The Magazine of Art, 1892. (Cassell and Co.) — The Magazine of
Art introduces for the first time among its illustrations a specimen of " chromotypograv-ure," a recently devised method of auto- matic reproduction of paintings. The original in this case is Mr. Detmold's "Breezy Day," a study of horses on the seashore. The result does not strike us as very successful. Another specimen of the same process is "Autumn Twilight," after Mr. A. Lynch ; this, as far at least as the face and figure are concerned, is more pleasing. Of the other "plates," five are etchings, and as many photogravures. We are not sure whether we do not like the photogravures better without the "chrome" addition. Mr. Jan Van Beer's " Bo-Peep " could not easily be surpassed in its way. Among the etchings, we may mention Mr. J. Dobie's "Circe," after Mr. S. W. Waterhouse's picture, exhibited last year in the New Gallery. "The Kind Confessor" is an effective picture, in which a good-natured old man, with his box thronged with penitents, contrasts with an austere colleague whom no one visits. But do confessors receive confessions with the publicity which the artist here represents ? Another photogravure, "Portrait of a Lady," after John Russell, "the -prince of crayon portrait-painters" (1745-1807), ought to be mentioned with praise. The literary matter is, as usual, varied and interesting. Early in the volume we find "Where to Draw the Line," a paper by the late Thomas Woolner, which must have been nearly his last utterance. The gist of it might be expressed by a parody of Demosthenes' maxim, "Draw : draw : draw." We may also mention Mr. Linley Sambourne's two papers on "Political Cartoons," with their highly characteristic portraits, the artist himself being among them, "The Art Treasures of the Comedie-Francaise," "Artists' Homes," and "Jan Van Beers." The whole volume is eminently readable, a quality which it is not unbecoming for an artistic periodical to possess.
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