we consider that the collection is neither large nor
fairly representative of its aims. We were led to
indulge in great expectations of this section by the
glowing terms in which it was officially heralded in
the columns of a contemporary, but feel rather dis-
appointed with the result. 'The special gallery,'
in which this 'International Exhibition of Sculpture' is shown, is not specially adapted to its use,
being little else than a big corridor. In this place,
which might have been suitable for pictures, the
comparatively small collection of one hundred and
seventy numbers is 'cribbed, cabined, and confined,'
with scarce a single piece seen to advantage. Arranged against the wall, in niches, or in groups,
with outlines broken and interrupted, the collection
is robbed of at least half its worth and effect.
As to the international phase, it is not important,
being mainly English and French, with an undue
preponderance of the London or English school,
whence nearly half the exhibits hail. Scotland has
about a fourth, France (Paris) has less than a fifth;
the rest of the world is represented by Germany,
five, Italy, seven, and Belgium, four, pieces. Russia, America, Austria, and Japan are not represented. Japan, considered by some authorities the
most artistic country in the world, has found no
consideration for her magnificent sculptures in
bronze. From wonderful Italy there are a few pieces of the very 'Brummagem' of sculpture, believed to be representative of the Italian school
only by the benighted tourist.
In glancing over the collection we miss several important names, and observe that others are very poorly represented. Of the latter, we may mention Fremiet, the sculptor of the extraordinary Gorille et Femme, shown in last year's Salon; of the former, Mercie, Falguiere, Saint-Marceaux, Barrias (Paris), Saint-Gaudens (New York), and Gilbert (London), all men of the highest ability.
Judging from this exhibition, sculpture would seem to be an art of even more limited expression than it really is; for, apart from life-size figures and busts, there is scarcely any variety. Of one of the most interesting modes—bas relief—there are few examples, and the work of the animalier is scarcely to be seen. Why is there no work of the giant Barye or of Cain?
If the collection is not all that was expected, and might have been, it is pleasant to find that the public take great interest in it. The narrow passages of the gallery are constantly crowded. The ordinary visitor is evidently surprised into gazing with the intentness of those who look for the first time. Some express themselves as preferring the sculpture to the pictures. As there are neither seats nor room for any, one is sorry those lovers of the plastic art cannot remain and feast their eyes in comfort. The appreciation shown amply justifies the promoters of the Section, which, we understand, was discredited, as being of insufficient public interest to warrant the expense connected therewith.
The most effective work in the gallery, as it is the greatest technical effort, is what appears to be the original model of Alfred Boucher's remarkable group of runners at the goal, on the production of which he was occupied for three years. It was cast in bronze at the expense of the French Government, and shown at last year's Salon. The Committee have been fortunate in securing this exhibit, which we may safely say is the most wonderful thing of the kind ever shown in this country; indeed it is almost unique. It is there, with all the fresh, vivid life of a sketch, full of abandon; but to think of the labour and difficulty of bringing such a work to a successful issue is truly appalling.
One is inclined to think the result has somewhat of a tour de force character, wanting that quality of repose which is at once the chief virtue and limitation of the art. As one looks at the three fellows rushing through space with outspread limbs, wide-mouthed and shouting, the conclusion is forced that such works can at best only be a rendering, as in sculpture everything has to take definite forms, and such a group of flying bodies could not be seen or studied, unless by the eye of the instantaneous camera.
Hamo Thornycroft is shown at his best in 'Teucer,' 'The Mower,' and 'Lot's Wife,' all different in character, but alike in strength and refinement, eminently English in their feeling of dignity and reserve, and interesting in contrast with work in the French spirit. In the 'Teucer' we have a phase of action worthy of close consideration, and calculated to throw light on the question of repose referred to above. Having just discharged an arrow, the figure stands rigid and tense, with bated breath and eagle eye. The moment selected is when a certain thought and action are completed in nice unison, the intensity of which petrifies. We feel that it is right that the figure, although instinct with quick life, should be dead still. With the runners it is different. The action is not dis- charged, it is being discharged; there is consequently a disturbed impression conveyed to the senses when we are asked to behold runners running in perfect stillness—asked to observe the invisible action of a bird's wing in full flight.
(To be continued.)
