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 of "The

Arts" 277

" Dance of the Hours". . .277

Panels 278

Houston. Jl/a7-y. — E rabossed

Leather Book-Cover . . 622
" Mermaid " D sign in Embossed
Leather (designed by Thomas

GODFItEY) 330

Pronve, Cicfor.— Panel in Carved

Leather 519

DRAWINGS :—

Ashton. Julian R —"A Prospector"" 383

Hcardstei/, Auljrcu^

From " Past and Present " . .303

"Joan of Arc" 369

" Perseus and the Monslre" .364

"Sandro Botticelli " . . . .365
Sketches 367. 303

Black, A. C— Studies for Decorjtinn
at Her Majesty's Theatre. . 110, 111

Brown, Miss M. J.— Pen and Ink
Sketches 256

Burne Jones. Sir E., Bart —

Cartoon for Window of L'nioa

Church at Ashton-undcr-Lyne . 515
"David giving Instructions to

Solomon " 517

Study for " NinKte"' .... 515
Study for " The Car of Love "' . .514
Study of a He.(d . . . .516

Charlton. John

" An Amazon " 405

Sketches for Detail . . . .406

Cheret, Jtdes—CUalk Studies 308 307, 303

Collier, Miss Itnogen —

Life Study 256

Studies of Foxhounds , . . 254

Constable. John, li.A. — Pencil Study
of Trees at Hainpstead . . . 575

i)n Costa, JoAu-" A Study" . .318

Vance, George—

" Mr. Angerstein " .... G57

"J. Boswell" 6.57

"Earl of Orford" .... 653
"'Samuel Rogers'" .... 556

Detaille. E.—

"A Sketch in Paris" . . .665

" Saarbruck " 6n3

"Sketch of a Highlander" . .663
"Sketch of a L fe Guardsman " . 664

Fowler. Robert, /f./.— Studies . . 319

Gilbert, Sir John. H.A.. P.R.IV.S.—
The Fourth Cover of P«)ic/t . . 54

Jcllicoe, J., and H. Railton—" At
Squire Paice's Grand Dinner " . 316

Leighton, Lord, P.R.A. —

Pencil Sketch 595

Sketch 590

3[arks. H. Stacy, R.A.—

*' Science is Measurement '" . . 237
"A Sketch in the Zoo" . . .242

jl/a;/, PAi'?—" The Broken Heart " . 156

illeinertshagcn, D. —

Study froui Life. Pen and Ink 23. 24
" Rapid Study froui Life," Pencil . 25

Pitman, Rosic M. JA— " The Aspira-
tion of the .Soul," Initial . . . 271
Pounter, .Sir E. J, P. ff.. 4. —Chalk
Study foe "' Perseus and Andro-
meda " .593

R.ty, Oscnr— Pencil Sketch . . . 3t)2
Shaw, Byani —

A Menu Card 639

Studies 634, 641, 642

Shober, R. — "Costume Model on
Horseback " . . . . ■ . 255

Watson, G.L —

Pen and Ink Drawing . . .21
Study from Life, Pen and Ink . 25

Wilhelm. C— Designs for Press
Ballet 371-37T

INDEX TO ILLUSTRATIONS.

. 115

199

■ 200
I9S
197

. US
lyj

■ 199
141

1
. 200

117

. 201
1
201

ETCHINGS AND ENGRAVINGS :- "oe

lUnd.rs,,,,. ir. ■M.'l"."'l-, Je "'^- -^

curiiiiT. afiiillii-pjiiiiiiiishyl.erariieob
5Aoi/. /-VanA-.'- Fulls of tlio ItluDf! :
Siliatrimuicii. ■ aftir J. M. » • „.
Turner. U..\. ■ .•.,''''*

Spr tcf. 7f. -CeorBC tox and the

I'ipe of ■I'obiuco ■ . • • • ™'
7A'>mnso/i. n-.--AnI<lyll „■ .•. l-O*
II 'hrschmiill. V. .(.-"Miss CUvc,
utter Koiiiuey »»

FURriTORE AND NEEDLEWORK: -
Cbiiunivp'cco for mie of tlif Kooms
in Si Janicss I'aUcc, and sieil
Urate ik signed for Sir Walkin
Wynn (AiMM) •»''

XKKDI.EWOUK ASA JlODE OF AllllSTIC

Kxrui-.ssioN :—

Hoheniinn Shirt Front . .

Carpel ct While fotlon. Em-

broiilcied in I'oloured Mk

(IVrsinn, XVll or X^ lU

C'cnturyi . • • •

Cover of liark-bUie Siilin. Km-

bteideied with Storks in Silk

in tiold tJap.niesei .

Diicelion of Slilchc* in Leaves,

Flower, ami Stems .
UanKin'.; of While fctlon (Per-
sian. XVIII Cenluryl
Herahl'n Coal of I'liilip U .
Uiid Work . . . • . -
I'illow Mat Kmbroidcrcd wilu

StcrksiChinesc)

Portion of H.tyenxTapcstiy .-

Pop ion of Holder of a Cover in

Yellows Ik iCIiincsei . ;

Portion of Cope (Knslish, XI\

Century) . : ,, •, :, •

Portion of Piece of Kmbroidtry

forinirly bilonKinf lo Tippuo

Sulian (ludiin). . . •

Simpler in Coloured bilks

(Spanish. XVll Century) .

Spiral Jlethod of Laying Gold

Thread . • ,- , • '^

Sanare for Jlmdarin's Kobe,

Gold Thread l.;iid (ChincEe) . 199
"The Five Sci.sf-:!. Coverlet of
Light Red Linen (Herman,
XVI Century . . . -197
•• The Tree of L fe,' Linen Cover

(I'eisiani . . v, • ,,,• '
Thirteenth -Century Chasuble

(Knfli-h) \\>

Towel lior.!crs . - ,•.•'"'
Panel of Gobe.ins Tapestry (desgn

after HKit.ilNE) '"

Tiii^. Qi EtiNS Tke.\svrks ok Art :—
i;oii/(f ll'oi/.-.-

lioiiUe Commode . . • • ^
HouUe liipboar 's . ■ 28, 29
Honlle Work Table and Silver

Tripods 2i

Secrtiaire ..•..«
Inlaid ll'oott Furniture :—

Cabinels, with Pietia Dura

Inlav 119. 1?1

Inlaid Kncoi(,'nnrelbyRiESENEB)l.>l
Inlaid Commode . . • ■ I»J
Inlaid Commode (by Rieseser) 153
Mahogany Cabinet . . .152
Later Wooden furniture :—
Cabinet of th(^ Comte d'Artois

(by GoiTiiiK.UK) . .352,353
Pier Table in MabOL'aiiy . • 351
yueen Charlotie's Sedan Chair 3:5
Scereiaire. with Three Sivres

Plaques . • •. • • 349
Sideboards (by Goltiiieke) 350, 3ol
Tapenlrica:—

Jliaiivais Tapestry (by J. H.

(IIDKKV) . . • . ■

• r,-iher'9 Petition" (by Jeax

Fhanv"!^ "^■ TitoY)

",Ias3ii and the Hrood of the

DriiK'ons Teelh" (by jEAN

KitAN" "lis i>e Tuov)

"Mordeeai refuses to bow the

ki.ee to Hainan "...

"Tie Poisoned Kobe " (by Jea.v

Fkam.iiis dkTroy) . . --
The Seii5ins (by C. Aldban) 93, 94
M'tiotlcn Furnilure :~

Japanese Cabinet on Empire

i;ilt Console . . . .,,,1 "*
Japanese Cabiiieton LouwXIV

Gilt Console . . . . 245
Jjar<iuered Commode, with

Ce!a'ion Vnsea . . -210
Ij»e<|uered Corner Cupboard . 217
L.icciuer Sideboaril. with Or-
moulu MounU (proha'dy by
Kikseneu', and Viiieei.ucs
Vaso 219

95
90

89
92

FURNITURE (ro"'!""'''!:- '''•'"^
The l.)i ken's Tueasi'ues (oonf.) :—
Large Ebony Writing - lablo,
with orinoulu Mounta (per-
hapsbyCAm.INI . . ■ Jil
Oriental Lacqi er sideboard . iH
Venetian Ch;iir *'"

METAL WORK AND ENAMELS :-

Altar Cross for St. Mary Mastdalen,

Gxford (by MiisSRS. IlAttr, Peard

and Ci). I . . *,-.",■

.\nelo .-^axou Gold and Knamel .Muds.

Hion/.e Itiooehes. and Glass Bead^

AHM;< aNII ARMOIU AT N\ INUSUK

Ca.-*tle ; - , „ . «

Uovs Suit : Charles, Prince of
\Vales (16201 . . ■ •
Guns of various Dates .
Half-suit of a Boy . . .
Half-suit of the Earl of Essex .
Pistols of various Dales . .
Suit of Armour of the Duke of
Brunswick (l.iM) . , ■ , •
Suit of Henry. Prince of W ales
Sword of Charles I. etc. . .
The so-called '• Cellini Shield .
BAitUATT Collection at "Bell
JIooK." From :—

The Abercrombie Ice Pail .
The Briri port Relics .
The Dickens Salver
The Nelson IMal e . . ■ ■
Brass Alms-Dish. Bronze Thuribles
I XIV Centuryi. Gilt Pyx (Limoges
Enamel, XII Century) . - ■
Breiuslplatc from the Gurney Col-
lection .-■•„•■'
Canukiabra at Wi xdsok Castle:—
CamlelabrA of the Period of
Louis XVI . • ��

Candelabra (probably by Tno-
MirtK) . . . ,-.,•.•
Pastille - Burner (probably by

TlIOMtltE) . . ■ • •

"The Sca-ons ■ Candelabra ell,
Vase mounicd for George IV .
Vase with ('nffleri Jlounis

Casque, Embossed and Damascci.ed
(from the Zscbille Collection) .

Chalice and Pat n (by \N • Baix-

BRIIXIE REVXOI.US) . . ■ ■

Copper and Brass Fender . . .
DvsiKii in Wrought Iron (by Jl.
Scmlimbekokh) . . • ■
Door Knocker (hy .1 >mes Begg)
Door-Knocker in Silver and Bronze

(IV >L GURSCltXEU) .

ENAMEI.S (uv Alex. Fisher) :—

Belt in Steel and Transparent

Enamels

Damascened Steel Cask< t .
Gold and Enamel Book Cover .
Gold and Enamel Pendant .
(Jroupot Enamels.
Jlemorial Portrait of the laic
Earl of Warwick (Enamel) ■
Painted Enamel Portiait .
Silver and Enamel Bout .

Enimcl Work "A Joui-' (by E.

FelilHtre)

Fali:e. Lucien —

Bracelets . . _. ■ - ■

Candelabra in Princess Letitia

Bonaparte's Toilet Set .

I^peraiic

Enamel Frieze •,„•,,-
"Gallia" (Ivory and Gold).
Sassanido Vase ....
the " Urania" Clock . . .
Toilet Set for Princess Letitia
Bonaparte . •.■,,;.
Fire Screen in Metal (by W. A.
BENNETT) . . ^ ■ • • .;
Greek Helinct.s. Bronze Slygil
Handles, Lamp, and Safety Pin .

iRONWOBli AT llAMlTON COUKT: —

Balustrade of the King s Stair-
case . • ■ , • .
Balustrade of the Queen s Stair

case

East Entrance Gates .
The Gates ....
The Prince's Staircase. , .
Kfys from the Gurney Collection

Iiectern

Lock Plates •,■„■„• ' ,
louis XVI Gold Box (from the

Mossey-MainwarinK Sale)
Metal Work (by II. E. vo.N
Bkrlepsch :—

Bowls in Copper and Bronze .

Candelabra in WrouRht Iron .

Metal WoitKi:R.sExiiii>triox,TiiE:-

Bit and Pair of Stirrups of

Brass, Enamelled in While

and Red (EDgUsh, Early

XVII Century)

108
591

172
475
472
470
475

470
471
171
473

293
292
2'.«

292

596
400

513

514

545
312
."iltj
513

111

103
271

ISfi
022

" 319

1-28
1-27
128
129
130

129
130
131

553

417

417
418
118
411;
114
IIG

' 115

621

591

. 303

301
301
300
302
399
108
273

142

609
671

. 571

. 570

METAL WORK (coad'niKd):- ^''°^

Metal Workers' Exhibition, Tub
(cojittiiuftf) : —

Covered Flagon of Silver, Gut

(French, XVI Century! . . 569
Iron Casket and Lock (German,
XVCcnlurv) ....
Pair of Doors of Pierced Iron,
Nuremberg (Early XVI Cen-
tury Work) . . -.,,,;
Si.ver-Gilt Oval Cup (XVII

Century) . . ■ . ■ „ ; •■"■■=
Small Alms-Box in Chiselled
Iron, bearing Royal Arms of
Ennland(Tiu.e of Henry VII) 569
The lieckct Cup and Cover of
Ivory.wiih Silver Gilt Muunls
set w iih Pearls (London work,

circd I.V.'S) oG9

Vase and Coverof Marble, over-
laid with Silver Gi t Work
(French, XVI Century) . ■ o69
Modelled Design for Top of "Newel

Post"

Oriental Puzzle Logics :—

Chinese Padlock with Treble

Springs ..... t.--
F.gyplian " Pin Lock" (2.000 B.C.) t>43
Indian Puzzle Padlock (Brass) . 615
Iron Padlock from Lahore . . 615
Lock from the Gate of Delhi . Oil
Puzzle Kcv Pattern Padlock . BIG
Puzzle Padlock fiom N. W. India Gil
Scorpion Pal ttrn Pa J locks G 15, GIG

Reading Lamp 27^

Silver Uepoisse Work (by JIk-
GiLHEUT Marks) .—

Cup and Vase .... 564

Lily Casket •%?

Salver ...... 56o

Silver Vase (by Mdlle. Anna

Martin) . • . • ;. .' *^
Silver Vase presented to I useh by

Roval Academy Stmlcnts . . iM
Suitof El-.zibethan .Vrmour . . 59o
Wine-Cooler in Silver (by Tony SEL-

MERS11EI51) '*>*

. 624

. 646

MISCELLANEOUS ;—

591

381

570

Ancient Pottery ■ • ^ -

BATrEliSliA I'DLVTECIINIC. lllE:-

An Eleniciilary Class at Work
The House Paiiitvi-s' and Decora-
tors' Shop 381

"Br.LL Moor':-

The Entrance Hall . . - ■ i.vi
The Library . . . ,; • lUi
The Library, showing "The tinted
Venus " 201

Block- Printing Papers by Hand (Old
Style! . . • • , ■ .. .. 323

Board Room at Jlestrs. JIacmillan 3
New OtHcc 231

Calueros Art School:—

In the Studio at Baker street . . 2.)3
The Outdoor Class at Midhurst . 251

Carved Panel, from the Maristan of
Kalaun (after Prissc d .\venne.«) . 311

ClIAR.lCTKRI.STICS ANU PECI'LIARI-

TIES OK UoGEit Payne, Binder :—

jtiljlt; 608

Bible Bound for Tom Payne . 609
In the British Museum 609,610.011, 612
In the Collection of Alfred

Huth C08, 61-2

" Le Facecieux" . . ■ . G07
Constables Palette . . . . -. • 294
Diagram to show Machine Printing . o2a
Fbexch We)oD Carving.-

Chair-Back (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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a.

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o

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o

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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