which carries half a himdred illustrations, treats the
subject topically in historical sequence. A trans-
lation of G. H. Marius's "Dutch Art in the Nine-
teenth Century" is tastefully gotten up with 130
plates (Lippincott). The Hague school is taken as
a focus, with a closing summary of the reaction by
the younger Amsterdam painters. The anecdote
is well known of de Largilli^re's mistake in think-
ing the young Chardin's work a product of the
established Flemish school. Chardin, who, though
a Frenchman, all but beat the Dutch on their own
groimd, is the subject of one of the recent volumes
in the Masterpieces in Color series, a remarkably
successful set of inexpensive color reproductions
with adequate text. Fragonard and
Rubens also appear in recent issues.
The volumes on Gainsborough, Rey-
nolds and Romney have been group-
ed in one binding under the title
"The Great English Portrait Paint-
ers of the Eighteenth Century," re-
sulting in an attractive gift book
(Stokes). The distinctive Belgravia
series (Caldwell) of pocket mono-
graphs is enriched with a volume
on Jean Francois Millet from the
pen of Richard Muther, whose re-
cent death has been a great loss to
serious art criticism. The quality
also of the presswork, illustrations,
and the limp leather binding will
commend the book to the holiday
buyer. D. Cady Eaton, professor
emeritus in art at Yale, mingles a
formal encyclopedic arrangement
with a refreshingly downright em-
phasis of personal preferences in his
illustrated "Handbook of Modem
French Painting" (Dodd, Mead &
Co.) . English-reading travelers, for
whom the book is designed, will be
led to conclude that French painting
of to-day is "at a low ebb." Mr.
John La Farge's Scammon lectures
on the Barbizon school (Chicago Art
Institute, 1903), which have also a
rather controversial smack to them,
are handsomely published under the title, "The
Higher Life in Art" (McClure). An excellent
elementary text book is Sir Walter Armstrong's
"Art in Great Britain and Ireland" (Scribner's).
The text is a model of condensation and the co-
pious extent of illustration in good small cuts is a
worthy achievement in publishing. The Great
Art Galleries series (Caldwell) offers a new volume
on the Wallace Collection, containing sixty-four
illustrations with short notes. George Morland,
the English animal painter (i 763-1 804), shows
Dutch influence in his fondness for domestic in-
teriors and farming scenes. Sir Walter Gilbey,
whose well-known interest in the horse and other
domestic animals has led him to add to his pub-
lished writings several books on animal painters,
has now in collaboration with E. D. Cuming issued
a biography and critical estimate of Morland (im-
ported by Macmillan) which is illustrated with
fifty full-page color plates. "Scotch Painting,
Past and Present, 1620-1908 " is the subject of a
XXIII
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The Fall Art Books
comprehensive and copiously illustrated volume by
James L. Caw, director of the National Galleries
of Scotland (Stokes). The author divides the sub-
ject into two periods — ^the "earlier school," 1787-
1860, with its precursors and the last five decades,
1860-1908. The Dutch influence is discernible in
the technique of the earlier genre and historical
painters, and, with the Italian, in the beginnings of
landscape. The majority of the earlier landscape
painters followed Hobbema, Cuyp and Berchem
or Van de Velde and Bakhuysen. Despite a note
of passing discouragement as to the present mo-
ment it is held that Scottish art is "one of the few
original and distinctive manifestations in modern
painting." John Pettie (1839-1893), a Scotch mas-
ter of historical genre, vigorous, deft and dramatic
in his work and remarkable as a colorist, is the sub-
ject of an interesting illustrated biography by Mar-
tin Hardie, his nephew, and himself a painter of
distinction (imported by Macmillan). This is the
first monograph on Pettie and comprises a com-
plete descriptive catalogue of his works. Fifty of
the illustrations are color plates. Edward Dillon
has prepared a good introduction to the "Arts of
Japan" for the useful series of "Little Books on
Art" (McClurg). The exposition is divided into
'^ two parts, the first treating of painting and sculp-
ture in connection with a general sketch of Jap-
anese history, and the second devoted to the so-
called "minor" arts, colored woodcuts, metal
work, netsuke, lacquer and ceramics. A short
bibliography is added and the book is illustrated.
These "little books," within their acknowledged
limitations, are something of a triumph in the
making of compact treatises.
Another volume just issued in the same series is
the handbook on "Illuminated Manuscripts," by
John W. Bradley. He falls into the seductive error
of beginning with Adam or his contemporaries.
The question as to what art is may serve well
enough by way of subject for a disquisition in
esthetics, but it is high time that the topic should
disappear from introductory paragraphs. If Mr.
Bradley were writing a history of railways he would
hardly begin with the question "What is motion?"
All of which, perhaps, goes to show that the book-
worm will occasionally turn captious. The book is
compact of information, treating the subject on a
historical outline and should prove of real service.
James Ward, an English mural painter, once a
pupil of Leighton's, has followed up his previous
books on ornament and design with a practical dis-
cussion of " Fresco Painting " (Applcton) . His sug-
gestions on processes and methods are based on his
XXIV
own experience in the practice of buon-fresco and
spirit-fresco. The illustrations include four color
plates, and there are several chapters on Italian
frescos, but the discussion of technical points, such
as the method of lajring on colors and the prepara-
tion of the wall, will be more likely to command a
hearing. It is a pity that a book of this sort should
be issued so badly sewed.
One of our friends who sets frankness of thought
above exactness of expression is accustomed to de-
clare that all books may be divided on the score of
authorship into two classes; by which he intends,
first, those written by hacks, and, second, those
written by cranks. Few informed persons will be
inclined to classify C. J. Holmes, Slade professor of
fine art at Oxford, in the latter category. But if the
airy generalization comes to mind in referring to his
new book, "Notes on the Science of Picture Ma-
king" (Appleton), it does so because such a book is
immediately distinguished among the flood of pub-
lications that pours through the appointed channels
of the seasons. The book in no sense belongs to
that class which we owe to the manifestation of pro-
fessional authorship technically known as "book-
making." No one could sit down and concoct it
from encyclopedias or set out to collect the contents
with guide book and camera. It offers the fruit of
full-grown personal theory and should not be neg-
lected by any reader who keeps abreast of current
philosophic art criticism. As it can hardly be ade-
quately noticed in the present space available we
shall hope to return to it later, noting at the mo-
ment that the theoretical scheme divides the con-
sideration of emphasis of design under the following
heads: Symbol, plan, spacing, recession, shadow,
color and emphasis of material; each of which is
subdivided as to the pictorial conditions of unity,
vitality, infinity and repose..
Lewis F. Day, in preparing a foxuth edition of
his "Nature in Ornament," has enlarged the plan
to embrace two volumes under the title, "Nature
and Ornament," the first of which, "Nature, the
Raw Material of Design," appears with eighty-
seven illustrations from drawings by Miss Foord
(imported by Scribner's). Dora Miriam Norton,
instructor in the Pratt Institute, Brooklyn, has pub-
lished a book which will be found of great value to
all teachers and students of the subject, " Freehand
Perspective and Sketching." The book, which is
attractively illustrated with great practical detail,
covers its subject comprehensively and will be
foimd a thorough guide in pictorial representation
of common objects, interiors, buildings and land-
scapes. The best and most thorough review of the
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The Fall Art Books
From **0n€ Hundred Country Houses," copyright, 1909^ by The Century Co.
THE CRENSHAW COTTAGE, GERMANTOWN, PA.
WILSON EYRE, ARCHITECT
subject by a writer whose authority is everywhere
recognized, "Pottery and Porcelain of the United
States," appears in a third edition with 335 illus-
trations (Putnam's). Much new material has been
added, embracing the tendency to colored and mat
glazes, greens predominating, and the underglaze
and carved effects shown in the arts and crafts
products. Reference should also be made to the
excellent primers from the same pen on "Salt-
Glazed Stoneware," "Artificial Soft Paste Porce-
lain," "Tin Enameled Pottery" and "Lead Glazed
Pottery" (Doubleday, Page). "Chats on Old
Earthenware," by Arthur Hayden (Stokes), gives
suggestions for collectors and describes various
stonewares, Wedgwood products, transfer-printed
ware, Staffordshire ware and luster ware. The
book is illustrated with numerous reproductions.
N. Hudson Moore has made a welcome addition to
his list of popular art treatises in his Collectors'
Handbook, entitled "Wedgwood and His Imita-
tors" (Stokes). The various wares produced by
Wedgwood are described with abimdant illustra-
tions, and among the other makers discussed are
William Adams, the Warburtons, John Voyez,
Henry Palmer, John Neale, John Turner, "Wedg-
wood & Co.," J. Lockett, Daniel Steel and John
Aynsley. Arthur Louis Duthie has done glass
workers and students generally a valuable service
in dealing collectively for the first time of the vari-
ous methods of glass decoration in a practical
fashion, in his book, "Decorative Glass Processes"
(Van Nostrand) . The book, which is illustrated by
working drawings and half-tone reproductions, dis-
cusses various kinds of glass in use, leaded lights,
stained glass, embossed glass, brilliant cutting and
beveling, sand blast and crystalline glass, gilding,
silvering and mosaic, proprietary processes and
patents.
Modem examples of American domestic archi-
tecture are well illustrated by a contributor in
the attractive and comprehensive volume published
by the Century Company, entitled "One Hundred
Country Houses," by Aymar Embury II. The
author divides his material, which includes a series
of full-page plates from photographs, imder various
heads, including Colonial (New England, Southern
and Dutch), classic revival, Spanish (or Mission),
American farmhouses and Japanesque. The
series of "Craftsman Homes" which has been ap-
pearing in Mr. Gustav Stickley's well-known maga-
zine are collected and issued in an appropriate vol-
ume, which will immediately make itself welcome to
all persons who are interested in this phase of house
building and decoration. A place of honor in the
volume is given to Edward Carpenter's essay on
" The Simplification of Life," followed by an article
on "The Art of Building a Home." Other special
articles are added in the rear on "Cabinet Work
for Home Workers," "Methods of Finishing
Woods," and "The Craftsman Idea." The bulk of
XXV
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The Fall Art Books
From "Craftsman Homes" copyright, 1909, by Gustav StickUy
UVING ROOM WITH HALL BEYOND, SHOWING TYPICAL CRAFTSMAN DIVISION BETWEEN THE
TWO ROOMS BY MEANS OF HEAVY SQUARE POSTS AND PANELS OPEN AT THE TOP
the book is devoted to fifty concise articles on houses
in various allied styles — cottages, farmhouses, court-
yards, bungalows, summer camps, open-air dining
rooms, gardens — and various features of the house,
such as halls, stairways, the living room, kitchen,
wall spaces, floors, furniture, fabrics, etc. A wel-
come little pocket volume in paper covers repro-
duces sixty photographs, with notes by Professor
Capper, showing "Masterpieces of Spanish Archi-
tecture" (Stokes). The ninth edition of the Archi-
tects' Directory and Specification Index, the issue
for 1909 (Comstock) contains among new features
a list of architects to the boards of education and a
list of architectural societies and organizations in
various countries. Lists of landscape and naval
architects are also included.
Clara Crawford Perkins issues a two- volume book
on the inexhaustible topic, "French Cathedrals and
Chateaux" (Holt). This publication is based on
the author's lectures and is plentifully supplied with
reproductions from photographs. The same au-
thor crosses the Pyrenees in "Builders of Spain"
(Holt), a companion two- volume book, which traces
the story from the Romans to the Bourbons and
then canvasses the country geographically by the
great cities and provinces.
Several books are before us, among the season's
publications, which will commend themselves, by
reason of their illustration, to the holiday buyer of
artistic taste, though not concerned with art topics.
Such is the decorated "Morte D'Arthur" (Button),
xxyi
with the embel-
lishments made
for it by the late
Aubrey Beardsley,
a sumptuous book
beauttf ully printed
in limited edition,
which any admirer
of the artist would
be glad to own.
Illustrations by
Byam Shaw, in-
cluding a frontis-
piece reproduced
in colors, adorn an
edition of Charles
Reade's perenni-
ally delightful
novel, "The Cloi-
ster and the
Hearth" (Stokes).
The"Rubaiyatof
Omar Khayyam"
appears with 24 full-page color reproductions
from drawings by Willy Pogany (Crowell). The
book has decorated covers and doublures and
ornamental borders and decorations in the text,
which is presented in a letter designed to recall the
cursive character of the Arabic alphabet, not omit-
ting the stroke and point. Twelve water-color
drawings by Amy Atkinson are reproduced in col-
ors in Anne MacDonell's "In the Abruzzi — The
Country and the People." R. H. Schauffier's " Ro-
mantic Germany" (Century) is illustrated from
paintings and drawings by Hans Hermann, Alfred
Scherres, Karl O'Lynch Von Town, Gertrude
Wurmb, Charies Vetter and Otto F. Probst.
BOOKS RECEIVED
Historical Guide to the City of New York. Com-
piled by Frank Bergen Kelley, superintendent of the City
History Club of New York. A complete guide book to
New York City and its environs. Frederick A. Stokes
Company, New York. Seventy maps, 46 illustrations.
Price $1.50 net.
Old Boston Days and Ways. From the Dawn of the
Revolution until the Town became a City. By Marcy
Caroline Crawford, author of "St. Botolph's Town,"
"Among New England Inns," etc. With numerous full-
page plates and other illustrations. Little, Brown & Co.,
Boston. i2mo. $2.50 net.
Motor Days in England. A record of a journey
through picturesque southern England, with historical and
literary observations by the way. By John M. Dillon,
editor of "Marshall's Constitutional Decisions." With a
map and 64 illustrations. G. P. Putnam's Sons, New
York. $3.00 net.
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December, igog
THE INTERNATIONAL STUDIO
The International Studio
Copyright, igoQ, by John Lane Company
Plates
CONTENTS, DECEMBER, 1909
EDWARD J. GREGORY, R.A.
Marooned
See page xxv
ALFRED GILBERT
St. George
See page 103
ALFRED GILBERT
The Virgw
See page 107
JEAIT FRANCOIS
RAFFAELLI
Boulevard des Italiens, Paris
See page Z19
ERNEST NEWTON, R.I.B.A.
Entrance Porch or Ardenrun Place,
Surrey
See page 137
BYAM SHAW
Tbm Blindfolding of Truth— An
Allegory
See page 143
JOSEPH PENNELL
Westminster, Night, from My Window
See page 150
JOSEPH PENNELL
COETLANDT StREST FeRRY, NeW YoRE
Su page X51
WILLIAM M. CHASE By William Howe Downes . xxix
Eight Illustratioos.
THE ART OF EDWARD GREGORY, R.A By A. Lys Baldry.
Thirteen lUustnttions.
87
ALFRED GILBERT AT BRUGES By Alys Eyre MackUn 98
Twenty-six lUustnitioas.
THE ETCHINGS OF JEAN FRANCOIS RAFFAELLI .By Henri Frantz 118
Eight Illustrations.
THE APPLICATION OF NATURE SUBJECTS TO DESIGNING IN JAPANESE
ART By Sei-Ichi Taki 125
RECENT DESIGNS IN DOMESTIC ARCHITECTURE 136
Six Illustrations.
STUDIO TALK (From Our Own Correspondents) 148
Thirty Illustrations
ART SCHOOL NOTES:
LONDON 1 65
Four Illustrations.
TAUNTON 1 68
Three Illustrations
REVIEWS AND NOTICES 169
THE LAY FIGURE: ON ILLUSTRATING BOOKS PROPERLY 172
REPRODUCTIONS OF COLONIAL FURNITURE xxxvii
Six Illustrations.
THE GREATEST SIENESE PAINTER xl
One Illustration.
MACHINE- WO YEN RUGS AFTER ORIENTAL DESIGNS xU
Six IllustratioQs.
ADOLPH A. WEINMAN'S MONUMENT TO MAJOR-GENERAL ALEXANDER
MACOMB By Clara E. Dyw xliv
Two Illustraticms.
.By Philip Hale xlvi
WILLIAM MAC GREGOR PAXTON
Three Illustrations.
HENRY JOSEPH BREUER— A NOTE xlix
Two Illustratioas.
IN THE GALLERIES.
Seven Illustratioas.
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THE INTERNATIONAL STUDIO
December^ igog
NEW BOOKS OF LASTING VALUE
\
WAGNER'S
TRISTAN AND ISOLDE
To lovers of music and lovers of beautiful books this
volume offers a rare treat.
Riehard l« GaIKmum furnishes a fine metrical
translation of Wagner's libretto.
Edward Ziecler contributes a scholarly and enlight-
ening crili^ue, shedding much new light on the opera
and its place in Wagner's life.
Gcorva Alfred WOBaaM in se%'en superb paint-
ings, reproduced in full ccdors, gives us wonderfully
beautiful interpretations of musical symbolisnu
Quarto, Cloth, in gold and colors, gilt top, boxed, $6.00
net; postpaid $6.40
FREDERICK A. STOKES COMPANY 333 Fourth Ave. NEW YORK, N. Y.
lARLY ENGLISH FURNITURE
AT THE PENNSYLVANIA MU-
SEUM
The Pennsylvania Museum has recently
purchased, with money collected from the
museum contribution boxes, two important
examples of early English furniture. One
of these is an Elizabethan cupboard, or
press, of carved oak, dating from about
1600. It stands on a table suppcnrted by
four ball-turned legs which are strength-
ened by flattened stretches. In the panels
of the two doors are carved arches sup-
ported by horizontally grooved piUars,
which latter are repeated in the lower parts
of the three uprights.
Courtesy of W. K. Cowan 6- Co.
SKILFUL REPRODUCTION OF A POPULAR TYPE
OF HIGHBOY
The second example is a fine illustration
of the more exuberant ornamentation of a
century later. It is a double cabinet of
English oak, made in two parts, the upper
portion receding slightly from the base.
The entire front is elaborately carved in
scrolled and foliated patterns, so charac-
teristic of the period, and on the overhang-
ing upper rail appear the initials 1. W. M.
and the date 1700. These two pieces, in
connection with two low wedding chests,
bearing the dates 1560 and 1655, which
are exhibited in the same collection, cover
a century and a half of this style of low-
carved oak.
The rare opportunity now presented to
study these collections in the Pennsylvania
Museum and the Metropolitan Museum
should not be neglected by those interested
in the development of English and Ameri-
can furniture of the sixteenth and seven-
teenth centuries.
The Pennsylvania Museum has also
been showing a recent gift by Mr. Owen
Wister of Gros Point de Venise of the
late seventeeth century. It consists of an
apron front and trimming.
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INTERN ATIC
STUDie
VOL. XXXIX. No. 154 Cx^s'unt, '^t>> .- t"hn Line C -r. -nx
W
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INTERNATIONAL
• STUDIO •
VOL. XXXIX. No. 154
Copyright, 1909, by John Lant Company
DECEMBER, 1909
W
ILLIAM MERRITT CHASE, A
TYPICAL AMERICAN ARTIST
BY WILLIAM HOWE DOWNES
A PAINTER of distinguished talent,
like William Merritt Chase, who is keenly sus-
ceptible to the best traditions of the art, and who
has a cultivated man's bent for variety and experi-
mentation, forms his own style gradually by a
process of fusion and by the natural adaptation of
his methods to contemporary subjects. American
painting at large is undeniably pervaded by a re-
fined, orderly, intelligent eclecticism, which has in
it more cleverness than inspiration, more skill than
passion. The national style, so far as there can be
any American style, is a composite, blending indis-
tinguishably the influences of old and new schools
of painting. In a certain sense Mr. Chase is a
typical American artist. He has seen much of the
world ; his taste has been trained by close acquaint-
ance with all the best art of Italy, Holland, Spain
and France; he is far from being unsophisticated;
he is, as Gautier said of himself, a man for whom
the visible world exists; moreover, he is sane, un-
sentimental, truthful and unpretentious. All these
are typical American qualities so far as our painters
are concerned. The exceptions prove the rule.
It may well be added to this characterization that
Mr. Chase's style is one in which brilliancy, gayety
and charm are often the dominant notes, in which
lightness of touch, clearness of expression and a
happy freedom of treatment are combined with
great taste and elegance. An accomplished
painter, he avoids, by instinct, complicated ques-
tions, metaphysics, dealing rather with the phe-
nomena which are pictorially effective by virtue of
their form, color, light and shade, and giving us a