No More Learning

to drawing, maps of the whole route he contained in The Mechanics of the Aero-
Institution of Civil Eagineers, 8. -Works for the Prevention
of Coast . Krosion, Lecture II. , Mr. W. T. Douglass. traversed, he has studied the habits and plane,' by Capt. Duchêne. The first part
(Students' Meeting. )
Royal Academy, 8. –The Chemistry of Pigments,' Lecture II. ,
languages of the tribes with whom he came of the work deals with the support of the
Royal Institution, 9. -'The Gyrostatic Compass and Practical
in contact, and has, by means of phonograph aeroplane in still air, and the various factors
Applications of Gyrostats,' Mr. G. K. B. Elphinstone. and cinematograph, obtained many valuable of speed, weight, thrust, motive power,
Sat. Royal Lastitution, 3. -'Molecular Physics," Lecture I. , Prof.
records for ethnographical purposes. He lifting efficiency, wing area, gliding flight,
MEETINGS NEXT WEEK.
sions,' Mr. B. Fletcher.
Mr. E. Warren.
in detecting Forgeries, Dr. A. P. Laurie.
Prof. W. Bateson.
Bridges,' Mr. B. Fletcher.
R. A. Macdonald.
African Governinent Railways,' Mr. F. Shelford.
-
are
-
WED.
Dew,' Mr. S. Skinner.
Lantern-8lides,' Mr. E, J. Spitta.
6
Dr. A. P. Laurie.
-
He ex-
other Papers.
PRI.
Dr. A. P. Laurie.
Bir J. J. Thomson.


## p. 200 (#164) ############################################

200
THE ATHENÆUM
No. 4399, FEB. 17, 1912
>
and starting and alighting. The second sound and brilliant technician. " His esti-
portion is devoted to a careful considera- mate of Moreau and Whistler is discriminat- THE MODERN SOCIETY OF PORTRAIT
tion of the several problems of stability and ing :-
PAINTERS, AND OTHER
turning; and the third to the effect of wind.
A concluding section treats of the theory, of the other a lack of training; of both the absence
“The weakness of the one was a lack of balance,
EXHIBITIONS.
design, and application of propellers. This of any normal and right relation to their public. ”.
and the preceding book will also be issued
THE dull average which depressed visitors
by Messrs. Longmans.
This lack of relation between the artist and to the Royal Society of Portrait Painters is
the public is, in the author's opinion, the root maintained by the junior society at the
of all evil, begetting a competitive system, Institute, although the latter possess the
in its turn responsible for the eccentricity advantage of having most of their work in
of Neo-Impressionists and Post-Impres. an enormous gallery, where a few relatively
sionists. Of these he says :-
interesting pictures, artfully placed, make
FINE ARTS
a good first impression. Mr. G. F. Kelly in
“The scientific spirit, the contempt of tradition, No. 24, Ma-Thein-Kin in her Best Clothes,
the lack of discipline, and the exaltation of the shows most definitely the desire to revive
individual have very nearly made an end of Art. ”
the complex modelling of flesh which has
Writing on the necessity of a mastery of latterly been somewhat discarded for the
OUR LIBRARY TABLE.
facts, he points out how easy it is, with a sake of keeping it in relation to the picture.
good eye and some practice, to learn to The smoothly painted head is a good example
The Classic Point of View : a Critical
copy a head or an arm :-
of Victorian style.
It might have been done
Study of Paintings, by Kenyon Cox
(Werner Laurie), is made out of the “ To learn that head or that arm, so that you shall by Mr. J. W. Waterhouse or, but for a slightly
Scammon Lectures of 1911, delivered by Dental, so that you shall know what is important Alma Tadema. Had Mr. Kelly chosen to com;
be able to distinguish the essential from the acci- greater severity of draughtsmanship, by Sir
the author before the Art Institute of in it, and to your purpose, and what is not; to plete his portrait in the same vein, he would
Chicago. They are interesting for their master it in a word--that is a man's work and takes doubtless have found, as these artists did,
author's views, which are set out with admir- the whole of the man. ”
the extreme difficulty of making the rest
able clearness, and sometimes with eloquence,
also for the picture they afford of the ideals alike in its architecture, sculpture, and paint? fuller the representation of so highly organized
It is noteworthy that America should, of the canvas other than extraneous. The
and practice of American art. In a preface
ing, be steeped in the Classic Spirit, more a thing as a human face, the greater is the
Mr. Cox seeks to justify a somewhat arbitrary conservative than Europe, and less influenced tendency for the painting of the dress and
tone, characteristic perhaps of a young and by fads and fashions than any other country. accessories to become a matter of imitative
these lectures as an opportunity to draw up artists and public are serious people and up into fragments of actuality. Yet it is
“a detailed and explicit confession of artistic faith love the sane and the sound thing. The no improvement to daub in these accessories
na statement of what one painter believes and public in America demands sanity and carelessly in the manner of a weak imitation
are of Mr. Sargent, and on the whole we prefer a
takes to be the malady, of modern art, and of where striving, by discipline and self-control and good unalloyed Tadema, such as the well-
hard work, to produce, without compromising known portrait of his daughter.
Of the six lectures, the most interesting, their artistic ideal, what the public wants. Mr. G. Philpot's Sculptor and Model (8) and
also the most controversial, is "The We cannot here discuss many good Mr. G. Lambert's Eve Balfour are, perhaps,
Classic Spirit. ' Those on Technique, on things in the remaining lectures. Mr. Cox, still worse examples of mixed intentions. In
Drawing, or on Light and Shade may be when he is master of his text, writes with each case the general aspect of the picture
fruitful of discussion amongst painters ; the white heat of conviction ; his statements seems an imitation of work conceived in
educational authorities will fix on the first, have reference mostly to pictures illustrated some mood of abstraction; but each painter
and, whatever their views, welcome the by photographs throughout the book : an has remembered that realistic execution is his
sincere and stimulating appeal to students instance, surely, of photography as a useful principal accomplishment, and seems bent on
to work out their own salvation, avoiding handmaid of Art! "Whether his views are displaying it. The broad architectonic
the short cuts and by-path alleys leading those of our professors of art or not, it handling of masses by which the plastic
no whither-it is an appeal to study the is an eminently safe volume to put in the details of the painter's subject seem the
Classic Spirit—to love clearness and reason. hands of English students : it will make natural outcome of the process of dividing
ableness and self-control. That spirit the them think for themselves, and perhaps up the square space at his disposal—this,
author defines as
open their eyes to the folly of attempting the art adumbrated by Velasquez, is the
above all the love of permanence and continuity. short cuts in the pursuit of their ideal. souvenir evoked by the look of Mr. Philpot's
It seeks not merely to express individuality or
picture. Its actual structure does not bear
emotion, but to express disciplined emotion and MR. BATSFORD, the publisher, is to be con. out the pretension. The central figure is
individuality, restrained by lawle It strives for the gratulated upon the beautiful reproductions weakly drawn, without the firm hold on
rather than the momentary. . it loves to steep itself The mural decorations at Pompeii have principal elements which in a truly plastic
immutable or set rigid bound to invention. But it been the subject of two previous works space-composition takes the place of the
desires that each new presentation of truth and illustrated by lithography. The three- more material hold on the surface modelling
beauty shall shew us the old truth and the old colour process enables Mr. Briggs's careful of the body. Without such geometric cer-
beauty, seen only from a different angle and coloured drawings to be faithfully reproduced. Some tainty of draughtsmanship the design be;
by a different medium. "
of these drawings were made several years
a mere vignette, and the central
Mr. Cox will have nothing to say to the ago, and since then the original decorations morceau is marred from a realistic point of
so-called “ Classic School founded by at Pompeii have undergone a change for the view by sudden flatnesses arbitrarily intro-
Jacques Louis David and his followers. The painting was fresco__that is, duced to give the figure an appearance of
To him the confusion of cross-currents, of executed in water colours upon the moist co - ordination with the great mass of
opposing theories and practice, which is stucco of a freshly plastered surface. Expo black in the centre of the picture, which
the history of modern art, is without tradi. sure to the weather must in the long run itself seems rather a device for suggesting
tion, or authoritative guide. The Classic destroy not only the brilliancy of the colours, conventional treatment than the result of
Spirit, as he understands
it, inspired but also the material itself. The destruc- a sound use of convention. The picture
the revolutionary Millet, Corot, Constable, tion of newly excavated work at Crete is has not that unity which gives us the illusion
and the great upholder of the Official very rapid ; one writer suggests that in of apprehending natural physical develop-
School, Ingres. The rank and file, without 100 years no trace of the excavated build- ment, as produced by infinitely subtle
the fundamental knowledge engendered by ings will be left.
combinations of the same laws as lie at the
long apprenticeship to master painters, gone In an admirable little Introduction de root of architectural stability.
like their system, are a ship without a rudder, scribing the city and its history, the author Judged simply as “ morceau painting,
turning this way and that. Of the destruc- adopts the classification of periods suggested Mr. Lambert's
portrait has
passages
tive and disintegrating forces of the day, by Prof. Mau. The drawings are shown on which are superior to anything in Mr.
Mr. Cox singles out photography as the twenty-five plates. They represent frag. Philpot's picture. We cannot refrain from
most disastrous, one only of the encroachments of decoration on columns and walls, a craftsman's relish at the sight of a hand
ments of science on the realm of art. To pavements and ceilings, fountains and furni. and arm painted so frankly and deftly as
him the Pre-Raphaelites stand for an ture. A few are from treasures now the left hand and arm of Miss Eve Balfour.
æsthetic movement established at the cost safely housed in the Naples Museum. Each There is a certain magic in the way in which
of the destruction of the older English plate is faced by some words of explanation the impasto gives the very substance of the
School, of which Etty is cited as or comment.
flesh. “It would be illusive but that it is
comes
worse.
>>


## p. 201 (#165) ############################################

No. 4399, FEB. 17, 1912
THE ATHENÆUM
201
an
plastered on to a figure designed in a pseudo-
Person of the Trinity, holding up the cross, on
Florentine rhythmic line, which reduces the
Mr. Shepperson, in the next room, displays which is the form of the crucified Saviour, while
rendering of projection to a minimum, and illustrator's difficulty in setting down any
extreme technical facility, but finds the the Dove is seen over the Saviour's head; on
the left is St. John the Baptist, on the right St.
leaves the too solid head and arms hanging detail not intrinsically exciting either by Mary of Egypt; small figures in the foreground
in empty space.
Mr. Lambert is also
repre-
of Tobias and the angel, 9971. Anonymous,
sented by some drawings, of which the most oddity or emphasis. The attempt to give Florentine School, The Madonna and Child, the
academic (88) is the best. His later draw.
his designs a structure vehement enough Madonna, in red dress, long blue cloak, and white
ings show a brilliant sureness of hand, but to carry this constant titillation of minute headdress, kneels adoring the Infant Saviour,
who is holding a miniature cross, 3151. Luca
tend to express the empty perfection of points of interest makes his work restless,
Longhi, The Madonna and Child, with St. Eliza-
dolls rather than to suggest the unattain and we doubt if he will ever be able to do a
beth and St. John, signed, and dated 1578, 2311.
able infinity of nature. Yet, after all, there quiet design based on natural structure J. Marieschi, The Church of Santa Maria della
is a gulf between a powerful rendering of without touching it up for purposes of pic. Salute, and The Doge's Palace, Venice, with
numerous gondolas and figures (a pair), 4511,
dolls such as this and the measure of turesquenoss.
Bernardino Pinturicchio, The Madonna and
capacity which Mr. Ivan Lindhe brings to a
The exhibition of water - colours by in reá dress with green robe, holding the Infant
Child, with Saints, in the centre the Madonna,
similar ideal in Nos. 112-115, which repre-
sent probably the popular portraiture of George S. Elgood at the Fine Art Society Saviour on her knee, on the left is St. Anthony,
the day.
Mr. Alexander Jamieson's Hon.
is tolerably representative of
Sir Charles Parsons (20), while executed in a whose executive delicacy outran his intel. side St. John the Baptist, holding a cross two
monotonously clumsy impasto which is lectual development. There is pleasure to angels appear behind, 4411.
Dutch School. -N. Berchem, A Grand Moun-
in itself undesirable, deserves mention for be derived from the deftness of drawing in
almost
tainous Landscape, represented under the effect
of such a work as No. 65,
any passage
its spontaneity and look of life.
of departing day; in the foreground, on the left,
Madonna Lily, Knockwood, and this, while
a group of peasants and cattle which have just
perhaps the best, is only a superlative passed a fordable stream, 3671. A. Cuyp, A
Although undistinguished by any, high instance of qualities more or less present in Sportsman, with three dogs and dead game, in a
degree of unity of vision, all the painters most of the drawings. While they thus, and Pigeons, in a landscape, 2671. G.
Metsu,
with whom we have mainly been concerned however, reward piecemeal examination, The Poultry-Seller, a woman holding out a hare
in dealing with the above exhibition may there is no drawing in the collection which, to an old woman, who is seated before a stall,
claim some natural sense of the proper use as a whole, is not cloying in colour and weak 2201. ; An Interior, with a lady paying a visit
of paint. The more recent school of paint- in design.
to a family, who are seated round a fireplace; a
ing displayed in the exhibition of the Friday
woman serving on the right, 1991. 108. Sir A.
Club at the Alpine Club Gallery sees things
Far more important is the collection of old three-quarter face to 'right, holding a bow in his
More, St. Sebastian, half-length nude figure,
more consistently and of a piece, but suffers stained glass in an adjoining room, which right hand and an arrow in his left, 3781. A. van
from a horror of doing anything like nice deserves a visit from every one interested der Neer, A River Scene, Moonlight, a church,
painting. We have in turn seen painting in the subject. Particularly to be com- buildings, and windmill on the further bank ;
imitate Turkey carpets, stained glass, and mended are a superb panel of thirteenth-
a horse towing a barge, and a man with a dog in
woolwork. The latest thing is to imitate century Salisbury glass, No. 1 (in a silvery them two horsemen, 9451. Rembrandt, The
the foreground ; on the left two cows, and beyond
mosaic, and Mr. Frederick Etchell's three grisaille of unsurpassable beauty, with one
Falconer, a young man holding a hooded hawk
works (5–7) are at a little distance very like or two small bands of extremely deep ruby on his gloved hand; wooded background, 3151.
old mosaics, even down to certain spaces in and blue), and a part of à Crucifixion P. Rubens, The Repose of the Holy Family, on the
No. 7, where the mosaic has broken off and subject (6), described as English Fifteenth left, under a tree, the Virgin Mary, in red and
blue dress, seated, holding the Infant Christ;
reveals the cement below. Miss Helen Century," wherein one of the heads is
St. Joseph behind ; on the right St. Elizabeth,
Saunders's Rocks, North Devon (111), is again strongly reminiscent in type of Flemish presenting the infant St. John ; Zacharias holds
almost illusive, and would, indeed, be quite painting of Memlinc's school.
out an apple-branch to the Infant Saviour,
good mosaic in its modest way. *Mr.
1,5221. ; The Infanta Isabella, Archduchess of
Duncan Grant's Red Sea (91), not so Mr. Tooth's show of paintings by Josef Austria, in rich white satin dress with lace ruff,
seated, holding a fan, 3251. F. Snyders, The
close a copy, shows great promise, the Israëls does not lead us to revise our estimate
Interior of a Larder, with a dead peacock, swan,
central figure being particularly good. We of him as a much overrated artist. Most deer, boar, and other game; in the foreground
must confess to seeing no advantage in of the different types of work by which he a spaniel with five puppies, 4621. Van Dyck,
the choice of the colour attributed to the is known ar present. No. 11 is a fair Portrait of a Lady, in white satin dress edged
ocean, and to be in doubt whether the strip instance of the neat, pretty little picture, and standing on a terrace, 5041.
of green-blue along the top of the picture rather small in its handling of form, which
The total of the sale amounted to 18,6061.
denotes sky or the light on the top of the represents one extreme of his practice;
wave to which the magenta red is the while the large Friendly Visit (7) shows
shadow. In No. 11 Mrs. Clive Bell's use of a him in his more usual aspect as the apostle
ROWLANDSON DRAWINGS.
strong green as flesh tint in the shadow of technical untidiness, with a kind of
MESSRS. CHRISTIE sold on Monday last the
against a red sky is more plausible than this half-spurious largeness of vision as its re-
following drawings by Rowlandson : Smithfield
red sea, which seems too near in tone to the deeming quality.
Sharpers, 1787, 315l. The Faro-Table at Devon-
blue to recoil from it as shadow. While we
shire House, 1791, 4831. The Prize-Fight, 1787,
2101.
believe that these experiments will leave the
art of painting better than they found it,
MR. LESSER LESSER'S OLD MASTERS.
in that artists cannot again be so blind as
they were to the demands of rhythm and
MESSRS. CHRISTIE sold last Saturday the
Fine Art Gossip.
co-ordination of masses, yet we shall be pictures by Old Masters belonging to the late
glad when, as a craze, this sort of thing Mr. Lesser Lesser of New Bond Street :
French School. -J. B. Greuze, Head of a Young
THE UNITED ARTS CLUB, Dublin, propose
ceases to attract imitators.
Boy, with blue and black dress, in the attitude of to hold a Spring Exhibition of works by
devotion, 2101.
contemporary French painters of the schools
At the Leicester Galleries Mr. Alfred
Spanish School. -Murillo, Portrait of a Gentle commonly known as Post-Impressionist.
man, in grey dress with black and white sleeves,
Rich's drawings show no falling off from his and white stockings, wearing a sword; he stands
The painters represented will include Herbin,
customary dexterity and compact arrange- on a terrace, holding his hat in his left hand, and
Picasso, Van Rysselberg, Emile Charmy,
ment of familiar material. We should select a glove in his right, 2671.
Derain, Flandrin, Friesz, Manquin, and
No. 47, Ambersham Common, Sussex, as
English School. -J. Crome, A Woody Land- others.
the best of all, and on the whole prefer bridge on the left, cattle in a pool on the right,
scape, with a peasant-woman crossing a rustic
An exhibition of pictures by Francis
this and similar designs to the
5771. Lely, Miss Constance Weston (afterwards O'Donohoe, the young Irish artist who
centralized compositions which he so often | Mrs. Cracroft), in grey dress with white sleeves,
was killed a few weeks ago in a motor
affects--A Stormy Evening (27) is a good and blue cloak, 2201. Reynolds, Elizabeth,
accident, is now open in Dublin. The
examplo—which, when seen in numbers, Lothian), in pink dress, trimmed with fur, qver pictures, which number about two hundred,
become wearisome by constant emphasis. a grey bodice; her hair powdered, and bound include some portraits in oil and many water.
Designs less furiously wrought together, with a pink ribbon, 6721. Romney, Lady Hamil- colour studies of County Dublin scenery.
in which each leaves, as it were, a quiet, ton as Nature, 4621. G. Streetes, Portraits of
sustained note to be carried on by the
Three Children: two boys, in yellow slashed
M. PAUL SIGNAC has been re-elected
next, so as to maintain the continuity of holding a guinea-pig, 4411.
doublets; and a girl, in rich dress with lace ruff, President of the Société des Artistes In-
the intervening wall rather than make a
dépendants, whose twenty-eighth annual
Italian School. - Correggio, The Madonna and
series of holes in it, are certainly more decora- Child, with St. John, the Madonna, in red and
exhibition will open at the Quai d'Orsay
on March 15th.
tive when hung in a group, and we find the blue robes, seated, holding on her lap the Infant
artist most delightful when he does not
Saviour, who stretches out His arms toward the
THE financial report of the New Salon
force his rather narrow means to attract holds a lamb, 2101. Florentine School, Anony.
infant St. John, who is dressed in green, and
(Société Nationale des Beaux-Arts) for the
the maximum of attention.
mous, The Holy Trinity, in the centre the First 'past year shows a distinct falling-off in the
over-


## p. 202 (#166) ############################################

202
THE ATHENÆUM
No. 4399, FEB. 17, 1912
6
>
>
skil]
PERFORMANCES NEXT WEEK.
Concert, s, Albert Hall.
Sunday League Concert, 7, Queen's Hall.
(Matinée also on
Saturday. )
Mos. Herr Egon Petri's Pianoforte Recital, 8. 15, Bechstein Hall.
TUES. F. 9. Kelly's Pianoforte Recital, 3, Æolian Hall.
Carl Flesch's Violin Recital, 3. 15, Bechstein Hall.
WED. Classical Concert Society, 3, Bechstein Hall.
Dr, Dezső Szanto's Pianoforte Recital, 8. 15, Bechstein Hall.
THURS. 12 O'Clock Chamber Concert, Eoliau Hall.
Mario Lorenzi's Concert, 3. 15, Broadwood's.
Maurice Jeffes's Vocal Renital, 3. 15, Æolian Hall.
Philharmonic Society, 8, Queen's Hall.
May Harrison's Violin Recital, 8. 15, Bechstein Hall.
Josef Holbrooke's Chamber Concert, 8. 45, Eolian Hall.
FRI.
Broadwood Concert, 8. 30. Æolian Hall.
Madame Helene Martini's Song Recital. 8. 30, Bechstein Hall.
Sat.
Chappell Ballad Concert, 2. 30, Queen's Hall.
Norman Wilks's Pianoforte Recital, 3. Bechstein Hall.
6
6
!
total of receipts. M. Roll, the President of
by Mrs. George Cornwallis-West in support
the Society, attributes this diminution to
Under
of the Shakespeare Memorial Fund.
Musical Gossip.
the competition of an ever-increasing number
the conductorship of Sir Henry J. Wood,
of minor exhibitions, which distract atten.
Last Saturday afternoon M. Egon Petri orchestral concerts will be given every
tion from the larger Salons. In order to
combat this decrease in visitors and sales, gave the first of three pianoforte recitals Saturday. There will also be sixteenth-
. Liszt wrote three century concerts in the “ Fortune Theatre,
M. Roll is convinced that it is now necessary sets of pieces entitled * Les Années de under the combined leadership of Miss
to discourage as strongly as possible those Pélerinages, and all are
to be given. Chaplin and Mr. Groell.
individual exhibitions which have proved so
The first contains nine numbers, some of
inimical to what he contends are the more
which, such as the “ Pastorale,' Au bord
democratic interests of collective Salons.
d'une source,' and 'Eglogue,' are delight. Sun.
Sunday Concert Society, 3. 30, Queen's Hall.
M. LÉON BÉRARD, the new French Underful, and were performed with rare
taste.
Secretary for Fine Arts, has announced his and
Tuxs. , WED. Fri. , Sar. London Opera House.
Others, however, proved
intention of opening the collections of the less interesting. The pianist has a fine
Louvre more freely to the public, and his touch, masterly technique, and full under-
opposition to the institution of any paying standing of all he interprets; but his Royal Choral Socioty, 8. Albert Hall.
days. ". M. Bérard has also expressed his fortes are at times overpowering, and this
hope that the Luxembourg Museum may was particularly the case in No. 5, 'Orage,'
be transferred to its new home in the
CA
a piece in which forte up to a high degree is
Seminary of St. Sulpice at an early date, naturally permissible. But in loud passages
Thomas Dunhill's Concert, 3. 16, Steinway Hall.
and proposes to approach the Municipality generally M. Petri seemed to lose
all
of Paris with a view to the creation of a control over his fingers and feelings. Of
worthier and more complete museum of Weber's romantic and seldom heard Šonata
decorative art.
in a flat he gave a rendering instinct with
life and poetry.
On Friday evening next Mr. William
Archer is to deliver the third Conway
THE fourth concert of the 100th season
DRAMA
Memorial Lecture at South Place Chapel, of the Philharmonic Society, took place
Finsbury, his subject being · Art and the last Thursday week at Queen's Hall. Mr.
Commonweal. ' Ńr. Israel Zangwill will Percy Pitt's Symphony in G minor, originally
preside, and admission will be free.
produced at the Birmingham Festival of
1906, was, unfortunately, placed right at
* THE EASIEST WAY' AT THE
The projected Danish Art Exhibition at the end of a very long programme. It
GLOBE.
Brighton will be opened on April 1st, the is a work on which he has evidently
pictures being selected by the Danish Com spent much thought, so that one would
THE author of "Paid in Full’ has
mittee, consisting of the artists Willumsen, like to hear it again under more favourable earned the right to an attentive hearing;
Skovgaard, Dorph, and others.
conditions. The music is cleverly scored. on the strength of that interesting work
WE regret to have to record the death M. Cortot played the piano part of Beet- we have learnt to anticipate from Mr.
of Charles William Sherborn, the engraver,
hoven's Concerto in E flat. He is a brilliant Eugene Walter drama of some ideas, and
who died last Sunday night. His eldest performer, but we have heard more emo-
drama also which is rather violent and
son will issue in due course a sketch of tional readings of the work. _An exceedingly
explosive. There is no lack of intelligence
his father's life, and an authentic list of his fine performance of Sir Edward Elgar's
plates.
'Enigma' Variations was given under the in his new Globe play, though its "psy-
direction of the composer.
chology” is of the cut-and-dried sort,
THE BOARD OF EDUCATION announce that
the Queen has presented to the Indian On Monday evening the programme of and its unconventionality has its amusingly
Section o the Victoria and Albert Museum the London Symphony Orchestra at Queen's stern conventions ; his study of a frail
a series of examples of Moghul, Rajput, and
Hall included Mr. Joseph Holbrooke's woman's frailty is carried through with
Tibetan industrial art of considerable beauty its production at the Crystal Palace twelve obviously devoted much attention to
symphonic poem 'The Raven,' which, since a grim if shallow consistency, and he has
and interest, The most important among
them is the toilet-tray of a Moghul princess,
years ago, has been revised.
It was con analysis of the temperament and weak-
of rock crystal, exquisitely carved and
ducted by the composer. On account of
nesses of her type.
the mournful character of Edgar Poe's
But the note of his
drilled with repetitions of a flowering plant
poem,
motive; the sunk decoration was originally
it is difficult to illustrate by music without piece is one of unrestrained and almost
jewelled in the approved Moghul manner,
the risk of becoming monotonous. Mr. tempestuous energy. His men and women
that is to say, the hollows were inlaid or
Holbrooke, by impressive moments and by seem always at a fever heat of intensity ;
filled in with soft gold, set with cabochon clever orchestration, avoids to some extent when they are not storming at each other
rubies and emeralds. This tray was made in
that danger. Sir Edward Elgar, who in bursts of passion, they are bubbling
Delhi during the sixteenth or seventeenth appeared for the last time this season,
over with exuberance and must shout at
conducted Brahms's Tragic Overture and
century, and was evidently the work of one Schumann's Symphony in c.
of the celebrated jewellers attached either
Mr. Jules the top of their voices.