. International studio. is but the playgroundfor numberless colours reacting one on the From Lachmans work the Musee du Luxem-bourg has perhaps chosen the most interestingexample—St. Nicholas du Chardonnet, an oldchurch enshrined in one of the most venerablespots of Paris, breathing the poetical forlornnessof stones that have outlived the people who laidthem. The Petit Palais—to-day the MunicipalMuseum of Paris—made a widely differentchoice in acquiring the Priniemps parisien, avision of Notre Dame seen through the springfoliage. Nothing can be fresher or gayer thanthis symphony of co
. International studio. is but the playgroundfor numberless colours reacting one on the From Lachmans work the Musee du Luxem-bourg has perhaps chosen the most interestingexample—St. Nicholas du Chardonnet, an oldchurch enshrined in one of the most venerablespots of Paris, breathing the poetical forlornnessof stones that have outlived the people who laidthem. The Petit Palais—to-day the MunicipalMuseum of Paris—made a widely differentchoice in acquiring the Priniemps parisien, avision of Notre Dame seen through the springfoliage. Nothing can be fresher or gayer thanthis symphony of colour. Lachman planted hiseasel among the uneven stones of the quays onthe He St. Louis, and though he has perhapsexaggerated the poetic side of the subject tothe detriment of the technique he displays inother canvases, the result is exquisite. Willy G. R. Benedictus [Owing to further restrictions on the supply ofpaper we are obliged to hold over temporarilyvarious contributions intended for this number.—Lditor.]. IV. Eyre Walker, W. EYRE WALKER, BYPROFESSOR SELWYN IMAGE M R. EYRE WALKER has been anAssociate of the Old Water-ColourSociety for now close on fortyyears : for over twenty he has beena Full Member. His work, therefore, is wellknown to all frequenters of that delightfulgallery in Pall Mall. By how many of us in theannual exhibitions there is it always—may 1say affectionately ?—looked out for and wel-comed. For assuredly, when found, it nevertails to exert over us that intimate peacefulcharm we have grown to associate with hisaccomplished art. Let me here quote a too modest passage froma note written me by Mr. Walker, which revealsto us what hi his pictures is their generalpurpose. I try, he says, to take myminute, nebulous, interested public to look atmy landscape with me, and to tell them whatI see in it as gracefully and fittingly as I That puts the matter for us in anutshell. Unlike so much contemporary work his aim is not t
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