BOOKS.

MEMORIALS AND MONUMENTS.* THE author of this book tells us that he has undertaken his work with a definite purpose, for be wishes to prepare the public mind on the subject of war memorials. Mr. Weaver says it is clear, on surveying those erected after the South African War, "that the artistic ability of the men who build and adorn our churches and public buildings is not employed as it should be on the memorials which they so often contain." Too frequently the "monumental mason," and even the clerical tailor, or the stores which provide everything, have been entrusted with the production of the tablets and brasses which record for future generations the names of the heroic dead. Alas ! too many of these records will be wanted when the present conflict is over, and the aim of the volume before us is to help those who will be responsible for them by means of examples of monuments which the author thinks admirable. Mr. Weaver shows great width of view and catholicity of taste. Indeed, we are inclined sometimes to desire a rather more fastidious choice, and to wonder at some of the examples he has praised. For a monument to be a success there must be an organic relation bet*een it and, the building in which it is put. Here comes in the question of design being left a good deal to the architect. Such a course is probably best nowadays, when specialization keeps the arts in water-tight compartments. The sculptor is liable to think of his work by itself, as indeed he sees it day by day in his studio; the architect has perforce to be always considering his work from the point of view of the effect which details will produce on the whole.

There is yet another question of great importance, and one which we hoped Mr. Weaver would have discussed, but which he leaves without notice. It is the question of realism and. portraiture in a monumental design. If you make a medallion in high relief of a man's head, the more lifelike it is the less well it will look as part of a decorative design. By " lifelike " is meant, not that essential vitality which primitive art so often conveys with such vigour, but that realistic and visual likeness to Nature which is the modern curse of art. In the present volume one page containing two illustrations preaches an eloquent sermon on this text. Both are medallion memorials commemorating architects, and both have portraits enclosed by a, circular frame. In the first, the figure of Brunelleschi is seen carved by Buggiano about 1455. Although the figure is realistic almost to ugliness as far as the face is concerned, the sculptor has yet done something which makes it entirely coherent with the mouldings which surround it. The other Illustration is of the Norman Shaw memorial at Scotland Yard, designed by Mr. Lethaby, the head being modelled by Mr. Thornycroft. Mr. Weaver pronounces the result" very successful " ; but does be really think successful this exact and minute reproduction in bronze of collar, tie, and coat, and with the head so realistic as to suggest in the black-and-white illustration a photograph from life P Mr. Weaver dwells much, and rightly, on the necessity of the memorial being an organic part of the structure in which it is placed. How does be justify the clumsy and arbitrary cutting off of the bust so as to make inclusion in the circle of the frame possible ? The coat is merely cut through, leaving a projection without decorative * Memorials and Monuments. By Lawrence Weaver. Loudon; Countrs Life Offices. [128. t3d. not.] coherence. Brunelleschrs drapery, on the contrary, is most carefully arranged to sympathize with the lines of the frame,' making figure, and setting into one. We. have dealt at length: with this point because it is here that the chief. difficulty of modern work lies. Cannot people be brought to realize.that.

if you were to put a real 'head: in a frame it would look absurd,; and that a real than standing at full length in a. niche would.

seem terribly out of place ? Why, then, expect that a statue, if made as realistia as possible, would look any better? •

Can any solution be suggested ? This book gives an illus- tration of a monument which does solve the question per- fectly in one particular instance. It is Alfred Gilbert's memorial to Randolph Caldecott in the crypt of St. Paul's. Mr. Weaver observes that— Of the figure nothing too great can be said in praise: it is emblematic in the best sense. Randolph Caldecott has enchanted more than one generatien of children, and nothing could be more fitting than the way in which Gilbert's dainty and demure little maiden looks down on the portrait medallion of the artist, which she holds in her hands."

Here is an instance of the memorial being dominated by the spirit of the man, and not by the accident of his outward appearance ; but then this work was done by a genius. The same result has been reached, and by apparently contradic- tory means, by another man of genius—Rodin. His memorial to Henley in the same crypt consists of a bust of the poet standing on a, console surrounded by a moulding, the Whole being designed by the sculptor. Although this bust is a portrait, there is nothing to criticize, because it is all coherent as a design. Think of the head on its pedestal. merely as a silhouette, and we feel that it is inevitably right as a pattern. This being so, the portraiture does not interfere to spoil the whole.

The first part of Mr. Weaver's book gives an historical sketch of the subject, and later chapters deal with the questions of design, treatment of materials, use of heraldry, inscriptions; and lettering. This last is a 'very important

matter, as by good letters an unpretentious memorial can be made beautiful, and an elaborate one spoilt. Two exomples are given of simple tablets which depend largely for their effect on lettering. One of these is at Fiesole, and is by Brunellesohi; the other, by Luca della Robbie, at • Florence. It is not only the spacing and arranging of the

lines which make lettering beautiful, but the design of the letters themselves; and we agree with Mr. Weaver that Roman letters are the best for use, even when the memorial may be Gothic) in character. Lettering from the column of Trajan is given as an example, and we are told that many regard it as he classical example; but are not some of the letters—the

M, N, T, and E—more beautiful in form in the earlier Augustan inscriptions P Mr, Weaver has given us a very interesting collection of examples, both ancient and modern. We only wonder that, he has not found room for a few more of the early Renaissance tombs in Rome, which are of such wonderful beauty, and of a quiet dignity so agreeable to English taste. However, the reader is referred to Mr. Gerald Davies's volume, which is a mine of wealth in this direction.

Here it may not be inappropriate to say a word on the subject of inscriptions. May we not hope that these will be worthy of the heroic spirit which has informed our soldiers ?

Should we not put aside for once our shyness when emotion is concerned, so that future generations may be moved and inspired ? Here is an inscription from the beautiful Church of Wedmore, which looks out over the moors to the southern slope of Mendip. This inscription shows how Elizabethans recorded the sacrifice of an Englishman who died fighting for liberty on the ,fields of Flanders

Sacred to the memory of Captain Thomas Hodges, of the County of Somerset, esq., who, at the seige of Antwerpe, about 1583, with unconquered. courage %Yonne two ensigns from the enemy, where, receiving his last wound, he gave three legacies: his spule to the Lord Jesus, his body to be lodged in Flemish earth and his heart to be sent to his dear wife in England.

Here lies his wounded heart, for whome One kingdom was too small a roome; . Two kingdoms therefore have thought good to part So stout a body and so brave a heart."

Mr. Weaver has done a great deal to help people when they are confronted with the • difficulty of deciding on a suit- able memorial. Will he not 'go a step, farther? Soon

numberless villages will want to honour their sons in their parish churches. Money will. not be plentiful, and people will be puzzled by not knowing what to do. In a great number of instances professional opinion of the right sort will be unattainable. Could not something be done before- hand which might helix?. Could not a collection of designs be got together which might be used ? Imagine the difficulty of a person of taste, but without special knowledge, when con- fronting a village committee. Could he show' them some- thing' which could , be used, with or without modification, it might make the difference between a monument which was beautiful, and one .which in the future must be a regret. Mr. Weaver in discussing materials has not said anything about terra-cotta. Is there not an opening for this when more expensive materials cannot be used ? We remember the beautiful memorial to a young Canadian officier who died at Aldershot a few years -ago which was executed by the potteries of Mrs. G. F. Watts. It ought to be easy to have simple Wall tablets, with finely designed mouldings and good lettering, made in this material and yet within the reach of the humbler country parish. If a given sum is to be expended, how much better to pay for a good design executed in terra-cotta than to have a shapeless horror in expensive stone and brass.