Studio: international art (72.1918)

Studio- Talk

II. "THE TOMB OF TRISTRAM AND ISOUDE
IN CORNWALL "

DESIGNED BY E. BURNE-JONES

EXECUTED BY WILLIAM MORRIS’S FIRM IN 1862 AND RE-
CENTLY ACQUIRED BY THE CORPORATION OF BRADFORD

certainly an error. The marginal notes of the
story sent by Morris to Mr. Dunlop clearly imply
that the designs had not assumed definite form.
Moreover, Professor Mackail has been good
enough to verify from the books of the Morris firm
the fact that the Dunlop commission was given
in 1862, and it was not till the following year that
Birket Foster commenced to build a house for
himself, and probably early in the next year
that Morris, going down to see the partially
completed building, overwhelmed the landscape
painter with the programme of decorations
which in his enthusiasm he planned for it.
Two of the original drawings for the Bradford
windows are at the Birmingham Art Gallery.

With this series, but not of it, is a set of
panels for a porch in Mr. Dunlop’s house, but
the style of this work is very different, and its
artistic origin was unknown. The Studio,
however, in February last reproduced a number
of exhibits at the Arts and Crafts exhibition at
the Royal Academy. Among these were draw-
ings by Morris himself of “ designs for musicians,”
and some of these, it is now clear, were the
original studies for the glass of the porch. The
work is probably later in date than the Tristram
windows. Herbert E. Wroot.

STUDIO-TALK.

(From Our Own Correspondents.)

LONDON.—The death of Mr. Charles
Napier Hemy, R.A., which took place
at Falmouth, where he had resided
for over thirty years, on the last
day of September, has deprived the Royal
Academy of a painter whose pictures of the sea
have for many years been among the chief
popular features of the summer exhibitions at
Burlington House, where he made his first
appearance over fifty years ago and his last in
the exhibition of this year. Mr. Hemy was
born at Newcastle-upon-Tyne in 1841, and
received his first training in art at the local
art school before he reached his teens. From
the first he appears to have been drawn to the
sea, and though in the earlier years of his career
genre subjects occupied his attention for a
while, especially when he went to study at
Antwerp under Baron Leys, the early fascina-
tion revived and increased, and river and sea
thereafter claimed his entire devotion. The
vigour which characterized the pictures of his
mature years was well maintained in his later
achievements, and his contributions to the
Academy exhibitions of the past few years were
indeed remarkable for a man who had passed
the “ allotted span.” The deceased artist was
elected an Associate of the Royal Academy in
1898 and a full member three years later. He
was also a member of the Royal Society of
Painters in Water-Colours, having been elected
to the society in 1897. He is represented in
the Tate Gallery by two works purchased by
the Chantrey Trustees—Pilchards, exhibited at
the Royal Academy in 1897, and London River,
from the exhibition of 1904.

It has long been recognized by medical men
that the environment of a patient is a very
important factor in the process of recovery from
illness, and the value of sunshine especially
has been definitely established in hospital
practice by the speedier convalescence of
inmates occupying wards or rooms on the sunny
side. It has occurred to Mr. Kemp Prossor,
whose experiments in interior decoration are
well known to readers of this magazine, that the
immediate surroundings of an invalid ought to
receive consideration from the same point of

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