International studio (21.1903/1904(1904))

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Rawlins and Miss M. Z.
Hoyer stimulated the
growing interest in the
revivalofthisart. H.B.B.

H ^ARIS.—Despit e
! ^ the hostiiity and
theobstaclesthe
autumn Saion has
had to meet, its first
exhibition was, never-
theless, an undoubted
success. Although the
galleries at the Petit
Palais are small, iow,
and ill-lighted, the
Parisian public was deter-
mined to see the exhi-
bition in allitsdetails.
Truth to teil, here was a
Salon differing altogether,
not only in its mode of
obtaining recruits but in
its appearance, front past
Salons. The Salon des
Artistes Fran^ais is, in-
deed, composed almost
exclusively of members of
the Institut, professors
and their pupils, while
the Societe Nationale is
formed front the nucleus

"HFFKT DH XHtGE AU BEGUIXAGE A GAX])"

Miss B. A. Pughe, Joseph Kirkpatrick, Mrs. Gray
Hill, W. Folien Bishop, W. Wardlaw Laing, John
Finnie, Miss Mary Hagarty, Miss Mary McCrossan,
and Miss Constance Read.

In the sculpture room was the title of a
sketch model of a noble group forming a portion
of the Liverpool Queen Victoria Memorial, con-
tributed by Charles J. Allen, and a delightful bronze
Statuette, and a copper panel, .Siwz-At?,
attracted attention to the delicate modelling of
j. Crossland McClure. A Zl97*/7w/ A%Ma///<77/ in
copper by Frank J. Norbury and a clever
yi77* a AM7/a'M/ by Miss Ethel Martin were
also worthy of special notice.

Antong the exantples of hand-wrought jewellery
was the fine silver-and-enamel work by Miss Lily
Day, and the equally delightful designs by G. E. H.
353

BY F. wtta.AERT of highly talented artists
who have deserted the old
Salon, but rentain obsti-
nately out of touch with the new elements.

The autumn Salon, on the other band, combines
the most diverse elements, and it would be hard
to find here that cohesion which was to be
remarked in the first exhibition at the Champ de
Mars. It may be doubted, moreover, if the new
Salon can show us talent such as that which first
earned fame in the galleries of the Champ de
Mars—talent like that of Aman-Jean, Menard,
Cottet, Simon, and many others. But the indisput-
able interest of the autumn Salon lies in this : that
for the first time it brings together representatives
of various schools Among them one may find a
large number of independents, impressionists, or
neo-impressionists, including M. Vuillard, whose
dining-room, so discreetly harmonious and dis-
tinguished in its tones, reveals the true painter.
M. Laparde, on the contrary, appears to me to