International studio (26.1905)

hrst time are TAe by Ii Greco, Aweya,
by Robert F. Blum, and TAe Z-a^ Voyage, by Edwin
Lord Weeks. The Sargent portrait of William M.
Chase hangs beside the Weeks picture. In other
departments the principal additions have been the
Adams gold vase, a souvenir of a business achieve-
ment and an artistic glorification of the cotton
plant; the Farman collection of Egyptian antiques
numbering 4,210, presented by Darius O. Mills;
and a large case of Egyptian pottery, presented by
the Egyptian Exploration Fund of London, and
consisting of 108 pieces. Many additions have
been made to the Morgan collection of Chinese
porcelains and the Crosby Brown collection of
musical instruments. Justice Leventritt, in the
New York Supreme Court, has decided that the
trustees were justified in their legal rights in refus-
ing to exhibit the much-discussed bronze group,
which has lain in the Museum cellars
for the last couple of years.
THE CENTRAL PAVILION of the museum building
of the Brooklyn [N. Y.] Institute has been opened.
The building has been in construction for the past
five years. The Hall of American Ethnology and the
Hall of Sculpture were opened for the first time and
the picture galleries were re-opened after being
closed for two weeks. There have been added to
the collection in the galleries two large canvases
by the late Edwin Lord Weeks, A .Scene fn Morocco
and TAe ZZoMf 0/ Prayer. There have also been
added W. T. Richard's On ^Ae Coac^ 0/ fVew Png-
/ond and a collection of one hundred and fifty water
colour sketches by American artists. Additions
have also been made in the Hall of Sculpture,
among them CAH^ and 57. JoAn, by William
Ordway Partridge; Mary and Fenny, by Frederick
Macmonnies, and Polyvena, by W. W. Story. An
interesting collection of Zuni masks is included in
the exhibits, illustrating life in the Southwest, in the
Hall of American Ethnology. The museum is
under the direction of Prof. William Goodyear.
THE LARGEST COLLECTION of oil paintings seen
at the Worcester Art Museum (Worcester, Mass.)
since the exhibition in 1898 was opened recently to
the public and represented some 125 artists, includ-
ing Luis Mora, Carlton T. Chapman, Julian Story,
who showed the portrait of his wife, Madame
Emma Eames Story, and W. A. Lathrop, winner
of the Worcester Art Museum prize in 1903.
THE DETROIT MUSEUM OF ART has dedicated
its new auditorium. At the ceremonies attending

the opening, Professor E. S. Morse, of the Boston
Museum of Fine Arts, made an address.

-T—^OOK REVIEWS.
] ^ FIGURE COMPOSITION. By RICHARD G.
^ HATTON, Hon. A.R.C.A. (Lond.). Au-
thor of "Figure Drawing," "Design,"
and "Perspective for Art Students." With Numer-
ous Illustrations. 8vo. Pages xiii—298. Phila-
delphia: J. B. Lippincott Company. 1903. Price,
$2.75 net.
THE model of what to avoid in writing on the
elements of composition was long ago supplied by
the Rev. William Gilpin, whose "Notes on Pic-
turesque Beauty" were made the butt of the
famous satire "Dr. Syntax." Mr. Gilpin, it will
be remembered, contrasted the merits for pic-
turesque purposes of the horse and the cow, to
advantage of the latter. " The cow," said he,"is every
way better suited to receive the graces of the pencil
. . . . the lines of the horse are round and
smooth, whereas the bones of the cow are high
and vary the line here and there .... there
is a greater proportion of concavity in them." When
you set out to give rules and instructions in aesthetic
matters such is the danger you face.
Mr. Hatton not being temperamentally akin to
the worthy Gilpin, has been content in his extremely
suggestive book to give his ideas for what they are
worth. They are all worth reading, and a good
proportion well worth remembering for every day
use and comparison. In the broad subjects, such
as the content of surfaces and spaces, the problems
of grouping, ground plan, emphasis, conception of
subject and telling of the story, his presentation is
original and interesting. If in the analysis of par-
ticular compositions, with reproductions of which
the text is copiously supplied, he sometimes invites
dispute it is rather that he stimulates the reader
than offends him. The whole book is as far from
the pedantic as the reasoned and engaging chat
of a well informed friend with an analytic turn
of thought could well be.
The illustrations, in addition to the drawings
and diagrams specifically complementing the writer's
points and the reproductions of examples extending
from the Newcastle Chapbook down to cuts from
late periodicals, comprise a valuable appendix of
reproductions from printing blocks of Durer, Solo-
mon Bernard, William Blake and Hans Burgmair.
Serviceable also for reference are the appendices
assembling emblems and texts treated in art and
the Note on Armour.

XLVIII