The Art journal
None
'.'i r'(. - ftSmti ’irHtyJW V:' J ;>'V 7';' . ' W > $<§ Ifif' ;• v'# ft •• • ,. ■ ?,* mmi ■ ■ ’ ••■ ■*-'iA-.4&V : wMMs*m^atr’WS^ v ; $$?: ■ ; : ‘ ”, i ' ir-V: VS S&EiW i ‘ysWSs -•■'■■ StKi, i M* ipsgc II Mi > .' 5f*> s^r, J<Kv/c}k \ 1 U ' 1 ;:F:; ;•>• :•”' v .. ,, tte i 8&i# ■ <51 ' ••, vvr m , vj- . ''ifM&z :'X ■' f® m ■ ■•-. * ■ • M- : ■ > -' ' L .&- ■ 1 '?' ,; j/k\ ’t sr,-« 'isi :;> . V'-; ■. ■ \ , SSi ;v>-'. M& . " j./ >- r - p» :>v , 4 X-’J . ;• ••••"V , ;; tfxrr-y. r\ ■$■;■>:; K- _ Mk; r.f / . iy'SwKS'wffi1 . . ,■ i tl. »€ ,.f*V ■< ’ ;. . ■. : i: '••■;■ ••■ .'■ / ? • <• . '■. •„ - ■• L - <iv’ 4:v; ': ■ >. *■' ': , ■ ,:; ; *’ ;■ <■*; -' < ■ '. Jk ’!’■ . Im!«|kLJp • , V rAy^6^'fc4t*jS>J’a±-«%fcm^S®saj^ ■X- ' ■ ,&? \i: ; ;‘V ' ^u>; ' 1 ' " ; Pw : ■■ ’> ’'"i ^ <’: ■' • , . ••' *..; „• ; '* ■ V ''’ ■ • 5 ; iflttSi •- «,-f*'*t,» ■ dfl ■mjggpf ■ Sir ^ i” !-t ' •-.■.•••v' ' r.^v':' rrj.rV,'.' '■ ... I 'w.. :’ . ’C/-' ", • ~ f\ ; " .’; :• : : j; '! ::, ■>; £:5:-y^ ■ ' . ' '. ■ •V.Cj.W'..-.')- • '•• ■ ' - J. .. . . ■ ■ . - ■■ '. / MORETTA. BT PERMISSION OF MR. ARTHUR LUCAS, OWNER OF THE COPYRIGHT AND PUBLISHER OF THE LARGE PLATE NEW SERIES London, h Virtue 64 15 00 yj'hc right of Tra?islation and Reproduction is reserved .] Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/artjournal6118unse THE ART JOURNAL, 1899 i. THE EDICT OF WILLIAM THE TESTY. ETCHINGS. To face page . After G. H. Boughton, R.A., by W. Heydemann . 12 Described on ft. 13. 2. SIR GALAHAD. . After G. F. Watts, R.A., ^Bernard Schumacher . 114 Described on ft. 114. 3. SHERE. . Original Etching by Percy Robertson . . . 304 Described on ft. 304. 1. ELSIE. MEZZOTINT. To face page . After Ellis Roberts, by Fred Miller . . 324 Described on ft. 325. 1. A DIFFICULT LINE . . .. OTHER PLATE ILLUSTRATIONS. To face page , From, the Painting by Sir L. Alma-Tadema, R.A. . ... ^6 Described on ft. 55. 2. THE DEPARTURE FROM THE MASQUERADE , .. . From the Painting by R. de Madrazo . 92 Described on ft. 92. 3. THE ARREST. . From tke Painting by Benjamin Vautier .... .... 150- Described on ft. 150. 4. EVENING’S LAST GLEAM. . From the Picture by B. W. Leader, R.A. ........  Described on ft. 170. 6. A POWERFUL MONK- SON EMINENCE GRISE . From the Painting by J. L. Gerome, H.R.A . 200 Described on ft. 200. 7. A CHILDREN’S PICNIC .. . From the Picture by S. Melton Fisher . . 23$, Described on ft. 238. 8. BRITOMART AND AMORET. . From tke Picture by M. F. Raphael . . 272- Described on ft. 258. 9. MORETTA ........ . From the Picture by Lord Leighton, P.R.A. . Frontispiece, Described on ft. 359. GENERAL INDEX TO ARTICLES AND TEXT ILLUSTRATIONS Aberfeldy and its Neighbourhood, 361 Across the Common. By E. C. Clifford, 105 Additions to South Kensington Museum, 58 Adelaide National Gallery, 352 Agnew, Sir VVm., Bart. By E. O. Ford, R.A., 183 Alexander, Miss May. By J. McN. Whistler, 27 Alma-Tadema, Sir Laurence, R.A., 222 Amateur, The. By Seymour Lucas, R.A., 165 Amateur Lace of Olden Days, 366 American Art Association, The, 54 Angelica. By Tiepolo, 336 Angelica assisting Medor. By Tiepolo, 337 Annunciation, The. By L. da Vinci, 35, 36 Anquetin, Louis, 85 Ansdell, Miss Beryl. By Luke Fildes, R.A., 163 Approaching Night. By H. W. B. Davis, 181 Armada is in Sight. By Seymour Lucas, 359 Arras Hangings, 217 Arthur, Miss Julia, and Sister. By C. Smith, 212 Autumn. By Fred Walker, 29 Bachelor’s Room Design. By G. M. Ellwood, 281 Balfour, Rt. Hon. A. J. By Ellis Roberts, 325 Balfour, Rt. Hon. Gerald. By G. F. Watts, 180 Bancroft, Sir Squire. By Caswall Smith, 215 Banks of the Upper Wye. By H. W. B. Davis, R.A., 384 Baring, Hon. Guy. By S. Melton Fisher, 238 Baring, Hon. Lilian. By S. Melton Fisher, 238 Bartlemy Fair. By H. R. Steer, 160 Bather, The. By Lord Leighton, P.R.A., 156 Battle of the Nile. By W. L. Wyllie, A.R.A., 170 Beatrice. By Baron Von Meyer, 271 Beech, The. By Homer Watson, 208 Beggar Maid, The. By Miss A. Bauerle, 277 Bell Inn, Holborn, Old, 243 Benson, Miss Daisy. By Ellis Roberts, 324 Berry Art School, Hampstead, 103 Bigg, W. R., R.A., 42 Biographies : — Allston, Washington, A.R.A., 311 Anquetin, Louis, 85 Arnold, George, A.R.A., 31 1 Bigg, W. R., R.A., 42 Bird, Edward, R.A., 43 Bonvicino, Alessandro, 73 Boughton, George H., R.A., 9 Bromley, William, A.R.A., 312 Browne, Gordon, 69 Chalon, A. E., R.A., 66 Chantrey, Sir Francis, R.A., 115 Clarke, Theophilus, A.R.A., 310 Collins, William, R.A., 139 Cooper, Abraham, R.A., 138 Dawe, George, R.A., 40 Downman, John, A.R.A., 310 Drummond, Samuel, A.R.A., 310 Fisher, S. Melton, 235 Fittler, James, A.R.A., 312 Gandy, Joseph, A.R.A., 311 Garrard, George, A.R.A., 310 Hilton, William, R.A., 118 Hopkins, Arthur, 193 Jackson, John, R.A., 67 Jerace, Francesco, 106 Johnstone, G. W., R.S.A., 146 Joseph, George Francis, A.R.A., 311 Landseer, John, A.R.A., 312 Lucas, Arthur, 357 Moretto da Brescia, 73 Mulready, William, R.A., 65 Oliver, Arthur James, A.R.A., 310 Raeburn, Sir Henry, R.A., 44 Raphael, Mrs. M. F., 257 Roberts, Ellis, 321 Sauber, Robert, 1 Smith, Anker, A.R.A., 312 Smith, Caswall (Photographer), 212 Stott, Edward, 294 Theed, William, R.A., 40 Tiepolo, Giovanni Batista, 334 Valadon, Jules, 375 Vedder, Elihu, 97 Von Meyer, Baron (Photographer), 270 Ward, William, A.R.A., 312 Watson, Homer, R.C.A., 208 Westall, William, A.R.A., 311 Bird, Edward, R.A., 43 Birmingham Art Gallery, 30, 94 Birmingham Guild of Handicraft, 61, 379 Bonvicino, Alessandro, 73 Bookbinding, 317 Bossiney Haven. By F. W. Sturge, 22 Boughton, G. H., R.A. An Appreciation, 9 Boy and Rabbit. By Sir H. Raeburn, R.A., 43 Bradford Art Gallery, 319 Bride, The. By D. Y. Cameron, 189 Bridge of Narni. By J. M. W. Turner, R.A., 132 Bristol Art Gallery, 319, 352 Broughty Ferry Collection, 30 Browne, Gordon, 69 Burne-Jones Memorial, 62, 288 Burne-Jones, Works of, 57, 62, 126, 158 Buttercup Bloom. By B. Priestman, 190 Camera Craft, 380 Campo Santo, Venice. By Turner, 129 Carlton Club, The, 204 Cats in Sculpture and Painting, Great, 371 Chalon, A. E„ R.A., 66 Chantrey, Sir Francis, R.A., 115 Chantrey, Sir Francis, R.A. By W. Smith, 115 Chantrey Bequest, The, 116, 319 “ Chantrey ” Rooms at the Tate Gallery, 117 Chateau Beaufort, Quebec. By H. Watson, 21 1 Cheltenham Art Gallery, 382 Cheret, M. Jules. By J. E. Blanche, 246 Christ at the Column. By Moretto, 77 Christ Crowned with Thorns. By W. Hilton, R.A., 118 Christ in the House of His Parents. By Sir J. E. Millais, P.R.A., 343 Church Pool. By David Murray, A.R.A., 164 Churcher, W., Esq., Pewter of, 313, 347 Clachan Ford. By G. W. Johnstone, R.S.A., 148 Clerkenwell Flower - makers. By S. Melton Fisher, 237 Clubs, Decorations of London : — 6. — The Reform, 45 7. — The Naval and Military, 133 8. — The Carlton, 204 9. — The National Liberal, 305 10. — The Royal Societies, 339 Collins, William, R.A., 139 Colour Printing of Textiles at Messrs. Wardle’s Works, Leek, Staffs., 14 Combe in the Cotswolds. By Alf. East, 171 Compton Burial Chapel, 256 Cooper, Abraham, R.A., 138 Copyright Bill, Artistic, 252 Corner of Old England. By C. E. Johnson, 360 Coronation of the Virgin. By Moretto, 74 Cottagers. By W. R. Bigg, R.A., 40 Crabbed Age and Youth. By J. MacWhirter, R.A., 179 Craftsman, Handicraft and the Life of a, 332 Crawford, Miss E. L. By M. F. Raphael, 258 Cromwell at Marston Moor. By A. Cooper, 138 Crystal Palace Picture Gallery, 382 Da Vinci, Verrocchio or ? 33 Dark Loch Coruisk. By J. MacWhirter, 168 Dawe, George, R.A., 40 Decorations of London Clubs — see under Clubs Dedication. By G. F. Watts, R.A., 185 Demoniac. By George Dawe, R.A., 40 Deposition, The. By Wohlgemuth, 269 Designers, Society of, 62 Difficult Passage, A. By Baron Von Meyer, 270 Domestic Fowl in Art, On the, 299 Donne, Mr. Walter J., 274 Doors, Front. By K. Warren Clouston, 78 Dover Castle — Evening. By T. Roussel, 287 Dowdall, Hon. Mrs. By H. Jackson, 244 Drone, The. By Arthur Hacker, A.R.A., 174 Dunlappy Ford. By G. W. Johnstone, 148 Dying Sea-gull and Mate. By E. Vedder, 101 East, Alfred, A.R.A., 94 Edinburgh. By J. Paterson, A.R.S.A., 202 Edinburgh Pen and Pencil Club, 232 Elaine. By E. Blair Leighton, 167 Eminent Italian Sculptor — Francesco J erace, 106 Episode du Plateau d'Avron. By G. Weiss, 247 Essex, Countess of. By J. Jackson, R.A., 68 Evening. By Bertram Priestman, 203 Exhibitions : — Agnew's, 27, 30, 160, 190, 253 Antwerp, 94, 252, 319 Arts and Crafts, 378 Ball, Wilfrid, Works of, 121 Bethnal Green Museum, 254 Birmingham Art Gallery, 352 Birmingham Guild of Handicraft, 61 Brabazon, Works of, 28 Burlington Fine Arts Club, 62 Burne-Jones, Works of, 57, 62, 126, 158, 382 Cameron, D. Y., Works of, 189 Colnaghi’s, 189 Dowdeswell’s, 28, 287 Dublin, 155 Exhibitions — continued Dudley Gallery, 95, 121 Dutch Gallery, 120 Fine Art Society, 29, 121 Fragonard, Works of, 27, 30 French and English Pictures in Dublin, 155 Glasgow International, 1901, 30, 352 Goupil Gallery, 28, 159, 190, 286 Grafton Gallery, 28, 95 Graves’, 121 Guildhall, 126, 129, 382 Hall, Works of Oliver, 28 Home Arts and Industries, 218 International Art, Knightsbridge, 158, 201 Japanese Flower Arrangements, 253 Japanese Prints, 285 Knight, Buxton, Works of, 286 Legros, Alphonse, Works of, 120 Lithographs at South Kensington, 26 Liverpool Academy of Arts, 243 Maclean’s, 28 Manchester, Whitworth Institute, 29 Mostyn, Harold R., Works of, 121 National Competition in Design, 281 National Portrait Gallery, 287 New English Art Club, 27, 189 New Gallery, 57, 62, 185, 378 Paris International, 1900, 252 Paris Salons, 245 Pastel Society, 62, 119 Permanent Gallery of Decorative Work, 25 Photographic Salon, 380 Portrait Painters, Society of, 28 Pottery and Porcelain at Bethnal Green, 254 Rembrandt, Works of, 57, 62, 126, 158 Roussel, Theodore, Works of, 286 Royal Academy, 57, 62, 158, 161, 288 Royal Drawing Society, 158 Royal Glasgow Institute, 124 Royal Institute of Painters in Water- Colours, 158 Royal Photographic Society, 380 Royal Scottish Academy, 124 Royal Society of British Artists, 377 Royal Society of Painter-Etchers, 159 St. George’s Gallery, 286 Salons, Paris, 245 Society of Painters in Oils, 95, 377 South Kensington, 26 Spode Porcelains, 285 Thaulow, Fritz, Works of, 190 Thornycroft, Miss Helen, Works of, 127 Tooth’s, 28 Turner, Works of, 126, 129 Van Dyck, Works of, at Antwerp, 94, 252,319 Venice International, 62, 319 Verestchagin, Works of, 95 Watson, Homer, Works of, 287 Whitworth Institute, Manchester, 29 Yeats, J. B., Works of, 121 Faggot-Gatherers. By W. J. Donne, 275 Falcon-Keeper. By H. J. Ford, 128 Falls of Terni. By J. M. W. Turner, R.A., 130 February Morning. By R. Onslow Ford, 174 Female Head. By Verrocchio or L. da Vinci, 37 “ Festa.” By S. Melton Fisher, 235 “ Fifty Years of Art,” 56, 382 Fight Interrupted. By W. Mulready, R.A., 65 Finding of Moses, The. By Tiepolo, 335 Fish, Movements of, 289 Fisher, S. Melton, 235 Fisherman and the Djinn. By E. Vedder, 98 Fishing Boats, Havre. By James Kay, 124 Ford, E. Onslow, R.A. By W. Onslow Ford, 176 Forest Oaks. By E. A. Waterlow, R.A., 170 Fortescue, Mrs. Bevill. H. Boughton, R.A., 12 Gossip. By Frank Bramley, A.R.A., 173 Great Cats in Sculpture and Painting, 371 Grosvenor Life School, The, 274 Hamilton, Col. Ian. By J. S. Sargent, R.A., 187 Handicraft and the Life of a Craftsman, 332 THE ART JOURNAL. Happy as a King. By W. Collins, R.A., 140 Harrison, Fredk., Esq. By S. Melton Fisher, 235 Harvest Field, The. By Homer Watson, 209 Harvester’s Return. By Edward Stott, 161 Haven Among the Hills. By G. Johnstone, 147 Highlanders. By Thomas Hunt, 125 Hilton, William, R.A., 118 Hinges. By K. Warren Clouston, 82 Hogarth’s “ Mrs. Salter ” at the National Gallery, 149 Home Arts and Industries at the Albert Hall, 218 Hopkins, Arthur, 193 “ Hot Spiced Gingerbread, Smoking Hot.” By F. Wheatley, R.A., 191 Illustrator of Books, An — Gordon Browne, 69 Important News. By L. Boilly, 63 In Manus Tuas, Domine. By B. Riviere, R.A., 30 Industrial Art, 25, 60, 90, 122, 157, 216, 218, 317, 35° International Art at Knightsbridge, 158, 201 Italian Girl. By Thos. Graham, H.R.S.A., 203 Jackson, Frank, Esq., Pewter of, 313, 347 Jackson, John, R.A., 67 Jacob’s Dream. By Washington Allston, 312 Janvier, the Actor, in “ Captain Fracasse.” By Louis Anquetin, 89 Japanese Prints, 285 Jerace, Francesco, 106 Jewellery, 51, 82 Jewels, Ancient and Modern, 51, 82 Joash. By E. Bird, R.A., 42 Johnstone, G. W., R.S.A., 146 Joyance. By W. Goscombe John, A.R.A., 182 Jubilee of The Art Journal, 56, 94 Kenmore, 326 Kent, Duchess of. By A. E. Chalon, R.A., 66 Kentish Ratcatcher. By W. Collins, R.A., 139 Kew Bridge, 302 Killin and its Neighbourhood, 225 Knockers. By K. Warren Clouston, 81 Kyles of Skye. By Colin Hunter, A.R.A., 168 La Belle Blanchisseuse. By Greuze, 383 La Donna della Fenestra. By D. G. Rossetti, 345 Lace, 141, 366, 379 Lace School, The, 144 Lair of the Sea Serpent. By E. Vedder, 99 Lament, A. By Max Ludby, 288 Land that Shakespeare Loved. By A. East, 188 Landscape-Painter’s Apology, A, 272 Last of the Venetian Masters — Tiepolo, 334 Laus Deo ! By S. J. Solomon, A.R.A., 175 Leighton, Lord, Bequest of, 126 Leopard Running. By J. M. Swan, A.R.A., 184 Lewis, Mrs. George, and her daughter Elizabeth. By Sir L. Alma-Tadema, R.A., 186 Lightning. By Albert Moore, 212 Lincoln, Bishop of. By W. W. Ouless, R.A., 162 Liverpool Academy of Arts, 243 Loading Beechwood. By Homer Watson, 211 Loch Tay, 260 Lock and Key. By K. Warren Clouston, 82 Losses in Old London, Recent, 240 Lotto, Picture by Lorenzo, at Wilton House, 92 Louis XV. Bureau, 122 Love and the Pilgrim. By Sir E. Burne-Jones, 57 Love, the Conqueror. By Byam Shaw, 181 Love’s Nocturne. By Fairfax Murray, 344 Lucas, Arthur, 357 Lute-Player. By E. J. Gregory, R.A., 159 Macdonald, Flora, Portraits of, 111 Madonna and Child. By A. Rossellino, 33 Madonna and Child. By A. Verrocchio, 39 Marvell, Andrew, in Highgate, 250 Mary Magdalen at the Feet of Christ. By Moretto, 73 Mater Dolorosa By Jules Valadon, 375 Medor Restored. By Tiepolo, 336 Metal Work, 60, 61, 82, 83, 216, 219, 244, 378 Mill, The. By Sir E. Burne-Jones, 346 Mill Ford, The. By Homer Watson, 210 Millais, Some Reminiscences of, 251 Milton Visited by Andrew Marvell. By G. H. Boughton, R.A., 9 Minerva. By Tiepolo, 338 Mona Lisa. By Leonardo da Vinci, 192 Monte Pincio. By F. Heilbuth, 54 Moonrise. By Homer Watson, 287 Moretto da Brescia, 73 Movements of Fish, 289 Mulready, William, R.A., 65 Music Room designed by H. and J. Cooper, 123 My Lady’s Garden. By J. Young Hunter, 178 National Competition in Design — 1899, 281 National Gallery, 149 National Gallery of Ireland, 222, 382 National Liberal Club, The, 305 National Portrait Gallery, 287, 288 Nativity, The. By A. Rossellino, 34 Naval and Military Club, The, 133 Nettleship, Miss Ida. By Caswall Smith, 215 New Gallery, 57, 62, 185, 378 Obituary : — Bates, H., A.R.A., 94 Bonheur, Rosa, 222 Maris, Jacob, 320 M'Kay, Andrew William, 352 Segantini, Giovanni, 382 Youngman, J. M., 94 Off Valparaiso. By T. Somerscales, 178 Old Masters in British Lace, 141 Oldham Art Gallery, 221 Paderewski. By Baron Von Meyer, 272 Panels in Relief. By Miss E. M. Rope, 25, 26 Paris Salons, 1899, 245 Parisian Studio in London, A, 274 Partie de Football. By O. Guillonnet, 247 Pastel Society, 62, 119 Peace. By H.S.H. Countess F. Gleichen, 184 Peaceful Highway. By G. D. Leslie, R.A., 161 Pen and Pencil Club, Edinburgh, 232 Perseus and the Sea Nymphs. By Sir E. Burne- Jones, 213 Pewter, Some Rare Old, 313, 347 Photography, Notes on, 380 Piano-Front Design. By H. G. Theaker, 281, 282 Picture Sales of 1899, 283 Popular Portrait Painter — Ellis Roberts, 321 Porcelain at Bethnal Green Museum, 254 Portraits of Flora Macdonald, 111 Poster Competition at Scarborough, 30, 222 Pottery and Porcelain at Bethnal Green, 254 Precarious Street. By W. Monk, 104 President de la Republique a St. Etienne. By J. Frappa, 248 Pretyman, Lady Beatrice, and her Little Boy. By Ellis Roberts, 325 Pride of Youth. By Christopher Dean, 249 Prioress’s Tale. By Sir E. Burne-Jones, 58 Protest, A. By Byam Shaw, 377 “ Punch,” Drawings from, 193 Queen's Birthday. By Miss Merrick, 127 Question, The. By Marcus Stone, R.A., 358 Raeburn, Sir Henry, R.A., 44 Raphael, Mrs. M. F., 257 Recent Losses in Old London, 240 Reform Club, The, 45 Rembrandt, Works of, 57, 62, 126, 158 Repose. By Baron Von Meyer, 271 Reredos at St. Barnabas Church, Clapham, 25, 26 Reviews : — Christmas and New Year Cards, 64, 384 Photographic Books, 32, 128 Plates, 30, 32, 224, 384 Various Illustrated Books, 3T, 32, 63, 96, 127, 192, 223, 256, 320, 343, 383 Rippling Water. By W. Monk, 102 River Pool, The. By Homer Watson, 210 Robb, Miss Esme. By G. H. Boughton, R.A.,9 Roberts, Ellis, 321 Robertson, Mr. Forbes. By Caswall Smith, 215 Roc’s Egg. By E. Vedder, 97 Ronner, Madame H., Studio of, 31 Roscoe Collection at Liverpool, 266 Rossetti’s Salutations of Beatrice, 353 Royal Academy, 40, 57, 62, 65, 94, 115, 138, 158, 161, 253, 288, 310, 320 Royal Academy Exhibition, 1899, 161, 288 Royal Academy in the Present Century, 40, 65, 115. 138, 310 Royal Institute of Painters in Water-Colours, 30 Royal Societies Club, The, 339 “ Rubaiyat,” Omar’s. Illus. by E. Vedder, 98 Rustic Civility. By W. Collins, R.A., 139 Sacrifice of Iphigenia. By Tiepolo, 338 Sailor-boy’s Return. By W. R. Bigg, R.A., 41 St. Anthony, the Abbot. By Moretto, 76 St. Cecilia. By E. Vedder, 97 St. Clement and the Saints. By Moretto, 77 St. Fillan’s Crozier, 228 St. George. By G. J. Frampton, A.R.A., 182 St. Laurent. By Franz Dvorak, 221 St. Michael’s, Bassishaw, 242 St. Michael’s, Wood Street, 241 Sales of 1899, Picture, 283 Sale-room Gossip, 190, 220, 317, 382 Salons, Paris, 1899, 245 Salter, Mrs. By William Hogarth, 150 Salutations of Beatrice. By D. G. Rossetti, 353 Sauber, Robert, The Work of, 1 Sawmill, The. By Homer Watson, 209 Scarborough Poster Competition, 30, 222 Science and Art Department, 222, 281, 288 Scots Greys at Waterloo. By R. Hillingford, 180 Scottish Art Exhibitions at Edinburgh and Glasgow, 124 Shepherdess. By J. S. Eland, 121 Sheraton Table, 122 Shipbuilder and his Wife. By Rembrandt, 59 Shipwrecked Sailor-boy. By W. R. Bigg, 41 Sibyl, The. By Washington Allston, A. R. A., 311 iii Silver Poplars. By C. E. Boughton, R.A., 166 Sleeping Children. By Sir F. Chantrey, 115 Smith, Caswall, Photographer, 212 Smugglers. By C. Napier Hemy, A.R.A., 172 Snow on the Himalayas. By Verestchagin, 95 Snowdon. By J. M. W. Turner, R.A., 131 Society of Designers, 62 Soir a Saint Cloud. By A. Delasalle, 246 Some Rare Old Pewter, 313, 347 Some Reminiscences of Millais, 251 Somnia. By Mrs. M. F. Raphael, 257 Soul in Bondage. By E. Vedder, 100 Source of the Tay, 151, 197 South Kensington Museum, 33, 58, 158, 352 Southwold School of Industrial Art, 350 Spode Porcelains and Japanese Prints, 285 Sportswoman on a Highland River. By G. H. Boughton, R.A., 11 Stained Glass Designs, 25, 26 Stairs, The. By J. J. Shannon, A.R.A., 319 Stephens, Miss C. (Countess of Essex). By John Jackson, R.A., 68 Stern, The Misses. By Luke Fildes, R.A., 177 Stirrup Cup. By J. L. E. Meissonier, 55 Storm Syren. By J. M. Swan, A.R.A., 155 Stott, Edward, and his Work, 294 Student, The. By O. Van Deuren, 220 Summer Eve by Haunted Stream. By B. W. Leader, R.A., 171 Summer Gloaming. By G. W. Johnstone, 146 Summer Sea. By George Cockram, 245 Sutherland, Duchess of. By E. Roberts, 322, 323 Tailpieces and Vignettes, 278 Taken by Storm. By C. Haigh-Wood, 182 Tate Gallery, 117, 352 Tay, Upper Reaches of the : — 1. — The Source, 15 1 2. — The Source, 197 3. — Killin and its Neighbourhood, 225 4. — Loch Tay, 260 5. — Kenmore and Taymouth Castle, 326 6. — Aberfeldy and its Neighbourhood, 361 Taymouth Castle, 326 Temptation of St. Anthony. By L. Lotto, 93 Textiles at Messrs. Wardle’s Works, 14 Theed, William, R.A., 40 Thomas, Miss Ruth. By S. Melton Fisher, 236 Thousand Carp, The, 289 Tiepolo, Giovanni Batista, 334 Tintagel, 19 Tintagel Castle. By F. W. Sturge, 21 Trebarwith Strand. By F. W. Sturge, 19 “ Trees, Old and Young, &c.” By Ed. Stott, 185 Trinity Church, Minories, 242 Triumph of Germanicus. By F. Jerace, 109 Triumph of the Hour. By H. Herkomer, 183 Trouville. By J. McNeill Whistler, 201 Turner Exhibition at the Guildhall, 129 Valadon, Jules, 375 Valmarana Villa, 334 Vedder, Elihu, 97 Vedder, Elihu. By Sir W. B. Richmond, 101 Venetian Masters, Last of the — Tiepolo, 334 Verrocchio or Leonardo da Vinci ? 33 Vieux, Un. By Jules Valadon, 375 Vignettes and Tailpieces, 278 Village Buffoon. By W. Mulready, R.A., 67 Ville d’Avray By J. B. C. Corot, 160 Virgin and Child. By Giovanni Bellini, 269 Vision at Martyr’s Well. By G. H. Boughton, 13 Von Meyer, Baron, Photographer, 270 Walker Art Gallery, Liverpool, 266 Wall-paper Designs, 91, 378 Walton and the Milkmaids, Isaac. By G. H. Boughton, R.A., 10 Wandering Musicians. By Walter Langley, 180 Wardle & Co.’s, Colour Printing of Textiles, 14 Warwick, Countess of. By Ellis Roberts, 322 Washing Day. By Edward Stott, 188 Watson, Homer, R.C.A., 208, 287 Watts, Mr. G. F., R.A. By Caswall Smith, 214 Wellington at Waterloo. By A. Cooper, 138 Whistler, J. McNeill. By W. Nicholson, 384 Whitworth Institute, Manchester, 29 Wind on the Downs. By Anton Mauve, 155 Window Designs, 25, 26 Winter Evening. By Caley Robinson, 377 Winter Nightfall. By G. H. Boughton, R.A., to Winter Sunrise on the Marshes, Bawdsey Ferry. By G. H. Boughton, R.A., 12 Winter’s Day. By G. H. Boughton, R.A., 119 Wonders of the Shore. By W. Margetson, 177 Wood-carving, 78, 216, 351 Yarborough, Countess of. By E. Roberts, 321 Yon Burnside. By G. W, Johnstone, R.S.A., 146 York Minster Restoration Fund, 382 Young Anglers. By W. Collins, R.A., 140 Young Laird. By R. Gemmell Hutchison, 126 Young Nobleman. By L. Van Leyden, 269 LIST OF ARTISTS WHOSE WORK IS REPRODUCED IN THIS VOLUME Allport, Miss C. L., 299 et seq. Allston, Washington, A.R.A., 311 et seq. Alma-Tadema, Sir L., R.A., opp. 56, 186 Anderson, R., A.R.S.A., 232 Anquetin, Louis, 86 et seq. Ashbee, C. R., 61 Bauerle, Miss A., 277 Beach, Miss A., 276 Bellini, Giovanni, 269 Bennett, E. F. T., 291 et seq. Bigg, W. R., R.A., 40 et seq. Bird, Edward, R.A., 42 Birkenruth, Miss J., 317 Blanche, J. E., 24b Boilly, Louis, 63 Bonvicino, Alessandro, 73 et seq. Boughton, G. H., R.A., opp. 12, 9 et seq., 119, 166 Bramley, Frank, A.R.A., 173 Brooke-Alder, Miss, 275 Browne, Gordon, 69 et seq. Burne-Jones, Sir Edward, 57 et seq., 213, 346 Butler, Herbert E., 133 et seq., 204 etseq., 305 et seq., 339 et seq. Cameron, D. Y., 189 Chalon, A. E., R.A., 66 Chantrey, Sir Francis, R.A., 115 Clausen, George, A.R.A., 169 Clifford, Edward C., 103 et seq., 302 et seq. Clouston, K. Warren, 78 etseq. Cockram, George, 245 Collins, William, R.A., 139 etseq. Cooper, Abraham, R.A., 138 Corot, J. B. C., 160 Crane, Walter, 91 Da Vinci, Leonardo, 35 et seq., 192 Davis, H. W. B., R.A., 164, 181, 384 Dawe, George, R.A., 40 Day, Lewis F. , 91 Dean, Christopher, 249 Delasalle, Mdlle. A., 246 Deuren, O. Van, 220 Donne, Walter J., 275 et seq. Dvorak, Franz, 221 East, Alfred, A.R.A., 171, 188 Eland, J. S., 121 Ellwood, G. M., 281 Fildes, Luke, R.A., 163, 177 Fisher, S. Melton, 235 et seq. Ford, E. Onslow, R.A., 183 Ford, Henry J., 128 Ford, R. Onslow, 174 Ford, W. Onslow, 176 Foxley, Miss Constance, 259 Frampton, Geo. J., A.R.A., 182 Frappa, Jose, 248 Gaskin, A. J., 378 Gerome, L,, H.R.A., opp. 200 Ghidoni, 75 Glasby, W., 25 et seq. Gleichen, The Countess F., 184 Graham, Peter, R.A., The Art Annual Graham, Thos., H.R.S.A., 203 Gregory, E. J., R.A., P.R.I., 159 Greuze, 383 Guillonnet, O. D. V., 247 Hacker, Arthur, A.R.A., 174 Haigh-Wood, C., 182 Halkett, G. R., 232 Harvey, William, 278 et seq. Heilbuth, F., 54 Hemy, C. Napier, A.R.A., 172 Herkomer, H., R.A., 183 Heydemann, W., opp. 12 Hillingford, Robert, 180 Hilton, William, R.A., 118 Hogarth, William, 114, 150 Hokousai', 290 Hopkins, Arthur, 193 et seq. Hudson, Thomas, 112 Hunt, Thomas, 125 Hunter, Colin, A.R.A., 168 Hunter, J. Young, 178 Hutchison, R. Gemmell, 126 Jackson, Herbert, 244 Jackson, John, R.A., 68 Janko, 289 Jerace, Francesco, 106 et seq. Johannot, Tony, 279 John, W. Goscombe, A.R.A., 182 Johnson, C. E., 172, 360 Johnstone, G. W., R.S.A., 146 et seq. Kay, James, 124 Kesai Kytao, 289 Langley, Walter, 180 Leader, B. W., R.A., 171,0pp. 168 Leighton, E. Blair, 167 Leighton, Lord, P.R.A. Frontis¬ piece and 156 Leslie, G. D., R.A., 161 Leyden, Lucas Van, 269 Linton, W. J., 280 Lockhart, W. E., R.S.A., 232 Lotto, Lorenzo, 93 Lucas, Seymour, R.A., 165, 359 Ludby, Max, 288 Ludovici, A., 202 Luini, Bernardino, 346 MACGREGOR, Robt., R.S.A., 234 McNair, H., 244 MacWhirter, J., R.A., 168, 179 Madrazo, R. de, opp. 92 Margetson, W. H., 177 Mauve, Anton, 155 Meissonier, J. L. E., 55 Merrick, Miss, 127 Millais, Sir J. E., P.R.A., 343 Miller, Fred., opp. 324 Monk, W., 102 et seq. Moore, Albert, 212 Moretto, 73 et seq. Morris, William, The Easter Art Annual Mulready, William, R.A.,65 etseq. Murray, David, A.R.A., 164 Murray, Fairfax, 344 New, E. H., 223 Nicholson, William, 384 Ouless, W. W., R.A., 162 Paterson, Jas., A.R.S.A., 202 Patterson, Dickson, 208 Peacock, Ralph, opp. 184 Pickering, Henry, 113 Priestman, Bertram, 190, 203 Raeburn, Sir Henry, R.A., 43, 116 Ramsay, Allan, 113 Rankin, A. Scott, 151 et seq., 197 etseq., 225 et seq., 260 et seq., 326 et seq., 361 et seq. Raphael, Mrs. M. F., 257 et seq., opp. 272 Rathbone, H.t 244 Rembrandt, 59 Richmond, Sir W. B., R.A., 101 Riviere, Briton, R.A., 30 Roberts, Ellis, 321 et seq. Robertson, Percy, opp. 304 Robinson, Caley, 377 Rope, Miss E. M., 25 et seq. Rossellino, Antonio, 33 et seq. Rossetti, D. G., 345, 353 et seq. Roussel, Theodore, 287 Runciman, T., 257 Sargent, John S., R.A., 187 Sauber, Robert. 1 et seq. Schumacher, Bernard, opp. 114 Shannon, J. J., A.R.A., 319 Shaw, Byam, 181, 377 Smith, W., 115 Solomon, S. J., A.R.A., 175 Somerscales, Thomas, 178 Fo-Shisbki, 290 Steer, H. R., 160 Stone, Marcus, R.A., 358 Stott, Edward, 161, 185, 188, 294 et seq. Stratton, Miss Helen, 223 Sturge, F. W., 19 et seq. Sumner, Heywood, 91 Swan, J. M., A.R.A., 155, 184 Taylor, Miss M. F., 222 Theaker, H. G., 281 et seq. Thompson, Miss L. B., 371 etseq - Thomson, George, 45 et seq. Thomson, Hugh, 224 Tiepolo, Giovanni Batista, 335 et seq. Turner, Miss Ella, 276 Turner, J. M. W., R.A., 129 etseq. Utamaro, 285 et seq. Valadon, Jules, 375 Vautier, B., opp. 150 Vedder, Elihu, 97 et seq. Verestchagin, Vasili, 95 Verrocchio, Andrea, 37 et seq. Vigers, A. F., 378 Voysey, C. F. A., 91 Walker, Fred, 29 Wanless, H., 222 Ward, E. L., 379 Warner, Horace, 91 Waterlow, E. A., A.R.A., P.R.W.S., 170 Watkin, Miss I., 274 Watson, Homer, 208 et seq., 287 Watts, G. F., R.A., opp. 114, 180, 185 Webster, A. H., 222 Weiss, George, 247 Weyden, Roger Van de, 270 Wheatley, F., R.A., 191 Whistler, J. McNeill, 27, 201 Wohlgemuth, 269 Wyllie, W. L., A.R.A., 170 LIST OF CONTRIBUTORS OF SIGNED ARTICLES TO THIS VOLUME. S™’ L- r> 45, i33, 204, 305, 339 benn, R. Davis, 313, 347 Bennett, E. F. T., 289 Bromhead, H. W., 357 Brooke-Alder, Miss Isabel, 270 Bruce-Clarke, Mrs., 51, 82, 141, 366 Carter, A. C. R„ 161, 235, 283, 294 Clifford, Edward C., 302 Clouston, K. Warren, 78 Croal, T. A., 232 Darton, Joseph, W., 69 Day, Lewis F., 218, 281, and The Easter Art Annual Dixon, Miss M. Hepworth, 9 Dyall, Charles, 266 Eaton, Fred. A., 40, 65, 1 15, 138, 310 Fitzgerald, Percy, 278 Gilbert, W. M., 146, and The Art Annual Lawrence, Arthur, 103 Lehmann, Rudolf, 251 Leslie, G. D., R.A., 40, 65, 1 1 5, 138, 310 Macmillan, The Rev. Hugh, D.D., LL.D., 1 5 1, 197, 225, 260, 326, 361 Marillier, H. C., 353 Martin, Carew, 334 Mavor, James, 208 Miller, Fred., 272, 321 Molmenti, Pompeo, 73 Nettleship, J. T., 212 Penderel-Brodhurst, J., hi Phillips, Claude, 33, 149 Purser, S. H., 155 Radford, Ernest, 97, 243 Ramsay, The Rev. Alex., 250 Ranken, J., 19 Reid, J. A., 193 Rinder, Frank, 240, 257, 377 Roberts, W., 190, 220, 317 Salazar, Lorenzo, 106 Sherard, Robert H., 85, 375 Stevenson, R. A. M., 26, 57, 119, 158, 189,. 201, 286 Strange, Edward F., 332 Strong, S. Arthur, 92 Thompson, Miss I- Beatrice, 371 White, Gleeson, 14 THE WORK OF ROBERT SAUBER, WITH ILLUSTRATIONS BY THAT ARTIST. THE COLOUR REPRODUCTIONS BY THE SWAN ELECTRIC ENGRAVING COMPANY. T T may fairly be questioned whether, in any branch of art practice, there has ever been an evolution so rapid, or a development so strongly marked, as during recent years it has been possible to note in the case of illustra¬ tive work. Not so very long ago drawing for this class of reproduction was the particular pursuit of a compara¬ tively small number of men, who were able, without unduly exerting themselves, to satisfy the demand actually existing ; and, if an artist of standing among the painters of pictures was by any chance induced to enrol himself temporarily in the ranks of the illustrators, his divergence from his accustomed path was regarded as a very considerable concession, and as a proceeding not quite in accordance with the traditions that he was in duty bound to respect. Illustration was, in fact, con¬ sidered to be a permissible resort only to the impecunious, whose success in the higher walks of art had not been great enough to enable them to live without shifts and contrivances. It was a waste of a clever painter who had capacity for better things, and was a good enough trade for the man to whom the fates had denied any prospect of eminence in artistic pursuits. Happily, the change which has come about, in the January, 1899. THE ART JOURNAL. estimate of the claim that illustrative work has to consid eration, is suffi- eientlycomplete. Neither the profession nor the public commits the mis¬ take now of undervalu¬ ing the importance of the part played by the black- and-white draughtsman ; and no present-day artist would feel that he was losing caste by devoting himself to a type of art which makes the strong¬ est possible appeal to the aesthetic instincts of the community. The illus¬ trator has become one of the chief powers in the art world ; and he dominates the modern school by both the variety and the quality of his produc¬ tion. Men are earning to-day splendid reputa¬ tions by their drawings alone, reputations more solid and widespread than those which were, in bygone years, gained by the exhibition of can¬ vases in public galleries, or by painting pictures destined for interpreta¬ tion by the engraver. As a consequence, the number of exponents of this essentially modern phase of practice grows annually in a fashion quite remarkable, and every year sees a raising of the standard of black- and-white work. Keener competition results in greater effort and in¬ creased activity; new men bring new ideas into evidence, and introduce fresh technical methods, and the public are not slow to welcome and en¬ courage the craftsman who can fascinate them by the right touch of per¬ suasive novelty. All this makes it difficult for any individual illustrator to keep his standing in the artistic ranks, and to retain his influence over the people for whose satisfaction he labours. He is constantly in dan¬ ger of being elbowed out by cleverer competitors, or of finding himself ont of touch with the popu¬ lar taste ; and if he once falls behind, there is little chance of recovery for him, unless he is blessed with unconquerable de¬ termination, and versa¬ tility quite extraordinary. It follows that the men who have, and hold, places in the front rank must in skill be very de- THE WORK OF ROBERT SAUBER 3 inclined. For two years he worked steadily night after night at the studio of the Artists’ Society in Langham Chambers, the headquarters of the Langliani Sketching Clvib, maturing his technical methods by persistent study from life ; and painting every now and then small pic¬ tures which gained ready admission into various exhibi¬ tions. In 1890 he made another move, this time to Paris, where he became a student in the Acade- mie Julien, under the supervision of MM. Benjamin - Constant and Lefebvre. These newer influences promptly brought out a fresh side of his ca¬ pacity. While his pic¬ tures produced before the Paris visit were minute, elaborate, and full of detail, the first one he painted amid French surroundings, ‘The Golden Lure,’ which appeared in the 1890 Academy, was a big canvas extremely imaginative in motive, and treated with a de¬ corative largeness and simplicity that gave it very real dignity and importance. Seve¬ ral pictures of the same type followed, ‘ The Angel of Death bearing away the Soul,’ ‘Diana,’ and ‘The Madness of Orestes,’ among them, some of which were executed in France, and some at Munich, whither Mr. Sauber proceeded for a while when his stay in Paris came to an end. While the artist was giving these convinc¬ ing proofs of his abi¬ lity to deal with the larger facts of art, and was showung with what force he could realise really impres¬ sive conceptions, he was already making his first essays in that form of practice which has since occupied him almost exclusively. He began to turn his attention to illustration in the intervals of his ambitious efforts in picture painting, and found very soon that in this direc¬ tion lay chances of popularity and success far greater than are ever open to the producer of imaginative can¬ vases. So, as time went on, he devoted himself more and more to the work that he perceived was required of him, and with sound judgment, made the various modi¬ fications in practical and executive matters which he saw would be essential if he was to satisfy the particular finitely above the average of their contemporaries. They must have graces of style that are extremely attractive, technical ability of a quite notable kind, endless imagi¬ nation, and a power of rapid expression which will enable them to cope with the demands made upon them. It is only by a combination of qualities such as these that the illustrator can rise conspicuously above the great mass of capacity that distinguishes the mo¬ dern school. He must be more than merely clever ; he must be something of a genius indeed; and even then, he will need all the energy and all the courage that is in him to make his place a permanent one. No better instance of the manner in which personality will tell in the strife of the present-day art world could be adduced than that which is fur¬ nished by the career of Mr. Robert Sauber. He happens to pos¬ sess in the fullest mea¬ sure those peculiarly combined attributes which make for emi¬ nence in the modern artist ; and by virtue of his special gifts he has secured a position that is, in many re¬ spects, unique. The list of his qualifica¬ tions is most ample, but he has, besides, the judgment which enables him to apply them in the right way, and the strength of character that is indispensable for their proper assertion. As an example of appro¬ priate devotion to par¬ ticular ends, the man¬ ner of his develop¬ ment is thoroughly in¬ teresting, for it has been deliberately con¬ trolled by his own choice of direction, and has been shaped intentionally to fit in with a scheme of existence of his own devising. His professional life so far has made up in variety what it lacks in number of years. Although born in London, he began his artistic experiences when he was quite a lad at Berlin, where he worked for some while as a litho¬ grapher, and at the age of seventeen he gained the first prize at a lithographic exhibition, for some of his pro¬ ductions in this medium. Two years later, in 1887, he re¬ turned to London, and began seriously to study those more ambitious forms of art expression to which his instincts 4 THE ART JOURNAL The Rock of Rubies, and the Quarry of Pcai Is. By permission of “ The English Illustrated Magazine Some ask’d me where the Rubies grew : And nothing I did say, But with my finger pointed to The lips of Julia. Some ask’d how Pearls did grow, and where ; Then spoke I to my girl, To part her lips, and show me there The Quarrelets of Pearl. Robert Herrick. demands made upon him. Speed in statement he had possessed from the first, and the faculty of making up his mind promptly about what he intended to do he had readily acquired during his period of training — the ‘ Golden hure,’ for instance, was painted in something under a fortnight -but he had to abandon a great deal of his earlier minuteness and careful elaboration, so as to make possible that rapidity in production which is an indispensable characteristic of the illustrator who wishes to be ready for all emergencies, and to cope with the sudden necessities that are constantly arising. The technical style which he has accordingly evolved is the one which allows him the fullest chance of asserting his own personality, and yet meets all the inevitable require¬ ments of process reproduction. It is clean, direct, and expressive, sufficiently detailed for the due explanation of each subject selected; but not so complicated that there is any danger of the artist’s intention being obscured by the failure of the method of translation to cope with the intricacies of his design. No reasonable printing process would be likely to misrepresent him, for he has made it his business to know exactly what are the pitfalls that abound in the path of the illustrator, and has safeguarded himself against every risk. By estab¬ lishing such a basis of sound craftsman¬ ship, Mr. Sauber secured, at the outset, the future of his work, and ensured the approval of the business people with whom he had to deal. The sympathy of the general public he has gained since by the unvarying at¬ tractiveness of his drawings, whether in colour or in black-and-white. By the daintiness of his imaginings, the grace of his arrangements, the charming deco¬ rative quality of his touch, he has fasci¬ nated people in all parts of the world. There are few quarters, where books and illustrated papers are to be found, that are not familiar with the products of his pencil, and that do not respond readily to the artistic spells which he is weaving daily and hourly. His work is welcome everywhere, and enjoys probably a wider popularity than is accorded to that of an)^ of his contemporaries. The rapidity with which he has arrived at his posi¬ tion is doubtless partly the outcome of his extraordinary fertility of invention. There is such an unbroken series of evi¬ dences of his skill pouring constantly from his stiidio that he could not, by any possibility, be overlooked, even for a moment. He gives the public no time to forget him. scarcely time, indeed, even to compare the relative merits of the many things that he presents ; he im¬ presses everyone with his astonishing readiness to meet whatever demand the exigencies of the moment may have chanced to create, and yet, however ex¬ acting may be the circumstances to which he responds, he never shows in his work any sign of haste, or incomplete appre¬ ciation of the artistic responsibilities he has assumed. There is nothing which helps so much to establish an artist as a popular favourite as this ability to do good work at a moment’s notice, and to maintain an even level of merit under all sorts of conditions of pro¬ duction. Sir John Gilbert owed not a little of his early success to this same faculty for hitting instantaneously on the right point of view, and for stating the results of his ready conviction with unvarying skill. But Mr. Sauber has, besides his prompt fertility and technical adaptability, another important attribute which stands him in very good stead in his dealings with the great mass of his following. He has a very correct appre¬ ciation of what constitutes real attractiveness in the representation of types of femininity, and can draw pretty women in all their most engaging aspects. Their graces of pose and gesture, their picturesque little affectations, their dainty airs of conscious importance, he can render with unfailing accuracy and yet without the least hint of masculine intolerance of such transparent devices. lie accepts quite seriously the whole gamut of feminine emotions, and treats it as if he found in its ever-changing alternations the most engrossing matter for study. The women of his picture world are always thoroughly alive, and even in their most statuesque poses and most formal THE WORK OF ROBERT SAUBER 5 The Studio of Robert Sauber. moments they never fail to suggest the fulness ot their healthy vitality. The decadent female, with her morbid peculiarities and uncanny contours, never intrudes her unpleasant personality into his domain. He has no liking for her, and prefers to ignore her existence, and to leave the glorification of her curious unsightliness to those artists who derive the keenest pleasure from the worship of the abnormal. His direction is a saner one, and he deserves credit for his avoidance of an eccentricity which involves a denial of all wholesome judgment. No doubt he incurs as a consequence the contempt of that small coterie which makes a profession of foolish admira¬ tion for physical distortion, and seeks its ideals of physical beauty in homes for the incurable ; but, by way of com¬ pensation, he ensures the acceptance of his efforts by the vast majority of people whose senses are free from the taint of restless dissatisfaction with the usual order oi things. He appeals to a conviction which is happily still very general, when he depicts women who are fresh and dainty in their wholesome elegance rather than extraor¬ dinary in their perverse negation of everything which the world has, for many generations, regarded as the essentials of acceptable femininity. Mr. Sauber has, too, a knack of giving, even to his slightest compositions, a persuasive hint of reality. His grouping is easy and informal, and his characters play their parts, in each scene that he represents, with an absence of self-consciousness that is distinctly refreshing. He does not in his drawings treat the figures as if they were the only important details of the design ; but very carefully keeps them in right relation to the backgrounds, (899 so that they fit harmoniously into the general scheme, and agree perfectly with the surroundings in which they are placed. Yet this reality of effect is not the outcome of any realistic system of minute imitation ; it is rather obtained by attention to the decorative aspects of the subject and by extreme care in the distribution of the points of main interest. Even in a drawing so slight as to be a mere suggestion of the artist’s intention, there is always perceptible the same effect of consideration of the main facts before the smaller accessories are brought into the artistic scheme. The details are plainly used simply to fill up, logically, the blank spaces in the pictured story ; and the exact amount of interest they have to contribute to the whole is calculated with a degree of subtlety which is none the less exact because it has necessarily to be arrived at with all possible promptitude. Some share in the pleasing result of Mr. Sauber’s efforts must, however, be assigned to a certain habit in working, which is charac¬ teristic of him. He always views his groups in the ordin¬ ary perspective of everyday life, and avoids the conven¬ tional studio trick of raising his sitters on a platform above the level of the floor. Therefore, his compositions have an air of naturalness which would be perceptible even to people whose knowledge, of technical devices, would not go far enough to enable them to analyse the why and wherefore of the effect ; but to the average observer the sense of truthful interpretation would be patent enough to add appreciably to the other attractions of the artist’s work. 