DOI Heft:
No. 351 (June 1922)
DOI Artikel:Reviews
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21395#0365
REVIEWS
learned in the course of a few years to rid
himself almost completely of his two
greatest natural defects—heaviness of tone
and stiffness of touch, and it is because they
illustrate so well the process of this emanci-
pation, that the drawings of which we are
treating retain their interest for us/' Com-
menting on the facilities which the student
of to-day obtains in art schools with their
specially trained teachers, Sir Charles
rightly points out that the loss of that
“ intellectual gymnastic," which was com-
pulsory in less well-equipped periods, is a
very serious loss—a remark which is
equally applicable to our educational
methods generally. Still, here and there,
as he adds, a a a 0 0
“ There may be students who are not unwilling to
learn something from the experience of their pre-
decessors, and to them the case of Constable may be
unreservedly commended, especially if they feel that
their own technical powers seem inadequate to the
ideals which they have in mind. Constable suffered
from the same inadequacy to an almost unparalleled
degree, and, therefore, the method by which he
triumphed over his faults, and emerged victorious,
deserves more attention than it has received hitherto.”
The Chinese Theatre. By Chu-Chia-
Chien. Translated from the French by
J. A. Graham. With illustrations from
paintings, etc., by Alexandre Jacovleff.
(London : John Lane.) 21s. net.—A good
idea of dramatic art as practised in China
at the present day can be gathered from
the account given in this volume, ad-
mirably elucidated as it is by a very
interesting series of illustrations in colour
and black and white from pictures and
drawings by M. Jacovleff, some of which
we recognise as having figured in an ex-
hibition of his work at the Grafton
Galleries some two years ago. Though
the type described as the only one which
has now any vogue—the king-diau or
“ Songs of Peking "—is cf comparatively
late origin, the conventions observed
appear to be founded on very ancient
traditions, and have not much in common
with Western practice, symbolism, for
instance, being extensively employed
as compensation for paucity of scenery
and “ properties." On the other hand,
in so far as objective is concerned, the
Chinese drama recalls the antique theatre
and mystery plays of the Western world,
inasmuch as, besides being a means of
amusement, it aims to impart moral in-
348
struction, stimulating virtuous sentiments,
and condemning vice in conformity with
the ethical code of the Far East. 0 0
English Goldsmiths and their Marks.
By Sir Charles James Jackson, F.S.A.
Second edition, revised and enlarged.
(London : Macmillan.) £5 5s. net.—Since
the publication in 1905 of the first edition
of this standard work, the outcome of
seventeen years' labour, the researches
of the author and his friends have resulted
in the discovery of more than 2,000 addi-
tional marks, a large proportion of them
being those of London goldsmiths, and,
supplemented by these, the number repro-
duced in facsimile in this new edition now
exceeds 13,000. Besides the goldsmiths of
London and the provincial cities of
England—York, Norwich, Exeter, Chester,
Birmingham, Sheffield, and numerous
minor centres—those of Scotland and
Ireland are included. It should be pointed
out that the term “ goldsmith," as em-
ployed in this work includes the silver-
smith. 000000
The Royal Academy Illustrated (3s. 6d.
net), which Messrs. Walter Judd, Ltd.,
publish by authority of the Royal Academy,
contains .half-tone reproductions of a large
number of paintings and works of sculpture
in the exhibition at Burlington House, as
well as of five works purchased under the
terms of the Chantrey Bequest, a a
Excellent reproductions in colour after
water-colour drawings by the popular
landscape painter, Mr. Sutton Palmer, are
being published by Messrs. Frost & Reed,
of Bristol and London. The subjects are
eight in number, and represent some of the
most delightful scenery in England and
Scotland, such as The Eden (Cumberland),
Ullswater, The Gates of Borrowdale, and
In the Trossacks (Loch Achray). The re-
productions average 18 in. by 24 in., exclu-
sive of margins, and have been executed by
the collotype process. 000
Errata.—In our April issue two reproductions of
exhibits in the British Institute Exhibition of Present
Day Industrial Art at South Kensington were in-
correctly described. On page 211 the sampler
attributed to and catalogued as by Doris Taylor was
the work of Agnes Collin, A.R.C.A., while on the
preceding page the “ sampler ” attributed to Agnes
Collin should have been described as part of an em-
broidered curtain by Elsie M. Williams, A.R.C.A.
The Official Catalogue of this exhibition caused a
good deal of confusion. 0000
learned in the course of a few years to rid
himself almost completely of his two
greatest natural defects—heaviness of tone
and stiffness of touch, and it is because they
illustrate so well the process of this emanci-
pation, that the drawings of which we are
treating retain their interest for us/' Com-
menting on the facilities which the student
of to-day obtains in art schools with their
specially trained teachers, Sir Charles
rightly points out that the loss of that
“ intellectual gymnastic," which was com-
pulsory in less well-equipped periods, is a
very serious loss—a remark which is
equally applicable to our educational
methods generally. Still, here and there,
as he adds, a a a 0 0
“ There may be students who are not unwilling to
learn something from the experience of their pre-
decessors, and to them the case of Constable may be
unreservedly commended, especially if they feel that
their own technical powers seem inadequate to the
ideals which they have in mind. Constable suffered
from the same inadequacy to an almost unparalleled
degree, and, therefore, the method by which he
triumphed over his faults, and emerged victorious,
deserves more attention than it has received hitherto.”
The Chinese Theatre. By Chu-Chia-
Chien. Translated from the French by
J. A. Graham. With illustrations from
paintings, etc., by Alexandre Jacovleff.
(London : John Lane.) 21s. net.—A good
idea of dramatic art as practised in China
at the present day can be gathered from
the account given in this volume, ad-
mirably elucidated as it is by a very
interesting series of illustrations in colour
and black and white from pictures and
drawings by M. Jacovleff, some of which
we recognise as having figured in an ex-
hibition of his work at the Grafton
Galleries some two years ago. Though
the type described as the only one which
has now any vogue—the king-diau or
“ Songs of Peking "—is cf comparatively
late origin, the conventions observed
appear to be founded on very ancient
traditions, and have not much in common
with Western practice, symbolism, for
instance, being extensively employed
as compensation for paucity of scenery
and “ properties." On the other hand,
in so far as objective is concerned, the
Chinese drama recalls the antique theatre
and mystery plays of the Western world,
inasmuch as, besides being a means of
amusement, it aims to impart moral in-
348
struction, stimulating virtuous sentiments,
and condemning vice in conformity with
the ethical code of the Far East. 0 0
English Goldsmiths and their Marks.
By Sir Charles James Jackson, F.S.A.
Second edition, revised and enlarged.
(London : Macmillan.) £5 5s. net.—Since
the publication in 1905 of the first edition
of this standard work, the outcome of
seventeen years' labour, the researches
of the author and his friends have resulted
in the discovery of more than 2,000 addi-
tional marks, a large proportion of them
being those of London goldsmiths, and,
supplemented by these, the number repro-
duced in facsimile in this new edition now
exceeds 13,000. Besides the goldsmiths of
London and the provincial cities of
England—York, Norwich, Exeter, Chester,
Birmingham, Sheffield, and numerous
minor centres—those of Scotland and
Ireland are included. It should be pointed
out that the term “ goldsmith," as em-
ployed in this work includes the silver-
smith. 000000
The Royal Academy Illustrated (3s. 6d.
net), which Messrs. Walter Judd, Ltd.,
publish by authority of the Royal Academy,
contains .half-tone reproductions of a large
number of paintings and works of sculpture
in the exhibition at Burlington House, as
well as of five works purchased under the
terms of the Chantrey Bequest, a a
Excellent reproductions in colour after
water-colour drawings by the popular
landscape painter, Mr. Sutton Palmer, are
being published by Messrs. Frost & Reed,
of Bristol and London. The subjects are
eight in number, and represent some of the
most delightful scenery in England and
Scotland, such as The Eden (Cumberland),
Ullswater, The Gates of Borrowdale, and
In the Trossacks (Loch Achray). The re-
productions average 18 in. by 24 in., exclu-
sive of margins, and have been executed by
the collotype process. 000
Errata.—In our April issue two reproductions of
exhibits in the British Institute Exhibition of Present
Day Industrial Art at South Kensington were in-
correctly described. On page 211 the sampler
attributed to and catalogued as by Doris Taylor was
the work of Agnes Collin, A.R.C.A., while on the
preceding page the “ sampler ” attributed to Agnes
Collin should have been described as part of an em-
broidered curtain by Elsie M. Williams, A.R.C.A.
The Official Catalogue of this exhibition caused a
good deal of confusion. 0000