Studio: international art (51.1911)

Reviews and Notices

as then, in a wrong connection. For the Morte
Darthur there must be nobility of design and
colour pattern, and there must be some attempt to
identify facial type with a primitive age. In the
former Mr. Russell Flint has succeeded beyond
expectation; in the latter he has perhaps not quite
achieved the end. But then, though it is always
the classics that are illustrated, it is always the
classics about which we have our own precon-
ceptions, and the artist meets in the hearts of his
most enlightened readers an implacable resistance
to his innovations. For admirable depth of quality
the illustration to Chap. 13, Book iv., and the last
illustration in the same book, are most to be
commended in this first volume, the printing of
which, and the excellence of the reproductions, it
is impossible to praise too highly. The succeeding
volumes are to appear at intervals during the next
twelve months, and in addition to the ordinary
editions there is a special edition de luxe printed
on vellum at sixty guineas.

Iolanthe and other Operas. By W. S. Gilbert.
With illustrations in colour by W. Russell Flint.
(London : G. Bell & Sons, Ld.) 15.L net.—We
do not wish to offend this artist, but we think he
finds his true province here rather than in the
book reviewed above. He succeeded there, but
we feel with an effort, while here he seems to
succeed naturally. A certain playfulness about
his touch comes in very happily, and unreality in
this neighbourhood is charm. No one thinks of
the Gilbert and Sullivan Operas as true, but
hundreds of people never free their imagination
from the actuality of the legend of King Arthur.
Among many charming drawings, perhaps the
masterpiece is the first illustration to “ Ruddigore,”
and in fact this opera and “The Gondoliers”
seem to suit his genius better than any of those
included in this volume. Such a drawing as
You must make some allowance is not only “Gilbert
and Sullivan ” all through—the highest praise we
can give it—but it is a picture of great accomplish-
ment in execution and also in style appropriate to
the pages of a book.

Mr. Pickwick. Illustrated in colour by Frank
Reynolds, R.I. (London : Hodder & Stoughton.)
155-. net.—In the illustrations to this volume, the
originals of which were lately on view at the
Walker Gallery in Bond Street, the artist has
taken a line of his own in his interpretation of
the characters who appear in the famous Papers.
That element of caricature which, since the early
illustrators of Dickens set the precedent, has come
to be regarded as indispensable, is quite conspicu-

ous ; and as regards physiognomy at all events
his Mr. Pickwick, Sam Weller, Mrs. Bardell, Serjeant
Buzfuz, and even Mr. Stiggins are not fictitious types
but real people whose counterparts are not rare
nowadays, though we see them here clothed in the
garments of nearly a century ago. Free from ex-
aggeration, however, as they are, there is neverthe-
less much genuine humour in these drawings, but a
humour that is too subtle to appeal to the gallery.
The volume as a whole is very attractively got up.

Wood Carvings in English Churches. I.: Mis-
ericords. By Francis Bond. (Oxford: The
University Press.) 7s. 6d. net.—-The eminent author
of “ Gothic Architecture ” commands attention
on whatever subject he writes, and it may be said
without fear of contradiction that his latest work is
in no way unworthy of his reputation. It repre-
sents the first attempt, in this country or abroad,
“ to deal comprehensively with the whole subject
of the carvings of misericords.” The latter, it
should be observed, are the sculptured brackets
with which the under-sides of hinged quire-seats
are fitted so as to afford the body a slight support
and alleviation from the fatigue of standing during
the daily recitation of the long offices of religion.
The popular name “miserere” is as incorrect and
as foolish as the fables which senile sextons (and
others who ought to know better) persist in telling
about the use and origin of these same misericord
seats. The work under notice deals with English
examples only, but it should be understood that
misericords were in use in the middle ages
throughout Catholic Christendom. The dis-
tinguishing peculiarity of English misericords,
however, is that they are almost invariably flanked
by carved wings or “ supporters,” whereas the
Continental specimens consist as a rule of a carved
bracket only, without side ornaments. Our native
wood-carving is a factor “ not to be neglected,”
remarks Mr. Bond, “in a comprehensive history of
English art.” Unlike easel-picture painting, it is in-
digenous and savours of the soil. “Beginning with
lovely illuminations of psalters and missals, it passes
into the carving of stalls and bench-ends, and into
popular chap-books and almanacks. Many a figure
scene on the misericords is well worth study,
while from the carving of leaf and flower modern
designers might well take lessons.” As to local
distribution, the misericords of Exeter, Norwich
and Wells Cathedrals rank high, but “ in respect
of excellence of carving the northern misericords
surpass all others, especially those of Ripon,
Chester, Manchester and Carlisle,” all of which
would amply repay careful study. The book is

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