Studio: international art — 45.1909

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Architectural Gardening.—III.

of A Moorish Harem and A Calm Sea, which is
really the Straits of Gibraltar with the Spanish
coast in the far distance. And in expressing this
view, that colour is the ultimate expression of the
painter’s personality, the artist referred me to
Franz Hals in his latest paintings of the Haarlem
museum. He added that (as there) a painting
may, seen very close, seem confused, but at a
distance become clear and co-ordinate, and re-
duced for reproduction may give the appearance
of extreme finish ; while the painter has always to
remember that time itself is to complete his work,
to aid in bringing it together.

Another of our reproductions may serve as an
admirable instance of the argument. Ella Davis
possesses great beauty of type, and, as The Maid,
stands upright in cap, apron, and black dress against
a background of the table
laid for dinner. Nothing
could be broader and
stronger than the handling
of this full-length por-
trait, which from a dis-
tance, as noted above,
appears clear, co-ordinate
in design, and reserved in
colour. But this reserve
of colour, which was a
note of Mr. Lavery’s earlier
art, is changing of late to
a greater richness. We
may trace this in those
studies of Morocco exhi-
bited this year in the
Goupil Gallery, and in the
brilliant portrait of this
summer of the lovely
blonde, Miss Lily Elsie, in
her rich costume of the
last Act of “ The Merry
Widow.”

A final word must be
reserved for our colour
reproduction, whose title,

A Souvenir of a Lost
Picture, points to the fact
that its original mys-
teriously disappeared from
a recent exhibition. In
this Souvenir—a slender
blonde in walking dress,
with those delicate grada-
tions of grey and black of
which this artist is a master

—the inspiration of the Muse Polymnia seems
again to greet us. S. B.

Architectural gardening.
—III. WITH ILLUSTRATIONS
AFTER DESIGNS BY C. E.
MALLOWS, F.R.I.B.A., AND
F. L. GRIGGS.

The drawings published this month have nearly
all been produced under quite different conditions
to those which governed the illustrations to the
first two articles. In the latter the designs were
almost all made under certain given conditions or
within some particular restrictions and as solutions
of set problems in a modern architectural practice.
With two exceptions, that of the house at Happis-

A TERRACED FLOWER GARDEN DESIGNED AND DRAWN BY F. L. GRIGGS

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