Studio: international art — 29.1903

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we have careful plates by and after Bartolozzi,
Dickinson, Haward, Young, Saunders, Ward, Cos-
way, Jukes, etc., and nine plates from the Cries of
London, by Wheatley. The aims of the most
modern school are seen more especially in the
French work of Manuel Robbe, Richard Ranft,
Louis Legrand, Paul Helleu, Gaston Chenne, and
Eugene Delatre. Very singular and original are
the Munich artists, R. Schistl, Ignatius Taschner,
and Rudolf Sick, who work with a process of
super-imposed plates, invented by Walther Ziegler,
which promises excellent results.

The Annual International Exhibition in the
Glass-Palace suggests by its appearance that the
old organisation of Munich artists has quite gone
to pieces. Every room we go into belongs to some
separate and often newly-founded society, having
its own jury, its own hanging committee, and of
course its own ideals. That calling itself "die
Scholle " (The Clod) is one of the most original,
if not always showing the best taste—a coterie of
painters who are, in fact, the illustrators of the
paper Milnchener Jugend. Some very bright and
original talent is also to be found in this class of
work, particularly among the Society of Draughts-
men (black-and-white) in Munich and the older
Society for Original Design. A surprise awaits
the visitor to the great Lenbach room, for here are
assembled the works of an artist hitherto hardly
known— Theodor Alts, who so completely buried
himself in solitude that only a few friends knew of
his existence. His works have a marked resem-
blance to those of the late Wilhelm Leibl, and
are hardly inferior. The remaining works of
Syriiis Eberle recall the time of King Ludwig II.;
for among other things we find the models for
sleighs and State carriages prepared by Eberle
for that unhappy monarch. Three rooms are
also devoted to the works of the late Arnold

Raphael Schuster - Woldan has finished his
painted ceilings for the hall of the German
Reichstag. The pictures are allegorical, and
have no very immediate connection with the
labours of government. R. Schuster-Woldan's
powers lie less in the direction of decorative
work on a large scale than in that of the dainty
and elegant art of the boudoir. E. E.


The Coronation of Edward the Seventh. By
John Edward Courtenay Bodley. (London:

Methuen & Co ) 2\s. net.—Written by command
of the King, this volume, with the appropriate
heraldic design of its binding by Mr. Douglas
Cockerel), is far more than a mere record of an iso-
lated ceremonial; it is a noteworthy summary of
the events that rendered that ceremonial possible.
It traces with skill the evolution of British loyalty,
which at the close of the eighteenth century was in
imminent danger of eclipse, if not of actual extinc-
tion ; describes the various similar ceremonies of
the nineteenth century ; and after vividly picturing
the gathering of an empire to do honour to the
stately figure at its helm, tells of the sudden
striking down of that figure; notes the deep sig-
nificance of the manner in which the news of what
threatened to'be a great catastrophe was received.
Finally, with skilful pen it brings forcibly before
the imagination the actual realisation of the
long-hoped-for event, the historic scene of brief
duration, in which was revealed to the whole world
the secret of England's greatness—the deep sym-
pathy between the King and his subjects of every
race and clime.

The Norfolk Broads. By William A. Dutt and
others. (London : Methuen & Co.) 2 is. net.—
Written in a bright and pleasant style, this well-
illustrated volume is a complete epitome of all that
is known on the subject of the long-neglected, but
now somewhat over-exploited, Norfolk Broads. Mr.
Dutt, who supplies the first part of the volume—
dealing with the history of Broadland, its present
appearance and inhabitants—has been ably assisted
by various specialists, who deal exhaustively with
the bird-life, entomology, geology, archaeology, and
folk-lore of the various districts and their water-
ways ; whilst absolute completeness is given to the
whole by a series of appendices, in which even the
microscopic rotifera have a section to themselves
Mr. Southgate's water-colour sketches, in spite of
the rather crude, and in some cases unnatural,
colouring of the reproductions—for which probably
the interpreter, not the artist, is responsible—bring
out very forcibly the most salient characteristics of
the scenes depicted.

Fra Bartolommeo della Porta und die Schule von
San Marco. By Fritz Knapp. (Halle an der
Saale : Wilhelm Knapp.) 24 marks.—An exhaus-
tive summary of all that is known of the saintly
friar of San Marco, illustrated with a thoroughly
representative series of reproductions of his com-
pleted works, his drawings, sketches, etc. ; this
new volume is one of the best of the many mono-
graphs recently issued from the Continental press,
and is, indeed, worthy to rank with some of the

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