Studio-Talk

■by Raeburn, John Phillip, Sam Bough, McTaggart,
-and Wingate, among the Scottish artists, while other
schools were represented by James Maris, P. J.
Clays, Neuhuys, Jacque, Munkacsy, Roybet, Sadee,
■and Sidaner. Of the last-named artist there were
three very fine examples. In one of them—a winter
scene—the artist makes the snow-covered ground
sparkle with countless prisms flashing back the sun-
shine in an endless variety of colour, while in
■another Z'Afirh Midi, one is made to feel the
summer warmth and light of the open day, and yet
be conscious that behind the sunlight there lies
rsomething that its potency has not revealed.

QUEEN VICTORIA MEMORIAL STATUE,
-NEWCASTLE-ON-TYNE BY G. FRAMPTON, R.A.

LIVERPOOL COMMEMORATION MEDAL

BY CHARLES I. ALLEN

In two seascapes William McTaggart gives evi-
dence of a capacity for the rendering of water in
motion that no Scottish artist has equalled. Mr.
McTaggart does not take kindly to Academy Exhi-
bitions, neither in Scotland nor elsewhere, and it is
mostly at provincial shows that one has the oppor-
tunity of seeing his work. In his Ground Swell,
Carradalc, this faculty of depicting motion is strik-
ingly evidenced in the painting of the sea and a
fishing-boat with figures. It is shown with no less
effect in his Seashore, with the waves raised by a
north wind breaking on the beach. The wave
modelling is so free, the lines so broken and inter-
rupted, and yet each filling its place, the work
altogether so suggestive in its broad impressionism,
as to convey the idea of the living force of the
boundless ocean in language that is unmistakable.
In another contribution Mr. McTaggart reverts to
a type of subject he was wont to treat in the earlier

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