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will probably see the Academy for Dr. Barnardo. It is the portrait statthemselves, while many of them will ues of men in modern costume that are not see the Salon, and may be inter- the difficulty, and there are too many ested to know something of what is in

of them this year.

Even Mr. MacKen. it. Sculpture at the Royal Academy nal's Gainsborough statue, where there is by no means so important an ele- is at least a better costume the ment in the exhibition, proportionately, sculptor's hand than the modern coat as it is at the Salon; for, as M. de and trousers, is not a satisfactory emL'Atelier did not scruple to say on his ployment of sculpture; and in France visit last year, our institution seemed Gainsborough would probably have to bim to be an Academy of painting, been commemorated by a portrait bust with a little sculpture and architecture on a stele, with a figure symbolical of thrown in. Nevertheless, for some his art grouped with it, whereby the ten or fifteen years past the sculpture whole difficulty of the costume is got has generally been the strongest part rid of. But if the superiority of this of the Academy show. The manner in method is sųggested to English sculpwhich English sculpture has advanced tors, they will reply as one of them during the last twenty years or so, in did in fact in my hearing) that they spite of the poor encouragement which would be only too happy too adopt it, the art receives either from the Gov- but that the English public will not ernment or the public of this country, have it; they will have the whole figure, is enough to show how much sculptural realistic costume and all. Clearly, talent there is among us, if only it therefore, if English sculpture is to could find scope and encouragement for have the best opportunities, the public its development. True, we have had must first be taught to take more insad losses; Harry Bates, а true terest in sculpture, and to understand genius, was cut off at an early age; and better what it means; and that is a Onslow Ford has gone; and of another long business. sculptor of genius, Mr. Gilbert, we Among the works which are really hear no more now. But there are still sculpturesque in style and subject, and sculptors among us; and the annual ex

aim at conveying a meaning beyond hibition of the work of the Academy mere modelling, is Mr. Garbe's group students, where sculpture nearly al- of The Magdalenes, one standing, ways makes the best appearance, indi- draped, looking down on her nude siscates that there are others to come ter at her feet. What the artist exforward when they can get a chance. actly intended by this is not quite obThis year the sculpture is less satis- vious, but there is a pathos about it factory than usual, but in a sense which is to be felt nevertheless. Mr. which is not exactly the fault of the Lucchesi's bronze group, The Two sculptors. There are too many por- Voices, is also a work expressing an trait figures in costume, which are not idea; and Mr. Gilbert Bayes' Fountain the kind of thing that sculpture is of the Valkyrs, with the Valkyrs on really meant for; but these are com- horses careering round it in a rather missions, and cannot be refused. Donatello-like relief, is an exceedingly Where the costume is of a broad and clever and effective piece of decorasimple kind something sculpturesque tive work on a small scale; probably can be made of it, as Mr. Drury shows intended as a model to be carried out in his statue of Elizabeth Fry, and Sir on a larger scale. If Mr. Bayes were George Frampton in his group enti- in France he would probably get a tled Protection, part of a memorial to State commission to carry this out for

some public place; but, alas! what correct the popular idea that "art" chance is there of that in a country means “pictures.” where money spent on art is officially A first general look through the picconsidered to be a sinful waste of pub- ture galleries left the impression that lic funds? In the Lecture Room we one had been seeing a considerable find in Mr. Colton's The River unto the number of highly finished paintings; Sea a small but fine marble group of many of them charming, no one of them poetic significance; and Mr. Babb's great. But the proportion of pictures life-size Love and the Vestal next to it is which are crude, commonplace, and also a work expressing an idea, and uninteresting is certainly smaller at the very spirited in conception and execu- Academy than at the Salon; of course tion; but it would require to be placed the actual number of pictures is much in a niche or on the front of a build- less. On the other hand, one can find ing, as there is nothing in the back nothing so powerful as the best work view but the broad surface of the Ves- at the Salon, more especially in two tal's cloak. Sculpture that is to stand classes of work-nude figures and in the open must be capable of being landscapes. Nude figures, in fact, looked at all round. Mr. Reynolds- seem almost entirely at a discount; Stephens exhibits his talent for deco- English popular prejudice, perhaps, for rative work, in which figure and pedes- one thing, is against them; and, when tal have an almost equal share in the they are there, they are generally design, in his bronze statuette portrait rather feeble productions, Mr. Tuke's of a lady seated on an admirably de- male figures excepted. A great deal signed pedestal in marble and various of English landscape-painting is beaumetals; the effect is a little disturbed tiful in its way, Mr. Davis's pictures, by the very large and conspicuous pat- for instance; but they look weak beside tern on the dress of the figure, which the Salon landscapes; and in some seems rather out of scale with the cases, too, there seems so little attempt other details. This form of decorative at composition in English landscape; a work in various materials has not been remark which does not refer to Mr. much illustrated in English sculpture Davis's pictures, still less to those of (though Onslow Ford did something Sir Alfred East, whose landscapes with it), and after the great success have always a unity of conception, a which he made with his Philip. and look of building up, about them; inElizabeth, Mr. Reynolds-Stephens is deed, in A Tranquil River he has perwise in developing this as his own haps too much sacrificed local color to special province. Mr. Trent's sketch unity of effect; Under the Wold is his model for a memorial to the late King, strongest work this year. Mr. Arnesby to be erected at Brighton, looks very Brown's A Norfolk Landscape is a vigwell as a whole; this, besides some orous work, especially in the treatment other works on a small scale, is ex- of the cattle in the foreground, but the hibited in one of the picture galleries. distance is surely a little confused in But the Academy ought to do much effect. Mr. Gwelo Goodman strikes more for sculpture than merely dotting rather a new note in The Walls of Eng. about some small works in the picture land; the effect may be somewhat galleries; sculpture wants another loaded and heavy, but it is the work room, and ought to have one. If the of a painter who means something in large gallery were devoted to sculpture his landscape, and is not merely paintit would be no more than is just to the ing a scene. Of course, in sea-painting, art, and that would do something to as long as we have Mr. Henry with us, we may face the world; but the who wants a picture of that size with French, who used to be nowhere in sea- absolutely no subject in it? Four fig. painting, are beginning to find out ures against the sky doing nothing; something about it, and may be for- though no doubt, like the House of midable rivals before long.

Lords, "doing it very well." Mr. Pictures which mainly deal with hu- Wetherbee is charming in his Butterman life and character are not very flies, a landscape with three figures in strong this year. Abbey's Education consentaneous movement down the of Isabella the Catholic (unfinished) of- ridge of the ground, in chase of the fers a rather striking contrast between butterflies; that is not a subject picthe face and manner of the young girl, ture, it is a painter's vision of a moevidently full of delight in life, and ment of delight, but its point is quite the ascetic figures who accompany her; clear, and it is not, like Mrs. Knight's that is the point of the picture, and it picture, too large for the subject. is forcibly illustrated. Sir L. Alma- There are pictures in the Academy that Tadema has moved from his usual make one wonder whether some paintplace in Gallery III. to Gallery I. ers ever think at all of what they are where he confronts us with Prepara. painting. Here is Mr. Waterhouse, tions: 'in the Coliseum; the Imperial box who gives us Penelope and the Suitors; being furnished with flowers and re- Penelope, a pretty, middle-class woman freshments; the figure is of little inter- of five-and-twenty. Penelope was a est, the whole picture consists in the middle-aged Princess with a grown-up marble and silver details, the mosaic- son; the picture, under such a title, laid floor of the box-lobby, and the is absolutely ridiculous. If Mr. Beadle numbered seats for the populace rising had been present when the "forlorn in the background; but what is the con. hope" rushed up to the breach of St. struction of the balustrade separating Sebastian, he would have found them the seats from the arena? It is rather something different in action and expuzzling, as it has always been said pression from this group of stage sol. that the top member of the railing was diers; and here is another gentleman a wooden round bar turning on a cen- who paints a picture of Hunting in the tre, lest peradventure some lion or Midlands, from which one would gather tiger should get a clutch on the top that the practice in the Midlands is rail. Of other contents of this room, to ride over the hounds. I should like Mr. Henry's sketch of a picnic in a to hear the M.F.H. on that picture. forest is a fine piece of color, and Mr. The strong point of the Academy exHacker may be congratulated on bis bibition is really the portraits. We Imprisoned Spring, where the sunlight have no M. Humbert, but Mr. J. J. pours into the room which the cottage Shannon is not much behind him, and girl cannot leave. Mr. Sims's The Shower two or three of his portraits of ladies is too absurd; it may be maintained here might vie with most of the that the object of a picture is to be a French portraits, in regard to style and decorative scheme and not to represent color. Mr. Orpen's portrait of a genan incident; but we do want some kind tleman, in the second room, is exceedof meaning and coherence in it. The ingly successful in making the head large pictures of the year are very stand out light without the banality of doubtful; Mr. Gow's scene in the House a dark background; his portrait group of Commons, 2nd of March, 1628, does in the third room is a very good examnot impress one as real; Mrs. Knight's ple of his old method of portraiture, The Flower is exceedingly clever, but treating the sitter as a figure in the centre of a room which forms part of who would treat great subjects in a the subject of the picture. I prefer great manner. But we want the great the portrait simply as such myself; subject as well as the great manner. but Mr. Orpen's method is an interest- The misfortune is that some people ing variation of method.

who can paint in something like a great In short, we are saved by our por- style waste their talents on trivial traits this year, in what would other subjects. Subject counts for somewise be a very weak exhibition. There thing after all. is plenty of room for a new genius

H. Heathcote Statham. The Nineteenth Century and After.

SANDERSON'S VENUS.

9

III,

The behavior of Jubb when he heard It was essential, Sanderson decided, of the conditions was remarkable. He that Jubb should see the picture.

He raved, he threatened, he cajoled; he went nearly every day to the little proved that the suppression of a masshop in the Borgo, and exhausted all terpiece was a wrong done to Italy; his persuasive powers in reiterated ef- and for the unrestricted possession of forts to persuade the old man. The old the picture he offered a much larger man, whose name, as he presently dis- sum than Fontana had asked. Foncovered, was Giacinto Fontana, at last, tana was invulnerable at every point, though very reluctantly, consented to became sulky, hinted that he wished to receive a visit from Jubb, but only on keep the picture. “At least give me the conditions that the critic would permission to show it to the world write nothing about the picture after your death!" Jubb had implored without his permission, and that, if it him, and he replied with a smile, “You passed from the hands of its present would certainly murder me, signore; owner, it should neither be shown to I should do the same were I in your any one in Italy nor exhibited publicly position.” In desperation Jubb threat. in any other country. Sanderson ened to reveal the existence of the Vethought the conditions absurdly eccen- nus. His friend's rash promise, he astric; their reason, he supposed, was serted, couldn't be held to bind him. that the old man still persisted in sus- Fontana replied promptly that any pecting the picture to be a forgery, and move of the kind would result in the was afraid of getting into trouble if instant destruction of the picture, and the world at large happened to share he looked as if he meant it. Finally, his besotted opinion. Sanderson ex- Jubb flew into a rage, and went off patiated lengthily on the great Turkish vowing that he would never consent oil test; the old man was politely inter- to so limited a kind of ownership. ested but firmly sceptical. He re- He did not return to the little shop mained so even when Jubb arrived to in the Borgo, and he managed to perdeclare, without the least hesitation, suade Sanderson to refrain for three that the picture was a genuine master- days from going there. Sanderson piece by the Alunno di Botticini. Yet consoled himself with frequent visits he was plainly anxious to sell it if he to the Palazzo Montegrigio, but his could be certain that the conditions soul yearned for the Venus, and one which he imposed on the buyer would afternoon, when all Rome was flooded be observed.

with sunshine and the scent of spring

no

flowers, he evaded Jubb and crossed ing furiously. Surely, he thought, it the Ponte Sant' Angelo. When he was a dream, a hallucination! For the reached Fontana's door he found it face of the girl with the stocking was closed,-an unusual spectacle. He the face of the Montegrigio Madonna knocked: there was answer; he and the face of the Venus. She had knocked again, then turned the han- the same coils of yellow hair, the dle. The door was not locked, and he soaring throat, the slender hands. concluded that Fontana had only gone Sanderson gasped; a voice within him out for a moment. He entered, sat seemed to be saying: “What luck! if down, and began to look at the reli- only it's not a dream, what wonderful, gious prints in primary colors. He heavenly luck!" longed to unpack the Venus, but felt He collected himself at last, and bethat such an act, in the absence of its gan to stammer out excuses for his owner, would be illegitimate.

intrusion. She smiled faintly (SanderFive minutes passed, and Fontana son nearly shouted when he saw her did not appear. Sanderson wearied smile), rose from her chair, and replied hugely of the religious prints, and be- that the fault was hers; she had heard gan to inspect the pictures on the him moving in the shop, but had imagwalls. Whilst he was thus employed ined that it was her grandfather, who he thought that he heard a slight sound had gone to be shaved by the barber beyond the inner door. It occurred to across the road. Her voice was low him then that Fontana was inside it and soft, and made Sanderson feel that and had not heard him knock. He he had been bellowing. And always hesitated for a moment, and then she contemplated him with those great tapped the door gently. There was no gray eyes. Sanderson was young, tall, sound from within. He tapped again, looked honest and kind, and was certhen he pushed the door. It yielded; tainly unlike most of her neighbors be called Fontana by name and looked in the Borgo. No doubt that she into the room.

found a new type interesting. When For a moment he thought that either he began to explain his identity she he was mad or that Fontana had said, with a smile that was less faint played him a fantastic trick. In the than at first, that she had guessed him centre of a long, light room that was at once to be her grandfather's English hung, apparently, with all the greatest friend. One of them," corrected San. masterpieces of Italian art, sat a young derson, and she laughed, showing the girl in a plain black dress, mending a two little rows of pearly teeth which stocking. She raised her eyes when the smile of the Venus revealed. "The Sanderson entered and looked at him other Englishman is not a friend," she steadily. There was a certain sur- explained, “but when my grandfather prise, but no alarm in her expression; begins to speak of him he can say she had the air of a queen who con- nothing, he can only laugh and laugh. templates an awkward courtier,-an air If you will condescend to sit down, neither of amusement nor of irritation signore," she added, "I will go and tell but simply one of superb indifference. him that you are here. He is fond, Her glance did not falter, though San- after he is shaved, of lecturing to the derson stared at her for a full minute poor barber about pictures." without speaking, open-mouthed, with "Ah! pictures!" cried Sanderson. He the glare of an immense question in his was silent for a moment, then said: eyes. His lips moved, but no sound is. “Signorina, you have many beautiful sued from them. His heart was beat pictures here.”

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