International studio (42.1910)

In the Galleries

esque Architecture," with text by Edith A. Browne sign and tint, about Jules Guerin's paintings repro-

(The Macmillan Company). The illustrations, duced in color among the illustrations for "The

which are grouped, comprise forty-eight full page Holy Land" by Robert Hichens (The Century

plates, faced in each case by a page of notes on his- Company). In a fashion which has proved attract-

torical and architectural points. The photographs ive for such books as " Cranford " and the " Essays

represent buildings in Rome, Ravenna, Verona, of Elia," James Whitcomb's Riley's "Hoosier Ro-

Parma and other Italian cities, Mayence, Cologne, 'mance, Squire Hawkins's Story," appears with

Worms, Toulouse, Aries and other cities in France tinted and black-and-white illustrations from pen

and Spain. drawings by John Wolcott Adams (The Century

Sadakichi Hartmann has collected his articles Company). Pastel drawings by John Elliott and

contributed to the Photographic Times on " Land- chapter headings by Frank Downey are reproduced

scape and Figure Composition " (Baker & Taylor in illustrating a children's story by Isabel Anderson,

Company). The discussion is illustrated by repro- "The Great Sea Horse" (Little, Brown & Co.).

ductions of paintings and photographs, in addition Washington Allston and William Morris Hunt are

to diagrams where these are useful to point the argu- among the artists who appear in the record of Bos-

ment. "Painting and photographing," says the ton and its people during the nineteenth century, to

author, "are two entirely different propositions, but which Miss Mary Caroline Crawford has given the

the fundamental principles of composition remain title, "Romantic Days in Old Boston" (Little,

the same in all mediums of pictorial representa- Brown & Co.).

tion." The book applies principles drawn from William Howe Downes, art editor of the Boston

composition as practised by painters to the possi- Transcript, is preparing the authorized biography

bilities of the camera. of the late Winslow Homer, and would be glad to

The same house issues a series of interesting re- hear from persons possessing any of the painter's

productions of photographs in the illustrations of letters.
"Photographing in Old England" by W. I. Lincoln

Adams, editor of the Photographic Times. y N THE GALLERIES

Lester G. Hornby's original etchings and draw- I

ings made to illustrate Claude C. Washburn's en- I at the Montross Gallery, 550 Fifth Av-

tertaining " Pages from the Book of Paris " (Hough- 1 enue, a group of pictures have been shown by

ton Mifflin & Co.) add to the delight of an agree- Jules Guerin. Most of the subjects are from

able book, written in capital spirits and marked by Egypt and the Holy Land, Palestine and Judea,

common sense, good taste and unhackneyed style, and of these several have been included in reproduc-

Willy Pogany has wreaked his decorative skill tion in those recent publications in which the artist
upon Coleridge's "Rime of the Ancient Mariner" has collaborated with Robert Hichens, the author.
(Thomas Y. Crowell & Co.). The stanzas, in an It has become almost habitual to think of Mr.
oddly devised letter, are presented on decorated Guerin's simplification of color, his manner of fill-
pages of two printings and within something like a ing the vision with flat curtains of even tone, as due
dozen different borders, for several of which the sea to a thorough and considerate acquaintance with
horse and the flying fish furnish a spirited motif, the processes of reproduction and a deliberate pur-
Interspersed are independent designs in black and pose to wrest a clever and notable success by
white, many as full-page illustrations. There are accenting the very limitations imposed by such
also a score of color plates, but the success of both mechanical difficulties. As often happens with the
artist and publisher lies in the vigor and beauty of m0st satisfactory surmises there appears to be
the more strictly typographical illumination. nothing the matter with this surmise except that the

Such use of water color as in the plates, " Those facts do not fit it. Without in the least disparaging

matted woods "and "The cooling brook, the grassy the worth of the reproductions which have been

vested green," will afford, perhaps, the liveliest seen, this exhibition makes plain that Mr. Guerin

pleasure of the forty illustrations by W.Lee Hankey, has not attempted, or certainly not succeeded, in

reproduced in color for a holiday edition of Gold- producing paintings which the four color processes

smith's "Deserted Village" (Dodd, Mead & Co.). can render without loss of effect. What precisely

The figures are too much posed to catch the spirit of has been his aim is not so plain at sight or what the

the poem. The color throughout is rich and result has been is not so simple a matter to describe,

cheerful. He studies a building with the trained and informed

There is a skilful dignity, an adroit control in de- intelligence, the assured restraint of an architec-