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Cavalli became closely 4' Carlo Fornara, Italian " Litniinisf" associated with the master, and by this means still further strengthened himself in the mysteries of colour. And of this school of painting it was destined that Carlo Fornara should byand-by become one of the most successful representatives. Thus our artist owes his early education to Cavalli, and, indirectly, to France. From the same source sprang the art of Segantini, as the " Seganti- nian" paintings abundantly reveal. This might indicate that, without knowing it, Fornara became initiated into "Segantinism" ; for after his first meetings with Cavalli Fornara showed himself greatly interested in the powerful phenomena of light.

Fornara, however, is a calculatinj; repro- ducer of the phenomena of light. While recalling his master, Cavalli, he endeavours to take into account all the luminous "accidents" which animate his canvases, and he will talk of the gradations of light with a certainty of expression which is quite sur- prising to his hearers.

He was about twenty at the time, and here for the first time saw the work of Segantini, who exhibited a Cow in a Yard and the Tivo Af others.

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On the mind of Fornara these two pictures produced as it were the impression of a dream realised, for the young painter's ideas found their complete form in the works produced by Segantini. Fornara at once had the conviction that the superiority of the Segantinian paintings over all others in the " Triennial " was derived from the " divisionist " technique, which he loved beyond all others. Of this method Fornara is now the main supporter in Italy. N AiR and this gives his paintings an aspect difterLT.

And did not Segantini, too, rejoice in admiring J. Moreover, at the time when. Fornara and Segantini met, the latter was not esteemed as he has been since. On the rf ntrary, and especially in Milan he had many fierce enemies— this in the place where even the sun of Tran uillo Cremona, Mose Hianchi. Since his first ariiuaint- ance with the ". Seganti- nian" canvases till the pre- sent lay Fornara has con- tinued his researches. In he was enticed to Turin by Antonio Fonta- nesi. At that period the 44 delicate beauty of this artist's work to which M. So, from sadnsss to stri- dent laughter, the spirit of Fornara continues to seek out beauty, and guides us to those luminous sights of nature which the painter, with his love of his native valleys, continues to interrogate with enthu- siasm, while cultivating his mind by reading the most modern and the most suggestive authors, from J.

Huysmans to John Ruskin. He lives in his valley, and the Valle d'Ossola beholds in him its own poet, full of ven'e and sincerity. To the landscape painter a knowledge ot the growth and structure of different trees is just as important as is a thorough under- standing of the anatomical construction of the human body to the figure painter.

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Yet compara- tively few men who devote themselves to the record of open-air subjects have more than a general acquaintance with the characteristic features of the trees which it is their business to paint in picture after picture. They are, for the most part, content to trust to a kind of broad impression of what they see and to slur over the details about which, for want of closer study, they are more or less uncertain ; and as a consequence they make at times mistakes which are not entirely excusable.

There is a kind of practical protest against mistakes of this character in such studies as are reproduced here from the drawings of Mr. Rex Vicat Cole, studies which in their exhaustive analysis and intimate observation show decisively how much there is to be learned about varieties of tree-form. Vicat Cole has taken up his subject partly, perhaps, in the spirit of the botanist, but he has carried it through with a purely artistic intention: His drawings, as technical efforts, have an ex- quisiteness which can be frankly admired, and concerning their value as instructive illustrations of things seen there can be no question.

His ex- perience as a professor in the Kensington branch of King's College has no doubt shown him the need for such definitely intelligible object lessons, and he has set to work in the right way to supply this need for the benefit, not only of the students under his direction, but of all open-air painters as well. Artists who put so efficiently on record, the results of their patient investigation of nature do a very real service to art and add much to the stock of information at the disposal of those who come after them.

The two illustrations on this page are from a sketch and plan by Mr. The roof will be covered with reed thatching, or "theking," to use the old Norfolk term. Mallows to design him what, for want of a better term, can be called a Garden Village by the Sea. The aim will be to re-create, as far as possible, the interest and charm of a typical Norfolk village, and the whole scheme, both in its general concejjtion and in the matter of the design of each house they will all vary in plan and composition , has been very carefully studied to secure that result.

The desire is to retain and extend this picturesque quality, and in this way create what will be a unique seaside village. The design is grouped around the very beautiful fifteenth-cen- tury church, the lower of which is amongst the finest in Norfolk. This tower will, in fact, form the focal point of the main road entering Happisburgh from North Walsham, and all the other new roads have been carefully arranged in relation to it.

The house at Beaconsfield of which illus- trations are here given of exterior and interior, has been erected from the designs of Mr. Two sites were purchased on the main road to mark off the property from small houses in the vicinity, and, in order to further secure privacy, the house has been set back towards a new road which has been laid out. The plan explains itself. The dining- room has a south window looking right along a loggia and pergola to a small summer-house at the end. The interior is finished with simple panelling and all the floors and doors are oak.

The lawn has been sunk so as to be as little over- looked as possible from adjacent houses which have been built in the new road. The mate- rials used in construction are brick, roughcast and tiles, and the windows have iron casements and leaded lights. The house is heated throughout with hot water. In a new residence now being erected at Bilbao from the designs of Messrs.

The site of this building is a pine wood facing the Bay of Biscay, from which it is immediately pro- tected by a natural harbour, and a good view of the shipping at sea is obtained from the upper terrace constructed for the purpose. In planning, special provision has been made for the children, who have their own study, dining-room, and lava- tories in the west end of the house, and also a private approach to the terrace.

The kitchen ofifices are in the basement, for the sake of coolness during the summer months. On the upper floors there are nineteen bedrooms and four bathrooms. The principal stairs and the panelling to the walls of the reception rooms are of oak, the greater part of which has been worked in England and sent out. All the windows have wood shutters, except a few which are fitted with patent roll-up Venetian blinds. The roofs are covered with hand-made tiles of English manufacture. Our final illustration this month shows an inter- esting restoration carried out under the direction of Mr.

Arnold Mitchell, at Caius College, Cam- bridge. An accidental repair in the ceiling of one of three small, square whitewashed rooms brought to light an old beam, and this led to the discovery that the three rooms had in days gone by been one the partitions were comparatively recent.

It was decided to make a single room of them again. All the ceiling-beams seen in the illustra- tion are old ; the panelling, where new, is from very old English oak obtained from the timbers of an old battle-ship and left free from the tool after working. The floor boards have been made from old oak cut up and relaid. The frieze is new, and was made in plaster so as to avoid the uneven- nesses of the old beams of the ceiling clashing with the straight lines of the wall-panelling.

The room is now the College Combination Room. The first of the two exhibitions into which the International Society has divided its programme this year is in many respects scarcely worthy of its tradition. We are not willing to believe that there is any abatement in the enthusiasm of the committee for the best work, or that less effort has been put forth to procure it. It follows, then, that there must be an absence of interesting work forthcoming from the studios. Last year's record of other important exhibitions would lead us to believe so.

We may ask ourselves if this, too, is due to the "slump" in the money market? It is probable that pictures cannot be painted with enthusiasm and difficulties surmounted by the painter in the trials of his craft, when there is so much reason for him to fear that his finished work may be destined to haunt the dusty comers of his studio for many months or even, it may be, years to come.

An event of importance in connection witli the Society took place almost simultaneously with the opening of the exhibition in the election of Mr. John Lavery, who has resigned. Strang's achievements as a painter and etcher entitle him to the honour of the position, and the Society itself is to be congratulated on the elec- tion.

He contributes some interesting work to the exhibition this year. The work which the President himself con- tributes this time is representative of the heights of his genius, the plaster model of his r. Homme qui marchi forming the clou of the Central Hall. The sculpture of the late Jules Dalou, and Renoir's great portrait of a lady and some examples of the most beautiful stages of Monet's art also form part of the wealth of the exhibition. Anxious at all costs to be in the movement, to keep pace with the rapid whims of Pari.

Cross and Paul Signac, which have the distinction of being, perhaps, the most perverted developments of landscape painting which, up to the [present, have been seen in London. Essentially English in character is Mr. It has quali- ties which are too great for it to disappear into the strange unknown regions where thousands of quite brilliant pictures go after their exhibition.

Certain paintings belong to history from the moment they are completed. Through a series of many canvases Mr. Shannon has been perfecting his methods, but only now and then does his brush catch fire and receiving its impulse from life transform his work into something more than the cold pro- duct of supreme skill shut in to its own exercises by the studio door.

The rugged style which Mr. Ricketts now affects in painting and sculpture is no doubt an attempt to express himself in what is termed a " big " way. But there was an intimate side to his genius, which we are sure existed, though there has been no record kept of it in his art of recent years. Last month we had occa- sion to mention in a note the sjjlendid achievements of Mr. William Orpen in recent exhibitions, but the International Society can- not be congratulated on the portrait canvas which he sends to ihem this year.

He seems to have put into it every affectation he could command for the occasion. When we remember h's fine and unaffected portrait f f Sir James Stirling at the recent exhibition of the Portrait Painters we can but hope that this canvas at the New Ciallery is a sort of supreme farewell to affectation. He can afford to leave this sort of aastheticism as' a means of advertisement to those with a reputation less assured. Orpen is not the only painter whose work is not worthy of himself. There seems an apparent effort on Mr. Walter Crane's part to efface the reputation of a lifetime by one canvas.

Those who give some of the chief elements of success to the exhi- bition are Messrs. Ludovici, Emile Claus, A.

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Mura, and several others. The first four of these names are responsible for the best of the landscapes by painters of this country. Neven du Mont's picture of a stage scene. The Harlequinade, would, we think, have been altogether better as a smaller painting. Vuillard, L'Armoire d, Huge by F. Vallotton, are works that call for mention, and there is a curiously intense and interesting work by A. The drawings of Sir Charles Holroyd, the coloured woodcuts of Mr. Seaby, the etchings of Mr.

Fullwood were the features of the South Room, where also a silver statuette by Mr. Stirling Lee and a case of ornaments by Mr. Wilson, also a shagreen casket by J. Paul Cooper, form interesting features. Other contributors whose works call for mention are Messrs. Millie Dow, Alfred Wither? Hellwag, Francis Howard, J. Morrice, Sydney Lee, R. Lambert, and Misses O.

Uods-Withers ; and the three landscapes by the late Herbert Goodall, shown in the North Room, should not be forgotten. The work of Mr. Howard Thomas is representative of that fine sculptor; Mr. Charles Ricketts' bronzes are notable, as also is a bronze by Mr. Prince Troubetzkoy's work with its vivacity, and Mr. Conrad Dressler's with its repose, the series of clever bronze port aits by Miss Kaye Bruce, and the wax models of birds by Miss W. The female torso by Prof. Legros, and the part of a monument for Pere Lachaise by A. From Our Own Correspondents. We give a reproduct.

It is so weu k E the possibilities of its disposal by the th. Ernest White, a specimen ot whose pen- and. Through a misunderstanding reference was made to this society in connection with another gallery two months ago. The Society contains --Y "-! Borough Johnson, and Miss B. Clarke amongst others, and hese were represented to great advantage. Lister Harriet Ford, and to the Diabolo of Miss Clare Atwood, which shows a highly tramed artistic vision, and, though so slight in character is a change from the market scenes m which her pats a first success.

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In the crafts section. There was more sense of atmosphere in the grey canvases of Mr. Neave than in the others, a truer interpre- tation of the effects in which for the most part the buildings or the wharves of London are to be seen. There was a considerable feeling of life in the street scenes of Mr.

Edgar Downs, but all the exhibits were inter- esting from one or other point of view. Had- away, Miss A. East- lake called for mention. Amongst the limited number of English craftsmen who are turning their attention to domestic furniture none have attained more success than Mr. This fact was brought home to us once more when viewing the exhibition of his work recently held at Messrs. Here were shown a number of examples, original in design and displaying perfect workmanship.

The chief features of Mr. Gimson s work are simplicity of form, good construction, absence of over-decoration, and unerring judgment in the selection of the woods used. The cabinet and the stationery-box inlaid with mother-of- pearl which we illustrate on this page are typical of Mr. Some interesting examples of his iron- work were also shown, of which a pair of fire-dogs in bright steel, pierced and chased, is reproduced overleaf At the New Dudley Gallery in January, six artists exhibited some pictures of London — Messrs.

Bottomley, wen Bowen, Edgar Downs, A. Bruckman, whose exhibits in the International Society's and other prominent exhi- bitions will already be familiar to the majority of our readers. Whilst juick to perceive the decorative possibilities of his subject, Mr. Bruckman has always been extremely successful in placing a picturesciue composition upon his can- vas without sacrificing the multitude of atmospheric subtleties which belong to work carried on in the open air. It is perhaps this aptitude on the artist's part which gives to his work its individual character ; for whilst no one can dispute the sense of good com- position which belongs to his art, it is this sense that so often leads its possessor into contentment with land- scapes that arc wholly studio made, and which, by the methods of their pro- duction, fail to contain all the necessary accents of tone upon which the 64 The Landscape Exhibi- tion of the six painters who annually exhibit at the Galleries of the Old Water- colour Society is always one of the most interesting fea- tures of the winter season.

Sir Ernest Waterlow used to exhibit amongst them, and the absence of his art is greatly felt. Poole Harbour and Night were two canvases which at once attracttd attention. His handling was a litt'e too easy and suave in A Cloudy Evening, giving the impression of a not very valuable effect too cheaply obtained. Aumonier's distinguished art was represented very beautifully in Under the Beech Trees. Peppercorn's canvases were as forceful as ever, gloomy, emo- tional, sometimes almost eerie impressions of changeable weathers.

It consists of a collection of all periods. A painting of the Flemish school, Mary Tudor, by Lucas de Heere, formerly exhibited at the Guildhall ; a portrait of the painter Chardin, by Fra- gonard ; and the Master Bunbury of Sir Joshua Reynolds, are among the notable things, besides an interesting group of Hogarth's works. A At the Goupil Gallery last month Mr. Hanslip Fletcher showed a series of water - colours and drawings of Oxford and Cambridge, conscientious studies of architectural and street scenes in these two cities, which afford so much scope for the type of art which he practises.

He also showed drawings of interest made in London, Canterbury, Amiens, Chartres, and other cathedral cities. Wynne Apperley's exhibition at the Leicester Galleries showed an advance upon an earlier exhibi- tion of this young artist's work. Apperley is a realist, and his art is at its best when he declines to force his notes of colour for the sake of effect and show.

Arthur Rackham's drawings illus- trating "Alice in Wonderland," which we saw here 67 Studio-Talk at the same lime, did not reveal any fresh qua lities in this draughtsman's art. A repetition in the shape the grotesque takes in his art and overcrowded drawing are his faults ; but against these must be set the virtues of his delicacy in colour and his line-work, almost invariably sympathetic and pleasing, as well as that imaginativeness which makes his work as an illustrator spontaneous, unexpected, and often as inventive in technique and treatment as it is in spirit and design.

He returned to England with his family in the seventies. By the recent death of Mr.

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John William Buxton Knight, British landscape art loses a distinguished exponent. He was a painter of singular sincerity and a subtle power of observation, which found its expression in a very vigorous style. The Leicester Galleries are also to be congratu- lated upon their exhibition of works by the late Henry G. Moon, a painter whose retiring nature and reluctance to exhibit hindered his great worth as a landscape painter being adequately acknow- ledged during his lifetime.

The spirit of his landscapes is that of English fields, while it is the school of Corot which has influenced him, and the result is a hybrid but gracious art, sincere in sentiment, often very successful in colour, with trees and p'ant forms drawn in atmospheric effect yet suggesting the unusu- ally extensive knowledge of their character which the painter possessed. James's Street, where excellent premises have been secured. We are glad to note that, with the assistance of sympathisers and the forbearance of the superior landlords of the former club premises, the pictures seized by the latter for rent owing by the Club's landlords have been released.

We regret to record the death, at Cardiff in Decern ber, of Mr. William Curtis Brangwyn, the father of Mr. Brangwyn was an authority on Gothic architecture, and designed several churches in this style. When a young man he settled in Belgium, and among other things started a workshop at Bruges for ecclesiastical needlework. It was under her direction that the peasant women of Smolensk executed a collection of embroideries shown on this occasion, at once rich and subdued in their colour schemes, and abounding in precious little gems of ornamentation ; and from her ateliers at Talashkino came also the ceramic objects exhi- bited.

The names of the decorative artists associated with this institution deserve to be remembered. The works of art purchased by the State each year are submitted to the inspection of the Parisian public in a large exhibition held at the Ecole des Beaux - Arts. Most of them have already been seen elsewhere, only those com- missioned by the Government being occasion- ally new to the public, as was the case with the plafond executed by M.

Gervex for the Palais de I'Elysee. The works exhibited — textile fabrics, catved wood, ceramics, enamels — together formtd curious manifes- tations of a genuinely rustic art emanating from the people, and at the same time an art which, while respectful of the past, refuses to be enslaved by literal imitation of tra- ditional conceptions, and adapts itself to the needs and tastes of the present by the crea- tion of works characterised by vitality and strength.

In this exhibition two painters took part — Roerich, who so powerfully recalls the pagan period of Russia, and Bilibin, repre- sented by some very interesting illustrations for the Volga, the Toison d'Or, and the Jioi Saltane. Shchousseff, the architect, showed various designs for churches and monasteries- I admired greatly a little equestrian statue of Ilya Muromeiz, by Baron Rausch de Trau- benberg, displaying a remarkable strength of execution.

John the Baptist resting on the charger on which it was presented to Herod. At this exhibition, two other notable items were the beau- tiful panel Crepuscule, executed by Henri Martin in for the new Sorbonne, and a very fine bust of Ziem the painter by Se'goffin. It is greatly to be regrated, however, that the State did not this time acquire a single work by Besnard, our greatest living painter. Rodin, who, in addition to his monument to Victor Hugo, destined for the Luxembourg gardens, was represented by a series of nine busts which are to be placed in the Muse'e du Lux- embourg.

One only of these busts is in marble— that of a young woman, modelled wiili extreme delicacy. H is earlier work was represented by V Homme 70 Like many of the best painters of the present day, Simon Bussy hails from the atelier of Gustave Moreau. But nothing in his art, save an extreme delicacy of touch, reveals a kinship with the author of the Salome pictures.

Bussy, who is rarely seen in Paris, and divides his time chiefly between the Riviera and Scotland, has just been showing at MM. Durand-Ruel's a series of his pastels- works executed with an exquisite poetic sentiment. The technique of these pastels is so subtle that the medium is scarcely discernible, and one can scarcely tell whether they are water-colours or chalks. BECKER find not only a profound knowledge oi eighteenth century life and sentiment, but an altogether personal accent which com[ els attention. Hebrard, in the Rue Royale, there was held just before Christmas a quite uncommon display of modern works of applied art.

A piece of furniture by M. Desbois — a cabinet made of a beautifully coloured wood and decorated with carved sirens and seaweed viotifs — might have been classed as a cheJ-cTanivre had the deco- ration been more in accord with the material. Hebrard himself ex- hibited a silver font which merits being classed as a remarkable achievement, and also a very fine dish, a work more suitable for display in a cabinet than for actual use.

I admired some cups by M. Hairon ornamented with foliage, perfect execution being here combined with order and proportion in the general conception. Equally admirable was a capital vegetable dish by the same artist, this article being entirely appropriate to its purpose. A sauciere brightened by a sudden ray of sun- light, or a corner of the Mediterranean —all seem to yield up to him their inmost secrets. Dresa, an artist who deserves to be better known than he is at present, brought together a series of illustrations done by him for Sterne's " Sentimental Voyage," the chief episodes of which he has translated in a number of really charming works, accom- plished by divers processes — pen-and-ink, gouache, water-colour, three chalks — varieties of medium which he often mixes according to the dictates of his fancy.

Dresa, whose elegance and gracefulness reveal a close kinship to Moreau-le-Jeune, to Eisen, and to Cochin, is none the less shown to be among the moderns by the vital characteristics of his art, in which we BY A. Gilbert Pejac was sufficiently original in shape to merit praise, as was a fine crystal jug with a graceful handle. A vase by M. Husson, with decoration rather intricate in my opinion, but a diffi- cult piece of work as regards execution, seemed to me a veritable masterpiece of professional practice.

Edouard Monod's fruit stand and little bowl with narrow bands pleased me greatly, and I was delighted, too, with a silver-gilt tea service by M. Becker, the decorative sentiment being here very pleasant, and accompanied by much orderliness of form. I should not care for a service of which the cafelfere, the teapot, the sugar basin and milk-ewer took the shape of an elephant's head adorned with huge ivory tusks! To the illustrations belonging to the foregoing notes of our Paris correspondents we add repro- ductions of some interesting pottery by M. Bigot, two pieces of furniture of excellent design by M.

Jallot, and a hotel by M. On a recent occasion it was Henry Luyten of Antwerp who was the clou there. He is quite enamoured of these types of fisherfolk and peasants of his neighbourhood, and of the cattle, downs, and fields of his Flemish home. All these sights are observed in the varying moods of the day, but he loves them best in the glory of sunlight. His brush works like a detective instrument in capturing the faintest shimmer of gold on the country-girl's tresses or on the farmhouse floor.

Luyten's peasants have, like those of Walker and Meunier, a certain classical type in feature and gesture, and this idealism lends an ennobling charm to the naturalism of the painter. It is an indisputable merit of the Berlin Seces- sion to have roused interest in black-and-white art. The winter exhibition, which is held in the Salon Cassirer this year, is, therefore, a great attraction.

The most original exhibitor is the sculptor Ignatius Taschner. Sober realism and poignant wit mark his individuality, and he can express ihem in coarse as well as in graceful forms, and with a special sense for the decorative. The drawings of Hans Baluschek depict social misery with Zola's realism.

They are a kind of illustrative description, but de- serve higher estimation for qualities of characterisation and pathos. Slevogt's muse plays freely with its subjects, and his lithographs for the Ilias are really spiritual and vivid improvisations. His hand masters movement and facial ex- pression, and can without presumption undertake to grasp scenes from heroic strife and stress. Kathe Kollwitz is again of brutal energy in some specimens of her.

Corinth gives excellent proofs of his draughtsmanship in some very careful studies from nature, but he is more himself in the dashy execution of sensualistic visions. Hiibner is, in the same style, a clever impressionist, who only lacks delicacy in the treatment of clouds. Some of the most refined nudes are drawn by Th. Two of Germany's master draughts- men. Max Klinger and Richard Miiller, give their votes again for the creed that high art means com- plete consciousness coupled with temperament. Klinger is only the portrayer here, but Miiller undertakes flights into the imaginative, and his wings are again rather weighed down by earthly reminiscences.

Cristophe, and Julius Klinger is contented as his imitator. Struck and Philipp Franck express their realism in etchings of great reserve and finery, and Gertrud von Kunowsky is strong and serious. German painters are eager to study the fine qualities of this exceptional master. They cannot over- look in some pictures a certain lack of psycho- logical depth and a rather improvisatory style, but the predominance of taste and spliit and charm is univer- sally recognised.

The new president of the Academy, Professor Arthur Kampf, was fresh and convincing in painting the taming of an unbridled horse. He also interested by the por- trait of a lady which in some ] arts was an excellent bit of reserved colourism, but rather crude in others. Carl Bantzer, from Dres- den, left no wish unful- filled in his masterly cha- racterised peasant pictures. Tuaillon, Breuer and 76 studio- Talk Klimsch honoured such distinguished surroundings with new works of sculpture, but Max Kruse's difficult attempt to capture the vividness of life in wooden statues did not seem a recommendable kind of portraiture.

It is to be hoped that the dignity of tradition will never become a subor- dinate quality in these exhibitions. More than this, the affair amounted, in a way, to a sort of survey of the art of the nineteenth century in Austria, as there were also paintings by Wald- miiller, Fiihrich, Gauermann, Kriehuber, Fendi, Makart, Schindler, Agricola, Pettenkofen and Alt, as well as some old miniatures, dating somewhere about the year Among these Rudolf von Alt, who enjoys an almost unparalleled reputation as a watercolour painter, and Waldmiiller, who, ever since the big centenary exhibition at Berlin, is enormously though not undeservedly popular, were fairly well represented.

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The work of the living men showed up, as a whole, rather a bit more tame than that to which the Viennese artists have of late accustomed us. Some of their extravaganzas, to be sure, have assumed very large dimensions ; perhaps it was not feasible to send such works to any other but one of the very large exhibitions.

The most striking feature among the exhibits of the Secession men was the jewellery by the Wiener Werkstatten, shown in a room decorated by Prof. The members of the Kiinstlerhaus sent especially good portraits, among which I particularly noticed the Miss Hofteufel and Mrs. Perhaps the finest piece of sculpture in the exhibition was Hugo Kiihnelt's statue, Schtnachtende.

This show inaugurated the opening of the new galleries, which have at last been completed, and now are probably the finest private exhibition galleries in Germany.

The '"Deutsche formerly 'Dresdener' Werk- statten fiir Handwerkskunst '' belong to the most successful enterprises connected with art which we have been able to boast of during recent years. A few years ago they made a great hit with their new toys. Imitation is said to be the most telling kind of flattery, and surely nothing has ever been imitated more, from all sides, than these toys. A separate factory is now solely devoted to the production of them.

The small animals given in the illustration on page 76 were designed by Ernst Liebermann and Karl Sofifel. Kuohl, whose movable geese and ducklings were illustrated in The Studio about two years back, has designed more toys on similar lines for the Deutsche Werkstatten. Some examples of their work have already been re- produced in The Studio, and both are represented in the chief public and private collections in Germany and Austria, and in some English collec- tions.

The further examples accompanying this notice will but give another proof of their artistic feeling, thorough workmanship and general capa- bility. Fully alive to the limitations of this medium, both are eager to give that which is best in them, and both are full of the enthusiasm of youth, and give evidences of this in their work.

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Herr Klemm in his choice of subjects is attracted by farm and field. The feathered denizens of the farmyard have provided him with subjects for many pleasing prints, while others record his sympathetic observation of farming operations, such as plough- ing, sheep tending and so on. It is in his power of expressing so much by the simple means at his command that his chief merit lies. Carl Thiemann too is a sincere student of nature, and, as becomes a pupil of Franz Thieles, shows a marked preference for landscape.

In his work also is shown that confidence and sympathy which denote the true artist. Trees are his speciality, and if he is enamoured of one kind more than another, it would seem to be the graceful birch, whose ' n. Neither Thiemann nor Klemm, however, confine themselves to trees and farming episodes. Both consider coloured wood- cuts as a most refined and delicate means of graphic expression, and cultivate it not only on account of the opportunities it offers from the point of view of mere draughtsmanship, but also and chiefly for the sake of the pictorial possibilities it affords.

Wood and knife give them a sense of the power of doing which no other medium has for them. The twenty-third exhi- bition of the Hagenbund was of more than usual interest, for, being devoted to works by Austrian artists generally, contributions were sent from those living in the various Crown lands and in foreign countries. The works by Marianne Stokes, who is an Austrian, a native of Graz, in Styria, attracted much attention and elicited general admi- ration, especially her por- trait of Mrs.

Garrett Anderson in her scarlet doctor's robe. Notwith- standing her native origin, however, her art has 82 characteristics which are considered here — wrongly perhaps — to be English rather than Austrian ; certainly her methods generally are widely different from those of Austrian artists at large. Her religious pictures won warm sympathy, and, what is more, purchasers. Her best work was an interior of a fisherman's cottage, with a woman busy repairing the nets. In this work there is evidence of great delicacy of manipulation.

With his restless search for fresh fields, Johann Victor Kramer, who is among those who have seceded from the Secession, always offers something new. This time he has gone to Mostar and Sarajevo, and these ancient cities have provided him with new and varied motives for a budget of water-colour drawings, executed with that fidelity to truth and delicacy of treatment which are always found in the work of this artist. Of other landscape painters, Antonin Slavicek showed very good work in a series of small oil paintings repre- senting scenes from Prague — bits of old buildings, streets, and markets vibrating with life.

In his larger pictures also he shows remarkable vigour, combined with tenderness of expres- sion and a happy interpretation of light efTects. Each of them has his own characteristics, but all their pictures breathe of their racial kinship. Oskar Zwintscher Dresden exhibited two thoughtful portraits of men, and a nude figure of a youth lying full length and intently regarding a lily held in his outstretched hand.

This work made a great impression. Count Herbert Schaffgotsch exhibited a series of wood intarsias, the lights and shadows being ad- mirably achieved, especially considering how hard a material he had to manipulate. Of the sculp- tors Karl Stemolak, Josef Heu and Elsa Kalmar were well represented, nor must Franz Barwig be passed over, for his wood sculpture was excellent. Graphic art was well to the fore. Franz Simon's Paris etchings were extremely good, and Ferdinand Michl Paris exhibited charming etchings and monotypes ; but more must be said of their work another time.

The exhibition was arranged by Josef Urban, and was in every way a welcome one. By Sir Walter Gilbev, Bart. The authors, writing with authority and with evident knowledge of their subject, have produced a work interesting to the lay reader and helpful to the student. The posi- 83 Reviews and Notices "herons" TF. The writers justly afifirm, " Morland had no predecessor, he had no successor He stood alone as a painter of peasant and humble life, and the field he vacated has never been seriously taken up again. We are disposed to agree with the writers again when they say that no painter, not even Stubbs himself, ever painted horses with greater penetration and knowledge than Morland displays at his best.

His pictures of rural life in England form one of the noblest pages in the art of this country, and that they are duly appreciated is proved by the remarkable advance in their prices during recent years. The story of Morland's life is not a happy one, but after reading this exhaustive account of his career, one cannot but feel that his earlier critics have not always done him justice.

To have produced so many fine works in so short a life he was only forty-one when he died , proves that in spite of periods of idleness he possessed a wonderful capacity for work. We cannot picture him surrounded by children in his studio, in the barn at Enderby, or on some village bench, without realising this ; we cannot see him, as Collins did in the little back parlour of an inn, ' with a large pointer by his side, a guinea- pig in his handkerchief, and a beautiful American squirrel he had just bought for his wife,' and allow that Morland was wholly a worthless character — even though a ' basin of rum and milk ' does stand on the table at his side.

Re-told by Laurence Hous. In his interesting preface Mr.