La Foi, a companion figure from the same
monument, has the effect of a simple portrait statue
in a strained pose, and fails in general interest.
Althouffh showing: the hand of the master in its deli-
cate and graceful lines and maiden purity of expres-
sion, it is deficient in monumental dignity and char-
acter, and lacks the force and meaning of its title.
Lc Matin, by Lemaire, is a lighter theme, full
of simple charm and naive grace, neither a platitude
of the school nor a mean copy of a model. This
figure of a young girl seated, binding her hair after
the morning bath, is chaste and natural. Her playful
smile invites to sunny places by rivulets and leafy
Dryade homes, where in fine marble and golden gleams
her beauties would enchant. Byblis changie en
Source, by Sdchetet, is a beautiful and naturalistic
rendering of well-understood forms. It shows that a
thorough knowledge of the craft has been acquired
and digested. The sculptor has not said much, but
he has expressed himself with the polished fluency
that pleases. Conscious, and too nmch insisted
upon, the treatment of surface is yet agreeably
artistic, and must be very interesting in the original
model of which this is only a cast. M. Auguste
RoDix is represented by several minor works, the
chief among which is the remarkable portrait head
in bronze. No. 1512. The astonishing connnand of
the medium has completely emancipated the art
from the material — it is all fire and spirit ; thor-
oughly dramatic, it seems to express the life and ex-
citement of hot debate. That such a work shoukl
receive its final form by the cire perdue process and
the flow of molten metal was most fitting. In the
head of Victor Hugo by the same liand, grasp of
character and power of execution again predominate.
We wisli this had been the original model. No.
1609, Idyll, shows that M. Rodin's fire and vigour
are in rein. Nothing could be finer than the dimp-
ling softness and babyhood of this naturally-modelled
group of infant loves. No. 1517, also by M. Rodix,
is a small and interesting nude sketch in marble.
No. 1544, by Ringal d'Illzach, is worthy of more
than the passing notice which it is sure to attract.
It represents the decapitated head of John the
Baptist, placed on a broad dish, with a short sword
thrust through the neck. The thin worn face looks
upward with wide stare of horror and fallen jaw.
In spite of the subject being scarcely suitable for
the medium, and the almost fantastic character of
the work, it has nevertheless a weird individuality
that exercises a certain fascination. It is in terra-
cotta, but the peculiar handling reminds one rather
of wood or of metal. The dark colour of the latter
material w'ould have suited the sharp detail and
hard style. This sculptor shows a case containing
six medals, each one worthy of detailed notice, so
remarkable are they for strength of character and
exjjression. The enthusiasm displayed in the
medallion of Gambetta is particularly striking.
The name of Freiiiet is in the Catalogue, but it
is only supported by two bric-a-brac pieces of trade
reproduction in bronze, good enough in their way,
especially the hounds, but not calling for serious
mention.
DOEYTHORUS.
THE BISHOPS CASTLE COLLECTION.
THERE are several points from which the collection of Scottish Archaeological and Historical relics in the Bishop's Castle may be regarded. The personal interest of a large proportion of the objects is that which will touch and aft'ect the majority of visitors. Though we in Presbyterian Scotland affect to despise and abhor as idolatry the venera- tion of relics, yet human nature is deeper than Presbyterianism, and the tangible memorials of the great and the notorious possess an interest and an attraction strong in proportion to the strength of the character with which they are associated. As illustrations, again, of historical events and of epochs in the national annals, the collection possesses vast significance for patriotic Scots. Still further, those who desire to know what manner of men our fore- fathers were, how they lived, what were their employments, habits, and mutual relations, will find much to satisfy them in the collection. It is from this last point of view that the Bishop's Castle Collection presents itself to readers of the Scottish Art Review. The country of our forefathers was poor, the habits of the people were rude, their habitations were not luxurious, and the national life was one constant worry of self-defence and internal strife and aggression. Notwithstanding these things, there was much of distinctive character in such arts as were practised ; just as there were very powerful national characteristics evolved by the restless striv- ings of the race. Nothing more distinctively national in its way is to be found in any country than the ancient castel- lated architecture of Scotland, fine examples of which are exhibited by Mr. John Fleming. Mr. Fleming's series of photographs includes views of such fine old buildings as Glamis Castle, Neidpath Castle, and the House of Traquair. In spite of comparatively modern additions and improvements, these mansions, dating for the most part from the fourteenth to the early part of the sixteenth century, retain in the main portion of their buildings sufficient evi- dence of the thoroughly characteristic and national
