matters very little. Mr. Pennell has given us a delightful bit of artistic topography showing the strange beauty of a place that he always loves and remembers.
Mr. Sickert contributed two drawings. "The Old Oxford Music Hall" has some very good qualities, especially the most important quality of all, that of making us feel as if we were there. The singer on the stage (whose attitude has been very closely observed) is strongly lighted by convergent rays. According to my recollection the rays themselves are much more visible in reality than they are here, but it is possible that the artist may have intentionally subdued their brightness in order to enhance that of the figure itself. The musicians and others are good, except that they are too small, if the singing girl (considering her distance) is to be taken as the standard of comparison. The pen-sketch of "A Lady Reading" is not so satisfactory. I know, of course, that it is offered only as a very slight and rapid sketch, and that it is impossible, even for a Rembrandt, to draw accurately in a hurry, but there is a formlessness in some important parts of this sketch (the hands, for instance) which makes it almost without interest for me. It is essentially painter's pen work, and does not show any special mastery of pen and ink.
The very definite pen-drawing by Mr. Housman called "The Reflected Faun" is open to the objection that the reflections in the water are drawn with the same hardness as the birds and faun in the air. The plain truth is that the style adopted, which in its own way is as legitimate as any other, does not permit the artist to represent the natural appearance of water. This kind of pen-drawing is founded on early wood-engraving which filled the whole space with decorative work, even to the four corners.
Mr. Rothenstein is a modern of the moderns. His two slight portrait-sketches are natural and easy, and there is much life in the
