Studio: international art (12.1898)

Studio-Talk

such a production as is rarely seen outside the borough ; and Mr. Moffat Lindner's Sunset after
most advanced exhibitions. Rough Weather are excellent interpretations of

- nature; and Mr. George Thomson's The II oodcutter,

The winter exhibition by members of the New Mr. H. Tonks's The Shadow of the Cliff, and a

English Art Club is by no means wanting in matter variety of other characteristic studies show the

for serious consideration. A really large propor- sincerity of view and the power of statement which

tion of the total number of pictures and drawings are typical of the exhibitions of the club,

can fairly claim to be regarded as expressing -

original ideas on the subject of technique, or as The collection of Gleanings from Italy, by Miss

illustrating aesthetic convictions that plainly depart Rosa Wallis, which has been on view at Mr.

from the beaten track. Much of the work shown 1 )unthorne's Gallery, deserves to be recorded as a

is, moreover, unusually important in scale and of very pleasant display of delicate colour and dainty

remarkable merit. Mr. C. H. Shannon's Souvenir technique. All the drawings were small in size and

of Van Dyck, a fascinating study in silvery greys dealt rather with the nooks and corners of the

and warm browns, has extraordinary interest as a country than with its spectacular and imposing

piece of notable handling ; Mr. J. E. Christie's features; and the Exhibition gained in attractive-

Wheel of Fortune is a valuable illustration of ness by this avoidance of the beaten track. It

quaintness in imagining ; Mr. Francis Bate's was altogether a very creditable show.
Through the Trees ; Professor Brown's The Mill

E

Stream and Nidderdale; Mr. P. W. Steer's Knares-

DINBURGH.
It is not to the
North that we
look for art
opulent with
the colour and warmth of
the South. For gold, silver,
and precious stones, gar-
ments whose hems run
along with dainty embroi-
deries, and paint bright with
the freshness of art's spring-
tide, we turn to Florence,
to the Riccardi Chapel, or
we sit down in front of
the Gentile da Fabriano
in the Academia, to delight
ourselves in the contempla-
tion of perfect setting of
jewels, delicacy of traceries,
richness of inlaying and of
colouring. In the grey cold
North it is sombre art that
we are led to look for.
Therefore, when in Scot-
land's capital we turn a
corner and find ourselves in
the small chapel behind the
choir-stalls of the Catholic
Apostolic Church in Brough-
ton Street, it is little wonder
if we catch our breath at
surroundings so rich and so
mural decoration by mks. traquair little anticipated, for the

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