preface to a very interesting account of Spanish
painting Mrs. Gallichan, who still writes under her
maiden name, explains that she has treated her
subject from the standpoint of historical evolution ;
adding that the pictures of Spain are, in her opinion,
the outgrowth of the national life in a very special
degree, and claiming, what few will fully endorse,
that "Spain is the land where the seed was sown for
the artistic harvest we are reaping to-day."
The Story of Art throughout the Ages. From
the French of S. Reinach. By Florence Sim-
monds. (London : Heinemann.) \os. net.—
Well translated and copiously illustrated, this dic-
tionary of painting, sculpture, and architecture is
based on the lectures delivered by the well-known
expert, Professor Reinach, at the licole du Louvre.
It will probably find a place in many art libraries
though the letterpress is too condensed to be par-
ticularly interesting. The reproductions of master-
pieces are, moreover, too small to give any adequate
idea of the originals.
Scottish Pewter Ware and Peivterers. By L.
Ingleby Wood. (Edinburgh : G. A. Morton.)
With the growth of public interest in pewter, the
catalogue of literature dealing with the subject is
lengthening apace. One of the latest additions
is a volume, the importance of which it would be
difficult to overestimate. Lavishly illustrated with
reproductions from photographs, and revealing in
every page painstaking and sympathetic research
into every available source of information, it is a
mine of information which no collector of pewter
can afford to be without; while the histories of the
various Incorporations of Hammermen are so enter-
taining and instructive that the book may be strongly
recommended even to the general reader.
Catalogue of the Peivter Exhibition. By H. J. L.
J. Masse. Mr. Masse's latest contribution to the
subject he has so much at heart, takes the form of
an illustrated Catalogue of the Pewter Exhibition
which he organised last spring in the hall of
Clifford's Inn. The catalogue will appeal chiefly to
the connoisseur and collector, to whom the numer-
ous descriptions, drawings and photographs should
prove very useful for purposes of reference and
The Art Union of London are to be congratulated
upon the excellent subject they have selected for
their annual plate lately issued. The Miller's
Meadow is a typical example of the work of Mr.
Alfred East, A.R.A., than whom there is no greater
landscape-painter at the present day. Mr. C. O.
Murray, R.E., who is responsible for the etching
of this charming painting, has been singularly
happy in retaining the subtle qualities of light and
shade of the original.
AWARDS IN " THE STUDIO "
Class A. Decorative Art.
A IV. Design for a Carriage Gate in Wood.
First Prize (Two Guineas): Triforium (Harry
Collings, c/o Mrs. Wright, Private Road, Victoria
Crescent, Mapperley, Nottingham).
Second Prize (One Guinea): John Oak (Fredk.
Lawrence, 124 Askew Road, Shepherd's Bush, W.).
Hon. Mention : Architrave (C. P. Wilkinson);
Capernaum (Reginald B. Urquhart); Corinthian
(John R. Williams); Dante (Harold Fenton);
Hamish (J. Bisset Crocker); Loidis (Harold E.
Henderson); Simple Aveu (George R. Farrow) ;
Sunny Jim (George L. Alexander) ; Auspel (James
Tarney) ; Artistic (Francis P. Mills) ; Bill Bailey
(S. C. Ramsey) ; Buile Hill (W. M. Anderson) ;
Challow (E. Butcher) ; Dragon (H. A. Danby) ;
Em (Ernest C. Boon) ; Esperance (Percy H.
Loman) ; Light (Sidney R. Turner) ; Leon (N. D.
Sheffield) ; Mable (J. W. Northcott) ; Nilghai
(Cecil H. Perkins) ; Nemo (Edw. H. Rouse) ;
Psammead (Christopher C. Biggs) ; Purple Monkey
(Henry T. Wyse); Pyghtle (Ernest G. Allen) ;
Rubber (J. W. Rhodes) ; Spotty (P. W. Meredew) ;
Stan (Stanley T. J. Mobbs) ; Thistle (A. C. Wade).
The main and objective point to be kept in
view by every designer in facing his problem is
how far the solution is conditioned by, firstly, the
purpose which his object is to subserve, and,
secondly, a consideration of the material of which
it is to be constructed. That is to say, it must, on
the one hand, be schemed out so as to perform
its function, whatever that may be, most readily
and simply; and, on the other, it must be
treated according to the canons, and, perhaps,
the limitations of the wood, iron, stone, bronze,
or what not which is to be used in its con-
struction. In the present competition one would
have thought that the first consideration might
have been easily thought out and disposed of.
A wooden gate for a carriage-drive undoubtedly
presupposes a gate of the usually recognised width
of ten feet. At all events, while granting the
designer right to play with his dimensions to the
extent of a foot in either direction, it seems
unreasonable on the part of some of the com-
petitors to submit designs which, in some cases,
would barely allow of the passage of an invalid's