,handbook of the ,minneapolis ,institute of ,arts ,with #adc ,illustrations ,joseph ,breck and ,henry ,wehle ,published by the ,minneapolis ,society of ,fine ,arts #aiag ,,contents ,,the ,,minneapolis ,,society ,,of ,,fine ,,arts ,,preface ,,the ,,minneapolis ,,institute ,,of ,,arts ,,general ,,information ,,plan ,,of ,,the ,,first ,,floor ,,plan ,,of ,,the ,,second ,,floor ,,the ,,first ,,floor ,,the ,,cast ,,collection ,,the ,,print ,,department ,,near ,,eastern ,,art ,,japanese ,,art ,,chinese ,,art ,,egyptian ,,art ,,ancient ,,art ,,gothic ,,art ,,renaissance ,,art ,,seventeenth ,,century ,,art ,,eighteenth ,,century ,,art ,,the ,,second ,,floor ,,modern ,,american ,,paintings ,,modern ,,european ,,paintings ,,modern ,,drawings ,,modern ,,sculpture ,,the ,,bradstreet ,,room ,,illustrations ,,first ,,floor ,,plan4 ,,second ,,floor ,,plan4 ,view of the ,south ,hall4 ,renaissance ,casts4 ,the ,east ,corridor3 ,greek and ,roman ,casts ,gallery ,b-#aj3 ,gothic ,casts ,the ,print ,study ,room ,christ ,healing the ,sick1 ,etching1 ,rembrandt1 #afjg-affi ,portrait of ,sir ,joshua ,reynolds by ,himself ,mezzotint by ,valentine ,green1 #agci-ahac ,the ,breaking up of the ,agamemnon4 ,sir ,francis ,seymour ,haden1 #ahah-aiaj ,weary1 ,dry-point1 by ,james ,mc,neil ,whistler1 #ahcd-aijc ,la ,gallerie ,notre-,dame1 ,etching by ,meryon1 #ahba-ahfh ,the ,diggers1 ,etching 7,third ,state71 by ,f4 ,millet1 #ahad-ahge ,plate1 with ,floral ,design ,asia ,minor1 ,,xvi ,century ,two ,fragments of ,bowls1 ,persian1 ,rhages1 ,,xiii ,century4 ,left3 ,polychrome ,decoration1 ,right3 ,lustred ,decoration ,velvet ,brocade ,turkish1 ,,xvi ,century ,mosque ,doors1 ,carved ,wood1 ,persian1 about #aejj ,autumn1 ,six-fold ,screen1 by ,yeitoku1 #aedc-aeij ,winter1 ,six-fold ,screen1 by ,yeitoku1 #aedc-aeij ,tiger1 ,attributed to ,sesshu1 #adbj-aejf4 ,after a ,design by ,yen-,hiu1 #ajhb-aace4 ,gift of ,charles ,l4 ,freer ,covered ,box1 ,cloisonne ,enamel4 ,japanese1 ,,xix ,century4 ,decorated in the ,old ,korean ,style4 ,cloisonne ,vase ,chinese1 ,ming ,dynasty ,horse's ,head4 ,han ,period ,mortuary ,vase4 ,han ,period ,painting ,on ,silk by ,ma ,yuan ,ancient ,chinese ,jades ,painting attributed to ,pien ,chin-,stan ,tung ,fang ,so4 ,jade ,princess ,yang4 ,ming ,period ,vase4 ,ming ,period ,chinese ,porcelain of the ,,xvii and ,,xviii ,centuries ,detail of the ,cartonnage ,enclosing the ,mummy of the 8,lady of the ,house1 ,tesha04 ,dynasty ,,xxii-,,xxv ,coffin and ,mummy of the 8,lady of the ,house1 ,tesha0 ,from ,thebes1 ,dynasty ,,xxii-,,xxv4 ,lower ,part of ,coffin4 ,dynasty ,,xxi ,statuette1 ,wood4 ,dynasty ,,xii ,goddess ,neith1 ,bronze ,dynasty ,,xxvi ,funerary ,papyrus ,ushabti1 ,wood ,cover of a ,canopic ,jar1 ,terracotta ,group of ,egyptian ,alabaster ,vessels ,bronze ,mirror ,amulet ,sacred ,eye and ,scarab ,piriform ,vase4 ,cypriote1 ,mycenaean ,style4 ca4 #aejj-abjj ,b4,c4 ,cypriote ,pottery ,babylonian ,tablet ,from ,jokha1 ca4 #bcej ,b4 ,c4 ,a ,pope1 ,statuette in ,oak4 ,flemish1 about #aejj ,head of the ,virgin1 ,stone4 ,french1 late ,,xiv ,century ,a ,view of the ,gothic ,room ,hunting ,party with ,falcons4 ,burgundian ,tapestry1 about #adej ,detail3 ,falcons ,attacking a ,heron2 ,hunter with ,lure ,two ,scenes from the ,story of ,esther4 ,flemish ,tapestry1 late ,,xv ,century ,the ,virgin and ,st4 ,john4 ,flemish1 about #aejj ,virgin and ,child1 ,stone4 ,french1 ,,xiv ,century ,a ,saint1 ,lindenwood4 ,german1 ,school of ,ulm1 about #aejj ,st4 ,mary ,magdalene1 ,linden ,wood4 ,attributed to ,jorg ,syrlin the ,younger1 #adbe-;after #aeba ,small ,column1 ,marble4 ,southern ,french1 ,,xiv ,century ,st4 ,francis ,receiving the ,stigmata4 ,school of ,giotto1 about #accj ,madonna and ,child4 ,the ,master of the ,st4 ,ursula ,legend ,madonna and ,angels4 ,atelier of ,jean ,bourdichon1 #adeg-aeba ,the ,miraculous ,field of ,wheat4 ,joachim ,patinir and ,quentin ,massys ,a ,group in the ,first ,renaissance ,gallery ,the ,second ,renaissance ,gallery ,madonna and ,child4 ,the ,master of the ,san ,miniato ,altar-piece ,portrait of an ,ecclesiastic4 ,giovanni ,battista ,moroni1 ca4 #aebj-aegh4 ,madonna and ,child4 ,giampietrino1 fl4 first half of ,,xvi ,century ,madonna and ,saints4 ,palma il ,vecchio1 about #adhj-aebh ,stucco ,relief4 ,workshop of ,antonio ,rossellino ,glass4 ,venetian1 ,,xvi ,century ,chair4 ,florentine1 ,,xvi ,century ,pomona1 ,glazed ,terracotta ,statuette4 ,giovanni ,delia ,robbia1 #adfi-aebi 787 ,candlestick1 ,wood1 ,carved and ,gilded4 ,florentine1 ,,xvi ,century ,virgil ,appearing to ,dante1 ,tapestry4 ,florentine1 ,middle of ,,xvi ,century ,joseph ,ruler ,over ,egypt1 ,tapestry4 ,brussels1 ,second ,quarter of ,,xvi ,century ,lectern1 ,walnut4 ,italian1 ,umbrian1 ,,xvi ,century ,cassone1 with ,gilded ,decoration4 ,florentine1 ,third ,quarter of ,,xv ,century ,cassone1 ,carved ,walnut4 ,sienese1 #aead ,chair1 ,portuguese4 ,,xvii ,century ,henry ,hyde1 ,lord ,clarendon4 ,sir ,peter ,lely1 #afah-afhj ,the ,concert4 ,michiel van ,musscher1 #afde-agje ,portrait of a ,lady4 ,michiel ,mierevelt1 #aefg-afda ,tapestry1 ,hunting ,scenes4 ,flemish1 about #afjj ,chest1 ,oak4 ,english1 ,,xvii ,century ,head of an ,old ,man4 ,giovanni ,domenico ,tiepolo1 #agbg-ahjd ,portrait of ,james ,ward4 ,gilbert ,stuart1 #agee-ahbh ,death on the ,pale ,horse4 ,benjamin ,west1 #agch-ahbj ,large ,embroidered ,hanging4 ,french1 ,early ,,xviii ,century ,subject1 ,spring3 from a set representing the ,four ,seasons1 in memory of ,mrs4 ,thomas ,lowry by ,mrs4 ,gustav ,schwyzer1 ,mrs4 ,percy ,hagerman and ,horace ,lowry ,needlepoint1 ,reticello4 ,italian1 ,early ,,xvii ,century ,lace1 ,needlepoint1 ,point d',argentan1 ,french1 ,,xviii ,century ,lace1 ,needlepoint1 ,point d',alencon1 ,french1 ,,xviii ,century ,lace1 ,needlepoint1 ,rosepoint1 ,venetian1 ,early ,,xviii ,century ,bobbin ,lace1 ,point d',angleterre1 ,flemish1 ,,xviii ,century ,chair1 ,pearwood ,venetian4 ,early ,,xviii ,century ,tripod ,table with ,top ,tilted ,back ,tripod ,table1 ,mahogany1 ,english1 about #agfj-agfe ,card ,table1 ,mahogany ,english or ,american1 about #agej-agge ,dressing-table1 ,mahogany4 ,american1 about #agfj-agge ,large ,flip ,glass and ,two ,liquor ,bottles4 ,stiegel ,glass1 ,american1 ,,xviii ,century4 ,le ,beurre1 by ,ovide ,yenesse4 ,mount ,whitney4 ,albert ,bierstadt1 #ahcj-aijb ,the ,conch ,divers4 ,winslow ,homer1 #ahcf-aiaj ,moonlit ,surf1 ,paul ,dougherty1 #ahgg- ,luxembourg ,gardens at ,twilight4 ,john ,s4 ,sargent1 #ahef- ,the ,white ,bridge4 ,john ,h4 ,twachtman1 #ahec-aijb ,a ,ray of ,sunlight4 ,john ,w4 ,alexander1 #aheg-aiae4 ,river in ,winter4 ,gardner ,symons1 #ahfa- ,garden in ,june4 ,frederick ,c4 ,frieseke1 #ahgd- ,the ,open ,sea4 ,emil ,carlsen1 #ahec ,the ,yellow ,flower4 ,albert ,reid1 #ahfc- ,midsummer4 ,r4 ,sloan ,bredin1 #ahha- ,night's ,overture4 ,arthur ,b4 ,davies1 #ahfb- ,landscape4 ,georges ,michel1 #agfc-ahdc ,child with ,cherries4 ,gillaume ,adolphe ,bouguereau1 #ahbe-aije ,the ,bath4 ,jean ,leon ,gerome1 #ahbd-aijc ,the ,storming of ,tel-el-,kebir4 ,alphonse de ,neuville1 #ahcf-ahhc ,napoleon's ,retreat from ,russia4 ,jan ,v4 ,chelminski1 #ahea- ,the ,roe ,covert4 ,gustave ,courbet1 #ahai-ahgg ,woodland ,scene4 ,n4 ,v4 ,diaz de la ,pena1 #ahji-ahgi ,river ,scene4 ,charles ,francois ,daubigny1 #ahag-ahgh ,landscape with ,cattle4 ,constant ,troyon1 #ahaj-ahfe ,fording the ,river4 ,constant ,troyon1 #ahaj-ahfe ,the ,beach at ,trouville4 ,eugene ,boudin1 #ahbd-ahih ,geranium4 ,albert ,andre1 #ahfi- ,the ,conversion4 ,gabriel ,max1 #ahdj- ,the ,scouts4 ,adolph ,schreyer1 #ahbh-ahii ,mountain ,village4 ,paul ,crodel1 #ahfb- ,cattle in ,sunshine4 ,heinrich von ,zugel1 #ahej- ,summer ,evening at the ,river4 ,gustav ,adolf ,fjaestad1 #ahgj- ,dalecarlian ,peasant4 ,helmer ,mas-,olle1 #ahhd- ,mother and ,children4 ,josef ,israels1 #ahbd-aiaa ,on the ,beach4 ,joaquin ,sorolla y ,bastida1 #ahfc- ,landscape4 ,alexander ,nasmyth1 #ageh-ahdj ,psyche's ,wedding4 ,sir ,edward ,burne-,jones1 #ahcc-ahih ,silver and ,green4 ,hilda ,fearon1 ,english1 8-#aiag ,studies of ,draped ,figures1 ,pencil ,drawing4 ,sir ,edward ,burne-,jones1 ,english1 #ahcc-ahih ,fire in ,ingram ,street1 ,pencil ,drawing4 ,muirhead ,bone1 ,scotch1 #ahgf- ,portrait1 ,drawing in ,chalk and ,wash4 ,william ,strang1 ,scotch1 #ahei- ,mucherach ,castle1 ,drawing in ,pen and ,wash4 ,david ,young ,cameron1 ,scotch1 #ahfe- ,tuscan ,landscape1 ,drawing in ,pen and ,wash4 ,muirhead ,bone1 ,scotch1 #ahgf- ,study for an ,illustration1 ,drawing in ,lithographic ,crayon4 ,theophile ,alexandre ,steinlen1 ,french1 #ahei- ,an ,old ,rabbi1 ,pencil ,drawing4 ,william ,rothenstein1 ,english1 #ahgb- ,playfulness4 ,paul ,manship1 #ahhe- ,plaque1 ,la ,guerre4 ,hubert ,ponscarme1 #ahbg-aijc ,medal1 ,l',art ,decorative1 by ,ovide ,yencesse1 #ahfi- ,a ,corner of the ,room ,color ,print4 ,yeizan1 flourished #ahjj-ahcj ,carved ,panel4 ,,xviii ,century ,,the ,,minneapolis ,,society ,,of ,,fine ,,arts ,,officers ,,and ,,member ,,of ,,the ,,board ,,of ,,trustees ,john ,r4 ,van ,derlip ,president ,eugene ,j4 ,carpenter ,first ,vice ,president ,edward ,c4 ,gale ,second ,vice ,president ,russell ,m4 ,bennett ,third ,vice ,president ,harry ,w4 ,rubins ,secretary ,perry ,harrison ,treasurer ,joseph ,breck ,director ,,trustees ,,term ,,expires #aiah ,charles ,c4 ,bovey ,charles ,l4 ,freer ,francis ,w4 ,little ,john ,r4 ,van ,derlip ,william ,c4 ,whitney ,,term ,,expires #aiai ,russell ,m4 ,bennett ,william ,y4 ,chute ,charles ,l4 ,hutchinson ,thomas ,b4 ,janney ,horace ,lowry ,louis ,w4 ,hill ,,term ,,expires #aibj ,william ,h4 ,bovey ,edward ,c4 ,gale ,edmund ,j4 ,phelps ,richardson ,phelps ,oliver ,c4 ,wyman ,,term ,,expires #aiba ,eugene ,j4 ,carpenter ,edwin ,h4 ,hewitt ,herschel ,v4 ,jones ,angus ,w4 ,morrison ,fendall ,g4 ,winston ,james ,ford ,bell ,,term ,,expires #aibb ,harington ,beard ,edmund ,d4 ,brooks ,elbert ,l4 ,carpenter ,robert ,w4 ,de ,forest ,alfred ,f4 ,pillsbury ,laurits ,s4 ,swenson ,,ex-,,officio ,,members ,the ,mayor of ,minneapolis ,the ,president of the ,board of ,park ,commissioners ,the ,president of the ,library ,board ,the ,president of the ,board of ,education ,,preface ,when the ,institute was first opened1 little more than two and one half years ago1 the permanent collection occupied but a small part of the exhibition space4 ,since then the collection has increased in size and importance to an extent that warrants us1 we feel1 in publishing this illustrated handbook1 which1 although intended primarily for the use and convenience of visitors1 at the same time may not be without interest as a record of accomplishment within so brief a period4 ,this rapid development of our collection has been made possible1 first of all1 by the great liberality of numerous friends1 but it has been facilitated by firm adherence to a well defined policy in respect to acquisitions4 ,this policy is based on two cardinal beliefs4 ,the first is that an art museum is of the greatest value to a community when its collections embrace both the major and minor arts of all countries and all times4 ,the second is that the standard must be high4 ,it would be idle to pretend that every object in our collection is a masterpiece of the highest order1 but it is better to have an ideal1 which may not be wholly realized1 than to have none4 ,through the munificent bequest of ,william ,hood ,dunwoody1 the ,institute has had for its purchases the income of one million dollars4 ,several important paintings have come to the ,institute through the bequest of ,mrs4 ,w4 ,h4 ,dunwoody 7,child with ,cherries1 ,landscape with ,cattle1 ,fording the ,river74 ,in memory of their mother the late ,mrs4 ,thomas ,lowry1 ,mrs4 ,gustav ,schwyzer1 ,mrs4 ,percy ,hagerman and ,horace ,lowry have made a welcome gift of paintings and other works of art 7,tapestry1 ,hunting ,scenes1 ,large ,embroidered ,hanging1 ,the ,conversion1 ,the ,scouts74 ,among the numerous gifts must be instanced the ,ladd ,collection of ,prints1 the gift of an anonymous donor 7see the ,print ,department chapter72 the ,charles ,jairus ,martin ,memorial ,collection of ,tapestries1 the gift of ,mrs4 ,c4 ,j4 ,martin 7,hunting ,party with ,falcons1 ,two ,scenes from the ,story of ,esther1 ,joseph1 ,ruler over ,egypt1 ,virgil ,appearing to ,dante72 the ,martin ,b4 ,koon ,memorial ,collection of ,contemporary ,american ,paintings1 the gift of ,mrs4 ,c4 ,c4 ,bovey and ,mrs4 ,c4 ,d4 ,velie 7,luxembourg ,gardens at ,twilight1 ,the ,white ,bridge1 ,river in ,winter1 ,garden in ,june1 ,the ,open ,sea1 ,the ,yellow ,flower1 ,night's ,overture72 the ,bradstreet ,memorial ,collection of ,japanese ,art1 the gift of ,mrs4 ,elizabeth ,b4 ,carleton and ,mrs4 ,margaret ,kimball 7,the ,bradstreet ,room1 ,color ,print by ,yeizan1 ,carved ,panel72 and the ,cast ,collection1 the gift of ,russell ,m4 ,bennett 7see the ,cast ,collection chapter74 ,the ,oriental collection has been enriched by a gift of ,chinese porcelain from ,mrs4 ,e4 ,c4 ,gale 7,chinese ,porcelain71 and by a collection of ,japanese paintings and other material from ,charles ,l4 ,freer 7,tiger74 ,valuable paintings and other works of art have been given by ,james ,j4 ,hill 7,landscape1 ,the ,storming of ,tel ,el ,kebir1 ,napoleon's ,retreat from ,russia1 ,the ,roe ,covert71 ,mrs4 ,frederick ,b4 ,wells 7,the ,bath1 ,woodland ,scene1 ,river ,scene1 ,mother and ,children71 ,james ,ford ,bell 7,madonna with ,saints71 ,t4 ,b4 ,walker1 and others to whose generosity the ,society of ,fine ,arts is greatly indebted4 ,in the preparation of this handbook1 ,i have been aided by ,mr4 ,harry ,b4 ,wehle1 ,assistant to the ,institute ,staff1 who is responsible for the notes on ,,xix ,century and modern art4 ,my part of the work1 except for general supervision1 has been confined to the earlier periods4 ,september #ab1 #aiag4 ,,joseph ,,breck1 ,director ,,the ,,minneapolis ,,institute ,,of ,,arts ,the ,institute is maintained by the ,minneapolis ,society of ,fine ,arts1 incorporated in #ahhc for the purpose of promoting a knowledge and love of art in the community4 ,the purpose of the ,society found its first expression in a school of art1 established in #ahhf and for many years carried on in rooms in the building of the ,public ,library4 ,since ,november1 #aiaf1 the ,school has occupied its own building1 the ,julia ,morrison ,memorial ,building1 situated in the same ,park as the ,institute4 ,from its inception1 however1 the members of the ,society of ,fine ,arts had purposed establishing1 in addition to the art school1 a museum of art4 ,in #aiaa this hope suddenly began to take the shape of reality4 ,in ,january of that year1 ,clinton ,morrison offered as a gift to the ,society the ten acre tract of land at ,twenty-fourth ,street between ,stevens and ,third ,avenues1 valued at #bej1jjj1 as a site for museum and school buildings1 provided #ejj1jjj should be secured for the erection of the museum4 ,immediately upon the announcement of ,mr4 ,morrison's generous offer1 ,william ,hood ,dunwoody1 then ,president of the ,society1 promised #ajj1jjj for the building fund4 ,at a dinner held on ,january #aj1 #aiaa1 approximately #bej1jjj additional was pledged by other public-spirited citizens1 and by the end of the month the entire sum for building had been obtained4 ,plans for a building which could be constructed in successive units1 to occupy eventually the entire tract1 were prepared by ,mc,kim1 ,mead ,white of ,new ,york4 ,in ,august1 #aiab1 the construction work was begun on the main unit1 and late in #aiad the building was completed4 ,the ,institute was opened to the public on ,january #g1 #aiae4 ,the present museum is about #cbe feet long and #ajj feet deep1 and comprises approximately one-seventh of the entire plan4 ,the total cost was #ecg1jjj4 ,the construction is of brick1 concrete1 and steel1 with a facade of white granite4 ,the classical design of the building is considered exceptionally beautiful in its proportions and in the refinement of its details4 ,there are two main exhibition floors4 ,the ,first ,floor contains sixteen exhibition halls and galleries1 as well as the entrance hall1 information office1 check room1 library and print-study4 ,the ,second ,floor comprises thirteen galleries1 ten of which are devoted to permanent exhibitions1 one to exhibitions of prints1 and two to transient exhibitions4 ,on the ,ground ,floor are located the administration offices1 the ,trustees' room1 toilets1 women's rest room1 lunch room1 class room1 shipping room and store rooms4 ,for the purchase of works of art1 the ,society has the income from #a1jjj1jjj1 the munificent bequest of ,william ,hood ,dunwoody1 who died ,february #h1 #aiad4 ,this fund can be used only for the purchase of works of art4 ,for the maintenance of the ,institute1 the ,society is dependent upon membership dues and upon a city tax levy of one-eighth of a mill4 ,,general ,,information ,,location4 ,the ,institute is located on ,east #bdth ,street between ,stevens and ,third ,avenues4 ,it can be reached easily from either the ,nicollet ,avenue or the ,fourth ,avenue car line4 ,,hours ,,of ,,opening4 ,the ,institute is open to the public daily from #aj3jj ,a4,m4 to #e3jj ,p4,m4 except on ,sunday and ,monday1 when the hours are #a3jj ,p4,m4 to #e3jj ,p4,m4 ,,admission4 ,admission is free on ,wednesday1 ,saturday and ,sunday2 other days1 a charge of twenty-five cents is made1 except to members of the ,minneapolis ,society of ,fine ,arts1 to school children accompanied by teachers1 and to art students1 teachers in the public schools1 and special students holding annual admission cards1 which will be issued upon application4 ,,information ,,desk4 ,admission tickets1 a public telephone1 post cards and publications of the ,institute may be found at the ,information ,desk 7at the left on entering the building74 ,application should be made here to see any officer of the ,institute4 ,the use of a wheel-chair in the galleries may be obtained here without charge2 when an attendant is provided1 the charge is #a4jj per hour4 ,,expert ,,guidance4 ,visitors wishing docent service1 or guidance through the galleries1 should make application at the ,information ,desk4 ,,copying ,,and ,,photographing4 ,application for permission to copy or photograph must be made to the ,director4 ,,lunch ,,room4 ,the lunch room is located on the ,ground ,floor at the west end of the corridor4 ,luncheon is served from #ab3cj to #b3jj2 tea from #c3cj to #d3de4 ,closed during the summer4 ,,rest ,,room4 ,the rest room for women is located near the lunch room4 ,,bulletin4 ,the ,institute publishes an illustrated bulletin monthly1 ,october to ,june4 ,it is free to members2 subscription rate to non-members1 4#ge2 single copies1 4#aj4 ,,art ,,school4 ,for information concerning the ,art ,school apply to the ,director1 ,minneapolis ,school of ,art1 #bjj ,east #beth ,street4 ,,membership4 ,the ,minneapolis ,society of ,fine ,arts offers1 through its various classes of membership1 the opportunity of sharing in the support of the ,institute and ,school of ,art and of enjoying the privileges afforded by the ,society4 ,membership tickets are issued upon application to the ,secretary at the ,institute accompanied by membership fee4 ,all classes of membership1 except associate and club membership1 entitle members to3 7#a7 free admission1 at all times when the ,institute is open to the public1 for themselves and members of their families and out-of-town guests2 7#b7 invitations to all receptions given at the ,institute by the ,trustees2 7#c7 free admission to all lectures and entertainments given under the auspices of the ,society2 7#d7 free guide service2 7#e7 a subscription to the monthly ,bulletin published by the ,society4 ,,classes ,,of ,,membership ,,benefactor4 ,any person contributing money or property to the value of #be1jjj4 ,,patron4 ,any person contributing money or property to the value of #aj1jjj4 ,,fellow ,,in ,,perpetuity4 ,any person contributing money or property to the value of #e1jjj4 ,,fellow ,,for ,,life4 ,any person contributing money or property to the value of #a1jjj ,the above constitute the ,governing ,members of the ,society4 ,,life ,,members4 ,any person paying the life membership fee of #ajj4jj4 ,,annual ,,members4 ,any person paying the annual membership fee of #aj4jj4 ,,associate ,,members4 ,privileges restricted to person paying an annual membership fee of #b4jj4 ,limited to teachers and students4 ,,club ,,membership4 ,clubs may become members of the ,society of ,fine ,arts by special arrangements1 which entitle such groups to meet in the galleries or to use the lecture room and stereopticon4 ,,plan ,,of ,,the ,,first ,,floor ,first ,floor ,plan ,,first ,,floor ,,plan4 ,works of art earlier than the ,,xix century1 the cast collection1 and the ,print ,department are located on the ,first ,floor4 ,the visitor who wishes to make a general tour of the collections is advised to proceed from the entrance through the octagonal hall to the corridor at the left4 ,at the end of this corridor is the entrance to the ,oriental collections4 ,the ,egyptian collection in the adjacent gallery may then be visited4 ,returning to the corridor1 the visitor will come to the ,library and ,print ,study ,room4 7,the ,print ,department will eventually be given space on the ,ground ,floor1 and the galleries now occupied devoted to ,greek and ,roman art47 ,casts of classical sculpture are exhibited in the corridor4 ,the cast collection is continued in ,gallery ,b-#aj 7,gothic art7 and in ,galleries ,b-#aa1 #ab1 and the west corridor 7,renaissance and later periods74 ,opposite the stairs to the ,second ,floor is the entrance to a series of rooms in which original examples of ,european art are exhibited according to period4 ,the first gallery is devoted to ,gothic art2 the next two to ,renaissance art2 these are followed by the gallery of ,,xvii and the two galleries of ,,xviii century art4 ,the stairs opposite ,gallery ,b-#ae lead to the ,ground ,floor1 where are the lunch room1 women's rest room1 toilets1 class room1 administration offices1 and work rooms4 ,,plan ,,of ,,the ,,second ,,floor ,second ,floor ,plan ,,second ,,floor ,,plan4 ,nineteenth century and modern works of art are exhibited on the ,second ,floor4 ,on this floor are also the ,print ,exhibition ,gallery and the ,bradstreet ,collection4 ,the visitor is advised to enter the series of galleries through the ,print ,exhibition ,gallery1 ,c-#a4 ,from this room the visitor may proceed to the galleries in which paintings of the ,american and ,european schools are exhibited4 ,having completed the circuit along the north front of the building1 the visitor may return by way of the corridors and galleries to the south 7modern drawings and sculpture1 the ,bradstreet ,room74 ,galleries ,c-#h and #i are used for transient exhibitions1 generally changed each month4 ,,the ,,first ,,floor ,view of the ,south ,hall4 ,renaissance ,casts4 ,view of the ,south ,hall4 ,renaissance ,casts4 ,,the ,,cast ,,collection ,the ,east ,corridor3 ,greek and ,roman ,casts ,the ,east ,corridor3 ,greek and ,roman ,casts ,the cast collection is installed in ,galleries ,b-#b1 #aj1 #aa1 #ab and the ,j corridors on the ,first ,floor4 ,to view the collection in chronological sequence1 the visitor should proceed from the octagonal ,gallery ,b-#b 7,v century ,greek sculpture7 down the north side of corridor ,b-#c 7,v century ,greek sculpture74 ,returning1 the visitor will find in the alcoves on the south side of the corridor casts of ,greek sculpture of the ,,iv century and ,hellenistic periods1 and casts of ,roman sculpture4 ,the collection is continued in ,gallery ,b-#aj 7,gothic sculpture71 which should be entered from the corridor4 ,casts of ,renaissance sculpture are exhibited in ,gallery ,b-#a 7,early ,renaissance1 ,,xv century7 and ,gallery ,b-#ab 7,late ,renaissance1 ,,xvi century74 ,other casts of sculptures of the ,renaissance and later periods are exhibited in the west corridor4 ,the educational value of a cast collection is beyond question4 ,through these mechanical reproductions1 it is possible to obtain a fairly adequate idea of the great masterpieces of sculpture1 that are inaccessible to many1 except in this form4 ,in the plaster cast one may study proportions1 composition1 style and even technical procedure2 but it must be remembered that the qualities of color and texture1 which contribute so much to the effect of the original1 are almost1 if not entirely1 lost in the plaster cast4 ,this defect may be overcome in part by treating the plaster in various ways so that it conveys some suggestion of the original material4 ,this has been done with our casts1 adding materially to the attractiveness of the collection4 ,in connection with the casts of ,greek and ,roman sculpture in our collection1 the following notes on classical art may be of interest4 ,as to the characteristics of ,gothic and ,renaissance art1 the reader is referred to the notes on pages #ca-cb and #dg-dh4 ,a remarkable civilization 7,minoan1 ,cretan1 ,aegean1 or ,prehellenic1 as it is variously called71 extending over a thousand years1 preceded the classical period of ,greek art4 ,this earlier civilization was brought to an end by the so-called ,dorian invasion at the close of the second millennium1 and several hundred years had to elapse before conditions once again were right for the flourishing of art4 ,greece of the classical period begins to emerge towards the end of the ,,vii century ,b4 ,c4 ,the ,archaic ,period 7about #fbe-dhj ,b4 ,c47 was one of experimentation1 preparatory to the age of perfection1 when1 technical difficulties having been overcome and aesthetic aims defined1 ,greek art attained an eminence never surpassed4 ,victorious at ,salamis and ,plataea1 the ,greek world arose triumphant from its struggles with ,asia4 ,the birth of national consciousness ushered in a new period of art1 the ,golden ,age of ,greece 7#dhj-djj ,b4 ,c474 ,the conventions of the archaic style gave place to a free style1 adequate to the sculptor's every need4 ,grace1 simplicity1 and truth in the representation of the living form characterize the sculpture of this period2 draperies are rendered with marvelous skill4 ,liberal patronage was extended to the arts1 particularly by the state4 ,under these favorable conditions1 which reached their climax in the ,age of ,pericles 7#dfa-dca ,b4 ,c471 ,hellenic ideals of proportion1 sanity and self-command found perfect embodiment in sculpture4 ,from about the middle of the ,v century1 ,athens was the unquestioned leader in the field of art1 her nearest rival1 the ancient school of ,argos4 ,among the great sculptors of the ,v century1 three stand out in particular prominence3 ,myron1 who excelled in the representation of bodily forms and action2 ,polyclitus1 the sculptor of athletes and the exponent of academic perfection2 and above all ,phidias1 the great genius of the age1 who combined technical skill with the expression of lofty1 spiritual ideals4 ,in the next period1 that of the ,,iv century 7#djj-cbc ,b4 ,c47 individualism began to dominate ,greek thought and action1 replacing the earlier civic and religious influences4 ,art became more individual and more emotional4 ,portraiture grew in favor4 ,the austere style of ,phidias gave place to the dreamy sentiment of ,praxiteles1 to the fiery passion of ,scopas4 ,the gods descended from high ,olympus and walked the earth in human guise4 ,the three great sculptors of this age were ,praxiteles1 ,scopas and ,lysippus4 ,gallery ,b-#aj3 ,gothic ,casts ,gallery ,b-#aj3 ,gothic ,casts ,sculpture of the ,hellenistic ,period 7#cbc-adf ,b4 ,c47 shows a further development of tendencies already manifested in the preceding century4 ,individualism led to a vigorous development of portraiture and genre sculpture4 ,art ran the whole gamut of passion1 from the bestial to the ideal1 and this amplification of the emotional theme was accompanied by a wider range of subject material than had yet occurred4 ,with these changes came a lowering of ideals4 ,spiritual emptiness1 sensationalism1 and lack of self-restraint are only too often characteristic of ,hellenistic art4 ,the chief centres of art in this period were not in ,greece1 but at ,pergamon1 ,rhodes and ,alexandria4 ,the development of ,roman sculpture was influenced1 on the one hand1 by native ,italian realistic tendencies1 and on the other1 by the example of ,greek sculpture4 ,not only were there in ,rome numerous ,greek sculptures to serve as models1 but also many transplanted ,greek artists1 who had left their native land to seek employment in ,italy4 ,to the copies of famous masterpieces executed by these eclectic artists1 it may be remarked1 we owe our knowledge of many celebrated works of ,greek sculpture1 which otherwise would have been lost to us4 ,in studying ,roman art we note first one tendency1 then the other1 predominating1 but neither is ever lost to sight4 ,it is this dualism that gives to ,roman art its distinctive character4 ,,the ,,print ,,department ,the ,print ,study ,room ,the ,print ,study ,room ,the ,print ,department occupies two rooms on the ,main ,floor 7,print ,study ,room and ,library7 and a large exhibition gallery on the ,second ,floor4 ,the collection1 comprising over #e1jjj prints1 was the munificent gift to the ,society in #aiaf of an anonymous donor4 ,the collection1 formerly owned by ,william ,m4 ,ladd of ,portland1 ,oregon1 represents the work of years in collecting1 and illustrates in a comprehensive way the history of the graphic arts4 ,the strength of the collection lies in its splendid representation of the work of ,,xix century and modern etchers4 ,in this respect it may be said to be second only to the famous ,avery ,collection in ,new ,york4 ,the collection offers an exceptional opportunity for the study and enjoyment of a branch of art that is intimately related to drawing and painting and yet has distinctive qualities of its own4 ,selections of prints1 frequently changed1 are exhibited in the large gallery devoted to this purpose on the ,second ,floor4 ,prints not on exhibition are kept in the ,print ,study ,room on the ,first ,floor1 to the left of the entrance4 ,visitors are welcome4 ,the curator is glad to show any prints not on exhibition and to assist the student in every way possible4 ,adjoining the ,study ,room is the ,library1 where in addition to general reference books deposited by the ,minneapolis ,athenaeum1 there is a valuable reference library on the subject of prints1 which formed part of the former ,ladd ,collection4 ,students will also find useful a collection which is now being made of photographs and other reproductions of works of art4 ,it is difficult1 of course1 to give any adequate idea in so brief a space of the scope of the collection1 but the following comments may be of interest4 ,among the prints by the early masters1 of the ,,xv and ,,xvi centuries1 there are examples of the work of ,martin ,schongauer2 a large group of #ajf engravings and wood-cuts by the great ,german master1 ,albrecht ,durer2 some characteristic prints by the so-called 8,little ,masters10 ,beham1 ,pencz1 and ,aldegrever2 and a small group of engravings by the ,,xv century ,italian master1 ,andrea ,mantegna4 ,by ,rembrandt1 the outstanding figure in the graphic arts of the ,,xvii century1 we are fortunate in possessing #abg etchings1 all of them good and many in brilliant impressions4 ,other engravers and etchers of the ,,xvii century are well represented4 ,among the ,dutch masters may be instanced ,paul ,potter1 ,ruysdael1 ,a4 van de ,velde2 among the ,french1 ,callot1 ,claude ,lorrain1 and the portrait engravers1 ,nanteuil1 ,morin and ,masson4 ,the ,,xvii century group is an interesting one4 ,we may note #cd etchings by ,piranesi and an important collection of ,english mezzotints by ,mc,ardell1 ,s4 ,d4 ,reynolds1 ,earlom1 ,valentine ,green1 and others4 ,as to modern etchers and engravers1 the collection presents an embarrassment of riches4 ,the masters of this period are finely represented4 ,there are #cd etchings by ,meryon2 #ajc etchings and lithographs by ,whistler1 including beautiful impressions of the ,venetian and ,amsterdam sets2 #bdb prints by ,sir ,francis ,seymour ,haden1 a collection particularly interesting for the number of trial proofs and different states which it includes4 ,there is a notable group of #bdb etchings by ,jacque1 including a large number of rare early dry-points2 an important collection of ,millet's etchings and woodcuts2 #abd prints by ,buhot2 #aai prints by ,legros2 #ec prints by ,lepere2 #aef prints by van ,muyden2 a characteristic group of lithographs by ,fantin ,latour2 #ij prints by ,storm van's ,gravesande1 including all his important plates2 #cb examples of the work of ,m4 ,a4 ,j4 ,bauer4 ,turner's famous ,liber ,studiorum is represented by a nearly complete set1 including #bd first states4 ,the collection is rich in the work of contemporary ,british artists4 ,there are1 in addition to the large group of ,hadens1 #ach prints by ,sir ,frank ,short2 #gb prints by the ,scotch etcher1 ,d4 ,y4 ,cameron2 and fine examples of the work of ,muirhead ,bone1 ,brangwyn1 ,strang1 and other contemporary artists4 ,modern ,german work is represented by an interesting collection of etchings1 woodcuts1 lithography and color-printing4 ,to conclude this brief summary of the ,european artists represented in the collection1 we may mention the group of #bj etchings by the ,swedish painter and etcher1 ,anders ,zorn4 ,coming to the work of ,american etchers1 we find a large group of prints by ,joseph ,pennell1 including his ,panama ,canal lithographs2 the complete work of ,d4 ,shaw ,mac,laughlan1 down to about #aiab2 the almost complete work of ,charles ,platt2 #ee prints by ,stephen ,parrish2 and a representative group of dry-points by ,mary ,cassatt4 ,christ ,healing the ,sick1 ,etching1 ,rembrandt1 #afjg-affi ,christ ,healing the ,sick1 ,etching1 ,rembrandt1 #afjg-affi ,this is a fine impression of the second state of ,rembrandt's masterpiece known as ,the ,hundred ,guilder ,print1 so-called because it is supposed to have brought that price--a high one for the period--in ,rembrandt's own time4 ,rembrandt is not only the greatest artist of the ,dutch school1 but also the greatest master of etching the world has ever known4 ,the art of mezzotint engraving attained its highest development in ,england during the ,,xviii century4 ,the ,english portrait painters were quick to recognize that the mezzotint process with its delicacy of tone and beautiful1 velvety quality was admirably suited to the reproduction of their works4 ,reynolds is said to have employed1 under his supervision1 one hundred mezzotint engravers in the reproduction of his portraits4 ,english mezzotints are well represented in our collection4 ,portrait of ,sir ,joshua ,reynolds by ,himself ,mezzotint by ,valentine ,green1 #agci-ahac ,portrait of ,sir ,joshua ,reynolds by ,himself ,mezzotint by ,valentine ,green1 #agci-ahac ,the ,breaking up of the ,agamemnon4 ,sir ,francis ,seymour ,haden1 #ahah-aiaj ,the ,breaking up of the ,agamemnon4 ,sir ,francis ,seymour ,haden1 #ahah-aiaj ,the subject of this large etching is the breaking up of one of ,england's famous old ships of war1 called the ,agamemnon4 ,haden was not only a surgeon eminent in his profession1 but also one of the greatest of ,english etchers4 ,the revival of interest in etching during the ,,xix century in ,england was largely due to his efforts4 ,characteristic works of ,whistler and ,meryon are illustrated below4 ,weary1 ,dry-point1 by ,james ,mc,neil ,whistler1 #ahcd-aijc ,weary1 ,dry-point1 by ,james ,mc,neil ,whistler1 #ahcd-aijc ,la ,gallerie ,notre-,dame1 ,etching by ,meryon1 #ahba-ahfh ,la ,gallerie ,notre-,dame1 ,etching by ,meryon1 #ahba-ahfh ,the ,diggers1 ,etching 7,third ,state71 by ,f4 ,millet1 #ahad-ahge ,the ,diggers1 ,etching 7,third ,state71 by ,f4 ,millet1 #ahad-ahge ,our print collection is notably rich in the work of ,millet4 ,the etchings are all fine impressions1 in some cases exceptional in quality4 ,the collection also includes ,millet's lithograph1 ,the ,sower1 and his rare heliogravure1 ,maternal ,precaution4 ,of the six wood-engravings drawn by ,millet and cut by his brothers1 three are represented in the collection4 ,millet was a thoughtful artist1 to whom the spirit of things was at least as important as their visual aspect4 ,his deep and sincere sympathy with the life of the peasant1 to whose class he himself belonged1 determined to a large extent his choice of subject4 ,but ,millet never descended to anecdotal trivialities2 he avoided the pale sentimentality of such a painter as ,jules ,breton4 ,his thought1 like his technique1 was virile1 positive1 honest4 ,millet was far above any trickery1 either of thought or of execution4 ,the very intensity of his intellectual interests led ,millet to evolve a personal style that is distinguished by its simplicity and directness4 ,as an artist1 ,millet is more allied to ,durer than to ,rubens4 ,color plays but a small part in his pictures4 ,significant1 expressive line is the first essential of his art1 and with this simple means he secures a surprising effect of plastic form4 ,when color is added to outline1 he is primarily interested in establishing accurately the values of the different planes4 ,both in his use of line and of mass1 it is ,millet's invariable practice to simplify1 omitting everything that is not essential to his purpose4 ,,near ,,eastern ,,art ,plate1 with ,floral ,design ,asia ,minor1 ,,xvi ,century ,plate1 with ,floral ,design ,asia ,minor1 ,,xvi ,century ,the art of the ,nearer ,orient is the product of many races4 ,the phrase covers in general the art of ,india1 ,persia1 ,syria1 ,mohammedan ,egypt1 ,turkey1 and even1 in certain aspects1 the art of ,spain1 ,portugal and southern ,italy4 ,although the development of this art was by no means uniform or along the same lines1 the products are all related in style1 which is unmistakable and distinct from other types of design4 ,the most typical manifestation of this style would appear to have originated in ,egypt about the time of the ,mohammedan conquest in #fch ,a4 ,d41 and almost simultaneously in ,syria and northern ,persia4 ,since the ,koran forbade the representation of any living creature1 ,mohammedan artists developed the so-called arabesque style1 based on geometric and floral motives4 ,this limitation1 however1 was not observed by the ,persians1 who introduced human and animal life into their designs with beautiful results4 ,two ,fragments of ,bowls1 ,persian1 ,rhages1 ,,xiii ,century4 ,left3 ,polychrome ,decoration4 ,right3 ,lustred ,decoration ,two ,fragments of ,bowls1 ,persian1 ,rhages1 ,,xiii ,century4 ,left3 ,polychrome ,decoration1 ,right3 ,lustred ,decoration ,the earliest lustred ware of ,persia is that found in the ruins of the ancient city of ,rhages4 ,this prosperous city was destroyed in #abba during the ,mongol invasion4 ,it may be assumed that most of the fragments found in the tumuli at ,rhages date from the early years of the ,,xiii century4 ,non-lustred pottery with polychrome decoration was also produced at ,rhages during this period4 ,the mosque doors1 from ,ispahan1 illustrated on the opposite page1 are particularly fine examples of ,persian wood carving4 ,the arabesque designs are especially beautiful4 ,the inscriptions in the upper and lower small panels have been translated as follows3 ,panel1 ,upper ,right3 ,oh ,god1 do not indifferently drive me from your door4 ,panel1 ,upper ,left3 ,for if you do1 there will be no other door open to me4 ,panel1 ,lower ,right3 ,oh1 my heart1 do not be far off from the door of those who are sincere and faithful4 ,panel1 ,lower ,left3 ,anyone who is far from the door is near to ,god4 ,velvet ,brocade ,turkish1 ,,xvi ,century ,velvet ,brocade ,turkish1 ,,xvi ,century ,mosque ,doors1 ,carved ,wood1 ,persian1 about #aejj ,mosque ,doors1 ,carved ,wood1 ,persian1 about #aejj ,,japanese ,,art ,autumn1 ,six-fold ,screen1 by ,yeitoku1 #aedc-aeij ,autumn1 ,six-fold ,screen1 by ,yeitoku1 #aedc-aeij ,in the middle of the ,,vi century of the ,christian era1 ,buddhism was introduced into ,japan by way of ,korea4 ,through the vehicle of this new religion1 ,chinese art began to exert a fructifying influence upon the native art of ,japan1 which up to this time had achieved nothing worthy of mention4 ,chinese influence continued in succeeding ages a potent factor in the development of ,japanese art4 ,in the art of the ,suiko 7#eeb-fdd71 ,hakuho 7#fde-gji71 ,tempyo 7#gaj-gic71 ,jogan 7#gid-hii71 and ,fujiwara 7#ijj-aaij7 periods1 the inspiration was largely ,chinese1 but more and more the native genius manifested itself in modifications of the spirit and technique4 ,this evolution toward a distinctive national art and culture made considerable advances in the ,fujiwara period1 which ended in social revolution and the establishment of a military vice-royalty at ,kamakura4 ,the ,kamakura period 7#aaij-accg7 is the feudal era of ,japan4 ,the spirit of individualism and hero-worship which distinguishes this age brought about a great development in portraiture1 even the gods assuming a more individualized character4 ,battle scenes and the achievements of famous warriors and heroes were popular subjects4 ,to overawe the populace1 religious artists for the first time pictured the horrors of hell4 ,forceful delineation and the vigorous expression of action are characteristic of ,kamakura art4 ,zenism1 a metaphysical doctrine introduced from ,china to ,japan in the ,kamakura period1 had a very great influence in the succeeding ,ashikaga period 7#accg-aehb7 in shaping the course of art4 ,the ,zen sect of ,buddhism1 discarding ritual1 sought salvation through self-concentration and meditation4 ,subjective idealism and the search of the inner spirit of things1 fostered by ,zenism1 led the ,ashikaga artists to practice a rigorous economy of means1 eliminating color in general and all details not essential to the expression of the artist's idea4 ,the search for the hidden beauty in all things was not confined to the major arts but led to the beautification of the humblest household utensils4 ,in the ornamentation of sword guards the metal workers showed extraordinary ability4 ,the ,ashikaga era ended in turmoil4 ,in #aehb ,toyotomi ,hideyoshi1 a man of the humblest origin1 brought order out of chaos1 and became virtual ruler over a unified ,japan4 ,winter1 ,six-fold ,screen1 by ,yeitoku1 #aedc-aeij ,winter1 ,six-fold ,screen1 by ,yeitoku1 #aedc-aeij ,under the patronage of ,hideyoshi and his ennobled generals1 the sober refinement of ,ashikaga art gave way to gorgeous decoration1 resplendent with gold and brilliant colors1 that shows the influence of the mature ,ming style of ,china4 ,the leading artist of this period in ,japan was ,yeitoku 7#aedc-aeij71 who with his numerous pupils painted sumptuous decorations for the palaces of the wealthy nobles4 ,by ,yeitoku are the two large screens illustrated above4 ,this artist created perhaps the greatest purely decorative style of painting that the world has ever known4 ,after the death of ,hideyoshi in #afjb1 ,iyeyasu founded the ,tokugawa ,shogunate 7#afjc-ahfg74 ,during the long 8,tokugawa peace0 various schools of art developed4 ,koetsu 7d4 #afcg7 and his great followers1 ,sotatsu 7middle ,,xviii century7 and ,korin 7d4 #agaf71 established the so-called ,korin school1 seeking to combine the rich coloring of pre-,ashikaga days with the bold treatment of the ,zen school4 ,kano ,tanyu and his followers attempted to return to the purity of the ,ashikaga masters1 but met with only partial success4 ,patronage was largely in the hands of a prosperous middle class who demanded something more easily understood than the aristocratic art of the earlier periods4 ,to meet this demand a more democratic school arose1 and many gifted artists through their paintings of popular festivals and other familiar scenes prepared the way for the ,ukiyo-e1 or school of common life4 ,under the inspiration of this popular school1 the art of printing in colors from wood blocks was brought to a high state of perfection4 ,little original work of any importance has been produced in ,japan since the ,restoration in #ahfh4 ,tiger1 ,attributed to ,sesshu1 #adbj-aejf4 ,after a ,design by ,yen-,hiu1 #ajhb-aace4 ,gift of ,charles ,l4 ,freer ,tiger1 ,attributed to ,sesshu1 #adbj-aejf4 ,after a ,design by ,yen-,hiu1 #ajhb-aace4 ,gift of ,charles ,l4 ,freer ,covered ,box1 ,cloisonne ,enamel4 ,japanese1 ,,xix ,century4 ,decorated in the ,old ,korean ,style4 ,covered ,box1 ,cloisonne ,enamel4 ,japanese1 ,,xix ,century4 ,decorated in the ,old ,korean ,style4 ,,chinese ,,art ,cloisonne ,vase ,chinese1 ,ming ,dynasty ,cloisonne ,vase ,chinese1 ,ming ,dynasty ,the study of ancient ,chinese art is attended by discouraging uncertainties4 ,only a few bronzes1 jades1 and possibly a small quantity of pottery1 have survived to testify to the early development of art in ,china4 ,to add to the difficulty1 the exact dating of this material is at best only tentative4 ,but whether the most ancient of these bronzes and jades are to be attributed to the ,shang ,dynasty 7#agff-aabb ,b4 ,c47 or1 with more probability1 to the succeeding ,chou ,dynasty 7#aabb-bee71 the technical skill which they display postulates so long a period of preparation that the origins of ,chinese art must be referred to a past too remote for our present discernment4 ,with the ,han ,dynasty 7,b4 ,c4 #bjf-bba ,a4 ,d471 we find ourselves on surer ground1 since many works of art of various kinds and materials1 and unquestionably of this era1 have come down to us4 ,not only bronzes and jades but also pottery and sculpture bear witness to the flourishing art of this period4 ,during the ,han ,dynasty1 probably in the first century of our era1 ,buddhism reached ,china from ,india4 ,it does not appear1 however1 to have exerted much influence upon the arts until about the ,v century4 ,the ,han ,dynasty was followed by a succession of shorter reigns known as the ,three ,kingdoms and the ,six ,dynasties4 ,early in the ,,vii century1 the great house of ,t'ang 7#fah-ijg7 came to power1 and for three hundred years held sway over a vast empire4 ,it was the period of ,china's greatest external power2 the period of her greatest poetry2 and of her grandest and most vigorous1 if not1 perhaps1 her most perfect art4 ,the surviving works of art of this era are far from numerous1 but they are sufficient to warrant the belief that ,china1 except in the field of ceramic art1 rarely if ever surpassed the achievements of this golden age4 ,chinese ,buddhist sculpture attained its noblest development in the ,t'ang period4 ,as to ,t'ang painting--unfortunately1 surviving examples are of the utmost rarity--it is characterized by austere beauty and spiritual elevation4 ,admirable also are the productions of the metal worker1 the weaver1 and the potter4 ,a short period of half a century succeeded the fall of the ,t'ang ,dynasty4 ,we come then to another of the great periods of ,chinese civilization1 that of the ,sung ,dynasty 7#ifj-abhj74 ,from now on1 surviving monuments permit us greater certainty in studying the continuous development of ,chinese art4 ,under the ,sung emperors we find a complex civilization marked by luxury of living1 refinement and elegance of taste4 ,these characteristics are reflected in the arts4 ,although religeous painting was largely practiced1 ,sung artists show a predilection for landscape and for subjects allied to landscape1 such as birds and flowers4 ,exceptional qualities of poetic imagination1 observation of nature and technical proficiency characterize these paintings4 ,achievements in the field of minor arts are conspicuous2 in particular1 we may note the productions of potters4 ,the ,sung ,dynasty was succeeded by that of the ,mongol invaders who founded the ,yuan ,dynasty 7#abhj-acfh74 ,with the art of this period1 the decline begins4 ,the ,mongols were followed by a native dynasty1 the ,ming 7#acfh-afdd71 under whom the art of porcelain making began to progress rapidly toward perfection4 ,ming paintings show an excessive refinement1 an elegance that is not without its charm1 but they lack the nobility and spirituality of the earlier periods4 ,in the ,ch'ing1 or ,manchu1 ,dynasty 7#afdd-aiab71 under the ,emperors ,k'ang ,hsi and his grandson1 ,ch'ien ,lung1 the art of porcelain manufacture and decoration reached its apogee4 ,today1 after forty centuries of liberal harvest1 the art soil of ,china would seem to be sterile and abandoned4 ,,the ,,chinese ,,dynasties ,shang ,dynasty #agff-aabb ,b4 ,c4 ,chou ,dynasty #aabb-bee ,b4 ,c4 ,ch'in ,dynasty #bee-bjf ,b4 ,c4 ,han ,dynasty ,b4 ,c4 #bjf-bba ,a4 ,d4 ,three ,kingdoms #bba-bfe ,a4 ,d4 ,six ,dynasties #bfe-fah ,a4 ,d4 ,t'ang ,dynasty #fah-ijg ,a4 ,d4 ,five ,dynasties #ijg-ifj ,a4 ,d4 ,sung ,dynasty #ifj-abhj ,a4 ,d4 ,yuan ,dynasty #abhj-acfh ,a4 ,d4 ,ming ,dynasty #acfh-afdd ,a4 ,d4 ,ch'ing ,dynasty #afdd-aiab ,a4 ,d4 ,k'ang ,hsi 7#affb-agbb7 ,yung ,ch'eng 7#agbc-agce7 ,ch'ien ,lung 7#agcf-agie7 ,republic from #aiab ,horse's ,head4 ,han ,period ,horse's ,head4 ,han ,period ,the early ,chinese believed in the resurrection of the physical man1 and only after many centuries did the idea of mere spiritual survival vaguely supplant the earlier superstition4 ,to minister to the needs of the dead the ,chinese of the ,han period 7#bjf ,b4 ,c4-#bba ,a4 ,d47 stocked their tombs with jars containing wine and pickled meats1 with articles of jade1 with clothes1 mirrors and weapons4 ,to these were added costly treasures1 furniture1 chariots1 live animals2 even immolation of relatives and retainers was practiced in early times4 ,as the conception of spiritual survival gradually replaced that of bodily life after death1 simulacra of the objects used in life came to be substituted in burial for real objects4 ,to this class belongs the horse's head1 illustrated on this page1 intended to take the place of a living sacrifice4 ,the material is a soft grey earthenware1 covered with a layer of buff clay1 perhaps an original slip or perhaps an adhering soil incrustation4 ,the modeling of the head1 which has been made from a mould1 combines a close study of nature with monumental elimination of the non-essential4 ,designs of the period engraved on stone show a similar enthusiasm for the horse and a similar method of treatment1 the interest being in the decorative and linear aspect more than in the realistic and plastic4 ,mortuary ,vase4 ,han ,period ,mortuary ,vase4 ,han ,period ,the vase is a typical piece of mortuary pottery of the ,han period4 ,it is made of hard reddish clay covered with a thick translucent green glaze1 in parts become iridescent4 ,the form is derived from an earlier bronze type2 the simulated rings which originally formed the handles of the earlier type of vessel should be noted4 ,the vase is decorated with a band of hunting scenes and animals1 real and fabulous1 modeled in low relief4 ,painting ,on ,silk by ,ma ,yuan ,painting ,on ,silk by ,ma ,yuan ,during the ,sung dynasty1 a period of highly developed civilization landscape painting occupied the attention of the greatest artists4 ,wearying of the complexity of life1 men of culture turned with eager desire to the peace and solitude of nature4 ,this love of nature finds beautiful expression in the paintings of ,ma ,yuan1 one of the three greatest landscape painters of the period4 ,by this artist1 who flourished in the latter part of the ,,xii century and the first part of the following century1 is the large kakemono painted in monochrome on silk1 which is illustrated opposite4 ,the subject is the meeting between the ,taoist teacher1 ,lee ,erh1 and his disciple1 ,ying ,hai1 on the mountain ,wah ,shan1 one of the five largest mountains of ,china4 ,characteristic of the period is the loftiness and simplicity of the style1 an austerity tempered by the serene and silent joy of the true lover of nature4 ,irrelevant details are omitted2 only those which are significant expressing the artist's mood in contemplation of nature are recorded4 ,ancient ,chinese ,jades ,ancient ,chinese ,jades ,the earliest ,chinese religion was essentially astronomical and cosmic4 ,heaven1 earth1 and the four quarters were the six cosmic powers worshiped as deities4 ,the symbol of earth was a yellow jade 8tube0 or hollow cylinder1 round inside and square outside1 with a short1 projecting neck at either end4 ,the earth was thought of as round in its interior and square outside4 ,the jade earth 8tube0 or 8huang t'sung0 in our collection is a very ancient piece1 possibly dating from the ,chou period 7#aabb-bee ,b4,c474 ,to the ,sung period 7#ifj-abhj ,a4 ,d47 may be assigned the beautiful jade reproduced in the illustration1 although the type is reminiscent of ,han productions4 ,painting attributed to ,pien ,chin-,stan ,painting attributed to ,pien ,chin-,stan ,attributed to ,pien ,chin-,stan1 an artist of the ,yuan period 7#abhj-acfh71 is the painting of birds and flowers reproduced on this page4 ,the mellow harmony of the colors is particularly delightful4 ,exquisite sensitiveness to beauties of line and form1 combined with loving observation of nature1 distinguishes the drawing4 ,although paintings of the ,yuan period1 generally speaking1 are inferior to the ,sung1 lacking the spiritual qualities that characterize the earlier period1 in such work as this the great traditions of ,chinese painting are worthily continued4 ,to appreciate ,chinese painting one must rid oneself of the mistaken idea1 so common to ,occidentals1 that a work of art depends for success upon its 8likeness0 to nature4 ,petty imitation of the appearance of things plays no part in ,chinese painting4 ,it is the expression in terms of beauty of the inner and informing spirit1 rather than the outward semblance1 that constitutes the aim of the ,chinese artist4 ,tung ,fang ,so4 ,jade ,tung ,fang ,so4 ,jade ,from remote antiquity1 jade has been highly prized by the ,chinese as the most precious of precious stones4 ,in the ornamental carving of this beautiful mineral1 the ,chinese may justly claim pre-eminence4 ,the little statuette here reproduced represents one of the ,chinese immortals1 ,tung ,fang ,so1 who carries the peaches of longevity4 ,the jade is light greyish-green in color4 ,the carving probably dates from the late ,ming period4 ,princess ,yang4 ,ming ,period ,princess ,yang4 ,ming ,period ,this painting represents ,princess ,yang ,kwei-,fei1 the celebrated favorite of the ,emperor ,t'ang ,huan ,tsung1 returning from her bath4 ,it is an excellent example of the ,ming period 7#acfh-afdd ,a4 ,d471 lovely in color1 distinguished by courtly elegance and refinement of drawing4 ,it has been attributed to ,yiu ,kiu1 also named ,tze-,kiu4 ,the daughter of a petty functionary1 the ,princess ,yang became in #gce ,a4 ,d4 one of the concubines of the ,emperor's eighteenth son4 ,her surpassing beauty and accomplishments won the affections of the ,emperor himself4 ,so great was her ascendancy over this weak voluptuary that the ,imperial favorite was treated by the court with demonstrations of respect that justly appertained to none save the ,empress ,consort2 members of her family were raised to high office2 and no outlay was spared in gratifying the caprice and covetousness of the ,princess or her relatives4 ,it is not surprising that a rebellion resulted4 ,during the flight of the court in #gef ,a4 ,d4 the ,imperial guard revolted1 and the ,emperor was constrained to order the ,princess ,yang to be strangled4 ,vase4 ,ming ,period ,vase4 ,ming ,period ,the porcelain vase is decorated in five colors on a white ground with a design showing a peacock1 a phoenix and smaller birds among rocks1 foliage and blossoms4 ,it is a characteristic and fine production of the late ,ming ,period 7#acfh-afdd74 ,altogether admirable is the way in which the design1 drawn with great freedom and boldness1 is adapted to the shape of the vase4 ,the colors are skillfully harmonized2 the beautiful blue should be particularly noted4 ,chinese ,porcelain of the ,,xvii and ,,xviii ,centuries ,chinese ,porcelain of the ,,xvii and ,,xviii ,centuries ,apple-green1 ashes-of-rose1 mirror-black1 camellia-green1 lemon-yellow1 and celadon are some of the beautiful glazes exemplified in this group of remarkable 8solid-color0 porcelains dating from the reigns of ,k'ang ,hsi1 ,yung ,cheng and ,ch'ien ,lung 7second half of ,,xvii century and the ,,xviii century74 ,the large plate is a fine piece of ,k'ang ,hsi decorated porcelain4 ,most of the pieces in this case were formerly in the celebrated ,morgan ,collection4 ,gift of ,mrs4 ,e4 ,c4 ,gale4 ,,egyptian ,,art ,detail of the ,cartonnage ,enclosing the ,mummy of the 8,lady of the ,house1 ,tesha04 ,dynasty ,,xxii-,,xxv ,detail of the ,cartonnage ,enclosing the ,mummy of the 8,lady of the ,house1 ,tesha04 ,dynasty ,,xxii-,,xxv ,the ,egyptian collection1 purchased from the ,drexel ,institute1 includes over seven hundred objects1 ranging from sculpture and painting to furniture and utensils of daily life4 ,it affords an adequate illustration of the conditions under which art flourished in the ancient land of the ,nile1 and of the characteristic forms of art expression which were evolved to meet these conditions4 ,after monumental architecture1 the system of decoration evolved by the ,egyptians is perhaps their greatest contribution to the world's art4 ,a few characteristics of ,egyptian painting and sculpture may be noted4 ,color is used in flat areas without gradation and effects of light and shade4 ,in drawing1 outline is the principal mode of representation4 ,various conventions originating in the primitive stages of art1 such as the representation of the human body with head and legs in profile and the shoulder to the front1 became traditional and were continued with little change throughout later periods4 ,these conventions1 however1 did not prevent the artist in the more vigorous periods of ,egyptian art from noting with great keenness of observation many truths of nature4 ,this curious conflict between realistic observation and conventional means of representation is characteristic of ,egyptian art4 ,in free-standing sculpture1 the variety of postures was limited to a few unvarying poses4 ,on the whole1 in the figurative arts1 types and subjects remain unchanged throughout ,egyptian history1 although from time to time the informing spirit was different4 ,this immutable character of ,egyptian art is thoroughly consonant with the idea of duration which was so strongly a controlling factor in ,egyptian life4 ,we cannot consider here the manifold ramifications of ,egyptian religious belief1 but one central tenet--that existence continued after death--must receive some attention1 since this belief in the after-world explains many features that might otherwise be puzzling4 ,the tomb1 for example1 was thought of as the real dwelling house1 8the eternal house of the dead02 the houses of the living were merely 8wayside inns40 ,as a result1 domestic architecture was inconsequential2 all efforts were concentrated on the construction and decoration of tombs and temples4 ,coffin and ,mummy of the 8,lady of the ,house1 ,tesha0 ,from ,thebes1 ,dynasty ,,xxii-,,xxv4 ,coffin and ,mummy of the 8,lady of the ,house1 ,tesha0 ,from ,thebes1 ,dynasty ,,xxii-,,xxv4 ,the mummy is enclosed in a cartonnage1 made of many layers of linen held together by plaster1 elaborately decorated by inscriptions and figures of the gods4 ,the anthropoid coffin is made of wood1 and is also richly decorated4 ,tesha was the daughter of the ,doorkeeper of the ,golden ,house 7or ,treasury7 of ,amon at ,thebes4 ,it was believed that man was composed of different entities each having its separate life and function4 ,first1 there was the body itself2 then1 the ,ka or double--the ethereal projection of the individual1 corresponding in a way to our ghost4 ,two other elements were the ,ba or soul and the ,khu or luminous spark from the divine fire4 ,each of these elements was in itself perishable4 ,left to themselves1 they would hasten to dissolution1 and the man1 as an entity1 would be annihilated4 ,this catastrophe1 however1 could be averted through the piety of the survivors4 ,the decomposition of the body could be prevented1 or at least suspended1 by the process of embalming2 prayers and offerings saved the other elements from the second death and secured for them all that was necessary for the prolongation of their existence4 ,the influence upon the arts of these religious beliefs is interesting to note4 ,scenes of harvesting1 hunting1 and similar episodes connected with the offering of food were painted or carved upon the tomb walls1 generally for an utilitarian purpose4 ,through the recitation of prayers and magic formulae1 the pictured semblances of food became reality and saved the hungry ,ka from annihilation in case actual offerings should fail him4 ,in the same way1 portrait statues were placed in tombs to provide a semblance of the deceased to which the ,ka could return were the actual body destroyed4 ,these instances are perhaps sufficient to show us how closely art was related to religion in ancient ,egypt4 ,,chronological ,,table ,pre-,dynastic ,period about #djjj-cdjj ,b4,c4 ,accession of ,menes and ,beginning of ,egyptian ,history #cdjj ,b4,c4 ,early ,dynastic ,period1 ,i and ,,ii ,dynasties #cdjj-bihj ,b4,c4 ,old ,kingdom ,,iii ,dynasty #bihj-bijj ,b4,c4 ,,iv ,dynasty #bijj-bgej ,b4,c4 ,v ,dynasty #bgej-bfbe ,b4,c4 ,,vi ,dynasty #bfbe-bdge ,b4,c4 ,transitional ,period ,,vii-,x ,dynasties4 #bdge-bafj ,b4,c4 ,middle ,kingdom ,,xi ,dynasty #bafj-bjjj ,b4,c4 ,,xii ,dynasty #bjjj-aghh ,b4,c4 ,hyksos ,period ,,xiii-,,xvii ,dynasties4 #aghh-aehj ,b4,c4 ,the ,empire ,,xviii ,dynasty #aehj-acae ,b4,c4 ,,xix ,dynasty #acae-abjj ,b4,c4 ,,xx ,dynasty #abjj-ajij ,b4,c4 ,,xxi ,dynasty #ajij-ide ,b4,c4 ,late ,dynastic ,period ,,xxii ,dynasty #ide-gde ,b4,c4 ,,xxiii ,dynasty #gde-gah ,b4,c4 ,,xxiv ,dynasty #gah-gab ,b4,c4 ,,xxv ,dynasty #gab-ffc ,b4,c4 ,saite ,period ,,xxvi ,dynasty #ffc-ebe ,b4,c4 ,persian ,conquest of ,egypt #ebe ,b4,c4 ,persian ,period ,,xxvii and ,,xxviii ,dynasties #ebe-cih ,b4,c4 ,,xxix ,dynasty #cih-cgi ,b4,c4 ,,xxx ,dynasty #cgh-cda ,b4,c4 ,ptolemaic ,period4 #ccb-cj ,b4,c4 ,roman ,period #cj ,b4,c4-#cfd ,a4,d4 ,byzantine 7,coptic7 ,period #cfd-fdj ,a4,d4 ,arab ,conquest of ,egypt #fdj ,a4,d4 ,lower ,part of ,coffin4 ,dynasty ,,xxi ,lower ,part of ,coffin4 ,dynasty ,,xxi ,the exterior of this wooden coffin is decorated with figures of gods and minor divinities in shrines1 alternating with invocations to various divinities4 ,the most interesting scene is that next the foot on the right side1 showing the goddess ,hathor in the form of a cow4 ,beside her is a suggestion of the ,theban cliffs and the open door of her shrine1 which was hewn in the mountain side4 ,this very shrine was discovered on ,february #g1 #aijf1 and in it intact was a life-size cult statue of ,hathor as a cow4 ,hathor was supposed to receive the setting sun and to welcome the dead on the brink of the next world4 ,the decoration of the interior of the coffin is bolder and more highly colored than the exterior4 ,on the floor may be noted the large standing figure of ,osiris of ,busiris4 ,various divinities are represented surrounding him4 ,on the sides of the coffin are three registers containing each three mummiform figures with human or animal heads2 at the top is the soul of the deceased1 represented as a human-headed bird4 ,this coffin doubtless comes from ,thebes4 ,the absence of the cover makes it impossible to determine the ownership4 ,the coffin was perhaps originally decorated in advance for a woman's burial1 and held in stock for any burial4 ,in one place1 however1 a man's titles are given1 although the name is not recorded1 so that possibly1 before the decoration of the coffin was completed1 it was adapted to the use of a man4 ,statuette1 ,wood4 ,dynasty ,,xii ,statuette1 ,wood4 ,dynasty ,,xii ,standing figure of a woman1 carved in wood1 with traces of painting2 found at ,deir2 a fine example of carving in ,dynasty ,,xii4 ,an inscription on the base may be read3 8,funerary offerings1 beef1 fowl 7871 things 7871 good and pure for the honorable ,kai40 ,doubtless a portrait statue4 ,the pose1 with one foot advanced and the arms held stiffly at the sides1 is a familiar one in ,egyptian art4 ,note costume details3 the thick wig and the tight dress supported by two shoulder straps4 ,goddess ,neith1 ,bronze ,dynasty ,,xxvi ,goddess ,neith1 ,bronze ,dynasty ,,xxvi ,this bronze statuette represents the ,goddess ,neith wearing the crown of ,lower ,egypt2 probably of the ,saite period4 ,an excellent example of votive bronzes1 of which there is a considerable number in the collection4 ,these statuettes probably served as votive or propitiatory offerings2 that is to say1 they were offered at shrines in gratitude for favors experienced or in the hope of winning favors to come4 ,funerary ,papyrus ,funerary ,papyrus ,fragment of the funerary papyrus of the ,priest of ,amon1 ,jekhonsefonkh2 part of a scroll buried with the deceased for his instruction in the afterworld2 ,dynasty ,,xxi4 ,ushabti1 ,wood ,ushabti1 ,wood ,ushabti1 ,dynasty ,,xix 7871 part of the burial equipment of 8,the ,lady of the ,house1 the ,chantress of ,amon1 ,aay40 ,ushabtiu were placed in the tomb to answer for the deceased when called upon to labor in the afterworld4 ,the inscription reads3 8,to illuminate the ,osiris1 the ,lady of the ,house1 ,aay1 beatified in peace4 ,he says3 ,o this ushabti1 if one be drafted to do all the labors which are performed in the underworld--the ,osiris1 the ,lady of the ,house1 ,aay1 beatified1 in peace--to cultivate the fields1 to irrigate the banks1 to carry the sand of the east to the west1 behold1 there will be smitten down 4440 ,here the text1 which is part of ,chapter ,,vi of the ,book of the ,dead1 breaks off because the available space was filled4 ,it omits final instructions to the ushabti to reply1 should the deceased be drafted1 8,behold1 here am ,i60 and thereupon relieve the deceased ,lady of the ,house of the onerous task of laboring in the fields4 ,cover of a ,canopic ,jar1 ,terracotta ,cover of a ,canopic ,jar1 ,terracotta ,cover of a canopic jar used in the burial to contain the human viscera2 if not earlier than the ,empire period1 to which it is attributed1 it represents the genius ,amset4 ,group of ,egyptian ,alabaster ,vessels ,group of ,egyptian ,alabaster ,vessels ,from left to right3 spherical vase1 ,early ,dynastic2 kohl jar used to contain antimony or other preparations for the eyes1 ,dynasty ,,xii or ,,xviii2 the three vessels following are of the ,empire period1 ,dynasty ,,xviii-,,xix4 ,bronze ,mirror ,bronze ,mirror ,bronze mirror1 originally highly polished1 probably of the ,ptolemaic period4 ,note the lotus column serving as handle and the two sacred falcons at the side of the handle4 ,the sacred falcon below is a charm or amulet of the ,,xii or ,,xviii ,dynasty in polished gray stone4 ,amulet ,amulet ,sacred ,eye and ,scarab ,sacred ,eye and ,scarab ,heart scarab1 ,dynasty ,,xx or later4 ,inscription is a prayer from the ,book of the ,dead1 adjuring the heart1 over which the scarab was placed1 not to bear false witness against the deceased at the time of judgment4 ,the ,horus eye is a beautiful piece of faience inlaid with stone and glass1 probably of ,dynasty ,,xix4 ,,ancient ,,art ,except for ,egyptian material1 the representation of ancient art in our collections is unfortunately limited to comparatively few original examples4 ,these include1 however1 an interesting group of ,cypriote pottery 7duplicate material from the ,cesnola ,collection7 which has considerable importance from the archaeological as well as from the artistic point of view4 ,this collection of pottery from the island of ,cyprus shows an almost unbroken succession of styles from the ,early ,bronze ,age1 about #cjjj ,b4 ,c41 down to the ,roman period1 and thus gives us a complete picture of the art of pottery in an important center of ancient civilization for about three thousand years4 ,artistically1 it is probably the most successful product of the ,cypriote artist4 ,his sense of form and decoration could here find full expression without disclosing the lack of high artistic inspiration1 which is apparent in his sculptural creations4 ,moreover1 a certain fanciful originality which shows itself now in a fantastic shape1 now in the addition of handles and bosses in unexpected places1 gives to his vases a refreshing variety4 ,the interest of this collection will be greatly increased when we are able to exhibit examples of the ,greek painted pottery of the ,v and ,,iv centuries ,b4 ,c41 which represents the culmination of ancient ceramic art4 ,a small collection of ,cypriote glass1 dating from the ,i century ,b4 ,c4 to the ,v century ,a4 ,d41 attracts attention by its beautiful color1 or iridescence1 due to burial in the earth4 ,although we have as yet no original sculptures of the classical period1 except for a few fragments1 the development of sculpture in ,greece and ,rome may be studied in our cast collection4 ,piriform ,vase4 ,cypriote1 ,mycenaean ,style4 ca4 #aejj-abjj ,b4,c4 ,piriform ,vase4 ,cypriote1 ,mycenaean ,style4 ca4 #aejj-abjj ,b4,c4 ,cypriote ,pottery ,cypriote ,pottery ,from left to right3 ,amphora1 white ware painted in black and red1 ,x-,v centuries ,b4 ,c42 jug1 red slip ware1 ,,xx-,,xv centuries ,b4 ,c42 amphora1 white ware painted in black and red1 ,x-,v centuries ,b4 ,c42 jug1 base ring ware1 ,,xv-,,xii centuries ,b4 ,c42 oinochoe1 white ware painted in black and brown1 ,x-,v centuries ,b4 ,c4 ,the earliest of the fabrics illustrated1 i4e41 the red slip ware1 though usually not polished1 is made evidently in imitation of the still earlier red polished ware4 ,base-ring ware is so called from the distinct standing base found on most specimens4 ,with the white painted ware of the ,early ,iron ,age1 we come to a wheel-made pottery1 usually having painted geometrical decoration4 ,babylonian ,tablet ,from ,jokha1 ca4 #bcej ,b4 ,c4 ,babylonian ,tablet ,from ,jokha1 ca4 #bcej ,b4 ,c4 ,this is one of a small collection of ,babylonian tablets4 ,it was made during the reign of ,dungi1 ,king of ,ur4 ,the inscription records an offering to the temple4 ,the tablet is sealed to prevent the alteration of the record by the priests or attendants2 the seal impression bears the figure of ,sin1 the ,moon ,god1 who was the deity of ,ur of the ,chaldees1 and before the deity stand two priests in the act of worship4 ,these inscribed clay tablets were used by the ancient ,babylonians in place of papyrus or parchment4 ,,gothic ,,art ,since the ,goths1 a rude and barbarous ancient people1 were in no wise concerned with the splendid art of that period intervening between ,romanesque and ,renaissance1 which misguided later generations called ,gothic because1 forsooth1 it was not classical1 it is unfortunate that this inappropriate designation should be perpetuated by custom4 ,but the misnomer is now used so generally--needless to say1 without any sense of disparagement--that we must perforce accept it4 ,a ,pope1 ,statuette in ,oak4 ,flemish1 about #aejj ,a ,pope1 ,statuette in ,oak4 ,flemish1 about #aejj ,it is impossible to date any period of art with absolute accuracy2 for art is always in the process of change1 and the flourishing of any period of art is long anticipated by preliminary manifestations4 ,in a general way1 however1 it may be said that the ,gothic period extends from the second half of the ,,xii century through the ,,xv century4 ,italy presents an exception4 ,the tentative ,gothic art of the ,,xiii century in ,italy gave place to the new movement1 founded upon enthusiasm for antiquity1 as well as for nature1 which we call the ,renaissance4 ,the classical element in ,renaissance art is the feature which principally distinguishes it from ,gothic4 ,in the latter part of the ,,xv century1 the ,renaissance spread from ,italy into the northern countries1 and1 in the ,,xvi century1 accomplished a triumphant ascendancy over the late ,gothic style4 ,the crowning achievement of ,gothic art was the cathedral1 where architect1 sculptor and painter combined to create monuments which rank with the greatest works of human genius4 ,never has sculpture more perfectly adorned architecture2 never has architecture more beautifully expressed the hopes and aspirations of a people4 ,in this age the plastic arts were truly 8the language of faith40 ,from ,france1 ,gothic art spread to other lands1 to ,germany1 ,flanders1 ,spain1 and ,england1 and even to ,italy4 ,during the ,,xiii and ,,xiv centuries1 the highest development of ,gothic art took place in ,france1 but1 in the ,,xv century1 ,burgundy and the merchant cities of ,flanders gained pre-eminence4 ,france required many years after the battle of ,agincourt1 in #adae1 to recover from the exhaustion brought about by internal conflict and foreign wars4 ,in the meantime1 the rich cities of ,flanders and the powerful ,dukes of ,burgundy offered the artist generous patronage4 ,if the artist in this late period lost something of the spirituality and noble simplicity of earlier times1 he was more skillful technically and more realistic4 ,not that the earlier artist had not observed nature6 ,on the contrary1 he was eminently successful in discerning significant truths1 but he subordinated objective representation to the requirements of a monumental style4 ,save for a distinguished list of painters1 headed by the great ,flemish masters1 the ,van ,eycks 78-#adbf1 #acha-addj71 ,rogier van der ,weyden 7#adjj-adfd71 and ,hans ,memling 7#adbe-adie71 ,gothic art is largely anonymous4 ,in the minor arts1 such as glass painting1 the illumination of manuscripts1 metal work and enameling1 furniture1 and textiles1 woven and embroidered1 the ,gothic ,age excelled1 and the rare surviving examples of these beautiful crafts are treasured among the most precious relics of this great period of the world's art4 ,head of the ,virgin1 ,stone4 ,french1 late ,,xiv ,century ,head of the ,virgin1 ,stone4 ,french1 late ,,xiv ,century ,a ,view of the ,gothic ,room ,a ,view of the ,gothic ,room ,the large well-head of ,istrian stone in the foreground comes from the ,palazzo ,zorzi in ,venice1 and is a fine example of ,venetian stone-carving in the ,,xv century4 ,the well-head1 with its acanthus leaves at the four corners1 reminds one of the ,corinthian capital of classical times1 and1 as a matter of fact1 ancient capitals were sometimes used in later periods for well-heads4 ,on one side is an angel holding a shield supported by two lions passant4 ,doubtless1 this shield was originally painted the owner's coat of arms4 ,hunting ,party with ,falcons4 ,burgundian ,tapestry1 about #adej ,hunting ,party with ,falcons4 ,burgundian ,tapestry1 about #adej ,the two ,,xv century ,gothic tapestries in the ,charles ,jairus ,martin ,memorial ,collection are masterpieces of the weaver's art4 ,they rank among the most beautiful and characteristic examples of the ,golden ,age of tapestries4 ,the earlier of the two1 ,the ,falconers1 was woven1 presumably in the ateliers of ,arras1 about #adej4 ,it is similar in style to the famous ,hardwicke ,hall hunting tapestries1 owned by the ,duke of ,devonshire4 ,these tapestries have been justly called 8the finest of the ,,xv century in ,england40 ,they formerly ornamented the walls of a great room in ,hardwicke ,hall1 ,devonshire1 but were removed from there in the ,,xvi century and cut to adapt them to walls pierced with windows in a new location4 ,taking into consideration the similarity in size1 subject1 costume1 and style of representation1 it is not at all impossible that ,the ,falconers may have belonged originally to this celebrated set4 ,our tapestry1 which comes from the ,cathedral of ,gerona in ,spain1 was evidently part of a still larger tapestry 7tapestries at this time were often woven of great length71 and may have been separated from the other pieces of the set at the time of their removal from ,hardwicke ,hall4 ,detail3 ,falcons ,attacking a ,heron2 ,hunter with ,lure ,detail3 ,falcons ,attacking a ,heron2 ,hunter with ,lure ,in the ,,xv century1 hunting and hawking--the latter also called falconry--played a significant part in the social life of the nobility4 ,these sports and the ability to pursue them in a generous and polite fashion set the nobility apart from the commoners1 and formed the chief topic of conversation1 when war did not call from the slaughter of animals to the slaughter of men4 ,one of the most necessary implements in falconry is the lure1 used to recall the falcon4 ,in the upper right-hand corner of the tapestry a man is shown waving a lure in his right hand4 ,the lure is a pair of wings attached to a cord1 to which the falcon is trained to return because accustomed to find food there4 ,the mode of carrying the falcon on the gloved hand is illustrated by several of the personages in the tapestry4 ,several of the falcons are still on leash2 one has just been released and thrown up into the air2 another is having the hood removed from his head4 ,the rich costumes illustrate the extravagant fashions which prevailed in the middle of the ,,xv century1 when there was great competition in dress between the wealthy commoners and the nobility4 ,great beauty of color distinguishes this tapestry4 ,the greens and browns of the foliage form an agreeable contrast with the rich crimson and blue of the costumes1 relieved by passages of green and violet4 ,the ,gothic artist was not afraid to use strong colors1 but he knew how to keep them in harmonious relationship4 ,the simplicity of the design1 the purposeful abstention from realistic effects1 which we note in this tapestry1 are virtues in the art of mural decoration that can not be too highly commended4 ,two ,scenes from the ,story of ,esther4 ,flemish ,tapestry1 late ,,xv ,century ,two ,scenes from the ,story of ,esther4 ,flemish ,tapestry1 late ,,xv ,century ,about fifty years later than ,the ,falconers1 this beautiful tapestry with scenes from the ,story of ,esther1 in the ,charles ,jairus ,martin ,memorial ,collection1 represents the tendency toward a more ornate and sumptuous art that characterized the late ,,xv century4 ,in the lower right-hand corner of the tapestry1 just above the scroll1 may be noted a small fleuron1 which is probably the mark of an atelier1 but tapestries before #aebh can rarely be assigned to any definite atelier or weaver4 ,we must be content to designate our tapestry as ,flemish1 woven at the close of the ,,xv century4 ,the story of ,esther was popular among the ,flemish weavers at this time4 ,our tapestry1 which formed part of a set1 may be compared with three hangings of the same subject belonging to the ,cathedral of ,saragossa4 ,the reproduction can give but an unsatisfactory idea at best of the original4 ,not only do we lose the mellow harmonies of color1 but in reducing the design of so large a tapestry to a few square inches many of the most beautiful details are necessarily lost4 ,in the left-hand compartment1 ,queen ,esther1 kneeling before the ,king1 kisses the golden scepter which ,ahasuerus extends to her4 ,having won favor in the ,king's eyes1 ,esther asks as a boon that the ,king and ,haman1 the ,king's favorite1 whose plot for the persecution of the ,jews ,esther intends to circumvent1 shall attend a feast which she has prepared for them4 ,in the upper left-hand corner are two little scenes2 ,esther kneeling in prayer1 and ,esther receiving instructions from ,mordecai4 ,in the compartment at the right is pictured ,esther's banquet1 the second feast1 related in ,chap4 ,,vii of the ,book of ,esther1 which brought about the fall of ,haman4 ,particularly interesting in this scene is the representation of table furnishings1 the damask cloth1 the enameled ewer in the shape of a boat1 the knives with their handles of ivory and ebony1 the hanap1 the cup of ,venetian glass1 and the various pieces of plate4 ,we have in this composition a remarkable document illustrating the luxury that characterized the life of the great nobles at the close of the ,,xv century4 ,in the scrolls at the bottom of the tapestry are ,latin mottoes referring to the scenes above4 ,our tapestry was formerly in the ,j4 ,pierpont ,morgan ,collection4 ,in such tapestries as this and ,the ,falconers1 we may note the perfect relationship which exists between the nature of the design and the purpose to which the tapestry was put4 ,gothic tapestries of the ,,xv century illustrate the true principle of mural decoration4 ,designers deliberately avoided realistic imitation of nature with spatial effects and tricks of illusion4 ,they strove to achieve a decorative flatness of design which would emphasize rather than destroy the architectonic quality of the wall the tapestry was to cover4 ,a tapestry is woven1 not embroidered1 and forms a single fabric4 ,only two elements are employed in the making of it1 the warp and the woof 7or weft74 ,these are the upright and the horizontal threads4 ,the weaving is done upon a loom or frame4 ,the bobbin1 or shuttle1 filled with thread of the weft1 is passed from right to left behind the odd warp threads1 and in passing leaves a bit of the weft thread in front of the even warp threads4 ,on the backward trip1 from left to right1 the shuttle reverses its course and leaves the weft in front of the odd warp threads4 ,thus1 all the warp threads are covered with the weft4 ,a comb is used to press down the threads1 so that they form an almost even line4 ,wool is generally used for the weft1 linen or hemp for the warp4 ,the texture was sometimes enriched with passages of gold and silver thread or perhaps a bit of silk4 ,the ,virgin and ,st4 ,john4 ,flemish1 about #aejj ,the ,virgin and ,st4 ,john4 ,flemish1 about #aejj ,part of a large tapestry representing the ,crucifixion4 ,its vigorous design and harmonious color make one regret all the more the loss of the other part of this splendid tapestry4 ,virgin and ,child1 ,stone4 ,french1 ,,xiv ,century ,virgin and ,child1 ,stone4 ,french1 ,,xiv ,century ,this life-size statue1 which still retains traces of the painting and gilding with which ,gothic sculptures were almost invariably enriched1 is an important example of ,french ,gothic sculpture4 ,the monumental character of this great art is shown in the conventional rendering of the hair1 and in the simplification of the modeling2 its grace and naturalness in the pose of the ,divine ,mother4 ,the beautiful1 rhythmic lines of the drapery should be particularly noted4 ,representations of the ,virgin in ,french ,,xiv century art have neither the austerity of earlier periods nor the worldliness of later4 ,they are characterized by charming sensibility and tenderness4 ,a ,saint1 ,lindenwood4 ,german1 ,school of ,ulm1 about #aejj ,a ,saint1 ,lindenwood4 ,german1 ,school of ,ulm1 about #aejj ,this statue of a holy woman1 probably one of the half-sisters of the ,virgin1 ,mary ,cleophas1 the wife of ,alpheus1 or ,mary ,salome1 the wife of ,zebedee formed part originally1 it may be presumed1 of a ,pieta group4 ,this remarkable example of ,german sculpture at the close of the ,,xv century is carved in linden wood1 and preserves largely intact the original gilding and polychromy which add so much to the decorative effect of the piece4 ,a second figure from this group1 a kneeling ,magdalene1 is in the ,kaiser-,friedrich ,museum in ,berlin4 ,there has been noted a similarity in style between these two sculptures and the work of the ,meister des ,blaubeurer ,hochaltars 7so called from the sculptured high altar in the choir of the cloister-church at ,blaubeuren74 ,we have represented1 perhaps1 a late phase of his art1 stronger and more realistic than in his early period4 ,it would be most interesting if the connection with this well-known master could be established1 but1 failing that1 the figure may be confidently attributed to the school of ,ulm1 about #aejj4 ,we do not expect to find in ,german sculpture of the ,,xv century that spirituality which characterizes the great achievements of the ,italian school4 ,german plastic art was one of realism1 modified by a strong decorative tradition centuries old1 based not only on precedent but on propriety4 ,if the carved altarpiece were to tell in the subdued light of the ,gothic church1 the artist had to resort to exaggeration1 to sharp contrasts in modeling1 to the added emphasis of gold and color1 to secure his effect4 ,the skillful artist converted his exaggerations of form and movement into beautiful decoration2 seized upon the necessity of contrasting planes as a pretext for crumpling his draperies into numerous rhythmic folds1 and used the resources of gilding and polychromy to enrich as well as to emphasize form4 ,but at his best1 the ,german sculptor was more than a simple decorator4 ,our statue is a case in point4 ,here we have the work of one who surely has looked into the human heart4 ,beneath the pattern of line and area1 beneath the gold and colors1 is a living woman4 ,not our idea of a saint perhaps2 rather1 a pretty woman1 dainty in her ways1 coquetting with religeon--nevertheless very real4 ,our artist may never have seen a saint1 but1 no doubt1 he saw many a maid like this in his parish4 ,if we are not raised to spiritual heights by his conception of a sainted character1 we are at least delighted by his charming humanity4 ,st4 ,mary ,magdalene1 ,linden ,wood4 ,attributed to ,jorg ,syrlin the ,younger1 #adbe-;after #aeba ,st4 ,mary ,magdalene1 ,linden ,wood4 ,attributed to ,jorg ,syrlin the ,younger1 #adbe-;after #aeba ,this relief1 attributed to a well-known sculptor of the school of ,ulm1 one of the chief centers of ,south ,german art1 may be dated about #aejj4 ,such carvings as this were commonly used to ornament the doors of large shrines4 ,the decorative treatment of the drapery1 with its involved folds1 is characteristic of the ,german school4 ,small ,column1 ,marble4 ,southern ,french1 ,,xiv ,century ,small ,column1 ,marble4 ,southern ,french1 ,,xiv ,century ,the foliage carved on the capital of this small column1 probably from some cloister1 exemplifies the skill with which the ,gothic sculptor utilized natural forms as decorative motives4 ,st4 ,francis ,receiving the ,stigmata4 ,school of ,giotto1 about #accj ,st4 ,francis ,receiving the ,stigmata4 ,school of ,giotto1 about #accj ,the supreme moment in the life of ,st4 ,francis1 the seraphic ,poverello of ,assisi1 is the subject of this small panel picture1 painted in tempera colors with a gold background1 by an artist of ,giotto's school in the ,romagna1 who was probably a direct pupil of the great ,italian master1 and whose charm of color and grace of line were vivified by a feeling for reality of form inspired by ,giotto's example4 ,toward the close of the ,saint's life1 two years before his death1 he retired with some companions to the solitudes of ,monte ,la ,verna4 ,on the morning of the ,exaltation of the ,holy ,cross1 as ,st4 ,francis knelt in prayer on a lonely part of the mountain1 there appeared to him a seraph with six flaming wings bearing the effigy of ,christ crucified4 ,two wings were raised above ,his head1 two were spread in flight1 and and two covered ,his body4 ,as ,st4 ,francis gazed ecstatically upon this vision1 the ,savior's five wounds were miraculously imprinted on his hands and feet and side4 ,the second figure in the composition is that of the ,saint's companion1 ,brother ,leo1 who by his aloofness from the dramatic action of the picture serves effectively as a foil to the figure of ,st4 ,francis4 ,madonna and ,child4 ,the ,master of the ,st4 ,ursula ,legend ,madonna and ,child4 ,the ,master of the ,st4 ,ursula ,legend ,the ,master of the ,st4 ,ursula ,legend1 a ,flemish painter of the second half of the ,,xv century1 derives his name from the famous altarpiece in the ,convent of the ,black ,sisters in ,bruges representing the history of ,st4 ,ursula1 a work painted about #adgj4 ,the anonymous master of the ,bruges altarpiece shows to some extent the influence of ,memling2 his style1 however1 is thoroughly personal in its naivete and admirable expression of a good-natured temperament4 ,his character is well seen in such a painting as ours1 where the ,mother is full of modesty1 her face expressing a tender1 timid love for her child1 who does not embrace her after all1 not the most natural thing for a baby to do1 but amuses himself with playing with the leaves of a book which the ,madonna holds4 ,the ,virgin is a home-like1 simple type1 wholesome if not beautiful4 ,madonna and ,angels4 ,atelier of ,jean ,bourdichon1 #adeg-aeba ,madonna and ,angels4 ,atelier of ,jean ,bourdichon1 #adeg-aeba ,this delightful ,french miniature1 or illuminated page1 on parchment is from some dismembered ,book of ,hours4 ,if not painted by ,bourdichon himself1 it was certainly done in his studio under his direction4 ,the invention of printing eventually brought to a close the beautiful art of illumination1 but at the time of ,bourdichon it flourished in highest perfection4 ,the ,miraculous ,field of ,wheat4 ,joachim ,patinir and ,quentin ,massys ,the ,miraculous ,field of ,wheat4 ,joachim ,patinir and ,quentin ,massys ,two leading artists of the ,flemish school were ,quentin ,massys and ,joachim ,patinir4 ,massys 7#adff-aecj7 began a new epoch in ,netherlandish art2 he served as a 8connecting link0 between ,jan van ,eyck and ,rubens4 ,patinir 7died #aebd7 was one of the first artists to emphasize the landscape rather than the figures in a painting1 but the time had not yet come when landscape could be painted for itself alone4 ,it was necessary to relate it with the familiar religious painting of the day by introducing some biblical or legendary theme4 ,a favorite subject was the flight of the ,holy ,family into ,egypt4 ,this is the subject of our panel-painting in which these two great masters collaborated2 the landscape and the smaller figures by ,patinir1 the group of the ,holy ,family in the foreground by ,quentin ,massys4 ,it is related that the ,holy ,family1 closely pursued by ,herod's soldiers1 chanced to encounter by the roadside a man sowing wheat in a field4 ,the ,virgin spoke to him1 saying that if anyone inquired if they had passed he should answer1 8,such persons came by when ,i was sowing wheat02 then by a miracle ,jesus caused the wheat to spring up and ripen in one night4 ,the next day when the farmer was cutting the wheat1 those pursuing the ,holy ,family came up and asked if he had seen them4 ,he replied as he had been told1 with the result that the soldiers turned back1 convinced that they had mistaken the road and that the fugitives had gone elsewhere4 ,,renaissance ,,art ,a ,group in the ,first ,renaissance ,gallery ,a ,group in the ,first ,renaissance ,gallery ,renaissance means re-birth4 ,when the barbarians wrote 8finis0 on the page of ,rome's ancient story1 long centuries of tenebrous reorganization were to elapse before ,italy once more emerged into the light of civilization4 ,in comparison with the shadowy gropings of this age of transition1 the brilliant culture of the ,,xv and ,,xvi centuries seemed indeed a re-birth1 or renaissance of long-departed glories2 and1 as an apposite description of the art of this period1 the word ,renaissance is1 on the whole1 well chosen4 ,renaissance art attained its most complete expression in ,italy during the ,,xv and ,,xvi centuries2 but the new style was not confined by any means to ,italy alone4 ,during the ,,xv century1 ,renaissance art began to spread from ,italy to other ,european countries4 ,late ,gothic art could not withstand its bewitchment1 and in the ,,xvi century1 ,european art yielded almost without reserve to the ascendancy of the ,renaissance style4 ,enthusiasm for antiquity and enthusiasm for nature1 it has been said1 are the chief characteristics of ,italian ,renaissance art4 ,while this is correct1 it is principally the enthusiasm for antiquity that gives to renaissance art its peculiar distinction2 for naturalism we find quite as potent a factor in the development of ,gothic art as in that of the ,renaissance4 ,the ,renaissance artist differed in the main from the ,gothic not so much in his attitude toward nature as in the way he recorded his reactions--his style1 in other words4 ,the ,second ,renaissance ,gallery ,the ,second ,renaissance ,gallery ,in the development of the ,renaissance style1 as distinguished from the ,gothic1 the example of ,graeco-,roman art played an important part4 ,humanism1 the taste for the literature and history of the ancients1 awakened the interest of ,italian artists in the monuments of their forgotten past1 and led them to seek1 in the surviving remains of ,roman architecture and in the scanty examples of ancient sculpture and painting that chance had brought to light1 the secret of beauty4 ,the attitude of the ,early ,renaissance toward the antique differed from that of the ,late ,renaissance4 ,in the former period 7,,xv century71 enthusiasm for the art of an unfamiliar past1 romantically dreamed of1 rather than archeologically reconstructed1 did not lead to that sterile imitation which came with wider knowledge and greater technical facility in the late days of ,renaissance art4 ,artists of this period were disciples rather than imitators4 ,grandiose and formal1 the ,late ,renaissance 7,,xvi century7 lost the child-like1 romantic enthusiasm of the earlier period for classical art4 ,sculptors and painters not only sought forms which should recall the antique1 but also turned eagerly to ,greek and ,roman mythology for their subjects4 ,as the ,renaissance drew to a close1 artists began to borrow not only from the antique but also from the great masters of their own ,golden ,age1 ,leonardo 7#adeb-aeai71 ,raphael 7#adhc-aebj71 ,michelangelo 7#adge-aefd71 ,correggio 7#adid-aecd71 and ,titian 7#adgg-aegf74 ,in this futile eclecticism the ,renaissance came to an end4 ,madonna and ,child4 ,the ,master of the ,san ,miniato ,altar-piece ,madonna and ,child4 ,the ,master of the ,san ,miniato ,altar-piece ,the author of this charming panel-painting derives his name from his principal work1 a large altarpiece still preserved in the little ,tuscan town of ,san ,miniato dei ,tedeschi4 ,we do not know the artist's real name nor anything of his life save that his work1 of which some eight or nine examples are recorded1 shows the influence of the great ,florentine master1 ,fra ,filippo ,lippi1 and of another anonymous painter1 the so-called ,companion of ,pesellino4 ,the painting in our collection dates about #adhj4 ,we note in this picture the plastic quality which distinguishes the work of the ,florentine artists from that of other schools4 ,this love of form is an expression of the same temperament which enabled ,florence to produce the greatest sculptors of the ,renaissance4 ,portrait of an ,ecclesiastic4 ,giovanni ,battista ,moroni1 ca4 #aebj-aegh4 ,portrait of an ,ecclesiastic4 ,giovanni ,battista ,moroni1 ca4 #aebj-aegh4 ,a contmplative1 dignified spirit is admirably expressed in this beautiful portrait1 which goes to prove that ,moroni at his best is entitled to a place among the great ,italian painters of the ,renaissance4 ,moroni spent most of his life in the little ,north ,italian town of ,bergamo1 where he lacked the stimulating competition that occurred in larger centers4 ,at times1 his work1 mostly in the field of portraiture1 is commonplace1 but in such paintings as the celebrated ,tailor1 in the ,national ,gallery at ,london1 or our own ,ecclesiastic1 we find an unusual power of perception combined with the 8measure1 distinction1 and clearness0 which were the ,hellenistic ideals of his generation4 ,madonna and ,child4 ,giampietrino1 fl4 first half of ,,xvi ,century ,madonna and ,child4 ,giampietrino1 fl4 first half of ,,xvi ,century ,among ,leonardo's ,milanese disciples was ,gian ,pietro ,rizzi1 commonly known as ,giampietrino1 a definite artistic personality1 but historically hardly more than a name4 ,although he was probably not a direct pupil of ,leonardo1 there is ample evidence in his work that he came under the influence of this great master1 whose exquisitely perfect art had captivated all of ,lombardy4 ,whatever the subject of his paintings1 ,giampietro's real theme is always the beauty of woman4 ,affection1 but never any great emotional feeling1 is expressed in his numerous paintings of the ,madonna1 since passion would distort the delicate1 aristocratic beauty of the forms he modeled with such loving skill4 ,our painting is exhibited as and indefinite loan from ,mr4 ,e4 ,j4 ,carpenter4 ,madonna and ,saints4 ,palma il ,vecchio1 about #adhj-aebh ,madonna and ,saints4 ,palma il ,vecchio1 about #adhj-aebh ,in this important ,venetian painting of the ,high ,renaissance1 the ,madonna and ,child are represented in a beautiful landscape surrounded by four saints2 at the left ,st4 ,michael and ,st4 ,dorothea1 at the right ,st4 ,joseph 7probably7 and ,st4 ,mary ,magdalene4 ,such scenes are called in ,italian 8sante conversazioni10 or sacred conversations1 and were especially popular in ,palma's time4 ,this artist1 one of the great masters of the ,venetian school1 was called il ,vecchio1 or the elder1 to distinguish him from his grand-nephew who was called ,palma the younger4 ,three periods of development may be noted in ,palma's work4 ,the first is called ,bellinesque1 when ,palma was still influenced by ,giovanni ,bellini4 ,in his second period1 ,giorgione's influence was dominant4 ,the so-called blond manner characterized his third period4 ,the fascinating landscape of our painting calls to mind the influence of ,giorgione1 but the wholesome well-being that radiates from this goodly company of saints reminds one more of ,titian than of ,giorgione4 ,palma enjoyed the beautiful luxurious things of life1 he delighted in rich amplitude of form1 in splendid glowing color1 in the health and sanity of happy men and women2 and to his vision he gave the permanency of supreme craftsmanship4 ,our painting1 given in memory of ,james ,s4 ,bell by his son1 was formerly in the ,rangoni ,collection of ,modena4 ,stucco ,relief4 ,workshop of ,antonio ,rossellino ,stucco ,relief4 ,workshop of ,antonio ,rossellino ,during the ,renaissance1 a great number of charming reliefs in stucco and plaster by great sculptors1 or in their style1 were used for the decoration of the home or of wayside shrines4 ,our example1 probably from the workshop of ,antonio ,rossellino 7#adbg-adgh71 is a typical example of these popular reliefs4 ,glass4 ,venetian1 ,,xvi ,century ,glass4 ,venetian1 ,,xvi ,century ,the glass factories at ,murano near ,venice were celebrated during the ,renaissance1 as they are today1 for their beautiful productions4 ,the large beaker shown in our illustration is of bluish glass4 ,the deep dish is of white glass decorated with colored enamels4 ,chair4 ,florentine1 ,,xvi ,century ,chair4 ,florentine1 ,,xvi ,century ,the grotesque figures1 the grinning mask and other decorative motives which may be noted in this elaborately carved chair are characteristic of furniture designed in the ,high ,renaissance4 ,pomona1 ,glazed ,terracotta ,statuette4 ,giovanni ,delia ,robbia1 #adfi-aebi 787 ,pomona1 ,glazed ,terracotta ,statuette4 ,giovanni ,delia ,robbia1 #adfi-aebi 787 ,this charming statuette of ,pomona1 or ,dovizia1 as it has been suggested1 is the work of ,giovanni della ,robbia1 a ,florentine sculptor1 the son of ,andrea della ,robbia who was the nephew of ,luca della ,robbia4 ,the work of the della ,robbia family in glazed terracotta is familiar to all lovers of ,italian art4 ,giovanni was the pupil of his father4 ,his early works1 such as this ,pomona1 show him at his best2 in his later productions he lacks refinement and indulges in polychromy with too liberality4 ,when discreetly used1 as in this statuette1 color enriches the plastic quality of the work4 ,the goddess wears a blue gown with decorations in golden yellow2 the fruit is represented naturalistically in yellow green and violet2 and the flesh parts are glazed in white4 ,on her head the ,goddess carries a basket filled with fruit1 and in her left hand a brimming cornucopia4 ,a little boy1 with charming naturalness1 turns to her for protection as if afraid of the dog barking at him4 ,candlestick1 ,wood1 ,carved and ,gilded4 ,florentine1 ,,xvi ,century ,candlestick1 ,wood1 ,carved and ,gilded4 ,florentine1 ,,xvi ,century ,vasari and a writer of the ,,xvii century mention a statue by ,donatello of ,la ,dovizia1 which stood in the ,mercato ,vecchio in ,florence4 ,this statue is described as representing a maiden bearing on her head a basket of fruit4 ,the statue is lost1 but two existing statuettes of the della ,robbia school1 in addition to our own 7both inferior to ours71 are probably reflections of the ,donatello ,dovizia4 ,in one1 in the ,buonarotti ,museum1 we see a maiden supporting on her head1 with her right hand1 a basket filled with flowers and fruit4 ,a similar statuette in the ,berlin ,museum carries a cornucopia as well as a basket4 ,both are called ,pomona4 ,the cornucopia1 however1 is the classic attribute of ,ceres and of ,abundantia1 or1 in this case1 ,dovizia1 the ,italian version of ,abundantia4 ,that our statuette is intended as a personification of riches or abundance rather than as ,pomona becomes yet clearer when we examine the inscription on the base3 ,,gloria ,,et ,,divitie ,,in ,,domo ,,tua1 8,may ,honor and ,riches ,be ,within ,thy ,house40 ,the boy and dog give a touch of domesticity to the group4 ,they express 8within thy house10 revealing ,dovizia as a household goddess4 ,virgil ,appearing to ,dante1 ,tapestry4 ,florentine1 ,middle of ,,xvi ,century ,virgil ,appearing to ,dante1 ,tapestry4 ,florentine1 ,middle of ,,xvi ,century ,these two tapestries in the ,charles ,jairus ,martin ,memorial ,collection are remarkably fine examples of ,renaissance tapestry weaving in ,italy and ,flanders during the ,,xvi century4 ,the ,dante tapestry was woven about the middle of the century in ,florence at the ,medici atelier--the ,arazzeria-,medici--founded by ,cosimo ,i in #aecg4 ,it bears in the selvage the mark of the ,florentine manufactory and of the master weaver1 ,john ,rost1 who with another ,fleming1 ,nicholas ,karcher1 conducted 7from #aedf7 the work of the ,arazzeria4 ,his mark1 in the lower left-hand corner of the tapestry1 is a punning device1 a roast of meat upon a spit4 ,the tapestry was woven for some member of the ,salviati family1 whose arms appear in the upper border4 ,the design has been attributed on evidence of style to ,francesco ,rossi de' ,salviati 7#aeaj-aefc71 who1 with ,bronzino and other well-known artists of the ,high ,renaissance1 provided many cartoons for the ,medici weavers4 ,the scene represented is taken from the opening canto of ,dante's ,divine ,comedy2 ,virgil1 the type of ,human ,philosophy1 sent to guide the poet through ,hell and ,purgatory1 appears to ,dante who has lost his way in 8the wood of error10 where he is menaced by three symbolical animals1 the panther1 the lion and the she-wolf1 who would prevent him from ascending the 8,holy ,hill40 ,the border designs in the grotesque style are particularly interesting and typical of ,renaissance ornament4 ,the tapestry is unusually large1 measuring #af ft4 #g in4 in height by #ae ft4 #d in4 in width4 ,italian tapestries of the ,high ,renaissance are not common2 the ,dante tapestry1 formerly in the ,j4 ,p4 ,morgan ,collection1 is far and away the most important example of its kind in the country4 ,joseph ,ruler ,over ,egypt1 ,tapestry4 ,brussels1 ,second ,quarter of ,,xvi ,century ,joseph ,ruler ,over ,egypt1 ,tapestry4 ,brussels1 ,second ,quarter of ,,xvi ,century ,the extraordinary success which attended the weaving at ,brussels in the early part of the ,,xvi century of the tapestries from ,raphael's famous cartoons brought the ,italian ,renaissance style into great favor among the tapestry weavers of ,flanders4 ,evidence of this is clear in our tapestry from a set illustrating the history of ,joseph4 ,behind the seated woman in the foreground stands a lady in the rich costume of the ,,xvi century2 it is not improbable that this is the portrait of some noblewoman at whose expense the tapestries were woven4 ,in the lower left-hand corner of the border occurs the ,brussels mark1 a red shield with a capital letter 8,b0 on either side4 ,from #aebh on1 the ,brussels weavers were required by law to add the mark of the city1 together with their own mark1 to all tapestries of more than six ells4 ,the weaver's monogram1 at the right in the lower border of our tapestry1 as not yet been identified4 ,the tapestry dates from about the second quarter of the ,,xvi century4 ,it was formerly in the ,rospigliosi and ,ffoulke ,collections4 ,lectern1 ,walnut4 ,italian1 ,umbrian1 ,,xvi ,century ,lectern1 ,walnut4 ,italian1 ,umbrian1 ,,xvi ,century ,the architectural design of this large lectern is typical of ,italian ,renaissance furniture1 as is also the use of such classical decorative motives as the egg-and-dart pattern1 rosettes1 swags1 etc4 ,the lectern1 from some ,umbrian church1 served to support the large choir-books1 oftentimes beautifully illuminated1 that were in use during this period4 ,cassone1 with ,gilded ,decoration4 ,florentine1 ,third ,quarter of ,,xv ,century ,cassone1 with ,gilded ,decoration4 ,florentine1 ,third ,quarter of ,,xv ,century ,richly ornamented cassoni to hold the bridal trousseau constitute an important class of ,renaissance furniture4 ,the two marriage chests1 illustrated on this page1 are magnificent examples of this type of furniture4 ,the ,florentine cassone is ornamented with gilded1 low reliefs in 8pastille40 ,in the center are the four cardinal virtues1 ,temperance1 ,justice1 ,fortitude and ,prudence2 on either side of this group1 mythological scenes that may be taken in connection with the virtues as representing the opposition between the ordered ,christian life and pagan license4 ,the ,medusa heads are introduced as guardians against misfortune4 ,this combination of pagan and ,christian elements is thoroughly characteristic of the ,renaissance4 ,the beautifully carved walnut cassone was made in #aead for a marriage which united two ,sienese families1 the ,piccolomini and the del ,golia4 ,in its refinement of proportions and skilful execution this cassone is a masterpiece of furniture designing4 ,cassone1 ,carved ,walnut4 ,sienese1 #aead ,cassone1 ,carved ,walnut4 ,sienese1 #aead ,,seventeenth ,,century ,,art ,chair1 ,portuguese4 ,,xvii ,century ,chair1 ,portuguese4 ,,xvii ,century ,the ,,xvii century is an age of opposites4 ,democracy is contrasted with absolutism2 the newly won ,dutch ,republic with the monarchies of ,spain and ,france4 ,christendom is divided between the antagonistic sects of ,catholicism and ,protestantism4 ,the ,counter-,reformation1 at first mistrustful of the artist1 now makes use of art to further the ,catholic reaction4 ,but religious art itself1 exclusively ,catholic1 is animated by varying emotions which find expression1 on the one hand1 in the passionate1 morbid fervor of ,ribera 7#aehh-afef72 on the other1 in the easy-going rhetoric and corpulent healthiness of ,rubens 7#aegg-afdj74 ,in secular art we find equally striking contrasts2 the pendulum swings from the aristocratic refinement of ,van ,dyck 7#aeii-afda7 to the vulgarity of ,brouwer 7#afjf-afch74 ,it seems incredible that two such great artists as ,rembrandt 7#afjg-affi7 and ,velasquez 7#aeii-affj7 should have been contemporaries3 ,velasquez1 reserved1 proud1 the embodiment of ,spanish courtliness2 ,rembrandt1 emotional1 democratic1 understanding and sympathizing with all mankind4 ,but the contrast is no greater than between the popular art that flourished in the ,netherlands under a free people1 and the monarchical art1 with its academies1 court painters1 sculptors1 architects1 tapestry weavers and cabinet makers1 that revolved around the awesome person of le grand monarque1 ,louis ,,xiv4 ,architecture1 sculpture and the minor arts display more uniformity of style than the paintings of the period4 ,dependent largely upon the ,church or upon an opulent aristocracy for patronage1 they reflect the taste for grandiloquence1 ostentation and splendid show which characterized1 in this century1 ecclesiastic and noble alike4 ,the classic orders tower and writhe on church facade and palace walls4 ,within1 where all is resplendent with gold and rich colors1 magnificence pays its lavish homage to deity or to royalty in equal measure4 ,henry ,hyde1 ,lord ,clarendon4 ,sir ,peter ,lely1 #afah-afhj ,henry ,hyde1 ,lord ,clarendon4 ,sir ,peter ,lely1 #afah-afhj ,english painting before the ,,xviii century was largely dominated by foreign artists3 ,holbein in the ,,xvi century2 ,van ,dyck in the first half of the ,,xvii century2 and1 in the second half1 the ,dutchman1 ,sir ,peter ,lely1 who came to ,england in #afda and speedily won great reputation as a portrait painter1 imitating the style of ,van ,dyck who had just died4 ,lely's work is distinguished by many excellent qualities1 although marred by the pompous artificiality of his time4 ,he is at his best in such a portrait as this1 painted shortly after his arrival in ,england1 of the second ,earl of ,clarendon 7#afch-agji7 as a boy4 ,the ,concert4 ,michiel van ,musscher1 #afde-agje ,the ,concert4 ,michiel van ,musscher1 #afde-agje ,this interesting genre scene is by a ,dutch painter of the late ,,xvii century1 a period when art1 that had been democratic with ,rembrandt and ,frans ,hals1 now assumed1 under the patronage of wealthy parvenus a pretentious gentility in which the accessories of life were more important than life itself4 ,van ,musscher enjoyed considerable popularity in his time2 he painted with meticulous care flattering portraits and pretty genre subjects2 he was mindful of each shining pearl and gilded tassel1 satin fold and silken curtain--not a detail escaped his devoted eye2 but1 were it not for a certain distinction which he had as a colorist and composer his paintings would have little importance today1 save as records of costume and household gear4 ,portrait of a ,lady4 ,michiel ,mierevelt1 #aefg-afda ,portrait of a ,lady4 ,michiel ,mierevelt1 #aefg-afda ,mierevelt1 a well-known portrait painter of the ,dutch school1 lived principally at ,delft1 although occasionally residing at ,the ,hague4 ,he was court painter to the ,house of ,orange1 and like others of his kind1 evidently enjoyed depicting the elegant costumes and accessories of his aristocratic sitters4 ,mierevelt differs widely from his younger and greater contemporary1 ,frans ,hals1 both in technique and in sentiment4 ,mierevelt's style recalls the courtly elegance of the ,renaissance--which one might expect1 since he was born well in the ,,xvi century2 whereas ,frans ,hals1 striking out along new lines1 represents the new spirit of democracy which inspired the long struggle in the ,low ,countries to win political and religious independence4 ,the portrait1 illustrated above1 is dated #afcj4 ,tapestry1 ,hunting ,scenes4 ,flemish1 about #afjj ,tapestry1 ,hunting ,scenes4 ,flemish1 about #afjj ,in the background of this 8hunting tapestry10 from the ,lowry ,memorial ,gift1 is illustrated the story of ,diana and ,acteon2 the rash huntsman is turned into a stag by the outraged ,goddess4 ,in its design the tapestry is more ,renaissance in feeling than ,baroque1 but the crowded ordinance of the composition betrays its late date4 ,the carving on the chest below shows various typical motives of the ,jacobean style4 ,chest1 ,oak4 ,english1 ,,xvii ,century ,chest1 ,oak4 ,english1 ,,xvii ,century ,,eighteenth ,,century ,,art ,art of the ,,xviii century differs radically from that of the preceding century4 ,it is graceful1 elegant and coquettish rather than ponderous1 majestic and passionate4 ,forgotten is the fervent piety of the ,counter-,reformation and the oppressive grandeur of le ,roi ,soleil4 ,life is joyful1 to be lived in luxurious boudoirs1 exquisite in refinement of decoration1 or in pretty gardens where ,nature1 properly disguised1 welcomes aristocratic shepherds and shepherdesses to her pastoral delights4 ,the changed political and social conditions of the ,,xviii century had their immediate effect in the world of art4 ,except in ,england--relatively democratic as compared with ,france and other continental countries--art was almost exclusively aristocratic1 and mirrored the self-indulgent interests of fashionable patrons4 ,even in ,england1 where ,hogarth moralized for the bourgeoisie1 and the sturdy lineaments of the commoner were portrayed by a ,reynolds or ,gainsborough no less frequently1 and truthfully1 than the high-bred mien of a great nobleman1 artistic concessions to the ,third ,estate were distinctly limited4 ,it was in courtly ,france1 soon to be racked by social revolution1 that the epicurean art of the ,,xviii century was most at home4 ,when we name ,watteau1 ,boucher1 ,fragonard1 ,clodion1 ,houdon1 we sum up1 perhaps1 all that is most characteristic of painting and sculpture in ,,xviii century art4 ,the portrait painters of ,england contribute to the century the meed of their greatness2 ,italy gains lustre through ,tiepolo2 ,spain through ,goya2 but it is to ,france that we turn to experience in its completeness the spirit of the ,rococo4 ,in the 8century of little things0 the minor arts attained an exceptional importance4 ,artisans ranked as artists1 and justly4 ,among the distinguished artists of the ,,xviii century must be included such great craftsmen as ,chippendale1 ,sheraton1 ,hepplewhite1 ,oeben1 ,riesener1 ,gouthiere1 and ,caffieri--to make but a brief selection from among the numerous ,english and ,french cabinet-makers1 metal chasers1 and other craftsmen of the period4 ,the productions of these celebrated artisans were rightly looked upon as works of creative art of a high order1 and the makers were accorded the patronage and protection of royalty and nobility4 ,in technical perfection the ,,xviii century crafts have never been surpassed4 ,but too great proficiency led sometimes to artistic disaster1 as we may note in tapestries imitating the difficulties of inappropriate pictorial models1 or in the florid carving sometimes indulged in by the cabinet-makers--even the celebrated ,chippendale1 if the truth be told4 ,these occasional deviations from the path of artistic rectitude must not mislead us1 however1 from a just appreciation of the extraordinary merits of ,,xviii century decorative art4 ,head of an ,old ,man4 ,giovanni ,domenico ,tiepolo1 #agbg-ahjd ,head of an ,old ,man4 ,giovanni ,domenico ,tiepolo1 #agbg-ahjd ,the work of ,domenico ,tiepolo1 the son of ,gian ,battista ,teipolo1 the head of the ,venetian school of the ,,xviii century and the last of the great ,italian painters4 ,in the period of exhaustion which followed the ,renaissance1 the ,venetian school alone was blessed with genius4 ,the list of painters is indeed impressive when compared with the nonentities of the other ,italian schools of the ,,xviii century4 ,although ,domenico did not display the same great genius as his father1 at his best he approached ,giambattista so closely that his works have often been confused4 ,domenico is known as an etcher as well as a painter4 ,in his set of character heads1 called the 8,raccolta di teste01 there is an etching reproducing the above portrait4 ,portrait of ,james ,ward4 ,gilbert ,stuart1 #agee-ahbh ,portrait of ,james ,ward4 ,gilbert ,stuart1 #agee-ahbh ,gilbert ,stuart was typical of his time and country in that his art was not national but derived from ,england1 where he received most of his training4 ,his masterful expression of personality1 his brilliant brush-work and treatment of light1 permit him to be classed among the most gifted artists of his age as the first truly great ,american artist4 ,the ,portrait of ,master ,ward1 painted in #aghi1 and one of the very few signed works of the artist1 was exhibited at the ,royal ,academy in the year in which it was painted4 ,it is considered by eminent critics the most beautiful of ,stuart's paintings in ,american collections4 ,this graceful lad1 portrayed fondling his dog1 afterwards became famous as an engraver of animal subjects4 ,death on the ,pale ,horse4 ,benjamin ,west1 #agch-ahbj ,death on the ,pale ,horse4 ,benjamin ,west1 #agch-ahbj ,in its early days1 ,american painting was derived from ,europe and especially from the mother country1 ,england4 ,the early ,,xviii century portraits of prominent ,colonials and their families1 though valuable as historical documents and not without a naive charm1 are halting and provincial as works of art4 ,the first ,american painter to win a widely recognized position in the world of art was ,benjamin ,west4 ,in his twenty-second year he went to study in ,rome1 where he worked for several years in the 8grand manner40 ,moving to ,england in #agfh1 he won favor at once1 was appointed historical painter to the ,king in #aggb1 and twenty years later1 on the death of ,reynolds1 was elected president of the ,royal ,academy4 ,the ,institute's painting1 ,death on the ,pale ,horse1 is a study for his grandiose canvas in the ,pennsylvania ,academy4 ,when it was first exhibited1 the artist was acclaimed a second ,michelangelo4 ,it is painted mostly in subdued bronze and dull red tones1 and shows ,death as a splendid youth seated upon a white horse1 charging out of the sky at the head of a troop of heroic horsemen4 ,below him crowds of terrified human beings are fleeing before the vision1 idols fall1 and wild beasts snarl and cower4 ,the subject is taken from ,revelation ,,vi1 #h3 8,and ,i looked and beheld a pale horse and his name that sat on him was ,death1 and ,hell followed with him4 ,and power was given unto them over the fourth part of the earth1 to kill with sword1 and with hunger1 and with death1 and with the beasts of the earth40 ,large ,embroidered ,hanging4 ,french1 ,early ,,xviii ,century ,subject1 ,spring3 from a set representing the ,four ,seasons1 in memory of ,mrs4 ,thomas ,lowry by ,mrs4 ,gustav ,schwyzer1 ,mrs4 ,percy ,hagerman and ,horace ,lowry ,large ,embroidered ,hanging4 ,french1 ,early ,,xviii ,century ,subject1 ,spring3 from a set representing the ,four ,seasons1 in memory of ,mrs4 ,thomas ,lowry by ,mrs4 ,gustav ,schwyzer1 ,mrs4 ,percy ,hagerman and ,horace ,lowry ,needlepoint1 ,reticello4 ,italian1 ,early ,,xvii ,century ,needlepoint1 ,reticello4 ,italian1 ,early ,,xvii ,century ,the piece of reticello lace1 illustrated above1 is an unusually fine example of early ,italian needlepoint4 ,reticello was the first needlepoint1 and from it all the later ones were derived4 ,long points1 such as we see here1 were much used on collars and cuffs in the ,,xvii century4 ,of other ,italian laces in the collection may be noted a large panel of ,milanese bobbin lace of the late ,,xvii or early ,,xviii century1 a fine piece of beautiful ,venetian rosepoint of the ,,xviii century1 and examples of ,burano and grounded ,venetian lace of the same period4 ,french laces of the ,,xviii century are represented by characteristic examples of ,point d',alencon and ,point d',argentan needlepoint and of old ,valenciennes bobbin lace4 ,flemish laces may be studied in typical examples of ,mechlin1 ,point d',angleterre1 ,application1 etc4 ,these exquisite fabrics of ,france and ,flanders have never been surpassed in beauty of design and skilful workmanship4 ,the delicate meshes seem at times almost miraculous--as if they owed their origin to ,jack ,frost rather than to human hands4 ,to show the fineness of the thread used in making the characteristic hexagonal mesh of ,point d',argentan1 it may be stated that on an average one side of the hexagon measures only #a-af of an inch4 ,on each of these sides there are usually #aj stitches4 ,this makes #afj stitches to the inch--which means more1 perhaps1 when we realize that in the finest machine sewing there are usually #cb stitches to the inch4 ,the collection also includes ,,xix century and modern examples of ,belgian1 ,english and ,american lace4 ,lace1 ,needlepoint1 ,point d',argentan1 ,french1 ,,xviii ,century ,lace1 ,needlepoint1 ,point d',alencon1 ,french1 ,,xviii ,century ,lace1 ,needlepoint1 ,rosepoint1 ,venetian1 ,early ,,xviii ,century ,bobbin ,lace1 ,point d',angleterre1 ,flemish1 ,,xviii ,century ,lace1 ,needlepoint1 ,point d',argentan1 ,french1 ,,xviii ,century ,lace1 ,needlepoint1 ,point d',alencon1 ,french1 ,,xviii ,century ,lace1 ,needlepoint1 ,rosepoint1 ,venetian1 ,early ,,xviii ,century ,bobbin ,lace1 ,point d',angleterre1 ,flemish1 ,,xviii ,century ,chair1 ,pearwood ,venetian4 ,early ,,xviii ,century ,chair1 ,pearwood ,venetian4 ,early ,,xviii ,century ,the hectic magnificence of life in ,,xviii century ,venice finds its reflection1 naturally enough1 in the decorative arts of the time4 ,furniture less ornate than the lavishly carved chair illustrated on this page would have seemed out of place in the great gilded salons where human peacocks strutted in the bravery of brocade and rustling silk4 ,as a general rule1 ,italian furniture of the ,rococo ,age is easily recognized by its prodigal indulgence in the spices1 so to speak1 of furniture designing4 ,rarely is a piece of ,italian furniture of the elaborate character of this pearwood chair so successful in combining an almost excessive richness of carving with a fine feeling for proportions and harmonious ensemble4 ,indeed1 it is not impossible that the chair is the work of a cabinet maker who may have come from ,france to ,venice in the suite of some great nobleman4 ,of the master craftsmen of ,england in the ,,xviii century none has achieved greater renown than ,thomas ,chippendale 7#agji-aggi74 ,through the publication of his book of furniture designs in #aged 7later editions in #agei and #agfb7 as well as by the example of his own cabinet work1 he exerted a widespread influence4 ,his various styles were imitated not only in ,england1 but also in the ,american colonies4 ,consequently1 not every 8,chippendale0 piece is from the master's hands2 on the contrary1 well authenticated furniture by ,chippendale himself1 or by his own workmen1 are great rarities4 ,it is customary1 however1 to designate as 8,chippendale0 the work of his contemporaries and imitators who copied the styles which the master had popularized4 ,tripod ,table with ,top ,tilted ,back ,tripod ,table with ,top ,tilted ,back ,tripod ,table1 ,mahogany1 ,english1 about #agfj-agfe ,tripod ,table1 ,mahogany1 ,english1 about #agfj-agfe ,the tripod table was perhaps the most important achievement of ,thomas ,chippendale as innovator1 for it was his exclusive creation4 ,the tripod table in our collection was made approximately between #agfj and #agfe4 ,the quality of the carving is so excellent1 the sense of style so marked1 that1 if not by ,chippendale himself1 the table is surely the work of a cabinet maker who closely rivaled the famous master4 ,tripod tables are commonly referred to in documents of the period as 8snap tables40 ,the top is hinged so that it can be tilted back to save space4 ,when in use it is held in place by a sliding catch1 which snaps sharply into position when the top is let down4 ,card ,table1 ,mahogany ,english or ,american1 about #agej-agge ,card ,table1 ,mahogany ,english or ,american1 about #agej-agge ,card playing1 often for high stakes1 was so much the rage in the ,,xviii century that there were generally several card tables in a fashionable house of the period4 ,the folding card table1 here reproduced1 dates about #agej-agge and was possibly made in ,america rather than in ,england4 ,characteristic of the ,chippendale manner are the cabriole legs and the style of the relief carving4 ,one of the legs swings outward to support the hinged half of the top when open2 the rounded corners of the top served as candle stands4 ,note the fine carving of the moulded rim with its foliated scallop shells4 ,the fluted shaft and the cabriole legs with ball-and-claw feet are well proportioned4 ,dressing-table1 ,mahogany4 ,american1 about #agfj-agge ,dressing-table1 ,mahogany4 ,american1 about #agfj-agge ,the dressing-table1 or low-boy1 illustrated above1 is a fine example of the more elaborate cabinet work done in this country during the ,,xviii century4 ,it dates from about #agfj to #agge1 and was probably made in ,philadelphia4 ,in a dressing-table very similar to ours there has been found the advertisement of the maker1 8,william ,savery1 at the ,sign of the ,chair near the ,market on ,second ,street1 ,philadelphia40 ,the small group of existing furniture to which our piece belongs includes some of the finest examples of ,american furniture4 ,low-boys and high-boys2 that is1 dressing-tables and high chests of drawers on legs1 would appear generally to have been made in pairs4 ,the companion piece to our lowboy has been lost sight of1 but the type is well known4 ,the lower part would have been about the same in design as the dressing-table2 the chest of drawers1 which it supported1 completed by a scroll top4 ,the high chest of drawers enjoyed a long continued popularity in ,america4 ,the type just described1 despite its ,chippendale motifs1 was distinctly ,american4 ,the expressions1 high-boy and low-boy1 are not found in the old records2 they probably originated later in derision1 when the chest of drawers and its accompanying table seemed grotesquely out of fashion4 ,large ,flip ,glass and ,two ,liquor ,bottles4 ,stiegel ,glass1 ,american1 ,,xviii ,century4 ,large ,flip ,glass and ,two ,liquor ,bottles4 ,stiegel ,glass1 ,american1 ,,xviii ,century4 ,we take glass so much for granted today that it is difficult for us to realize how rare and precious a commodity it was to the first settlers of this country4 ,it is significant that the first attempt to establish a manufacturing industry in the ,american colonies was the building and equipping of a glass house4 ,about the middle of the ,,xviii century1 glass began to be manufactured upon an extensive scale4 ,the ,stiegel ,glass ,works1 the second successful glass factory1 and the best known of the early ,american works1 commenced operations at ,manheim1 ,pa41 in #agfe4 8,baron0 ,stiegel--his title was a courtesy one--was born in ,germany1 at ,cologne1 in #agbi2 came to ,philadelphia in #agej2 married the daughter of a rich iron master2 and in the course of time1 launched his ambitious project for the establishment of a glass manufactory that would compete successfully with the ,european glass centers for the ,american market4 ,the ,colonies were then going through a period of economic stress that was soon to lead to the ,revolution4 ,unable or unwilling to read the signs of the time aright1 ,stiegel speedily met with financial embarrassment1 failed in #aggd1 and was even imprisoned for debt4 ,the victim of his own vanity1 or rather self-confidence1 this early ,american captain of industry died in destitution1 ,january #aj1 #aghe4 ,his factory1 maintained for a while after is failure1 was not operated after #aghj4 ,the three pieces of glass illustrated above are typical of the white flint glass with engraved designs made at the ,stiegel works4 ,the manufactory was also renowned for its colored flint glass1 and for glass with enameled decoration4 ,,the ,,second ,,floor ,le ,beurre1 by ,ovide ,yenesse4 ,le ,beurre1 by ,ovide ,yenesse4 ,,modern ,,american ,,paintings ,the ,american painters of the ,colonial period and of the first fifty years following the ,revolution were followed by a group of landscape painters1 known as the ,hudson ,river school1 who were more indigenous and original than their predecessors4 ,these men enthusiastically transcribed the scenery of their native ,america1 especially the ,catskill ,mountains and the valley of the ,hudson4 ,with ,george ,inness began what might be called the middle school of ,american landscape1 which came to be one of the most important contributions that ,america has made to painting4 ,inness discarded the humble literalism of ,kensett and the grandiloquence of ,bierstadt4 ,like his contemporaries at ,barbizon1 he preferred more intimate subjects1 and of their detail he aimed to give only enough to reproduce the single1 synthetic emotion into which his poetic fire could fuse the scene4 ,among his able contemporaries and successors were ,wyant1 ,homer ,martin1 ,tryon1 ,eaton1 ,ranger1 ,blakelock and ,horatio ,walker4 ,to this tradition in landscape was added a virile foundation of marine painting in the works of ,winslow ,homer4 ,artists of power and individuality1 whose influence on the development of ,american painting would be difficult to trace1 include the great1 perhaps rather un-,american1 ,whistler1 revealer of subtle tone relations2 ,vedder1 master of rhythmic line2 ,la ,farge1 rich colorist and decorator2 ,albert ,p4 ,ryder1 with his glowing color and romantic imagination2 ,george ,fuller1 whose tender poetry and mellow1 golden-brown tone were his native gift2 ,william ,morris ,hunt1 whose enthusiasm as teacher1 more than whose example as artist1 revealed to younger men the new breadth and insight of their contemporaries in ,france4 ,the seventies and eighties of the century were marked in general by a dependence upon the art of ,europe4 ,a group of men1 including ,duveneck1 ,chase and ,shirlaw1 went to ,munich whence they brought home a solid1 painter-like technique and a sober tonality4 ,these qualities became a factor in the early development of such artists in ,america as ,john ,w4 ,alexander and ,joseph ,de ,camp4 ,edwin ,a4 ,abbey1 painting in ,england1 developed the romantic anecdote4 ,the strongest influence1 however1 came out of ,paris1 mother of modern art movements4 ,the teachings of such masters as ,gerome1 ,bonnat and ,carolus-,duran were assimilated without sacrifice of individuality4 ,fresher1 breezier color and a more brilliant technique came into ,american figure painting4 ,to this group belong ,thayer1 ,volk1 ,dewing and ,brush1 refined painters of figures2 ,low and ,cox1 followers of a more classic tradition2 ,gari ,melchers1 whose greater directness comes partly out of ,holland1 ,mary ,cassatt1 influenced by ,manet and ,degas2 and ,sargent1 whose gusto1 spontaneity1 and brilliant technique have made him one of ,america's four or five greatest painters4 ,weir1 ,twachtman and ,hassam imported the new enthusiasm for ,impressionism1 for the use of pure colors in reproducing high-keyed effects of ephemeral sunlight4 ,tarbell1 ,reid1 ,little1 ,c4 ,h4 ,davis1 ,symons1 ,redfield and ,frieseke show to varying extent the same influences4 ,the present tendency in ,american painting seems to be toward greater diversity and a more unfettered assertion of personality1 as exemplified by such men as ,davies1 ,henri1 ,hawthorne and ,bellows4 ,mount ,whitney4 ,albert ,bierstadt1 #ahcj-aijb ,mount ,whitney4 ,albert ,bierstadt1 #ahcj-aijb ,no member of the ,hudson ,river school1 probably1 imbibed so much of the qualities of the ,dusseldorf masters as did ,bierstadt4 ,he chose for his big canvases panoramas from impressive scenes in ,yellowstone ,park and in the ,rockies4 ,he attempted to give the illusion of reality to these by a minutely detailed rendition of foreground1 while the subject itself1 with his favorite lowering clouds and romantic haze1 was to produce the desired grandeur4 ,the result made his paintings popular in ,america of his own time2 but today his grandeur seems a little theatrical4 ,the ,conch ,divers4 ,winslow ,homer1 #ahcf-aiaj ,the ,conch ,divers4 ,winslow ,homer1 #ahcf-aiaj ,it is rare that an artist uses with equal success both water color and oil4 ,with ,winslow ,homer one hardly knows which to admire more1 his oil paintings or his water colors4 ,his oils are1 perhaps1 more bare1 more elemental than the water colors1 but the tones are harsher and often less true4 ,in the winter of #ahhe-ahhf1 ,homer visited the ,bahama ,islands1 where a new world of color was opened to his eyes4 ,the water colors which he made during this and subsequent voyages are among the finest things he ever did4 ,among these is ,the ,conch ,divers3 negroes on the deck of a sloop are watching the reappearance of a diver who has just come up alongside with some shells in his hand4 ,the ,island of ,new ,providence with its palms is seen in the distance at the right4 ,the composition is admirable2 the figures are drawn with great power4 8,it is ,winslow ,homer's distinction that he was the first ,american painter to use an ,american idiom10 writes ,william ,howe ,downes4 8,not only his subjects1 but his manner of treating them2 not only his motives1 but his point of view2 not only his material1 but the style and sentiment in which he clothes it1 have the stamp of ,americanism indelibly impressed upon them40 ,this spirited statement might be qualified by the observation that it is ,george ,inness and ,fuller who express more truly the spirit of ,american rural life2 while it is ,homer who expresses the spirit of the frontiersman1 the deep-sea fisherman1 and all those whose lives bring them face to face with the bare facts of the unmitigated elements4 ,moonlit ,surf1 ,paul ,dougherty1 #ahgg- ,moonlit ,surf1 ,paul ,dougherty1 #ahgg- ,a contemporary ,american painter of rocks and sea who may be considered to be in a sense a successor to ,winslow ,homer1 is ,paul ,dougherty4 ,he is thoroughly ,american in spirit1 and mainly self-taught4 ,after a brief career in the law1 he turned to painting4 ,with a knowledge of drawing and perspective as a foundation upon which to proceed1 he went to ,europe where he spent several years studying without masters in ,paris1 ,london1 ,florence1 ,venice and ,munich4 ,he returned to his native country more ,american than ever4 ,our artists1 he said1 walked too near the sterile soil of eclecticism1 deferred too much to established codes4 ,like ,winslow ,homer1 he scorned the nicer subtleties of personal moods4 ,he rejoiced in nature's more vigorous aspects and he looked at her impersonally1 objectively4 ,this passion for puttmg things down as they are rather than using them as a means of expressing his individual moods1 is1 curiously enough1 the key to the individual note which stamps his canvases4 ,at the same time this literal tendency seems to some critics to be his greatest weakness4 ,he has devoted himself almost exclusively to chronicling the moods of the sea1 to transcribing the profound surging billows1 the swirling of eddies1 the resistless pounding of waves against cliffs1 the dash of spray upward into the light4 ,a good example of these fresh sea-pieces is ,moonlit ,surf4 ,it is a comparatively recent work1 and shows the sea striking against rocks and sweeping into their crevices1 while a warm moonlight1 glancing over the crests of waves1 gives color4 ,luxembourg ,gardens at ,twilight4 ,john ,s4 ,sargent1 #ahef- ,luxembourg ,gardens at ,twilight4 ,john ,s4 ,sargent1 #ahef- ,in this canvas1 ,sargent has shown the hushed pensiveness of mood1 the perfection of sensitively modulated color of which his many-sided genius is capable1 but which it has1 in fact1 rarely attained to such a degree as here4 ,the subject of the painting is the ,luxembourg ,gardens in ,paris at twilight1 with the moon rising above the trees4 ,in the distance may be seen the dome of the ,pantheon4 ,various groups of figures lend the scene a measured animation4 ,the picture is hardly more than a sketch1 but its justness of values conveys an impression of reality which is characteristic of the artist4 ,particularly attractive is the mellow tone of the painting4 ,the soft tawny grays of the foreground1 the sombre green of the thickly-massed trees2 the note of rose in the woman's costume1 form an exquisite harmony1 accentuated by occasional touches of black4 ,it was presented by ,sargent to his friend ,charles ,pollen ,mc,kim1 the celebrated architect1 who died in #aiji4 ,it is signed1 8,to my friend ,mc,kim1 ,john ,s4 ,sargent40 ,a replica of this painting1 in the ,john ,g4 ,johnson ,collection1 is dated #ahgi4--,the ,martin ,b4 ,koon ,memorial ,collection4 ,the ,white ,bridge4 ,john ,h4 ,twachtman1 #ahec-aijb ,the ,white ,bridge4 ,john ,h4 ,twachtman1 #ahec-aijb ,at the time of ,twachtman's death1 fear was expressed by a fellow artist that the canvases he had left behind might prove too fine a food for the general palate4 ,in the intervening years1 however1 general taste has become better accustomed to the impressionist mode of expression2 and today anyone must be in harassed and impatient mood who does not respond to the sensitive appeal of ,twachtman's vague landscapes4 ,these carry to the last degree of refinement the idea that spiritual rather than physical facts are properly the subject matter of art4 ,in the ,white ,bridge we sense the very essence of soft spring-time4 ,the yellow-green of young grass and tender foliage gives the general tone of the painting4 ,in the foreground1 on the bank of a stream1 a crooked tree reaches out its sappy young branches1 which form1 together with the latticed railing of an intimate white bridge1 a delicate pattern against some evergreens behind4 ,in the foreground on the quiet surface of the stream the reflection of the bridge forms a tracery in pale lilac4--,the ,martin ,b4 ,koon ,memorial ,collection4 ,a ,ray of ,sunlight4 ,john ,w4 ,alexander1 #aheg-aiae4 ,a ,ray of ,sunlight4 ,john ,w4 ,alexander1 #aheg-aiae4 ,a fine and characteristic example of the work of ,john ,w4 ,alexander1 is ,a ,ray of ,sunlight4 ,the appeal of the work is felt immediately4 ,it represents a young woman playing a violincello4 ,one can imaging emotional strains of ,chopin4 ,there is extraordinary breadth in the treatment of the musician's gown1 yet the coarse absorbent canvas gives a soft and interesting surface to the broad planes4 ,the most lasting attraction of the picture is due to the artist's treatment of light4 ,a soft1 glowing1 effulgence flows in from the right1 and envelops the graceful figure1 a direct ray falling across the forearm and reflecting in the polished surface of the instrument4 ,river in ,winter4 ,gardner ,symons1 #ahfa- ,river in ,winter4 ,gardner ,symons1 #ahfa- ,gardner ,symons1 an important member of the modern group of ,american landscape painters1 is fond of representing winter scenes with snow covering the ground and softening its contours4 ,in ,river in ,winter he has produced a cheerful scene1 treated with much beauty of color4 ,late afternoon sunlight slants across the snow1 casting rosy lights and violet shadows4 ,between sparsely wooded banks1 a river flows toward the spectator4 ,in the distance are low opalescent hills beneath a transparent greenish sky4--,the ,martin ,b4 ,koon ,memorial ,collection4 ,it may be interesting to compare ,river in ,winter by ,symons with the painting in the same collection and bearing the same title by ,edward ,w4 ,redfield4 ,redfield is a well known ,american painter noted for his winter landscapes4 ,our example of ,redfield's work is highly characteristic4 ,compared with ,symons' painting1 we find it less warm in color1 characterized by a more brittle and restless handling of surfaces1 and a less sedate and simple feeling for composition1 but quite as convincing as a portrayal of nature4 ,garden in ,june4 ,frederick ,c4 ,frieseke1 #ahgd- ,garden in ,june4 ,frederick ,c4 ,frieseke1 #ahgd- ,frederick ,carl ,frieseke is one of the most delightful among the younger ,american painters who revel in the sunlight of ,impressionism4 ,he studied at the ,chicago ,art ,institute1 at the ,art ,students' ,league1 and1 in ,paris1 under ,constant1 ,laurens and ,whistler2 but ,claude ,monet has been the important influence4 ,frieseke's interest is in the color effect of the things in his chosen field of vision1 in the effect things make at a single glance upon an eye trained to see the transient color of shadows and of objects in sunlight4 ,for the detailed study of form1 he cares little2 yet his drawing is adequate1 and his spots of bright color are always worked together into a pleasing and balanced pattern1 as we see it in the ,garden in ,june4 ,lately1 a more diffused light and less dazzling color has appealed to ,frieseke1 and he has given us a series of lovely impressions of ladies at their various domestic pursuits4 ,the painting entitled ,the ,toilet in the ,institute's collection is an example of the later studies4--,the ,martin ,b4 ,koon ,memorial ,collection4 ,the ,open ,sea4 ,emil ,carlsen1 #ahec ,the ,open ,sea4 ,emil ,carlsen1 #ahec ,the consummate workmanship of ,emil ,carlsen in covering a canvas with pigments gives the illusion of appealing to more senses than the sense of vision4 ,the delicious handling of color and the creamy texture of his paint seem to tickle the palate and to please the finger tips4 ,the ,open ,sea is the sea at its most alluring4 ,a fair breeze gives the water vivacity without making it threaten4 ,it seems friendly1 with its subtle endless shifting of blues and pale greens2 one's face welcomes the dash of spray from the crest of such a wave4 ,emil ,carlsen was born in ,copenhagen1 ,denmark1 in #ahec1 and came to ,america in #ahgb4 ,he studied architecture in his native city1 but subsequently devoted himself to painting1 in which he soon achieved unusual success4 ,he has received many awards and is represented in the ,metropolitan ,museum1 the ,national ,gallery in ,washington1 and other important collections4 ,a ,woodland ,interior in the ,institute's collection is another work by ,carlsen1 revealing similar charms to those found in ,the ,open ,sea4--,the ,martin ,b4 ,koon ,memorial ,collection4 ,the ,yellow ,flower4 ,albert ,reid1 #ahfc- ,the ,yellow ,flower4 ,albert ,reid1 #ahfc- ,the favorite subject of ,robert ,reid's study is the gracefully clad figure of woman1 enveloped in the soft atmosphere of the studio or out of doors4 ,his treatment is purely decorative1 and his color contrasts slight4 ,he poses his model quietly1 engaged in unpurposeful occupations such as gazing at a bowl of goldfish1 dreaming before a bit of bright porcelain1 or seated placidly in a meadow1 as in ,the ,yellow ,flower4 ,in this pleasing painting1 the filmy blouse1 the yellow skirt1 the golden skin and hair almost melt into the yellowish green of the grass in which the figure is ,placed4--,the ,martin ,b4 ,koon ,memorial ,collection4 ,a psychologist has pointed out somewhere that if it were not for the artists among us pointing out the beauties of landscape1 very few of us would ever appreciate them4 ,one finds no landscapes painted on ,greek vases4 ,the early ,european painters used landscapes only as backgrounds for portraits or religious subjects4 ,certainly there exist in nature charms of color in shadow1 rich varieties of pure tone in sunlight which none of us suspected until the ,impressionist painters insisted upon them4 ,midsummer4 ,r4 ,sloan ,bredin1 #ahha- ,midsummer4 ,r4 ,sloan ,bredin1 #ahha- ,in ,midsummer by ,r4 ,sloan ,bredin one finds not only an unusually pleasing piece of diagonal composition1 not only a lyrical mood undisturbed by disharmony1 but also a way of seeing things which1 if we could make it a part of ourselves1 would much enhance our own visual enjoyment of nature4 ,the beautiful play of color through the foliage of the big tree at the left of the canal1 the subtle effects produced by the faint haze of a ,july noonday1 the fresh tones of the nearer foliage drooping across the larger tree beyond1 should prove a lesson as well as a joy4 ,night's ,overture4 ,arthur ,b4 ,davies1 #ahfb- ,night's ,overture4 ,arthur ,b4 ,davies1 #ahfb- ,one of the most personal and interesting painters in ,america today is ,arthur ,b4 ,davies4 ,his painting ignores the commonplaces and unessentials of life4 8,never once does he wander from his dream1 his vision10 writes ,samuel ,isham4 8,his enchanted garden is not visited at rare intervals2 it is not one of many resorts1 it is his home1 his retreat from which he never departs4 ,it is a wonderful land of which he gives us glimpses--of flowery meadows and bosky groves peopled by youth and childhood40 ,his visions are naive1 tender1 whimsical1 often vaguely allegorical1 sometimes a little unintelligible1 but never trite nor sentimental4 ,in his recent work he seems to tend more and more toward the unintelligible1 as his love of the allegorical and the purely spiritual grows4 ,to ,night's ,overture much of these remarks may seem not to apply4 ,here is nothing of the naive1 the whimsical1 the allegorical4 ,and yet this landscape is characteristic of ,davies' art4 ,it is a highly spiritualized and individual treatment of landscape1 wonderfully decorative in color and arrangement1 and highly endowed with feeling4--,the ,martin ,b4 ,koon ,memorial ,collection4 ,,modern ,,european ,,paintings ,to trace the history of painting in the ,,xix century in ,france1 is to trace the main stem of its recent developments throughout the western world4 ,germany has grafted something of her own national spirit upon the parent art forms of the ,french2 ,england has contributed some original impulses2 ,holland and ,spain have looked back to their own past as well as across to the contemporary painting of the ,french4 ,yet it is ,france1 with her bewildering crowding in of new ideas and crowding out of old1 which during the past century1 has led the way in painting1 and in the opening of the ,,xx century continues to lead4 ,in the beginning of the ,,xix century1 the longing of intellectual ,france for a return to the poise and civic virtues of republican ,rome had found its visual expression in the classical paintings of ,david 7#agdh-ahbe7 and ,ingres 7#aghj-ahfg74 ,the beginnings of ,romanticism are seen in the paintings of ,gros1 who dared to paint his characters in clothes more modern than the toga4 ,gericault and ,delacroix 7#agii-ahfc7 completed the development in their impassioned color and movement and their searching out of romantic and exotic subject matter4 ,a group of mid-century artists who combined many of the qualities of the ,classic and ,romantic schools included ,cabanel1 ,lefebvre1 ,bouguereau and ,gerome4 ,the military painters1 ,meissonier1 ,detaille1 and de ,neuville1 might conveniently be grouped with them1 they alike treating romantic subjects in a precise and academic manner4 ,reflections of this group in ,germany are seen in ,piloty1 ,menzel and ,max2 in ,great ,britain in ,alma-,tadema1 ,leighton and ,orchardson4 ,such painters as these expressed the ,academic attitude with which1 from #ahej to #ahhe1 the ideas of the ,barbizon painters1 the ,realists1 the rising ,impressionists1 and1 in ,england1 the ,pre-,raphaelite ,brotherhood 7unrelated to any ,continental movement7 had to compete4 ,the ,barbizon ,school1 including ,rousseau1 ,corot1 ,millet1 ,daubigny1 ,troyon1 and others1 owed much to the ,dutch landscape painters of the ,,xvii century and to the influence of the ,englishman ,constable 7#aggf-ahcg71 who had gone directly to nature and represented what he saw with a fidelity rare since the time of ,ruisdael and ,hobbema4 ,the spirit of this group inspired ,mauve and ,jacob ,maris in ,holland1 while ,israels was influenced rather by the old ,dutch masters of figure painting4 ,modern ,impressionism is a mixture of two streams of influence4 ,one arose in the direct vision of ,courbet1 and the realistic painting of enveloping atmosphere as invented by ,velasquez and rediscovered by ,manet4 ,the other stream springs from the poetic impressionistic methods of ,corot and the fiery ,turner4 ,influenced by these two currents1 ,monet and ,renoir produced the high-keyed externality of ,luminism1 which has strongly affected contemporary ,american painters2 while in ,europe1 ,degas1 ,pissarro1 ,sisley1 ,sorolla1 ,zuloaga1 ,zorn and ,liebermann have drawn in varying degrees from the same two streams4 ,defying all classification1 stands the one great decorator of the century1 ,puvis de ,chavannes2 while initiating the most modern art movement are ,cezanne1 ,gauguin and ,matisse1 who revolt against objectivism1 and strive in visual forms to express the abiding verities4 ,landscape4 ,georges ,michel1 #agfc-ahdc ,landscape4 ,georges ,michel1 #agfc-ahdc ,to those who asked him why he did not go to ,italy for his subjects1 ,georges ,michel would answer3 8,the man who can not find enough to paint during his whole life in a circuit of four miles is in reality no artist40 ,this artistic creed was nothing less than revolutionary at that time1 in the early days of the ,,xix century1 when the landscape painter regarded nature as unworthy of his brush unless it was bedecked with ancient temples and peopled with gods and goddesses1 or at least suggested ,italy or some distant land4 ,georges ,michel lived on the heights of ,montmartre in ,paris4 ,he walked out into the country and painted what he saw4 ,his landscapes are actual studies of nature painted in the open air4 ,as one of the first painters of paysage intime1 ,michel was a forerunner of ,rousseau and the men of #ahcj4 ,his narrow1 subdued scheme of color establishes his relationship with the great ,dutch masters of the ,,xvii century4 ,in ,france1 however1 his was pioneer work2 he did not cater to the popular demand1 and it was not until the ,world ,exhibition in #ahhi that his genius was generally recognized4--,gift of ,james ,j4 ,hill4 ,child with ,cherries4 ,gillaume ,adolphe ,bouguereau1 #ahbe-aije ,child with ,cherries4 ,gillaume ,adolphe ,bouguereau1 #ahbe-aije ,the most popular figure paintings of the mid-nineteenth century in ,france were those of the group of compromisers or semi-classicists4 ,their compositions were the natural successors to the classicism of the academicians ,david and ,ingres1 modified by a new vogue in ,france for romantic types and for modern history4 ,one of the important men of this group was ,bouguereau4 ,he had much skill in drawing and in composition4 ,he makes his appeal1 however1 chiefly through his choice of themes1 employing usually either sentimental religious subjects or pretty children4--,from the ,bequest of ,mrs4 ,w4 ,h4 ,dunwoody4 ,the ,bath4 ,jean ,leon ,gerome1 #ahbd-aijc ,the ,bath4 ,jean ,leon ,gerome1 #ahbd-aijc ,the bright ,turkish interior1 which ,gerome has chosen for his scene1 gives it a colorful setting4 ,the walls are covered with rich blue-green tiles4 ,the brilliant garment thrown over the seat at the right1 and the towel hanging above it give the complementary colors4 ,against this vivid ground are played the cool flesh tones of the seated woman and the sleek1 dusky skin of the negro attendant4 ,further color and exotic interest are given by the gaudy bangles and kerchief of the slave4 ,gerome is usually classed with ,bouguereau among the semi-classicists of the ,,xix century in ,france4 ,in his work1 we find the strong interest in contours1 in reposeful composition1 and in smooth finish for which the academy stood1 while his subjects take us to the romantic ,orient and spread before us the pageantry of history4--,gift of ,mrs4 ,frederick ,b4 ,wells in memory of her father1 ,frank ,h4 ,peavey4 ,the ,storming of ,tel-el-,kebir4 ,alphonse de ,neuville1 #ahcf-ahhc ,the ,storming of ,tel-el-,kebir4 ,alphonse de ,neuville1 #ahcf-ahhc ,this battle scene by the ,french military painter de ,neuville depicts the crucial moment in a hard campaign undertaken to crush a rebellion among the ,egyptians4 ,in the gray dawn of ,september #ac1 #ahhb1 a ,british force with bayonets fixed stormed the entrenched natives2 and in a few minutes hard fighting decided the supremacy of ,great ,britain in ,egypt4 ,napoleon's ,retreat from ,russia4 ,jan ,v4 ,chelminski1 #ahea- ,napoleon's ,retreat from ,russia4 ,jan ,v4 ,chelminski1 #ahea- ,the ,polish painter ,chelminski was contemporary with the military painters working in ,france1 and his work is similar1 although his training was that of ,munich1 not ,paris4 ,in ,napoleon's ,retreat from ,russia1 he suggests in the tragic sunset lighting of the sky1 the frightful demoralization and suffering of ,napoleon's army1 defeated by boundless steppes and relentless winter4--,gift of ,james ,j4 ,hill4 ,the ,roe ,covert4 ,gustave ,courbet1 #ahai-ahgg ,the ,roe ,covert4 ,gustave ,courbet1 #ahai-ahgg ,few great artists have been so little influenced by their great forerunners as ,courbet was4 ,a man of strong peasant instincts1 of incomparable forcefulness and initiative1 he looked at the works of the great romanticists of his time and laughed with a titantic contempt4 ,he looked at the works of ,raphael and ,michelangelo and laughed again4 ,their power and beauty were nothing to ,courbet because they were afraid of the unvarnished truth4 ,the ,spaniards he admired4 ,he was instinctively the 8painter of raw material40 ,moreover1 he was a truculent propagandist1 an 8individualist with strong elbows40 ,in his own time1 he was a subject of ridicule2 but we now know that he was a great painter as well as a blunt pioneer4 ,his great artistry is inescabable when we see in such a painting as ,the ,roe ,covert1 the bold naturalism of vision1 and directness of brushing combined with such a fine power of harmonizing tones1 and through all1 such a tender feeling for the subject4 ,he is as a young savage might be in his element2 he can love ,nature without first making romantic literature of her4--,gift of ,james ,j4 ,hill4 ,woodland ,scene4 ,n4 ,v4 ,diaz de la ,pena1 #ahji-ahgi ,woodland ,scene4 ,n4 ,v4 ,diaz de la ,pena1 #ahji-ahgi ,river ,scene4 ,charles ,francois ,daubigny1 #ahag-ahgh ,river ,scene4 ,charles ,francois ,daubigny1 #ahag-ahgh ,rousseau1 the founder of the ,barbizon school1 had the landscapes of such ,,xvii century ,hollanders as ,ruisdael and of the ,english ,constable as precedents4 ,diaz1 one of ,rousseau's followers1 was fond of painting landscapes dark with sullen skies or forest shade1 enlivened with bright spots where human figures are introduced or where the sun penetrates the trees4 ,daubigny1 younger and less romantic1 introduces with his freer handling1 a yet more modern spirit4 ,these two paintings are part of the memorial gift of ,mrs4 ,frederick ,b4 ,wells4 ,landscape with ,cattle4 ,constant ,troyon1 #ahaj-ahfe ,landscape with ,cattle4 ,constant ,troyon1 #ahaj-ahfe ,fording the ,river4 ,constant ,troyon1 #ahaj-ahfe ,fording the ,river4 ,constant ,troyon1 #ahaj-ahfe ,troyon1 a member of the ,barbizon group1 was fascinated by the pastoral aspect of cattle in landscapes4 ,while ,ruisdael was the principal example for ,rousseau and ,diaz1 it was to ,cuyp1 the ,dutch cattle painter1 that ,troyon went for inspiration4 ,these two paintings are part of the bequest of ,mrs4 ,w4 ,h4 ,dunwoody4 ,the ,beach at ,trouville4 ,eugene ,boudin1 #ahbd-ahih ,the ,beach at ,trouville4 ,eugene ,boudin1 #ahbd-ahih ,historically1 ,boudin is important as a link between the ,men of #ahcj and the ,impressionists--more specifically1 between ,corot and ,monet4 ,if the public and the conservatives of the ,academy ignored him1 his art was understood and admired by his greatest confreres4 8,king of the skies10 ,corot called him4 ,courbet1 after watching him paint a canvas1 exclaimed1 8,truly you are one of the seraphim1 for you alone understand the heavens60 ,monet1 in a letter to him in #ahhi1 wrote 8in recognition of the advice which has made me what ,i am40 ,the modest ,boudin in turn gives much credit to ,corot1 ,courbet and ,jongkind for his own insight into the subtle truths of atmosphere4 ,born at ,honfleur1 the son of a steamboat pilot1 ,boudin was a cabin-boy until the age of fourteen4 ,in spare moments1 he began to make sketches which revealed talent4 ,later he was able to devote more time to painting1 although even beyond the age of fifty there were periods when he was obliged to turn day-laborer to keep himself alive4 ,the greater part of his paintings represent scenes in ,norman and ,breton harbors showing quais and jetties with the bare masts of square-riggers fretted against gray skies4 ,some time after #ahfh ,isabey persuaded him to paint the fashionable watering places1 and it was several years later that our ,beach at ,trouville must have been produced4 ,yet in reality his subject was always sky and atmosphere4 ,the charm of his water1 the depth and reach of his skies1 with that marvelous subtlety of silvery grays1 and violet grays1 and leaden grays1 his habit of painting always 8en plein-air10 his way of using the brush1 these things must indeed have influenced the younger ,monet1 and ,monet's canvases dated around #ahgj show a clear parallelism4 ,geranium4 ,albert ,andre1 #ahfi- ,geranium4 ,albert ,andre1 #ahfi- ,albert ,andre is known especially for his charming flower pieces4 ,these show the artist as a master of technique1 gifted with a peculiar sensitiveness to value relations and an unusual color sense4 ,he is particularly happy in securing an agreeable texture4 ,he is a realist in intention1 but combines truth of representation with beauty of design4 ,in the ,geranium1 the emphasis is rather more upon decoration of the rectangular surface of the canvas than upon the representation of tri-dimensional form4 ,the clear note of the salmon pink blossoms against the accompaniment of the carefully distinguished grays and the ,venetian red in leaves1 wall1 and draperies is finely felt4 ,andre holds a distinguished position among painters of the contemporary ,french school4 ,the ,conversion4 ,gabriel ,max1 #ahdj- ,the ,conversion4 ,gabriel ,max1 #ahdj- ,the ,conversion is an excellent example of the work of ,gabriel ,max1 one of the well-known painters of ,germany in the ,,xix century4 ,it represents a scene apparently laid in the catacombs of ,rome early in the ,christian era4 ,a woman seated on some stone steps is trying to persuade three men standing opposite her to embrace the new religion to which she has already become a convert4 ,it is a good piece of psychological illustration4 ,the woman's figure is painted much in the style of ,bouguereau1 but there is a deeper sincerity in her face1 her mouth betraying the neurotic sensitiveness not uncommon among religious mystics4 ,the group of three men is well painted and fine in color4 ,the two nearer men seem to have been completely won over by the gentle teachings1 while the young man at the right1 though much moved1 still resists conversion4 ,the strong interest in the literary or illustrative aspect of the subject is characteristic of this period of painting in ,germany4--,given in memory of ,mrs4 ,thomas ,lowry by ,mrs4 ,gustav ,schwyzer1 ,mrs4 ,percy ,hagerman and ,horace ,lowry4 ,the ,scouts4 ,adolph ,schreyer1 #ahbh-ahii ,the ,scouts4 ,adolph ,schreyer1 #ahbh-ahii ,the exotic quality of this painting of ,arab horsemen appeals quickly to one's love of travel and romance--the great extent of the untamed surroundings1 the quivering refinement of the horses1 the bizarre barbarity of the costumes and accoutrements1 the fascination of these fierce handsome ,arab faces1 the rich color of the whole6 ,schreyer was the ,german reflection of the ,french ,orientalist-romanticists1 ,delacroix and ,decamps1 although his less fiery spirit is perhaps closer to his refined contemporary ,fromentin4--,given in memory of ,mrs4 ,thomas ,lowry4 ,mountain ,village4 ,paul ,crodel1 #ahfb- ,mountain ,village4 ,paul ,crodel1 #ahfb- ,this little village is painted with a love of sunlight and color1 breathes a mountain quality in the sharp1 clear atmosphere4 ,cattle in ,sunshine4 ,heinrich von ,zugel1 #ahej- ,cattle in ,sunshine4 ,heinrich von ,zugel1 #ahej- ,zugel shows a brilliance in his work which suggests paintings by the ,american ,sargent4 ,one might hunt long for a truer animal study1 or for a more beautiful rendering of sunlight and beguiling purple shadow4 ,summer ,evening at the ,river4 ,gustav ,adolf ,fjaestad1 #ahgj- ,summer ,evening at the ,river4 ,gustav ,adolf ,fjaestad1 #ahgj- ,dalecarlian ,peasant4 ,helmer ,mas-,olle1 #ahhd- ,dalecarlian ,peasant4 ,helmer ,mas-,olle1 #ahhd- ,these two paintings are the foundation of a collection belonging to the ,scandinavian ,art ,society1 and deposited in the ,institute4 ,the figure of the old peasant is instinct with character4 ,the complex planes of the weather-beaten face and gnarled hands are established with the minimum of means4 ,the painting by ,fjaestad owes its fascination mainly to the almost ,chinese sense of style and pattern4 ,the movement of the water's swirling lines is interesting1 well schemed1 and perfectly balanced4 ,mother and ,children4 ,josef ,israels1 #ahbd-aiaa ,mother and ,children4 ,josef ,israels1 #ahbd-aiaa ,the art of ,israels1 with its straightforward and sympathetic portrayal of the emotions of the common folk1 makes a direct and wholesome appeal to all4 ,its democratic1 ethical purport would have satisfied the demands of ,tolstoy4 ,without theatricality1 or morbid invention of horrible and ironic situations1 he interprets the lives of poor people4 ,the types he chooses are strong and simple4 ,sometimes he tenderly portrays young men and girls in the fields1 or happy peasant mothers with their children1 as in our painting2 and when poverty or tragedy are the theme1 as they in much of his later work1 he sees no demoralization nor degradation--only fortitude and sadness4 ,the spirit of man triumphs4--,gift of ,mrs4 ,frederick ,b4 ,wells4 ,on the ,beach4 ,joaquin ,sorolla y ,bastida1 #ahfc- ,on the ,beach4 ,joaquin ,sorolla y ,bastida1 #ahfc- ,sorolla1 born at ,valencia in the warm sunshine of southern ,spain1 is one of the most joyous and spontaneous artists who ever slapped paint onto canvas4 ,the first exhibition of his work in this country was held at the ,hispanic ,museum in ,new ,york in #aiji2 and there has probably never been in ,america an exhibition of paintings crowded with such enthusiastic thousands of people4 ,as one came into the exhibition gallery1 one was fairly dazzled by the high key and the headlong virtuosity of the paintings which lined the walls2 one felt a sense of heightened vitality4 ,we are told that ,sorolla studied in the ,academies of ,valencia and ,rome1 and finally that he was influenced by ,bastien ,lepage1 ,menzel1 and by the old ,spanish and ,italian masters whom he copied4 ,it is hard to think of him in connection with any such schools or painters4 ,his bold brushwork1 his unaffected and individual handling of bright sunlight1 his high animal spirits1 are like no other painter we know1 unless it be the ,scandinavian ,zorn4 ,the subjects chosen by ,sorolla are varied4 ,he paints fashionable portraits1 and occasionally landscape4 ,mostly he paints scenes on the sunny ,mediterranean shores of ,spain4 ,into these he introduces figures1 sometimes subordinated to the sea1 more often as the principal interest of the picture4 ,sometimes he shows fishermen working at their boats1 as in the stunning canvas in the ,metropolitan ,museum4 ,when he does1 they are no bent-backed toilers1 but joyous1 active1 triumphant creatures4 ,more often ,sorolla loves to paint people playing on the beach1 their light clothes spotted cleverly against the bright sand or waves2 or best of all1 children6 ,healthy and full of vivid glee1 they race along the beach1 lie on the sand in the wash of reaching breakers1 or swim frog-like in the green transparency of sheltered water4 ,landscape4 ,alexander ,nasmyth1 #ageh-ahdj ,landscape4 ,alexander ,nasmyth1 #ageh-ahdj ,this landscape by the ,scotch painter1 ,alexander ,nasmyth1 is so unobtrusive as to be easily overlooked by the visitor4 ,for those who feel the spirit of the little picture1 however1 it has an abiding charm4 ,the artist was a man of extraordinary versatility and enterprise1 an able scene painter and architect1 and an inventor and engineer of eminence4 ,in our painting one sees little of the boldness expected from a mind given credit for originating principles of steamboat propulsion and bridge construction4 ,the touch is formal1 almost shy1 in its reserve2 the drawing is precise1 and the lighting and color conventional4 ,much of the charm of the work is probably due to this reticence4 ,the scene presents a restful tranquility1 and a quaint homeliness4 ,the interest plays back and forth between the romantic old ruin and the contrasting rural and domestic life which has put past splendors to such strange modern uses4 ,the theme is reminiscent of ,piranesi's etchings of classical ruins4 ,out of death springs life2 from the decayed tree come strange fungus growths4 ,after hundreds of years1 the castle wall of a feudal lord gives support to a peasant cottage2 his hall serves to shelter cattle4 ,alexander ,nasmyth was a pupil of the portraitist1 ,allan ,ramsay 7#agac-aghd74 ,ramsay discovered him in ,edinburgh painting armorial bearings on carriage doors1 and took him to ,london4 ,upon his return to ,edinburgh1 he painted portraits1 including a famous portrait of ,robert ,burns2 but turned his attention1 after #agic1 exclusively to landscapes4 ,psyche's ,wedding4 ,sir ,edward ,burne-,jones1 #ahcc-ahih ,psyche's ,wedding4 ,sir ,edward ,burne-,jones1 #ahcc-ahih ,the story of ,psyche's ,wedding is a myth of ,greek origin1 and runs as follows3 ,a certain king in the west country had three beautiful daughters4 ,the youngest was by far the most beautiful2 so beautiful1 indeed1 that she received homage from men which was due to ,venus alone4 ,the anger of the goddess was aroused against her1 and the maiden herself became unhappy because1 due to her awesome beauty1 no one sought her in marriage4 ,the ,king1 her father1 inquired of the ,oracle of ,apollo what should be done4 ,the story is told in ,walter ,pater's ,marius the ,epicurean1 from which the following extract is taken3 8,and ,apollo answered him thus3 #8,let the damsel be placed on the top of a certain mountain1 adorned as for the bed of marriage and of death4 ,look not for a son-in-law of mortal birth but for that evil serpent-thing by reason of whom even the gods tremble and the shades of ,styx are afraid4' ,so the king returned home and made known the oracle to his wife4 ,for many days she lamented1 but at last the fulfillment of the divine precept is urgent upon her1 and the company make ready to conduct the maiden to her deadly bridal4 ,and now the nuptial torch gathers dark smoke and ashes1 the pleasant sound of the pipe is changed into a cry1 the marriage hymn concludes in a sorrowful wailing1 below her yellow wedding veil1 the bride shook away her tears2 insomuch that the whole city was afflicted together at the ill-luck of the stricken household4444 she was silent1 and with firm step went on her way1 and they proceeded to the appointed place on a steep mountain and left there the maiden alone and took their way homeward dejectedly40 ,it was ,cupid1 however1 not a monster1 who welcomed the sorrowful maiden1 and after many adventures1 ,psyche found happiness4 ,silver and ,green4 ,hilda ,fearon1 ,english1 8-#aiag ,silver and ,green4 ,hilda ,fearon1 ,english1 8-#aiag ,in this cheerful painting1 representing two little girls seated at a breakfast table flooded with the bright1 clear light of a summer morning1 the real theme which has engaged the artist is nothing more nor less than light itself4 ,the tablecloth and window curtains half in sunlight1 half in luminous shadow1 and the shining glassware and silver urn are ably painted4 ,the green of the garden and the yellow-green of sundrenched lawn are seen through the window echoed in the interior by daffodills1 lemons and lime juice bottle1 while happy touches of blue appear in the china and one of the frocks4 ,silver and ,green was painted #aiac1 and was awarded ,honorable ,mention at the ,international ,exhibition in ,pittsburg in #aiad4 ,,modern ,,drawings ,studies of ,draped ,figures1 ,pencil ,drawing4 ,sir ,edward ,burne-,jones1 ,english1 #ahcc-ahih ,studies of ,draped ,figures1 ,pencil ,drawing4 ,sir ,edward ,burne-,jones1 ,english1 #ahcc-ahih ,our ,burne-,jones sketch book belonged formerly to the artist's son1 ,sir ,philip ,burne-,jones4 ,in a letter ,sir ,philip writes3 8,this book of studies and designs by my father is an important example of his work and methods4 ,before starting upon the actual painting of a large composition1 it was my father's custom to make innumerable careful studies of limbs1 draperies1 etc41 in chalk and pencil1 and from these he worked upon the picture4 ,the book which is now in your possession exemplifies this system40 ,the sketch book contains #aac original drawings4 ,some of these are on both sides of a leaf1 and frequently two or more drawings on a page4 ,for the greater part1 they are executed in lead pencil1 although several of the most interesting are in colored chalk4 ,sir ,edward ,burne-,jones was a member of the ,pre-,raphaelite ,brotherhood1 which sought to displace the conventionality of ,english art of the period by detailed naturalism and the mystical sincerity of the ,italian primitives4 ,fire in ,ingram ,street1 ,pencil ,drawing4 ,muirhead ,bone1 ,scotch1 #ahgf- ,fire in ,ingram ,street1 ,pencil ,drawing4 ,muirhead ,bone1 ,scotch1 #ahgf- ,what can be done with lead pencil by a man who has sureness of hand and the power of rapid decision is shown in this fine characterization1 in light and shade1 of the ruins of a row of buildings that remain in desolation after fire has spent its fury4 ,portrait1 ,drawing in ,chalk and ,wash4 ,william ,strang1 ,scotch1 #ahei- ,portrait1 ,drawing in ,chalk and ,wash4 ,william ,strang1 ,scotch1 #ahei- ,mucherach ,castle1 ,drawing in ,pen and ,wash4 ,david ,young ,cameron1 ,scotch1 #ahfe- ,mucherach ,castle1 ,drawing in ,pen and ,wash4 ,david ,young ,cameron1 ,scotch1 #ahfe- ,cameron's fine emotional quality would be inexpressible without his sure draughtsmanship and power to compose4 ,wedmore writes of ,cameron3 8,he is certainly1 of living ,british etchers1 the one whose work excites among the generally cultivated public the keenest curiosity and evokes the highest admiration40 ,tuscan ,landscape1 ,drawing in ,pen and ,wash4 ,muirhead ,bone1 ,scotch1 #ahgf- ,tuscan ,landscape1 ,drawing in ,pen and ,wash4 ,muirhead ,bone1 ,scotch1 #ahgf- ,study for an ,illustration1 ,drawing in ,lithographic ,crayon4 ,theophile ,alexandre ,steinlen1 ,french1 #ahei- ,study for an ,illustration1 ,drawing in ,lithographic ,crayon4 ,theophile ,alexandre ,steinlen1 ,french1 #ahei- ,an ,old ,rabbi1 ,pencil ,drawing4 ,william ,rothenstein1 ,english1 #ahgb- ,an ,old ,rabbi1 ,pencil ,drawing4 ,william ,rothenstein1 ,english1 #ahgb- ,,modern ,,sculpture ,playfulness4 ,paul ,manship1 #ahhe- ,playfulness4 ,paul ,manship1 #ahhe- ,gifted1 as he is1 with an exceptional sense of style1 the young ,american sculptor1 ,paul ,manship1 has well deserved the prizes and praises which have been awarded him4 ,he has a genius for the construction of forms which are highly generalized without thereby losing compactness and vivacity4 ,his power in creating designs that are alive is hardly more original and personal than his use of antique and exotic formulae in rendering details such as hair1 eyes and draperies4 ,for1 though these conventions are borrowed from archaic ,greek1 ,assyrian1 and ,japanese sculpture1 they are in ,manship's art perfectly assimilated and put to novel uses full of fresh spirit and often touched with an elfish humor4 ,plaque1 ,la ,guerre4 ,hubert ,ponscarme1 #ahbg-aijc ,plaque1 ,la ,guerre4 ,hubert ,ponscarme1 #ahbg-aijc ,medal1 ,l',art ,decorative1 by ,ovide ,yencesse1 #ahfi- ,medal1 ,l',art ,decorative1 by ,ovide ,yencesse1 #ahfi- ,,the ,,bradstreet ,,room ,a ,corner of the ,room ,a ,corner of the ,room ,in accordance with wishes expressed by the late ,john ,scott ,bradstreet1 who was deeply interested in the work of the ,society of ,fine ,arts1 his sisters1 ,mrs4 ,elizabeth ,b4 ,carleton and ,mrs4 ,margaret ,kimball1 at the opening of the new building1 presented to the ,society a collection of ,japanese objects collected by ,mr4 ,bradstreet1 and arranged for the installation of them in the gallery now known as the ,john ,scott ,bradstreet ,memorial ,room4 ,the room is much appreciated by visitors to the ,institute4 ,restful and marked by delightful harmony of color and form1 it is a room such as all the friends of ,mr4 ,bradstreet feel sure he would have approved1 if he had been spared to witness the success of the movement for which he cared so much4 ,the visitor1 entering the gallery1 will probably notice first of all the large bronze bowl with a dragon coiling about the base1 exhibited in the center of the room4 ,on the right-hand wall1 the central space is occupied by a large cupboard of sugi wood 7,japanese cedar74 ,the sliding doors are decorated with a continuous design of blossoming plum branches4 ,above the cabinet1 on four panels1 is painted a splendid design of lotus flowers and leaves in green1 black1 white1 and gold on the natural surface of the wood4 ,a stone garden ornament representing a cock perched on a drum stands to the right of the cupboard4 ,to the left is a screen of carved wood1 topped by the upward curving horizontal1 symbol of ,shintoism1 and decorated by delightfully fantastic carvings showing kylins among cloud scrolls4 ,against the wall opposite the door stands an elaborate temple table covered with gold lacquer and decorations in color1 including a band1 beneath the top1 of pleasing little panels in pierced carving based on bird and flower motives4 ,on the left-hand side of the room are two cabinets made of richly grained sugi1 the sliding doors decorated with painted lotus and crysanthemum designs4 ,on the cabinets stand a musical instrument1 a carved wood ,buddha of benignly spiritual expression1 and other objects4 ,on the wall are two carved wood panels and a few woodblock prints of the early ,,xix century4 ,a case contains some rich examples of brocade1 including two priest's robes4 ,near the door hangs a bronze portrait relief of ,mr4 ,bradstreet1 which was executed by ,paul ,fjelde1 the son of ,jacob ,fjelde1 known to the people of ,minneapolis through his statues of ,ole ,bull and ,hiawatha4 ,it is the gift of about one hundred of ,mr4 ,bradstreet's friends4 ,the portrait is modeled in low relief1 and the decorative element of the ,japanese tree introduced on one side suggests ,mr4 ,bradstreet's fondness for ,oriental ,art4 ,the relief has received high commendation both as a likeness and as a work of art4 ,color ,print4 ,yeizan1 flourished #ahjj-ahcj ,color ,print4 ,yeizan1 flourished #ahjj-ahcj ,carved ,panel4 ,,xviii ,century ,carved ,panel4 ,,xviii ,century