The process of exclusion was well applied, with
exceptions such as we have instanced. It would
have been so easy to imperil the exceptional
standard. Perfection in the management of such
a show, like perfection in the arts themselves,
would appear to be recognised by what is omitted
as much as by what is retained. Outstanding
names of artists of whose work selected represen-
tative examples were shown will convey to readers
of The Studio the range of the exhibition. They
included Messrs. A. I). Peppercorn, C. J. Holmes,
Stirling Lee, M. Greiffenhagen, A. John, J. Lavery,
F. Cayley Robinson, B. Priestman, A. Jamieson,
Muirhead Bone, A. Ludovici, Max Beerbohm, F.
Derwent Wood, and those from whose works we
have selected our illustrations.
Some painters were very fully represented. Thus,
Mr. W. Strang, Mr. Charles Shannon, Mr. Ricketts,
Mr. W. W. Russell, Mr. W. Nicholson, and Mr.
George Sauter enjoyed plenty of wall-space, and it
was in the opportunity of seeing their work, not
in fragments but grouped in this way, and of thus
studying the art of contemporaries side by side
that one was able to form some adequate concep-
tion of the strength, as well as the underlying
unity, of aims asserting themselves so variously.
With the same amount
of wall extended to other
eminent painters, and an
effort made by artists and
management to fill it to
the best advantage, a
repetition of the exhibi-
tion is sure of welcome.
For it corrects a fault of
the modern exhibition
system, in which works
appear only to disappear,
to be replaced by the
work of the same painters
in other moods, under
other influences, and so
we are kept from any
certain knowledge of the
real history of the pro-
gress of the individual,
and of our time.
T. M. W.
BY EDMUND J. SULLIVAN
ING. — VI.
DESIGNS BY C.
F.R.I.B.A., AND F.
If what has previously
been written in recent
numbers of The Studio
by way of explanatory
notes or comments on
the illustrations for this
“in the king’s orchard”