Studio: international art — 28.1903

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music, and all curiosity as to how their effects were
produced is merged in wondering admiration of
the result. What anguish is expressed in the
manner in which Carriere's mothers clasp their
children to their breasts ! what love beams forth
from every rugged feature, as they brood over their
sleeping little ones or watch them at play! yet
how beautiful is the unconsciousness of those little
ones of anything but the passing emotions of the
moment !

M. Geffroy gives many interesting details of the
life of Eugene Carriere, who is still in his prime,
and examines critically his essentially original
mode of work. He dwells especially on the fact
that the French master has avoided the common
error of subordinating everything to what he calls
an agencement de Hgnes, and points out the mar-
vellous skill of modelling where the very existence
of such a thing as line is ignored; the Rembrandt-
like luminosity, the skilful concentration of light
on the features of his models, the subtle delicacy
of colouring, the simplicity of composition, and
perhaps most remarkable of all, the extraordinary
force of expression, not only in the faces and
figures, but in the hands of those represented.
M. Geffroy is of opinion that even yet Eugene
Carriere has not come to his full strength, and
prophesies for him a long career of even greater,
success. " // lui resie," he says, " a continuer en
ce sens" and concludes his most sympathetic
monograph by a well-merited reference to the
influence of this master of form and expression
over his contemporaries, many of whom have learnt
more from merely seeing his work than from any
of the direct tuition they have received from others.

The National Portrait Gallery. Vol. II. Edited
by Lionel Cust, M.V.O., F.S.A. (London: Cassell
& Co.) ^3 y. net.—Equal to the first, so far as the
technical excellence of the reproductions is con-
cerned, this, the second and concluding volume of
the " National Portrait Gallery," will be found to
be of even greater aesthetic value on account of
the number of likenesses it contains of those
who made their mark in the 18th and 19th cen-
turies in art, literature, music, science, and states-
manship. Its arrangement differs slightly from
that of its predecessor, and chronological sequence
has been wisely made in some cases to give way to
suitability of grouping, so that the owner of
the book has an opportunity of contrasting
the personal appearance of such master-spirits as
Byron and Keats, Constable and Turner, Elizabeth
Fry and Sarah Austen, Darwin and Huxley, Mary
Somerville and Harriet Martineau.
228

Most interesting and characteristic of the works
here reproduced are the remarkable likeness of the
poet Coventry Patmore by Sargent, which is ranked
as one of the best portraits of men ever painted by
that great interpreter of human nature ; the portrait
of Carlyle in extreme old age by Sir John Millais,
that of Sir Richard Burton by Lord Leighton, and
above all the noble series of masterpieces painted
for the nation by George Frederick Watts, a unique
example alike of the versatility and the generosity
of that most disinterested of artists. Each one
bears, it is true, the impress of the painter's own
individuality, but how wonderfully he has inter-
preted the diverse characters of his subjects.
His Gladstone, Cardinal Manning, James Mar-
tineau, Frederick Maurice, and Lord Leighton
have never been surpassed, and would alone have
been enough to place their author in the highest
rank amongst the masters of the 19th century.

A Descriptive Catalogue of the Pictures in the
Fitzwilliam Mttseum. By E. A. Earp, M.A.
(Cambridge University Press.) 15J. net.—There
is, perhaps, no more significant sign of the spread
of education amongst all classes of the community
than the multiplication of illustrated catalogues of
national and private collections of works of art.
Amongst the more recent, those of the National
Portrait Gallery and of the Fitzwilliam Museum
will take first rank on account of the excellence of
the reproductions of paintings and the scholarly notes
on them, supplied in the latter case by Mr. Earp,
who has incorporated in his own work the valuable
notes made by Mr. Sidney Colvin, his predecessor
as Director of the Cambridge Museum. It was
in 1843 that the first illustrated catalogue of the
kind was issued, that of the National Gallery,
published by Mr. George Bell, with wood en-
gravings by the three Linnels, and descriptive
letterpress by Henry Cole, who was then a young
man writing under the name of Felix Summerley.

The Fitzwilliam Collection was founded by
Richard, Viscount Fitzwilliam, as long ago as 1815,
and has since then been frequently added to by
purchase and private bequest. It is especially rich
in Dutch and flemish pictures, including several
fine examples of still life; while noteworthy also
are many of the portraits by English painters repro-
duced in the Catalogue, such as a miniature of a
certain vicar of Edmonton by Samuel Cooper, a half-
length portrait by Gainsborough of William Pitt, and
a remarkable one of Handel, probably the best in
England, by Sir James Thornhill; with a unique
likeness of the founder of the Collection as a fellow
commoner of Trinity Hall, by Wright of Derby.
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