The Graphic: An Illustrated Weekly Newspaper from London, Greater London, England • 7

October 16, 1S97 THE GRAPHIC of the ordeal have during the past week been on view in Queen's Square. The medals, scholarships, and prizes gained by these young girls is highly creditable, both as to number and importance, and the work which won them proves how intelligent is the teaching, and how judicious the care with which 'the pupils' talent is fostered. for a really fine collection, we may expect to enjoy an exhibition as curious and complete, noble and inspiring as those which Mr. Temple, got together at the Guildhall and Mr. Wallis at Birmingham.

But besides the works of the actual" Brethren we must also hope for those of Mr. Windus (his lovely Helen Mr. Brett (the astounding Flint Breaker" and the Alpine scenes that so dazzled Mr. Ruskin), Mr. Arthur Hughes, Collinson, J.

F. Lewis, even Herry Moore in his earliest work, and the lesser-known men who came as such a surprise to the public, recently, in the City. If only Mr. Holman Hunt's History of Pre-Raphaelitism," which he is now bringing to an end, could be ready during the winter months, the advantage to author, exhibition, and public would be great. JUtistk Caiuicvk By M.

H. SPIELMANN The mistaken impression appears to be widely entertained that Sir John Gilbert was one of the many artists who have graduated through black-and-white into colour. This is not so. He. began ith colour if his boyish pencillings on his school-book and on the blotting-pad of the estate-agent with whom for two years he was impatiently engaged, be not taken into account.

Herein he unwittingly followed the example of the Great Masters, and to that method of education he doubtless owed much of the extreme freedom in the early use of the brush and paint which differentiated him from the greater number of his contemporaries in this country. The Old Masters, when they used black-and-white, worked from brush to pen in England, many of our most distinguished painters reversed the process. Men such as Professor Herkomer, Sir James Linton, Mr. Gregory, Mr. Henry Woods, Mr.

William Small, Mr. Briton Riviere, Mr. Birket Foster, and, I believe, Fred Walker, Pinwell, Iljughton, and Hine, all had to fight against their early training The genius of Charles Keene runs no risk of neglect either by the vast number of his admirers or by those more business-like persons, the publishers indirect proof that the general public retains its interest in the old favourite in whom they delighted, although generally speaking they never knew, and do not even now know, how highly to appreciate him. The second edition of Mr. George Somes Layard's delightful biography of the artist is hardly exhausted before the announcement is made of a still more critical, and, of course, less biographical, study by Mr.

Joseph Pennell with the addition of an exhaustive biography of Keene by Mr. W. II. Chesson. I do not envy the compiler his work.

There is so much of Keene's that is forgotten, so much untraceable, and not a little, I venture to say, almost unrecognisable, that the task is one of extreme difficulty. Merely to seek out all the paper-covered novels for which Keene drew those attractive outside pictures is itself a One of the particulars in which our National Gallery rises superior to many similar institutions on the Continent, is the readiness of the Director and Trustees to acknowledge an error and repair a fault. It requires some courage, no doubt, to withdraw a great name from the label of a picture which has cost a sum as great, and to admit that "Christ Blessing the Little Children" is only "in the school of" Rembrandt, and that the head by Diirer IER MAJESTY RECEIVING A LESSON IN HINDUSTANI FROM THE MUNSHI HAFIZ ABDUL KARIM, CLE. THE QUEEN'S LIFE IN Itin niwnr From a Photograph by R. Milne, Aboyne when they threw themselves into colour.

How successful was the fight in most cases we all know but how much better might these artists have done had they been able to follow the ancient method that was in vogue before wood-engraving and the printing-press were dreamt of? labour that might well appall the most industrious literary or artistic ferret. fircen's itiihtstani THEMunshi Hafiz Abdul Karim, who teaches the Queen Hindustani; came to Windsor in 1887. He was then only twenty-three. He soon began giving lessons in Hindustani to the Queen, who now not only speaks that language fluently, but can write it with more than average correctness in the Persian character. Frogmore Cottage has been assigned to Hafiz Abdul Karim as a residence, and he has been joined there by his wife and his father.

Abdul Karim is the second son of Khan Bahadur Dr. Hajee Mohammed Waziraddin, first-class hospital assistant in the Indian Medical Department. He was for some time in the service of the Nawab Jadia, as assistant Wakil to the West Malwa Political Agency at Agra. In 1886 he became an India Government clerk. In the following year he was appointed Munshi and Indian clerk to the Queen, and in 1892 became Indian Secretary to Her Majesty.

is only a Hans Balding Griin after all, decked out with a false signature. The latest wise act has been the removal from the walk of the "Salvator Mundi," officially said to be by John Jackson, R.A. How the ascription could ever have been accepted I have never understood. From the beginning I have denounced it and, what is more to the point, Mr. Phipps Jackson, the artist son, contemptuously repudiated it, too.

The picture had little merit and much weakness but neither the merit nor the weakness were those of the alleged painter. However, it is gone now, and may as a National Gallery picture fitly be forgotten. When first the Royal Female School of Art was founded long before it secured the special favour of the Queen, or could boast the array of Royal vice-patronesses who now appear upon its prospectus the opportunities afforded to female art-students in London were well-nigh as meagre as they could be, so far as the higher education of women" in art is concerned. It has its rivals, nowadays, and formidable ones, too but its own system of teaching is so good, and the esprit de corps so effective, that the institution is to be regarded as a serious and efficient college of art. The pupils are put to the test of the Science and Art Department examinations, and the results An artistic treat of unusual importance and charm is to be offered by the next winter exhibition of the New Gallery in a collection of the works of the Pre-Raphaelite School and of artists in sympathy with it.

One may well entertain doubts as to the possible completeness of such an exhibition, now that so many of the principal works of that remarkable movement have found resting places public galleries most of them, alas beyond the borders of the metropolis. 1 tad it not been for the wise intelligence and public spirit of Mr. Tate, London would have been practically without a single example of capital importance. As it is, only Millais and Rossetti can be seen in works of that time. But if the directors can persuade the trustees of the National Gallery to part with these for a time, as well as with the Pre-Raphaelite pictures of Seddon and Martineau, and if Liverpool, Birmingham, and Manchester will extend to London the courtesy that is indispensable.