decorative; some studies in color by E. Warner, very interesting and extreme-
ly well executed; a pleasing little print by Will Cadby, and by his wife a
dainty simple study of an attractively gowned young woman.
Evans was represented by a single print and that not particularly in-
teresting. Some of his friends assert that it was but an experimental print
and the weakest of those sent. If that be so, and he took the Salon with so
little seriousness as to submit a weak “experimental print ” to its Committee
of Selection, he has small reason to complain because the Committee of Se-
lection took him and his work more seriously than he took himself or them.
Nor is his subsequent conduct, in publicly and privately attacking the work
and the motives of the Committee of Selection and condemning the Salon of
1908 as a farcical affair, calculated to awaken sympathy or admiration.
Had the Jury been heartlessly faithful to the high standard set by them,
the exhibition would have gained materially in strength, but there were evi-
dently moments in which the Committee of Selection permitted kindliness
to influence discretion.

II
The autochrome exhibits, which did not show to the best advantage
owing to the difficulty of giving them the most effective translucency, were
extremely interesting in their demonstration of the color possibilities of this
branch of photography. Many of them also were of high value in a pictorial
sense. The two chief exhibitors were Baron A. de Meyer and Eduard J.
Steichen. Aside from their other merits, de Meyer’s plates were almost
flawless technically, showing no signs of the ravage of defective emulsion.
His composition arrangements were somewhat monotonous, savoring of re-
petition; but his color sense is exquisite. Few more delicate color schemes
could be conceived than those that appear in certain of his subjects. It is
color above all else that appeals to him; subtle refinement of color, Chopin
color, if such expression be permissible; color such as nature in her gentlest
and most etherial moods uses in the pigmentation of her flowers of rarest
loveliness. In no other medium known could certain of the color results,
secured by de Meyer in these plates, be produced.
Steichen’s subjects, on the other hand, showed excellent and varying
composition that did not repeat itself, and, while he displayed some subtly
delicate things, his inclination apparently is toward bold vigorous color ex-
pression. The “Nocturne of the Red Lanterns” was an exquisitely beauti-
ful picture—one of the gems of the exhibition, if not the gem, the memory
of which still haunts one like ghostly music, a phantom of perfect harmonies.
Coburn, whose autochrome of Lady Ebury I especially liked, had the
next largest autochrome display that included some very interesting things,
as also did the group by G. Bernard Shaw, whose “First Day of Winter, 1907”
attracted much attention. There were plates, too, by J. C. Warburg; while
J. Craig Annan’s two studies, “The Blue Gown” and “Sunshine and Flow-
ers,” were characteristically individual and charming.
A source of regret was the absence of examples of the fine autochrome

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