PAUL ADOLPHE RAJON.
THIS accomplished etcher and true artist, who died on <)th June last, was born at Dijon in 1S42. His artistic sympathies manifested themselves at an early age, and, while still quite young, he left Dijon and studied in Paris. His genius was not long in discovering for itself the direction in which it could best develop its powers. About 1865 he took up etching as the serious employment of his life, and his success as an etcher has been so great as to quite over- shadow his power as a painter. But those who have seen examples of his skill in both oil and water-colour painting know well that his own original work pos- sessed all the qualities of distinction that are the outcome of artistic feeling, added to cultured judg- ment and taste. Rajon first appeared in the Salon in 18()5, with a drawing — ' Portrait of Mdlle. C But it was his first important plate, ' Rembrandt,' etched after Meissonier, that made his reputation. Critics recognised at once the seriousness, the simplicity, and the power of his work, and his position as one of the best aqua-fortistes of the day was gained at a bound. At the Salon he gained two medals in 186".Q and 1870, and in 1873 a medal of the second class for his ' Fumeur flamand,' after Meissonier. In the great Paris International Exhibition of 1878 there was a collection of his principal plates, and for these he was awarded another medal of the second class.
In 1872 Rajon paid his first visit to England, and was afterwards frequently in London. He engraved many admirable plates for the ' Portfolio,' whose editor, Mr. Hamerton, has always been a warm admirer of his genius. Induced by the appreciation shown of his work across the Atlantic, Rajon of late years made several visits to the United States, but his permanent home was at Anvers sur Oise, where he loved to dwell amid the soothing sounds and sights of Nature. Rajon also paid a visit to Scotland, and with his friend, Mr. George Reid, R.S.A., went to Edinburgh and Aberdeen. Among his chalk drawings and pastels are his fine head of Sarasati — a mastei-piece of skilful drawing — and a portrait of the daughter of Mr. Forbes White of Aberdeen.
Rajon was devoted to his country and fought bravely in the army of defence during the first siege of Paris. His nature was generous, fi-ank, and spiritual. Charming in manner, unaffected and kindly, he well deserved the success that crowned his earnest labours. For some time his health had not been of the best, but his death (on yth of June) was quite unexpected, and was the direct result of an attack of acute pleurisy. There is a fine simplicity in Rajon's work — a simplicity and directness that flow from consummate knowledge and from complete command of all the resources of his art. His etchings are absolutely free from vulgarity and from all forced effects. He was a master of light and shade, and understood well the power of the line. He threw- himself into entire sj'mpathy with his originals, and endeavoured to interpret faithfully their meaning and spirit. His work is the result of an artist's hand, guided by an artist's brain and heart. He is one of the most notable of the great etchers whom the latter-day revival of the Art of Etching has produced in France. Rajon's fine collection of works will, by his express desire, be sold in London, and his old friend Monsieur Thibandeau will prepare the catalogue. Robert Walker.
REVIEW
MEMORIAL CATALOGUE op the French and Dutch Loan Collection, Edinburgh Interna- tional Exhibition, 1886. Edinburgh: Printed at the University Press by T. & A. Constable, and published by David Douglas, 1888.
This book is a worthy memento of a noble Art Exhibition. Dealing with Art it partakes so thor- oughly of the spirit of its subject that, as a book, it is itself a work of art. It is beautifully printed on heavy hand-made paper. The folio page admits of the con- venient insertion of numerous etchings and sketches, which are thus done full justice to by handsome mar- gins. The book consists of A Note on Romanticism short Biographies of the Painters, and Descriptions of the Pictures, by William Ernest Henley ; six Etchings by Zilcken, and eight by William Hole, with the addi- tion of one by B. J. Blomraers, all on full-page plates. Fifty-four Sketches are printed in the te.xt. All the Etchings are good, and some of them ai'e specially fine. We are enabled to give our readers a specimen in one of the plates issued with this number of the Scollish Art Review — Corot's 'Evening in Normandy,' etched by Mr. William Hole. It shows that sympa- thetic and intelligent power of translation so vital to good etching. The spirit of Corot's work has been caught and feelingly rendered. Mr. Hole's etching of 'The Hunt,' by Rousseau, is particularly fine, impressively conveying the very spirit of the small but yet great picture which it represents. The plates from the works of Jacque and James and Matthew Maris are also specially noteworthy ; while the one after Monti-
