Studio: international art (1.1893)

The Lay Figure Speaks

THE LAY FIGURE SPEAKS. anduat the same time nobly adorn an open space

m this fashion, is well within our reach to-day ;

The necessity for little masterpieces imposed by besides, it is evident that sculpture, whether em-

that vague but very real influence the spirit of the ployed externally or internally, could be made part

age, has produced all sorts of diminutives more or of the design, and escape that fatal inconsequence

less elegant. From " cigarettes " to " sermonettes " which makes most of our effigies look as if they

we are familiar with the attempts to describe things were temporarily placed out of doors until room

of less dimension that ■ mm—mi n in m» i ■ ■....... . ,,. could be made for

are yet esteemed as c*^"^^^^""™™^^^^^^^^^^^^^^™^^™^^^1^- mem more shel-

more serious efforts. 8 _ C<^^^^^^^^^^ .^p \ J The business - like

The poet, it is true, ~ -^SBW^^pift^^^^^J^- >-^xj production of the

yet waits the coura- ^raS^L^^^^^*^^^^^^^^ '^^^^ material for Burling-

geous scribbler, who Ji^ .^^B3^^r ~?"''^'^f^? ton House in May, is

shall ilu!) a minor /0^/<Q>) ^^^^P-ziaa^w ^^^^5^|s§55?$, equalled by the busi-

bard a "poette ; " nor \ ^^^^^^K^i/^^ lifek ^X^i^^^ "ess-like reproduction

readier chance of ^eML^ J^^^^^^P^ / ^^9^^ equally business-like

modified fame, as ^^^11^11^^- ^^j|l^5c*^^ jokes and parodies

rarely used and no J ^^^S^^P^^gtKabflflja ^I y MSm^} stolid business-like

single word has been ^^^^^^^^^^^^^^^ J^^^^^W ' C'ie'^-> °^ l'losc wno

The point seems to _ S?i§r«* gPsS^S^ I KaSmS^LII i 1829, skipping—

be, that the dexterity * ^^sMaitr .^vr CI^iIISf^v figuratively of course,

of rapid touch, and iV^/L wRlw 110 one moves

die certainty of vision (r*^~-~^^^^^^^^^_ *\<. v)~r--< >, j light heart or foot on

that notes all the facts W (^^^^^^^^^^^^^r^^^^^V . ' those polished doors

stroke of the brush, gW<2; ~^^l^s§^ilF /^^^^^N. and the black and

so that one final ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ white rooms. ^

ease gives pleasure of concerns- the critic,

appear facile and yet ~^ '''' sional. To know that

unerringly true is dis- ^J^^^^^^^pZLc^^sO^^ ]~~^~^~~) ^^"vSM^^ dle ^ne ^ne °^ a Poet:

tinctly the attitude of Ftp ^^^^^^^^i ( was ^rst shaped into

a great number of |f ri ^t*$^- \ Ur •Viiteifil words as it appears in

modem artists. ^Pjjf^^"^' ^ ," * '^^^Tti' the printed page, or

tions of the tower now ^^^^C^f^' ^^-^^^^^^^Q^i"^^^^^Qg blotted manuscripts

behind the Imperial Ll^^^^^^!TwlM^!w^^5^^^i^^^X^'^^^^^^^^^^ was attained after

Institute, tempts one ^^'^^Mj-W li^LipLjlP^'__^lisL^^^s^^A^I many trials, should be

to inquire why memo- fate, * -—.___ of little interest. The

rials do not oftener ^j^^^^^^^^^^^l W^0^ l^sti011 is

statues, with a few YiF= " " -^Hj£M*_ yia^pu^ste^* ^Byj own critical judgment

notable exceptions, knows when to stop.

, r I A WOODCUT BY HAN'S BURGKMAIER IN A CICERO OF I TT , , , f

are past apology, and ,„ ,, n , „ , r.„, „ . He should remain

1 , 1 , 9-Y (From the Cnxton Head Catalogue) . . , . ,

even those which are unsatisfied with any

good in themselves fail to harmonise with their sur- number of experimental efforts until by a supreme

roundings. On the other hand a detached tower flash of genius he recognises perfection at a glance,

may be easily made to accord with its environment, and never again retouches his poem, painting or

and yet keep its own importance. The Tour St. melody, whichever it may be. The Lay Figure.

Jacques, of Paris ; the famous Giotto's tower at

Florence, or that of the Giralda at Seville, with the The cabinet in carved oak, illustrated on page 79,

old campaniles and the demolished belfry of Salis- has been executed and designed by Messrs. Howard

bury, or the one still extant at Chichester, offer and Sons, of Berners Street. It will be exhibited

types for adaptation. To commemorate a hero, at the forthcoming " Arts and Crafts."