The displays of this society are always interesting, if only as the antithesis of the conventional exhibition of the Royal Academy type. The present exhibition of the International Society of Sculptors, Painters,and Gravers - to give its awkward full title - if not up to the high standard of its predecessors, abounds in clever work in sculpture, painting, and black and white. It should on no account be missed, if only for the sake of the latter. We have elsewhere devoted much space to the consideration of Vierge's pen drawings, and would add that the student of black and white will find a striking contrast to them in the black and white work of the late Frederick Sandys, an accomplished illustrator of a very different temperament. With his laborious, coldly academical, and lifeless colour-work, whether in oil or in crayon, we cannot pretend to have any sympathy. In the same room are examples of Edmund J. Sullivan's tine draughtsmanship in pen and ink and pen and wash, clever etchings by Joseph Pennell, glorifying the hideous "Sky Scrapers of New York " and making them really picturesque. By other Americans are: some exquisite wood engravings by Timothy Cole and Henry Wolf, a very beautiful series of coloured etchings by Miss Mary Cassatt (called " Carsatt " in the catalogue), an artist with fine feeling allied to vigorous expression, and a charming portrait in chalk by Albert Sterner. The coloured etchings by Raffaelli and Fritz Thaulow are, respectively, characteristic of the men. It is a pity that Thaulow's splendid plates are handicapped by their inartistic framing. The wonderful colour reproduction by Piazza, of Paris, of Whistler's "Mother" is also inappropriately named. Compare it with the artistic setting of the same print in the show window of the Leicester Art Gallery.

The sensational feature of the exhibition is the powerful work by Rodin, entitled "The Hand of God'" - a huge hand, holding in its palm the squirming, unfinished figures of a man and a woman. It is undoubtedly very fine technically, but the sculptor's conception of the Almighty, while it may attract the artist, cannot but shock and pain the layman of religious feeling, who will see in the representation a cruel monster - a Moloch - not the compassionate, the all-merciful Creator of the Universe.