PREFACE. 
 
 Where England thrusts her great horn into the 
 western ocean there is a narrow rocky sea-battered 
 land which, despite its straitened pinched dimen- 
 sions, has for upwards of twenty years drawn 
 unto itself so large a number of artists that it 
 would seem as though some explanation were due 
 for its disproportionate attractiveness. Why do 
 they come ? The question is often asked, but not 
 often adequately answered. Indeed it is not easy 
 to say in a word why Cornwall should so pre- 
 eminently above all the counties of England have 
 made itself the abode of a large Artistic com- 
 munity. It is not enough to say it is a beautiful 
 land. This England of ours has no lack of 
 beautiful lands ; and if we throw in Scotland and 
 Ireland, who is bold and unabashed enough to 
 judge which is the fairest ? Troy smoked for less. 
 
 Perhaps the best way is to go back twenty 
 years : twenty years seems a respectable unit of 
 time, anyway there were not many artists in 
 Cornwall when the " Eighties" opened. Some 
 few had found out its possibilities of whom, if I 
 mention Mr. Hook, let not the others think it in- 
 vidious. These came and went passing to other 
 fair spots, and Cornwall remained still unappro- 
 priated. But about this time there had grown up 
 in England among the Art students an uneasy 
 feeling that all was not well — that things artistic 
 were better ordered in France and Belgium, 
 
5 
 
 %nd forthwith there passed across the har'rbw sek 
 many bands of young men determined to see for 
 themselves what was being done in the Academy 
 at Antwerp, or the Beaux Arts in Paris, in fact in 
 all the numerous ateliers that were so freely 
 opened to them abroad. The plein airists were 
 then in the ascendant. Millet and Manet with 
 their palletes of revolt, and Bastien le Page with 
 Jess of revolt but with a very clear open-air eye. 
 The direct inspiration of nature was the creed of 
 the day, and a feeling of reaction from academic 
 traditions, and studio work as opposed to work on 
 the spot, actuated most of the students. In the 
 main, these young men were filled with this idea 
 of a fresh unarranged nature to be studied in her 
 fields, and by her streams, or on the margin of her 
 great seas, — in these things they were to find the 
 motives for their art, and not in the tedious story 
 telling they had left at home. 
 
 So they went into the fields and forests and 
 they set up their easels by the margin of the great 
 deep. Down in the west, France likewise thrusts 
 a blunted horn into the ocean, and here was a 
 people who held tenaciously by their old customs, 
 who wore the dress of their forbears and lived a 
 hard life upon the land and waged a dreadful war- 
 fare with the sea. A people whose religion was 
 at least very real to them, while the very paganism 
 of its survivals lent it a colour lacking in more 
 abstract creeds. Down to this western land of 
 France came not a few of these young men, drawn 
 to this store-house of properties, this mine of 
 abiding tradition, by the instinct that impels all 
 creatures to seek their sustenance where it is to 
 found, and so for a season the English exhi- 
 
3 
 
 bitions shewed a large proportion of white coiffed 
 women, and men with long hair and short coats, 
 as well as the fishing folk and the harbours and 
 fishing villages of Brittany. 
 
 In the course of time the English students 
 began to feel that after all they were English and 
 should seek subjects in their own land, therefore 
 they returned and began looking about for their 
 natural sustenance. Some browsed about on the 
 green pastures of the Midlands, or the great downs 
 of the South. Some feeling the need of solitude 
 went by themselves to quiet villages and hamlets. 
 Some, actuated perhaps by the same reason, 
 made London their home. The Scotsmen (in 
 some cases) returned to Scotland and discovered 
 Glasgow, which the brillance of their work almost 
 saved from atmospheric gloom. 
 
 But the most characteristic outcome of this 
 sojourn in France was the Artistic settlement of 
 West Cornwall. Here the students found some- 
 thing very much akin to what had roused their 
 first enthusiasm, and first enthusiasms count for 
 much. True, there were no white coiffed women 
 or men in accordion-pleated breeches. The 
 costume of the Cornish working folk is common- 
 place enough and does scant justice to their good 
 looks, and ill accords with their toilsome life. 
 Nevertheless there are many points of similarity 
 between the life on the two promontories of 
 Finisterre and Lands End. The granite built 
 houses straggling down the granite cliffs to the 
 little harbour, where the boats lie in ordered ranks 
 with festoons of nets between the masts, a 
 blue gossamer in Brittany, a brown veil in 
 
4 
 
 Cornwall. While the fish, the staple of all the 
 ndustry, is the same, the far-wandering, appetite- 
 provoking, emergency- meeting Sardine! To most 
 of us bred in a hermetically sealed tin, from which 
 he emerges (not without compulsion) out of his 
 native element of olive oil. But the sardine is very 
 own brother to the Cornish pilchard, remaining 
 smaller so as to be able to get into the tin boxes. 
 The pilchard too, is destined to wander ; he is 
 pickled, and sent into the south to serve as Lenten 
 fare in Italy, and, no doubt, to provoke a Lenten 
 thirst. Then there is the sea that unites and 
 divides the two people, the free open sea not 
 cowed by the dominating nature of Britannia's 
 rule, as it is further up the channel, but the fresh, or 
 rather salt sea tearing in from the Atlantic, white 
 and angry or sunny and smiling, surging and 
 resurging upon the granite cliffs, or carving wide 
 bays of sandy beach. 
 
 The life of fisher folk has in it a sense of the 
 elemental, which gives prominence to the primary 
 necessities of existence, the thin partition between 
 life and death ever insists upon itself, and these 
 big solemn inevitable facts react upon the common- 
 place of their surroundings and clothe them with 
 pathos, while the very commonplace gives a sense 
 of reality to the tragedy or tragic setting of their 
 lives that brings them home, at least to us, more 
 perhaps than the white coifs and picturesque 
 dress of the Breton. 
 
 It would be a poor compliment to Cornwall to 
 say that its likeness to Brittany was the sole 
 cause of its choice as a home for artists ; sympathy 
 with the aims of the first comers drew others, 
 
5 
 
 friendship had its share in forming the colony and 
 a gentle temperature fostered the acclimatization 
 of these choice exotics. 
 
 But above all it would be hard to find greater 
 variety of subject in narrower compass than is to 
 be found in this slim land of Cornwall — sheltered 
 coombes where the trees hide themselves from the 
 sea winds, fields of narcissi and wall-flower on 
 sunny slopes, whose blooms load the air with 
 perfume and waggons with freight ; moors of 
 gorse and heather, where great stones piled by 
 the mysterious race of an impenetrably ancient 
 day help the country folk to fabulous lore. Up- 
 land farms fenced with lichen spattered rocks and 
 gorse, homesteads of whitewashed granite, the 
 brown plough land where all day long the teams 
 make a corduroy on the sloping fields, over which 
 the white gulls whirl and scream to their brethren 
 on the restless sparkling waves below. 
 
 These and a hundred other motives give this end 
 of England quite ample reason for all the artists 
 that have come to it, and the motives, which they 
 have found are wide-reaching, oftentimes trans- 
 cending the narrow land which gave them birth, 
 for the Cornish painter is not under any pains or 
 penalties to remain either in body or mind for 
 ever in the Duchy, delectable though it be. 
 
 He makes excursions into the world as it is 
 to-day, and sometimes as it was, or more truly as 
 he would fain it had been. He is generally a 
 cosmopolitan with no narrow boast of localism — 
 often a foreigner in the sense of nationality but he 
 paints his own letters of nationalization, and very 
 soon the idea of foreigner is lost in the unity of 
 artistic sympathy. 
 
6 
 
 These various types and idiosyncrasies hailing 
 from far distant homes and antecedents tend to 
 help the Cornish Art to great variety, so that, 
 though mostly painted within the sound of the 
 waves that break upon the Cornish coast, the 
 pictures that come from these half amphibious 
 studios are often far enough in conception from 
 the place of their nativity. 
 
 So these various things contributed in their 
 several degrees towards the bringing together of 
 the Cornish colonies of painters. Newlyn, St. 
 Ives, Falmouth, Sennen and Polperro have all 
 made themselves known and felt in numberless 
 exhibitions, but this is the first attempt in any 
 London gallery to adequately express the full 
 meaning of what has been called, perhaps inac- 
 curately, "the Cornish School," and though it 
 has been impossible to obtain the very best and 
 most characteristic work of some few of the 
 artists yet, on the whole, this Show exemplifies 
 the full flower of Cornish artistry. 
 
 NORMAN GARSTIN. 
 
WHITECHAPEL ART GALLERY, 
 
 HIGH STREET, WHI1 ECHAPEL. 
 
 SPRING EXHIBITION, 1902. 
 
 CATALOGUE. 
 
 NOTE.— The Asterisk (*) in front of the title denotes that the 
 picture is "lent by the Artist." 
 
 1 -The Shower. 
 
 By Louis Grier (St. Ives). 
 
 2 *" Westward! 
 
 By Lionel Birch (Newlyn). 
 
 A silver stream shall roll his waters near, 
 Gilt with the sunbeams here and there ; 
 
 On whose enamel'd bank I'll walk 
 And see how prettily they smile, and hear 
 
 How prettily they talk. 
 
 Ah, wretched, and too solitary, he 
 Who loves not his own company ! 
 
 He'll feel the weight of 't many a day, 
 Unless he call in sin or vanity 
 
 To help to bear 't away. 
 
 3 A Spring Morning. 
 
 By Arthur Tanner (Newlyn). 
 Lent by A. H. T. Hayes, Esq. 
 
 4 *Morn. 
 
 By Arthur Meade (St. Ives). 
 
8 
 
 5 *0'er Hill and Dale. 
 
 By Arthur Meade (St. Ives). 
 
 6 *A Portrait. 
 
 By Sam G. Enderby. 
 
 7 -Portrait of Miss Alexandra Forbes 
 
 Forbes. 
 
 By Mrs. Constance M. Birch (Newlyn). 
 
 8 *The Peaceful Vale. 
 
 By Arthur Meade (St. Ives). 
 
 9 *A Cornish Fish Market. 
 
 By Mouat Loudan. 
 
 A familiar Cornish scene. In the streets, full of fish, 
 a sale is going on. The official, with pencil firmly 
 grasped in one hand and note book in the other, is full 
 of importance. The fishermen look on with a sort of 
 aristocratic indifference to the trading side of their 
 profession. Contrast the importance of the official 
 with that of the old man who has done with all that. 
 There are the usual loafers, the usual working girl, 
 and the usual weather-beaten houses. 
 
 10 ^Summer Night. 
 
 By J. Noble Barlow (St. Ives). 
 
 11 "Two Love Stories. 
 
 By Sam G. Enderby. 
 
 12 Ecce Agnus Dei. 
 
 By A. Chevallier Tayler. 
 
 Lent by the Corporation of Liverpool. 
 
 The girls have come to their first Communion. 
 The old priest, full of light, looks at them as a father. 
 The occasion does not affect all the girls in the same 
 way ; one seems curious, another is overwhelmed by 
 memory, the one at the back looks as if she had 
 caught the sight of a vision, another seems only 
 dreaming. The picture suggests that the deepest 
 passions are working in some of those pale, shadowy 
 figures. 
 
9 
 
 13 La Vie Boulonnaise. (Departure of 
 
 the fishing fleet.) 
 
 By A. Chevallier Tayler. 
 
 Lent by the Corporation of Birmingham. 
 
 Cornish people and French people live across the 
 seas, and they are alike fishermen, but how different 
 the houses and the dress. Here the artist gives the 
 bustle of the departure — the last words of the young, 
 the thoughtful looks of the old, the gossip which 
 follows close upon all such events. There is a cleanli- 
 ness about the scene to which we are not used in 
 England. 
 
 14 A Summer Dinner Party. 
 
 By A. Chevallier Tayler. 
 Lent by Charles G. Fothergill, Esq. 
 
 This is an everyday scene of modern life, but the 
 artist has given it a charm by the contrast of lights, 
 the blue light of summer evening mingling with the 
 lamp-light, which shines on the white of the walls and 
 table-cloth. 
 
 15 *" Morning." 
 
 By Alfred East, A.R.A. 
 
 Give to me the life I love, 
 
 Let the lave go by me, 
 Give the jolly heaven above 
 
 And the byway nigh me. 
 Bed in the bush with stars to see, 
 
 Bread I dip in the river 
 There's the life for a man like me, 
 
 There's the life for ever. 
 
 16 *In a Cornish Cottage. 
 
 By Harold C. Harvey (Penzance). 
 
 17 Disaster. 
 
 By Walter Langley, R.I. (Newlyn). 
 Lent by Sir J. Holder, Bart. 
 
 Whether in calm or storm the lives of the fisher folk 
 are never far removed from sorrow. The wives behind 
 the feeble shelter of the pier are looking for their 
 husbands' boat caught in the storm. All are full of 
 fear, but the face of the woman in the front shows 
 she has learnt the worst. 
 
IO 
 
 18 " Never morning wore to evening but 
 some heart did break." 
 
 By Walter Langley, R.I. (Newlyn). 
 Lent by Mrs. G. E. Pugh-Cook. 
 
 And now the sun had stretched out all the hills, 
 And now was dropt into the western bay. 
 
 The sea looks quiet enough with the path of light 
 shining across to the Lizard headland, but the fisher 
 girl sits by her widowed mother mourning for some 
 sailor who has gone from Newlyn harbour never to 
 return. 
 
 At first the peace of evening seems to contrast 
 cruelly with the girl's despair, but the sorrowful 
 sympathy in the mother's face bridges the gulf between 
 the agony of the individual soul and the serenity of 
 nature. 
 
 19 -The Hidden Moon. 
 
 By Mrs. Greenfield (St. Ives). 
 
 20 *Penzance Harbour. 
 
 By Harold C. Harvey (Penzance). 
 
 21 Derelidl. 
 
 By W. Ayerst Ingram, R.B.A. (Falmouth). 
 Lent by G. J. Ingram, Esq. 
 
 There is a tragedy about this fine old ship as it 
 founders that is all the more striking for the bright 
 colours of the sun-lit sky and sea. 
 
 22 Evening. 
 
 By W. Ayerst Ingram. R.B.A. (Falmouth). 
 Lent by the Corporation of London. 
 
 O to sail in a ship 
 
 To leave this steady unendurable land 
 
 To leave the tiresome sameness of streets, the side 
 walks and the houses, 
 
 To leave you, O you solid motionless land, and enter- 
 ing a ship, 
 
 To sail and sail and sail ! 
 
 23 ^Springtime. 
 
 By Miss S. E. Whitbhoi?se (St. Ives). 
 
II 
 
 24 *Cornish Sea. 
 
 By Miss Rosenberg (St. Ives). 
 
 25 *Sunset in the Forest. 
 
 By Mrs. W. D. Webb Robinson (Si. Ives). 
 
 Happy is England ! I could be content 
 To see no other verdure than its own ; 
 To feel no other breezes than are blown 
 Through its tall woods with high romances blent. 
 
 26 *A Shower. 
 
 By Sydney H. Carr (St. Ives). 
 
 27 *The Coming of Day. 
 
 By H. S. Tuke, A.R.A. (Falmouth). 
 
 28 *On the Cotswolds. 
 
 By Fred Milner (St. Ives). 
 
 29 *Amberley Chalk Pit. 
 
 By Fred Milner (St. Ives). 
 
 30 *A Ground Sea. 
 
 By Fred Milner (St. Ives). 
 
 31 "Hydrangeas. 
 
 By Mrs. Alice Westlaks. 
 
 32 * Open Pastures. 
 
 By Fred Milner (St. Ives). 
 
 Therefore am I still 
 A lover of the meadows and the woods 
 And mountains ; and of all that we behold 
 From this green earth of all the mighty world. 
 Of eye and ear, both what we half create, 
 And what perceive ; well pleased to recognise 
 In nature and the language of the sense, 
 The anchor of my purest thoughts, the nurse, 
 The guide, the guardian of my heart, and soul 
 Of all my moral being. 
 
12 
 
 33 ^Chrysanthemums. 
 
 By Mrs. Caroline Gotch. 
 
 34 -St. John's Procession, Laren, Holland. 
 
 By S. C. Boschreitz (St. Ives). 
 
 No one would believe that this picture represents 
 a scene of to-day. Yet anyone who visits the Dutch 
 village of Laren on St. John's Day may see the people 
 in their quaint dresses going forth with their priest to 
 bless the young corn just as is represented in the 
 picture. 
 
 The religion of primitive man was almost wholly 
 concerned with ceremonies to make the earth pro- 
 ductive ; and the same idea survives amongst us, not 
 only in observances that are still religious, but in 
 May-day festivities, carnivals, and such like festivals, 
 which were all originally appeals by our rude fore- 
 fathers to the Divine Powers that the earth might 
 yield food in abundance. 
 
 35 -Reflections. 
 
 By Mrs. Alice Westlake. 
 
 36 " Doomed." 
 
 By E. G. Fuller (St. Ives). 
 Lent by General Fuller. 
 
 37 "At a Breton Farm. 
 
 By Mrs. M. D. Webb Robinson (St. Ives). 
 
 Not in Cornwall alone do we find quaint old-world 
 scenes. In Brittany, in the north-west corner of France, 
 the peasants, with their sailor-blue clothes and wooden 
 shoes, belong to the same Celtic race as the old inhabi- 
 tants of Cornwall. They still speak a Celtic dialect 
 akin to the old language that was spoken among the 
 Cornish a few generations ago. 
 
 38 "The Shrine. 
 
 By Mrs. M. D. Webb Robinson (St. Ives). 
 
 39 "Boleigh, under Snow (Moonlight). 
 
 By S. J. Lamorna Birch (Newlyn). 
 
 40 * Springtime in Lamorna Valley. 
 
 By S. J. Lamorna Birch (Newlyn) 
 
13 
 
 41 *Cottage on the Hillside. 
 
 By S. J. Lamorna Birch (Newly n). 
 
 42 ^Silvery Night. 
 
 By S. J. Lamorna Birch (Newlyn). 
 
 43 The Cloud. 
 
 By S. J. Lamorna Birch (Newlyn). 
 Lent by Mrs. Hubbuck. 
 
 I bring fresh showers for the thirsting flowers 
 
 From the seas and the streams ; 
 I bear light shade for the leaves when laid 
 
 In their noonday dreams. 
 From my wings are shaken the dews that waken 
 
 The sweet buds every one, 
 When rocked to rest on their mother's breast, 
 
 As she dances about the sun. 
 I wield the flail of the lashing hail, 
 
 And whiten the green plains under ; 
 And then again I dissolve it in rain, 
 
 And laugh as I pass in thunder. 
 
 44 *A Jew of Jerusalem. 
 
 By G. Sherwood Hunter, R.B.A. (Newlyn). 
 
 The portrait of some Rabbi, learned in the law. In 
 accordance with the Levitical rule the corners of his 
 hair and beard may not be rounded, and he wears the 
 44 peoth " or long curls at the ears. 
 
 45 *A Yarn. 
 
 By G. Sherwood Hunter, R.B.A. (Newlyn). 
 
 46 *Volendam Pilgrims ; The Return from 
 
 Kevelaer. 
 
 By G. Sherwood Hunter, R.B.A. (Newlyn). 
 
 Though the Dutch fought so bravely for Protestant- 
 ism against the persecutions of the Spaniards, 
 many Dutch villages have remained Roman Catholic. 
 Here we see a procession of peasants returning by 
 night from a pilgrimage to a famous shrine. 
 
 47 "Searching the Scriptures (North 
 
 Holland). 
 
 By G. Sherwood Hunter, R.B.A. (Newlyn). 
 
14 
 
 48 *The Place of Wailing, Jerusalem. 
 
 By G. Sherwood Hunter, R.B.A. (Newlyn). 
 
 The "Place of Wailing" is the western wall of the 
 ruins of the old Temple of Herod. Every Friday the 
 Jews are allowed by their Turkish rulers to come to 
 the sacred stones, where, wailing for the departed 
 greatness of their race, they pray for the time when a 
 new temple shall arise to be the centre of the new 
 glories of the chosen people once more restored. 
 
 The Lord will have mercy on Jacob yet, 
 And again in his border see Israel set, 
 When Judah beholds Jerusalem. 
 The stranger-seed shall be joined to them : 
 To Jacob's house shall the Gentiles cleave, 
 So the prophet saith, and his sons believe. 
 
 Holy Cross Day. 
 
 49 *Queen Victoria's Jubilee Procession in 
 
 a Cornish Village. 
 
 By G. Sherwood Hunter, R.B.A. (Newlyn). 
 
 At first the picture looks like a study in colour — 
 of the blue and gold made by sky and fire ; but as we 
 look we enter into the thoughts of these children — their 
 sense of impatience, their interest, their pleasures. 
 Each one walks like a soldier of the Queen. 
 
 50 "The Angelus, Volendam, Holland. 
 
 By G. Sherwood Hunter, R.B.A. (Newlyn). 
 
 The old peasant has stopped his work and uncovered 
 his head, as he hears the bell which rings in the parish 
 church at the consecration of the mass. He cannot 
 be present at the service but> for the moment, he joins 
 in it in spirit. 
 
 51 "Funeral of a Fisherman's Child, Volen- 
 
 dam, North Holland. 
 
 By G. Sherwood Huntee, R.B.A. (Newlyn). 
 
 A pathetic little procession follows the Dutch fisher- 
 man who carries the body of his dead child to burial. 
 Their caps are quaint and their clogs clumsy, but their 
 grief is none the less touching. 
 
 52 An Old World Village (Brookhouse 
 
 Church, near Lancaster). 
 
 By S. J. Lamorna Birch (Newlyn). 
 Lent by Frank Storey, Esq. 
 
15 
 
 53 *A City of the Sea— St. Ives Bay. 
 
 By Frank L. Emanuel (St. Ives). 
 
 54 *In the Harbour, St. Ives. 
 
 By Miss F. Horn (St. Ives).' 
 
 55 ^Terpsichore in the Slums. 
 
 By M. Jameson (St. Ives). 
 
 Terpsichore, the Muse of dancing in ancient times, 
 still has her devotees even in the crowded city streets. 
 
 The girl has put on her shoes, and in the love of her 
 art, has forgotten everything while she dances to the 
 indifferent organ. 
 
 56 Tally Ho ! 
 
 By C. T. Garland (Newlyn). 
 
 Lent by the proprietors of the " Illustrated London 
 News." 
 
 57 "Venice: The White Ship. 
 
 By W. H. Y. Titcomb (St. Ives). 
 
 This picture shows us the lagoon in which Venice is 
 built, with the pink marble palace of the Doges rising 
 to the right of the Austrian Lloyd steamer which lies 
 ready to start for Trieste. To the left the Grand 
 Canal opens. Behind rise the tower and domes of 
 St. Mark's. 
 
 58 ^Venice in Mist. 
 
 By W. H. Y. Titcomb (St. Ives). 
 
 Another view in Venice, showing the Island of the 
 Giudecca and the Church of the Redeemer. 
 
 In Venice all is colour. The sky reflects its light 
 on the still waters of the lagoon, and the narrow line 
 of marble buildings that separates sky and water is 
 even fuller of colour than either. 
 
 59 "Marguerites. 
 
 By W. H. Y. Titcomb (St. Ives). 
 
 Here the artist has tried the difficult task of render- 
 ing that blaze of colour which the spring sets aflame 
 in our meadows. 
 
 This is not the Pre-Raphaelite method of painting 
 each detail with minute care. Standing close we can 
 
i6 
 
 hardly tell they are meant to be flowers, but standing 
 further off we see the painter has achieved the larger 
 truth of the effedl such a meadow would have on our 
 eye as a whole. 
 
 Over the shoulders and slopes of the dune, 
 I saw the white daises go down to the sea, 
 
 A host in the sunshine, an army in June, 
 
 The people God sends us to set our heart free. 
 
 60 Portrait of Capt. T. Rowe Harry, 
 
 A strong, vivid portrait of the Mayor of the old 
 Cornish town of St. Ives, in his chain and rich robe 
 of office. 
 
 By W. H. Y. Titcomb (St. Ives). 
 Lent by the Mayor of St. Ives. 
 
 61 * Venice : Grey Day. 
 
 By W. H. Y. Titcomb (St. Ives). 
 
 The only two broad canals of Venice meet at the 
 Church of the Salute, the domes of which are in the 
 centre of this picture. The church was built as a 
 thankoffering for the cessation of the plague in the 
 17th century. It is curious to think that this church, 
 which is the feature we remember best in Venice, 
 was never seen by the great Venetians. Time brings 
 us some recompenses for all it destroys. 
 
 62 *Hayle Ferry. 
 
 By J. H. Titcomb (St. Ives). 
 
 63 "Springtide. 
 
 By Mrs. J. A. Titcomb (St. Ives). 
 
 We cannot help feeling the warm breath of Spring 
 as it comes over the sea, almost as a friendly presence. 
 Botticelli, the great Italian artist, painted it so. Here 
 we have these gay children, who have caught a calf 
 and decorated it with a garland, marching in a pro- 
 cession with flags in honour of the newly-returned 
 Spring. 
 
 64 *Off Gibraltar. 
 
 By A. M. Talmage (St. Ives). 
 
 The Rock of Gibraltar, as seen from the sea, with 
 the mountains of Spain seen dimly behind. How 
 impressive this bare, mighty rock is, as it stretches 
 out towards the Atlantic and Africa, the last bit of 
 Europe — and a British bit. 
 
i7 
 
 65 *The White Cow. 
 
 By A. M. Talmage (St. Ives). 
 
 66 *The Moorland Pool. 
 
 By Algernon Talmage (St. Ives). 
 
 67 "Light lingers on the Lowlands. 
 
 By Louis Grier (St. Ives). 
 
 The mission of the artist is to reveal beauty. Most 
 people would have found no picture in such a 
 scene — a dull plain and a few ragged trees. The artist 
 has made us feel the beauty of distance, and the glow 
 which can be given to the dullest earth. 
 
 68 -Charity (for the Sick and Needy). 
 
 By Flora M. Keid. 
 
 Religion and trade are both suggested. There is 
 religion in the beautiful church door, there is trade in 
 the market. The two are brought together as the nun 
 begs of the trader a gift for the sick and needy. 
 
 The artist has given a sort of hush to the whole 
 scene, and there is equal dignity in the giver and 
 receiver of alms. 
 
 69 *The Widow. 
 
 By Flora M. Reid. 
 
 70 -Poor Motherless Bairns. 
 
 By Flora M. Reid. 
 
 71 *The Smugglers (Cornwall, seventy 
 
 years ago). 
 By John R. Reid. 
 
 The Cornish coast offered great opportunities for 
 smuggling, and the Cornish fishermen had the daring 
 necessary for the trade. 
 
 The captured smugglers are shown in the picture 
 brought to the village by armed sailors. Their faces 
 bear marks of the fight. The old man's anger is 
 yielding to the child's sympathy. The young mother 
 to the right of the picture is intensely moved, and so 
 is the old woman behind her. Contrast with these 
 the snarling old hag to the left, who is thinking only 
 of the excisemen's capture as depriving her of a means 
 
i8 
 
 of gain, and the hardened ruffianism of the smuggler 
 in the background. 
 
 The pi&ure raises the question — which is stronger, 
 love of money or human love ? The strong contrast 
 in the colouring of the picture and the crowded faces 
 suggest the struggle which is going on in the minds of 
 the people. 
 
 72 Primitive Methodists, St. Ives. 
 
 By W. H. Y. Titcomb (St. Ives). 
 Lent by the Corporation of Dudley. 
 
 A scene in the chapel of St. Ives. The young 
 minister is praying with a fervour that makes his older 
 hearers heedless of the children's play. Wesley's 
 preaching was received with enthusiasm in Cornwall, 
 where the Celtic strain in the people made them 
 welcome his more emotional form of worship. 
 
 73 "Lights that Guide and Guard. 
 
 By Louis Grier (St. Ives). 
 
 As the banks fade dimmer away, 
 
 As the stars come out, and the night-wind 
 
 Brings up the stream, 
 
 Murmurs and scents of the infinite sea. 
 
 74 -Paris Flower Market (under the 
 
 awnings). 
 
 By Stuart Hobkirk (St. Ives). 
 
 75 Garlic Blossom. 
 
 By Stuart Hobkirk (St. Ives). 
 Lent by Beale Adams, Esq. 
 
 The flower of garlic is beautiful, and in a picture 
 we can escape its smell. Everyone must have noticed, 
 in passing nursery gardens, the beautiful effect of 
 masses of the flowers of the same plant, blossoming all 
 together in one patch. 
 
 76 "Paris Flower Market. 
 
 By Stuart Hobkirk (St. Ives). 
 
 77 *St. Ives Bay. 
 
 By Stuart Hobkirk (St. Ives). 
 
 78 *In the Vale of Lanherne : Winter. 
 
 By J. L. Henry (St. Ives). 
 
*9 
 
 79 *Paris Flower Market. 
 
 By Stuart Hobkirk (St. Ives). 
 
 The flower markets of Paris are beautifully arranged 
 in the public sheds. The sellers know how to set off 
 the flowers so as to tempt the buyers. 
 
 80 *Paris Flower Market. 
 
 By Stuart Hobkirk (St. Ives). 
 
 81 The Fish Fag. 
 
 By W. B. Fortescue (St. Ives) 
 Lent by the Corporation of Southport. 
 
 82 ^Twilight in the Harbour. 
 
 By J. L. Henry (St. Ives). 
 
 83 ^Rising Tide at Mawgan Porth. 
 
 By J. L. Henry (St. Ives). 
 
 84 *The Seine-Net. 
 
 By A. J. Warne Browne. 
 
 This picture shows a curious scene common in the 
 pilchard fishing in Cornwall. The fishermen go out 
 to where they find the shoal of pilchards and surround 
 it with nets, and then drag them near to shore. The 
 great fish barges are brought up to the side of the net, 
 the net is raised, and the pilchards are shovelled out 
 in basket-loads into the barges in a very short time. 
 
 85 Christmas Greetings. 
 
 By C. T. Garland (Newlyn). 
 
 Lent by the proprietors of the " Illustrated London 
 News." 
 
 86 *A Fair Haven, 
 
 By Louis Grier (St. Ives). 
 
 The rock-bound coast of Cornwall allows of few 
 spacious harbours. There are, however, many little 
 inlets, often hard or dangerous to enter, but welcome 
 enough to the fishing boat or small coasting vessel 
 flying from the rising storm. There is no level space 
 to spare, so the houses have to climb the hill, piled 
 one above the other. 
 
20 
 
 87 ^Friendly Converse Sweetens Toil. 
 
 By Fred Millard, R.B.A. 
 
 This is a harvest scene on a farm by the sea. The 
 golden corn has just been cut. 
 
 'Tis merry when the brawny men 
 
 Da come to reap it down, O, 
 Wher glossy red the poppy head 
 
 'S among the sta'ks so brown, O. 
 
 88 *Lelant Estuary. 
 
 By Beale Adams (St. Ives). 
 
 89 *Hayle River. 
 
 By Beale Adams (St. Ives). 
 
 90 ^Morning. 
 
 By Beale Adams (St. Ives) 
 
 91 *A Fine Night. 
 
 By Folliott Stokes (St. Ives). 
 
 92 ^Moonlight. 
 
 By A. J. W. Burgess (St. Ives). 
 
 93 *Spring. 
 
 By F. W. Brooke (St. Ives) 
 
 This spring landscape recalls the words of the 
 Dorsetshire poet, Barnes. 
 
 When wintry weather's al a-done, 
 An' brooks da sparkle in the zun, 
 An' naisy buildin rooks da vlee 
 Wi' sticks toward ther elem tree, 
 An' we can hear birds zing, and zee 
 Upon the boughs the buds o' Spring, 
 Then I don't envy any king 
 A-vield wi' health an' zunsheen. 
 
 94 -Thistledown. 
 
 By F. W. Brooke (St. Ives) 
 
 95 *A Cornfield. 
 
 By F. W. Brooke (St. Ives). 
 
21 
 
 g6 The Wooing. 
 
 By Ralph Todd (Newlyn) 
 Lent by Mrs. Harry Keep. 
 
 97 ^Running for Shelter. 
 
 By E. Tudor Lane (St. Ives). 
 
 98 " My heart, my heart is over the sea." 
 By Ralph Todd (Newlyn). 
 
 Lent by Samuel Keeley, Esq. 
 
 99 *Mersea City (Mersea Isle, Essex) 
 
 By R. H. Carter. 
 
 This is not much like a city of modern times, but 
 Mersea was an old port in earlier times, and has 
 decayed with the increased size of ships and the 
 introduction of steam. Mersea is an island on the 
 coast of Essex, and is more like a bit of Holland than 
 of England. This island is surrounded by a dyke to 
 keep out the high tides, and is just like a Dutch 
 " polder," the name given in Holland to the low, 
 grassy island which the energy of the people has re- 
 claimed from the sea. The scene of Baring Gould's 
 well-known novel " Mehalah " is laid in Mersea island. 
 The old Victory Inn recalls the stirring times of 
 Blake and Van Tromp, when England was righting 
 Holland for the mastery of the seas. 
 
 100 *A Wind-swept Wessex Valley. 
 
 By E. I. Blackburne. 
 
 101 *Snow Scene. 
 
 By I. W. Ashton (St. Ives). 
 
 102 *Lelant Estuary. 
 
 By Fred Milner (St. Ives). 
 
 103 *Newlyn Bridge. 
 
 By Harold C. Harvey (Penzance). 
 
 104 ^Motherhood. 
 
 By Mrs. Caroline Gotch. 
 
 It was the relation of mother and child that the 
 Italian painters delighted to paint in their many pictures 
 
22 
 
 of the Madonna. Here we have a modern pi&ure of 
 mother and child, which may be compared with the 
 ideal the Italian painters were always seeking to 
 render afresh. 
 
 105 *The Bashful Suitor. 
 
 By F. M. Evans (Penzance). 
 
 106 *A Tale of the Wars. 
 
 By F. M. Evans (Penzance). 
 
 107 *The Water Baby. 
 
 By John D. Mackenzie (Newlyn). 
 
 108 *The Coast of the Syrens. 
 
 By Julius Olsson (St. Ives). 
 
 The old Greek legend said that certain rocks in the 
 sea, near Naples, were haunted by water maidens 
 who, by their sweet singing, lured mariners to ship- 
 wreck on their rocks. Ulysses, to save his men, filled 
 their ears with wax, and had himself tied to the mast. 
 Here we see the Syren maidens singing in vain to his 
 crews. 
 
 109 *The Squall. 
 
 By Julius Olsson (St. Ives). 
 
 Coleridge might have thought of such a sea filling 
 with its inspiration even the blind Homer, 
 
 "who on the Chion strand, 
 By those deep sounds possessed with inward light, 
 Beheld the Iliad and the Odyssey 
 Rise to the swelling of the voiceful sea." 
 
 no Homeward! 
 
 By Arnesby Brown (St. Ives). 
 
 Lent by the Corporation of Preston, Lanes. 
 
 " Now came still evening on, and starlight gray 
 Had in her sober livery all things clad.'' 
 Even the cattle seem to feel the solemn influence 
 of the hour as they make their way, silent and un- 
 bidden, to the well-known gate. 
 
 in *Cornish Ground Sea. 
 
 By Julius Olsson (St. Ives). 
 
 The sight of great Atlantic waves, such as that 
 which, in the picture, raises its lofty head from the 
 deep blue sea, is one of the chief charms of the Cornish 
 coast. 
 
23 
 
 112 *Sunlit Sea. 
 
 By Julius Olsson (St. Ives). 
 
 There is a pleasure in the pathless woods, 
 
 There is a rapture on the lonely shore, 
 There is society where none intrudes, 
 
 By the deep sea, and music in its roar ; 
 
 I love not man the less, but nature more 
 From these our interviews, in which I steal 
 
 From all I may be — or have been before, 
 To mingle with the universe, and feel 
 What I can ne'er express, yet cannot all conceal. 
 ****** 
 
 Roll on, thou deep and dark blue ocean — roll ! 
 
 113 ^Fresh Day off the Needles. 
 
 By Julius Olsson (St. Ives). 
 
 114 -Study of Woodland. 
 
 By H. Harewood Robinson (St. Ives). 
 
 115 "Study of Woodland. 
 
 By H. Harewood Robinson (St. Ives). 
 
 Yet here is peace for ever new ! 
 When I who watch them am away, 
 Still all things in this glade go through 
 The changes of their quiet day. 
 
 116 *Wood and Water, 
 
 By H. Harewood Robinson (St. Ives). 
 
 117 -Study of River and Hanging Wood. 
 
 By H. Harewood Robinson (St. Ives). 
 
 118 ^Between the Wood and the Sea. 
 
 By H. Harewood Robinson (St. Ives). 
 
 Sunshine and moonlight, mist and smoke, forest and 
 river make a different workshop to those found in 
 London. The girls are picking up and burning weeds, 
 and preparing their little field for sowing the corn. 
 
 119 -Moonlight: St. Ives. 
 
 By Mrs. Chadwick (St. Ives). 
 
24 
 
 120 *The Mill-Stream, Caudebec. 
 
 By Mrs. Moffatt Lindner (St. Ives). 
 
 A mill sluice in the old French town of Caudebec, 
 with fine old-timbered houses rising from the rushing 
 water. 
 
 121 *A Toiler. 
 
 By Fred Hall. 
 
 The old labourer is returning home with his burden 
 of firewood and his faithful dog. It is the peaceful 
 twilight hour when work is over and the lights of 
 home begin to shine out in the quiet country-side. 
 
 122 *Pixy-led. 
 
 By Fred Hall. 
 
 Fairy lore still lingers. This little gipsy maiden 
 is being drawn on by the pixies she fancies she 
 sees dancing in one of those rings which we notice 
 outlined in darker grass on the fields. 
 
 123 Sleeping Waters (St. Ives Bay). 
 
 By Moffat Lindner (St. Ives;. 
 
 Lent by J. Henry Henshall, Esq , R.W.S. 
 
 A view of St. Ives Bay and headland at that lovely 
 moment between the lights, when the lamps shine out 
 with most effect. Such exquisite effe&s of light and 
 line are rarely seen outside the works of the Japanese 
 artists. 
 
 124 Clouds at Sunset, after Rain. 
 
 By Moffat Lindner (St. Ives). 
 Lent by Henry S. Roche, Esq. 
 
 125 "Evening Glow, Dordrecht. 
 
 By Moffat Lindner (St. Ives). 
 
 One might almost say this was Venice, so radiant is 
 the light reflected on the water, but the colours are 
 cruder, the boats and houses quainter. It is a scene 
 at Dordrecht, in Holland, with the heavy Dutch boats 
 sailing up the broad river. 
 
 126 "The Silent River. 
 
 By Moffat Lindner (St. Ives). 
 
25 
 
 127 *The Storm Cloud. 
 
 By Moffat Lindner (St. Ives). 
 
 Every one cannot see snow mountains, but effects 
 quite as fine as any Alpine scenes are often missed, 
 because we are so used to the clouds above us, and 
 look without seeing. This splendid white thundercloud 
 is hanging over the mouth of the Avon at Christchurch 
 in Hampshire. 
 
 On the right, is Hengestbury Head and, behind, 
 the white chalk cliffs of the Isle of Wight. 
 
 Art is said to be selection. In this picture the 
 white sails, the white cliffs and, above all, the white 
 cloud, with its reflection in the water, give a strange 
 charm and beauty to a scene we might pass by with- 
 out notice at other moments. 
 
 128 Moonlight. 
 
 By Moffat Lindner (St. Ives). 
 Lent by Henry S. Roche, Esq. 
 
 129 An Accident. 
 
 By Marianne Stokes. 
 Lent by G. Duckworth, Esq. 
 
 This picture and the three next it are brilliant in 
 colour. They are painted, like the pictures of the 
 early Italian Masters, in tempera, that is to say, the 
 colours are mixed with yolk of egg instead of with oil. 
 
 The little Dutch maiden hugging her gingerbread 
 horse has dropped the green jug and is weeping over 
 her carelessness. 
 
 130 Little Brother and Little Sister. 
 
 By Marianne Stokes. 
 Lent by Mrs. Adrian Stokes. 
 
 This is a picture of the boy who was turned into a 
 Fawn by his wicked stepmother, and this is how it 
 happened. A little brother and sister were made so 
 unhappy by this cruel stepmother that they wandered 
 away from home into the woods. But the stepmother 
 was a witch and knew where the children were, and 
 determined to punish them, As the day grew hot, 
 the children felt very thirsty, and ran towards a 
 stream which they heard in the distance. But the 
 little sister heard the stream, as it chattered over 
 the pebbles, saying 
 
 " Who drinks of me 
 
 A Fawn shall be/' 
 This the wicked stepmother had done by her witch- 
 craft. The girl cried out to her brother not to drink, 
 but he paid no heed and was changed into a little 
 brown fawn. 
 
26 
 
 The little sister plaited a collar of reeds for the 
 fawn and led it away through the woods till they 
 found a hut where they lived together. But when 
 the King's hunt swept through the wood with merry 
 sound of horns and dogs, the fawn must needs run out 
 to join the sport. One night the King and the hunters 
 followed the fawn so closely that they saw it knock at 
 the door of the hut. The King, when he saw the 
 beautiful maiden who opened the door, fell in love 
 with her, and asked her to be his Queen. So they 
 all rode away together and lived happily in the 
 King's palace. But the wicked stepmother was 
 furious at the good fortune which had befallen her 
 children, and tried in every wicked way to harm the 
 young Queen. But the King found her out and 
 ordered her to be put to death, and when the wicked 
 witch was dead, the spell was broken, and the little 
 brother regained his natural form. 
 
 131 The Net Mender. 
 
 By Marianne Stokes. 
 Lent by Mrs. Adrian Stokes. 
 
 A Dutch fisherman's wife in the picturesque muslin 
 cap of her province is mending her husband's net. On 
 the wall is a crucifix, and through the window can ba 
 seen the glow in the cottage across the street. 
 
 132 Friesland Orphan. 
 
 By Marianne Stokes. 
 Lent by Mrs. Westlake. 
 
 133 The Jug of Tears. 
 
 By Marianne Stokes. 
 
 Lent by Mrs. de la Penha. 
 
 This pi&ure of a German mother and her dead child, 
 now in heaven, illustrates a pretty legend, as the 
 German words tell us. The child holds the Jug of 
 Tears and tells the mother that every tear shed for 
 her makes the jug flow over and gives her no rest in 
 the grave or blessedness in heaven. So the mother 
 restrains her sorrow for her child's sake. 
 
 134 The Village Philharmonic. 
 
 By Stanhope A. Forbes, A.R.A. (Newlyn). 
 Lent by the Corporation of Birmingham. 
 
 The Cornish are a musical people, and here we see 
 the Newlyn Village Philharmonic Society practising. 
 
 The pi&ure is a fine study of contrasting lights. 
 The last pale gleam of the grey day comes in from the 
 
27 
 
 window, while the lamps throw their light on the 
 ruddy 'cello and the faces of the men. The room is of 
 the rudest, the people of the roughest, — boys from the 
 street, men from the mines and boats — yet everything 
 is penetrated by the power of music The bareness of 
 the room is forgotten and each face is transfigured. 
 
 135 "The Quarry Team. 
 
 By Stanhope A. Forbes, A.R.A. (Newlyn). 
 
 A splendid scene of every-day life in England. It is 
 is a picture of hard work done by strong animals ; but 
 it is also a picture full of poetry. There is something 
 akin to the grey sky in the thoughtful face of the man ; 
 there is a suggestion of human interest and of life, 
 other than the life of work in the scene ; there is hope 
 as well as thought. The sunset light is breaking 
 through the rain-clouds and lighting up the grey sky 
 and green land. An artist has always plenty of 
 subjects ready to his hand in wholesome country-life, 
 but a scene so typically English, in its quiet vigour 
 and soft fresh colouring, cannot fail to appeal specially 
 to English eyes. 
 
 136 *October. 
 
 By Stanhope A. Forbes, A.R.A. (Newlyn). 
 
 A Cornish village churchyard, Sancreed, near 
 Penzance. 
 
 The churches of Cornwall, built strongly, like its 
 cliffs, often stand in groves of trees. They suggest 
 therefore thoughts of strength and gentleness, of youth 
 and old age, of resistance and growth. 
 
 137 A Sandy Way. 
 
 By Adrian Stokes 
 Lent by L. Hirsch, Esq. 
 
 138 The Harbour, St. Ives. 
 
 By Adrian Stokes. 
 Lent by T. W. Hills, Esq. 
 
 139 Untrodden Peaks. 
 
 By Adrian Stokes. 
 Lent by L. Stokes, Esq. 
 
 140 Evening on the Kennet. 
 
 By Adrian Stokes. 
 Lent by Mrs. Mills* 
 
28 
 
 141 Marazion Marshes. 
 
 By Adrian Stokes. 
 
 Lent by Thos. L. Devitt, Esq. 
 
 142 Moonrise over the Dunes. 
 
 By Adrian Stokes. 
 
 Lent by Cbas. H. Moore, Esq. 
 
 143 -The Troubadour. 
 
 By Mrs. E. Stanhope Forbes (Newlyn). 
 
 For many centuries after the fall of the Roman 
 Empire, Europe suffered too much from the hordes 
 of barbarians that ravaged it for poetry or art to 
 flourish. But, at last, in the sheltered Provence, 
 where Roman institutions had suffered least, poets 
 began again to sing of love and the joys of spring. 
 These poets were called Troubadours, and we see one 
 singing, seated in a wood with his mandoline. These 
 minstrels strolled from castle to castle, playing to the 
 lords in the evenings after their fighting or hunting. 
 
 144 -Fir Trees. 
 
 By Mrs. E. Stanhope Forbes (Newlyn). 
 
 145 -The Fairy Story. 
 
 By Mrs. E. Stanhope Forbes (Newlyn). 
 
 146 -The Dream Princess. 
 
 By Mrs. E. Stanhope Forbes (Newlyn). 
 
 A young miller of old, in his ragged leathern hose 
 and jerkin, has fallen asleep to the droning music of 
 the water-wheel, and in his dream a princess in rich 
 array appears to stand and smile beside him. 
 
 This picture is curiously painted. Close to, it seems 
 all lines and spots, but, a little distance off, you find 
 these lines and spots serve to produce a truer effeft of 
 light and shade. 
 
 147 
 
 -The Pine Walk. 
 
 By Mrs. E. Stanhope Forbes (Newlyn). 
 
 148 
 
 *Iris. 
 
 By Mrs. E. Stanhope Forbes (Newlyn). 
 
 149 
 
 -Alec. Forbes. 
 
 By Mrs. E. Stanhope Forbes (Newlyn). 
 
29 
 
 150 * Apple Blossom. 
 
 By David Davies (St. Ives). 
 
 151 "Evening. 
 
 By David Davies (St. Ives). 
 
 152 "Martyrdom of St. Sebastian. 
 
 By Lowell Dyer (St. Ives). 
 
 St. Sebastian, the martyr, who was pierced by arrows 
 as a punishment for his conversion to Christianity, 
 was a favourite Saint with the older Italian painters, 
 who were glad of the chance the subjed gave them of 
 rendering the human figure. 
 
 This picture is an imaginative modern rendering of 
 the same subjedt. The Saint, with his wrapt gaze 
 fixed on heaven, is just being crowned by two angels 
 with the crown of martyrdom. 
 
 153 *An Angel. 
 
 By Lowell Dyer (St. Ives). 
 
 154 *Study for Descending Angel. 
 
 By Lowell Dyer (St. Ives). 
 
 155 -The Foreshore, Newlyn. 
 
 By R. T. Dick (Newlyn). 
 
 156 "Girl with Violin. 
 
 By Miss Lily Kirkpatrick (St. Ives). 
 
 157 "Christmas Eve. 
 
 By Stanhope Forbes, A.R.A. (Newlyn). 
 
 Christmas Eve at Penzance. It is a typical soft 
 Christmas in Cornwall, where the warm west winds 
 from the Atlantic bring rain rather than frost even 
 in winter. Here again, much of the beauty is due 
 to the effects of light. 
 
 The gleam from the church window, the faint light 
 of the moon, the lamp-light flashing on the barrow of 
 oranges contrasts with the dying light of the grey 
 day. 
 
 158 -Mother and Child. 
 
 By Miss Lily Kirkpatrick (St. Ives). 
 
 159 Portrait of Miss Howell. 
 
 By Norman Garstin (Penzance). 
 Lent by David Howell, Esq. 
 
30 
 
 160 *The Water-Gate. 
 
 By Norman Garstin (Penzance). 
 
 161 *Le Moulin de la Ville. 
 
 By Norman Garstin (Penzance). 
 
 This picture shows us an old French mill in the 
 growing twilight. 
 
 It, and the small picture by the side, give an 
 idea of the charm of French villages with their high 
 roofs of grey slate and quietly flowing rivers. 
 
 162 Her Signal. 
 
 By Norman Garstin (Penzance). 
 
 Lent by T. B. Bolitho, Esq. 
 
 The older woman, the sands of whose life are almost 
 run out, has fallen asleep, while the girl has seized the 
 moment to show the signal to the young, perhaps 
 forbidden, love outside. 
 
 Youth dreams a bliss on this side death, 
 It dreams a rest, if not more deep, 
 More grateful than this marble sleep ; 
 It hears a voice within it tell : 
 Calm's not life's crown, though calm is well, 
 'Tis all perhaps which man acquires, 
 But 'tis not what our youth desires. 
 
 163 *An Old House on the Elbe. 
 
 By Norman Garstin (Penzance). 
 
 164 *The Scarlet Letter. 
 
 By Norman Garstin (Penzance). 
 
 The subject of this picture is taken from Nathaniel 
 Hawthorne's powerful novel 44 The Scarlet Letter," 
 describing the life of the early " Pilgrim Fathers " in 
 America. 
 
 165 "Death the Bride. 
 
 By T. C. Gotch. 
 
 Perhaps the grim humour of the earlier painters, 
 like Holbein with his grotesque Dance of Death," 
 has added to our fears of death. Painters, like Watts, 
 have shown a nobler idea of Death. Here the artist 
 represents Death as a Bride, surrounded by the 
 beautiful sleep-bringing poppy blossoms. 
 
 When many a Chinese will change places with those 
 under sentence of death for a small bribe, when 
 Mohammedans gladly rush to death in hopes of para- 
 dise, the idea of a friendly Death, to be weloomed 
 rather than feared, is worthier of us Western peoples. 
 
31 
 
 166 *The Awakening. 
 
 By T. C. Gotch. 
 
 We may imagine the girl, a novice in her convent 
 cell, doubting and fearing lest she should be chosing a 
 life to which she has not been called. In the quiet 
 night the call comes. The vision of angels, with the 
 light of heaven shining on their wings, rouses her from 
 her bed to obey their summons to the cloistered life 
 of self-renunciation and prayer. 
 
 167 -The Heir to all the Ages, 
 
 By T. C. Gotch. 
 
 The little girl dressed in a piece of old brocade 
 holds in her hands an antique gold reliquary, richly 
 wrought and studded with jewels. These reliquaries 
 were used for holding relics of the bodies of saints. 
 
 This little girl of to-day, decked out in the treasures 
 of the past, is taken as a symbol of the way in which 
 we all profit by the past, and inherit the results of the 
 efforts made by previous generations, whether in art or 
 science. Michael Angelo owed much to Giotto; the 
 school-boy of to-day has more correct notions of science 
 and geography than the most learned scholars of the 
 Middle Ages, yet it was their struggle to know more 
 that led to our greater knowledge. 
 
 168 Trawlers. 
 
 By J. C. Hook, R.A. 
 
 Lent by Messrs. A. & F. Pears, Ld. 
 
 The Trawlers are just emptying their net. The larger 
 pink fish is a gurnet; by it lie pollock, dogfish and 
 hake. Notice the fine, rich harmony of blue and green 
 in the sea and fishermen's jerseys contrasting with the 
 warm brown of the sail and boat. Notice, too, the 
 the fine drawing of the figures, which the artist owed, 
 perhaps, to the long and careful study of the Greek 
 Elgin marbles in the British Museum which he made 
 when he was a young artist. The face of the kneeling 
 boy is specially fine and recalls that of the youth in 
 Mr. Hook's masterpiece " Luff, boy 1 " 
 
 169 *On the Marazion Marshes. 
 
 By A. Moulton Foweraker. 
 
 170 *From the Shore to the Field. 
 
 By J. C. Hook, R.A. 
 
 A view of coast and cliff. Mr. Hook has so identified 
 such delightful subjects with his art that they have 
 
3 2 
 
 been termed • Hookf capes,' a convenient haif-way 
 term between landscape and seascape. The boys and 
 donkeys are bringing up leads of seaweed with which 
 to manure the fields of the coast farm . 
 
 171 ^Harvesting in the West. 
 
 By Fred Millard, R.B.A. 
 
 172 *A Summer Evening. 
 
 By H. S. Tuke, A.R.A. (Falmouth). 
 
 173 "The Diver. 
 
 By H. S. Tuke, A.R.A. (Falmouth). 
 
 Mr. Tuke excels in giving the radiant out-of-doors 
 effect of sunshine on the sea. These three pictures, 
 kindred in subject and treatment, convey a feeling of 
 sunny summer days by the sea, which amounts almost 
 to an illusion even indoors in Whitechapel. 
 
 God who created me 
 
 Nimble and light of limb, 
 In three elements free, 
 
 To run, to ride, to swim : 
 Not when the sense is dim, 
 
 But now from the heart of joy, 
 I would remember him : 
 
 Take the thanks of a boy. 
 
 174 *An Idyll of the Sea. 
 
 By H. S. Tuke, A.R.A. (Falmouth). 
 
 175 Village in the Apennines. 
 
 By Thos. Millie Dow (St. Ives). 
 Lent by The Leeds Corporation. 
 
 This is a picture of early Spring in the bare 
 Apennines. These mountains look as if their sharp 
 flanks had been furrowed by the fierce gales, so that 
 Browning speaks of them as the "wind-grieved 
 Apennine." In the foreground is a mountain village 
 with its mill-stream, and some of the slender poplars 
 that thrive on this bare rocky soil. Behind are the 
 gaunt, red mountain sides flecked with the pink and 
 white blossom of the peach, almond and plum trees. 
 
 This is not the luxuriant spring of England with its 
 water meadows and many trees, but it has a delicate 
 beauty of its own. The breath of spring seems to 
 have passed over the hard land and brought even it 
 into blossom. 
 
33 
 
 176 *Anticoli. 
 
 By Thos. Millie Dow (St. Ives). 
 
 A typical Italian hill-town. The great gaunt houses, 
 seeming more like caves than human dwellings, crowd 
 round the hill. For centuries Italy was so ravaged by 
 war that the poor peasants bad to crowd into these 
 big towns for protection, and every day they have to 
 walk miles to their fields and climb the mountain 
 again at night for their short rest. 
 
 These big grim towns in the middle of the country 
 are very different from our peaceful smiling English 
 villages. 
 
 177 Alpine Study. 
 
 By Thos. Millie Dow (St. Ives). 
 
 After the many pictures of the sea, we have here 
 two Alpine scenes (Nos. 177 and 179). 
 
 " Two voices are there ; one is of the sea, 
 One of the mountains ; each a mighty voice." 
 
 The mountains, like the sea, draw the traveller by 
 their unexplored beauties arid unknown perils. 
 The wonders of a mountain sunrise as seen from 
 some high-lying mountain hut in early morning moon- 
 light will never pall. The far-off peaks stand out 
 a ghostly white against the dark sky, out of which the 
 colour gradually fades into the grey death-like dawn; 
 but soon the highest summits catch the flush of sun- 
 rise, giving promise of a glorious day. 
 
 T78 *Roses (Water-colour). 
 
 By Thos. Millie Dow (St. Ives). 
 
 179 "Alpine Study. 
 
 By Thos. Millie Dow (St. Ives). 
 
 180 St. Ives, Cornwall. 
 
 By Thos. Millie Dow (St. Ives). 
 
 Lent by Allan McLean, Esq. 
 
 Another picture of St. Ives The beautiful bay and 
 the headland on which the town is built never fail to 
 delight the eve. Here the sea and sky make a beautiful 
 harmony of blues, against which the grey brown of the 
 sails and rocks stand out. 
 
 181 Barge Building. 
 
 By C. Napier Hemy, A.R A. (Falmouth). 
 
 Lent by Lt.-Col. J. G. Sandeman. 
 
 These pictures of London show how full of colour 
 and picturesqueness even the East of London may be. 
 
34 
 
 The painter of this picture was once described as 41 the 
 fellow who paints splendidly all the ugly things he can 
 find down the river." 
 
 182 Out with the Tide. 
 
 By C. Napier Hemy, A.R.A. (Falmouth). 
 Lent by Lt.-Col. J. G. Sandeman. 
 
 It is reported that Mr. Napier Hemy defined genius 
 as consisting in a man finding out what he was capable 
 of and doing it for all he was worth. Painting the sea 
 was the thing Mr. Napier Hemy found he could do, 
 and he has done it thoroughly. Twice he ran away 
 to sea, and in later life he has had a boat as his studio, 
 so that he can paint seafaring subjects with authority. 
 At one time he, like Mr. Brett and Mr. Hook, 
 whose pictures hang close by, was much influenced by 
 the Pre-Raphaelite ideals — "selecting nothing, re- 
 jecting nothing," — but his finest pictures of later 
 years, for instance, 44 Pilchards," now in the Tate 
 Gallery, and 44 Lost," show a wider conception of Art 
 
 183 The Nancy Lee. 
 
 By C. Napier Hemy, A.R.A. (Falmouth). 
 Lent by Lt.-Col. J. G. Sandeman. 
 
 184 Cheyne Walk, Chelsea. 
 
 By C. Napier Hemy, A.R.A. (Falmouth). 
 Lent by Lt.-Col. J. G. Sandeman. 
 
 A view of Cheyne Walk with the old brick Tower of 
 Chelsea Church. 
 
 On Cheyne Walk have lived not a few of the great 
 men of the past, amongst whom may be mentioned 
 Sir Thomas More, Turner and Carlyle. 
 
 This picture was painted between 1870 and 1880, 
 before Mr. Hemy settled to his sea pieces at Falmouth. 
 
 185 The Shore at Limehouse. 
 
 By C. Napier Hemy, A.R.A. (Falmouth). 
 Lent by Lt.-Col. J. G. Sandeman. 
 
 186 An Important Question. 
 
 By Walter Langley (Newlyn). 
 Lent by the Misses Bunce. 
 
 187 *Winter. 
 
 By W. Ayerst Ingram R.B.A. (Falmouth). 
 
tS8 *Summer Clouds. 
 
 By G. B. P. Spooner Lillingston (Newlyn). 
 
 Oh ! silent glory of the summer day ! 
 How, then, we watched with glad and indolent eyes 
 The white-sailed ships dream on their shining way, 
 Till, fading, they mingled with the skies. 
 
 189 *St. Ives Harbour. 
 
 By Stuart Hobkirk (St. Ives). 
 
 190 ^Between Hayle and Lelant. 
 
 By C. S. Mottram (St. Ives). 
 
 191 -Stratford Tony Church. 
 
 By Hugh L. Norris. 
 
 Four beautiful pictures of the soft, luxuriant greenery 
 of a northern Spring, when every tree and every 
 meadow is gay with blossom. 
 
 The French painter, Millet, in his picture ' ' Spring," 
 in the Louvre at Paris, has given us perhaps the most 
 perfect rendering of this moment in the year when all 
 nature seems teeming with life. 
 
 192 *The Orchard Gate. 
 
 By Hugh L. Norris. 
 
 193 *In the Orchard, a Sunny Day. 
 
 By Hugh L. Norris. 
 
 194 "Apple Trees and Cottage. 
 
 By Hugh L. Norris. 
 
 195 -^Rhododendrons. 
 
 By R. Helwag (St. Ives). 
 
 196 *The Towans, Hayle. 
 
 By R. Helwag (St. Ives). 
 
 197 *In the Tregenna Woods. 
 
 By R. Helwag (St. Ives). 
 
 198 Kennack Strand. 
 
 By John Brett, A.R.A. 
 Lent by Thos. L. Devitt, Esq. 
 
36 
 
 199 Cornish Lions. 
 
 By John Brett, A.R.A. 
 Lent by Thos. L. Devitt, Esq. 
 
 200 Under the Lizard Lights. 
 
 By John Brett, A.R.A. 
 Lent by Thos. L. Devitt, Esq. 
 
 201 Logan Bay. 
 
 By John Brett, A.R.A. 
 Lent by Thos. L. Devitt, Esq. 
 
 202 Porthcurnow. 
 
 By John Brett, A R.A. 
 Lent by Thos. L. Devitt, Esq. 
 
 203 Newquay, Cornwall. 
 
 By John Brett, A.R.A. 
 
 Lent by Thos. L. Devitt, Esq. 
 
 The painter of these pictures, who died so recently, 
 was one of the first to carry out the ideals of the Pre- 
 Raphaelite painters in landscape, trying to render 
 faithfully every fissure on the rocky cliffs, every moss 
 and heath on the hillsides. The beauty of these 
 pictures shows how much may be attained in work 
 of this kind. 
 
 204 *The Pool of Diana. 
 
 By H. Harewood Robinson (St. Ives). 
 
 205 "'Landscape. 
 
 By Guy Kortright (St. Ives). 
 
 206 *Polperro Harbour. 
 
 By R. Helwag (St. Ives). 
 
 207 *Charentin on the Seine. 
 
 By R. H. Lever (St. Ives). 
 
 NOTE. — Certain pictures are for sale. 
 Inquiries as to prices should be made of 
 the Director. 
 
 P. & H., Typo., London, E.