DOI issue:
No. 160 (July, 1906)
DOI article:Reviews and notices
DOI Page / Citation link:https://doi.org/10.11588/diglit.20715#0203
Reviews and Notices
striking contrast to the better-known sacred moun-
tain, where a careful training in the art of men-
dacity is gratuitously given. Founded by a priest,
who still superintends it, the colony has been a
gigantic success, and its working should be studied
by all who are interested in the training of the
young. It is unfortunate that a book so full of
varied charm should not have had better illustra-
tions. The reproductions would seem to have
been made from second-rate photographs. The
want of an index is also a considerable drawback
to the value of the work.
The Pageant of London. By Richard Davey.
With forty illustrations in colour by John
Fulleylove, R.I. (London: Methuen.) Two
vols., 155. net.—Amongst the many books that
have recently been published on the practically
inexhaustible theme of London these two elo-
quently written and appropriately illustrated
volumes will certainly take high rank, for though
their author deprecates any claim to having written
an exhaustive history of the complex organism of
the mighty city, he has more than succeeded in
the minor ambition of “ unrolling as in a sort of
procession, the story of the British capital, from
the day when Julius Caesar first appeared on the
banks of the Thames to that which witnessed the
funeral of Queen Victoria.” Thoroughly up-to-
date, embodying the results of the most recent
archaeological researches, the new publication is
indeed a most noteworthy one, full of curious in-
formation on all manner of side issues and giving
token on every page of deep erudition. Mr. Davey
has not been content with drawing his material
from well authenticated historical sources only,
he gives due weight to the legends of such per-
sonages as Cymbeline and Imogen, King Lear
and his daughters, King Arthur and Genevieve,
Lancelot and Elaine, who all are supposed to
have lived in London. The beautiful water-colour
drawings by Mr. Fulleylove of typical historic
buildings admirably supplement the text, and
should aid in enforcing the writer’s plea for the
more reverend care of the heirlooms of the past.
Specially fine are the views of the Norman transept
of St. Bartholomew's, Westminster Hall and the
Victoria Tower, The Gate of St. James’s Palace,
The Elizabethan Hall in the Charterhouse, The
Houses of Parliament from the River, and The
Apse of All Hallows-on-the-Wall, the last being of
great interest, the charming early Christian relic
having been hidden from view for many centuries
before it was unearthed a short time ago with a
portion of the Roman wall.
182
Royal Commission, St. Louis Internatiotial
Exhibition, 1904. The British Section. Compiled
by Sir Isidore Spielmann, F.S.A. (Issued by
the Royal Commission.) Of the four hundred
pages constituting this official record of the
section organised by the British Royal Commis-
sion at St. Louis two years ago, more than
three-fourths are devoted to the representation of
contemporary British art under its various aspects,
the remainder being concerned with industrial
exhibits of a scientific character. A glance through
the list of the artists whose works are reproduced
suffices to show that the British section at St. Louis
must, in respect of the fine arts at all events, have
been one of unusual interest and importance, and
in this connection the volume possesses a per-
manent value as an illustrated record of British art
at the beginning of the twentieth century. Though,
as explained in the introductory note, the task of
selecting exhibits for incorporation in an official
record such as this was not at all an easy matter,
in view of the high standard of excellence shown
by the vast aggregate of works exhibited, it will,
we think, be generally conceded by those who
scan the pages of this volume that the selection
has been judiciously made. Applied art in its
diverse phases has, it is true, comparatively little
space allotted to it (we observe, by the way, that
not a single example of stained glass is given),
but the explanation of this is, we suppose, that the
exhibits of this character were meagre as compared
with those in the various categories of fine art, As
regards the reproductions themselves, they appear
to have been executed in all cases with scrupulous
care, and so far as it is possible to do so in black-
and-white render with fidelity the qualities of the
original works.
Constantinople. Painted by Warwick Goble.
Described by Alexander van Millingen, M.A.,
D.D. (London : A. & C. Black.) 20s. net.—In
spite of an evidently conscientious desire on the
part of the collaborators to do justice to the world-
famous capital of the Ottoman Empire, associated
with so many thrilling historic memories, it can
scarcely be claimed that the result is a complete
success, either from the artistic or the literary point
of view. Some of the drawings are undoubtedly
excellent, especially the Galata from the Aqueduct
of Valens, Galata Bridge, Early Morning at the
Golden Horn, A Wet Day cn Galata Bridge, and
the Court of the Suleimanizeh ; but others, though
evidently accurate transcripts of typical subjects,
fail to bring into sufficient prominence the char-
acteristics that give individuality to those subjects,
striking contrast to the better-known sacred moun-
tain, where a careful training in the art of men-
dacity is gratuitously given. Founded by a priest,
who still superintends it, the colony has been a
gigantic success, and its working should be studied
by all who are interested in the training of the
young. It is unfortunate that a book so full of
varied charm should not have had better illustra-
tions. The reproductions would seem to have
been made from second-rate photographs. The
want of an index is also a considerable drawback
to the value of the work.
The Pageant of London. By Richard Davey.
With forty illustrations in colour by John
Fulleylove, R.I. (London: Methuen.) Two
vols., 155. net.—Amongst the many books that
have recently been published on the practically
inexhaustible theme of London these two elo-
quently written and appropriately illustrated
volumes will certainly take high rank, for though
their author deprecates any claim to having written
an exhaustive history of the complex organism of
the mighty city, he has more than succeeded in
the minor ambition of “ unrolling as in a sort of
procession, the story of the British capital, from
the day when Julius Caesar first appeared on the
banks of the Thames to that which witnessed the
funeral of Queen Victoria.” Thoroughly up-to-
date, embodying the results of the most recent
archaeological researches, the new publication is
indeed a most noteworthy one, full of curious in-
formation on all manner of side issues and giving
token on every page of deep erudition. Mr. Davey
has not been content with drawing his material
from well authenticated historical sources only,
he gives due weight to the legends of such per-
sonages as Cymbeline and Imogen, King Lear
and his daughters, King Arthur and Genevieve,
Lancelot and Elaine, who all are supposed to
have lived in London. The beautiful water-colour
drawings by Mr. Fulleylove of typical historic
buildings admirably supplement the text, and
should aid in enforcing the writer’s plea for the
more reverend care of the heirlooms of the past.
Specially fine are the views of the Norman transept
of St. Bartholomew's, Westminster Hall and the
Victoria Tower, The Gate of St. James’s Palace,
The Elizabethan Hall in the Charterhouse, The
Houses of Parliament from the River, and The
Apse of All Hallows-on-the-Wall, the last being of
great interest, the charming early Christian relic
having been hidden from view for many centuries
before it was unearthed a short time ago with a
portion of the Roman wall.
182
Royal Commission, St. Louis Internatiotial
Exhibition, 1904. The British Section. Compiled
by Sir Isidore Spielmann, F.S.A. (Issued by
the Royal Commission.) Of the four hundred
pages constituting this official record of the
section organised by the British Royal Commis-
sion at St. Louis two years ago, more than
three-fourths are devoted to the representation of
contemporary British art under its various aspects,
the remainder being concerned with industrial
exhibits of a scientific character. A glance through
the list of the artists whose works are reproduced
suffices to show that the British section at St. Louis
must, in respect of the fine arts at all events, have
been one of unusual interest and importance, and
in this connection the volume possesses a per-
manent value as an illustrated record of British art
at the beginning of the twentieth century. Though,
as explained in the introductory note, the task of
selecting exhibits for incorporation in an official
record such as this was not at all an easy matter,
in view of the high standard of excellence shown
by the vast aggregate of works exhibited, it will,
we think, be generally conceded by those who
scan the pages of this volume that the selection
has been judiciously made. Applied art in its
diverse phases has, it is true, comparatively little
space allotted to it (we observe, by the way, that
not a single example of stained glass is given),
but the explanation of this is, we suppose, that the
exhibits of this character were meagre as compared
with those in the various categories of fine art, As
regards the reproductions themselves, they appear
to have been executed in all cases with scrupulous
care, and so far as it is possible to do so in black-
and-white render with fidelity the qualities of the
original works.
Constantinople. Painted by Warwick Goble.
Described by Alexander van Millingen, M.A.,
D.D. (London : A. & C. Black.) 20s. net.—In
spite of an evidently conscientious desire on the
part of the collaborators to do justice to the world-
famous capital of the Ottoman Empire, associated
with so many thrilling historic memories, it can
scarcely be claimed that the result is a complete
success, either from the artistic or the literary point
of view. Some of the drawings are undoubtedly
excellent, especially the Galata from the Aqueduct
of Valens, Galata Bridge, Early Morning at the
Golden Horn, A Wet Day cn Galata Bridge, and
the Court of the Suleimanizeh ; but others, though
evidently accurate transcripts of typical subjects,
fail to bring into sufficient prominence the char-
acteristics that give individuality to those subjects,