International studio (15.1901/1902(1902))

Studio-Talk

Misses McLeish were displayed in their designs
for book-covers, posters, colour-prints, black-and-
white illustration, and embroidery. Mrs. Gray
Hill’s treatment of floral subjects in decorative
panels showed some unique and charming quali-
ties, her Hydrangea and Wallflower being
amongst the most pleasing things in the exhi-
bition. Cleverly designed and well executed em-
broideries were contributed by Nellie Thorburn,
Jennie Sharpies, Miss Rigby, Miss Hostage, Miss
Huxley, and others; and painted silks, stained
linens, and stencilled hangings by Ruth Bare,
Bessie Morris, and Frances McNair. The enamels
and jewellery by Lily Day, G, E. H. Rawlins, and

MIRROR BACK BY EMILY ARTHUR

(See Glasgow Studio-Talk.)

Miss Phipps, formed a very attractive feature of
the collection.

The decorative appearance of the Studio Exhibi-
tion rooms was greatly enhanced by the specimens
of Della Robbia pottery interspersed with the other
exhibits, a few of the more important pieces being
designed by Harold Rathbone, Cassie Walker, and
Ruth Bare.

Good design and craftsmanship were particularly
noticeable in the hammered copper-work of Alfred
Hughes, Will T. Pavitt, and Harry Eckstein. The
repousse copper, white metal, and lead-work panels
by H. Bloomfield Bare indicated some of the
capabilities of these materials for architectural
and decorative design. Herbert and Frances
McNair’s silvered metal panels, dessert table-glass,
silver ware and jewellery, all of original character
in design, gained especial attention. Mention
must also be made of the excellent stamped
leather work of Susan Firth, the stained cabinet
work of Edwin Jolliffe, the furniture designs of
Arthur Baxter, and some very original posters by
Roland Clibborn. H. B. B.

PARIS.—The talent, I was going to say the
genius, of M. Henry de Groux (for it is
undeniable that M. Henry de Groux,
fortunately or unfortunately for him,
possesses far more genius than talent) has lately
been manifested in an unmistakable manner at the
Georges Petit gallery. This admirable artist, in
the hundred and thirty-four pictures he exhibited
there—pictures inspired one and all by what
M. Arsene Alexandre, in the preface to the cata-
logue, calls “its great bibles of humanity, viz. :
the ‘Divine Comedy,’ the ‘Life of Christ,’ the
‘ Life of Caesar,’ the legend of the ‘ Nibelungen,’
and the victories and defeats of Napoleon ”—has
proved himself to possess gifts of an absolutely
exceptional order. He brings to his work a pro-
digious imagination, a flashing intensity; he is
unbridled in the extreme, whirling as with vertigo,
as revealing and obscure as another Apocalypse.
What haunts and enraptures us in an equal
measure about his work is the almost fantastic
breath of life and passion, of heroism and horror,
that sweeps over his canvases. In the Christ
Reviled (a well-known and justly famous picture by
this inspired brush) and in his Francesco de Rimini,
in the Fall of Phaeton and in his Napoleon at the
Battle of Marengo, in the First Meeting of Dante
and Beatrice, as in his Siegfried Killing the

287