International studio (18.1902/1903)

mere. He is engaged upon a series which wili,
when compieted, hil all the iancets in the aisles of
the church, and wiii provide an effective and intelii-
gible sequence of iliustrations of the Parables.
The conditions laid down by the vicar of the
church, the Rev. Eric Robertson, which have to be
satished, arethatthewindows shouid bebeautiful
in themseives, and should teach ciearly the Biblical
iessons selected as subjects. The two examples of
the work, " The Pearl of Great Price," and " The
Lost Piece of Siiver," which are iiiustrated, show
weil how correct is Mr. Ciark's appreciation of the
particuiar obligations inherent to this form of
design. He has, with the soundest judgment,
avoided the temptation to make his treatment
unduly pictorial, and has kept properiy in view the

"THE CHURCHYARD SCENE IN 'HAMI.ET''' BY F. CADOGAN COWFER
58

decorative purpose of stained giass; but at the
same time he has not descended into conventionai
commonpiaces. His draughtsmanship is strong
and easy, his composition is duent and gracefui,
and there is in his management of details just
that correctness of judgment which was to be ex-
pected from an artist of his unusuai abiiity. The
designs have been abiy interpreted by Mr. Arthur
Dix.

Mr. F. Cadogan Cowper is rapidly coming to the
front as the leader of the group of young painters
that is known as the "Label" School, because its
members, when signing their pictures, place their
names on painted labels similar in shape to those
in common use. The " Label" School is an
offshoot of the Pre-Raph-
aelite Brotherhood, and
all its members are tho-
rough and earnest in the
practice of their beliefs.
Their patient and laborious
study from nature cannot
but discipline their hands
and store their minds with
knowledge. It is an ad-
mirabie training, similar
in kind to that which did
so much for Turner in
his early years of plodding,
indefatigable study; but
when this training shall
have served its purpose,
let us hope that the Label
Schooi will then follow the
example of Millais by rising
beyond the narrowness of
Pre-Raphaelite tendencies
into an art enriched with a
larger handling and a more
vigorous andvaried appeal.
In the meantime, however,
Mr. Cadogan Cowper, like
Mr. Denis Eden, makes
great progress, showing
considerable invention in
the treatment of his chosen
subjects, and much skill
and observation in his dili-
gent and careful balancing
of co-ordinated details.
His rendering of
C%M7*<rAr<27'2i? -Shw 273 _/%2723-
illustrated on this page,