represent the arms of Geneva, flanked on one side
by those of Berne and on the other by those of
Scotland.
The monument will be united to the Promenade
des Bastions by a slightly levelled approach, thus
throwing into greater relief the central motif and
the whole facade of the wall, loo metres in length.
Ornamental water, exactly in the place where the
dykes of the ancient fortifications of the city were
situated, will give perspective and protection to
the monument. The blocks of carved stone
flanking the steps, will be devoted to the memory
of Luther, Zwingli, Valdo, Wyclif, and Huss.
R. M.
BERLIN. ā Many readers of The Studio
will be pleased to see the accompanying
reproduction of Mr. Ld^zl6*s portrait of
the Princess Louise Victoria. Having
in a quite recent issue seen the artist's portrait of
the Kaiser they will not need to be told that the
princess is His Majesty's daughter ; so close is the
resemblance here that the portrait may indeed be
said to be a " speaking " likeness.
At Gurlitt's Salon we have had memorial exhi-
bitions of the work of two illustrators, Rudolf
Wilke and F. von Reznicek. In Wilke, Germany
has lost one of her most original draughtsmen,
a satirist who dealt hi&
blows very directly an.d
always convinced one of
their justice. He found
no difficulty in pinning
down sacrifices from high,
middle or low life, as he
was a real genius of the
pencil, had studied reality
thoroughly, and was
abundant in wit. The
suavity of F. von Rez-
nicek's line occasionally
borders on languor, but
it is the appropriate
medium for his subjects
from fashionable life.
PORTRAIT OF H.I.H. PRINCESS LOUISE VICTORIA BY P. A. lXsZL6
{fiy permission of the Berlin Photographic Co,, owners of the copyright^
Another fortunate
attempt in the reforma-
tion of good taste has
been made by the Union
of Industrials, in conjunc-
tion with the authorities
of arts and crafts, who-
arranged a great shop-
window competition
which fairly overcrowded
the streets. After busy
endeavours for the im~
provement of interior con-
cerns it is only logical
that the external appear-
ance of the Germain
capital should be sub-
jected to reforms. The
i6i
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WINDY NIGHT, OCTOBER*
BY ALBERT P. LUCAS
success of this undertaking lies foremost in the
victory of a tendency towards simphfication and
distinction. Although some examples of a kind of
Christmas-show arrangement and of scenic tableaux
were much appreciated, the majority of the judges
decided in favour of constructively dressed and
reserved shop window decorations. As the com-
petition is to be made an annual arrangement,
visitors will soon find a promenade through the
streets of Berlin an aesthetic pleasure. J. J.
NEW YORK. ā Among the few American
painters of nocturnes Albert P. Lucas
occupies a position of unquestionable
importance. In the work of the last
few years he has proven in a clear manner that he
is imbued to a high degree with that sympathy
and sensitiveness to the primitive influences of
nature, of the soil, the air and sea, which mark the
really progressive landscape artist. Lucas loves
nature in her weird, solitary and sumptuous moods,
and whether his subject is one of fancy or actuality
he sees her in colour pageants, rich and glowing.
Landscapes like those we reproduce are the in-
162
terpretations of a dreamer and a poet, careless
perhaps in some matter of detail, but invariably
capturing the magic of nature, the mystery of wind
and clouds, the brooding spirit of trees, the gleam
and murmur of water.
In 1882 Lucas went abroad, staying away for
the unusual length of time of twenty years. First
visiting Belgium and Holland, he proceeded from
there to Paris and studied for five years at the
6cole des Beaux- Arts. After seeing Hubert's
Malaria^ that created a sensation in the fifties, he
entered the artistes studio (though not much
favoured by American students) and worked there
for five consecutive years. His Vappel received a
medal, and was put in a place of honour at the
Salon of 1896. From Paris Lucas went to Italy
and became deeply impressed by the art of
Botticelli, Luini, Fra Angelico and Correggio. He
returned to America in 1902, and since has resided
in New York. Like many of his confreres he is
somewhat epicurean and cosmopolitan in his
tastes, often visiting foreign countries, more especi-
ally France and Italy, a certain longing for the
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aspects of nature, her dramatic significance and her
poetic splendour, that he is chiefly interested.
The three large proscenium panels for the New
German Theatre, New York, which Alphonse Mucha
has recently finished ā ^and of which two are here
reproduced ā ^are, by reason of their size and
elaborate decorative scheme, one of his finest
achievements. In them Mucha has reached the
very maturity of his artistic powers of expression.
These panels measure twelve by twenty- four feet,
and the difficulties of keeping such a composition
in " one tonal plane " will be appreciated by every
mural painter. The dominant colour notes are
violet, grey, green, and a golden red.
In the panel. Tragedy^ the artist has made the
"TRAGEDY.
NEW YORK
DECORATION FOR NEW GERMAN THEATRE,
BY ALPHONSE MUCHA
congenial art life of his earlier career seeming to
take possession of him at times.
Lucas's studies of night and twilight are written
down with virile strokes of decided and often
opponent colours, with a preference to deep reds
and blues, made harmonious by the gentler accents
of a peculiar and personal method of cross-hatching
in complementary colours, which has almost the
character of a glaze. His colour notes are decided ;
his pictures do not carry out one solitary colour
tone, but consist of many themes of colour,
which, beautiful in themselves, are conducive to
produce one powerful tonality. I.ucas is vehement
and yet delicate, broad and yet conscientious. He
never concerns himself with superficialities, the
"puerilities of mere effect"; it is in the larger
164
"COMEDY."
NEW YORK
DECORATION FOR NEW GERMAN THEATRE,.
BY ALPHONSE MUCHA.
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colossal figure of tragic fate exist in the low violet-
blue tone of evening with the same degree of
reality as though seen in bright sunlight. The
subject, sombre in its suggestion, depends not at
all upon the particular facial expression of any
figure, or upon any particular incident. The
spirit of the thing wholly relied upon the line and
colour masses of the composition.
It was a strange conceit of the artist to conceive
the figure of the Tragic as well as the Comic Muse
on the opposite panel in gigantic size. Did he
wish to convey that the character of even the
greatest plays are mere figures in comparison to
the human joys and sorrows that created them !
As the songbird his mate, so does the youth
ensconced in the branches of the tree, enthral the
three listening maidens. To each one does his
song appeal in a different fashion : the one listens
in dreamy rapture, the other in passionate longing,
while the heart of the third is wrung in secret pain.
The apple-tree blooms ā spring sunshine laughs ā
love is bom. This sentiment is carried out in the
colour scheme by greens and pearly greys, and
pale blues. The reddish hair of one of the figures
has been most cleverly used as a decisive colour
note in the composition.
The third panel, entitled The Quest of Beauty,
is over the proscenium, and furnishes the comple-
mentary note to the other two. S. H.
ART SCHOOL NOTES.
LONDON.ā Mr. J. S. Saigent, R.A., will
act as Visitor in the School of Drawing
at the Royal Academy from November
22nd to the end of the term. Mr. Alfred
Drury, A.R.A., will act in a similar capacity in the
School of Sculpture, and Sir Aston Webb, RA, in
the School of Architecture. A substitute will have
to be found, unfortunately, in the School of Paint-
ing, in the place of the ate Mr. E. J. Gregory,
R. A., whose name was down as Visitor for the same
period. All the paintings, models, drawings and
designs for the gold medals and other prizes were
sent in on the 6th inst., and the competitors must
now possess their souls in patience until the even-
ing of the loth of December, when the names
of the winners will be read out in the Third
Gallery at Burlington House in the presence of
the Academicians and students and the large
audience that never fails to attend on these
occasions.
Professor Church, F.R.S., in the address with
which he commenced the series of wmter lectures
at the Royal Academy on the chemistry of artists
materials, mentioned two or three books on tech-
nical subjects that he thought might be of interest
to the student He commended in particular for
its information on paints, mediums and so forth
Professor Ostwald's book, known in its English
translation (published in America) as " Letters to
a Painter." The writer is an eminent German
chemist, who, having retired from the practice of
his profession, now devotes himself to the study of
the materials used by artists. Other books men-
tioned by Professor Church were Prof. Holmes's
" Notes on the Science of Picture Making " and
" Fresco-Painting : Its Art and Technique," by
Mr. James Ward, who assisted Leighton in the
execution of the South Kensington lunettes illus-
trating the Arts of Peace and War. The Professor,
in commenting on Mr. Ward's book, said that it
cited a picture painted forty years ago by Leighton
in a church at Dulwich, and now in excellent con-
dition, as an example of the stability of fresco.
Thig, however, was misleading. Some years ago the
advice of Professor Church was asked about this
very fresco. The surface was scaling off, and it was
only the treatment applied by the Professor that
saved the picture and restored it to something like
its original condition. The peculiar quality of the
ground of the fresco, which had called forth the
admiration of Mr. Ward, was due entirely to Pro
fessor Church's treatment. In his lecture at the
Academy Professor Church discussed most of the
grounds and fabrics upon which pictures are
painted, including plaster, canvas, paper and wood.
He impressed upon the students the absolute
necessity of protecting the backs of pictures as
well as the front, and told them how this could be
done, and also how to restore the white ground of
canvases that had become darkened by exposure
to the impurities of London air.
The Royal Academy Professor of Chemistry
has instructed a whole generation of painters in
the composition of their materials, for it is exactly
thirty years since he began to lecture to the
students at Burlington House. Professor Church,
who himself practises the arts ā he has several
times exhibited at the Royal Academy ā has
enjoyed the friendship of many artists, notably of
Leighton, who, careful student that he was, con-
stantly consulted the chemist about colours and
mediums. When Leighton was about to begin
his picture at the Royal Exchange, the first of the
16;
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series that now decorates the ambulatory, he con-
sulted Professor Church about the preparation of
the canvas, and assured him that he " should obey
his instructions punctually,** and when something
went wrong with the completed picture owing to
the extraordinary cold of the famous winter of
1894-5, it was the Academy Professor to whom
the President appealed for advice. Last year
Germany paid Professor Church the compliment
of publishing a translation of his handbook,
familiar to English students, "The Chemistry
of Paints and Painting."
Lucas was invited to judge the work and award
the prizes in the local competitions. Mrs. Lucas
awarded the two Tavemer prizes to Miss Agnes
Sutherland and Miss Dorothea Goody, Miss Irene
Butterworth gaining an honourable mention. The
Holden prize was given this year for a figure com-
position founded on any time sketch made in the
life class, and it was carried off by Mr. Arthur M.
Boff, who also gained both the prizes offered by
the Head Master, Mr. Alfred W. Mason. The
Pocock prize for time studies from life fell to Mr.
Frederick H. Ballard, and the Hardy prizes to
Miss Viola D. Dunkley, for modelling a plant from
At Heatherley's a new nude life class has been
added to those already in existence at the evening
school, and nude models are now posed every
evening. On three nights a week the model
stands in the ordinary fixed pose, and on the other
nights (in what is now known as the French sketch
class) the model or models ā for sometimes there
are more than one ā take fresh poses every half
hour. Students are at liberty to work in the
nude or costume classes at their discretion. The
pictorial composition class held on Thursday
afternoons in Newman Street has now been thrown
open to non-students, and the Saturday class can
be joined for the whole day or for the afternoon
only. It has been arranged that the annual
costume ball given by the students shall take place
in January.
The exhibition held in September at the London
County Council Central School of Arts and Crafts
in Southampton Row resembled in its general
features the exhibition held in the same plaoe in
July. Then it included work from most of the
London County Council Art and Craft schools,
but the September show was composed only of the
productions of the Central School. Some of these
had already been seen in the collective exhibition
in July. Among them was the admirable cabinet
in dark wood to which reference has already been
made in this column. It was shown at first anony-
mously, but in September bore the name of its
designer and maker, Mr. J. H. W. Brandt. The
enamels shown at this exhibition did not deserve
much praise, but there was some nice pottery ā
unassuming but attractive; jewellery by, among
others, Mr. A. Ware, Mr. T. Seiling, and Miss
C. Adams, and a good collection of embroidery
and other needlework.
SILVER CARD TRAY
BY ALBERT NBEDHAM
An interesting new departure was made this year
at the Birkbeck School of Art, where Mrs. Seymour
166
EMBROIDERED CUSHION COVER BY NORAH MAY
{filackhccUh School of Arts and Crafts)
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Birkbeck School, two or
three days before the re-
opening of the classes.
W. T. W.
BOOK COVERS IN CARVED WOOD AND TOOLED LEATHER BY A. NEEDHAM
COVER WITH TOOLED MEDALLION BY E. BULLOCK.
(Blackheatk School 0/ Aris and Crafts)
nature, and to Miss Lavinia Billings for a still life
in oils. In the recent National Art Competition
prizes were gained by Mr. Thomas Frost, Mr. Isaac
R osen-
berg, and
Mr. Percy
W. Mere-
dew. Free
student-
ships were
awarded
to Mr.
Arthur M.
Boff, Mr.
Reginald
H. I^wis,
Miss
N o r a h
G o w an
and Miss
D o rothea
Goody,
and pupil-
teacher-
ships to Miss Norah Ray Williams, and to Miss
Viola D. Dunkley, who also gained a London
County Council School of Art scholarship. An
art master's certificate was awarded to Miss Grace
Hudson, and an art teacher's certificate to Miss
Edith M. Sayer, and the Birkbeck Council Student-
ship was taken by Miss Gertrude M. Lichtenberger
for designs for lace. These designs, together with
examples of the lace executed by Miss Lichten-
berger, were included in the attractive exhibition
of students' work that was held last month at the
The four illustrations
accompanying these notes
represent a few out of
many good things shown
at the recent annual exhi-
bition of students' work
at the Blackheath School
of Arts and Crafts, whose
principal, Mr. J. Howard
Hale, F.S.A.M., is to be
congratulated on the high
standard of attainment
which the exhibition as
a whole represented. On
the walls were to be seen a group of excellent
studies of heads done by various students, clever
book illustrations by Miss D. Wheeler and Mr.
H. Hopgood, a series of well-designed posters by
Mr. A. Needham and Mr. A. Lack, and some
admirably executed flower studies by the Misses
A. Heinitz and M. Williams. But it was perhaps
in the craft section that the good quality of the
SILVER BUTTON AND PENDANT
BY EVELYN FORTH
{BlackhecUh School of Arts and Crafts)
CARVED WALNUT GRATE OR FIRE SCREEN
EXECUTED BY PUPIL OF MR. W. S. WILLIAMSON,
TAUNTON. DESIGN BASED ON ACONITE.
167
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and not enough to form and other features which
belong essentially to the craft.
CARVED OAK PANEL EXECUTED BY MRS. LEACH
FROSd DESIGN BY MR. W. S. WILLIAMSON,
TAUNTON
work done at this school was most in evidence.
Among the specimens of needlework shown were
some which were both beautiful in design and
skilfully executed, indicating careful training on
the part of Miss E. J. Morley, who has charge of
this department. The jewellery of Miss Traill and
Miss Forth made a good impression, as did various
specimens of bookbinding, particularly those of
Mr. Needham and Miss Bullock. The examples
of woodcarving displayed
indicated that this craft is
practised with success by
several of the students, Mr.
Burrell, Miss Chapman and
Miss Mayo being promi-
nent in this branch. The
metal - work and pottery
classes contributed interest-
ing exhibits, notable among
the former being a repousse
fruit dish and card tray by
Mr. A. Needham, and a
casket in rosewood and
silver by Miss Sands. The
examples of pottery showed
that too much attention is
paid to surface decoration,
1 68
TAUNTON. ā We give some interesting
examples of wood-carving executed by
pupils of Mr. W. S. Williamson, the
Principal of the Handicrafts Studios in
this town. Among these the carved oak altar-
table executed for Cricket St Thomas Church,
Somerset, calls for special notice as a specimen of
work accomplished by working-men in their leisure
time. The work has been carried out under the
personal supervision of Mr. W. S. Williamson, who
is the instructor of the Cricket St Thomas carving
class. This class was formed about ten years ago,
and consists of working-men only, the majority of
whom have steadily worked through the winter
months since the inauguration of the class.
During the last three years they have been em-
ployed in carving this altar-table, which, on being
exhibited at the Somerset Arts and Crafts Exhibi-
tion at Langport, was awarded the Challenge
Shield for the best piece of work executed by an
artizan class. The front of the altar consists of
three panels. They are all symbolic, being based
on the rose, the vine, and the lily. The carving
of these three panels is admirable ; every tool cut
has been made with knowledge and for a specific
purpose, thus producing the true spirit of old
craftsmanship without slavishly copying it. The
tool cuts on the plain groundwork taken in the
direction of the main lines of the design give
texture to the work. The carvers engaged upon
the work were Messrs. J. T. Loaring, John and
James Grimstead, H. M. Harvey, F. Heels, R.
Pinny, and J. A. Bowditch.
CARVED OAK ALTAR TABLE FOR CHURCH OF CRICKET ST. THOMAS, SOMERSET.
EXECUTED BY THE LOCAL CARVING CLASS FROM THE DESIGNS OF THE
INSTRUCTOR, MR. W. S. WILLIAMSON OF TAUNTON
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Reviews and Notices
REVIEWS AND NOTICES.
Kashmir, Described by Sir Francis Young-
husband, K.C.I.E. Painted by Major E. Moly-
NEUX, D.S.O. (London : A. & C Black.) 20J. net.
ā Kashmir to many of us is scarcely more than
a name, and that chiefly associated with a certain
kind of dress fabric. Gf the few Europeans who
have explored the country none can speak with
such authority as the author of this vividly inter-
esting account of its inhabitants, institutions, and
natural features, who holds the important position
of Resident at the Court of the reigning sovereign.
The most fascinating part of his narrative is,
perhaps, that in which he describes the gigantic
mountains of the Himalayan range which belong
to Kashmir ā one of them, not even dignified with
a name, but merely numbered as K 2, being the
second highest in the world, while three or four
more follow closely in order of height. Interest
increases when he comes to discuss the genesis of
these mighty peaks, whose origin is traced back to
a remote period in the world's history, when they
were deposited in sediment at the bottom of a
shallow sea which covered the whole of this region.
Adverting to the comparative recency of man's
appearance on this globe, and to the probability
that the human race, now in its infancy, will con-
tinue to people the earth for long ages to come,
he puts a very pertinent question. " Does it not
seem,*' he asks, "almost criminally childish for us
ā Hindus, Christians - and Mohamedans alike ā to
be so continually and incessantly looking back-
ward to great and holy men of the past, as if all
the best were necessarily behind, instead of some-
times looking forward to the even greater men to
come f " Sir Francis has found an able collaborator
in Major Molyneux, whose pictures of Kashmir
scenery, and especially of its mountain scenery,
display remarkable gifts. To this gentleman be-
longs the distinction of having three times gained
the gold medal offered by the Viceroy for the best
picture painted in India.
Classics of Art: Michelangelo. By Gerald S.
Davies. (London: Methuen.) 12J. 6il net
Rubens. By Edward Dillon. (Same publishers.)
25^. net, ā It would be difficult, if not impossible,
to select two masters whose characters, aims in life
and aesthetic gifts differed more widely than did
those of Michael Angelo and Peter Paul Rubens,
each of whom is the subject of a new study by an
acknowledged expert. The former, whose virile
personality dominated his century, remained to the
end of his career a saddened, disappointed man.
hampered by the melancholy faculty of creating a
void about him into which few dared to intrude.
Rubens on the other hand, in spite of the sad cir-
cumstances of his birth and the poverty of his
parents during his boyhood, was endowed from
the first with a happy temperament that won him
friends wherever he went and had much to do
with his success as an artist. In his " Michelangelo,"
Mr. Davies, though he says his aim has been
merely to sketch in a concise form the life of the
master through his works, well brings out the
aloofness of the man who dwelt alone with his
thought and his labour in a pathetic solitude, his
eighteen years' friendship with Vittoria Colonna,
that was only cut short by her death, having been
the one ray of sunshine to lighten his existence.
Strange to say, however, the critic does not dwell
on the great artist's strong affection for Tommaso
Cavalieri, to whom he addressed letters and sonnets
full of a passion rarely felt by one man for another,
neither does he make any attempt to define the in-
fluence of Michael Angelo upon his contemporaries
and successors. For all that, the book, which is
enriched with reproductions of many typical
paintings and sculptures and contains several
valuable appendices, is a notable contribution to
Renaissance literature, realising forcibly the stupen-
dous individuality of a truly creative genius.
The "Rubens" of Mr. Dillon presents to the
"Michelangelo" of Mr. Davies almost as great a
contrast as does the work of the two artists. He
passes in brief and rapid review the life of the
painter, carefully refraining, as far as possible, from
any critical examination of his work, but at the same
time bringing out clearly the influence on him of
the political, religious and social life of his time, as
well as the unremitting devotion to his country,
that from first to last distinguished him. The deeply
interesting narrative of a life exceptionally full of
dramatic incidents, is succeeded by an analysis
of the aesthetic qualities of Rubens that are ably
compared with those of his contemporaries; but
the bulk of the volume is occupied by an exhaustive
list of the works produced in fifty years of un-
broken activity, and black-and-white reproductions
of no less than 484 of the most important.
Modem Cabinet Work^ Furniture and Fitments,
By Percy A. Wells and John Hooper. (London:
B. T. Batsford.) \2S, 6d, net. ā It would be no
exaggeration to say that this is the most thorough
and systematic exposition of the processes and