International studio (16.1902)

Studio- Talk


“the

BATTLE OE STIRLING BRIDGE”

BY WILLIAM HOLE, R.S.A.

cades. The painting was done upon the
walls, either upon the plaster, or, where
new plaster had to be laid, upon canvas
fixed to the walls with white lead, from
carefully outlined cartoons, and from
colour studies made to scale.
J. L. C.

MUNICH. —The Bavarian Alps,
which rise south of Munich,
are of less importance in the
development of landscape-
painting in that capital than the high
plateau immediately surrounding it, and
stretching towards the north. Dachau,
the little hamlet lying in the centre of
this plateau, has been frequently styled
the Municher’s Barbizon, on account of
the prominent part it plays in the life
and work of our artists. Whoever ap-
plies that term or hears it used should
remember, however, that the landscape
of Dachau is not in the least like that
of Barbizon, and that the two painters’
colonies vary greatly as regards position
in the history of art. The Forest
of Fontainebleau owes its fame in the
annals of French painting solely to a
single, closely-circumscribed group of
artists; but the moorlands of I )achau
have for decades past been studied with
equal delight by successive generations

and within the limits chosen
bY himself Mr. Hole has
achieved success. Not only
honi its magnitude, but from
its merits, it must be ac-
counted one of the most im-
portant mural decorations
ever executed in Scotland.

In addition to great dura-
bility, the medium used
''Mr. Gambier Parry’s, as
Modified by Professor
Church—possesses the great
advantage of a “matt” sur-
face, which enables the pic-
tUres to be seen from any
angle, and to tell as a deco-
rative whole through the
v'stas formed by the ar-