ihoi'oughly jirac-
tical ill the manner in which it .sets
I'oitli the tecbniipie of the art. It
is, moreover, useful in liie references
^.somewhat too slight, perhaps) to
line works of tlie past. And the
pa.s.sages n]ioii the sentiment that
must animate tlii' artist before he
can hope for style or any other of
the highest merits are wisely and
sincendy put. H is hardly neces-
.siiy to ])oint out tiiat Mr. Holi-
dav must, lieliexe in ibe virtue of

RECENT ILLUSTEATEI) VOLUMES.

271

pmnted glass as superior to that of stained ^lass
— the cliaracter of his designs deinaudiiig more fine
pencilling than would be necessary in that broader
treatment of design which to our mind constitutes
the highest beauty of stained glass. " Pot-metal " is
more applicable to ilr. Seddon's work than to Mr.
Holiday's. And Mr. Holiday, we think, is a little
hard — for all his courteous deference and ai)precia-
tion — on Mr. La Farge's Tiftany glass, for his main
objection is not entirely to be sustained. He says
that " it substitutes accident for design." Not
quite; for, when the "accident" is completed, the
deliberate selection and intention of the artist begins.
Xo doiibt, such relatively subjectless glass cannot
appeal highly to the artist of important subjects
involving drawing and composition and sentiment,
dignity and intention ; but there is a magic about
this American glass not to be met with in the more
calculateil Bible-pictures. Furthermore, it must be
remembered that even in this glass pictures may be
produced, as those of our readers will call to mind
who saw Bai-on Kosenkrantz's window at "\\'ickluim-
breaux, near Canterbury, reproduced in these pages.
Mr. Holiday's book is a very serious contribution
to the literature of the subject, thoughtful and
suggestive. The artistic possibilities of the material,
either inherent or considered in relation to the
purpose of the work ; light and .shade ; style,
whether in relation to arclntecture, ornament, oi'
arciuTiology, as well as its limitations — are all the
subjects of careful consideration. But probably
nearer to the author's heart is the desire to prove
— as he successfully does — that tliere is nothing in
stained gla.ss to require the traditional niediaevalism
of treatment that many pei'sist in thinking cliai-ac-
teristic of stained gla.ss. On the other liand, the
style adopted by ilr. Holiday sometimes bears in
too strongly on the spectator, by comparison, the
almost over-emphasised moderimess of his own pro-
ductions. Nevertheless, ilr. Holiday can think
about his art and induce his readers to do so too.

highest credit to the young artist. She is not a
mere illustrator ; she shows the power of original
thought which marks the true artist. It is possible
here and there to find fault with drawing of face

THE ASPIRATION OF THE SOUL.

i^Drawn by P.o^iis M. Af. Pitman.)

cnrace,

HE new edition put

forth by Messrs.
Macmillan and
Co. of iJe la
Motte Fouque's
exquisite fairy
tale " LTndine, "
has been illus-
trated by Miss
Eosie il. IL
p,imc„.) Pitman with the
delicacy and
invention and resourcefulness, that do the

' Undine. " Drawn by Ruaie

or figure, but even in such cases the daintiness of
lier technique, the unfailing fancy of the decorative
heading.s, and the intelligent .sympathy with which
she realises the author's meaning, or even helps to
develop it, are niei'its well seconded by lier clever
pen-work and her knowledge of effects of light
and shade, at one time dainty and at another
vigorous and strong. (_)n its own merit this achieve-
ment is a very considerable one ; but there is little
doubt that the book introduces the public to an
artist of whom we arc destined to hear a good
deal more, and to whose power and charm we are
likely to owe much. It is too late in tiie din-
to say aught in praise of tiio romance itself.

272

THE MAGAZINE OF AKT.

No luoif (Icliglit-
ful book of its
kind can luitiiralist
or artist iiiiagiiu'
than Mr. IJicliard
Kearton's volume,
" With Nature and a
Camera." * 1 1 i.s a
hook written by an
expert who deserves
some of the jjraisc
commonly reserved for
the scientist and the
explorer, for he is ori-
ginal in all he de-
scribes, and as fresh
and breezy as his own
beloved wild Nature
in the setting forth of
his discourses. Field
natural history would
in the ordiiuiry course
olitaiu no mention in
llie pages of an Art

• " Willi Nature and a
Camera," l>y Hichard Kear-
ton, K.Z.S. Illustrated by
180 pictures friini jiholo-
graplis by Cherry Keartmi.
(Cassell and Co. 1H!I7.)

THE FULMAR PETREL

Magazine ; but Mr.
Kearton's woik makes
an indirect claim to
artists, full of instruc-
tion as well as charm.
For tlie Hrst time a
pliolograpli of the Ful-
mar petrel has been
taken ; and it shows
liuw inaccurate have
been artistic represen-
tiitions of it hitherto.
He gives a jdate of a
kingfisher — obtJiined,
like most of the other
negatives, after in-
finite expenditure of
patience and skill — the
tirst time tliis shy and
lirilliaiit bird has had
his photograph taken.
This fascinating book
— wiiicii, apart from
its lively and well-
informed text, demon-
strates so well tlie true
function of the camera
— appeals to an ex-
tremely wide circle.

A KINGFISHER.

{From Photo^rt>f)ha bg C, ff«ir.'oif.)

273

THE ART MOVEMENT.

ARTISTIC METAL WORK.

OF the several craftsuieu wlui have uiKk'rtala'ii tlic
aitistic treatment of metal work of late years,
although tiiere is no need here to men I ion names, it
may be said roughly that while some
aftect an almost archaic ruggedness,
others incline towards over-refine-
ment, which eliminates the stronger
and more virile qualities of the
material. Now, between these two
opposites on eitlier hand the mem-
bers of the Birmingham (iuiki of
Handicraft seem to have struck a
middle course ; and in this respect
no doubt they have done wisely.
"With the exception, however, of
certiiin exhibits shown at the Arts
and Crafts at the New Gallery, the
London public has hitherto had little
opportunity of judging of this por-
tion of the Guild's work, until re-
cently, when an arrangement was
entered upon by which a .selection
of representative objects is lieing
permanently shown at the rooms
of Me.ssrs. Morris and Co. The collection in-
cludes various articles in the precious as well as
in the less costly metals. While the latter class
of work owes its inception chietiy to Mr. Dixon,
the jewellery and goldsmith's work is, in the main,
designed by Messrs. tiere and Clavering, well-known
artists of liirmingham. In some pieces gold wire is

employed with delicate and happy effect; but tlie
same cannot be said of all the jewellery .set with
stones. For here, unfortunatidv, is to lie found the

LOCK PLATES, &c.

READING LAMP, &c.

old mistake (jf mixing dillcrent kinds of liansparcnt
stones together in one composition. AMiereas, not
once nor twice only, have connoisseurs pointed out
that the juxtaposition of opaque with transparent
stones is the .surest way to preser\e tlie full beauty
of the former without sacrificing the brilliancy of
tlie latter ; wliilc, on the other hand, wliite trans-
parent stones tlu-ow into the shade
and deaden the effect of coloured
ones by sheer force of overwlielm-
ing rivalry. On tiie wliole, tln-n,
the brass, copper, and iron work is
more satisfactory than the other.
Simplicity of form, combined with
straightforwardness of construction,
seems to be the two most prominent
aims of the Guild in tlieir copper
and brass vessels, door furniture,
and fittings for various kinds of
ligliting. Tiiese are excellent cpiali-
ties, certainly. But the present
affectation of extreme simplicity —
not to say overtness — of design con-
tains elements of a possible dangei-,
which it were wise to bear in mind
lest a deplorable erroi', like that of
the " Oxford " fnmie, be i i-newed.

•274

THE AfACAZIXE OF ATlT.

We can all H'IiumhIkt how welcome, in the days of
artistic dearth and hideous shams, was the solitary
object thiit ventured to avow the nianner of its
fasliioiiing. The iiislory of the Oxford frame, never-
theless, is a fearful warning;. The iionesl nails, the

COPPER AND BRASS FENDER.

marks of construction, became degenerate and falsi-
fied, so that where the Oxfonl frame still survives,
it is as an utter monstrosity, with excrescences of
blackened wood sliajiud like nail-hea<ls bradded on
to the points of intei-section at each corner. Could
any more perver.se travesty of a principle, itself
sound and true, be imagined than tliis ;' It would
be almost a calamity if anything of the sort were
to oceur again. Some slight symptoms, however,

would seeni to indicate a tendency on the part of
the tJuilil to exaggerate the use of bolts, clamps,
and rivets ; or even to resort to such where they
are not required for constructive purposes. It is
perfectly legitimate, of course, to convert necessary
items into as ornamental a feature
as may be ; to ariange such factors
as nails in the order of a methodical
pattern, where the exigencies of
tile case admit of it. But, though
lliis much were grantial, it were
well, for the rest, to keep the two
kinds of bolts, etc., viz. tho.se which
are constructive and those which are
decorative, distinct from one another,
l)y giving them such diverse aspect
tiiat their respective functions may
l)e unequivocally apparent, and there
be no risk of tiieir being confounded. All tiiis
may, i)erhaps, sound like the hard restriction of the
]>urist ; but unless a new organisation, such as the
liirmiiigbam (Uiild, be scrupulously watchful to
avoid errors at the outset of its career, it may
awake one day to find itself far advanced in a
wrong course, from which the having to retrace
its steps cannot l)ut prove a laborious and time-
consuming discipline. Ay.mki; Vai.laxce.

THE GREAT NEW DOORWAY BY RODIN.

M()N(! the creations of a great artist or a great one of the grandest and most impressive works of
writer there is often one to wjiicli he has de- genius of our day.

Tiiis doorway, a true cathedral portal, is, .so to say,
a sort of \ast fresco full of ligures stiinding out in

voted the chief jtortion of ids life, on wliich lie has

bestowed his most loving labours, .nid wliiili is lucist

representative of iiiinself — his

aspirations and his soul. It is

from such work as this tliat an

artist's talent may be delinitely

pron<tunced upon, and that wo

form a Cfimpreliensive idea and

a just estimate of his geniu.s.

Thus did Michael Angelo
paint the Sixtine ehaiicl, and
thus has Iiodin executed his
great doorway — a nipo d' opera
on which the sculptor has
worked incessantly during
these last year.s, after cherisiiing
the concei>tion from his earliest
youth. It is now on tlic eve of
completion; mdy a few details
remain lo lie tinished, and it is

FIGURES FROM THE NEW DOOR BY RODIN,

THE ART MOVEMENT.

275

magnificent relief. The leading idea is taken from yet what a vein of reality runs throngh it all ! It
Dante's '• Divine Comedy," which has been the never- seems as though the sculptor had succeeded in per-
fa'iling source of inspiration to so many artists, an petuating here every sentiment of humanity. With
endless mine of ideas, of images, and of attitudes. what burning pathos has he created the eternal pair,

Eodin has derived from Dante his conception of Paolo andFrancesca, who appear living on one of the

jambs. What nightmare horrors beset us as we see
I'golino and his children, a group of wondrous feel-
ins, in wliich the artist seems to have sounded the
secret depths of human sorrow and suffering.

No one is more anxious than IJodin for absolute
perfection : no one, witli equally spontaneous im-
pulse, can reflect more seriously on eacli work lie
takes in hand. Every group, eveiy figure of
tills diiovwiiy, has ripened .slowly in tlie mind
(if Ihi' lliiiikcr and tin- senlptnr. Every day

1 II^^BiHl^^H^^I

1 ^ H^S^^^^^^^l

GROUP FROM THE NEW DOOR BY RODIN.

hell as a whole. His doorway is the gate of hell, of
which it depicts an epitome. At the top sits Dante,
absorbed and tlioughtful, his eyes fi.\ed on tlie
infinite, with the lofty expression assigned to him
by tradition, into which the sculptor has infused
increased .serenity. The great Floi-entine here
appears as released from human sorrow, and he
contemplates his work — that swarming creation that
surges about him.

Here the damned are toissing deliriously, writhing
in convulsions of pain and angui.sh, terrible in their
truth, but full of plastic beauty. Supreme harmony
.seems to liave guided the artist to the whole result ;

GROUP FROM THE NEW DOOR BY RODIN.

has bi'ought some new inspiration to this great
work. He did not conceive of this portal as in
bas-relief ; on the cuntrary, every portion of it

27ti

THK MACAZINK (»F ART.

was finislit'ii in tliu roiiinl and sulisequently took
its place in the general design, where eaeh of lliese
innumerable parts finds a position so exactly riglit
that it fits them of necessity.

^Vllat is especially characteristic of Kodin's art

GROUP "UGOLINO AND HIS CHILDREN FROM THE NEW DOOR BY RODIN

is ills gift of life-like creation. He appears to oiitstej)
the liniiUitions of his art by giving an impression
of action, of movement, such as sculpture in most
other liands .seems incapalile of producing. His
art is a combination of the sulitlest shades of form
with an almost architectural tieatment of line. TIic
beauty of detiiil is never impaired l>y the grandeur

of the whole, and never sacrificed to it. Tlie artist
adheres to the geometrical scheme of the masses,
the essential and primordial structural forms on
which nature insists.

Kodin's portiil was originally intended to form
the entrance to a Palace of
l)ecoiative Art, which was sub-
seijucnlly given up. It will
figure at the E.xhibition of 1000
as one of the finest works of
the .sculptor's art of this cen-
luiy. The artist's dream is to
have the jambs carried out in
marljle and the two doors in
bronze. The splendid decora-
tive cH'ect of the combination
of these two materials may be
imagined.

It is impossilde to rid one-
self of a certain melancholy
pathos as one refiects that few
indeed of the innumerable works
which every day brings forth
are likely to be immortal. In
llie somewhat troublous times
ill which we live, and in which
so much tident is spent in
vain, especially in sculpture and
]iuinting — for in decorative art
strong individuality is not lack-
ing — few works seem to liave
lioth the beauty of form and the
dei)lh*'of inspiration whidi will enable them to sur-
vive triumpliantly all the lluctuations of taste and
fasiiion. l>ut Kodin's pcn'tal will, T believe, escape
tlie doom that tlireatens most of the works of tiiis
century ; it so clearly bears the sUimp of genius of
the highest kind. The sight of such a work is en-

couraging and consoling.

Hexki Fkaxiz.

LUKll FRULI.INI.

B\ llie death of Luigi l-'rullini in Florence a
short while ago the art of woml-carving lost
a jiast-master, indeed one of the first of modern
artisl.s to devote himself to this brani'h of the artistic
]irofession, wliich lias hardly even yet emeiged fmin
the realm of the arti.siin and the craftsman.

.\lii)Ut the miildle of tlie ]nc.sent centiny some
Italian .lews of wealth and culture united their
efforts to collect fiom all parts of Italy examples of
an art at that time fallen into neglect and olili\ idii.
Their richest aei|uisition» were made in Tuscany.

always famed for its woud-earvcrs. With the
demand lor the antiipie there naturally followed a
coiTcsponding desire for cojiies of old furniture and
works of art that should match as nearly as uiight
be the treasured collection.s. Amcaig the young
arti.siuis encouraged to tiike an interest in this then
hundile industry was one, a boy nf only twelve
years. The .sou of a struggling artist, Luigi FruUiiii
bad no education except that gained in the studio
of his father and in the eonversjilinn tif his father's
friends. IJeginning in the workshop of ime of these.

THE AKT MOVEMENT.

2Ti

who copied after the antique, the young lioy rapidly Nevertheless, his course ended, Frulliui determined,

rose to the position of foreman. AVliile merely against tlie counsel and advice of all his friends, to

copying, he gave to his work a touch of originality return to his first occupation. His desire was to

so hold as to attract and please his master, who soon convey tluougli the medium of wood whatever he

AMORINI SYMBOLICAL OF "THE ARTS.'
(8tf Professor FniUuji.)

relieved him of this labour and set him to following
out designs of his own imagination. Thus encourageil,
Frullini determined to subject himself to the course
of iirstruction given liy the Florence Academy of

felt he had the power of presenting. Bringing all
liis newly acquired knowledge antl his rich imagina-
tion to his aid, Frullini set himself to revive the
well-nisjh lost art. He studied the works of the

DANCE OF THE HOURS

(fly Professor Frullini.)

Fine Arts, where he studied modelling, design, and great masters of the fifteenth century, and having no

architecture. Very soon his masters perceived that school to follow and no living master to imitate, he

ihcy had the guiding of an unusual intelligence, and made for himself a school from Nature, reproducing

persuaded him to adopt a .sculptor's profession, realistically all things lieaidiful he found theiein.

121

278

THE MACA/IXK (1F AKT

W'liaL lie iiiiiy liaxx- hitked lliii)iij,'li llio aliscnci'
of conU'iiiporaiies he inoro tliau gained in llir luvmllli
(if liis iiiitriuil (ii'lil ami tlie libcilv wiili wliidi lir

A PANEL

(Sj Profrstor Frullml.)

rnlluwed any and all avenues wliieli seemed to iiim
lo lead to success. While stiiving to dejiiet simple
designs of Howers, lea\es and fruit, and afteiwanls
figures and groups, he liecanie discouraged in his
first resolve to (h'\dle iiimself to wood-carvin"
heeanse he found it inipossihle to repioduee witli the
l)riniitive and meagre supply of tools tlieu in Mii^ue
the desired effects and eond)inations. 'J'hinking he
migiit have nnstaken his career, lie turni'd his atten-
tion to sculpture: Iml after an hunest trial lir luuml
that he could not make stone respond to iiis
synipatiiy : tiierefore, returning to his first material,
he resolved to effect what lie desired and to create
the means hy whieii his ideas should he materialised.
Turning to the anti(ine, lie found that ceilain cuts
must have been made hy certain edges. Le.l hy the
study of tlie.se works anil the hints given hy tluni,
and with his own ingenuity, he fahricatetl iinpleinents
liy which the wood-carvers of to-day are supplied
with such a diversity of tools as are reijuired for all
po.s.sihIe varieties of work. In his ard(Uir t(» execute
his designs he impre.s.sed eveiy means to the service.
In his studio there are to he fnunil hlailes ami ]Hiints

and eilgi-s and hies maile hy himself, at his own
forge, and only finished .so far as the necessity of
their use demanded.

\e\er did Kiullini allow an ohject to enter one
of his works until its nature had been minutely
studied from every aspect. Never a flower of his
modelling iiad a petal too many or one too few. He
was a mall who saw the beautiful and the graceful
in all, ami with his unerring genius he plucked out,
as it were, the heart of his subjects, realistically
ivllectiiig the central point without being over-
claljorate. ( loing straight to Nature, his work-bench
was covered witii the tlowers or leaves which he was
reproducing with e\en more delilieration than a
paintcn-. In fact, with more than a paintei-'s atteii-
lioii was every line e.xecuteii, fin- from the livimr
model he worked straight upon the final study.
.\nd thus he brought the life and movement of his
suljjoct into the very fibre of the wood. His own
reason that he could not be a sculptor in tlie general
-ense of the word was that it is not the work of the
-culptor that really comes before the world hut a
1 hiid-h.iiid eojiy. He said tlial if the clay were the

A PANEL.

(Sv fn/tinr fnillinl.)

suit

ghl

iia\ e

hrouglil

his

fee

inifs

it ; but

hell

Ihl

itUi

■ was

finished

t woul

1 he

longer

s ^Vl

lis

iiidi\ i

liialily w

liel

ml.!

■'!'

lear ill

NOTES AND QUERIES.

279

the marble, ami all the personal touches would have
disiippeared. Frullini woiked withmU design or
sketch, following Michael Angelo in cutting innuc-
iliately from the final material, and, like him, he
often found tiiat the block from which he worked
was not of sutfieient size to contain the wurk of
his imagination. Consequently iu iiis studio are
numberless figures in graei^'ul jxises, one lacking an
arm, another a bit of floating (hapery. But tlie
similarity does not stop here, for in many of his bold
half-Hnished studies there is seen a striking likeness
to the great master. So careful was he of e\ery
detail in his work, so conscientious and scrupulous
that he would not, for example, twine primroses and
morning-glories together, insisting that though thev
might appear iu the same panel, they must represent
a dilferent set of thought and ideas, for they could
not be in bloom at the same time, and therefore
could not be copied together, unless one of the two
were faded.

Frullini specially succeeded in the figures of
children. The cupids in his work were so life-like
as to be startling. In the representation here given
each curve of the plump limbs reveals the true
artist and tiie acute student.

Luigi Frullini drew his inspiration from the
anti(iue and attracted from it all the good it had to
give, yet he added to its frequent conventionality
and absence of life the vibrating realism that is a
characteristic of modern art. He has touched a note
so long unheard as to create the impression of novelty,
and he is in truth the master of liis school.

After many years of faithful work and unstinted
admiration in his own country, Frullini launched the
results of his hands upon the great art centres of

the world. The first appearance at I'aris won for
liie Italian all that he could desire in the line of
[ivaise, and the medal ol tlie Legion of Honour was
accorded him up(ju the e.xiiiliition of "The J)ance
of the Hours," babies that might have come
from l>onatello's chisel. In England he also won
gicat appreciation, and was the recipient of all the
medals and honours tiiat were available iu tiiis
country. The novelty of his work was at lirst a
.shock to critics, who found it ditiicvdt to classify
such eHbrts. Xevertiieless it is (^uite fitting that
fairy-like sylphs and floating draperies should lie
executed iu a material light in itself, which by its
very nature lends to tiie delicate effect of unstability.

Perhaps one of the chief charms of Frullini's work
is that he never attempted to force wood to perform
the duties of marble or bronze; he never forgot
his material, and inxiiriably utilisi'd it tii its best
advantage.

To Frullini was entrusted the carving of the
choir-loft of the New Old South Church in Boston,
I'.S.A. The soft draped figures, the chubby cupids,
and the delicate bas-reliefs are so exquisite as to
ri\al the most delicate ivory tracings. Unquestion-
ably Frullini was the Donatello of \vood-car\ers, and
faithful to the maxims of his famous countryman,
never did he allow a piece of work to be touched by
his artisans until it had been entirely blocked in by
himself. AVitii the same care and skill that a sculptor
uses in giving the last touches to his statue Frullini's
hands were the last to toucli work ere it left the
studio. His death is a grave loss to his art, though
happily he has formed a school and has disciples,
none of whom, however, a])proach the master in skill
and invention.

NOTES AND QUERIES.

[!•;:')] HAYDON'S PORTRAIT OF KEATS.~I believe
that Benjamin Eobert Haydon painted a portrait of
Keats. Was this a portrait in the ordinary sense,
or was it — iu the manner of the artist — only a
portrait introduced into a figure picture ? The
known portraits of Keats are not many. — A. Er.\r-
Bi'i.i,, Florence.

,*,j It was into his picture of "Christ's En-
try into Jerusalem " that Haydon introduced the
portrait of Keats (there was no other), along
with those of Hazlitt and Wordsworth. The
fact is recorded in Tom Taylor's " Life " of the
artist. It may be added that Wilkie "sat" for
the uplifted hand of Christ. Of this hand a

beautifully drawn pencil study exists ; it was
sold a few years ago at Christie's for three or
four guineas.

[94] AN "UNKNOWN" ENGRAVING — Can you en-
lighten me as to an engraving made from a picture
by F. Luecarelli, published by F. Nivares, 7th
August, 175:1 ? In the left - hand corner is the
painter's name, and on tlie right, "F. Nivares,
Sculp." I cannot find any mention of painter or
engraver in any books I have consulted. — H. M.
Keih (Muckamore, Antrim, Ireland).

^*, We are not surprised at Mr. Reid's lack
of success ; he has evidently been defeated by
the florid scrijit engraving of the words he has

2S0

THE MAGAZINE OF AKT.

niisiviiil. The ]i.iiiiter is 1'". Vucciiiclli wIki
wnrki'd ill Kiiglaiitl from ITo- to 177^!, ami was
ospcciiilly popular willi the owners of great
lioiisos. At Wiiulsor C'astli' there is a whole
room full of his i)ictures. After the painter left
I'jiglaml and retired from his profession, lu' came
to grief and died in indigence. The engraver is
V. N'ivarea, who is to he reckoned an engraver of
the English school ; he was one of the thirty-one
children of his father, an engraver of France, who
emigrated to England and passed many years in
this country with considerable honour in his art.
'J'hc son cngiaxcd many of Vuccarelli's pictures.
[!•■"'] VANDYCKS SISTER — \'andyck is said to
have painted a portrait of his sister, and presented
it to a convent at Facon, near Antwerp, where she
then was. What was it like ! Is there any en-
graving of this painting ! "Where is the original, or
where was it last heard of ! 1 have a painting of a
nun stiinding, holding a rosary in the left hand.
The right is resting on a table on which stands a
crucili.x, bearing a scroll ; on this is inscribed a te.xt
from St. Augustine. The painting is unsigned, but
bears the following inscription :— " .VLtatis Su:e
L'4 An" 166l'." It is said to be by Vandycl<,
evidently a portrait. I would like to know of whom
whether my surmise be correct. — EiiAi; (Wrydc
Teterboro').

,*, Tlie only portrait of ^'andyck's sister of
which we have any record is the circular one
which represented her reading and was sold in
189G at Christie's for :'.00 guineas. In 18!)o
there was sold the " Portrait of an Abbess,"
which came from the liar])erini Palace, and was
knocked down for 2-"'0 guineas. A considerable
price for those days.

['.I(j] CONCERNING ART STUDENTS 1 should be

glad to know if there are any examinations held in
Loinlon or elsewhere which it is possible for an art
student in an out-of-the-way place to study for
without going up to town for examination. I am in
a place where there arc no art schools or teachers,
and cannot allbrd to proceed any distance for ex-
aminations in connection with art schools. What
prizes are ofVered to such students ? — and is the
money value suflicient to enable him to study in his
own district ?— H. O. S. (Storiioway).

,,*, We rcconnnend our corresj)ondent to
apply to the Secretary of the Science and
Art Dejiartment, South Kensington, who will
gi\i' him all needful infiirmati<in on these points.

[07] A PICTURE BY ROBERT WALKER. — 1 have a
picture which purpniis liy the laliel <iu the flame to
be a portrait of .Samuel Kntherford, the well-known
Scotch divine, and painted by Koliert Walker, the
eeleiirated poitrait painter of Cromwell's time. I
should be glad tn liavc the name <ir any exjtert who
could identify the work as genuine or otherwi.se. —
.1. i;. P.. (Liverpool).

^*^ We have received from our correspondent

a photograph of the i»icture, and we may inform

him, while he is waiting the reply of .some

connois.seui', lliaL the style of his picture is

certainly that of the painter by whom the

picture claims to be, and that tlie treatment

greatly resembles that in the portrait of liobert

Walker by liimsclf, now in tlie National Gallery.

[US] THE LATE T. B. HARDY. — Will you please

inform me whether the late T. 15. Hardy was ever a

jiainter in oil colours; al.so whether he was ever a

member of any other society than that of the Koyal

Society of Pritish Artists /— T. T.

^*^ Mr. Hardy painted occasionally in oils
some years ago, but of late years did very little
in tliat medium, lu 1891, however, he recom-
menced to work in it. The last big canvas he
executed was in 1892, the title of which was,
we think, " Oil' 1 )over." He was not a member
(jf any other society than the I'ritish Artists.
[99] OUTLINE OF THE SPHERE. — Is the outline
of the sphere aU'ected by the principles of perspec-
tive /— Sti'dent.

^*^ A perfect sphere in perspective is repre-
sented by a circle and from every aspect has the
same appearance. It may, as C. K. Leslie, E.A.,
points out in his " Handbook for Young Painters,"
be subject to the apparent change of sixe, but not
of shape. Every plane section of a sphere is a
circle, ami all sections made by planes equ.ally
distant from the centre are equal. A circle of
the sphere whose plane passes through the
centre is a great circle; all other circles are
small circles. — F.
I UK) I IDENTIFICATION OF FIGURES IN TRUMBULL'S

PICTURES. -Could you obtain fur iiir the names of
the principal groujis in tiiese prints (• — "The Pattle
of lUinker's Hill," published 1798, painted by .1.
rruiiibuU, engraved by L. d. Muller: " The Death of
General Montgomery," painted by J. Trumbull,
engraved by P. F. Clemens; and " Sortie made at
the Siege of Gibraltar," painted by .L Trumbull,
engraved by W. Sharp. — . I. J.VMK.s C.vitKV. Giierii.sey).

I'Sl

THE ROYAL ACADEMY ELECTIONS.

"ITTITH the details of the elections which have number of figures however complex, yet with a

' " taken place at the Koyal Academy since our strain of poetry entirely individual to the artist,

last number went to press, we deal fully later on. Mi'. (Jregory, since first he came before the public

J. SEYMOUR LUCAS. R.A.
{From n Photograph bg Elliott and fry.)

B. W. LEADER. R.A
{From a Photograph by Elliott and Fry. )

E. J. GREGORY. R.A.
(From (I Photograph by H. S. Mendelssohn.)

These elections have s^'iven not fewer than four
new Academicians and three new Associates — tlie
results, except in a single case, being fully in
accordance with anticipation.

The promotion of 'Mr. E. J. Gregory is a step
which all approve. A fine draughtsman, a superb
artist in water-colour, and an admirable painter in oil,
gifted with an exquisite touch, capable of grappling
with any composition however elaborate, with any

about a i|uaitcr of a century ago, has always shown
himself an artist of the right fibre, even though
he has not always e.xerted himself to the utmost.
" Boulter's Lock," exhibited last year, was recognised
as a great achievement in spite of the peculiarity of
its colour. It is, perhaps, not remarkable that Mr.
Gregory's qualities are more thorouglily appieciated
abroad than they are in his own country.

Mr. George Aitchison has received that acknow-

H H. LA THANGUE. A.R.A.

121*

G. AITCHISON, R.A.
{From a Photogr.iph by Elliott and Fry.)

LIONEL P. SMYTHE A.R.A.
{From a Photograph by A. Larmier.)

282

TlIK MAflAZINE OV ART.

leilginent fioui llie Aciiileiny wliitli was liis clue, fui Ix'CiUiie an Associate in IMM.'! — two years later tlian
no one in the character of professor anil lecturer Mr. Aitchison — is essentially the landscape painter

has sliown himself more assiduous and more devoted
to its cause. It is probable that he has been
elected more as a tcaciier than as a practitioner:
for his work he has separately been linniniKMl wiili
the I'residentship by the lioyal Institute of iJritish
Arcliitects. Kest of all is Mr. Aitchison known for
his kniiwled<i;e of decoration and ornament, and
for the work, executive and liU'rary, wliieii he has
accomplished in connection witli it. Seventeen years

of the jieiiple. His power of aj,'reeable C(jmposition
anil ids pleasing view of Nature arc doul>tle.ss more
striking than the subtlety of his colour, and it may
well be dovdited if the name of any member nf
the Academy is so widely kninvn or so generally
applauded as that of the new Academician. For
many years we iiave recorded with all the fulness
that " Iloyal Academy Pictures " has permitteil, the
successive works of Mr. leader, which, e\en tiirough

ago he was called to occupy the jdace left vacant the medium of black ami white, have amply illus-
by William IJurges : now he has been promoted in t rated to our readers the secret and the strength of

succession to Jlr. Pearson.

The electiiin of Mr. Lionel
r. Smyllie was a suii>rise for
the public more than fm
])ainters: perhaps the .\cadeniy
was not credited with going to
seek for an artist of distinc-
tion and poetic power, rather
than to accept one of the
several of obvious merit and
undoubted claim who have
louii stood ready at their hand
for selection. For more tlian
thirty-si.\ years Mr. Smytlie
has liecn before the i)ublic
with poetic renderings of
Nature and simple themes
]iainted aliout his much-loved
iiome in tlie I'as-de- Calais.
Mr. Smytlie has never made a
bid for ixjpularily, but every-

C. NAPIER HEMY, A.R.A.
{From a Ph<ito(/m/)h by Hollyr.)

the public esteem in which
^Ir. Leader is held.

.Mr.. I. Seymour Luea.s — still
a young man as Academicians
go, being at present not more
than forty -eigiit — is to be
considered the most dramatic
and, at tlie same time, the
most vigorous historical painter
wiihiii ilir ranks. His great
(■a[)acity as a draughtsman is
not less striking than his
sound knowledge not only of
art itself liut of tho.se ac-
cessories which are necessary
to accurate and convincing his-
tory painting. His "(iordon
IJiots" and the "Armada in
Sight" have long since ceased
to be ids best or even his
.second-best pictures. An ad-

thing that he has done has been cliarnnng and niirable artist in black and white, Mr. Seymour Lucas,

graceful of its kind, whether the work be an elaborate like Mr. Herkonier and one or two more, is a crafts-

pictnre or the merest memorandum in his sketch- man-artist — and his lirst teaching of wood carving

book. Thrc^e years ago lie was elected member of has had no sliglit effect in the development of his

the lioyal Water-Colour Society. sense of form.

in Ml". H. H. La Tiiangnc the Academy has Jlr. C. Napier Hemy is anotiier great aeipdsition

taken to ilself another of the strong independent to the lioyal Academy; his knowledge of the sea, sky,

young artists who formed and led the New English and weather has not been obtained at his home in

Art Club in its as.sault on tlie Academy .some Lalmouth alone, but on board his other home, his

tiuileen yeai-s ago. ]>ut the institution in Wuv- yacht the Van ik Vcldr. from whose studio-cabin he

lington House is diO'erent now from what it was has for many years devoted his whole - minded

in those times; and Mr. La Thangue, the adndrable attention to bis art — seeking only to record poetic

painter of "The Man with the Scythe,' and within truth, and caring nothing for the ai)]ilause of the

the last two years of more powerful pictures still, multitude. Last year's picture, " I'ilciiards," is per-

will add to its strength, and aid that gradual evo- haps his nearest approach to popular subjects, but

lution which is taking place within its rank.s. its suli.ject was more than justilied by the masterly

Mr. r>. W. Ix-adei-, who, along with Mr. tJregory, tieatment. Tlie picture now hangs at .Millbank.

283

THE CHROiNICLE OF ART.— MARCH.

The Royal I X accordance with our usual ])ractice, we

Elections *'''^^ '''"^ principal figures of the Academy

elections, the first four of which took jilace on

the 19th January, and the last three on the 2nd February.

FiBST KlECTIOx. First •■ Smitihiuij . " Mr. Gregory, 10 ; Mr.
Leader, S: Mr. .\ittliisoii. 7: Mr. Luoa^, 7: Mr. Bodley, .'). Others

KATHERINE PARR.

(? English School. Recently acquired by the National Gallery.
No. 1,652, Boom XVIII)

A FINE example of Romney's work has

'^Tt'uie""' ^"^^'^ ''*^^'-^' '''^'^'"^ *" ^^^ ^'ational (Jallery
National Gallery. '" tl'^ portrait of "Mr.-^. .Mark Currie"
(No. 1, (;.')!, Itoom xviii). " Katherine
Parr,'' the w^rk of an nnkiiuwn arti.st of the lllth century,
has been hunu in the same room (No. l,6-")2). Two other
liortraits have .ilso been added — one of " Madame Vigee Le
Brun," by her.self (Xo. l,<;."i:!, Itooiu xvi), and the other of
"Mr. Itus.sell Gurney " (late liecorder of London), by Mr.
G. F. Watts, R.A., has been pie.senletl by the Kev. Alfred
Gurney, M.A. (Xo. l,n.")4, liooinxxi).

Another old En.ulisli Kciom has
l>een set up in the Western .Vrcade of
the South Court by the side of the
" Iidaid Room '' from Sizergh Castle.
Tt is from an old house, now pulled
down, at Kromley-by-Bow, and belongs to the early years
of King James I.— the date l(iii6 having been carved on
the outside of the house. The spacious stone fire-jilace has
over it an elal)orate ]nantelpiece in oak with the Royal
Arms very Iioldly carved. The ceiling be;irs in the centre
the .same arms with the initials " I.R.," and is covered with
Hue strapwork ornament having floral enrichments and'
medallions containing heads of ancient warriors. An
extensive alteration was made in the last century whereby
the room was shortened and the ]ianelling was .shifted to
suit the new conditions. A fe^v mouldings and door-heads
of the latter j)eriod have been left out, as they were in pine
wood and consequently appeared incongruous by the side

Rearrangements and

Additions in the

South Kensington

Museum.

received support but did not get upon the blackboard. Second
" Snalc/iiiii/ :" Mr. Gregorj-, 19; Mr. Lucas, 11; Mr. Aitchison,
10: Mr. Leader, S; Mr. Bodley, S. ISiitlol : Mr. Gkegory, 'i'.) : Mr.
Lucas, 2o.

Second Election-. First Snntiliiiir/ .- Mr. Aitchisou, 1.5: Mr.
Lucas, 10: Mr. Leader, 9; Mi-. Bodley, 7. Sivoirl Srratchin// : Mr.
Aitchison, i'^ : Mr. Lucas, IG ; Mr. Leader. VI ; Mr. Bodley, 3. Ballot :
Mr. Aitchisou and Mr. Lucas, 27 ear/i. The President gave the cast-
ing votein favoiu- of seniority, and Mr. Aitchison was elected.

Thied Electiov. First Seralchhiij : Mr. H. La Thangue, 9;
Mr. Lionel Smythe, 7: Mr. Alfred East, G ; Mr. J. Faniuliarson, -5;
Sir George Reid, P.E.S.A., 4. Second Scrntrliiiii/ : Mr. Lti Thangue,
1.5 : Mr. East aud Mr. Smythe, 13 each ; Sir George Eeid, 10 ; Mr.
Farquharsou, 4. Fir-it Ballot for He : Mr. Smythe, "29 ; Mr. East,
2C. Final Ballot : Mr. Smythe, 28 : Mr. La Thangue, 27.

Foueth Electio.v. First Scrateliiiirj .• Mr. La Thangue, IS ; JIi-.
East, 8:",Sir George Beid. .S : Mr. Aston Webb. 4. Second Seratchiny :
Mr. La Thangue, 22 ; Mr. East and Sir George Reid, 1 4 each ; Mr.
"Webb. 4 [one vote^here not accounted for]. First Ballot for tie : Sir
George Keid. 29 : Mr. East, 20. Final Ballot : Mr. La Thaxgue, 2S :
Sir George Reid, 27.

Fifth Election. First Scratchin;/ : Mr. Lucas, 1.5; Mr. Leader,
14 : Mr. Macbeth, .5 ; Mr. Waterlow, 4 ; Mr. Swan, 4. Second
Scratrhine/ : Mr. Leader, '20; Mr. Lucas, 1.5; Mr. Swan, (i : Mr.
'W^aterlow, 4. Ballot : Mr. Leader, 28 : Mr. Lucas, 21.

Sixth Election. First Scratching: Mr. Lucas, 23; Mr. Mac-
beth, S: Mr. Swan. -5; Mr. "Waterlow and Mr. Colin Hunter, 4
each. Second Scratc/iin;/ : Mr. Lucas, 24: Mr. Macbeth, 11: Mr.
Swa:i, 6 ; Mr. Waterlow, o. Ballot : Mr. Seysioue Lvcas, 30 ;
Mr. Macbeth, 14.

Seventh Electio.i. First Scratchimj : Mr. East, 10; Mr Far-
quharsou, 7 ; Mr. Xapier Hemy, 6 : Sir George Reid, 5 : Mi-. Cope,
Mr. Corbett, Mr. Belcher, .lud Mr. Aston Webb, 4 each. Second
Scratchimj: Mr. East, 11 ; Mr. Hemy, 9: Mr. Cope and Sir George
Keid, 6 each : Mr. Corbett, 5 : Mr, Belcher, 4. Balloi : Mr. Hemy,
2G : Mr. Ea.st. 2-5.

MRS. MARK CURRIE.

(fly Geonje Romney. Recently acquired by the National Gallery.
No. 1,(151, Room XVIII.)

of the old oak : the room is, therefore, more nearly in its
original form than when demolished. Specimens of furni-
ture of the period have been taken from the Museum and
arranged in the room in order to give it a furnished
aspect. The rooms in tlie Picture Galleries formerly given

2S4

THK MACAZrXK OF A1;T.

u|i to llu' pictures (if tlic ( 'liantrcy l'n'i|uest Iimvo imw lici'ii
liiinf- with water-ciiliiiir |iiliiitiii';s wliicli were i>iv\ iousiy on
scri'i-us. Many iiili'ivstiii;; worlcs can tims lie seen to
;.'icatiT ailvanta^rc, Imt tliis change is only lunvisional.
Tlic ariani.'cnicnt of two vooMis in the ('ids.-. (Jallerv cmi-

THE WOMAN OF SAMARIA,

{Bg Wiltinnt Difcr. ft. A. /TiTffflt/y acquired bi/ the Birmhujimm Aft Galleri/.
Sec p. J8«. )

liecting till' liiiiiaii Src-linn and Sciciici' ( 'ollccl ion^ l)a>
now l)een conililetcil. 'i'lir lir>l mnin im ilcsiHMnliir^ tin-
staircase is (levotcil, lor the nio.-t pait, to Cuinnr Art :
tliive of tlie well-known lattice windows are shown lure
witli their curious jiro.jections for hohliuf,' watcr-liottles :
on one side is a Mos(ii;e pulpit of wood tlcconitcd with
(h'licate carved ivory ])la(pies : spcciuiens of doors with
similar ivoiy plaipies are arranycd in cases against the
walls : casts of architectural oriianient from the Mosques
of the Sultan Hassan ami Kait I'.ey, aM<l the Wekaleli of
tlie latter Sidtan fill tlir upper parts of the walls and the
corners of the room. In the second room are textile
faliricsand embroideries fnim various jiarts of the 'I'Mrkish

1ME SHEEP DROVE.
(0y John Linnell. Rtetntlg aequiiid by th9 Bir,iiii>ylttt

I Art Oalleru. Ste fi.

:8B.)

mI.1v

Kmpire. To the left are lirocades ami velvets, pi
from l5roussii, while to the rij;ht iire the remains of
seventeenthcentury lirocaded dres.ses from the tomlis at
(.'iinstaulinople of younj; 1'riuces.ses. The screens contain

riulnoiilerirs in endless variety of stitches from Syria, the

islands of the Levant, and other parts of the !•' ist : ajrainst

each of the lonx walls is one side of a room from I )aiiia.si-us,

one of the eaily eijjhteenth centiuy and the other aliout

fifty years later, with their ipiaint cuplioar<ls atid rece.s.ses.

On the j;rouud floor of the Indian Section an important

adilition has been made to the plaster casts by a collection

of ornamental details from the palace of the great Akbar

al l-'athpur Sikri, near Agra.

„ , , Oh- the few mildly sen.sational events in the
Henry Morland .,,■.■, ^ -^ .1

iu the '"' '■"'^^-'^ "' 'he past sea.son, (piite the most

Sale Room, startlin.i,' wa.s that which diajjued IIknkv It.

.Moi:i..\xii, the father of a celebrated .son, from

r.iiik obscurity into sudden celebrity. The portrait of the

lady ironing had been on view for a week or two before the

LADY IRONING.
(By H,nry Morland. Rcceniri/ sold /of 3,i'50 guineas.)

sale on l)ecend)er I, and attracted a very wide amount of
interest. It was a pretty picture, and by general consent
admitted to be ipiite the best of the .several known
e.\amples; but the jirice, :i.-2'>U guincii.s, at which it was
knocked down to .Mr. Charles Wertlicimer, was far beyond
anything geiurally anticipated. No single exami)lo of
( leorge Morland. who was in every way a much liner artist
than his father, has realised so high a price in the open
market ; and the incident is only one illustiatiou of many
uliirli go to jirove that reputations are (ickle and obscurity
by no means a ipliintily to be neglected. "The l.ady Ironing"
and "The l,a ly Washinj;" form a pair of well-known pic-
tures, and one, if not both, was engraved twice. There is a
pail- ill llie National ( iailery which cost the authorities
about !; Ion about f(>nr years ago. it is .said that this pair
wa-s at one time in Lird .Mauslield's jiosse.ssion at Caen
Wood ; if that is so, then they were in the Stowe sale of
IM'^. when they wei-c purchascil bir (is guine.ls the two.
They Were at South Kcnsiin;ton in IHIIT. The lady ironinj?
is said to be a porliait of .Maiia tiunning Countess of
Covetdry, and tin- lady washing' is described as her sister,

THE CHRONICLE OF AET.

285

Eliaibeth Duchess of Hamilton. Both these ascriptions
are absurd : it is niiic-h more likely that they represent the
artist's sisters. The mezzotint engravings by Phili]) Dawe
were once very popular, but are now not at all common.
We do not think that the extraordinary price <iuoted al)Ove
is likely to result in much of a boom for this very third-
rate artist, but it will almost certainly result in a very
"e.xtensive" appearance of his works in the market
during the ensuing season. Colossal reputations are often
founded on mere flukes.

Art in the ^"'' "'*' ^rury Lane Pantomime, Thr Jixln-s in
Theatre. '^"^ II'o'j(/~admittedly intended "for children"—
exception must be taken to the gruesome night-
mare goblins, and the nur.sery cots that become sheeted
ghosts in the opening scene. The picture of tlie "Sporting
Club," excellent in its way, clearly defines the limitations
of Mr. Emdkx's work: his "Palace (iarden" clotli is
l)rettily imagined, but .scarcely fulfils its
possibilities, and his " Coronation ' scene
is almost as meretricious in colour and
design as the ill-assorted dresses that
jiervade it with glittering furbelows and
feathery fans, in which an unpleasant
beetroot tint asserts itself. The cos-
tumes of some "jockeys" (or are they
postillions ?) in another scene may reason-
ably be termed indiscreet ; and in the
bewildering " Fair " scene, a dance of
electric-grey and white yokels with girls
in scarlet and white morrice dresses alone
calls for mention. Kautsky's panorama
of the usual pattern comprises one tab-
leau of significance—" Gulliver's Glade,"
with its skeleton trees and weird sug-
gestions. The much-talked-of "Orchid "
scene displays Mr. C.\xey's skill in a
picture of delicate greenhouse growths,
but the association of a group of in-
explicable chanticleer trumpeters, and
of the inevitable Grigolatis troupe as a
flight of fantastic spangled " blue birds,"
may be pronounced detrimental to the
full efifect of the wonderfully detailed orchid and insect cos-
tumes and acces.sories. These are ably interpreted by Alias,
to whose skill at least as much recognition is due as to the
sketches of C'omelli. At the Garriek Theatre Mr. Oscar
Baerett has been happily inspired to revive the grateful
impressions of his Lyceum Ciwlerella, and it is plea.sant
to renew one's acquaintance with Mr. Hawes Craven's
"Woixl " scene, and its beautifully painted undergrowth of
tangled bracken ; and with Mr. Wilhelm'.s .subtly devised
interchanges of colour. These find, perhaps, their most
fortunate expre.ssion in the costumes of the "Prince's
Ball," to which is now assigned a white and gold saloon
from the brush of Mr. E.mden, instead of the garden fete
originally presented. There is no doubt that the .scheme
of golden hues in the masiiue illustrating the chronology
of the dance finds its newer setting the more .sympa-
thetic. The departure of Cinderella's carriage from
the "Fairy Boudoir" kindles all the old enthusiasm,
and the Watteau harmonies of turquoise and coral
and silver have been enhanced by some striking
electrical eflFects. The story of Beauty and the Beast sup-
plie.s the Alhambra management with a seasonable " ballet
feerie." Mr. Ryan's mise-en-scene is oddly Tonkinese in
chnracter, and rarely soars above the commonplace in
conception. Mr. Howell Russell's rose-dresses are well

contrived, but crudely contrasted with a bevy of gorgeous
butterflies. The final tableau (apparently at the base of a
monolith nearly related to Cleopatra's Needle'/ introduces a
succession of vaguely Orientalised groups— tiring to the eye
in their over-insistent and Hamboyant decoration — a medley
that recent ballets at this house have made usal I familiar with.
The resurrection of Offenbach's Grand Bucheu at the
Savoy seems to have inspired the scenic artists with a
surfeit of old-fashioned conventionality. Mr. Spong's
" Camp " scene is chiefly remarkable for fir-trees that
might more appropriately have figured in " The Mikado "
as the tyi)ical Japanese Cryptomeria, and Mr. Harford's
pictures of the "Throne-Room " and "Market-Place" sadly
lack distinction. Mr. Percy Anderson is at his best in
the dainty old-world toilettes and wonderful coiffures of
the court ladies, and his peasant girls are smart, if a little
remini-scent ; but the dingy mustard colour conspicuous in

GLACIER RANGES, HEAD OF LAKE WAKATIPU, N.Z.
{^From the Water-Colour Drawing by W. J. Wadhain. See p. 287.)

the uniforms of the regiment might advantageously be ex-
changed for the fresher tint sported by Her Grace of
Gerolstein. Peter the Great, Mr. Laurence Ieving'-s in-
teresting historic play at the Lyceum, calls for all the
assistance that admirable stage appointments and embellish-
ment cin give to relieve its gloom. The opening scene in
the Kremlin is throughout a fine picture, revealing ^Nlr.
Hawes Craven's ma.stery of colour and composition ; and
Mr. Haeker's "Tribunal" is an impressive "set." Mr.
Telbin's Neapolitan picture unfortunately suflfers from
a faulty construction that permits a series of disconnected
sea-horizons to ofTend the eye, whilst the transitions of
lighting are somewhat clumsily contrived. The second act
passes in a log-built cabin on the Neva, and the sumptuous
court-robes of the Empress Catherine and the gaudy dress
of Euphrosine accord but ill with such surroundings.

We have before referred in courteous terms to
Mr^teTar's ^^'- ^' ^' Cellar's ofl-er of a great number of
Pictures, so-called "Old Masters ' to the City of London.
These pictures, after examination by Sir Ed-
ward Poynter, Director of the National Gallery, and Mr.
Temple, of the Guildhall -Art Gallerj-, were very jiroperly
declined. Since that time, however, unconvinced by the
ridicule of the "trade," and contemptuous of the opinion
of the first professional expert in the country, Mr. Sellar

286

THE MAGAZINE OF AKT

appealed to Press and public by exhibiting his pictures at
the Cirafton (Jallery ; not tlitm nloiw, but a great numljer
of other (and, it has been suggested, slightly better) can-
vases—three collections in one. Taken as a mass, and
with but a few exceptions, this combined collection forms
about as absurd and impudent a display as we have ever
seen, in a saleroom or out of it. But Mr. Sellar, having

CHARITY
(0jr William Bougutreau. Rfcentli/ acquired by the Birmingham Art Gallery. See p.

charged the dealers with boycotting his jiicturea (or
making a "knock-out") " becaiLse they were offered with-
out reserve'' (!), and having by imputation charged Sir
Edward Poynter with gross ignorance at the very best,
now turns upon the Press, which, with curious unani-
mity, had laughed at his unfortunate infatuation, and,
jiersisting in the infallibility of his own lack of judfjment,
thinks that art-critics are greater ignoramuses than him-
self, whose duty it is to echo the opinions of !Sir Edward
Poynter. lie ajipeals in the last instance from Press to
the public, in the hope that " the man in the street " may
reverse the judgment of those who form the expert art
opinion of the country. The whole episode is a pitiful
one; but it should not end here. As Mr. Sellar asserts
the genuineness of his canvases, and prints in his cata-
logue that certain of them are " the originals " of celebrated
pictures in celebrated galleries, or rei)lica.s of others, it is
his duty to prove that he is not je.sting at the expense of
his fellow-citizens, by stating from whom he acipiired
tlie.se pictures. He should deliver up the dealers' names
and iussume the onus of jiroving that they do not come
from the hot-bed of spurious picture-manufacture in Belgium.
If he refu.s&s, the public will form their own conclusion.
It is somewhat unfortunate for the repu-
M Mu^aciy ,.^i„n ^f Monsieur Munkaizv that at the
Bouveret!^ moment of the exhibition at the Dowdes-
well ( iallery of his " Ecce Homo I '' there
should be exhibited in London the "Christ and the Dis-
ciples at Emmaus." The latter has the di.sailvantage of
artificial lighting throughout the day, as if the colour were
not gooil enough to stand the test of daylight, an arrange
ment worthy neither of the picture nor of the highly re-
putable gallery at which it is exhibited ; yet with its

ijuiet intensity of religious thought it makes ten times the
impression of the .screaming rabble that curses and insults
the Christ in the picture of the Hungarian painter. M.
Munkaczy's work reraimls one of perfect stage-management
and in6nite scenic skill ; we .seem to have here a religious
picture-jilay for which the Saxe-Meiningen company have
stood as modcl.>:, with all the success and failure of such an
arrangement. Ten times as many jiersons will
lirobably visit the "Ecce Homo!" as the other
picture : yet (so far as we can jmlge by the arti-
ficial light) the picture by M. D.mj.van is as in-
finitely sujierior in colour and handling as it is in
conception and execution. We are sorry to hear
that the latter picture is going to America for
good ; we do not very much care where the former
will find its home.

We have so lately dealt with the work

"^^^ of the late Sir John Ch.bert, 1;..\.,

John Gilbert ,,i,^ir.. .1 . 1 » 1 1 •.■ •

Exhibition 1 It-W.S., that any detailed criticism

of the great memorial collection now
on exhibition at the gallery of the Hoyal Society
of Painters in Water Coloui-s would neces.sarily in-
volve tiresome repetition. We may say, however,
tiiat this collection wliicli Mr. Herkonier has
brought together fairly staggers the visitor by its
beauty and excellence, in spite of the .somewhat
monotonous character of the subjects. There are
in this great .sample of the man's life-work a
ilignity, a sonorous rhythm, a sense of style and
Hue, richness of imagination, infinite invention and
resource, a superb power of eloquent and har-
monious colour— which seems to issue from the
l)ictures like the .sounds of a great organ — that
convince those of their mistake who thought that
Gilbert's greatest achievement was his work in black and

2S8.)

THE LEIQH HUNT MEMORIAI-
[By Oeorge Frampton, A.R.A. Sre p. SUB.)

while. We have here his first drawing, exhibited when
he was sixteen, and, by its side, the la.st, on which he was

THE CHKONICLE OF AKT.

287

at wiirk at the time of liis ileutli. The change after his
Krst youth was not very great ; hut lie became early a
great oolourist and a great stylist, apart from his minor
merits ; and so deserves an undoubted and ungrudge<l
l>lace in the sjiarse rank of our really great artists.

Reviews.

^^^

DEERSTALKING IN Tr.c n.wnLANDS : A QUIET SHOT.
(Bjf E. J. Niemann. ftecentts acquired by the Nottingham Art Ga/lery. See p. 288.

An interesting exhibition of water-colour sketches of
Australian and New Zealand scenery has been held at
Messrs. Graves's galleries. The drawings are the work of
Messrs. W. J. Wadh.\.m and A. Sinclair, both well known
Australian artists. The picture we illustrate is one of the
largest, and is characteristic of the whole collection. The
white-topped mountains in the distance stand up clearly in
the brilliant atmosphere, and with the red-brown foliage of
the foreground make up a plea.sing picture. The river
.scenery of Australia affords good opportunities for the
display of ilr. Wadham's skill, and his views on the Yarra
and Murray are excellent pieces of work.

Very slowly the old art of miniature painting is
reviving. The artists at last are developing their
own personal characteristics. Mrs. Chaedon's re-
markable work at the Jliniature Painters' show at
the Modern Gallery is the most noteworthy in the
room, and ne.xt to it conies Mr. Alyx Williajis's
dainty delicate brush-work and the clever work of
the Hobson family. Mr. Cecil Hobson's portrait
of a child is delightful, and Mr. and Mrs (Mi,ss
Hobson) Lee Han key's miniatures are really good
work. A word in favour of Mis.s- Gib.son, whose
work if somewhat hard is yet sound and meri-
torious, and a mention of Mr. Robeet.->on must
be made. The others did not interest us, nor have
we .space to allude to them.

Two exhibitions of landscape have recently taken
place — the " ( jardeiis of England and Italy " in
water-colour by Mr. Eloood, R.I., at the Fine Art
Society's Gallery, and " The Down Country ' by
Mr. Thornk Waite, R.W.S., at the Dowdeswell
Gallery. The former handles his subject with singu-
lar good taste and good sense ; his colour is not
forced beyond a judicious point, his drawing is
excellent, and his treatment of this out-of-door vision of
gorgeous colour and dainty forms, in an atmosphere now
Italian and now English, is not only judicious but alto-
gether delightful. Mr. Waite's drawings are thoroughly
characteristic and, as usual, highly accomplished. His view

(Ba J.

of nature is becoming, perhaps, a little mannered ; but,
granting the charm of that view, we gladly reali.se the
delicacy and beauty that inspire it.

The past season has been rich in books for the
architectural student, from the most elementary
sort to the most elaborate. Mr. T. S. Kobekt-
son's " Prof/res.<< of Art in En(//ix/i Church A rc/ii-
fecfitro" (Gay and Bird) belongs to the former
class. It is a clear and sensible manual, well
suited to the introduction of the subject to readers
for whom the more scientific treatises are liable to
prove too heavy. There are certain expressions
we would object to ; we would not, for example,
describe the pointed arch as a characteristic "de-
tail" of Gothic. The illustrations, though not
satisfactory as architectural drawings, sufficiently
serve the author's purpose and the reader's, (os.)

Nowadays, when the prowess of the collector
and the art-movement of the sale-room become
matters of interest not to buyer and seller only,
but also to every intelligent lover of the arts,
books upon this important subject become not
only entertaining but necessary. In England we
depend, for the history of art-sales, upon the
works of Seguier, Bedford, and ilr. Roberts. In
) France, hitherto, we have had to content our-

selves mainly with the annual volumes dealing
with the doings of the Hotel Drouot. We have before
us a work which is practically an index of all the chief
art-sales which have taken place in France, and the most
im])ortant in other countries, from 1800 to 1895. This
book, entitled " Le.t Ventef: de Tableaux, Dessins, et Ob-
jets d'Art au XIX' Siecle" — an elaborate bibliographical
compilation, being based upon the catalogues of the sales
themselves — has been written and published by Monsieur
Louis Soullie (Paris : Rue de Lille), who is, perhaps, best
known for his speciality of issuing to his clients priced
and annotated catalogues of any given sale. The total

SALISBURY CATHEDRAL, FROM THE SOUTH.
W. W, Tiinier, R.A. Recently acquired by the Birmingham Art Gallery. See p. 288.)]

number of sales here alphabetically catalogued amounts
to not less than .<('.»■ thoamnd. There is a cross-chrono-
logical index which sets forth the sales in each year —
from the eleven in 1801 to the 113 in 1894. Assuredly
these things are better ordered in France than here.

288

THE MACAZINE OF AIJT.

In "The Print Galleri/" (Grevel and Co.), of wliirh tlie
tirst volume has just l)een issued, there are reprwluced over
a liundred examples of the art of the eiij;raver in various
iiK-tliods. Tiie Work is clearly not intended to ajipeal to the
connoisseur, fertile conditions inseparalile from a fine pririt
cannot |iossibly be obtained from ordinary process-blocks,
printed without the extraordinary care which the printer of
real en-travings is forced to use. lint the volume is a work
of reference and instruction, in which the examples .selected
are grouped by nationality, and in wliidi the notes appear
to contain trustworthy information. It is to be hoped that
this magazine will be continued.

Among the .several children's books issued since our
last notice are the followin.; :— " 'J'wo Old Li«li<s" (C'ussell
and Co.), a stoiy written witli much freshness by .Miss
M.tci.'iK Urowv, and illustrated with daintiness by Mr.
AitTHiK l!.-v(KH.AM a fairv story that deser\cs to W
po])ular. The book is a companion volume to "Wiintcil
— a King." " Michji Ma;/ir's Mrwi-
f/fri"," by Mr. H.vmkk, intcnilefl for
young folks with sjiccial love of " un-
natural history." is illustr.ited by .Mr.
IJAHKV Xeii.son with much more
humour than is generally extractid
by draught.snien from the animal
world. Another of Messrs. Ulackie's
stirring and thoroughly wholesome
stories for boys is Mr. HKiiiiKur
H.vVEXs's " Pai-is at Bay: A Storif
of the Siefie and the Commvne." ]t
is ettectivdy illustrated liy Mr. Wood.
and reprixluces witli .s])irit the reign
of pa.ssion and heroism. liut " Vive
la Polandc ! " is not French.

" y/tf Went End Review " appears
in a new coloured wrapper — designed
and printed in France. Well illiis
tratcd and printed, the publication
ea.sily takes a front place in the ranks
of society journals, (is. monthly.)
Mr. Oeorije (Kmi.vv
liEiD has been elected
.Member of the Koyal Scottish Acadenjy. The final vote
was Mr. Keid, 21 votes; Mr. A. Roche, IT votes.

The memorial to Lekjii Hint, illustrated on p. -ISC,
has been ]>laced in the vestibule of llunimersmith Free
Library. It is similar in general design to the C'harles
Keene memorial in the same building, which we illus-
trateil some months ago. The two figures represent '"Prose"
and "Poetry."

The art gallery in connection with the .Maidstone
Mu.seum, which was established by the late Mr. S. Hentlik
in lHi)(), has recently benefited to a further extent under the
will of the founder. The executors are to pay the trustees
of the " lientlif Wing " (as the art gallery is called) LM,(i(i(»
as an cnd(pwment funil,and after the decease of the testatoi's
sister a further sum of LC.oiiii is to be jiaid for the .same
purpose. Also, at the same time, all pictures ard books
ill Draycott House (.Mr. I'enthf's residence) are to be
handed over to the trustees of the gallery. By a (o<licil
to the will Mr. Hentlif becpieathed t<i the gallery all his
bronze.s, together with photographic portraits of himself
and his late brother, George Amatt P.cntlif (to whose
memory the gallery was built), and flic ilhimiiiatcd copy
of the minutes of a resolution of the Town Council ac-
knowledging the gift of the lientlif Wing to the Maidstone
Mu.seum.

dnctions of flies

Miscellanea.

THE LATE W. C. T. DOESON. R.A.
(from <( PhotOfjr(tph by Window (i/lrf Orovc.)

The liirminghani .\rt (iallery has recently received
some important additions to its permanent collection of
pictures. Mr. Charles Harding has gracefully jiresented
the line example of the work of the distinguished French
painter, .M. Bouciiereau, called "Charity." In this paint-
ing his technical .skill and a certain intellectual i|uality in
his art are characteristically represented. In addition to
this notiible work, the Gallery has acquired by purchase
a small but extremely interesting specimen of the I're-
liaphaelite manner of Wii.i.i.vm Dvce, I!. A., called "The
Woman of Samaria," in which the jiainting of detail al-
most enualsthat of .Mr. llolniiin Hunt for accuracy of obser-
vation ; an early and notable drawing liy .1. M. W. Tr:i{NEi!,
a view of Salisbury Cathedral taken from the .south ;
and a good landscape, a hilly scene with trees, figures in
the foreground, and sheep in the distance, by JouN
LisxEi.L, called "The Sheep Drove." We give repro-
four pictures.

Several iiiiportant additions have
recently been made to the iieiinanent
collections of the City Museum and
.\rt (iallery at Xottingliam, probably
the most important being the iiotaVde
pictuic by Knwix Ellis, K.B.A.,
entitled ".Vfter Three Day.s' Gale."
Tliis |ii(ture figured prominently
in the collection of works by this
arti.st which Mr. Walli.s, the Art
hirector, brought together in 18!»3.
liy lieiiuest the Gallery has been
eiuiched by another valuable addi-
tion, the very fine jiainting by K. J.
NiKM.\NN, entitled " Deeivtalking in
the. Highlands: a Quiet Shot," pro-
bably the painter's best work. To
the collection of local portraits a gift
of considerable interest and imjiort-
aiii-e has been made by Miss .M.\R-
i;.\i;i'.r HowiTT of the portraits of her
parents, William and Mary Howitt,
who for .some time resided in Not-
tingham, and whose career of joint
authorship is so widely known. It is a charming painting
upon ivory by the celebrated artist, M.\ki;.\1!ET (Jillies.
The death has occurred of Mr. W. C. T. Dohson,
Obituary. |{ .^^ .jj. (jjy advamctl age of eighty-one. He was
the .son of an iMiglish inerchant residing in Hamburg, and at
a very early age exhibited a taste for drawing. When nine
years old he was brought to Kngland, and at fourteen beg-an
to draw from the antique at the British Museum. Five
years later he was admitted to the Koyal .\cademy Schools,
and in 184:5 was apjiointcd to the important ])ost of head
master of the (iovernment School of Design at liirminghani.
He only held the position for two year.->, when he resigned,
for the purpose of visiting the various art centres on the
Continent. He exhibited little figure-subjects regularly
at the .\cademy, and in isfii) was elected an Associate,
the full membership being accorded to him twelve years
later. Similar works to those execnteil in oils for the
llnrlinglon House I'lxhibitioiis were .sent to the Hoyal
Water-Colour Society, and showed his skill to belter advan-
tage in the lighter medium, for his water-colour drawings
were exceedingly delicate and refined even if sentimental
ill subject. He was a member of the "Old Society "and
till a few years ago, was a constant contributor to its cxhi-
bition.s. I'ull details of Mr. Dobson's career have already
been recorded in Tin: M^iA/iNE of Art.

< Dq

5 t

O -v.

LINCOLN, FROM THE BRAYFORD RIVER.
(From the Waier-Co'.our Drawimj by Peter dc Wint.)

THE ART COLLECTION AT BELL=MOOR, THE HOUSE OF
MR. THOMAS J. BARRATT. IV.

Ev JOSEPH GREGO.

IX the sucoikI iiolicu of j\lr. Barratt's ail follec-
tioii al r.ell-;\ronr (IMagazixe ok Akt, February)
references were made to tlie two pietiues liy WW-
liam J. Miiller, "Slave IMarket, Cairo" ami " Sla\e
Market at Manfalout," brilliant examples of liis
Egyptian experiences. Of these picturesquely tyjii-
cal Oriental scenes the artist has set down some
interesting notes, which appeared in the Ar/ ruimi
at the time of his residence in the P^ast : —

" The slave market was one of my most favourite
haunts, although no figure painter. One enters this
building, which is situated in a quarter the most
dark", dirty, and obscure of any at Cairo, by a sort
of lane ; when one arrives at some large gates. The
market is held in an open court, surrounded with
arches of the Eoman character. In the centre of
this court the slaves are exposed for sale, and in
general to the number of from thirty to forty,
nearly all young, many quite infants. The scene
is of a revolting nature ; yet 1 did not see, as I
expected, the dejection and sorrow I was led to
imagine. The more beautiful of the females, I
found, were confined in a chamber over the court.
They are, in general, Abyssinians and Circassians.
When anyone desires to purchase, I not un-
frequently saw the master remove the entire

122

covering of the female — a thick woollen cloth — ■
and expose her to the gaze of the bystander. Many
of these girls are exceedingly beautiful — small
features, well formed, with an eye that bespeaks
the warmth of passion they possess. The negresses,
(lU the contrary, have little to please; they di.sgust,
for their hair is loaded with two or three pounds of
a sort of tallow-fat, litei'ally in thick masses, and as
this is influenced by the heat of the sun, it gradu-
ally melts over the body, and the smell from it is
disagreeable in the extreme. Yet in this place did I
tiud more delight than in any other part of Cairo;
the groups and the extraordinary costume can but
please the artist. You meet in this place all nations.
When I was sketching — which I did (Hi many
occasions — the masters of the slaves could in no
manner understand my occupation, l.mt were con-
tinually giving the ser\ant the price of the different
slaves, to desire me to write the same down, thinking
I was about to become a large buyer."

In 1841, when Miiller was in his twenty-ninth
year, he is described characteristic illy as enjoying
the buoyant spirits of youth, his natural vivacity
stimulated by the invigorating air of the Heath on
the sketching expeditions which afforded him keen
enjoyment. Here is a typical account of one of

290

THE MAGAZINE OF ART.

THE PATH THROUGH THE WOOD.
{From the Pmntlng bj James Stitrh.)

these jaiHits, as related by liis biograplier, X. Neal
Solly, foiciljjy lecalling Miillei's own sentiiiients, as
expressed in a letter written very few months be-
fore his untimely end : — " I am looking forward to
sketching green fields, trees, etc., the works of a
living (!od — these things make my heart glad. It
is in nature, and not in streets, that I find my
turn self." " ]\Iiiller and his young friend.s, Dighton,
Gooden, and others, also often made excursions to
Hampstead. Starting in the morning on foot, they
walked by the fields (since built over) on the nortli
of the canal, sketching pollard-willows or other little
' bits ' that came in his way. The .«!and-pits on llie
Heath were Miiller's favourite subject. Of tiiese
he made many capital sketches and little pictures.
Late in the afternouns they adjourned to some inn,
generally tlie ' IJull and ISiish,' where the day's
sketches were discu.ssed over a light .supper, and
the evening was wound up with .1 game of .skittles.
Going iiome, it was .Midler's deligiit to go sliaight,
' like a bee,' over hedge, over ditch or swamp, or aiiy
other obsUiele. ( )n one of tlie.se excursions to Hamp-

stead, Midler and his companions
were passing along a lane near the
Heath, when one of them observed,
« propos of subjects, ' Well, at all
events, there is nothing to sketch in
ihia lane ! ' ' Xothing to sketch ! ' ex-
claimed MiiUer, ' why, the road and
that gutter would make a capital
sketch.' So he sat down and sketched
the 'gutter,' and afterwards worked
it up into a capital drawing. It has
often been remarked that Miiller
' could not exist alone.' He always
contrived to get some young com-
panions to join him, and innumerable
were the merry and sociable evenings
spent in his front room in Charlotte
Street."

Referring to tlie examples chosen
for illustration, as reproduced in the
present review of Mr. Rarratt's col-
lection at Bell-Moor, we have already
instanced the picture by .Tames Stark,
"Tlie Path through the Wood," as
one of the choicest specimens of this
fa\'ourite artist's most appreciated
landscape paintings, and, as may be
seen, suggesting tlie iiiHuence of John
Crome, the honoured founder of the
Xorwich school, to whom the faithful
Stark was articled for three years at
the beginning of his career.

" Tlie Fair Widow," by Rochard,
is an example of a rare master, whose
practice was inHuenced by the schools of Greuze
and Hoppner; the few examples Rochard executed
of tliis order were reproduced in " Keep.'iakes "
and " Books of Beauty," in one of which ornate
"Annuals" a version of "The Fair Widow" was
engraved in the distant days when these expen-
sively produced publications embodied the popular
art. Conspicuous among the water-colour drawings
collected at Bell-M<ior is the ambitious and very
important example by Peter de Wiiit, " Lincoln
from the Brayford River," a noteworthy drawing
both as regards size (39 by 26) and superlative
ipiality. In the whole range of this accomplished
master's practice it would be ditlicult to discover a
finer example, or one more typical ; embodying, as
it does, all the excellences which endear De Wint's
pictures to connoisseurs. Among the w-ater-colour
drawings in Mr. Barratt's possession, I have already
alluded to small examples by AV. Miiller and David
Cox. The late Thomas Collier is well represented
in tiie ranks of artists who have selected for their
headquarters tiie picluresi|ue vicinity of breezy

Ml!. BAKRATT'8 COLLECTION AT BELL-MOOE.

291

Hainpstead Heath ; laaiiy of the.se connnissioiis were
painted for Mr. F>arratt by that gifted master of
English landscape, whose unmistakably strong and
distinctive art so sympathetically continues the
sterling traditions of De Wint, L)avid Cox, and
the great founders of English water-colour art in
the direction most congenial to Mr. Barratt's sym-
pathies and tastes — the delineation of native pas-
toral landscape. CTeorge Barret is also represented,
and there is a grouji of charming and characteristic
examples by Copley Fielding. John A'arley is repre-
sented by his " Kilgarvan Castle." Glancing at the
productions of members of the Eoyal Institute of
I'ainters in Water - Colours, among the present
workei-s, whose aim is truth and sincerity, and
whose observations of Nature impel them to regard
landscape delineation with the vision of their illus-
trious predecessors, we find at Bell-Moor a group
of chosen examples by Mr. James OiTock. There
are tliree large and important drawings by Mi-. A.
Thorburn, respectively Grouse, Partridges, and
Pheasants, admirable specimens of
the accomplished art which that
painter has brought to perfection
in the delineation of those ob-
jects of the sportsman's delight ;
attesting the strongly - marked
sportsmanlike predilections of their
owner — tastes further evinced in
quite a collection of " sporting
pictures." These include repre-
sentative examples of all the
famous sporting delineators:
George Stubbs, J. N. Sartorius, P.
Reinagle, Charles Hancock, Sawrey
Gilpin, E.A., Aiken, Eolfe, etc.,
affording ample materials for a
comprehensive "sporting number."
In considering the works by mem-
bers of the Eoyal Institute of
Painters in "Water - Colours the
names of a distinguished group of
figure-painters claim mention as
having executed characteristic
drawings for Mr. Barratt — for
instance, Messrs. F. Dadd, Doll-
man, and Brewtnall (of the Eoyal
Water -Colour Society), and the
late H. Stacy Marks, E.A. ; and
again the refined works by Mr.
Charles Green, " 'Tis a Century
Ago," " The Minuet," and " Sir
Eoger de Coveiley ; " by Mr. G.
G. Kilburne, " A Duet ; " both
painters being dwellers at Hanip-
stead; together with Mr. John

F'ulleylove, who lias joined the " Northern Heights "
contingent, with his old-world residence in Church
l!ow, Hampstead. There is also a Constable-like
picture of Bell-JIoor by this gifted member of his
Society, and se\'eral masterly examples of his water-
colour art, the outcome of recent studies in classic
Greece. There is also a gorgeous and important
example, " A Carpet Bazaar," glowing into Oriental
efiulgence of colour, by Eobertson.

^Mention has been made of the grand historical
work of vast size (8 ft. '■'> in. by 5 ft. 2 in), a gorgeous
chef-d'ceuvrc by the late Sir Joliii Gilbert, E.A. — the
characteristic example, "Meeting of Henry VIII and
Francis I at the Field of the Cloth of Gold." There
are further examples by Mr. Aluia-Tadema, E.A.,
j\lr. Thomas Faed, E.A. ("The Silken Gown," from
the collection of the Mai'quis de Santurce), E. W.
Cooke, E.A., Henry Moore, William Collins, E.A.,
George Chambers, Hey wood Hardy, E.I., and a
vast number of similar works by representative
artists both of the early and modern English

THE FAIR WIDOW.

(From the Painting by Rochard.)

292

THK MACA^IXK <1F AKT.

sulioiil. Ainonji iiiaiiy foivij^ii cxiiiiipk's tlie must This lisL l)y no means exhausts tlie muster roll

iniporlaiit arc two ailmirable ami ehuracteristiu- of iiainlers whose works are hung at Ik-ll-Moor, iu

ally brilliant masterpiwes, "A (Iroup of Flowers" either branch of iiiutures in oils, or water-colour

ami "I liana." bv Ilia/: "The Smithy," bv K. A. ilrawinifs.

THE BRIDPORT RELICS.

Sihmiilt (1S87): Lucien fieranl ; V. Chuvillanl :
by ]. (Jallego.s, "The Notary;" by F. Weisser,
"Cheek:" by W. Kauler, "MiiUlay Halt;" '■<»"
duanl," and Groups of HoiincLs, by Otto de I'enne
(from the collection of Henry Wallis); "The Rus.sian
Post," by Schreyer (from the collection of Geoige
Stevens); by .1. H. Koekoek, "A Calm, witii
Men-of-War;'" "The Signal," by P. Korle ; F.
Soulacroi.x ; C. le P>lant; by C. Seller, 'Off Duty "
(The Smokei) and "Card Players;" with numerous

Particular reference has been made to the
masterpiece of sculpture, " The Tinted Venus "
In the category of sculptui-e mention must be
made of a beautiful work by II. .1. Wyatt, "The
Piather:" of " Hereward the "Wake." by Mr. Thomas
Pirock, P.A.: and "Esmeralda with her (loat," by
P. Pra/.zanti.

I have further to speak of artistic memorials
of silver-plate iu Mr. Barratt's collection, other-
wise rich in treasures of antique silver, ancient

THE NELSON PLATE.

Other examples, including pictures by \'an Os, Old cups, and cxaiiiples by the great arlilieers, like Paul
Teniers, and lepresentiitive masters of the Dutch I-amerie. .Muiv than ordinary interest attaches to
school (seventeenth century). the relics here reproduced. The Xelson pre.senta-

yin. 1!ai;i;atts collection at i^.ell-mooe.

293

/e^

tioii plate has quite a
national importance ;
for the pair of Ice-] (ails
were ott'eied as a public
recognition of the {n\\-
lant Admiral's heroic
exertions at the mo-
mentous seatight oft'
Copenhagen, when tlie
heroic Danish defence
was with difficulty
overcome by the
intrepidly daring and
resolute attack of
Lord Xelson's fleet.
These Ice-pails are of
silver, with covers and
linei-s, with lion's mask
and ring handles, the
lower part fluted, and
with gadroon borders.
On one side are en-
graved the coat of
arms, crest, and supporters, with the famous motto,
Falminn qui meruit firof, granted to Lord Xelson " for
his brilliant .services at the battle of the Nile, 1st

THE ABERCROMBIE ICE-PAI

Eieiioli force." Anions
Lord Nelson's crests
-*t engraved on the co\ers

* are the two armorial

gi-ants commemora-
tive of Aboukir Bay,
the stern of the
Vanguard (Nelson's
flag-ship), the naval
crown, and the star
and plume of honour
offered by the Sultan,
surmounted by the
Nelson coronets.

The story of this
memorable presenta-
tion from the Lender-
writers, Meu)bers of
Lloyd's Subscription
];oom.s, is embodied
in the inscription en-
giaved on the respec-
tive lee-pails : —

Committee aijpniutetl to mauage the

the benefit of the wounded and the

were killed in the glorious victory

"Presented by the
subscriplion raised for
relatives of those who
obtained off Copenhagen on the 2nd April, ISOl, toTice-Aduiira'l

THE DICKENS SALVER.

August, 1798, when a British fleet under his command LORD NELSOX, K.B., DLKE OF BRONTE, &;c., ic, ic, in
obtained a most decisive victory over a superior testimony of the high sense entertained of his meritorious and

294

TTTK ^rAr;AZTXK of art.

nnprecedented exertions in defence of liis country, wliicli, iit the
peril and danger of liis life, lie so nobly sustained iirevinus to
the engagement, and as a token of his brilliant and galliint
condnct during the whole of that evormemoralile action.

".Ions Jri,lf.s Anc;er.stki.n, Chairman.
•' Lloyd's Coffee House."

Tn the .same groupwltli tlie.se iiiteicstin^' iiu'inoiiiil.s
is Lord Xel.soir.s teapot, witli headed and threaded

CONSTABLES PALETTE.

borders, also bearing the crests and coronets granted
for his services at tlie signal victory of Ahoukir I'.ay.
The portrait is the Wedgewood pla([ue, showing ]>oid
Nelson in profile, wearing those prized decorations
and honours he had gallantly won at such imminent
jiersonal ri.sk. On the reverse is the facsimile of
Horatio Nelson's autograph.

Another group of commemorative relics belonged
to the gallant Admiial Hood, Vi.scount Ihidporl :
the pair of oval sauce-tureens and covers, with
giidroon borders and handles, and claw feet, are
similarly engraved with the arms and sujiporters
granted to this brave Admiral for his .services at
sea, including the signal victory of Trafalgar. The
two casters in the same group also helonf,'cil lo
Viscount iiridport.

The Ice-pail, one of a pair, appropriately designed

and ornamented with Egyptian devices, resting upon
four winged " Sphinxes," is also a relic : commemora-
tive of Sir Ilalph Abercromby's successes in Egypt,
the important campaign of 1801, in which, at the
battle of Alexandria, the intrepid commander gained
at once a brilliant victory and " a death of glory."

The " l>ickens Memorial" at Uell-Moor is a large
and highly elaborate salver (2.j by 19) in antique taste
of the ornate order, with Jupiter in the centre, and a
series of mythological and classical ligiires and situa-
tiniis in high-relief figuring in the various compart-
iiicuts. all drawn fr(jin episodes of "Tile Iliad."

This unusually interesting example of the artistic
taste and excellence attained by Engli.sh craftsmen
under the Victorian Era is by the producers, Messrs.
i;ikiiigton, described as " The Iliad Salver," and
was designed by Mr. Cliarles Grant, who deserves
recognition for this adequate instance of har-
monious composition and .sculptor-like modelling.
Tlie central compartment represents the appeal
of Tiictis to Jupiter on behalf of her son Achilles,
unjustly deprived by Agamemnon of his beautiful
captive ISrisei.s. The further details are thus given
un the same authority: — " In the angular compart-
ments surrounding the centre are sea-nymphs
attendant upon Tiieti.s, who, although the mother of
(lie mortal Achilles, was herself a goddess of the
Mccan. The outer border is divided into eight very
larefully wrought designs, representing the contest
lietween Agamemnon and Achilles; the heralds
leading Briseis from the tent of her captor; the
(irccks driven from their fortifications : the body of
I'alroclus, slain by Hector, rescued by Menelaus and
Ajax ; the flight of the Trojans at the reappearance
'if Achilles; the grief of Achilles over the body of
I'alroclus: Achilles' cruel revenge on the corpse of
liis foe Hector: and the supplication of Priam for
the liody of his son." The various compositions are
of elaborate character, and are skilfully combined
into an artistic whole.

The circumstances of the presentation are detailed
by John Forster in his "Life of Charles DiekeiKS."
The following in.scription is engraved on the salver : —

'• Tliis Salver, together with a diamond ring, w.as presented to
ClI.VUhKS DU'KE.NS, E.sy""' by a number of his admirers in
liirmiiigham, on the occasion of the l<ilerary and Artistic
r.anciuc-l in that town on the (Uh of .lamiary, IS")!), ;is a sincere
r<'stimonyof their appreciation of his varied literary acquire-
ments, ami of the genial philosophy and high moral teaching
which charnclerise his writings."

The novelist treastired this salver throughout
his life, and it was, by his last will, dated ll'th
of May, 18G9, specially bequeathed to his eldest
son : — " I give to my eldest son Charles the silver
salver iire.scnted to me at Birmingham." This
memorial was secured at the .sale of the cllects of
Charles Dickens the younger.

295

CHARLES VAN DER STAPPEN,

By EMILE VERHAEREN,

CHA1;LES van DEI; STAITEN has miukldm-
self a name both as an artist ami as a professor.
He works and he teaches ; he is in the first rank of
Belgian sculptors, and one of the foremost masters
of the a'Sthetic school. I propose to study liini
from both points of view.

First as an artist. His beginnings were
humble. At the age of twelve he was ap-
prenticed to Monsieur Leonard, a decorator ;
lie was a workman before he was a scul|)tor
and familiar with simple, elementary, com-
mon craftsmanship. Beauty bewitched him
even when it was as yet scarcely visible in
its most primitive form in human work.
Art in its widest sense, taking the world and
man for its subject, though it must study
both body and soul, must remain plastically
decorative. Hence it is no loss of time, but
a con.'^picuous advantage, for a sculptor to
begin with an initiation into the charm of
pure line, of the effects of masses and spaces,
before setting to work more seriously on his
own art.

Charles van der Stappen had this advan-
tage. In IMonsieur Leonard's studio he made
the acipuiintance of Monsieur Charles Buls,
who was also a pupil there, and who has
since become a burgomaster of Brussels; and
their friendship subsists to this day.

Till the age of nineteen Charles van der
Stappen haunted the Bru.ssels studios — a
nipin, a painter's devil, so to say — ready to
undertake the humblest task, eager to learn
everything, never neglecting the simplest
craft, till the day when, thanks to the in-
terest of Joseph Gerard the painter, he was
admitted as a student to Jean Portaels' studio.
I'ortaels, his real master, was at the head
of the only school where art was truly under-
stood. This was in 1860. The Belgian art
academies sacrificed everything to routine, to the
classic model, to copying — doing nothing — deatli 1
There was no life at all. What had been done
was to be done again ad infinitum. Nature was
the enemy. Formula was everything. Although
Jean I'ortaels was a painter, he admitted all forms
of art and all artists, and his teaching was life-
giving. He enforced nothing, and set the example
of persevering toil. He respected individuality,
spontaneity, living force. These were what he
valued in himself and in others. He led the way

for the most dissimilar artists: Emilc "Wautcrs,
Agneessens, and Cormon.

Among such surroundings Charles van der
Stappen began to train himself. His mind shook off
its swaddling clothes and asserted itself by degrees.

THE W/RESTLERS.

He entered into all the awakening, all the ardour
that was animating the brain of his new comrades
and friends, and warmed himself at the fire of their
boldness and insight ; he took up the struggle with
entliusiasm, and from a decorator determined to
become a sculptor, At that time his former masters
icgarded him as a m;idman, a revolutionary, just as the
younger generation now look upon him as classical.
And every true artist goes through these two piiases.
The work he sent in to the Salon of 1863 was
refused by the jury. In 1866 a sketch was accepted.

296

THK ^rAGAZTXE OF AT^T.

Ill 1869 "The Fiuiii," Llio liist <if liis works wliich It is exceplionally line. Tlio iiigcinunisiies.s, tlie
mack' him a naiiu'. won the iiieilal. Thus in six niixtuie of confidence and recklessness in this figure,
years the levohilionary iiad gained liis footing;. \:\n its sleiiderness and strength, the novelty of the
dcr Stajnien's ania/enient was great. He had hardly attitude, the certainty and delicacy of tlie sculptor's

toucii, all give distinction to this statue, which is in
marble.

On his return to I'.russels, after a prolonged visit
to I'aris, Charles van der Slappen began in ISSr) his
LTVou]! for tiie facade of the Talais des IkMux-Arts.
Ill tliis he .seems to have returned to the old Fleniisli
tradition. Strength, not free from some heaviness,
manly power, broad and strongly marked vigour
eliaracterise it. His statue of "William tlie Sik'nt"
is, on tlie contrary, severe and closely wrought,
as beseems the liero. And then wc liave the two
"Saint Jlichaels" of the Brussels Hotel de Ville ;
the patron saint is seen proud and exultant, tlie
demon raging but conquered, as legend requires.
The artist had striven to give them, if not a
new character, at any rate a new aspect. The
lu Imet, .sword, and armour are very simply treated ;
and all tiic purpose of the figure is concentrated in
its bright and liery s]iii'itualily.

Tiie two "Saint Mieliaels" were lini.slied for the
town coinicil at tiie same time with a table ilecora-
lion for tiie municipal banquets. Here the decorator

IMPERIOUS FANCY

ilared to hope tiiat his statue would be accepted, and
he wa.s admitted to academic honours with Constantin
^Icunier, Hermans, Cluysenaer, l)evigne,.leliitte, and
Artiin, his elders, almost his masters!

"Tiie Faun" stood out among tlie statues its
neighl)ours. It showed truth of attitude, mndel-
ling, and muscle. The figure bent his knee and
smiled, not like u model, but like nature; he was
fre.sli from the woods and fields, and liad not come
out of aceUar where old students' work lay rotting.

In 1872 a "Charmer;" in IS""' the caiukdabra
for the palace of the Comte de Fliuidre : in l<S7(i Ihi'
" Swordsman " in tlie Brussels gallery were added to
tlie works of Charles van der Sta])pen. Tiie " Swords
man " is almost French in style ; Mercie's iiiHuence is
very perceptible. It is supple, reliiied, and elegant,
and it won golden opinions, Init I doubt wiietlier at
the juesent day it lias any charm for its creator.

I)uriiig tliis period of success tlie artist came back
to his beginnings; liie arts of decoration, lb'
executed a balcony for the orcliestra of tlie Con-
servatoire, another for tiie Aliiambra Tiieatre, some
decorations for the Post OHice, and I lie caryatides
for the Hotel de Curte. Then lie went to Italy
to refiesli iiis niiml at tlie fountain-head of modern
sculpture. He executed several busts, Init the mas-
terpiece which stamps this jieriod is tli(> " I tavid."

JEAN PORTAELS.

again came to tlie front. In a iiiomeiit of true in-
spiration he designed these two candelabra and a
centrepiece, in which episodes fioiii the history of
the town were illustrated ; the decorative features

CHAKT-E.^ VAX PETt STAPPEX.

.'97

being adapted from the iris, an original and novel
style of treatment which has since been extensively
imitated.

Before speaking of his later works, mention must
be made of two groups, one called " Ompdrailles "
or " The Wrestlei-s," and the other, " The Builders."
" Ompdrailles " is a personage who figures in a
romance by Leon Cladel ; he is typical of youthful
agilitv which decavs and is exhausted in its bloom

strongly marked spaces and an excessive play of
light and shade. " The Builders " is in the simplest
style of art, strong and severe, the sense of line
predominating over the feeling for chiaroscuro.

Until this time, however, that is to say, before
1893, large schemes of work, whole effects, cycles
of figures, had had no place in Charles van der
Stappen's work. In spite of groups and statues
his talent was to some extent frittered in what

MONUMENT TO LABOUR.

under the fierce breath of Love. The group repre-
sents the wrestler beaten, carried out of the fight
by his fiiend, and displayed piteous and dejected
to the public in the amphitheatre. The different
character stamped on the figures and the flesh of the
two champions, the well-knit, mature strength of one,
the elegant but broken energy of the other, the
variety of attitude, the crestfallen and dying com-
batant, the epical and solemn character of the whole
composition, stamp it with the style of the truest
beauty. Here already Charles van der Stappen had
shaken off his tendency to indulge in detail for its
own sake, and to elaborate parts to the detriment of
the whole. He has not aimed at gracefulness, hardly
even has he thought of the picturesque.

In ■' The Builders " the figures are treated in
masses. The sculptor had been blamed for working
out his groups from the point of view of tone, with

12.3

miglit be termed cusvl work — commemorative tablets,
bas-reliefs, busts of painters, his friends, and of
literary personages, statuettes, portraits — he had
taken no wide flight.

At the present time he is working with great
promise of success on three important schemes.
In collaboration with Constantiu Meunier he is
directing all the monumental decoration of the
Botanical Gardens at Brussels. Balustrades with
allegorical figmes and emblems, designs for
fountains, statues of the seasons, groups of animals,
reapers and sowers, unite to harmonise art and
nature. The general design was exhibited and the
execution entrusted to ten or more sculptors.

His " Chimiera " fountain is to be retained in
the "Pare du Cinquantenaire." In the centime, on a
granite rock, a stalwart young hero in the pride of
his strength seizes a chimrera by its wings, and

298

THE :\iac;azixk of ai;t.

liokls it captive it not conquered ; at the four angles glory, Constantin ileunier ; and last year lie lent

of the pedestal are seen the Child trying to reach its his studio to a party of young artists that they

own chima?ra ; Youth abandoning itself to tlie power might do honour, among his statues and casts, to

of his: Motherliood taking refuge under its pro- tiie artist whom Paris had proclaimed to be~a

tection; Old Age silting dejected at having failed master.

to subdue it. The originality of this work consists We have seen tlie Artist and the Man : now fur

in liaving ajjpropriated an idea of universal meaning the Teacher.

and clothed it, for a decorative purpose, in glowing Ilefore he was appointed professor at the

and vigorous plastic forms. I'locks of rock form Academy he iiad opened a free scliool. All might

water rushes come who wcjuUl

tlie base of the whole composition

out from among them,

and the monsters also

spout water from their

open jaws as they rear

with their forefeet in

the air and outstretched

neck. Tliis fountain was

exhibited at the I'niver-

sal E.xhibitioii of ISOT.

A " Monument to
I-abour" is as yet only
sketched. Cliarles van
der Stappen liere recurs
to the time-honoured for-
mulas symbolical of Art,
Commerce, Agriculture,
and Science. Among the
ligures and emblems of
science he introduces the
skeleton of an iguanodon.
He has illustrated the
other allegories by less
priin;uval objects ; and
the group representing
" Art " is full uf spon-
taneous inspiration.

This is a hastily compiled list of bis mine
important works. If we go to seek in Iiis sludiu

SILENCE.

The first tests were soon passed;
he knew at once whetlier
to keep or disnii.ss a
learner. I'aul Dubois,
l'"ernand J)ubois, De
llaeii, Samuel, l)e Vreese
and Charlier had their
lirst teaching under
Charles van der Stappen.
As soon as he was elected
U) the Academy he began
ti) act largely on Ids own
principles of instruction.
In a letter lie wrote
Id me some time since,
be thus expresses him-
self: " In my opinion,
since there is no doubt
that classes for teaching
Art are indispensable,
the lessons ought to tend
to develop the pupil's
teini)erament and iiuli-
vidiialily. To explain :
To begin, outline-drawing
must be taught, from
vegetable forms or ob-
jects in daily use ; tliis is to give the learner
])iactice in the use of liis materials and some sense
of relation and [jropoilion. From the lirst the

the author of so many pieces, many of wiiieh will

hold a permanent place in T.elgian art, we are master sliould incite liis pupils to a love of nature,
startled to find quite a little man instead of the and
colossus we might expect to see. We meet an
amiable and good-humoured personage, \'ery eager
in talk. His eyes are keen and look large l)ehiiid
his eyeglasses, his shoulders square, his bands active
and pliant. Well-knit strength lurks in tlial com-
pact frame, wliicli is sturdy tlunigh short. We
feel the presence of a tenacious will. If we arc
privileged to know the man well we liml liiui Idndly,
oV)liging, a ])leasant ccnnpanion, a faithful and
generous friend. I know many admirable facts
concerning him. He is well iid'ormcd, well read,
and familiar witii the history of his art. lie loves
the great geniuses — ^Michael .Vngelo, Donatello,
Kude. He is devoted to his fellow-worker, his
companion in many a struggle and sometimes in

impress on them tliat nothing is unimport-
ant in liie life around them : tliat tlie man who
feels the lieautiful side of everytliing he sees will
easily penetrate to tlie soul of things, which is tlie
supreme end of art. Above all else, I insist on
the laudation ami eiuouragement of that feeling;
for, observe : tiic rapidity and certainty of a young
artist's a'sthctic gnnvtli (whether painter or sculptor)
depends on his first impressions. As soon as the
])upil tlins predisposed begins to give style to his
(hawing of what lie .sees — tliat is to say, begins to
render bis own view of what lies around him —
alisolute respect for Ids ]ioin1 of view is tiie first
tiling to be considered. 'I'he master must then
divest himself of his personality. He must be a
.sym]iathelie <^ntidc ami not a pedantic ])ioneer.

CHARLES VAX DKIi STAITHX.

299

" This apprenticeship to art is a sort of graimnar
lesson for the pupils. "When they have mastered
the proportions and tJie living sense of the simplest
objects; when througli this they have begun to draw
thing's from nature and in accordance with their own
temperament, it will soon be easy to discern wliich
arc equipped for tlie great struggle — that is to say,
for art — in the highest and widest sense, and which
will never be anything more than its journeymen,
gifted witli skill and something beyond. Such a
classification is of the first importance and ought
to be carried out after a few yeai-s' study at most.

" Since art must yield to needs, and in the age
in which we live is so much in demand that
we cannot conceive of existence without it, the
craftsmen of art are more and more indi.spensable.

Academies arc made for them above all others. But
those who are of such metal as fits tliem for the
loftier struggle can learn in any school : they are
above all conventionality. Is better teaching
desirable in the academies ? Certainly ; for even
there a mechanical and intellectual training are
needed to equip the craftsman, and he cannot dis-
pense with tliem."

Such, in brief, are Van der Stappen's tlieories of
teaching. They may be summed up thus. The pro-
fessor must be able to awaken the pupil's mind, and
his teaching must not impress his own individuality.
Tiie artist, on the other hand, must develop an in-
dividuality or he is not an artist. It may be added
that Charles van der Stappen has fully come up to
his own standard both as a teacher and as an artist.

THE OCTOPUS.

at --^^V^

«^^^^i:

'"ffr-^k

r. " 1 ' ' ' ' > iT

(

i' * r'tr'rijt '/^''

iL T^:^

fT="-

By J STARKIE GARDNER.

IN" mediiuval days, if fpcace prevailed, it was the
custom of the inoiiareh and court to prorrrcss
from city to city in order to keep a watchful eye on
tlie doings of high slierifTs and the powerful nobility.
Royal residences were then numerous in many coun-
ties, yet of all the feudal castles thus used by royalty
in England, few remain inhabitable except the Tower
and Windsor, while of purely domestic residences
scarcely one exists in a peifect state except Hampton
Court. Built in titat deeply interesting age when the
new lights of tlie Renaissance were blending with
feudal tradition.s, its erection is indissolubly linked
with the memories of two of our greatest historic
figures — WoLsey, who made it a palace, and Henry,
wiici made it royal. In no way inferior in historic
interest, for the time it has existed, to eiliier AVimlsor
or the Tower, its mellowness has been less impaired
by official restoration, and it remains not only one
of the most charming of nm- miticmal monuments, but
one apparently ke[)t \\\\ mainly for tlie people, wlio
are free to linger in its apartments or wander about
its lawns and terraces, even on their one day of leisure,
without being eitlier personally conducted or harried.
Though stripped of a good dcnl to enrich Windsor,
not a little of ils original fuiiiiture and pictures
remain. Tliere are still to be seen some of the
tapestries collected by A\'olsey, once resplendent in
liiilliiint silks and threails of gold, the glorious roof
of tlie bamiueting-hall, the carved badges of the
Cardinal and of Henry and his uidiappy consorts, the
curious pictures of incidents in his reign, the great
clock, the superbly decorated closet, and capiicious

kitrlieus of Ttidnr days, to say nothing of the niag-
niticciit apartments in the wing added by Wren,
still with some of their Queen Anne and Georgian
furniture.

Tn so vast a building, where everything is dcciily
interesting, even tiie most important examples of the
minor arts may scarcely attract attention ; yet few
visitors can fail to observe the ironwork, which is
probably, e.Kcept that attributed to Queuliu Matsys
in Antwerp, the most famous in the world.

T.ittle, if anv, <if the ironwork, however, belonifs
to the Tudnr buildings. No (l(jubt fine work of that
period must have existed, for both Wolsey and Henry
had sumptuous tastes, which they gratified in every
direction. Nonsuch, (Jreenwich. and liiclimond
l]ristled with gilded ii'on and cnpinT prnncins and
girouettcs, and old illustrations show tliat the roofs
and tenaccd gardens of Hampton Ciant were simi-
liLily adi)incd. Some <if tiie beasts that supported
the pennons yet remain on the old bamiueting-hall.
Indeeil, the king considered tiie quaintly carved
monsters and the pennons they supported so essen-
tial to his royal estate that, according to Hall, he
even took them to France with him. ]\Ir. Liw, the
historiographer of Hampton Court, has jiublished ex-
tracts from the building accoiiiits relating to the
vanes, sliowing them to have been the work of John
a Guelders. The name of this smith, whose employ-
ment at Hampton Court extended over many years,
suggests the country of locksmithing, and it is,
indeed, imjirobable that this jialace was wholly
without the fiuelv ciui.scd ii(pii links wliicli are so

!i;nX\V()i;K AT HAMPTON CorilT.

301

prominent in contemporary Flemish,
French, or German interiors, anil which
are not inconspicuous features in St.
George's Cliapel at "Windsor, or King's
College Chapel, Cambridge. The total
absence of any Tudor lookwoik in the
rooms open to the public would be even
more singular were we not aware that
Henry YIII had a special lock car-
ried about with him, wliich accompanied
him on all his journeys, in charge of a
special locksmith, and which was fixed to
the royal sleeping apartment, wherever
that might be. A fine and unique ex-
ample of a lock, with Henry's rtiyal arms
and cypher, is preserved at Carshalton,
which may well be the identical one he
travelled with. The great rarity of locks
with royal badges of the Tudms is most
remarkable when contrasted with the
abundance of locks with royal cypiiers in
France, especially as Henry had mignons
at times who greatly afl'eeted the manners
and dress of the French Court.

Whatever lockwork, however, there
may once have been at Hampton Couit,
none is now to be seen or heard of, and
the only Tudor ironwork remaining ap-
pears to be the kitchen-range, the works of
the great clock, and some window gratings.

The existing ironwork is indeed al-
most wholly connected with Wren. The
panels of the great garden scieen, separ-
ated and deposited in various museums,
have rendered the Hampton Court work
familiar all the country over. These
formerly passed as the productions of
Huntingdon Shaw, of Nottingham; but it is now
conclusively proved, however disinclined we may be
to give the credit to a foreigner, that not only nearly
the whole of the Hampton Court ironwork, but that
at St. Paul's Cathedral, Chatsvvorth, and many other
places, was actually designed and supplied liy a
Frenchman named Jean Tijou. This gifted iron-
worker has, like many of his compatriots, left a record
behind hina, in the form of a splendid book of designs,
recently reprinted and published by Messrs. Batsford.
The engravings in it are very fine, and comprise
most of the work at Hampton Court and Chatsworth,
as well as some at Burleigh, Trinity College Cam-
bridge, etc., which is thus seen to liave been de-
signed not later than 1693. Of the author's life
nothing is known, either as to the time of his
arrival in this country or his departure or death ;
nor do we know the sites of his workshops nor
places of abode. The solitary fact that has been

EAST ENTRANCE GATES.

recorded concerning his domestic affairs is the
marriage of his daughter with the famous painter
Laguerre, who had been originally educated for
the priesthood. Tijou could therefore hardly have
been a Protestant refugee, and was possibly attracted
over by AYren, or else induced to seek liis for-
tune abroad, like many other noted craftsmen and
designers, through a superabundance of famous
workers at home. The status of his son-in-law
Laguerre was no doubt good, he being a god-son to
Louis XIA' and a favourite of William III, and this
marriage, taken with the fact that the Ti'easury
accounts disclose balances of nearly £:2,000 owing to
him for two or three years at a time, show, notwith-
standing that he pleaded poverty in some letters
pressing for payment, that he was a man of substance
and of fair position in life. As neither will nor place
of burial has been traced in this country, it seems
probable that Tijou returned to France soon after

MO 2

TTIK MACAZINE OF AKT.

1711, llio date of the liist entry yet met with relating
to liini, wlien he eompletetl tlie magnificent series of
works enlrusteil to liim liy AVren for St. I'aul's. It
is strange that, tlimigli Wren patrmiiseil liini so
extensively for :^0 years, there is no allusion to Tijou
in nny of his letters or mi>nioirs; while lliere are
none of till- usual exprcssiniis uf giatiluilc to Wren or
to any other patron in the peroration U> Tijnu's Imolv
of designs. An explanation of tiiis may be perhaps
foinid.foron comparing the designs and tiie executed
work, it is apparent that important modifiaitions
were introduced, imparting a more nolile appear-
ance as well as an English look to tiie work ;
though Tijou him.self did not appreciate them, and
ignores them in his hook. The French amour-
propir was possilily pi<jued so far as to annul all
sense of Ijcnefits received. May 200 years of
ohlivion not he the deserved penalty of undue

THE HKINCbs olAIKCAbb.

egoism and vanity ? Anyway, not only was the
credit of his work given to Huntington Siiaw, hut
his design hook was filched hy a compatriot in
France, who appropriiited and repuldisiied as his own
all Tij(ju's plates of designs ; while iJatty Langley
acted not dissimilarly' in England hy embodying the
best of them in his work without the slightest
iiiknowledgnient or ( uuiiurul as to tiicir authorship.
As to the possible collaboiation of Ilmitington
Sliaw in the work, the epitapli in Hampton Ciiuich,
the locul tradition, iiis intimate association witii
the king's mason in charge of the works, Shaw's
removal from his liou.se near the Palace to London
coinciding with the completion of the ironwork for
Hampton Court and the commencement of the long
series of work for St. Paul's, and the fact that
Tijou's career in this country as an ironworker
apparently closed soon after Siiaw's death, all tend
to show that they were a.ssociated
together in the work. Shaw's posi-
tion in life and handsome monu-
ment sliow that he was a person
of consideration, and it may be in-
ferred, therefore, that if he took a
part in it, it would not be a mciin
one. Perhaps, even, Tijou was but
the designer and master-mind and
no smitli at all, while Shaw was
the individual who actually carried
out the work. There is much to
favour this idea, but whether wliolly
or partly due to Shaw, this Hamp-
ton Court work marks an epoch
in the artistic working of iron in
England.

In any account of the ironwork
at Hampton Court, the imposing
garden screen — mentioned as having
been distributed over several pro
\ incial museum.s — must come first.
Standing about ten feet liigh, it
consisted when all together of
twelve strikingly bold, lich, and
tlorid panels, wliich displayed var-
ious badges, emldems, and cyphers
of iMiglish royalty, separated by
stately pilasters surmounteil hy royal
crowns, and buttresscil by mas.sy
scrolluil supports. The acanthus
work and arabes(iucs are in the
most llorid taste of Louis XIV, but
the pilasters are dignified and
English in feeling. Screening the
forniid terraces and Dntch jiartcrres
lit' tiie private garden of William
and Mary, tliis range of stalely

IKONWOEK AT HA:\rPTON f'OFET.

303

ironwork must have pvesented a niaguificent ap-
pearance, but the ever-changing views as to the
hiyiug-out of the gardens, and tlie ti'ansfoniiation
of terraces into grassy slopes led to its being sliifled
from pillar to post, until — no place remaining in
the g-drdens — it was finally got rid of and banished
to the Park. Though its removal from the gardens
must be lamented, there can be no question as to
the propriety of transferring it from its late in-
congruous position in the Park, where there was
nothing to screen and a total lack of appropriate
surroundings, and where, to jud.ge from the con-

cyplier they bear, and inferior in execution. This
position was apparently intended to receive some far
more grandiose gates, but only tlie stately stone
piers were erected — under Queen Anne — and these
" pitiful low gates," as Defoe calls them, sub-
stituteil.

Tlie somewhat plain railing, nearly 500 yards long,
separating the gardens and park is Tijou's, and was
put up, as ascertained by Mr. Law, in 1700, at a cost
of od. per lb. The picturesijue railing to the garden
terrace with its simple but finely - proportioned
pilasters and panels, as well as the balustrade with

BALUSTRADE OF THE KINGS STAIRCASE

dition of the gates left behind, it must have fallen
to rust and decay. Even now, the extensive re-
pairs necessitated by time and exposure consider-
ably detract from its beauty and interest.

In far better preservation, due to a sheltered
position, and scarcely inferior in importance, are the
three pairs of noble iron gates which still close the
arched entrance to the Queen's side of the Palace.
These were pi-oduced between 1694 and 169G, and
must be ranked among Tijou's finest works. The
central and the richest are illustrated on page 301.

Of the many park or garden gates recorded as
having been made for Hampton Court by Tijou,
but one pair of any importance now exists : those
banished to the Long Walk, Tjeside the Home T'ark.
These are in his de.sign-book, but with proportions
improved in execution. The well-known Lion gales,
facing Bu.shy Park, are as near as may be a fac-
simile of them, but of the time of George I, whose

ovals at the head of the ornamental water in the
paik, so frequently copied, and the railing to the
orangery, are also in the style of Tijou. To him,
again, are due the various simply designed stair-
rails, which were formerly Ijack stairs to royal, but
now lead to private, apartments. They were pro-
duced prior to 1690, the accounts for them being
still in existence. One of these, not accessible to the
public, has the curious addition of two rich brackets
and festoons, perhaps added to subdue the severe
ettect of the stone and iron above. Tiie superb
King's staircase — by wliich visitors ascend — painted
Ijy Verrio, presents in its balustrade another of
Tijou's works, finislied in 1699. The somewhat
geometric panels are cleverly designed, and follow
tlie rising steps without elfort. The moulded iron
iiandrail shows that the use of mahogany, fiist
introduced for this purpose under Louis XIV, did
not reach England till after the close of the centurv.

304

THE ^rA(;AZIXE of art.

The corresponding liandrail to the Queen's staircase ;uul was the last of any importance erected about
— liy wliicli visitors descend — is of niahogjxny, and Hampton Conrt Palace until the Ottice of Works

BALUSTRADE OF THE QUEENS STAIRCASE.

exactly repeats the older iron section, tiie early wood contributed, a few years since, a kind of Tudor
rails being usually reproductions of luetal. This pattern gate, to hand down the Victorian taste in
ironwork was not put up till 17ol, under George II, ironwork to posterity.

JULES CHHRET: PAINTER.

SPIELMANN.

"VrfJTHINii could be more unjust tiiaii to write
i-l down Jules Cheret " the I'oster King " — and
leave his fame at that. There is no doubt that the
many hundred postere he has designed since 18G()
have carried his name tiiruughout the world, and
have identified him for ever with the nj/ir/n: Yet
this very creation of his — tliis apotheosis of the
advertisement, wherul>y the i<lea of commerce has
been carried up into the liigh places of the artistic
elysium — by occupying too completely the aspect in
wiiich the public regiird Cheret, leads them to neglect
what arc in reality his greatest attainments and his
finest works. It is idle to pretend that, admirable
as are these postei"s, and brilliant as original decora-
tions, they contain any of the subtlety tliat is
to be found in the artist's pastels, or represent in

any complete fashion the richness of his imagination,
or the playfulness of his fiincy.

The fact is, that the peculiar demands made upon
him in his poster-work constitute a decided restric-
tion, although to that restriction M. Cheret owes
the chief triumph of his life. Tiie commercial
economy which at first called tlie poster into being
dictated a further economy in the number of litho-
graphic stones employed by artist and printer, as
well as in the inimber of iidcs used. Thus M.
Cheret became a pioneer in the use of the three
primaries which nowadays has developed the
" three-colour jiroccss." Xo one has Ijcen more
learned in the eJlective u.se of .so limited a number
of colours ; no one has better known how to make
these colo\irs sing, .\fter his early apprenticeship as

->'

A CHALK STUOy.
(»» Mes OUtnt.)

.III.ES CHf:i!ET : rAlNTElJ.

80i

a lit,liot;i;ipher, ami (huint; his long stay in Enw-
laml, he began to think of work more original and
artistic than that at which he was set, for the art
of the advertiser was at a very low ebb in the early
'Sixties ; and when, iu 18G6, at tlie age of thirty,
he returned to Paris he had laid out for liiinself a
ciairse from which he has never deviated one inch.
He would regard coloui-s as flowers, and would make
up his bouquet so that tiie impression of his com-
binations should be that of a floial composition. Hut
for that colour was not enough : the spirit — beauty
and brightness — must be there as well, so that dainty
grace and joyousness should
combine witli pleasing hues
to present the commercial idea
in an alluring and fascinating
form. AVitli this ruling idea
he designed his first poster
" Zi( Biche ail hol%" and it has
governed him to the last,
whether with "At the Wings
of the Opera," " La Terre,"
"The Dancer's Lover," " Dance,"
•' Music," " Olympia," " Span-
ish Dancers," " Our Sailors,"
" Punch Grassol," " Saxoline,"
and " Pastilles Geraudel "—
that is to say, whether the
subject be gay and qiiint-essen-
tially " Parisian," or whether
it be patriotic, or even sombre.
For thirty years Paris — nay,
all France — has been charmed
by the original design and
grace of the artist, and by the
pleasing jwdUhes of his imi-
tators ; and even now as much interest is taken
as in the days before the artistic quality of his
designs called the poster-collector into being. That
strange product of commerce, art, and the passion
for acquisition, who successfully brings together all
M. Cheret's performances, will have his hands full —
and his house as well — if he succeeds in his task, for
the artist has produced hardly, if any, fewer than
fourteen hundred. This, as a simple calculation
will show, represents the extraoidinary average of
nearly one poster a week for tlie whole period of
his lithographic career.

But, as I began by saying, it is by something
more dignified, more complete and subtle, that
Cheret's great talent must be judged : tiiat is to
say, by his pastels, his decorations, and by his wall
paintings. Commerce is then banished from his
mind; he is an artist pure and simple, revelling in
colour, and, freed from a difficult and sometimes
almost nntreatable subject, playing with his ideas

124

JULES CH^RET.

(From a Photograph by Nadar, Pai

and his materials as a cliiM willi his toys, evolves
things of fresh beauty and unsophisticated charm.
Then he will go a step farther and make studies in
chalk from life — such as those which are produced
in these pages — studies made in all earnestness,
searching for artistic significance of pose a.s well as
for truth of character, of person, and of attitude. In
all of this, of course, he is as the poles asunder from
Mr. Iiuskin, ilr. Watts, and the artist philosophers,
the very foundation of whose beliefs it is that art is
for a higher purpose than mere amusement. Well,
JL Chc'-ret — a philosopher, too, in his way, finding
grim consolation in the perusal
of Schopenhauei- — pretends to
ilo nothing but to trifle deli-
cately with life, to amuse with
his pretty girls, his dainty
idealisations, his quaint pier-
rots, his funny polichinelles,
his charming babies, floating
and scampering aljout in a
tirmament of blue delight
flecked with strange, laughing
mask.s bright flowers, and
coloured streamers. Some
have traced in these designs
a resemblance to the floating
divinities, ornorini, and angels
of Correggio and Tiepolo : with
perhaps better reason could
the ceiling decorations of the
Italian and German decadents
be pointed to as the fount of
in.spiration. But for my own
part, knowing as I do M.
Ciu'ret and his work, I am
inclined to believe that there is no imitation, no
direct source of conscious inspiration — only a ren-
dering of the thoughtless gaiety of the moment
based on the knowledge — and disregard in some
cases — of the resources of art.

Offensive to the artist beyond all else is the
conventionality against which his life has been a
perpetual protest. Anything that savours to him
of academicism is so little sympathetic that he is,
perhaps, too appreciative of originality for its own
sake. In any case, he will not use the professional
model, except for his serious drawings ; and even then
he will ask a friend to sit in preference. " Models,"
he told me once, " are not models. Ca sont In jiosc.
The spirit of the lay-figure is over them all." He,
therefore, pro\ides himself with the casts with
which his studio is hung, laughing heads of children,
dimpled limbs of iniinrini, and torsi of women,
which are of such help when foreshortening is re-
quired. It is, therefore, not just to say — as is so

306

THK .ma(;a/ixe of art.

,®

<^-

i'.l'

\.r^

often said of M. Clieret's work — that it is all ilime in France itself for lightness of toudi and \\\>-
(h rhic. Indeed, these chalk studies are drawn preciation of tlie most allnring and delicate of
from friends of the artist, or, in one case, perliaps, feminine grace and charm — a tribute at once to the
from a professional model, whose singular freedom lithographic stone and to the gentle sex which he
from conventionality was suHicicnt to recommend has spent his life in idealising. But not tlie stone
her to Ids notice. These drawings, with their alone has engaged the legitimate practice of his art
refined passages, their knowledge of the figure, their in this direction. In the bigger of his studios in

the I!ue Laugier, there was lately
to be seen a wonderful suite of
furniture, the panels of which had
been decorated as a private com-
mi.ssion. These panels, painted upon
maple, mounted upon furniture of
oak, chestnut, or moire .satinwood,
are ciiaruiingly adapted to the pur-
poses to which eacii room is put.
What could be more appropriate
than that the panels in the bedioom
sliould be decorateil with " Night,"
"Day," "Waking," " (iood-night,"
and •• I'leasant Dreams"? or that
the electric lights beside the chim-
ney-piece should be held up by
the merriest and prettiest of al
M. ('beret's nymphs ? or that the
breakfast, sitting, drawing, and
dining rooms should have " Ureak-
fast," "Tea and Coftee," "Wine,"
" Gaming," " Smoking " — all repre-
sented with such pretty and rather
obvious symliolism as the artist may
obtain from the amusing puppets of
his (Iramtitls 2i(rsiiti/i\ with all the
suggestiveness of a prolific fancy and
luxurious and fertile imagination ?

But more important tlian all
these various demonstrations of
whimsical grace, are the decorations
with which the Salle des Fetes in
the Paris Hntel de Ville is about to
be embellished by the painter's
brusli. No subject could be more
feeling for drapery, and absolute natiiralness, present thoroughly in harmony with his talent and his bent,
a clejir contradiction to those who protest that the no commission more welcomed by tlie artist himself,
art of the nf/irhier makes no demand whatever upon Panels, over-doors, inter-windows, of diflerent shapes
the power f)f the draughtsman or upon the higher and sizes, have oftercd an o]ii)0itnnity, both as to
capabilities of the artist. JI. Cheret has shown treatment imd extent, of which the artist lias taken
that he is a descendant of Watteau and his school, full Mdvaiitagc. Tlie fetes that take place in such
by virtui! of the elegance and chaiin of his eighteenth an aitartment are various, and as various are
century daintiness, modified by the (juality of grace the topics taken by M. L'ln'-rct as his subject,
which he has had the wit to adapt to the needs and Dancing and music prevail throughout in all the
the temper of his own tinn-. Babelaisian, yet really inofTensive, riot — Parisieiinc,

(Jheret the diauglitsman and painter is not to policlunelle, picrrot, pierrette, hehes once more,
be confused with the designer of posters. The dancing upon thin air, very bubbles of fanciful
lithographs which he has produced, based upon humanity, created but to burst into a shower
these very studies, have hardly been exceeded even of prismatic colours. Song, music, and dance^

A CHALK STUDY.

JT'LES CH1?.RET : I'AIXTKi;.

307

siippk'iiieiiled by the colours of the painter — these
typify the idea of rarisiau fetes in this beautiful
rooiu : while the upriglit yiunels, devoted to tlie

(Of- w:S?

I'ather the little ladies of Watteau, Ikmcher, and
Laiicret eome to us through the puppet sh(jw, as
innocent as they are uncon\'entional, and incor-
ruptible and uncorrupting, tliough their costume be
not staid nor their attitudes severe. Mr. II. H.
Sherard has pointed out how, in the search after lifi'
and nu:)\'enieut, " idealisation and intensification — not
to use the word exaggeration — are, indeed, the prin-
cipal factors in M. Cheret's artistic process, and just
as there never were such postures as he depicts, so
never either were such men and women seen as his.
And this, perhaps, is the chief charm of the painter
who has come in an age of the crudest realism."

It is hardly correct to imply that M. Cheret is
influenced solely by the " bouquet ; " the rainbow is
even a closer guide — one so closely followed that
it is very clearly seen in some of these elaborate
pictures that represent " Pantomime," " Comedy,"
" Moliere's Personages," and the rest. Here in one,
the scheme of colour is from the reds and pinks
to the blues and greens right through the whole
tramut, and in another from greens and blues back

A CHALK STUDY.

delights of children, show congeries of little ones
with toys and objects of infantile bliss and affection.
It has been objected that these figures, male and
female, who revel in /" Jvii' de vivrc in the best of
all .saltatory humorous, dainty or quaintly artificial,
exquisite though they be in their way, adopt atti-
tudes and gestures impossible, or at least unnatural,
to human haliit and to the human frame, even
when engaged in the wildest dance or other occupa-
tion suggested by the refinement of lu.xury. Wine
and women are 'SI. Cheret's artistic divinities, how-
ever [ilatonic may be his love, despite the exuberance
of his wor.ship ; but those women of the painter's
fancy have little in common with the woman of
the earthy world. They are the women of his
palette, the creatures of his primary colours as fai'
removed from the dctni-iiiiniilaini: cm the one hand
as from tiie inondainc on the other. Tliey are

/ '^

.^ \

:«A ^ \

A CHALK STUDY.

308

THE ma(;azi.\k of art.

again to lliu ix-ils and pmplos. And we may signiKcance of tlu' work will lie made clear lo him,
see, generally speaking, how in his bigger works and he will realise why lliis painter — who is so
the artist cleverly varies the system by intro- much freer than ^\'illelLe, lliongh without that

ducing his colour in one work the actual dresses
of the figures, and in another by scumbling or

^■}

designer's depth nf sentiment, and wIkisc motive is
neither jihilosopliy, politics, nor humanity, but frank
( lallic brightness and jollity — has adopted the simple
scheme of softly vibrating tones that are intended
to awaken a response in the breast of the merry-
maker lit' life. Fiom liic lithographic workshop of
the London ticket-writer to the a/elicr of the Hotel
de Ville decorator is a long stride ; but M. Clieret
has not forgotten the years he passed in England nor
the tongue he learui'd there, and he — a type, one

''h^..

^L7:i.

A CHALK STUDY.

glazing llie graduated scale over the variegated
composition. M. Cheret's feeling for colour is very
delicate ; it has not sullered, but has rather been
kept fresh, by his contijuial dealings with the
juimaries, and his technique is admirably adapted
to his subject and his methods.

In judging of these mural decorations, as of the
furniture panels, the spectator must bear in mind
that the artist has adapted his work to its main
purpose, and the visitor to the Hotel de Ville must would almost
remember that these pictures are intended to be bei|ueathed to
viewed principally by artilicial light. Then the full serving in the

?*>'

A CHALK STUDY.

say, of ail JMiglisJi guardsman —has
this country a son who is now
Iii'itisli nax'V.

MOO

HUMOUR IN ANIMAL PAINTING: THE WORK OF
MR. A. W. STRUTT, R.B.A.

BY ALFRED LYS BALDRY.

"ITTHEX artists attempt to be tlelibeiately
1 1 humorous in their pictures, and to paint
subjects that are calculated to make the beholder
smile, the result is more often than not depressing.
The sustained effort to be funny seems to exhaust
the painter, and the witty intention formed in his
mind rarely takes any form that can be regaided
as even moderately amusing. Some men try to
make their point by open carica-
ture, othei-s by exaggei-ations which
are only momentarily comic, and,
if repeated, become absolutely
wearisome : and some few descend
to depths that are really not per-
missible, and paint pictures that
are alternatelj* childish and gross.
These mistakes are, as a rule, caused
by a misconception as to the sort
of humour that lends itself to pic-
torial treatment. Tiie artist does
not think out his motives, and
does not, in his wish to be wildly
funny, stop to consider matters from
any reasonable and dignified point
of view. He lowers his art to the
level of the common herd, and puts
himself in a false position as a
trickster whose mi.ssion it is to
make the groundlings laugh, while
he is leading the judiciou.s, who
see in him greater possibilities, to grieve sincerely.
What makes this perverted idea of humour the
more distressing is the fact that some have proved
the feasibility of combining really subtle and in-
telligent quaintness of subject with technical ability
of quite a high order. That pictures, excellent in
all the essentials of execution and tlioroughly carried
out in every detail of treatment, can be so painted
as to delight every lover of a good, wholesome joke
is fortunately quite undeniable. There is plenty
of true humour in the art world, humour that is
gained witliout grimace or contortion, that is free
from malice or unpleasant suggestion, and that
adds legitimately to the enjoyment of everyone that
does not take life too seriously. But the artists
who have so treated this branch of expression as
to make it worthy of acceptance by people of dis-
cretion, have done so by the help of acute observa-
tion and thorough understanding of those occasions
when nature unbends and shows the frolicsome spirit

that underlies her impassive dignity. They have
avoided trivialities that are unfit for perpetuation
in paint, and have accentuated the point of their
story by embroidering it with a pattern of well-
chosen details. In this way tlie merely jocular
subject has been made the motive for many a sound
work of art, deserving respectful C(jnsideration, and
capable of being judged by the higher standards.

"HOW MANY MORE?"
(from the Painting by Alfred W. Strutt. f!.Bt.)

As an example nf what may be done by com-
bining the intention to amuse with a correct appre-
ciation of the value of careful study, the w^ork of
Mr. A. "\V. Strutt merits to be quoted. He has
always kept in view the idea of representing
humorous situation.s, and has chiefly occupied him-
self witii the material that would give him oppor-
tunities of playing on the lighter emotions of his
admirers ; but at the same time he has steadily
striven to make his pictures as exact as possible
in their reproduction of natural facts. It is not so
much the comic side of life that he has insisted
upon, as the momentary glimpses of character that
he has noted during his observation of the people
and things that have seemed to him to be pictorially
useful. His attitude has been that of a devoted
lover of nature, keen to study her ways, and anxious
to record them with absolute fidelity ; but in doing
so he has seen and seized upon every chance of
telling pleasant anecdotes about his experiences.

THE MAIi A/INK OF AKT.

Tlie recoiil of his work is a sumniary of small Directly any IoirIi of huiiiaii cunning is inUmluced
events, each one of wliich is of a type to apinal the comicality of the creature is gone. It becomes
to anyone who concerns himself with the by-play at once a mere sham, without distinctive character
of the great drama of life, and holds even the or personal quaintness, simply a lather unpleasant

piece of all'ectation.

By his care in illustrating natu-
ral history from the point of view
of absolute fidelity to the originals,
.Mr. Strutt has succeeded over and
(ivci- again in giving us pictures
lliat arc <iuite genuine in their
comicality. In his first e.xhilnted
works he chose as a uiotlcl that
curious little beast, the stoat, and
jiainled it with all the accuracy of
a siientilic observer. Indeed, but
for the titles he gave to these
studies — " I liope I don't Intrude,"
a stoat disturbing a sitting part-
ridge ; " Tiie History of a Crime,"
where tiie bloodthirsty robber is
meditating a descent upon a black-
bird's nest full of callow young; and
" The Way of Transgressors is Hard,"
auiillicr stoat looking at a wall hung witii the dead
bodies of many of its relatives — the jocular intention
wiiuld have been scarcely jterceptiblc, and the series

A FLYING VISIT.

(from the Painting by Alfrtd W. Strutt, ft.B.A. By Permission of J. P. ¥i-niloza, King Street,
St. James's, the Owner of the Copyright )

trifles of existence to be tit for the attention of
thinking men.

It is not surprising that he sh<iuld, in his desiic
for the realisation of varieties of humour, Iiave

Would have claimed attention simply because the
limited himself to subjects from animal life and study revealed in them was exact and intelligent,
to incidents in which men and animals could be Kven when, as years went on, lie widened liis range
shown together. The characteristic habits that in and began to deal with the sporting and liunting
all sections of the animal kingdom distinguish every subjects, by which he is best known, the episodical
individual have an essentially comic side, that is side of his pictuns was nexcr allowed to come in
the more fascinating to the human
observer because it is absolutt'ly
natural and unconscious. There is
no posing and no intentional fooling
on the part of furred and feathered
things. They are always in deadly
earnest ; and they take tiiem.selves
.so seriously that their very air i^f
conviction becomes (punntly amus-
ing. Everyone who gives to animals
the study they deserve is constantly
impressed with their self-importance:
and the less prominent the place
occupied in the scheme of creation
liy any particular beast or binl,
the more calculated to amuse the
superior Innnan are its manners
and customs. For tliis reason, the
painter who would depict the
iiumorous peculiarities of animals,
wilil or tame, must know them so well that lie can
simply .show them as they are, free ami uncon-

K-™-iiyf

^^^^^B^&^h^h!<^^V^^^^^^^^^^^^^^^^h

the Painting tj Alfred W. Strutt, R.B.A. By Pe,
ttir Copyright.)

THE RETURN VISIT.

ssion of R. Dunthorne, the Owner of

.strained, and uncontaminated by human inlliu'iici

contiict
motive,
realism,

witli their illustrative ami naturalistic

" I )azzled," for instance, is a piece of pure

a record "f the baliits nf tlie fox set down

HUMorK IX ANIMAL l'AIXTL\"(;.

Mil

with a degree of truth tliat only a naturalist who almost luiinan synipatliy. It was only when Mr.
had observed the beast in its wild and independent Strutt began to paint comedies, in which the chief
state could hope to gain, and painted with a feeling parts were played by men and women, that he

STUDV OF A nOOND FOR "THE RUN OF THE SEASON.
(Bi, /l//r,i/ w. Stnitl, R.B.A )

for colour combination, and liglit and shade variety, tried to make the luimuur of his motive tell obvi-

possible only to an artist. In the same way, " How ously. " In a Fix," an old woman vainly striving

Many More?" is made important by its interpretation to induce an obstinate donkey to do its duty as

of equine chanicter ; " A Flying Yi.'^it " and its sequel, a beast of burden, was plainly designed to please

" The licturn Visit," by their representation of the a public which derives its chief enjoyment from

^^^r ^

l-,;,^

■1^

[

Ka-'

-.,.>- I

-.m

STUDY OF A HOUND FDR "THE RUN OF THE SEASON."
(Sy Alfred W. Stmt. ft.B.A.)

cunning and ready resource of the fox ; and " Live the ridiculous misfortunes of others ; and to the
and Let Live," a St. Bernard mastiff benevolently same category belongs "Move On," a costermonger,
tolerating a half-starved terrier, by its touch of whose liarrow has broken down, worried by an

■Mi

THE MAOAZINK OF AUT.

unsynipiitbelic iioliocuiaii, who, seeing no patlios in
the situation, is only concerned about the inter-
rnption of the traftic in a crowdcil street. A more
legitimate piece of humour, a contrast of opposites,
was to be found in " The Praises of Flora," a burly
and not too prepossessing young costermongcr
juxtaposed with a barmw loaded with delicate
Howers, but here again the chief point of the joke
lay in the title.

Such street .scenes, however, hardly showed tlic

SKETCH FOR "THE RUN OF THE SEASON.

best side of the artist's ability. His rural sympa-
thies and knowledge of animal life were displaye.l
to better advantage when he returned, as he did
?oon after painting " Tiie I'raises of Flora," to the
material that the country districts provide in \nn.
fusion. Tiie hunting subjects, by which in recent
years he has added to ids popularity, seem to accord
more completely with his instincts, and to give liim
the opportunities that lie can >ise most satisfactorily.
In the trio of canvases that are among bis latest
productions— " Any Tort in a Storm," "The Run
of the Season," and "Not Caught Yet "—the subtle
devices of his old model, the fox, are once more
illustrated. The first of the three shows the beast
taking refuge fi'om the hounds on top of some hen-
coops in an old woman's donkey-cart, the second tlic
wild bolt of the donkey, roused to action ))y the
(•lamonr around it, and tlie third the strategic
retreat of the fox from its temiiorary place of con-
cealment to the distant woimIs, wiiere it may have

a chance to escape its pui-suers. llin' the humour
is genial enough, and the atmosphere of liie country-
side is well suggested. Tiie whole sentiment is
healthy, and a i)leasant touch of nature is felt
througiiout. r>ul the chief merit of the series lies
in the serious and faithful manner in wiiicii it is
worked out. Like all the best of Mr. Strutt's pro-
ductions, these pictures are acceptable maiidy l)e-
cau.se they reveal sincere stuily, and ilepend not at
all upon a deliberate purpose to be funny by the
u.se of unjustifiable exaggerations and eccentricities.
They are worthy of attention even from the purists
who are indifTerent to, or perhaps dislike, the intro-
duction of a joco.se idea into a work of art, for it is
possible to examine them detail by detail, and to
respect the knowledge tiiat is apparent in every part,
without being oflendcMl Ijy the manner in whicli a sub-
ject exactly suited to please the crowd is made to tell.
Indeed, all art work whicli is so honest, and so
.soundly liascd upon (dose study of tlic best class of
material, deserves to be taken seriously, wiiatever
may be the form in wliicb it is presented. Every
encouragement shoidd be given to a painter who,
if he does not wish to aim at lofty ideals, is
still con.scientious enough to desire to make iiis
craftsmanship and his characterisation as complete
as it can be made liy assiduous toil and constant
endeavour. His choice of humorous titles for what
are really accurate records of nature is not to be
ipiarrellcd with, if by deciding upon them he ctm
Caiii attention for sound achievements, that would
not be so generally respected by the untechnical
]iublic if the labels on them were less attractive,
llnnioiir may be, as the higher icstheticism declares it
to be, a blot upon art, but it will be asked for, and
artists will do tlieir best to supply it, so long as the
great mass of art lovers know little, and care less,
about the thoughtful purpose of llie idealists. It
is better to accept the craving for amusing pictures
as a fact which cannot be disputed, and to try and
educate it, than to seek to force unwilling people
into a grudging admiration of things they do not
understand. Tiie dignity and perfection of art can
only be brouglit home to the ])opular mind by a
process of long lueparation, and at present the
condition of this mind is by no means well suitetl
for tiie appreciation of vast abstractions. How soon
the ])roiier degree of enlightenment may come it is
impossilile to .say, but mejinwhile it is the business
of every capable exjiert to tlo his best with the
nieans at his dispo.sal : and from the.se a touch
of humour can certaiidv not be excluded.

3i:^

RECENT ILLUSTRATED VOLUMES.

THE present age is fortunate in the nunilier and
excellence of the books that are devised foi-
the use of the student of decorative art. The coni-
prehensiou of the arts of design has \-astly developed
since the days of Owen Jones and Digbv Wyatt-

not only better understood
measure in respect of
taste. The present ten-
dency appears to con-
trast favourably not
only in the direction of
intelligence of apprecia-
tion, but also in regard
to that spirit of pedantry
which, when they were
right, seems to have
governed onr earlier
ilecorators. Xowadays,
instead of being one of
the W(jrst served, the
section of ornament and
decoration is amongst
the liest treated in the
ilomain of artistic text-
book comijilation. This
much may, in a \erv
great degi-ee, fairly be
placed to the credit of
the work of the Science
and Art Department at
•South Kensington. It
is that vast, unwieldy
institution which, acting
as a factory of art
students, has created a
demand for better text-
books, to which a num-
ber of competent authors
have been induced to re-
spond. The art " move-
ment " in this section is
both rapid and vigorous,
and the present season
is as promising as any
other which we remem-
ber in respect to tlie
production of works
ilesigned to meet the
higher requirements of
the student. England
now takes the lead in
the.se matters, but other

but improved beyond

TABERNACLE.

countries are following closely at her heels ; indeed,
the first number of an excellent magazine published
in Munich under the title of " DecuratUr Kiimt" and
another from Darmstadt called " Deutsfhe KvnM mid
I ckoration" reach us as we write. Amongst recent
authors is Mr. .T.vmes W.\i:ii, to whose "Principles

of Ornament " we have
on more than one occa-
sion had reason to refer
in terms of approbation.
There now comes from
him a work more im-
portant in its way —
" Historic Oiiiniimit .- A
Treatise on Decorntivc
Art (tnd Architectural
OriKiiiiciif ■' (tJluipman
iind Hall), a work which
we accept with cordial
recognition of its ade-
quacy and high utility.
It is the first of two
volumes tracing the sub-
ject from pre-historic
times down to the pre-
sent day, that now be-
fore us stopping short
at the Renai.ssance. The
authoi-'s former book set
forth the pi-inciples of
design — that is to .say, it
was a practical instruc-
tion-l)ook on the .spirit
and planning of orna-
nicnt. Idealising, how-
ever, that instruction by
bare jH-ecept is not in
accordance with the
more philosophical spirit
distinctive of true edu-
caticjn, Mr. Ward has
i-ightly sought to infuse
a good deal more than
craftsmanship into his
students by setting con-
cisely before them the
history of the develop-
ment of ornament and
decoration, arranged geo
graphically and racially
in its plan. Only by lliis
method is it possible to

End of FiFTEENTH CENTURY
{From "Historic Ornament.")

(Italian )

:;u

THK MA(;AZ1XK of AI!T.

filucatc llic ili'si<;iicr. wlio icqiiiivs li> look into tin- tfcliiral funns: lliat cniiaiiiciil slnmlil lie t'sseiitiiilly
Kiijiiii iif till' jiiiuciples iipini which \w is taiiijht tn cMiistiiirlftl on thai liusis : ami lliat iniMo ajiplicil
wiivk. ii'alisini,'. in lirit'f, that it is as iieco.ssnry for ornaiiient is not iifcessixrily ilecoratioii. The hook

CARVED PANEL, FROM THE MARiSTAN OF KALAUN. (AFTER Pbisse dAvennes.) LATE THIRTEENTH CENTURY (Saracenic).

(frail "H<$t<tn.- Orniimrnt ")

the pioiliK.'tioii of tine work llial the slndent should is an elalwrale sketch, accnrately anil intelligently
know how a rule or an order has been evolved ns it drawn uj), with careful deniouslralion of the truths
is tn know the principles of that rule or older. ^Ir. hy whidi good ornauieut must inevitably be governed.
Ward has very ably covered the whole field up to It would have been better, however, had a more
the Itenaissauce, and has crowded iiis pages with successful ajiplication of Mr. Ward's taste and know-
excellent illustration.s from many sources to illumine ledge been made to the binding of his book,
his text. We might well critici.se the somewhat In his attempt to do justice to his theme of

disproportionate
length of the chap-
ters which he has
accorded to certain,
especially theeailier,
periods of art, and
a few of his state-
ment* we might feel
inclined to dispute ;
but a work like this
is .so big in its cha-
racter that lesser
matters of opinion
may Ik- dismi.s.sed in
recognition of the
soundness of the
greater principles
involved. < >ii all
the chief ipu'stions
Mr. Ward is a
trustworthy guide,
sonnilest on the
most important of
all — that i.s to sjiy,
hi- makes it clear,
and insists through-
out, that ornamentnl
design and jiattern
are to an extremely
great extent de-
pendent on nrchi-

NELL OWVNNE.

iBt Si> frltr Itl). fitm "Hlilcrleal Patlmlla")

national portraits,
particularly in re-
spect to the Na-
tional rortrait
( iallery, Mr. H. B.
WiiK.VTi.F.v has not
been unsuccessful
in the delightfully
chatty volume
called "Historical
I'or/ntil.-i" (d. Bell
ami Sons). Regarded
as a contribution
towards the import-
ant undertaking of
drawing up a com-
plete catalogue of
the portraits of
English worthies
in whatever collec-
tions they may be
found, U cannot be
taken very seriously.
Not only are form
and matter so
chatty and amiably
instructive, hut the
manner is so dif-
fuse that very
many volumes such
as this would be

EECE>'T ILLUSTEATKI) VOLUMES.

:!15

JOHN MILTON.
(Sy Pieter uan der Plaas. from "Historical Portraits.")

required to carry out the task. As a a com-
pauioi>, however, to the Xatioual Portrait
(_iallery in particular, aud as a general dis-
sertation upon the title-subject, it merits
strong conimeudation. Mr. Wheatley shares
the belief of many non-artistic master-minds,
from John Evelyn to Carlyle, that portraiture
is the most worthy and the most valuable
and