The sun., 1899-05-07
also because. as is well known. the Prince Of
Waln. aI,v 49,.

. dance. like the old minuet, which dates fror
!. the time OF Henry III. OF France. The Trepak
That 10 wild country dance. much used 4
, Russia. am a great believer in the variou
, Scotch Dances they are pretty and requir
great skill"
At one period. a few years ago. he and Lad
Bristol. Mr.. Somers Cocks and other dlstin
Ruished amateurs. used to go out singing ant
playing In the London streets for charity. anc
he recalls the amusement that was causec
when Lady Radner flung them q sovereign
and the delight and surprise when generous
cabbies used frequently to give them shil
ling. The ladies used to sing. Louis D'Egville
and Mr.. Somers Cocks fiddled. and they al
hugely enjoyed themselves.
Under his nom de plume OF "A. u" tartist
unknown Mr.. Joseph Pennell has lately been
calling attention to the fact that In the direc-
tion OF permanent as well as OF temporary ex-
| hibitions OF paintings London Is perhaps better
| of than any other city In Europe Its National
Gallery though comparatively small attains a
| higher average Of merit than any OF the ma
| tional collections on the Continent In South
| KensinRton IL has the most extensive and the
best selected gathering Of objects which are Of
| educational use to the student Of the ap-
| piled arts, while Of minor and temporary
| shows OF pictures 1t has something more
than a suf1ciency. or institutions tlevot-
ed to the temporary gathering together
OF paintings Of some special class the Guildhall.
which is the official home OF the corporation OF
London proper. has OF late years been ono OF
the most prominent. Under the direction OF
Mr.. A. G. Temple. who Ia the director OF the
Corporation Art Gallery. there have been gath
cred together year by year collections nota BILE
from various points Of view Last year, for ex-
ample. the Guildhall galleries were 1lled with
III
French school which. owing to its exclusion
from the National Gallery. had been almost
unknown to the average English picture lover.
But this year Mr.. Temple has surpassed him
self and has brought together a series OF paint
ings which 1t Is hardly too much to say is worth
the journey to London even from New York for
the special purpose OF enjoying.
1t is practically one man show, for out OF
thetwo hundred or so Of the pictures exhibited
moro than a hundred and fifty are due to the
brush OF j. M. W. Turner. That SO many
OF the pictures OF the greatest landscape painter
OF the century should be freely lent by their
owners for the pleasure and delectation OF the
public Is pleasant proof OF the fact that the
modern art collector of to-day looks upon him
SELF to certain extent. as being merely the
trustee OF the works OF beauty and delight OF
which he happens to be the fortunate posses
sor. The point OF view to which he has been |
educated. not only by the winter loan exhibi- |
tons OF Old Masters which the Royal Academy |
has given us for many years past but by the |
loan exhibitions brought together at Toynbee |
Hall In the very east end OF London for the ben
eft OF the poorest classes OF Londoners. while |
the continually recurring exhibitions OF the
works OF recently deceased painters at the |
New Gallery and elsewhere have also had a
bearing In the same direction. It is only a
great master who can stand the test OF one
man show. Comparatively recently Londoners
have been enabled to put this theory to a test
UP to week ago almost the entire life work
OF the late Sir Edward Burne Jones was on
exhibition in the West End while the galleries
OF the Royal Academy We're. during the winter.
devoted to the display Of loan exhibition OF
Rembrandt's work From more than one point
OF view Burne-Jones undoubtedly suffered,
while we were taught at the Academy that
even Rembrandt could occasionally nod. At
the Guildhal on the contrary one feels, as one
has never felt before. the supreme greatness
OF the painter whom Ruskin idolized
In the first place. 30 admirably arranged have
been the pictures that one Is enabled to trace las
has never before been possible, the DEVELOPMENT
through his various periods OF the painter
There are examples. such as the Glare Col
lege. Cambridge" and "Norbury Park" of the
work OF the 15-year-old boy who had Just
exhibited his first work at the Royal Academy
In 1870. hard. mechanical and precise. Then
comes little group painted during his first
visit to Yorkshire and the English lakes in
l7o7. Of which Ruskin has said there is in
them little seeking after effects. but strong
love OF place. little exhibition OF the artists
own powers and peculiarities, but intense
appreciation OF the smallest local minutiR"
Then there are some fine examples OF what
Is known as his first STYLE which occupied the
1rst decade OF the century. marked by the
ooldness OF it's handling. it's gloomy tendency
md its academic composition. The period
which follows displays his appreciation Of the
more subtle qualities Of natural beauty in
orm and atmosphere" exemplined in such
pictures as "Somer HILL" Newark Abbey"
while one OF the noblest OF his classic themes
3 to he seen In Mercury and Herse" a work
" finished strength and beauty. 1t was in
$50 that the period Of his third style may be
aid to have commenced-"d delicate delibera-
ion OF handling. cheerful moods Of mind, bril-
liant color acquired. no doubt. from his Italian
our). defence OF precedent. and effort at ideal
imposition. Such striking examples OF this |
eriod as "Mortlake. Barnes Terrace, ""The
tape OF Europa" are to be found at the Guild [
ALL though the more famous Dido Directing
he Equipment OF the Fleet" and that riot OF
olor. Ulysses Deriding Polyphemus." are
",
lis third visit to Italy took place in 1923 and =
hortly after his fourth style. affected by this
ourney. began 1t ia we'll exempified at the
uildhall by good selection OF those pictures :
Venetian splendor which enabled him to I
i've vent for his increasing taste for brilliant 7
olor. the gorgeous Marriage OF the Adriatic." :
The Giudeccs" and The Campo santo" d
angling here in all their glory. Toward tho Z
nd OF this period. which lasted until 1910. he .
gain visited Switzerland. with the result that I
series OF wonderfully sensitive drawings
lme from his hand. not few OF which, in q
uding the famous Red Rhigi" and blue a
higi p" and the "splugen Pass" are to be seen &
the present exhibition. or the period of his u
'-called decline there are practically no ex- b
nples. Q
1t Is interesting to note how impossible It Il
"a been to dissoclate Turner from Ruskin. Il
zen in th1exhibtlon. In the first place no Il
wer than nine examples Of his art have been 8,
mt by Mr.. Ruskin himself. while in the excel 8,
nty arranged catalogue. compiled by Mr. n
emple. extracts from the great master Of m
n liQh nrN 81. d.