Fig. 3.   Female Torso.

Fig. 3. - Female Torso.

From Richard G. Hatton's "Figure

Drawing." (By courtesy of Messrs.

Chapman & Hall, Ltd.)

Fig. 4.   Comparative Back Views.

Fig. 4. - Comparative Back Views.

From Richard G. Hatton's " Figure Drawing." (By courtesy of Messrs. Chapman & Hall, Ltd.) shown as possible." In the back view the chief characteristics of the form are "the long lines from the arm-pits, which curve more and morecback-ward as they descend, and then continue vertically to the iliac crest, or the ribs just above. The muscles to which these correspond are the 'erector spinae' and 'latissimus dorsi.' In the male these vertical masses remain well denned up to the middle line. In the female there is a broad, comparatively vacant space in that region. The softness and simplification so characteristic of a woman's figure is well seen in the back. The shoulders, or the upper part of the back and lower part of the neck, are well rounded, and form part of an extensive surface softly rounded, which reaches clown to the waist. And again, from the waist downward over the loins and hips is another simplification of the same kind."

Particularly clear and concise are the observations on facial expression, which, however, might have been extended with advantage, and we venture to suggest that a few illustrations of the figure in action, and some expressive of the emotions other than through the medium of the features, would have been very acceptable. In conclusion, a word must be said in praise of the author's numerous excellent diagrams and artistic pen drawings, which contribute much to the attractiveness of this admirable work. (London: Chapman & Hall, Ltd. Price 7s. 6d. net.)

An Artistic Almanac.

Lovers of a good etching will be glad to get for half-a-crown such a brilliant, original, well-bitten plate (10 by 7 1/2 in.) as Mr. W. Monk has drawn for his "London Almanac," which he produces in conjunction with Mr. Elkin Mathews, the well-known publisher of Vigo Street. This is the third year of the publication, the present subject being a picturesque bit of "Old Westminster," which is now undergoing alteration. The etching is too good to hang unglazed; it should be detached from the calendar and framed.

Who's Who, 1905, is wonderfully up to date. Not to be in it is virtually to be unknown. Still, despite its 1,800 pages of closely printed biographies of we do not know how many thousands of more or less distinguished persons throughout the world, we note one important omission. The name of Adolph Menzel, foremost of living German artists, is lacking. We must admit, though, that a careful searching has failed to discover any other such oversight. The editor's work indeed is so well done that it must seem almost captious to note such a slip. (Adam & Charles Black, publishers, Soho-square. Price 7s. 6d. net.)

Who's Who Year Book, 1905, gives in a handy form for reference the cream of many bulky special directories. It responds to every test of accuracy to which we have subjected it. (Adam & Charles Black, publishers, Soho-square. Price IS.)

The Englishwoman's Year Book and Directory, 1905, is, as usual, a veritable mine of personal information relative to woman's manifold occupations and pastimes, social and professional. The list of art periodicals needs revision. (Adam & Charles Black, publishers, Soho-square. Price 3s. 6d.)

Turner's Unexhibited Sketches.

It is proposed that the greater number of sketches in line and water-colour by Turner, now stored away in the basement of the National Gallery, be transferred to the Paint Room of the British Museum. There, without being exhibited, they could be seen and examined conveniently. Such an arrangement would hardly be feasible under existing conditions at the National Gallery.

Old Engl1sh Masters.

The special exhibitions of old English masters, held from time to time in the interests of charity by Messrs. Agnew, at their Bond-street Galleries, always give one an opportunity of seeing such masterpieces as would otherwise be inaccessible to the general public. That just ended was not unworthy of ranking with its brilliant predecessors. Gainsborough's splendid portrait of the charming Duchess of Gloucester (from the collection of the late Duke of Cambridge) was the " clou " of the exhibition.

Design for Hammered Metal. By Ernest Copestick.

Design for Hammered Metal. By Ernest Copestick.

(For enlarged Detail, see Supplement B.)