Royal Academy Illustrated (1903)

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ROYAL ACADEMY//

PICTURES

903

illustrating

The Hundred and Thirty-Fifth Exhibition of the Royal Academy

-c\j

'

CASSELL AND COMPANY, Limited

LUXDON, PARIS. MilV YORK & MELBOURNE



[Periiiissioii to Hnpioducr tlic riituics and Scul|)turcs liorciii coiitaiueJ lias boon accnnlpd by

Artists and Owners, and Copyright is in every case strictly reserved.]

(V

1S03



Royal Academy PicTrRiis. 1903.

PART I.

THE VIOLETS OF PROVENCE.

H. H. La Thangue, A.R.A.



A WHITE QUEEN.J. MacWhirter. R.A.

By Permission of Ofiuer Riddell, Esq.. D.L., the owner of the Picture.

The Fine Art Socivty will pulÛsh a coloured reproduction.





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THE BANKS OF THE LOING (o'p'o™. Work).

Sir Ernest A. Waterlow, R.A., p.R.w.S.

10



EVENSONG.

Claude Hayec. R.(.

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A-;V--^

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ACROSS TH& FERRY.

Charlls M. Padday.

11



MRS. ERROL GUY TURNER.

Hubert von Herkomer, R.A,, C.V.O.

12



the VICTORY OFF WALMER CASTLE.

Colin huntea, A.R.A.

THE POOL

Arnesby Brown, a R A.

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SIR EDWARD LETCHWORTH.

Walter W. Ouless, R.A.

20



'V^'^^'

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JUNE THE 1ST. 1902. PEACE PROCLAIMED.

W. t_ WVLLie, A.R.A,

CRECY IN PONTHIEU, 26TH AUGUST, 1346.

EvflE CnowE, A R,A-

'Abcm Iht ilope i/pon uiliich Xoorf (Aa fnjffi* ArFjiy ma an oW mlndmlll. TUt iraa nfWiad 6« frfiaony (Ao

TA/rd fa survey f/ia Fititt of Battlg on the 26th of AuguBl, 1346.

21



GRISELDA.

Flower of Wifely Patience. —Chaucer.

Qeorqe W. Joy.

22



ROUND THE CAMP FIRE.

Stanhope A. Forbes. A.R.A.

HAUL THE BOAT-A- HEAVE.

Ahihuh J. Black.



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WINTER QUARTERS.

Root W. Allan R.W.S.

THE PARTING OF THE WAYS.

Horace h. Cantv.

30



THE REV NEVISON LORAINE

AND HIS LURCHER 'SIRDAR.

{i'r^M-ntathn Portrait.

)

Briton Riviere. R A

31



WHEN THE BOATS ARE AWAY.

Walter Langlev, R.i.

32



MRS. B. LAZARUS.

Solomon J. Solo.vion. A.R.A.

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THE ROAD MENDER.

Mahy y. Hunter

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LOWLAND PASTURES.

FflID HALl_

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ALAIN CHARTIN.

E Blair Leighton.

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MUSCATS.

W. J. MUCKLEV.

A WARD IN CHANCERY.

W. A. BREAKSPÂRE.

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TINTERN.

Alpred East. A.RA.

9v Perm ssior. of John lancastrr, fsg . J.P'

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a A LESLIE MELVILLE. ESa

Frank Bramley. A.R.a.

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Nomads.

'^TAMif'TF A. KuRnis. A k.A.



Royal Acadilmy Picturi-s, 1903.

PART II.

32 Inches Diamctm

THE MESSAGE.

T. C. GOTCH.

[Copyriglit is iu every case strictly resoiveii.J

19



PLAYED OUT.

Talbot Hughes.

THE VILLAGE FARRIER.

EvHE Crowe, A.R.A.



J. H. LEVY, ESQ.

Solomon J. Solomon. A.R.A.

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SCOTCH FIRS, ROTHIEMURCHUS.

J. MacWhirter, R.A.

68

fly Permission of T. l^cUan, Esq.. the owner of tlie Picture.



THE REV. WM. GUNION RUTHERFORD, LLD.

J. Seymour Lucas, R.A.

S9





HILDEGARDE, DAUGHTER OF ERNEST

MEYSEY THOMPSON, ESQ.

Mary L. Waller.

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GROUP FROM A CEILING (30x20 FEET OVAL) PAINTED

FOR THE LIVERY HALL OF THE DRAPERS' COMPANY,

LONDON, THE OIL-COLOUR DESIGN FOR WHICH IS

EXHIBITED IN THE ROYAL ACADEMY, UNDER THE

TITLE OF PROSPERO SUMMONING NYMPHS AND DEITIES.'

HERBERT Draper

66



BACK FROM THE FAIR.

W. H. BAHTLETT.

FRfcNCH POLITICIANS-ROYALIST AND REPUBLICAN.

Flora m. Reid.

S3A3a

67



PORTRAIT OF THE ARTIST.

Rudolf Lemmann.

THE EMBROIDERESS

Eyre Crowe. A R.A

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THE HUB OF THE EMPIRE (Water Colour).

W. L. WVLliE, A. R.A.

08



THE MISSES CRISP.

Daughters of F. CRISP, ESQ

Charles M, Q. Orcharoson.

69



HUGH AND ROWLEY. SONS OF

THE HON. HENRY CUBITT, M.P.

W. R. SVMONDS.

70



GARTH. PERTHSHIRE.

Colin Hunter. A.R.A.

PLAYMATES.

C, Sims.

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A LOVE SONG OF DAMASCUS.Herbert Schmalz.

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MR. LEWIS WALLER AS MONSIEUR BEAUCAIRE.

The Hon. John Collier.

81, P^rmhalon of Henry Omi.es & Co., Ltd., Pall Mall. S.W . the owner, 0/ the Picture.

79



HENRY SIMPSON-GEE, ESQ.

Walter W. Ouless. R.a.

80

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THE TURN OF THE ROAD

Alfred East, A. R.A.

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THE WHITb bfÛALL.

Julius Olsson.

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LOUISE. SARAH. AND MARGARET,

DAUGHTERS OF C H PAINE. ESQ.

Ralph Peacock.



VICE-ADMIRAL SIR JOHN FISHER, G.C.B.

A. S. Cope. A R A.

87



THE NIGHTINGALE.

J. Young hunter.

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ATHENS.

EOiTH CORBET.

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OLIVIA.

G. A. Storey, ARA

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THE SPRING TIDE OF LIFE. («<,r6/o.)

W Robert Colton, A.R.A.

94(farchascd by the President and Council under the terms of the Chantreg Bequest)



BIROS OF A FEATHER.

James Sant, R.A

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HACKLINGE. KENT.

James Sani R.fl.

95



THE PARASITE.

G. F, Watts, R.A,, 0,M.

from a Photograph b'j Frederick Hotlyer, the ou/rjer of the Copyright.

96





The Chess Players.

S. MKI.TvtN FlSHKR.



Royal Academy Pictiri-s. 1903.

PART III.

ON THE THRESHOLD OF LIFE.

Ernest Normand.

54 Inch:s OiAMETcn

[( c>|jyrii;lil is in every ease .stii<:(,Iy rcserveil.l

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THE BLUE HUSSAR.

W. Frank Calderon.

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HIDING.

John H. F. Bacon. A.RA.

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.ROSA

ROSAMOND.

Miss E. Fortescue Brickdale, A RW.S.

106



UNSOLVED.

TCM MOSTVN.

WINTER AND WET WEATHER.

Arthur Mcaoe.

107



WATER BABIES.

C. Sims

A CHECK.

FOANk p. FreyBUBQ.

108



COLIN AND WILFRED NOWELL

Arthur T. Nowelu

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THE EARL CAWDOR.

Walter W. Ouless, R A, (^Presentation Portrait.)

H117



THE HAYMAKERS.

George Clausen, A.R.A.

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THE MASTERS GARDEN, ST. CROSS. WINCHESTER.

James Sant, R.A.

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WALES. BEFORE THE CAVE OF BELARiUS:

ENTER IMOGEN IN BOYS CLOTHES.' Ho t who's hprc ?

If anything that's civil, speak; if savage,

Take or Itnd. Ho no answer 7 Then I'll enter.

Best ilrauf my aworj , ^„j if mine enemy

But fear the sword lika me. he'll scarcely look on't.

Such a foe, good heavens -Ciimbeline.

George H. Boughton. R.A.

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AND A LITTLE CHILD SHALL LEAD THEM.Wright Bahker, R.B.A.

SONS OF THE CITY.

Lucy E. Kemp Welch, R.B.A

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18'^ Inches

A COUNTRY GIRL (W,.r(./, ).

William J. McLean.

PRAYER (Relief-Marble).

A. BCRTFJAM PECRAM.

IN THE SILENT NORTH ^£tchhuj).

HCROCRT DlCKSEC

i.)f» B>j Permission of Aft'jsf*. Mawson, Swan, mid Morgan, Niwcastle'On-Tifnc, ptibliihcrs of the large Etching.



MRS. ANSELL.

J. J. Shannon, A.R.A.

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THE WATERING PLACE.

Eyre Crowe, A R a

A KITCHEN GARDEN.

Eyre Crowe. A.R.A.

134



REMORSE.

Henrv h Armstead, R.A.

{Purclmseo by Ihc President and Council under Ihr terms of the diantrey Brqueat)

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Flora and ZephyrArtmik T. Nowki.i..



THE STANDARD BEARER.

J, Seymour Lucas, RA.

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THE ORWELL FROM WOOLVERSTONE PARK, SUFFOLK.

David Muhhav, A.R.A.

THE PEAKS OF EVISA ; WINTERS FIRST CARESS.

J. l_ PiCKERlNa

144



SIR FREDERICK FALKINER, K C. (fcoorder cf DuUh,).

The Late Walter Osborne. R.ha

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RIVER BLOSSOMS.

David Murhav, A,RA.

YOUTH.

C. Napier Hemy A,R,A.By Ptrmission of Messrs. Frost and Reed. Art Publishers, of Bristol and Clifton, the owners of the Copyright, who

are publishing an Engraving of important size.

146



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MISS OLIVE HOOD.

George h Bouqhton, R.A.

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THE CHILDRENS HOUR.

ISAAC Snowman. Copyright by Landeker and Brown, Worship Street, London, E.C., who are publishing a large Engrailing.

A LOVE STORY.

E. Phillips Fox.

154



MRS. BARCLAY PEAT.

Hehbert a Olivier,

16S



MRS. C. C. GREENWOOD AND DAUGHTER.

Frank O. Salisbury.

IN THE VALLEY BENEATH WHERE WHITE AND WIDE,

AND WASHED BY THE MORNING'S WATER-GOLD.

FLORENCE LAY OUT ON THE MOUNTAIN SIDE.'

R. Browning.

Walter OoNNe.



VIVIEN AND GLADYS, DAUGHTERS

OF E. R. MERTON, ESQ.

W Llewellyn.

K'167



THE GLEANERS.

Edward Stott.

158



THE SLINGER {Bronze).

Basil Gotto.

THE BUTTERFLY.

Frank M. Taubman.

HOMEWARDS

M. WHITTAKER REVILLC.

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THE WISH TOWER. EASTBOURNE.

Javes Sant, R.A.

MILKING TIME

Eyri Chowc, A.R.A.

Iii7



HIS MAJESTY THE KING.

Alfred Drurv. A. R,A.

168



THE SURRENDER OF CAPUA, 210 B.C.:

PASSING ROUND THE POISONED CUP.

Thomas R. Spekce.

INDEX.

Allan, Robt. W.. R.W.S.

Ari'LKYAKD, Feed

Aemsteaii, ir. H. lf..\. .

aujionieu, .1., h.i.

Bacon, John H. F., A.U.A.

Baekkk. WmcHiT, K.B.A.

Baetlett, W. H.

Bayes, Gilueet

Black. Authur .1. .

BorOIITOX, liEOKOE IF., K..V.

Bbamley, Feank, A.R.A.

Beeakspeae. W. A. .

Beiokuale. Miss F,. Fortescue

Bhown, Aenesht, A.R.A.

Brown, H. IIaekis .

BuNDY, EnuAE, R.I.

Caldeeon, W. Feank

Cauty, Horace TI. .

Clausen, Geoeqe, A.R.A.

Title of Work.

Winter Qiiarturs

St, Cei-ilui . ......Remorse {Mnrlile)A Herefordshire Cominou ((iolilen .'<uuliglit

)

Edwiird T. Ciimovii, .\nliur

Hidiiif;

A RnniuiicL'......•• And it little child shall li'ad them

B.ii'k from the Fair . . .

The Fomitiiiu of the Zodiac Belt

Haul the B.iat-a-Heave

(.'hildreii of S. Sinauer de Stein, Kscj.

Wales : Before the Cave of Beluriiis

Miss Olive HoodS. A. Leslie-Melville, Esq. .

A Ward in Chancery .

Rosamond

'I'ho Tool .

.

Between the .Showers .

The Coming BayMrs. Charles Cnnnin^jhame-tiraham and Her Son

Two Yeai-s Old To-day

Tlie Blue Hussur

The I'artin;; of the WaysDusk ....The Haymakers .

169

An{»us

Nn. in

Catjdogiie.





Artist.

Leadee, 15. \V., R.A.

Lehmaxn, RudolfLeiguton, E. BL4IE .

Lkslie.G.

D..R.A.

.

Llewellyn, W.LoGSDAiL, WilliamLoMAx, John A.

LOUDAN, MOUAT .

Lucas, J. Seymour, R.A.

Lucas, Makle SeymoukLucohesi, a. C. .

Macgeeoge, Jessie

Mackennal, BertramMacWhihtee, John, K,.V,

McLean, Wm. J.

Meade, Arthur .

jroROAS, Feed .

MosTYx, TomMoTTRAM, Charles S.

MUCKLEY. W. J. .

Murray, David, A R.A.

Nightingale, L. C.

Xoemand, EenestXowELL, Arthur T.

Olivier, Herbert A.

Olssox, Julius .

Orchardson, C. M. Q.

Osborne, The late \V'alter, K.H.AOuLESs, Walter W., R.A,

Padday, Charles M..

Paeiox, E nest

Peacock, RalphPeoram, a. BertramPegeam, H. a. .

Pickering, J. L.

Rae, Henrietta (Mrs. Ernest Noemand)

Reid, Fi.oea M. .

Reid, J. R., JM.Reville, H. WhittakeuRiviere, Briton, R.A.

Riviere, Hugh G.

RoxxEE, Henriette, R.I.

Salisbury, Frank O.

Sant, J., R.A. .

Schloksser, CarlSCUMALZ, HeEIIKET

.

Skanson, J. J , A.K.A.

Snid, C. . . .

Snowman, Isaac

Solomon, Solomon J., .V.R.A.

SOMERSCALES, T.

Spence, T110MA.S R. .

spexlove-srenlove, frankStokes, . Voriax

Stokes, ^[AEIANXE .

Storey, G. A., A.R.A. .

Stott, Edwaedn ,

Stuaet, Charles

swinstead, g. hillyaed.Symonds, W. K.

Taudman, Frank M.Taylee, A. Chevalliee .

INDEX.Title of Work.

Southward from Surrey's pleasant liills *.

Sunset after Rain*..,....A Comiujj Stonii ........A Bireli-clad Hill and Sliallow .Stream

I'ortrait of the Artist ......Alain Cliartier

TheLily Pond

........Vivien and (iladys, Dauj,'htcrs cif K. R. Mertou, Esq.

Sir Edward and Lady Hill at TaonninaTlte Bitterness of Dawn ...... Alas that Spring sliouKl vanish with the rose I

God rest ve, inerrie gentlemen, let nothing you dismav

'

Rev. Wm. (Jiniion Rutherford. D.I).

E. H. Dunning, Esq., J.P.

The Staud.ird Bearer

The Right Hon. St. .John Brodrick, I'.C. .

May, Daughter of Compton Domvile, Esq.

Carthage, 1 HI B.C. : And tlie women cut off their long h

The NunThe Truthseeker

A White Queen ... ...Scotch Firs, Rothiemurchus

The Rugged Hills of Skye ....A Comitry Girl (.Uai-li/r) ....Wînter and Wet Weather ....Hunt the ,SUi)per......Unsolved

.......Seine Boats, St. Ives

Muscats

June t ....... .

In the Country of Const.ahle

Tlie Orwell from Woolverstone Park, Suffolk

River Blossoms ......' Twixt spring and snuitner

On the Threshold of Life ....Flora and Zephyr .....Colin and Wilfred Nowell ....Mrs. Barclav Peat

The White Squall

The Miss.'^ ( 'risp .

Sir Frederick Falkiner, K.C.

Sir Edward Letehworth .....Henry Simpson-Gee, Esq

The E.arl CawdorMrs. E. M. Denny

iVeross the Ferrv

......In the Silent WoodsThe Pool at Twilight ......Louise, Sarah, and Margaret, Daughtei-s of C, H. P:i

Prayer

Memorial to the late Sir .Tohn Stainer...The Peaks of Evisa : Winter's tirst Caress .

Ladv Winifred Reushaw and Son

The Sirens

French Politicians— Roj-alist and ReiiuhUcan ..

The Home .Sipiailron . .....Homewards ... .....The Rev. Xevison Loraine and his Lurcher SirdaAIe.\. B. W. Keunedv, Esci., F.R.S. .

The La.ly-hird .'

Mrs. C. C. Greenwooil and Daugliter

Birds of a Feather

Hacklinge, Kent......The M.'Lster's Garilc-n : St. Cross, WinchesterThe Wish Tower, Easlhounie ,

Fro7n Italy

.......A liove .Song of Damascus.Mrs. Ansi'Il

Playmates

Water Bahies ......The Children's Hoin-

Mi's. B. La/.arus .....J. H. Levy, Es,)

Homewai'd BoundThe Surrender of

Cup .

Unto this last -

(Recorder of Dublin)

Capua, 210 ii.c. : Pas.sing Round the

-Tlie Pilot's Funeral, SouthwoldAll Autumn MorningProfe.s.sor Westlake, K.C Olivia

Edward, Son of lOdward W. Meyorstein, Esq. Bianca ........Echo .........The Gleaners ...,,. To gi-cet the rising sun ....PojipyLiiid : Erica, Daughter of S. James, Esq.Hugh and Rowley, Sous of the Hon. II. Cubitt, MThe Butlertly

,. ,

Benedictio uovi militis

171

P.

Esq.

etc.

Poisonei

No. in

Cutalutiue.



Aitlst,

Tennyson-Cole, V. .

TiiouNYOKoir. Hamo, li a

TlTCOMIl, \V. II. Y. .

TohT, A. . . .

ToiiiAM. F. \V. \V., U.I.

Tl'KK. IlKNIlV S., A.U.A.

Van Uoitii, IIokacl

Waite, Kdward W. .

Wai.kku, .Xuriirn G.

W'ai.i.kb, Mauv L.

Warih.k, AirriiUB

Watkiii.ow, Sib Ernestr.K.W.S. .

Watson, (j. Si-knceu

WArrs, (i. I'., H.A., O.MWEi.iii, 'I'liK i.ATi: H. T., H.A,

Wktiikuiikk, (tKoi«;k, li.T.

Woi.i.KN, W. B., K.I

Woop, F. Dkrwent .

Wyi.i.ik, C. W. .

Wylltk. W. L., A.H.A.

Yeami-s, W. I'., A.U.A.

U.A

IiVDEX.

Till.; i.r Work.

Lieut. -T'cjI. f'liffoid Proliyii (Muyor of VVeHtniiiister)

Ui'tiii/(> Stiitueltt .

,<iii;tll M(k1l*I of II (iron])

'V.\io H1II11, iiolito liiiicn;

Mutlier ami Child

A IV'iiitcnt ....Xoomlay Heat

Tho Stowttwiiy

Beware

' Aiitiiinu in her woods o' yellow ,

I'aradise Lo-st (J.oiv JUIief, Miiihli) .

Ilililefjarile, Daughter of Ernest Meysey Thoiujisou

Stalkers

The Banks of tho Loiug (nijilonia Work)

The Earl of Liitriui

The Piirasiti

Tho Hon. Mrs. .Siduev Smith . , . .

The Music of I'iiio ami liiook (The Duet)

Tlie South Lanca.shirfs Slonuiuf; tlie Boer Trouchos

Cruwniiif; Eiyuro for a I'uuutain

The Backwater ,

A Stiff Breeze

,Iuue thc 1st, V.Wl—Peace Proclaimed

•fho III. I) of tlw Kuiiiirc

Peace Driving' Away the Horrors of War

Tlic Clo-c of Uav

Es(

at Pieter sHi

Xo. In



PREFACE.

For the sixteenth time Royal Acapemv Picturks makes its annual appearance, and for the

sixteenth time a few words are called for in which to draw attention to its object, and to comment

in a few brief sentences on the art achievement of the year, which in a measure it reflects. There

is here, of course, no pretence at completeness, for an exhaustive reproduction of the Academy

Exhibition would be neither possible, nor desirable, nor edifying. This work, it should be explained,

docs not even claim to include c[uite all of the best pictures, because in the ca.se of a few artists the

copyright has already passed from their hands, and conunercial considerations, prejudice on the part

of owners, or forget fulness on the part of painters, prevent their works from being included, and so

enjoyed in the homes where they would bo welcomed—in homes of London, of Great Hritain, and

throughout the Empire. But the great majority of the most ini]iortant works in painting and in

sculpture are to be found in the following pages—the works of Academicians, of leading outsiders,

and of promising young artists who have sprung lately into notice. Within the covers of this

volume, therefore, may be seen a fair representation of the Art of England in two of its chief sections,

during the period that has elapsed since tlie last issue.

The Art of England. For the present-day art of Scotland (save that of Scotchmen residing in

England) is to be seen but sparsely—practically not at all—on the walls of the Royal Academy.

Thfs is a matter much to be regretted, for whether or not it be true (the question need not be dis-

cussed here) that the Scottish painters do not come up to the English Academy standard or view of

what is right and sound painting, the fact remains that what would be to the public a refreshing and

interesting scliool of recruits to Burlington House are as a body absent from the exhibition and, as

to the majority, unknown to the English public. Besides Sir George Rcid, worthily rc])reseutcd,

and Mr. D. Y. Cameron, who contributes a water-colour, not a single one of the band who have niade

the Scottish school famous abroad and welcome at every Salon and every international exhibition on

the Continent is to be seen in the present Royal Academy exhibition, the names of .Io.sc})h Craw-

hall, James Paterson, E. A. Walton, George Henry, A. K. Brown, Millie Dow, JIacaulay Stevenson,

Alexander Roche, Robert Noble, Harrington :Mann,^Tohn Lavery, William Hole, J. E. Christie, E. A.

Horncl, and Sir James (iuthrie—I take them at random— are every one absent : while tlicir com-patriots of an older, and as they believe a more thorough school—Messrs. Peter (iraliam, MacWhirter,

Orchardson, Macbeth, Farquharson, Murray, and Hunter—are all in the Aca<lemy, and yet iiave not

succeeded in persuading their colleagues to extend hospitality to their brethren of the North

and introduce novelty, even tliough accompanied by occasional eccentricity, to a curious and

interested public. Till then it. will be believed that the motto, Art speaks the language of all the

world, is no longer true, but that art has come to speak in /)rt^;i.s and in dialects, and that the Scottish

voice and Scottish accent are no longer likcil and should be no longer heard by Southern ears. It is

a pity, for the.se pages would otherwise be enlivened by a series of vigorous paintings which are now

reserved for other exhibitions.

P>ut neither has the Engli.sh school stood still. In portraiture, subject pictin-es, landscapes, sea-

paintings, in all sections we find works that maintain the general level and, as a matter of fact, raise

It beyond its usual mark. Tt is true that there are few pictures of such outstanding merit

in iinagination and execution that they divide amongst themselves the attention of the public

that love to ap])raise the Academy l)y its sensations, and to measure its success by the crowds that

gather and ])ush around individual pictures. The year is one in which the inqiroved level of general

execution allows of a truer judgment and of a fairer estimate and examination of the whole: and tho.se

who can a])i)reciate the ipiality of the work, realising how nuich more important a question this is

than that of annisement-at-tirst-sight, will pass through the galleries, or turn the leaves of this

rec'ord, with satisfactiim.

Tlio ideas arc not many, perhaps;the subjects dn not stir us with their laucy. their sensation,

their Inininiir, as tin y did .some years ago: but that is the fashion of the day. The word has long

gone round and has been connnittcd to memory, that a subject is literary, and that to be

literary in painting is to lark taste and proper artistic perception. The whole theory has been

misunderstood, partly l)v ]>ainters and gnâtly by educated collectors, who no longer ask for moving

subjects for fear of betraying an inditVercnce to values and an unappreciation of tones. And

yet^ even as i write, it lias been announced that several of the most attractive subjects in the

Academy have found ])urchascrs after all. So that there is hope for those wlio would exercise

their imaginations in the thoughts and deeds they woidd put on canvas, as well as in tlie com-

position, arrangement, handling, and technique which the critic who is also amateur painter is

forever preaching.



a NOTES.

As we pass round the Royal Academy to-day we find portraits, fine in character, expressive

and natural in pose, lifelike in renderinLf, scholarly and skilful in modelling and colouring,', which

are not unworthy of the reputation of the Mritish |>aiiiit'i-, cm n ili()nL,di in the ag<(reijatc tlioy are

not this year so striking,' as last. We have landscapis Ashich may otler few surprises, wl wiiicj)

rcHoft with hrcadlh and tenderness the love in the lirilish soul for ever}- aspect and humour of

nature. Three artists—all outsiders —have made their mark in the record of the year: Mr.

Adrian Stokes, with a fresh and modern rc|)rescntation, e.\()uisitely felt (in tempera, hy the way),

of landscape in Al])ine hcif^hts: Jlr. David Fanpdiarsou, with one of the best and most subtle

snow pictures that have ever graced the walls of the Academy; and Mr. Aumonier with a masterlv

rendering of fiat Knglish land, with singidar .sense of breadth and, as it were, of gentle force.

'I'here is no need to speak in any detail of the sidjject ])ietures, the marines, the animal

])ictures, save generally to say that in tcclmi( al quality they show in the aggregate a higher degree

of subtlety and of executive ability. As usual, bad pictures disfigure the walls; they arc not

wholly ab.scnt from these pages, but their proportion is happily lower than in the past. The.scidptiu'c, which includes no work of great size or importance, is also to be appraised most for the

qualities of delicacy, good drawing, and subtle modelling, with little aim at the grandeur and

the noble which the marble and the bron/e should inspire. Mr. C'olton's Spring-Tide of life

is an cxciuisite grou]), but it has suffered somewhat in the carving, seeming to have acquired

a curiously Italian savour which the plaster did not po.s.sess. Yet when wc rcfiect what was

the (eehnical level of this gallery twenty years ago, and what it is to-day, wc have every reason to

congratulate ourselves on the improvement manifested by the A'ounger school. So much the Royal

Academy establishes ; and it clearly proclaitus this year as well its eternal opposition to the swift

handling of one section of the modern school :

'I'lior iiis no workman, wliat-so-cver ho be,

That ni;n' both wei'l<c wel and hastily.

And that accotuits for luueli.

M. H. Spielmann.

NOTES.

Clificv i\ i'oNfuiiCf, 2G'iii Ai'c^L'ST, i:UG (p. 21). 7/// A'/y/r Crovc, A.ll.A. (Title in the

official catalogue altered to The Windmill of Crecy, and the cx])lanatory lines : On

August 2()th, 1346, on which day was fought the Battle of Crecy, it is stated that^:

'Le roi d'Angleterre (Etlouard III) qui se tenait pUis amont siir la ninttr d'nn moulin a vent pour .avoir aide.'

Frorsyart's ' Chroniclt.-s.'

It will be doidjtcd if .Mr. Kyre Crowe is right in his mcehaiiical facts. He is right in not

giving a movable cap to his windmill, which was not at that time invented by the Duteh, but

he should then have made provision for his mill to be floated on water—the first device for

directing the sails to the direction of the wind—or to be turned, as a whole, on a pivot, the

German arrangement-. A stone building eoidd not be so treated. At the time of Crecy the lords

of the land claimed the winds passing over their borders as their property, and windmills

could only be erceted with their permission,

(iiusici.DA (p. 22). Bji George W. Jvi/. (Tide in the official catalogue altered to -Flower

o|' Wifely Patience. )—Griselda is represented at the time when, at the third brutal test of

her lord, Walter, AFarquess of Saluzzo, the lady was divorced, ordered to put oft' her royal robes,

and sent back to her mother. And finally, in compensation of all these years of mental anguish

—ravished of her children, and villainously pcr.secuted by her husband— her patience and

submission received their full I'cward, which consisted in tlie treatment which was her due at

the outset. According to Dryden, the story was invented by Petrarch, who presented it to

lioccaccio, from whom Chaucer had it. The great Cockney i)oet wove it into The Clerk's Tale

during the great pilgrimage; and it is that poem which Mr. Joy's picture illustrates:

And hern again your ilothinj; I re.store.

And elie yonr wedding-ring for evermore.

The ring is represented on the victim's finger; the roval trappings are beside her; and the

expression of sidimission and resignation in lace and attitude is well and patlietically suggested.

Alain Chautikr (p. 40) By E. Bluiv Lrir/Iiton.—Margaret of Scotland, Dauphine of

France, we are told, one day discovered Alain Chartier, the poet, asleep. Iii the presence of her

attendants she stooped and ki.ssed his lips, saying she had kissed not the Tuan. but the mouth (jui avait prononee de si belles choses —because they had uttered such beautiful things.

Marguerite, the first wife of King Louis XI of France, was the daughter of King James I of



NOTES. iii

Scotland, and died at the age of twenty-six, having passed a miserable life with the dcTout

Dauphin. One of the most notable men at the Court of France was this Alain Chartier. who,

although he was not blessed with beauty, was a gi-eat favourite with the Court ladies, b}- reason

of his poetry and his ready wit. A touch of drama is added to the scene by the presence of

the priest behind, whose quick eye detects the princess's act,

and who maybe expected to cai-ry

the news to unsympathetic quarters. Chartier, who was Archdeacon of Paris, secretary successively

to Charles YI and Charles VII, was a considerable tigure in Parliament, and was repeatedly

employed as ambassador by his masters. He was dubbed the father of French eloquence, and

was held to be the finest speaker of his time. His Corial ' and Treatise on Hope are

among his best works ; his verses are not on so high a level

The 1st Battalion Sol'th Lancashire Re(;imext Stormixg the Boer Trenches at Pietehs

HiLL(/). 45). B;/ W. B. Wollen, R.l.

The Laniashiru Brigade advanced in a wide front, Xorcotfs Iviflemcn aln-ady prolonging their line to the right. TheSouth Lancashires Liy on the near slope of the railway bank opposite the nock, looking like heaps of balla.'st shot down at intervals.

If a man put hia head above the line the track flew up in dust, the Huor fire wa.s so deadly. But not to be denied, a handful of

men here, another there, crept or squinned over, and went each man for his rock or stone on the other side. But liow were they

to cross the open and bullet-swept hillside ;' It looked as if the South Lancjishires had halted, pinned to the grouml by the Boer

fire. Suddenly, about four o'clock, all further attempts at advancing under cover were given up, and the Lancashire Brigade marchedproudly into the open ground and on to the enemy's works. Over the railway poured the South Lanaishires, and with a rush

were presently at work with cold steel. And now, in contrast with their former bravery, the burghers lied in all directions.

Others heldup

their hands, their rifles,bandoliers, anything, begging for mercy. Soldiers stooped over, piisoners were made,

. . . Eailway Hill was ours. A sudden realisation of victory swept over the field : a silence : then from afar a faint

cheer . . . .another, till it swelled into a roar, and all men knew'that the Battle of Pieter's Uill was won.

Bv THE W-vrER-s OF Lethe (/). 5G). B;i T. B. /v'enviuigfioii.—Illustrating .Milton's lines

( Paradise Lost, ii, 583 et seq.):— ... A slow and silent stream,

Lethe, the river of oblivion, rolls

Her watery labyrinth, whereof who drinks.

Forthwith his former state and being forgets—Forgets both joy and grief, pleasure and pain.

Prospero Summoning Xymphs and Deities (pp. GG, 137). By Herbert Draper.—The artist's

graceful design for the ceiling for the Livery Hall of the Dra])ers' Company deals with The Tempest,

Act IV, Scene I, when Pros])ero entertains Ferdinand and Miranda with an exhibition of his jxjwei-s.

The nude tigure, holding a flower aloft, is doubtless intended for Iris ; she with a bubble is a Naiad

and Ceres holds the scythe, accompanied by Juno.

Vox Humana:

'

Hear, Nature, hear:

dear Goddess, hear:

(p. 93).—The subject of thisallegory, clearly enough expressed, is Humanity at the feet of Nature appealing for Love. It is

intended to sj-mbolise the overwhelming desire within us, whatever the rank, age, sex, or circimistance,

for the supreme gift, that one touch that proves the kinship of the world in spile of social cross-

currents. The types in the picture explain themselves, and naturally do not claim novelty : wchave had them in Mr. Watts's Court of Death, and in other pictures before that. The' bride

flings herself at Nature's feet (Marriage without Love): the king demands his share; for it the

beggar-maid pleads ; the rich man offers his gold; the musician finds his lute dumb without

it; the warrior, whose .shadow is cast across the fair form of Nature, clamours for it: the .judge

argues, and the widow still desires it. Only one declines it— the Cistercian monk, the type of

a system which the artist protests is fjilse in ideal and mischievous in practice.

The Prodigal Daughter (yx 103). By ike Hon. John Collier.—It has been asked whether in

this picture of the daughter proud and defiant, standing with her hand upon the door handle of the

room, ^yhelein the worthy old couple stare at her in startled anxiety—whether the heroine of the

drama is leaving her home or returning to it. The girl has returned, covered with jewels, clad in fineattire, hardened in heart, shameless still in soul. The artist's intention has been to draw a distinction

between the Prodigal Son who returns wretched, tattered, and repentant, and the Prodigal Daughterof to-day, whose feuiiuiiie heart, once abandoned and whoU)' corrupt, knows no redemption, but glories

in sin, and is conscious only of enjoyment as to the past, and as to the future persistence in the lost

path on whicli she has entered.

Rosam()NI3 (/). 106). Ihj Eleanor Forfesme liricMale.—The fair Rosamond stands apprehensively

in the security of her labyrinth at Woodstock, as her lover, Henry II, leaves her, and on the sjiur of

his mailed foot as he departs (seen at the bottom of the doorway on the left), carries oH' her red wool

which is to give the clue to the revengeful and nun-derous, yet not unjustly indignant, (^>ueen Fleauor. The (^)ueen,'| we are told, came to her by a clew of thredde, and so clealt with her that she lived not

long after. She was buried at (Jodstow, in a house of nunnes, with these vei-ses upon her tombo :

Ilic jacet in tumba Kosji mundi, non Rosa mundu;

Non redolet, sedidet, (|uio redolere solet.

(Here Rose the Graced, not Rose the Chaste, reposes

;

The scent that rises is no scent of roses).

So Dr. Brewer, in his Reader's Handbook, who adds IVnson's conunentary that the frail fair was bythe King for hir greate bewtye clepcd Kosa a Mounde, that is to say, Rose of the world.



iv NOTES.

Bf.nedictio Novi Miutis (/). 111). /)// ^'1. Chevallier Tayler.—This is a service (tjje

MossiiiLf of tlio yoiin^' snldjcr) imich in viit,'iio in ni<'ili;i'V:il times, and is still used in the C.illiolic^

('liurcli The sulijcci is taken I'roin the I'ontilicale Itouianum.

Si\ Ckcilia (/). 11.5). li11 Fred A'piilri/((r(l.—Tlic anL;cl win > looked at, the saint, is sn|)))osod,

aeconlin.i,' to the Icfjend, to have fallen in love with her hy virtue of her music upon the ort,'an she hadinvented, and each nii^fht hrought her roses from Paradise. The artist shows lier wearing,' two of these

in her hair. As Lon,i,dcllow has it in The Golden Legend :

'• Tliou scom'st to me liko the angel

1'hat biouffht the iimiiiirlal roses

To St. Cecilia's brid.il chiinil)ei'

where her hnshand saw, too, the heavenly visitor, and shared with the saint the crown of niartyrdMui.

WaM'X BEroiiE TiiK Cave ok Belarh's : exteu Lmooex in ]5(jv'.s Clothes ( />. ]•>[,. /,'//

(r. II . Ildiif/lilon, R.A.—It is a novel idea to entitle a ])icture with a stage direction to a play. 'I'liat

cited belongs, of cotu'se, to the opening of Act III, Scene VI, of Cynihcline. .and the (luoiaiion deals

with lines 24— 2(), when Imogen takes refuge in the cave on her way to Milford. Imogen is not

generally represented in art in such scanty boy's clothing. She is usually provided with hosr which

were then worn by midtlle-class boys. On the other hanil, soldier's and iieasants wore no hose.

Cautiiaci:, ISC. 149: And the Women ctt oif their i.oxf; Hair to string the i'low.s

{p. 1.5.S). /)'// A. a. Lucrhcsi.—When Komc, echoing Cato's words,

Di-lnula csl ('(iHIkkjo

sent theirarmy under Scipio to destroy utterly the capital of Africa, and so crown the third I'linic War with the

disappearance of their faithless rivals, so terrible a siege was laid to the doomed city that out of

7()(),(H)() iidialiitants only . lO.OOO survived to the remorseless con(juerors. 'J'he heroism of the defenders

has never been called in question, and the devotion of the women, here celebral<'d iiy the .'-cidptor,

helped to j)rolong rcsistaiK'c.

Medae ij). 153). ]h/ W. Goxcombe Julni, A. R.A.—The nicdal of Lywelyn ap (Iruftyd com-

meinorates the last native Prince of Wales. The reverse shows the crest of Snowdon (Lywelyn was

Lord of Snowdonia) with a spray of mountain-ash and a singing nightingale, to symbolise The Land

of IV[onntain and Song. The lines <in the obverse are from a IStli century eulou-istic poein to the

I'rincc.

The Sirrexder or Capua, -210 rc. I'a.ssing round the IVu.soned Cup {p. lG t). li;/ Tlmmas

R. Sjjencc.—After the battle of Canna', Capua had revolted from Komo to Hannibal, and had to stand

the siege of its former lords. Hannibal hastened to its relief, but although to divert the besieging army

he advanced to the very walls of Rome, the troops outside Capua remained tirmly at their ])osts.

Haimibal had to retire and leave Ca]>ua to her fate : she fell in 211 i;.r., and lioiiic tmik a terrible

revenge for her desertion to the Carthaginian, so terrible that she never recovered her former

pros])erity. Ivnowing what was in store for them, many of the senators had banqueted together

]ircvious to the surrender of the city, and afterwards had ])assed round the poisoned cu]). Then the

Romans broke in and scourged and beheaded all the senators who, less courageous than the others,

still survived ; only two persons are said to have escaped—one a man who had secretly succoured

and helped some Roman prisoners, and the other a woman who had prayed for the defeat of the

traitors and the foreiLMiurs.

MEDAL.

W. GOSCOMDE John. A.R.A.

V











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