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THE- STUDIO

An lllu/trd.ted A^gscTjoc

of fine & Applied Art

OCT.
15, 1907

44Leice/ter Square

LONDON wc

Monthly

V)et

VOL 4-
No. 175

1 Hk St'hi.iAL
\' K M MbEH

•IHfc KNS

<> f ( N . . I A N D •
h PARTICU-
LAHS WITHIN

_^ i

Contents, October 15, 1907.

SUPPLEMENTS: — Coi^ootED Reproductioks op two Watbr-colour
D»Awijfcs BV ANTON MAUVE, emtitled respectively "Interior or

A Ba*m"aKU "SHEfHKRD AND Fl.OCIC"; A Tl«TED ReFRODUCTIOI* OF AM

Oil Portrait or Sedainr by J B. CHARDIN ; a Tinted REPRODUcnov
or AW Oil Paintiwc by JEAN HONORE FRAGONARD, entitled "Lb
Billet Doux " ; a Couwkeo RerRooocrion or an Oil Paistiko ar
WILLIAM KEITH, estitlpd " Near the Mouth or the Russian River,
Sonoma County, CALiron.wiA" ; a RRrRooucrioN or a Lead Pbncii. Draw-
ing BV A. ROMILLY FEDDEN, entiti.rd "Faustisb"; a Coloured
RBrRooucnoN or a VIosaic Panel bv OEORQE BRIDGE rBOn a Sketch
■T FRANK 8RANQWYN, A.R.A. ; a CoLousho KErRODUCnoN or a Minia-
ture Portrait or Couvtess Crescencr SiECHtoon-SEiLERN by M. M.
DAFFINGER, and or tmi- Emprxs* Marianne or Austria bv EMANUEL
PETER apti!» OAFFINGER.

* CONSIDERATION OF THE WORK OF ANTON MAUVE. By Frank

P.'jT-r««. Twrnly IlluUratiottt 3

ON THE CHARACTERISTICa OF MR. VOYSEVS ARCHITECTURE.

iJy M. H. Bailmr Scott. Nina IlluttiAiionj >9

THE CHARDIN-FRAOONARD EXHIBITION IN PARIS. By Henri

Kranti. T«fl IIlu««r»ti jnt 5

WILLIAM KEITH, LANDSCAPE PAINTER, OF CALIFC»flNIA. By

f{cNRV Atxin*. Su Illuuralioo* 3^

FURTHER LEAVES FROM THt SKETCH-BOOK OF A. ROMILLY
FEDOEN. Screti l!lu«lr»sioivi 4'

RECENT DESIGNS IN DOMESTIC ARCHITECTURE Eight lUuttratioiu 50

SrUDIO-TALK (hrvm gur aun C»rrtt^ndinli):—

London, TarcNa Illiu., 55; Batm, 60; Edinburgh, Three Illus., 63 ;
Dublin, Two Illoa., <) ; Vienna, Eight Illm., M; Christiania, Two
in««., 73; Bbblin, Foar Il!u«., 73 ; Munich, Six Illos., 75; Utrecht,
Nl»«t««n Illiu., 76 ; Mo«cow, Two Illiu., It.

REVIEWS ANO NOTICCS. Two Illiulratioas gj

THE LAY FIGURE: On Lcartng Thinfi Undone 83

AWARDS IN "THE STUDIO" PRIZE COMPETITIONS. Ei«ht IlIoBtrationi.

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THE STUDIO

CONSIDERATION OF THE
WORK OF ANTON MAUVE.
BY FRANK RUTTER.

Constable had been dead a twelvemonth, Jacob
Maris had been Hving a year, Corot was a man of
forty-two, Diaz nearing thirty, Troyon was twenty-
eight, Rousseau twenty-six. Millet twenty-four, and
Daubigny just of age, when in 1838 Anton Mauve
was born at Zaandam. Ten years later Barbizon
was discovered, and by the time Mauve had attained
to man's estate the forest-painters were already
famed among art-students, the avant-courriers of
cultured taste. That France cleared the ground
for Holland, that Mauve and the Marises reaped
where Millet and Rousseau had sown, that the
modern Dutch school of painting was very largely
the outcome of the Romanticist movement in
France, are facts not to be denied. At the same
time it is not difficult to exaggerate their impor-
tance, to attribute to the French masters a greater
influence than they actually exercised at that time.

and to deny to the Dutchmen the full originality
and invention they possessed.

Mauve is a case in point. It must be admitted
that he was not in a large sense a pioneer, that the
thorny path was not his to tread, and for this very
reason his life does not afford the same material
for romance as that of the more militant French-
men. Mauve arrived late on the scene of action,
when the heat of the battle was over. It was his
privilege to join in the pursuit, to share the spoil of
the victors. But it is as well to understand exactly
what that spoil was ; it was not the recipe or
formula of a successful painter, it was the growing
public appreciation of honest outdoor painting, of
personal impressions of unconventionalised nature.
Jf Mauve was not a pioneer, he was no imitator,
not even the disciple of another painter. His art
was distincdy national, its development logical and
personal. To say that he was "Paris-trained," as
has been written, is at once inaccurate and mis-
leading. He never lived in Paris, he never worked
there, he paid it comparatively few visits, and these

"watering horses" (oil painting)

(From the collection of J. C. J. Dntcker, Esq.)

XLII. No. 175. —October, 1907.

BY ANTON MAUVE

Anton Mauve

not longer in duration than those of any other
tourist for pleasure. He was no great traveller, for
his heart was in the lowlands. He loved the
country in which he was born and received his
training, and in that country he lived and worked.

His initial experiences were those of a hundred
other art-students. His father, a Baptist minister
at Haarlem, after the usual paternal misgivings,
permitted his son to enter the studio of Van Os
at Amsterdam. But Anton probably owed still
more to the unofficial guidance of his father's
neighbour at Haarlem, Wouterus Verschuur (1812-
74), whose formal paintings of horses, akin in
style to Verboeckhoven's sheep, are occasionally
to be met with in the collections of Holland. It
is difficult to say what Mauve gained from his
master save a good grounding in draughtsmanship,
and his nervous, impulsive temperament must often
have rebelled against the arid formalism of the
academic canons then in vogue. But Verschuur
undoubtedly awakened in him that deep affection
for and profound knowledge of the horse which
was subsequently to become one of the salient
features of his art.

From the first Mauve's colour was entirely his
own. A bad habit, which he had in common
with too many other painters, of never dating his
pictures, renders it a little difficult to trace the
chronological sequence of his works. But in the
wonderful collection of the late Mr. Alexander
Young there is an oil painting which must belong
to a very early period in Mauve's career, a view
Near Zaandam, taken it would appear from a care-
fully selected standpoint to avoid as much as
possible that forest of windmills in which the
painter was born, about which, probably on
account of its fami iarity, he was never enthusiastic.
The picture is rather tightly painted, but the
colour, though very dark, is decidedly personal,
with greens as rich and sombre as those of a very
early Monet. The sky is especially interesting,
not quite so luminous as Mauve's skies afterwards
became, but fresh and clear in its prim, old-
fashioned style, with precise litde clouds scudding
across the azure. It does not instantly take us
back to Nature, as Mauve's later paintings do, but
it tells us very pleasantly that he has been looking at
Ruysdael, and helps to establish his family descent.

"I'LOUGHING'' (WAl ER-COl our) ^ c \

(By permission of JA-isrs. Thos. Agneiu c^ Sons and Mesus. Walhs cr' ion)

BY ANTON MAUVE

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(By permission of Messrs. Thos. Aguetv
&^ Sons and Messrs. IVallis ^ Son)

"THREE COWS AND GATE." FROM THE
WATER-COLOUR BY ANTON MAUVE

Anton Mauve

S^f-'^fr^-*' *"

"women washing clothes" (oil painting) by ANTON MAUVE

(By permission of Messrs. Tkos. Agnew &' Sons and Messrs. IVal/is c^= Son)

Mauve's art, if afterwards guided into broader he ever saw a Millet.

ment of the art of the
older painters of Holland,
of the work not only of
Ruysdael and of Hobbema,
but also of Wouverman
and of lesser painters like
Verschuur. Mauve is not
altogether guiltless of
Wouverman's affection for
a white horse, and it is
not difficult to find a trace
of the older Dutchman's
influence in such a picture
as Loading Wood (repro-
duced below). Certainly it
is easier to link this
painting with Wouverman
than with Millet or any
other French artist. But
there has always been a
tendency to exaggerate
Millet's influence on
Mauve, who must have
advanced some way before
It is too much forgotten,

channels by hints gained from France, was, at the nowadays, that in the latter fifties, when Mauve
beginning, and always continued to be, au fond, was at the most impressionable age, the influence
essentially national. It was the logical develop- of Diaz, Troyon and Rousseau, propagated by the

■^■~Af/ii^\

loading wood" (oil painting)

{ By permission of Messrs. Boussod, Valadon ^ Co., The Hague f

BY ANTON MAUVE

(By permission of Messrs. Boiissod,
Valadon c7= Co., The Hagtie)

THE OLD BARN." FROM THE
OIL-PAINTING BY ANTON MAUVE

Anion Mauve

SHEEP IN BARN " (WATER-COLOUK) BY ANTON MAUVE

(By permission of Mesivs. Thos. Agnetv &^ Sons and Messrs. IVallis df Son)

the colour of Daubigny
than that of any other
Romanticist.

Enough \ has been said
to show that Mauve was
under no overwhelming
obHgation to any one
painter, though, like every
artist, he was indebted to
many. He took his good
where he found it, but he
went on his own way with-
out turning off to follow
slavishly the path of an-
other. Nature was his first
and most constant guide,
and at her he looked studi-
ously a hundred times for
every glance he gave to her

missionary Roelofs from his headquarters at presentation in art. The progress of his life was as

Brussels, preceded that which Millet was afterwards steady and unsensational as the development of his

to exercise in the Low Countries. painting. He had some struggles at first like athou-

One of the first hints from a foreign source which sand others, but he was fortunately spared the bitter

Mauve accepted was given him, it would appear by privations and sufferings which might have delighted

Diaz, whose influence is unmistakable in the toler- his biographer. The taste to appreciate his work had

ably early oil painting The Old Barn (reproduced been formed by the men of the preceding genera-

on page 7). I do not say that in this rich, deco- tion. At early middle age Mauve was a successful

rative landscape Mauve deliberately imitates Diaz, man, and during his last decade he was over-

but that the sight of a Diaz has here encouraged whelmed with commiss'ons, and could sell any

him to follow his natural

bent and lay on pigment

fatly with a generous brush

and secure a fine quality

of paint by the very rough-
ness of the surface. There

are few Mauves so finely

rugged as this, for without

losing quality his charac-
teristic handling grew

smoother, though it never

became thin or mean. In

this he may have learned

something from Daubigny,

from wliose work he may

have been encouraged to

lighten his colour scheme

and pitch his landscapes in

a key rather higher and

truer to nature. Mauve's

colour, as has been said,

was his own, but that in the

works of his best period —

1865-75 — "i^y perhaps

claim a closer kinship with
8

WASHING day" (water-colour) BY ANTON MAUVE

(By Ur mission of Messrs. Boiissod, Vaiadon &■ Co., 7 'he Hague)

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Anton Mauve

"winter" (water-colour) by

(By pi) mission of Messrs. Boussod, Valadon dr' Co.,

work before the paint was dry. He became
perhaps too prolific, and the strain of his extra-
ordinary production was too great for a frame that
had never been robust. The end came suddenly,
from heart failure, while on a visit to his brother
at Arnheim in 1888, the year of his medal at Paris
— he had previously been medalled at Vienna,
Philadelph'a, and Antwerp. He was only fifty,
but his reputation was then world-wide, for his
paintings had travelled in many lands, though the
painter stayed in his own country. After leaving

The Hague, his home had been
at Laren, a picturesque old
country town fifteen miles south-
east of Amsterdam, where at the
moment of writing, a Mauve
Memorial is about to be unveiled
and an important retrospective
collection of his works is in course
of exhibition, and whither
Americans still come to paint
" Mauves," though they can no
longer scrape up an acquain-
tance with the painter.

Before attempting any analysis
of the various excellences which
render his paintings and draw-
ings so admirable, I should
like to clear up one or two
misconceptions, as I consider them, very prevalent
about the art of Anton Mauve. Following Muther
— who, excellent critic as he is on the whole, is
nevertheless apt at times to let his romantic imagi-
nation run away with him — it has become a com-
monplace of criticism to speak of the " melancholy
poetry," the "undertone of sadness," the "sense
of suffering " in Mauve's paintings. To label
Mauve's work at large with the epithets " sad "
and "melancholy," seems to me an overstatement.
Our emotions are treacherous things, and it is easy

ANTON MAUVE

Paris)

MILKING time" (OIL PAINTING)
10

BY ANTON MAUVE

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A Jit on Mauve

to read into a pinting ideas which the painter
never conceived or recorded. Who cannot picture
the bewildered astonishment of Leonardo when
Pater in Elysium reads him his too eloquent
appreciation of La Gioconda ? Mauve's art is
serious, pensive if you Hke, but pensiveness is
not necessarily melancholy or sadness. It may
be a deep, though quiet, abiding joy. Sadness or
melancholy implies discontent, if resigned ; but the
Titanic element is almost wholly absent in Mauve,
and the greater number of his reveries seem to me
inspired by peaceful, contented contemplation.
We can be sympathetic without being pessimists,
and it does not lessen the beauty, nor should it
our appreciation, of Mauve's work if we find no
" sense of suffering " in the two cows the boy is
driving Homrward (page 14), no "undertone of
sadness " in the woman who comes with her pail to
the cows at Milking Time (page 10), poetry but no
melancholy in the Interior of a Barn (frontispiece).
To have nothing better to think about this last
than the melancholy fact that sheep are fed and
kept warm only that they may afford raiment
and food for man, is to read a false literary
motive into a work that has a true pictorial
appeal. We must not confuse what may happen
to interest us with what primarily interests the
painter, light giving colour to form.

I imagine this melancholy misconception about
Mauve originally arose from some critic observing

that his tendency was epic rather than l>Tic. And
since epic to many ^ sorrow and suffering,

just as lyric does jus an.i gladness, the rest was
easy. Then by another association of ideas, that
of sorrow with shadow, a second misconception
was brought to birth, and the "sorrow-laden " work
of Mauve was spoken of uniformly as low-toned.
Now all tones are relative, and a middle period
Mauve may be low in tone c 1 to a late

Turner or a Monet ; but it is lu^u - ..mijared to a
Rembrandt or a Jacob Maris. With a Boudi'i i'
is about on a level, and Boudin is not \m,\.
considered a low-toned jiainter. The truth is that
Mauve, beginning in the bass, played for the best
part of his life on the middle notes of the colour
scale. There are low-toned [jaintings by him just
as there are in some of them figures, like •''

tired, worn pea.sant of the Shephtrd and I

(supplement), which do convey a sense of sad
endurance. Still the characteristics of a jjainter's
art are not to be deduced from isolated examples,
but from the bulk of his work ; and to look
without preconceived notions at a number of
Mauves is to recognise that his painting was
no more low-toned, in the strict sense of the
word, than it as "strongly marked" by the
influence of Millet.

The two chief excellences of Mauve, derived
wholly from the keenness of his own jjerceptions
and his power to record them aright, arc the

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^^^^^^^^^^^^^^^^^^^^^p.-i ^-^

"THE hillside" (OIL PAINTING)

BY ANTON MAUVE
13

Anton Mauve

luminosity of his skies and the justness of his
values ; and the diffused brilliance of the first and
the subtle nicety of the second are qualities so
incommunicable that they can be but imperfectly
suggested by the best of reproductions. To appre-
ciate them to the full we must go to the National
Gallery, where, through the generosity of Mr.
J. C. J. Drucker, Mauve's Watering Horses is
hanging in Room XII., and compare its sky with
those in the surrounding landscapes. It is won-
derful how it shines even on a dull day, and it
makes the skies even of a Ruysdael or a Hobbema
a little dead and painty.

Though far from being an animal-painter in the
limited sense of the term, it is undeniable that
Mauve found in beast rather than man his happiest
inspiration. In a representative collection thirty-
eight out of fifty works have animals for their part
or whole subject. Between sheep, cattle and
horses his affection was pretty equally divided.
We find a dozen of the first and thirteen each of
the second and third. Personally, I am always
inclined to associate Mauve with horses, just as one
associated Troyon with cattle and Jacques with
sheep, not because they painted nothing else, but

because here they excelled all rivals and set a new
thing before the succeeding generation. What
Gericault had done for the charger, what Degas was
afterwards to do for the racehorse and carriage-horse,
Mauve did for the horse of the fields. He stamped
its type, so that we cannot look at his pictures
widiout thinking of the horses we have seen at
work, or look at a horse ploughing without thinking
of his pictures. Many of his best paintings are
horse subjects, and 1 have it on the authority of
Mr. E. J. Van Wisselingh — to whom I am much
indebted for information concerning this friend of
his youth — that " they certainly played a dominant
part in his work until he went to live at Laren,
which was a sheep country."

Admirable as his paintings of cattle are, I think
we must agree with Henley that in this particu-
lar "he is not to be ranked with Troyon." On
the other hand, I would maintain that Mauve's
skies are better than those of most Troyons in
which Boudin is not suspected of having taken
part, and I do not see that his work as a whole is
so " much less vigorous " or inferior in " decora-
tive effect." Otherwise Henley's appreciation of
Mauve (Edinburgh Exhibition Catalogue, 1886),

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<■ homeward" (oil painting)

(By permission of Messrs. M. Knocdler ^ Co. )

HY ANTON MAUVE

^ -^

Anton Mauve

is impeccable and impossible to improve upon :— right. It is more likely to add to their number. We

" His draughtsmanship is sound, his brushwork may be sure that Mauve's best water-colours were

full of gusto and expression, his colour quite his done with consummate swiftness ; his worst those on

own : to a right sense of nature and a mastery of which he spent most time, endeavouring to retrieve

certain atmospheric effects he unites a genuine with Chinese white the virgin paper he had soiled

strain of poetry. . . . His treatment of animals

is at once judicious and affectionate. He is

careful to render them in relation to their aerial

surroundings ; but he has recognised that they too

are creatures of character and sentiment, and he

loves to paint them in their relations to each other

and to man. The sentiment is never forced, the

characterisation is never strained, the drama is

never exorbitant; the proportions in which they

are introduced are so nicely adjusted that the

pictorial, the purely artistic quality of the work is

undiminished. ToTroyon animals were objects in

a landscape ; to Mauve they were that

and something more. His old horses

are their old masters' friends ; his -

cows are used to the girls who tend

them ; his sheep feed as though they

liked it. In a word, his use of the

dramatic element is primarily artistic ;

and it is with something of a blush

that one compares his savoir /aire

with the bad manners of some

animal painters nearer home."

I wish Henley had ended here ;
but since he goes on occultly to remark
that Mauve "painted water-colours
with so ready a brush that, as often
as not, he has no time to do himself
justice," I have no option but to
sling a pebble at the Scottish giant.
Does he mean that Mauve's water-
colours are inferior to his oil paint-
ings ? The position is wholly unten-
able. Is it that some water-colours
are better than others ? Why, so
are some oils ; the remark is irrele-
vant. No, the insinuation is of care-
less speed — " no time to do himself
justice." lUit surely if there is one
thing which "if 't were done, 't were
well done quickly," it is a water-
colour. It is essentially a sketching
medium, and its highest charm
is inevitably troubled by much
labour. A water-colour cannot but
gain by speed if it be done aright ;
and if the first touches are wrong it
is better to make a fresh start, for no
overlaying will make the old faults
i6

by error. But his use of white is sparing, and the
reproductions of the lovely works given in these
pages amply testify to the purity of his practice.
The unerring touches show, not careless haste, but
esay, well-ordered spaed. And it is this very speed
which makes them, as Muther says, " so vivid and
spontaneous ;" and it is because he had more
" time to do himself justice " in his oils, thit even the
best of them cannot escape looking a little more
laboured and so leading many excellent judges to
see in his water-colours Mauve's highest achieve-
ments. Fr\nk Rutter.

THREE cows " ( WATER-CnLOUR)

(By periii'ssion of Mesirs.

RV ANTON MAUVE

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Mr. C. F. A. Voyseys ArchUectuve

ON THE CHARACTERISTICS
OK MR. C. V. A. VOYSEY'S
ARCHITECTURE. BY M. H.
BAILLIE SCOTT.

Ii one were asked to sum up in a few words the
scope and purposes of Mr. Voysey's work, one
might say that it consists mainly in the application
of serenely sane, practical and rational ideas to
home making.

The modern house, as represented by the average
villa, is, from the rational and practical point of
view, a tissue of absurdities. Its plan represents
an attempt to realise, on a contracted scale, the
ideal mansion. It is adorned with all kinds of so-
called artistic furnishings ; and, as a whole, it is
insanitary and comfortless.

To those who have become inured to such houses
it is not strange that a rationally designed dwelling
should appear bizarre, affected and eccentric ; and
though in other arts — in that of literature for
example— the merits of direct and simple statement
are understood, in architecture we do not recog-

nise the existence of art at all, unless all the
obsolete and meaningless features of the past are
added, as an outward screen, to a building in which
they bear no structural significance.

Carlyle, in writing of the forms in which religious
belief has expressed itself, states once for all the
fundamental truth in this matter : " All substances
clothe themselves in forms; but there are suitable
true forms, and there are untrue, unsuitable. As
the briefest definition one might say : Forms which
grow round a substance, if we rightly understand
that, will correspond to the real nature and i)urport
of it, will be true, good ; forms which are con-
sciously put round a substance, bad. I invite you
to reflect on this. It distinguishes true from false
in ceremonial form ; earnest solemnity from empty
pageant in all human things."

The architects of the Renaissance initiated this
bad method of consciously putting forms round
the substance of their buildings : and this "shirt-
front architecture" — as Mr. Voysey has called it —
being originally practised by men of great genius,
has proved a fatal precedent for our times. And
so our Palaces of Peace and other public buildings

"GARDEN CORNER," CHELSEA: THE DINING-RtOM

DES1G^ED BY C. F. A. VOYSEV
19

Mr. C. F. A. Voyseys ArcJiitecture

are duly encased with all the superficial features
which are held to constitute the Fine Art of
Architecture, as opposed to mere vulgar building.
To the rational mind all these fine buildings are
mere confectionery, for every architectural form
owes whatever grace or beauty it may possess to
practical functions performed. In this respect the
building is a creation, which may be justly com-
pared to those of hature. The forms of the eye or
the hand, the flower or the leaf, all are the outcome
of certain definite function. Ahd so it must be
with true architecture; and the inevitable and
logical course for the modern architect is to get
back to essential facts of structure, and leave the
forms to develop naturally from that.

It is this which Mr. Voysey has done. His
work is true. One may imagine that he has
resolved that it shall at least be that, leaving the
rest on the knees of the gods. To such resolves
the gods are gracious, for the best qualities of a
building are those w^hich are unconsciously
obtained. When we build better, it is generally
better than we know, and whatever beauty may be
achieved is the unhoped-for reward of our labours.

The essential characteristic of Mr. Voysey's
work is its absolute sincerity. The outward aspect
of his buildmgs is comely because all is well with
them within. So they seem to smile pleasantly
upon us, instead of grinning through conventional
masks replete with all the usual superficial features.
And this beauty which is "an outward and visible
sign of an inward and spiritual grace," is a beauty
of which we never tire, and which is above all the
changing whims of fashion. Our modern public
buildings, which are designed merely to impress
the vulgar with histrionic and meaningless archi-
tectural features, fail even to achieve this unworthy
aim ; for nothing interests the modern man-in-the-
street so little as our modern buildings.

It is unfortunate that the best of photographs do
not convey the subtle essence of a good building —
the soul of the work which seems to breathe from
the walls, and make the structure almost a living
thing. To feel the charm of one of Mr. Voysey's
houses you must visit the actual building, and you
will always find it better than you had hoped.
Every detail bears the mark of careful thought;
everywhere there is the evidence of that self-

"garden corner," CHELSEA: THE DRAWING-ROOM

"GARDEN CORNER," CHELSEA: THE DRAWING
ROOM. DESIGNED BY C. F. A. VOYSEY

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Mr. C. F. A. Voyseys Architecture

•GARDEN CORNER," CHELSEA: THE LIBRARY

sacrificing labour which is plainly expended — not
for money, or even for fame, but merely for the
love of the work for its own sake. Little is known
by the general public probably of the methods by
which an architect achieves his ends. To many it
is a simple matter involving little personal care.
The scheme originally hatched in the hotel smoking-
room, or the club, is further developed by the
office staff, while much is left to the builder. From
such methods Mr. Voysey's work is far removed
indeed ! To look through a set of drawings for a
house prepared by him, is to recognise, in every
sheet, how all possibilities of error are eliminated
by the most careful and conscientious forethought.
The scheme is worked out on paper so fully and
completely that it explains itself.

Only a real devotion to the work will inspire
such indefatigable labour : and this is largely the
cause of Mr. Voysey's success.

M. H. Baillie Scott.

By the courtesy of Mr. E. J. Horniman, M.P.,
we are enabled to give in the accompanying series
of illustrations some examples of Mr. Voysey's
24

designs as quite recently carried out at his town
residence, " Garden Corner," Chelsea Embank-
ment. The house is semi-detached, and was
built about twenty years ago. It was arranged
with one principal staircase to the first floor only,
the subsidiary stairs from top to bottom of the
seven floors being in a narrow dark slit by the side
of the grand stairs. The walls were lined with
oak veneer, stained a nut brown ; the rooms
were so high that no reflected light was secured
from the ceilings, and the windows had two scales,
the upper halves being in panes of smallish size, the
lower glazed with huge sheets of plate-glass. Dark-
ness and gloom prevailed when Mr. Horniman
came into possession of the house.

In the process of transformation, the grand stair-
case was taken out, the veneer torn off the walls,
and most of the doors and windows were removed.
The basement has been rearranged and lined
throughout with van Straaten's white Dutch tiles,
and light captured wherever possible. An electric
lift by Messrs. Waygood and Co. serves all floors,
and is fitted with a specially designed plain oak
cage to match the new joinery, which on the ground

The Chardin-Fra^onard Exhibition

and first floors is entirely in oak, left cjuite clean
from the plane, without stain, varnish, or polish.

The library (which was the billiard room) has
a new stone window, overlooking the Chelsea
" Physick " Garden, fitted with gunmetal casements,
and its ceiling has been lowered to increase the
restful proportions of the room. The massive oak
beams are blac kleaded, and the plaster is all dis-
tempered white down to the oak bookcases.

The principal staircase is oak from top to bottom,
and on the last newel post at the top is placed a
figure of a young nymph, by J. W. Rawlins. On
one wall, to light the subsidiary stairs, is a large
circular window fitted with Messrs. Chance & Co.'s
Norman glass, with which all the screens in the hall
are glazed. Each floor is provided with bathroom
and housemaid's closet, and all the painted wood is
white enamel, and deep white friezes contribute to
the light by their reflection.

The drawing - room is
L-shaped, one arm being
treated with oak 6 ft. 6 ins.
high, with plaster barrel
ceiling above, and the
other section is lined with
Westmoreland green slate
unpolished, and twelve
water-colour drawings, re-
presenting the months, by
Lilian Blatherwick(Mrs. A. S.
Hartrick), are let into the
slate and held in position by
small silver moulded strips.
Above the slate all is white.
In the oak portion all the
furniture is oak, and the
mosaic round the fireplace
is gold.

Mrs. Horniman's bed-
room on the second floor
is fitted and lined with oak.
The bedstead, jewel -safe,
writing - table, wardrobe,
and all the usual bedroom
equipment are fixed and
fitted in to utilise every inch
of space, and at the side of
the bed the cabinets are
fitted with sliding shelves,
to bring the morning tea-
trav over the bed. Mr.

The dining-room has a heavy oak-beamed ceiling,
which was required to strengthen the drawing-room
floor. The tiles round the grate are white,
with 2-in. vertical bands of primrose yellow, with
thin black edges. All the furniture is oak, the
chairs having orange leather seats. The sideboard
in the hall is constructed to contain the spare
leaves of the dining-room table. The electric
pendants in the dining -room and a few others
were designed by Mr. C. R. Ashbee. The general
contractors were Messrs. F. Miintzer and Son.

HE CHARDIN-FRAGONARD
EXHIBITION IN PARIS. BY
HENRI FRANTZ.

So far as Paris, at least, is concerned, the year
1907 would seem to have been rich in spurious

Horniman's dressing-room
is fitted in the same manner
with oak furniture.

" I.E DESSINATEUR "

r The

BY J.-B. CHARDIN
property cf H. I. M. The German Emperor)

The Chardin-Fragonard Exhibition

works of art. Never, thanks to the activity of the
fabricators— and their name is legion — have we
seen such an invasion of pictures notoriously
forged, some of them being fought for at the big
sales, with banknotes for weapons, and eventually
carried off in triumph to take their place in this or
that great collection. Thus it was with a real feeling
of relief that one visited the Exposition Chardin-
Fragonard, which was held at the beginning of the
summer in the Georges Petit Galleries. Here, at
any rate, with the exception of three or four
doubtful canvases, such as are to be found in all
collections and all galleries, one could admire a
considerable number of authentic works by two
masters who, in J their entirely different ways, are
perhaps the greatest our country has produced.
This is an artistic event of such high importance as
to deserve a page or so of comment in The Studio.

The scheme lowed its
origin to M. A. Dayot,
Inspector of Fine Arts,
who followed the exam-
ples set of recent years
in England, Belgium,
and Holland, where the
great masters of these
lands have been honour-
ed by big ensemble ex-
hibitions. In turn we
saw in the Guildhall,
London, an admirable
selection of pictures by
Turner ; then, in Ams-
terdam, the works of
Rembrandt; in Antwerp
those of Van Dyck and
Jordaenswhen displayed
revealed to us certain of
the less-known canvases
by the two great Flemish
painters ; while Bruges,
some years later, glori-
fied the most illustrious
of its artist sons.

These big displays
were almost all held
under the patronage of
government, and in
public galleries, which
added somewhat to their
prestige, inspired confi-
dence in collectors, and
in every case assured a
worthy setting to the
26

works displayed. In this respect the Chardin-Frago-
nard Exhibition (it is perhaps necessary to mention)
differs from the great manifestations to which I have
just alluded. The Administration des Beaux-Arts
— slow-moving and retrograde — might most effica-
ciously have fathered an enterprise such as this, or
at least have provided a hall more suitable to the
purpose than are the Georges Petit Galleries,
which, well-arranged though they be, are much too
small for an exhibition of such importance as this.

One cannot help thinking what a colossal suc-
cess it might have been had the display been made
a national affair, and had it been held, say, in the
Louvre, when the works from private collections
would thus have found themselves side by side
with those of our great Museum.

These restrictions notwithstanding, the exhibi-
tion was highly and deservedly successful, and we

LA POURVOVEUSE

{ The property of H. /. M. The German Emperor J

BY J.-B. CHARniN

:i^/

PORTRAIT OF SEDAINE. from the oil-painting by J. B. CHARDIN.

(Jn !it€ possession »/ M. Ll::ra>ny.)

The Chardin-Fragonard Exhibition

can applaud without reserve this apotheosis of
the two eighteenth-century masters, J.-B. Simeon
Chardin and Jean Honore Fragonard.

Naturally these splendid artists, long neglected
and despised, are now among the best known and
the most widely appreciated of the painters of
their century ; their chief canvases have been
popularised by engravings, and quite an extensive
library has been devoted to them ; but the chief
interest of an exhibition such as this lies in the
fact that it serves to familiarise one with works
less famous, with sketches and studies which en-
able one to penetrate deep into the artist's
nature, and to become familiar with his methods
of composition, of work, and of execution.

Here the diversity between Chardin and
Fragonard becomes more than ever accentuated.
Fragonard was the maddest, most pleasure-loving
artist of his day; under
the magic of his brush,
within the joyous set-
ting of garden and i)ark,
with plashing fountains
and frolicsome couples
making love in the di-
vinest of lights, we take
part in the fairest fes-
tivals of the eighteenth
century, and live the
most delicious and the
most unreal of dreams.
Chardin, on the other
hand, saw life in its
truest aspect ; while
Fragonard seems to
know nought beyond
the society of the great,
Chardin, dwelling amid
the humble surround-
ings of the poor, had
an entirely different
vision of life ; his brush
had none of the rapture
of Fragonard's ; he
treated more serious
subjects more sagely.

But in the first place
Chardin is incontest-
ably the master of still-
life ; he was the equal,
and pwobably the su-
perior, of the most
famous of all those
who essayed this most '-still life'

delicate art. The very important series of woiks
from the Henri de Rothschild collection must be
studied one by one in order fully to appreciate its
extraordinary variety. No matter how insignificant
be the objects placed upon a table the painter can
make them attractive ; the slightest tints he made
to sing by the amazing cleverness of his brush, and
above all by his admirable sincerity.

Chardin was prodigious, too, as a portraitist. In
his company how far removed we are from the
ceremonial portraits of the painters of his period !
How serious, how simple he is, how astonishing
the note of truth he strikes in such paintings as
the two little portraits of boys (Le Toton) or the
hnne homme an violon from the Trepard Collection,
which have been bought by the Louvre for, it is
said, a colossal sum. Among the best genre pieces
must be mentioned Le Soi/ffletir, which, besides

(The property of M. Alexis Vollon)

BY J.-B. CHARDIN

The Chardin-Fragonard Exhibition

being an excellent study of physiognomy, further
contains some remarkable bits of still-life.

Chardin, as everyone knows, is excellent in little
scenes of popular life ; his Fourvoyeuse, of which
several replicas were seen in the exhibition, is one
of the most famous pictures of the French School.
Some of these copies are of doubtful origin ; in any
case they are greatly inferior to the original in
artistic worth. In the same series Le Dejeiiner
prepare (Prince de Lichtenstein), the Menagere,
the Femme au Serin, the Fillefte aux Cerises, from
the Rothschild Collection, arrest one in turn by
that note of truth which is the chief characteristic of
Chardin's talent, and by the velvety brush-work in
which he is still unapproachable.

The eiisemble of Fragonard's productions is
equally absorbing ; but why have admitted a
certain Retour du Trotpeau and a certain Faravent,
works manifestly spurious, in which the eye of even
the least skilled observer can at the. first glance
perceive the imitator's hand ? For the artist was
already abundantly represented by a very large
selection of works of quite the first rank. I will
pause first before the big panel, the Fete de Siint-
Cloud belonging to the Banque de France, over
which certain critics have expressed doubts.
Without being quite so distinctly in the style of
most of the master's large decorative works, this
panel must nevertheless be attributed to Fragonard.
Indeed, one may find scattered among the collec-
tions a series of sanguine studies for this picture,
which should be proof enough that the work in the
Banque de France, with its jets of water and its
diverting groups of people, is perfectly authentic.

Of all Fragonard's various manners, of all his
most widely differing subjects, we have here some
absolutely remarkable specimens, thanks to which
we can follow the brilliant painter through his
bustling career. We know that Fragonard, after
competing for the I'rix de Rome, and while
awaiting the moment to start for the Eternal City,
visited Boucher's studio, and there executed some
little canvases, which, while they • were clearly
imitatiorls of that master, nevertheless revealed
much power, as do these deftly touched sepias
and the Cache-Cache from the Marne collection.

In Italy Fragonard employed himself better than
by copying Baroccio or Pietro de Cortone. Accom-
panied by Hubert Robert and de Saint-Non,
he travelled all over the country, and there found
for later use many delicious decorative motifs ;
also he did those extraordinary sanguines, so
modern in their tone, which are so keenly sought
after to-day. Several quite remarkable examples

were to be seen in this exhibition — the Villa d'Este
(M. Deligand), the Jar dins de la Ville a'Este,
and the Cascatelles de Tivoli. The Besan^on Gallery,
which possesses an important series of drawings
done at this period, lent several fine examples.

Back in Paris once more, and having painted
his Crcsus, Fragonard, in demand everywhere by
collectors, devoted himself again to the lighter
mood which became him so well. Here, for
instance, we have his famous Verrou (Baron E.
de Rothschild), which has been so widely
popularised in engraving form ; his Heureuse Mhe,
the Fontaine d Amour (Comte de la Riboisiere) ;
La Gimblette ; the charming sketch of the
Baigneuses in the Louvre, wherein Fragonard is
the peer of Rubens ; then Le Lever, Le Duo
d Amour, La Resistance inutile, Le Serment d A77iour,
and many more of the remarkable morceaux which
Goncourt appreciated so fully when he wTOte :
" In Fragonard the painter was just a sketcher
of genius. He bursts forth in his earliest attempt,
and is a master from the first stroke of his pre-
paration, when he improvises his Graces, his
nymphs, and makes his undulating nudities leap
from the canvas, as he touches it in his flight. "

Needless to say, Fragonard, apart from being a
subject painter and portraitist (many remarkable
examples of these branches of his work being
seen in the Georges Petit Exhibition), was the
most amazing decorative artist of the eighteenth
century. His most famous decorations, the
Grasse paintings — which belong to Mr. Pierpont
Morgan — were not seen at this exhibition, more's
the pity, for they leave M. Groult's panels far
behind. Four large decorative panels, belonging
to M. Kraemer, who is also, with M. Wildenstein,
the owner of the celebrated Billet Doux in the
Cronier Collection, kept one's attention for a
long time; they are very charming specimens of
Fragonard's decorative manner.

The Chardin - Fragonard Exhibition, which
afforded artists and public alike most splendid
instruction, was, as I have said, a pronounced
success, and the visitors at the Petit Gallery were
for some weeks unprecedently numerous. And it
is to be hoped that a display such as this may not
be without its effect on the future. There are in
the French school other great artists whose works
it would be a delight to see brought together in the
same way. Already there is talk of a Boucher
exhibition for next year. But let us not forget
certain less "fashionable " artists, such, for instance,
as our admirable Claude Lorrain, who can never be
sufficiently honoured. Henri Frantz.

"LE BILLET DOUX." FROM THE oil-painting by JEAN HONORE FRAGONARD.

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PVilliam Keith of California

ILLIAM KEITH, LAND-
SCAPE PAINTER, OF
CALIFORNIA.

It sometimes happens that the wanderer in the
foothills of California will find at his feet some
jewel-like fragment, carried by stream or long-
vanished glacier from its matrix in the towering
Sierra and cast upon the verges of the pastoral
country. The geologist will speculate upon the
logic of its presence, may trace it home to its
mountains, or may fail of the clue — but knows,
nevertheless, that though the trail be lost, there is
an integral connection between the iridescent
thing in his hand and the hidden mountain forma-
tion from which it came, though they be separated
by vaguely comprehended intervals of time and
space. And if the wayfarer be merely a lover of
beauty he will at least see in his trouvaille its
delight of blended colour and fire, and, refreshed
by pleasure, take up his road anew.

So the occurrence of an art like that of William

Keith, in a newly-awakened country and a land of
recent art tradition, stirs the analytic sense, and
what notes are here set down may interest even
those of us who, like the traveller of incurious
mind, enjoy the gem alone for its obvious and
enduring charm of form and colour.

Like another modern master workman in romance,
Keith's memories revive the " hills of home." Sixty-
eight years ago he was born in Old Meldrum,
Aberdeenshire, and at twelve years of age his
childhood was transplanted to America. On both
sides of the family are strong old names. His
mother was a Bruce, and in the background of the
paternal line, the ruins of Dunnottar Castle loom
historic, and that Earl Marischal Keith, whose
statue as Field - Marshal of Frederick the Great
stands to-day in Berlin, and in bronze replica,
presented by William the First, at Peterhead.

Mr. Keith's art apprenticeship was to the careful
toil of the wood-engraver, at that fine modern period
and climax of the art just before the introduction of
the more popular and rapid reproductive processes

A CAMFORNIAN LANDbCAPE

BY WILLIAM KEITH

JVilliaiu Keith of California

"TRANQUILLITY

by photography. The mechanical exactness of this
work must have had upon his drawing its influence
for firmness and power, just as the anatomical
drawing incident to his surgical lectureship, trained
the hand of Sir Seymour Haden to that delicacy
and decision which have brought him an inter-
national fame.

It is again the story of "all precious things
discovered late." Mr. Keith's powers, "like the
good seed which shows no
too ready springing before
the sun be up, but fails not
afterwards," were even by
himself unsuspected in ex-
tent through long years of
effort, experiment, and that
struggle for clear expression
which every painter knows.
Little outside influence fell
upon him during the period
of development; the darkly
mellow portraits seen occa-
sionally in some shadowy
corner of his studio, recall
a residence in Diisseldorf
during the time of the
Franco- Prussian War, and
in 1883 — a year spent
mainly in Munich — a swift
passage through the South
of Europe is coloured by
rich and vivid memories of
Velasquez. Other sojourn-
ings among European "a grey day

galleries and painters have
been of the briefest ; his
studiesof theelder men have
been the least part of his
inspiration, and, separated
by a continent and an ocean
from their achievement, the
voice that he has heard has
been from within.

Had Mr. Keith's work
progressed along the lines
of his early, frankly out-of-
door painting, with its cool
colour and literal rendering
of the aspects of landscape,
we should perhaps to-day
have had in him an Ameri-
can parallel of Daubigny;
but another element early
entered the field : tem-
perament asserting itself— the temperament of the
poet and mystic. The direction of growlh is
changed — the mood rather than the material
presentment of nature becomes his preoccupation,
and the poet holds the brush with the painter.
Here is the key which others have found to the
chamber of mysteries, but with what a Western
thrill of young romance does the door swing open
to the new touch ! This is his power — to render

BY Wn.LI;\M KEITH

BY WILLIAM KEITH
39

William KeitJi of California

with its clear, original, unmuted vibration some
fleeting "impression," some "moment without
date," magical and transitory, deeply felt, in the
shadow of the woods — in the fretted mirror of the
meadow stream, or in dewy morning pastures — and
the motive rather than the rest seems the clue to
his place in modern art.

The first glance at any group of Mr. Keith's
paintings clearly indicates his attitude toward nature
and art. They deal with emotions aroused or
suggested by landscape under certain conditions
of light and atmosphere.

He himself says : " Broadly speaking, there are
but two schools of landscape painting : one that
has to do mainly with facts, workmanship and
technique ; the other with emotions so subtle, so
elusive and evanescent, that they are almost
beyond mortal reach." His own point of view is
purely the latter, but his work illustrates his further
statement, that to express the higher beauty one
must deeply know the elementary and fundamental
"facts." This is apparently what some of our
younger painters forget, and in the effort to pass
at once to what they rightly feel is the higher
plane, they skip or neglect the intermediary
evolutionary stage. That this cannot be, the
Japanese artist well knows, and the delicate
and emotional suggestion of his work is the
fruit of the most gradual and thorough study of
nature — so many years' drawing of leaves, so
many of insects, birds, and animals, until finally,
with no suggestion of effort, the hand achieves
what the spirit dares. This necessary preliminary
labour and training Mr. Keith has gone through,
and now in his latest and
ripest work, more and
more we find that final
touch of spirit upon matter,
that apparently almost
accidental inspiration and
unpremeditated art which
are really the harmonic
and overtone of long in-
sight and labour.

The visit of George
Inness to California in
1890 brought together two
men who had much in
common through their art,
although their methods
were radically different.
Mr. Inness came West
for health, and spent his
entire two months daily
40

in Mr. Keith's studio, painting and discussing
painting. In his theory, that a canvas before it can
be considered complete must necessarily go through
a definite and prolonged number of stages and treat-
ments, he differed from Mr. Keith, who usually paints
under a high pressure of feeling which brings all his
faculties to a focus, and obliges them to work with
the greatest rapidity and concentration. Illustra-
ting his method, Mr. Inness painted a picture,
watched day after day throughout its gradual
evolution by Mr. Keith with the keenest interest,
and when the last touches had been given and the
painter turned and laid down his brush, Mr. Keith
pronounced his verdict : "Nevertheless, the picture
is absolutely the work of to-day." It was true, and
admitted by Inness ; the soul and essentials of the
work had been the contribution of the last day.
And the effect was not more solid, nor its unity
more complete than in Mr. Keith's swift and sure
progress to his goal. This vivid purpose and defi-
nite aim are characteristic, and account for the
speed and certainty with which his conception is
embodied. Mr. Inness said later, " Not one of us
(including the great Frenchmen of his own date)
can carry a picture so far by the first intention,
except perhaps Rousseau."

^Vith this same concentration and energy, and
the labour of omission, must some of the older
men have worked, whose incredible aggregate is
spread through the galleries of the world ; not
uncertainly, but with every faculty bent upon the
realisation of the inner vision — "one thing, done
at one time — in a moment! " as Mr. Keith, with
permissible exaggeration, has expressed it.

THE CROWN OF THE SIERRAS

BY WILLIAM KEITH

JVilliam Keith of California

' ANDANTE '

(In the possession of Miss Lena Blanding)

BY WILLIAM KEITH

Among the examples of his work that have
crossed the Atlantic are those belonging to
Mr. Stopford Brooke, and the large Sunset aniotig
the Oaks, now in the Frankfort Gallery, presented
by Mr. Jacob Schiff, who in his private collection
in N^w York owns several other canvases. Here
also Mr. Keith's paintings may be seen in the
galleries of Mr. E. H. Harriman, Senator Clarke,
Mr. Francis Burton Harrison, the late Collis P.
Huntington, Mr. McKim and Mr. D. H. Burnham,
in the Art Museum of Chicago and Brooklyn, and
in the Corcoran Gallery at Washington. Occa-
sionally he produces a canvas treated al primo in a
high, clear key, such as the mountain composition
The Crown of the Sierras, a reproduction of which
is given here, but his favourite palette is a low rich
chord of greens and browns, with rose and amber
notes and glazes. A generic title for the most
typical of his compositions might be A Wooded
Landscape. Richly modelled masses of foliage,
oak, madrona or eucalyptus, serve to throw into
distance some clear sky stained with the hues of
dawn or sunset, and reflected in the foreground

from pool or flowing stream. The suggestion of
" the human interest " by skilfully placed landscape,
painters' figures of lonely shepherds, or groups of
children playing in the woodland shadows, is
hardly needed, for on his canvas the most lonely
and withdrawn places seem to hint at some hidden
presence, some occupation of personaUty, felt
rather than seen.

It is evident that his adopted country has had
its share of influence upon the far-brought germ of
art in William Keith. The echoes of tradition were
sweet but dim in his ears, and around him were
calling the voices of a new age — around him lay an
untrodden region of beauty, to which vibrated all
the chords of romance, and whicli stirred the deep
and still waters of the Scottish heritage of imagina-
tion. Even as the deciduous avenues of Fontaine-
bleau imparted a melancholy sweetness to the
canvases of 1S30, and the grey coasts and filtered
sunlight of Scotland temper the low harmonies of
the Glasgow palette, so in Keith's work we recog-
nise the influence of that very close and familiar
spirit of nature in the West — young, romantic, and

A. Roinilly Feddeiis Drawings

fecund ; of waving harvests, bounded by low purple
ranges veiled in vibrant haze, the weird majesty of
sibyllic hemlocks and junipers in their Sierra fast-
nesses, and the perennial vigour of those mighty
evergreen oaks that were old in the years when art
was young.

The joy and rewards inherent in successful effort
are peculiarly Mr. Keith's. The happiest hours of
life are those spent before his easel, and the waking
hours that do not find him there are few indeed.
His home studio in the quiet university town of
Berkeley adjoins the campus, with its famous
"live oaks," which, because they are the very type
of perennial strength and beauty, are oftenest on
Mr. Keith's canvases. And as he walks beneath
the low boughs in the evening, he can say, " If the
joy of this day's work were all that life had to offer,
I should be satisfied." Henry Atkins.

the manner of this tradition as successfully as
any of its exponents, using the pencil less as
a fine point than with the breadth of handling
which is characteristic of brush - work. The
artist's application of his method to shadowy
moonlight effects has always been happy. In
more than one of his sketches, too, he has
caught the idyllic note of figures bathed in the
cold light. The fishing village of Cornwall — -which,
with its white walls, is, perhaps above other English
villages, the one for providing beautiful moonlight
effects — has afforded him inspiration for many of his
drawings. There is often in an artist's drawings
the suggestion for his larger pictures, and this gives
them another interest ; but it is Mr. Fedden's
habit to carry his sketches to a degree of finish
which warrants us in regarding them as in them-
selves complete pictures.

FURTHER LEAVES
FROM THE SKETCH
BOOK OF A. RO-
MILLY FEDDEN.

We had occasion some two years
ago to notice and illustrate in our
columns the pencil work of Mr.
Romilly Fedden. By adding to the
work he had then achieved, not only
fresh drawings of interest, but evi-
dence of improved skill in dealing
with his chosen effects, a further
note is merited. The drawings which
we now reproduce are culled from a
collection which he recently exhibited
at the galleries of Messrs. Frost &
Reed in Bristol, and the improved
skill just alluded to will be manifest
if they are compared with the
examples we reproduced on the
occasion named. There is a quality
inthemoonlight subjects at Polperro,
which is becoming notably a feature
of the artist's work, calling for appre-
ciation. Mr. Fedden keeps his hand
in practice with studies of heads,
and in the one entitled Fausiine
the drawing speaks of more than
successful craftsmanship. This form
of pencil-work has always been the
achievement of a school of artists
who arose under Sir H. von Her-
komer's training at Bushey. Mr.
Fedden has practised drawing in
42

A Polperro Type"

From a lead pencil drawing
By A. Romilly Fedden

'Jo/iii.'^ From a lead pencil
drawing by A, Ro?nilly Fedden

'■'•Moonlight, Lansallos Street, Polperro."
From a lead peticil drawing by A.
Romilty Fedden

smmamwmmmBBamiimm 1. 1 n^iii imjjjmuu jii

V< .i»-JL J-vv.

'^^ Fishing Boats, Polperro" From a lead
pencil drawing by A. Romilly Fedden

' Moonset, Polperro.^' From a lead
pencil drawing by A. Rotnilly Fedden

a p^Av-^^A^i-^ *n^x

> Ooov.S-^Vi^A\Jt-.

"FAUSTINE." FROM A
LEAD-PENCIL DRAWING
BY A. ROMILLY REDDEN

" Moonlight and Shadows'' From a lead
pencil drawing- by A. Romilly Fedden

Recent Designs in Domestic Architecture

DESIGN FOR A HOUSE AT WILLERSEY, GLOUCESTERSHIRE

ECENT DESIGNS IN DOMES-
TIC ARCHITECTURE.

The proposed house at Willeisey, in
Gloucestershire, of which an illustration is given
above, was designed by the architect, Mr. A. N.
Prentice, F.R.I. B. A., for a site on the Cotswold
Hills, and follows in style and character the
traditional long, low stone buildings so typical
of this locality. The drawing from which our
illustration is taken was exhibited in this year's
Royal Academy Exhibition, and illustrates the
entrance front. The designs have, however, not
been carried out, the clients, owing to some un-
foreseen circumstances, having decided to abandon
the work after the whole of the drawings for the
house and stables had been prepared and tenders
obtained. The walls were to have been built of
stone to be obtained from a quarry adjoining the
site ; and the muUion windows, chimney stacks,
etc., of Campden stone ; while the roof, following
another charming and distinctive feature of the
neighbourhood was to have been covered with
stone slates. The hilly nature of the site con-
siderably influenced the planning ; the kitchen
wing, for instance, being on lower ground than
the rest of the house, was to have cleaning and
store-rooms, cellars, etc., on a lower floor. The
principal rooms were planned to face the garden
and give a most extensive view of the surround-
ing hills. A stable block, with accommodation
for four horses and four hunters, together with a
coachman's cottage and groom's rooms, was
planned in a lower corner of the site.

Conkwell Grange, Wiltshire, the drawing of
which, here reproduced, was, like the last,
exhibited at this year's Royal Academy, is a

A. N. PRENTICE, F.R.I.B.A., ARCHITECT

house now nearing completion from the designs
of Mr. E. Guy Dawber. The site is a unique one,
standing high up, at the edge of and partly in a
wood, overlooking a broad sweep of country down
to Savernake and Marlborough. The entrance
and forecourt are arranged on the northern side,
so sheltering the gardens, which lie towards the
south, from observation ; and as the ground falls
towards the west, the higher ground lying on the
eastern side again gives additional shelter from
cold winds and weather. The stables, coachman's
lodge, etc., are all arranged on the northern side
of the house, in near contiguity wath the approach,
yet well away from the forecourt, etc. The house
is planned on simple geometrical lines, with the
main front lying due south. In the centre is the
hall, opening on to a wide paved terrace, raised
again above a lawn and series of formal and other
gardens. Opening from the hall, at the south-
western end, is the drawing-room, with dining-
room, business - room, etc., to balance the
eastern wing. The house is built of grey stone
in thin courses, from old walls on the estate, and
only the dressings to the windows and angles, etc.,
are new, so that with the old stone slate roof, the
house already bears an impression of age and
mellowness, and the raw harsh feeling so often
associated with a new building does not appear.
Inside a quiet treatment of panelled rooms, with-
out floors, and hand-modelled plaster ceilings, etc.,
is in harmony with the simple yet dignified note
adopted by Mr. Dawber in the exterior.

The twin lodges and gateway (p. 52) designed by
Mr. T H. Mawson and the late Mr. Dan. Gibson,
acting as joint architects, form the entrance for a
new drive to an existing house near Baltimore,
U.S.A., owned by Mr. H. Carroll Brown. The

H-1

U-<

h*^

ta^

12^

J
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o .

Recent Designs in Domestic Architecture

LODGE ENTRANCE, BROOKLANDWOOD HOUSE, BALTIMORE, U.S.A.

T. H. MAWSON AND THE LATE DAN GIBSON, JOINT ARCHITECTS

design has, in the course of being carried out, been
slightly modified. According to custom on Mr.
Brown's estate, small bricks, 8 inches by 2 inches,
have been employed, and the entire exterior after-
wards painted white. Leading from the gateway
there is a wide straight avenue of old hickory and
scarlet oak-trees, two species indigenous to the

district. Failing good grass, a wide border of
English box has been planted on both sides,
and this will eventually be trimmed square and
level to a height of 3 feet. This is only a
small part of the scheme of gardens designed
for Mr. Brown. The drawing reproduced was
exhibited in this year's Royal Academy.

DESIGN FOR A HOUSE AT NEWPORT
52

A, INIGO TRIGGS, ARCHITECT

Recent Designs in Domestic Architectuye

HOUSE AT MUNDESLEY-ON-SEA

OLIVER, LEESON & WOOD, ARCHITECTS

Mr. Inigo Triggs' design for a house at Newport
was likewise in this year's Academy. The house
is approached by a forecourt, upon one side of
which stands a half-timbered dovecot
and open garden house. A pergola,
built in the Italian manner, connects
this garden building and the house.
This is carried out in a treatment of
half- timber work upon traditional Eng-
lish lines, with garden entrance on the
west side, leading to the lawn. The
first floor contains seven bedrooms, the
servants' rooms being above.

For the house at Mundesley, on the
Norfolk coast, of which we here give a
perspective view and plans, the materials
employed are red brick with split flint
diaper and glazed pantiles for the roof.
The bays are carried out in wood, with
lights and cast-lead panels between the
windows. Wood tracery like that in-
dicated in the windows is found in many
old houses in the district. The archi-
tects of this house are Messrs. Oliver,
Leeson & Wood, of Newcastle-on-Tyne.

The house at Wokingham, Berks, of
which a view is given on the next page, has
been built for Mr. E. D. Mansfield, from
the design of Mr. Ernest Newton, on a

wcll-\v(Kjded site about a mile south of Wokingham.
The bricks used for facings are " clamp " bricks
from Chichester ; they are very varied in colour —

PLANS OF THE ABOVE HOUSE

Recent Desig7is in Domestic Architecture

HOUSE AT WOKINGHAM

ERNEST NEWTON, ARCHITECT

house where ordinary red
bricks and tiles are used.
In the above view the
southern aspect of the
house is shown. On this
side are the drawing-room
and dining-room (both
measuring 2 2 feet by 1 6 feet
in greatest length and in
width) and principal bed-
room. The hall shown in
the plan is 2 6 feet by 18 feet,
and the billiard - room
24 feet by 18 feet.

deep ruby red, russet
brown, grey, and almost
plum colour. The angles
of the walls and the
margins round the win-
dows are made with deep
red kiln bricks. The roof
is covered with rich red
hand-made Kentish tiles.
The whole effect of colour
is quiet and pleasant, and
quite different from the
crude raw look of a new

PLANS OF THE ABOVE HOUSE

studio- Talk

STUDIO -TALK

(From our Own Correspondents )

LONDON. — Mr. T. C. Gotch'.s
triptych Stephen and two atten-
dant Figures, here reproduced,
is an adaptation to a decorative
scheme of a child's portrait, exhibited by
the artist in the Royal Academy last year.
The attendant figures have received a
treatment which makes them fittingly
combine with the reality of the portrait.
The difficulties of such a combination are
not to be disputed, and the always sym-
pathetic nature of Mr. Gotch's art triumphs
here. The frame of the triptych, by the
Guild of Handicraft, is a very successful
piece of decoration.

The water-colour by Mr. T. L. Shoo-
smith, reproduced on page 56, is one which
was shown a little while back at Mr. Baillie's
gallery. The pleasant simplicity of the artist's style
commends itself to us not less in this class of
subject than in his landscape.

FRAME FOR MR. gotch's triptvch (See helow )

DESIGNED AND E.XECUTED BY THE GUILD OF HANDICRAFT

tory screened on each side continuing round
the east end behind the altar. The chancel
is lighted by two lancet windows in each of the

six bays north and south. On the north are the

On page 5 7 we reproduce a drawing (exhibited in vestries, with the organ projecting into the chancel
the recent Royal Academy Exhibition) by Mr. overhead, and a chapel. The reredos, 29 feet high
John T. Lee, F.R.LB.A., of his design for the by 13 feet 6 inches wide, is recessed for an altar
interior of St. Margaret's Church, Eastney. The 9 feet long, curved at the back over the rotable,
portion shown consists of three bays with an ambula- and domed at the top over the subject of "The

TRIPTYCH : " STEPHEN AND TWO ATTENDANT FIGURES

( By permission of Mrs. Penton) BY T. c. GOTCH

Studio-Talk

Majesty." The surround of the reredos, with its
flanking piers for standing lights, is plated with
sheets of brass riveted on : the border and
blocks of same having acanthus and scroll orna-
ment in low relief. The retable is of white marble
with narrow vertical panels of pale-green marble
carrying a plain brass cross, the two altar lights
being placed on the altar itself, and the seven
sanctuary lamps suspended from the roof in two
horizontal tiers. The altar is to be of the same
material as the reredos, but lacquered in silver-
grey. The altar rails have the emblems of the
evangelists repoussed in metal. The nave is sub-
divided into five bays by stone arches springing
from the floor across the nave. The roof following
the curve of these cross arches is divided into
eighteen panels in each bay, the lower three panels
throughout being filled with winged and vested
figures of the hierarchy of Heaven, the first bay
of the roof being shown in the view of the interior
with an important cross in metal suspended beneath.

month. Mr. Bone's acknowledged rank as a
draughtsman and etcher of street architecture is a
very high one. His art has been mentioned with
Meryon's. Meryon was a dreamer ; the streets of
his Paris are haunted, the windows eloquent of
tragedy. Mr. Bone creates the ordinariness of the
London suburb with as rare an art, in his way, as
Dickens. He has his romantic moments, chiefly
before the spectacle of labour. When in this mood
he is akin to Mr. Brangwyn and Mr. Kipling, in
certain aspects of their art ; but his concern is less
than theirs with the splendour of modern invention,
his theme being the significance of building — of
great places dismantled, stripped of glory, and the
fairy bridges of scaffolding by which we pass to
newer things.

On page 58 we reproduce Mr. Muirhead Bone's
pencil drawing of the demolition of St. James's
Hall, to which we briefly referred in our notes last

It was gratifying to note that the work of the
Junior Art Workers' Guild, as seen at its recent
annual exhibition at Clifford's Inn, still maintains
its excellence in design and workmanship. The
work of the jewellers and metal-workers of the
Guild more especially bore evidence of fresh
thought, expressed in lively and exuberant fancies,
with great variety of colour and wealth of detail.

IN CASTOR CHURCH, NORTHAMPTONSHIRE

BY T. L. SHOOSMITH

■ ....■■"•=v-

INTERIOR OF ST. MARGARET'S, EASTNEY
JOHN T. LEE, F.R.I.B.A., ARCHITECT ^1

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studio- Talk

This was parti-
cularly notice-
able ill the
jewellery by
Messrs. Hugh
B. Cunning-
ham, W. S.

I ladaway, J. A.

I I odd, I'^dward
Spencer and J.
II. M. Bonner.
Mr. Richard
Garbe's silver
scent bottle
(p. 60) is an ex-
cellent piece of
work, charming
in colour, re-
fi n e d and
restrained in
design. Among
the larger exhi-
bits a stove in
steel and brass,
designed by Mr.
G. LI. Morris,
was worthy of
notice. The
sculpture this

year was more interesting than usual. The design
for a monument by Charles Petworth showed a deeper
than usual knowledge of architecture in its relation
to figure sculpture. E. S. Gillick sent a fountain of
considerable merit. A statuette, a beautiful nude
figure, by Mervyn Lawrence, was one of the best
things in the exhibition. Mr. Garbe's sculpture

studies of Progress^ Man and the Ideal, T/ie
Outcast, and Sport, were arresting and suggestive.

HUST OF H. J.

DYER, ESQ.

BY MERVYN LAWRENCE

MAN AND THE IDEAL

BY RICHARD GARBE

KOOKBINDING IN GRKEN LEVANT STRAPWORK INLAID IN KKD AND
CLOSELY DOTTED BACKGROUND BY F. SANGORSKI AND G. SUTCLIFFB

Only two members sent furniture, Mr.
Ambrose Heal, junr., being represented
by an oak toilet-table and a homely
washstand, both first-rate examples of
modern furniture, and Mr. G. LI. Morris
by a painted toilet-table, pleasant in
colour and well-proportioned. Some
well-designed fabrics were sent by Mr.
Alfred Dennis, and delightful speci-
mens of bookbindings by A. de Sauty
and Messrs. Sangorski and Sutcliffe.
Among the drawings and photographs
of architecture, the houses and cottages
by Oswald P. Milne should be specially
mentioned ; also those by Michael

Studio-Talk

Bunney, showing a praiseworthy knowledge of local
traditional forms. Theodore Fyfe's Shaftesbury
Institute was a good example of severe design ;
and the cottages and houses by Mr. Heywood
Haslam and Mr. Antony R. Barker were also
interesting. On the walls were fine etchings by Mr.
Luke Taylor and Mr. Laurence Davis, photographs
after Ostade by Mr. F. T. Hollyer, beautiful minia-
tures by Mr.
Lionel Heath, a
portrait by Mr.
Dudley Heath,
and paintings
by Messrs. F.
W.Carter, Stacy
Aumonier and
F. Tayler.

BRONZE STATUETTE : " FANCY

BY MERVYN LAWRENCE

In the mosaic
panel made by
Mr. George
Bridge from a
sketch by Mr.
Frank Brang-
wyn, shown in
the accompany-
ing coloured
supplement, the
refined colour
scheme and
decorative mas-
sing of form
have received
the ablest in-
terpretation at
Mr. Bridge's
hands.

BATH.- — The Corporation are doing their
best to encourage a serious interest in
art by inviting some of the leading
societies down. With this object they
offered hospitality to the Royal Society of British
Artists who are holding an exhibition in the
Victoria Art Gallery. On the occasion of the
opening Mr. Alfred East, A.R.A., the president,
gave a short address on the society, touching on
its history and its aims. People here are some-
what slow to take advantage of or to realise their
opportunities, but there are decided evidences of a
re-awakened interest in the Fine Arts. The visit
of the New English Art Club gave rise to con-
siderable discussion and is still referred to. It
delighted those who regard painting seriously
60

and has
been of
undoubted
education-
al value ;
but certain
works, es-
pecially
those of
vigorously
modern
handling,
met with
marked
disfavour
in some
quarters.

The
R.B.A. ex-
hibition,
h o w e V e r,
has proved
more to the
taste of the
public of
the West.
Of course,

most of the pictures have already been seen
and criticised in London, but there are a few

SCENT BOTTLE IN FISHSKIN, SILVER
AND IVORY BY R. GARBE

BOOKBINDING IN GREEN LEVANT

BY V. SANGORSKI AND G. SUTCLIFFE

MOSAIC PANEL, by GEORGE BRIDGE FROM A sketch by FRANK BRANGWYN, A R.A.

studio- Talk

that have been substituted for works sold during
the summer show which are noteworthy. Murray
Smith's Httle panel, Dutchmen — boats lying in a
flat-shored estuary — is painted with well-chosen
variety of impasto. Mr. Elphinstone's Morning —
boats sailing swiftly under a light breeze across a
silvery sea, is among the most striking works
shown, and Mr. L. C. Powles has an excellent
landscape in oils, painted with his accustomed
good taste and feeling for ([uality. Miss Kemp-
W'elrh has a study of three cobs, which is up
to her reputation. Many of the landscapes seem
needlessly large for their artistic tnotifs, no doubt a
result of the fierce competition in galleries, where
small work, however good, is liable to be over-
looked. In this respect Mr. A. Talmage's Under
Grey Skies must be said to err ; otherwise it is a
capable study of the silvery clouds of France float-
ing over a typical landscape.
Mr. Frank Swinstead has some
good pastels of farmyard
subjects well carried through,
and Harding Smith's Lyme
Jvegts from the Chartnouth
Road is an attractive water-
colour. A. H. R. T.

EDINBURGH.— It is
all in the interest of
art in Scotland that
there should exist in
Edinburgh a society composed
mainly of the younger men
in the profession whose main
object is to run an Exhibition
of their own, which, while not
antagonistic to the Academy,
yet naturally gives greater
scope to those who are outside
Academic rank. The Scottish
Artists' Society has justified its
existence in that it was largely
instrumental in leading to re-
form in the management of
Academy exhibitions, and it
may thus be said to have
accomplished one main pur-
pose of its founders. But its
continued prosperity shows the
need for and the public ap-
preciation of the Society.

held in three of the galleries of the Royal
Scottish Academy, well maintains the standard
of any which has preceded, especially as regards
landscape, while the excellence of some of
the figure work redeems the paucity of quantity,
and there are one or two portraits of average
merit. Mason Hunter, who was this year
elected Chairman of the Council, has made
a distinct step forward with a large sea-piece. For
a number of years most of his work has lain in
this direction associated more or less with inci-
dent. In his picture of 'Tivixt Morven and Mull
where the Tide Eddies Roar, he has not only
reached a finer harmony of greys, but the wave
modelling conveys a fitting sense of the vastness
and power of the sea. Another of the young men,
W. M. Frazer, has an important Highland land-
scape, the largest he has yet exhibited, with an

The thirteenth Exhibition
of the Society, now being

'GLOIRE DE DIJON

BY ROBERT HOPE

::itiidio- 1 aifz

attractive foreground of water and reeds. It was
in the rendering of this type of scenery that
Mr. P>azer first drew attention to his work, and its
combination with a massive mountain range, which
occupies most of the mid-distance, has been well
worked out. J. Campbell Mitchell breaks new
ground with a very delicate evening effect on a
quiet sea and low-toned stretch of sand, and in a
spring idyll VV. S. MacGeorge gives a joyous group
of two children set against a background of white
blossom. His colour scheme is in a much lighter
key than usual. Charles H. Mackie who, with a
passion for daring colour effect, combines skill in
composition, evidences his ability in both direc-
tions by a picture of fishermen drawing boats up
the steep roadway that leads from a little creek
to a hamlet. A much painted subject is the
Dochart in "spate"
above the bridge at
Killin, and Marshall
Brown in his rendering
of it has made little
of the topographical,
but given a very im-
pressive picture of
wildly rushing water.

background, but the flesh tones have a pure
and refined quality that lifts the work above the
realm of the merely decorative. In some respects
his Gloire de Dijon is even finer, the colour
scheme there being a pale blue against a soft
grey background. Decoration with a strong
leaning to Celtic motifs has been the principal
work of John Duncan, who this year has come
forward with a picture that suggests study on the
lines with which we are familiar in the works of
J. W. Waterhouse. The Song of the Rose is an
ambitious work, but so little is done in this
direction in Scotland that the public may look
with favour on an attempt to strike out in a line
that is not stereotyped at least north of the
Tweed. The figures of maidens grouped round a
bush laden with crimson roses have individuality,

Another of the
younger men who have
made a decided hit
this year is Dudding-
stone Herdman. In-
spired by Longfellow's
verse, Mr. Herdman
has realised the poet's
fancy by a very beauti-
ful presentment of
budding womanhood,
the fine modelling of
the figure being em-
phasised by the very
free brushwork of the
landscape. In The
Peacock Feather Robert
Hope has painted a
figure subject that will
greatly enhance his re-
putation. It is not
only that the painting
of the rich blue and
brown draperies of the
lady's dress are made
to harmonise success-
fully with a soft grey
64

" WHERE BROOK AND RIVER MEET

BY DUDDINGSTONE HERDMAN

studio- Talk

TWIXT MORVEN AND MULL

BY MASON HUNTER

and the colour has been subdued without being
deadened.

There are a few loan pictures which add to the
attractiveness of the exhibition, notably works by
Isabey, Corot, Neuhuys, Van Marcke, E. A. Hornel,
and W. McTaggart. The last-named is a pretty
regular contributor to the Society's exhibition, and
a large sea-piece, representing a fishing-boat scud-
ding to the harbour with the light of dawn chasing
away the leaden greys of night, evidences his
mastery in the rendering of atmosphere and motion.
The collection of water-colours bulks quite as
largely as usual, but there is nothing very distinctive
and the sculptures are of little importance.

A. E.

DUBLIN. — It is only three years since
Mr. George Russell, better known by
his pseudonym A. E., held his first
exhibition of pictures in Dublin. To
those who already knew him as a poet, these can-

vases were the inevitable counterpart of his literary
work ; to those who did not, they had the attraction
of a new treatment of a theme that is as old as the
world — a treatment at once wholly unconventional,
personal to the man, and containing within itself
the emotional expression of the painter's idea. For
Mr. Russell's personality shows clearly through his
work. Even did we not know that he was a
poet, we should gather as much from a glance
at the walls of his studio.

If we study those of his pictures in which human
figures occur, we shall find that Mr. Russell has
used the figures to illustrate and complete his
design rather than to stand out as from a setting.
Like Leonardo, Mr. Russell seems to think that
" Man and the intention of his soul are the supreme
themes of the artist," and in these dim blue can-
vases, so free from inexpressive detail, he seeks to
convey some sense of the harmony between man
and nature, of the existence of which he himself
is so profoundly conscious. This is the keynote

6.-

Studio-Talk

hardly at all with a realistic
presentation of it, he has
yet achieved something
which realist and impres-
sionist alike often miss — he
has succeeded in transfer-
ring to his canvases some-
thing of the evanescent
and mysterious beauty, so
elusive and yet so distinc-
tive, which clothes the hill-
sides of his native land.
E. D.

■THE GAME OF HEN AND CHICKENS"

BY GEORGE RUSSELL

the

lENNA. — A kvf
months ago the
art-world suffered
a heavy blow by
death of Wilhelm

ot his work — work which is lyrical rather than
dramatic, and which is characterised by simplicity and
spontaneity, and by a deep and abiding sympathy.

Mr. Russell has a vivid sense of the mystery and
charm of Irish landscape, and his delicate percep-
tion is expressed in fluent colour phrases, in designs
that tremble with a frail beauty. His pictures are
haunting melodies in colour that embody the fleet-
ing expressions of blue mountains as they rise above
dim lakes, the inner radiance that glows beneath
the earth and sea, that hidden beauty, which, to
the [^poet, shines through
the} garment of the actual
and seems to emerge from
the Dare brown ridges with
their walls of loose stones,
from the dark pools set in
the midst of wide heather
fields, from the stretches
of lonely sea-shore over
which an eternal silence
seems to brood. Much
of the charm of Mr. Rus-
sell's work comes from the
element of design in it.
In all his landscapes,
however slight in treat-
ment, one is conscious of
this quality of design as
a positive force. And
while, like many modern
artists, Mr. Russell is
chiefly concerned with his
interpretation of nature and
66

Bernatzik, one of Austria's most prominent artists
of the modern school. The deceased painter was
one of the original founders of the Vienna Seces-
sion, and he was also among those who joined the
seceders from this body when the split was brought
about. After that event the artist lived a quiet
secluded life in the midst of his work, so much
so that often his friends neither saw nor heard
anything of him for months together. The recent
exhibition of his works at the Miethke Gallery
was arranged by his fellow seceders (that is the
Klimt Group, as they are now called), out of

IN DONEGAL

BY GEORGE RUSSELL

studio- Talk

pious respect for the memory of
their deceased friend.

It is now some twenty years
since Wilhelm Bernatzik first ap-
peared before the public at the
Genossenschaft Exhibition. He
had then newly arrived from
Paris, where he had studied
under Leon Bonnat, and interest
at once arose in the young artist
who showed so much talent.
But, spite of his Paris sojourn,
Bernatzik remained an Austrian,
full of the strength and also the
robustness of his race, combined
with a fineness of feeling, poetic
judgment and true love for
colour which he everywhere shows
in his work. As a member of
the Secession he also showed
this same robust energy by the
manner in which, at short notice,
he collected in Paris the materials
for the exhibition of works by the
Impressionists and their followers
in 1903, an event which marked
so great an era in the histor}- of
the Vienna Secession.

"the fairy lake'

BY WILHELM BERNATZIK

In his early days Bernatzik
painted religious pictures, for
which he found his motives in
the old cloisters of Heiligenkreuz,
near Vienna. His picture, The
Vision of St. Bernard, is now
in the Imperial Gallery. The
Emperor also acquired others of
the artist's religious works, the
Mo/iihe am Kalvarienberg in
Heiligenkreuz among them.
Everything he painted was done
from nature, which offered him a
rich store of her abundance.
His early landscapes were suffi-
cient proof of this, and the young
artist quickly earned recognition.
He also painted interiors of the
old Biedermaier period, full ot
poetic form for those who seek,
and Bernatzik was one of the
first of the many who sought to
read in this book. His water-
colour, Am Schreibtisch (At the

Studio-Talk

Writing-Bureau), is a fine example of a Viennese
interior of the early part of last century. Many
modern artists seek these motives now. One
sees them on the walls in Munich, in Cracow,
in fact everywhere, for the Biedermaier style is
now having its day.

But a sudden change came over the artist him-
self and his manner of painting. He was unsettled,
his roaming nature was dissatisfied and longed for
change. He was one only of a number of young
men who were experiencing the same feelings, and
together they felt themselves strong enough to
throw off the shackles which had bound them.
They seceded from the Genossenschaft, and formed
the group known as the Secession. There is no
need to go over the history of this movement
again — it has been already told in The Studio.
Interiors and sacred subjects were relegated to the
background. Bernatzik now sought quiet bits of
landscape with running or
still waters, limpid streams
with banks clothed in ver-
dure of exquisite and varied
greens, softly swayed by
gentle breezes and reflected
in the waters below. To
this new phase in his art
belongs the Mdrchensee
(Fairy Lake), where delicate
waterlilies float over the
glassy, cool, translucent
surface, from which the
mind's eye seems to picture
a Naiad arising in her
turquoise-blue and emerald-
green draperies. The rich-
ness and beauty of the
painter's poetic fancy is
inspiring.

thrown a veil. The gentle wind sets in motion the
sparse shrubs lining the stream like the loving tender
smile which lights up and changes a hard expression
on a rugged countenance to one of joy and delight.
The Flame is one of those mystic, fairy-like, dreamy
expressions inspired by the artist's poetic fancy.
Delicate in tone and atmosphere the flames rise
from the mother earth to gradually attenuate into
curling wreaths disappearing in the expanse above.
The female figures are painted with delicacy and
grace. This work proves the artist to have been a
man of intense feeling, far more so than one would
have surmised from his outward appearance.

At one of the Secession exhibitions, each artist
had a small room to himself where he arranged his
exhibits according to his own fancy. Bernatzik's
contribution was the " Yellow Room." This again
showed him in a new light. The landscapes sur-
prised everybody by the beauty of tone and the

But though Bernatzik
was chiefly attracted by
Nature's calmer moods, he
occasionally essayed to in-
terpret her under a less
friendly guise. In the mo-
tive from Steinfeld we have
a bare landscape, strong in
tone, with cold grey clouds
overhead. And yet here,
too, the artist shows his
sense of beauty ; over the
hardness of nature he has
68

"STEINFELU

BY WILHELM BERNATZIK

"THE fla:^ie." by

WILHELM BERXATZIK

studio- Talk

delicacy of the brush, for here Bernatzik in a way
seemed to emulate Klimt. On the walls were
hung landscapes, long and narrow in form, bits of
meadows filled with grass, amid which the wild
flowers played hide and seek, or woods where tall
poplars showed their silvery stems in varying lights,
or bits of mother earth covered with verdure, all of
them full of that fine atmospheric feeling which the
artist shared with Nature herself. At one end was
a triptych, in the centre of which was a stream
meandering through banks gay with flowers, with
tall poplars in the foreground, and on either side a
female figure. The arrangement and decorations
of Bernatzik's " Yellow Room " are not easily to be
forgotten.

The memorial exhibition offered an opportunity
of judging of Bernatzik's powers as an artist.
Both the Miethke Galleries
were taken up with his pictures
and drawings. The idea was
a very happy one, and even
those best acquainted with him
were surprised at the display,
particularly with his latest work,
of which even his intimate
friends were ignorant till death
snatched him away from them.
This exhibition showed how great
a place he occupied among Aus-
tria's artists, and how much he
is appreciated is proved by the
fact that many were found eager
to acquire his works.

probably not one of the competitors ever even
caught a glimpse of her, and as no photographic
or other portraits were available, ihey were
left without any definite guidance. This may
account for the indistinctness of the features in
Professor Hans Bitterlich's statue, for which he
was awarded second prize (the first was with-
held). The dress, too, is open to criticism, but
here again the conditions laid down by the
Committee made it impossible to secure a
perfectly satisfactory result. The pose of the
figure, however, is easy and graceful, and its
dignity is enhanced by the architectural back-
ground, the work of Oberbaurat Ohmann. The
monument is erected in a corner of the Volks-
garten, and, spite of its faults, avoidable and
unavoidable, will form an additional attraction
to the city. A. S. L.

The monument to the Empress
Elizabeth, recently unveiled here
by the Emperor, and which was
subscribed for by the people of
Vienna, has been the subject of
a great deal of criticism. When
the models sent in for the open
competition started by the com-
mittee were exhibited at the
Austrian Museum some two years
ago, it was seen that the condi-
tions laid down by the committee
militated against any entirely
satisfactory result. One of these
I ondiiions was that the statue
should represent the Empress as
she was in her later years, but
living as she did very much in
retirement during this period,
70

"at THE writing-bureau' (WATER-COLOUR)

BY WILHELM BERNATZIK

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studio- Talk

THE EMPRESS ELIZABETH MONUMENT (VIENNA)

SCULPTDRE BY HANS BITTERLICH
ARCHITECTURE BY PROK. OH MANN

CHRISTIANIA.— The people of Norway
could not very well have found a more
befitting coronation gift to their King
and Queen than the typical Norwegian
house shown in our illustration on the following page.
It was a happy idea, likely to be carried out in the
happiest manner, for there is every reason to congra-
tulate the architect, M. Kr. Biong, upon his clever
and ingenious solution of a difficult though very in-
teresting problem. M. Biong's design was selected,
both by the committee and by the King and
Queen, from upwards of seventy competing plans.
The motif throughout is the old Norwegian
timbered house, at the same time picturesque and
singularly cosy, although it has of course been
necessary to materially enlarge and modify the
interior arrangements. The house is to be built
of heavy timber, and the roofing is to be sward,
which, with its long grass, flowering herbs, and an
occasional shrub, produces a quaintly pretty effect
against the sombre background of the surrounding
forest. A special feature of the interior will be the
large "Peisestue,'' a hall with one of those huge old-
time fireplaces upon which large logs of birch are the
accepted fuel, and round which the inmates of the
house and their friends are wont to gather, often
for the purpose of relating hunting adventures and
other strange tales. There is to be no ceiling, and in

some respects the room as planned reminds one of
an Elizabethan hall. The walls of the "Peisestue"
will be covered with weavings and decorated with
a carved frieze in wood, representing scenes from
the sagas of Norway's ancient kings. The Queen's
drawing-room adjoins the "Peisestue," and the
King's study, with the adjutants' room, is in the
centre of the building, whilst the dining-room lies
somewhat by itself, and the different apartments
will be decorated with carvings, panels, etc.,
according to their different uses. The bedrooms
and the visitors' rooms are on the first floor. A
delightful site has been secured for King Haakon's
and Queen Maud's forest home close to beautiful
Voksenkollen, amidst glorious Norwegian scenery,
and conveniently near the capital, and there are
exceptional opportunities for ski-running, tobog-
ganing, and other northern sports. G. B.

BERLIN. — Lovers of those fine miniatures
in metal, medals and plaquettes, had a
good opportunity of seeing some of the
best modern German works in this
year's Great Berlin Art Exhibition. Germany is
just now witnessing a revival of an art which
belonged to the glories of the Diirer time. We
have not seen such continuity of development as
Austria and France have experienced, but artistic

studio- Talk

"^]I=:f^*'!::!V,

nr.^ff

Va^

medallists. Starck is very
fine in his modelling, deep
in expression, and gives
his best in classical types.
Bosselt profits by French
technique yet is essentially
German in character. His
sharp-lined portraits,
figures, and ornaments
betray the decorative
artist.

The recent exhibition
of Ferdinand von Rayski's
works at Schulte's gallery
will do much to establish
the reputation of the Saxon
master, who died forgotten
in Dresden in 1890. The
Berlin Centenary Exhibi-
tion has already strongly
revived his memory. If
we omit some less significant works there
remains enough to convince us of the racy tem-
perament of a painter of real distinction. The

German cavaliers and ladies of the middle of last

Constantin Starck, a pupil ot Reinhold Begas, century have hardly found a more convincing
and Rudolf Bosselt, pupil of Josef Kowarzyk, interpreter. A passionate huntsman, he was
belong to the younger generation of German also a close student of nature and a particular

PLAN OF KING HAAKON S FOREST RESIDENCE

instincts have been strongly roused by Parisian
example, though, after all assimilations, the racial
nature has quickly asserted itself.

KR. BIONG, ARCHITECT

KING HAAKON S FOREST RESIDENCE
74

(See page 73)

KR. BIONG, ARCHITECT

studio- Talk

CENTENARY MEDAL

EY CONSTANTIN STARCK

PLAQUETTE BY RUDOLF BOSSELT

BAPTISMAL MEDAL

BY CONSTANTIN STARCK

friend of animal-life. lie had imbued himself
with the finest Parisian and Munich culture of
his time ; but he is also the very artist to com-
mand attention by the sovereignty ot personal
endowments. Aristocracy with the charm of
naturalness — this is his peculiar attraction. J. J.

climax, for during the past few years various in-
dividual artists have been devoting their talents to
this sadly neglected sphere of work, and en-
deavoured to check the vulgarity now rampant.

UNICH. — The cemeteries of our great
cities of to-day when compared with
many a hallowed churchyard in our
old towns, or the peaceful gardens of

the dead, studded with simple crosses of iron or

wood, in villages remote from the world, reveal

unmistakably a deplorable poverty of artistic

culture. Here where a true and thoughtful art

should have yielded flowers at once simple and

comely, blatant pride of wealth and deliberate

ostentation clamorously seek to gain the upper

hand. It is only seldom, very seldom, in fact,

that one finds here and

there, amid the throng of

ungainly and meaningless

tombstones, with which

uncultured stone - masons

and other interested parties

contrive to carry on a brisk

trade, a memorial which by

the unpretentiousness of its

structural features and its

disfnified ornamentation

embodies that feeling of

sanctity which obviously

pertains to such a place.

Such becoming decoration

of graves, however, is

merely an oasis in a

barren wilderness of bad

taste, but ihere are signs

that this deplorable state

of things has reached its

Here in Munich among the younger generation
of artists Max Pfeiffer in particular has taken upon
himself the praiseworthy task of opening the eyes
of masons to the natural beauty of our indigenous
stones, and discouraging the huge trade now
carried on in polished granite and angels cut in
marble of alabaster whiteness. By careful execu-
tion of his own models and designs he has showed
them how this natural beauty could be utilised and
enhanced by appropriate methods of treatment.
The task has not proved an easy one, but energy
and firm resolution have enabled him to overcome
all difficulties, and the results have been such as to
justify his endeavours.

TWO HORSEMEN IN A THUNDERSTORM

BY FERDINAND VON RAVSKI

^ii^U'tu-J. i*i'rv

harmony of detail. So too
in all his other metal-work,
his furniture, and even in
his designs for ladies'
dresses, he has always re-
garded the fundamental
form as essential, and has
been sparing in the appli-
cation of ornament to the
surfaces of things. -

TOMBSTONE

Max Pfeiffer came only in mature years to his shape. They fit in
present calling as an artist. Previously occupied with their natural
in forestry, a profession which he had
originally chosen for himself, and which
accorded with his love of a free and
open life in the woods and fields, the
constant and intimate converse with
nature which his work afforded him
enabled him to see — and always with
the vision of an artist— the myriad
forms of organic growth and decay,
and the beauties which were thus
revealed to him impelled him to exer-
cise his creative faculty in their repro-
duction. In doing so he avoided the
mistake of being satisfied with the
external forms of leaves and flowers ;
he sought rather to get at that living
force which calls into existence this or
that formation or ramification ; and in
this search for knowledge he found ex-
cellent instructors in Hermann Obrist
and Wilhelm von Debschitz. Art, ot
course, can neither be taught nor learnt,
and it was for Pfeiffer himself to give
forth the very best of that which lay
within his power. How thoroughly he
set to work is attested by countless
studies in which he disciplined his
sense of form. The works executed
by him as a novice — silver ornaments
set with semi-rare stones — were marked
by a rare perception of proportion and

The same principles are
to be clearly discerned in
Pfeiffer's grave-monuments.
They are all characterised
by quiet earnestness, and
that repose which becomes
a last resting-place. There
is no ostentation here,
nor any attempt to attract
notice by extravagance of
harmoniously and unobtrusively
environment, and breathe that

REPOSITORY FOR CINERARY URNS

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at modelling on a small scale. He was placed
first, and the result encouraged him to pursue this
line of work. A vacancy occurring at the Mint
here, Mr. Wienecke applied and was successful,
but before commencing his duties underwent a
course of training at the Mint in Paris, under
Mons. Patey, " Maitre-medailleur" of the estab"-
lishment, who took a warm interest in him.

MARBLE CINERARY URN

A brief explanation of the various medals and
plaquettes by Mr. Wienecke, here illustrated, may
be of interest. The first, on page 79, is a' medal
offered annually in gold by the Syndicate of Sugar
Refiners in Java to the winner in a scientific or
technical competition. The small medal on the
same page is one given by the Dutch Minister
of Marine to the winner of a race organised
by the Royal Marine Yacht Club. Below is
a large medal commissioned by admirers of
the eminent painter Joseph Israels, to com-
memorate his 80th birthday. The plaquette in the
centre of the page bears a portrait of the artist's
mother. The first plaquette shown on page 80
records the retirement of M. Van Eelde after
forty years' service at the Utrecht Mint. On the

other-world peacefulness which, at the graves of
those who in life were dear to us, softly recalls
them to our memories. In his cinerary urns
likewise, the shapes he has given them are so
characteristic and definite that they could hardly
serve for any other purpose. Their graceful
curves, unbroken by angles, symbolise, as it were,
that eternity without beginning or end which
presides over all mundane things. L. D.

UTRECHT.— Mr. J. C. Wienecke, whose
interesting and diversified work as a
medallist we have pleasure in intro-
ducing to readers of The Studio,
occupies a position on the staff of the Mint in this
city. Born in Prussia in the early seventies, of
Dutch parents, he studied first at the School of
Applied Art in Amsterdam, later at the Academies
des Beaux Arts in Antwerp and Brussels, and then
five years in Paris, under Professors Cola Rossi,
Julian, and Denis Puech. In 1898, on the occa-
sion of the coronation of Queen Wilhelmina, a
small competition was instituted by the city autho-
rities at Amsterdam for a plaquette to be presented
to the Queen as a memorial of the event, and this
gave Mr. Wienecke an opportunity to try his hand

CINERARY URN IN SERPENTINE STONE

MEDALS A^\D PLAQUETTE BY J. C. WIENECKE

m - •'

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MEDALS AND PLAQUETTES BY J. C. WIENECKE

studio- Talk

an artistic point of view,
was the posthumous exhi-
bition of Victor Borisoff-
Mousatoff, who died at the
early age of 35. With a
few gaps, this exhibition
comprised almost the entire
cetivre of the artist.

J. C. WIENECKE

same page are three other plaquettes — one done
for the Societe Neerlandaise- Beige des Amis de
la Medaille d'Art, a portrait of the Queen-Mother
forming the obverse; secondly, one in honour of
the 70th birthday of J. H. L. de Haas, the Dutch
animal-painter ; and, thirdly, a family medal, com-
memorating a wedding. Of the two medals on
the same page, one is for a colonial exhibition
at Curagoa, and the other
commemorates the services
to architecture of Mr. J.
van Lokhorst, of the De-
partment of the Interior at
the Hague. With two or
three exceptions all these
medals and plaquettes w^ere
executed by the firm of
C. J. Begeer, of Utrecht.

Mousatoff was endowed
with a lyric temperament,
and the strength of his
talent lay perhaps in his
unusually fine colour sense
more than anything e'se.
The quite singular charm
of colour which marks
many of his pictures cer-
tainly ranks, with that of
Vroubel, amongst the finest
achievements of modern
Russian art in this direc-
tion. His favourite themes were peaceful, dreamy
scenes laid amid the country homes of the Russian
gentry of the first half of the past century and with
the costumes appropriate to that period — themes
which he treated decoratively in a manner entirely
his own, and in which a poetic note found gentle
utterance. The works he executed during his
last years — misty landscape motives in pastel and

PHOTO. BY INGELSER, UTRECHT

OSCOW. — The
number of art
exhibitions held
here during the
past season was unusually
large, but unfortunately the
quantity bore, on the whole,
no relation to the quality
of the works shown. That
which appealed most to
one's sympathies, and at
the same time perhaps was
the most meritorious from

AU PIANO

FROM A DRAWING BY L. I'ASTERNAK

Studio- Talk

LA DICTEE

BY MLLE. E. GOLDINGER

water-colour, with traces of Japanese influence in
their composition perhaps, revealed Mousatoff in a
new role^ and doubly emphasised the loss which
Russian art suffered by his death.

best achievements.

Almost simultaneously there was held a collec-
tive exhibition of the works of N. Nesteroff, who
has not been showing anything for some years ;
but it was disappointing. The numerous studies
and sketches for the artist's mural paintings in
the Church of Abbas-Tuman in the Caucacus left
a distinctly cold impression, nor in his portraits
and his somewhat laboured genre pictures did he
succeed in riveting one's attention. What seemed
to be lacking in all of them was genuine artistic
sincerity; the colour treatment appeared crude,
and in the backgrounds of his landscapes one
missed that fine sense of colour with which he used
to depict the elegiac nature of Northern Russia
and the mystic tonality of Russian monastic life.

Disappointing too was the colossal canvas which
W. Sourikoff, the historic genre painter, exhibited
with the " Peredvizhniki," or "Itinerants." His
Stenka Razin (the leader of a revolt among the
Russian peasants in days long gone by) showed in its
composition some of that monumental swing which
used to characterise this master's work, but a certain
theatricality in the handling of his material and choice
of types, joined with the rather slipshod quality of
the painting, militated against any deep impression.

society, and on the whole
the best results were
yielded in the domain of
portraiture. Here
Vroubel's portrait of the
poet V. Briousoff — a
powerful piece of charac-
terisation, but, unfortu-
nately, left unfinished —
calls for particular mention,
as also does C. Somoff's
portrait of another poet,
V. Ivanoff, treated in
miniature fashion but with
ample breadth. On the
other hand, the life-size por-
trait of Mme. Yermoloff,
the tragedienne, by V.
Seroff can scarcely be
placed among that artist's
L. Bakst showed a capital
portrait of a lady and a pleasing decorative
design. In spite of his masterly technique, B.
Kustodieff failed to engender any warm interest.
L. Pasternak, in the coloured drawings which
are his forte, showed greater strength and
individuality than in his large and representative
oil portrait. Alexandre Benois was very well
represented by a series of pictures from Versailles,
notable for their technical finish and refined
composition. Landscapes of more or less merit
were contributed by Petrovitcheff, Tarkhoff, Tour-
zhanski, Mechtcherine, Vinogradoff, Krymoff, and
others, though without yielding anything of super-
lative interest ; A. Vasnetzoff, Grabar, and Yuon,
on the other hand, fell short of their former high
standard. The decorative designs of N. Rerich,
drawings by Dobuzhinski, some highly imaginative
illustrations by Bilibin, and the works of the
talented artist Larionoff completed the " Soyouz "
group, from which on this occasion Malyavin,
Lanceray, Braz and some others were missing.

This year's exhibition of the " Soyouz " cannot
certainly rank among the most successful of this
82

The fourteenth annual exhibition of the Society
of Muscovite Artists was made especially attrac-
tive by a display of sculpture which, for Russia,
was quite unusual in its magnitude. Here we
made the acquaintance of S. Konenkoff, an artist
of great vigour, whose talent promises much for
the future. Rodin's pupil. Mile. Golubkina,
seemed this time less distinguished than usual.
K. Kracht, who was a newcomer, proved to be a
follower of the Parisian school of modelling.
Another new man was S. Beklemicheff, whose

Reviews and Notices

series of water-colours, pleasant in colour and
poetic in feeling, treat of Biblical subjects, in
which points in common with Alexander Ivanoff
and Vroubel were disclosed. V. Denisoff, that
always original artist, who hitherto has revelled
solely in delicate colour harmonies, is now experi-
menting in linear compositions as well, and at the
present moment is in (|uest of a monumental mode
of expression, to which, however, he has not yet
attained. Among landscapists who contributed
successful works I should mention Morgunoff,
Yakovleff, Yasinski, Lipkine, N. Nekrassoff (who
also showed some interesting ethnographic studies),
Khrustatcheff, Rezberg and others. A group of
In/imistes was composed of Pyrine, Sredine, and
Mile. E. Goldinger, who was much happier in her
pastels than in her broadly-treated composition of a
lady standing in front of a mirror, which reminded
one of the old Venetian masters. Very effective was
her Sonnefistrahl, an effect of sunlight playing on
a grey-green wall. Last, but not least, must be
mentioned S. Noakowski's architectural sketches,
and \hQ gouaches of Kandinski, who lives in Munich.

The season was brought to a close by an ex-
tremely tasteful show, arranged on Viennese lines,
by a group of artists belonging to the rising gene-
ration who have banded themselves together under
the somewhat eccentric title of "The Blue Rose,"
the most talented among them being Nicholas
Miliotti, Paul Kusnetzoff, Sapunoff, and Sudei-
kine. In greater or less degree their common
traits are a strong feeling for colour, a decorative
sense, and a preference for quasi-symbolical com-
positions, in which an erotic note is frequently
discernible. Unfortunately, another characteristic
common to most of them is a distinct lack of
feeling for form, in consequence of which their
pictures are without that constructive framework
which a sense of form ensures. Among them
Miliotti has the most artistic culture, but his con-
tributions this year were not equal to those of last
year. Kusnetzoff, the colour symphonist, seems to
exercise great influence on his junior colleagues.
In addition to these artists, there were interesting
works by Arapofif, the graphic artist Theofilaktoff,
and Bromiski, the sculptor. P. E.

REVIEWS AND NOTICES

Old English Gold Plate. By E. Alfred Jones.
(London : Bemrose & Sons). 42X. net. — In his
new volume the indefatigable and learned author
of many previous publications of a similar kind
gives excellent reproductions and detailed descrip-

tions of a number of typical examples of old
English gold plate, arranged in chronological
order, beginning with the beautiful gold Chalice
and Paten, the earliest specimen in existence of
pre-Reformation plate, that was given by Bishop
Foxe of Winchester to Corpus Christi College,
Oxford, and ending with an early nineteenth-
century mug in the possession of Earl Spencer.
Ill his Introduction, which is very melancholy
reading with its constant references to the melting
down of priceless works of art, Mr. Jones gives
an interesting historical summary of his subject,
quoting largely from the inventories of Westminster
Abbey, St. Paul's, and other cathedrals, dwelling
with regretful eloquence on the confiscation by
Henry VIII. of Lincoln's treasures, that included
"a chalice of gold, with pearls and divers stones
in the foot and the knop, with a paten graven
Coena Domini and the figure of Our Lord with the
twelve apostles " ; on the melting down, for the
relief of those suffering from famine, of the cross
and altar of gold given to Winchester in the ninth
century by King Edred ; the robbing of York
Minster of a chalice and paten garnished with
rubies and emeralds, that had been given to the
Earl of Shrewsbury by Lady Jane Grey ; passing
on to tell of the conversion into money in 1556 of
the greater part of the Royal collection of plate of
Scotland to defray the expense of the war with
England ; and the destruction of the Ancient
Regalia of England, begun by Charles I. but not
completed until after his death. The book is, in
fact, a storehouse of information that will no
doubt be found useful not only by the artist and
antiquarian, but also by the student of ecclesiastical
and secular history.

Brabant and East Flanders. Painted by Ame-
DEE FoRESTiER, text by George W. T. Omond.
(London : A. and C. Black.) los. net. — To those
who know and love Bruges, as does the present
writer, the opening sentence of Mr. Omond's book
will come with a shock of surprise, for it is cer-
tainly not the "city of the dead, of still life, stag-
nant waters, smouldering walls and melancholy
streets " that he describes, but a-town unique in its
attractions, retaining unspoiled the best characteris-
tics of the long ago, and likely, now that the new
canal is opened, to be restored to something of its
earlier prosperity as a port. It contrasts indeed
favourably, from the aesthetic point of view, both
with Ghent and Antwerp, which evidently appeal
much more strongly than old-world Bruges to the
practical mind of their critic, who dwells more on
their being thoroughly up-to-date than on the

Reviews and Notices

continuity of their present with their past. In spite But even before Isabey's appearance on the scene
of this, however, the book is well written and full at the Vienna Congress Fiiger had painted his
of interest, whilst the water-colour drawings of Mr. masterpieces, and his mantel had fallen on his
Forestier favourably supplement the text. Some of pupil, Daffinger, and, as already mentioned, minia-
them, notably the Place de Brouckhe, Brussels, the ture painting was patronised by Maria Theresia
Chapel of St. Joseph, the Old Houses in the Rue de herself. Every page of this work tells the reader
L'Empereur, and the Archivay under the Old something new and interesting in the hitherto unex-
Boucherie, all at Antwerp, interpret their subjects plored field of miniature painting in Austria. It is
with conside-able felicity, but the remainder are illustrated by a large number of beautiful collotype
somewhat matter of fact and wanting in atmosphere, reproductions in colour (those in our accompanying
Das Blldnis-Miniatur in Osterreich von 1750 — supplement belonging to the series), and in all
1850. By Eduard Leisching, Vice-Director of respects the volume is one which ought to find
the Austrian Museum in Vienna. — This beautiful a place in the collector's library. The subscription
work is one of the most valuable contributions to price of the work was 120 kronen, but since its
the art of miniature painting which have ever been publication this price has been more than trebled,
published, and, as far at all events as the Austrian Charles E. Dawson : his Book of Book -Plates.
school is concerned, will rank as a standard one for (Edinburgh: Otto Schulze.) ^s. net. — Although
all time. Some two or three years ago an exhibi- in turning over the pages of this delightful collec-
tion of miniatures was held in Vienna, when no tion of book-plates it is impossible to help being
less than 3,000 were shown, many of them being reminded of the work of several other artists,
of exceeding beauty and rare value. Since then especially William Nicholson, Anning Bell, and
further discoveries have been made which have led Jessie King, Mr. Dawson has managed with no
to the publication of this work. Thanks to Dr. little skill to suggest in each case some character-
Leisching's investigations, pursued in the true spirit istic of the owner of the design. Very charming
of scientific discovery, much new light has been and clever are the frontispiece, a beautiful study
thrown on the rise and development of miniature of a girl-mother and her child, the Ex-Libris of
painting in Austria, of which very little appears to the Duchess of Sutherland with a winged Cupid
be known in other countries, save perhaps Ger bearing a cross soaring heavenwards, an appropriate
many. Dr. Leisching is too fully inspired with device for the President of the Potteries' Crippled
the true spirit of the investigator to rely entirely on Guild, that of OUvia Holmes, in which the orange
his own efforts, and as at the time of the exhibition trees in pots on either side of the dainty little maiden
which he arranged he had the help of his able seated amongst her toys and books, hint at her
colleague. Dr. August Schestag, so also he has con- father's poUtical opinions, and the humorous Malt
suited others whose possession of historical docu- book-plate, a most successful aesthetic pun, with its
ments or personal knowledge has enabled him to malt-houses and mushrooms, the nam de plume of
clear up difficulties. In this way he has been able the lady to whom it belongs being Malt Mushroom.
to publish much that was hitherto unknown and Sudseekunst : Beitrage zur Kunst des Bismarck-
correct many errors that have arisen. He shows, Archipels und zur Urgeschichte der Kunst ilberhaupt.
for instance, how Eusebius Johann Alphen, who was By Dr. Emil Stephan, (Berlin : Dietrich Reimer.)
a Viennese, born in Vienna in 1741 and dying there Cloth, 6 mks. — In this volume Dr. Stephan, who
in 1772, was employed by Maria Theresia, a great went out to the South Sea Islands in 1904 as
patron of miniature paindng, to paint a miniature of surgeon on the German survey ship " Mowe," has
her daughter, the Archduchess Christine — a fact given the results of his studies of the art of the
revealed on its being photographed, when it was seen natives inhabiting the islands in the Bismarck
that a small book this princess was holding in Archipelago. To students of ethnography, and
her hands bore the signature Alphen, 1769. This especially to those in search of material bearing on
led to the discovery of more miniatures by Alphen, the origin and evolution of the aesthetic sense in
who, as Alfen or Alf, is generally given to be a mankind, these studies of a careful and intelligent
native of Holland or Denmark. In his introduc- observer should prove of absorbing interest. It is
tory chapters the author first traces the history of only during recent years that any attempt has been
painting in Austria, and then goes on to give an made to explore the vast field of primitive art, and,
account of miniature painting in other countries, as the author points out, many years of patient
in which he is particularly careful to acknowledge investigation must elapse before any definite con-
the influence of the French School on native art. elusions respecting it can be arrived at. How
84

Reviews and Notices

difficult the path of investigation is may be seen
from the fact that even in contiguous islands in
this South Sea group there is considerable diversity
of decorative style. The value of Dr. Stephan's
work is greatly enhanced by an extensive series of
illustrations (including many in colour) of objects
collected during his visit, and now housed in the
Museum fiir Volkerkunde in Berlin, and there are
also some cai)ital reproductions of photographs
showing amongst other things the tattoo marks
borne by the natives.

Among Messrs. T. C. &: E. C. Jack's new publica-
tions this autumn are a series of capital reprints of
the Waverley Novels, each volume containing a
complete novel printed in the clear, bold type
of the Edinburgh Waverley, and twelve repro-
ductions in colour of original drawings by selected
artists of repute. Mr. Maurice Greiffenhagen is
illustrating " Ivanhoe," Mr. H. J. Ford " Kenil-
worth," and Mr. S. H. Vedder " The Talisman,"
the three most popular of the novels. The
volumes are attractively bound, and are issued
at the price of 6^. each net. — Another new and
interesting series with coloured pictures issued by
Messrs. Jack is entitled " Masterpieces in Colour "
(ly. dd. net per volume). The publishers have
secured the services of a number of able writers
for the series; and among the Masters whose lives
and work are to be dealt with are Velasquez,
Reynolds, Turner, Romney, Greuze, Rossetti,
Botticelli, Raphael, Rembrandt, Lord Leighton,
Watts, Holman Hunt. — Messrs. Jack have also
published a collection of Nursery Songs which is
in many respects unique. Each page is specially
designed by Mr. Paul Woodroffe and printed in
colour ; and another pleasant feature of the book is
the bold and legible character of the text and
music (arranged by Joseph Moorat).

Messrs. Bell have decided to re-issue in a
cheaper form their admirable series of " Hand-
books of the Great Masters " — a series which has
enjoyed a wide popularity owing to the full and
reliable information given in the volumes forming
it. In this re-issue, though the price is much re-
duced, the letterpress and illustrations will be
identical with those in the dearer edition, but the
binding will be somewhat simpler.

Jung IFien, which comes from the firm of
Alexander Koch at Darmstadt, and forms the
twelfth volume of " Koch's Monographien," con-
tains illustrations of a large variety of designs by
students of the School of Applied Art at Vienna.
The designs illustrated, comprising country houses,
gardens, interiors, furniture, plastic figures, placards,

decorative paintings and wood-engravings, ceramic
objects, ornamental writings, end-papers, textiles,
embroideries, are interesting as showing how
vigorously the rising generation of Viennese artists
are devoting themselves to decorative art. At the
same time, they disclose a tendency here and there
to go to extremes ; some of the examples of orna-
mental writing, for instance, have the defect that
they are extremely difficult to read, a serious defect
indeed where there is a whole page of such writing.
On the whole, however, the designs are excellent
and point to a large endowment of decorative
feeling and skilful draughtsmanship.

Recent additions to the series of illustrated
monographs edited by Dr. Muther, and issued
by Messrs. Bard, Marquardt & Co., of Berlin,
under the general title of "Die Kunst," include
interesting accounts of Munich and Rome as art
centres — Afiinchen ah Kiinststadt, by E. W.
Bredt {Mk. 3), and Rom ah Kunststdtte {Mk. 1.50),
by Albert Zacher.

The Fine Arts Publishing Company, of Charing
Cross Road, are issuing a dainty little catalogue ot
their "Burlington Proofs," — a series of mezzo-
gravure reproductions of pictures by eminent
painters, living and deceased. A glance at this
catalogue, which contains miniature reproductions
by the same process of over fifty of these proofs,
suffices to show how admirably adapted the pro-
cess is for the rendering of tone and subtle atmos-
pheric effects. Included in the series are some of
the most popular landscapes shown at the Royal
Academy during the past twenty years, besides an
interesting selection of figure subjects, including
the famous Vetius and The Mirror of ^^elasquez.
The moderate price at which these beautiful repro-
ductions are published places them within the
reach of people of quite slender means.

Heatherley's School of Fine Art, which for many
years past has been carried on at 79 Newman
Street, Oxford Street, under Mr. John Crompton
as principal, has recently been removed to No. 75
Newman Street, a few doors off, where it is now being
directed by Mr. Henry G. Massey. The school
is said to be the oldest art school in London,
having been founded in 1848 by Mr. James M. Lee,
from whom it passed to Mr. Heatherley, who had
it for nearly thirty years. In the roll of its students
are to be found the names of many who have
attained to eminence as painters in after-life,
more than a score of R.A.'s and A.R.A.'s being
among them.

The Lay Figure

HE LAY FIGURE : ON LEAVING
THINGS UNDONE.

" I WONDER how much longer our legis-
lating wiseacres intend to go on discussing the
question whether or not the British Houses of Par-
liament are to be decorated," said the Art Critic.
" I notice that a Select Committee has just issued
another report on the subject with a whole
batch of recommendations. Will it lead to
anything being done, do you think?"

"I should say that it is extremely doubtful,"
replied the Man with the Red Tie. " On artistic
questions we talk indefinitely — it is a national
habit — but we always shirk action in such matters."

"But why?" asked the Critic. "What do you
imagine is the reason for our inactivity in artistic
matters ? We are supposed to be a practical race,
and to pride ourselves on not putting off till to-
morrow what may be done to-day. Why should
we allow ourselves to treat art in such a totally
different way?"

"You know the reason quite as well as I do,"
answered the Man with the Red Tie ; " because it
is the national conviction that art does not count
anyhow, and that it is a mere triviality which is
unworthy of serious consideration. This question
of the decoration of the Houses of Parliament at
Westminster will, I am sure, never get beyond the
stage of discussion. Every attempt to carry it a
stage further is doomed to failure."

"Of course it is," broke in the Practical Man.
" Do you imagine for an instant that any Parlia-
ment which is pledged to administer the national
affairs with care and economy will sanction the
expenditure of large sums of money for such
useless work ? We have no right to encourage
waste, and I hold that it would be a scandal if any
of the public revenues were laid out upon anything
so futile and so absolutely unnecessary."

"That is your view," laughed the Man with the
Red Tie ; " the view I should have expected of you,
because you cannot see anything beyond the tip of
\ our nose. But I look at the matter in an entirely
. lifferent way, I am glad to say, and I suggest that
ihe real scandal is in the fact that for nearly half
a century we have neglected an obvious and
important duty."

" What duty have we to art that we fail to fulfil ? "
asked the Practical Man. " Do we not spend an
enormous and unnecessary amount of money
annually on art education? What need is there
to spend more upon decorating a building that is
intended for use ^nd not fgr show ? What earthly
88

return, what possible benefit, should we get from
such expenditure ? "

"More than you think," cried the Critic. "I
will omit from the discussion one point in which
I firmly believe, that the dignity of the nation
demands that its Parliament House should not
be left in a condition of evident incompleteness
and should be something more than an empty
barn. I will confine myself only to your query
as to the return we may expect from expenditure
on decorations. Has it never occurred to you
that money spent on art education is wasted if the
men educated are given no chance of showing
how they can apply the knowledge they have
acquired ; and do you not realise that men
without opportunities are as much wasted as the
money spent in training them ? "

"But they must make their own opportunities,"
returned the Practical Man ; " they cannot expect
the State to support them in after life simply
because they have been trained at the expense of
the State. You are arguing that all art students
ought to be kept in luxury out of the public funds,
and that they ought to be looked upon as a
privileged class for which well-paid work must
always be found."

" Nothing of the sort," replied the Critic. " I
am only arguing that it is the duty of the State to
set a good example in the matter of art patronage,
and that it could not possibly set this example in
a better way than by spending the small annual
amount necessary for the efficient decoration of
our national buildings. In this way one of the
best assets which any commercial nation could
desire — a great school of designers and decorative
artists of the highest type — could be called into
existence, and the services of the men composing
it would be available for carrying out other work
which would come in their way. Even now there
is a demand for our art products abroad, and this
demand would be enormously increased if we as a
nation did our duty to art. There is the way, if
you would only see it, in which the return would
come for the money spent in decorating our public
buildings. I would like to see every place in which
national business is transacted beautified by fine
decorations commissioned and paid for by the State.
Other nations do not grudge this kind of expendi-
ture. In Paris, Berlin, Washington, and other
capitals money for this purpose is given without
stint. Are we less civiHsed or less intelligent?"

" Great Heavens ! What extravagance ; what
wicked waste ! " cried the Practical Man.

The Lay Figure,

Victor JVesterhobn, Finnish Landscape Painter

ICTOR WESTERHOLM. A FIN-
NISH LANDSCAPE PAINTER.
BY COUNT LOUIS SPARRE.

The long, dark and dreary winter months of
northern countries would be unbearable were it
not for the snow. The white mantle of Old
Boreas retains and diffuses the scanty light
given by the low-rising sun, intercepted as it is by
the thick roof of heavy clouds, that as a rule during
a large part of the winter keeps the star of the day
out of sight. The snow is the poetry of our winters
and has its poets. Among these, one of the best
interpreters of the beauties of winter landscape is
without doubt Victor Westerholm. Before his advent
few, if any, had penetrated the soul of winter and
unveiled the secret beauties, but little known and
appreciated, of his native country, Finland. But he
is a modest man, far too modest. At present he
is scarcely known outside a narrow circle of admire' s
among his fellow-artists and countrymen. He
plainly deserves, however,
to be better known, and
it would be of the greatest
benefit to art lovers, and
especially to those who find
their greatest enjoyment in
landscape painting, should
he only send his pictures
abroad to be admired and
valued according to their
merits.

Westerholm is conscien-
tious and skilful, as well as
an earnest worker. His
hand is directed by true
artistic feeling and a poet's
vision, and he is thus en-
abled to appreciate and
express as well the beauty
of a dark dull snowy land-
scape with rushing black
waters as the gay and in-
vigorating aspects of a cold,
clear winter day with its
glistening snow fields, its
delicate blue sky and warm
glowing colours reflected
from red or yellow cottages
scattered here and there
among the firs. But Wester-
holm is not only an inter-
preter of winter's beauties,
he likes also to realise the portrait of victor

XLII. No. 176. — November, 1907.

dreams of northern summer nights, of glowing sun-
sets among the thousand islands of his native coast.

Victor Westerholm was born at Abo, in i860.
He commenced his studies at that period when
supremacy in art was remo\ed from Germany to
France, when the traditions and style of the
Dusseldorf school had to give way to the young
and sound school of hrench landscape painters.
The stream of foreign students changed its course
at this time, and Paris became the centre of art
teaching. Westerholm's first steps in the thorny
path of art were lead by Eugen Diicker in Diissel-
dorf. Later on he became a pupil of Jules Leffevre
at the Academie Julian in Paris. It is permissible to
suppose that this double training has been of great
advantage to him. The German thoroughness gave
him a steady foundation for good craftsm.anship,
while on the other hand there can be no doubt
that the broadened views on art of the French
realistic school developed his fine (qualities as a
colourist and honest observer of nature.

WESTERHOLM

FROM A PHOTOGRAPH
91

Victor VVesterhobn, Finnish Landscape Painter

Unfoitunately, good reproductions of Wester-
holm's principal works are scarce, and we are only
able to give here a few examples of his art. The
winter scenes here reproduced are without doubt
among his best winter landscapes. In The Valley
he portrays in a masterly fashion the dull and
melancholy impression produced by a cloudy
December day, which in these northern climes
amounts to nothing more than a few hours of
twilight. The clouds lie thick and heavy over
the snow- covered landscape, shrouding with their
misty veils the branches of firs and pines. The
water is dark, almost black. Even the red walls
of the little houses scarcely suffice to relieve the
all -pervading melancholy; they merely give the
suggestion that a warm and cosy corner might be
found inside them.

In the Voikka Rapids Westerholm interprets wild
northern nature in midwinter. The blank, cold
water rushes over stone and rock between the
snow-covered banks where pines and firs stand
erect in grey melancholy, awaiting patiently the
happy moment when spring with its rejuvenating
light and warmth will deliver them from the might
of winter and enable them to discard their soft
winter dress of fleecy snow and icy jewels. Heavy
clouds spread their grey veil over the landscape, and
the snow looks ghostly white.

Westerholm has also painted some good pictures
of forest subjects, where little is to be seen but
snow. The trees can only be divined under
their heavy burden of snow, and the undulating
ground is thickly covered with midwinter's soft
but heavy garments.

It is, as I have indicated above, pre-eminently
as a painter of winter scenery that Westerholm
merits attention, but the more genial aspects which
nature presents when she has thrown off her snowy
mantle have also inspired him to capital perfor-
mances. In summer time his favourite subjects

are sunsets in the archipelago of Aland, where he
has his summer residence. These islands, situated
between Finland and Sweden, yield some of the
most picturesque and beautiful scenery to be
found in and around Finland. Here he paints
the sun sinking into the sea or hiding for a moment
behind the sharply outlined and rugged edge of
a fir-covered island, setting the whole atmosphere
ablaze before going to his few hours rest after
the long summer day. He likes also to stand on
the very top of a rocky islet and, looking over
the tree tops far away out to sea, watch the
sun sinking below the horizon, setting the dark
spots of land in a sea of gold. Another of his
favourite summer subjects is the early morning in
the pastures, where cattle are slowly walking among

•AFTER A HEAVY SNOW FALL
92

BY VICTOR WESTERHOLM

i-H

•

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>

H
U

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'f-

Victor JVesterholm, Finnish Landscape Painter

A RAPID

the birches, through whose branches the summer
sun sends his warm rays, painting spots of bright
green on the fresh grass between the white trunks.

For the past twelve years Westerholm has oc-
cupied the post of teacher at the school of the
Society of Art and is director of the magnificent
art museum given to the town of Helsingfors by

BY VICTOR WESTERHOLM

that generous patron of art, Mr. Ernst Dahlstrom.
Now and then, when his duties permit, he makes
an excursion into the country, putting up his
movable studio either on the edge of a foaming
rapid or in the snowy solitudes of the wood. As soon
as the school closes in spring he migrates with his
family to his be'oved islands, and immediately

■■^^M'.
/-?)»<

"a summer landscape'

'^Ktlk.

BY VICTOR WESTERHOLM

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'^z'

hil

CO >

Ambrose McEvoys Pictures

"MIDWINTER SUN

BY VICTOR WESTERHOLM

THE VOIKKA RAPIDS'

BY VICTOR WESTERHOLM

sets to work interpreting the beauties which nature
has allowed him to see and enjoy. L. S.

HE PICTURES OF
McEVOY. BY T.
WOOD.

AMBROSE
MARTIN

Two or three contemporary artists are in our
mind separated from others for their Mid-Victorian
culte. The spirit which informs their work is the
same, and this, though the quality of thought pro-
voked is with each artist different, ^\'ith this culte
they have reproached their age with forgetfulness
of the graces. I'or in those Mid- Victorian days
96

everything had tapered away to grace, the legs of the
chairs, the ladies' oval chins, and their useless fingers.
Mr. McEvoy touches the subject of these
days with feeling — though at the moment of their
decadence. The shy and sentimental spirit of
them beckons to him from dingy London parlours.
^Ve have no right to ask an artist why, in the case
of anything he does with feeling, or we might ask
Mr. McEvoy why he chooses this period above all
others. This art of the New English Art Club
may ba called the art of the bottom drawer. It
has just that sense of our grandmother's times,
which comes with a faint scent when we examine
the contents of a drawer which has been closed for

"THE ENGRAVING." BY
AMBROSE McEVOY

Ambrose McEvoys Pictures

a generation, with its fragments of engravings, old
knitting-pins, and pieces from played-out parlour
games— all belonging to a period that though so
lately with us, seems further away than any other,
and upon which the dust of the past lies thicker
than any other, for there has not yet been time to
brush it away. The beauty of such art as this is
largely compounded of old associations. More than
ninety-nine hundredths of the beauty of the world
lies with associations of one sort or another ;
perhaps there is no beauty without this, and the
cold art without it has no place in the life of the
world except for its brief meaningless display of
dexterity in a modern exhibition. Mr. McEvoy
has the rare, the dramatic instinct, that goes to make
a gejire painter ; but his is a gentle drama, and the
highest, full of presentiment of the import which
is sometimes given by fate to the slightest action.

He does not arrest action at unexpected moments
— as with a camera. His figures are posed, but
there is about them none
of the posing of the model.
Their actions are indicative
of thought. The gesture is
not depicted because in
itself it is graceful, but as
the emblem of a thought
from which it springs. We
find in his art a feeling for
the gentle side of life, as in
The Convalescent, The Gold
Shawl, The Engraving ;
and this feeling is always to
be found with that art which
turns indoors to the peace-
fulness of the room. For
in the life of those who live
for long within one room,
the flowers on the table or
the window-sill, the ticking
• lock, the pattern of the
carpet, are all important
friends. The moving of
furniture seems to alter the
appearance of the face of
the earth. It is a life where
small events are watched
as they loom up large, out
of all proportion to other
things of the world ; where
the mind is capable of be-
coming very small — or very
large as when it voyages
unembarrassed upon seas «'inez'

of thought that grow wider with the stillness. It is
grace and gentleness of thought then, rather than
of pose and action, that Mr. McEvoy is trying to
interpret, and the interpreter of this deals with
something intangible, elusive, which he puts into
his figures from himself A figure can be elegantly
copied from life and miss this altogether. It
demands in the artist a definite feeling for some
particular side of life. It makes his work perhaps
not for everybody, but for those who hold the
threads of the events of which it speaks. So this
art is wedded to literature — comes from a page of
a book as well as from life, and the artist's imagina-
tion passes from art to life and back again, finding
no barrier to its dreams, embracing outer objects
as part of them, meeting everyday people as if
they, too, lived the interesting vivid life that is in
books, seeing the eternal significance of all their
gestures. And this interest of the artist both in
the thing as seen and the thing as felt is not a

^W-.l^WJ*.,"^.'

BY AMBROSE MCEVOY

THE CONVALESCENT/' FROM THE 0!l
PAINTING BY AMBROSE McEVOY

(By Permission ^'' Messrs. Car/ax £r* Co., L:d.

Ambrose McEvoys Pictures

division of his mind disastrous to craftsmanship, as
some — Max Nordau, for one, I beUeve — would
have us think. It is in vain even for so clever a
writer to ask for this inhuman divorce between an
artist's imagination and his sense of sight, the
sense which throws most light into the soul. It is
to ask him not to equip or to express his spirit to
the full as other men, lest he lose a machine-like
power. He cannot sacrifice himself thus for others,
even were it possible for his art to help their
development thus at the cost of his own.

Though Mr. McEvoy seems to me eminently a
painter of interiors, his spirit has not been shut in
by doors and windows. All his landscapes have
that freshness, that sense of the sun and wind,
which perhaps no one enjoys so acutely as one
who is accustomed to the artificial weather of a
London room. In the painting of Bessborough
Street we are shown the outside of houses, such
as were once inhabited by the ladies whose spirits
in his art he invokes, and whose bodies are long
since dead of one of those graceful illnesses
which, if there is any truth
in fiction, belonged to that
age, and, we think, to that
age alone. There is little
indication of weather in this
painting. ^Mly should there
be? It is the portraiture of
some two or three houses.
No doubt somewhere a
house is commemorated, as
that in which Thackeray
lived. With greater genius
Mr. McEvoy has com-
memorated in this painting
the kind of house in which
a Thackeray character
would live.

It is perhaps worthy of
comment that Mr. McEvoy
has not, as far as I can re-
member, taken a character
or situation from an author.
Recognising that his own
art meets the fiction writers
on their own ground, he
has created his own charac-
ters and situations. And
at this point we come, I
think, upon the limitation
of his art — if it is a limita-
tion. From the situations
which arise every moment

in the life to-day around him he never selects. One
wonders why. The art of which we have been
speaking is, after all, a very subtly-arranged
intellectual mood, sustained elaborately by a clos-
ing of the eyelids when anything vividly modern
goes by, when anything passes which belies what
I think Mr. McEvoy likes to believe, viz., that he
has never let King Edward ascend the throne,
that he has kept the late Queen for ever at middle
age, kept only the earliest form of horse-'bus, and
arrested fashion. It is true that a powerful artist is
as powerful as that — that whilst the rest of the
world is carried swiftly to a noisy destiny, he just
drops behind and refuses to go on ; and then find-
ing that he is left alone, that all the people he
wished to remain with are dead, he raises their
spirits in his art. We have just spoken of the
houses he has painted and called Bessborough Street.
For once he was not an artist, or he would not in
this picture have given a name to that street. Go
softly by such windows — behind them some one
with a temperament may be raising ghosts !

AUTUMN

BY AMBROSE M'-EVOV
lOI

Victor Rousseau, Sculptor

Sii

BESSBOROUGH STREET

BY AMBROSE MCEVOY

in which it should be
approached, and whether
we can let our own thoughts
dwell in that atmosphere
with pleasure or not,
whether we respond or
recoil, by our feeling that
a spell has been thrown we
acknowledge in this art that
which pertains to the
highest art — the power to
prompt and suggest our
mood, or provide the en-
vironment, if we will, when
in certain moods we delib-
erately turn to art for
protection from reality.

In concluding this brief
characterisation of Mr.
McEvoy's art, mention
should be made of the
fact that the pictures from
which the accompanying
illustrations have been re-
produced, including The
Convakscenf, which is given
as a coloured supplement,
formed part of an exhibi-
tion of the artist's works
held at the Bury Street
Galleries of Messrs. Carfax
(S: Co., Ltd., some three
or four months ago.

T. M. W.

It is, I think, the poet in Mr. McEvoy, which with
all the rest of his nature must find expression in his
art, that has up to the present made him reject
to-day in favour of yesterday, and in his pictures we
may see the drama of uneventful daily life as we
cannot see it when it is quite near. With so delicate
an indication of sentiment to be made, prettiness
must at any cost be avoided, and the realism of
the treatment must .show that a mirror has thus been
held up to life at its stillest moments. To where
in art such moments are reflected many of us would
for preference turn, but the by-gone environment
to which the artist has elected to return, and which
he has realised with unmistakable genius, is not,
as he has reconstructed it, congenial to the thoughts
of the writer of this article. That, however, is
merely an affair of temperament, and it must be
recognised that art such as this has an
atmosphere all its own, itself prompts the mood

WALLOON SCULPTOR:
VICTOR ROUSSEAU. BY
FERNAND KHNOPFF.

In the introduction to his study on the " Renais-
sance of Sculpture in Belgium" ("The Portfolio,"
November, 1895), M. G. O. Destree brought out
the fact, little known by the public, that Belgian
sculpture during the Middle Ages and the Renais-
sance was not exclusively Flemish ; that, on the
contrary, its appearance and its early development
occurred in the Walloon provinces, and, further,
that this Walloon school, which remained very
brilliant till the end of the sixteenth century,
created an individual style. The writer added
that the school in question seemed likely to be
revived in the persons of three young sculptors
whose work he proposed to examine — MM. Achille
Chainaye, Jean-Marie Gaspar, and Victor Rousseau.

102

Victor Rousseau, Sculptor

THE RICKYARD

( See previous article)

Again, in 1904, in an article on Rousseau con-
tributed to the magazine " L'Art Flamand et
Hollandais," M. Paul Lambotte writes: "In
Belgium a wrong comprehension of Flemish tradi-
tions, an absurd misapprehension of the tempera-
ment of the race, have led
many artists astray. IVIar-
vellous but uncultivated
technicians, incapable of
deep thought, they know-
not what to do with their
talent ; and relieve the
necessity to produce by
which they are tormented
in the realisation of pleas-
ing, aimless works, such as
fine animal forms (should
they be sculptors), or, in
the case of painters, in
pictures of sumptuous
colouring like a rich ])icce
of still life. All tliis is
nought but a sterile side of
art, and our artists have
proved it abundantly in the
past."

The precise characteristic
of the art of Victor Rous-
seau is that he has never
been content witli easy "the gold shawl'

production of this sort, but
has always striven to pre-
sent the plastic expression
of some lofty idea. He
declines to give but the
empty form, the i-im])le
morceau bien venii ; each of
his w(jrks must grip the
attention, and charm not
alone by its beauty of
execution, but also by its
well-thought-out composi-
tion provoking meditation.
Nevertheless, as it has been
well said, each morceau
from the hands of Victor
Rousseau displays an at-
tempt to achieve an invari-
able perfection ; the artist
is no less a producer of
line work (what we term
bel onvrier), than a sculptor
of inventiveness and pro-
found thought. The fear
of spoiling the ensemble effect, the mystery, the
savour of a work by carrying his details to its
extreme limits is a thing unknown to him. He
possesses the capacity to remain broad and great
wxihont Jignolage, while modelling with impeccable

BY AMBROSE MCEVOV

(See previous article)

BY AMBROSE MCKVOY
103

Victor Rousseau, Sculptor

touch the most delicate extremities of a statuette
no higher than one's fist,

Victor Rousseau was born at Feluy-Arquennes,
a village in the province of Hainaut (Belgium), on
December i6, 1865. His father was a stonemason.

" From my earliest years " (he writes to M. Du
Jardin, author of " L'Art Flamand ") " I was set
to study my father's calling. It was not till I
was nearly fifteen that I began to attend the night
classes at the Brussels Academy, then going to the
drawing school at St. Josse-ten-Noode (one of the
suburbs of the capital) in order to learn orna-
mental sculpture, for during the daytime I used to
carve stone and marble until I had nearly reached
the age of nineteen. At that time, having
attracted the notice of Houtstont, the sculptor-
decorator, I entered his modelling rooms, and did
not leave them till 1890.

"In my odd moments, from the year 1887, I
had devoted myself to the
study of statuary ; and thus
it was I became the pupil
of Vanderstappen at the
Brussels Academy in 1888
-9, and laureate of his class
in my first year. This, I
may say, was the first figure
class I had attended. But
for three consecutive years
I followed the dissecting
course at the University,
and I drew a good deal. I
won the ' Godecharles '
prize (a travelling scholar-
ship) with my Tourmente de
la Pens'ee at the Brussels
triennial Salon in 1890, and
in that same year I married
Frangoise Deloeul. Then»
during the years 1891, 1892
and 1893, I travelled in
England, France and Italy,
and exhibited successively
in the Salons of the ' Pour
I'Art ' club the following
works : Puberte (torso of
a young girl) ; L Amour
Virginal (a low relief,
which appeared also at the
Brussels triennial Salon of
1893; this was the first
of my works to attract
the notice of artists and
connoisseurs) ; Cantique
104

{TAmoi/r, Orphee, the Liseiir, Demeter, and ^ (in
bronze) the Coupe des Voluptes, Danse Antique ;
some candelabras intended for the Botanical
Gardens in Brussels, and two statues, Le Jeu and
Le Vent. I devoted myself to the restoration of
the ' Maison des Boulangers,' one of the gems
of the Grande Place, Brussels, and I am re-
sponsible for the commemorative plaque in con-
nection with the restoration of the ancient
house in the Grande Place. This plaque^ which
the artists dedicated to M. Charles Buls, the
burgomaster, is incrusted in the wall of one of
the houses in the Rue Charles Buls, facing the
Hotel de Ville."

In 1902 appeared Les Sivurs de l' Illusion, the
fruit of several years of labour, and, so far, the
young artist's most important work. This group
of three young women, of rather more than
life size, symbolises the Past, the Present, and the

L OFFRANDE

BY VICTOR ROUSSEAU

BUST OF CONSTAXTIN MEUxNIER
BY VICTOR ROUSSEAU

,cr.

Victor Rousseau, Sculptor

Future. The figures are seated, and are united
in a most harmonious movement.

" The eldest of the three " (writes M. Lam-
botte), " suffering already from the realities of life,
takes refuge in the sadness of her deception. Full
of bitterness, and living again in an irrecoverable
past, she bends forward, motionless, with all the
scorn of her useless strength, and, nobly resigned,
is the incarnation of the contemplative life. The
second woman is represented in an instantaneous
gesture : leaning towards her younger companion,
she counsels an active life ; but the maiden with
eyes closed to the external world remains wrapped
in her inviolate dreaming. The whole future, in
all its force, lies beneath her smooth brow, her fair
illusions are not yet vanished, the brutalite oi the
present, no less than the rancour of the past, has
no effect upon her hopes. This work combines
with beauty of imagination a perfection which is
quite astonishing. The accuracy of proportions,
the nobility of gesture, the aristocracy of the types,
the harmony and the amplitude of the grouping,
together with the technical knowledge shown in
the realisation, combine to make up an ensemble
the charm of which is undeniable."

No less remarkable than his imaginative works,
the portraits — and they are many — already pro-
duced by Victor Rousseau,
proclaim the deep and virile
nature of his marvellous
talent. Without exception
these portraits reveal some-
thing more than a mere
superficial and passing
aspect ; they form — it has
been well said — " plastic
interpretation of brains and
temperaments, and they
have a generalised but
definite resemblance which
counts for much more than
mechanical observation."

One of his first successes
was the truly masterly bust
he did of Madame Fran-
^oise Rousseau — "the com-
panion with the great heart
and the lofty mind, who
sustains and aids the artist's
efforts with admirable con-
science."

In ills busts of children
the subtle sculptor has
taken a pleasure, one may
io6

say, in following the complex modelling of these
faces, with their outlines at once so precise and so
indefinite. In his busts of women he has gladly
emphasised the delicacy of the features and the
suppleness of their movements, always displaying
proof of a most personal method of interpretation.
If, for instance, the small bust of Madame de
Gerlache in terra cotta and onyx, in its mode of pre-
sentation, recalls the French art of the eighteenth
century, it is nevertheless impossible to assert that
it brings back the memory of any particular work
of that period.

The same with a little bust of a young girl, in-
tended to form part of a decorative ensemble in the
style of the Italian Renaissance. It is so in-
geniously composed in all its parts that it never
brings to the mind any suggestion of copying or of
imitation.

In the reproduction of the bust of Mile. S. now
given (p. 1 08), one sees with what pleasure the
artist has displayed in definite fashion the curious
beauty of this young girl, the strange charm of her
ingenuous features, the suppleness of the graceful
curve of her neck.

But it is m the very fine bust of Constantin
Meunier, also reproduced here, that the young
sculptor has risen to the greatest height. Meunier

' l'ete •

BY VICTOR ROUSSEAU

Victor Rousseau, Sculptor

LES ADOLESCENTS '

BY VICTOR ROUSSEAU

is indeed here, andj for ever, the good and great
artist who was beloved by all who knew him.
Here is his face, infinitely "respectable," with his
brow all wrinkled by the effort of thought and the
weight of care, with the pale eyes so kind and so
firm in their gaze, the strong lips, whence came
the slow, soft speech, the broad shoulders sunken
with the burden of toil and of existence. Indeed,
artist and model were worthy the one of the other.
At the same time — as M. Lambotte has most
judiciously remarked— the works most character-
istic of Victor Rousseau's talent — one might even
say of his manner — are those of small dimensions,
and generally executed in bronze ; they are ren-
dered infinitely precious by the refinement and the
precision of their execution. These works, which
form a numerous and very varied series, seem all
akin, by reason of the artist's constant care to
achieve a definite composition, a consecutive form,
a suppleness of line and a facture at once minute
and broad of faces and extremities. One may
discover therein also a certain predilection for two
very special types — a young man of supreme grace

of proportions and movements, and young girl,
of ingenuous grace and charm.

The Coupe des Voluptks is perhaps the marvel
among this series of little marvels, which includes —
to name but a few — Vers la Vie (Brussels Gallery),
Les Curieuses, Sous les Etoiles, La Femme au
Chapeaii, and L^ Etc.

By way of concluding this short notice one can-
not do better than again borrow from M. Lambotte,
and employ the terms in which he himself sums
up his subject : " Victor Rousseau constitutes an
individuality clearly characterised. Like Rodin,
and like Lambeaux, but in another way and with
his own means, a form restrained and everywhere
definite, with no concession to the unexpected,
the incomplete, he realises masterpieces of pal-
pitating life, of dreamy intellectuality. He in his
turn ranks among the masters of our marvellous
present school of sculpture : he is himself, and
indeed one of us, despite his clear conciseness and
his conception of a sober beauty." F. K.

( Two further illustrations to this article aie given on the
next page. )

107

H
•Ji
ui

D
O
t6

oi
O

D
O
(^

fit
O
H
O

Martin Pottery

OME RECENT DEVELOPMENTS
IN THE POTTERY WARE OF
THE MARTIN BROTHERS.

We have on several occasions drawn the attention
of readers of The Studio to certain features in
the pottery of Japan which are usually ignored by
students of ceramic art, although, as a matter of fact,
they display evidences of the most skilled crafts-
manship. The idea that art is only exhibited in
pottery when it is covered with painted ornament
is still very firmly impressed in the minds of many
people, who would deny all aesthetic qualities of
the potter's craft which do not show the painter's
craftsmanship and skill. In saying this, it must not

FIG. I.

SLIP DECORATION

be thought that we underrate the painter's beautiful
art when applied to the decoration of porcelain or
earthenware ; our preferences are, however, for
those features which are essentially characteristic
of the potter's craft — the manipulation of clays of
varied texture and of coloured glazes, and of such
decorative treatment as essentially belongs to the
potter's art, and bears no resemblance to that of
other crafts. The work of the old Japanese potters
is particularly rich in these qualities. Kenzan,
Ninsei, Rokubei, and many others produced wares
which were full of individuality, and displayed
the intimate and extensive knowledge which they
possessed of their craft, and an aesthetic per-

FIG. 2. INCISED DECORATION

ception which is too often lacking in modern
European and American productions.

Indeed, it is rarely that the separate achievements
of any Western potter contain evidence of such
comprehension and skill as may be found in those
of the Far East. Yet, it may gratefully be admitted
that there have been a few workers in France,
Germany, and England, who, in recent years, have
taken some delight in developing the true qualities
of their craft, and have given to each object which

FIG. ■?. MODELLED DECORATION

109

Martin Pottery

has come from their hands a distinction not to examined with advantage from two pomts of
be found in the general mass of contemporary view-one in relation to the technical qualities
ceramic work. Among the honoured names of of their production, the other to the characteristics
such craftsmen those of the Martin Brothers, of of their ornament. Of their technical qualities it
London, are especially worthy of distinction. For
many years past these artists have produced from
year to year a few objects, which have been for
the most part eagerly sought for by collectors and
others. Much of their early work depended for
its main interest on the incised decoration of birds,

FIG. 4, MODELLED AND INCISED DECORATION

ilsli or flowers with which it was enriched. But
during the last few years they have materially
broadened their point of view, and have sought after
and obtained many original modes of expression
which lend to their productions a charm which,
without being in any way imitative, recalls the
work of the old potters of Japan. We shall pur-
I )()sely confine our remarks to these later features
of their work, as we consider them to be of especial
interest at this time.

The few examples we nrnv illustrate may be

FIG. 5. INCISED DECORATION

may be remarked that the earths employed,
while varied in character, are uniformly
dense in consistency and of excellent
quality. The decoration is usually obtained
by the use of "slip," either incised in the
Mishima style of Japan, or applied to the

FIG. 6. MODELLED AND INCISED DECORATION

I TO

Martin Pottery

surface with a brush. Salt gla/e
in connection with coloured
enamels is judiciously employed,
and the makers have been es-
pecially successful in the pro-
duction of a very fine dullish
black, which has all the excellent
(jualities of the best Chinese
jjrototypes. The (juaint and
irregular shapes given to the
various objects are uncommon
without being bizarre. The
decoration is, for the most part,
intimately connected with the
manufacture of the object, and
not, as it were, an afterthought.
In this respect their later work
differs materially from some of
their earlier, and is proportion-
ately the more commendable.

AV^hen Nature decorates her

own productions, such as an egg,

a shell, a flower or a fruit, she

does not reproduce the forms of other natural objects. She

does not paint a lily on an egg, a bird on a shell, a fish

on a flower, or the portrait of a man on a fruit. Each

'SLir

FIG. 7.
DECORATION

FIG. 9. INCISED DECORATION

and in doing so have borrowed many ideas
from eggs and shells and other natural
forms, not in strict imitation, but as
suggestions for suitable ornament. For
example, the "slip" decoration on Fig. i,

^^*

^'^^

FIG. 8. MODELLED DECORATION

one of these objects has a simple type of decoration of probably
more or less use to its existence, or it may be the outcome of form
and growth.

It would seem to us that the Martin Brothers, consciously or
unconsciously, have endeavoured to follow these precepts of Nature,

FIG. 10. MODELLED DECORATION

I I I

% #

FIGS. II TO i6. MARTIN POTTERY
INCISED (MISHIMA) DECORATION

Martin Pottery

without being a copy of the markings upon a melon,
seems to us to have been suggested by them ; that of
Fig. 2 — an excellent one to bring out the " broken "
colour of running glazes — might have resulted from
the appearance of a corn-cob, from which the grain
has been extracted. Figs. 3, 4, 5 and 6 have
characteristics of surface, form or decoration, which
remind one of certain sea-shells or sea-weed ;
Fig. 7 displays the net-like structure of certain
organisms ; P'ig. 8 has a texture not unlike that
of a cabbage ; Fig. 9, the skin of a wild animal ;
while Fig. 10 simulates in its colour and texture
To have imitated exactly such objects

device apparently selected with the same object in
view. Figs. 3 and 4, with their shell-like qualities

an egg.

'>
t

»?*

FIG. 17. MODELLED AND INCISED PECORATION

would have been inappropriate and inartistic ; but
to have allowed them to suggest a scheme of orna-
mentation adapted to the technical requirements
and qualities of the material is entirely permissible.
The striations on Fig. i follow and accentuate
the form of the vase, breaking up the surface into
pleasant irregularity, and display the coloured
enamel to great advantage. Fig. 2 is simply another

FIG. 19. MODELLED AND INCISED DECORATION

of surface, are admirable examples of the clever
manipulation of glazes — Fig. 4 being, indeed, a
chef d'oeuvre of the potter's art — alike perfect in
potting and glazing. The striations in the panels
are incised and not painted.

FIG. 18. MODELLED DECORATION

I-IC. 20. MODELLED AND INCISED DECORATION

Incised pattern filled in with paste of a different
colour to the body of the ware, which we have
referred to as Mishima, was a favourite method
of decoration of the old Corean and Japanese
potters. It is a class of ornamentation which can
only be produced by the potter himself, as it must
be completed while the clay is in a damp state,
before it is fired. It is one which has been some-
what neglected in Europe. In recent years the

113

FIGS. 21 TO 26. MARTJN POTTERY
MODELLED, INXISED, AND "SLIP"
DECORATION

Isobclle Dods- IJ/itliers

Dutch potters have practised it to a limited extent,
but no work has been produced in the West of this
character to compare in excellence with that of the
Yatsushiro potters. Figs, ii to i6 are types of
this class made by the Martin Brothers, and they
have the merit of being cjuite original in conception.
The other examples here illustrated are .selected to
show a few more of the many varieties of form and
treatment, and help to display the makers' power of
invention and diversity of treatment.

One is apt, without careful examination, to fail
to give full credit to the potter for the laborious
and skilful manipulation necessary to the successful
production of Mishima decoration. The Martin
Brothers have been singularly happy in their
efforts in this direction, and their departure in
style from all previous examples is most com-
mendable. This inlaid work is open to numerous
variations and developments, and there will be no
necessity for them in future years to repeat their
earlier successes. And of this there need be no
fear, if they continue to work upon the admirable
lines they have hitherto followed.

The Martins have an excellent plan of incising
in the foot or back of each piece their name and
the date of its ])roduction. One may thus trace
the special successes of each year, and all spurious
imitations may be readily detected. By the avoid-
ance of imitation and repetition, and by the faculty
of invention and knowledge of the possibilities of
his craft, there is no reason why the potter should
not in the future, as he has done upon rare
occasions in the past, rise to the greatest distinction
as an artist, and we cannot but feel that the
Martin Brothers are on the right road to such
an eminence.

Our thanks arc due to the Artificers' Ouild,
Maddox Street, London, for their permission to
illustrate the examples reproduced in Figs, i, 2, 16,
24 and 26 from their varied collection.

HE PAINTINGS AND PASTELS
OF ISOBELLE DODS-WTTHERS.

Artists in this decade have lived in fear
of the word picturesque — but there is a new

'THE CASTLE OF CiEUR DE LION

BY ISOBELLE A. DODS-WITHERS

I I :

Isobelle Dods-lVithers

picturesque of which the art of Mrs. Dods-Withers
may be taken as a specimen, ^^^e cannot think of
another artist who has dwelt with so much affection
upon the subject of lonely and impressive build-
ings, unless w'e recall those terribly lonely-looking
chateaux which Victor Hugo used to draw with his
pen in the moments w-hen that vivid pen was not

parade forlornly and reproachfully their ancient
beauty.

If thus lightly we have sketched her motives, it
is because they are so completely revealed in her
craft, and the craftsmanship of a true artist is
always so personal a matter that it is not to be
analysed. Craftsmanship which is not subordinated

writing. It is so easy to be theatrical and so very to subject, but which goes through its tricks prettily
difficult to lift the few sweeping main lines which without losing itself in some personal aim, is not
give the grandeur of these scenes into the border- to be very highly considered. The technique of
lines of a canvas in a manner that is beautiful and Mrs. Dods-Withers is unaggressive, it loses itself in
impressive; this Mrs, Dods-Withers succeeds in the subject — but though her art is often very
doing, for one of her gifts is the selection of the dreamy, it is never unreal. Truth of shape in the
point of view which can
give her the most impres-
sive aspect of her subject.
Art of the pompous kind is
always marching through
our exhibitions, but the
lightof "the true romance"
is only glinting here and
there.

The charm of Mrs.
Dods-Withers' work is that
it seems inspired by the
historic associations of
those places she depicts.
Nearly all her canvases
are left empty of figures,
that we may people them
from our own thoughts.
She prompts our imagina-
tion with her manner of
presenting her subject :
heavy white clouds em-
battling the sky above the
hauteur of a castle wall
which has remained to an
age that has forgotten
how to fashion such archi-
tecture. It was when the
armed knights came out
of the gates of these places
for the last time that
Romance entered in and
made her dwelling. Of
stirring mediaeval times
there is a whisper in the
trees which stand as sen-
tinels, whilst the many
houses for the tourist
advance to the foot of
tin; hills, where these
ancient houses still

ii6

LE CHATEAU DE NEMOURS'

BY ISOBELLE A. DODS-WITHERS

I sob el I e Dods- With ers

masses which the lines of her composition define,
and truth of tone, help her art in its persuasive
statement of how fair this world is in certain places.
The simplification of masses of form which is an
instinct with her, gives significance to those few
things which she elects to emphasise in the repre-
sentation of a complicated scene on canvas. She
is drawn to trees of a certain formation, represent-
ing them as many times as possible, as if to .say
over again to every friend her art makes for her
how much the beauty of their shape has given her
pleasure. Such affection for some particular shapes
in nature, a preference for them over other shapes,
belongs to everyone. They are fortunate who
identify their preferences with those of this artist,
for whatever she feels she expresses with that cer-
tainty which conveys to her art the rare quality
which is known as charm. Some day all her
canvases will be separated from each other, if they
are not so already ; various purchasers of her works
will have carried them off in different directions,

so it is comforting to reflect that certain notes
which she can strike with a magic that gives them
so much meaning have been struck by her many
times, her real feeling for a few things insuring
with every repetition of them spontaneity and
grace. The quality of Mrs. Dods-Withers' tech-
nique is of that refinement that adds to the poetry
of her subject.

As happens with only the few, Mrs. Dods-
Withers seemed Minerva-like to come equipped
as an artist to our exhibitions, without undergoing
training, with the exception of some short study
under Mr. Alexander Roche, R.S.A., and the late
Miss Christina Ross, R.S.W., of Edinburgh.
Recognising her individuality, both these teachers
([uickly let her take her own way. But not at first
apparently did the artist realise the measure of her
gifts. It remained for others to appreciate them ;
and onl}- during the last five years has she taken
her art seriously. During that time success has
not lagged. Lately the Museum of 1 )iJsseldorf has

"on the tarn at albt

BY ISOHELLE A. DODS-WITHERS

119

Isobclle Dods-JVithers

bought her picture The White House by the River,
after its exhibition with the International Society
of Sculptors, Painters and Gravers, in London.
The artist is at present holding a small exhibition
of her pictures and sketches at the Lyceum Club,
while at the exhibition of the Society of Twenty-
Five Painters, which is at present being held in
London (and to which an article is devoted in
this number), her picture Gerona is an important
feature. She is a member of the Pastel Society,
and it is at the exhibitions of this society that
one meets with a most delightful phase of her
art, such as our coloured reproduction represents,
in which her delicate low-toned colour and appre-
ciation of pastel quality give us a result eminently
sympathetic.

Hitherto Mrs. Dods-Withers has out of love for
one kind of landscape, rendered it so well ; but
the world is wide, and though the brief period
during which she has painted for exhibition could

not possibly have enabled her to cover a wider
field with such important results, these results
teach us to anticipate many things for the future,
when, roaming further, her romantic vision makes
conquests in other fields. Only it is to be hoped
that subjects such as those illustrated with this
article will still receive interpretation through her
brush, otherwise regret would follow the ending of
such a fascinating chapter.

The old-fashioned painters, who were deliberately
picturesque, spoke of putting "life" into their
pictures by the introduction of a human figure.
It remains for so truly modern an artist as Mrs.
Dods-Withers, painting for the responsive imagina-
tion of the sensitive modern public to content her-
self with the life which belongs to any place in
which human history has once been made. Her
colour and form, as we have indicated, are con-
trolled by the spirit in which she works. With an
almost topographical regard for reality in choosing

GERONA
I 20

HY IS01;ELLE a. DODS-WITHERS

"STIRLING BRIDGE." BY
ISOBELLE A. DODS-WITHERS

Recent Designs in Domestic Architecture

her subjects, she yet ahvays escapes that realism of
mud and mortar which is almost the only renderung
that we see of these historic walls. Perhaps in
this all too short article we have been able to cite
more than one reason why this art has immediately
called attention to itself, and to a certain type of
mind makes special appeal. T. Oldford.

ECENT DESIGNS IN DOMES-
TIC ARCHITECTURE.

Last month we reproduced various
architectural designs which had been on view at
this year's Royal Academy Exhibition, and we now
have pleasure in reproducing some interesting
designs by Mr. C. E. Mallows, F.R.I. B.A., which

TTndpr the ausnices of the Royal British Colonial also figured on the walls of the Architectural Room
Lnder the auspices ottnei^o> ,^,„.,..^, .. .k« A^.Hpmv The first four illustrations are

Society of Artists and an influential body of Colonial
guarantors, an important exhibition of works by
British artists is to be held in Melbourne during
the months of March, April and May of next year.
The society was inaugurated by a few well-known
painters in i8S6, under the title of "The Anglo-
Australian Society of
Artists," for the purpose
of organising exhibitions
of pictures, both for sale
and for educational pur-
poses, in the Australian
colonies, and successful
exhibitions were held in
1889, 1890-1 and 1891-2,
but that held in 1893,
the disastrous year of
panic and bank failures,
proved a heavy loss to
the guarantors. The
exhibition about to take
place is the first promoted
by the society (which
received its present title
in 1904) since that time,
and will comprise three
sections, viz. : — a cor-
porate exhibit of works
by members of the
society ; a specially in-
vited section of notable
pictures ; and a small
British loan section, in-
cluding already pro-
mised works by Watts,
Sargent, Millais, Burne-
Jones and other painters
of eminence. Mr. Joshua
Lake, M.A., who acted as
managing director for the
colonial guarantors in
connection with the
earlier exhibitions, is
again acting in the same
capacity.
122

at the Academy. The first four illustrations are
from drawings of Tirley Court, a house now being
built at Tirley, near Tarporley in Cheshire. It is
fortunate in possessing what is probably one of the
finest sites in that county, being on the southern
side of one of the highest hills in Cheshire, affording

^it

jaj^OUTECr
22.G:yDVrrST

TIRLEY COURT, CHESHIRE : THE ENTRANXE

C. E. MALLOWS, ARCHITECT

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Recent Designs in Domestic Architecture

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made many successful
efforts in that direction
elsewhere, and from the
architect. The cottages,
lodges, and stables form-
ing part of the general
scheme, follow the general
character of the house and
are built of the same
materials.

The other design by
Mr. Mallows here repro-
duced, namely, that for
a water - garden, tennis
court, pergola, etc., is
a detail from a general
scheme for a large house and garden for her Grace
the Duchess-Dowager of Sutherland, proposed to be

^—

C. E. MALLOWS, ARCHITECT

magnificent views from the principal fronts and
gardens over a beautiful valley which has the
Welsh hills as a distant background. The drawings constructed on the Warren Estate at Crowborough.
reproduced illustrate only a portion of the general Our next illustrations are those of a house at

scheme of house, garden, stables, double cottages, Knutsford, of which Mr. Percy Worthington, M.A.,
and lodges all of which
are now being carried out
rom Mr. Mallows' designs
and under his supervision.
The materials which are
being used are Hollington
stone and rough-cast for
the walls, and Yorkshire
graded stone slabs for the
roofs as indicated on the
drawings. All the win-
dows with their mullions
are of Hollington stone,
except those under the
cloister walks, which are
of English oak. English
oak will also be used for
the internal joinery and
for floors to the principal
rooms. Elsewhere the
floors will be of American
maple, and the joinery of
Canary white w'ood, which
in time tones to varying
shades of brown with very
delightful effects. The
design of the gardens, a
portion of which only is
indicated on the outline
plan, has received parti-
cular care and attention
both from the owner, Mr.
Leesmith, who has already

DESIGN FOR lERGOLA, WATER-GARDEN, ETC.

BY C. E.

MALLOWS

Recent Designs in Domestic Architecture

is the architect. Apropos of this house our Man-
chester correspondent writes :—" In 'Woodgarth'
the architect, aided by the practical artistic appre-
ciation of his client, Mr. Wragge, has produced
what will rank as one of the beautiful homes of
England. Lying off the beaten tract in the heart
of a silver birch and pine copse, and approached
through a circular-topped oak gateway, the house,
being L-shaped, seems like two out-held arms, the
main door and vestibule filling the centre angle ;
on the left the loft, stabling, kitchen and servants'
rooms; on the right the hall, dining, study, billiard
and overhead bedrooms. The roof, of many-
coloured stone slabs, makes a delightful scheme,
from which the rain-water heads and down pipes
form, practically and artistically, a strap-like part
of the exterior decoration in oak, alternately
checked in black and white. At the back one
empties into a green
barrel, forming a unique
contrast with the side of
the yard arch, the plain
upper portion of the wall
relieved by the careful
arrangement of a sun-
dial above the keystone.
From the top of the
steps on the left, leading
up to the back entrance,
a view is obtained of the
wild woodland, in har-
mony with which is the
pergola at the lawn end,
where, as in the adjacent
copse, the feathered
songsters can build and
rest in peace. The wood-
work of the hall (see page
1 28) is dull oak panelled,
finished by slight mould-
ing, in line with the door
tops, and above a frieze
of white plaster ; the
ceiling of the same
material, relieved by an
elliptical mould, inter-
sected in four by excel-
lently modelled cherub
heads. The chimney-
piece is in harmonious
stone, forming a frame-
work for the delicately
coloured side - tiles in
green, pale rose and
126

orange, and a plain, self-coloured background for
the quaintly squared grate. The rugs and carpet-
ing are in keeping with the tile colouring, and
the dark oak furniture of old English design
selected with much thoughtfulness. A lighter
note is struck in the dining and breakfast-room
(page 129), with its beamed ceiling, white plaster
walls, green casement curtains, and the richly
designed beaten brass canopy, the silver grey strip
marble border and cream tiles. The furniture,
which is made of deep-toned mahogany, and con-
sists only of such pieces as are of use and in
unity with the entire surroundings, completes a
room of new life and peaceful association. In
the study the same quiet restraint is carried out.
In the billiard room (see illustration on page 129)
comfort and freedom constitute the pervading
melody. The walls are oak panelled to the

WOODGARTH,' KNUTSFORD: BACK VIEW

PERCY WORTHINGTON, ARCHITECT

I
i

Recent Designs in Domestic Architecture

■WOODGARTH, KNUTSFORD : FRONT VIEW

PERCY WORTHINGTON, ARCHITECT

ceiling, and the constructional beams are left noticeable. It is a home, too, where the servants
bare. A log fire blazes under a wrought-iron are considered human, and as much interest
canopy, and the flames flicker round the large brought to bear upon the decoration and comfort
square green tiles which line the recess and reflect of their sitting and bedrooms as is bestowed upon
both light and warmth; the hearth itself is of those of its owners."
unglazed red brick, set
under an archway of grey
stone, surmounted by a
projecting overmantel
decoration of alcoved
figures. The uncarpeted
oak stairway leads hence
along a corridor of white
plaster, strapped alter-
nately by the natural
finished woodwork, where
each unpolished white
door and black homely
latch admits to the bed-
rooms, in which the same
prevailing dignity, thought-
ful furniture and un-
affected decoration are in
evidence. Throughout
the house, in fact, this
thoughtfulness of design
and excellence of work-

,^u;^ T "WOODGARTH," KNUTSFORD: FRONT ENTRANCE

manship are everywhere i^^j^^v worthington, architect

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The Society of Twenty-Five Painters

HE THIRD EXHIBITION OF
THE SOCIETY OF TWENTY-
FIVE PAINTERS.

The exhibition of the "Twenty-five" at Messrs.
Marchant's Goupil Gallery starts the important
exhibitions of the season, and it marks the return
of some well-known artists to town. The clock-
work of the exhibition season in London to some

the elegancies of picture-making which the first
impressionists so roughly set aside ; yet on this
occasion they show themselves distinctly "on
the side of the angels" — of light, let us add.
They are all impressionists, meeting Nature out-
side the ancient landscape garden from which
impressionism was the gate. Our illustrations will
emphasise our meaning. It is not difficult to see
in all the work a high regard for the great tradition

extent regulates the coming and going of artists, of composition, which the extreme impressionists

and in the case of an exhibition held close upon
their return to London there must be something
different in its nature from exhibitions towards
which painters work through the long dark days of
winter in their London studios, separated some-

ignored, or, at all events, defined in such a way
that anything on the face of the earth which could
be pictured within the limits of a canvas was
considered composition.

\\'hether this idea of how to make a picture was

times by many months from direct intimacy with brought to birth with the advent of the camera, or
nature, whose promptings come in a very thin whether the camera has since come fully into play
voice by the exhibitions of the spring. and partly killed it, no one can say — but of this

A society such as the
"Twenty-five" is not with-
out significance in the
politics of current art. In
its formation one may
look for something more
than the mere agreement
of twenty-five individual
painters to exhibit together
— one looks for some-
thing they have in com-
mon, though the group
comprises painters with
quite dissimilar motives
and styles. An examina-
tion individually of the
aims of some of the mem-
bers, as apparent from
their work, was attempted
last year in these pages
when noticing their
second exhibition. In
dealing with the subject
then our consideration
was very largely given to
the figure-subject painters,
and it were well perhaps
on this occasion to devote
most of our space to the
landscape side of their
exhibition.

Last year we noted that
the landscape painters
who exhibited had, for
the most part, this trait
in common, a regard for

130

THE BACK DOORWAY

BY W. LEE HANKEY

"THE BROKEN BOW"
BY \V. LLEWELLYN

The Society of Twenty-Five Painters

"llanbedrog bay"

BY J. R. K. DUFF

'THE MOUTH OF THE EXE, DEVONSHIRE
132

BY H. HUGHES STANTON

The Society of Tiveiity-Five Painters

" FOWLS '

snapshotting from the colour-box there is hardly a
trace in the exhibition of which we write. On the
other hand we have such work as Mr. Hughes
Stanton's and Mr. Russell's, with that quality of
emotion which has always belonged to English
landscape — the emotion which has quickly tired of
those intellectualities of impressionism which suited
the colder genius of France. Uncertain clouds
drifting over open country in conflict with the
sunlight — such moods
in nature have always
seemed subtly responsive
to human feeling 5 and
in the rendering of such
an effect upon his canvas
Mr. Hughes Stanton has,
by "lyrical facility," anti-
cipated in his result the
coldest arithmetic oi tones.
But then, as a landscape
artist Mr. Hughes Stanton
has not many rivals.

Somehow when modern
work departs from the con-
sciously scientific attitude
towards nature, or from its
opposite, that pretty, super-
ficial imitation of nature
which bulks all too largely
in every exhibition, we are
left with an art which takes
romantic shape, as the will
of its composer builds it

to suit his mood. Where
his mood is not sincere
and cannot sustain itself,
we get perhaps the most
objectionable shape of
landscape art, that empty
formalism, in the escape
from which the past excit-
ing history of modern
landscape painting has
been written. The best
landscapes in this exhibi-
tion are romantically com-
posed ; soon a circle will
be completed, and land-
scape art will unreservedly
acknowledge the tradi-
tions of pre-Turner days.
But in again taking up
the creative ideal in place
of the interpretative one,
they will not be able to rid themselves of the
responsibilities which have since been laid upon
them by the analysis of science through which
their art since then has gone.

Because of the interesting problems which modern
landscape art presents as to its intentions in the
future, we have welcomed the opportunity of read-
ing from this exhibition some sign of the times.
In regard to the figure painting, here also do we

BY H. M. LIVENS

THE RIVER6IDE — EVENING'

BY J. WHITELAW HAMILTON
^11

The Society of Twenty-Five Painters

" spring"

find only artists with that dignified conception of
their business which has come to seem a rare
thing. The public whom we address are very
familiar with the stand which such painters as
Mr. R. Anning Bell and Prof. Gerald Moira have
made for art which has troubled to learn certain
old recondite rules for which the vulgarity of much
modern brushwork makes a declaration of distaste.
The splitting up of the art world into communi-
ties is a much discussed
question. Modern art in
the various recognised
forms of its heresy has
assumed almost as many
diverse shapes as religion
has in the United States,
and a narrow view of
truth has accounted for
such segregation in nearly
every case ; hence there
is something attractive in
a society which allows to
each of its twenty-five
members a point of view
entirely his own. In this
exhibition we have the
prototype of that unity
of aim with difference of
inspiration which it may
be hoped will some day
reconcile the factions in
London who at present

134

turn each other's work out
of doors. All the pain-
ters have in their turn in-
terested different sections
of the public in the
chief London exhibitions.
Each one enjoys a unique
place, somewhat away
from the beaten track that
is trodden, say, to the
Royal Academy Exhibi-
tion ; though there, as
elsewhere, their work is
always largely represented.
The public will know how
to find their own favourites
in the exhibition without
any leading from us, and
they have this guarantee
from the nature of the
society's formation, that no
work which has not already
established its reputation can find its entry therein.
At the Barcelona Exhibition eight of the awards
for painting which have just been made fell to
members of the society, and seven of the works
bought by the Barcelona Art Museum were also
painted by its members. In indicating how tho-
roughly this group of artists is representative of
important work of the day, our task has perhaps
been unnecessary in the case of the majority of

BY GEORGE HOUSTON

ST. IVES'

BY SYDNEY LEE

The Society of Twenty-Five Painters

WOODLAND LANDSCAPE

BY DAVID MUIRHBAD

the society is the excel-
lence of its organisation
and the unanimity of
intention on the part of
its members. To the per-
fection of the society's
arrangements some of the
pleasure which the pic-
tures here excite is un-
doubtedly due, for a
well-hung exhibition, with
an orderly arrangement of
the various members' con-
tributions, does help the
visitor to concentrate en-
tirely upon the pictures
and to address himself
simply to the task of
studying the same.

readers of this magazine, but
there must still be people for
whom the combination of
forces made by a particular
group of artists has at first
little significance. To those
who are well-informed on
the subject of current art it
is hardly necessary to do
more than mention the names
of the members who consti-
tute the society to show what
tendencies are uppermost.
In addition to those whose
work is here reproduced and
Mrs. Dods -Withers, to whom
we devote an article in this
number, the society is com-
posed of Messrs. Melton
Fisher, Bertram Priestman,
Grosvenor Thomas, Terrick
Williams, R. Anning Bell,
Oliver Hall, Dudley Hardy,
J. L. Henry, E. A. Hornel,
Gerald Moira, Cecil Rea,
W. W. Russell, Montagu
Smyth, and Miss Constance
Halford, several of whom
have already been the sub-
ject of separate and recent
notice in these pages.

The exhibition has been
admirably hung at the Goupil
Gallery ; indeed, a feature of

LA FONTAINE DE NEITUNE, CARCASSONNE'

BY ALFRED WITHERS

studio- Talk

STUDIO-TALK

(From our Own Correspotidents)

LONDON.— The subject of our frontispiece
this month is the picture by J. McN.
Whistler which was bought by the
National Art Collections Fund from the
memorial exhibition of his works at the New
Gallery, and presented to the nation. In the
Tate Gallery, where it hangs, it is entitled Old
Battersea Bridge, but to anyone who has closely
studied Whistler's art this title will at once appear
incorrect, as the bridge in the foreground is but an
accessory, an inner frame as it were, through which
we look at the exquisite harmony of colour pro-
duced by the golden sparks of the expiring rocket
as they fall slowly through the sky into the mystery
of the distant horizon with its tender lights reflected
in the still river. It is a perfect realisation of an
effect which is rarely seen elsewhere than on
London's river, and which passes almost as quickly
as the sparks of the fireworks die away. It is
interesting to recall the fact that this was one of
the pictures produced at the Whistler v. Ruskin
trial, and was the subject of much cross-examina-
tion by the counsel engaged.

BRASS CROSS, ST. PHILIP's CATHEDRAL CHURCH,
BIRMINGHAM BY J. PAUL COOPER

The case of the United
ArtsClub,towhichreference
was made in our September
number, was to have come
before the Court of Appeal
last month, but from a com-
munication which reached
us just before going to press
with the present number we
were glad to learn that there
was a possibility of the case
being settled out of court,
and that in view of this the
hearing of the appeal had
been postponed.

SILVER DISH

BY CHRISTINE CONNELL

The silver dish by Miss
Christine Connell, given on
this page, is representative
of her bolder designs in
metal ; it has some faults
as a design, but these are
balanced by the thorough

136

studio- Talk

knowledge of her material shown in the treatment
of intricate relief-work.

The brass cross by Mr. J. Paul Cooper here
illustrated is a recent example of that artist's eccle-
siastical work in metal. The cross is a little over
4 ft. high, including tlie base. The central j)anel
is a chased medallion of the Virgin and Child,

■^- 9

-^ J

_/^-

-^v*

: '.^y JJ

1. ■■^

STAGE JEWELLERY USED IN "yVTTILA"AT HIS MAJESTY'S
THEATRE DESIGNED BY CHARLES RICKETTS

EXECUTED BY .MRS. GWENDOLEN BISHOP

■') i \

«.•-'■ ^

%iy \[c

STAGE JEWELLERY USED IN "ATTILA" AT HIS MAJESTY'S
THEATRE DESIGNED BY CHARLES RICKETTS

EXECUTED BY MRS. GWENDOLEN BISHOP

with seven sapphires set in the background. The
four panels on the arms of the cross represent
the instruments of the Passion. At the foot of the
cross proper is the tree of life growing out of a
setting of roses. The knop below is formed by a
serpent turned round crystals in high settings.
The stones on the arms of the cross are cabochon
cut amethysts.

137

studio- Talk

■Pi

k-tf

to readers of The Studio.
Miss Adam has undoubtedly
received some influence from
Miss Moller's designs, but
her work nevertheless is dis-
tinctive, and the plant forms
carved on the chest are very
happy in their character.

CHEST

DESIGNED AND CARVED BY MISS F. B. ADAM

Illusion, which is the beginning and end of the
art of the theatre, is not insured by the imitation of
real objects, but by the study
of how to produce under ar-
ranged conditions the effect of
real objects. Obvious as this
seems those responsible for the
stage art of London theatres
appear to have awaited en-
lightenment from the designs
of Mr. Charles Ricketts for
"Attila," lately played at His
Majesty's Theatre. The stage
jewellery which we reproduce
from his designs has been
executed by hand with inge-
nuity, and a regard to beauty,
by Mrs. Gwendolen Bishop, out
of such inexpensive materials
as brass, copper, gilded leather,
coloured beads, etc. This was
probably the first play of
modern times where even the
smallest jewels were made by
hand, Mrs. Bishop making
some 130 after Mr. Ricketts'
designs. Apart from the scho-
larship and art in these designs,
perfect adaptability to their
purpose is their supreme merit.

duce, the study
that is seldom

In Mrs. Borough Johnson's
work there is displayed an in-
terest in some of the more
ordinary aspects of life. Mrs.
Johnson has acquired a tech-
nique with the pencil scarcely
less interesting than that of
her husband, whose drawings
are so well known. In the
drawing which we repro-
has been made of a phase of life
treated by such a reverent pencil,

We reproduce a wood carved

chest by Miss F. B. Adam, a

pupil of Miss M. Moller, whose

wood-carvings are well known

138

ENAMEL PANEL: "THE QUEEN OF CHARITY'

BY ALEXANDER FISHER

&i!

STUDY FOR "THE SLEEPY BABY."
BY ESTHER BOROUGH JOHNSON.

-,♦

studio- Talk

■THE MILL RACE, MARTIGNV

BY WYNKORD DEWHURST

for it is the humorous artist who generally turns for
subjects to the little-known Hfe of the working*
classes, to reveal it in another spirit to that which
animates the work here under consideration.

In view of the somewhat meagre facilities hitherto
existing in Londonfor obtaining first-class instruction
in enamelling and kindred crafts, it is interesting to
note that Mr. Alexander Fisher, of whose recent
work we give an example on p. 138, has just opened
another studio in Kensington, where, assisted by ex-
perts, he will hold day classes for the purpose of
giving instruction in these crafts. Hitherto Mr.
Fisher has been able to receive only a limited
number of pupils for private tuition at his studio ;
but by taking this extra studio, where practical
demonstrations of every process in these crafts will
be given to each student individually, many whose
means will not permit of the more exclusive method
of private tuition will be enabled to profit by
association with a master whose exf>erience and
knowledge in this class of work are unique.

The more scientific aspect of impressionism has
no follower in England with more enthusiasm than

Mr. \\'ynford Dewhurst. He has allowed the
analysis of light to preoccupy him throughout a
long series of canvases, in the dates of their execu-
tion now extending over some years. He has not
sho\\Ti at any time indecision as to the direction
which he believes the modern artist must follow.
This fixedness of purpose has enabled him to
pursue his path without that loss of time and energy
which many artists suffer in exploring theories and
methods with which their own temperament cannot
in the end find affinity. The fact that Mr. Dew-
hurst commenced his studies under Gerome is
known to us only because it is included with bio-
graphical information at hand. It has left no
impression which is traceable in his work. The
sunny banks of the Seine invited him away from
the atmosphere of the studios, and there he was
fortunate in making the friendship of some of the
French impressionists. It was watching such men
as Saintin, Raffaelli, and others at work that
Mr. Dewhurst was finally emancipated from
academic influence and received "impressionism"
as a revelation. He has constantly advocated it
since in his art and in writing. His work on the
French impressionists and his essays in The

141

studio- Talk

AN ORCHARD IN FRANCE"

Studio have helped to educate pubHc feeling, pre-
paring a favourable reception for impressionists'
works in this country.

Mr. Dewhurst's own reward has perhaps come
indirectly in the interest which his exhibits have
always aroused. The luniinistes in this country
can almost be counted upon one hand. Theirs
was the last form of impressionist painting to
find acceptance in this country. The changed
attitude towards this art is notable, but Mr.
Dewhurst was in the field before such change
was apparent. He can now rely upon the appre-
ciation of the same public which was erstwhile
antagonistic.

l^layed to the evident satis-
faction of his numerous
friends and admirers. For
just seventy years he has
been a member of the
Old Water-colour Society,
during which time he has
sent to its exhibitions over
fourteen hundred drawings,
some of which were to be
seen again at the Leicester
Galleries. His early train-
ing was carried on under
the direction of Theodore
and Thales Fielding, bro-
thers of Copley Fielding.
For many years he resided
in Paris, while some of his
most successful work was
done during his various
tours abroad. Mr. Callow
has faithfully upheld the
best traditions of the old
British school of water-
colour painting, and as one
of its last exponents his work
is always interesting to the
student. In 1839 Thac-
keray wrote in the "Critical
Review " : "A new painter,
somewhat in the style ot
Harding, is Mr. Callow,
and better, I think, than his master or original,
whose colours are too gaudy, to my taste, and
effects too glaringly theatrical " — a verdict which
will be fully endorsed by those who have visited
the recent exhibition.

BY WVNFORD DEWHURST

For the first time during an artistic career extend-
ing over a period of about seventy years, the
veteran painter, Mr. ^^'illiam Callow, has been
induced to hold a "one-man" exhibition. At
the Leicester Galleries last month between sixty
and seventy of his water-colour drawings were dis-
142

Few more interesting exhibitions have been held
at the Whitechapel Art Gallery than that now
being held there. It is exclusively devoted to
"Animals in Art," and emphasises the fact that the
delineation of animal forms has been a favourite
exercise of artists from the earliest times. A series
of surimonos and kakemonos with animals and
birds drawn and painted by some of the greatest
artists of Japan demonstrates beyond question
their superlative mastery in this special field.
The paintings and drawings by European masters
include works by Reynolds, Turner, Gainsborough,
Landseer, James Ward, and, among living artists,
by Mr. Swan, Mr. Briton Riviere, Mr. Joseph
Crawhall, the brothers Detmold, Mr. Clausen,
Mr. Stott, and Miss Lucy Kemp-Welch.

Stttdio- Talk

GLASGOW. — It was highly appropriate
that an exhibition of the art of Arthur
Melville should be held at Glasgow,
for, while to Edinburgh might belong
his birth qualification, and that introduction to a
life career so full of meaning to an artist, it was at
Glasgow he found companionship and encourage-
ment in pursuit of an idea destined to raise the
city by the Clyde to a position of pre-eminence in
the world of art. It is an open question with
some of Melville's early contemporaries whether
Audrey and her Goats was the initial effort of the
modern Glasgow school, as has been claimed ; it
certainly, on early exhibition in London, arrested
public attention, and directed it to the impressionist
method soon to become most active. It is interest-
ing, then, to find this remarkable picture to-day in
its almost barbaric strength of colour, fresh as when
it left the palette, the conspicuous centre, around
which is grouped a charm-
ing representation of the
artist's work, in its rich
variety of colour, bewitch-
ing delicacy of treatment,
and amazing intricacy of
detail.

seems at first sight contradictory that the eye
could find satisfaction in a combination such as
that in The White Piano, or delight in such tonal
effects as the Capture of a Spy reveals. In the one
a strong purple gown is placed against a background
of violent red, green, and blue, with an all-over
simple pattern, but the effect is decoratively pleas-
ing, and entirely appropriate to Aliss Margerison;
in the other a complete colour antithesis is reached —
delicate contrasts of white and blue; clear, sparkling
touches of green and red in horseman's doublet
and steed's trappings ; purest blue in atmosphere
beyond, visible through the arched doorway ;
interest carried into shadowy places by skilful
lighting effects, all rendered with unerring draughts-
manship and exquisite tenderness.

Much has been written regarding Melville's work
in oil: if here the measure of success has been less

Looking at the three
rooms at the Royal Glasgow
Institute, where a hundred
and thirty- eight pictures
bearing the Arthur Melville
signature were recently
gathered together, one was
tempted to marvel at the
industry of the man who
died at forty-five, but more
at the genius that could at
such an age achieve so
great a distinction. In the
collected work of an artist,
representative of an ex-
tended period, one can
perceive the process that
leads to success, the scaf-
folding used and then dis-
carded, to borrow a simile
of the artists ; with Mel-
ville this process is more
apparent in his work in
oil.

In the case of afdaring
colourist like Melville, it

PORTRAIT OF A LADY BY ARTHUR MELVILLE

(The property of W. Graham Robertson, Esq.)

143

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Stitdio- Talk

"prince CHARLES STUART RIDING THROUGH GLASGOW": ONE OF A SERIES OF DECORATIVE PAINTINGS
FOR THE GROSVENOR RESTAURANT, GLASGOW, P.Y ANDREW LAW AND W. W. ANDERSON

conspicuously complete it jmustj ;be remembered
that time was denied in which to reach to that high
standard the artist had set. In the case of any
other painter it would have counted much to have
been early associated with a school of painting
that within a generation has earned world-wide
fame; in Melville's case his inimitable work in
water-colour is the standard of comparison. In
the series of panels designated Christmas Carols
there is the pregnant pathos of interrupted labour,
and the promise of things great, lb set up a
model in the open by moonlight to obtain a new
delicacy and refinement in shades of purple, grey,
and pale blue, and the tempera-Uke quality in the
remarkable panel And there was no room for them
at the Inn, was much more original and practical
than Leonardi da Vinci's elaborate suggestion for
obtaining a night effect. In some of the later por-
traits, notably Opal and Grey, that of Mrs. Arthur
Melville, and The Portrait of a Lady, there is rare
decorative quality and force of expression. The
whole treatment of the first might suggest the
influence of Whistler, but while Melville had
the highest admiration for the Chelsea master's
work, he had penetrated all the secrets and mastered
all the charms of delicate colour harmonies before
becoming acquainted with his style and method.
The Portrait of a Lady, first exhibited at the

Champs de Mars, is cleverly impressionist and
full of subtle colour harmonies.

Where every picture is a study, claiming minute
attention, it is invidious to particularise, but it is
difficult to get away from Audrey and her Goats,
turbulent and forceful, precursor of a school ;
Tori-e Pachecos, eloquent of atmospheric and archi-
tectural Spain ; Tobbit's Mill, expressive of the
rare beauties of a Surrey landscape ; The Snake
Charmer, convincing epitome of Arabian life,
character, custom and architecture ; Lnterior of a
Barge ; The Music Boat ; and Hetiky Regatta by
Night : to name these is like counting but a few
pearls at random on a string where all are of
rare quality and charm. If regret at the irrepar-
able loss to art of such an artist can be mitigated,
it will surely be in the knowledge that he has left
so numy unequalled achievements behind.

" The Grosvenor " Restaurant, which boasts
some fine sculptured work by Hodge, is now more
notable by reason of a remarkable scheme of
decoration just completed by Andrew Law and
W. W. Anderson. The opportunity was a great
one — a dome of ample proportions, divided by pro-
minent ribs into eight panels, offering an aggregate
surface of seventy square yards, well lighted by

H-1

pi!

studio- Talk

the cupola immediately overhead ; a convenient
circular gallery underneath ; a city with a history
rich in incident and a record for progress at which
the world marvels. This was the position as it
presented itself to the artists, when they deter-
mined to take a series of outstanding incidents in
the city's history, and make each panel interesting
with an event as remote as a fifth century miracle,
by which Saint Ninian restored lost health and
sight to King Totael (an act that led to the conse-
cration of the ground on which the cathedral now
stands, and incidentally to the genesis of Glasgow) ;
or as modern as an eighteenth century episode in
the stirring and romantic period of '45.

Fair." Landscape, architecture, and figure enter
largely into the composition, and the utmost care
was taken to ensure accuracy in conception and
detail. J. T.

The work demanded research, for the age is
critical ; patient concentration, occupying as it did
the greater part of a year, and decorative ability of
a high order, all which it received at the hands of
the collaborators. The Law-Anderson treatment
is well suited to the occasion ; in flat low tones it
harmonises with the environment, and brings into
prominent relief the bright spots like a fifteenth
century citizen's doublet, or a Jacobite partisan's
tunic. To deal with subjects embracing a period
of eleven centuries, to
carry out the work away
from the position to be
finally occupied, to fix
the large canvases on the
coved, tapering panels,
and find accurate propor-
tion, pleasing harmony,
and complete unity of
effect, is surely a tribute
to the care and skill with
which the work has been
carried out.

Readers of The Studio are already familiar with
the work of Miss Annie French. The drawing
reproduced on the opposite page was one of many
attractive features in a recent exhibition at the
Baillie Gallery in London.

BIRMINGHAM.— We give here an illus-
tration of an exhibition pavilion, design-
ed by Mr. James A. Swan for Messrs.
Cadbury Bros. The pavilion is con-
structed chiefly of oak and American white wood,
the roof being covered with oak shingles. The
scheme of colour is yellow, green and red bands
on a white ground. The furniture was specially
designed in oak, inlaid with sycamore, stained
green and white ; the seats are upholstered in
pig-skin. The sign is fitted with electric lamps
for displaying a transparent advertisement inserted
therein. The length of the pavilion is about
20 feet.

^^!^

In addition to the one
reproduced on p. 145, the
subjects illustrated are
" The Healing of King
Totael," "The Birth of
Kentigern," " Kentigern
Preaching to King Red-
rath," " Building Glasgow
Cathedral," "A Fair at
Glasgow," " Proclama-
tion of Papal Bull, Con-
stituting Glasgow Uni-
versity," " Presentation
of Leets to the Arch-
bishop,"and "A Glasgow

EXHIBITION PAVILION FOR MESSRS. CADBORY BROS.

]. A. SWAN, ARCHITECT

studio- Talk

LIVERPOOL.-— The captious critic attempt-
ing to disparage the Thirty-seventh
Autumn Exhibition at the Walker Art
Ckallery is less likely to find himself in
agreement with general opinion the more the
exhibition is studied. If no remarkable or am-
bitious picture can be found eclipsing its neighbours
in a marked degree, it is satisfactory to note that the
average capability of the work presented is not
behind that of its thirty-six predecessors. Many of
the chief attractions of the London exhibitions
are to be seen, and there is a room devoted to
Continental art ; but only a brief notice can be
accorded here to a few of the two hundred local
exhibitors, who may be seen to advantage in
well-allotted positions.

landscapes in oil, reference must be made \.ct Arenig
Faivr, by Thos. Huson, R.I.; Margin of t lie Mere,
by J. Follen Bishop ; After the Hailstorm, by
Richard Hartley ; Market Place, Honfleur, by Miss
M. C. Palethorp, Enid Rutherford's Qtiai du
Miroir, Bruges, David Woodlock's A Venetian
F/i'/fl', Joseph Kitchingm an 's Amidst the Dolomites^
J. Hamilton Hay's Seapiece, also A Lancashire
Epic, by Robert Fowler, R.I. ; Alilking Time, by
J. T. Watts, R.C.A. ; and Commy Castle, by
Harold Rathbone.

In forem.ost rank are the portraits of The Rt.
Hon. John Japp, Lord Mayor of Liverpool, Sir
Thos. Hughes, J. P., and Robt. Gladstone, Esq.,
all by R. E. Morrison ; Sir Wm. B. Fonvood, D.L.,
Alfred Rutherford, Esq., Mayor of Bootle, and
Taliesin Rees, Esq., F.R.L.B.A., by Geo. Hall
Neale. Clerical sitters are
admirably presented by
W. B. Boadle and J. V. R.
Parsons. A Souvenir of the
Liverpool Pageant has af-
forded Frank T. Copnall
an effective portrait study
of a knight in chain armour ;
and notable success has
been attained by Mrs.
Maud Hall Neale in her
fine representations oi Mrs.
fohn Rankin and Mrs.
Osivald Murphy and Little
Girl. Jas. Hamilton Hay,
A. L. Brockbank, and
Helen McLay each deserve
mention fi)r the excellence
of their portrait work.

Together with some of those just named, the
following Liverpool artists contribute interesting
water-colours : Joseph Kirkpatrick, Harold Swan-
wick, R.I., Creswick Boydell, W. Egginton, Miss
B. A. Pughe, Isaac Cooke, R.B.A., Geo. Cockram,
R.C.A., John McDougal, R.C.A., F. W. Dawbarn,
M.A., and Miss Mary McCrossan.

Our reproduction of Agriculture on this page is
one of the groups of sculpture on the Liverpool
Victoria Memorial by Charles J. Allen ; other

The more noticeable of
the oil paintings are The
Golden Legend, by R. G.
Hinchliffe ; Resting, by
\Vardlaw Laing ; The An-
nunciatiofi, by Miss May
Cooksey; Good Samaritans
by J. Y. Dawbarn, M.A. ;
and .(4 Young Fisher?nan,hy
the late John Finnie, R.E.
Out of the wealth of fine
148

AGRICULTURE : GROUP FOR LIVERPOOL VICTORIA MEMORIAL

BV CHARLES J. ALLEN

Shtdio-Talk

and hoping for something
to turn up. Their existence
cannot be the haj)piest ;
certainly it is not the most
useful. Distress often
comes to them when they
are least pre[)ared to meet
it, and it comes to a class
who, as a whole, will not
beg for help, that is to say,
charity, or accept it if
offered. There are many
such. How, then, can they
be helped ?

^^ V

■

■H

■■■

TOYS MADE IN WORKSHOP FOR UNEMPLOYED STARTED BY THE SCARBOROUGH

WINTER INDUSTRY

portions of the memorial
have previously been illus-
trated in The Studio. The
whole work is now nearing
completion. H. B. B.

SCARBOROUGH.
— Many visitors
to the seaside in
holiday season
must wonder what becomes
in the winter of the various
people whose summer
occupation seems itself
nothing but pleasure. What
does become of them ?
Many emigrate to the large
cities and seek or engage in
winter employment there;
others — too many others
it is feared— remain behind
living carefully upon the
earnings oj the summer

This was a question
which was put to a meeting
of ladies and of gentlemen
who met at the PViends'
meeting house last
winter. Many schemes
were discussed, but the
toy-making industry was
selected. The promoters
of the Scarborough Winter
Industry, as it is called,
decided to start in a small
way, and, indeed, so quietly
did they work that the funds
upon wliich last winter's
work was carried out were

WESSELTON MINE, KIMBERLEY

(See Berlin Studio- Talk)

BY HANS VQT.CKER

149

studio- Talk

hand-made. The promo-
ters of the industry do not
seek to compete with the
foreign toy. They want in
the first place to teach the
helpless how to help them-
selves, and to make the
teaching pay for itself.
There is, of course, no
question of profit-making ;
all that is sought is to find
work which the workless
may take up if he will,
either at his own home or at
the workshop. S. J.

ERLIN.— In the
September ex-
hibition at
Schulte's we

'the valley of desolation, cape colony

subscribed by about
twenty-five persons, and no
donation was greater than
^^. They obtained the
services of an instructor —
a retired joiner — whose
hobby was model- boat-
building. They took a
room in an unoccupied part
of a warehouse in the town,
and about six workmen who
were out of employment
were allowed to attend at
the workshop and make
toys. Members of the
industry committee (or
council, as it is called) sent
designs to the instructor,
and toys were made in
accordance with those de-
signs, of which two groups
are shown in our illustra-
tions on the previous page.

BY HANS VOLCKER

Of course, the toys, as
toys, are far more expensive
than the usual class of toy
one is able to buy in any
shop in the street, but then
they are better articles
altogether. Everything is

ISO

VICTORIA FALLS : DANGER FOINT

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c/) in

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studio- Talk

felt thankful for the opportunity of enjoying the
well-known qualities of Prince Troubetzkoy and
F. Thaulow, each in a collective show of half-a-
hundred numbers. Troubetzkoy impresses us
again as the master in rendering human and
animal form, and his monumental sculpture is
as convincing as his miniature work. It is
quite a delight to see this impressionist sculptor
express to perfection aristocratic nonchalance as
well as deepest emotion and robust energy. We
do not agree with his method of immortalising
a sketchy style in bronze or marble, but we
cannot help admiring the perspicacity of the
psychologist and the unfailing grasp of the
realist in the portraiture of the types of our
time. Thaulow's firmness, pictorial power, and
delicacy of value are alike remarkable in his
usual northern landscapes and in some Spanish
and French pictures.

Uncommon interest is roused before the African
landscapes of Hans Volcker, a Brandenburger by
birth, who is now living in Wiesbaden. This

painter, a master-pupil of Hans Gude, has gone
to Africa with the intention of awakening the
interest of his countrymen in our days of
colonial endeavour for these unknown climes.
He renders very faithfully, and we are surprised
on looking at some of his pictures to feel a
sensation of something homelike, whilst many
others fascinate in their exotic strangeness.
The waterfalls, valleys and rivers look like dear
old haunting-places, but the queer table moun-
tains, the aloes, ostrich flocks, and the mighty
terraces of the Kimberley mines impress one
by their unlikeness to anything we are ac-
customed to. The tempera -medium of the
pa'nter lends itself well to the depiction of Karroo
and water, and it attains considerable effects in
certain weird moods of that Southern nature.
The vaporous ghostliness of rising mist, moon-
light in the stony solitude round the grave of
Cecil Rhodes, the phosphorescence enveloping
some boats in the Indian Ocean at night, com-
municate poetical pathos, and even, in some cases,
metaphysical strangeness. Almost idyllic in its

%«

A CAPE COLONY KARM

BY HANS VOLCKER

studio- Talk

DESIGN FOR HALL DINING-ROOM

BY PROF. HEINRICH LASSEN

peculiar charm is the colonist's farmhouse, round
which horses are peacefully pasturing, half hidden
by pines and backed by the colossal Table Moun-
tain. A study of such art is the best plea for
African attractions.

At the Kiinstlerhaus a comprehensive collection
of Charles Cottet convinces us of this artist's
greatness as a painter of Brittany and its heavy
types of fishermen and peasants. Yet something
of this character of heaviness sometimes weighs
down also the colouring of the artist, and makes
us feel the touch of a rather homely hand.
However, the excellence of French technique
is generally visible, and the element of soul makes
him particularly dear to German taste.

Another numerous collection at the Kiinstler-
haus was that of the late Otto F"aber du Faur, the
Munich soldier-painter. It was very interesting
as a demonstration of a most striking impression-
ism; a powerful hand here showed its facility in
dominating living masses. Scenes from the Franco-
German War and Oriental horsemanship are
grasped in all the furore of their tempo, and yet

rendered in the fascination of almost visionary
colours. J. T-

BREMEN. — The interior which forms the
subject of the two illustrations on page
154 was designed by Prof. Heinrich
Lassen to serve the twofold purpose of
a hall and dining-room in a country house. The
design has been carried out on simple lines, and
at comparatively moderate cost. The whole of the
woodwork is of dark-brown fumed oak ; for the
walls a deep ochre tone has been employed, and
they are kept quite plain, while the ceiling above
has had aconsiderableamountof ornamentation be-
stowed upon it. The hanging shown in one of the
illustrations represents the Finding of Moses, and is
the work of Otto Ewel of Dresden. In the apart-
ment illustrated on this page, also designed to
serve the same twofold purpose of hall and dining-
room as the other, the yellow wood panelling
extends to the lower ceiling, and has been brown
polished in order to emphasise the natural grain of
the wood. The plaster surfaces are here plain
white, and the floor surface is tiled. The upj)er
part has been so arranged as to serve the purpose

153

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studio- Talk

of a breakfast room. Prof. Lassen only came to
Bremen a short time ago, where he has taken up
an appointment; previously he was at Konigsbcrg,
in the north-east corner of Prussia.

VIENNA. — Richard Lux and Ferdinand
Gold are two young Viennese artists who
are devoting themselves to etching. Both
studied at the Imperial Academy of
Fine Arts, Vienna, under Professor Wilhelm Unger,
whose etchings have earned for him an international
reputation. Prof. Unger is not only a great artist,
albeit with more leaning to the old than to the
modern school, but he is also a great teacher.
Gifted with a (juick perception of a student's capa-
bilities, he makes it his aim to encourage each one
to develop according to his particular bent, instead
of blindly following the methods of the instructor;

and so it happens that a number of young men
trained by him, counting among them some who
have already attained to fame, are breaking new
ground in their art. The two artists who form the
subject of these notes are only just entering on the
path they have marked out for themselves, yet
both have already achieved really good work,
though on different lines ; they are both prizemen,
and etchings by both of them have found their
way into many of the Continental galleries.

Richard Lux is at his best in landscapes, of
which he has etched a considerable number, and
none of them are so attractive as those which
depict broad streams and running waters. Especi-
ally noteworthy are those he has done in colours,
and of these an example is furnished by the reduced
facsimile reproduction which accompanies these

I f.

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JSSilLi".""

.■i(i;

/..-Mi- aa«r'<>-';Srt»r.iJ-.~-t.-

SELF-PORTRAIT (DRY POINT)

I!V RICHARD LUX

studio- Talk

favourite motifs. In this plate,
Persetiburg on the Danube, we
have a panoramic view, excel-
lently rendered both as regards
atmosphere and light, of a part
of the noble river between
Vienna and Linz which offers
the artist an abundance of pic-
turesque material.

Besides landscapes Lux has
done some excellent figure sub-
jects in dry point. Of these
latter two are here reproduced
— Mother and Child and a Self-
Porirait. These serve to show
the artist's power and prove that
he is worthy of encouragement.
In the former he strikes a
homely note : it is just an
ordinary mother, one of the
people, as her garb implies, and
an ordinary infant, but both are
clearly and truthfully depicted.
It is a simple and faithful de-
lineation of human nature, and
it is exactly in the simplicity of
his means that the artist con-
vinces. His Self -For trait is,
perhaps, a more characteristic
performance, showing concen-
tration of thought and energy.

Ferdinand Gold's strength lies
in depicting animals, preferably
beasts of burden and particu-
larly horses. He works entirely
with the dry point, and he in-
tends devoting himself mainly
to this branch of graphic art.
He has spent much time in
studying the movements and
habits of animals at the Zoolo-
gical Gardens, but has, he
confesses, learned more from
observing them in the streets,
on the roads, and in the fields.
He has watched horses dragging
heavy loads over hill and over
dale, watched them, too, when
they returned home wearily
dragging their tired limbs to
it is the Danube itself with the places on enjoy a well-earned rest. In all his etchings of
which has furnished the artist with his horses, such as those here reproduced, this intimate

MOTHER AND CHH.D" (DRY I'OINT)

notes, for
its banks

156

BY RICHARD LUX

studio- Talk

knowledge is manifest, as
is also the artist's sym-
pathy for the creatures he
depicts. And manifest
too is the note of fresh-
ness which belongs to
them ; and it is for the
reason that this effect is
best achieved with the dry
point that the artist has
chosen this means of ex-
pressing his art, although
but very few good proofs
can be produced from a
single plate.

- ■-*-

r-vJV:

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'-■■ \K-r:

:^<^:

The toy-shops are full
of modern toys, but these
are all made in Germany,
for so far no manufac-
turer has been found who
is willing to take the risk

of making the beautiful Viennese and other Aus- in this branch of art is not diminishing, but, on
trian toys of which examples have been reproduced the contrary, is certainly growing in the .Austrian
in past numbers of The Studio. Still, the interest dominions. This fact is due in large measure to

"the tandem team" (dry point)

BY FERDINAND GOLD

THE relay" (dry POINT)

BY FERDINAND GOLD

studio- Talk

"coal team homeward bound" (dry point)

BY FERDINAND GOLD

Dr. Julius Leisching, Director of the Museum of
Art and Industry at Briinn, Moravia, who, by
arranging a series of exhibitions of modern toys in
the various chief cities of the monarchy, has suc-
ceeded in enUsting the sympathies of designers and
the pubUc generally. Another factor is the move-

^f|5i;p^

DESIGNS FOR TOYS

BY PROF. WAHN

ment designated by the phrase "Kunst im Leben
des Kindes," a movement which seeks to promote
the application of art to matters affecting the lives
of children. As far back as 1902 the Hagenbund
here in Vienna devoted their autumn exhibition
entirely to this subject.

DESIGNS FOR TOYS

160

BY PROF. WAHN

Among those whose sympathies and talents have
in this way been enlisted on behalf of children is

studio- Talk

Professor Wahn, of Troppau, in Silesia. He commenced by
producing types of the homes and people around, his aim
being to teach children t(j appreciate and understand their
immediate surroundings before going farther afield — a well-
recognised pedagogic prin-
ciple, approached in this
case from an artistic stand-
point. After this he pro-
ceeded to design ^'iennese
types, and is now gradually
extending his horizon. His
method of making toys will
be understood from the
accompanying illustrations.
First drawings are made,
and these are then trans-
ferred to thin pieces of
f^iirly hard wood, cut with
the grain lengthwise, to
prevent breaking. The
next step is to neatly saw
them with a fine fret-saw,
the edges being smoothed
afterwards with sand or
emery-paper. To make
the , figures stand upright
they must be stuck on to
thicker pieces of wood at

DESIGN FOR TOY BY TROF. WAH.M

( By permission of " Wiener Mode" )

the base. The painting is
the last step, the colours, of
course, depending on the
character of the figure. These
toys are comparatively easy to
make.

DESIGN FOR TOYS BY PROF. WAHN

(By permission of " Wiener Mode'' )

Differing considerably from
Professor Wahn's toys are
others here reproduced, the
figures of which are turned
by the turner on his lathe,
and afterwards painted by the
artist. Architect Emil Pirchan
is a pupil of Prof. Otto
Wagner, and a man who has
won some acknowledgment
in his own particular profes-
sion. The figures illustrated
represent a procession such as
may often be seen in Catholic
countries. There are priests
and acolytes, trumpeters and
drummers, as well as peasants
of various ages and sizes.

The figures are all made in one piece.

DESIGN FOR TOY

(By permission of

BY PROF. WAHN
' Jl'iener Mode" J

Friiulein Marianne Roller's toys also represent everyday scenes ;
in this case a market-woman and her stall. Her playthings won

i6i

studio- Talk

TOYS

BY MARIANNE ROLLER

and is a pupil of Professor
Novak, a distinguished
member of the Vienna
Secession. She is herself
a teacher of arts and crafts
to the Frauenerwerbverein
in Briinn.

much admiration at the Edinburgh Exhibition last
year. She is a sister of the well-known Professor
Roller, and studied at the Erzherzog Rainer
Museum in Briinn, where Dr. Leisching is director,

Frau Johanna Peller-
HoUmann studied under
Professor Moser at the
Vienna Kunstgewerbe-
schule. She is the daugh-
ter of a cabinet-maker, and
from her earliest childhood
was interested in various
kinds of wood, the know-
ledge of which, combined
with her artistic training,
has helped her to achieve
much success in applied art generally and also in
her toys. Frau Zakucka-Harlfinger's toys have
already been noticed in The Studio. They were
much appreciated at the Edinburgh Exhibition,

TOYS

BY FRAU JOHANNA PELLER-HOLLMANN

TOYS

162

BY EMIL PIRCHAN

studio- Talk

TOYS

BY FRAU ZAKUCKA-HARLFINGER

and many of them have found their way to remote
parts. A. S. L.

VENICE. — The works sold at the recent In-
ternational Art Exhibition here represent
a sum amounting to more than ^15,000.
The principal sales were noted in The
Studio for August ; among the more recent ones is
another oil painting by Anna Boberg, the Swedish
artist, purchased by the Queen-Mother.

OSTON, Mass. — The national art exhibit
in Washington gives a deservedly high
place to the work of a Boston artist,
Walter L. Dean. Born and brought up

by the sea, his paintings show the strong fascination
which it has held for him. Cruising off the banks
with Gloucester fishermen, sailing up and down
the coast in his private yacht, he has studied every
changing mood and colour of the restless waters,
their loveliness on quiet, moonlit nights, their awful
grandeur when lashed to fury by wind and storm,
as well as the life of the man who wrests his living
from their depths. These are the subjects that
appeal to him, that he endeavours to reproduce on
his canvases. Even his landscapes talk to us of
the sea ; they are always of the marshlands close
to the water, where only fisher people dwell. It is
to such conscientious workers as Mr. Dean that
America looks for the upbuilding of her future art —

163

studio- Talk

men who study nature patiently, sincerely, who are
uninfluenced by popular "fads," who paint for the
joy that they find in the work, and who give the
world, for its refreshment, the sane, vigorous fruit
of their labours. A S. S.

story-telling picture. The Layton Art Gallery (a
private donation), filled with genre pictures of every
nationality, typifies the taste of the town.

ILWAUKEE.— Seventy-five per cent, of
the entire population of Milwaukee are
of German descent, and the remainder
either of Irish or Hungarian origin.
This has produced a rather peculiar community—
at least, from an aesthetic point of view — as neither
the German- Americans nor the Irish-Americans are
noted for a keen appreciation of art. The city is
clean and truly beautiful in parts, its women are
known far and wide as the "fair daughters of
Milwaukee," but the interest in art matters seems
to be at a total standstill on the shores of Lake
Michigan. Not that its citizens have no taste what-
ever for that kind of luxury ; on the contrary, round
sums of money have been paid quite frequently for
foreign, and even for home, productions. But the
interest in painting concentrates entirely on pictures
of the anecdotal order ; it is the ideal place for the

Among the resident artists Richard Lorenz, the
horse painter, has the biggest reputation. He is
rather photographic at times, but his best pictures
are rendered with a good deal of poetic sentiment.
Other painters of note are Geo. Raab, a portrait
painter of considerable technical skill, and, for Mil-
waukee, exceedingly modern in feeling ; Alexander
Mueller, a landscape painter with a decided grasp
on poetic and strikingly picturesque subjects ; and
Robert Schade, a versatile talent who is at his
best in unpretentious still-life. Also the landscapist
Franz Bieberstein, and the water-colourist F. W.
Heine, must not be forgotten in this enumeration.
The Layton Art Gallery contains a few valuable
specimens of our earlier American art, notably a
Venice scene, by Daniel Huntington ; N'eiv York
Harbour, by Arthur Quartley ; Washed by the Sea,
by Edward Gay ; and a veritable chef d'a'uvre of
genre painting. The Old Stage Coach, by Eastman
Johnson. S. H.

'the fishing FL/EET

(See Boston Studio-Talk)

BY WALTER L. DEAN

164

Shidio-Talk

I ?A

'•NEW YORK HARBOUR

ssiBKi::^

BY ARTHUR QUARTLEY

ELBOURNE. — The Victorian Artists shows prior to the opening. To this fact may also

Society, who have been holding their be credited the absence of representative work from

annual winter exhibition in Melbourne, various prominent members. The principal works

showed a creditable display of work in the North Gallery were Mr. Bernard Hall's por-

in spite of the prevalence of the "one-man" traits, 6)'/r'/(2 and Z^ Cy;o'/m«iV«?/r, showing sterling

VILLA ON THE ADRIATIC

BY ALEXANDER MUELLER

i6^

studio- Talk

"MOUTH OF THE ERSKINE RIVER

(Victorian Artists' Exhibition)

technical qualities ; Mr. Tom Carter's portrait ot a
lady— refined, dainty and charming in colour ; and
Miss V. Teague's small portrait of Miss Elles call
for especial mention. Among the landscapists,
Mr. A. McClintock showed exceptional ability, his
work being one of the features of the exhibition.
Mr. Ene's Middle Harbour and Mr. Reynold's Laiv
Courts, with Mr. Mather's fine studies in Fitzroy
Gardens, were also noticeable contributions. In
the vestibule, devoted to black-and-white and
water-colours, could be seen some fine work by
Mr. W. N. Anderson and some etchings by Mr.
Victor Cobb and others. In the South Gallery Mr.
Ford Patterson's White Road served as a reminder
of the Croydoti Coterie.
Mr. Hal Waugh, Mr. Wilkie
and others were also pro-
minent exhibitors in this
gallery. Mr. Waugh's horses
and Mr. Delafield Cook's
landscape work showed an
advance on previous years.

landscape painter and co-
lorist of the highest order ;
and during this brief visit
to his native land he clearly
demonstrated by this ex-
hibition the fact that his
hand had lost nothing of
its cunning. The large
Windsor Castle and the
various street scenes, in-
cluding a fine Trafalgar
Square, all showed the in-
fluence of English environ-
ment and ideals ; while his
Mount Macedon and Coogee
recalled his earlier Austra-
lian period. The other show
was that held by the drawing
instructor at the National
Gallery, Mr. McCubbin,
prior to his departure on a visit to Europe. Mr.
McCubbin's work has always been noted for its
sterling qualities, good construction and fine tech-
nique. The principal work. Lost, showing a boy
who has become hopelessly "bushed," was splen-
didly painted ; and the portraits included those
of Senhor Loureiro and Mr. Panton, P.M., two
canvases of exceptional merit.

BY JOHN MATHER

The decision of the trustees ot the Felton
Bequest Fund to purchase the famous Be?it
Tree, by Corot (from the Alexander Young
Collection, and lately illustrated in The Studio),
is a matter for congratulation among those who

Two noteworthy "one-
man " exhibitions were held
before that of the Victorian
artists. The first was that
by Mr. Arthur Streeton,
with a collection of works
in oil and water-colour.
Prior to his departure for
Europe fifteen years ago,
he had established a repu-
tation for fine work as a
1 66

"OVER THE hills" ( Victorian Artists' Exhibition) BY A. MCCLINTOCK

Reviews and Notices

take a keen interest in the National Gallery Collec-
tion. The acquisition of pictures of this character
is to be thoroughly commended as a means of
raising the whole tone of the collection, which in
the past has shown a tendency to run towards
the "popular picture" of doubtful merit.

J. S.
(In the Melbourne Age of July 15 reference is made to
the existence of two similar paintings by Corot bearing this
title, a fact disclosed by comparing the picture purchased by
the trustees with one reproduced in the Special Number of
The Stuhio on "Corot and Millet." Apparently the
discovery occasioned some surprise, but we may point out
tlial Mr. Ilalton, in his article on the Corots in the Alexander
Young Collection (The Studio, October 1906, p. 9), stated
that there was another Bent Tree in the Collection, and
that it was an evening effect. It is generally acknowledged
that the one purchased by the trustees is far superior to the
other, and is, perhaps, the finest Corot in the Collection.
The two paintings are of different sizes ; the scene, however,
is the same, and the difference in details is so slight as to
be overlooked in a black-and-white reproduction. — The
Editor.)

REVIEWS AND NOTICES.

An Artisfs Reminiscences. By Walter Crane.
(London: Methuen & Co.) \Zs. net. — Mr.
Walter Crane has for many years moved as a
prominent figure in the circles of artistic society.
Of the circumstances under which he has met
many of the celebrated men of the latter half of
the Victorian era, and in his records of some
Continental travel, the author has abundance of
recollections. The story of his own success is
modestly revealed. The book shows that among
the many crafts in which Mr. Crane has been
interested that of the writer is not excepted. It is
from his close association with the revival of
the arts and handicrafts that some of the best
reading in the book derives its interest. In any
history of the art of the last century in England
the beginnings of this renaissance will always pro-
vide an important chapter, and Mr. Crane's con-
nection with it is one that cannot be forgotten. In
recording his contribution of an article on gesso-
work to the second number of The Studio, and
in a reference to Aubrey Beardsley which follows,
Mr. Crane is in error in attributing the acceptance
of that artist's early work by this magazine to Mr.
Gleeson White, who, as a matter of fact, joined
the staff shortly afterwards, not as its first editor,
as stated by Mr. Crane, but to assist in its produc-
tion jointly with its present editor. The inclusion
in his book of post-cards and certain notes of
extreme brevity from well-known persons we should
scarcely have thought necessary either on account
of the matter in them or as supplementing the

esteem in which Mr. Crane and his art as a
designer have for so long been held. The book
is illustrated in a very interesting manner with
plates of various places and incidents connected
with the artist's life and with some illustrations
and pictures of his own.

Goldsmith's and Silverstnith's Work. By Nelson
D.wvsoN. (London: Methuen.) 25^. net. — The
author of this latest addition to the useful Con-
noisseurs' Library, who is himself a practical
craftsman, has approached his subject from the
point of view, not so much of the collector and
professional connoisseur, who have been liberally
catered for by others, but from that of the culti-
vated public, who, though rarely able to purchase
the treasures that from time to time come into the
market, can yet instinctively fathom the secret of
their charm. " The joy and pleasure of a collector
who has become possessed of a good piece," says
Mr. Dawson, " must indeed be great, but it is
questionable whether it equals the joy of an artist
who, looking at the same thing . . . sees that the
craftsman who produced it infused so much of his
character into it that it became imbued with a
certain quality of life, that every fresh curve and
form that catches his eye is like the turning over
of a new page of some interesting book, yet," he
adds, "no desire to possess enters his mind, indeed,
possession would almost spoil appreciation." His
aim thus clearly set forth, the eloquent author
invites his readers to come and share his enjoy-
ment of the beautiful examples described and repro-
duced, prefacing his actual examination of them by
excellent definitions of the essential qualities of
gold and silver ore and their alloys, passing thence
to review the work of the past in those materials
in chronological order, beginning with the so-called
peasant jewellery of the Mycenaean period and
bringing his narrative down to modern times,
tracing, wherever possible, the evolution of later
from earlier forms. Specially interesting are the
chapters on Anglo-Saxon and Irish metal-work, the
illustrations including reproductions of the famous
Jewel of Alfred, the Ring of Ethelwulf, the Ardagh
Chalice, and the fine bas-reliefs of the Domnach
Shrine, the special interest of which, Mr. Dawson
points out, is " that they show the transition of
Irish Celtic work from the Celtic into the Gothic
period." But there is really not one dull page in
a publication that will no doubt appeal alike to
the antiquarian, the student of ecclesiastical
history, the artist and the craftsman.

The Matterhorn. By GuiDO Rev, with an In-
troduction by Edmondo de Amicis. Translated

167

Reviews and Notices

from the Italian by J. E. C. Eaton. (London:
T. Fisher Unwin.) 21^. net.— Probably nine out
of ten people who take up this book will utter the
exclamation with which Sgr. de Amicis begins his
introduction — " A whole book about a mountain!"
-and a bulky book too with its three hundred odd
pages of letterpress and about three dozen plates,
some printed on cardboard and mounted. But it
is a well-printed book, and once having begun to
read, it is difficult to know when to leave off, and
by the time the end is reached one feels with
Sgr. de Amicis that the work is all too short.
From the very first page, where the author sum-
mons up a vision of the process by which this
mountain received from the Creator its wondrous
form, down to the last, where he concludes a
thrilling narrative of a perilous ascent which he
undertook by way of the terrible Furggen ridge
some eight years ago, every page has its fascina-
ti(jn. The author has the gift of fluent and vivid lan-
guage, whether he is describing the majestic scenery
of the Alps or whether he is recording the sensa-
tions experienced in his daring exploits — especially,
for instance, where he gives an account of his first
ascent of the Matterhorn, and again where he
narrates his ascent by the Furggen ridge just
mentioned. No better characterisation of the
book can be given than that which we find in the
Introduction — it is "a treasure of knowledge, of
observations, and of ideas, only to be found in
those books that are the spontaneous product of a
great passion and of long experience, the intellec-
tual offspring of a man's whole life." The illustra-
tions are both numerous and excellent : some of
them are reproduced from drawings by Edoardo
Rubino, in black-and-white on a greenish -grey
ground, others are pen-sketches by the same artist,
and there are about a dozen capital photographs,
which we presume were taken by the author him-
self— he is of course well known as an accom-
plished photographer.

The Keramic Gallery. By William Chaffers.
Second edition, revised and edited by H. M.
CuNDALL, I.S.O., F.S.A. (London : Gibbings &
Co.) 35^-. net. — The first edition of this work,
published over thirty years ago in two volumes as
a pictorial supplement to the well-known "Marks and
Monograms on Pottery and Porcelain," by the same
author, has long been out of print, and copies have
fetched prices far beyond that at which it was pub-
lished (four guineas). In this edition the illustra-
tions were printed by the Woodbury process, and had
in consequence to be separated from the text. In
the present edition they have been reproduced by
168

the half-tone process, and are inserted with the
letterpress referring to them — a much more con-
venient arrangement. It has been found possible
also, notwithstanding the inclusion of a hundred
additional illustrations from important collections,
to make one volume serve in place of the two
bulky ones which were required for the first edition,
and as this one volume is not inconveniently large,
the usefulness of the work is increased. The
letterpress remains practically the same as it was
left by Mr. Chaffers.

The Satituario of the Madonna di Vico. By
L. Melano Rossi. (London: Macmillan). £,\ \s.
net. — Amongst the examples of Italian Renaissance
architecture that still remain much what they were
when first completed, none is more truly charac-
teristic than the so-called Pantheon of Charles
Emanuel of Savoy that, with its noble dome, the
fourth largest and most beautiful in the world, and
its towers with tapering spires grouped around its
central feature, gives at first sight an extraordinary
impression of vastness, dignity, and originality.
Yet, in spite of its unique beauty, this grand sur-
vival of the golden age is scarcely known outside
its immediate environment, being scarcely ever
alluded to in works of reference, and even in local
literature being very inadequately described. It is
due to the energy of the accomplished scholar Signor
Rossi that the unjust oblivion into which the beauti-
ful Temple of Peace, as its founder called the sanc-
tuary, is now a thing of the past, and all who are
interested in architecture and the decorative arts,
or in the political and religious history of Italy,
owe to him a deep debt of gratitude for the
unwearying patience with which he has collected in-
formation on his important subject, the number
and beauty of the illustrations supplementing his
text, and the clearness with which he has told
the whole story of the evolution of the building.
'J he corner-stone of the present Santuario, which
replaces an ancient shrine sacred to a wonder-
working image of the Virgin, was laid with much
pomp on July 7th, 1596, in the presence of the
duke and a vast concourse of ecclesiastical digni-
taries and enthusiastic spectators, and in telling the
later story of the building Signor Rossi dwells on the
fact that Charles Emanuel, with the astuteness that
characterised him, managed to skilfully reconcile his
own advanced religious opinions with the superstii ious
hallucinations of his subjects, adding, "he longed
to see the worship of the Madonna leading up to that
of the Italy which did not then exist but which was to
be created." It is significant of this attitude on the
part of the duke that he chose the Renaissance

Reviews and Notices

rather than the Gothic style, finding in the mihtary
architect Ascanio Vitozzi a kindred spirit, fired
with ambitions similar to his own. The Temple
of Peace was intended, in fact, to usher in a new
era, and although its founder did not live to see
the fulfilment of its prophecy, it remains to this
day a monument of his prescience.

Geo)-ge Morland. By G. C. Williamson, Litt.D.
(London: George Bell & Sons.)— The larger and
more expensive edition on which the new volume on
Morland is founded having been reviewed at length
in The Studio, it is only necessary to say that the
latter contains all that is essential in its prede-
cessor, the text of which has been revised and
condensed ; that the renderings in colour of The
Reckoning, Horses in a Stable, The Door of a
Village Inn, and the Girl Fondling a Dove, are
excellent ; and that the black-and-white illustra-
tions include four interesting sketches not before
reproduced, namely, A Snooze by the Way and
A Tea Party, both in sepia, and A Scene on the
Ice and Alorland's Servant, delicate pencil drawings,
all owned by Mr. Hubert Garle.

D Arte Mondiale alia V II. Esposizione di Venezia.
By ViTTORio Pica. (Bergamo: Istituto Italiano
d'Arte Grafiche.) 9 lire. — Sgr. Pica may be called
the historian of the international art exhibitions at
Venice, for the present publication is the fifth of
the series of volumes he has written on them.
Seeing that the exhibition of the present year had
only just closed its doors when this volume made
its appearance, the work cannot be said to be
wanting in actualite. Dealing first with the Bel-
gian section, he proceeds to pass in review succes-
sively those of Holland and Scandinavia, then the
Russian and Austrian sections, followed by other
foreign groups, including Great Britain, France,
and Germany, the last two chapters being devoted
to the Italians. The illustrations consist of over
four hundred capital reproductions of works
exhibited in the various sections.

An Introdtution to Old English Furniture. By
\V. G. Mallktt. (London : George Newnes.)
51. net. — In spite of its unpretending title and low
price this copiously illustrated book will be of great
use to the collector, for it defines very accurately
and succinctly the characteristics of each style of
English furniture, from the Early Tudor to the last
phase of the Classic Revival. The drawings of
Mr. H. M. Brock, all taken from examples that
have passed through the hands of Mr. Mallett, are
also excellent, for whilst catching the general
character of each specimen they clearly reproduce
every detail of decoration.

Messrs. Seeley & Co.'s " Library of Romance "
has received two interesting additions in The
Fomaftce of Savage Life and The Romance of
Modern Sieges (each 5^.). — The former, written by
Mr. G. F. Scott Elliot, describes the life of primitive
man, his customs, occupations, language, religious
beliefs, arts, crafts, adventures, games, and sports ;
while the latter, written by the Rev. Edward
Gilliatt, gives an account of some of the great
sieges which have taken place in our own days,
the most recent being that of Port Arthur. Both
books are copiously illustrated and attractively
bound, and botli are written in a way which
will ensure for them a warm welcome from boys.
Messrs. Seeley have also just issued a new edition
of Cambridge {ds. net), by Mr. John Willis
Clark, the Registrary of the University, whose
pleasantly-written story of the colleges and other
institutions of this great centre of learning is
supplemented by a number of excellent illustra-
tions after drawings, etchings, etc., by Messrs.
A. Brunet Debaines, H. Toussaint, E. Hull, and
A. E. Pearce, while Mr. George Morrow con-
tributes a coloured frontispiece showing the gate-
way of Trinity College. We are glad to see also
from the same publishers a new edition of Mr.
F. G. Stephens's capital little monograph on Dante
Gabriel Rossetti {2s. net), and of Mr. W. C.
Lefroy's Ruined Abbeys of Yorkshire (also 2s. net).

The fourth and fifth instalments of the publica-
tion issued by Messrs. T. C. & E. C. Jack, in
which the designs for The Palace of Peace at the
Hague are reproduced, contain those submitted in
the international competition by Gliel Saarinen
(Helsingfors) ; J. F. Groll (London) ; H. Van
Buren Magonigle (New York) ; Prof. W. Scholter
(Stuttgart) ; Ringuet and Alaux (Paris) ; F. Debat
(Paris) ; E. Cuijpers (Amsterdam) ; Emil Tory
(Buda Pesth) ; J. Coates Carter (Cardiff), and
T. Eklund (Helsingfors). The work is to be com-
pleted in eight parts at 10s. 6d. net per part.

Mr. C. F. A. Voysey, whose designs for the
interior of " Garden Corner, Chelsea," were illus-
trated in our last issue, desires us to state that the
wrought-iron work for the house was provided by
Mr. W. B. Reynolds, and the metal hinges, case-
ments, and grates by Messrs. J. Elsley &: Co. The
electric lighting was done by Messrs. Ashby & Sons.

In reproducing Mauve's water-colour Winter last
month (p. 10), we should have acknowledged, as
we now do, our indebtedness to Messrs. Marchant
& Co., as well as to Messrs. Boussod, Valadon &
Co., Paris.

169

The Lay Figure

HE LAY FIGURE: ON BUYING
CHEAP ART.

"There seems to me to be a growing
inclination among the buyers of works of art to
regard costliness as a sort of guarantee of quality,"
said the Art Critic; "unless a thing fetches a
large price it is despised and is treated as if it were
of little importance. Why should this be ? I do
not see that there is any connection between money
value and artistic worth — the first is a matter of
fashion, the second a matter of principle."

" Quite so," returned the Man with the Red Tie;
"but as fashion has always more power to sway
human conviction than principle is ever likely to
have, you must accept anomalies such as this."

"You admit then that money value ought not
to be taken as the one and only test of merit?"
enquired the Critic. " Is there no hope of estab-
lishing a more reasonable test?"

"Where is the need for it?" broke in the Plain
Man. "The money test is a sensible one enough ;
it works well and it is easy to understand. I
cannot see that there is any objection to it."

"No, I suppose it would satisfy you," replied
the Man with the Red Tie, " because you are
incapable of forming any opinion about subtleties
of taste. You cannot see anything that is not
absolutely obvious."

" Is not that enough ? " asked the Plain Man.
" What need is there to worry about subtleties
when you are dealing with facts that cannot be
disputed ? I am content to take things as they
are ; to discuss what they might be if the world
were something it is not is sheer waste of time."

" Then you think that a work of art which can
be acquired for a small price must necessarily be
bad?" said the Critic. "And you believe that
things for which there is no market are too con-
temptible to have any right to exist ? "

"Yes, that would fairly define my point of view,'
replied the Plain Man. " If a work of art is good
a large number of people want it, and its price
naturally is enhanced by competition. Conversely,
the bad work which no one wishes to possess has
to be sold for what it will fetch, and the worse it is
the less chance it has of being sold at all. Cheap
things must always be bad things."

" In other words," commented the Man with the
Red Tie, " fashion, not taste, is the governing
principle in art patronage. You are endorsing
fully what I have just said. People do not think
for themselves; they run after one another like
boys playing follow-my-leader, and what one does
170

everyone else imitates. We are all descended from
monkeys and we keep up the monkey habit."

" I did not know that monkeys had any convic-
tions about art," laughed the Plain Man. "We
know more about the matter than our simian
ancestors and we have acquired sanity by long
experience. Part of our sanity is the very reason-
able belief that what people do not want is not
worth having. You would not induce even a mon-
key to accept what he did not like."

" But the really intelligent monkey might be
educated into exercising some sort of discrimina-
tion," replied the Critic; "and the monkey con-
noisseur might discover that by exercising his
intelligence he would satisfy his tastes without
having to fight for what he wanted with all the
other members of his tribe. The collector who
insists upon having what everyone else is striving
for and then chatters with rage because someone
richer or stronger takes it away is only adopting
the manners of the jungle."

" Primitive instincts naturally produce primitive
manners," commented the Man with the Red Tie;
"we have not advanced much during the lapse of
ages ; we are still terribly undeveloped."

"Then there is all the more reason that we
should try to find out ways of improving ourselves,"
returned the Critic. " Suppose we begin by realis-
ing that good art need not necessarily be expensive.
I quite admit that what is popular, what is in the
fashion, must be costly because it is in wide request,
but I deny that this costliness is in any way a test
or a proof of merit. The man who knows how
to choose can surround himself with admirable
examples of art work with a very small outlay. All
that he has to do is to avoid what is generally
sought after, and to choose things which are cut of
fashion and which do not attempt to satisfy the
popular demand. Let him patronise discreetly and
intelligently the unknown men, the artists who have
ideas of their own and who are not working in
accordance with a recognised formula. If he can-
not afford to buy pictures let him collect drawings
or etchings; if drawings or etchings are beyond his
means let him buy good photographs. He has
almost endless opportunities open to him if he can
once get rid of the delusion that there is only one
groove in which art patronage ought to travel.
But, above all, he must disabuse himself of that
pernicious idea that art objects should be bought
for speculative purposes. This notion is responsible
f(jr many of the present-day abuses ; men buy costly
things chiefly because they hope to sell them again
at a profit." The Lay Figure.

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'THE FLOWERED GOWN."

FROM THE OIL PAINTING

BY S. MELTON FISH ER.

wS. Melton Fisher

HE PAINTINGS OF S. MELTON
FISHER. BY A. LYS BALDRY.

There is undoubtedly in the work which
Mr. Melton Fisher has done during the last few
years very plain proof of the value of delicate and
unforced sentiment as the foundation of serious
artistic achievement. His pictures offer a direct
denial to the popular belief that the illustration of
some incident or the relating of some story must
be regarded as essential in all pictorial effort, and
they assert in a manner which cannot be mistaken
the right of an artist who looks at life from an
individual standpoint to choose his own way of
interpreting the facts that are presented to him.
In what may be called illustraiive painting the
subject is always more or less ready-made ; it is
incapable of anything but minor modifications, and
the way in which it should be treated is chiefly
determined by other than aesthetic considerations.
It has a kind of literary purpose, an intention to
realise something already pictured in words and
fully described in all its main details ; there is
little scope left to the painter for the exercise of

personal preferences or for the development ot
original methods of expression.

But the man who bases his art not upon what
he can derive from the ideas of others, but upon
what is suggested to him by his own temperament,
is not only more genuinely inspired but has an in-
finitely better chance of arriving at results which are
of permanent importance. He offers artistic opinions
which claim respect as those of an independent
thinker who wishes to convey to others impressions
that have affected him vividly and have stimulated
definitely his imaginative faculties. These impres-
sions, presented as they are through the medium of
a personality, acquire the stamp of the artist's
conviction, and take on the particular sentiment
which by instinct he prefers. They become, when
they are tianslated into a pictorial form, revelations
of his beliefs and expressions of his view of his
responsibilities as an art worker.

The belief that is revealed in Mr. Melton Fisher's
paintings is an absolute faith in the power which
abstract beauty has to appeal to the imagination
and to satisfy the taste of the real lover of art.
He aims at an ideal and seeks to create an atmo-

" LA BELLE AU BOIS DORMANT"

(By \rmission of Mrs. Eleanot Rawh Reader)

XLII. No. 177. — December, 1907.

BY S. MELTON FISHER

173

5. Melton Fisher

sphere that will be consistent with the faith he
holds, an atmosphere that is permeated with the
sentiment to which he responds. That he succeeds
in realising this aim can scarcely be disputed ; the
character and quality of his pictures, the suavity
and elegance of his technical method, the dainty
charm of the subjects he prefers, can all be adduced
as evidence of his consistency. He uses perfectly
legitimate means to make himself understood, and
his art has in consequence a full measure of that
frank directness which is the mark of the sincere
student of nature who has satisfied himself as to
the way in which he can best explain what is in
his mind.

It can well be imagined that he has not arrived
at his present clearness of conviction without some
years of preparation. He had the advantage of a
thorough training in the practical details of his
craft, and what he learned in his student days he
has since subjected quite thoroughly to the test of
experience ; and, as well, he has availed himself of
special opportunities that have come to him of
widening unusually his artistic outlook. Born in
i860, he received his general education at Dulwich
College, where he had the benefit of practically
daily contact with a collection of notable pictures
by the greater masters, and was able to satisfy by

study of these masterpieces inclinations which even
in his early boyhood were definitely developed.
His actual training in art began when he left Dul-
wich, and started as a student in the Lambeth
School. After making some successes there —
among them the gaining of a gold medal in the
National Competition — he went to France and
became a pupil of M. Bonnafe, a teacher well able
to guide him in his seeking after completer know-
ledge, and an artist with a sound understanding of
many branches of executive practice.

Reversing the usual proceeding of the English
art student, Mr. Melton Fisher came back from
Paris to work in the Royal Academy schools.
During his period of study there he proved in
many ways that he had to be seriously reckoned
with as an artist of more than common ability, and
he ended by carrying off the gold medal and
travelling studentship, the most eagerly competed
for of all the Academy prizes, and the one which
tests most fully the imaginative power and the
technical skill of the student. As he had to spend
the two years' term of this studentship abroad he
betook himself to Italy, and after travelling for a
while in that country he decided to settle down in
Venice, where he would have the advantage of
living in surroundings artistically inspiring and of

CLERKENWELL FLOWER MAKERS

BY S. MELTON FISHER

PORTRAIT OF MISS RODD
BY S. MELTON FISHER

S. Melton Fisher

STUDY

BY S. MELTON FISHER

of an artist, for at Venice he had exactly
what was needed to develop the best
side of his nature and to bring into full
activity all the cxsthetic instincts which
he had been training so assiduously year
by year.

During this ten years' term he made
a strong bid for a definite position among
the best of the younger English artists
by the originality and sound quality of
the pictures which he sent home for
exhibition at the Academy. The sub-
jects he chose were characteristic of
modern Venetian life ; his canvases were
records of his observation of the people
among whom he found himself, and by
their brilliant reality and clever state-
ment of picturesque facts gained the
immediate approval of everyone who
was qualified to judge his work. When
at last he left Venice and came back
to London he had a thoroughly estab-
lished reputation as an artist who was
not only a master of his craft, but
gifted, as well, with more than ordinary
perception of those refinements of ex-
pression which are necessary for the
highest order of achievement. By such
performances as his Venetian Costume

association with a number
of distinguished artists who
had taken up their abode
in that city.

He did not return to
England when his student-
ship expired ; he had fallen
under the charm of Venice,
and there he remained for
ten years painting subjects
drawn from the life around
him, and revelling in the
wealth of picturesque ma-
terial which he found ready
to his hand. It may be
counted fortunate that he
should have decided ' to
spend in a place so satisfy-
xwd to his innate love of
beauty those first years of
independent production
which make up the most
critical period in the career
176

STUDY rOR HEAD OK CHILD IN "THE TAMEOUR FRAME

BY S. MELTON FISHER

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"THE BLACK
FROM THE OIL P
BY S. MELTON

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Makers (1888)/ Festa (1889), La
Sposa (1890), Una Cresina : The
Confirmation of a Child, Veriice
(1 891), VAsta: A Sale by Auction
( 1894), to quote the chief of the pic-
tures he exhibited during this period,
he had defined his place in the art
world — and this place, it could be
seen, was one of undeniable dis-
tinction.

At first he seemed inclined to con-
tinue in London the same kind of
search after beauty in everyday life
with which he occupied himself in
Venice, for soon after his return from
abroad he exhibited an important
picture, Clerkenwell Flower Makers
(1896), in wliich all the characteristics
of his earlier style are fully displayed.
But his maturing convictions soon
led him to see that his love of colour
and feeling for graceful line could be
more completely asserted in subjects
of a more abstract type ; and accord-
ingly he has for the past ten years
occupied himself more and more

BY i. MliLTON FISHER

TLYTIE

BY S. MELTON FISHER

with those dainty fancies by which he
is best known to-day — with such de-
lightful compositions as In Realms oj
Fancy, which was bought by the Chantrey
Fund Trustees in 1898 ; Sleep, and the
Tambour Frame, the • first of which is
in the National Gallery at Wellington,
New Zealand, and the other in the
National Gallery at Perth, Western
Australia; Poppies; June; La Belle au
Bois dormant, an exquisite example of
his treatment of the nude figure : the
graceful Ballerina, which was one of the
features of the 1907 Academy ; Dreams,
which was acquired for the Corporation
Gallery at Oldham : and The Chess
Players, which was added not long ago
to the collection in the Walker Art
Gallery at Liverpool. Throughout the
whole of this series there runs an obvious
intention to deal with nature in a spirit
of pure eclecticism, and to record only
those among her many aspects which
would lend themselves best to the illus-
tration of the particular aesthetic truths
which he wished to advocate.

181

S. Melton Fisher

THE TAMBOUR FRAME'

BY S. MELTON FISHER

(In the National Gallery, Perth, Western Australia)

It is because of his success in making this
intention felt that Mr. Melton Fisher has attained
the wide popularity which he now enjoys. There
is no taint of sentimentality in his art ; indeed,
delicate and daintily fanciful as it is, it lacks
neither virility nor decision of manner, and with
all its emphatic assertion of a belief in subtleties
of suggestion it is yet free from conventionality.
That he is a shrewd student of character, that he
can look closely into the litde details which mark
the points of difference between individuals, is
])roved by the strength and vitality of his portraits.
He paints such a piece of abstract loveliness as
the head of his Cfytie with the same sort of con-
viction that he shows in a portrait like that of
Miss Rodd, and to both pictures he gives just
that degree of naturalism which is needed to make
them live. As a portrait painter he has done much
that deserves frank commendation, and it may be
noted that his happiest efforts in this branch of
practice include at least as many paintings of
men as of women: he has by no means limited
himself only to the representation of graceful
femininity.

Concerning his skill as a craftsman there can be
no question ; his easy, fluent draughtsmanship and
182

broadly simple brushwork, his sensitive manage-
ment of gradations of tone and modulations of
colour, his judicious treatment of subtleties of
modelling, show that he has made himself com-
pletely a master of the mechanism of his art. Nor
does he confine himself to only one medium ; as
a pastellist he has made successes quite as great
as those which he has gained as an oil painter.
Indeed, whatever the medium he employs, he
arrives always surely at the end which he has in
view. A. L. B.

In connection with the recent International Art
Exhibition at Venice, the following awards have
been made by the Jury des Recompenses. In the
departments of painting, sculpture, drawing and
engraving, Grandes Medailles d'Or are awarded to
MM. A. Baertsoen, F. Brangwyn, A.R.A., C.
Cottet, Dampt, Josef Israels, Heinrich Knirr,
Boris Kustodieff, Jules Lagae, Philip Laszlo, Cesare
Laurenti, E. R. Menard, Gerhard Munthe, and
J. S. Sargent, R.A. In the section of applied art,
Herr Barwig, of Vienna, and M. Lalique, of Paris,
receive gold medals, and special diplomas or gold
medals are awarded for the decoration of certain
of the salons.

Augiiste Rodin

NOTE ON SOME RECENT
PORTRAIT BUSTS AND OTHER
WORK BY AUGUSTE RODIN.

Amon(; the latest work of Auguste Rodin are a
number of portrait busts — marvellous examples of
technical skill which prove this artist's ability to
handle his medium as perhaps no one has done since
the great days of the Renaissance. Few painters,
and no modern sculptor to my knowledge, have so
revealed the inner character of his sitter. One loses
sight even of Rodin's technique in this revelation
of psychological power. Beginning with the strong
young head of Bastien-Lepage, what a magnificent
array of men and women he has bequeathed to the
world ! Noble, austere, pure, lovely — according to
the gifts of his model, for Rodin transcribes only
that which he finds in the face, the character of his
sitter.

Here, then, is a field where even Rodin's
enemies must yield reluctant praise. Their
favourite accusation, that he takes casts from life,
can no longer apply, as he does much of his work
in the marble. "Does it not tire you?" I asked,
when I first .saw him working in the stone. "Ah,
no ; it is a great pleasure, a real joy." In his recent
busts one feels this joy in his work, a joy which,
during his long years of struggle, was sometimes
overclouded, so that many of his statues seem to
possess an indwelling sadness, a knowledge of life
too profound to admit of gaiety. But no such
thought is possible when looking at the radiant
head of a young English girl that I recently saw in
his studio. One knows that happiness alone has
been her portion, that as naturally as the opening
flower turns toward the sun this young creature
turns toward the joys of life. It is the consummate
expression of eager expectation, of dawning woman-
hood in the pure soul of a young girl. There is
not a flaw in the delicate marble, nor a flaw in the
perfect technique of the master.

When Rodin deems it wise to carry his modelling
to the extreme of finished detail, he can do so
without loss of power. Almost all his busts of
women possess this attraction of exquisite finish.
Many of his men, on the contrary, are blocked in
with broad, powerful strokes, depending for their
expression on the force, rather than the detail, of
their modelling, yet always enveloped in a sort of
luminous atmosphere. It is this luminous quality
in the sculpture of Rodin that separates it from
that of all modern masters. " This has been my
life-work," said M Rodin. "During forty years I
have searched for this quality ot light. I have

found it in the modelling. It is the modelling
that produces the effect of atmosphere — that gives
life to the statue."

In M. Rodin's hands marble becomes soft, pliant,
alive— he is "a master of live stone," as the old
Italians loved to call their sculptors. After that
great period sculpture, like painting, became aca-
demic, and though France has led the modern world
in plastic art, her sculptors have studied from the
Cireek rather than from life. What the men of
1830 — -Corot, Rousseau, and Daubigny — did for
painting, Rodin has done for sculpture — carried it
back to nature, thrown open the windows and
flooded the atelier with light.

As the Court painters, accustomed to the dim-
ness of their studios, were blinded by the dazzling
brilliancy of the Barbizon School, so the Academy
men of our day have been blinded by the natural-
ness of Rodin's art — have accused him of taking
casts from the living model, of departing from the

PORTRAIT BUSr

BY AUGUSTE RODIN

i«3

Augusie Rodin

noble ideas of French sculp-
ture. They cannot see that
he has opened a new path,
the path that leads to the
heart of nature, the ever-
lasting source of truth, of
inspiration. By their bitter
criticism they have added
much to the difficulties of
this artist's life. But those
who mark out new paths
are always men of great
moral strength, willing to
accept the suffering which
must be their portion be-
cause of those who are to
come after, who shall reap
what they have sown.

Fortunately, Rodin is a
philosopher as well as an
artist ; he realises that he
is in advance of his time,
that the world is not
yet ready for psychological
sculpture, the majority pre-
ferring the theatrical pose
and graceful drapery of

LE REVEIL ■

I.A DOULEUR

BY AUGUSTE RODIN

Studio arrangements, whereas he gives
us human figures that personate no special
characters, that simply convey some dis-
tinct psychic emotion. " I name my
statues when they are finished," he says,
"because the public demands it, but
the names convey little of their real
meaning. Take, for example, the group
in the Luxembourg called Le Baiser.
The meaning is far more profound, more
elemental than these words imply. Love,
the union of man and woman — I have
simply striven to translate this eternal
truth. People tell me that I create ; that
is not true. God alone creates, man but
reveals. The greatest poet, the greatest
musician, has found his poetry, his music,
in Nature. Our Gothic cathedrals, what
are they but the faithful transcription of
natural forms— the arching trees of the
primeval forest, the birds and beasts and
sea-shells? The men who gave us the
churches which are to-day the^ greatest
glory of France were passionate lovers
of Nature. I am convinced that this is
true of all great art periods. My one

184

PORTRAIT BUST

BY AUGUSTE RODIN

AUGUSTS RODIN'S STUDIO
SHOWING THE "PORTE D'ENFER"

Auguste Rodin

effort is to r^-present what I find in God's creation —
above all, in the form of man, which is the highest,
most perfect, of architectural constructions."

Rodin's frank joy in the nude is Greek, but his
psychological interpretation of man's spirit is essen-
tially modern, and his statues reveal the nervous
life of our twentieth century, with all its perplexi-
ties, doubts, aspirations. He does not always
choose the soul in its highest moments, preferring to
translate life as it exists. He pierces beyond the veil
to the truths which lie at the heart of humanity, and
his figures palpitate with life, sensations, dreams.

Because we have been taught to find our ideal
sculpture in the calm statues of the Greeks, we are
shocked by his portrayal in marble of such tumul-
tuous emotion. Unconsciously inherited traditions
prejudice us against the innovator. We forget
that the calmness of Hellenic art could not trans-
cribe our restless modern life ; and that Rodin,
lover and devotee of ancient art though he be, is
essentially the child of his age, the prophet, the
seer of modernity. If we believe art to be " the

expression of the souls of great men," should we
not hold an open mind for the receiving of their
message, no matter in what form it be given ?
We must also remember that many of Rodin"s
groups were created for his Porte d'Etifer, whereon
he has depicted Dante's vision of " those who go
down into hell"; and that in (jur revolt at his too
realistic rendering of these subjects we should not
lose sight of the greatness of the art which portrays
the passions that sway our age. But these two
hundred figures can be put entirely aside : there
will still remain sufficient of his imaginative sculpture
to place Rodin's name on the roll-call of the great.
Nor can the value of this artist's work be judged
from the aesthetic standpoint only: he is the master
craftsman of this age, and perhaps his greatest con-
tribution to the coming generation of sculptors is
the lesson of his patient endeavour to learn well his
craft. With stubborn will he set himself the task
of reproducing the human form. No labour was
too great to achieve this end. From early morn-
ing until late at night he worked at his modelling ;
thousands of hands and feet, of detached
bits of anatomy in his atelier, prove the
carefulness of his research.

As he modelled the outward form his
imagination was busy with the story of
the ages — the eternal story of love and
birth and death — so that almost un-
consciously he wove into his work the
pattern of life. Thus it is that his por
trait busts are representative not only of
individual?, but of this age. L'ulure
generations will regard them as a page
in the book of our life, and place them
in their treasure-houses of art, for, as
Rodin said of his painter-friend Carriere,
" Better than his contemporaries those
who are still to come, those who shall
understand, will work out his glory."
A. Se.^ton Schmidt.

BUST IN MARBLE

BY AUGUSTE RODIN

The Third International Congress for
the Development of Drawing and Ait
Teaching will be held in London next
August. As ihe Committee are desirous
of knowing as long beforehand as possible
the approximate number of members for
whom arrargements will have to be made,
they appeal to all art teachers to enrol at
once. The subset iption for ordinary
members is \os. 6d., and may be sent to
the Organising Secretary, 151 Cannon
Street, London, E.C.

187

41gernon M. Talmage

HE LANDSCAPE PAINTINGS
OF MR. ALGERNON M. TAL-
MAGE. BY A. G. FOLLIOTT
STOKES.

Carlyle has told us that the actual well seen is

the ideal. Keats expressed much the same thought

when he sang :

Beauly is truth, truth beauty — that is all
Ye know on earth, and all ye need to know.

Mr. Algernon Talmage, some of whose pictures
are reproduced in the following pages, has founded
his hfe's work on this teaching. His love for
Nature is deep and reverent, and he spares no
pains to interpret her truly. At the same time he
is careful to choose of her best and to see it under
the most beautiful and often most transient aspects.

Here we have the true idealist — the man who,
while sparing no pains to obtain correctness, both
in detail and general effect, exercises his preroga-
tive of choice, and only gives us what he considers
to be the most salient features of his subject at the
moment of their strongest appeal.

But this ability to make full use of the personal
equation in the transcribing of nature is only
arrived at after a long period of unremitting toil.
For many years Mr. Talmage has painted his
landscapes and cattle on the spot, not in the studio

from small studies. He has thus obtained that
highness of key and subtle diffusion of light and
atmosphere which the indoor worker finds so
difficult to master.

In these days of impressionism, which in many
cases would be better described as inarticulate
occultism, it is refreshing to come across work
which, while in the best sense impressionistic, is
also true in form, tone and colour. Only sound
draughtsmanship and a thorough knowledge of his
subject will enable a man to be thus successful.
Though Mr. Talmage has given us some of nature's
most fleeting phases, his drawing is never scamped,
and his detail, though often nearly lost in twilight
half-tones, is always convincing. His cottages
never look like haystacks, nor his cows as if they
had been carved out of wood. He has, too, as I
believe all true lovers of nature have, a horror of
forcing an effect for the sake of making an effect —
a fault which those who are familiar with our
leading exhibitions know to be a very common one.

Unfortunately, owing to the garrulity of the in-
competent, both in the studios and in the press,
it is difficult for the public to know what is best in
painting. The disciples, who caricature the masters,
loudly insist that their methods only are the way
to salvation in art. Hence we have an everlasting
strife between the perfervid facsimile-monger and

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THE WHITE cow'

i88

BY ALGERNON M. TALMAGE

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Algernon M. Talmage

the egotistical impressionist, whose impressionism
is not the result of temperament, but of sheer
incapacity to produce truth in any shape or form.
But these noisy polemics are but the babblings of
the incompetent, who do not really represent the
causes they espouse. The masters, both realists
and impressionists, know that the beauties of
nature are infinite, and can be seen and rendered
from many different temperamental standpoints ;
and they also know that they must be truthfully
rendered. To this end they have acquired, through
years of labour, the necessary skill.

To the acquisition of this skill Mr. Talmage has
devoted his whole life, since leaving Professor
Herkomer's school at Bushey. He has taken up
his abode at St. Ives in Cornwall, where he has a
class of pupils, on whom he impresses the import-
ance of open-air study and the love of truth that it
engenders.

His own work, at the Royal Academy and else-

where, has attracted a good deal of attention, by
reason of its reserve and fidtlity of tone and colour.
The accompanying reproductions give, as far as
black and white can, a fair indication of his
powers.

On the Banks of the Avon shows us the very
soul, as it were, of an autumn day on the marshes.
The trees are stripped of nearly all their leaves,
and the pattern of their many branches is truth-
fully rendered. The lush meadows are sodden
with moisture, and the force of the swollen river's
stream is apparent at once. Overhead there is no
theatrical arrangement of clouds, but just one of
those soft, dappled grey canopies of which our
English autumns are so prolific. The whole picture
is a triumph of accurate and loving observation.

Many of the painter's finest qualities are seen in
The End of the Shower. Nothing has been forced,
and yet so true are both tone and drawing that the
spaciousness and somewhat sombre beauty of a

" MOON'RISE IN PICARUY"

190

{III the ftjsscsiion of Archibald Ramsdett, Esq.)

BY ALGERNON M. TALMAGE

Algernon M. Talmage

"THB BANKS OF THE AVON

BY ALGERNON M. TALMAGE

HOMEWARDS

{In the collection of R. Morton Nance, Esq.)

BY ALGERNON M. TALMAGE
191

Algernon

M. Talma ^e

Cornish moorland are admirably portrayed. It is
one of those " soft " days, so common in a western
winter. The great seaborne clouds are charged
with rain, and the gorse and benty grasses of the
foreground are dripping with moisture from a
shower, which is seen passing away over St. Ives
Bay and the country beyond. These great uplands
are difficult to treat, but the gaunt trees and the
well-balanced lines give the necessary pictorial effect.
Decorative in arrangement and entirely uncon-
ventional is the Moonrise in Picardy. Carrying
the trees so far across the picture was a bold thing
to do, but they have been cleverly made to
compose. That tender half time between day and
night, when the moon, not yet regnant, is but a
pale disc in the eastern sky, is a very favourite one
with the painter. In this instance the gracious,
almost tender, dignity of the time is wonderfully
caught. It is one of those rare moments when
nature seems to be hushed in silent adoration.

The White Cow is a difficult subject to treat
successfully, but here again nothing has been
forced. The somewhat intricate background has
been cleverly subordinated, yet the cows in the
sun dappled foreground do not obtrude. The
impression left on the mind is of one of those
drowsy, windless summer noons when nature's
teeming millions are taking a well earned siesta.

A Afoonlight Night shows us a village street
steeped in moonlight. The whole picture is
instinct with that rapture of repose which the soft
beams of the queen of night make visible. A
simple subject enough, but rendered with loving
fidelity. A. G. F. S.

(The picture reproduced on the next page is one
of a series now being done by Mr. Talmage in
London. The original is on view at the current
exhibition of the Royal Society of British Artists
in Suffolk Street.)

'a moonlight night
192

BY ALGERNON M. TALMAGE

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Recent Designs in Domestic Architecture

ECENT DESIGNS IN DOMES-
TIC ARCHITECTURE.

Our first illustrations of domestic archi-
tecture this month represent a type of building
unfamiliar to the majority of our readers.

which he believes can be met without sacrifice of
the features peculiar to the native architectural
type. An example of such a building is furnished
by this villa near Resek, a little spa in Bohemia,
close to the Prussian frontier. The house is
situated on the summit of a hill some 2,000 feet

Mr. Dusan Jurkovic, the architect of the log- high, and owing mainly to the difficulty of trans-
built villa at Resek, in Bohemia, belongs to the porting building material thither it was built of
region called Slovackei, the country of the wood, which is plentiful in the neighbourhood. It
Slovacks, lying between Hungary, by which it is was intended for use chiefly as a summer residence,
ruled, and Bohemia, nearer akin from a racial but so well has it been constructed that it makes a
point of view, for the Czechs who form the chief comfortable dwelling for the autumn and winter,
element in the population of the latter country are The design throughout follows the traditional style
closely related to the Slovacks in the Slav group of of the locality, but the architect has introduced
races. Mr. Jurkovic is a zealous respecter of local elements of his own here and there, more especially
traditions in architecture and decoration, of which in regard to the roof and the windows, which
he has made an exhaustive study, culminating in admit more light than the old buildings usually do.
a work recently published in Vienna by SchroU The accompanying coloured supplement gives a
under the title of " Prace Lidu Naseho " (The view of the living-room, which is bright and

Crafts of our People). It is these local traditions
that Mr. Jurkovic incorporates in the houses
designed by him in the course of his practice
as an architect, wiih due regard, however, to a
legitimate exercise of individual feeling on the
part of the architect, and also, of course, with
due regard to the requirements of the present day,

cheerful, whereas the living-room in most of the
old houses is a somewhat gloomy apartment with
dark walls. The furniture shown is also of tradi-
tional design, slightly modified. The villa contains
six rooms in addition to the kitchen, bath-room,
and other offices, and it cost about ^1,250 to
build. Mr. Jurkovic now practises in the town of

VII.I.A AT RESEK, BOHEMIA
194

DUSAN JURKOVIC, ARCHITECT

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LIVING-ROOM OF A VILLA AT RESEK, BOHEMIA.
DUSAN JURKOVIG, ARCHiTtCT,

Recent Designs in Domestic Architecture

SURREY HOLME, BYILKKT: GARDEN FRONT

G. LISTER SUTCLIKFE, ARCHITECT

Brtinn, the capital of the province of Moravia.
It was at the Gewerbeschule in this town that
he studied for his profession, and it is interesting
to note that before commencing practice he
familiarised himself with the practical side of
building by working in turn as a carpenter and
joiner, mason, etc.

"Surrey Holme," Byfleet, Surrey, of which
illustrations are given on this and the following
page, is a small house designed by Mr. G. L.

Sutcliffe, A.R.I.B.A., for a level and well-wooded
site adjoining the river Wey. The house contains
a square hall, three sitting-rooms and six bed-
rooms. The principal rooms are placed at the
south end of the building, and the kitchen, stables,
etc., at the north end. The walls are faced with
Enfield bricks, selected for their varied colour,
which ranges from rich red to deep purple, and the
roofs are covered with tiles irregularly stained,
producing a charming colour effect. Externally

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PLAN OF "SURREY HOLME, BYILEET

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G. LISTER SUTCI.IIFE, ARCHITECT .3()£

197

HALL AT " ODDYNES HOLT,

HORSTED KEYNES

G. LISTER SUTCMFFE, ARCHITECT

Recent Designs in Domestic Architecture

there is little or no archi-
tectural ornament about
the house, but it is an
interesting example of
modern cottage architec-
ture : the design is simple
and unaffected, and shows
a feeling for old Surrey
work, although it is not a
mere copy of it. Internally
the fireplace is the prin-
cipal feature in each room.
The ingle in the den is
entirely faced with Enfield
bricks, and has a quaint
and cosy effect.

"Oddynes Holt," at Hor-
sted Keynes, in Sussex,
also designed by Mr. Lister
Sutcliffe, is a simple and

inexpensive country cottage, containing a fairly The inner hall, shown in our illustration, has for
large inner hall (used also as a dining-room), two its principal feature a large ingle nook faced with
sitting-rooms, five bedrooms and the usual offices, local bricks and paved with unglazed red tiles.

The fireplace itself is built of bricks,
and has a simple dog grate and a bright
iron canopy. One peculiarity of the
house is that no mouldings have been
used, the angles of the woodwork being
either chamfered off or slightly rounded.
We give also two views of a Dutch
garden designed by the same architect
for "West Hall," Byfleet, a house to
which various additions have been made
by him. The garden is sunk about
two feet below the level of the adjacent
ground, and its design presented some
difficulty, as the angles formed by the
surrounding buildmgs and yew hedges
are all irregular. The principal features
are the three flights of steps, the old
sun-dial, the fountain basin, and the
alcoves for seats. Ham Hill stone was
used for the dressings, but all the
paving is of rough Purbeck marble laid
in irregular pieces. The cut trees and
shrubs of yew and box were imported
from Holland.

Mr. Arnold Mitchell is the architect
of the house at Harrow Weald, shown
in our coloured reproduction of Mr.
J. A. Swan's drawing. The house stands
high, on a fine open site, the rooms
being planned so that in each case the
fullest advantage is taken of the aspect

ENTRANCE FRONT,

'SURREY HOLME, IJYFLEET

G. LISTER SUTCLIFFE, ARCHITECT

198

Recent Designs in Domestic Architecture

offered and the special view
obtainable. The hall and
staircase are panelled in
white. All the ground-floor
rooms have rich ceilings in
modelled plaster, and the
floors are of oak in narrow
widths, the doors in maho-
gany. The exterior is in
white plaster, with a trow-
elled and floated face, the
wall tiles in bright red, the
roofs covered with a dark
hand-made tile. The cost
has worked out at tenpence
per foot cube, including all
finishings and decorations.
Though of a more or less
public character as regards
its use, we illustrate here (see
pp. 200 and 203) a cottage
hospital at Harrow-on-the-

Hili, Middlesex, also designed by Mr. Arnold
Mitchell, because, from an architectural point of
view, the building in its general features is of the

DUTCH GARDEV AT

WEST HALL, BYFLEET

domestic type. It is, indeed, almost a matter of
necessity that a building such as this should partake
of this character. There should always be associated

■.3^^

DUTCH GARDEN, "WEST HALL,' BYFLFET

199

Recent Designs in Domestic Architecture

HOUSE PX
HARROW WEALD.

f.a.l-B.A. AfiCMT
rr.HAMB/ER 5Q W

PLAN OF HOUS

E AT HARROW WEALD

ARNOLD MITCHELL, ARCHITECT

rooms for lumber and storage. The domestic
offices (kitchen, etc.) are in the basement, which,
owing to the slope of the ground, is level with it on
the southern side. Each of the three floors is
equipped with adequate sanitary appliances. The
materials used in the construction are multi-
coloured bricks and rich yellow-brown Ham stone,
with dark weather tiles on the roof.

HE STUDIO" YEAR BOOK
OF DECORATIVE ART, 1908.

The Editor desires to thank the numerous

architects and designers who have responded to

his invitation to send in material for illustrating the

third volume of this publication. A large number

of new and interesting designs have reached him,

and as the preparation of the volume is now well

in hand, it is hoped to have it ready for publication

early in the new year. As in the case of the second

volume issued at the beginning of the present year,

the 1908 volume will contain an important section

devoted to exterior architecture in addition to a

great variety of other subjects of interest to those

who are decorating or furnishing their homes, and

it will also contain a special article on Garden

Design by Mr. T. H. Mawson.

with a house intended for
the reception of sufferers
that feeling of cheerful
homeliness which is such a
potent factor in the treat-
ment of patients. This
cottage hospital at Harrow
occupies a charming site>
measuring an acre and a
half. It contains two large
wards, facing due south, so
that patients may have the
benefit of all the sunshine
possible; each is about
35 feet long, and has accom-
modation for eight beds,
but the cubic space is suf-
ficient for two more. On
the same floor, as shown
by the ground-floor plan
here reproduced, are placed
the rooms for the staff,
operating-room, etc. ; on
the first-floor are the nurses'
bedrooms, and two large
200

PLAN OF GROUND AND FIRST FLOOR, HARROW COTTAGE HOSPITAL

ARNOLD MITCHELL, ARCHITECT

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The Aiitmnn Salon, Paris

time we cannot escape from tlie impression of
inward force, of undisciplined strength, of deep-
seated instinct emanating from these works.

Passing now to the Belgian group, to my mind
the most remarkable display among the painters was
that of M. Van Rysselberghe, who exhibited two
portraits and a nude. The finest of these was a
portrait of a lady in white, half reclining on a

THE AUTUMN SALON, PARIS.
Three thousand items, of which more
than two thousand were concerned with
painting and sculpture ; certain important retro-
spective exhibits, such as those of Carpeaux,
Cezanne, Berthe Morisot, Eva Gonzales, and
Ponscarmes ; some remarkable ensemble displays
by the great English aquafortist, Sir F. Seymour white sofa, with a wolf-hound beside her, very true
Haden, and Jose-Maria Sert ; three beautiful in drawing and in attitude — a symphony in bluish-
rooms devoted to Belgian art — such was the sum- white, brightened by the green transparencies of
total of the Salon d'Automne this year. As is always the gown and the green edging of the cushions,
the case, the noisiest works struck the keynote, M. Willie Finch, who seems to me to be a re-
with the result that the melody was lost in the din. markable colourist, exhibited only one picture, and

Compelled to be brief, and therefore to make that very badly placed — Jeune Fenitne au Bain.
my choice, I will ask that I may be allowed to M. Van den Eckhoudt, who has perhaps less vigour
devote attention to the works of the living artists, than M. Van Rysselberghe, exhibited a very fine
with the solitary exception of Cezanne. portrait. Of the three pictures by M. Emile Claus,

Whether we like his art or not, Cezanne marks a whom everyone admires for his unceasing eftbrt and
date in the history of French painting, just as his magnificent gifts, one perhaps preferred the
Mallarme marks a date in the history of poetry. Soird'Ele, by reason of its beautiful powdery sky,
As yet we do not know what his influence will the most delicate grey of the gilded sheaves, and
produce, but that influence is certain. Can it be the charming rustic atmosphere. Everyone knows
denied that Cezanne and his admirers have largely how scrupulous and how full of observation is
contributed to restore to French art a passionate M. L^on Frederic. His Ages de FOuvrier in the
taste for colour ? His defects are striking enough : Luxembourg are very well known, and in his other
a perhaps morbid deformation of
linear vision, an exaggeration of line,
carried at times to the verge of carica-
ture, a deliberate realism like that of a
man whose visual angle is defective, a
frequent lack of cohesion between the
divers parts — and goodness knows what
else ! Anyone can add to the list. His
qualities, on the other hand, are of a
kind less easily discernible. Neverthe-
less they exist. Perhaps his general point
of view may be summarised thus : in the
presence of nature Cezanne's feelings
were instinctive ; that is to say, he felt
blindly, but in a manner both profound
and original. When he desired to express
his emotions he became meticulous — a
contradiction impossible to explain ! In
labouring obstinately over each part he
would lose sight of the ensemble. Note
how minute was his method of painting :
coatings of extremely fine colour, placed
one above the other with untiring patience
and infinite scrupulousness. Evidently
we are here quite remote from the happy
facility of genius 1 In this style of paint-
ing there is an indication of trouble and
something of impotence. At the same
204

PORTRAIT OF MLIE.

BY FELIX VALLOTTONj

The AufituDi SaloN, Paris

The drawings of Britlany
\)\ M. Lemordant, simple
and full of energy, very
true in their movement,
showed a quite remarkable
understanding of light and
shade. M. Jules Ch^ret
sent some of his soaring
female figures, charming
as ever, M. Synave some
I)retty children, and M.
Joncicres some pictures of
Versailles, which made one
think of the delightful
things by M. La Touche.
M. Sureda displayed several
pleasing bits of Orientalism,
and M me. Angela Delasalle,
who had shown such high
promise, a rather feeble
decorative composition.
From M. Borchardtwe had
a fme portrait of a lady,
marred unfortunately by
sundry errors of taste. The
scholarly and ever-interest-
canvases his work is still careful and vigorous. ing investigator M. Desvallieres deserves a place
I admired greatly the slightly cold but digni- to himself, as does M. Truchet, whose flowers are
fied art of M. Fernand Khnopff, the Brugelian full of spontaneity.

tradition so beautifully expressed by M. Laermans, There were some very fine drawings. Those of

the grace of M. Smits, the rather ponderous M. Dethomas are full of vigour and quite remark-
strength of M. Baertsoen, and the charming able in accent. Others were contributed by M. Beau-
qualities of AL Ensor. M. Evenepoel is a realist bois, Mme. Gardiner, M. Hermann-Paul and Mile.

LA DAME EN BLANC

BY TH. VAN RYbSELBERGHE

who may be excused a little vulgarity : M. Courtens,
a very unequal painter, did not seem to me to be
very well represented here.

In the department of sculpture I found, making a
very good show beside the great Constantin
Meunier, M. \'ingotte, M. Mignon, and M. Paul
Dubois, whose nudes are of fine stuff and real

Brucre. But to my thinking the most striking of
all the drawings in the Salon were those of M.
Bernard-Naudin, done to illustrate the "Gold Bug"
of Edward Allen Poe. They are instinct with
movement and truth and simplicity, while the fore-
shortening is simply astonishing.

M. Boutet de Monvel and M.Tarquoy displayed
vigour; but I still preferred the nude work of this year pictures that possess the (|ualities of style,
M. Victor Rousseau, which palpitates with life and draughtsmanship, and composition rather than of
is full of grace and simplicity. colour and passion. And let me not forget to

Among the French painters two currents were mention M. Gropeano and M.Leon Daudet, both
plainly visible, and these the hanging committee quite discreet. As for M. Jose-Maria Sert, he has

had "canalised" as much as possible into different
rooms

Traditional, as distinct from impress'onistic, paint-
ing was represented by Mr. Lavery with three
forceful and sober portraits. Next I must name
M. L^vy-Dhurmer. Beside works of louder tone his
camaieiis entklt^d/uu/ie-Brun and F(?/-/-C/<7/>chanted
in an undertone a sweet and delicate melody which,
its softness notwithstanding, was perfectly audible.

undertaken a Titanic work — the entire decoration
of a Spanish Cathedral, with subjects taken from
the Old and New Testaments. He has been
inspired by the Michael-Angelos of the Sistine
Chapel, and the result is not unworthy of so
formidable a model.

Let us now turn to the impressionists. The
display by M. Charles Gu^rin was the best we
have had from him. A species of confusion, a

205

ig-%r

M &-0- w -ff -

'LA CARTE POSTALE

BY CHARLES GUERIN

T/ic Autiunn Salon, Paris

d'Espagnat has not suc-
ceeded in ridding himself
of a heaviness, a non-spiritu-
ality, which detracts from
the merits of his big can-
vases, remarkable though
they are for breadth and
concentration, careful
colouring, and a certain
joyous air which he has
evidently striven tO; impart
to them.

The landscapes of the
South, by M. Guillaumin,
treated like decorative
paintings, are handled bril-
liantly, and with much
breadth of brush. Hard
by were hung the land-
scapes of M. Alluaud, true
in expression and brilliant
in faciure ; an excellent
Lavarani by M. Maufra,
the Douarnenez of M.
Madeline, and the Bretagne
of M. Moret, whose colour
combines warmth with deli-
cacy. I greatly liked M.

certain heaviness and an occasional flabbiness, Cariot's Jardin, which has both style and power.

in the guise of apparent violence, which often The Conies des Mille et une Nuits, by M.

enough had jarred upon us in his former work, Mandraza-Pissarro, occupied a place entirely to

gave place this year to a

simplicity, a sense of logic,

a stability and a strength

of colouring — relatively

light — which proclaim

henceforth a master. By

other methods Vallotton,

the painter-graver, gave one

equal pleasure. His por-
trait of Mile. S- , almost

Persian in appearance, is

so clean, so compact in

design, so cunningly ob-
served, and marked by such

sobriety of line and of

colour that it is impossible

to forget it. Paul Earth, a

Pasle artist, as yet unrecog-
nised, attracted me keenly

by the fulness and the

power of the nude figure

against a magnificent blue

cloth. M. Georges
206

FLORE

BY CARPEAUX

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themselves. They are in " black and gold," very
rich, sumptuous, and curious exceedingly.

M. Manguin's pictures may be described as
sketches magnificently dashed off. Even in the
best of them, La Femme a la Grappe, the foliage
forming the background is quite sacrificed ; at the
same time its colouring is energetic and fresh.
M. Valtat, an admirer of
Cezanne, knows how to
compose, to arrange, and
to design ; but evidently
likes the antipathy his
extravagance produces.

M. Albert Andre sent
some works in blue, d, la
Cezanne. His centre pic-
ture was full of felicitous
discoveries, and his still-
life i)ictures showed great
power. M, Camoin sees
in great masses, and is a
rapid executant; still, I
liked his colour very much.
M. Lanquetin exhibited
seven Bords de la Seine,
which were inspiriting
enough ; and M. Bonnard
an Ete by which even his
friends have been de-
ceived.

In the Sculpture sec-
tion one noticed at once
fhe powerful, spirztuel
work of Daumier, the
bronze of M. Albert
Marcjue, a fine effigy of
M. le Sidaner, by M.
Desruelles, a graceful
-Dansei/se in bronze, by
M. Berthoud, a beautiful
female nude, by M.
Marius Cladel, an apos- Ua^iiCi.

tie's head — full of cha-
racter—by Mme. O'Donel,
a remarkable nude study

by Mile. Yvonne Serruys, and, particularly, a low-
relief by M. Maillol, which was clearly the master-
piece of the Salon, so far as Sculpture was con-
cerned. AcHii.i.K Skc.ard.

" LA p£cHEUSE"

The Autumn Salon, while encouraging the very
latest art movement, yet contrived— much to its
credit— to do honour to sundry great artists of
other days. There never was a happier idea than

that of the Carpeaux Exhibition, admirably ordered
and organised by M. Edouard Sarradin, one of our
ablest critics, who, by reason of his relations with
the Carpeaux family as by his personal merit, was
eminently (jualified for the task. Indeed, if there
is one artist more than another who deserves to be
brought into the light more and more every day, it

is Carpeaux— decried and
maltreated in his lifetime,
and but little known even
now that he is dead.

Passing thnjugh this
very fine ensemble of
drawings, finished sculp-
tures, sketches and pictures
—all revealing such har-
mony, such limpidity of
thought, such grace of
form — one was forced to
admit, with Courajod, that
Carpeaux, Rude, and
Barye form the trilogy of
great dead sculptors of
the nineteenth century.
We know — and M. Sar-
radin has not omitted to
emphasise it once more
in the deep-felt preface
he has written for the
catalogue of the exhibi-
tion—that the life of this
great artist was a daily-
Calvary. From his earliest
years, and during his
period of apprenticeship
at Valenciennes, his
cousin, Henri Lemaire, a
sculptor of the "academic '
and traditional order, did
his best, but in vain, to
check his flight towards
the beautiful. After having
won the Prix de Rome —
a difticult matter, seeing
that he came from the
atelier of Rude, who was in bad odour with the
Institut on account of his anti-conventional tend-
encies— Carpeaux, even in Rome, met with nothing
but opposition and hostility ; and it is no credit to
the memory of Schnetz, director of the Academy of
France in the Holy City, that he should have tried
to prevent the young artist from completing his
Ugolin et ses Fils. Back in Paris once more
Carpeaux did his admirable high-relief Flore, which,

209

BY CARPEAUX

The AtitMjnn Salon, Paris

but for the intervention of Napoleon III., the equally persecuted, equally unhappy — is, it is true,

architect Lefuel would have had removed, on the
pretext that the work projected too far from the
surface of the monument ; and one remembers the
stupid hate with which sacrilegious hands attacked
his admirable group of the Dance, which gives a
note of great art to the fagade of the Opera. Right
to his death Carpeaux was opposed by the hatred
of the Institut. In
1874, the year before
his death, he wrote : —
" What can I do in a
country which for twelve
years has persecuted all
my conceptions and en-
deavoured to destroy
that which I have been
at such pains to erect ?"

Time has now pro-
nounced judgment on
the jealous cruelty per-
petuated by the In-
stitut on Carpeaux
during his life, and his
work shines forth once
more in purest glory.
This retrospective exhi-
bition consisted of 147
numbers, which means
that the ensemble got
together by M. Sarra-
din was one of very con-
siderable importance,
though not of course
complete. Among the
big pieces was the terra-
cotta work, Ugolin et
ses Fils, considered to
be one of Carpeaux's
masterpieces.

The figure of Ugolino suggests a strength and the same time a painter who attracts one by his
a tragic power akin to those of Michael fougue and his very special endowment. The two
Angelo's heroes, whose muscularity it has in portraits of himsTf and that of his wife were highly
addition. The youth embracing Ugolino's knees interesting. His many drawings revealed an artist of
is one of those admirable bits of perfection which prodigious energy, fond of life, and qualified to
one remembers in the history of art. Here, extract the eternal beauty, and at the same time

LE CHEVALIER DUl'IN

nothing more than a rudimentary sketch, but still
full of vigour, while the statues of the Prince
Imperial and La Fecheuse are dazzling in their
finish.

In his numerous busts of women Carpeaux
shows himself an admirable creator of beauty.
He perpetuated the splendour of the ladies of the

Second Empire with
infinitely more genius
than any other painter
of the time — not even
excepting Ricard, whose
Venetian fancy re-
moved him from the
real life around him.
Carpeaux, on the other
hand, expressed this
loveliness as it was, by
giving to the women
he depicted those attri-
butes of domination, of
majesty, and that air of
triumph which to my
mind form their chief
characteristics. Com-
bined with extreme
fidelity to nature there
is an elegance of atti-
tude and a finish of exe-
cution which proclaim
so clear a relationship
with Houdon that, to
delight our eyes, the
two masters should
henceforth figure to-
gether side by side in
our art treasuries.

Carpeaux, while a
great sculptor, was at

BY BERNARD NAUDIN

the transitory vision, of every spectacle that struck
his eye. Henri Frantz.

indeed, is the true conception of classical beauty,
unspoilt by "Academicism." There was an excellent

moulding of the famous Flore of the Louvre,

together with a very fine pendentive in plaster, the The course of weekly lectures on the History of

richness of the ornamentation equalling that of the Architecture which Mr. Banister Fletcher is giving at
Toulon Caryatides of Puget. Here, as in the Flore, the University of London, South Kensington, will be
is revealed an exquisite sense of decoration. The resumtd on Monday, January 13. The first seven
IVatteau — like Carpeaux, of Valenciennes, and
210

lectures will treat of English Mediaeval Architecture.

The Home of Anatole France

ANATOLE France's home: "la salle vitree"

BY riERRE CALMETTES

ancient Chinese ware — all
eloquent with history and
souvenir.

Though Pierre Calmettes
is thirty four years of age,
no picture of his was ever
seen inside the annual
Salons until this spring,
when one of the present
collectif)n was hung at the
Artistes Fran^ais. The
reason is simple. Up to
the year before last, he had
not made painting his pro-
fession. He had a repu-
tation in Paris, in France,
and even beyond, but as
an author who on occa-
sion illustrated his own
books. One had, however,
only to open such illustrated

THE HO M E OF ANATOLE pages to be convinced that, at least in drawing, he
FRANCE AS DEPICTED was a master. His skill with the pencil may be
BY PIERRE CALMETTES. partly inherited. His father, Fernand Calmettes

has also written books and illustrated them.

Many of the reading public were already aware Under him, the young Pierre studied, and after-
that Anatole France, the most delightful of French wards under Bouguereau, who, with all his short-
novelists, lived in a house furnished and
adorned with treasures of the past. It has
been reserved for an old friend of his,
albeit a young man, to make known, in a
striking series of some sixty oil paintings
and pastels, the interior of this abode — an
ordinary double - fronted stone building,
situated at the bottom of the Avenue du
Bois de Boulogne — with all its precious lares
installed and forming a home as unique as
its possessor.

For the value and charm of this interior
to be appreciated the artist's. paintings them-
selves ought of course to be seen. The
walls are either delicately painted or covered
with embroidered silk and hung with costly
tapestry. Nearly all the carpets are of real
Turkey or Smyrna manufacture, to-day scarce
obtainable in any market. The mantelpieces
are of mediaeval sculptured stone or wood.
Here a chest and there a dresser speak of
an art that is no more. The chairs and
tables carry us back to the best traditions
of the 15th, 1 6th and 17th centuries. The
cupboards, shelves and walls gleam and shine
and glitter with frescoes, pictures, mirrors,

, . r 1 1 , ANATOLE FRANCE'S HOME :

porcelam vases — some of these last, real a corner of the grand salon

BY PIERRE CALMETTES

211

The Home of Anatole France

ANATOLE FRANCE S HOMK
"LA CITE DES LIVRES "

BY PIERRE CALMETTES

over, his material and his form have an
intimacy of reality that cannot be too
much praised. He brings out with
equal verity the metallic lustre of old
wood and the creamy or velvety soft-
ness of stuff and carpet. His style is
not microscopic, but bold, sure, and
true. From the first broad outlines to
the finish he proceeds by strokes that
demand only little retouching.

The artist has drawn and painted
several portraits of Anatole France. A
full-length oil painting shows the novelist
sitting pensively over a large folio of
prints. The crayon drawing, reproduced
opposite, has been preferred, on ac-
count of the more animated expression
— that assumed in conversation. France,
himself a connoisseur of the highest
competence, esteems this the best like-
ness he has ever had executed.

A number of canvases have been de-
voted to the drawing-room and its furni-
ture. The one given in the first illustra-
tion shows an annexe, called the Salle

comings, was still a consummate handler
of the pencil, and initiated his pupil into
the secrets of his own excellence. But
Pierre Calmettes' real apprenticeship was
served during the years he spent among
the trades and arts of France, working at
them with a view to their picturesque
reproduction. This long practice in
sketching workshop, lathe, and tools, with
the human figures in their midst, was the
best preparation for his maturer task of
painting the interior of a house and reveal-
ing it as a living abode. If anything were
needed to complete the training, he ob-
tained it while exercising the functions of
an art critic ; so that neither skill nor
judgment was wanting when, at last, he
was impelled to begin mixing his colours,
and to carry through, with feverish ardour,
the remarkable achievement which has
just been exhibited in the gallery of
Messrs. Chaine & Simonson.

AI. Calmettes' colouring is superb yet
sober ; it is rich yet sincere ; it is organic
and interpretative, yet is mingled on his
palette with that imagination of the eye
characteristic of the true craftsman. More-

ANATOLE FRANCES HOME
"LA CITE DES LIVRES "

BY PIERRE CALMETTES

2 12

Ji^tP^ C<\fr)^VU

mo>»

ANATOLE FRANCE. FROM A CRAYON
DRAWING BY PIERRE CALMETTES

The Home of Anatole France

Vitree. A prominent object in it is a fifteenth-
■entury Virgin, with the infant Christ, clad in a
')lue dress and wearing a golden crown. The
Ave Maria, below, is on an enamelled plate of
Italian fayence. Flanking this wooden statue are
fresco figures in faded tints of yellow, red, purple,
and brown. The tall green cabinet contains a
heterogeneous medley of antiquities, yielding a
kaleidoscope of vague colours. Among them are
a Buddha, a baby's dress, and an opera-glass.
Above the cabinet is a Virgin's house, and, at the
near end of it, an old black cupboard with its open
door, on the inside, framing a landscape. Beyond
the cabinet is a Dutch chest, whose yellowish-green
polish of time the artist has displayed with stronger
light on it in a separate picture. The chasubled
ecclesiastic under the window is a Spanish saint ;
the statue is of wood, painted and gilded. Near it
is an alabaster statuette.

The second illustration (p. 211) is from a picture
representing the front part of the drawmg-room, and
its large Louis XIV. inlaid table covered with a sub-
stantial cloth of blue ground and flowery design
of figured silk in yellow, red, purple, white, and
green. The Louis XIV. armchair has a red
tapestry dossier with gold embroidery ;
and the green cabinet, more orna-
mented than the one in the Salle
Vitree, encloses ancient garments, some
clerical, some lay. A Venetian mirror,
in carved and gilded wood, hangs
above the cupboard ; in the shadow
to the right is a Louis XIV. clock ;
below, a lacquered table. Between the
table and the clock dimly appears a
Witches' Orgie ; and, on the left of the
cupboard, another canvas, with some-
what clearer outlines, offers to the view
a battle-field of Louis XIII. The
whole painting flames with colour —
tints of green in the tapestry hangings,
red in the silk on the walls, garnet,
lake, and scadet in the cabinet, darker
red in the screen by the table, brighter
red on the footstool, pale silver in the
statuettes, and in the pattern of the
carpet mingled white, green, orange,
and rose.

Among the pictures of the great
novelist's library and study, yclept by
M. Calmettes "The City of Books,"
none surpass in intimate charm the
coup d'ceil of the work-table with its
background of well-filled shelves, and
214

"Hamilcar," the Angora cat(OTV/f Sylvestre Bonnard),
as an interim guardian, perched on the arm of a
chair. Books in bindings of dead yellow, brown,
drab, and orange display their smouldering glow of
tints, while the tapestry dossier of the author's chair
stands out in sharp relief with its red, yellow, and
creen. The tomes of Larousse and Littre, in red, are
said to be the only modern books admitted to the
den. The bookcase by the table holds M. France's
most cherished literary acquisitions. Above it is
suspended a fresco, and on it rests a Greek vase.
A few familiar objects, such as the tobacco-pot,
hobnob on the table with others that are rarer— a
bronze Silenus, for example ; and at each vantage-
point one sees some precio.us relic of art.

The picture reproduced in the fourth illustration
(p. 212) takes in the other end of the library, its
cynosure being the antique torso of white marble
on a dark purplish veined pedestal. The verdure
tapestry curtains, with their red lining, almost con-
ceal the "case of Latin books to the left, and throw
their warm reflection on to the old illuminated charts
attached to the wall. From the pale blue panes
of the window comes a mild radiance caressing
the torso and the horizontal case of costly-bound

A CORNER OF ANATOLE FRANCE'S BEDROOM

BY PIERRE CALMETTES

Binuinghmn Painters and Craftsmen

books, topped by a red cushion in
which nestles a gold frame. In the
darker portion of the room are
some J)aintinJ,^s of the Italian
school and an Italian bust, and
from the ceiling hangs a wooden
mermaid with tapering tail of horn.
The walls of the library, painted in
Pompeian red, like those of the
dining-room, afford the artist an
opportunity, which he uses to ad-
vantage here and in the dining-
room series, of bringing out a whole
gamut of tones affected by this
ambience.

There are six pictures dealing
with the novelist's bed-chamber,
which is the only room in the
house, besides the salon, whose
walls are not painted. Here they
are covered with a golden-yellow
embroidered silk, forming an ad-
mirable setting to the beautifully
carved wood chimney-piece, and
the mahogany inlaid writing-desk
with red and white marble top,
which are visible in the last of our
illustrations. On the artist's canvas,
the brighter yellow of the central
portion shades off towards the left
into greenish hues of chatoyant
aspect that are a foil to the
vivid colouring of the desk and
Louis XVI. chair, whilst the right
side descends through purples and
russets, which are met and gilded
or blazed by the fire below. The bureau, on
which Anatole France opens his correspond-
ence, was painted one afternoon just as it had
been left, with the famous red skull-cap and the
spectacles of the writer almost touching the edge of
the desk, and all the papers in disorder. The
carpet, of authentic old Smyrna manufacture, is sea-
green in the centre, and has a border with delicate
hues of red and green. A bove, where the shadow
strikes athwart masterpieces of the school of
Greuze or Fragonard, its progressive deadening
of the natural tints is finely expressed.

Pierre Calmettes is to be congratulated. What
he has done here promises a great future for him
— great by the quality of his work, and great, it is to

THE SCHOONER

BY JOSEril E. SOUTHALL

Exhibition, the proposal to purchase one of his
pictures for the State, and the general enthusiasm
aroused, are something more than mere comph-
ment. They are recognitions of sterling merit.

Fredk. Lawton.

IRMINGHAM PAINTERS AND
CRAFTSMEN AT THE FINE
ART SOCIETY'S GALLERIES.

The leading characteristic of this collection as a
whole is its architectural basis, its sense of the
unity of all the arts in due subordination to the
master craft. Notwithstanding individual differ-
ences of outlook and the variety of methods and
be hoped, by his renown. Indeed he has already of materials employed, this principle everywhere
begun to bear his blushing honours. The presence underlies painting and craft-work alike, shown here
of the Minister for Fine Arts at the opening of the in the choice of subject, there by a certain decorative

Bir]ninghani Painters and Craftsmen

quality of vision, and again by a fine sense of surface
or joy in the beauty and specific quality of materials.
These are works which one feels would be in
place in ordered schemes of decoration ; they are
modest, and conspicuously free from the arrogance
and lack of restraint with which so much of modern
work is tainted — that kind of modern work whose
aim appears to be the praise of the artist rather
than the service of Art.

And it is at this very modest and sincere work,
in spite of its remarkable accomplishment, that so
many of our critics must needs sneer ; this it is
which to their somewhat limited sympathy appears
as affectation. Men who work thus are commonly
iharged with blind imitation of the early Italians ;
and it is assumed that they differ from the rest of
the moderns not only in their choice of a school
for imitation, but in that they imitate at all. Yet,
when all is said, the amount of new thought, new
principle, or new method which even great men
can add to the vast accumulated heritage of Art is
infinitesimal ; and the whole difi'erence on this
head between the last exponent of modernness
and the men of whom we are speaking, lies in the
simple fact that the one chances to be in sympathy

with the last exponent but one, and follows him,
while the others are more in sympathy with Botti-
celli, and follow him. They are imitators all, each
building upon his chosen foundation.

Nor is this practice of imitation less supported
by weighty authority than it is universal in fact.
Many of the greatest masters imitated consciously,
and were unashamed ; and the example of Rubens
and Velasquez may serve as defence enough for
the painters of our day. And our own Reynolds
declared, as his settled conviction, that the imita-
tion of masters as well as the study of Nature is
necessary, not only to the student, but also to the
artist throughout his life. Indeed, the pursuit of
originality for its own sake leads him to the most
dangerous of pitfalls, and is responsible for more un-
wholesomeness and absurdity than any other error.

But then, we are told, to choose the way of
the early Italians is to abandon Nature ! Do those
critics who glibly put forward this amazing view
seriously suppose that these men did not study
Nature ? Have they never conceived the possi-
bility that they knew her with an intimacy which
allowed them, out of the fulness of their know-
ledge, to choose those of her aspects which were

'JACOB AND RACHEL" (BUON FKKSCO)
2l6

BY JOSEPH E. SOUTHALL

BiriJiiiighani Painters and Craftsmen

best fitted for their purpose, deliberately foregoing
those effects which would hinder and using such
delights of form and colour as would serve the
architectural intention of their work ? And as we
may well hesitate to attribute to ignorance the
well-weighed and deliberate omissions of these
early painters, so, in the right restraint and careful
choice of presentment shown in the work of their
followers, we may recognise the fruit of a know-

BANNER FOR CHURCH
OF S. MARY THE VIRGIN
PRIMROSE HILL

' THE QUAKERESS

(PEN'CIL AND WASH DRAWING)

BY JOSEPH E. SOUTHALL

(Photo by Miss Blaiklock)

malignity"; and the truth and purity of its
colour, its mastery of drawing and its decorative
fitness, being, forsooth, unfashionable, are alike

ledge so sure that it has
no need to cry aloud in
the market-place and to
exhibit all its wares.

Yet such is the temper
of the professed critics of
the time, while every
ultra-modern phase is
assured of its prophet,
this kind of faithful and
sincere art remains un-
noticed, or obtains only
what Mr. Swinburne calls
" the purblind scrutiny of
prepossession or the
squint-eyed inspection of

Sj^ 4Ji

•iio M

ocaoRship we L()RDi^a>el3eTa6^ of rx)Li\Gss

ALTAR CLOTH FOR S. AGNES CHURCH, MOSKLEY

BY MARY J. NEWILL
217

Birininghain Painters and Craftsmen

truth, and we acclaim with joy and
reverence all signs of these qualities
in the most modern of the moderns;
but some protest is required against
those who perplex the world and
prostitute their critical sense by un-
measured praise of fashionable
mediocrity, or the work of those

who —

" Yet do prize

This soul and the transcendent universe

No more than as a mirror that reflects

To proud self-love her own intelligence."

In spite, however, of neglect and
misrepresentation, these men have
their compensations. They are not
greedy of notoriety; they quietly
pursue their way with a conscience
void of offence, happy in the beauty
which they perceive and create.
And the whirligig of time is bring-
ing a strange revenge, for they are
free from the dread which must keep
some of their most distinguished
contemporaries awake at nights —
unhonoured. It is not intended to imply that the dread of finding themselves superseded and
work of this school has a monopoly of sincerity and surpassed by the perfecting of some process of

•THE GARDEN OF THE SLOTHFUL

BY MARGARET GERE

"THE OX cart" (tempera)
2l8

BY C. M. GERE

Birmingham Painters and Craftsmen

photography in colour, and the consequent
solution of the problems which so many
painters bungle over in these days, to the
infinite admiration of the critics.

Of the contributors to this exhibition Mr.
Southall shows, perhaps, the widest range and

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rORTRAIT ON VELLUM

BY C. M. GERE

MINIATURE

BY MARGARET GERE

His portraits differ from those of our most fashion-
able painters in the using of his admirable technique
as a means of expressing the persons portrayed,
rather than the making his sitters a slight excuse
for the display of technique.

the completest mastery of method.
His fresco ^dSi^X Jacob and Rachel is
a fine example of the charm which
may be drawn by skilful hands from
the very limitations of a difficult
craft. The frescoes of the Victorian
period suffer from an unwise attempt
to make them look like oil paintings,
and, while failing in their aim, have
lost the pleasant quality of surface
peculiar to the method. Mr. Southall
has avoided this error, and, from a
range of pigments necessarily limited,
has obtained a scheme of colour of
wonderful subtlety and rightness.
His pictures in tempera show the
same power of conception and sense
of decorative arrangement applied
equally to the type of subject gener-
ally termed romantic and to the
things and people of our own day.

'THE BOOK OF LOVE '

BV C. M. GERE
219

Birmingham Painters and Craftsmen

"RED RIDING HOOD "

BY C. M. GERE

Mr. Gaskin shows in one man an
example of the harmony of principle
which should underlie the several arts.
Many illustrations of his work in metal
have appeared in The Studio, and this
work always conveys a sense, rare in
these days of commercial inspiration,
of pleasure having gone with the making
of it. The Birdcage (p. 221) is a
charming picture of a child, and Kilh-
wych the King's Son, reproduced on this
page, a work of great decorative charm.
Miss Mary J. Newill is represented
by some embroideries, well designed
and skilfully executed. Mr. C. M.
Gere's water-colour portraits on vellum
are so well known that it is un
necessary to praise here their fine
drawing and delicate beauty. His Ox
Cart (p. 218), an Italian landscape in

tempera, is a fine piece of decorative realism which shows
that his work is as wide in scope as it is technically accom-
plished ; and he sends also an earlier work, The Book of
Love, and some pencil drawings of great merit. Excellent,
too, is the church banner reproduced on page 217. Miss
Margaret Gere sends an excellent miniature and some
small subject pictures of profound imaginative power and
most delicate workmanship.

Mr. Sleigh commands notice by his remarkable power
of romantic invention, and his woodcuts are of real value,
especially at a time when this beautiful art seems threat-
ened with extinction. The black - and - white work of
Mr. Edmund New has obtained for him a leading
position among the book illustrators of the day. It is
characterised by an intense love of nature and a fine
appreciation of architectural effect; and shows a true
feeling for decorative arrangement, together with great

KILHWYCH THE KING S SON

BY ARTHUR J. GASKIN

220

Birniiughaiii Pamteys and Craftsmen

AINTING IN MADRESFIELD COURT CHAPEL BY H. A. rA\NE

Study of some of the Arundel Society's
prints that he was led to visit Italy, and
to learn there all that the early Italians
could teach him of spirit and of method.
Apart from their silent teaching and
some valuable help in technical matters
from Sir William Richmond, he is no
man's pupil. Mr. Gere was certainly
familiar with the work of Burne-Jones
before he went to study in Italy ; and
he, and indeed almost all the other
members of the group, obtained their
first training at the Birmingham School
of Art, where the influence of that great
painter was naturally very strong; but
all of them, though influenced in varying
degrees by him, by ^Villiam Morris, by
the pre-Raphaelites, and by Mr. Southall
himself, have alike gone to early Italian
work itself, either in Italy or in the
National Gallery, for inspiration and
guidance.

Is it not a strange and unhappy waste
of opportunity that, having ready to our
hand a group of painters and craftsmen
so harmonious in general aim, of such

skill in the rendering of textures and of
effects of light.

Mr. Payne's work in stained glass is
obtaining a wide reputation ; and he has
done fine things in wall decoration, a
small portion of that carried out by
him and his pupils in the chapel at
Madresfield Court being reproduced on
this page.

With regard to the origin and training
of these painters and craftsmen, it is
generally supposed that their principles
and method are entirely due to the in-
fluence of Burne-Jones and the English
prc-Raphaelites ; but though it is true
that this influence has had much to do
with the moulding of many of them,
Mr. Southall had gone direct to the
springs from which the pre-Raphaelite
brethren drew their inspiration, before
he came into contact with their work.
Trained originally in an architect's office,
he adopted from the first the principle
of considering all art in its relation to
the craft of building : and it was by the

'THE birdcage"

BY ARTHUR J. GASKIN
221

studio- Talk

diversity of gifts, and of so high a level of ability, they
are not employed collectively to conceive and carry
out schemes of decoration for our buildings ? We
might thus remove from our time the stigma of
being the most prolific in artists, and at the same
time the most barren of Art that the world has
ever seen. C. Napier-C layering.

STUDIO-TALK.
(From Our Ozvn Correspotidents.)

LONDON. — The recent election at the
Royal Academy to fill the place of Mr.
David Farquharson, who died in July
last, resulted in Mr. F. Cadogan Cowper
being made Associate. Mr. Cowper, though very
young, is possessed of great talent, but his election
has nevertheless caused a good deal of surprise,
especially as there were several candidates who
were generally held to have stronger claims.

The report of Sir Isidore Spielmann on the
British Art section at the New Zealand Inter-
national Exhibition held at Christchurch from
November, 1906, to April this year, is of great
interest and significance in more ways than one.
The number of works shown was larger than
at any of the earlier International Exhibitions
with which comparison is made in the Report
(Brussels, Paris, St. Louis), and it was essen-
tially an artists' exhibition, for on this occasion
only thirty-six private owners lent works to repre-
sent artists, as against 531 artists who contributed
direct, whereas prior to the St. Louis Exhibition
in 1904 the private lenders either largely pre-
dominated or were equal in number to the artist
contributors. Thus no less than 567 British
artists were represented, of whom 198 were
painters in oils, 124 painters in water-colours, 59
miniaturists, 91 black-and-white artists (including
etchers), 39 sculptors and 56 architects, and
the number of works sent over was 1,136.
Most gratifying is that part of the Report
which refers to the sales, a detailed list of
which is appended to the Report. These
amounted to no less than ^17,107, exceed-
^"g by ;^io,ooo the amount realized at St.
Louis in 1904, where the exhibits were only
about a hundred fewer in number. Private
purchasers bought to the extent of ;^7,42o, the
remainder being divided among seven public insti-
tutions in New Zealand and Australia, the chief of
these being the National Art Gallery of New South
Wales, whose purchases amount to ^3,339. The
222

number of exhibitors who sold works in the Fine
Art section was 183. These works comprised 52 oil
paintings, sold at an average price of ;^i86 odd;
90 water-colours, averaging ;^55 odd; 15 minia-
tures, at nearly ^13 each ; 1 1 pieces of sculpture,
at nearly ;^5o each (only comparatively small
works were sent) ; and 116 drawings, etchings, etc.,
at rather more than j[^^ each. Sir Isidore Spiel-
mann records his opinion that the exceptionally
large number of works sold may be accounted for
by the fact that they were both moderate in size
and moderate in price. As a rule, he remarks,
British artists fix the prices of their works at
these international exhibitions too high, while
foreign artists, by naming a more moderate price,
command a readier sale. In the Arts and Crafts
section 690 works w^ere contributed by 170 exhibi-
tors, and 321 of the exhibits were sold at an
average price of £,2, 55. \d. In this section
pottery and glass, lace and needlework, jewellery
and enamels, furniture and metal work, sold easily ;
but wood-carving, stained glass, bookbinding, print-
ing, and caligraphy were less understood and appre-
ciated. Coming to the results achieved by this exhi-
bition of British Art, Sir Isidore points out that they
are not to be measured merely by the sales effected.
The Art section was appreciated to the full by
artists, the people, and the Press of the Colony,
and nothing but praise was bestowed upon it.
Popular appreciation may be estimated from the
fact that the aggregate attendances were over a
million and a half, although an extra charge was
made on four days a week. British artists and crafts-
men at large will, we are sure, not be slow to
recognise that much of the success of this exhibition
was due to the zeal and good judgment of Sir
Isidore Spielmann, who undertook the arduous
task of organising the British Art section single-
handed.

The work shown by the Royal Society of Painters
in Water Colours is perhaps a little less interesting
than it has been in their exhibitions lately. But
individually, certain members triumph. Mr. Anning
Bell has never attained to more distinction than in
his picture Go, lovely rose, and in another slighter
water colour illustrating the lines '''■Music when soft
voices die vibrates in the memory," the very spirit
of the words receives translation. Notable pictures
are Mr. H. S. Hopwood's A Dealer in Afitiquities,
and the same painter's Approach to a Picardy Farm.
Mr. Walter Bayes' work stands out with an indi-
viduality which we have before noted in recording
the Society's exhibitions. Mr. Alfred Parsons is

studio- Talk

very successful this year in his Meadows, which has
an intimate sentiment of I'^nglish landscape ; other
successes are Mr. J. W. North's Stul>bh\ Mr. James
Paterson's Moret, Mr. Henry Henshall's Waifs and
Strays, Mr. R. ^\'. Allan's Yameimon Gate, JVikko,
Japan, Mr. Colin B. Phillip's Winter Day, Neiv-
quay, Mr. Tom Lloyd's The Bank of the Stream,
Mr. Robert Little's Morning Haze on the Seine,
Miss Rose Barton's Alotherhood ; and we cannot
remember anything for a while from Mrs. Stanhope
Forbes equal to the Molly Trefusis here.

Jamieson's Vue de Moret, Mr. D. Lees' The
Farm, Mrs. Evelyn Cheston's Swanage, and the
paintings contributed by Mr. W. G. von Clehn.

The exhibitions of the Royal Society of British
Artists have received an impetus in the right direc-
tion since the election to the Presidency of Mr.
Alfred East, whose achievements dominate the
present Exhibition, where there is much of interest
to be seen. Mr. A. Talmage's pictures of London
(one of which is reproduced in this number),
Mr. John Muirhead's A Breezy Day on the Ouse,
Mr. Giffard Lenfesty's The Lone Barn, Mr. T. F.
M. Sheard's Madge the Gleaner, call for particular
notice ; and Mr. ^Vallace Rimington's The Peace of
the Mountains, Mr. Louis Grier's The Silent River,
Mr. Walter Fowler's Approaching Raifi, Mr. A. C.
Gould's Packhorse Bridge, Horner Woods, Mr. D.
Murray Smith's The End of the Hill, are other
pictures to which reference should be made.

At the Exhibition of the New English Art Club,
The Fountain and The Morain are two of those
wonderful specimens of Mr. Sargent's art which
he seems to reserve for exhibition at the Club.
The landscape Brandsby, by Mr. W. W. Russell,
also claims particular attention. The qualities of
Mr. H. Tonk's The Birdcage cannot be appreciated
in the Club's small gallery. Mr. Wilson Steer con-
tributes A Profile, and the little canvas contains
some of his finest painting. He also exhibits a
notable landscape, The Grand Place, Montreuil,
and a beautiful water-colour, St. Cloud. The wall
of drawings and water-colours is somewhat of a
disappointment. The drawings of Mr. Muirhead
Bone have not the interest of his usual exhibits,
and Mr. John's drawings are on the whole inferior
in their order to those he generally shows, though
in some places the line-work is as miraculous and
resourceful as ever. Mr. D. S. MacCoU's River-
side, Twickenham, is a fine example of his power
to suggest by a sketch the spirit and beauty of a
scene. Mr. Walter Sickert's work is particularly
interesting, and space should at all cost be found
for the mention of Mr. A. W. Rich's Rochester,
Mr. David Muirhead's The Farmyard, Mr. A.

At the Portrait Painters' Exhibition there is
an early work by Sargent, perhaps one of that
artist's greatest paintings — the portrait of W.
Graham Robertson. The Gallery is exhibiting
more than one remarkable portrait, for there are
two very fine Frank Holls and an early Orchardson
lent to the Exhibition. Without Mr. Sargent's
picture and without the loan exhibits, perhaps the
Society is not as successful in its show as usual.
Mr. Lavery is not the only one of the best
known members who is disappointing. Mr.
Charles Shannon is successful in Mrs. T M.
Legge and Child. In liis Marble Torso, Portrait
of the Artist, the still-life painting is full of the
finest qualities of his art, but the face, which is
of some importance in a portrait, seems painted
without the vitality and inspiration which sustained
his brush in interpreting surfaces of the accessories.
Mr. W. G. von Glehn's Evening, Mrs. Jamieson's
Pegg^', Mr. Arthur Garratt's The Old Whip, Mr.
Walter W. Russell's Lady ivith a Muff, are all
highly successful canvases ; and important works
are Mr. S. E. Blanche's Walter Sickert, Mr. E.
A. Walton's Lady Smiley, Mr. H. de T. Glaze-
brook's Viscount Goschen. A Sketch by Lamplight
of Mr. Borough Johnson's calls attention to itself,
as does the portrait of Mrs. Harry Hertslet, by
Mr. Glyn Philpot, in the same room. M. Seroff's
H.M, The Emperor of Russia is a feature of the
exhibition. Mr. Ellis Roberts is at his best in The
Lady Beatrice Pole-Carew. A picture of consider-
able distinction is Mr, Gerald Kelly's portrait of
Mrs. Harrison. We refer to Mr. Orpen's painting
in a note further on.

The Institute of Oil Painters included with its
more notable exhibits this year Mr. John da Costa's
Laughing Girl, Sir E. A. ^^'aterlow's A Little
Stream, Mr. J. S. Sargent's The Mountains of
Moab, The Camp of Refuge by Frank Walton
(President), Cherry Blossom by Mr. George
Clausen, A.R.A, the portrait by Sir George Reid
of Sir Henry Littlejohn, M.D., and sculpture by
Mr. F. W. Pomeroy, A.R.A., Mr. H. Poole and
Mr. F. M. Taubman.

Gifts at this season of the year so often take the
shape of books that the occasion is opportune for
bringing to the notice of our readers a group of
examples of bookbindings which, during the last

223

studio- Talk

twelve months or so have figured at one or other
of our minor exhibitions. The craft is a fascinating
one, and continues year by year to attract a fresh
supply of students. That which attracts them—
the pleasure of conceiving something and making
it themselves, lies also at the root of the attraction
w^hich the finished work offers to the collector.
The individual handling of the tools imparts to the
work just those particular
qualities which are absent
if the same design is carried
out by a machine. Another
fact to be appreciated is
that the book - designer's
tools exercise a restraint
which prevents his design
from straying so far into-
the realms of ugliness as
is possible in some other
crafts. In the work of the
leading modern book-
binders there is to be noted
a true perception of what
is required, and under their
guidance a school has arisen
with the purest aims before
them. The bookbindings
of Miss K. Adams, two
diverse examples of which
are here reproduced, pro-
claim her to be a designer

of fancy and refinement, a precise and skilful
worker. By choosing a simple motif and by
setting a right value upon the spaces of leather
which fall into the design behind the gold

pattern, she shows herself an appreciator of the
best secrets of her craft. This careful valuing
of the leather space is well shown in the binding
of Tennyson's Poems. Restraint and simplicity
characterise the work of Mrs. Pearson-Gee, whose
bindings here reproduced we were pleased to see
at a recent exhibition at Messrs. Carfax's, and
it is these qualities which give to her work the

BOOKBINDING

BY J. S. H. BATES

charm it undoubtedly possesses. She does not
allow her design to compete with the pleasant
qualities inherent in the material upon which she
works ; on the contrary the design is made to

emphasise these qualities.
Mr. J. S. Bates's work,
though scarcely so original,
is none the less highly
skilful, and is at the same
time happy in design. He
has regard for the value
of a design, dividing the
leather into panels relieving
the details of the pattern.
The same remarks apply
largely to the work of Mr.
F. D. Rye. Messrs. San-
gorski and Sutcliffe lay great
stress on the constructive
side of their work, basing
their technique upon that
of early binding in prefer-
BY F. D. RYE ^ncc to that of the present

224

studio- Talk

work. With the work of the English designers
we have named we include an example of a
binding with an effective relief design by Miss
Muriel Moller, a Swedish lady who has spent a
considerable time in this country.

BOOKBINDING BY MRS. PEARSON -GEE

(Lately exhibited at the Carfax Gallery)

day. With them the quality and texture of the
leather receive great attention. Their decora-
tion is generally of a formal character, either in
well - arranged geometrical patterns or partly
geometrical and partly conventionalised leaf-

IJOOKBINniNG BY MRS. PEARSON-GEE

(Lately exhibited at the Carfax Gallery )

BOOKBINDING BY MRS. PEARSON -GEE

(Lately exhibited at the Carfax Gallery)

The Goupil Gallery Ex-
hibition is the second of
the series inaugurated last
year by Messrs. Marchant
& Co., and is very repre-
sentative of the activity of
the modern school in Eng-
land, whilst including
other European work. An
exhibition of this nature
has not failed to meet
with appreciation in all
quarters. The names of
G. Clausen, Frank Brang-
wyn, John Lavery, Alfred
East, George Henry, and
J. E. Blanche, to mention
only a few of those repre-
sented, indicate the cha-
racter of the exhibits. Mr.
William Nicholson and

22:

studio- Talk

others introduce their own
note. Mr. Lavery's Vera
Christie has all the charm
of his portraits of women,
with delightful reticence of
colour, and if the bright-
ness of the red of the lips
is forced for sake of effec-
tive contrast with the blue
in the near ring, we must
allow that it completes the
intention of the artist's
scheme. The watercolour
room contains many attrac-
tive things, such as Mr.
Ludovici's On the Maas,
Mr. Moffat Lindner's pic-
ture of the same name, and
Mr. W. Graham Robert-
son's animated and charm-
ing rendering of childhood

BOOKBINDING

BY F. D. RYE

IAKA .

ARUM ^

^U'

4*\

tF^

M D
iCCCLXVIJ

^
W

Other interesting exhibitions to be recorded
of last month were Sir F. Seymour Haden's
etchings at Messrs. Obach's Gallery, and at the
Fine Art Society the water-colours of the Riviera,
by Mr. Alberto Pisa. Messrs. Dowdeswell exhi-
bited some attractive drawings of Biskra and

/■ i

>--;'^-,

SS'^frr-.

!^.;

■:..i^A::

t />

■•I^u&aiyXT'

QK^R:KHAr1^

BOOKBINDING

BY KATHERINE ADAMS

e^: r

for the cover of his book " Songs of the Dusk."
Mr. A. S. Hartrick's C/iris/mas on the Cotstvolds,
Mr. Priestman's On the BIyth, and Mr. Alfred
Hayward's Summer Afternoon also call for
mention.
226

BOOKBINDING

1*.*^

BY MURIEL MOLLER

Studio- Talk

BOOKBINDING

BY F. i)ANGOR.SKI AND i;. SUTCLII 1-E

BOOKBINDING

BY F. SANGORSKI AND G. SUTCLIFFE

:n- m»:Mi; ^^r w< > i ««an^h(^

BOOKBINDING

BY J. S. H. BATES

BOOKBINDING

BY KATHERINE ADAMS
227

studio- Talk

Sicily, by Miss Winifred Russell Roberts, a little
lacking in construction 'perhaps, but showing the
vision of an artist. Some interesting pictures were
those of Miss Maude Simms at the Walker Gallery.
At the Exhibition of the Woman's International
Art Club at the Grafton Gallery the work of Mrs.
Austen- Brown, Mrs. E. Borough Johnson, Miss
Constance Halford, Miss Amy B. Atkinson, Miss
B. Clarke, and Miss Atwood provided the most
successful exhibits. At the Old Dudley Society's
Exhibition, Mr. Burleigh Bruhl, the President, Sir
William Eden, W. S. Stacey, with a few members,
continue to exhibit a class of work which is not
supported by the other exhibitors ; but the Society's
exhibitions every time show an improvement in
the prevailing standard, so that there is every reason
to believe that this inequality will as time goes on
gradually become less noticeable.

LIVERPOOL.— Much has been done in
quite recent years at the Walker Ait
Gallery to inform the general public that
Art is not only pictorial ; there is,
however, much still to be desired, in increased
space and other facilities, for a more representative
collection of local and other craftsmanship, which
it is hoped subsequent exhibitions will provide.
This year's autumn exhibition has comparatively
{Q'vi pieces, yet enumeration of some of those
which display merit or good promise may be made.

In the Galleries this season Mr. William Orpen's
work comes into prominence so often that to avoid
undue repetition of his name it were well, perhaps,
briefly to mark his achievements in a
separate note. At the New English Art
Club we have a fascinating presentment
of wit and charm in Grace Orpen ; better
still, as painting, perhaps, is Young Ire-
hud, though the treatment of the face is
not quite of a piece with ihe lighter key in
other parts of the picture, and lacks the
reality which is characteristic of the former
portrait. Mr. Orpen is at his best in the
portraiture of men, and his portrait of Sir
lames SiirHnga.i the Portrait Painters' So-
ciety takes rank at once as a great achieve-
ment. At the Goupil Gallery his highly-
evolved art shows in the picture Night
some of that responsiveness to colour
which is needed to complete his genius.

N" EWBURY.— At the local Art
Society's annual show, just
. concluded, Corot's fine low-
^ toned Woodcutters proved a
great attraction, as did his FrinteJtips,
lent by Sir John Day, and Daubigny's
small but very fine Crepuscide. Pro-
minent among the exhibitors were Mark
Fisher with a very fine pastoral, J. L.
Pickering, Roger Fry, Muirhead Bone,
A. W. Rich, J. M. Macintosh, Claude
Hayes, and W. H. Margetson, who, with
other well-known men, contributed to a
deservedly successful show. J.;M. M.
228

Amongst the hand-wrought jewellery a case of
five excellent specimens by Harold Stabler attracts
notice, especially a " Madonna " necklace in gold,
silver and niello with precious stones, and a
belt-clasp in steel damascened with gold and
silver. Bernard Cuzner sends a case of twelve
ornaments, all good in design and execution.
There are several pieces of fine and interesting
work in translucent enamel on gold by Henri
Dubret. Miss Beatrice Krell, Miss Lily Day,

"consolation": marble group

BY J. HERBERT MORCOM

THE ANGEL OF NIGHT." from the panel in g
AND MOTHER-O'-PEARL BY FREDERICK MARRIC

studio- Talk

FIRST STATE OF THE ETCHING REPRODUCED BELOW

Miss Elinor Halle, Miss Annie Steen, Miss C. M.
Kirkman, Mrs. Englebach, and Mr. and Mrs.
Rawlins all exhibit characteristic designs.

BY A. CHABANIAN

simple and graceful form
in pose and costume ;
Herbert Morcom's Consola-
tioji is a refined little ;_T0up
in marble ; Grief, a statu-
ette in bronze by Miss Alice
Gates, and a plaster group
by Miss Florence Gill, The
spirit seeks to tend upzvards,
the flesh downwards, are
both gracefully modelled.
The Shipbuilder, a silver
panel in delicate relief, is
skilfully treated by Ernest
Sichel. Works by Miss E.
M. Rope, Miss Esther
Moore, Miss Helen Langley,
David Brown, and Caldwell
Spruce all afford interesting

study.

H. B. B.

A number of good specimens of Delia Robbia
pottery are exhibited by Harold Rathbone. A
large circular plaque " Rose design " is especially
noticeable for its agreeable colour. There is also
an excellent colour scheme in the fine little panel,
executed' in gesso and mother-o'-pearl, entitled
Angel of Night, by Frederick Marriott, here
reproduced in colour.

PARIS. — The fourth salon of Etchings
in Colour, under the presidency of M.
Raffaelli, an ardent apostle of this branch
of art, showed what a brilliant stage has
been reached in the evolution of graphic art.
There were here gathered together a collection of
works of which many were most remarkable. First
of all we found Raffaelli there with three plates — La
Neige au Soleil, Le R'emouieur, and La Neige an
Soleil Couchant, each of them a masterpiece of
observation and full of interest from the point of
view of craftsmanship. Side by side with him

Comparatively few speci-
mens of beaten metal work
are shown. A copper casket
for jewellery, by Miss Mabel
Sefton, has a good shape,
enriched by delicately re-
poussed ornament of good
design. Miss Kate Thom-
son's dainty little teacaddy
is oxydised and enamelled.
Miss Alicia Kay's " Pot-
pourri bowl " is a good
design rather too roughly
executed.

Amongst the smaller
groups and statuettes is
found some interesting
work. The Gossips, by
Miss Frances Burlison, has

LEVER DE LUNE A DOUARNENEZ "

ROM AN ETCHING IN COLOURS BY A. CHABANIAN

231

Studio- Talk

Baertsoen was represented by a plate already familiar
to readers of The Studio, viz., Degel a Gattd.
Balestrieri finds his delight in Wagnerian visions —
Parsifal, Tnstran, and B Adieu. Mons. Boutet
de Monvel is deserving of special praise. His
etchings are excellent in facture, at the same
time they recall to our eyes with rare savour
the vanished elegances of the Directoire and the
Restoration. They make one feel that the artist is
intimately acquainted with that period. M. Pierre
Brissaud likewise revived the past with a touch of
delicacy in his Berline, a very fine plate.

M. Chabanian is becoming more and more sure
in his workmanship as days go by. To him
belongs the rare merit of proving his own plates,
a thing now done by very few artists, most of them
placing themselves for this purpose in the hands
of a printer. M. Eugene Delatre is another
exception to the rule ; this sincere artist has done
a great deal for the revival of etching in colours.
Side by side with M. Detouche and M. Morin,
who may be said to belong by sentiment to the
eighteenth century, we met here with men whose

art is altogether modern, such as Henri Jourdain,
Laffitte, de Latenay, the charming painter of the
seasons at Versailles, Lawrenson (whose Fabricant
de Bouteiiles I was very pleased with), Luigini, who
sounded a truly personal note in his Canal Flamand,
Ranft, a master without doubt, Frangois Simon,
whose work is so entirely personal; further, Taquoy,
Roux - Champion, Roche, Truchet, Waidmann.
Here indeed was a charming salon, full of fine
things, and a soothing change from the preten-
tiousness of the larger exhibitions. H. F.

BERLIN. — The lithographs of the Munich
painter, Willy Schwarz, recall to our
memory some of the best names asso-
ciated with this art. We are compelled to
think of Manet, Renoir and d'Espagnat. He is not
so notable for his subjects, as only a certain class
of female models seem to attract his eye ; but the
firmness, almost mercilessness, of his drawing and
his technical cleverness deserve particular attention.
Often only the well-trained eye will recognise a
lithograph, where the non-connoisseur will see a
drawing in charcoal or Indian ink. Herr Schwarz.

LKS SAFINS AU CLAIR DE LUNE
232

FROM AN ETCHING IN COLOURS BY A. CHABANIAN

Studio- Talk

us forgetful of the noise
and dust of town life. It
carries us into the purer
atmosphere of the sea, or
among the quiet greens
and greys of firs and
downs. The master-hand
of the painter grasps the
very life of this world and
makes us feel ccjmrades
of his quadrupeds and
feathered bipeds.

promenade" (coloured lithograph)

BY WILLY SCHWARZ

The crematorium at
Zurich, by the architect
Albert Froelich of Berlin,
ot which an illustration
is given on the next page,
is a building of particular
monumentality. Simpli-
city and grandeur are

has opened, together with the well-
known etcher and wood-cutter
Robert L. Leonard, a graphic
school in Berlin, which is to intro-
duce pure French style, and great
artistic benefit is to be expected
from their teaching.

The English exhibition of the
International Society of Sculptors,
Painters and Gravers at Schulte's
has been welcomed with much
gratitude. People were glad of an
opportunity of seeing modern Eng-
lish art, and of companng English
and German secessionists. There
was great astonishment at the pro-
gressive spirit in the country of
conservativism, but the prevailing
tendency of refinement was appre-
ciated and pronounced beneficial
for German painters.

The October show in the Kiinst-
lerhaus proved a perfect delight,
owing to a collection of Bruno
Liljefors, who appeared as fresh
and strong as ever in his latest offer-
ings. The magic circle of his
solitude among the animals of
northern swamps and cliffs makes

IN THE carriage" (LITHOGRAPH)

BY WILLY SCHWARZ
^11

studio- Talk

CREMATORIUM IN ZURICH

ALBERT FROELICH, ARCHITECT

here) combined, and the architect seems to have reproduce one, On the Banks of the Schlei, as
solved the difficult problem of making his a coloured supplement. The Schlei is a narrow
design suitable to any epoch. gulf of the Baltic Sea, so narrow and so long,

Professor Otto Lessing of Berlin has been
exhibiting his new sculpture, Unter dem Baum
des Lebens, in the Munich Glaspalast this
year.. This excellent piece of anatomy, with
its peculiar angularity and attractive psycho-
logy, shows the talent of the master at its
best. He here presents a new Eve type —
the resisting, not the seducing mother of
mankind. We are at once fascinated by a
modern interpretation of one of the oldest
subjects. J. J.

HAMBURG.— Coloured etching has
of late found intelligent inter-
preters of nature in the ranks
of the younger German land-
scapists. Whereas with French
etchers open-air figure subjects or clair-obsciir
interiors find favour mostly, the landscape in
its changing moods of sombre or clear
atmosphere has taken the fancy of Teutonic,
particularly North German, etchers.

Herr Arthur lilies, of whose work examples
have appeared previously in these pages,
has of late executed a series of j)lates of
large dimensions, from among which we

234

BENEATH THE TREE OF LIFE'

BY OTTO LESSING

"ON THE BANKS OF THE SCHLEI." i

THE ETCHING IN COLOURS BY ARTHUR ILL

Stttdio- Talk

in fact, that it assumes the shape of a river,
although the water is sea-water. This fjord pro-
trudes into the land as far as, and even beyond,
the town of Schleswig. Some very picturesque
views may be found on the partly wooded banks
of this fjord, and the above-named motif is one
of them. W. S.

BREMEN. — It is characteristic of the enter-
prise shown by the management of the
North German Lloyd Steamship Line,
that for the decoration and furnishing
of the saloons and cabins in the Krojtprinzessin
Ced/ie, the latest addition to their magnificent fleet
of At'antic liners, they should have engaged the
services of various architects, who, with their expe-
rience in the designing of interiors on land, might
be trusted to discharge the task allotted to them
in a way which should redound to the credit of
German art. The accompanying illustrations are
only a few examples of the designs as carried out,

but they suffice to show how happily the two
important factors, comfort and convenience, have
been blended by the architects responsible for
them.

In the case of a ship of even huge dimensions,
like the Kronprinzessin C&fih'e, constructed for
carrying a human freight equal to the population of
a small town, the conditions are materially different
to those encountered in a house on land. In the first
place, the designer has no control over the general
structure of the vessel, which of course is determined
by considerations other than those with which he
has to deal. He has therefore to adapt his apart-
ments to the structural framework of the vessel, and
as they are nece.ssarily restricted in area, the problem
of utilising every cubic inch to the best advantage
is one he has always to grapple with. And then,
again, the furniture must be of such a character as
to entail a minimum of attention on the part of the
a:tendants, that is to say, it must be useful and

CABIN-DE-LUXE ON THE NORTH GERMAN
LLOYD S3. "KRONPRINZESSIN CECILIE"

Sttidio- Talk

simple, for there is no room
for useless articles, and
superfluous accessories
mean extra work. These
coniiderations have been
l)resent to the two firms
of architects whose designs
are reproduced in the
accompanying illustrations.

CABIN-DE-LUXE ON NORTH GERMAN
LLOYD SS. "KKONPRINZESSIN CECILIE '

PESIGNKD AND EXECUTED BY RUNGE
& SCOTLAND, ARCHITECTS, BREMEN

In the suite of cabins de-
luxe designed by Messrs.
Abbehusen and Blender-
mann of Bremen, the sides
and ceilings are formed of
wood smooth polished, and
as few projections as pos-
sible have been allowed.
For the sides of the cabins
cherrywood with a natural
polish is used to form the
ground, and intersecting it

CABIN-DK-LUXH ON THE NORTH GERMAN
LLOYD SS. "KKONPRINZESSIN CECILIE'"

238

studio- Talk

CABIN-DE-LUXE ON THE NORTH GERMAN
LLOYD SS. "KRONPRINZESSIN CECILIE"

DESIGNED AND EXECUTED
BY RUNGE & SCOTLAND

vertically at intervals are
strips of black framing.
This scheme relieves in an
admirable way the unplea-
sant effect produced by the
absence of parallelism be-
tween floor and ceiling
consequent on the struc-
tural formation of the vessel.
J he upper panels contain
inlays of pear-wood stained
red and mother-o'-pearl, a
combination which imparts
a pleasant decorative effect
to the surface. Inlays are
also used for decorating the
doors and door-furniture,
and also for the mirror
panels of the wardrobe.
The colour - harmony of
yellow, red. and black is
emphasised by the bright

CABIN-DE-LUXE ON THE NORIH GERMAN
LLOYD SS. " KRONl'RINZESSIN CECILIE "

DKSIGNED KY ABBEHUSKN Jv BLENDERMANN, ARCHITECTS,
BREMEN. EXECUTED BY HEINRICH KBEMER, BREME.N

239

studio- Talk

an ensemble at once har-
monious and agreeable.

CABIN-DE-LUXE ON THE NORTH GERMAN
LLOYD SS. " KRONPRINZESSIN CECILIE"

Turning to the cabins
designed by Messrs. Runge
& Scotland, the first
three illustrations belong to
one group, uniform in
decoration, and the last is
an example of another
group. In the former white
is used for the broad sur-
faces ; the doors and furni-
ture are of violet amaranth
wood, polished and inlaid
with citron wood, ivory and
agate. The carpets are
light grey and the furniture
upholstered in yellow with
embroidery superposed. In
the latter group white again
forms the prevailing note,
but here it is used in
conjunction with inlays
The carpets are of straw-
berry colour, the upholstery yellow, with em-
broidery as in the other case. The chairs are

DESIGNED AND EXECUTED BY RUNG
& SCOTLAND, ARCHITECTS, BREMEN

of gilded

brass.

blue upholstery of the sofa-beds and chairs and
the somewhat duller-blue Smyrna carpet. The
ceiling is made up of tablets of maple-wood with
a dull polish, divided by bold black framing and of polished maple, as most conducive to cleanli-
decorated by inlays of pear-wood. The furniture ness. All the metal work in both groups has
for the most part follows the box arrangement, that been stove-gilded.
is, it is built up of boards
to form a receptacle,
the boards being ebo-
nized and polished. The
designing of the furniture
to meet the peculiar re-
quirements called for the
display of the architects'
inventiveness. The sofa is
so contrived as to be easily
convertible into a bed, and
the washstand is made to
serve as a table. The ward-
robe built into the corner
from floor to ceiling was a
happy idea. Similarly with
each of the other pieces of
furniture, its use for quite
different purposes was kept
in mind by the designers.
The lighting apparatus of
silver with fine chasing,
and the Oriental and old
Bulgarian textiles complete
240

CABIN-DE-LUXE ON THE NORTH GERMAN
LLOVn SS. " KRONPRINZESSIN CECILIE "

DESIGNED AND EXECUTED BY RUNGE
& SCOTLAND, ARCHITECTS, BREMEN

Studio-Talk

MEDALLION

HY LONA VON ZAMHON

lENN A. — Fraulein Lona
von Zamboni, who is
the daughter of a

"ST. GEORGE"
MEDAL

distinguished general,
entered as a student at the Vienna
Imperial Schools of Arts and
Crafts. As her first ambition
was to become a painter, she
entered Professor Czeschka's class
for drawing. Bat, spite of the
undoubted excellence of his teach-
ing and her satisfactory progress,
she was uncertain as to ever
attaining the wished-for success,
for she was not sure where her
own particular talents lay. She developed a taste
for plastics, and when the eminent sculptor, Franz
Metzner, was appointed teacher she joined his
classes and quickly became assured that her voca-
tion was in this branch of art. She soon proved
her talents, and is now an independent worker.
The plaquettes here reproduced denote the posses-
sion of a refined taste, facility of manipulation and
power of expression.

A small but interesting exhibition of the works
of two ladies was held recently at Miethke's new
Art Gallery. Frau Hermine Heller-Ostersetzer is
not wholly unknown to readers of The Studio,
for there was a reproduction of a painting of hers
in the July number last year. Her contribution to
the exhibition at Miethke's consisted of works in
oil and in coloured chalks. The subjects were
varied, but figures in most cases. The artist
possesses a fine feeling for colour, combined with
a freshness of tone which is particularly appealing
to the onlookers. Her portrait of her own little
baby, " /« der Wiege" (the cradle), is full of life
and vibration. A chalk drawing of the same mite
(see p. 245) is equally convincing. The Game oj
Ball (a drawing in coloured chalks) is also an excel-
lent piece of portraiture (p. 245 ). Among other work

exhibited by Frau
Heller - Ostersetzer
were some designs
for book covers and
some ex libris, which
showed good judg-
ment and pleasing
treatment. Frau
Franciska Esser-
Reynier's contribu-
tions to the exhibi-
tion were chiefly
works in tempera —
landscape motives
of Autumn and early
Spring. Her work

ANTON GRATH

Anton Grath is one of a number of young
sculptors, natives of Carinthia, who were initiated
in their art at the Imperial Fachschule in Villach.
From there he came to Vienna, where he continued
his studies at the Imperial Academy. Though
yet at the beginning of his career, he shows un-
doubted talent, espacially in the modelling of
plaquettes, medallions and other small works.

MEDALLION

BV LONA VON ZAMBONI
241

Studio-Talk

PLAQUETTE

BY HANS SCHAEFER

shows a true love of Nature and a
knowledge of her ways. (See illus-
tration on p. 246.)

Hans Schaefer's work having only
recently been noticed in these pages,
I must content myself with saying
that the plaquette reproduced
above is among his very latest
productions.

Fcjur years ago an account was
published in The Studio of an
exhibition at Klagenfurt which had
been arranged by local students
who were pursuing their studies in
Vienna. This exhibition gave a
decided stimulus to art, and es-
pecially decorative art, at Klagenfurt,
and since then hotel-keepers and
many private persons have entrusted
the decoration and furnishing of
their houses to architects with
modern ideas. A Kunstverein has
also been formed, which can already
boast of eighty members and
242

receives annual grants both from the State and from various
public bodies in Carinthia. By holding periodical exhi-
bitions such as that recently held, it is undoubtedly doing

good work.

One of the many difficulties which confronted this
Kunstverein was the absence of a building suitable for
holding exhibitions. The only room large enough was
that used by the children of the elementary schools for
the purpose of gymnastic lessons. In the short space
of a few days, thanks to the resourcefulness of the archi-
tect, Herr Oeorg Winkler (a pupil of Professor Hoff-
mann), this was transformed into a delightful exhibition
gallery, which, though somewhat cramped, gave much
satisfaction to those interested in the problem of how
much may be achieved with little means. This gallery
was divided into a vestibule, a circular hall containing a

Q 0

0 0

VESTIBULE, KLAGENFURT EXHIBITION

ARRANGED BY GEORG WINKLER, ARCHITECT

studio- Talk

HOMEWARDS

( Klagenfurt Kttns(z'trein)

BY ALFRED VON SCHROTTER

fountain, surmounted by the figure of A Girl
Balking, by Michael Mortl, and a number of
smaller rooms, each tastefully arranged and
decorated in white and gold by Herr Winkler.

The recent exhibition was not confined to
local artists, a certain number of guests having
been invited, among whom were Ludwig Dill
(Karlsruhe) and other artists of the Neo- Dachau
School, Leo Diet and Alfred von Schrotter
(Graz), ^^'alterThor, Josef and Ludwig Willroider
(Munich). Anton Gregoritsch belongs to Carin-
thia, though he lives now in Munich, being a
member of the Leopold group. He began com-
paratively late, having served seven years as
officer in the Imperial Army, but resigned his
commission to study art under Walter Thor.
His portrait of a man with a black beard (p. 244)
is eminently characteristic, showing at once
comprehension and power. He also exhibited a
thoughtful portrait of himself and "some attractive
portraits of girls in native costume. Franz
Grundner is a pupil of Ludwig Dill and belongs
to the Neo-Dachau school. He was represented

I'OPLARS, EVENING BY FRANZ GRUNDNER

(Klagenfurt Kunitverein)

243

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studio- Talk

by some excellent land-
scapes, showing fine feeling
and delicate manipulation
of the brush.

Two pupils of Ziigel,
the animal painter, were
among the exhibitors.
August Ludecke's Co7vs in
a Wood certainly revealed
this master's influence with-
out obscuring the artist's
own strength and character.
The other, Alfons Purtscher,
who has just been awarded
a First Prize at the AFunich
Exhibition, only exhibited
drawings of horses, but

IN THE CRAIiLE" (CHALK DRAWING)

?SX

y<k

. \

t^- ■ -■•

HY HERMINK HELLER-OSTERSETZER.

these were excellent.
Among others who contri-
buted to the exhibition, it
must suffice to mention the
names of Ferdinand Pam-
berger, Erwin Pendl, Theo-
dor Freiherr von Ehrmann
(who showed some good
water-colour drawings),
Switbert Lobisser, a young
Benedictine monk who for
the nonce has laid aside
his cowl to stud}' art in
Vienna and is doing good
work: Liesl Laske, a
talented young artist, whose
drawing of a pig -market
deserves appreciation ; Otto
Ferdinand Probst ; and
Leopold Resch (a pupil of
Professor Karger), whose
On the Way to Church, a
study of a young girl
dressed in the old Carin-
thian costume, is full of
calm repose and shows
delicacy of treatment.

'the game of ball" (Seep. 241 J by hermink heller-ostersetzer

The plastic section was
well represented in ^lichael
MortJ, Friedrich Gornik,
Anton Grath, Hans Ru-
blander,EmilThurner. The
24.";

studio- Talk

'APRIL

(Seep. 241 J

BY FRANCISKA ESSER-EEYNIER

exhibition may be counted as a success ; it was
honoured by a visit from the Emperor, who expressed
his approval of the Society's aims. A. S. L.

OPENHAGEN.

— Mr. N. V.
Dorph every
year more
firmly establishes his posi-
tion as a highly - gifted
painter possessing a marked
artistic personality. He
takes his calling seriously ;
he always follows his own
paths and works out his
own ends, and it is a matter
of great satisfaction to his
many friends to watch and
place on record the on-
ward yet consistent evolu-
tion which so unmistakably
demonstrates itself in his
work. Dorph has always
possessed a highly-cultured
sense of the decorative,
and this has happily mani-
fested itself in many of his
landscape efforts, in which
he has abandoned that
purely naturalistic concep-
tion which for so many of
his contemporaries still re-
mains the first article of
their artistic faith. I think Dorph, as a decorative
landscapist, may claim for himself having in a wa\-
discovered " new land," for in spite of the decorative

^^S^*«fei

^^■.^

FRO.M THE TERRACE AT ST. GERMAIN-EN-LAYE

.246

BY N. V. DORPH

studio- Talk

SOUVENIR d'ITALIE" (ETCHING)

BY DOMINGO MOTTA

purpose and aspect of much of his work, it has but
little in common with earlier painters' efforts in the
same direction. His large canvas, From the Terrace
of St. Germain-en-Laye, shown at the last exhibition
of the Royal Academy in Copenhagen, proves how
Dorph, through the grouping of the figures and
the lines and the tone of the landscape, has
succeeded in producing just the decorative effect
and the poetic, harmonious mood he intended.

G. B.

VIAREGGIO.— Domingo Motta was born
in Genoa, and studied in several academies
of fine arts in Italy. He began his
practical work by scene painting in the
leading theatres of Italy. For several years Motta
lived in Paris, where he made a serious study of
modern etching. His method of obtaining the print
is very simple and entirely different from any other
existing, and it deeply interests all who cultivate

that line of work. Pierrefort, of Paris, publishes
his etchings. Motta is very well knoN\-n in Paris,
where he has spent his time in endeavouring to
perfect his art. He has exhibited in the Salon,
Paris, at the International Exhibition of Venice,
and many others, and at Lie'ge two years ago he
was awarded a silver medal. C.

PHILADELPHIA. — A development by
Mr. Henry C. Mercer of the ancient
process of making pottery, brought to
America by German colonists from the
Black Forest in the eighteenth century, has resulted
in the production of Moravian tiles, which in-
clude very interesting patterns and mosaics in
coloured clays. At the same time care has been
taken in the choice of adapted designs believed to
be worthy of reproduction from ancient wall tiles
in Spain, mural patterns from Colonial America,
Italy, and the East, and floor tiles of the fifteenth

247

century from England, Ger-
many, and France. The
patterns, frequently in relief,
stand out in cream colour,
or at times in other tints,
against backgrounds of
green, blue, red, yellow, or
black, or are themselves
inscribed in intaglio in these
hues ; while characteristic
of the ware is a flush of
red, staining, where desired,
the outlines and back-
ground. This, with the
stippled or mezzotint
grounding of the colours,
gives an original and un-
usually rich effect to the
tiles.

Mr. Mercer, in the pur-

" COLUMBUS LEAVING SPAIN
MORAVIAN TILE MOSAIC

BY HY. C. MERCER

MORAVIAN TILE
MOSAIC

BY HY. C. MERCER

suit of his studies in
the ethnology of the
locality of his pottery
at Doylestown, near
Philadelphia, had ac-
quired, among other
objects, a collection
of specimens of the
rather crude earthen-
ware made by the
German settlers in
Pennsylvania. Ex-
periments in treat-
ment of clays, colours
and glazes, visits to

"SPINNING flax" by HY. C. MERCER
MORAVIAN TILE MOSAIC

the ancient potteries in
the Black Forest and to
Spain, Italy, and England
followed. The fruit of these
researches may be said to
be incorporated in the tile
mosaics of the Moravian
Potteries now much appre-
ciated by those who require
artistic subdued tints com-
bined with simple and
strong outlines of form.

CHIMNEY PIECE : MORAVIAN TILE MOSAIC
248

The mosaics here illus-
trated, made and set

Reviews and Notices

together by a novel process invented in 189 1-2, early and late examples of the valuable ware, and

are adapted for the embellishment of pavements to appreciate the extreme beauty of the former,

or walls on a much larger scale than the tiles. of which grace of form and simplicity of decoration

Patterns, ranging from i foot to 20 feet in dia- were the chief characteristics. The struggles of the

meter, or even where they are figures of men or factory to maintain its position and to be true to its

animals equalling life-size, consist of pieces of clay old traditions throughout the troubled period of

burned in many colours superficially or throughout the Revolution and under the hated domination of

the body, and either glazed or unglazed. The Napoleon are narrated with sympathetic eloquence.

tesser?e, not rectangular as in Roman or liyzantine Thedecline in theartwhenitwascompelled to pander

mosaics, but cut in multiform shapes to suit the to the vainglory of the Emperor, all the vases and

potter's process, and whose contours themselves services being made to commemorate some achieve-

help to delineate the design, are set in cement at ment of his, is noticed, and the later revival is dwelt

the pottery. After the manner of the leaded glass upon, the interesting record closing with a descrip-

designs of the earlier stained windows, these novel tion of the work now being produced under the

weather and time-proof clay pictures, burned in management of M. Sapillon. The way thus pre-

brown, grey, white, red, black, green, yellow, and pared for the full appreciation of the fine repro-

blue clay, ai.'d strongly outlined in their j)ointing ductions in colour of the best pieces in the posses-

of cement, serve to decorate a floor or wall in the sion of the King, Mr. Laking proceeds to give an

richest and most lasting manner. E. C. exhaustive account of the most noteworthy examples

in the collection, taking them in chronological

RLVIEW S AND NOTICES. order, the first section of his work being devoted

Sh'res Porcelain of Buckingham Palace and to the Vincennes period, which dated from 1748

Windsor Castle. By Guv Francis Laking, to 1755, the earliest specimen being a very beautiful

M.V.O., F.S. A. (London : Bradbury, Agnew & Co.) vase in soft paste of the form long known as Medicis.

jQ\o \os. net. — The third of a series of publica- Next come the first vases produced after the

tions issued by command of His Majesty — the other removal of the factory to Sevres in 1756, of which

two, already reviewed in The Studio, having dealt the King owns several remarkable pieces, including

respectively with the Royal Armoury and the a Pot-Pourri Vase and Cover bearing the date 1758,

Furniture of Windsor Castle — the present volume whilst amongst the treasures produced in the

describes and gives the history of what is to a golden age of the famous institution, that is to say

certain extent a unique collection in the history of between 1760 and 1 786, are several charming dinner

ceramic art, for it is not merely the natural services, notably the one of which various pieces

accumulation of time, but was acquired by judicious are reproduced in Plate 59, and some fine vases,

purchase, the specimens having been chosen with the latter of comparatively simple form, and all

the aid of practical experts. Begun by Geor£^e IIL alike noticeable for the delicacy of their colouring,

the collection was added to largely by his son and Full completeness is given to a work which reflects

successor, both whilst he was Prince Regent and great credit on all concerned in its production, by

after he ascended the throne. " France," says Mr. descriptions of the pieces of porcelain in the collec-

Laking, whose official position has given him tion which have been subjected to re- decoration,

exceptional opportunities for studying his subject, and by a list of the painters who were at different

"at this period did not truly value the superb times employed at Sevres, with the works executed

treasures then in her possession, and many of the by them, even the forgeries (some of which were

now priceless gems of decorative applied art were wonderfully clever) being noted— a detail that will

in consequence brought into the market, and no doubt be greatly appreciated by collectors.

George IV., acting by the advice of men of refined Venice. By Po.mpeo Molmenti, translated by

taste and judgment, and guided by the knowledge Horatio F. Brown. Part IL (London : John

of M. Benoit, a confidential French servant, Murray.) Two vols., 2 i.y. net. — Deeply interesting

formerly patissier to His Majesty, was thus and valuable as were the two first volumes of

enabled to accumulate valuable and authentic Signor Molmenti's important work on Venice,

specimens of almost contemporary art." Mr. reviewed in The Studio some little time ago,

Laking prefaces his account of the Royal collec- they are if possible surpassed by their successors,

lion with a brief history of the fiimous factory, with which deal with the most eventful era of the long

the aid of which it will be possible even for an life-story of the Republic, the Golden Age, when,

inexperienced amateur to distinguish between the to quote the author's eloquent words : " On the

249

Reviews and Notices

early life of vigorous expansion follows the prime rare skill in rendering the varied hues of flowers

in all the splendour of its riches, and that glorious and foliage in masses, combined with sound judg-

new birth of the human intellect in philosophy, in ment in the selection of appropriate points of view,

letters and in the arts, which was in part begun in has ensured for him a luiique position among

the previous age, reaches its culmination." "The contemporary garden painters. In the series of

cult of the Renaissance," he adds, " touching its beautiful drawings of Italian gardens reproduced in

apogee, intensifies the cult of beauty, harmony and the volume before us we meet with a style of garden

pleasure, but at the same time diverts the Italians different from that which has found greatest favour

from the serious aspects of life." The concluding in this country, where the so-called landscape type

words of this pregnant sentence strike a note of nas predominated. Italy, on the other hand, has

warning of the imminent approach of the decline for centuries been the home of the formal style of

that, in the history of nations as of individuals, garden. There the tradition goes back to the days

inevitably succeeds the full realisation of ambitions ; of Ancient Rome, the Villa Hadriana being a

and it is a noticeable peculiarity of the whole of famous example of it, and in spite of the era of

the Italian historian's record that he never loses decadence which followed the incursions of the

sight of the future in his enthusiasm over the barbarians of the North, who plundered and

present that he is able to realise so vividly. Even destroyed the estates and dwellings of the nobles,

in her brilliant middle-age Venice was surrounded leaving scarcely a trace of their former grandeur,

by sister states in which decay was already in- it seems never to have been utterly extinguished,

augurated, and although she long continued to With the renaissance in the fine arts there would

maintain her proud position of independence the appear to have come a revival in the art of laying

seeds of corruption were really already coming to out gardens, for by the fifteenth century many of

life beneath the surface. With the practised skill the villas of the nobility in Florence, Rome, and

of an expert who has mastered every detail of his elsewhere became famous for their gardens, and

subject, Signor Molmenti sums up in his intro- that fame has with not a few of them descended

ductory chapter the political situation of Europe at to the present day. It is of such time-honoured

the time under review, with special reference to the gardens that Mr. Elgood gives us delightful glimpses

effect of that situation on the lagoon city, passing in the pictures included in his new volume. He

thence to give a masterly description of the politi- tells us that he commenced the series as long ago

cal, ecclesiastical, judicial, military and economic as 1881 and has continued them practically without

constitution of the great Republic, dwelling on the break every year since. There is so much to be

significant fact that the various offices were so praised in all these drawings that it is difficult to

linked together and interdependent that they acted single out any one as being better than the rest,

simultaneously like the wheels of a watch, so that The Florence series, however, impress us most on

the striking energy of the whole community could the whole, the drawings of Florence from the Villa

at any moment be concentrated on a single focus. Palmieri, Villa Reale di Casfello, Villa Amari :

The gradual transformation of Venice in the hands the Fountain and Villa Amari : the Belvedere being

of the great architect, and the work of the skilled especially noteworthy. The artist's notes, partly

craftsmen and painters as well as of the leaders in historical and partly descriptive, disclosing as they do

art and literature, are considered in detail, the an intimate knowledge of the places depicted, lend

second volume closing with a somewhat melan- additional interest to the pictures, which, of course,

choly chapter on the corruption of manners that are the//(^^(?.rfl?i?m/5/a«^^ of this most attractive book,

at the beginning of the end cast a sinister shadow Napoleon and the Invasion of England. By

over the peace, prosperity, security, freedom, bril- H. F. B. Wheeler and A. M. Broadley. 2 vols,

liant art and joyous life of the city. Both volumes (London : John Lane.) 32^. net. — At the present

contain a number of interesting illustrations, re- time, when the idea of a possible invasion of Eng-

productions of pictures, photographs of buildings, land is openly scoffed at, it is somewhat difficult to

etc. realise the state of things a century ago, when the

Italian Gardens. After Drawings by George whole country was roused as one man to defend

S. Elgood, R.I. With notes by the Artist. (London: its shores from an enemy whose appearance was

Longmans & Co.) a,2s. net. — The present sump- hourly expected. The Great Terror converted

tuous volume forms a fitting companion to the England, Scotland and Ireland into a vast camp,

delightful book on English gardens which Mr. where all differences were forgotten for a whole

Elgood brought out some four years ago. His decade in an eager desire to maintain the integrity
250

Reviews and Notices

of the British Isles ; but, strange to say, the re-
markable episode is as a general rule passed over
very lightly by historians. Messrs. ^Vhecler and
Broadley's book will, however, do much t(j throw
light on the exciting crisis, and is just now
peculiarly opportune as serving to bring into
startling prominence the spirit that in the early
nineteenth century animated the British Navy.
Founded on a very careful examination of a great
variety of contemporary literature, it includes deeply
interesting quotations from letters never before pub-
lished of George III., the Duke of Buckingham,
Fox, Lord Brougham, Marshal Soult, Ford Hood,
Richard Cumberland, Thomas Southey, Mrs. Pioz/.i,
andother celebrities. State recordsand Parliamentary
debates, with reproductions of a vast number of
caricatures after J. C. Cooke, Sayer, Gillray, Isaac
Cruikshank, Rowlandson, Dalrymple, and their
French rivals. These caricatures, strange to say,
though they are of course valuable for the sidelight
they throw on public feeling at the time of their pro-
duction, are singularly deficient in real humour, and
fail altogether to appeal to modern taste— an inci-
dental proof of the increase in refinement that has
taken place in that taste of late years. The
sympathies of the reader in this stressful period are
far more likely to be aroused by the reproductions
of prints not intended to be humorous, such as the
"Fishguard," of February, 1797, the Frontispiece of
a volume of colour plates etched by Rowlandson,
and published by the Angelos in 1799, the
"George III. reviewing the Armed Associations of
London in Hyde Park," and the " Boulogne" at the
beginning of the second period of the Terror, the
facsimiles of Broadsides, such as the Address to the
People of the United Kingdom, the representa-
tion of the Semaphore Telegraph, erected in the
Admiralty office in 1796, the Invasion Promissory
Note of 1802, and the reprints of the Popular
Songs that voiced the hopes and fears of the
multitude. These are all of stirring interest, and
bring out more forcibly than could any description
by a later pen the actual feelings aroused by the
gloomy situation.

Allgemeines Lexikon der bildenden Kiinstler von
der Antike bis zur Gegenwart. Herausgegeben
von Dr. Ulrich Thieme and Dr. Felix Becker.
(Leipzig: Wilhelm Engelmann.) To be com-
pleted in 20 vols. \'ol. I., 2>-^- net. — In one
department of literature certainly, Germany can
safely be said to be without a rival, namely, in
the making of dictionaries, encyclopaedias, and
similar works of reference. The national genius
for painstaking investigation and the collection and

co-ordination of facts is attested by a huge number
of such works dealing with every conceivable sub-
ject. In art Nagler's "Kiinstler-Lexicon," published
half-a-century ago in 22 volumes, is still a useful
work in spite of errors here and there, but of course
is very much out of date. Twenty years later a
revised edition was begun by Dr. Julius Meyer,
but only three volumes appeared, and now Drs.
Thieme and Becker seek to make amends for that
failure with their Universal Dictionary of Artists,
in the preparation of which they are assisted by
some 300 collaborators. We heartily wish them
success. If the remaining nineteen volumes are
produced with the care and comprehensiveness
which mark the first volume, the results of their
labour will be highly valued by all who have occasion
to use such a work. A wide scope has been given
to the term " bildende Kiinstler" by the inclusion
of the names of architects and craftsmen whose
achievements deserve to be called " creative."
With such a host of names it must of course
happen that the information concerning a large
number of them is not sufficient to constitute a
biography. This is especially the case with many
who lived in days gone by, before newspapers and
magazines came into existence, but it sometimes
happens also in the case of living artist=, the
inforniation concerning whom may occupy not
more than half-a-dozen lines — perhaps simply a
reference to a work reproduced in The Studio
or some other journal. On the other hand, there
are cases where the details cover many pages —
Rudolf von Alt, for instance, occupies six. With
a work of this magnitude, too, errors are almost
certain to creep in. The first volume, however,
seems remarkably free from them, the only one
that is worth noticing occurring under the name
of Allingham, where it is assumed that "Mrs.
A. Allingham, R.W.S.," and " Helen Allingham "
are different persons and form the subject of
separate references. One feature of this valuable
work will prove especially helpful to future inves-
tigators, namely, the bibliographical reftrences
given at the end of most of the notices, showing
where further information about the artist is to be
found.

Cathedral Cities of France. By Herbert
Marshall, R.W.S., and Hester Marshall.
(London : Heinemann ; New York : Dodd, Mead &
Co.) 165. net. — Gleanings of five years' wanderings
in France, the beautiful water-colour drawings re-
produced in this most delightful vo'.ume, certainly
one of the best colour-books yet issued, have all
the poetic charm characteristic of the work of their

251

Reviews and Notices

author, who stands in the front rank of modern
interpreters of architecture from the aesthetic point
of view. Mr. Marshall knows how to catch the very
spiritof the scenes he depicts : his draughtsmanship,
colouring, and atmospheric effects are alike admir-
able, and the only direction in which he sometimes
fails is in the grouping of his figures. Nothing
could be more entirely satisfying than the St. Ld,
with its spires and towers standing out against the
evening sky, and its quaint old houses reflected in
the Vire ; Poitiers, with the distant view of the
winding river spanned by a noble bridge ; Bordeaux,
with the fishing boats in the foreground, and the
twin towers of the cathedral dominating the mist-
shrouded town ; and Tours, with its grey tower
and sunlit street. No less satisfactory is the
letterpress, which skilfully hits the happy medium,
giving just enough of the history of the various
places visited to render intelligible the descriptions
of their present appearance. Mrs. Marshall dis-
tinguishes between three classes of towns : those
whose local importance has remained unchanged
for centuries, those whose ancient glory has de-
parted, though they still retain its semblance,
and those which are entirely the outcome of the
modern spirit of enterprise. It is, of course, to the
first group that the largest space is given, and the
chapters devoted to them will be found especially
interesting, so well does the writer know how to
tell their eventful stories. The one serious flaw
in a book reflecting great credit on all concerned in
its production is Mrs. Marshall's hasty conclusions
in matters architectural, for with a light heart she
adopts the fallacious theory that the Flamboyant
style originated not in France but in England
remarking that "as soon as the former country had
freed itself from the domination of the English and
realised its national unity, its architects applied
themselves heart and soul to the development of
that style which was borrowed from the enemy,"
whereas it is well known to every student of archi-
tecture that the Flamboyant and Perpendicular
phases of the Gothic were essentially different.

The Ingoldsby Legends : Mirth and Marvels. By
Thomas Ingoldsby, Esq. Illustrated by Arthur
Rackham, A.R.W.S. (London : J. M. Dent &
Co.) \^s. net. — It would hardly be correct to call
this book a reprint of Mr. Rackham's illustrated
edition of the Legends published some nine years
ago. In the first place, the letterpress has been
entirely reset in a type which gives the book an
air of distinction ; and, secondly, as regards the
illustrations, numerous additions have been made,
and, as explained by Mr. Rackham in his introduc-
252

tory note, all the old coloured illustrations have
been worked on and specially coloured for this
new "edition definitive de luxe," as the publishers
are justified in calling it. Mr. Rackham enters
so thoroughly into the spirit of these now classic
tales, and his drawings reveal such rare talents, that
the success of this new edition is assured. As a
gift-book nothing could be better.

Utamaro. By Dr. Julius Kurth. (Leipzig :
F. A. Brockhaus.) 30 Mks. — The author may be
congratulated upon the thorough manner in which
the work of the great Japanese designer of colour
prints and book illustrator has been classified and
summarised by him in this volume. Since the
excellent monograph on the same subject by De
Goncourt, published in 1891, many prints and
books have come to light from old Japanese collec-
tions, and our knowledge of the numerous produc-
tions . of this artist has been so greatly extended
that we are now able to more justly estimate his
relative position among his Japanese contempo-
raries. While opinions may be divided upon the
question of the greatness of his art, there is no
doubt in the mind of any student of his book that
Utamaro was a man of exceptional ability, whose
name will always be associated with distinction
among the leaders of the Ukiyoye or popular school
of Japanese illustrators. The illustrations to Dr.
Kurth 's volume are numerous, including several in
facsimile colours, and they exhibit the various stages
in the evolution of the master's art. Plate 24 is of
remarkable excellence, reproducing with wonderful
verisimilitude the colours and characteristics of
the original print. We cordially commend this
book to the notice of all collectors of Japanese
prints.

Vasari on Technique. Translated into English
by Louisa S. Maclehose. Edited with Intro-
duction and Notes by Prof. G. Baldwin Brown.
(London: J. M. Dent & Co.) \z^s. net. — It is a
curious circumstance that while numerous trans-
lations have been made of Vasari's Lives of the
Most Excellent Painters, Sculptors and Architects —
a work which, notwithstanding its great value as a
historical document, has been shown to be not
wholly trustworthy — the technical Introduction
which he prefixed to that work has never during
the three and a half centuries since it first
appeared been rendered in its entirety into any
foreign language. And yet, so far as the art-worker
is concerned, this preliminary exposition of the
various processes and materials employed by the
artists and craftsmen of his day is of far greater
interest than the biographical details constituting

Reviews and Notices

the bulk of the work, and in view of the great
variety of topics treated of, the complete trans-
lation of it, now made for the first time into English
by Miss Maclehose, under the supervision of Prof.
Brown, is especially welcome. The translation is
made from the text belonging to the edition of
1568, and is supplemented l)y a series of footnotes
elucidating obscure expressions found in the
original, or serving to identify buildings and objects
referred to, while each of the three sections in
Architecture, Sculpture, and Painting is followed
by longer notes dealing with questions of more
general interest. The translation and editing of
the work have been carried out with conscientious
thoroughness, and additional interest is given to
the volume by the numerous illustrations contained
in it, which have been selected for the purpose of
exemplifying passages in the text or the particular
species of work described by the author.

Of the books for juveniles which have reached
us this season a few call for notice here, however
brief. Prominent among them is a reprint in good
bold type of Alice s Adventures in Wonderland
(Heinemann, ds. net), with thirteen illustrations in
colour and a few in black-and-white after drawings
by Mr. Arthur Rackham, A.R.W.S. These draw-
ings, and especially the coloured ones, are so full
of subtle charm that the book is certain to be in
large demand this season. Conspicuous also, by
reason of its two dozen or more delightful illustra-
tions in colour by Miss Alice Woodward, is The
Peter Pan Picture Book (Bell &: Sons, $s. net).
The text, printed in large clear type, is an amended
version of that which appeared last year in "The
Peter Pan Keepsake," and the book is so nicely
got up generally that it is bound to be welcomed in
the nursery. Though the pictures in Mr. Oliver
Herford's Peter Pan Alphabet {\\.oMqx & Stough-
ton, 35. 6<f.) are not in colour they are distinctly
clever, and the humorous vein in which the rhymes
are pitched will ensure for this book also a large
measure of success. As not many children are
acquainted with the original story of Beauty and
the Beast, the complete version of the tale, as
translated by Mr. Ernest Dowson and published
by Mr. John Lane in a limited edition of 300
copies at 10^. dd. net, will prove an interesting
addition to the nursery library ; but the four
coloured plates by Mr. Charles Conder, character-
istic as they are of his art, require for their due
appreciation a more mature artistic sense than that
possessed by the generality of children. Miss
Amy Steedm.\n, whose book /// God's Garden
was so popular last season, endeavours this year, in

her Knights of Art (T. C. & E. C. Jack, 65. net),
to interest children in the lives and achievements
of famous Italian painters. Miss Steedman's
command of simple yet telling language, combined
with the numerous pictures, reproductions of
masterpieces after drawings by Mary Steedman —
sixteen of them being in colour — will certainly
ensure for this book a favourable reception among
children old enough to take an interest in great
works of art. Another book which has a kindred
aim to the last-mentioned is Lady Tennant's
The Children and the Pictures (Heinemann, 65.),
in which the gifted authoress takes a number of
notable pictures by masters of the English School,
reproduced either in colour or black-and-white,
and weaves out of them a series of entertaining
stories. The humours of animal life always furnish
amusement to little ones, and Mr. Leslie Brook,
whose name must be familiar to many of them,
has furnished a fresh source of fun in Johnny
Cro'cv's Party (F. Warne & Co., 2s. 6d. net).
Messrs. Warne & Co. also publish this season two
more of their dainty little shilling reprints of
Randolph Caldecott's picture books, which ought
to be as popular now as they have hitherto been.
In The Unlucky Family (Smith, Elder &: Co ,
6^.) Mrs. Henry de la Pasture makes capital fun
out of the adventures of a suburban family who
had the misfortune to inherit a country estate and
much money — adventures which the well-known
"Punch" artist, Mr. E. T. Reed, has turned to
good account in a series of characteristic illustra-
tions. Mention should also be made of Mabel
Trustram's Verses to a. Child (Elkin Mathews,
2S. net), penned in simple, unaffected language,
and telling of such incidents as occur in the lives
of quite little ones, who will no doubt appreciate
Edith Calvert's drawings.

Messrs. Headley Bros., of Bishopsgate, who have
already published photogravure engravings after
pictures by Mr. Walter West, R.W.S., have recently
added to the series The Silent Meeting, the original
of which was lately on view at the Royal Water
Colour Society's Galleries. The picture represents
a Quakers' meeting in early Victorian days. The
size of the print, exclusive of margin, is about
13 inches by 19 inches, and the price one guinea,
proofs signed by the artist being two guineas.

The publishers of Dr. Leisching's work on Das
Bildnis-Miniatur in Oesterreich, dr-\:, noticed in
our October number, are Messrs. Artaria & Co., of
Vienna.

253

The Lay Figure

HE LAY FIGURE: ON THE
ART OF ETCHING.

" It is remarkable how the popularity of
etching has fluctuated in this country," said the
Art Critic. " A few years ago it was all the rage,
and then, for a while, it seemed to be almost dead;
now there are signs that it is coming into favour
again."

" You ought to know by now the way in which
an art is checked or encouraged by the vagaries of
the popular taste," replied the Man with the Red
Tie. " Etching, like all other forms of artistic pro-
duction, flourishes or languishes according to the
amount of support it receives. When people were
interested in it it did very well indeed, but when
it went out of fashion it, naturally enough, fell
into a state of what you might call suspended
animation."

"I am not sure that these fluctuations were
entirely the result of changes in fashion," returned
the Critic. " I think that the etchers themselves
were partly to blame and spoiled their own vogue
by want of sincerity. They got into bad ways and
discredited the art they practised."

" May I ask," broke in the Plain Man, "whether
you consider etching to be an art of any import-
ance ? It always seems to me to be a very trivial
and feeble thing and hardly worthy of the fuss
that is made about it. A man scratches a few
lines on a piece of copper — is it not ? — and prints
them off on paper, and calls the result a picture.
Surely that is not an art that matters."

" I am glad you know how an etching is done,"
laughed the Man with the Red Tie, "for most
people do not realise that there is any difference
between an etching and a pen-and-ink drawing.
But in answer to your question, I would certainly
call etching an important art ; it offers great oppor-
tunities for delicate expression and is capable of
exquisite treatment, and it needs a man of great
skill to do it well."

"Oh ! surely not," cried the Plain Man ; "any-
one can scratch lines on copper, and all the rest
comes from a simply mechanical process of putting
the plate through a press."

" i )o you know," said the Critic, " that our
friend is, quite by accident, illustrating my argu-
ment. I said that the etchers spoiled their own
vogue by want of sincerity ; and it was just in this
way that this want of sincerity showed itself. The
etchers gave up taking pains and took merely to
scratching lines on copper in the hope that the
press would perform miracles, Prosperity made

them conceited ; they thought anything would pass
as an etching, and that collectors did not know the
difference between good work and bad ; but they
have suffered for their conceit."

" Perhaps they have," replied the Man with the
Red Tie, "but still I think that they have been
to some extent the victims of fashion. I believe
that the taste for etching died out chiefly because
the public got tired of it and wanted something
new."

"That maybe so," agreed the Critic; "but in
that case how do you account for the present-day
revival, of which I think you will admit there are
quite visible evidences ? "

" Why that is plain enough," cried the Man with
the Red Tie ; " the public point of view is always
changing, and fresh subjects of interest have to be
constantly provided to stimulate a jaded taste.
When new sensations fail an old one is revived
and made to do duty again for a while. But
nothing lasts ; nothing is ever permanently estab-
lished. If there does come again a run on
etchings, it will only be for a short time, and
the usual reaction will follow as a matter ot
course."

"That may be so," said the Critic ; "but I am
a little more hopeful than you are as to the future.
I contend that the decline in the popularity of
etching was largely due to the failure of the artists
to understand the nature of the public demand.
They thought that quantity only was wanted, and
that quality did not matter, so they set to work to
turn out etchings as quickly as possible and in the
easiest way. They made them slight, thin, and
meaningless ; they handled them carelessly, and
were content with the merest suggestions ; and as
a consequence they disgusted the very people to
whom they looked for support. But now the more
serious artists recognise that a real effort is needed
to recover lost ground ; they have learned much
from the example of the German etchers, who are
treating the art to-day with a strong sense of
responsibility and with a commendable firmness
of conviction. Thanks partly to this example, and
partly to the proper application of the lessons of
the past, we are getting out of OJr bad ways, and
we are well on the road to the reinstatement of an
art which ought never to have been allowed to fall
into disrepute, and we are once more using it as
a means of individual expression and as a mode
of conveying to others our sincere aesthetic beliefs.
If we continue along these lines, we need have no
fears for the future of etching in this country."

The Lay Figure.

A CHURCH INTERIOR, from the
OIL-PAINTiNG BY J. BOSBOOM.

CBy Permission of Messrs. Thos. .-li^new
&■ Sons and Messrs. Vyallis &• Son.)

Johannes Bosboom

OHANNES BOSBOOM.
ZILCKEN.

BY PHILIP

At the beginning of the nineteenth century
art in Holland, as in most countries of Europe, had
fallen into conventionalism and mannerism. The
works of the glorious old masters were no longer
understood ; P>ans Hals and Rembrandt were no
longer valued ; Vermeer of Delft was unknown.
How great was this decadence of taste at the time
I speak of, is shown by what an old gentleman
told me long ago. In his boyhood, I remember
him saying, he and his sister were wont to play at
ball in the attic of their parents' house, using as
their target some old, dusty portraits, which after-
wards proved to be by Frans Hals ! Again, the
father of a friend of mine discovered somewhere
that a small ironing board had been made out of
part of a panel painted by Cuyp ! Many other
similar incidents could be
quoted.

During the occupation
of the Netherlands by the
French, the Napoleonic
wars left little time for the
pursuit of art, and, when
peace was once more estab-
lished, such painters as there
were worked in an empty,
academical style, under the
influence of the school of
David. Instead of being
inspired by the merits of
their famous ancestors, they
merely studied their tech-
nique ; they looked only
at the surface of their pic-
tures, and failed to pene-
trate the spirit, the concep-
tion of those masters ; nor
at the same time did they
value the most individual
among them, but were
attracted only to those
whose qualities of execution
give them a place, though
not a foremost place,
among the great painters
of their country. Thus it
happened in those days
that Gerard Dou, Mieris,
Metsu, etc., came in for
more attention than the
others.

THE ARTIST IN HIS STUDIO

XLII. No. 178.— January, 1908.

When the clever, but quasi-classic David settled
in Brussels, he succeeded in imposing his own
conceptions so strongly, that the healthy, vigorous
Flemish art was nearly put aside, because, accord-
ing to his ideas, beauty of colour, one of the chief
features of painting, was considered barbarous,
rough, sensual. Himself little of a colourist, he
had a disdain for colour ; and at the same time he
failed to understand that nearly all great artists
have expressed themselves most perfectly through
their own nationality and the age in which they
lived, and he believed that a new expression, a
new ideal, might be created by didactic subjects.
This theory of his was not even based on a right
conception of really great Greek art. Notwith-
standing these convictions of his, however, David
exerted a good influence in the reaction against the
decadent eighteenth century school, by devoting
himself to a close study of nature. This is

BY J. BCSBOCM

JoJiannes Bosboom

manifest chiefly in his drawings, but some
of his portraits are also excellent proofs of this
merit.

While Holland remained united to Belgium—
that is until the year 1830— the influence of the
Belgian art of the time was perceptible in
the Low Countries ; Navez, Wappers, and later
on Galiait, had in the Northern Netherlands
colleagues like Kruseman, Pieneman and van
Schendel : all these painters were of about the
same style.

The revival of art in France, as is well known,
was largely due to a group of English artists —
Fielding, Crome, Bonington, and principally Con-
stable—whose works opened the eyes of young
Delacroix, Corot, and Rousseau. In these there was
awakened a new interest in the old Dutch masters,
thanks to the English painters, who, individual
and national as they were, had helped to make
the works of those masters comprehensible to
them. These young French painters found in-
spiration in the delightful- environs of Paris, the
beauties of which were revealed to them by

the old masters, who loved their subjects in-
tensely ; and in that love is the essential element
of art.

Thus it happened that the merits of the old
painters, so brilliantly represented in the collections
of England, influenced the English masters of that
time, who, in their turn, developed the artistic
impulses of the French artists, whose influence has
been of importance on most of the best representa-
tives of the modern Dutch school.

How important this revival has been can easily
be seen when one remembers that in those days
the "classic" school in Holland forbade all freedom
and individuality of expression, both in landscape
and in figure-painting, and considered the freshness
and spirit of nature to be "bad style." Natural
colours were found too bright ; they had to be
replaced by " warm " tints, which were produced
by some brownish, tar-coloured medium. Certain
sorts of trees were also disdained, and considered
to be wanting in stateliness or grandeur ; the lovely
apple tree and the graceful willow had to be
avoided at the time when Kruseman gave to Josef

IN THE OLD CHUKCU, AMSTERDAM'
258

BY J. BOSBOO.M

"INTERIOR OF A SYNAGOGUE"
BY JOHANNES BOSBOOM

Johaimcs Bosbooiu

Israels the advice not to paint " ugly people " '.
Such were the conditions under which Bosboom
spent his youth, but he himself remained unaffected
by the conventionality of his contemporaries.

Born in 1817, Johannes Bosboom belonged to an
older generation than the brothers Maris and Anton
Mauve, but in many respects his evolution was
parallel to that of Israels, although the latter was
born a few years later. But Bosboom lived at
The Hague, while the home of Israels was in
Amsterdam, whence he removed to the royal
residence only in 1869.

In both of these towns art was taught according
to the principles then dominant : in the capital, by
old-fashioned painters like Pieneman and Kruse-
man, who had the honour of contributing to the
development of Israels ; at The Hague, in the
studio of B. J. van Hove, whose most striking
pupils were Bosboom and the clever landscape
painter Weissenbruch, and his son Huib, who in
turn was the teacher of men differing as widely
in personality and point of view as Jacob Maris,
Bisschop, and Bakkerkorff.

The landscape-painters were far more numerous
ihan the figure painters, a fact which has, without

doubt, been of influence upon the perfecting of
the so-called " Masters of The Hague." For it must
be observed that the qualities of aerial perspective
and atmosphere in their figure-paintings, were to a
great extent due to their continuous and close
study of the ever-changing atmosphere of the sea,
the wood, and the " polders " which surround The
Hague, and where long ago Paulus Potter had
already elaborated his cattle scenes. This in-
fluence must have been the greater because in the
studios the lessons were purely technical.

Under these circumstances Bosboom began to
work, and about 1833 he exhibited his first View
of a Toii'ii, still somewhat under the influence of
his master, van Hove. And yet, even in these early
efforts, Bosboom showed his individuality. Those
genuine and very personal qualities which were
steadily developed during his long career may be
discovered in his first works, detailed as they are,
as in his last, in which his free, direct, broad touch
gives more life, richness, and completeness to the
efisonble.

While the old Dutch masters who painted views
of towns and church interiors elaborated in a perfect
manner every detail of their subject, while giving

LA CHAMBRE DES ECHEVINS
260

BY J. BOSBOOM

Johannes Bosbooni

THE BARN '

BY J. BOSBOOM

with wonderful attention and care the most com-
plete " portrait " of what they saw, they fell short
of expressing in these works, technically admirable
though they may be, the feeling of life which
characterises Bosboom's pictures, a quality in which
he is purely modern.

His first pictures, generally in oil, are carefully
elaborated and in some respects dry, but by
degrees his line and brushwork grow free, supple,
and broad ; he suppresses unnecessary details, and
in his latest works he attains a splendid mastery ;
and then he suggests what he intends rendering by
means of a synthetic manner, alike in oil-painting
and in water-colour, which expresses more grandeur
and atmospheric life than does his earlier work.

Up to Bosboom's time no painter of churches
had ever been able to put into his work a high
poetic feeling, a deep and serene emotion, by
means of qualities purely of drawing, colour, and
tone. This is the reason why his interpretation of
such subjects is remarkably personal, modern, and
of a high rank — very near the art of Rembrandt,
who, in his deep, vibrating, and passionate feeling,
was himself thoroughly modern.

As a pupil in the studio of van Hove, Bosboom
made careful studies of perspective, architecture, and

of the different styles, because the teacher and his
pupils had sometimes to execute decorations for the
Theatre Royal at The Hague. These special
studies were most useful to him, and probably had
a great influence on his artistic development,
which (juickly brought witli it brilliant success.
Even in 1835, while still working in the studio of
his master, he had the satisfaction of selling an
exhibited picture to a painter of much renown at
The Hague— Mr. Schelfhout.

Bosboom has himself written short autobio-
graphical notes in which he describes the origin of
Romanticism in Holland, how the revolution not
only brought with it a search after truth, after
reality of colour, but at the same time an interest
in works of art of all kinds produced by former
centuries, even in the long-forgotten and disdained
Middle Ages. Under the influence of this move-
ment, Bosboom saw his line clearly marked out.
In 1836 he exhibited two church interiors, lit up
with a flood of sunlight, and, as we know, it was
this particular ^d-z/r^ which he made his own during
the rest of his life. Very soon he began to win
medals, at Amsterdam, Antwerp, and Brussels ; and
scjme years later he was created Knight of the
Belgian Order of Leopold.

261

fohanues Bosboom

In 1835 he made a short journey along the
Rhine with two of his friends, and soon after paid
a visit to Rouen, travelling through Holland,
where he discovered splendidly picturesque churches,
cloisters, town halls, cloister-kitchens, and farm-
interiors, which furnished him with the subjects
of some of his masterpieces.

In 1846 Bosboom made the acquaintance of a
Dutch authoress. Miss A. L. G. Toussaint, whom
he married some years afterwards. They began
together a quiet life of regular labour, she writing
numerous, highly valued novels, in the style of
Walter Scott, he constantly producing works,
nearly all of which show his great natural gifts.

Notwithstanding these exceptional gifts, life was
often difficult to him, and attacks of deep melan-
choly sometimes disturbed its regular course ; but
he had a friend and protector in Jhr. van Rappard,
one of those cultured men who live for art. This
gentleman collected all the water-colour drawings
done by Bosboom, and sometimes invited the artist
and his wife to stay at his country estate near Utrecht.
Here the artist found rest and renewed strength
after these periods of gloom. Walks in the de-
lightful surroundings of his friend's house revealed
to him more than ever the beauties of landscape,
and from that moment a new order of subjects

became his own. I allude to those big barns
{Iweren-deekn), full of Rembrandt-like light and
shade with rich golden-brown depths, which he
handled with such skill. In conception rather
different from that of Israels, Bosboom made of
these splendid subjects works of wonderful
grandeur and of most powerful colour. These
"deelen," now fast disappearing, were vast thatched
constructions, roughly built on heavy, lichly-
coloured wooden piles. As is usual in Holland,
the cows stood in rows along the walls, while hens,
chickens, and dogs walked freely about among the
peasants themselves. The light-effects in these
lofty farm buildings are of a quite special char-
acter, and these interiors, almost as much as
watermills, add to our understanding of the so-
called " Rembrandtic light."

Some years ago I explained in " L'Art Moderne "
the origins of Rembrandt's " fantastic " light,
showing that this was not at all a mere product of
his imagination, but simply the natural, diffuse
light in a v/atermill. Rembrandt, whose uncle was
a miller, must in his boyhood have often seen in
such a mill the splendid gamut of golden values
produced by a sunbeam penetrating through a small
window, the hazy, smoky space, with its quite pecu-
liar transparency of purplish and bluish tint. It

LANDSCAPE
262

BY J. BOSBOOM

"INTERIOR OF A CHURCH AT
GRONINGEN." BY J. BOSBOOM

Johannes Bosbooni

is a very natural supposition that an exceptionally
sensitive young man like Rembrandt should have
been so strongly impressed by these light-effects
that he remembered them during his whole Ufe,
and applied them to the subjects which he
elaborated later on — not only his portraits but his
figure-paintings and etchings as well.

Bosboom always had a passionate admiration
for the great Dutch master, and without a doubt
his studies of old churches and picturesque town-
halls dating back to the time of Rembrandt, and
in no less degree his studies of these fine old
barns, must have helped to develop his admiration
and right comprehension of Rembrandt's works,
which most certainly were of influence on his art ;
hut it may be accepted as conclusive that the
milieu in which he painted brought him nearer to
the conception of the master, and added to his
faculty of understanding him.

I venture to insist upon this fact, because of the
mistaken idea which has been so prevalent that
the secret of Rembrandt's art is to be found in
brownish pigments and the so-called " Rembrandt
light." Bosboom having studied similar effects
in nature, had observed the delicate degrees of
values, the influence of the atmosphere, the

radiant light which often forms the centre of the
composition, and indeed he sometimes equalled
the great artist's expression of these effects.

As I have already mentioned, besides his oil
paintings, Bosboom made many, very many water-
colours. At first he did not employ this medium
so frequently, but after a time the rapidity of the
process pleased him more and more, and he found
it to be exactly what he wanted for his studies, as
well as for the more complete expression of his
ideas. Sometimes he made simple sepia-sketches,
rapidly worked out in a few lines and slightly
washed with flat tints, which are marvellously right
in value and express perfectly the ensemble. Mr.
Mesdag possesses nearly a hundred of these re-
markable works (see p. 269).

As he grew older, Bosboom's finished water-
colours acquired a freedom and directness of
execution attained by very few. The architectural
studies of his youth gave him a firmness of drawing
and touch which allowed him to work rapidly and
broadly, without hesitation ; and these water-colours
of his are never superficial, but always complete, his
delicate and deep feeling giving them a very rare
charm. Many good examples of his mastership in
this medium are reproduced here. An inborn

THE FARM SHED
264

BY J. BOSBOOM

THE CHURCH OF ST. JA:\IES AT
THE HAGUE." BV J. BOSBOOM

Johannes Bosbooni

taste showed him in the presence of nature what better than any words of mine how vastly
to select and what to pass over. Never had important he considers this feature to be. In
Bosboom, like many painters, the passivity of a it he refers to the celebrated Semeur by Millet,
Kodak, but his individual spirit always guided his from which he made his beautiful etching, a
hand, while at the same time his clever and firm print almost unique of its sort, because it is not
touch contributed to the perfection of the whole. a copy, a translation of the picture, but an

Another feature of his water-colours is that they admirable and extremely interesting "paraphrase"
are never systematically transparent or heavy, as or interpretation of one great painter by another
the result of employing too much body-colour ; equally great. Maris knew the picture as thor-
they are just what he wants them to be— admirably oughly as it was possible for any one to, and
suggestive. He shows an unerring taste, seldom compared it with another by Millet representing the
found nowadays, in the art of balancing his subject, same subject. Before analysing these two works,
o{ (ormmg ih& mise-en-page ; thus it happens that he writes some lines about the French artist him-
in all his works there are neither empty spaces, self, which are of so much interest that I may be
nor disproportions of light and shade. On the excused for quoting them : —

contrary, every dark spot corresponds to propor- " Millet always gave me the impression of being

tionate masses of light, so that if an inch or two of of a very despondent nature ; he began as what
the composition were taken
away, the effect of the en-
semble would be destroyed.
But it was not without
much earnest striving that
the painter attained to these
results. He was often ex-
ceedingly depressed, as I
have said above, by the
difficulties of his art, and
if he had a right notion of
his worth, he knew also
how very hard it is to
struggle towards compara-
tive perfection.

This question of compo-
sition, of mise-en-page, is
considered by the " masters
of The Hague " to be the
starting-point of their pic-
tures. Nowadays many
artists are satisfied with
" impressions," which how-
ever cleverly and tastefully
done, remind one of in-
stantaneous photography.
Having made many etch-
ings after works by Jacob
Maris, Israels, Mauve, and
others, I have had occa-
sion to notice how the lineal
equilibrium in those works
is as perfect as their gamut
of values, however hidden
it is behind the colour. A
letter which Matthew Maris
once wrote to me shows
266

A street" • BY J. liOSBOOM

( By permission of Messrs. Thos. Agnew &= Sons and Messrs. IVallis 6^ Son)

Johan7ies Bosbooni

VIEW OF SCHEVENINGEN

BY J. BOSBOOM

they call a good painter, a colourist. But then
began the struggle between matter and spirit, and
he very rarely succeeded in what he wanted ;
the heaviness of his men and women were his
own burden that he put into them, and not the
burden of those he painted, because his paintings
would have been neither more nor less than
still-life copies or imitations of what he saw before
him.

" There are two Semeurs by him in the world ; the
same man, the same action, the same ground,
oxen, etc. ; and I had always heard that the two
pictures were exactly the same ; but when I saw a
reproduction of the second, I saw that it was
nothing more than a little print, a man sowing
seed. Perhaps the canvas is bigger, but Millet has
only made a little picture of this subject. Why
now is the other one a masterpiece ? Is it because
the man is sowing seed ? and is quite naturally
represented ? Nature has nothing to do with it !
It is Millet himself, the individual, the blind
follower of his own nature. It is the line, and not
the peasant ! Vou begin with his hat, his face
turned towards the other side, and you come to the
shoulder and outstretched arm ; then you get his
body and his outstretched leg. Now you come to
the line of the ground, sloping from left to right,

counterbalanced by the animals and the line of the
clouds from right to left, and there is the whole
thing ! ^Slost people, when looking at it, think of
nature, but they cannot understand his nature,
hidden like a strange language."

These words of a most refined and poetic artist,
who is at the same time an instinctive philosopher
in art, show clearly the extreme importance that
he attaches to the idea of composition, a feeling
and a principle common to his brothers and to
Mauve, Bosboom, and others, as well as to him.
The careful balancing of the line and of masses of
light and shade, does not at all prevent freshness
and liveliness of expression, as the works of those
artists show ; it has to be simply a starting-point,
coming from feeling, taste; and reflection.

I have had the advantage of knowing Bosboom
well, and though he has been dead several years
now, I shall always remember his remarkably dis-
tinguished personality. He had much the look of
one of those ancient noblemen painted by Van
1 )yck or Moro ; his inborn courtesy and elegance,
his perfect manners, made him resemble some
proud knight of bygone centuries. Being fully
conscious of his qualities as a painter, he had the
pride and the frankness to say, and sometimes to
write, what he thought of his own work. Very

267

Johannes Bosbooni

characteristic in this respect is the anecdote told
by Mr. Gram, a Dutch publicist, who wrote a little
book on Dutch painters. Being a friend of the
artist, he paid him a visit when he had been struck
down by an attack of paralysis, a little while before
his death. He found him lying on a chaise-lotigue
in a corner of his room, his left hand motionless
on the rug which partly covered him, his right hand
moving nervously. The sun penetrated the room
through the carefully shut blinds, casting glittering
lights here and there. Bosboom had just received
some photographic reproductions of water-colours
of his, belonging to a well-known collector, which
attained high prices some years later, at a sale at
Pulchri Studio at The Hague. Bosboom asked
that the photos should be held so that he could see
them well, but complained of too little light, ex-
claiming like the dying Goethe : " Meer licht ! "
Then, when the blind was opened, he cried out :
" Look ! look ! what a water-colour ! "

It was a view of the Scheveningen beach, broadly
done, like all his best works. His eyes began to

sparkle, and he continued to praise the drawing,
asking for the other photograph. This represented
one of those Burgomaster's rooms of the seven-
teenth century, into which he had introduced some
figures, giving life to the picture and making of it
a perfect reconstruction of the epoch. " What do
you say of this ? " he said, in a voice thrilling with
emotion, to Mr. Gram, who had asked him : " Did
you see something like that?" "See, see!" said
Bosboom, with contempt, "That's like the question
of an art-critic, who said to me, ' Have you made
new sketches again ? ' Sketches ! — no, such things
are visions, that's creation, that's art ! " And the
artist, notwithstanding his crippled state, was happy
for a while, living again in his work.

Although Bosboom has already taken an impor-
tant place in the Dutch school of the nineteenth
century, by the side of Israels, Mauve, and the
brothers Maris, he is not fully appreciated beyond
the boundaries of his fatherland, and even here
his works are too little known. May these few
words serve to fix attention upon him as on one of

'INTERIOR OF A CHURCH "

( By permission of Messrs. Thos. Agnew Ssr' Sons and Messrs. IVallis iS^ Son)
268

BY J. BOSBOOM

H . riiik^Jies-Stauton

»ll

^lafy/ft

if*j' ^

(J: "-•

A BRUGES STUDY ( Mcsdag Collection)

BY J. BOSBOOM

THE LANDSCAPE
PAINTINGS OF MR. H.
HUGHES - STANTON.
BY MARION HEP-
WORTH DIXON.

If the French axiom be true that
Le pay sage est nn etat de rdme it seems
pretty certain that the training of the
modern realist leaves him but poorly
equipped on the more poetic or imagi-
native side of his art. Not that the
impressionists admit the fact. We
know their doctrines. Since Monet
painted the same hayrick seven (or
was it seventeen?) times, declaring
that light is the subject of all pictures,
landscape painters may be said to have
been e.xclusively occupied with the
problems oi plein air. But much water
has flowed under the bridge since
Monet's day. We no longer make a
fetish of the "god of things as they
are." The new language has been
acquired. We speak it freely. Habit
has accustomed us to a certain scien-
tific realism in the least pretentious
canvas. What we begin to look for is
not so much a glib expression of
manual dexterity, of which at the

the most complete, power-
ful, and distinguished
artists of his country,
whose name will certainly,
as long as true art is under-
stood and appreciated,
stand among the very best
of his time.

Ph. Zilcken.

[We desire to express our
indebtedness to Messrs.
Boussod, Valadon tS: Co.,
of The Hague, for their
courtesy in permitting us
to reproduce numerous
interesting examples of
Bosboom's work to serve as
illustrations to the foregoing
article. — The Editor.]

V {^<^^H^^^^^^^^^^^^^^^^|

■^■JiS*

.^(^£L^3^

wr. •d'J=V-^S _.-<

LES ANDELEYS— CHATEAU GALLIAN

BY U. HUGHES-STANTON
269

H. Hughes-Stanton

present moment we are a trifle tired, but for
qualities which lie beneath the surface. Nor do
I think I am using too forcible an expression when
I say that it is personality, and personality alone,
which makes a work of art, for it is certain that no

if the classic bent of his mind, the academic trend
of his art formula, is one of its chief charms, it
is so because he has learnt only what a modern
should learn at the feet of his great forbears.
Tricks of manner are empty things, and can be

picture was ever great that is simply great in acquired, as we know, by third-rate painters. What

mechanical excellence. is more difficult to absorb is the restraint, the reti-

When we come to consider the precise qualities cence, the something large and immutable which

which go to make a great landscape we tread on belongs to the practice, and is seen in the output

more difficult ground. Imagination, an eye for of our English masters of landscape,
line, style, the grand manner — all these things are The personal history of Mr. Hughes-Stanton

necessary, but still more necessary is that some- ■ can be given in a dozen lines. The second son

thing fluid in the soul of the painter which makes of William Hughes, the still-life painter, Mr. H.

it possible for him to communicate his mood and Hughes-Stanton was born in Chelsea in 1870, and

his emotion to the spectator. Now I do not think grew up, as small boys will, a jealous observer of

f"V ^whPiO^'

I am exaggerating when I say that it is this precise
gift which makes the work of Mr. Hughes-Stanton
somewhat different from that of his contemporaries.
An habitual exhibitor at the Salon, and well versed
in the creeds of the more audacious //?/'/? air schools,
he would seem to leave these experimenters to their
feats while he proceeds on
the even tenour of his way.
A strange serenity would
seem to be his by birth-
right. He appears to be
absolutely undisturbed by
the fret and fume and un-
rest of an empirical age.
The great solemnity, the
hush, a something of the
impassive dignity of nature
is seen in the least of his pic-
tures. He forces nothing,
he insists on nothing. He
bothers the onlooker with
no theories of the manner
of laying on pigment. He
has no new harassing tech-
nique to exploit, wo trick of
lighting to ventilate. Stand-
ing a little apart, yet quite
unconscious of the attitude,
he would seem rather to
be absorbed in studying
and assimilating the Great
Problem than in showily
demonstrating his clever-
ness in delineating nature.
A student steeped in the
traditions of the past, there
is, if I may make use of a
paradox, a curious moder-
nity in his classicism. For

his father's methods. Not that the coming land-
scape painter was educated with a view to his
adopting the fine arts as a profession. Business,
journalism, music, and I know not what other
metiers were in turn suggested and considered. And
all might have gone well in the eyes of the more

A SI'RINC, PASTORAL

liV H. HUGHES-STANTON

270

^ o

^ <

H O

D D

O X

-i^

H. FliigJies-Staiiton

prudent of his advisers had not tlie youngster taken
the matter of his future career into his own hands.
I think it was on Wimbledon Common, with a
canvas and paint-box borrowed from his father's
studio, that the lad made his first direct attack on
Nature. Study after study followed, and when the
first initial difficulties had been overcome the
impulse to express himself on canvas proved irre-
sistible. Nor was the lad amenable to any influence,
direct or indirect, saving that of the great masters.
At the present day he recalls with amusement
a painful little scene of his boyhood. It appears
he had carried one of his landscapes to his
father, who, always conscientious and exacting,
undertook to explain the woik's defects as he
painted over a part of the canvas. " But that
was not what I meant to express ! " exclaimed the
still more exacting pupil, as, bursting into a flood
of tears, he erased his father's corrections.

Tears were not the weapons with which Mr.
Hughes-Stanton fought the world a little later in
life, though many were the hardships and difficulties
he had to encounter. Not that he was unappre-
ciated. If there was danger in the outset of the
landscape-painter's start in life, it was that he
seemed to win his honours too easily. His first
important picture, called A Peep at the Aran,
loohini^ towards Amberlev, was probably one of

the most distinctive works seen at the Institute of
Painters in Oil Colours in 1890. It is true that
some of the critics preached the painter a little
sermon on taking " a darkened Constable for a
model." Others, however, saw a likeness to De Wint
in the canvas, and still others a reminiscence
of Creswick and Ruysdael. Made conspicuous
by these somewhat incongruous strictures, the
picture was the subject of a veritable furore.
Especially noticed by leading journals, it is safe
to say that few painters under twenty years
of age have been so brought into prominence by
an initial work. Clinging to the same noble Sussex
scenery, the artist next year painted an upright
canvas called The Valley of the Arun^ while an
even more important work was seen in Arundel
Castle. Another romantic theme, which occupied
a prominent place at the Institute in 1891, was
Struggling Light. It represents a lonely upland
with a shepherdess tending her flock as an empty
hay wain winds slowly over the hill. To the right
a vast plain stretches towards the horizon, over
which the light breaks dramatically through a bank
of gathering clouds.

In another vein was the essay in topaz and opal
called In Winter's Grasp, which Mr. Hughes-
Stanton exhibited in the summer of 1893. The
subject is a frosty landscape, in which an ice-bound

#-*

SEGOVIA, SPAIN"

272

HY H. HUGHES-STANTON

€¥'

'SAND DUNES, PAS DE CALAIS." FROM

H. Hughes-Stautoii

POOLE HARBOUR, DORSET

(In the Luxefnbotirg)

BY H. HUGHES -STANTON

'sand dunes, DANNES camiers"

{In the Luxembourg)

BY H. HUGHES-SPANTON

275

ffi

H. Hiighes-Stanton

DECORATIVE PANEL
AT BALLARD COOMBE

BY H. HUGHES-STANTON

(By permission oi' IV. Cleaver, Esq. )

brook, cradled by the frozen fields,
stretches a cold finger to the distant
woods. The moment is late afternoon,
and the grey skies are touched by the
rays of the dying sun. Weeding after
Rain and The Mill in tlic Valley both
preceded the important picture called
The Garden of England, in which,
laking a typical English theme, Mr.
Hughes-Stanlc^n depicted a hop-garden
overlooking the famous weald of Kent.
I should mention that the essay called
The Mill in the Valley was first seen in
the Grafton Gallery in 1894, and subse-
<iuently in the Salon of 1895. Tn the
Champs Elyse'es also was shown the

s[M'rited work entitled Un Bourrasque, a sudden rushing
st(jrm which the artist had seen in Sussex and en-
deavoured to render in the somewhat difficult medium
of oils. It was highly praised by the French critics,
who, while finding certain faults with the painting, did
nut hesitate to hail the young Englishman as a true
follower of the great school of Constable. Seen the
same year, a Lever die Soleil excited less comment,
though its serener graces were not without admirers.

The work called The Mill was, like Un Bourrast/ue,
exhibited on its completion in Paris, where its lowering
( louds and rain-swept stretch of .sodden earth appealed
to the lovers of realism in landscape. Even more attrac-
tive, because at once more decorative and more modern
in sj)irit, was A Spring Pastoral, a poetic effort exhibited
in the Royal Academy in 1903, and kindly lent for

DECORATIVE PANEL
AT BALLARD COOMBE

BY II. HUaWES-STANTON

(By ferniisiion of W. Clearer, Esq.)

277

H. Hughes-Stanton

reproduction in these pages. The Mouth of the Exe,
from above Exmouth, Devon, was another landscape
conceived on large decorative lines, and showed the
artist, perhaps for the first lime, expressing himself
in those distinctive terms to which he has now
accustomed us. A picture of the same year,
bought by the Bradford Corporation and seen at
the Institute, was Evening Twilight: Stiidland,
Dorset, a subtle study of aerial effects treated with
a masculine breadth of statement. Turning his
hand to pastels in the year 1904 we find the artist
exhibiting four works at the Pastel Society : Through
the Rain; Black Hill, Exmouth, Devon; and
Sunrise and Sunset. A signal honour was con-
ferred on the painter the same summer, for the
French Government bought his rendering of
Poole Harbour, which was exhibited at the old
Salon. Entitled Port de Dorset, Angleterre, the
picture is now to be seen at the Musee du
Luxembourg, where another of the artist's land-
scapes has recently found a home. The latter
canvas, called Sand Dunes, Dannes Camiers, shows
the artist in one of his rare decorative moods— a
subtle blending of strength and quietude, qualities
which make Mr. Hughes-Stanton's work seem more
serene and more monumental than we are accustomed

to on this side of the Channel. Hung in the New
Gallery in the spring of 1906, and in the Salon the
following year, the picture attracted so much
attention in the Champs Elysees that it was con-
sidered imperative to acquire it for the French
nation. I should not forget to say that Hampstead
Heath : a view looking to7vards Highgate, and The
Lighthouse, Etaples, were efforts of the preceding
year and were exhibited at the Royal Academy,
the latter picture finding its way to the International
Exhibition at Venice.

Of other important pictures by Mr. Hughes-
Stanton there is little space to speak. Through the
Rain was recently seen at the New Gallery, Corfe
Castle at Burlington House, and The Pas de Calais
(depicting a sandy common, a long line of shadowed
trees, and the silvery stretch of La Canche) at the
Institute. The Sand Dunes, Pas-de-Calais, another
conspicuous work exhibited in Regent Street, is
conceived with subtle individuality and insight.
Setting aside the question of scale, and the abiUty
with which the lighting of the middle distance is
managed, the delicacy and restraint of the colour
scheme is remarkable. Of equally rare beauty
is The Gorge, Fofitainebleau, a canvas exhibited
in the New Gallery last year, and purchased

'THE GORGE, FONTAI^ EBLEAU
278

(By permission of G. McCulloch, Esq.)

BY H. HUGHES-STANTON

F. V. Bur ridge, R.E.

"THK LIGHTHOUSE, ETAPLEs'

1!Y H. HUGHBS-STANTON

by Mr. George McCuUoch for his collection in
Queen's Gate.

I have spoken of the originality of Mr. Hughes-
Stanton's treatment of middle distances, and no
better example of his peculiar dexterity in the
matter of line can be given than in his recent
show of water-colours at the Leicester Galleries.
The adventure — for he had hitherto done little
water-colour — arose chiefly, I imagine, from a
tour the painter took with a small party of brother
artists in Spain. No formal sojourn could have
been happier in its results, for this sketching raid
gave him just the opportunity he wanted. The
halts in the journey were brief, so only the most
direct impressions could be recorded. They were
given with a freshness and spontaneity truly
astonishing. For in these drawings Mr. Hughes-
Stanton, with his innate feeling for style, his some-
what formalised trees and classic skies, manages to
convey the charm wliich lies in austeritw It is
the charm which belongs above all others to the
Peninsula, and in the artist's poetic generalisations
in water-colour we seem to breathe the ver\- atmos-
phere of northern Spain. M. H. D.

Herr Richard Lux, whose &\.z\\\v\g, Persenburg on
ihe Danube, we reproduced as a coloured supple-
ment in November, desires us to state that the
Gesellschaft fiir Vtrvielfaltigende Kunst, \'ienna,
are the owners of the {)lale.

HE ETCHINGS OF
V. BURRIDGE, R.E.
NEW BOLT.

MR. FRED.
BY FRANK

Mr. Burridge is the Principal of the Liver-
pool City School of Art, a position of great
responsibility, which he has held for some time,
and for the past twelve years he has been a member
of the Royal Society of Painter-Etchers. During
that period he has been a regular but not very
prolific exhibitor in the Gallery in Pall Mall, and
though he has obtained recognition, and is known
to those who study the progress of this fascinating
art in England, he has not, I think, obtained that
position in popular favour as an etcher to which his
great merits fairly entitle him. Of all Mr. Frank
Short's numerous pupils he is probably the most
distinguished, and .several of his plates rank very
high in contemporary etching.

In order to be really successful an etcher must
possess a combination of three qualities : he must
be a master of the process and an original artist,
with a personal note of his own, and he must also
be proficient in adai)ting the process to his own
methods of selection and expression. To do this
he must be always experimenting, and in these
conditions, as experiments are not always success-
ful, it is only fair to judge him by his best.

The easiest kind of etching is the least distracting,
namely, the almost mechanical reproduction of a

279

F. V. Burrid^e, R.E.

• A SPRING AFTERNOON

FROM AN ETCHING BY FRED. V. BURRIDGE

1 ■;. ,^y-^ because we ought not to

/ .liA'l . !^' J care whether the etcher is a

man or a woman, young or
old, busy or idle, a pupil of
the Slade school or a police-
man ; but it is impossible to
deny that it makes a great
difference to most people to
know whether an artist whose
work they have not previously
seen has good credentials.
An ordinary man inclined
to buy The Dockyard Smithy
would be biassed by being
told that it was honoured by
a medal at the Paris Exhi-
bition, and a collector would
hasten to secure the last
proof of A Spring Afternoon,
not because it is one of the
most charming little etchings

painting or drawing; the most difficult is the direct executed in this country during the present genera-
interpretation of nature, when the composition, the tion, but because the plate has been lost and no

design, and the relative values of the bitten lines more impressions of it can be obtained.

have to be determined upon

in face of the multitudinous

details and shifting effects

of natural landscape, lit by

sunlight and harmonised

by a thousand blended

tints.

It is to solve the pro-
blems presented in this

branch of art that Mr.

Burridge has, in his scanty

leisure, more particularly

applied himself, and as we

study the proofs of his

plates we pay him our first

tribute by wondering if they

can really have been done

in the open air. Accepting

this as the fact, we pass on

to find in them something

of the mysterious charm of

nature, most of which must

always be lost in fixing an

impression, especially with-
out colour : and then, being

])leased by his pictures, we

feel interested in finding

DUt why we are pleased,
md what their intrinsic

merits are. I say intrinsic,
280

THE LITTLE SMITHY

BY FRED.

BURRIDGE

F. y. Buryid^e, R.E.

. L ' '^^^^V-^vA

'iii7?S^~

Wi.^. , .

PATRIARCHS

FROM AN ETCHING BY FRED. V. BURRIDGE

Mr. Burridge, then, is a safe man to admire : he
has received an excellent training under the best
master, he knows the various processes as only a
teacher can know them, and he has long passed the
probationary period of his career, although the
total number of his plates does not exceed about
fifty. He has done some delicate dry-points and
etchings of figure subjects, but the nine proofs of
landscape subjects which we are able to reproduce
are more characteristic and amongst his best, and
show by what paths, at present at any rate, his
genius is leading him. It is, perhaps, useless to
refer to other plates which are not shown, but his
Lancaster^ a fine landscape of the same type as
Harlech, is already known to readers of The
Studio ; and Traelh Bach ought not to be omitted
in any mention of this artist's work. Amongst the
illustrations the proof of A Spring Afternoon, to
which allusion has already been made, was printed
by the etcher. The plate is very small, only five
inches by three and a half, but in my opinion it
exhibits great qualities often found wanting in

large plates of better known men. The treatment
is original, the means used are economical, and
the atmospheric effect, which is given by lines and
not ink-tones, is successful beyond the ordinary.
The lines on the windmill are of very great
delicacy, and where there is foul-biting it seems
intentional. Very different are The Pride oj
North Devon and Wisht Weather, which are large,
elaborate, and carefully thought out. Bideford is
the origin of both. The most striking thing about
them is their atmospheric effect and the treatment
of the sky. I do not know any other etcher who
has devoted such serious attention to this difficult
problem of the sky. Harlech has a thunderstorm
and a rainbow in it : a study near Appledore is
well described as Thunder Weather, and a similar
one near Morecambe Bay may also be recalled by
those who make an annual pilgrimage to Pall Mall.
Harlech is technically a very good plate, as
indeed they all are, but apart from that it forms a
romantic and beautiful picture which is not open
to tlie criticism so often heard that it does not

281

F. V. Burridf^e, R.E.

explain itself, or is "unfinished." There is nothing
hasty or ill-considered about it, although it is full
of boldness and vigour and must have been actually
etched in a fine frenzy of enthusiasm. Wisht
Weather K a less beautiful subject, but The Pride of
North Devon, which was in the Paris Exhibition,
is equal to Harlech in this particular quality.

Sand-grain is used on this plate very judiciously.
After the plate is grounded or re-grounded, a piece
of sand-paper is rubbed over the surface where a
tone is required, and the marks made are bitten in
the usual way. The same effect may sometimes
be given by aquatint, by the roulette, or by
foul-biting, but whichever is used the risk of
making the plate appear muddy, confused or lazy
is considerable. There is little or no grain or tint
in the engraving of the plate exhibited last year —
The Marsh Farm, which Mr. Burridge always
prints himself. It is instructive to note that he is
one of the very few who are really capable of
printing their own plates as well as or better than
professional printers, and that he prefers to print

himself those which seem to require sj)ecial
attention. Amongst these are The Old Shipyard,
At Loivest Ebb, Willows in the Marsh, A Spring
Afternoon, Bidcford Bridge, Wisht Weather,
Morfa, Harlech, and Evening on the Yore.

In printing this proof of The Marsh Farm he
has left a slight trace of ink on the plate to suggest
the dreary wind and coming rain, but it is almost
a pity, as the etched work needs no assistance of
this kind, however useful it may be in some cas2s,
perhaps in most.

The plate is a very fine one from every point of
view, and it should increase Mr. Burridge's reputa-
tion. It has no local interest such as must ever
be inseparable from such a subject as Bideford
Bridge ; it has no horseman, no girl with a pail,
and no geese, but this only leaves us at liberty to
admire the delicacy of the distance and the glory
of the sky behind the shivering trees.

The Dockyard Smithy, which won the bronze
medal, and The Little Smithy are of a different
sort. The former is difficult, dashing, and original :

WISHT WEATHER

282

FROM AN EICHING BY FRED. V. BURRIDGE

n«

"THE MILL IN THE WIRRAL." from
THE ETCHING BY FRED, V. BURRIDGE.

rmrmr

.^.^-^

"V^-,.

"THE PRIDE OF NORTH DEVON." FROxM
THE ETCHING BY FRED. V. BURRIDGE

i^'

F. V. Bitrridge, R.E.

'THE DOCKYARD SMITHY

«V FRED. V. BURRIDGE

interesting without being beautiful, and characteristic-
of Mr. Burridge's impetuosity and daring without
resembhng his other plates. The latter has only one
fault, and that is that it looks as if it might have been
etched almost, if not quite, as well by at least two-
other contemporary artists. Otherwise it is as nice
as can be. The subject has attracted many to attempt
it, and no one has done it better. In fact it is a
model study, and will doubtless send many beginners
to the workshop : but beautiful as it is it does not
declare itself to be the work of the maker of The
Alarsh Farm. It was done as an experiment in
getting all the values by crosshatching, so that the
etching could be carried through in one biting. With
the exception of a few lines in the foreground this
plan was carried out, and it is a brilliant example of
technical accuracy.

Another study, Patriarchs, is less interesting as a
picture, as it is merely a finished etching of trees
in full foliage, but it is solid and well thought out..
Tlie Alill ill the Wirral, a small plate, attracts us
much more : it has more originality and life, and
certain elements of sketchiness, and hints of accidents
and bits of overbiting, and daring shadows which
capture the fancy, as tired of the perfect as of the-
uncouth. It is one of the moot points, whether an-
etching ought ever to be perfect, in the sense that
Palmer's and David Law's were perfect, or whether it
ought to be content to be suggestive ; it is certain,,
however, that an etching ought not to be uncouth, or-

'THE MARSH FARM
286

BY FRED. v. BURRIDGE

"HARLECH CASTLE." FROM THE
ETCHING BY FRED. V. BURRIDGE

Lester G. Hornby s Sketches

tininteresting, or hesitating. Judged by his best
half-dozen plates Mr. Burridge stands high. He
is a facile draughtsman with an unusual power of
representing sympathetically the dignity and rich-
ness of nature in stormy and in quiet moods. He
strikes a personal note, and without belonging to
any particular school he seems, to my mind, to
reconcile two opposing ideas, the suggestive and
the pictorial. His plates are certainly not too
suggestive, and if they were too pictorial they
would, I imagine, be more eagerly bought. They
are known to and admired by all etchers, and will
become better known and more appreciated as

tmie goes on.

F.N.

URTHER LEAVES FROM THE
SKETCH BOOK OF LESTER G.
HORNBY.

Most readers of The Studio will doubtless
remember the pen and pencil work of this young

American draughtsman, for numerous examples of
it have already appeared in our pages. Since he
came over from Boston a year or two ago his
pencil has been busily employed in noting places
of interest in England and elsewhere.

Mr. Hornby's drawings show appreciation of the
properties of lead pencil. He selects his point of
view and emphasises certain portions of his draw-
ings with the skill of one accustomed to look at
things to impressionistic ends. He understands
the character of the things he draws ; for instance,
in the sketch of Blackwall Reach, a knowledge is
shown of shipping craft, which gives meaning to the
necessary simplification in a scene of much detail.
In their character generally these drawings are
matter of fact and precise, whilst still suggestive
of the movement of London street and wharf
scenes. The artist is apparently not limited in his
range of subject, and by varying his method of
using the pencil he avoids a monotony which is
often common in this class of work.

i»-^^.w<^

■• ' A Chester Street "
288

Fiom the pencil drawing by Lester G. Hornby

r^'i. f^(i K

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From the pencil drawing by-
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An American Country House

it interesting as a whole,
handling of

"^"'^ntm

MR. L. C. TIFFANY S HOUSE FROM THE HANGING GARDEN

N AMERICAN COUNTRY
HOUSE. BY SAMUEL HOWE.

As in his designs for mosaic or for
enamel or for glass, or indeed for any decorative
problem, Mr. Louis C.
Tiffany, of New York,
thinks for himself in mat-
ters architectural. As a
painter he has gone to
nature in studying how to
build and to enrich his
house and grounds out on
Long Island, at Cold Spring
Harbour. The skilful
subtlety of his expression
reveals a sensitive and a
sympathetic personality. It
is to be seen here in the
selection of his materials,
which are generally of the
commonest description and
at the service of any of us.
It is seen, too, in the direct
and remarkable use he
makes of them, and the
manner in which he rele-

gates a plant or a flower to a place usually
held by ornament of architectural signifi-
cance, and again in the frequent refusal
to be controlled by the harsh rule and
iron despotism of classic precedent. He
often sweeps away academic adornment
as mere swaddling-clothes, and lets the
building stand free of added trimmings,
trusting to proportion and to line to make

In the adroit
his materials he has so-
adjusted the accent as to retain a proper
relation between the ornamental parts,
and in this way preserves the sanctifying
influence of plain surfaces so essential to
the independence, and sometimes to the
very life, of each element. This he has
succeeded in doing without caprice or
affectation and often unconsciously.

There is an Oriental note in the house ;
it is to be found in the tower in the
entrance, and perhaps most of all in the
court. The court is the centre of every-
thing here ; from it the main rooms, the
terrace, and the hanging garden radiate.
Yes, the court is very beautiful I And
yet with all its grandeur, its large white-
pillars backed with quaint arabesques of pine-trees,
its marble pavements, its costly rugs and velvets,
its balconies, and its purple awning hanging high-
suspended from the roof, it is to the fountain,
half-hidden by plants and flowers of charming^

INSIDE THE COURT OF MR. L. C. TIFFANY's HOUSE

•94

An American Couutrv House

MR. L. C. tiffany's HOUSE AT COLD SPRING HARBOUR, LONG ISLAND

THE HANGING GARDEN AT MR. L. C. TIFFANY S HOUSE

= 95

An American Country House

the walls. Some of the
cedars are seventy feet high.
The general tone of the
living-room is grey-green ;
and the ingle-nook reaches
half-way across the room.
The fire is literally on the
hearth, without recess or
jambs to bewilder the smoke
from the logs burning upon
it. The dining-room is a
study of blue and rose, its
walls being covered with
plain coloured canvas, re-
lieved only by a frieze m
white and silver-grey.

The house is interesting
as one of the first to be
erected since the newly
awakened sense of decency
in country house building.
It illustrates the value of
local possibilities, and shows
colour, that we naturally turn as we enter. The that progress is not always to be made by the
fountain is a vase of clear glass standing free in adaptation of the good things from across the sea.

DINING ROOM FIREPLACE IN MR. L. C. TIFFANY S HOUSE

an octagonal tank of marble. By some
hidden means the water enters at the
bottom of the vase and overflows at
the top, passing thence by a shallow
channel of marble out on to the terrace.

The house stands on a foundation
wall of concrete, which comes up to the
height of the sill of the main windows,
:uid is very wide and massive. The
superstructure — of stucco on a frame of
wood — sets back, leaving a wide ledge
on the top of the concrete. This forms
a continuous base to the upper part of
the house, and is so adjusted that as it
runs round it intersects with the terrace-
walls and the hanging garden, tying all
together. A copper trough counter-
sunk into the ledge contains soil for
plants. The roof of the house is of
copper, which, by means of acid, is turned
a beautiful bluish-green. The general
tone of the walls is cool grey.

The native woods of chestnut, tulip
oak, sassafras, and cedar are thick in
[places with the wild azalea, the mountain
laurel, the honeysuckle, the trailing
arl)utu?, and the yellow violet. They
flourish. And their superb lace -like
shadows tone the rough sand finish of
296

S. H.

■r^^

LIVING ROOM AND INGLE-NOOK IN MR. L. C. TIIFANY'S HOUSE

Prof. L'augers Gardens at Mannheiui

GARDEN AT MANNHEIM EXHIBITION

ROFESSOR LAUGER'S
DENS AT MANNHEIM.

GAR-

A STRANGE fact in connection with the
modern movement in German arts and crafts is that
it has been brought about by rank outsiders, who
so far from receiving the support of those engaged
in the various trades, have encountered, and still en-
counter, the strongest opposition from those quarters.
If we are able now to speak of German " Kunst-
gewerbe," we owe it entirely to a small group of
sculptors and painters who perceived what the need
of our age was, and with the impetuous enthusiasm
of youthful world-reformers took the field against
deceptions and senseless imitations of all kinds.

And now after the lapse of a few years the same
thing is taking place in regard to garden design,
and here, too, it is the painters and architects who
demand an abandonment of the usages hitherto in
vogue and call for an arrangement of the garden at
once more rational and in accordance with the
spirit of the times. Again, too, are the reformers
vigorously assailed by the professional specialists
as presumptuous, officious disturbers of the peace.
The average gardener of the present day does,
indeed, claim to be " modern " and to go with the
times when he plans his much-loved carpet flower-

beds in " Jugend-Stil,"' and, instead of repeating
once more the eternal star pattern, allows the noto-
rious " Belgian line '' to disturb the wonted order-
liness of his beds. But it never enters his head
that this sort of thing only proves how irrational and
incapable of understanding the deeper meaning of
the movement he is when he sets himself against
these endeavours to put an end to unnatural,
ridiculous imitation. He swears by the naturalistic
garden. How ludicrous is the idea of trying to
imitate an endless stretch of landscape in a small
confined space does not occur to him, and the con-
tention that house and garden should be treated
as parts of a coherent whole seems to him absurd.
Often indeed it looks very much as though the
gardener, witli his tortuous paths running this way
and that way, had taken pains to avoid contact with
the house wherever possible, as if wishing to
proclaim that house and garden are separate and
distinct. That the peculiarities of the site may
call for study, and that the form of the garden may
depend on the position of the house to which it is
an adjunct — such obvious considerations as these he
fails to grasp, and that is why he rises up in arms
against those who wish to bring about a change.

In years gone by the early pioneers in the arts
and crafts, after overcoming untold difficulties, had

297

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Prof. Lauger s Gardens at Mannheiiu

perforce to demonstrate iheiraims and powers at exhi-
bitions, to which they were onlygrudgingly admitted,
for no opportunities for practical work were open
to them. It is the same with the garden architect
who pursues the new aims. In order to demon-
strate his ideas he has to rely on exhibitions. But
all exhibition gardens, such as those we have
seen at Dresden, Diisseldorf, Oldenburg, Darm-
stadt, and quite recently on a large scale at
Mannheim, have iheir weak side. What they lack
is the house, and with it the possibility of proving
in the most convincing way that house and garden
together form an organic unity, which is the point
of chief significance. The artists who undertake
the laying-out of exhibition gardens must therefore
at the outset confine themselves to showing what
the possibilities are of so blending the architectural
features with the botanical and plastic decorations
as to make a properly co-ordinated, harmonious
whole, and to giving suggestions and hints.

Thus it was with Prof. Max Lauger at the recent
Horticultural Exhibition at Mjnnheim. In a series
of fifteen gardens, each independent of the others, he
proved anew that the fantasy of the creative artist
may disclose numberless possibilities undreamt of

by the professional gardener with all his wisdom.
These fifteen separate gardens enabled him to
create a series of pictures capable of multitudinous
variations and to effectively carr)- out a diversity of
ideas. Thus, in one case (page 302), certain kinds
of trees, such as birches, silver poplars and maple-
trees, were disposed in groups on grassy plots in
such a way as to emphasize their characteristic
growth and coloration ; in another he selected a
single colour for the entire garden, achieving a
harmonious gradation of tone by a shrewd selec-
tion of flowers ; in yet another, animation was
imparted to broad stretches of grass by beds of
gaily-coloured flowers ; but in all cases he studi-
ously avoided everything trivial and fantastic, and
aimed to produce the quiet, restful effects incidental
to broad expanses. Thus he divided the garden
where the huge bronze figure of an elk forms the
crowning feature, into two equal-sized grass plots
embracing a flower-carpet of varied hues. Rows
of maples were planted leading to the figure, while
encircling it was a line of shrubs or flowering under-
shrubs, the whole being surrounded by a massive
wall, interrupted only by the trellis intended for
climbing plants. What could be simpler ?

P.ATH- HOUSE, MANNHEIM EXHIBITION

299

I— (

CO tn

O W

Prof. Laiigers Gardens at Mannheim

BATH-HOUSE, MANNHEIM EXHIBITION

The bath-house (see above and p. 299) formed
the central point of the entire scheme. The idea
of the architect was to provide the possessor
with the amenities of open-air bathing combined
with the aesthetic gratification afforded by the
garden environment. In addition to a domed
apartment which serves as a bath-room, the house
CDntains a comfortably equipped dressing-room
and a pleasant sitting-room. Communication
with the outside bath, which is a rectangular
basin without covering, is through a forecourt,
the columns of which, like the entrance - lobby,
are decorated with brightly - coloured Lauger
tiles.

The two rose-gardens which Professor Lauger
designed for the exhibition (see pp. 298, 300 ) were
additional to the fifteen above mentioned, and were
intended less as adjuncts to a dwelling-house than
as independent ornamental gardens. In that to
the left of the main entrance (p. 300) the
effect, as carried out, in spite of the almost
perplexing display of architectural accessories,
is much more subdued than would appear from
the drawing. This result was reached by varying

the level of the ground in difterent parts of the
garden, in consequence of which they appeared
to be more sharply divided than if they had been
of uniform level. Thus the innermost portion
with the fountain was on the same level as the
peripheral sections, while surrounding the inner-
most portion the ground was raised so as to form
a terrace from which the whole of the garden could
be surveyed.

Professor Lauger has without doubt provided a
fruitful source of suggestion in these Mannheim
gardens. But the problem of artistic garden-
planning, as it presents itself at the present day,
cannot be entirely solved by exhibition gardens. The
garden which is to conform to the conditions of life
nowadays cannot be moulded on the formal French
garden of the 17th and i8th centuries, nor must it
follow the garden of the so-called Biedermeyer period,
with its flavour of sentimentalism, however much
may be learned from them both. The condition
which the modern garden has before all to fulfil is
that of a pleasant out-of-door habitation, and the
needs of everyday life must determine its develop-
ment. L. Deubner.

501

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1— 1

Mr. Norinmi Garstin on Stencil Cntting

N STENXIL CUTTING: AN
OPEN LETTER FROM MR.
NORMAN GARSTIN.

Dear Mr. Editor : — When I accepted your

the stencil entails is even more valuable — it is the
most severe and exacting master of simplicity. It
teaches one how to sweep away all that is trivial and
unnecessary ; it shows one the value of broad, flat
tones combined with accurate drawing, and proves

invitation to write something on the subject of my conclusively the vital importance of composition,
stencils I had hardly realised how difficult it is to Then its power in helping us to a good selection
speak of one's own work without falling into the bad of colour is a distinct point because, having the
taste of a seeming egotism, or the absurdity of an drawing fixed, one can experiment until one arrives
affected modesty, more particularly when the matter at a harmonious combination. That it is extremely
was one of such small importance as these few delicate and difficult, and requires patience and
essays of mine represent. Still, as you persist that neatness of handicraft, is also in its favour, for it is
you would like me to say my say in the matter, I certainly not an artistic short cut, and is not likely
will try and steer as simple a course as I can, but to be vulgarised by a host of cheap performers,
first I wish to explain that these examples of mine To anyone who is so uninformed as to the pro-
are only Christmas cards designed with the double cedure of stencilling that my advice might be of
motive of pleasing myself with an excursion into service, I offer these few remarks,
(to me) a new technique, and my friends with a Having chosen some simple decorative design

little memento of good fellowship with which to you must, if you wish to work it in several colours,
mark the calendar of our years. In this way you think out the various plates, the greatest care being
came to have them, and if your friendship has necessary to avoid the ever-present difficulty of
warped your judgment it is not the first time such stencil-making, which is of the same nature as that
a thing has chanced in the history of art. which meets one when trying to cut out the letter

You ask me to say how I do them. This O. The centre drops out and ingenuity must be
reminds me of the Irishman who on being asked exercised so as to retain essentials without the
how a cannon was made said, " Oh, ye jist take clumsy device of unmeaning straps. Care must
a hole and pour iron round it." Substitute
colour for iron and you have the stencil, but
in both cases it is the hole wherein lies the
difficulty. The cutting of stencils is an art
that can be carried to almost any degree of
delicacy, from the lettering on a packing-
case to the delightful pictures which you
published this summer by Herr Jungnickl,
which seemed to possess all the qualities of
admirable draughtsmanship with a depth
and mystery that raised emotions untouched
by the most intricate and beautiful pattern-
work of the Japanese — those past masters
in the art.

It is this possibility of producing some-
thing pictorial and not merely designs, admir-
able though they be, that seems to me a
delightful and somewhat unexplored region
in the very closely populated art world.
The stencil as a means of producing and
multiplying your work has much to be said
for it. The apparatus is so simple, — a knife
and a few brushes (flat topped) is about all
one wants for the old-fashioned methods —
but with the air-brush or the syringe of
Herr Jungnickl's method, a little more com-
plication results.

But the mental and artistic discipline which

304

bTKNCIL CHRISTMAS CARD

BY NOR.MAN GARSTIN

StiLdio- Talk

STENCIL CHRISTMAS CARD

KY NORMAX GARSTIN

air-brush, which must give very deli-
cate results ; but the end will justify
the means, and in art all means are
good, because they help us to variety.
Stencil - making requires a great
deal of forethought, particularly with
several plates, and a very nice pre-
cision in fitting these together. In a
word, to make a good stencil, one
wants, besides a pen-knife and a
brush, prevision and precision, some
invention, and a lot of patience.
If you succeed, you have produced
;i work of art wliich you can multi-
ply at will, but which, nevertheless,
need never become common : for
each example is a separate creation
of chosen colour and tone, and will
contain variations in proportion to
your personality ; and this variation
due to temperament is of the essence
of art, and should make the collect-
ing of stencils also an art requiring
more than usual ronnoisseurship.
I am.

Yours sincerely,

T3 Norman Garstix.

renzance.

also be taken to avoid loose and disconnected
parts, which will rip up and break off when the
brushwork begins. A good design is tied together
by the very parts that render it beautiful in com-
position. In using several plates of course the
greatest care must be taken to make them coincide,
but experience will show that, even when they are
exact in edge, the brushwork either leaves an
interval or else overlaps : therefore for this some
allowance must be made.

In stencil-cutting I use tough drawing-paper, lay
it on glass, and cut with a sharp-pointed knife,
reinforce weak, delicate parts, and paint it with
knotting or some such varnish to further strengthen
it. This necessity for strength of course vanishes if
you use the air-brush or the syringe recommended
by Herr Jungnickl : but for brushwork — and the
brush has its charm as well as its faults — it is
necessary to have plates of some power of resistance.
I generally use oil colour as being more manage-
able than water colour : but it must be used very
sparingly, rubbing steadily until the colour gently
stains the paper ; this leaves a very delicate edge,
and it is possible to graduate your tones to any
extent. I confess I have no experience of the

STUDIO-TALK.

(From our Own Correspondents.)

LONDON.— The Annual Exhibition of Arts
and Crafts at the Baillie Gallery, held
just before Christmas, has never been
of a higher standard. The Voysey
room, devoted entirely to work carried out from
designs by Mr. C. F. Voysey, and the beautiful
display of Martin-ware made the exhibition par-
ticularly rich in decorative work of distinction. A
room of drawings by Miss Pamela Colman Smith
re-introduced that artist in a new phase, or rather
the further development of a recent phase. Her
music pictures, which are drawn under the influence
of music, in concert rooms and at' other times, have
the qualities of mystery and rhythm which are derived
from this rare source. A set of twelve etchings by
Mr. Gordon Craig, on view in these galleries, were
confined to plates suggesting highly imaginative
scenes which he hopes to re-create with the illusion
of stage-craft in the modern theatre. Meanwhile
we are glad to see these plans preserved thus by
plates which in themselves are of great artistic
value.

studio- Talk

Foreign water-colourists are not slow to admit
that their art originated and has found its greatest
exponents in English hands, but there are few who
so fervently and continuously worship the memory
and the work of De Wint and David Cox as Signor
Onorato Carlandi. Signor Carlandi combines the
practice of teaching with that of painting, and
to meet the wishes of pupils who could not
undertake a journey to Rome, he held a class in
Wales last summer, selecting as his headquarters
Bettws-y-Coed, so closely associated with Cox.
No region in the whole of the British Isles pro-
duces such a wealth of subject, with such an
infinity and variety of detail, whether of earth, air,
or water : the skies a profusion of clouds, the
heights everywhere presenting range beyond range
of hills, the valleys a mass of luxuriant foliage,
and the streams a rockstrewn patchwork. Great
were the difficulties presented to the students, but
they gave the master just the opportunity required
to enforce the teachings of his English forerunners
in water-colour art, and the text he again and again
preached from was : La plus i:;rande vertu de r artiste
dest le sacrifice. Signor Carlandi is an impres-
sionist, but only in the sense that De ^Vint and

Cox were in including in a picture only sufficient
form, composition and colour as are necessary for
a satisfying mise-en-scene. Carlandi demands that
all these must be completed before Nature — by
the tyro because of his ignorance away from it,
by the professional because with his knowledge
there is ample time in which to do so. But
everyone is not such a rapid or audacious drafts-
man as he, and few there are who could produce
such a tour de force in a short day's work as the
Moel Siabod, which we illustrate, and which is a
water-colour with a base line of over thirty inches.
This, with other pictures resulting from the sojourn
in Wales, was recently on view at the Fine Art
Society's Galleries.

The last exhibition of the United Arts Club at
the Grafton (jallery was a particularly successful
one, calling attention to the amount of talent that
is comprised in the club's membership, besides
that displayed in the work of such well-known
members as Messrs. John Lavery, S. J. Solomon,
R.A., Alfred East, R.A., Walter Crane, T. Austen
Brown, T. F. M. Sheard, F. Spenlove-Spenlove,
Arthur Rackham, E. Borough Johnson, all of

MOEL SIABOD FROM LYN ELSI
^06

BY ONORATO CARLANDI

Studio- Talk

which were made by Mr. Richard Garbe in some statuettes,
also by Miss Gwendolen Williams, Mrs. Jackson Clarke and
Miss E. A. C. Bower in a set of medallions.

The water-colour drawing of St. Martin's Bridge, Toledo,
by Mr. H. C. Brewer, was one of a most interesting collection
which he exhibited a few months ago at the Fine Art Society's
Galleries under the title of "The Cities of Spain." A long
training in architectural drawing, combined with a mature
feeling for colour and atmospheric effect?, gives to Mr. Brewer's
work an interest which is more than topographical.

The water-colours of Mr. and Mrs. Young Hunter at the
Fine Art Society were notable on account of the novelty of
the composition in many of the pictures and the distinctive
features of the colouring, though just here and there perhaps
a note of colour seemed falsely struck or artificial. These
painters have cultivated a habit of treating their subjects in
a style in which both seem equally at home, and they share
an original and partly decorative way of sketching which, whilst
making their results much alike, is not to be identified with

1^^ Hm ^ ii

-»-

THE DEVILS KITCHEN, LVN IDWAL

BY ONORATO CARLANDI

whom were represented, and Mr. J. Craw
hall's art by some colour prints. Lady
members who contributed pictures particu-
larly deserving of note were Mrs. Borough
Johnson, Mrs. Arnesby Brown, Mrs.
Dorothy Osborn, Mrs. M. Young Hunter,
Mrs. Julia Creamer, Mme. Canziani, and
the Misses A. L. Rankin, L. Defries, May
Furness, and Flora Lion. There was an
interesting display of jewellery by Mr.
Paul J. Cooper, many attractive minia-
tures by various members, and some
sculpture, noticeable contributions to

!?•

^.■jr

* '4

ST. MARTIN S BRIDGE, TOLEDO

BV H. C. BREWER

studio- Talk

any one else's work of to-day. The exhibition
was unique and attractive in character.

At the Bedford College for ^Vomen Mr. George
Thomson brought together in December a loan
collection of some sixty water-colours, including
two remarkable examples of Cotman's art, work
by David Cox, Harpignies, ^^'histler, Brabazon,
Conder, Bauer, Sickert and other modern water-
colourists of distinction. We were glad to see his
own fine work in the medium not unrepresented.

Mr. W. Alison Martin, whose first "one-man
show " was recently held at the Baillie Gallery in
Baker Street, is one of the youngest members of
the Liverpool Academy. In 1900 he won the
gold medal for drawing at the Liverpool School of
Art and a travelling scholarship with which he
went to Paris and studied under Bouguereau,
Ferrier, and Rene Prinet. After visiting Italy
Mr. Martin returned to England, where in 1902
he exhibited at the Royal Academy a large
bacchanal entitled Evoc .', and continued his
studies under Mr. A. E. John at Liverpool. From
his exhibition at the Baillie Gallery we reproduce

The Pearl Gatherers, an excellent example of this
young painter's powerful rendering of form and
poetic treatment of the nude.

Appreciators of the higher forms of decorative
art always turn with confidence and pleasure to the
productions of Mr. R. Anning Bell. We give as a
supplement this month a reproduction of a panel
in coloured plaster by him which was recently on
view at the Fine Art Society's. Mr. Anning Bell
has at times expressed himself through this medium
with much beauty of result and with great advant-
age in interior architecture.

More than one gallery has of late been showing the
coloured etchings of the modern French School.
A large collection of these were exhibited last
month at the Dore Gallery by Messrs. Georges
Petit, who have placed some very successful prints
on the market. These prints bring within the
reach of people with the slenderest purse a form of
art which is the closest approach to original work.
One may perhaps say that there has never been
placed before the public so cheap a form of good
art. One has but to remember the vogue of the

"the pearl gatherers'
-.08

(In the Collection of Alfred Earl, Esq.)

BY ALISON MARTIN

•'MOTHER AND CHILDREN."

FROM THE PLASTER PANEL BY

R. ANNING BEL L."

studio- Talk

ENAMEL PANEL

oleograph to congratulate
the general public of to-day
on their opportunities of
commanding something of
the first order for a very small
sum. The prints of Fritz
Thaulow have increased in
value. It was his work that
first familiarised the people
of this country with the
process.

A painter of considerable
gifts is Mr. Frederick Yates,
who has been showing at
Mr. Van Wisselingh's Gallery
a series of canvases marked
with a real appreciation of
nature and developed colour
sense.

the unusual dignity of his
design, have placed their
own stamp upon his work
among that of contemporary
artist craftsmen. The two
works reproduced on this
page, the overmantel and
the design for a shrine in
silver, gold and ivory, are
recent products of his studio.

BY ALEXANDER I ISUER

The December exhibitions
at the Leicester Gallery in-
cluded the original drawings
by F.dmund Dulac for the
illustrations to Mr. Laurence
Housman's version of "The
Arabian Nights," and one or
two other pictures. The
artist's wide range of colour
effects created a pleasing
impression. He attains

Mr. Alexander Fisher's
work is prodigal of inven-
tion : very little time passes
between the production of
one important work and
another. Apparently the
resources of his imagination
are inexhaustible ; and the
sincerity of his intentions,

CHRIST ENTHRONED

MODEL OF SHRINE IN SILVER, GOLD, AND IVORY

BY ALEXANDER FISHER

Studio-Talk

beauty in no small measure in the delicate
matching and contrast of one softly-coloured
piece of drapery with another, and in the dis-
position of lines. In all these illustrations to
the famous stories his women are drawn with
careful regard for beauty, and it is only in the
faces of the men that his treatment approaches
the grotesque ; but on the whole he keeps this
element within the bounds appropriate to the
subject.

We have had occasion more than once to refer
our readers to Miss A. M. Bauerle s work as an etcher
for pleasantly imaginative qualities and appreciation
of childhood. The recent plate of hers called
A Casual Meethig, which we reproduce, is an
attractive specimen of her art.

Considerable progress has been made during the
last year or two in colour photography. Many
experimenters have been at work on different lines,
and already some remarkable results have been
attained. As an example of what can be done
with a single plate, the accompanying reproduction
of Mr. Alvin Langdon Coburn's " autochrome "
photograph of Miss Lillah McCarthy, the actress,
will, we are sure, interest our readers, whether they
have followed recent developments or not. Our
reproduction is, of course,
made from the trans-
parency itself, no means
having yet been found of
taking a print from one of
these plates.

Mr. Nelson Dawson has lately made somewhat
of a departure in the technique of jewellery work
in his treatment of enamel and gold. For his
purpose he has invented an especial ground of
precious metal which has given him rare results in
brilliancy of colour, whilst forming a safe base for
the enamel. Mr. Dawson has thus surmounted
two of the greatest difficulties in the art of the
goldsmith, and visitors to a recent private exh bition
of his work were rewarded by .^eeing achievements
greatly in advance of anything hitherto attempted
in a similar direction.

LIVERPOOL.— Since the removal of his
studio to London the periodical visits
of Robert Fowler to Liverpool are
welcomed as keeping him in to ich with
his many friends and admirers here. A choice
little collection of his landscapes in oil, lately on
view in the tasteful galleries of Messrs. (jiind'ey &
Palmer, were all remarkable for extreme brilliancy
of illumination without loss of delicacy and re-
finement. It would be difficult to imagine that
paint could be carried further in this one particular
direction, as evidenced especially in the 22-in. by
i6-in. pictures entitled FJful Gkams, Ortne^ s Head ;
Snowdon, from Beddgelert Road — Noonday ; and
Mountain Stream — Sunny Afternoon. Of course.

Mr. Augustus John ex-
hibited his drawings at the
Carfax Galleries at the be-
ginning of last month.
There was considerable
variety in the work brought
together, but there was also
evident an inequality and
indecision of purpose not
easily explained. But let
Mr. John be as obscure
as he will, and though
his work is misun-
derstood to the full, a
vitality underlying and
quite independent of any
shape his art may take,
betrays itself in his draw-
ings for our admiration.
312

A CASUAL meeting" (ETCHING)

BY AMELIA M. BAUERLE

•'' i

PORTRAIT OF MISS LILLAH MCCARTHY, from an

studio- Talk

the effect is produced by extreme loading of the
pigment ; still one is bound to confess that the
artist has lost nothing of subtlety and beauty of
gradation, but has achieved a great success.

Several attractive Studio Exhibitions are to the
fore at the moment of writing. Mr. Hamilton
Hay's water-colour drawings, recently reproduced
in Mr. Dixon Scott's book on " Liverpool," serve
to inform and maintain civic interest in a manner
onTy too rarely attempted. The drawings, vellums
and embroideries of J. Herbert and Frances Mac-
nair, exhibited at the Sandon Studios, form a
unique collection of very imaginative work com-
prehended perhaps by comparatively few people
through the subtlety of its poetic feeling and
very characteristic repre-
sentation.

butions I should mention A Fresh Water Carrier
of Toledo, by Sir Hubert von Herkomer, a
water-colour with all ihe robust vigour of oil ;
three sti iking contributions by Mr. James Pater-
son ; portraits that compelled attention, by
P. A. Hay ; Eastern studies by R. W. Allan,
R.W.S., that invited comparison wiih the Melville
water-colours in an adjoining room ; outdoor
sketches by Geo. Houston, distinct in treatment
from all the other pictures in the room ; a gem-like
representation of life at Tangier, by Hans Hansen ,
one of those mellowy, dreamy masterpieces by Mr.
D. Y. Cameron, in which the colours merge and
blend into a soothing harmony that entrances ;
and others which helped to make the exhibition
eminently successful.

A most interesting col-
lection of pictures pro-
duced for illustration of
books has been arranged
in the large hall of the old
Blue-coat school by the
" Liverpool Courier," who
are entitled to much praise
for the first local venture
of the kind. The leading
designers and illustrators
of the day of the most
original type have con-
tributed work of extreme
interest, and the books they
have embellished with their
skill and fancy may be
viewed alongside in the
same exhibition.

H. B. B.

LASGOW. —

At the twenty-
eighth annual
exhibition of
work by members of the
Royal Scottish Society of
Pa nters in Water-Colours,
recently held at the Fine
Art Institute, in all one
hundred-and-sixty examples
of the best water-colour
work of the year were
shown. Amongst some of
the more notable contri-

ARGYLL's lodging, STIRLING "

FROM THE ETCHING BY
SUSAN F. CRAWFORD

315

studio- Talk

The art of Susan F. Crawford is familiar to
lovers of black-and-white, her work being found at
many of the important exhibitions, including those
held at Burlington House. But although most
favourably known as etcher, the artist by no means
limits her activities to the use of the needle, her
work in the oil medium, particularly when quaint
architecture forms the subject, being distinguished
by charming feeling and sympathy. Antiquity
makes a strong appeal to Miss Crawford, and
amongst the old-world relics at Edinburgh and
Stirling, and the early feudal castles scattered over
the greater part of Scotland, she finds a rich field for
the exercise of her genius. Old Drummond Castle,
the Perthshire seat of the Earl of Ancaster, is
one of the best preserved of the ancient Scottish
strongholds : the artist has faithfully depicted
the quaint architectural features that have so
long been one of the chief attractions of the
district of Crieff. Argyll's Lodging is in-
teresting in many ways, but chiefly because
it is perhaps the finest example of "Town
House " architecture in the old Scottish
style extant. Like many of the seventeenth-
century houses still in use, it had periods of
vicissitude, yet it stands to-day, a worthy
monument to the architect. Sir Anthony
Alexander, second son of the Earl of Stirling,
who enjoyed more than local renown as
Master of Works to King James VI. of
Scotland (James I. of England). Built in
1632 for the architect's brother, it became
the property of Stirling Corporation in 1664,
but two years afterwards it was acquired by
the Earl of Argyll, who, completing the quad-
rangle, connected it with his own house, a
building of much earlier date. It was acquired
by the Crown about 1800, and is now used
as a military hospital to the Castle garrison.
The etching faithfully conveys the character-
istics of the old Scottish style that is being
largely revived in the domestic architecture
of to-day.

motto and that peculiar quadruple sign at the
top, the other with the roses. " Non sine pulvere "
(Not without dust) indicates the Crusader's idea
of campaign, while the sword and the cross and the
heart are all significant. In the middle ages, when
pilgrims returned from the Holy Land, they wore a
simple shell emblem, and all men knew that they
had undertaken a sacred mission, hence the two
shells introduced in this design. " Swastika," the
highest, the fourfold sign, is to be met with in
nearly all the mysticisms over the world : its use by
the artist here is most appropriate. The rose is
emblematic of earthly love; the sweet p flower
proceeds from the heart, intertwines the golden
circlet, and reaches by the star of hope to the very
highest, to divinity. J. T.

Miss Dewar's work, seen at the recent
exhibition of the Glasgow Society of Lady
Artists, is interesting for other reasons than
because of an esthetic value ; there is an
inner meaning, a reflection of the earnest
student, diligent in pursuit of the secrets of
history and life, and quick to convey them
by a charming symbolism that is easy of
interpretation. Take the two book-plates
illustrated, the one with the Crusader's
316

"OLD DRUMMOND CASTLE
STIRLINGSHIRE"

FROM THE ETCHING BY
SUSAN F. CRAWFORD

studio- Talk

UBFIS

KOTMARINEGOCHRAMDCy

■v.

V'V-r

IitC l_Dc-»<.n

ELAAARCMIBALD

o
f

BOOK-PLATES

o.( it.

BY MISS LEWTHWAITE DEWAR

DINBURGH.— The Third Triennial

Exhibition of Edinburgh Arts and Crafts

I Club, held in their spacious studio at Bel-

* ^ ford Road in the end of November, shows
that the club is no mere band of dilettanti, but a
group of earnest workers. The club in its present
form consists of about sixty members, chiefly West-
end ladies, though the rules make no distinction as
to sex or social position. The main sections are
wood-carving, enamel work, bookbinding, em-
broidery, including applique, and the making of
lace. The bulk of the exhibits consisted of em-
broidery and laces, and in the first-named there
were several very fine specimens, showing not only
taste in design, but suitability of colour in carrying
out the idea. A large panel illustrative of the
quest of the Red Cross Knight, by Mrs. Traquair,
was probably the most outstanding piece of
needlework. In the wood-carving section the

competitive work was mostly small, but judging
by the manner in which some of it was done,
the club might well be a little more ambitious.
To judge by the number of enamels shown, this
seems to be a favourite art with the club, and
the examples of bookbinding were many of them
such as would bear comparison with some of the
best craftsmanship. A. E.

DUBLIN.— Miss Daphne Whitty, who is
now Manager of the Royal Irish School
of Art Needlework, has recently com-
pleted a frontal for the High Altar of
St. Patrick's Cathedral, Dublin, of which we give
an illustration overleaf. The framework of the
design was suggested by the old brasses in the
Lady Chapel of the Cathedral, while the figures,
which stand out effectively against a green back-
ground, symbolise AVorship, Praise, and Prayer.

317

studio- Talk

ALTAR FRONTAL, ST. PATRICK'S CATHEDRAL, DUBLIN

PARIS. — Berthe Morisot was one of those
forgotten or insufficiently appreciated
artists to whom the Committee of the
Salon d'Automne did homage at their
recent exhibition. With Mary Gassatt she was, by
reason of her subtle and charming gifts, one of the
most talented of the Impressionist phalanx. No
palette surpassed hers in vitality and freshness when
recording such subjects as flowers and sunny
gardens, groups of gaily dressed children, or
children at their play in the park or on the sea-
shore in a flood of dazzling light. As the sister-in-
law of Manet she evidently fell under the influence
of that highly gifted man, but at the same time her
individuality was attested by an ample endowment
of sentiment, by an original style of composition,
and by a truly feminine sympathy for children.
Like the other Impressionists, she was at first
absolutely ignored, but a few years ago MM.
Durand-Ruel organised an exhibition of her works,
and now the Salon d'Automne has definitely
established her fame. Most of the works shown
in the room set apart for her were lent by amateurs.
MM. Durand-Ruel also contributed some of them,
and three are here reproduced.

It was a happy idea of MM. Chaine and
Simonson to organise, as they did recently at their
Galerie des Artistes Modernes, an exhibition of a
choice selection from the works of Cazin. It would
indeed be hardly possible to do too much honour
to this great artist, who form a connecting link
between the art of the greatest Dutch landscape
painters and that of the Barbizon masters. At
this exhibition, where Cazin's painting once more
318

deeply impressed us with its noble simplicity and
broad, open jacture, the series of works brought
together were of various degrees of importance, but
all alike were interesting ; even in the least of his
little "notes" — be it a corner of the dunes
he loved so much, or an effect of light on the
marshes of the Somme — Cazin always speaks with

'•enfant en chemise" by BERTHE MORISOT

Studio- Talk

DANS UN PARC

BY BERTHE MORISOT

typical of Cazin — a Somme
landscape with thatch-
covered cottages in a corner
of the dunes where vegeta-
tion is scanty.

eloquence and succeeds in generating in us a
mysterious kind of emotion. The Village dans les
IDufies, reproduced on the next page, fascinates us
by its excellent composition. This work is indeed

An excellent exhibition
was that held at the close
of the past year by the
Societe Internationale
d'Acjuarellibtes, whose pre-
sident is M. Guillemot.
Side by side with water-
colours {aquarelles ) properly
so-called were to be seen
gouaches and wash-drawings
(lavls), and there was also
an interesting experiment
in fresco painting by
M. Jeanes. It is to him
that attention is chiefly
due ; he is an artist of
extraordinary originality
and power, and a colourist
of great breadth. His visions of the Dolomites
are incomparable alike by the vigour of their
execution and by the boldness with which these
works are composed. From the point of view

■.Jl^

"SUR LA plage" (pastel)

BY BERTHE MORISOT

studio- Talk

in that light which is pecu-
Har to the Highlands ;
magnificent cedars whose
uncommon shapes he excels
in delineating after the
Japanese manner ; old
castles reminding one of
the novels of Sir Walter
Scott, peaceful villages
beneath clear, smiling skies
— all rendered in pure
water-colour with much
sincerity of vision and
freshness of sentiment.

"VILLAGE DANS LES DUNES

of colour his Vague, an example of his extreme
accuracy of observation, is a tour de force. Very
charming, too, are his glimpses of autumn, with
big trees in their russet tints beneath a pale
sky. M. Eugene Bejot has executed in wash
fifty-two little views of the Paris he knows so well,
and they were at once attractive in point of
technique and admirable as documents. The
water-colours of M. Lebasque seemed to me a
little wanting in definiteness, while at the same
time giving evidence of a true feeling for colour.
Amongst the foreign contributors, M. Hagemans was
represented by some capital landscapes
with animals : von Bartels, by a domestic
scene, lit up by the flames from the fire ;
M. Cadenhead, by a night effect ; and
M. Ertz, by a Spanish woman carrying
water. Nor must we forget to mention
the contributions of M. Thornley, a
charming colourist ; and those of M.
Delestre and M. Paul Frachet.

BY J. C. CAZIN

M. Hessele has done
much to develop in France
a taste for modern etching,
and we owe to him our
knowledge of some of the
best among contemporary
workers in this field. In
continuation of his good
work he has recently been showing in the Rue
Laffitte some etchings by foilr artists who, though
little known at present, are assuredly possessed of
undoubted talent. M. Heyman, who has a remark-
able eye for composition, concerns himself with
reproducing the features of certain monuments in
the environs of Paris. His Abside de PhgUse de
r Isle-Adam is an excellent performance, and no
less so is his Vieille Porte a Menneville. Mr.
Andrew F. Affleck, a Scottish artist, is enamoured
of Tuscany. His Poiite - Vecchio, his Tour de
Giotto, and his San Gimignano are plates which

Two years ago M. Augustm Rey, the
distinguished architect of the Fondation
Rothschild, showed at Petit's a series
of water-colours executed in the Upper
Engadine, and now quite recently he has
been showing at the same gallery another
series. This time transporting us to
Scotland, he here shows us lochs bathed

VASES

BY MOREAU-NELATON

;20

Studio- Talk

VASES

BY E. DECCEUR

have all the veracity of documents, and at the
same time are handled with much freedom. The
poetic gifts of M. Fabre, the delightful painter
of the Rouerque, call for special appreciation, as
does M. Zeising, who reveals himself as a first-rate
painter of Paris. M. Hessele also showed three
works by M. R. Ranft : Le Bain, an etching in
colours. Mile. Raymonde, a
dry-point portrait, and Le
Pont du Miroir, an etching
in which we once more see
him to be the excellent
artist we have known him
to be.

One cannot help again
admiring the energy of
M. J. F Raffaelli, who has
been showing at the gallery
of M. Devambez, in the
Boulevard Malesherbes, a
series of his new etchings
in colour ; in these he main-
tains the great reputation he
has made for himself.

H. F.

Galliera a free exhibition consecrated to modern
art. The works sent in by artists are selected by
the jury with a most praiseworthy eclecticism, and
while they make a point of doing honour to those
who have already given proof of their talent, they
do not discourage those whose powers have not
yet come to full maturity. The Museum itself
always purchases one or two works of special
interest.

At the last of these exhibitions held in November
the Ceramic section contained the most brilliant
representation. In addition to the splendid vases
of MM. Chaplet and Dalpayrat, which the Museum
did well to acquire, there were many exhibits of
particular note. First of all let us name the case
containing those of M. Delaherche. His vases
struck me as at once reasonable, simple, and
effective, rich in coloration and restful in form.
Of M. Decoeur's exhibits I preferred his large
vase — a kind of vert-de-gris urn, ample in its
proportions and (juite rare in its colouring. The
little case of M. Bourgeot, containing hard-paste
porcelain, made an agreeable impression with its
air of gaiety, and some clever things were con-
tributed by MM. Ernest Carriere, Laurent Des-
rousseaux, Lamarre, and Massoul. With the
Peche migfion of M. Taxile Doat should be men-
tioned some porcelain vases of his, with some-
what insignificant motifs, but I preferred his
dish designed in the Hispano - Moorish style
and very rich in colour, and above all the

^^^.

ti'

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f^-r\ .j^

^^^^^^9t99/^^^

Twice a year there is
Musee

organised at the

IRIDESCENT PORCELAIN VASES

EXHIBITED AT THE MUSEE GALLIERA
BY THE SEVRES FACTORY

321

Studio-Talk

charming little round vase of a delicate apple-
green tint.

It was, however, when one came to M. Moreau-
Ndlaton's case that one felt the inadequacy of
words to express the delightful charm of colour
and shape. Of exquisite elegance and purity of
form, his vases follow a more or less traditional
style ; but the modelling is quite personal, and
by deft manipulation, here of a line and there
of a curve, the entire accent of the work is
changed, and it becomes a perfect embodiment of
grace and refinement. His colour is warm and
rich, yet always discreet.

high degree. There was a series of curious heads
of young girls in grey enamel, designed by M.
Pierre Roche to symbolise the months. The
wood carvings of M. Raymond Bigot were, as
always, excellent. Two very fine combs were
shown by Mme. Miault ; some pleasing textile
fabrics by Mile. Rault, M. Bohl, and especially
M. Magne, all executed by Messrs. Cornille
Freres ; excellent lace by Mile. Trocme and MM.
Courteix and Prouve ; and M. Mazzara deservedly
attracted much attention with a table centre.

M. Dammouse showed some little glass cups,
marvels of dainty delicacy, their colours — turquoise
blue, sky blue, green, grey, and russet— making
a perfect harmony. M. Decorchement's exhibits
were equally attractive —
some vases in ruby glass
in which the shadows of
the decorative leaves, in
conjunction with the trans-
parency of the glass,
produce a variety of charm-
ing nuances. Mention
must be made, too, of the
glass by M. Despret, on
account of certain beautiful
blues he has succeeded in
getting.

The iron-work section was one of the most
interesting in the exhibition. Here MM. Brandt,
Szabo, Brindeau and Nics were exhibitors. M.
Robert, in particular, gives to his forgings a
pliancy which is never in contradiction to the
robust nature of his material. M. Bonvallet's
copper vases call for special notice, as does the

Among the book-bind-
ings, those of Mile. Ger-
main, Mme. Leroy-Desri-
vieres and M. Marius
Michel appeared to me the
finest. M. Victor Prouve
sent a binding for " La
Bastille" — a trifle heavy,
perhaps, but expressive and
appropriate to the subject.
The stained-glass designers
have done better things than
those shown, among which
I single out for notice M.
Rudnicki's " L'Automne,"
on account of its fine bar
mony of colours and orderly
disposition of lines. The
jewellery of M. Rivaud is
always rather Soudanese in
style, though artistic in a

322

• LA I'OLI.E ■

(In the Cher amy CoUe(tio)i)

BY GERICAULT

Studio-Talk

'■'"\ '^

%s:-''>A

^^nr-i

SKETCH: " RADEAU DF. LA MEDUSE

(In Ike Chcrainy Collection)

BY GERICAULT

delicate soft-paste porcelain of M. Naudet, pleasant
in substance, and made more attractive by their
fine translucent decorations. A. S.

BERLIN. — Fritz Gurlitt opened his autumn
season with a really delightful exhibi-
tion. Every friend of art felt thankful
for the reappearance of the works of
a master painter like Gericault, who is nowhere to
be studied in Germany. The glow and modelling
of his colour, his dramatic pathos and psychological
power, his trembling nerve and iron muscle stamp
him at the very first glance as the artist in whom his
teacher Guerin discovered the talent for three or
four painters. We see an unflinching realism at
work which always imbues its subjects with the
uncommon and the passionate, but whose utter-
ances recall only the greatest names. There is no
healthier lesson for our modern brushmen than the
study of such work as that of Ge'ricault. The art
of the day was represented by a collection of
pictures by Professor Albert Haueisen, from Karls-
ruhe, who has learned much from Liebl's energetic
brush strokes and juicy colouring, but is still
somewhat feeling his way. Hugo von Habermann
applies the refinement of his colour-sense and pose

in some instances again to his disagreeable female
model, whilst Peter Burnitz and Sperl attract us
ever by their simplicity and warmheartedness.
Liebermann, Uhde and Thoma were well repre-
sented, and a new-comer was Carl Hagemeister.
His quiet studies of wintry and autumnal nature
are written down with broad strokes, but made
delicious by the tenderest accents of brown, white
and greyish blue. He is summary and yet con-
scientious, rough and yet delicate.

Great satisfaction prevails in Berlin arts and
crafts circles at Professor Peter Bthrens' removal
to the capital. After having organised the Dussel-
dorf School of Applied Arts, he is following a call
of the Allgemeine Electricitats-Gesellschaft to act
as artistic designer for electric pendants and fittings.
Modern art is placing itself more and more in the
service of modern science, and it is sure of enrich-
ment by means of this contact. The fact that
Berlin is attracting, one after the other, authorities
on arts and crafts, and that the Munich and
Dresden workshops are opening branch businesses
here, proves the liveliness of our development and
the growing importance of Berlin as a place for
commissions.

323

Studio-Talk

EMBROIDERED CUSHION

Two teachers of the KonigUche Kunstgewerbe
Museum, Professor Max Koch and Professor Emil
Orlik, have just been honoured by comprehensive
exhibitions. The talent of Max Koch, who is the
teacher of the class for figure drawing, is happiest
on vast surfaces. The art of Emil Orlik produces
exquisite things within narrow space. The car-
toons, paintings and studies of Koch fill the big

hall of the Kunstgewerbe
Museum. His felicitous
talent seems to play with
difficulties in great mural
compositions, whether his-
torical, fantastic or natura-
listic in character, and be
they landscape, hunting
scenes, or any other genre.
We admire his decorative
skill and the intensity of his
study in excellent sketches
and drawings from the nude.
He stands firmly on the
ground of the real, and the
unreal admits him only to
the haunting places of gentler spirits.

BY KRAU M. I. LANGER-SCHLAFFKE

Emil Orlik could be studied as lithographer

DECORATIVE STUDY

BY ELFRIEDE BRUNNER

DECORATIVE
STUDY

BY DORA
KALKBRENNER

Studio-Talk

CUSHION

BY KRL. ELSE SEYDEL

woodcutter, etcher and draughtsman
at Amsler and Ruthardt's. His tech-
nical skill is so sure that he can allow
himself any combination or innovation
of methods. His small cuts from
reality always show cleverness of se-
lection and conscientiousness and taste
in rendering. Street scenes, studio
nooks, single figures, heads, bits of
architecture, animals and trees are his
subjects. He has seen various
countries, and has always caught
their atmosphere ; but his stay in
Japan has taught him much in sim-

plified composition and decorative finesse. Orlik
has nothing in store for seekers after the
powerful or the elevating, but he entertains and
amuses, and offers psychological and a2sthetic
dainties. J. J.

BRESLAU. — It is not often that news
concerning art movements in this city,
the capital of the province of Silesia,
finds its way outside Germany. But
though art does not make a great stir here, it is
gratifying to see now and then signs that progress

EMBROIDERED CUSHION

BY FRAU M. J. LANGER-SCHLAFKKE

WALL HANGING

EXECUTED BY FRAU M. J. LANGER-SCHLAFFKE

Studio-Talk

started a school of their
own, and he after a time
being obliged to give up
teaching to pursue other
woik, the entire manage-
ment of the school fell to
his wife. Her success as a
teacher is shown by the
fact that at least half a
dozen of her pupils have
themselves become teachers
in one or other technical
school.

TIN LAMPS

(See Lit heck Studio- Talk)

BY HERR BOSSE, LUBECK

The illustrations on
pages 324 and 325 re-
present work done by Frau
Langer-Schlaffke, her hus-
band, and pupils. Of
these the chief, of course,
is the large wall hanging

is steady and in the right
direction. In the course
of the past year a little
exhibit ion that attracted
considerable attention in
the town was that in which
Frau Lingtr-Schlaffke, wife
of the painter, Josef Langer,
showed examples of em-
broideries executed by her
and her pupils.

Trained at the Royal Art
School at Breslau, where
she was a pupil of her future
husband, Frau Langer-
Schlaffke began to devote
herself to embroidery after
finishing her course at the
school, and her produc-
tions found their way into
exhibitions in various art
centres, including Berlin
and London. Before her
marriage she was teacher
of needlework, first to the
Frauenbildungs-Verein at
Breslau, and afterwards at
the Lidustrial School,
Posen. On her marriage
she and her husband
326

MONUMENT FOR FAMILY GRAVE

(See Dihseldorf Siudio-Talk)

BY V. COUBILLIER

(Se.- Dusseldorf Studio- Talk)

BUST OF H.I.M. THE GERMAN
EMPEROR. BY F. COUBILLIER

Studio-Talk

MEMORIAL TO GRAF A. V. BERG

BY F. COUBILLIER

(about lo feet across), the motif of which is
suppUed by the words from Walther von der
Vogelweide which run across it :— " Thou art
locked in my heart, the key whereof is lost, and
there thou must remain for ever." In this piece
of work various kinds of needle technique are
employed; for instance, the so-called needle-
work painting in the face and hands, and old
brocade applique for the garments of the young
couple. The colour is rich but restrained. The
two decorative studies as well as one of the
cushions are by Frau Langer-Schlaffke's pupils.
328

LUBECK. — The lamps shown in the illus-
tration on page 326 were made by Herr
Bosse, a craftsman of this town. They
are made of tin, and the designs are
derived from models of old Viking ships, which
no doubt he has seen in the local museum. The
application of designs such as these to purposes of
illumination is decidedly novel, but in conjunction
with the coloured glass used for the windows the
effect is certainly quaint and pleasing. Herr Bosse
has been active in reviving the manufacture of
pewter ware, for which the place was noted in
days of old.

DUSSELDORF. — Frederic Coubillier,
the sculptor, of whose work examples
are reproduced on these pages, comes
of a family of artists. Trained first
under his father, and then at the Academy here
under Prof. Karl Hansen, he completed his art
studies by a stay at Rome extending through
several winters. Coubillier's talent has found
appreciation in high quarters, and after the un-
veiling of the monument to Graf Adolf von Berg,
which is the subject of one of our illustrations, he
received more than one summons from Kaiser

SPHINX'

BY JOSEPH KOWARZYK

Studio- Talk

TEWELLERY DESIGNED BV HANS OFNER

EXECUTED BY RUZET & FISCHMEISTER

Wilhelm II., who is descended from the Count.
This monument is of gigantic proportions, and is
put up on the Schloss
Burg, near Elberfeld, to
commemorate the found-
ing of the stronghold by
the Count. A reduced
replica of this monument
is in the possession of
the Kaiser, and there is
also one in the Hall of
Fame of Barmen, and
another in the Hall of Art
in this city. The bust of
the Kaiser is of bronze,
double life-size, and stands
in the Town Hall at
Elberfeld. The model was
submitted to His Majesty
and received his approval.
The monument for a family
grave, reproduced on p 326,
was originally projected
during the artist's sojourn
in Rome, and is now in
the cemetery of this town.
E. B.

FRANKFORT -ON MAIN —We have
already in a previous issue drawn the
attention of our readers to the work of
Herr Joseph Kowarzyk, and we now
have the pleasure of giving a reproduction of a
half- length Sphinx which belongs to his quite
recent achievements (see opposite).

VIENNA. — Hans Ofner is a young architect
who has already gained some fame,
various examples of his decorative work
having already been reproduced in " The
Art Revival in Austria." Though his interiors show
the unmistakable influence of his master, Professor
Joseph Hoffmann, under whom he studied at the
Kunstgewerbeschule, still he has characteristics
which are quite his own. Of late he has been
devoting much thought to the problem of designing
modern jewellery, and has been very successful in
this branch of his art. There is everywhere a right
feeling for proportion, and nowhere does Herr
Ofner strive for mere effect ; his artistic judgment
is rightly balanced, and his de-igns show how care-
fully he has performed his task. In common
with most students of the modern school, he has
also studied the qualities of the materials he mani-
pulates and the adaptation of them to the design.
Herr Ofner has also learnt the art of enamelling,
Fraulein Adele von Starch, the only lady professor

JEWELLERY

329

studio- Talk

SILVER BROOCHES SET WITH STONES, ETC. DESIGNED BY HANS OFNER

EXECUTED BY ROZET & FISCHMEISTER AND V. KRAMARC

silver enamelled in shades of yellow
and brown, the other of silver with
ornaments of coral and silver balls.
The neck ornament illustrated in our
second illustration is made of silver
enamelled, and is particularly inter-
esting, having been designed to wear
with a fancy costume. That shown
in the illustration given below is
also silver, and though the design is
simple, the effect is increased by the
turquoise stones used at intervals
for connecting the chains.

at the
teacher.

Kunstgewerbeschule, having been his

Of the two necklets shown in the first illustration
on p. 329, the upper one is formed of pyramids of

In the first illustration on
this page we have a number of
brooches varied in composition, and
each with an intrinsic beauty of its
own. They are all of silver, some
being set with mother-of-pearl, others
with mother - of - pearl and rubies,
ch rysolite s, granites, and other stones.
All the skill of the craftsman has
been brought to bear on this work,
and the designer's intentions have
been admirably carried out.
The brooches shown in the illustra-
tion below are also admirable in
design, mother-of-pearl and coral being very effec-
tively employed. The earrings are of silver relieved
by a border of gold. The pendant has a large
cornelian for its centre, with a pleasing design
surrounding it, the material again being silver.

JEWELLERY

330

Shidio- Talk

S?3f(fic*^

schools, and the belts
here reproduced are
entirely his own making.
The clasps are of silver
cloisonn^, while the belts
themselves are formed of
plaited French silk braids,
these being of a shade to
tone with the decoration
of the clasps.

SILK BRAIU BELTS WITH SILVER CLOISONNK CLASI'S

DESIGNED AND EXECUTED BY HANS OFNER

The illus-
trationatthe
bottom of
this page
shows a
variety of or-
nament s
very felicit-
ous in de-
sign. The
necklaces
are of silver,
enamelled
in shades of
blue and
violet ; the
broader one
is set with
topazes.

The enamelling is beauti-
fully done, and is the work
of the artist himself, who
shows a real knowledge of
this art, and at the same
time a love for it born of
intimacy. The bracelet is
set with amethysts, the
scarf pins with pearls and
rubies, while the tortoise-
shell side combs are
mounted in silver set with
chrysolites. These make
a very pleasing harmony
of colours, and the effect of
the whole is very graceful.

SILVER AND CHINA COFFEE SERVICE

UF.blGNLlJ liV HANS OFNER
EXECUTED By ROZET & FISCHMEISTER

The coffee service, also
illustrated on this page, is
in silver and delicate china,
a combina-
tion much
in vogue,
and here
Herr Ofner
again proves
that he is a
true artist
with no lack
of origina-
1 i t y. His
J) r e s e n t
achieve-
ments bear
evidence
that the
path he has
chosen is the
right one.
A. S. L.

Herr Ofner has studied
weaving at the Imperial

COMBS, PINS AND OTHER ORNAMENTS

DESIGNED i;V HANS OFNER
EXECUTED BY ROZET & FISCHMEISTER

331

Reviews and Notices

INNEAPOLIS.— The two chromo-
xylographs of which reproductions are
here given — one in facsimile and the
other in halftone — -are interesting
examples of the process as employed by an
American lady belonging to this city, who has
acquired her knowledge and skill mainly in
Japanese studios under native artists. Mrs. Lum
had already made experiments in this direction
before visiting Japan, but accomplished vtry little
until she had an opportunity of closely studying
the methods practised by native wood engravers,
first of all in a small atelier in Kyoto, and later in
the Kokka atelier in Tokyo, well known through
the publication bearing that name.

Briefly stated, Mrs. Lum's method of making
and printing these wood-cuts is as follows. First
the drawing is made on a special kind of transparent
Japanese paper rather difficult to obtain even in
Japan ; then the drawing is pasted face downwards
on the block — usually of cherry wood on account
of its hardness and even grain — and ihen, if, as is
commonly the case, there are to be other blocks,
the wood is all cut away except the outline. The
first prints from the outline block are pasted on
to these other blocks, and from these the colour
blocks are cut. Usually one block is cut for each
colour, but in the hands of one familiar with the
work, one block may sometimes be made to serve
for printing two colours, that is when the colours
do not come directly together. Moreover, one
colour can often be printed over another, as in the
more mechanical processes.

1 he print reproduced in half-tone was printed
from three blocks. P'or the strtet scene repro-
duced in colours six blocks were used, but there
wtre ten printings in this case, as part of the effect
was obtained by printing certain portions from flat
tint blocks. The printing is all done by hand, and
the colours, after being mixed with gelatine, are
applied by brushes of various sizes, the blocks
having first been treated with rice paste. The
actual printing is done with a flat disc, covered
with a bamboo leaf. It is, of course, of the utmost
importance when printing from several blocks that
proper "register" should be obtained. In Japan,
as in Europe for the most part, the work of cutting
and printing the blocks is not undertaken by the
draughtsman, who coi. fines himself to creating the
design, but Mrs. Lum has produced all her prints
from beginning to end without aid.

332

REVIEWS AND NOTICES.

Hubert and Jan Van Eyck. By W. V. James
Weale. (London : John Lane.) Limited edition.
^5 55. net. — This monumental work, with its wealth
of fine photogravure plates and other illustrations,
the value of which to the student of Flemish paint-
ing it is impossible to over-estimate, is eminently
characteristic of the veteran critic who is re-
sponsible for its publication. Mr. Weale, who is
a member of the chief academies of Belgium, has
devoted a lifetime to the study of the art of the
Low Countries, and in the preparation of his many

CHROMO-XYLOGRAl'H BY BERTHA LUM

(Copyright reserved)

is^h

^'^'^--..7;

FROM A CHROMO-XYLOGRAPH
AFTER THE JAPANESE MANNER
BY BERTHA LUM.

i Cofyri^ht Rcserve-i

Reviews and Notices

scholarly works has in every case gone straight to
the original documents. He makes scarcely any
attempt to work up the masses of material he has
laboriously collected into a popular narrative such
as would appeal to the general public, for he has
the greatest possible contempt fur the superficial
dilettantism of the present day, and addresses his
appeal mainly to the true connoisseur and the
genuine lover of art for its own sake. On the
other hand, there does not exist a more generous
caterer for the privileged few than this most earnest
worker. Mr. Weale prefaces his work with a
chronological summary of the chief events that
affected the careers of the Van Eycks, and devotes
a considerable portion of his text to the actual
transcription, in order of date, of the more im-
portant of the documents from which he has culled
his information, supplementing his quotations by a
very complete bibliography of all the publications
that bear even remotely upon the fortunes of the
two famous brothers. Moreover, he points the
way for other discoveries, suggesting to his suc-
cessors in the same field of research " that further
items may yet be gleaned from the municipal
accounts of towns in the Duke of Burgundy's
dominions, and perhaps also from documents in
the archives of Spain and Portugal." In the
erudite history given by Mr. Weale of the authen-
ticated works of the brothers each one is carefully
described and explained, as are also the more
important copies and engravings after it.

A Book of Caricatures. By Max Beerbohm.
(London: Methuen.) 21^. net. — The originals of
this collection of caricatures were recently shown
at the Carfax Gallery, and we expressed ourselves
about them at the time. We confess that in one way
Mr. Max Beerbohm is a disappointment to us, for,
despite the cover of this book, a very charming red,
and the elaboration with which the plates are
reproduced, we miss in this art the exquisiteness
that is associated with Mr. Beerbohm's name. In
such caricatures as Mr. Arthur Balfour wishing he
had been born in a simpler age we do get this quality
in the style of finish, and in those of Lord Althorp
and Mr. Haddon Chambers the caricaturist lives
up to the charming binding. The Lord Lytton
and Lord Ribblesdale are also caricatures made
with a grace that becomes their author. But it is
in Lord Tweidmouth^ and especially in the picture
of " Setn" that Mr. Max Beerbohm's genius is
revealed with a vivacity of touch which responds
at once to witty and satirical observation. After
this brilliance we wonder why he should tire us
with such vapid conventions as those, for instance,

with which he symbolizes the feet of Mr. Wilson
Steer and the head of Lord Northcliffe.

The American Pilgrims' Way in E?igland. By
Marcus Huish, LL.B. Illustrated by Elizabeth
M. Chettle. (London : Fine Art Society.) 205.net.
— It was a happy thought on the part of the director
of the Fine Art Society to trace back to their original
English homes the pioneers of the exodus that
resulted in the foundation of the great American
Republic. The work, which has evidently been a
labour of love to both author and artist, includes
histories of the families of William Penn, George
Washington, General Wolfe, Benjamin Franklin,
AVashington Irving, the Pilgrim Fathers (the
founders of Yale and Harvard Universities), the
Quaker settlers, and many others, no pains having
been spared to identify the sites connected with
them. The charming water-colour drawings give
sympathetic renderings of many of the surviving
homesteads that are so dear to the hearts of the
descendants of these heroes of the sixteenth cen-
tury, and, with the reproductions of details of
architecture, facsimiles of letters, inscriptions, etc.,
form a vivid and pictorial epitome of the text.

Life and Works of Vittorio Carpaccio. By
GusTAV LuDWiG and Pompeo Molmenti. Trans-
lated by Robert H. H. Cust. (London : John
Murray.) £^2 1 25-. bd. net. — The recent increase
in the cult of Vittorio Carpaccio, the most gifted
exponent of an important phase of Venetian
pictorial art, is, Signor Molmenti thinks, largely
the outcome of the aesthetic renaissance in the
lagoon city that was inaugurated a quarter of a
century ago, and was, as he fully recognises, in a
certain sense heralded by Ruskin. A pathetic
interest attaches to the work before us — an appre-
ciative study of the painter by two warm admirers —
on account of the circumstances surrounding its
inception and execution. After studying closely
the achievements of the early Venetian masters
as a whole, Signor Molmenti gradually found
himself concentrating his attention on that of
Carpaccio, and the results of his researches were
published in various periodicals. Presently, his
devotion to Carpaccio attracted the attention of
another eager worker in the same field, the German
physician whose name appears on the title-page
with his own. Herr Ludwig found himself in
middle life the victim of a painful and incurable
disease, which necessitated his migration to a
temperate climate. Imbued with an intense love of
art for its own sake, he determined to devote to its
study the few years he could hope to live, and finally
settled in Venice. Here the two collaborators

33S

Reviews and Notices

became acquainted, and resolved to join forces in
the composition of a monograph on their favourite
painter. Unfortunately, Herr Ludwig's malady
made such rapid strides that he died before the
seventh chapter was finished. Very touching is
the account given by the survivor of his colleague's
fortitude under suffering. " From his death-
bed," he says, " Herr Ludwig discussed artistic
problems, in which he always displayed an acute
and profound judgment. I was a frequent visitor,"
he adds, " to the dark little room, where, seated at
his bedside, our discussions on Carpaccio made the
hours fly in cheerful converse." The volume that
has resulted from their association embodies a vast
mass of notes left behind by Herr Ludwig, and
having been admirably translated into English by Mr.
Cust, it is sure to take rank as the standard work
on the long-neglected master of whom it treats.
The illustrations include, with reproductions of
pretty well all Carpaccio's paintings and drawings,
examples of the work of many of his contem-
poraries, which will be found most useful for com-
parison by students unable to obtain access to the
originals.

TheSlade^Mdcccxciii — Mdccccvii. (London: Slade
School University College and E. Grant Richards.)
6.V. net. — This book, which is edited by Mr. John
Fothergill, of the Slade School, is composed of a
collection of drawings and some pictures done by
past and present students of the school. A
paper is devoted by Mr. D. S. MacCoU to Mr.
John's drawings, of which there are a variety of
examples. There are many examples also of
work by his fellow-student Mr. Orpen, who, with
a more prosaic talent, has, by a succession of
achievements, aroused curiosity as to his future not
less than Mr. John. The genius of Mrs. Edna
Clarke Hall comes in for discussion, for her illustra-
tions of " Wuthering Heights " are indeed touched
with genius, and we wonder why, among the mass
of illustrated reprints of the English classics which
come into the market, no one has availed them-
selves of her art. Other pages of The Slade
are made up of reproductions from paintings by
various members of the school, life studies and
other drawings, many of them interesting. Mr.
Fothergill's paper on "The Teaching of Drawing"
is a very valuable contribution. The concern of
these pages is the record of work from the Slade
School in recent years, but it is also a pleasant
magazine in itself for those interested in the last
phase of English art training.

Sheffield Plate. By Bertie Wyllie. (London :
George Newnes.) 7.^. dd. net. — ^The introduction
336

to this finely illustrated monograph on old Sheffield
plate dispels once for all the delusion that the
making of the genuine article is a lost art. Many
of the original dies and drawings of fine specimens
are still in existence, and some few of the skilled
workmen survive, who, if encouraged to do so, would
teach younger men the intricacies of their now
languishing trade. Mr. Wyllie, who is evidently an
expert, declares it to be possible even now to have
new examples made of such masterpieces of design
and execution as those figured in his book, which,
with a complete history of the origin and mode of
manufacture of old Sheffield plate, contains repro-
ductions of all the marks by which the makers not
only of Sheffield, but of London, Birmingham,
Paris, and elsewhere, may be recognised.

Old Spanish Masters. Engraved by Timothy
Cole. With notes by Ch.a.rles H. Caffin and
Comments by the Engraver. (London : Macmillan
& Co.) 3 1 J'. 6d. net. — The praise which was given
in these pages five years ago to Mr. Cole's en-
gravings after the Old English Masters, a specimen
of which was then reproduced by us, must be
given in equal or, indeed, increased measure to
the present series. Mr. Cole has earned a de-
servedly high reputation as an engraver on wood,
and at the present day the craft has no abler repre-
sentative than he. In these interpretations of care-
fully selected examples of works by great masters
of the Spanish school — El Greco, Velasquez,
Murillo, Ribera, Goya — we are much impressed by
his refined craftsmanship and the skill with which
gradations of tone are rendered. The interest of
the volume is enhanced by the series of comments
contributed by the engraver himself, which show
that he has devoted much study and thought to
the works of these famous painters, and so acquired
an intimate knowledge of their characteristics. Mr.
Caffin's essays also make interesting reading, but, as
may be expected, are more general in their scope
than the engraver's notes.

The Baby's Day Book. Songs of the Day,
and the Dusk, and the Dark. By W. Graham
Robertson. Illustrated by the Author. (London :
John Lane.) 35'. dd, — It is Mr. Graham Robert-
son's gift to write and to draw for children, not as one
who has anything fresh to tell them, but as the illus-
trator of their own fancies. The charm of his art
arises from the fact that it is literally inspired, and
we have indicated the source of the inspiration.
Consciously he enters the dreamy world where the
child unconsciously reigns, and his art, both in
verse and in illustration, is such that children will
never resent the interpolation of this gifted out-

Reviews and Notices

sider. The Baby's Day Book, which is the last
he has added to the several illustrated books he
has made of plays and verse, is as charming as its
predecessors.

The Masterpieces in Colour. Edited by T.
Leman Hare. (Edinburgh : T. C. & E. C. Jack.)
\s. 6d. net each. — Eight volumes have come to hand
of this series, which makes a new departure. These
publications are the first serious step, outside
magazine form, that has been taken in the direction
of a complete and satisfying analysis of the colour
of notable pictures for the purposes of reproduc-
tion as supplementary to pages of serious criticism.
The books should be highly popular with the
general public for the beauty of the plates ; they
should be popular, too, because the publishers
have thrown over the pretentious and dull narrative
of facts and opinions, which usually accompanies the
cheaper art volumes, in favour of such picturesque
and original thought as we get in the Turner
volume from Mr. Lewis Hind's gifted pen or such
valuable criticism as we find in Mr. Bensusan's
Velazquez.

Among Mr. Batsford's recent new publications
are three which by their eminently practical
character will at once commend themselves to
those who are interested in the particular topics
dealt with. English Shop Fronts (155-. net) deals
with a branch of architectural practice which,
so far as we are aware, has not been independently
treated before. Messrs. Dan & Wilmott's treatise,
which is accompanied by numerous collotype and
other illustrations of shop fronts, old and new,
therefore fills a gap in the architect's library. Mr.
G. W. Eve's Heraldry in Art (\2S. 6d. net) will
prove extremely useful to designers who have occa-
sion to introduce heraldic symbols into their work.
Mr. Eve is thoroughly at home in the subject, and
his exposition of the rules governing the use of
heraldic figures is both lucid and exhaustive.
Some 300 illustrations are given to show variations
of style, the effect of material on heraldic design,
etc. The third is a volume on Enamelling {"js. 6d.
net), by Mr. Lewis F. Day, who devotes the bulk of
his book to an account of the various processes
and methods employed in this craft. Among the
hundred odd illustrations, all of them in black-and-
white, we see no examples of modern work.

Mr. Batsford also issues a second edition of The
Architecture of Greece and Rome ^ by J- W. Anderson
and R. Phen^ Spiers (i8.r. net). Mr. Spiers has
subjected the entire text to careful and thorough
revision, and has made several important additions
embodying the results of recent researches ; other

new and useful features being a chronological list
of the best known Greek temples, with dates,
dimensions, and other details, and two specially
prepared maps, indicating the position of the chief
cities referred to in the text. The third edition,
just issued by Mr. Batsford, of Art in Needlework
(55. net), by Mr. Lewis F. Day and Miss Mary
Buckle, contains a chapter on " White Work," now
added for the first time.

Who's Who for 1908, notwithstanding its 22,000
biographies, covering more than 2,000 pages, is
still quite convenient to handle. Indisputably
the most comprehensive work of the kind now
published, its usefulness is so generally recognised
that insistence on this point is superfluous. Messrs.
A. & C. Black are the publishers, and the net price
is IOJ-. in cloth and 12^. 6^. in leather.

T. C. & E. C. Jack have issued the eighth and
last instalment of the publication containing the
designs for The Palace of Peace at the Hague as
submitted by the six prize-winners and others.
The seventy six plates comprising the work include
perspective views (in some cases in colour), and
various elevations and plans as elaborated by the
competing architects. The price of the complete
work is four guineas.

In The Photograms of the Year, 1907 (Dawbarn
& W^ard, 2S. net), are reproduced some 200 pic-
tures, of which about one-fourth are selected from
the greater exhibitions recently held in London, the
remainder representing pictorial work by leading
photographers in many foreign countries and
colonies, as well as at home. The principal
critique is written by Mr. H. Snowdon Ward, and
criticisms have also been contributed by M. Robert
Demachy, Herr F. Mathies Masuren, Snr. Mendez
Leon, and others.

We learn that the publications of the Librairie
de I'Artancien et moderne, Paris, have been trans-
ferred to Messrs. Plon-Nourrit et Cie, of the Rue
Garanciere. Amongst these are the volumes forming
" Les Maitres de I'Art," a series of works, written
by French authorities of high repute, dealing with
the great masters of painting and sculpture from
the days of antiquity down to comparatively modern
times. In one of the latest volumes of the series M.
Bayet, Directeur de I'Enseignement Superieur, con-
tributes an able review of the art of Giotto, who was,
as he tells us, pre-eminently a psychologist, in that he
sought to analyse and express the emotions of the
human soul. Appended are an excellent biblio-
graphy and list of works by Giotto in various
galleries. The price of each volume in this series
is 3.50 /r.

337

The Lay Figure

^HE LAY FIGURE: ON COLOUR
PHOTOGRAPHY.

"You painters are going to have the
conceit taken out of you directly," said the Prac-
tical Man : " I see that the recent discoveries in
colour photography have made possible the exact
reproduction of nature. No one will want to have
pictures now."

" Really ! Is that your idea ? " inquired the Man
with the Red Tie. " You actually imagine that
a mechanical process like photography can drive
painting off the field entirely ! Are you serious ? "

"Of course I am," replied the Practical Man.
" Why should anyone continue to take the smallest
interest in painted things which may or may not be
like nature, when there is available a process which
will give the facts of a subject, colour and all, with
absolute accuracy ? Now that colour can be photo-
graphed the last reason for the existence of the
painter has disappeared. We have no longer any
use for him, because this mechanical process that
you sneer at can do his work cheaper and better
than he can."

" But painting is an art," objected the Man with
the Red Tie, "and, therefore, it must always hold
a higher position than any process like photo-
graphy, no matter how skilfully this process may be
applied."

"Not at all," laughed the Practical Man ; "you
are so blinded by your prejudices that you cannot
understand what the public wants. We common-
sense people have only put up with paintings
because we have hitherto had nothing better,
because nothing else would give us the colour of
the things we see. We recognised long ago how
much better photography is for black-and-white
illustrations than an artist's drawings, as you can
see for yourself if you look at any of the illustrated
papers ; and now we have the chance we shall soon
come to the same conclusion with regard to colour
work. In a few years' time there will be no
painters left — they will have discovered that it is
no use trying to compete with photography and
will have abandoned their palettes if they have any
sense at all."

" Your prophecy might come true if all people
thought as you do," broke in the Art Critic. " But
you assume too much when you suggest that you,
and you alone, know what the public wants. Your
range of knowledge, my friend, is a little limited,
and if you would take the trouble to learn a little
more about this subject you would not talk such
arrant nonsense."

338

" Oh, indeed ! " sneered the Practical Man. " I
know that all people with any business capacities
and practical intelligence, all who are not dreamers
and fanatics, would agree with me. You are
behind the times, and are quite out of touch with
modern ideas."

" Then I thank Heaven that there still remains
quite a large number of dreamers and fanatics,"
replied the Critic, " if the development of a prac-
tical intelligence leads to such stupid convictions
as you possess. Your friends, no doubt, want the
same sort of stuff that pleases you because, like
you, they are so satisfied to be ignorant that they
refuse to learn even the rudiments of artistic know-
ledge. Outside the narrow bounds of your business
capacities you are an illiterate lot, and, as illiterate
people always do, you substitute blatant assertion
for argument."

" What on earth has this got to do with colour
photography, I should like to know ? " interrupted
the Practical Man.

" Keep quiet," laughed the Man with the Red
Tie ; "you are hearing some useful truths."

" It has everything to do with colour photo-
graphy, as that is the subject you have chosen to
talk nonsense about," continued the Critic. " You
said that the process of photographing in colour is
going to kill painting and extinguish artists. Now
this is not even an original stupidity, for it is merely
a repetition of what your predecessors in igno-
rance said when photography was first invented.
The photograph was certain to oust the por-
trait painter — has it done anything of the sort ?
Colour photography is going to destroy painting
— it will not. What will happen to it is this.
A few men, very few, of real artistic power will use
it properly and will attain fine results with it, but
the majority of the men into whose hands it will
fall will produce the cheap art, literal art, common-
place art, stupid art, that satisfies you and your
dull-witted friends who find pleasure in silly snap-
shots. It will be the joy of the raw amateur,
and it will record coarsely the features of the
seaside tripper. But, meanwhile, the painter's
art will continue on its way unharmed by any
mechanical competition and encouraged by every-
one who has the intelligence to distinguish
between true and false art and to appreciate noble,
personal, human craftsmanship. That you will
not be in this company of art lovers I can
well believe ; your practical, illiterate mind
cannot rise to such heights. But you need
not advertise your folly now."

The Lav Figure.

t. NDING LIST JAN 1 5 1934

studio international

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

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