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Studio: international art — 30.1904

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Nature's laws. Some few of the figures strike one REVIEWS,
as a little wooden, and the dapple spots on the

horses are somewhat monotonous in their uni- James Orrock, R.I. By Byron Webber.
formity. The faces of the Pilgrims are drawn with (London: Chatto & Windus.) 2 Vols. ^10 \os.
wonderful insight into the character of each, and net.—In these two costly volumes the author has
anyone familiar with the poem could pick out at a successfully achieved an extremely difficult task. He
glance any one of the historic band of pilgrims, has been consistently loyal to the friend to whom he
Mr. Sewell has made one amusing mistake—he is evidently deeply attached, but at the same time he
has introduced a modern dog, the remotest has not allowed his personal bias to warp his judg-
suggestion of whose breed was not dreamt of for ment. He gives a true picture of a personality of
generations after Chaucer's time. marked individuality, tracing its development
__ through a long career and describing with sym-
pathetic enthusiasm the beautiful art-environment
Mr. Sewell finds many of his most sympathetic of which Mr_ Qrrock has for many years been the
inspirations come from allegorical poems and centrai figure. with the tact, which, if not the
mythological legends—Browning has afforded him onlyj is cerrainly one of the most essential qualifi-
many happy suggestions — and of present-day cations for the biographer of a living celebrity, Mr.
romanticists William Morris has, perhaps, the Webber has kept in the background, making his
greatest hold on his imagination. Mr. Sewell is subject speak for himself wherever possible; and in
still on the right side of forty-five, and, considering the many quotations he gives from articles in art
the success already attained in his art, there can magazineSj lectures, and speeches, he brings the
be no reason why he should not rise to a very high reader into int;mate touch with an enthusiast who
place among his fellows. L. V. nas the ^ftj rareiy granted to an artist, of expressing

[Owing to very great pressure tipon our space, it has been

himself as forcibly with the pen as with the brush.

found necessary 'to hold over a considerable amount 0j Mr. Orrock's remarks on Constable, Morland,
" Studio-Talk."—Editor, The Studio.] Lawrence, and Landseer especially, are full of

originality, and he has a
very thorough acquaintance
with their work, many ex-
amples of which he owns.
" I am a Constable man,"
he exclaims, and in his
appreciation of the great
landscape painter he de-
scribes with remarkable
minuteness exactly how the
effects of his masterpieces
were obtained. "As a
draughtsman," he remarks,
" Constable was below
Turner, Gainsborough,
Muller, and Bonington . . .
he never had the grace and
swiftness of these painters,
and always showed, as
it were, a heavy hand,
masculine and muscular
to a degree, but never
so sensitive and aerial
as the hand of Turner,
Cox, or Muller; but,"
he adds — and here he
shows his own critical

"the judgment of paris" by robert van voorst sewell aCUmen by force,

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