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70-83 BufTaloSt.
G. HENNEGKE CO.,
207 Wabash Avenue.
ADDRESS ALL CORRESPONDENCE AND MAIL ORDERS TO MILWAUKEE OFFICE.
o o o o o o
o o o o o o
t^-^
A Complete Index to Catalogue No. 5 of Florentine Statuary and all Supplements to same up to Date.
Florentine Statuary is a composition, in color and consistency, closely resembling the celebrated Florentine Terra Gotta, hence its name. VVhen it comes from the drj' kiln it is of a pale reddish color, ready to be Allied or decorated. We give below the finishes most desirable.
No. 1. Florentine — A Hat grey stone color.
No. 2. Metal Bronze — Dark antique.
No. 3. Gold Brilliant— Bronze.
No. 4. Terra Cotta.
No. 5. Pure White.
No. 6. Marble White.
No. 7. Silver — Antique.
Although some of the above enumerated finishes are more expensive than others, we charge the same price for all. If not distinctly stated with order what finish is wanted, we will always finish in No. 1 Florentine. No. 2 to 7 finishes we make to order only.
Statuary in No. 5 Catalogue and list A, is intended for decorative purposes. For Statuary, Busts, etc., for artists, designers, etc., see list D, and '"Art Studies," fourth edition.
No. 5 Catalogue and List A also contain many desirable modern and mediaivel statues and busts suitable for art studies, and are therefore listed in Catalogue No. 4 and list D. To avoid mistakes those statues and busts that appear in both catalogues have different numbers, so we can understand for what purpose they are intended.
In ordering mention List A, and give name and number. All numbers marked with a star are also made in Ivorite, see List C, where they are again enumerated with prices.
No. .5 Catalogue, containing 100 quarto pages, illustrating and describing 775 pieces of Statuary, Busts, Plaques, etc., will be mailed upon receipt of 75 cents, post paid; but this amount will be allowed on the first order of goods, making the book really free to customers.
No.
Name.
Ileiirht, in.
.•wl-A — Adoring Angel, liiinds joined 11
.551-B— " " " " 21
re I Q CI t( a (( OA
5.50-A— " " hands folded.'.".'.'.".'.'.'.'.'.'.'.'.'. 11
r»0-B— " " " " 21
,5.50-C— " " " " HO
.565 — yEsculapius 86
*814— Africa 15^
74.5— Air, witli Vase 42
747 — " for Lamp, Gas or Electric Lights,
companion piece to Water 42
767 — Alpine Hunter 20
*i)ll — America 15^
7.50-A — Amor and Psyche 13
750-B— " '• 28
*7.56-A— " " 13
*7.56-B— " " 16
y5^>_(J II ti 20
808— Amor and Swan lOJ
i»19— Angelo, Michael 14J
632-A— AntinouB 25
632-B— " 72
638— Antique Vase 18
*878— Apollo 16
872— " 23
829-A— Apollo, Belvedere 37
829-B— " " i)0
*798 — Ariadne Deserted 17
*9.50-A — Ariadne and Panther 15
*ft50-B— " " 21
806— Art 28
*877— " 16
658— Arrotino 17
*8i;^— Asia i5\
931— Atlas with Globe 49
858— Audrey 18J
*7.3f)— Aurora to suspend 16}
*960— " 1.5}
733— Autumn 18
718— " 37
*940— " 10
775— " 10
*574— " 4
Price. No. Name. Heipht, in. Prfcp.
n 50 97.3— Babes in the Woods 24
6 00 *907— Bacchus and Ariadne 19
10 00 822— Bacchus m
150 701 — Bas relief Horses by M. Angelo 4
6 00 9.58— Beethoven 20
10 00 600— Belt Bucklers 24
12 00 600— Pedestiil 13}
2 00 711— Berlin Bell Cow 10}
16 00 607— Blessed Virgin 15
*.543- A— Blessed Virgin 13
10 00 .543-B— " " 33
6 00 761— Bovs' Pots 10
2 00 613— Boxer 33
3 00 522— " 48
10 00 791— Bull 20J
6 00 717— Bv Jingo 17
8 00 846— Bvron and Maid of Athens 14
12 00 706— Can't You Talk? 12
6 00 855— Capital .Joke 9}
3 .50 *836— Cellini Vase 18
6 00 826— Ceres 44
75 00 5.5:^— Child Jesus 41
1 50 94.5— (Christ and St. John 10
3 00 754— Cinderella 28
7 50 871 — Circassian Slave 14
18 00 604— Comedy 1(>
85 00 *757— Conflict of Authority 2*.)
8 50 *8.56— Conquering Jealousy 13
7 00 *74;^— Con.solation .". 24
12 00 .561— Cow and Calf. 11
7 50 854— Critical Moment 14i
3 00 789— Croquet Player 18
7 00 874— Cupid ' 16
2 00 784— Cupid Betrayed 17
12 00 779— Cupid Captive. 16}
3 50 922-A— Cupid and Psyche 18
4 50 922-B— " '"' 28
2 50 914— Cupid's Jewelry Box 4}
3 00 *976— Cupid's Repose 6
12 00 895— Cupids Supporting Vase 10
1 20 778— Cupid Triumphant 17i
1 25 583— The Cvklop Polyphemus, throwing Stone
40 at Odysseus 17 3 00
12 (K> |
6 (K) |
30 (K) |
25 |
4 ,50 |
15 00 |
5 00 |
3 .50 |
1 75 |
1 50 |
9 00 |
1 00 |
12 00 |
18 00 |
7 50 |
3 .50 |
4 50 |
6 00 |
4 .50 |
4 (K) |
15 m |
14 00 |
2 .50 |
15 (m |
1 75 |
3 00 |
14 00 |
3 00 |
8 (HI |
5 .50 |
7 .50 |
4 .50 |
3 00 |
6 00 |
6 00 |
5 00 |
10 00 |
, ft5 |
3 00 |
2 50 |
6 00 |
LIST A— Continued.
No. Name. Height, in. Price.
690— Dawn, bv M. Angelo 22 15 00
688— Day, '' " 22 15 00
612— Decorating Grandma 9 2 00
566— Demosthenes 36 12 00
*879— Diana 16 3 00
828-A— Diana 34 18 00
828-B— " 84 85 00
842-A— " de Gabii 28 7 50
842-B— " " 72 60 00
630-A— Discobolus, Myron 17 6 00
630-B— " " 72 85 00
631-A— " Naucydes 25 5 00
631-B— " " 72 65 00
975-A— Diver 15 1 50
975-B— " 24 4 00
975-C— " 27 6 00
623— Doctor 15 3 50
*844— Dolly Varden 10 2 50
714— Dove 7 80
698-A— Dying Gaul 9 4 00
698-B— ■" " 14 7 00
698-C— " " 84 100 00
971— Eagle 16 6 00
716— Emily and Doe 24 10 00
942— End of Argmnent Ill 4 50
*910— Europe 15^ 2 00
980— Euterpe 45 20 00
*833— Evangeline 21 3 50
780-A— Eve 14i 1 50
780-B— " 19 3 00
691— Evening (Twilight) by M. Angelo 22 15 00
988— Evening Devotion 21 7 50
618— Expectation 26 4 .50
894— Fairy Flower Holder 13 2 .50
982— FairV Tales 20 8 00
*SM)— Falconer 21 10 00
*963— Family Cares (Bov) 12 150
*964— " " (Girl) 12 1 50
758— Fast Asleep 11 1 80
82;^— Faun 60 30 00
629— " 29 8 00
624— " 24 7 00
*920— Faust and Marguerite 25 12 00
*8:37— " ^' 20 6 00
619-A— Fighting Gladiator 26 9 00
619-B— " " 41 15 00
619-0- " " 72 75 00
926— Finding of Moses 15| . 3 .50
886— First Lesson 12 2 50
*928— First Love 13i 5 00
665— Flamingo Bovs, Relief, Luca Delia Robbia, 39 6 00
888— Flight into t^vpt 11 2 50
881— Flora ..". 18 3 50
722— " 42 15 00
930— Flying Mercury 35 8 00
82.5— " " ■ 72 45 00
*794— Forced Prayer U 100
838— Fortuna 23 12 00
*898— Fount of Mercy 18 5 00
*965— Friends 20 5 00
766— Gamekeeper 20 6 00
923— Girl Bathing 20 3 50
760— Girls' Pets 10 1 00
819— Goethe 19 3 50
921— Goethe and Schiller 23 9 00
967— Good Morning 23 5 00
968— Good Night 23 5 00
752— Grandfather 14 3 00
790-A— Greek Slave 14i 1 50
*790-B— " " 19 3 00
953-C— " " 40 15 00
542-A— Guardian Angel 14 2 00
542-B— " '^ 24 6 00
542-C— " " 33 ■ 14 00
979— " " 16} 4 50
845— Happy Family 12} 3 50
899— Haymaking 19} 7 00
721— Hebe 42 15 00
824-A— Hebe, Thorwaldsen 25 5 00
824-B— " " 60 30 00
824-D— " " 50 25 00
804-A— " Canova 36 12 00
804-B— " " 62 35 00
815— He Loves Me 20 9 00
*993— Herald 21 10 00
622— Hercules 29 8 00
564— Herman and Dorothea 29} 14 00
628-A— Hermes 30 10 00
628-B— " 92 100 00
No. Name. Height. In.
556— Holy Family 18
*891— " " 12
*549— Holy Water Font 10
*83o— Home, Sweet Home 28
*989— Hope and Fear 30
541— Hope 13
560— Horse and Colt 13
536— Horse 22
974— Hunted Down 20
81(5—1 Love You ; 20
850 — Imi)osing on Good Nature 5}
893— Indian Warrior 15}
972 — Innocence and Love 24
*847— Innocence Protected 21
859— Is That You, Tommy? lOf
95.5 — Italian Reapers 10}
79V)— It Cannot be Mended 20
927— Italian Flower Girl 12
6.5(>-A — Jason 27
656-B— " 72
582— Juliano de Medici 36
852-A— Kiss 11
852-B— " 20
658— Knife Grinder 17
562— Laocoon 36
563— Lion Hunter's Return 29}
978-A — Lion of Luzerne 4}
978-B— " " 11
831— Lion 15
925— Lion Slaver 16}
*5]4— Little Sweetheart 13
*781— Lohengrin 3!^
.581 — Lorenzo de Medici .36
*7SI5— Lost Breakfast 11
*966— Lost Found, The 20
*!»95— Love's Device 21^
983 — Love's Message 25
853 — Love's Mirror 14
830-A— Luther, Dr. M 16*
830-B— " " 23'
!>96- A— Luther Medallion 12i
«H)-B— " " 19"
832— Maidenhood 22
*987— Mamma 10}
*834— Marguerite 21
707— Mars 18
785 — Marv and Lamb 11}
9a5— Match Making 8
.518— Maternal Love 23
9.52 — Meeting of Jacob and Joseph 16
951 — Mentor, Telemachus and Calypso 16
800— Mercury 15}
715— " ■ 22
916— Milton 14
577— Mine 20
727— Minerva 18}
840-A— " 42
840-B— " 90
*568 — Morniug 12
*572— " 23
620— Moses 36
»889-A— Mother of Grace 13
889-B— " " 24
889-C— " " 36
957— Mozart 20
885— Music 12
702— " Relief by Luca della Robia 6}
669 — Napoleon 15
944— Napoleon 1 12
575 — Narcissus 26
704- A— Nest of Cherubs 13
704-B— " " 20
*513— Never Mind 13
*569— Night lOi
*571— " 23
689— " by M. Angelo 22
905-A — Niobe and Daughter 21
9a5-B— " " 26
oA5_(j " " 92
730— Olympic Plays, Relief..V.'.V.'.'.".V.V.V.V.V.'.'.V.V.'." 11
731— ' 11
777— On the Alert 9}
909— Ophelia 22
567 — Othella and Desdemona 16
*544-A — Our Ladv of Lourdes 13
544-B— " ■ " 16
544-C— " " 21
544-D— " " 29
875— Pandora 16
Price.
6 00 2 50 2 50
13 00
14 00
2 50
7 50
6 00 28 (X)
9 00
1 20
7 .-)() 12 00
9 00
4 (X)
3 00 3 50
2 .50 10 00
KXI 00
25 00
1 25
3 50
7 00 40 00 14 00
1 00
5 00
4 50 9 00
3 00 12 00 25 00
1 00
5 00 800
8 00
4 00 4 00 8 00 1 00
.50 50 00 50 .50 80 90 9 00 600
7 00
2 00 6 00
3 50
8 00 2 50
15 00
80 00
1 50
6 00
,30 00
1 .50
5 00 12 00
4 50
2 50 50
3 00 1 50
6 00 300
7 00
4 50 1 50
6 00 15 00
7 50 10 00
100 00 00 00 50 00 50 30 00 50 600 3 00
LIST A— C> -itinued.
No. Name. Height, in.
*986— Papa lOJ
S43— Paul and Virginia ]3J
5!H»— " ^ H"
9;i5— Peace 12J
936— Picnic Time (Girl) loJ
937— " " (Bov) 15|
557— Pieta 20
969— Plaving Grandma 11
977-A — Playing Horses 11
977-B— ■" " 15
531 — Polybyinuia 45
946— Pomona 27
•5.52 — Praying Samuel 15
*890— Prince Arthur and Hubert 18
873— Prosperine 23
*742— Protection 24
*72()-A— Psyche 24
720-B— ■" 46
538— Queen of Heayen 29
539-A— Queen of Heayen 34
5.S9-B— " " 48
892-A— " " 16
892-B— •' " 21
7a3— Ramblers (Girl) 9*
782— " (Boy) 9J
*713— Reading 14
*76»— Rebecca 18J
786— Red Riding Hood ]l|
896 — Renaissance Vase 12
897— " " 12
849— Retribution 6
984 — Reyeries of a Bachelor 8
788— Rinker 18
*729— Rock of Ages 17J
924— Romeo and Juliet 24
9.33— " " 13
mo— " " 16
918— Rubens 14i
*77t>— Ruth 18j
*.546-A — Sacred Heart of Jesus 12i
546-B— " " " 21
*.547-A— " " Mary 12i
.547-B— " " " 21"
.54.5— " " Jesus .36
548— " " Mary 36
*540-A— St. Joseph 13
54(>-B— " 34
540-C— " 48
558-A— " 34
55&-B— " 48
887-A— " 16
887-B— " 21
*821— St. Joseph and Child 22
970 — Satyr and Nyni])h 21
820— Schiller .- ! 19
*876— Science 16
g0.5_ " 28
*961— .Seaside ....'. 15
917 — Shakespeare 14
*oS5 — Siegfried and Chriemhilde 23
655 — Silenus and Infant Bacchus 22
734 — Singing Bovs, Relief. 20
768— Sketch from Nature 12
627— Slaye 46
943— Soldier of 1876 14
884— " 1776 14
576- A— Sophocles 36
576-B— " 84
929— Spanish Fruit Girl 12
868— Spoils of War 8
*573 — Spring 4
*93a- " ]0
776- " 10
Price.
1 00 |
3 50 |
2 00 |
1 75 |
2 5t) |
2 50 |
10 00 |
3 00 |
4 50 |
6 00 |
20 00 |
6 m |
3 00 |
7 00 |
7 50 |
8 00 |
4 00 |
15 (X) |
7 00 |
12 00 |
25 00 |
3 00 |
6 00 |
1 80 |
1 80 |
3 00 |
3 .W |
1 80 |
1 50 |
1 50 |
1 20 |
75 |
4 .50 |
3 50 |
10 00 |
2 00 |
3 00 |
3 -50 |
3 50 |
1 20 |
4 00 |
1 20 |
4 00 |
10 00 |
10 00 |
1 50 |
12 00 |
25 00 |
10 00 |
25 00 |
3 00 |
6 00 |
6 00 |
9 00 |
3 50 |
3 00 |
7 50 |
5 00 |
3 50 |
9 00 |
7 00 |
5 00 |
6 00 |
15 00 |
3 00 |
3 00 |
12 00 |
00 00 |
2 50 |
3 50 |
40 |
1 20 |
1 25 |
o. Name. Height,
7.32— Spring 18
•5.55 — Standing Angel 28
5.54— " " 28
*773 — Storm 18
719 — Summer 37
*939— " 10
*774— Sunshine 18
.559 — Symphony Relief. 17
*811— Taking the Cream I9j
772— Tancred's Farewell 26
*762— Tannhaeuser ail
*755-A— Terpsichore 17
755-B— " 39
*724-A— " 17
724-B— " 39
880— " 18
867— Terriers 7
523— Three Arts 19
*771-A— Three Graces 12
*771-B— " " 21
771-C— " " 29
867 — Touchstone 18J
603— Tragedy 16'
763— True Friends 14
764— " " 14
869— Tug of War 7
*959— Twilight 1.5A
992— Two Wellers ll|
787 — Una and Lion 15
994— Uncle Tobv and the Widow llj
870— Venus 14
807— Venus and Adonis 29
740-A — Venus Canoya 23
740-B— " " ,34
725 — Venus Coming from Bath 35
737-A — Venus Crouching 17
737-B— " " 48
841— Venus Genitrix 28
827— Venus Going to Bath 32
954-A — Venus de Medici 30
954-B— " " 36
954-C— " " 62
723-A— " deMilo 19
723-B— " " 23
723-C— " " 34
723-D— " " 42
723-E— " " 84
*991— " in Shell 18
736-A— " Thorwaldsen 38
736-B— " " 62
802 — Victory, to suspend 37
9.32- " ■ 46
fi02— " Rauch, Standing 38
601— " " Sitting 44
532— Vincent Relief 11
934— War 12*
883— Washington 14
748— Water, for Lamp, Gas or Electric Liglit,
companion piece to Air 42
746— Water, with Vase 42
839— Welcome .5<)
*617-A— " 17J
♦617-B— " 32'
533— Wesley Relief. 12
759— Wide Awake 11
*941— Winter 10
710— Wisdom 17
962— Wolf and Lamb 14
741— Wrestlers 16
*712— Writing 14
906— You Dirty Boy 12
8.51— You Naughty Boy 14
Price.
3 00 |
7 00 |
7 00 |
3 .50 |
12 00 |
1 20 |
3 50 |
3 00 |
7 00 |
16 00 |
12 00 |
3 50 |
15 00 |
3 00 |
15 00 |
3 50 |
4 00 |
6 00 |
3 00 |
7 00 |
12 00 |
3 50 |
3 00 |
4 00 |
4 00 |
3 50 |
2 .50 |
4 50 |
6 00 |
3 00 |
1 75 |
12 00 |
4 00 |
10 00 |
12 00 |
5 00 |
50 00 |
7 50 |
12 00 |
12 00 |
15 00 |
35 00 |
3 50 |
4 50 |
10 00 |
12 00 |
50 00 |
600 |
15 00 |
,35 00 |
15 00 |
20 00 |
18 00 |
20 00 |
200 |
1 75 |
3 00 |
16 00 |
16 00 |
30 00 |
3 00 |
10 00 |
2 00 |
1 80 |
1 20 |
450 |
3 50 |
10 00 |
3 00 |
3 00 |
3 00 |
All Busts marked with a star are also made in Ivorite, and are again enumerated with prices in List C.
Name. ■ Helfrht, in. Price.
Aeschylos 27 $ 8 00
JSsculapius 1] 1 25
" , 23 ,5 00
Agassiz 30 15 00
Agrippa , 28 8 00
Name. Height, in. Price.
*Ajax 12 1 50
" 26 7 50
" 36 15 00
*Amor 17 3 50
Angelo, Michael , „ 'iS 8 00
LIST A— Continued.
' Name. Height, in.
Antinous 27
Antony, Mark 28
♦Apollo 12
'' 14
* " 23
ii ,32
*Ariadne 10
'" 12
Aristotle 26
Arrotino 30
Auber 28
Augustus, (Youth) 23
Augustus Csesar in Armor 32
*BaccliuB 10
12
30
*Bach 17
" 27
Bacon 30
Beatrice 12
Beecher 30
*Beethoven 11 J
" 21
Benevieni Head 18
Bismarck 22
Boy Laughing 12
Boy — by Donatello 19
Brontafone 17
Brutus 22
*BurnB 13i
" 16"
* " 18
" 30
*Byron 13
" 23
Csesar, Julius 27
Canova 30
Calhoun 30
*Chopin 16J
Christ 24
Cicero 22
" 27
Clay, Henry 13
" 29
*ciytie !!!!!!!!!"!!!!!!!!;!!'.'.'.3.V.'."33^".'.V^! 14
* ^' 16^
* " 23
" 28
*Coquetry 19J
*Cupid, on pedestal 13
* ^' 17
Dante 12
* " 16J
" 26
Darwin 26
David 53
Demosthenes 15
22
27
*Diana, of Versailles 12
" " 32
ofGabii ^/^.//..."!!"^™![!!!"".".""!!!!!!! 30
*Dickens .• 12
* " 16}
* " 23
*Diesterweg 16}
26
Diomede 28
Dryden 28
*Emerson 13}
Eros 26}
Euripides 27
Faun 26
Fighting Gladiator 28
Flamingo Boy 20
" 20
Flora 14
Franklin, Beni 28
Frederick William 24
*Froebel 16
" 28
*Gar<ieid!!!!!!!!!;"!!!!"!"Z^!!!.!!!;!!!!ll."'^^;!;Z.^!"! 12
* " 16
" 30
Girl, by Donatello 19
Gladstone 12
16
23
Price.
8 00 |
8 00 |
1 25 |
2 50 |
5 00 |
12 00 |
1 00 |
1 25 |
8 00 |
7 50 |
10 00 |
8 00 |
5 00 |
15 00 |
1 00 |
1 25 |
10 00 |
3 50 |
8 00 |
10 00 |
1 25 |
15 00 |
1 50 |
5 00 |
3 50 |
5 00 |
1 25 |
4 00 |
3 50 |
5 00 |
2 00 |
3 00 |
3 50 |
10 00 |
1 50 |
5 00 |
8 00 |
10 00 |
10 00 |
3 00 |
6 00 |
5 00 |
8 00 |
1 50 |
8 00 |
2 00 |
3 50 |
5 (X) |
8 00 |
3 50 |
1 50 |
3 50 |
1 25 |
3 00 |
7 00 |
7 00 |
35 00 |
2 50 |
5 00 |
8 00 |
1 50 |
15 00 |
12 00 |
1 50 |
3 00 |
5 00 |
3 00 |
7 00 |
8 00 |
10 00 |
1 50 |
8 00 |
8 00 |
7 00 |
8 00 |
4 00 |
4 00 |
2 (X) |
8 00 |
7 00 |
3 00 |
8 (X) |
1 50 |
3 00 |
8 00 |
4 00 |
1 50 |
3 00 |
5 00 |
Name. Height, in.
Gluck 16
" 29.
*Goethe 12
» '< 22
Grant... !!!!!!!"!";^!!^!!!!!'.'.3'.'.'.V.'Z'.'.'.V"."7."."'.'.V.V! 17
* " 21
" ; 30
Gutenberg 17
*Ha!ndel 17
* " 22
Hahnemann 10
<i 23
Haydn i""'"^/'^"^".'."^! ".".'.'."!! '.".V.'.!ZV.'"3 11}
" 16}
" 22
Heien..!!!!!!!!!";!!!!!!''Z!!!!"'!!!!"!!!!!!!!!!!!!!!!"!!!!!! 27
*Hermes 12
* a 22
" 32
Hero !!!!;!!!"!"!!!!"!!!"!!!!!!!!!!!!!!!!!!""!!!!"!!!!! 30
Hippocrates 18
27
Homer 15
" 23
" 27
Humboldt, Alex 16
" 26
*Ideal Bust 18
Irving, Washington 16
Ms 21
Jackson, General 26
Jahn — Father of Gymnastics 32
Jefferson 30
Juliano de Medici. See Medici. Julius Csesar. See Csesar.
Juno Capitol 28
" Barberini 40
20
" Ludovisi 36
" 14
Jupiter 11
Jupiter — Otricoli 23
40
Laocoon 27
*Les8ing 16}
<< 27
Leucothea 10}
32
♦Lincoln 12
* " 16
30
*Liszt 11}
* " 14
23
* " 26
" 30
♦Longfellow 14
Lorenzo de Medici 26
♦Luther, Dr. Martin 15
" " 29
Madonna (Pieta), v. V. Stoss 24
Marcus Aurelius 30
Mark Antony 28
Medici, Juliano de 24
Medici, Lorenzo de 26
♦Mendelssohn 11}
17
* " ...; 20}
24
Mercury 30
Meyerbeer 23
♦Milton 12
" 15
" 17
" 23
Minerva 19
Minerva Giustiani 24
i< i< 32
Moltke !.'.'.'.'.'.'.'.'.;!!.".'.'..". 27
Montetiore, Sir Moses 10
Moses 27
♦Mozart 11}
» " 21
Napoleon 1 16}
27
Neopolitan Fisher (Girl) 20
^ " (Boy) 20
Nero 24
Newton 17}
Price
3 00 |
8 00 |
1 25 |
5 00 |
300 |
5 00 |
8 00 |
3 00 |
3 00 |
5 00 |
1 25 |
5 00 |
1 25 |
3 00 |
5 00 |
7 00 |
1 50 |
5 00 |
12 00 |
8 00 |
3 00 |
7 00 |
2 50 |
5 00 |
8 00 |
3 00 |
7 00 |
4 (X) |
3 00 |
5 00 |
7 00 |
10 00 |
10 00 |
8 00 |
20 00 |
4 00 |
15 00 |
2 00 |
1 25 |
5 00 |
25 00 |
7 00 |
3 00 |
7 00 |
1 00 |
15 00 |
1 50 |
3 00 |
8 00 |
1 25 |
3 00 |
5 00 |
800 |
10 00 |
2 00 |
7 00 |
2 50 |
8 00 |
600 |
10 00 |
8 00 |
5 00 |
7 00 |
1 25 |
3 50 |
400 |
5 00 |
8 00 |
5 00 |
1 50 |
2 50 |
3 50 |
500 |
4 00 |
5 00 |
12 00 |
800 |
1 25 |
8 00 |
1 25 |
5 00 |
3 00 |
7 00 |
5 00 |
5 00 |
5 00 |
3 50 |
LIST A— Continued.
Name. Height, in.
Newton 23
Niobe Mother 11
32
Niobe Daughter 26
Nun Nurenberg 19
Octavianus, Ca'sar Augustus 32
Ompluile 20
Paris 27
Pericles 27
*Pestalozzi 15J
23
" 27
Plato [''.!!!;!!!]!]!""!!"'"!!11"!!!!!!]!!!!!!!!!!"!" 26
♦Prudery 19J
*Psvehe, on Pedestal, Naples 13
♦ " " " 17
" 26
Raphael 27
Rossini 26
St. Bruno 10
Seneca 26
♦Schiller lU
♦ " 22
*Sehubert!!!!!!""!!!!!!!l!!!"!!!!!""!"!!!!!"'!!!!!!!!!!!!! 17
23
♦Schumann 16J
27
♦Scott, Sir Walter 13
♦ " " 18
23
29
♦Shakespeare 13
♦ "^ 16
♦ " , 23
29
Sheridan 21
Socrates 27
Sophocles 27
Sphinx 24
Price.
.5 00 |
1 25 |
15 (Kl |
7 00 |
5 00 |
15 00 |
5 00 |
7 00 |
10 00 |
2 50 |
5 00 |
8 00 |
7 00 |
4 (X) |
1 50 |
3 oO |
7 (X) |
8 00 |
7 00 |
1 00 |
8 00 |
1 25 |
5 (K) |
3 00 |
5 m |
3 00 |
7 00 |
1 50 |
3 .50 |
5 00 |
8 00 |
1 50 |
3 00 |
5 00 |
8 (X) |
5 00 |
7 00 |
10 00 |
8 00 |
Name. Heigrlit, in.
♦Spinoza 16i
Sumner '. 13
Tasso 30
♦TennvBon 15J
Thackery 13
Venus Xkropolis 12
" Aries 28
" Canova 14
24
" Capitol 31
" Capua 32
" Cnidos 25
" DeMedici 28
♦ " de Milo 13
♦ " " 16i
U
Verdi 30
Verus Lucius 40
Voltaire 27
♦Wagner. Richard llj
20
♦ " " 23
♦Washington, George Hi
" m
" 28'
Washington Irving. See Irving.
♦Weber 17
" 28
Webster 13
30
AVilliam 1 24
Youth, St. Peters 10
20
32
■' Supi)licant 16
ofTarent 16*
Zulu Maid loj
" Youth 1.5|
Price.
3 00 |
1 50 |
12 00 |
2 50 |
1 50 |
1 25 |
7 00 |
2 (X) |
5 00 |
9 00 |
10 (X) |
7 (K) |
7 (X) |
1 50 |
3 00 |
15 00 |
8 00 |
25 00 |
8 (K) |
1 25 |
5 00 |
5 00 |
1 25 |
1 50 |
8 00 |
3 50 |
8 (X) |
1 50 |
8 (X» |
7 00 |
1 50 |
5 00 |
15 00 |
3 (X) |
3 CK) |
3 00 |
3 00 |
]BFR.A.c::p^E:Tr^ i^cDF=t jblj^ht^.
^/i\\
Name. Height, in. Price.
570-A— Acanthus Bracket 9 5 00
57f>-B— " " 11 6 00
616— Angel Bracket 11 1 50
860— Bacchus Bracket 10 1 80
864— Cherub Bracket 5 1 00
882— Cupid Bracket 17 5 00
908— Eagle Bracket 7 150
Name. Height, in. Price.
981-A— Lvre Bracket 14 4 00
981-B— ■ " 17 5 00
862— Medallion Bracket 11 2 00
861— Oak Leaf Bracket 14 5 00
865— Shell Bracket.... 5J 100
863— Scroll Bracket 13 2 75
Name. Height, In. Price.
578— Antique Pedestal 40j -8 00
69(;— "^ " 36 8 00
705— Column Pedestal 38 5 00
749— Collosal Pedestal 37 28 00
700— Doric Pedestal 43i 8 00
792— Fluted Pedestal 8§ 2 00
956-A— Fluted Pedestal 20 5 00
Name. Height in.
956-B— Fluted Pedestal 27
738— " " 33
866-A— " " 8
sm-B— " " 8*
728-A— Gothic Pedestal 28'
728-B- " " 33
904— Wreath Pedestal 10
Price. |
7 00 |
8 00 |
1 25 |
1 50 |
6 00 |
7 00 |
2 00 |
MILWAUKEE:
79, 81 and 83 BUFFALO ST.
p-tE: cz:cD.,
CHICAGO:
No. 207 WABASH AVENUE.
statuary Decorated in Natural Colors.
The collection of decorated statuary enumerated in this catalogue, is not only the most extensive, but also the best produced in this coun<ry, as regards artistic merit and workmanship. It is of the same composition as the Florentine Statuary, described in List A and Catalogue No. 5. In the selection of works of art it is necessary to be mindful of the rule that the best is the cheapest and it is only the best which will survive to be a "thing of beauty and a joy forever." The improvement of taste and the general appreciation of art has brought into prominence the use of colored statuary as a means of household decoration. The Greeks, with the keen assthetic perception which characterized them, early discovered the advantages to be obtained by painting statues in exact imitation of nature. Color brings out all the peculiarities of costume, the varieties of type and gives the expression a natural and life like reality. It possesses, moreover, the great advantage of harmonizing with its surroundings and produces an effect which charms the eye and delights the imagination. Having the best of facility, and manufacturing in large quantities, we are enabled to oft'er these high class goods at a very reasonable figure, being less than half the price of the imported. In ordering mention List B and give number and name.
No. 1201.
No. 1201 — Neapolitan Musician (boy). This figure, like its compan- ion, is life size and in a sitting posture. The pretty, childish face and the quaint costume are rendered with minute accuracy of detail. It is exceedingly realistic and true to nature; height, 33 in.; base, 15 in., each, 820 00
No. 696— Pedestal. This beautiful pedestal is especially suit- able for Nos. 1200 and 1201. It is antique in design and is furn ished either in colors or in dark bronzes; in this lat- ter style it is so perfect that but few can distinguish it from a genuine bronze stand; heignt, 36 in.; base, 9 in each, f 8 00
No. 1200
No. 1200— Neapolitan Musician (girl). This life size figure, in sitting posture, is a most pleasing and interesting subject. It is a tyoical little Neapolitan musician in native costume, her tam- borine in one hand, and the other extended, to re- ceive the welcome pennies, height, 33 in.; base, 15 in., each, 120 00
EACH STATUE OR BUST HAS ON AN AVERAGE EIGHT DIFFERENT COLORS.
Price.
No. Name. Height.
593— Congratul ator (Girl) 16 in .
594— " (Boy) 16 in.
608— Loreley U}4 in.
609— Boy Carrying Wood 18 in.
610— Girl " Nest 18 in.
613— Decorating Grandma 9 in.
614— First Proht 14 in.
1200— Neapolitan Musician (Girl) 33 in.
1201- " ■' (Boy) 32 in.
657— Gnome with Instrument 12M in.
659— " " Notes 12JI in.
679— Mephisto as Serenader 33 in.
687— " as Duelist 33 in.
The above four figures are finished to imitate old black walnut, and the features old ivory. Originals in Nurnberg.
$5 00 |
681 |
5 00 |
809 |
5 00 |
810 |
4 00 |
1313 |
4 00 |
1214 |
3 00 |
1317 |
3 00 |
1318 |
20 00 |
1219 |
30 00 |
1220 |
3 00 |
12-31- |
3 00 |
1222 |
6 00 |
1237 |
6 00 |
1228 |
1229 |
|
3lack |
1230 |
1331 |
No.
Name. Helgrht. Price
-Duet 21J^ in. $13 00
-Orange Peeler (Boy) 19 in. 3 00
- " " (Girl) 19 in. 3 00
-Moorish Peddler (Lady) 16 in. 5 00
- " " (Man) 16 in. 5 00
-Arab Musician (Woman) 27 in. 25 00
- " " (Man) 27 in. 25 00
-Algerian Musician (Man) 19 in. 6 00
(Girl) 19 in. 6 00
-Moorish Flower Stand (Girl) 25 in. 10 00
" (Man).... . 25 in. 10 00
-Bridal Group 16 in. 6 00
-Spanish Serenader 24 in. 12 00
Dancer 34 in. 13 00
-Chevalier of 16th Century 33 in. 10 00
-Companion to above 33 in. 10 OD
LIST B— Continued.
No. Name. Height. Price.
1333— Mariner (Boy) 18><^ in f i 00
1234— " (Girl) leVj' in 4 00
1235— Swedish Peasants (Girl) 19)^ in. 6 00
1236— " " (Boy) 19>^ in. 6 00
1 239 - Spanish Minstrel (Lady) 16 H in . 8 50
1240- " " (Man) 16>^ in. 3 50
124.5- Alpine Shepherdess 25 in. 8 00
1246— " Shepherd 25 in. 8 00
1247- Girl Feeding Birds 21 in. 6 00
1248— Boy " " 21 in. 6 00
1249— Ethiopian Water Carrier (Man). . . 29 in. 10 00
12.50— Ethiopian Water Carrier (Woman) 29 in. 10 00
1253— Venetian (Card Receiver) 22 in. 10 00
1254^ " (Lady Card Receiver) . . 22 in. 10 00
1263— Moorish Lady 17 in. 5 00
1264— " Man 17 in. 5 00
126.5— Actress 19 in. 6 00
1266^Water Carrier (Youth) 19 in. 6 00
1267— " " (Maid) 19 . in. 6 00
No. Name. Helgrht.
1268— Spanish Minstrel (Boy on Vase). .. 22
1269— " " (Girl " )... 22
1270— Cavalier and Maid 20
1271— Italian Mu.sician (Boy) 24
1272— " " (Girl) 24
1275— Lute Player 34
1276— Hungarian Gypsy (Man) 27
1277— " " (Woman) 27
1278— Danish Musician (Man) 36
1279— " " (Woman) 36
1280— Moorish Musician (Man* 38
1281— " '• (Girl) 38
1282— Figure A la Grfevin, Masquerader . . 14!^
1283— " " " " .. 14>^
1284-Watteau (Jroup 22
1285— Home, Sweet Home 19
1286— Nubian Minstrel (Maid) 19
1287- " (Youth) 19
Price.
n. |
10 00 |
n. |
10 00 |
n. |
25 00 |
m. |
12 00 |
n. |
12 00 |
n. |
25 00 |
n. |
20 00 |
m. |
30 00 |
m. |
23 00 |
m. |
23 CO |
m. |
20 00 |
m. |
20 00 |
m. |
3 00 |
n |
3 00 |
m. |
15 00 |
in. |
12 00 |
m. |
6 00 |
m. |
6 00 |
u
T^
Decorated in Natural Colors.
No.
Name.
Height.
Price.
595— Jockey (Maid) 14
596— " (Youth) 14
597— Marketing (Boy) 18
598— " (Girl) 18
611— Flirtation— double bust 19
615— Betrothal " 19
674— Rubens 20
676 — Renaissance 20
682— Arabian 30
683-Costume Bust 10
684— Costume Bust 10
692— Yachter (Maid) 16)^
693- " (Youth) 16!^
694— Maid— Nubian 15>i
695— Youth— Nubian 15>i
902— Coquetry 19)$
903-Prudery 19>^
912-Neapolitan Fisher Girl 30
913— " " Boy 20
530— Ideal Bust 18
1202-Duet (Girl) 13
1203— " (Boy) 13
1204— Winter 21
1205— Summer 21
1306— Negro 26
1207— Little Soldier (Girl) 14
1308— " " (Boy) 14
1209— Rococo (Girl) 14
in. |
$3 00 |
m. |
3 00 |
in. |
12 00 |
m. |
12 00 |
in. |
15 00 |
in. |
15 00 |
in. |
13 00 |
in. |
13 00 |
in. |
7 50 |
in. |
3 50 |
m. |
2 50 |
in. |
7 00 |
in. |
7 00 |
in. |
6 00 |
in. |
600 |
in. |
10 00 |
in. |
10 00 |
in. |
12 00 |
in. |
12 00 |
in. |
8 00 |
in. |
7 50 |
m. |
7 50 |
m. |
7 50 |
in. |
7 50 |
m. |
18 00 |
in. |
3 50 |
in. |
3 50 |
in. |
5 00 |
No. Name. Height.
1310— Rococo (Boy) ... 14
1212-Martin Luther 16
1211— " " Wife 16
1215-Arab (Lady) 23
1316— " (Man) 22
1223— Arabian Minstrels (Lady) 17
1324— " " (Man) 17
1225— Gypsy (Boy) 13
1226— " (Girl) 13
1232— Bacchante 20>^
1237— Pierrot (Boy) 26
1238- " (Girl) 26
1241— Sailor Girl 14
1242— " Boy 14
1343— Papa 14
1244 —Mamma 14
1251— Abyssinian (Man) 16
1252— " (Woman) 16
1255— Music Teacher 18
1256— Mandolin Player 18
1357— Adelgund (with Bunch of Keys). .. 14
1258— Wolfram (with Key) 14
1259— Old Man, with mug 14
1260— " Woman, with tea-pot 14
1273-Soudan Negro 20
1374— " Negress 20
1288— Nubian GirlCMaBk) 12
Price.
n. |
5 00 |
n. |
6 00 |
n. |
6 00 |
n. |
12 00 |
n. |
12 00 |
in. |
7 50 |
n. |
7 50 |
n. |
3 50 |
in. |
■i 50 |
n. |
10 00 |
in. |
15 00 |
n. |
15 00 |
in |
3 00 |
in. |
3 00 |
in. |
3 00 |
in. |
3 00 |
m. |
5 00 |
in. |
5 00 |
in. |
9 00 |
in. |
9 00 |
in. |
7 50 |
in. |
7 50 |
in. |
7 50 |
in. |
7 50 |
in. |
7 50 |
in. |
7 50 |
in. |
3 00 |
Photographs of these 124 pieces of decorated statuary, mounted on linen for $10.00 net, single photographs, 15 cents each.
We issue an Illustrated Catalogue of Decorated Animals which we will mail on application.
MILWAUKEE,
75, 8t and 83 Buffalo St.
C. HENNECKE CO.,
CHICAGO,
Ho. 207 Wabash Ate.
i\7-or.ith: sT_A.Ti:jjPs.K.ir.
Most of the statuary contained in this list is illustrated in photogravure book and Catalogue No. 5.
Ivorite statuary is made of the very best and finest powdered alabaster. After leaving the casting room it undergoes the finishing processes in the various, departments, and is then sent to the kiln rooms, where it is sub- jected to an intense heat; after the last vestige of moisture is removed it is immersed in a hot bath of stearic acid, which closes all the pores, thus making it very hard and smooth, and giving it a fine, delicate, transparent and ivory like finish. Like genuine ivory it will turn slightly yellow with age, which most persons prefer to the glaring white, which is offensive to the eyes and does not bring out the drapery and general outlines to the best advantage. This has induced us to " tint " it after leaving the dry kilns. A slight tint is especially desirable in draped figures, as the folds and delicate outlines come out to better advantage. We will send it " tinted " unless you state in your order that you prefer " pure white."
Photogravure book, containing illustrations of Nos. 1 to 202 will be mailed on receipt of $1-00, post-paid; but this an)0unt will be allowed on the first order for goods, making the book really free to customers.
In ordering mention List C and give number and name of piece wanted.
Ivorite Busts and Figures, not larger than seven inches, will be sent iis saniples by mail at catalogue prices post-paid.
PLATE A.
No. Name. Heitrht, iii. Price.
1— Christ 3 ^ .50
2 — St. .Tolui and Lamb 5 75
3 — Adoriiifj Angel 4 75
4 — Child Jesus (i 75
5 — St John and Landi (i 75
6 — Adoring Angel 4 75
7 — St. John and Lanih 3 50
8— St. John 3 .50
9 — Faith, Hope and Charity (i 75
10— Mary and Christ ". 8 1 00
11— Christ 8 1 00
12— Mary 8 1 00
13 — Christ and St. John (i 75
14— 6 75
15 — Christ and Angel (> 75
16— Blessed Virgin 8 1 00
17— St. Joseph 8 ] 00
18— Queen of Heaven 8 100
19— Mother of Grace 8 100
20— Christ Praying (i 75
21— St. Antonius 10 1 50
22— Mary and Child 10 1 50
23— Child Jesus 13 2 40
24— " " 13 2 40
25— St. Joseph 10 1 50
26— St. Louis 10 1 50
PLATE B.
27— Crucifixion, with Plush Frame 18 15 00
28— Baptism, " " " 18 15 00
Without the Frame, each |12 00.
PLATE C.
29 — Battle Scene of the Goths and Vandals,
with Plush Frame 17i 15 00
30— Battle Scene of the Goths and Vandals,
with Plush Frame 17J 15(H)
Without the Frame, each, |12 00.
The originals of the above four reliefs, which are works of art of great merit, are carved in Ivory and are in a private collection in Europe.
PLATE D.
31 — Hebe, Thorvvaldsen 6 1 25
32 — Venus Capua (i i 25
33^Hermes 6 2 00
34 — Music Surprised 9J 3 oo
35— Venus de Milo 6 2 00
36 — Venus de Medici 6J 1 25
37 — Venus Thorwaldsen 6J 1 ''5
38— Petrarch 6J 1 25
No. Name. Height, in.
39— Schiller 6
4(>-G(jethe (i
41— Dante 6i
42 — Crying Boy 6
4.3— .Vchilles...: .5*
44 — Mercury 7
45 — Venus fergamon 5i
45— Pedestal..... 10}
46 — Jason 7
47— -Vntinous 5J
48 — Laughing Boy 6
49 — (iiant 7
50 — Wilhelm I in Uniform 6
51 — " Draped 4
52— " (Bust only) 6}
52 — Bracket only .". 13
53— Fr. Wilhelm 4
54 — Bismarck 5J
55 — Ariosto <>!
PLATE E.
56— Minerva 8j
57 — Ariadne and Panther Si
58 — Venus de Milo o"
5i»— Mars 81
60 — It can not be Mended 8
61— Psyche 8
62— Venus 8
6;^ — Amor as Blacksmith 8
64— (ioethe 91
a5— Go to Sleep 91
(>(>— Italian (iirl 13
67— Italian Boy 13
68 — Faust and Marguerite 81
69— .Schiller Oj
PLATE F.
70 — Youn^ Augustus 14
71 — Siegfried and Chriemhilde 131
72— Hebe 12'
73— Fire 141
74— Clvtie (Bust only) 6',
74— Pedestal 12
75— Water 141
76 — Minerva 12
77 — Twilight .'. 15]
78 — Young Columbus 15.1
79 — Napoleon 1 15
SO — Aurora 15 \
PLATE G.
81— Monk 7
82— Washingtoi 71
Price.
1 25 |
1 25 |
1 25 |
1 25 |
1 25 |
1 25 |
1 25 |
2 00 |
1 25 |
1 25 |
1 25 |
1 50 |
1 50 |
1 00 |
1 .50 |
2 75 |
1 00 |
1 25 |
1 25 |
2 (X) |
9 00 |
2 00 |
2 00 |
2 00 |
2 00 |
2 00 |
2 00 |
2 00 |
2 00 |
4 00 |
4 00 |
2 .50 |
2 00 |
12 00 |
() 00 |
3 00 |
5 00 |
1 25 |
3 00 |
5 00 |
3 00 |
5 00 |
5 00 |
5 00 |
5 00 |
2 00 |
1 50 |
LIST C— Continued.
Name. Height, in. Price.
83— Lincoln 7J
84— Tasso 6J
85— Monk 7
86— Mozart 9|
87— Beethoven 9i
88 — Innocence 9
8i>— Love 9
90 — Shakespeare 8J
91— Dickens 8J
92— Moltke 10'
93— Fr. Wilhelm 10
94— Martin Luther 9
9.^— Wilhelm 1 10
!K>— Bismarck 10
97— Leucothea lOJ
98— Costume Bust 10
99— " " 10
100— Beatrice 11
PLATE H.
101— Flamingo Boys, relief. 20
102— " "^ " 39
103— " " " 12
104— " " " 16
105— " " " 12
PLATE I.
113 — Musical Cupids 14
113— " '' without base
HI— " " 14
111 — " " without hase
115— " " 14
115 — " " without base
121-A — Cuind (to suspend) 6
121-B— ^- "^ 9
121-C— " " 13
119 — Five Cupids, l)v Sir Joshua Reynolds lOJ
106 — Cupid, by Sir Joshua Revnolds. 2J
107— " " " ' " 2J
109-2 " " " " 2J
116-3 " " " " 8'
118— " " " " 2i
120— " " " " 2|
112 — Sjjring 4
114 — Autumn 4
110— Cupid— Relief. 5
117— Cupid 8
108— Nest of Cherubs 6
PLATE J.
PERGAMON FRIEZES.
121 J — Minerva Group 18
122 — Demeter and Persephone 20
]2;i— Helios Group 27
124 — Hekato and Artemis 20
125 — Jupiter Group 18
PLATE K.
126— Cicero 5<!
127— ^schvlos 5i
128— Polyhymnia 9
129 — Psyche of Naples 9J
130— Euterpe 9
131— Gladiator 5J
132— Euripides 5*
133— Plato 5J
134 — Demosthenes 5|
135— Caligula 5J
136— Venus in Shell 8
137— Slave 6
138 — jEsculapius 5J
139— Homer 5^
140— Apollo 8
141— Diana 8
142— Jupiter 8i
143— Juno 8J
144 — Venus de Milo 8
145 — Hermes 8
146— Diana 13J
147— Pudicitia 14
148— Euterpe , 14
149 — jEsculapius 13J
15a-HvKiea 14
151— Apollo 13J
PLATE L.
152— Holv Water Font, Natural Shell 5J 1 00
153— Ecce Homo— Relief 13 5 00
1 50 |
1 25 |
2 00 |
2 00 |
2 00 |
2 50 |
2 50 |
2 (K) |
2 00 |
2 .50 |
2 50 |
2 00 |
2 50 |
2 50 |
2 50 |
2 50 |
2 50 |
2 50 |
5 00 |
2 00 |
3 (X) |
4 00 |
3 00 |
7 00 |
6 50 |
4 00 |
3 50 |
4 00 |
3 50 |
1 00 |
1 50 |
2 (X) |
2 50 |
35 |
3.5 |
50 |
1 00 |
;« |
35 |
80 |
80 |
75 |
1 50 |
2 00
10 00 12 00 15 00 12 00 10 00
1 25
1 25
2 50 2 50
50 25 25 25 25 26 50 25 25 25 2 00 2 (K) 2 00 2 00 00 00 00 00 00 00 00 00
2 00 |
3 50 |
60 |
iX) |
1 20 |
1 50 |
1 25 |
1 60 |
2 CX) |
2 6f) |
3 80 |
5 00 |
6 25 |
7 75 |
9 50 |
.30 00 |
1 10 |
1 45 |
1 80 |
2 40 |
3 60 |
4 80 |
6 (X) |
7 50 |
9 25 |
28 (X) |
1 00 |
1 25 |
Name. Height, in. Price.
1.54— Holy Water Font, Natural Shell 7
15.5— " " " 10
1.56— Crucifix] f 4
156 — " I These four have Crosses painted J 5
1&5— " r in Rustic Finish. | 6 156— "J [7
1.56— " to hang 9
1,56— " " 10
1.56— " " 12
156- " " 14
1.56- " " 16i
156 - " " 19
156 - " " 22
1.56- " " 25
1.56— " " 29
156- " " 42
156 — Corpus only 9
156— " 10
1.56— " 12
156- " 14
1.56 - " 16J
15(!- " 19
1.56- " 22
156- " 25
1.56- " 29
1.5()- " 42
157 — Ecce Homo 6
158— Holy Water Font, Natural Shell 7
The crucifixes are also made in natural colors at the same prices as above.
PLATE M.
159— Flifjht into Egyj)l .5} 2 00
160— St. Bruno 9 2 00
161— St. Anne Teacliing Marv 8 1 25
162— St. Madelaine '. 11^ 2 50
163— Adoring Angel lOJ 3 00
164— Crucitix 9 1 55
164— " 10 1 90
164— " 12 2 30
164- " 14 2 90
164- " 16J 4 10
164- " 19 5 30
164- " 22 6 .55
164- " 25 8 ft5
l(j4 " 29 9 80
165— Adoring' Aiigel '.'..'."'.'. ..'.'." ..... . ...... .....'. . . .... '. . .' 10^ 3 00
166 — Ecce Homo 8
167— Pope Leo XIII 11
168 — Queen of Heaven lOJ
169— Our Lady of Lourdes 13
170— Sacred Heart, (Jesus) 12
171— " " (Mary) 12
172— Queen of Heaven 10
PLATE N.
173— Tanagra Figure 10 5 00
174— Moses 16 7 00
17,5— Tanagra Figure 10 5 00
176— " " 9 3 (X)
177— " " 9i 5 00
178— " " 8* 3 00
179— " " 7i 3 00
180— " " 9 5 00
181— " " 6 5 00
PLATE O.
Antique Jugs, copies of originals in the principal museums in Europe. These Jugs, Pitchers and Vases will not hold water.
25
00 50 40 40 2 40 1 50
82— Horn— to suspend 23
8:! — Antique Tankard 9
84— " " 9
85— " Horn, on base 10
86— " Tankard 9
87— " Pitcher 14
88— " Tankard 14
89— " " 13J
90— " Pitcher 14
PLATE P.
191— Antique Shield 27
192— Cellini Vase 18^
193— Antique Jug 20
194— Minerva Medica 7J
4 00
3 00 2 50 7 00 2 50
4 (X) 7 a) 6 00 4 00
7 00
8 00 8 00 200
10
LIST C— Continued.
Name. Heitrht, in.
195— Antique Plaque 16i
196 — Young Augustus 7 J
196— " •■' 5
PLATE a.
197— Goethe 9
198— Willielm II 10
Prioe. Name. Height, in. Price.
3 00 199— Schiller 9 2 50
2 00 200— Antique Plaque 21 8 00
1 25 PLATE B.
201— Milton Shield 36 12 00
2 50 PLATE S.
2 50 202— The Last Supper 28 6 00
Illustrated and described in Catalogue No. 5 and List A.
No. Name. Height, in.
814— Africa 15J
767— Alpine Hunter 20
911 — America 15J
756A— Amor and Psyche 13
756B- " '' 16
616— Angel Bracket 11
638-Antique Vase 8J
878— Apollo 16
798 — Aria<lne Deserted 17
950A— Ariadne and Panther 15
950B- " " 21
877 -Art 16
813— Asia 15i
96fJ— Aurora ISJ
7,39- " 16i
940— Autumn 10
574- " 4
<)07— Bacchus and Ariadne 19
54:^A— Blessed Virgin 13
836— Cellini Vase 18
8()4-Cherub Bracket 5
871— Circassian Slave 14
757— Contiict of Authority 29
856— Conquering ,Jealousy 13
743 - Consolation 24
561— Cow and Calf. 11
922A— Cupid and Psyche 18
976-Cupid's Repose 6
975A- Diver 15
97oB- " 24
879-Diana 16
714— Dove 7
844-Dolly Varden 10
908— Eagle Bracket 7
716— Emily and Doe .24
910-Europe 15}
833— Evangeline 21
780A-Eve 14
780B- " 19
569— Evening (to suspend) lOJ
9i)0-Falconer 21
9(i3-Family Cares (Boy) 12
964— Family Cares (Girl) 12
758— Fast Asleep 11
920— Faust and Marguerite 25
837- " " 20
928 -First Love 13^
888— Flight into Egypt 11
965-Friends 20
794-Forced Praver 11
898— Fount of Mercv 18
838 Fortuna 23
7()<>— Gamekeeper 20
819 -Goethe 19
790A Greek Slave 14
790B- " " 19
979— Guardian Angel 16J
84.>- Happy Family 12}
721-Het3e 42
824A— Hebe Thorwaldsen 25
S)93— Herald 21
891— Holy Family 12
Price.
No.
4 00 |
83.5-] |
12 00 |
989-] |
4 00 |
847-] |
12 00 |
852A |
16 00 |
.514-] |
3 00 |
781—] |
3 00 |
795-] |
6 00 |
9()6-] |
17 00 |
995-] |
14 00 |
987 ] |
24 00 |
834-] |
6 00 |
577-] |
4 00 |
.568-] |
5 00 |
572— |
9 00 |
889 A - |
2 40 |
.513-] |
80 |
.571-] |
12 00 |
9ft5A- |
3 00 |
.567 -( |
8 m |
.544A- |
2 00 |
986-1 |
4 00 |
843-] |
28 00 |
936 - ] |
6 00 |
937- |
16 00 |
890 -] |
11 00 |
742-: |
10 00 |
720A- |
6 00 |
713 -] |
3 00 |
769 - ] |
8 00 |
896-] |
6 00 |
897— |
1 60 |
729-] |
5 00 |
915 -] |
3 00 |
770-; |
20 00 |
,540A |
4 00 |
821- i |
7 00 |
54(iA |
3 00 |
.547A- |
6 00 |
820-! |
3 00 |
876-! |
20 00 |
961-! |
3 00 |
.5:K-f |
3 00 |
768 -i |
3 60 |
.573 i |
24 00 |
9.38- |
12 00 |
773-i |
10 00 |
939 - i |
5 00 |
774 -i |
10 00 |
811 -' |
2 00 |
762-' |
10 (K) |
771 A- |
24 00 |
771B |
12 00 |
9.59-' |
7 00 |
870- |
3 00 |
723B |
6 00 |
991— |
9 00 |
617A- |
7 00 |
617B- |
:io 00 |
7.59- |
10 00 |
941— |
20 00 |
712- |
500 |
Name. Height, in. Price.
Home, Sweet Home 28 26 (X)
Hope and Fear 30 28 00
Innocence Protected 21 18 00
Kiss H 2 50
Little Sweethearts 13 6 00
Lohengrin 33 24 00
Lost Breakfast 11 2 Of)
Lost Found 20 10 00
Love's Device 21J 16 00
Mamma 10| 2 (K)
Marguerite 21 7 00
Mine 20 16 00
Morning (to suspend) 12 3 00
23 12 fX)
Mother of Grace 13 3 00
Never Mind 13 9 00
Night 23 12 00
Niobe and Daughter 21 15 00
Othello and Desdemouii 16 7 00
- Our Ladv of Lourdes 13 2 60
Papa ". lOJ 2 00
Paul and Virginia 13i 7 00
Picnic Time (Girl) \oi 5 00
" (Bovj 1.5| 5 00
Prince Arthur and Hubert 18 14 fK)
Protection 24 16 00
Psvche 24 8 00
Reatling 14 6 00
Rebecca 18} 7 00
Renaissance Vase 12" 3 00
" 12 3 00
Rock of Ages 17J 27 00
Romeo and Juliet 15 6 00
Ruth 18J 7 00
St. Joseph 13 3 00
St. Joseph and Child 22 12 00
Sacred Heart 12} 2 40
" 12} 2 40
Schiller 19 7 00
Science 16 6 00
Seaside 15 10 00
Siegfried Parting from CliiJeuihilde 23 18 00
Sketch from Nature 12 12 00
Spring 4 80
10 2 40
Storm 18 7 00
Summer 10 2 40
Sunshine 18 7 00
Taking the Cream 19J 14 00
Tannhaeuser :B 24 00
Three Graces 12 6 00
" 21 14 00
Twilight 1.5A 5 00
Venus 14 4 00
-Venus deMilo 23 9 00
Venus in Shell 18 12 00
-Welcome 17 6 00
- " 32 20 00
Wide Awake 11 2 60
Winter 10 2 40
Writing 14 6 00
LIST C— Continued. :^LJ^T^-I\zcDF=?i-rE:.
11
00 00 00 00 00
Name. Height, in. Price.
Amor 17 $7 00
Ariadne 10 2 00
Ajax 12 3 00
Apollo 12 2.50
" 23 10 00
BacchuB 10 2 00
Beethoven 11 J 2 50
" 21 10 00
Byron 13 3 00
Burns 13 J
18
Bach 17
Clvtie 14
'' 16J
" 23 10 00
Cupid on Pedestal 13 3 00
'' 17 7 00
Chopin 16i 6 00
Coquetry 19| 8 00
Dante 16| 6 (X)
Diana of Versailles 12 3 00
Difkens 12 3 00
16} 6 (X)
23 10 00
Diesterweg 16i 6 00
Emerson 13} 3 00
Froebel 16 6 00
Goethe 12 2 50
22 10 00
Garfield 12 3 00
16 6 (X)
Gluck 16 6 00
Hiendel 17 6 (X)
22 10 00
Hermes 12 3 00
22 10 00
Name. Helgbl.
Ideal Bust 18
Lincoln 12
" 16
Luther, Dr. Martin 15
Liszt , Hi
" 14
" 26
Lessing 16}
Longfellow 14
Mozart Hi
" 21
Mendelssohn lU
20|
Milton 12
Prudery 19}
Psyche, on Pedestal, Naples 13
17
Pestalozzi 15}
Schiller Ill
" 22
Shakespeare 13
16
23
Schubert ... 17
Scott, Sir Walter 15
" " " 18
Schumann 16}
Spinoza 16}
Tennyson 1.5}
Venus de Milo 13
" " ." 16}
AVagner, Richard 11}
" 23
Washington, George 11}
Weber 17
In.
Price.
8 00
3 Of) 6 00
5 (X) 2 .50
6 00 16 (X)
6 00
4 00 2 .50
10 00
2 .50 8 00
3 fX) 8 00 3 00
7 00
5 00
2 .50 10 00
3 00
6 00 10 00
6 00 3 00
7 00 6 00 6 00
5 CX) 3 00
6 (XI 2 50
10 00 2 50
7 00
-I\/cz5i=?i~r^.
No. Name. Height, in. Price.
501}— Mary, Christ and St. John, Thor-
waldsen 9x9
.502}— Amor's Complaint to Venus (stung by a
Bee) 9x9
505}-A-B-C-D-E-F-G-H-I K-L-M "- Elgin
Friezes from the Parthenon.' 9x2J^ each,
.50(5} —Amor and the Swan, Thorwaldsen 9x7}
507}— Amor and Young Bacchus Pressing
Grapes, Thorwaldsen 9x7}
508}— Offering to the Gods, Flaxman. . . .... 10x5 1
509}-A- Spring, Olrik 11x5}^ 1
509}-B— Summer, " . Ilx5| 1
.509}-C-Autumn, " 11x5} 1
.509}-D -Winter, " 11x5} 1
510}-A — Spring, Hammeleff 11x5} 1
510}-B- Summer, " 11x5} 1
510J-C-Autumn, " ]lx.5} 1
5101-D - Winter, " 11x5} 1
511}— Ages of Love, Thorwaldsen 18x7} 2
511}-B— Ages of Love, " 35x15 10 00
512}— Shepherdess with Nest of Cupids, Thor- waldsen 10x9 1 50
515}— Priamus begs Achilles for Hector's
Corpse 20x10} 2 50
516} — Abduction of Briseis from Achilles by
Agamemnon's Soldiers. '. 20x10} 2 50
517}- A— Spring, Thorwaldsen 10 1 25
II 50
1 50
75 1 25
1 25
25 00 00 00 00 00 00 00 00 25
No. Name. Height, io.
51 7}-B— Summer, Thowaldsen 10
517}-C-Autumn, " 10
517}-D-Winter, " 10
519} — Christmas Joy 12
520}— Musical Cupids 7
521}- A— Psyche with Cupids 21 x9}
521}-B " " " 21x9}
801}-A-B-C-D-E-F-FlamingoBoyB.'."..'.'.'.'.' 7x5} each,
592- Cellini Plaque 27
803- A— Morning, Thorwaklen 5}
803-B- " " 10
803-C— " " 22
812- A— Night, "
812-B— " - "
812-C— " "
997-Spring 10
998— Summer 10
,999— Autumn 10
lOOO— Winter 10
559— Symphony 17x13
730— Olympic Plays, Luca Delia Robbia 11x11
731— " " " " " 11x11
734-Singing Boys, " " " . ... 20x15
702— Music " " " .... 6}
701 — Horseheads, M. Angela 4
534 Consolation 23x15}
Price.
5} 10" 22
1 26 |
1 25 |
1 25 |
1 75 |
1 (H) |
3 00 |
3 00 |
1 25 |
7 00 |
1 CX) |
1 25 |
6 00 |
1 00 |
1 25 |
6 (X) |
1 25 |
1 25 |
1 25 |
1 25 |
6 00 |
4 (K) |
4 (X) |
10 00 |
1 00 |
50 |
6 00 |
C. Hennecke Co.,
MILWAUKEE:
79, 81 and 83 Buffalo Street.
CHICAGO:
207 Wabash Avenue.
Washing Statuaby. — No person would think of washing Marble or any other Art Statuary; as without great care, you might do it an irreparable injury. Custodians of Art Galleries seldom dust statuary, but when they do, they exercise the greatest care, in order to avoid polishing projecting portions, as they become marked or "dust polished ; '' this is very difficult to remove, and always leaves a stain.
Never handle or even touch statuary of any material, with the bare hand, as you will surely leave marks. Handle lightly, with soft tissue paper, cotton, or cloth, always take hold at the bottomof base with one hand when you lift statuary.
To answer the many inquiries we receive, " can your statuary be washed ? " we will say that our No. 1 Florentine, No. 4 Terra Gotta, No. 5 Pure White, No. 6 Marble White, Decorated and Ivorite Statuary can be washed.
Directions. — Thoroughly dust off" the piece to be cleaned, before applying water and Hand Sapolio. (Enoch Morgan's Sons). Take a soft sponge, dampen same in luke-warm water and rub the sponge on a cake of Sapolio; as soon as a good lather is produced which ought not to be too strong, apply to the piece and place to be cleaned. Only a GENTLE rubbing is required; never rub the cake of Sapolio on the statue to be cleaned. For parts that cannot be reached with the sponge or cloth, a small bristle brush may be used. Commence at the top and do not leave until finished. Do not give the water a chance to dry on the statue else it is apt to get spotted. Clear water should be used freely for rinsing, after the cleaning has been eff"ected with Sapolio. Dry with clean, soft linen cloth, gently pressing against the statue with same to take off any moisture that may remain on the surface. All Bronzed Statuary, Nos. 2, 3 and 7 will lose some of its lustre if washed, but it can be kept clean by dusting, and fly specks can be removed with moistened sponge or soft cloth.
Catalogue No. 5 -Statuary, etc., for Ornament — contains 100 quarto pages, substantially bound with flexible Leatherette Cover, illustrating and describing 465 pieces of Statuary and 236 Busts of celebrated personages from the earliest period up to the present time, enumerated in list A. 75 cents, post paid.
Catalogue No. 4, Art Studies for Design. — A book of 162 quarto pages, containing illustrated essays on Manual Training and Industrial Education, Art Education, Drawing, ^Iodeling, Clay Modeling, The Development of the Vase, Greek Pottery, Wood Carving, Original Composition, Grecian Mythologj', Biographical and Mythological Notes, with 834 illustrations; besides describing 1068 Antique Statues and Busts, Models, Anatomical Studies, Parts of the Human Body from Nature, Conventional Leaf and Flower Fonns, Vases, Architectural and Historical Ornaments, Animal Forms, etc., for Colleges, Schools, Academies of Design, Amateurs and Artists, enumerated in List D. To add to its value as a book of reference, we have appended comprehensive notes, giving a general descrijition of each Statue, name of Sculptor, when and where found, present place of original, mythological history, biographical sketches, etc. The elegant illustrations together with the text, make it a more valuable and complete book of reference for artists, designers, art students, or any person wishing to cultivate a taste for the beautiful, than any art book published. Will be mailed upon receipt of 81.50, post paid. No. 4 and 5 Catalogues to one address, 82.00, post paid.
Book of Photogravure Plates, containing, 203 illustrations of Ivorite Statues, Busts, Reliefe, etc., enumerated in List C will be mailed on receipt of 81.(X) — but credited on the first order for goods.
Experience has taught us that an edition of 100,000 Catalogues would fail to supply the demand, should we furnish them gratis to all applicants, we are therefore compelled to make a nominal charge for our Catalogues; but the amounts paid will be allowed on the first order for goods, making the books really free to customers.
Statuary manufactured by us can be procured of all first-class distributers of art goods.
To protect ourselves and customers from poor imitations, we mark each Cast with ^^^TpNlSTppTr* the following stamp: /q. -j^lJiN^Uit^ ^
In the absence of positive shipping directions, we send goods in the manner we {♦MANUFA0TUEFR9 •) consider the most advantageous to our customers. Having the best of facilities, and V ■^^-— ■"^- '
manufacturing in large quantities we are enabled to offer these high class goods at a very ^'^^^V^n^^z-zsi'ita'^' reasonable figure. Additions to our stock are being constantly made and illustrations and lists of the same will be mailed to our customers from time to time.
Having correspondents in all prominent European art centres, we can furnish any Statue, Bust, etc., not enumerated in this book. For Marble, Terra Cotta, Bronze and other Statuary, we would respectfully refer to our other Catalogues. To parties not acquainted with our goods and finish, we will send, post-paid, the beautiful figures. Spring and Autumn, in No. 1 to 7 finish for 50 cents each, in No. 9 finish for 75 cents each.
Busts or figures in Ivorite, in list C, under eight inches high can be sent as samples by mail at catalogue prices, post-paid.
c. hknneicke; co.
MILWAUKEE: CHICAGO:
79, 81 and 83 Buffalo Street. 207 Wabash Avenue.
ESTABLISHED 1865.
INCORPORATED 1889.
fieNNecKe's
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ART
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FOURTH EDITION-REVISED AND ENLARGED.
e. HeNNeeKe eo..
CHICilGO, Ibb., U. §. ft.
MibWisitJKee, Wis., M. §. ft.
THR
'^•y OP [UyTyF.R^TT
Hi
y Kntered according \ / to Act of Congress in the •# f year 1889, by
C. HENNECKE CO., j)^
■ffl^^lWl^^'^l *" the office of the Librarian /^^'s^^^
of Congress, at ashington.
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. H, VEWDALt a SONS CO,
MILWAUKEE
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liE-fiLlD CjRl.EiE:i^UX.I*"!ir IBElFOIiE OI5.I3EE5.IITC3r.
i-N ordering from this book designate it as Catalogue No. 4, or list D; order by Number and give price of article, thus avoiding errors where Numbers are not plainly written. All Casts that are made in piece moulds will be sent with cast lines, unlessodistinctly stated in the order without cast lines. Where Casts are ordered "tinted" — No. 5 pure white, or No. 6 marble white — we make an additional charge of 10 per cent, for same. f^sJj \d^(j^ Directions for washing " Tinted Plaster Casts" and for cleaning Plaster Casts not tinted, see list E.
^•~~^/l V\T^^ All Casts enumerated in this book are named in the Classified Index, pages 86 to 92, except Casts of Flowers, Fruit, Leaves and Parts of the Human Body from Nature.
Nude Figures, Antinous, Faun, Hercules, etc., will be sent with an adjustable leaf. Statuary manufactured by us can be procured of all first-class distributers of art goods. To protect ourselves and customers from puTor imitations, we mark each Cast with the following stamp :
In the absence of positive shipping directions, we send them in the manner we consider the most advantageous to our customers. Having the best of facilities, and manufacturing in large quantities we are enabled to ofFer these high class goods at a very
reasonable figure. Not only have we a large stock to select from, but our casts have also the full and unqualified endorse- ment of the foremost authorities on educational matters. Additions to out stock are being constantly made and illustrations and lists of the same will be mailed to our customers from time to time.
Having correspondents in all prominent European art centres, we can furnish any Statue, Bust, etc., not enumerated
in this book. For Marble, Terra Cotta, Bronze and other Statuary, we would respectfully refer to our other Catalogues.
Prices and Numbers given in this book cancel all former lists and quotations. Orders promptly and carefully
i*MANUFAOTUKERS.*y
filled.
Respectfully,
t^]
MILWAUKEE AND CHICAGO.
irv"'
sUiiisd "i'j^aijjiJijJ lisiil JjjiJiiN^-lviaJ iiKiii^srxii^ijo
BY PKINCIPAL CHAS. F. ZIMMERMANN, MILWAUKEE.
T must be evident to the most casual observer, that great changes are going on in the social aiifl ^^_ industrial life of our ])eoj)l('. The demands made Qj^fj upon each individual in order to fill his position in life creditably and with a fair i)rospect of success are greater now than ever before. It is not likely that this general activity and progressiveness in the commercial and industrial world will cease, consecjuently, the necessity for an education that is many-sided, that will equip the individual with in- telligence, skill, and power to grapple with the difficult problems of life.
If we carefully examine the course of study prescribed for our common schools, we nuist come to the conclusion that the training provided is inadequate to the demands made upon our youth after they leave school. All the exercises in school call for the active use of the brain, to the exclusion of the physical activities. If we wish to educate rightly, we must alternate mental with physical activity from childhood up through all the years of pre- paration for the duties of life. Any movement, therefore, that has the improvement of our school curriculum in view, and is based vipon sound psychological and peda- gogical principles, should receive attention and study.
Those who have studied the progress of education in America in the last decade, must have noted with much satisfaction the gradual introduction of objective methods of teaching, and the addition of drawing and manual training to the course of study in the High Schools and grammar schools of our large cities.
Hand-work is mind-work in a higher degree than most persons are willing to admit. The success of manual training is more often dependent upon the intelligence of the individual than vipon the hand. The hand can become skilful. It can become the servant of the mind. The lowest kind of work or labor need not exclude tliought. It is not the unintelligent copying of a model that is aimed at, but the ti'aining of the capable hand through practice an<l instruction, the cultivation of a practical intelligence in the individual, that shall enable him to make a fair start in lite, or prepare him for advanced instruction in some trade, industry or profession in our higher institutions of learning.
The exercises most generally recommended for intro- duction into our common schools, are lessons in elementary science, free-hand and geometrical drawing, modeling in
clay, the use of a few tools for simple wood-work, and the construction of paper arid paste-board models. In the High School and in Manual Training Scliools this training is extended to include laboratory work in chemistry and l^hysics, mechanical and architectural drawing and shop- work in wood, iron and the metals. Each pupil is given an opportunity to combine practical illustration with theoretical instruction, so that he shall be compelled to exhibit by drawings, or work in some material whether he has grasped the correct idea which the instructor sought to convey. The character of such instruction is apt to stim- ulate the pupil's interest in his lessons, and incite that love for self-activity which it is the dut^^ of the teacher to cultivate. Another gain resulting from such training is that the pujiil will want to work out his own problems — will become self-reliant.
In the 100 cities where manual training has been intro- duced to a greater or less extent, and in the 20 Manual Training Schools in the land, the enthusiasm in favor of combining the training of hand, brain, and eye continues unabated. I have given the utterances of some of our leading educators in the following piges. Many more equally pronounced in favor of this truly objective method of teaching (mis-called manual training) could be quoted, but space forbids.
The school which has in partial operation a complete plan of instruction based on the creative method indicated above, from the Kindergarten to the High School, is the Workingman's School and Free Kindergarten, conducted under the auspices of the Society for Ethical Culture in the city of New York. Prof Felix Adler has labored inde- fatigably for the last ten years to make the instruction in this school conform to rational methods and in consonance with his ideal of training the young generation for greatest usefulness. What an untold blessing it would be to the nation to have ten thousand schools of this type, and a hundred thousand teachers imbued with the true spirit of educational reform !
The Manual Training Schools are largely patterned after the Manual Training Department of the Washington University, St. Louis, under the directorship of Dr. C. M. Woodward. A description of the course of study pursued in this school is given in these pages. In the Scott Manual Training School, Toledo, and the Philadelphia Manual Training School,as well as in some others,girls receive instruction in sewing, cooking, drawing, modeling and
IV
C. HENNECKE CO., MILWAUKEE AND CHICAGO.
wood carving. The success that has attended the schools in the cities above named and in the Manual Training Schools of Chicago, Denver, Baltimore, Cleveland, New Orleans and other cities has stimulated the development of this class of schools in different parts of the country. Cincinnati is to have its Technical School, and Brooklyn has its Pratt Institute. The latter was endowed by Mr. Charles Pratt of Brooklyn, and has for its object the promotion of manual and industrial education, and to supplement this later by advanced work in science and art. Day and evening classes have been established, and the accommo- dations are ample'for the instruction of several thousand students.
And now let us consider briefly, in how many ways such objective teaching will aid the \m\A\ in the common school. What a flood of light is poured upon our instruc- tion in drawing, in g(!ometry, in natural science, if hand- work is combined with the theoretical study ! The forms are modeled in clay, cut out of paper or carved in wood. The preparation of the herliarium while studying botany, the preservation of specimens while studying zoology, the representation of crystals in mineralogy by paper forms or constructions made of wire, the relief maps in the study of geography, the construction of ajjparatus to illustrate lessons in physics, — all this is much more interesting to the pupil and of greater educational value than the memoriz- ing of all the facts contained in our text-books on these subjects.
The day is not far distant when the people of this land will put into operation educational reforms on a scale so grand as the woi'ld has never before seen, and when with one bound we will leap to the front in educational matters; when science, art and industry will walk hand in hand in our halls of learning, and the schools of this country' will indeed be the workshops where our mechanics and artisans are trained. The i)roducts of our varied industries will then show as much taste and skill of workmanship as articles manufactured in any of the European countries. Instead of being obliged to compete with foreign manu- factures, as is the case at present in nearly all the art- industries, America will take the lead, and her manu- factures will be found in every part of the globe.
2. GET TO Wt)UK AT ONCE.
" I am disposed to think that we should deal with this question of the introduction of manual education in our schools, in somewhat of a grasping spirit : that we should take all we can get, and this, as soon as possible. Not that I am anxious to hasten the complete result, viz., the universal introduction of manual instruction into our public schools, for at least, all scholars above the age of twelve ; not that I am sanguine of immediate success in whatever maybe to this end urvdertaken; not that I over- look the probability that some part of what may be at-
tempted will result in failure; but it seems to me that, where so great a task is before us, the sooner we get to work, somewhere, somehow, almpst anywhere, anyhow, the better. In such a case there is more waste in delay, in doing nothing, than in many mistakes made in doing something. This is not a situation to which Davy Crockett's maxim applies ; first be sure you are right and then go ahead. The very thing we have to do is to make experiments, to create experience.
" We know we are right in our general principles. The best expert opinion coincides with the increasing convic- tion of the community, that the traditional curriculum of the schools needs to be essentially modified, through the introduction of studies and exercises which shall train eye and hand ; which shall cultivate the perceptive falculties, so long and grievously neglected ; which shall create a respect for manual skill and dexterity, and for taste in design ; which sliall aff'ord scope and play for the creative and constructive instinct. Just what these studies and exercises shall be, in character and order of succession, is to be determined by experiment rather than by forecast. The question is one which requires to be worked out, rather tlian to be tliought out. The most that is likely to be done in the immediate present will not be more than is needed to accumulate the experience, which shall de- termine the direction which our eff'orts in this interest shall ultimately take
" For one, I believe that the introduction of the new studies and exercises which we are advocating will not prove a mere addition to the work of the school or college. I believe it will also profoundly modify the instruction given within the traditional line. Boys and young men who have learned to observe for themselves, to acquire knowledge at first hand, to give efffect to their purposes, and a form to their ideas ; who have been accustomed to impose their will upon matter, and to make it take shape to suit their intellectual conceptions ; who know how to project, to plan, to execute ; will have little patience with much that makes up the traditional curriculum. They will demand to be brought face to face with facts. Tliey will insist upon going to the bottom of any matter they have to deal with. That genuine intellectual honesty, which is the first fruit of the objective study to concrete things, will make them scorn to defend, in dialectical and rhetorical practice, theses which they do not thoroughly believe. They will grudge every hour spent in memoriz- ing matters for which they can at any time resort to the gazetteer or cyclopedia. It will be hard to impose on such students with sounding names, deceive them with sophis- tries, or bear them down by authority. They will care much for principles ; little for the manner in which these may be dressed up for effect, or tricked out for public admiration." — Gen. Francis A- Walker, President of Mama- ckuselU Institute of Technology.
MANUAL TRAINING AND INDUSTRIAL EDUCATION.
3. THE INJ)USTRIAL CLASSES MUST RECEIVE SUITABLE TRAINING.
"The education of the present must be shaped to suit tlie needs of the industrial masses, if it is to fulfill its proper function in the state. We must not close our eyes to the fact that by far the larger number of men in every civilized community are workers to whom a skilled hand is quite as important as a well-filled head. Is it not within the strictest bounds of justice and right to ask that the schools should undertake to do something for the practical necessities of these millions of men and
women ?
" The perfectly educated man is he whose facile hand follows obedienlly the clear and ready promptings of a well-developed brain. The hand is the most marvelous instrument in the world ; it is the necessary complement of the mind in dealing with matter in all its varied forms. It is the hand that ' rounded Peter's dome '; it is the lumd that carved those statues in marble and bronze, that painted those pictures in palace and church, which we travel into distant lands to admire ; it is the hand that builds the ships which sail the sea, laden with the com- merce of the world ; it is the hand that constructs the machinery which moves the busy industries of this age ()f steam ; it is the hand that enables the mind to realize in a thousand ways its highest imaginings, its profoundest reasonings, and its most practical inventions. Why, then, this disparagement of the hand in the schools? Why should not an organ which forms so vital a part of man's lieing receive a due share of attention in preparing him for the duties and responsibilities of citizenship ? There can be no question about th(! harm that is done to society by this neglect. The troulilc with so many departments of industry at the present moment is, that there are too few skilled artisans to put into form the ideas of the designers, that labor and thought are too far apart from each other. One reason why there is so much unrest among the working classes is, that our public education does not give them all the help they need to enable them to pursue their work successfully and happily." — ./«.•,•. Miic AliMer, Super intetulail Public Schools, PMladdphia.
4. Till-: STATE SHOULD PROVIDE FOI4 INDUSTRIAL EDUCATION.
M. J. Savage, in an article printed in the North Ameri- can Revkw avers that the American public school system is trying to do too mucli, and as a consequence is doing very little tlioroughly and well, while the things that ought to \h' of cliief importarK'e are certainly not accomplished. He says : " Since the state cannot, if it would, i)rovide all its children with ideal careers, it should at least not unfit them for their actual ones. I could multiply instances of how this is actually done. Witness the crowds of working girls in the great cities, not willing to fill a position of hon-
orable service in anybody's family ; none of them willing even to marry an honest man, and make a home for him, unless he can keep her in idleness, and furnish her with servants ! choosing rather to jostle one another for a place behind a counter, though on starvation wages that must be eked out even at the price of womanhood and honor. Witness the crowds of young men surrendering the home that might be earned by the 'labor' they think them- selves educated ' above,' and in its place taking a garret and amusements of which they had better be ignorant ; seeking for ' positions ' already too full ; while most of them are really not educated into the ability to do anything in par- ticular and do it well. The first thing that any boy or girl needs, on coming into this world is to ))e trained into an ability to earn an honest living. This, therefore, ought to be the first concern in any scheme for common educa- tion. And since it is determined by nature and circum- stances that the great majority of men and women must do some kind of manual labor, it would seem to be self- evident that any wise scheme of common education should train the hand as well as the brain. If any boy or girl is not so educated so as to be able to earn an honest living he or she is liable to become, directly or indirectly, a public charge. The state, then, has a manifest right in this matter. Thus the opportunity for an industrial education should be an internal and essential part , of our common school system."
5. WHY OUR COUNTRY-BRED BOYS MAKE SUCCESSFUL MEN.
In the report by Mr. William Mather to the English Government on " Technical Education in the United States and Canada," we find the following : —
" Too large a class of young people in America, of h6ih sexes, are seeking pursuits not requiring manual labor. Their education as given at present in the high schools and colleges, tends rather to unfit them for the active industries of life, in a country where the vast resources of nature are waiting for willing and trained hands to utilize them. The native born American hates drudgery, and all the mechanical arts when pursued without some knowl- edge of science to employ and interest the mind, while the hands are active, are more or less drudgery. The Ameri- can boy, with his inborn ambition and natural ingenuity, would cease to regard manual labor as drudgery, if his hand and mind together were industrially trained through the school period. He would then be led into industrial employments by choice, as the readiest means to climb to
a higher position in life The farmer's boy is
provided with an industrial training of the best kind in and around his home. His wits are sharpened, his per- ceptions developed ; there is a large field for the immediate application of knowledge acquired at school on the one hand ; on the other, the school exercises and lessons are more readily understood by the boy or girl having in daily
VI
C. IIENNECKE CO., MILWAUKEE AND CHICAGO.
life to deal directly with natural forces and laws. -These country or district schools, associated as they are with agricultural and mechanical occupations, produce better results, as a whole, amongst the artisan classes than the city schools, the attendance at which is for the entire school year of forty weeks. My attention has been drawn to this fact by many employers and educationists, and it has been confirmed by my own observations. It siu/gests tJie iiiiportaacc oj' introditciiui into the elementary publw gchooh of cities some indastdal training. ' Our brightest boys come from the country,' is a phrase which has- become very familiar to me in America."
6. M.\NUAL LABOR AND CIVILIZATION.
Read what one of our most intelligent laymen says in his book on Manual Training.
" The disposition to undervalue the hand is an inher- itance from the speculative philosophy of the ancients. Plato regarded the soul's residence in the body as an evil. The effect of this false doctrine has been the degrada- tion of manual labor; and it is not less absurd than wicked to treat manual la])or with contempt, since to it we owe all the visible results of civilization.
" Mechanics stand the test of scrutiny better than mer- chants ; civil engineers and architects are more competent than railway managers, lawyers, judges and legislators. Why? Because the former are educated in the world's workshops and institutions of technical instruction ; they are trained in tilings, while the latter have only the auto- matic word-training of the schools. Ninety-seven mer- chants in one hundred fail ; lawyers and judges produce a most pitiabk wreck of justice, and the statutes of legis- lators wear out in a year. But every locomotive that leaves the shop is perfect ; bridges last a century, and the works of architects and builders stand as monuments of skill and fidelity long after their makers are turned to dust. The cause of these failures is this : Subjective mental processes (the word-training of the schools) are automatic, and hence they neither generate power nor promote rectitude. They enfeeble rather than energize the brain. Ideas and things are indissolubly connected, and a system of education which separates them is fundament- ally defective. Why store the mind with fiicts which are useless until applied to things, if they are not to be applied to things? And if they are to be applied to things, why not teach the art of so applying them ? The system of education that does not do this is one-sided, incomplete, unscientific." — Charles H. Ham, Chicago.
7. LITTLE THINKING BUT MUCH MEMORIZING.
"It seems that the school-room, as ordinarily equipped, is as ill-fitted to exite the power of observation as it is possible to have it. Our whole course seems to be about things, not a study of things themselves. The pupils see
through the eyes of some one else. They accept his thoughts. They do not draw their own conclusion, simply because they have never observed, have never learned how to weigh evidence, nor to sum up the testimony. In short, there is but little thinking, but an avalanche of memoriz- ing
" Practically, the whole matter of education is, in in- ception, growth and continuance, an institution of the state. The people at large are the ultimate source of all this power, bearing cheerfully the b&rdens laid upon them, and in consequence having a right to demand that the result of all this expenditure shall be in value equal to the cost
"The pupils who are being trained in our schools now are to be the 1>usy men and women of the next ten years. The busy hive of industry will be as full of workers then as now. The age of research, of discovery, and of in- vention, has just begun. The demands upon those who hold themselves out as teachers are ten-fold greater now than ever before. There is more to lead astray ; there is sharper competition ; there is an intense earnestness in every direction. Lines of throught are specialized as never before. The ocean of knowledge is so vast that one must be content to explore a small portion of it. There is a call for definite work, definite instruction ; for a putting forth of the powers of the being in work between sharply- defined boundaries. Can we aft'ord, longer, to carry out a system that fails to fit our children for real work?" — T. 0. Crawford, Oakland, Cal.
8. OUR SKILLED .MECHANICS ARE FOREIGNERS.
" The training which the children receive in most of our primary grammar and high schools is calculated to prepare them for commercial, professional, or literary pursuits, and next to nothing is done to direct their minds to industrial occupations. What wonder, then, that the mercantile field is over-run with applicants for })la(es. Crowds of boys, anxious to obtain a situation in some kind of an ofiice or a store, are annually turned out of our schools, willing to serve for almost anything; whilst in the manufactories and shops, where skilled manual labor is required, the foreign element predominates; and it is especially noticeable that the higher the grade of skill required, the more we have to depend upon foreign talent to design and execute the work. I could cite innumerable instances to verify this statement. In the General Inspector's Office of Iron-clad Steamers, a depart- ment in the Naval Construction Bureau, during our late war, were employed some twenty-five draughtsmen. Of these, six were designers of machinery and vessels, the rest copyists. Of the former, four were Germans, one Scotch and one a Frenchman; and of the others more than two -thirds were foreigners of different nationalities. In one of the largest ship and engine
MANUAL TRAINING AND INDUSTRIAL EDUCATION.
building estab]ishincntt< in Boston, the head draughtsman was a German; foreman pattern-maker, English; l)r),ss joiner, Nova Scotian; boss boiler-maker, Scotch; ])hick- smith, Nova Scotian, and nearly all the best mechanics in every department foreign bom. The same condition, or nefirly so, is found to exist in most all large manufactories throughout the United States where skilled labor is re(iuired, esi)ecially in furniture and piano factories, stained glass and architectural iron works, potteries, house decorat- ing, engraving and lithographic estiiljlishments, etc.
"The vast imi)rovements in machinery, together with inventions and discoveries of new processes, have (tom- pletely revolutionized every department of labor; even the farmer is turned into a half machinist or an engine tender, and should know enough about his agricultural machinery to attend to the many little repairs and adjustments neeessary to keep it in pro2)er working order; in other words, he should be not only a farmer but also a mechanic. Although the demand for skilled labor is now greater than ever, yet it is a well-known fact that we have no regular system of training boj's so that they may liecome skilled and efficient workmen in any industrial occupation.
" It seems a little strange that such an important matter should be so lightly 'treated in this country, when our success in competition with foreign manufactures depends so largely ujion the excellence of workmanshi]) and originality of design. How can this be secured, but by giving our attention to the proper training of our artisans? And this must be begun in early childhood toUowed step by step in regular progressive order through all the grades of public schools. Unfortunately, boys ai'e too often discouraged bv their own foolish parents from cultivating a taste for industrial occupations; labor, once held honorable, has come to be regarded as degrading, and to make a living by your wits considered smartness; to borrow a dollar, invest in some speculation and pocket the margin is called business; and he who knows best how to take advantage of his fellow-men, amass a fortune while rendering no service to the world, enjoys the luxui'ies of life, and looks down disdainfully upon an honest working- man The fearful spread of dishonesty and corruption in busine.-5s and in politics, to which we are daily witnesses, is the natural outgrowth of this diseased state in our body politic, and must be met by the strongest and most resolute combined efforts of school, church and honu^ in order to bring l)ack that sturdy sense of honor, industrious habits and contempt for idleness, the corner-stones upon which our forefathers raised their prosperity and success.'' — Prof. Otto Fiwhn, Priiwipdl Maryland Institute of Art and Design, Bultinwre, Md.
9. M.'iNUAL TKAINING AS COMPAKKU WITH THE APPBENTIOE- SHII" SYSTK.M.
" I will now show that a manual training school is better than any system of apprenticeship, and hence better than any trade school.
"To the commercial method, of more or less formal apprenticeships, several very serious objections arise. First and foremost, the apprentice stops going to school. His mathematical, scientific and literary. training, stop the moment he enters upon his effort to secure manual training. This fact alone ought to kill apprenticeship. It has degraded all mechanical pursuits— not simply brought them into bad repute, but has actually degraded them— and has given rise to the notion that a mechanic needs no education beyond the rudiments of the grammar school, aside from what he picks up at his trade.
"Then again, in apprenticeship at any kind of tool work, the boy is not taught drawing as a part of his trade, and yet tool work, however skilful, without drawing is the thinnest, lowest sort of apology for manual training. Not one journeyman mechanic in a hundred is as good a draughtsman, or as intelligent in reading drawings, as the graduate of a manual training school.
" Thirdly, the ordinary apprentice gets at best a very narrow kind of manual training. He is made familiar with a very limited range of work, and he is kept at that far beyond the needs of intelligent mastery, till the mechanical habits of a rapid workman are fully formed. Henceforth his handiwork is the result of habit, not of thought, and his intellectual progress as connected with his work is at an end.
" But there is a fourth argument against the commer- cial way of getting manual training, which, to some, may outweigh all the rest, serious as they appear to be, and that is this : To put a boy fourteen or fifteen years old to learn a trade as an apprentice is as a rule to commit him to that trade for life, without intelligent choice of occupa- tion and with little chance for correcting a mistake if one is made. It is a crime against freedom and humanity.
" There are plenty of people whose mental make-up is such that, while they may succeed fairly in other paths of labor, they are unfit to be mechanics. They have not the ability, the proper mental qualities. To set up such people to learn trades is most unfortunate. They are sure to be low grade, indifferent workmen, always strug- gling against a fate, which a better knowledge of their capacities would have avoided. The fact is that, until one has had an opportunity to develop his faculties, neither he nor his teachers can tell what his ' bent ' is, nor what there is in him.
" The student of the manual training school takes all his work without bias. There is no presumption either for or against a particular line of work in life. He is as
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free as it is possible to he. He pr()])ably changes his mind every year on the subject of what occupation he is best fitted for. At the end of his school course, however, he is likely to see clearly where he is strong, and where he is weak, and to direct his choice in the direction of his strength.
" I see nowhere, in either ancient or modern times, a people whose youth have been trained as our youth should 1)6 trained. Neither Babylon, nor Athens, nor Rome, with their pinnacles of culture resting on the barbarous foundation of human slavery; nor the blooded aristoc- racies of more modern times, buttressed and supported by millions of laborers, ground down in ignorance, poverty and superstition; none of these can teach us how to educate, construct, and adorn an American citizen. We must not expect all our boys to rule, or to be ruled; to direct, or to be directed; to employ or l)e employed. No narrow, selfish aim, no prejudice of caste, no false (;laim of high culture must mislead our pupils.
" Give them a generous, symmetrical training; open wide the avenues to success, to u.sefulness, to happiness, to power; and this ago of scientific progress and material wealth shall be also an age of high intellectual and social progress." — Dr. G. M. Woodward, Principal Manual Train- ing School, St. Louis.
10.
VALUE OF TRAINED MEN.
The Massachusetts Institute of Technology has now 827 students in the school of industrial science, and 71 in the school of mechanical arts and the Lowell school of practical design. Of the value of the Institute's training. President Walker says : " Here is a case in point : The ])resi(lent of one of the great lines of transportation in tliis country — a man with a genius for organization and execu- tion— said to me l)ut a short time ago, that he could take a young man of good sense, good judgment and good habits, a graduate from our course in civil or mechanical engineering, and, by passing him through the successive grades of responsibility in railroad mansigement, could in five years' time make him a better general superintend- ent than could bo made of a man lacking this prepara- tion in twenty years. The day of half-trained men is past in this country, in all occupations — or is rapidly going past."
11.
GOOD POSITIONS FOR GRADUATES.
"The president of the Rose Polytechnic Institute, during the graduating exercises, referred, with justifiable pride, to the fact that nearly all the graduates would at once enter into profitable positions. Compare the graduating classes of all the technical schools in the land with the classes graduated from the medical, legal, and commercial colleges in the same period, and no doubt it will be found that in
the former the majority at once liegin life with good {)osi- tions, while in the latter many a studcait must expect patient waiting for more than a bare support."
In 1886 Dr. Woodward, Principal of the St. Louis Manual Training School addressed a circular, to the grad- uates of his school for the purpose of ascertaining the results of the training they had received. The summary of occupations in which the young men were engaged at that time shows that twenty-five were students of engineer- ing, law, and medicine; twenty -three engaged as clerks in banks, railway offices, and manufactories; ten W(!re engaged as teachers, mostly in manual-training schools; nine as draughtsmen with architects and manufacturers; six as machinists; five as artisans; five as ranchmen and farmers; four as Ijusiness men; two as engineers, civil and mechan- ical; two as manufacturers; one as a leaker, and two whose occupation was not known. Out of the class of 1883, twenty-two out of twenty-nine are in business and the average rate of wages according to answers received was $68 per month. Out of thirty of the class of 1884, twelve roporttnl as (jarning regular wages. This average was $78 per month. Of the class of 188o, fourteen out of the thirty- nine have been earning wages at the average rate of $70 per month.
Dr. Wooward says: "About half the boys who attend the school get less than the whole course. For a variety of reasons they drop out. A mucli larger per cent, of such boys become mechanics than of the graduates. I have had many excellent reports from and concerning them, but I have not kept the reports on file."
12. A PRACTICAL EDUCATION DESCRIBED.
''But while well-meaning educators have been giving attention to manual exercises as a means of better fitting the young for a future occupation of labor, the incidental advantages have proved well worthy of consideration; for they could not fail to notice that the mind, itself, receives very material assistance when the bodily powers are, at the same time, brought under systematic develo])ment. And so it happens that not a few who at first favored handwork in school, from the utilitarian point of view, have at length come to consider it as yet more advanta- geous for a systematic development of the whole being, whether actual use is ever to be made of trade skill or the student is to live otherwise than by bodily labor. It is this phase of industrial education, in which hand-work appears as the auxiliary of head-work, and not as the leading feature — it is this phase which most concerns us who are gathered here, whose life-work is not to guide pupils in the narrow channels of special callings; but to make them intelligent, virtuous and useful citizens. . . .
" In studying the sciences, facts must be gathered in and digested and assimilated, iind all this cannot be done by the hearing of the ear, by the study of books, or attend-
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ance at lectures. It is getting to be better and better understood that the student must put himself in the atti- tude of an observer and investigator. He must see with his own eyes, and feel with his own hands. He must use his bodily senses as well as his intellectual faculties. And he niust bring to his aid the various instruments which the rigorous demands of science have caused to be invented. And thus it comes that our higher institutions of learning must have their well-equipped laboratories of chemistry, and physics, and biology, and their collections of illustrat- ive specimens in mineralogy, and botany, and zoology, and even in technology. The student of medicine must himself dissect the human body and frequent the hospitals. The student of physiology must himself use the scalpel and microscope. The student of engineering must himself work with level and transit. The student of astronomy must learn with instruments what is meant by right ascension and declination. The student of mechanics must himself measure velocity and resistance, and test the strength of materials. I^aboratory teaching and laboratory work is getting to be the prominent feature of schools of science, and a not altogether subordinate one in the colleges of liberal arts. And yet with the present subdivision ol professional labor, the physician may never ply the knife among living muscles and arteries and nerves, and the chemist may never have occasion, in after life, to make an analysis. Then why require superfluous work of the young aspirant ? Because ideas that come through the hand and the eye come to stay. Because touch and sight correct the crude perceptions of the mind ; because direct observation shows more in a moment than whole pages of words can set forth. And now as hand practice is proving so valuable in the higher schools, the question comes up whether in the elementary schools also the direct sources of knowledge shall not be trained, in- stead of exercising memory alone. The most marvelous instruments that ever were made, are the eye and that culmination of contrivance, the human hand. Think of this much articulated member with its manifold executive powers. Think of those thousands of nerve loops in the finger tips, which bring the ))rain and mind into contact with the outer world. With the hand we become cog- nizant of the hard and soft, smooth and rough, sticky and slippery, even and uneven, sharp and dull, rigid and flex- ible, hollow and solid, thick and thin, wet and dry, warm and cold, heavy and light, strong and fragile. With this we take f)ur food, with this we fashion our garments, with this we build our houses, with this we create forms of beauty, with this we transmit our thoughts. These are eyes to the blind and speech to the duml>. Shall the schoolmaster continue to exercise in writing only, this member on which the Creator has lavished so much skill ? We have gymnastics, to be sure, to give strength and suppleness to the body ; but, except in quickness of catch,
and firmness of grip, gymnastics leave the hand un- trained
" The school should start the child aright, guide him in the right direction, and economize his strength. The aim should be, not to turn out pedants or narrow special- ists, either of high or low degree, but to develop all the powers systematically and make intelligent, capable, self- directing men and women And whatever pursuits give the best mental and physical discipline, are most worthy of a place in the course of instruction. Order, exactness, neatness, love of beauty, and inventiveness are desirable in all. In reading, the pupil may think he does pretty well if he pronounces most of the words rightly. In writing, he is satisfied if the letters are not quite all of a height, and their forms are only a little remote from the copy set. But in making a dove-tailed wooden box, hasty measurements and rude approximations will not answer. Ill-matching joints bring on one the laugh of his fellows and his own self-condemnation. Exactness is seen clearly to be the artisans first law. The boy may be tolerated in translating Greek or German into limping English ; but when he tries to smooth a board with a notched plane, he is forcibly reminded that the tool must be ground. The discipline of fitting things is far more effective than that of shaping letters, or arranging words. The pupil's patience breaks down when he tries over and over again to do the elusive sum in arithmetic, but he is so delighted to use his hands that he is not disheartened by repeated trials till the joints are neat and true
" We must look out for a practical education suitable for the great mass of boys and girls. Let it combine the kindergarten and the primary school, the slojd school and the common school. Let it include finger plays and object lessons for the little ones, hand-work for the middle school, drawing, modeling and manual training in the more advanced schools, and, for as many as can go farther, the physical, chemical and biological manipulations of the scientific schools and colleges. So shall we at length succeed in bringing up a race of true men and women with trained muscle, trained mind, and executive power." — Dr. John M. Ordway, Principal Mnmud Training School, Tulane University, Neio Orleans.
13. BENEFITS RESULTING FROM THE INTRODUCTION OF THE
ELEMENTS OF PHYSICS AND MECHANICS INTO OUR
COMMON SCHOOI>S.
" The jjurpose sought by the advocates of so-called industrial education is the training of the eye and the hand of the pupil, and his acquisition of those elementary principles of physics and mechanics which underlie all dealing with the forces of nature and with material objects
" Beginning with the pupil at the stage when kinder- garten methods and appliances are exhausted of their
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efBciency, tlie scholar should be instructed in the elemen- tary principles of physics and mechanics through the use of simple models and apparatus, and should become familiarized through frequent statement and illustration with the fundamental conceptions of geometry. There is a deep-seated popular error as to the age at which such things as the above can advantageously be acquired. It is too often assumed that because the young child is not competent to study geometry systematically he need be taught nothing geometrical ; that because it would be foolish to present to him physics and mechanics as sciences it is useless to present to him any physical or mechanical principles
" A child of ten or twelve years is capable of under- standing the principle of the lever just as perfectly as did Archimedes of Old Syracuse. Once implant that concep- tion in his mind and it becomes germinal, and, without watering or tending, will bear fruit perennially through all his life.
" A child of the same age can comprehend the prin- ciple of the arch, when illustrated by a few blocks from a carpenter's shop, as fully as does the architect who hangs a stone dome 100 feet in the air ; and when he has once comprehended all the construction and office of the arch, his eye will never thereafter fall unintelligently upon an example of it. A child of the same age is capable of com- prehending the law of perspective. Why in the name of common sense should one go on for years, walking through our streets or over the fields, his eye falling at every glance upon some object which is subject to the law, and yet never be instructed regarding it?
" Do you ask how much of the elements of physics and mechanics should be given to the child of tender years ? I answer, just as much as he will take, be the same more or less. And it is always safe to offer him a little more than he will take. It can't do him any harm. Cramming him with hard and lumpy facts from so-called geographies or histories, may produce mental indigestion or colic ; but an idea, an apprehended principle, never yet hurt a human being, and never will to the latest syllable of recorded time. For myself, I would not stop short of teaching a child the doctrine of the persistance of force through all its transmutations. Doubtless he would at first fail to apprehend it fully ; yet he would gather some- thing from its familiar, picturesque enunciation ; and, as the proposition became familiar to his ear, and as illustra- tions of the equivalency of motion, heat, light, and sound were multiplied and repeated to him, I should hope that he would grow into an apprehension and appreciation of this grand and all-embracing law.
" If it be asked of what advantage would it be to the youthful mind that it should be taught these and the like things, I answer : First, That if to observe phenomena quickly and clearly, if to reflect closely and justly, if to
acquire an habitual, and in time, instinctive disposition to trace effects to their causes, if these things be among the prime objects of education, comparison may be chal- lenged between the matter of study that has been described and the work that now takes up two-thirds of the time of the scholar of the age we have been considering. Secondly, That if the direct usefulness of the information acquired be adojjted as the test of different systems of instruction, the elements of geometry, physics, and mechanics have preference, in an enormous degree, over the traditional studies of the primary and grammar schools. But, thirdly, that the main argument for the early acquisition of these elements is to be found in their usefulness as a preparation for the study of geometry, physics, and applied mechanics in later years
" The consideration which weighs more than any other, in my mind, is that the introduction of shop-work into the public schools, closely affiliated with exercise in draw- ing and design, will give a place, where now there is no place at all, or only a most uncomfortable one, to those boys who are strong in perception, apt in manipulation, and correct in the interpretation of 25henomena, but who are not good at memorizing or rehearsing the opinions and statements of others, or who, by diffidence, slowness of speech, or awkwardness of mental conformation, are un- fitted for intellectual gymnastics. It is mighty little which the ordinary grammar or high school does at pres- ent for scholars of these classes. Not only do they at the best, get little personal pleasure from their work, and receive little of the commendation of the teacher, but, in the great majority of cases, they are written down block- heads, at the start, and have their whole school-life turned to bitterness and shame. And yet it not infrequently happens that the boy who is so regarded because he can- not master an artificial system of granunatical analysis, isn't worth a cent for giving a list of the kings of J^ngland, does'nt know and does'nt care what are the princijjal productions of Borneo, has a better pair of eyes, a better pair of hands, and, even by the standards of the merchant, the manufacturer, and the railroad president, a better head, than his teacher
''The introduction of practice in the mechanic arts would strike a responsive chord in tlie hearts of all boys of the class I have so inadequately described ; it would at once give them something to do in which they could excel ; it would quicken their interest in the school ; it would save their self-respect ; to many of them it would open a door into a practical life." — Gm. Francis A. W(dker, Presrident of Ma»mch%i»elt.s Inditutc of Technology.
14. WHAT CAN KE ATTEMPTED IX OUR COMMON SCHOOLS.
" Having made this subject a special study for the last fifteen years, I have tried to find out the best method of conbining industrial and intellectual training in the lower
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as well as higher grades of schools, and I have arrived at the following conclusions : —
" First. All children should be made as familiar as possible with the language and the common terms used in the common employments of life.
" Second. They should be trained experimentally, and practically to a certain extent, in the elementary principles of these common employments, in order to secure for them a correct understanding of their nature and demands, and also a proper regard and a mental sympathy for the repre- sentatives of capital and labor — or for the so-called profess- ions and common employments — so that every necessary employment shall be considered equally honorable and respectable.
•' Third. The manual part of this training should be of the simplest kind in our elementary schools, and should be given with the simplest tools and machinery, and with as little expense as possible. Some of the most formidable objections to its introduction arise from the heavy and needless expense and cumbersome machinery which have hitherto been considered necessary. It can easily be demonstrated that the most important educational feat- ures of industrial and manual training can be secured with simple and inexpensive machinery and tools.
" Fourth. This training should be wisely adapted to all pupils alike, and brought within their reach; especially of the largest number, belonging to the middle and poorer classes, who most need it.
" Fifth. While all needed industrial training is to be secured, it should not be allowed to interfere with such intellectual training as every child should receive, but it should rather serve to make that training more effectual and complete. For no education is complete which does not primarily develop and train the mind and the heart
" While evidently it would generally be better to have a specifically prepared room for industrial work, yet as the child under ten or twelve years should be mainly con- fined to the acquisition of the most elementary principles, to the meaning and use of the language and common terms used in the common employments of life, one and the same room and the same teacher, if properly qualified for each grade, may be employed for the first four or five years
" As soon as the elementary course of industrial training, (for this training should be carefully graded upon natural and progressive principles), and it becomes necessary to use such heavy apparatus, tools, and machinery as cannot be well introduced into the school-room above described, it will lie necessary to provide a special industrial room, in which the most appropriate, but simple, tools and machinery may be used regularly, but alternately with the necessary intellectual exercises. But it must be continu- ally born in mind that both industrial and intellectual
training in our public schools should be regarded and used as means of such an education as will be preparatory to some future employment or profession, and not for the specific purpose of teaching trades or for the acquisition of book-knowledge. All preliminary school-training should be so conducted as to furnish such a preparation as is needed by all alike who expect to follow any trade or profession.
" When this preparatory training is completed, after leaving the high school or college, then our pupils should enter the trade and professional schools, where they can enjoy enlarged opportunities to fit themselves, theoretic- ally and practically, for their chosen life-employment." — Zalmon Richards, Washington, D. C.
15. MANUAL TRAINING INTRODUCED IN ALL THE GRADES.
"A discussion and application of the principles, methods and value of manual training was begun in this school nearly six years ago Four rooms in the school are now devoted to handwork. One is used for clay and wax modeling; another for paste-board work and wood carving; the third for woodwork and the fourth to the making of relief maps. The hand work is done by all grades when- ever and wherever it is needed to assist in the development of a subject. Much independent work is done by pupils outside of school hours. The financial means are limited, the teachers lack training and the methods are crude. The results, however, under these unfavorable circumstances, prove that hand work trains children to love work, to be cleanly, orderly and systematic. They prove that hand- work lies at the basis of logical reasoning and clear thinking; that making with the hands is organically connected with all other branches of study, and without it the harmonious development of body, mind and soul is an impossi- bility. Manual training is intrenched in the soundest psychology; it finds its most cogent support in the phil- osophy of history, and its noblest use in the needs of humanity. It has come to stay if trained teachers can be found to keep it." — Francis W. Parker, Principal Cook County Normal School.
16. COURSE OF STUDY FOR A MANUAL TRAINING SCHOOL
OUTLINED.
" Turning, then, to the relation which the manual-train- ing sustains to the technical school, let me for a moment consider its curriculum. It must evidently give a thorough training in the lower mathematics — arithmetic, algebra, plane and solid geometry. There will be abundant oppor- tunity to use the facts and methods of arithmetic and geometry in the shops and drawing-room ; but no famili- arity with the facts, no faculty in instrumental drawing, should obscure the value of purely geometrical reasoning. Algebra is rarely applied unless one needs its methods in higher physics, mechanics, and astronomy. As a rule, not one student in five goes far enough in mathematics, pure and applied, to make an intelligent use of his algebra ;
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nevertheless, his knowledge of its elementary methods must be full and clear.
" The elements of botany, chemistry, and physics, in- cluding at least their phenomenal sides, and some of the more obvious generalizations, should be thoroughly studied during the course at the manual ; but in every case the laboratory method should be used. Generaliza- tions made by an author for which no sufficient evidence is presented to the student, are of no educational value. They are like assertions in history, or geography, which are to be taken on faith. Real objects, personal experi- ments and tests — I care not how familiar they may be to the teachers —must give the student his basis for judg- ment and generalizations. Above all, I would advise teachers to avoid putting their elementary students at really new work ; at strictly original research. All the ground should be familiar to the teacher, and, though the pupil approaches it as a learner —as a discoverer of new truth — the teacher should, as a rule, know what he ought to find. I have no patience with premature researches and childish inventions. I am inclined to think that chemistry is easier to teach in a laboratory than physics, on account of the latter's great demand for skill in manipu- lation and construction in the physi cal laboratory. One must be somewhat familiar with all work in woods and metals in order to properly study physics. In future, we shall put our study of heat, electricity, sound and light, after the study of chemistry, in order to give time for the tool-training needed.
"In a technical school, students have little time for history and literature ; hence both should come systemat- ically into the preliminary or manual-training school. The students are old enough to appreciate something of style, and to tell good writing from bad. By conscious imitation of good writers, they really learn to say things clearly, to use language accurately when they know what the thought is which they are to express ; and they can easily master the simple mechanical details of composition. American and English history, and possibly some general European history, should be learned early, and always with a certain amount of geographical study.
" No technical student should be ignorant of the ele- ments of Latin, and a fair reading command of at least one modern language in addition to his own. No study of words is so fruitful in clear analysis and a high appre- ciation of the importance of slight changes of form, of endings, and auxiliaries, as that of Latin. It matters comparatively little whether the student remembers in after years the vocabulary or the exact forms of Latin verbs ; the important thing is that he will never look upon any language without feeling the influence of his Latin study. Either French, German, or Spanish, should be carefully studied at least one year before entering the technical school.
" Experience has shown that the drawing course can be carried much farther in the preparatory schools than was formerly supposed possible. In the first i:)lace, they readily master orthographic and isometric projections, and employ them naturally in both freehand and instrumental work. They rapidly become expert in the use of T square, triangles, drawing-pen and brush, using India ink or colors. Accuracy, clearness and finish are acquired by systematic study of elements, and there is no lack of in- terest, though picture-making is very rarely indulged in. A certain number of very instructive drawings must be made by each student to illustrate abstract principles and to represent ideal forms ; but in all cases where it is poss- ible to draw from objects, objects only should be used.
" In the selection of objects, great care should be taken to find simple ones, and yet a wide variety Pupils are rarely fit to make their own selections. Some of the elementary principles of descriptive geometry may be introduced. With the exception of a little conventional perspective, so-called, I would leave perspective for the technical school.
" The elements of tool-work in woods and metals I regard as eminently appropriate to the educational work in the manual-training school. It is admirably fitted to meet the physical, mental, and moral natures of all healthy boys from the age of thirteen to eighteen. I make this statement without any reservation whatever. I am speak- ing now about manual-training schools, but were I talk- ing about classical schools which do not have tool-work in their course of study, I should say the same thing ; nay, I think, I should say it with greater emphasis in reference to those classical schools which afford so little opportunity for dealing with the concrete and forgetting primitive notions of the laws and properties of matter and force." — Dr. C. M. Woodward, Principal Manual Training Sdwol, Washington University, St. Louis, Mo.
17. MANUAL TRAINING IN PUBLIC SCHOOLS A SUCCESS.
H. W. Compton, Superintendent of the Public Schools of Toledo, Ohio, gives an account of the successful work acccomplished in the Manual Training School at that place in the following language : — •
"The manual-training work began in a humble way in a small room, with sixty boys and girls in the classes. These were pupils of the public schools, and did their regular work in connection with free-hand and mechanical drawing, and carpentry in the manual department. The school began to make friends of its enemies. Those who had indulged in hostile criticism of the enterprise, gradually grew silent. The second year a large four-story brick building was erected, and equipped with steam power, benches, tools, lathes, forges. Ample room was provided for free-hand and mechanical drawing, special prominence being given to architectural iind perspective work. A domestic economy department was added, in which girls
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study the chemistry of foods and their preparation for the tiil)le. A Sewing class has been organized, in which the cutting and fitting of garments is taught. A class in clay- modeling mold the forms and designs used in the arts. The students have increased to about three hundred in all departments, and from the beginning have manifested the greatest interest and enthusiasm for the work. This intense interest in the new work had at first to be so modified as not to interfere with the regular prosecution of the intellectul or class-room work proper. After some experimenting, the two lines of work were harmoniously adjusted to each other. Boys and girls pass from their algebra and history to their drawing, wood-carving, or clay modeling, and from these again to geometry and English literature, with a hearty zest for all. The girls in the domestic economy department con their Vergils or don their cooking suits, and prepare with ease and grace such savory and palatable food as would mollify the most radical opponent of industrial training. In short, there is such a harmonious blending of the useful and the practical with the higher intellectual culture, that the unprejudiced needs but to inspect the work to be convinced of the reasonable- ness and great utility of such training. The advantages of tlie manual department are open to none except pupils of the public schools. Those who take the manual work do the same amount of mental work in the regular class- room studies as those who have no work in the industrial
department
" Manual training is a successful and satisfactory branch of study in the Toledo schools, not because it is theoretically a good thing, nor because it is given undue prominence and special advantages, but because it is in harmony with the nature of things, has a noble purpose in view, has been well managed, has good instructors, and has proved itself of great value to the pupils."
18. THE ECONOMIC SIDE OF MANUAL TRAINING.
" I believe the work shops of manual training have a pedagogic and an economic value; that the economic side of that work is that it should enable the person who had done it to do better work, to bring out l^etter results, to accomplish something in the way of getting his liveli- hood; and that the pedagogic side is to do something towards making him a larger and nol)ler, more perfect and more complete man. Undoubtedly this question of man- ual instruction has its utility on both these sides. There cannot be anything in the way of instruction, anything in the way of training or discipline, which shall not have its pedagogic value. Yet it appears to me that the chief value of this manual training belongs on its economic side, and I am disposed to protest right here against the assertion tha,t is sometimes made that they do not care to discuss the economic side, that will have nothing to do with this. I believe the time is rapidly coming, and we
are being forced to it by the circumstances round about us, when young men and young women must get in schools their instruction in trades, because there will be no other possible way in wliich they may get that instruc- tion; and that boys and girls will come out of those insti- tutions ready to earn their daily bread. I cannot see how this is to be got at entirely except through educa- tion."— Dr. Selim H. Peabody, Premie at Illinois University.
19. NECESSITY FOR TECHNICAL SCHOOLS.
" One of the things well settled is that we are to have a great multitude of schools for instruction in the arts, of variovis grades and peculiarities. Those who object to anything more, to reaching the children of the people more widely, concede that this, at least, is coming. The necessities of diverse manufacturing industries, the trend of production and trade, the pressure of domestic com- merce, the competition of foreign skilled labor, trained in such schools abroad,all make this inevitable. We cannot now hold our own among civilized and productive nations without it
" Everyone can see that departments in colleges and universities linking the education of the hand with established courses of higher instruction are multiplying, and that no departments are to multiply faster, though independent institutions for the same end may out- strip them. Municipalities lying near to great stores of raw material and of coal will ere-long be obliged to multiply these; the enterprise of business men and manufacturers in such marts of produce as Kansas City, Omaha, and Minneapolis, will emulate the example of those of Chicago; the division of labor going on so fast, and the distribution of specific trades, each with its own technique, will originate other schools, like and unlike, in smaller centres. We shall have towns like Chemnitz in Saxony, with a half a million of dollars of property in Higher Technical, Foremen's, Builder's, Machine, Drawing, Weaving, Hosiery, Agricultural, Tail- ors', and "Fort-bildung" Schools— the work of 100,000 persons within the city connected with that of twice the number without, and all other types of education on a par with that which prepares for the university. In all these schools for direct instruction in the arts the principle must l)e difi'erentiation, to a degree which is not possible in general education, lower or higher, though this must be less and less independent of it. Even our high schools cannot now be run in one mould. The useful art institutes of various regions, and even of the same region, must needs differ. Generous men, too, are quite as likely to follow the example of Purdue and Case and Rose as those of the great names whose munificence has made the older colleges powerful, and each to have a technological scheme of his own which his wealth shall carry out." — Dr. Gearye F. Magmm, President Iowa College.
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BY CHAS. F. ZIMMERMANN.
'The ft)regoing testimony to the value and necessity I of manual training and industrial education should inspire our educators and friends of a rational edu- cation to introduce such changes into our schools, as will make the training given to our youth more practical, and more in accordance with the demands of the present. Better methods of instruction in the branches taught in our schools and a limitation of the time now devoted to them are demanded to make room for teaching elementary science, drawing, modeling and simple wood- work. The same course of training that will cause the pupil to observe nature accurately, and fix these facts indelibly in his mind; that will cause him to reason and draw correct conclusions from his observa- tions, are as necessary in artistic as in scientific training; and when the hand performs its part, habitually record- ing these observations by means of writing, drawing and modeling, we have laid the foundation for a rational development of the mind. If this change is to be effected, it must be through our teachers, who should take the initiatory steps, securing these benefits to themselves. Teachers should be close students of nature, logical reasoners, and skilled in the use of the pen, pencil and modeling tool. From the primary teacher to the univer- sity professor, all will find this power, this skill indispen- sible in making their acquisitions, in their researches, and in their teaching.
While our common schools provide for an elementary course in drawing, provision for a thorough art education should be made in all our training schools for teachers, in our art schools, in technical schools and through museums of fine and industrial art. Ample provision must be made for all whose work in life demands artistic training. And if we are to succeed in interesting our people in this general art education, we must encourage the technical side of art first, the application of art to industry. But this national art training must have attained a certain de- gree of development before we can look for any very marked results, and raised up a class of creative artists and designers, who will give to our products character and value. Every manufacturing center will then become an art center, and the people be gradually educated in taste to appreciate the good from the bad in art. This will tend to give us beautiful homes as well as artistic furnishings. It is scarcely twenty years since a general movement for the art education of our people was made by the intro- duction of drawing into the public schools. This has been
followed up by the establishment of art schools in all parts of tlie land. The foundations of three Museums of art have been laid. There are art collections in connection with most of our Art Schools, and others in Galleries inde- pendent of schools. The Museums (to which Art Schools are attached) are, the Metropolitan Museum of New York, the Pennsylvania Museum of Philadelphia, and the Boston Museum of Fine, Arts. Art Schools are located in San Francisco, New Haven, Urbana, Baltimore, Boston, St. Louis, New York, Syracuse, Cincinnati, Philadelphia, Pitts- burgh, Milwaukee, Chicago, Providence, Columbus, Detroit, and Art classes are to be found in many of our colleges and higher institutions of learning.
There is no doubt that the opportunities afforded our youth will develop certain national characteristics. At present American art reflects the external conditions of American life. The idea of self-interest has so far been more efficacious in developing American art, than the love of the l)eautiful. It is founded on the desire to make money. Art students who have attended these schools urged by the prospect of earning something immediately upon the completion of their course, have gone into good industrial-art positions and nearly always succeeded, while those who have attended with a view of establishing them- selves as professional artists have not done near so well. In time, as opportunities for thorough training grow larger, we shall produce admirable results. But it is certain that it takes two or three generations of culture and study to produce a high class of artists.
The system of technical art training for women in America is, without doubt, the best and most thorough in the world. Woman's work in this line has been quite successful, though as a professional artist she has failed to assert herself.
While Art Schools will develop in all large centers, it will be necessary to the highest development of art in America to create a National Art School, or Art University, with its Museum of Fine and Industrial Art. I have quoted in the following pages from artists and teachers known to the general pul)lic, and trust that the hope expressed may be realized in the near future.
2. WHO IS LIKELY TO ENDOW A NATIONAL ART SCHOOL.
" It is doubtful whether our government can ever be induced to establish a National Art School of a high order, that will compare as favorably with European Art Schools, as the first of our colleges and universities do with theirs;
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and since such institutions cannot be made self-supporting the only hope remains, that some one or more of our wealthy merchant princes, who have sufficient appreciation and taste for art to invest large sums of money in private collections, come forward and donate the same, together with sufficient means to found a National Art School and Museum that will do for this country what South Kensing- ton has done for England, Paris for France, Dusseldorf and Munich for Germany, Rome and Florence for Italy. When this is done, then, and not until then, shall we cease ' to hear of the necessity of importing skilled workmen for our art industries,' and silence also the remaining few of our leaders in education who, for some unaccountable reason, do all they can to check the progress of this new feature in our educational system." — Proj. Otto Fuchs, Principal Maryland Institute Schools of Art and Design.
3. WHY WE NEED A MUSEUM.
W. Martin Conway in the Magazine of Art, writes thus of the value of a museum : —
"The position which a library takes to the student of history or literature is occupied by a museum in the case of the student of art. Whether his object be to trace the development from age to age and from country to country of the artistic spirit which is planted in all mankind, or whether he himself desire to take up a position in the ranks of the army of laborers in the field of production, he is alike compelled to fall back for counsel, for warning and for teaching on the works of others gone before."
4. THE GREAT INnuSTRIAL-ART MUSEUM AT VIENNA.
We give the following extracts from his description of the great Industrial Art Museum at Vienna : —
" The Austrian Museum belongs to the technical class; its object is technical as opposed to classical education; its methods are practical rather than theoretical or historical. The most prominent feature in the classification of the collections is, as will be supposed, the division according to nature. The principal classes are : works in the precious metals, in the baser metals, in clay, in glass, works of textile art, furniture, wood carving, sculpture, and miscellaneous
" On the principle that * the museum is not intended to satisfy the foolish love of sight seeing (soU nicht die muessige Schardust befriedigcn),^ the first thing was to spread abroad a correct conception of its real objects, and to enlist the sympathies not only of the producing, but of the purchasing public. With this end in view, public courses of lectures were delivered on various subjects connected with art, and the crowds which flocked to hear them proved that they
satisfied a want previously unrecognized
No less important for students are the valuable collections
of first rate productions — photographic, galvano-plastic, and other — which are kept for sale in the museum at a cheap rate
5. VALUE OP EXHIBITIONS.
" During the summer of 1881 no less than three exhibi- tions were held : the first of works of photographic art of all kinds; the second of glass and jwttery; and the third of paintings, carvings and other objects. These perform a three-fold function. They act educationally, enabling the student, by the assistance of the valuable catalogue specially prepared for each, to become acquainted with the various branches of individual art; they kindle a wholesome com- petition among exhibitors; and they bring the public constfintly face to face with the best producers, and enable them to judge for themselves of the relative merits of this or the other manufacturer, whether famous or less famed. Thus they do away with much of the need of advertising, which is one of the curses of modern civilization. In the case of such an exhibition as that of pottery, all the objects are for sale on the spot at fixed prices
6. TECHNICAL ART SCHOOLS IN AUSTRIA.
" If the best way to raise the taste of the public at the present day has been shown by experience to be that of exhibitions, such have by no means done away with the necessity of schools for the training of workmen in the more refined methods of production. Such schools have been established under the inspection of the Austrian Museum in all parts of the land — schools of drawing at Haida, and Steinschoenau, and many other places; schools of wood carving in the Tyrol at St. Ulrich, Hallein and elsewhere; a school of porcelain work at Elbogen; schools of embroidery, masonry, goldsmith's work, etc., in different parts of Vienna. The object in Ciich case is to direct and develop a taste already manifested by the inhal)itants of the particular locality, and thus to increase their hapjiiness and prosperity.
" Naturally, however, the whole strength of the museum organization is thrown into the high school of technical art, which is held within its walls. It is under the govern- ance of the Director of the museum, three of the curators and a member of the Chamber of Commerce. The school is divided into four parts, which deal respectively with architecture, sculpture, decorative painting, and figure painting, all primarily in their relation to art-industries. There is, further, an introductory school of drawing. In addition to practical teaching in the handling of colors and tools, there are also courses of theoretical study de- voted to such subjects as perspective, the theory of stjde, the anatomy of men and animals, the theory and chemistry of colors, the history of art, artistic mythology, and so forth."
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7. WASTE OF TIME AND TALENT FOR WANT OF A
MUSEUM.
Sir Joshua Keynolds, speaking of the value of an Academy, says: —
" The principal advantage of an Academy is, that, besides furnisliing able men to direct the student, it will be a repository for the great examples of the Art. These are the materials on which genius is to work, and without which the strongest intellect may be fruitlessly or deviously employed. By studying these authentic models, that idea of excellence, which is the result of the accumulated expe- rience of past ages, may be at once acquired; and the tardy and obstructed progress of our predecessors may teach us a shorter and easier way. The student receives, at one glance, the principles which many artists have spent their whole lives in ascertaining; and, satisfied with their effect, is spared the painful investigation by which they came to be known and fixed. How many men of great natural abilities have been lost to this nation for want of these advantages ! They never had an opportunity of seeing those masterly efforts of genius, which at once kindle the whole soul, and force it into sudden and irresistible approbation.
" Raffaelle, it is true, had not the advantage of studying in an Academy; but all Rome, and the works of Michel Angelo in particular, were to him an Academy. On the sight of the Capella Sistina, he innnediatoly, from a dry, gothic, and even insipid manner, which attends to the minute accidental discriminations of particular and indi- vidual objects, assumed that grand style of painting, which improves partial representations by the general and invariable ideas of nature.
" Every seminary of learning may be said to be sur- rounded with an atmosphere of floating knowledge, where every mind may imbibe somewhat congenial to its own original conceptions. Knowledge, thus obtained, has always something more popular and useful than that which is forced upon the mind by private precepts or solitary med- itations. Besides, it is generally found that a youth more easily receives instruction from the companions of his studies whose minds are nearly on a level with his own, than from those who are mu(!h his superiors; and it is from his equals only that he catches the fire of emulation."
8. FACILITIES FOR STUDY OF ART IN NEW YORK
INSUFFICIENT.
" The fact is that, so far as public facilities are concerned, the study of art or archaeology cannot be pursued at all in New York. The apparatus is not merely deficient, it does not exist. The only collection of books on the subject of art that are within the reach of the public are in the Astor Library, which is free, and in the Society Library, which is not free. In the Astor Library every facility is given
with great courtesy to students, and the Society Library (at least this has been our own experience) amiably waives its rules and regulations for the moment on the presen- tation of proper credentials. But neither Library makes any pretention to completeness or even to great fullness in its art-department, and such as these are, they consist entirely of books, chiefly books of engravings. Under the able direction of Professor William R. Ware, the library of Columbia College has been enriched, as w^e understand, with an important collection of architectural photograplis, which is all the time being added to. Those who remem- ber the collection of photographs which Mr. Ware made for the Architectural Department of the Institute of Technology in Boston, while that Department was so fortunate as to have him at its head, wall need no assurance of the value of the work he is doing in his place in Columbia College; but the collection which he is making there, although we have no doubt it is open, so far as is possible, to all who can show a good claim to its use, is still a private collection; beside that it is confined to one subject, and does not at all meet the need we are concerned with.
" Let us suppose the case of a class of young people formed here in New York, for the purpose of study in some one of the divisions of the broad field of art. As has been said, there is no museum where they can go to see examples of what hiis been done in that field; there is no library where they can find prints or photographs, and even the illustrated books belong, for the most part, to the ornamental rather than to tlie useful sort. If the class were formed in London, it would not l)e necessary for the members to expend a penny for the illustrations of their subject, they would simply meet at the British Museum, or at the National Gallery, or at the South Kensington Museum, and there make their observations, and take their notes. It is connnon to read, in the advertising- columns of the English literary journals, notices to the effect that Miss A-, or Miss B., or Prof C. will lecture in the Egyptian Room, or the Halls of Greek Sculpture, or in some otiior one of the departments, on a given day, at a given hour; and not in London alone, but in all the great cities of Europe, this mode of in.struction is so common as no longer to attract attention.
9. EACH ART STUDENT AT PRESENT OBLIGED TO FORM A COLLECTION OF HIS OWN.
"Well, we do not have, and shall not for a century have these advantages, and so we must do what we can without them. Every one in America who has applied himself to studies — it makes ])ut little difference in what field — has been obliged to work at his own charges, and supply him- self with books, photographs, and documents of all sorts at his own expense. This is ofl;en a heavj^ burden, and yet it is one that cannot be avoided if an American, obliged to
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stay at home, would make {jrogress in any field of research. It is true that, let him do all he may with such means as in general fall to the share of scholars, he cannot accomplish any work, of importance to persons who hav^e had the greater advantages we have described. He must be con- tent if he enriches and enlarges his own mind, or excites an interest in his subject in those about him, or adds — -if it be not until he has done with what he has collected at so much expense and pains — to the slowly growing store of aids to learning which time will accumulate here at home.
" This, however, it will be admitted, is not a way of proceeding that is calculated to produce the best fruit for the public. Everything with us to-day tends more and more to system; we are learning the advantages, on the one side, of division of labor, not hitherto possible, perhaps seeing how few there were to do the work required ; and, on the other hand, we are seeing more and more clearly the advantage there is in having our means and appliances where they (!an be got at, and made use of by the greatest number of people. One thing, we observe, is hapi)ening in Europe; as the great collections come to the hammer, the best things in them are finding their way to the public museums and galleries; in not a few cases, these collections are left by legacy directly to the nation; some- times this is not so good a way as the other, for the State has often to accept much chaff in order to get a little good meal; whereas, at a public auction, it can generally choose what it really wants.
" The time seems to have come here with us, when we should begin to combine our hitherto scattered forces, and put our riches into a common purse, if we would make any headway in our art studies. We have shown else- where how the Numismatic Society has grown, from small beginnings, to be of some importance, by adopting a com- mon-sense policy: not wasting its money on a building, on furniture, or on any eye-catching devices, but giving its whole attention to the main business of developing and feeding a love of coins. And something of the same sort is doing by the Grolier Club; only, as that is a society with a less serious and more ornamental aim than the other, it has naturally not been satisfied to accept such plain fare. Yet, it has done nothing more than to make its rooms pretty and comfortable, and is doing its best to bring to- gether feverything that is to be found here which relates to book-binding and to bibliography. If it should make only a few purchases each year for its permanent collection, and add a few books to its library, it would find that in its case, as in the case of all small but earnest beginnings, the growth of both collection and library would soon astonish the skeptics, who do not believe that anything of importance can be accomplished in such matters without money and an imposing list of patrons." — Tl\e Studio.
10. VERESTCHAGIN ON AMERICAN ART.
Verestchagin delivered a lecture at the American Art Galleries, and spoke particularly of the "need of the organization of a system of Technical Art Scho(3ls through- out the United States as being absolutely indispensible to the development of an American Art, of which he denies the present existence. The Mac/azine of Art differs with the Russian on this last point, and considers that it is simply wonderful how well American artists have done during the last fifteen years, in view of the many dis- advantages, under which they have labored.
" On the question of Technical Art Schools the Maga- zine of Art and Verestchagin are at one. The subject has been frequently handled in these pages and it cannot be too often discussed. The intellectual salvation of this country must be worked out through the education of the niiisses in art. Too much crude book knowledge, of a kind that breeds ' maggots i' the brain,' has been the bane of the American people.
" It behooves the next generation to soften down the harsh outlines of ' intelligence ' by the influence of art knowledge applied to the ends of daily life as a prepara- tion for the state of high creativeness which marks the progress of art of an entire nation." — Magazine of Art.
Verestchagin has willed, that after his death all his paintings shall be gathered into a permanent exhibition in his native city, Novgorod, to he calletl the "Verestchagin Museum and Studio."
11. THE CERAMIC ART AND MUSEUMS.
" Increased education in the Fine Arts will produce the result of a discerning public opinion, and a craving for the good and beautiful, and that in proportion to the demand of the many for good art will be the response of the chosen minority gifted with the divine powers of genius." — The Portfolio.
" It is certainly not the fault of the American artist, or the English artist in America, that he becomes exhausted, and fertility of ideas yields to sterility, when there is noth- ing in the heaven above or the earth below to show him what has been done in pottery. This is the plain, simple truth, obvious to comprehend, and simple enough to lead one to conclude that the main chances of rising artists in the ceramic line lies in the foundation of museums of art. There are doubtless capable brains, but they are without impressions, such as the art workers of Europe receive at the many museums of art that are erected and filled for their use and edification. It is very plain to be seen that the artist of the European workshop has refreshed himself at the Louvre, the Vatican, or South Kensington. If he were here, he would starve mentally, as do those who fight against fate in attempting to bring out something original. As yet, America is like a desert to the model- er."— Patterns Gazette.
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12. AN ART UNIVERSITY FOR AMERICA.
'' We want an art university in which the purely tech- nical facility of hand and eye, which must be attained in youth, and generally in extreme youth, as in music, is cared for as the specialty of the course; where the intel- lectual enlargement shall be never lost sight of; where the theory of art, its science, its history, all that is known of its spirit and manipulation, must be carefully studied and appropriated, and at the same time the general influence of the literary life in its subjective aspect — philosophy, poetry, history, all that widens and deepens the character and gives it dignity and that purpose which is one of the most important elements of morality. The deeper in the character art is rooted, and the wider the range of its roots in their reach for sustenance and support, the greater and more durable its fruits." — W. J. Stillman, in the Century.
13. THE PRESENT AGITATION FOR THE ESTABLISHMENT OF A NATIONAL SCHOOL OF ART.
" In a lengthy letter to the New York Mail and E.vpress Wilson MacDonald, the sculptor, sets forth his heart's scheme for the establishment at Washington of a National School of Art. Fifteen years ago, the veteran artist brought his plans to the attention of Congress in a petition, but nothing came in the sliape of legislation to that end. His suggestions, in their way, are as broad and compre- hensive, and no less important, than President Andrew D. White's recent article in favor of a National University in the Capitol City. The Parent Palette Club, of New York, has the matter in hand, and under its auspices the project will be brought to the attention of artists, art schools, educational institutions, the press, pulpit and bar through- out the country. All great movements, such as this needs be, are of slow growth, but in the steadiness of its growth will come the solidarity and unity of purpose necessary to give it a national character. Briefly outlined, the scheme is to have the Government erect a building for the academy
and gallery, with accommodations for 2,500 students, with all the accessories needed to make it the first school in the world. The fitness of Washington is so eminent that no opposition can be manifested. The best teachers in art must be employed, and the establishment of a new department of fine arts would be a natural sequence to the establishment of the school. Appointments would be made to the school as cadets are now to West Point and Annapolis, subject to examination as to aptitude and ability. The public schools in which drawing is taught will be found prolific sources from which embryo artists and sculptors will arise. The grand idea which lies beneath the project is the development of a National spirit of art. No nation, Mr. Mac Donald argues, has ever attained high rank in art which has not developed such a spirit. Surely America, with its vast extent of country, its magnificent scenery, its varieties of fauna and flora, its unlimited resources, the peculiar tj-pes of civiliza- tion which it produces, is capable of doing that. Another point is brought out clearly in the argument, and that is that our enormous material sources of wealth have been in no small degree dependent on the art spirit for development. It is not many years since nearly every article of virtu, beauty, and ornament was imported from Europe; now our fine furniture, clocks, mantel ornaments, wall j^apers, engravings, bric-a-brac, and fabrics are produced at home. If a national spirit and direction lie given, the great results already readied, will lie followed by still greater ones, all tending to the mental and material enrichment of America. This is not the jiroject of a day. Aladdin's lamps are not the gifts of the Republic. Out of the friction of many minds comes our development toward the future greatness which will tower as a mountain over the mole-hill progress of to-day. Following fast upon the accretions of material wealth, will come with its more equitable distril)ution, the knowledge which will teach us how to enjoy that wealth. And art will line the avenue which science has built for man." — Wushinyton Post.
BY CHAS. F. ZIMMERMANN, LATE SUPERINTENDENT OF DRAWING, MILWAUKEE PUBLIC SCHOOLS.
UR foremost eclucators advocate the study of draw- ing as the first step in any system of industrial education, and thousands of teachers are now _^ taught so as to enal)le them to give the required
J \ instruction in drawing in their schools; but how many have made this instruction of service to them in their classes when teaching other subjects? It must become a habit with our teachers to observe everything accurately, record their observations, engrave the picture upon the mind, and in this way gain the power of recalling it when needed in the class room.
As teachers we should learn all those principles of general knowledge, in the sciences and in the arts, for which the practice of drawing is necessary, in order to make plain to the public the usefulness of this form of language It is a means by which we represent every object in nature as well as in art, ttom the simple leaf, pebble, rock, tree, to the animal form, landscape and liuman figure; from the simplest ornament to the statue or grandest architectural conception; from the simplest mechanical device to the most complicated and powerful machinery of the present. Violet le Due says: " I hardly know of a career in which drawing would not be useful, if not aljsolutely necessary, for the very simple reason that it teaches one to see correctly, to remember what one has seen, and to give form to thought."
Herbert Spencer writes: "The spreading recognition of drawing as an element of education, is one amongst many signs of the more rational views on mental culture now beginning to prevail. . . . . . Had teachers been
guided by nature's hints not only in making drawing a part of education, but in the choice of their modes of teaching it, they would have done still better than they have done. . . . . From all that has been said, it maj' be readily
inferred that ive wholly disapprove of the practice of draicing from copies."
2 GIVES ACCURATE SIGHT AND SURE TOUCH.
Philip Gilbert Hammerton, fine artist and critic, sets forth the value of art culture in the following plain lan- guage: " Practical art has one distinct advantage over all purely intellectual pursuits, which is, that it does not educate the mind only, but also the eye and the hand.
I am well aware that a foolish prejudice, which if it is dying out, is dying too slowly, considers this training of eye and hand a mark of degredation, because the skilful use of these physical organs assimilates the artist to the artisan. Some people —but not the wisest — are as proud of having idle and useless hands as Chinese ladies are of their useless feet. With these, all reasoning would be a waste of time; but to others who have no such prejudices, I may offer a few remarks in favor of this ocular and manual education. Let it not be supposed that the edu- cation which we gain fi-om the graphic arts is by any. means limited, in its effects, to the actual practice of those arts themselves. The eye which is trained by drawing discerns form everywhere and in everything; the hand which is skilled to use pencil or brush will be generally superior in delicacy and accuracy of touch to the hand which has never been taught. The question, therefore, is not simply whether we care to be skilful in drawing, but whether we prefer a keen eye to a compara- tively blind one, and a ready hand to a clumsy one. There are a thousand things to be done in ordinary life, as well as in different trades and professions, in which accurate sight and sure touch are desirable. Surely a branch of educa- tion which gives these, not a« substitutes for intellectual analysis and synthesis, but in addition to them, has so much the more in its favor."
3. TO DESIGN IS TO OBSERVE AND REFLECT.
We quote once more from Violet le Due : " In the study of drawing there are two elements, physical labor, the exercise of the eye and hand ; and intellectual work, that is, the habit of observing with exactness, and engraving on the memory what one has observed, so that the mind can compare, and draw deductions from the comparison. . . . One learns to see only by drawing, and not from engraved patterns, but from objects themselves ; and further still, only on condition of being able to explain these objects, and to describe their properties, and their rela- tions to each other I do not claim to be able to
make an artist of Jean, he will become one if he has it in him. I propose only to teach him to see correctly ; to consider what he sees, and to render it so that his obser- vations may serve him, whatever the career he follows, whether that of a workman or a soldier, merchant or
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lawyer, artist or engineer To design is not to
see a thing, but to observe it. All who are not blind, see ; yet how many people are there who know how to see, or who reflect as they see ? "
4. THK GREAT MASTERS DREW FROM MEMORY.
Taking Ilubens saying that " To see, to understand, to remember, is to know," as her motto, Madame Cave has had great success in teaching drawing by laying stress upon memory drawing. She says : " Drawing from memory is having one's thoughts, the expression of that thought, at the point of his pencil as the writer has his at the tip of his pen. All the great masters drew from memory ;
hence their originality Consulting, copying,
kills invention and genius ; composing, putting the thoughts rapidly upon paper by the aid of memory, that
is the true process of invention As soon as you
see correctly, you feel correctly, you execute correctly, . . . . If you follow your eye, your observation, you will secure correctness, you will find truth, you will be natural, and naturalness is simply truth. This accuracy, this naturalness, is the result of much observation, of great memory."
5. AN INVAHTABLE ELEMENT IN GENERAL EDUCATION.-
To fully impress the importance of the subject under consideration, upon the American public, the testimony of some of the leading educators in this country is herewith presented :
" Drawing is an invaluable element in general educa- tion. To the workman it is of the greatest practical use ; it makes him a more intelligent and serviceable workman. If he attains a real skill in the use of his pencil, and develops the tastes and talents that cannot without this training be either discovered or made vise of, he becomes a valuable person at once. Every branch of our manu- factures is suffering from the want of just this intelligence and skill." — William R. Ware, Prof, of Architecture, Col- umbia College, New York City.
" Drawing, if properly taught, is extremely useful as an aid in other studies; and indeed, in my judgment, it quite compensates for the time it takes, by facilitating instruc- tion in other branches The introduction of
drawing into our schools I regard as one of the most im- portant and practical educational steps ever undertaken in this city, and there is no part of my work as an educa- tor which I look upon with more satisfaction than upon my efforts to secure efficient instruction in drawing in the public schools of this city and State." — Dr. John D. Philbrick, Boston.
" I am satisfied that a knowledge of forms, which is an important element in all industrial education, can only be learned by the study of drawing, which should be taught
in all our public schools by competent teachers ; the time required to lay the proper foundation for future special applications need not be disproportionate to other studies." — Dr. J. D. Rankle, Mass. Institute of Technology, Bostmi.
" I regard the study of Industrial Drawing as absolutely essential, not only to sound technical education, but as of the utmost importance to the industrial interest of our country, and have urged a wider attention to it, both upon our schoolmen and our legislatures. It is gratifying to know that the public mind is already awaking so widely to the importance of the training to l)e derived from studies in drawing." — Dr. J. M. Gregory, late President III. State University.
6. ARTIST AND ARTIS.VN BROUGHT TOGETHER ON COMMON GROUND.
" I cannot refrain from expressing my conviction as to the immense importance of this whole movement of art education to the industrial interest and social well-being of this country. We are constantly told that art belongs to the refinements of civilization, and that therefore it has no place in the schools, where the great mass of men and women who must ever remain strangers to its enjoyments are educated. That so large a share of the people are deprived of the elevating influence of a'sthetic feeling, is the very strongest reason why the schools where they are to receive their intellectual training should lie made avail- able to bestow upon them a possession capable of yielding so much real benefit to themselves, and of so much conse- quence to the society of Avhich they form a part. But art has other uses than to minister to cultivated tastes in sculpture and painting. One of the noblest purposes to which it can be put is in applying the laws of ornament to the productions of industry. It is here that art becomes universal in its influences ; it is here that the artist and the artisan are brought together on common ground, and the taste of the studio is joined to the skill of the workshop in ministering to the common wants of men of all classes. There is no class of our people so deeply concerned in making this matter of art a part of our commonest educa- tion, as the men whose toil lies at the foundation of our industrial wealth. It is simply a question whether our workmen are to be left to handle the materials of industry in their crudest condition, or whether they are to be trans- formed, by education, into creative forces, capable of giving to the wood and iron, and stone, which pass through their hands, forms of beauty which shall lend assistance to their use ; and tlius, while enriching and improving the whole circle of society, be rendering themselves worthy of recognition as one of its noblest factors.
" I believe the introduction of Industrial Drawing into our common schools to be the first step in the organiza-
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tion of a system of industrial education which, if fully caiTied out, will be productive of effects upon tlie social cliaracter of the working classes and the wealtli of the nation, which even the most sanguine would not dare at this moment to predict." — James MacAliste)', Supt. of Public Schools, Philadelphia.
7. ECONOMY OF LABOR IN THE WORKSHOP.
" Among the many ways in which art knowledge ma}' he of use in the workshop, is the economy of hibor arising from the workman having definite objects in view, and having to make no experiments in carrying out work which must be executed to scale, plan and design. I ven- ture to say, that in every workshop or factory where no knowledge of drawing is possessed by the workmen, there is a waste of time and an inferior article produced in the end — evils which are a loss to the employer, through sacri- ficing of his material and inferiority of work ; a loss to the workman, by his time having been wasted in experi- ments ; and a loss to the public of tasteful objects to be obtained at a moderate cost." — Walter Smith.
8. DRAWING IN BELGIUM BASED UPON SCIENTIFIC PRINCIPLES.
M. de Lajolais, a member of the Industrial Congress gathered at Brussels in 1868, says : " Instruction should be given at first to children, in knowledge of form, then they should be accustomed to the habit of following and understanding the transformation of exact forms into ornamentation. The study of drawing, in the first in- stance, develops the intelligence of the child in teaching him how to see. To see with the eye of a designer is to create the sense of exact observation and of analysis ; and these results can be attained by a series of attractive exercises." This Congress further recommends " the necessity for the radical reorganization of the elementary teaching of the fine arts by the substitution, for the routine methods in use, of a uniform and rational mode, based upon scientific principles, which are the essence of art itself; to si(ppir,'>.'^ the aumiwn pTiatx and engraving.^ now used as models; to base the study of drawing upon the elemen- tary principles of geometry." In 1871 tlie Minister of the Interior, in his circular letter to the provincial inspectors of primary instruction, declares : " The government, in the task it has undertaken, counts upon the concurrence and sui)port of the communes and provinces. It is a question of national interest, since its principal object is the progress and the development of the artistic sentiment of the country."
9. DRAWING AND INDUSTRIAL SCHOOLS THE TRUE BASIS OF
WEALTH OF A NATION.
Immediately after the war with France, the authorities of the various industrial towns of Prussia were called upon, in a circular issued by the Ministry of Commerce and In-
dustry, to follow the example of France in the organization of Drawing and Industrial schools ; and their attention was directed to the industrial importance of these schools, and to the fact that they form the true ba.sis of the wealth of France.
The French Commission which was appointed to ex- amine matters pertaining to the improvement of the indus- tries of France, in the year 186-3, reports as follows : "Among all the branches of instruction which, in different degi-ees, fi-om the highest to the lowest grades, can contri- bute to the technical education of either sex, drawing in all its forms and applications, has been unanimously re- garded as the one it is most important to make common." And the opinion of the French Commission in 1876 was that " France ought to devote herself to the study of draw- ing and reinvigorate her productive powers at the very sources of art."
10. ELEMENTARY SCIENCE AND DRAWING FOR THE WORKMAN AND ARTISAN.
The late report of the royal (English) Commissioners on Technical Instruction contains the following: —
" For the great mass of our working population who must necessarily begin to earn their livelihood at an early age and fi-om whom our foremen will be mostly selected, it is essential that instruction in the rudiments of sciences bearing upon industry should form a part of the curri- culum of the elementary schools, and that instruction in drawing of a character likely to be useful in their future occupations as workmen and artisans should receive far greater attention than it does at present
"This want of attention, together with the absence of competent teachers, proper modds and methods, and adequate inspection, fully accounts for the inferiority to which we have referred. . . . Your commissioners are of the opinion that sound instruction in the rudiments of dratving should be incorporated with writing in all primary schools both for girls and boys
" Assuming such preparation in the infant and element- ary schools as we have here sifggested, the progress of sub- sequent instruction in art classes would be innneasurably more rapid .... Industrial design, for a variety of reasons, tlie chief of which are the tvnnt of .sufficient knowledge of nwnufactures on the part of art teachers and the absence of sympathy evinced by the proprietors of indus- trial works, has, with some notable exceptions, not received sufficient attention in our art schools and classes. In fact, there has been a great departure in this respect from the intention with which the ' schools of design ' were orig- inally founded, viz., ' the practical application of (a knowl- edge of) ornamental art to the improvement of manu- factures.' Large grants of public money for teaching art to artisans in such classes can scarcely be justified on any other ground than its industrial utility."
C. HENNECKE CO., MILWAUKEE AND OHIO AGO.
11. DRAWING MORE NECESSARY THAN HEADING OR WRITING.
Since the report of the committee on Technical Educa- tion, drawing has been incorporated in the code, and is now a compulsory subject in the elementary schools of Great Britain. Commenting thereon, Mr. Harry V. Bar- nett, in The Magazine of Art, writes thus : —
"It is now generally agreed that the systematic and compulsory teaching of drawing to young children is a very beneficial part of their i)reparation for the practical work of life. If, having learned at school to describe things with a pencil, they afterwards enter those trades in which a knowledge of drawing is necessary, they find their initial difficulties very much lightened, they are ready to begin practical work at once, instead of having to learn the ABC. And if, on the other hand, the business they take up does not demand a knowledge of drawing, then, it is argued, they have lost nothing by being taught it, because it is, apart from its special utility in various handicrafts, a good general training for the mind: you cannot draw even a very little without observing and thinking, for which, I believe, no one is ever the worse. Many people seem to suppose that the chief object of teaching drawing to children is to make them great artists. This is a fine old crusted British superstition, handed down from days of dismal ignorance and vague ambition. It would be just as reasonable to suppose that the chief object we have in teaching everybody to read and write is to make everybody a man of letters. Drawing is in this sense one of the things which it is useful to be able to practice, and is in some trades a part of elementary knowledge even more necessary than reading or writing.
12. SHOULD BE COMPULSORY IN ALL ELEMENTARY SCHOOLS.
" One of the main points brought out by the Technical Commission, is that the nations of the continent under- stood all this sooner and better than we did, and in many instances incorporated drawing with writing as a compul- sory subject in their elementary schools. Every one who studies the question at all, or who does nothing more than read the report of the Commission, finds overwhelming evidence that the effects of this system are wonderfully beneficial, both in laying the foundation of the higher and special art training that a youth may eventually receive, and in perfecting all those handicrafts and industries into which drawing, and all that drawing embodies, enter more or less. And since the tendency of trade is more and more towards competition on lines of artistic and techni- cal excellence, and since we have already lost important industries by reason of our backwardness in these particu- lars, the Commission, seeing wliat was done abroad and what was wanted here, recommended that drawing should be made compulsory in all elementary schools ; and the educational authorities, after hesitating for awhile, have
carried this recommendation into effect." Speaking of the kind of drawing most necessary to be taught, the writer proceeds : " It is better to make free-hand the basis of the other kinds of drawing, than to make them, or any one of them, the basis of free-hand. And it is certain that free-hand is the most generally useful in itself, and the best of all, considered as a means to train hand and eye and mind."
13. LARGE SCALE WORK BEST,
Speaking of cfrawing with sharp lead pencils on small pieces of paper, so much in vogue, Mr. Barnett proceeds: —
" And just because it is always on a small scale, it is destructive of the two most necessary qualities : strength and style, it leads the pupil to be forever thinking of fin- nicking details and hardly ever of mass and proportion and breath, and so train him insensibly but surely to see large things in a small way; to take narrow views and ex- press them in a laboriously little manner. The conse- quence is, of course, that, even when a youth has gained some command of means, as it is not denied he may do by this method, when he comes to make full-sized draw- ings of furniture, of decorative design for wall-papers or textiles, of architectural ornament, of ironwork, in short, of anything whatever that is to be practically manipulated, he finds that he has to begin again, almost from the be- ginning; that what will suffice for Christmas cards is use- less in matters more substantial ; that to have learned to draw on a small scale does not enable him to draw on a large. It is, however, the large scale work that is wanted in the workshops and manufactories, as well as in the studios ; and, what is everywhere evident in English art, the qualities of handling and of mind that are thus pro- duced by training on a large-scale system are more needed still. They do these things better abroad; and of course we find in France and Belgium that instead of training a lad to draw with a lead-pencil on a piece of paper meas- ured by inches, they first give him a good lump of chalk and a blackboard measured by feet. The child, in short, begins by learning to reproduce lines, and arrangements of lines, on the largest scale possible to his youthful arm. When he has got his hand in with chalk and a blackboard he is advanced to charcoal and a large sheet of brown paper; and so on until he enters the workshop or the art school. Here, of course the system is directly the reverse of ours, and the consequence is that Continental boys of twelve or thirteen can produce large-scale drawings fi-om either fiat or round that, I do not hesitate to say, could not be ecjualled by any art student in England of twice the age and training, excepting always those who have been specially trained in manufactories and workshops, and the pupils who have the luck to work under Mr. Legros, at University College, where the antiquated illogical British system does not obtain. This is no mere opinion of my
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own, but a fact brought out with signal empliasis in the report of the commission, and strii<ingly illustrated by the drawings that were so remarkable a feature of the Health Exhil)ition. There France and Belgium were represented by a varied series of drawings, executed in elementary schools which put the exhibit of the English government art schools entirely in the shade. South Kensington had not a solitary work of the same class that, as regards all essential qualities of art, and least of all as regards style, could compare with those drawings by foreign lads. To go round the Exhibition with ones eyes open was to see that the superiority of Continental design and art manu- factures over our own is largely due to the sound and liberal kind of free-hand that is taught as part and parcel of general education in the Continental primary schools."
14. GIVES A BROAD, GKXERAL TRAINING FOR LIFE.
" The discovery and application of thought as em- bodied in things will answer as a broad foundation for manual training, and the best study adai)ted to these ends is what is properly known as iaduMritd dntwing. For this study not only gives a general training applicable to a great variety of pursuits, but is of the greatest value in developing every common school study at all related to form. Not only does it develop purely utilitarian ideas but also cultivates an appreciation and love of the beauti- ful in nature and art. Its development is in the direction of usefulness, beauty and morality. It gives opportunity for development in every desirable direction. It leads to the observation of things and to their expression by language, drawing, and construction. It stimulates the inventive faculty. It cultivates a knowledge of design, and in brief, gives a broad, general training to all boys, to all girls, in preparing them for every sphere of life." — Prof. Charles M. Carter, Mass. Art School, Boston.
15. FROM A LOW PLANE TO LUCRATIVE POSITIONS.
" Having had the direction of two of the largest schools of this description (evening schools for industrial drawing) in Boston, from their beginning to the present time, covering a period of seventeen years, I can speak with some authority regarding them, and can testify to the wonderful benefits which the pupils have received. Hundreds of them have been helped to a higher plane in their craft by means of the instruction afforded. In fact, it may be truly said that the industrial drawing schools have a very important influence upon the industries of the State. Many of the pupils are now employed in the designing rooms of the mills, and many others are filling excellent positions where a knowledge of drawing is abso- lutely necessary. In these schools almost every nation- ality and every trade are represented by the pupils who attend them. There are hundreds of young men who
have attended these schools who at one time were on the lowest plane in their trade, and would have remained there had it not been for the knowledge thus ()l)tained ; but to-day they are filling some of the highest and most lucrative positions." — Prof. George 11. Barllett, Principal Normal Art School, Boston, Mass.
16. A UNIVERSAL LANGUAGE THAT SHOULD HE READ AND UNDERSTOOD HY ALL MEN.
" Drawing is tlie short-hand language of modern science. Careful drawings are to technically educated people what pictures are to children. They show at a glance what it is not in the power of words to express. It is a universal language, and should be read and understood of all men. But drawing has another use of equal value. It is the most potent means for developing the j^erceptive faculties, teaching the student to see correctly, and to understand what he sees. Drawing, if well taught, is the constant practice of the analysis of forms, and by this practice the eye is quickened and rendered incomparably more accurate; and as the eye is the most open and ready road through which knowledge passes to the mind, the full develop- ment of its powers can be a matter of no small importance to all. In this respect, then, as an educator of the eye, drawing is a most valuable means, irrespective of any serv- ice that the power may be of itself But there is another faculty engaged in this study,— that one which distin- guishes man from the cleverest of the animals, — the hand is employed, and it also is educated and trained to be more completely under the control of the will than by any other exercise it can be set to; it acquires a delicacy of move- ment and a refinement of power which no other discipline can impart, and which fits it more completely to perform its varied and delicate functions."— Dr. C. M. Woodward, St. Louis.
17. WE MUST ORGANIZE SCHOOLS FOR SYSTEMATIC .\RT INSTRUCTION.
The place of art education in any school system is fully set forth in the foregoing pages, and there need henceforth be no question in the minds of the intelligent people of our country as to the course to be pursued with reference to this subject. We must profit by the experience of European nations. " The spirit of the times carries every- thing along, and those who would stand still must go to the rear." If England, France, Belgium, Germany, and Austria, who have for years been making great efforts to raise the intelligence of the industrial classes by establish- ing art and technological schools, iirt museums, lecture courses on science and art, evening and training schools, and by making drawing and modeling a part of the public school education, find it necessary, nevertheless, to re-or- ganize their systems of education, so as to lay greater
C. HENNECKE CO., MILWAUKEE AND CHICAGO.
stress upon industrial drawing, devise better schemes for general instruction in art, and want better teachers and appliances for teaching drawing in the schools, how mucli more have we need of all these things !
18. NORMAL INSTRUCTION.
Some of the directors of our Normal Schools have not yet fully comprehended the necessity of training their students in this direction. Neither has the subject of art education received much attention in teachers' institutes, or conven- tions. Our leading educators everywhere urge its impor- tance, but opportunities for the teachers to thoroughly fit themselves for their work are not provided in most of our communities, nor are appliances for successful teaching at hand.
19. ART CI.UBS.
We would therefore ui-ge upon teachers to help them- selves by forming art-clubs for the study of drawing, modeling and wood-carving. By regular small contribu- tions, simple appliances, models and casts could be secured and art books purchased. Information as to organization and order of work can be obtained by correspondence with teachers and artists in sympathy with this movement, and some models in wood and iron secured by gift from manufiicturing establishments. The advice and help of a good teacher is certainly a great aid in prosecuting the study, but it cannot always be had, and many instructors lack the patience necessary to teach the elements. The effort once made should not be abandoned. The members of the club should make themselves familiar with the in- dustries in which artistic skill is required. In no better way can they learn to value skill than by Ijecoming pupils themselves in some manual or artistic work. Did not the great masters in pedagogy organize departments in their seminaries where skilful manual labor could be practiced, and are not institutes held in Germany at the present day to which teachers repair to pursue the six weeks course in manual training? Even professors do not disdain to take their place at the bench — -an example not unworthy of our imitation. Some of our most noted artists are equally skilful with tool and brush.
20.
EXAMPLES FOR STUDY.
We must have trained teachers first, but good examples for study are indispensable if we are to lay a sure and broad foundation in art. The foremost educators, sec- onded by their respective governments in Belgium, France, England and Germany, emphasize the value of drawing from nature and from the best examples of ancient and modern art, discarding the drawing from the flat. The copying of unmeaning forms is a waste of time and deadens the interest in the study of art. But lead our
youth to appreciate the beautiful in nature and in art, and you kindle an enthusiasm which will grow with years, develoj) a finer and purer taste, and awaken nobler aspira- tions. A leaf, a prism, a i)yramid, a simple conventional ornament in relief, a model of a joint, truss, bolt, or wheel, as examples for study are infinitely superior to the printed picture of these objects. So, too, if the pupil is taught to make the geometrical solids of paper or wood, to model his ornament in wax or clay, or carve it in wood, or make the mechanical model in clay or wood, he will have gained immensely more and know the beauties of the form better than if he had copied scoi-es of examples from the flat. The study of the concrete object should take the place of the printed copy, and the construction of these forms in some simple material should take the place of committing definitions to memory. That it requires more knowledge and skill on the part of the teacher to teach from nature is unquestionable, but shall the teaching of drawing be on a par with the antiquated method of hearing recitations from a text book ? Every drawing lesson should be an appeal to the observing faculties and the imderstanding. If we wish to cultivate the mind while gaining skill of hand, we must draw near to nature and learn to compre- hend her laws and her designs. If we cannot discover them, we must attribute it to our ignorance. Our pupils will never regret the time spent in studying drawing from nature, or from models in wood or plaster ; and we will be repaid by the consciousness of having introduced them into the world of beautiful forms which are a source of constant enjoyment, and prepares them better to perform their part in life.
21. SYSTEMATIC INSTRUCTION NECESSARY.
The instruction in drawing should be systematic, having an end in view, and adapted to the capacities of the pupils in the different stages of school work. If we wish our pupils to understand nature and interpret her coiTectly, we must continue in a long course of drawing from the geo- metrical solids, from the cast of ornament in different styles, and accustom them to draw whatever the}- see and on all occasions. All the first drawing must be free-hand, depending only on the eye, the teacher correcting the drawing and gradually introducing the pupil to the first elements of perspective. The work should be on a large scale, and with a soft crayon-like pencil. It is better to make ten different drawings than to spend the same time upon one drawing. Accuracy of delineation should be exacted, but not at the expense of rapidity. The pupil should be accustomed to draw from memory at the start and continue this valuable exercise throughout the course. I believe that for the great mass of children in our common schools the habit of free-hand drawing is more essential than work with instruments, for free-hand must be the
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foundation of anj^ system of training whether for artists or artisans. Tlie mechanical draftsman, the architect, the engineer are frequently ol>liged to express their ideas by sketches or off-hand drawings of works which come under their observation.
22. COURSE OF STUDY.
We give herewith the outlines of an elementary course in drawing :
1. Drawing from the blackboard.
2. Study of the geometrical forms, plane and solid.
3. Outline drawing from the geometrical solids and vases.
4. Outline drawing from objects.
5. Drawing from casts of single leaves.
6. Drawing leaves and Howers from nature.
7. Drawing from cast of ornament.
8. Practice in the use of draughting instruments.
9. Linear geometry.
10. Elementary design.
11. Elementary perspective.
23. AN ADVANCED COURSE FOR HIGH SCHOOLS.
1. Outline drawing from groups of geometrical solids and vases.
2. Outline drawing from the cast of architectural ornament.
3. Outline drawing from the cast of flowers, fruit and foliage.
4. Drawing from the geometrical solids and vases, shaded with charcoal.
5. Drawing from the cast of architectural ornament, shaded with crayon.
6. Drawing from the cast of flowers, fruit and foliage, shaded.
7. Drawing from objects, shaded.
8. Drawing details of human figure from the cast.
9. Geometrical constructions.
10. Elementary projection, orthographic and isometric.
11. Linear ijerspective.
12. Details of construction.
13. Elementary structural drawing.
14. Theory and harmony of color.
15. Shading and tinting with pen and brush in India ink and water colors.
16. Analysis of plant forms for purpose ot design.
17. Analysis of styles of historic ornament. IS. Principles of applied design.
24. ELEMENTARY INSTRUCTION.
The plane geometrical forms used in the early study of drawing should be of pasteboard or wood, and in the hands of the pupil. The drawing of these forms should be free- hand and on a scale larger than the model. The teacher may, however, frequently allow the pupils to trace around
the forms, in order to fix the correct idea of the figure in the mind of the learner. The outlines of leaf forms can also be drawn at this early stage.
We begin the study of the solids by drawing the sphere and the spheroids, and natural forms and objects based on these solids. The outlines of vases can be drawn with much profit at this stage. Next the study of the cone and cylinder and forms based on them. Much time can now be profitably spent in the study of the cube and the square prism. The elementary jjrinciples of perspective thus developed will aid materially in the drawing of the remain- ing geometrical solids. Form study should go hand in hand with drawing, and the construction of the solids in some simple plastic material encouraged. By cutting forms out of paper or pasteboard, and pasting, the devel- opment of surfaces is practically and easily taught.
25. SOME SUGGESTIONS.
In drawing the outlines of leaf forms, or from casts of ornament, the following order may be observed:
1. Draw the principal perpendicular and horizontal lines first, as we can only judge of the slant of the oblique lines by comparing them with some standard lines.
2. Sketch the general shape of the object, and decide upon the correct general proportions.
3. Draw the parts definitely and add no details until the work is accurately laid in.
4. Erase the lines until they are just visible.
5. Line in, or make the true outline. The line should be of equal thickness.
Draw leaves and flowers from nature. With the nat- ural form as a basis, draw the conventional form, which is regular and symmetrical. The (sonventional leaf form is used in all good ornament.
It makes very little difference what instrument is employed in the beginning. Giotto — ^once a poor shepherd boy, used a stick, and made drawings of his flock in the sand, and on flat stones. A piece of charcoal and the wall, or a piece of chalk and the blackboard have been helpful to many a one. The student should consider his tools of secondary importance. I^et him supply them as he feels their need. The draughtsman relies upon his trained hand and eye that direct the medium used, and not upon the instrument itself. The quill, the steel-pen, the lead-pencil, the crayon, each has its place in drawing, and the student should learn to use them all. The paper should not be too smooth, but have a rather rough surface. The less the India rubber is used, the better.
26.
DRAWING FROM OBJECTS.
In studying the solids as they appear, draw them in their simplest positions first, and notice the apparent con- vergance of the parallel lines; also that the representation
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of a circular plane, when viewed obliquely, is an ellipse. These elementary princdples of perspective once mastered will aid the student materially in his jjrogress. Always draw the model as you see it, and not as you remember having seen it represented. You will be greatly helped in the beginning when drawing the outline of an object, to use only one eye, as the object then appears flat, and not as a solid. When judging distance we must use both eyes. When we wish to see the princijjal msisses of light and shade, we partially close both eyes.
Wire models have been constructed to aid in the study of the appearance of solids. A pane of glass placed ver- tically between the student and the object, can also be used to advantage. The lines bounding the object can be traced upon the glass, and the observations made by the eye verified.
Good books on the subjects of model drawing and per- spective can not easily be obtained. There is, however, no royal road to drawing any more than there is to the attain- ment of knowledge. Books and teachers may be consulted, but the student who is not serious in his study of Art, who does not make a conscientious effort to master the difficul- ties presented in each stage of work, need not look for success. The eye as well as the hand must be trained. Men are not born with capacities for art beyond the great mass of their fellow-men. They can only rise above the common level by study and right training.
27.
WORKING SKETCHES.
The regular geometric solids should also be studied with reference to their construction. Three views of each object should be drawn, that is: a front view, a view from above, and a view from one side; the views must show corresponding measurements. These views, are not per- spective drawings, but simple free-hand "working sketches." In making these sketc'hes draw the lines which represent the contour of the object and are seen as full lines; the inner lines are either seen or hidden; if hidden, they are drawn as dotted lines. In drawing the sections of solids, draw the cross section, the longitudinal section, and the oblique section of each solid.
28. DRAWING THE FEATURES.
In attempting to draw the features of the face from the cast, select as the simplest and easiest one which shows a full or front view of the mouth. Study the cast — think before you draw — and having detuded upon the propor- tions of the parts, put the general ideas obtained on paper and combine the proportions so as to make it one harmon- ious whole. Compare the sketch with the cast before you, and continue your study and delineation until you have obtained a drawing which shall correspond in form and character to the model before you. It is not wise to imitate
the off-hand and ready manner of the expert draughtsman. It will only result in failure. You can only get strength as you go along. The power to delineate with accuracy and rapidity can only be acquired Ijy patient study and unceasing toil. The study of one feature in the manner indicated aljove will contribute more to your progress than a dozen desultory sketches. For, unless the first difficul- ties are mastered, the student will soon find himself entangled and unable to extricate himself. Following the study of the mouth, the eye, the ear, the nose, and the face may be taken up. Always draw on a large scale giving special attention to correct outline and proportion of parts. No amount of time spent in shading will make up for poor drawing of form. For the beginner, casts are much better than the living model, and a collection of good casts should be found in every school-room. White models or casts are the best to work from, because the laws of light and shadows are best studied from them; being non-absorbent, they reflect all the rays.
While pursuing the course outlined above, either under guidance or at home, let the student also attempt to draw from objects and from nature as his fancy directs him. Bv doing so he will encounter difficulties which will test his strength, and have a strong tendency to give additional impulse to his studies. It will also cultivate that love for art which sometimes suffers by adhering too rigidly to a prescribed course.
Let the student further test himself by atlempting to reproduce drawings from memory. If he cannot remember what he has once learned, if he cannot draw except what he sees before him, he is not only losing much of the good already ac<iuired, but failing to prepare himself for the application of his knowledge. The draughtsman, the artist, the designer are const uitly obliged to draw upon the rich stores of knowledge acquired during the years of preparation for their profession.
29. ELEMENTARY GEOMETRY.
Some knowledge of elementary geometry and the methods of constructing the most important mathematical figures is necessary to every art student. It will help to clear the path to truth, solving many perplexing difficul- ties, and store the mind with ready and reliable expedients for the attainment of certain definite ends. These results must not only approximate truth, but be definite, precise and accurate. The value of the work is lost, if it is care- lessly done. The instruments used are the ruler, triangle, square, compasses, scale and protractor. Others can be added as required. The use of each of these instruments can easily be learned, as also the methods of testing their accuracy. In the solution of problems where mechanical aids are employed, no part of the work should be attempted free-hand.
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Some of the elementary problems are herewith sug- gested :
1. To bisect a given line or arc.
2. To erect a perpendicular to a line at its middle point.
3. To erect a perpendicular to a line at any point.
4. At the extremity of a line, to draw another perpen- dicular to it.
5. From a given point, to draw a perpendicular to a line.
6. Through a given point, to a draw a perpendicular to a line.
7. To draw one line parallel to another.
8. To draw an equilateral triangle.
9. To construct a triangle with given sides.
10. To construct a triangle similar to a given triangle.
11. Make an angle equal to a given angle.
12. To divide a line into a given number of equal parts.
13. To construct a square.
14. To construct a parallelogram when an angle and the adjacent sides are given.
15. To make an angle of 60 degrees.
16. To bisect an angle.
17. To make an angle of 80 degrees.
18. To make an angle of 45 degrees.
19. To find the centre of a circle.
20. To tind the radius of a given arc of a circle.
21. To describe a circumference through three given jjoints, not in the same straight line.
22. To draw a tangent to a circ'le at a given point on the circumference.
23. With a circle, to circumscribe a triangle.
24. With a circle, to circumscribe a square.
25. With a circle, to circumscribe a rectangle.
26. With a circle, to circumscribe any regular polygon.
27. To draw a line tangent to a circle, from a point without.
28. To draw a line tangent to two circles.
29. To descibe a circle tangent to a given circle.
30. In a circle, to inscribe a regular hexagon.
31. In a circle, to inscribe an equilateral triangle.
32. In a circle, to inscribe a square,
33. In a circle, to inscribe an octagon.
34. In a circle, to inscribe any regular polygon.
35. To inscribe a circle in a triangle.
36. To inscribe a circle in any regular plane figure.
37. Upon a given base to construct any regular polygon.
It will frequently happen that work must be done off- band when no tools are near, or when the small draught- ing instruments will not answer the purpose. In such cases it is necessary to resort to expedients, using such
material as is within reach. A stout piece of paper, or cardboard, a bit of thread or cord, a few pins or nails, a lath, may be all that are necessary.
30. ELEMENTARY PROJECTION.
Instead of free-hand sketches of the projections of the solids, they should now be drawn with great accuracy by the use of instruments. Begin with the solids bounded by plane surfaces, such as the cube and the prisms, in various positions. (Page 1.) Follow with pyramids, cone, cylinder, and other regular forms shown on pages 1 and 2. Having drawn the different projections of the above-named solids, there will now be no difficulty experienced in drawing Nos. 3036, 3040, 3041, 3037, 3039 and 3035, on page 2. Here we have tangible objects for our study, not mere abstractions. The models can now be parts of machines, or achitectural details, which are first studied, then sketched, and lastly, drawn to scale, making complete working plans from which a duplicate of the original could be constructed.
31. COURSE IN DRAWING IN THE PHILADELPHIA MANUAL TRAINING SCHOOL.
We give below the excellent course adopted by the Board of Public Education of Philadelphia for the Manual Training School of that city. It will serve as a guide to others who contemplate the introduction of a thorough course in industrial departments connected with the High School, or the grammar grades of our common schools.
" From the beginning the pupil is taught to interpret working drawings, and to reproduce them from the indi- cated forms. He must understand the language in which they are described, and acquire by education and expe- rience the ability to obey it.
"While drawing underlies all indu.strial work, its appli- cation is not limited to mechanical construction. Through- out all the departments, drawing is the common language used in explaining facts, ideas and principles. By means of historical, botanical, and topographical maps, literary and economic charts, geometric and electrical diagrams, anatomical and geological sketches, the pupil graphically expresses the lessons taught in the class-room.
32.
FIRST YEAR.
" Constructive Drawing. (Mechanical.) — Proper care and use of instruments; class study of the geometric facts of shape and size in typical solids; the method of repre- senting and describing such focts applied in the prepara- tion of free-hand dimension sketches of the exercises which are afterwards made in the shops; finished working drawings made to scale from them; orthographic projec- tions ; sections and intersections, and surface develop-
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C. HENNEGKE CO., MILWAUKEE AND CHICAGO.
ments ; lettering ; conventional methods and technical- ities in accordance witli the best modern practice of the draughting-room.
"Representative Drawing. {Free-hand.) — The analy- sis of forms singly and in groups, prepare for their accurate representation on paper, or the blackboard. Much practice is given in making drawings of various objects seen out of school, yet based upon the simple geo- metric solids, casts, and natural forms upon which the pupil has received instruction and practice in the school- room.
" Decorative Drawing. {Design.) — Elementary geo- metric design ; straight lines, curve lines, and their com- binations ; geometric figures ; elementary conventional design.
33. SECOND YEAR.
" Constructive Drawing. {Mechanical.) — Preparation of finished working drawings from free-hand dimension sketches, from blackboard drawings, and from dictated directions ; drawings of patterns and forge work to be used in shops. Shop tools and machine details— such as calipers, wrenches, pipe fittings, pulleys, details of engi- neering structures; parts of lathe; steam engine, etc.; development of surfaces applied in preparing working drawings for tin smithing exercises.
" Representative Drawing. {Free-hand.) — Represen- tation of tlie appearance of the rectangular and circular objects, with shades and shadows. Free-hand drawing from simple casts, and natural forms.
"Decorative Drawing. {Dedyning.) — Typical historic forms, and simple natural forms conventionalized ; design to fill given sjjace; borders and surface covering; principles of arrangement ; repetition ; alternation ; cumulation ; radiation ; symmetry.
34. THIRD year.
" Constructive Drawing. {Draughting.) — Machine drawings, tracings, and blue pi-ints made from Idackboard and note-book sketclies ; drawings of steam engine and electric motor to be used in the ' projects ' in the shops ; isometric drawing ; ornamental coloring and India ink shading with pen and brush ; designing of screw threads, gear wheels and parts of machinery, from specifications ; plotting of irregular mechanical movements.
" Representative Drawing. {Free-hand.) — Advanced free-hand drawing from models, casts, natural and historic forms ; light and shade ; coloring. Elements of linear perspective and the perspective of shades and shadows.
" Decorative Drawing. (T)?*!//*!?'/)*/.) — Geometric, his- toric and conventional forms in design ; analysis and con- ventionalization of natural forms ; designing of repeated
pattern and repeated forms ; planning of ornament. Applied design ; analysis of colored designs ; original designs in color and relief."
35.
decorative ornament.
Ornament may be classified as surface or flat ornament, and relief ornament. The former is the industrial appli- cation of the fine art, painting. The latter is the appli- (;ation of sculpture to industrial purposes. lu surface ornament we attempt to convey the ornamental character of the subject by outline and color. In relief ornament, the ornamental forms are raised from the surface of the object decorated. Of the two, relief ornament is the greater, as it requires more originality and greater skill to produce it.
Ornament is employed in the decoration of works of art, and in the art industries. It is most frequently applied in architecture, and in manufactured articles and vessels of use and beauty. The forms which serve as patterns for ornament are found in plants. The human figure and the animal form is used symbolically, and only occasionally in a constructive manner.
The first principle to be observed in decorative design is, that it must be subordinate. Whenever decoration asserts itself, and hides the principal form, it offends against good taste.
A second principle in all decorative design is that it must promote and further its proper effect. It must be in harmony with it. It must have a meaning, contain an idea; it must be significant.
A third principle to be observed is, that the treatment of the subject must be according to the nature of the material used. In stone or cast iron, the general form or outline of the ornament need only be given ; while in marble or terra-cotta, a more delicate treatment of tlie sub- ject, almost imitating nature, might be attempted.
The characteristics of the different styles can best be learned by the study of good examples. Want of space prevents me from giving more than a brief outline of the great styles.
36. historic styles op architecture.
The great historic styles of Architecture are : the Egyptian, tlie Hindoo, the Chinese, the Grecian, the Roman, the Byzantine, the Moorish, the Gothic and the Renaissance. Each of these styles is characterized by the manner in which the inhabitants respectively cover or roof areas, or spaces. The Egyptian built gigantic pyramidal structures of solid granite and sandstone. The Babylonians used clay and bitumen in their structures and developed a style peculiar to their country. The Chinese architecture is of the t«nt type. Hindoo architecture
DBA WING.
XXIX
shows the use of the arch, not radiating as in the Roman and Gothic, but formed by stones laid flatwise and over- lapping each other like inverted steps. The horse-shoe arch is found in Moorish architecture. The Greeks covered their openings with a flat stone; the Romans with a circular arch; the Goths with a pointed arch composed of circular segments. The difficult problem of providing supports for coverings to doorways, to passages, to com- partments, as well as to the whole interior of the structure, gave rise to the different styles of columns, entablatures, and gables. In Grecian architecture we have the three orders: the Doric (Fig. 3301, 3304), the Ionic (Fig. 3305, 3306), and the Corinthian (Fig. 3300, 3303), the character- istic features of these orders being found in the column and its capital. (Page 31). The Corinthian was the most beautiful of the Grecian orders. Two other orders, the Tuscan (Fig. 3307, 3308), and the Composite (Fig. 3299, 3302), were used in classic architecture.
37.
HISTORIC ORNAMENT.
Greek ornament was not symbolic like the Egyptian (Fig. 3170), it was purely decorative and can hardly be called constructive, as the ornament forms no part of the construction. The ornament in the Corinthian capital is merely laid on. It is, however, pure, chaste and rich. The Greeks were great students of nature and followed the three laws of nature; 1. Radiation from a central point; 2. Pro- portional division of the surface; 3. Tangential union of lines.
Some of the choicest ornaments of classic Greece are rep- resented in Figs. 3320, 3231, 3323.
The Romans were lavish in their decoration. From the base of the column to the top of the gable every part of the facade was profusely decorated. The ornament forms no part of the construction. The ease with which the acanthus leaf was applied everywhere, caused them to leave the decoration of surfaces in the hands of persons without artistic taste. We refer to Figs. 3826, 3327, 8328, 3295, as fine examples of this style.
The Trajan column with its gilded reliefs on colored ground (Figs. 3558,3563 to 3581), was embraced within the gigantic structure, the Basilica Ulpia. the principal build- ing of the Forum of Trajan.
The Byzantine ornament was developed by Greek artists out of Christian symbolism. The great features of the style are the circle and dome, the round arch, and all the various details of forms which are derived from the lily, the cross, the nimbus and other symbols. In this style of ornament appear elliptic forms, sharp pointed leaves, unbroken leaf-work without flowers. The finest examples are from the mosque of St. Sophia at Constanti- nople, and the church of St. Mark at Venice. (Fig. 3316.)
The Romanesque is the modification that took place in the classic style in the Western Empire, principally in the
countries north of the Alps, under the influence of the so-called Gothic races.
The best examples of Moorish ornament are from the Alhambra in Spain. Figs. 3283, 3284, 3285, and 3287 are examples of this .style.
The Gothic style flourished from the middle of the 12th to the middle of the 14th century. It originated under the influence of the rich architectural monuments of Normandy, Burgundy and Provence, and spread rapidly to England, Germany, Italy, Spain and the Scandinavian countries. In its purest or highest state of perfection, it is marked by geometrical window-tracery (Page 23), richly ornamented door-ways, delicate mouldings, and elaborately carved imitations of leaves, as of the vine and oak, often conventionalized, but not unfrequently copied from nature. Fine examples of this style are to be found in the Cathedral of St. Denis, near Paris; Cathedral of Notre Dame, Paris; Cathedral of Chartres; Cathedral of Rheims; Cathedral of Amiens; the latter is considered as representing the high- est degree of perfection which the style has reached. In England: Cathedral of Canterbury; Westminster Abbey; Cathedral of Exeter; Cathedral of York. In Germany: Cathedral of Cologne, and the Church of St. Stephen in Vienna. Figs. 3235, 3066, 3067, 3068, .3070, 3297, 3311, 3312, 3319.
The Renaissance style was developed in Italy at the close of the 15th Century. At first the classic Roman ornament was carefully reproduced, but through the study of nature new elements of decoration were introduced, until a rich and elegant style was produced that aff'ords excellent examples for study to the art student. Fine examples are found in St. Maria dei Miracoli in Venice ; Cathedral of Florence ; St. Peter's, Rome ; in France, the Tuileries ; parts of palace of Fontainebleau ; Chateau of Versailles.
Examples of this style are scattered through the pages of this book. We can only refer to Figs. 3322, 3329, to the capitals on page 31 and to the index.
38. THE INDU3TRIAI. ARTS.
We have frequently referred to the art industries in these pages, and it inay assist the student to a better understanding by naming some of them. They may be classified as follows : 1. The art of working the precious metals— gold and silver. 2. Work in bronze, copper and iron. 3. The art of enameling. 4. Artistic furniture. 5. Carving in ivory. 6. The ceramic art. 7. Manufac- ture of majolica. 8. Glass making. 9. Glass painting and glass mosaics. 10. The ancient art of mosaics and inlaid work. 11 Book decoration. 12. Ancient armor and artistic arms. 13 Textile fabrics. 14. The manu- facture of lace. 15. The manufacture of artistic wall- paper.
C. HENNECKE CO., MILWAUKEE AND OHIO AGO.
39. THE FINE ARTS.
The Fine Arts are architecture, sculpture (the plastic art), jjainting (the graphic art), music and poetry.
The Graphic Arts may be classified as drawing in the different mediums ; water monochrome ; oil monochrome ; pastel ; tempera ; fresco ; painting in oil colors ; painting in water colors ; painting on tapestry ; wood engraving ; line engraving ; aquatint and mezzotint ; lithography.
The Plastic Arts may be divided into the arts of cut- ting or carving in marble and stone ; modeling in a plastic material ; producing metal casts from the plastic material by founding ; ornamented metal work formed in relief— repottsse ; gem-engraving; die-engraving or die- sinking ; wood-carving ; the art of preparing moulds and casts in plaster, wax, etc.
Itfl^Jlii^;
BY CHAS. F. ZIMMERMANN.
ODELING in a plastic material, when consid- ered as a means of manual training, possesses the highest value as an element of culture. If the aim of manual education is to develop skill in the learner to shape material according to a certain design, it is most easily accomplished by using some pliable substance which can be made to assume the desired form.
On account of their great plasticity, clay and wax have been used in the plastic arts more than any other sub- stance. Work in -wood, metal, or stone is more difficult, requiring more time and more tools. Those who can model in wax or clay are prejjared to work in harder materials; the skill acquired in handling the few and simple tools, the power gained of thinking in a solid, and of executing the design in a relatively short period of time, the cultivation of the taste of the modeler — all stamp modeling as the basis of manual education.
We are still laboring under the delusion that modeling is a difficult art, and that it should not be attempted until the pupil has learned to draw well. We forget that man successfully modelled in clay and carved in wood and stone before he intelligently expressed his ideas by draw- ing. In the industries, and in industrial-art education in Europe, this has long been recognized. In the wood- carving schools of NUmberg, the students are expected to devote themselves exclusively to modeling for one-half of the first school year. In the industrial-art school at Stutt- gart, modeling is made the basis of instruction in the dif- ferent arts. As a complement of drawing, modeling has already found its place in the common schools of Europe as an additional aid in the industrial education of the masses. The time cannot be far distant when by the addition of modeling to our school course, the executive powers of our children will receive greater scope for action.
The English Commission, already referred to, recom- mended the introduction of modeling into the schools in the following words: —
" We are of the opinion that more attention than has hitherto been devoted to it should be directed to the sub- ject of modeling in the elementary schools
Modeling is an exercise of great importance to the future workmen, and its rudiments can well be taken up, as in continental schools, at the earliest age."
Violet le Due says: —
" Whoever knows how to draw must be able to model ; and, when one perfectly conceives a form, it is no more difficult to render it by the aid of the chisel than by a pencil: one must therefore accustom himself to freely use
either One cannot draw an object well,
unless one is able to model, shape and fashion it, and to supply what drawing gives only after much time and labor, and many exjjlanations."
Modeling in clay is a practical art and depends on the experience and skill of the modeler. In the following ])ages we can only give an account of the nature and uses of the tools, the necessary consistency of the clay, and some descrijition of the processes employed in the art.
2. EARLY BEGINNINGS IN THE ART.
'' The name of the Sikyonian potter Boutades is con- nected with the introduction of this branch of art; it appears to have been in the middle of the seventh century B. C. that he ornamented the acroteria and antefixes of the temple roof, first with low-relief (prostypon), and then with high-relief (ectypon). He also left a portrait panel in terra-cotta, shown in the Nymphaion of Corinth until the destruction of that city as the first work of its kind. In connection with it was told the pleasing anecdote that the daughter of Boutades, in .taking leave of her lover.
MODELING.
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sketched his shadow upon the wall with charcoal, the father afterwards filling out the outline with clay and burn- ing the relief thus produced. Neither of these accounts are of great direct value, but that a potter could achieve a lasting reputation as an artist may perhaps show that modeling in clay had already made essential progress, and thus prepared the way for brass-founding, which re(iuires an original and mould of this more plastic mate- rial." Modeling seems to have sprung up naturally in all parts of the world; its origin must be sought in the imi- tative faculty of man.
" The Greeks were for a long time satisfied with model- ing figures in clay, and decorating them with colors in a rude and conventional style ; from this they passed to images cut out of soft stone, or even marble, still retaining, and always to the end retaining, the practice of modeling and moulding in clay. The next steps, perhaps, would be the painting of rude figures on tiles, as votive offerings or as trade insignia, and along with this the decoration of pottery would be carried on. This decoration answers in simplicity to the unstudied and rude shapes of the early pottery, often borrowed from natural forms of shells or gourds. From this archaic system of decoration, ami these squat and ungainly forms, we pass by slow stages to more symmetrical and elegant shapes, and to a richer and more varied ornamentation. No doubt, in time, as our knowledge comes to be more extended, we shall trace many of the principles, practices and discoveries which we now attribute to the Greeks, and which the Greeks, in their time, attributed to themselves, to earlier civilizations, to the Egyptians, Assyrians, Indians, and perhaps to peoples still further east. But the glory will still rest with the Greeks — no matter what revisions of history future discoveries may force upon us — that they threw ofl:' their swaddling clothes and went from one advance to another until they had reached the perfection that in all the arts has made the types and standard of excellence. The names of Polygnotus, Zeuxis, Parrhasius, Apelles, and Protogenes are those which have come down to us as the chiefs of Greek painting ; but such men were only possible on the condition of a wide-spread preparation for their coming by multitudes of painters and abundant employ- ment ; and to maintain their art at a high level they must have been surrounded by an atmosphere of general talent and achievement in which alone such gifts as theirs can come to flower and fruit." — The, Cfuiutauquan.
" But it was prol)ably many centuries before there was anything like precision of execution, or correct anatomy, such as we see in the golden age of Greek statuary, of which Phidias and Praxiteles were the exponents. These artists conceived ideal types for the representation of the special characteristics of gods and heroes, and spoke as much to the mind of the beholder as to his eye. To
understand their statues we nmst follow the mind of the artist and trace the idea he meant to convey. We must contrast the dignity of Hera with the gravity of Pallas, the chaste sprightliness of the maiden Artemis with the insin- uating attractiveness of Aphrodite, the l)eauty of the young Ajjollo with the eff'eminacy of the young Dionysius, the manliness of Ares with the power of Zeus, the joviality of Silenus with the mischief of Eros. It is just in their mis- conceptions of these ideals that restorers of statues have failed so lamentably ; it is the want of this conception that makes us unable to distinguish a good statue from a bad one, and that leads an uneducated eye to despise a beautiful torso as a mere stone fragment, the useless encumbrance of a gallery."
3. SCULPTURE IN THE KOUND AND IN KELIEi'.
Sculpture in completely solid form imitates the original in the three dimensions of length, breadth and thickness, either on the same scale or reduced. But when the work reproduces the projiortions of the original in two dimen- sions, length and breadth, and the third, depth or thick- ness in a diminished proportion, we have sculpture in relief. Works in relief are of three kinds: Alto-relievo, (high relief), mezzo-relievo, (medium or middle relief), and basso-relievo, (low relief). Statues, groups, busts and vases, are examples of sculpture in the njund; while works in relief are usually for the decoration of works in archi- tecture or sculpture.
4. TOOLS USED IN CLAY MODELING.
The tools called modeling tools are made of boxwood, dogwood, beech, maple or any hard-grained wood. They are also made of bone, ebony and wire. Exi)erienced modelers use their fingers more than they do their tools. Tools have been invented to aid the fingers, and are designed to do what they cannot perform. Wire tools have loops of various shapes and sizes, round and angular, and fixed into wooden handles. The wire tools are most useful in the folds of draperies and in close or narrow con- cave surfaces. Those used for denting or pressing have rounded edges ; for cutting, sharp edges; and for scraping, serrated edges. The broad notched tools are designed chiefly for working the large convex masses, or large folds in drapery. Great care must be exercised not to retouch work already done with a tool while clay is adhering to it. (See modeling tools on pages 82 and 83). A piece of wire is used for cutting larger masses of clay. A vessel containing water,a brushfor sprinkling the model, a dampened sponge for moistening tools and fingers, and wet cloths for cover- ing the work, are important necessaries.
The simplest modeling stand is made of boards, placed obliquely at an angle of about 60 degrees upon a second
a HENNEQKE CO., MILWAUKEE AND CHICAGO.
board or upon the table. The top board is supported at the back. By painting the modeling board it can be kept fi-om warping. (Fig. 4004.)
The modeling l^oard for reliefs is made of a strong wooden frame, in which are fixed narrow cross-pieces to prevent the board from warping. By nailing a narrow frame inside of the first, it can be made a shallow box. (Fig. 4003.)
The large modeling stand (Fig. 4005.) having a top turn- ing on a pivot, and the easel (Fig. 4006.) can be easily con- structed. Wood and wire modeling tools and a pair of modeler's calipers, for measuring proportions can be obtained of the C. Hennecke Co.
5. MODELING CLAY.
It may safely be affirmed that without clay the sculptor's art could never have reached the high plane which, by its use, it has been enabled to gain. The clay known as potter's clay is used in modeling. If the work is to be used as a model, the clay can be highly plastic, but if it is to be fired, it must be made more porous by the addi- tion of sand. All clays shrink by firing, the shrinkage varying from \^ \a }/z on the exterior, and from ]/^ to 5-^ internally, according to the amount of moisture in the clay prior to firing, and length of exposure. Clay, as found in nature, is rarely fit for use; it must be thoroughly worked, freed from all impurities, pebbles and gritty sub- stances, and exposed to atmospheric action for a long time. It is best to get your supply from the potter, where you can at the same time determine its character from the quality of his wares. If it is in a moist state, keep it so by frequently sprinkling water over it ; if it is dry, break it up into pieces of the size of a nut, saturate it, and then knead it until it is fit for use. Keep the clay in a covered vessel, to prevent evaporation ; a zinc-lined box, a jar, or a pail will answer.
When ready for work, the clay must be so wet that it will not stand in a mass much higher than its own width without support. The clay adheres much more to the tools when wet, but it is at the same time much more easily and quickly worked.
6. MODELING FROM A CAST OF ORNAMENT; THE FOOT, HAND OR BUST.
Having selected a simple cast for your first effort, place the bench, table or modeling stand under the window, or let the light fall on it from the left side. Make a ground for the figure. Use the toothed tool to scrape the surface even and flat. By nailing guide pieces to the side of the table or modeling board, and drawing a piece of wood across, the thickness of the clay ground can be made even. When building upon this, determine where the figure is to
be placed, and make deej) cuts crossing each other in the ground, roughening it, and press clay on the ground thus prepared. Press the clay with some force so as to incor- porate the pieces well with the ground. Give the figure the exact form, removing clay on all sides.
The actual modeling is done by hand alone, the thumb and fingers pressing the clay, giving it the general form. The midrib and other ribs in the leaf form are worked out by the aid of the tools. Remove the clay from the middle to the edges, scraping it away with the tool. Hold the tool nearly horizontally, the points of the four fingers resting on it, and the thumb supporting it on the under side. While at work keep the clay of the con- sistency of putty. In joining two pieces smooth the sur- faces that are to be blended ; the clay that is applied should be softer than the work itself, as it stays in place better. Do not keep clay in the hand any length of time, as the moisture evaporates rapidly. In modeling the hands, feet, or bust, block in roughly in large, broad, square planes or flats, leaving the details until later. (Figs. 3948 to 3959). Sprinklethe work frequently as you proceed. A plasterer's brush is the best instrument for this purpose. At night, or when the artist is not at work on the model, it should be covered over with a wet cloth or sheet. It can also be kept moist a long time by covering the model with an oil-silk bag.
7. SUPPORTS FOR THE CLAY.
It is very important that the supports for the clay be properly attended to, else th6 fruits of months of labor might suddenly break to pieces through its own weight. The supports of a full-length figure are shown in the illus- tration (Fig. 3990). Such a figure is usually modeled upon a bench or stand aVjout thirty inches high and thirty inches square. For a bust it must be much higher (See Fig. 3992).
Above this stand is placed a revolving plinth. This is necessary to enable the sculptor to see his work on all sides in any light, and it enables him to work on all parts in one spot, or in the same light. On the center of the plinth there should be bolted and firmly fixed vertically a strong iron bar, about the height of a man, and from about six to ten inches in circumference, according to the weight of the figure. In loosely draped figures it is necessary to fix a vertical beam of wood to the main iron bar ; for though the bar will keep the clay per- pendicularly in its place, it does not keep the mass of clay from sinking. We shall not be surprised at this when we consider that the quantity used in some figures, even of the heroic size only, amounts to about two tons. Two cross-pieces of wood are fixed to the main bar at the shoulders and the loins, from which the supports of the arms and legs must be started, and a third piece may be
MODELING.
XXXHl
fixed in the middle to diminish the weight of the clay. The supports of the legs must be bars, straight or bent, according to the position of the legs ; but the supports of the arms, when not detached from the body or drapery, may generally be made of twisted thick copper wire, small pieces of wood being twisted in with it at short distances, and at right angles. The fingers, if separated, will require similar care. The clay should be built up against this complete skeleton of supports, and be suffi- ciently strong not to yield in the least to the weight of clay when the model is finished. The building up of such a skeleton for a figure of the heroic size is often the work of a week or more. The amateur should have the assistance of some one experienced in such work, to con- struct the skeleton of supports for him. If the arm is to be slightly elevated and detached from the figure, the support can be so made as to allow its removal at pleasure. This will give the sculptor a better opportunity to work on the model beneath the arm, and diminish the risk of injury to it. The contrivance necessary is a pipe or tube in the shoulder support, which can receive and hold firmly the skeleton support of the arm made of either wood or metal.
The supports necessary for mod- eling a bust are an upright piece of wood with a cross-bar at the should- ers. A small cross-bar at the head, or a piece of lead-pipe, would be of service. (See Fig. 3991.)
8.
HOW TO MAKE A MOULD.
We would advise the amateur to begin with the model of a cast of ornament, or of the features, as easier to experiment upon than a bust or a figure, and with less danger of spoiling the work of weeks of toil.
Make a border or wall of clay all around the form. It must be half an inch higher than the highest part of the figure. The model should now be brushed with clay- water, or soft soap and oil— a soft brush being used. As the moisture or oil is absorbed, repeat the brushing with these materials. Now pour water into a basin and throw in plaster of Paris. Stir with a strong stick or common table spoon. See that the plaster does not form in balls, but is well mixed with the water. The mixture must be perfectly smooth and of the consistency of cream. The basin should have a lip to pour from. Pour rapidly and allow it to spread over the whole surface. Shake or jerk
the model so as to cause the plaster to fill all the recesses of the model. Clean the basin immediately, before the plaster hardens in it. In about ten minutes the plaster has "set" sufficiently to allow the clay wall built up around the model to be removed. Now level the surface of the plaster with a wire tool and leave the mould until the next day when the plaster will be found to be hard. Carefully insert a broad and thin blade between the model and the mould, and separate them. The mould will be found to be an exact coj)y of the model.
9. HOW TO MAKE A CAST.
Clean the mould and allow it to become thoroughly dry by placing it in an oven over night after the fire has gone down, leaving the door of the oven slightly open. When the mould is perfectly dry, give it two coats of linseed oil, or more if the plaster will absorb it. Build a wall of clay around the mould, or nail strips of wood together so that the sides shall be i of an inch higher than the highest part of the mould. Mix plaster and cover the mould making the surface at the top even with the border strips. When the cast is well set, the mould may be carefully broken off in fragments, and the cast exposed, the complete and finished work of the modeler.
When a mould is taken of the bust in clay, it is made in pieces, that is, one part of the bust is cov- ered with plaster at a time, and allowed to set. When these parts or pieces are fixed and dry, the whole may be separated at the joints, without any regard to the preserva- tion of the clay model, for when the mould is complete, the model is no longer of any value. The clay hav- ing been removed, the component parts of the mould are again put together, and in place of the original clay it must be filled with plaster of Paris. Only a small quantity is at first poured into the mould, and shaken to allow the minute recesses to be filled. The pouring of the plaster and the shaking of the mould is repeated a number of times until the plaster form is of sufficient thickness. The parts of the mould are now removed and the perfect l)ust is exposed to view.
" Many sculptors have their clay model cast in plaster before the modeling is quite finished, as they prefer to put the finishing touches on the plaster cast, — good plaster being a very easy and pleasant substance to work on."
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C. HENNECKE CO., MILWAUKEE AND CHICAGO.
10. HOW A STATUE IS MADE.
Harriet Hosmer describes the process of making a figure in marble as follows : —
'' A vague idea prevails as to how a sculptor works out a statue. The truth is this : The artist puts the concep- tion as nearly as possible into a material form by the aid of clay. A plaster cast is then taken of that. By this time deft mechanics have a block of marble, ' square and out of mind,' in the most perfect manner. Then the cast is set alongside, and by means of square and rule and calli- pers, the model is copied point by point. The mass is hewn from the block rapidly until a general outline is reached. Then the mechanic proceeds with more skill and care, and gradually re- duces it until the exact image of the original model is reached. Then a still more skilful artisan under- takes it, and does al- most marvels under the artist's personal direction. At last the artist puts on the fin- ishing touches, which give the individuality, the excellence, the semblance of the per- son modeled after, or which conveys the idea that the artist has fan- cied into creation. A statue, like other works of art, is but a vehicle, as it were, to transport the tliought that generated in the artist's mind, and was modeled and rounded
into a perfection by his perseverance that delights esthetics and others in proportion as they understand it. These finer touches can be done by none but the designer, for he cannot instruct others what he wants. A faint char- acteristic, a delicate lineament, a slight indication of a line will make or mar by imparting an expression desired or not. So the artist must take the chisel, and study and carve, and carve and study until the block is the incarna- tion of the thing formulated in the artist's mind."
11. ON MODELS.
If practicable it is always best to make the model the size of the intended figure, because an error in the small
model is multiplied in the larger figure, causing the sculp- tor much labor to rectify errors in the full-sized marble work.
Clay models can be baked or allowed to dry, and then used by the sculptor as models to work from. But clay in drj'ing shrinks, and is apt to crack, so that the model does not preserve its shape as originally modelled. The ancients used terra-cotta (baked earth) figures, as also baked moulds of clay, forming their casts by pressing clay into them.
12.
MODEUNG IN WAX.
THE MODEI-.
A beginning can be made with some hand-made tools, a slate or pane of glass, a lump of modeling wax and a
cast. Wax as a ma- terial is to be prefer- red for certain kinds of work, as it is always ready for manipula- tion, clean to handle, and adapted to small work; in this mater- ial work can be carried on throughout the en- tire year without dan- ger of spoiling the piece by exposure to cold, or from want of proper attention on the part of the learner, as would be the case in clay modeling.* Modeling wax can now be obtained at a price that brings it within the reach of all, and the same piece can be repeatedly used with- out its deteriorating in quality. The first exercises in the manipulation of this material are in rolling, pressing or molding the geometrical solids, using the hands only. Simple objects based on the geo- metrical solids may next be attempted, using the fingers and the simplest tools. The amatt^ur may imitate casts of ornament, fruit, flowers, foliage and the details of the human figure. The form of the object is drawn on the modeling board, slate, tin, pasteboard or glass, slate and glass being preferred. A small piece of modeling wax is rolled in the hands, giving it a cylindrical shape 1-16 to 1-8 of an inch in diameter, and finnly pressed upon the slate following the outline drawn. The figure is filled in
*()n page 83 we give a description of a new material and its value in modeling
AS
TltEATED BY SCULPTOR.
MODELING.
XXXV
in the same manner. Build upon this foundation layer by adding bits of wax, pressing each piece down firmly with the finger or the tool. Keep a small sponge slightly wet, to which the tips of the fingers or the end of the tool can be occasionally applied, as this will facilitate the work. Proceed in this manner until the subject is finished.
Modeling in wax was practiced in ancient times, for there were modelers in wax in Athens as well as sculptors in marble; and in the European museums are found statuettes and medallions made by the great artists of the Renaissance.
13. TKRRA-COTTA IN THE ARTS.
The use of terra-cotta for decorative purposes in our country is quite recent, its manufacture is now one of the chief art industries. The country within a radius of ten miles around Perth Amboy, N. J., supplies the best clays for that purpose in the United States. There are manufactories of terra cotta and of tiling for building pur- poses in the A-icinity of Boston, Mass., in New Jersey, in Ohio, near Washington, D C, and at Chicago. Common terra cotta is made of potter's and fire-clays, mixed with white sand, alkalies and " potsherds " (i. e. old fire-brick and pottery pulverized), which act as vitrifying elements, counteract excessive shrinkage, make the ware harder and keep the color lighter.
" We have in the United States begun to use tiles, both glaaed and unglazed, associated with brick and stone in buildings. But these tiles are mainly imported from Eng- land and are very expensive, so that they are sparingly applied, and looked upon as a luxury. There is every reason why the production of these tiles, and other manu- factures of terra cotta should be carried on to an unlimited extent in this country. We have the necessary clays. They are to be found East and West. Skilled labor will come with the demand for it Perhaps no other art industry has received so great an impetus from the splen- did Exposition of the works of all nations at Philadel- phia, as that of pottery. Tiles and other forms of terra cotta can be manufactured at low cost, and will be exten- sively used as building material. The use of terra cotta is to be commended because of its indestructibility from extreme heat or cold, and from the chemical agencies which attack other materials. In its condition as clay it is easily modeled and moulded to any shape, and would serve a graceful purpose for cornices, caps for windows and doors, string courses and so on. But its adaptability to effects of color commands our special attention. In this respect it offers limitless opportunities for artistic expression. Color once fixed by heat in the plastic clay endures forever. Color is the grand objective of all the arts and industries." — George Ward Nkhd.».
14.
USE OF TERRA COTTA IN ENGLAND.
" Most of the old terra cottas have been moulded in clay solidly, and then burnt. That is not the best way ; for clay shrinks in burning, and in proportion to its thick- ness, so that a thin part does not shrink as much as a thick part ; thus distortion takes place.
" I have seen a terra cotta which had been burned for two days, and had only shrunk one-sixteenth of an inch in two feet in height ; and that is practically nothing. To attain that perfection, two things had to be done; first, the statuette had to be hollow, and all parts of the same thick- ness, which was done by first modeling the figure, taking a mould of it, and then pressing or squeezing the fresh clay into a plaster mould, after being rolled to an even thick- ness of a quarter of an inch ; second, the greater portion of the clay was composed of ground and pulverized burnt clay, in the shape of common clay tobacco-pipes already burnt, and which had therefore been already shrunk, so that when burnt again it did not shrink at all ; the actual shrinking being in the unburnt clay necessary to bind the particles together. The result was imperishable work, clear and brilliant, every touch of the master's hand sharp and perfect ; and, with such care, terra cotta is a beautiful material.
" It is usually regarded as a material for small things only — sketches and details ; but I have seen a life-size figure made as I have described, and burnt without a crack or a flaw.
" The most notable examples of the use of terra cotta in modern days, is in the construction of the permanent por- tion of the South Kensington Museum in London. Every fraction of the facade in a sort of Venitian-Renaissance style, is built of burnt earth — ^the main body of red brick,
the enriched portions of cream-colored terra cotta
The columns, which are richly covered with figures emblematic of the seven ages and of the arts and sciences, in relief, are in blocks several feet in length and diameter, and the string-courses and mouldings, and wherever the main color of red brick is relieved by the lighter colored terra cotta, there are immense blocks of the material as straight and square as worked stone ; while the surface is as hard as cast-iron, non-absorbent, dead in surface, and almost of uniform color; where the color is varied, the variety is not so great as in the veins of white marble.
" Altogether it is a brilliant success, and it has these advantages: the miserable climate and dense atmosphere of London cannot defile it, for the surface is hard and smooth, and every storm of rain, and every gale of wind remove impurities as they would from a white plate; and fog and rain are not altogether unknown in the largest city in the world. I examined these terra cotta enrichments in September, 1871, after they had been exposed for sev-
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a HENNECKE CO., MILWAUKEE AND OHIO AGO.
eral years, and they were as fresh as on the day of their erection; whilst stone work that had been up as long was as black as the inside of a chimney.
" The clear atmosphere of this country, and the absence of a plethora of mill-chimneys, do not so loudly call for permanent and cleanly decorations of buildings as London and Manchester do in the old country; yet, here as there they would be an honest and pleasing ornament, — art work and hand work, fresh and eternal." — Walter Smith.
1-5. PERMANENCY OF TERRA COTTA.
" Encaustic tiles, which are another form of terra cotta, display every color known in art, except gold and silver; and their colors no possible condition of the atmosphere can destroy. Even when the earth is consumed with a fervent heat, these tiles and the Greek vases will be left behind us as a permanent record of past civilizations. You may reduce all the pictures of the world to tinder; melt all the bronze statues until they run in the gutters; calcine the marble statues into plaster of Paris; burn all the Ijuildings into lime, and all animal creatures and vege- tation into ashes; and all this while terra cotta will glow red-hot, and remain uninjured, and cool down again into
the shape we fashioned it. It is the noblest of all vehicles for the expression of art. It may be difficult to decide what else it is we do which would be even comparatively permanent in any great universal shock or a relapse into barbarism." — Walter Smith.
16. USES OF TERRA COTTA IN THE UNITED STATES.
In this country fine examples of architectural enrich- ment in terra cotta are found in the buildings of the Brooklyn Historical Society, the Produce Exchange, Cotton Exchange, and Lawrence Building, of New York; the Broad Street Station of the Pennsylvania Railroad in Philadelphia; the State House at Trenton, N. J.; the Boston Museum of Fine Arts; the New Pension Building in Washington; the Pennsylvania Museum and School of Fine Arts, Philadelphia; the Metropolitan Museum of Art and the Stanton Street Baptist Church, NewYork.
Much valuable information about this branch of in- dustry and its growth in the United States can be found in Mr. Isaac Edwards Clarke's fourteenth paper on Art and Industry entitled The Present Outlook. These papers form a part of the large and valuable report on Eduaitimi in the Industridl and Fine Artg in the United States pul)lished by the Government Bureau of Education.
Uiii^ ^i;£[^JiiJ^;
BY LORADO TAFT, SCULPTOR, INSTRUCTOR IN CLAY MODELING, CHICAGO ART INSTITUTE.
'' I HE tools and materials required for amateur sculp- A ture are so simple and inexpensive that any one possessing a taste for art work can aff'ord to make the experiment. Three or four small sticks of hard wood properly flattened and curved, a wire tool (made of a pencil and a hairpin if necessity requires), and a handful of modeling clay or modeling wax. Here is your outfit for making medallions and small reliefs. For larger work, more clay is needed.
One of the great charms of this study is the pleasant Burjjrise that comes to each one who finds that he really can do something. In modeling, this surprise is not re- served alone for those who have become proficient in draw- ing. Although the highest success in sculpture is vouchsafed only to the student whose eye has been thoroughly trained in drawing from casts and from life, my experience with pupils has led me to recognize the fact that many entirely untrained in that direction are gifted naturally with a correctness of vision and a sense of proportion which enables them to execute speedily both pleasing ideal heads and striking likenesses of friends.
The explanation is here, — and herein, too, lies the reason why clay modeling should precede in the child's
education, the use of pencil and paper, — in the drawing we have at best but a translation of the object. The problem of flattening a visible solid on to paper and representing all its relief and irregularities by the thickness of a pencil line, is not the simplest thing in the world. The picture is another language, a conventionalization of an idea. The reproduction in relief is an infinitely simpler process. Whatever the older student's advantages in manual dexterity and training of the eye, even the youngest can see or may be made to understand that a cube is square in all directions and a globe round, all 'round. I have discovered that some full grown people of average cerebral capacity can never succeed in understanding those retreating lines in the perspective drawing of a cube, or having once learned their radiating design, will persist in drawing all cubes by the same formula, exactly alike, whatever their point of view.
It is astonishing how many things we think we know, and yet do not ! That is, we do not know definitely, when put to the test. Facts of science, events of history, with which we fancy ourselves perfectly familiar, become most exas- peratingly Will-o'-the-wisps when we try to give a detailed, connected account.
CLA T MODELING.
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The same experience awaits the beginner in art work. He may imagine that he knows what an ear is like, or a mouth, but even with the model in view a few minutes' attempt generally satisfies him that " making faces," is not all fun. More than a few have surrendered before a simple model of a nose, wliile the intricacies of the human ear invariably bring despair and crushing defeat. Of course all succeed in getting something of a semblance. You can tell which is "which." Yet the teacher if churlish could truly say, there is nothing right about them. The backward incline of the plane or axis of the eye, those firm buttresses of flesh that support the lower lip, the strong bony foundation revealing itself in the jaw, and giving character to the forehead; the broad, full muscular forms everywhere blending into each other, but never scooped out into a concave; the little accents here and there mark- ing interstices between the muscles or cords and tendons; the thousand and one things that a sculptor sees in a good cast, are generally overlooked and always imperfectly rendered, because the pupil either does not see them at all or does not recognize their importance.
Believing that there is nothing quite so valuable as definite knowledge, and working upon the principle that when a pupil has become familiar with the different por- tions of the face, he can put them together, I generally begin with large casts of the individual features; the mouth, nose, etc. If one be so fortunate as to have good clear-cut models, he will be able to work with jjrofit on one of these features as long as he might otherwise on an entire face. Very often the teacher will hear, " I don't see any- thing more to do," when he himself can see as yet hardly anything done.
One of my favorite models for beginners is an eye, cast full size from Michel Angelo's colossal David. I never look upon that mighty translation of nature without a feeling of awe. It is a privilege to trace the master's very touch in the finn forms of those eyelids and of the imper- ious brow. There are several other casts from the same head, all valuable for the first month's practice, — and for reference every succeeding month.
About this time the budding Praxiteles aspires to make a medallion of some revered grandma or to model a bust of a baby. In extreme cases there may be a whispered wish to "try the marble." My own pupils are always recommended to wait, but for the self-instructed student there is no escape, and a great deal of time will be wasted on impossible copies of retouched photographs, and on car- icatures of unhappy babies with the secret of perpetual motion in their little necks. Better wait until you are sure of your touch before attempting these — to you now — im- possibilities. Whatever the friends say, the work cannot be good until you have some idea of the construction of a head. You may not kiU the baby model but you are sure to ruin your temper.
The process of modeling is theoretically just the reverse of carving. The marble cutter releases the head or figure from the block, always cutting away until he comes to it. The modeler constructs — builds up; always adding on, and only cutting into the clay for the little accents which give color to his work. For this reason the development of the copy should almost reveal a cellular growth. As it is impossible to form that eyebrow (of the head of David) at one stroke, we must first build up the larger masses, rudely indicating the form but aiming to accurately render the size and general slope ; finding the highest and the lowest points regardless of eyelids, et(!. Then having everything located, the work of finishing and adding on the little pellets of clay which give the subtler curves and accents, will be an easy matter. The eyelids are fomied of a string of clay rolled between the thumb and fingers and carefully placed, then flattened with a tool.
It is the same old story ; " masses first, then details " — the foundation of all art instruction, yet something so incomprehensible in its application, to the beginner.
Take another example, a mask of the Venus de Milo. If you have had no experience with the clay, we will sim- plify the problem for you. Lay the mask on your modeling board and mark around it. Place it beside the outline, an inch or two away and exactly parallel with it. Take your clay — as soft as possible without being sticky — and fill the enclosure of the pencil mark. You will hardly need to use compasses to measure, because the model and your copy being side by side, you c;an trace imaginary parallel lines back and forth from one to the other, locating the eyebrows, the length of the nose, etc. If your untrained eye needs still further guarantee, take a straight stick, and lay fi-om one to the other, keeping it parallel with the edge of the board. It will serve the same purpose as the archi- tect's T-square, which sliding over the drawing to be copied, locates at the same time the lines of the new drawing. Your improvised T-square will help you also to fix the heights of your relief. Step back from the table and kneel- ing, sight across your work ; if it is closely correct in thick- ness, lay the stick across from the brow or nose of the one to the other and mark the slight difference in height.
Mind, you can not do too much looking, if only it be done intelligently. Look at your work fi-om across the room; put the board on the floor, or stand on a chair and look down upon it; view it from every possible direction, but always keep the model close to it and with exactly the same side towards you. Endeavour to make the two silhouettes agree; when they do, from every side, the work is done.
You may object that this is all very mechanical, this use of compasses and stick. I can only say that you will never approach to perfect work without measuring. The greater the artist the more measuring and comparing he does. A
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good deal of it has become almost intuitive to be sure, and you do not see it done, but the height and In-eadth, the " num- ber of heads," etc., are seized upon at the first glance by the masters of drawing and sculpture Nor do they disdain to measure with the pencil or charcoal stick. It is the hardest work to get our students to use the plumb-line, while those marvelous draughtsmen of Paris would dispense with their charcoal or paper as readily as with the plumb-line. Michel Angelo would never have had the " Compasses in the eye " had he not known full well their use in the hand.
Vary the work occasionally with a study of some other part; a hand or a foot, or if your taste so incline, witli a bit of decorative modeling, foliage and conventional designs.
Next comes the making of busts. The equipment re- quired is still so simple that " Every Man His Own Bust- Maker " might doubtless become a familiar announcement if only every man could see straight.
An upright stick an inch or two in thickness securely nailed to a small plank, is required. Through the upper end two small pegs or spikes are driven at right angles to each other. About half way down a cross-piece of wood is nailed. This to support the clay shoulders. Soft clay is pressed around the upper end of the stick and between the spikes, forming the nuc4eus of the head. Cover the shoulder braces in the same way. Let this harden somewhat and you have a strong foundation for the bust. Now with soft clay continue to fill in. If uncertain as to the pose of the head, do not let the interior cliiy harden before adding on, and you will be able to twist it into shape. In copying a bust however there is no question as to pose, and the work is more secure with a solid core.
If you have succeeded with the masks, and have done enough of them, you will have no trouble with the bust The work will have become play. Remember always to keep your model and copy close to each other and on the same level. Compare them constantly and do a deal of walking about.
As to plaster casting, you are bound to lose your first work anyway and to vow — momentarily — never to touch it again, so I shall not render myself responsible for any of these woes by giving directions that cannot be understood. There is nothing simpler than casting when once you know
how, and nothing more risky for the amateur. The best plan is to experiment on unfinished bits vmtil you are sure of your process.
The mounting of figures, their proportions and con- struction are too weighty and difficult matters to discuss within these limits. As a hermit inventor may spend years over some ingenious device only to find it long since patented and in use, so, many of our homfe-made sculptors give themselves a world of unnecessary toil. A few months in a good art school would have taught them to do easily and well what they have poorly accomplished after months of labor and many disappointments. There is a great deal of difference between good and bad work, and where the means for conscientious study are offered there is no excuse for viewing bad work c^omijlacently, whether it be our own or that of others.
And now a word about original composition. One of the most frequent remarks that I hear from pupils is, " I never can compose ; I have no originality about me." There is a bare possibility that this may prove true in your Ciise, but neither you nor I have any right to say it now. You have no idea what you can do until you have given yourself a fair chance. That yt)U are uualde to make a .satisfactory composition at i>re.sent we may both concede. Neither can you write a story in Russian, but it ma}' be- cause you do not know the words of that strange tongue. When we have learned the language of art, then we will begin to con»sider our story. The average artist is so busy, however, with the language, that he forgets all about the story and talks nonsense. The true artist is scholarly in his tastes, a man who reads luid enjoys ; who reverences truth wherever found and loves beauty wherever revealed.
The aspirant who finds that he has a hand steady enough and an eye clear enough to learn to draw, who will carry on his other studies at the same time, with the same interest, possesses the qualifications of an artist and need not fear. As he grows familiar with the figure and ad- vances in the study of expression, his reading will liring clearer pictures before his mind's eye. Bj' the time that he is able to give them form they will have grown so vivid that he has but to transfer them to the canvas or the clay. They will have become his real comrades, and their gentle companionship a source of great happiness.
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BY JOSEPHINE C. LOCKE, CHICAGO.
el Of
' IKST in time and order i? the body of tlie vessel, of which the leather bottle used to carry water
? across the desert, and the most primitive household utensils that held litjuids, supply the earliest sugges- tion. Egyptian vases and the ordinary earthen vessels of the e.arly historic periods were rather globular in form. It remained for Greek refinement and love of free bold curves
Fiy. 2.
Fig. ?,.
to transform the less pleasing spherical outline into the more subtile forms of ellipsoid and ovoid. Figs. 1, 2 and 3. The parts of the most highly developed vase are: body, mouth or rim, neck, foot or liase, handles, spout. A. Globular,
Body of Vessel B. Elliptical, , oblong Ovoid.
(C. Ovo.d, . • I Broad Flat Ov.id. The Greek Amphorae, Diogenes famous tub included, were baSed on the broad, flat ovoid.
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Fig. 1.
Fig. 4.
The mouth or rim was distinguished by the character of its edges. These were sometimes concentric as in Figs. 4 and 5, sometimes beveled outward as in Fig. 6, sometimes rounding as in Fig. 7. Gradually the neck was intro- duced bringing additional height and grace to the vessel by
increasing its complexity both of proportion and outline.
The primitive thought of raising a fiat vessel by
sliding a block of any kind under it, or by setting it in a
Fig. 5.
Fig. (i.
ring of clay, naturally suggested the elevation of the same by means of a foot or base, which in its growth followed nmch the same genesis as the mouth.. We have in Fig. 8, the simple plinth, a section of a cylinder; Fig. 9 the same but outlined by curves curving outward; Fig. 10 the same beveled outward, and finally the double base bounded by the reversed curve Fig. 11.
The development of the foot or base is purely Greek and originated partly in the custom of carrying the vessel upon the head, and partly in the character of the climate, a rainy atmosphere. Water was received from above, hence
Fig. 7.
Fig. 8.
the vessel had to be made so as to stand. In Egypt, where the climate was dry, water was obtained by the lowering of a vessel.
The Egyptian water vessel is usually pointed at the base, and sometimes one handle suffices, extending over the entire mouth. In Greece the handle was not only used as a matter of convenience and necessity, but also to secure a more pleasing proportion and balance. Frequently vessels were supplied with double handles, one pair for use and another for the purpose of harmony, balance or contrast.
The last and final addition was the spout or pouring mouth, leading to the modem pitcher. In the earlier vessels this was very small; sometimes two or three were used; often the handles were altogether omitted, but more usually, wherever the spout is found, one or more handles also exist.
OF 'l^HE CALIFOB^^ ^
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C. HENNECKE CO., MILWAUKEE AND CHICAGO.
It will be seen that the addition of each of these parts taxed more and more the ingenuity of the workman and called for nicer and more delicate balance of proportions ; but
Fig. i)A.
Fig. <JB.
the body of the vessel, however, remained the chief object of concern; to it all the other parts were subordinated; it was the principal part while the accessories only enhanced its use or its beauty.
Now in teaching, this thought must be borne in mind, and the body of the vessel first carefully studied, both as to the character of its profile curve and the proportion of its height and width.
Such good, clean curves as the Greeks used cannot be obtained by piecing or patching. To draw the outline of a Greek vase with expression, one must draw with a free shoulder movement and lay in the entire body of the vessel with one sweep of the pencil, then add the other parts. It is only when the worker has a clear mental picture of the underlying type form that his result will show feeling and thought. The proportions of the base and neck to the body of the vessel depended altogether upon the purpose for which the object was intended; the use of the vase
invariably came first and decided its construction, and to this the ornamentation was subordinated. So it should be in all modern works; Nothing is good in construction that weakens or interferes with the use of the object. The use determines the construction, and the construction in its turn determines the nature of the ornamentation.
Learn irom the history of the Greek vase the following:
I. — Similar ideas proceed from similar conditions, as evinced in the likeness between early Greek and archaic pottery.
II. — Study of form precedes the study of color.
in. — There is an order of growth — -a develojiment in pottery and the useful arts in the past has ante-dated a development in architecture, sculpture and the fine arts (or painting).
IV. — The causes which led to the fall ol the nation, led also to the deterioration of its art; i.e. the degeneration
of the viise as evinced by its poor construction and its profuseness of ornament preceded the political and social degeneration of the people.
Mm
BY CHAS. F. ZIMMERMANN.
T" N the following brief essay it is impossible to give a f(P| history of the development of the ceramic arts in JL the great nations of antiquity ; we shall rather con-
?fine ourselves to a consideration of the pottery of the Greeks, whose works show the greatest excel- lence among all the oriental nations. When the beauty and simplicity of the forms of their vases is considered, we must acknowledge them as models, even when we apply our standard of excellence. The decoration of the vase, and the painting of story on it, have become a source of information to us in regard to the mythology, history and customs of the people. Of the 20,000 Greek vases in the different museums of the world, the variety is almost as great as the number. They may be classified as relating to mythology, to the heroic age and early Greek history, to known history, and to the manners and customs of the people.
Archaic Greek pottery was of coarse clay, and being made by hand the forms were undecided ; it was orna- mented by points, zigzags, spirals and knobs. But though made in this coarse manner, we can already trace at an early period, pot- tery that was more defined and with more symmetry. The ornamentation consisted of winged horses and lions — the forms being pressed into the clay as a flat ornament. We next find leaves and flowers treated with a delicate idealizing conventionalism ; the vine, the ivy, the anthemion, masks and festoons being used. No wheel was used at first. The Greeks trusted to their touch which was more delicate than the technical accuracy of a machine. In Asia, the potter's wheel had long been
Fig. 1. Egyptian potter mould- ing a vessel on the wheel. From a painting in a tomb at Thebes about 1800, B. C. (Illustration from Eneyclopedia Britannlea.
GREEK POTTER Y.
xli
Fig. 2. The potter's wheel of the time of the Ptolemies, moved by the foot. From a wali relief at Pnilae. (Illustration from Encyclopedia Britannica.)
known, but the forms of pottery in the oriental nations remained stationary. But when the wheel was introduced into Greece, it brought a new spirit into the handicraft of the potter.
The potter's wheel was in use in Egypt long before it was used by the Greeks. The application of a circular table or lathe, placed horizontally and revolving on a central pivot, was a great advance in the art. As the wheel spun round, the clay could be fashioned into all the combinations of oval, spherical and cylindrical forms.
After the wheel was introduced, a better kind of clay was used and a more uniform color produced. They
made cups, pots, flasks, etc., all being black in color. Some are slightly ornamented with yel- lowish, or white spots, or with simple lines drawn all around the vessel.
The Greeks claimed the in- vention of images in pottery. The story of Boutades, or Dibu- tades, is related on page xxx. But long before Dibutades was l)orn, Phoenicia had been mak- ing great and small images of pottery; and for a thousand years, Egypt had produced figures of gods, men, and ani- mals, in unglazed pottery, or adorned with exquisite enamel.
The ornamentation of vases continued to improve, the paintings of animals, monsters and men being restricted to the bulge, the rings, meanders and floral ornamenta- tions marking the ujjper and lower parts of the vessel. At a later stage we clearly recognize incidents before the walls of Troy. TheHel- enic, or classic style of Greek pottery, based on the Archaic, shows great im- p r o V e m e n t s . The paste is harder, finer
ana well glazed. f.,g 3 votive tab'et from Corinth, full size. A potter apply- rry-t 1 • inK painted bands while the vessel revolves on the wheel. (111-
Ine red is ustratlon from Encyclopedia Britannica.!
bright, the black without spots. The figures are painted with great anatomical accuracy. The Greek potters vied with the sculptors and painters in the pro- duction of beautiful works. The decoration consisted of beautiful combinations of frets and garlands, heroes, war- riors, gods and goddesses. During the middle of the fifth century, B. C, when marble was introduced in architec- ture, and ivory in sculpture, we find highly-colored and
richly-decorated vases. The colors used were red, violet and yellow oxides of iron. This polychromatic treatment is seen on some of the smaller vessels and vases known as the lekythus, and on saucers of large dimensions. The outside has red figures on black ground, and the inside has colored figures on white ground. The jjainting was usually done by an artist, but frequently the potter had ar- tistic ability and decorated his own wares. In contemplat- ing the beautiful products of
the Greek potter, we must FIk. l. From a Venetian wood cut ot ^ ' the middle of the I6th century; shows
remember that the drawing ^X^%^^l"'^,,r^t^r:^LX^
, wheel by means of the lower foot-
was done upon the moist clay, "■■•"<"' <•'«''• requiring great freedom of touch and unhesitating decision; no mark once made could be erased; the com- plete line was to be traced without taking off" the brush. The vases were painted in an upright position, and the eye ol the artist was his only guide.
CLASSIFICATION AND DESCRIPTION OK THE VASES OF ANTIQUITY.
The following classification is l)y Dennis, in his book on Cities and Cemeteries of Etriiria ;—
Class I. Vases for holdinfj wine, oil, or water — amphora, pelice, staimios.
Vases for carrying; water — hi/<irta, calpw. Vases for mixing wine and water — crater, ceUhe,
Vases for pouring wine, etc. — (tnochoe, olpe, pro-
-lecythus, alaha-
Class II.
Class III. oxyhaphon.
Class IV. chous.
Class V. Vases for drinking — cantharris, cyathus, carchesian, holcion, scyphus, cylix, lepaste, phiale, ceras, rhyton.
Class VI. Vases for ointments or perfumes- stron, asms, homhylios, aryhallos, cotyliscos.
Pithos. The largest object made by the Greek potter was the pithos. It was conimon also among the Egyi>tians and Romans. The pitlios served the purposes of a cellar, for in it were stored wine, oil, or corn. It was made of coarse clay, had little decoration, and of a size large enougli for a man to sit in. Diogenes lived in such a tub. It had no handles. It was usually buried in the ground up to its neck.
Amphora. Tlie aiiijiliora was less in size than the pithos. It was usually of moderate size, but some were more than five feet high. The amphora was filled from the pithos. It was used for wines, oils and fruits. Two handles were arranged on the neck. The common form of the amphora was pointed at the foot, which was placed in the sand. The later forms show a ring or base in whicli it stands. Figs. 3965, 396(). Tliere is, how- ever, a great variety of forms. The amphora highly prized for its beauty is the kind called the Panathenaic ampliorse, given as prizes at tlie Greek games. Figs. 3960, 3961 , 3963. Tlie amphorBe were sometimes used as cinerary urns and sometimes as coffins, being opened lengthwise to receive the corpse. Among Greeks
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and Romans the amphora was used as a standard measure of capacity. The Attic ampiiora contained nearly nine gallons; the Roman about six.
Police. A wine jar distinguished from the amphora by narrowing ujnvards towards the mouth.
Stamnos. A jar used for mixing wines for the table by the ancients. It has been happily described as " a high-shouldered, short-necked, plethoric vase."
Hydria. A water-jar used for culinary purposes or drinking. It was of large capacity, seldom moved, and was filled from small- er vessels which could be carried to the spring. It usually had three handles and was decorated with a painting of some scene. Fig. 3967.
A large vase similar to the hydria, but having two lumdles, was used at elections for the re- ception of the votes. Similar vases were also used for storing the ashes of the deceased. Cinerary vases were sometimes without handles. Fig. 3964.
Krater. Tlie krater was a gigantic punch-bowl from which the mixed wines were dipped out iit feasts in the (enochoe, or wine jiiteher, and poured into the var- ious forms of cups held by the guests. It had a wide neck and two handles. Figs. 3968, 3971.
Calpis. A water jar having three handles, two at the should- ers and one at the neck.
Celebe. A vase found chiefly in Etruria, distinguished by its peculiarly shaped handles, whicli are pillared.
Ozybaphon. A bell-shaped vase found in Magna Greeia.
Oenochoe. A wine-jug, dip])er, wine-pitcher, or wine pourer. Its lip was sunietimes tre-foiled. The jug in which the wine was transferred from tlie krater to the goblets of the guests. Fig. 3974.
Frochous. A smaller variety of oenochoe. An ordinary jug or pitcher. Fig. 3975.
Cantharus. A kind of drinking cup with handles. Fig. 3978.
Cyathus. A single-handled drinking cup, generally used as a ladle to lift wine from the larger vessel — the crater — for the drinking party.
Fig. 5. Shows the modern potter's wheel turned by foot^power
Carchesium. \n antique drinking vessel with a shallow foot. It is wider than deep, smaller towards the center, and has handles rising high over the edge.
Phiale, Patera. A shallow, circular, saucer-like vessel, commonly of red earthenware, sometimes of bronze and other metals, ornamented with a drawn pattern. A bowl. The patera was used for holding liquids, and especially employed to eon- tain tlie wine with which a libation was poured over the head
of a victim, or on the altar. Occa- sionally it had handles.
Holcion. An antique drink- ing cup, resembling a small can- tharus, but without handles, and much like our modern goblet.
Scyphus. A capacious drink- ing cup, used by the lower orders of the ancient Etrurians and Greeks.
Kylix (Calyx). The most common form of cup, broad and shallow, six to ten inches in diam- eter. The kylices have frequently l)aintings of wonderful delicacy and beauty. Fig. .3970.
Lepaste. A drinking cup, dift'ering from the kylix in having a broad base to rest on, in place of the more elegant stem of that cup. Fig. 39()9.
Rhyton. A drinking cup — sometimes in the form of a horn, or its foot extending into the head of a deer or some other animal.
Lebes. A deep vessel used to catch the water poured over the hands and feet at meal times.
Lecythus. A small elongated vase with asingle handle, or with- out one, having a slender neck, to allow oils and perfumes to drop slowly from it. The "white" lecythus was so called from the color of ground laid for the i)ic- ture on it. It was peculiar to Attica, and was used as a funeral vase. Some of these are among the most delicate and beautiful works of Greek art. Figs. 3972, 3976.
Alabastron. A box, vase, or other vessel, to hold per- fumes, fcirmcd of alabaster, and sometimes of gold.
Bombylios. A small, narrow-necked pot for perfumes. Aryballos. A vase for ointments or perfumes used by the natiims of antiiiuity. Fig. 3980.
Cotyliscos A small pot with a single handle; in other respects like an amphora in miniature.
Hood Gasf l^^e
BY CHAS. F. ZIMMERMANN.
i.
\ I /HE art of wood-oarving was practiced in the earliest \ I / times by the Greek and Roman sculptors, by ^\^ the natives of India and Persia, by the Saracens, Moors, and the more civilized nations of Asia. In India the ancient Hindu temples were decorated with doors, ceilings and other fittings, carved in sandal and other woods. The patterns are rich and minutely elaborated. The Moslem wood- carvers designed and executed the richest panelling and other decorations for wall-lining, ceilings, pulpits and all kinds of fittings and furniture. In China and Japan the wood-carvers possess great technical skill. The extensive use of wood or bamboo for architectural purposes has always given the wood-carver a wide field for the exercise of his talent. A large number of small examples of Egyp- tian wood-carving exist in various museums, such as fur- niture, boxes, toilet articles, decorated with reliefs of animals and plants, the lotus and papyrus flowers skilfully treated predominating. The earliest examples of the plas- tic art among the Greek were the rude wooden images of the gods. The Palladium, was one of these wooden images. After the establishment of Christianity, sculpture in wood was employed in the Christian houses of worship. In Germany the art seems to have been especially encour- aged, for not only the churches, but palatial edifices, the chateaux of the nobility, show beautiful examples of the art. In Augsberg, Aschaffenberg, Berlin, Cologne, Con- stance, Dresden, Gotha, Munich, Manheim, Nuremberg, Ulm, Ratisl>on, and other towns some of the hiost remark- able examples are found. In Holland and Belgium beau- tiful examples exist. Almost every church in Antwerp, Ghent, Brussels, Ypres, and other cities of Belgium abound with wood-carving. The town-halls and council chaui))ers were also elaborately decorated in the same way. In ICngland ornamental sculpture is applied to religious and domestic structures ; and manv of the old towns, such as Coventry, Chester, Shrewsbury, Ludlow, Hereford, still show fine specimens. Many of the liuildings in England were decorated by Flemish artisans, particularly in Norfolk and Suffolk. The most illustrious of the English wood- carvers was Grinling Gibbons, who descended from a Dutch family. In Italy during the first half of the 16th century, wood-carving of the most elaborate and magnificent sort was largely used to decorate church stalls, wall-panelling, doors and the like. Many of the French cathedral and
abbey choir stalls of the mediaeval period are of the utmost magnificence. Towards the close of the 15th century, the wood-carving of Germany occupied the foremost position in the world, and in many places, such as Nuremberg and parts of Bavaria, great technical skill has survived down to the present time.
2. THE PEOPLE MUST ENGAGE IN SOME ARTISTIC WORK.
Grant Allen in the Magazine of Art, writes : " In order to arouse artistic feeling in the people at large, they must all make something with their own hands. They must learn what handicraft means. That is just what very few of our people know as yet. If they could do something toward the decoration of their own homes, it would teach them a thousand times more than any number of art exhibitions or South Kensington Museums. They go to such places now and then in a blind sort of way, and they see the pictures, and the Venetion glass, and the Palissy ware, and the Oriental carving ; but they don't know what these things mean, or how to admire them, 'because they have no standard of reference. Thej' have done nothing with their own hands, so as to show them what handicraft is, and what qualities in it are admirable
" Give a man a piece of wood and ask him to carve it, say into a book-cover. If he has never learnt wood-carving he will at first know very little about it. But as he pro- ceeds he will pick up principles from day to day, which will be a thousand times better impressed upon his mind than if he were merely told them by book or word of mouth, because he will have found them out for himself. He may spoil two or three book-covers in the process, but they will be well worth the trouble of spoiling
" Wherever art has been really a living thing among the people, it has been because the masses were engaged in artistic handicrafts. In Italy almost all the trades of the country involve more or less of art: in France a large proportion do so. Florentine mosaics, Venetian glass, Genoese filigree, Sevres porcelain, Gobelins tapestry — all these things, whatever their various values in other ways, have gone to build up the national taste of France and Italy for good or for bad. And as you will always find that, where the general level is high, exceptional cases will rise still higher, so, as you do more to raise the taste of the mass, you will make possible more and more exceptional
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geniuses. A great mechanical discoverer and inventor like Watt or Edison is only likely to arise among a nation of general industrial character ; a Raphael or a Phidias is only likely to arise among a nation of general artistic taste. "_
3. THE SKILLED ARTISANS OF JAPAN.
Theodore Wores, in a recent number of the Century Magazine, gives the American people some of his observa- tions on the Japanese artists and artisans. The whole article should be carefully read and studied by all inter- ested in general art education.
" In associating with the people and visiting the work- shops, I was surprised at the almost universal ability dis- played for drawing in a free, off-hand manner. Almost every artisan could, with the greatest facilitj% make a quick, effective sketch for any design that might be sug- gested to him. This facility in rendering forms and designs in flowing lines with brush and ink is undoubt- edly owing to the graceful form of their writing, to which years of study are devoted ; and this is in itself an art education
He relates his experience with one of their wood carvers as follows: —
" When I told him what I wanted he hastened to assure me that he could execute my order without the slightest difficulty, and displayed such eagerness to under- take the work that I resolved to give him a trial. The design of this frame, I explained to him, was to consist of lotus leaves, flowers and turtles, carved in relief. With the assistance of a few rough suggestions with a pencil I made my idea clear to him, and he volunteered to make a drawing. The next morning he presented himself with a large and elaborate sketch.
" I could hardly believe it possible that such a beauti- ful work, which embodied in the most artistic manner all I had suggested, could have been executed in so short a time. His ability was therefore no longer to be ques- tioned, and when a few days later I again called at his shop he was already hard at work on the frame. It was most fascinating to observe its progress. A rough piece of camphor wood, which represented one side of the frame, lay before him. With a few rapid strokes of his brush he indicated the general design, and then, without any further preparation, seized his hammer and chisel, and without hesitation boldly hacked away at the wood, making the chips fly in every direction. Before long the unmistakable forms of lotus leaves, flowers, turtles and water lines, gracefully intermingled, began to appear
" The skilled artisan in Japan not only executes, but in most cases designs his own work. He perfecty under- stands the capabilities of the materials he employs, be they of wood, bronze, lacquer, or ivory, and he designs his
forms to adapt them to the materials used. He does not consider it necessary that the form he plans should be a perfect or accurate reproduction of the object he under- takes to represent, but he does endeavor to give its char- acter, however he may vary the design in conforming to the character of his materials.
" In this he is undoubtedly guided more or less by his artistic instinct, which is but an inheritance from genera- tions of artisan forefathers, who have bequethed to him their accumulated knowledge. Thus it is that the Japan- ese artisan is instinctively artistic, and produces artistic work almost unconsciously by simply following out his natural tastes and inclinations."
4. ITS USE IN ARCHITECTURE.
The Artist, London, gives an abstract of Mr Pollen's lecture on wood carving. We can quote in part only.
" Now let us consider what the opportunities of the carver are, and what different methods of treatment he has at his command. There are the beams of which parts of all houses are constructed, and which, being of wood, are to be carved when the style of the architecture exposes them to view, as in church and hall roofs, rooms in which the joints of the floor above are exposed, etc. As beams and timbers are concentrations of strength, they often have to bear walls that exceed their thickness and project beyond their edges, such as door lintels, architraves, and the like. In these cases it is the angular edge, or so much of the edge as will not impair the strength of joists or rafters that can be carved effectively. In the case of a post such as a stair newel, the king post of a Gothic roof, both edges and sides can be carved — extra length of wood being allowed for the purpose above the stair newels or below the king posts — without interfering with the actual purpose of these posts, either in reality or apparently, apparent strength being necessary to due effectiveness. As to running mouldings worked on edges, whether of beams, joists, rafters or rails of any kind; or again, on the angles of door and window jambs and lintels, or on the framework of panels, the distinct rolls and hollows of which they consist must be limited in number. There should never be less than three, that a due proportion between the members may be maintained, nor should they be too numerous. Brackets have so many distinct ends projecting over the other. Cornices are made up of rows of brackets, or are one continuous running bracket. In this way cornices represent thicknesses of wood projecting from the wall one above another, and should represent, say, an upper, a middle, and a lower projection. We ought to preserve this idea in complicated cornices and give emphasis to the middle feature; then there will be a group of lines above it and a group of lines below. These groups break the angle between roof and wall, or anything
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that represents roof, such as tlie top of a chimney-piece, or a door-way, and so forth. When you see an unmeaning succession of repeated mouldings, as you often do in builders' decoration, you will feel that the real idea of their relation to each other has never been grasped. If from solid timbers we pass to wall surfaces, it is obvious that large wall spaces can be only covered hy framed paneling. The framework must be of sufficient thickness to be grooved to take the panels, and this extra thickness has to be relieved from the heavy appearance of a more thick edge. We have to ease down the edge by mouldings or lines in relief, some bolder, others finer, as the edges of the frame decrease till they meet the panel. In a large room cut up into paneling, the general effect will depend on the size and proportions of the panels to height and width of the room and of the rows of panels to each other. Paneling requires to have some rows taller than others, and to have upper and lower rows of less height than the general order. Upon the size of the panels will depend the l)oldness and size of the mouldings. We meet with large paneling in which the mouldings are planted into the junction of frame and panel, and exceed the thickness of both. I do not think it a good feature, and it is often a vulgarism.
5. OARVKD MOULDINGS.
" In carving mouldings there are two rules to observe — one that the general form and outline of the original lines, or bars, or hollows moulded by the plane have to be pre- served ; another rule is that no work put upon these feat- ures ought to be allowed to quarrel with the direction of their lines. Foliage or plaited ornaments should run at right angles with that direction, and be delicate enough to lose themselves at a distance, at which the original mould- ing only can be distinguished. But in all large surfaces of panelling the greater quantity of moulding will be worked mechanically by a plane iron filed to the curvature required. If you examine the small panelling of the 15th century, much of it will be found to have been executed by a tool worked by the fingers after the wood has been framed together. The mouldings die down without meet- ing in the angles, but these mouldings are necessarily small and shallow. On furniture, chests, and other more important joinery, mouldings seem to have been cut throughout with the carver's gouge. Here, then, we have the treatment of edges of panels. How effective they can be made I need not say. Panels are sometimes made of wood, so thick as to be brought up to the level of the rails that frame them, and reduced by wide bevelings to meet the grooves of stiles and rails. The thick parts are left with a defined edge as though a thin extra plank were added to the thickness. I consider that the jjroper pur- pose of this thickness is to allow of carving. Carving in
these parts has to be in very low relief — historical subjects or leaf-work compositions. Figure carving in some places is sometimes of extraordinary merit. Examples can be seen among the cabinets of the Soulages collection in the Kensington Museum. There are, of course, parts or feat- ures of all interiors in which the carver has to put forth all his powers, those in which bold relief can be employed — door heads, fire places, and other prominent features. Here will come figure work, bold foliage, heraldry and the like. Generally and broadly speaking, what is it that makes carving effective ? Not extreme skill in cutting, nor absolute indications of nature, however good. It is a knowledge of, or rather, an habitual recognition of, laws that govern all composed design which becomes what we know by the word feeling. We have spoken of mouldings on the edges of woodwork, and of composition of foliage and figures, heraldry, and other ornamental composition. What is the law that governs the due prominence and arrangement of lines and masses ? I consider mouldings as bars or borders of light, separated just so much from the surface to which they form an edge as to show their outline. This first edging is the largest and widest, as it is on the thick portion of the wood ; on its shaded side it dies grad- ually until it ends in a smaller roll, and then, perhaps, a sharp arris.
6. SOME PRINCIPLES TO BE OBSERVED IN WOOD CARVING.
" If you watch the growth and decay of styles of archi- tecture, it is in the multiplication or breaking up or loss of meaning of mouldings that these stages of decay and corruption are most obvious. Mouldings form three- fourths of the carver's work. Carry this principle further into the composition of carved groups, such as fill sunk panels or pediments. One may be able to carve the figure of a man, a lion, or a piece of foliage, but so to combine a number of figures as to make each of them evident, to give the grace or the force that belongs to each of them respec- tively, and when combined to form an agreeable and well- balanced composition of masses and line of light, here is the difficulty. Regarding the amount of detachment or absolute relief that good carving in such cases ought to have, it will depend on the character of lightness and of movement the carver wishes to give his work. Generally, carving of this kind should never lose touch in appearance from the mass to which it belongs, and should die gradually into the shadow. Much excellent carved work loses value from too much under cutting, even in the work of so great an artist as Grinling Gibbons. Further, if carving is not to appear as if it floated in a disproportioned sea of shadow, neither should it be so crowded up as to become indistinct. Nor can decorative carving be carried, except to a limited degree, to the direct imitation of nature. As nature would not join animal and vegetable life together, so we are to
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represent natural life and living objects not as if we were making definite pictures of them, but such features of their nature as will gracefully express the arrangements of light and lines as are required for our immediate purpose, and no further. The value of light and its concentration on masses of relief is of the first consequence to the carver, grace of line is second. Not that the two are separable, but the composition of masses seems to me the more difficult of the two."
7. HOUSEHOLD ART.
" In reviewing what may be called the household art of many ages, it would be difficult to assign an absolute superiority to the artists of any one generation, consider- ing what countless beautiful objects have been made for the personal use and enjoyment of men. The sculptured thrones of ivory and gold, the seats and couches of bronze overlaid with gold and damascened with the precious metals, the inlaid chariots, tables, chests, and jewelled caskets of antiquity; the imagery, the shrines, the stalls, and roofs of the middle ages; the wood sculpture, tarsia, pietra dura, damascening and the endless variety of objects produced during the days of Leonardo, Michel Angelo, and Raphael, down to the ca^^'ing of Gibbons, and the splendid work of Boule, Riesener and Gouthiere, are all in various ways excellent.
" We must not venture to call one class of production finer than another where the differences are so great and such high perfection has been attained in each. Every style and feshion when at its best has resulted from the utmost application of mind and time on the part of trained artists; and the highest art can never be cheap, neither can any machinery or any help from mechanical assistance become substitutes for art. Beauty which is created by the hand of man is not the clever application of mechanical forces or of scientific inventions, but is brought to light, whether it be a cabinet front or the Venus of Milo, often with pain, always by the entire devotion of the labour, the intellect, the experience, the imagination and the affection, of the artist and the workmsm." — John HiDigerford Pollen.
8. SOME PRINCIPLES OF CONSTRUCTION AND ORNAMENTATION.
'• The constructive forms, moreover, should not be obscured by the ornament, but rather brought out by it; nor should all portions be equally decorated, but only such parts as friezes, pilasters, capitals, piUars, or panels; herein simplicitj' is the safest guide to beauty. Over-enrichment, indeed, destroys itself, and it would not be difficult to point out works of the greatest pretensions and the most costly workmanship, which are completely spoiled by this fault. Cabinets entirely covered with carving, the very
stiles and rails being as decorated as the panels and pilasters; metal chandeliers, with leaves and flowers in as great profusion as in nature; papier-mache hidden under a surface of pearl and gold. It should be remem- bered that contrast is one of the first elements of pleasure, and that repose is one of the most valued excellencies of art; thus simplicity serves as the back ground to ornament, as the setting to the gem, or the foil that enhances the beauty of the jewel; and the good artist is as much shown in the economy of his labor as the bad one is by over- enrichment.
" In following out our principle that ornament should arise out of construction, the work, abstractedly, should be constructed and then decorated; not that it is meant that the ornament should be applied to the object, but (as in wood for instance) carved from it; thus the leg formed for support, the pilaster or column for bearing, may be light- ened and enriched by cutting away from the block or slab, not by adding to it. In his natural stat« man is a true workman in this respect, and works on just principles without knowing it. The New Zealander, or South-Sea Islander first /ornw his war-club or his paddle of the shape best adapted for use, and then carves the surface to orna- ment it. The Swiss peasant, or the shepherd of our own hills, works in a similar way. Such also is the case in the works of Eastern nations, as is particularly exemplified in their choice sandal-wood carvings. Here the natural and the refined taste agree, for the best ornamental wood carv- ing of the Renaissance is on this principle, low in relief, seldom projecting beyond the surface of the pilaster, or the framing of the panel.
"In wood-carving care should be taken not only to have the relief so managed as to guard the work as much as possible from accidental injury, but the designer should seek to adapt the forms of the ornament to the direction of the grain when it is open or free, and the work should be framed with a view to this consideration; moreover, ornamental carving should not be applied to wood of strongly-marked parti-coloured grain, but that which is homogeneous in color should be selected for the purpose, in order that the ornamental tbrms may as little as possible be interfered with by being mixed up with the lines and colours of the grain. It is curious how much costly and skUful labor has been thrown away from inattention to such minor considerations as these.
9. IMITATIVE CARVING IN FURNITURE NEVER JUST IN PRINCIPLE.
" The furniture of a man's house should indeed be well designed, well constructed, and judiciously ornamented, for, as it is constantly under his hand and eye. defects overlooked at first, or disregarded for some showy excellence, grow into great grievances, when, after they have become an oflFense, the
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annoyance daily increases. Here at least utility should be the first object, and, as simplicity rarely offends, that ornament, which is the most simple in style, will be likely to give the most lasting satisfaction.
Yet how seldom is this consideration duly attended to ! The ornament too often consists largly of imitative carving ; bunches of fi'uit, flowers, game, and utensils of various kinds in swags and festoons of the most massive size and the boldest impost, attached indiscriminately and without meaning to bedsteads, sideboards, book-cases, pier-glasses, etc., rarely carved from the members of the work itself, but merely applied as so much putty-work or papier-mach^ might be. The laws of ornament are as completely set at defiance as those of use and convenience. Many of these works, instead of being useful, would require a rail to keep off the household. We see a sideboard, for instance, with garlands of imitative flowers projecting so far from the slab as to require a ' long arm ' to reach across them, and ever liable to be chipped and broken ; and cabinets and book- cases so bristling with walnut-wood flowers and oaken leaves, as to put use out of the question
" Those designers who unreservedly adopt the ornament of past times must, of course, apply it to their works with- out any peculiar significance or connected idea, but merely for its beautiful forms, elegance, grace, or richness. Where, however, any significant allusion, sentiment, or happy idea can be embodied in the ornament, uniting it with the use and intent of the work on which it is to be placed, it Avill have a charm which is otherwise wanting. Not that this want is peculiar to the application of traditional orna- ment, since the designer in the natural or imitative manner seldom attempts any connection between his decoration and the work to which it is to be applied. There seems no fitness, for instance, in surrounding the frame of a pier-glass with dead birds, game, shell-fish, nets, etc., although they may be excellent specimens of carving ; nor is it clear why eagles should support a sideboard, or dogs form the arms of an elbow-chair ; nor, again, why swans should make their nests under a table, at the risk of having their necks broken by every one seated at it. Indeed, in most cases, as such imitative forms cannot in the strict sense be called ornament, they almost challenge inquiry as to why they have been adopted, and only disappoint us when we find that their application has been without motive : this is not the case with traditional ornament, which, like the current coin, is accepted at once without inquiry
10. CUE ART-WOHKMEN MUST STUDY DESIGN.
" The great defect in all our ambitious furniture is the want of art power in the workman. In this respect we are still sadly behind continental nations. Whenever the human figure is used as ornament in English works it is
pretty sure to be faulty. The figure may be well com- posed, may be evidently designed in good taste, since that is often the work of a superior artist; but in the execution it is almost alwaj'S misunderstood and spoiled. The extremities are finished without knowledge of the internal structure, the fingers, toes, and joints have no bones within the skin, but that ' gummy ' undecided treatment which evidences the ignorance of the workman. In wood- carving this is equally apparent, even when it consists only of ornamental forms. Very often in such work the ' design ' of the ornament would seem to be by the same unskilled hand that carved it, since it is mostly out of place coarse, and merely ' natural ' in style, and rarely reaches beyond the expression of the most commonplace thought, or the imitation of the commonest fruits and flowers. Success in rendering either the human figure or animals, when in life and motion, can only be the result of knowledge attained by a careful study of the structure of the bony frame-work and of the mov- ing muscles; and thus it is the want of such anatomical knowledge and of a proper training in art that causes the de- ficiency we are obliged to notice in our furniture, and which compels the carver to confine himself to mere works of imi- tation, knowing that higher flights are licyond his powers. This deficiency of power and skill in the human figure is only an additional evidence of the want of better educa- tion for our art-workmen. They need to have proper treatises prepared for them, laying down the principles of ornament, and giving them a thorough foundation in practical geometry, form, proportion, and, above all, in anatomy, together with a careful education of the hand and eye. Unless the manufacturers of this country are soon awakened to our deficiencies, and prepared to make great sacrifices to support the government art schools, and to enable and induce their workmen to study in them, we must be content to lag still further behind as the world advances, and for the future to be manufacturers of cheap goods, leaving excellence and beauty to our continental neighbors." — Richard Redgrave, R. A.
11.
MATERIALS AND TOOI^.
The wood of the lime-tree is well adapted for the first work of the beginner. When some knowledge has been gained of the manner in which tools should be used, the harder woods may be employed. Sycamore, holly and chestnut are light woods, pear is moderately hard but works well and takes a stain and polish readily. Apple, poplar, mahogany, bay-wood and cherry are also good woods. For small, delicate work box-wood and ebony may we used. Woods which show an ornamental grain, such as bird's-eye maple, or satin-wood, are used very little as the figure in the wood mars the effect of the carving. Oak is most generally used and next to it the
xlviii
a HENNECKE CO., MILWAUKEE AND CHICAGO.
walnut. In Europe, in addition to these two woods, the sycamore, the chestnut, the fir and the plane-tree are chief!)' used. In the oriental countries, cedar-wood and sandal-wood have been favorites with the carver. It is of great importance that the wood used should be thoroughly seasoned. " Green " wood causes great injury to the fin- ished work.
Only a few tools are necessary for the beginner ; more can be added as the use for them is determined. Get tools of tlie best make. A few square chisels, Hat gouges, hol- low gouges, skew chisels, a parting tool, or V tool, a niac- caroni tool, a mallet, a punch, a small circular grindstone of emery, an oil-stone, are all that are necessary to begin with. The chisels recommended are i in., i in., and J in. flat tools ; } in. and i in. gouges, straight and bent. See j)ages 84 and 85. The liandles to the tools should be short, say five inches. Longer handles may be used later in the work.
It is important to keep the tools well sharpened. This requires considerable practice, as carver's tools are sharp- ened on both sides. The gouges must be carefullj' turned ro\ind during the process of sharpening, so as to grind evenly all parts of the edge. The maccaroni tool is sharp- ened on the outside only. If tools are very blunt they are ground first, then sharpened on the oil-stone, and finished on a piece of stout buff leather prepared with grease, flour emery, and crocus. The Arkansas stone is the best for sharpening the finer tools. The punches for marking the background can be purchased or made by filing the point of a large spike or nail into four or more points.
The Addis' tools are considered the best. They are made in various sizes and shapes, but belong to the groups of tools named above. Each student must select the particular variety of tools from the various lists best suited to his wants. (See pages 84 and 85).
As considerable force is used in carving wood it is very important that the block upon which the carving is done should be firmly fixed to the bench. A bench vise is used for this purpose, but the carver^s screw has many advantages. Page 84. This screw is passed through a hole in the bench and screwed into the block of wood sufficiently far to get a firm grip of it, but not far enough to interfere with the carving. The screw is held by a fly-nut underneath. As the learner progresses in his work, the best contrivances •for holding the wood will naturally suggest themselves.
12.
THE DESIGN.
Preference is always to be given to designs fi'ora some old work of the fifteenth and sixteenth century when wood- carving flourished in the different countries of Europe. Original designs by the amateur wood-carver are in order when considerable skill has already been acquired.
On light wood draw the design in outline with a lead- pencil. On dark wood paint the design with a fine camel's hair brush in Chinese white, and mark the por- tions to be carved out in a darker color. The tracing wheel may be used to mark the design on the wood; or the design may be pasted on to the wood and the carving done through it. But where the design is to be preserved we can transfer it by placing carbon paper between the design and the wood.
13. FIRST EFFORTS.
Having selected a piece of pine about an inch thick for your first effort, see that it is free from knots or shakes. It should be planed so that you can draw or mark upon it easily, and square at the edges. Clamp the wood down upon the bench, table, or jjlank firmly. Draw lines upon it and taking your chisel or gouge practice cutting out the wood between the lines, cutting with the grain of the
A simple geometrical figure composed of straight lines and curves is preferable to a design composed of leaf forms for. the first effort. The kerbschnitt designs, of which we shall speak further on, are Avell adapted to the first efforts.
Fig. 1.
wood. Do not use the V tool to begin with as it is easily broken. Do not remove too much wood at first, but take away a little and go over it again. Practice cutting against the grain of the wood next. Then try to carve curves drawn upon the wood. Hold the tool in the right hand and guide it with the forefinger and middle finger of the left hand. See Fig. 1. Keep the fingers away from the edge of the tool. On no account hold the work with one hand while the tool is being used by the other. Bear on lightly, and remove the wood evenly. Sharpen the tool every ten or fifteen minutes on the hone or strap.
This preliminary practice will have given the student some idea of how to use the chisel and gouge, and he can now proceed with a simple pattern.
Select another piece of wood, planed and squared as suggested above. Cut away a narrow strip of wood a quarter of an inch wide and deep, making a rabbet or groove all around. Now in carving keep above the im- aginary line A B, in Fig. 2, as this line is the ground level upon which the ornamentation will appear to lie when finished.
Draw or transfer the design upon the surface of the wood, in good, strong black lines. The parts forming the
WOOD CARVING.
xlix
background are now to be cut away until the ground
line A B is reached. Outline the pattern with the chisel
or gouge, pressing it down at an angle of 45° and away from the portion to be left in relief, never under- neath it. Takeout all the background, and get it (juite even and Hat. When all the ground has been taken away, trim up the edges of the raised parts.
When the student has mastered this part of the work well, he has already laid a good foundation in the art. It is there- fore best to confine all his early efforts to work of this nature. Prick or indent the background with the
punch or stamp; (see page 84); the closer and deeper these
indentations are made, the better.
14. FINISHING.
But not all work is left in the state in which it was after the ground had been taken out. The student must decide which are to be the most prominent points in his work, and he must work from these so as to produce the proper distribution of the lights and shadows; he must giv-e prominence to some forms so as to appear to come
Fig.
forward, and others to recede or pass into the background. This requires judgment and skill for which no definite rules can be laid down. Observation and study of nature are the only safe guides.
In giving his work the finishing touches, the student has a chance to display his artistic feeling, and apprecia- tion of the beauties of form. If his preparation in draw- ing and modeling, and the study of nature has been sys- tematic and thorough his mind will have become critical, and he intuitively rejects whatever will mar his work, while he is at the same time able to select what is most worthy of being expressed.
The work having been completed it is not necessary to efface the tool marks by trying to obtain the smoothness produced by sandpaper and polishing. These very tool marks show the skill or the lack of skill of the carver. The piece of work may be oiled, stained, or polished with oil, but should never be made to appear anything else than the product of the sculptor in wood.
15. KERBSCHNITT.
This beautiful system of surface decoration, consisting of geometrical forms carved in wood, was much in vogue in all the northern countries of Europe as far back as the 13th century. As much of this work Can be executed with the aid of the knife and a few tools, it has been adopted as one of the branches of manual training in the schools of Germany with excellent results. The surface to be ornamented is divided into regular spaces by using the rule and the compass. The background of these figures is not flat and even as in wood carving described above, but the whole surface is broken up in regular and irregular fonns, the lights and shadows being so disposed as to produce a very beautiful effect. (See illustrations below).
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BY CHAS. F. ZIMMERMANN.
HE art student or worker in art industries who would excel must devote himself to his chosen profession with all seriousness. If nature has endowed him with a taste for the beautiful, with talent, or perhaps, genius, and he has already mastered the technical part of his profession, he has still need of a liberal culture. He must not only know nature in her outward garb in all her varied forms, he must also know the secret springs, the causes of all these phenomena. He must know the laws of organic life as far as they influence the different phases which nature presents. His chief aim must be to render nature truthfully. He must not only study the' laws which control the material used in his chosen art or pro- fession, but learn to appl_y the laws of the beautiful in his work. To enrich his fancy and strengthen his imagina- tion, he should devote himself, according to inclination, to the study of archeology, history, natural science, or litera- ture. The study of the history of culture cannot be too highly commended. The history of art and the master- pieces of the great poets of ancient and modern times should be studied to enlarge the mind, enrich the imagin- ation and purify the taste. From the history of art he learns the causes which have determined the rise and fall of art in the different periods; it becomes his guide in the choice of subjects and creates an ideal by which he is enabled to judge his own productions correctly.
2. WHAT TO STUDY.
" Power to design seems to be incommunicable; because in proportion as the motive or inspiration is conveyed from one to another, it results in reproduction rather than originality. The infinite resources of nature in the two directions of form and color, and the laws upon which they are displayed, constitute one portion of the study of design; the application or disregard of those laws in the works of those who have gone before us, so far as we can now ascertain them, is the second part; thus we acquire a knowledge of natural principles and their historical treat- ment; for the surest foundation of originality is extensive knowledge, combined with great executive power and imagination, which, if the necessary creative impulse should seize upon, may result in the conception of original works. The only instruction, therefore, that can be given to the student of design, likely to be of use to him, will be to direct his attention to natural laws and beauties, and to analyze with him the peculiarities of standard examples of good designs,— generally accepted specimens which
exhibit the qualities of adaptation to purposes, skilfiilness of treatment, and a pure imagination." — Walter Smith.
3. PRINCIPLES OF COMPOSITION.
" Composition should have its laws, or it would be only a fancy and a caprice. Now, without considering what concerns painting, sculpture and music (although it may be possible, it seems to me, to define the rules which ought to enter into the compositions of musicians, sculp- tors and painters, in the matter of aits applied to archi- tecture and various industries), it is evident that compo- sitions should have reference to two elements, — the mate- rial made use of, and the processes that can be applied to it. The composition of a work requiring melted, wrought, or forged metal, would not suit one which employs wood, marble, stone, or terra-cotta. Each industry or each pro- cess of manufacturing ought necessarily to possess a method of composition which shall be appropriate to the material made use of in it, and to the manner in which it is worked. The beatdiful examples of past centuries, which we admire, follow the.se elementary principles.
" To teach composition, you must first define these prin- ciples. The mistake in the instruction given in our schools has been in always presenting works that are indisputably beautiful to the pupils, without ever indicat- ing to what they are applied, of what material they are made, and what are the processes employed by the artists or artisans who produced them, and what is their place and purpose.
"Thus it happens that, in the majority of our produc- tions belonging to what is called indxistrial art, the most singular transpositions are brought to the attention.
" In these matters, the want of a good education causes the reproduction in wood of works which belong more particidarly to molten metal; and, in marble or stone, of forms belonging to stucco. In the composition of what- ever relates to architecture and common articles, such as furniture, utensils, jewels, and gold and silver work, the first condition is to notice the particular properties in the material employed, and the mode of employing it, or the way it can be manufactured. For want of observation of these prinidples, one produces works that not only violate the most simple rules of good sense, but do not please, and offend reason as well as taste, and which weary with their monotony. The charm of the best works of antiquity lies in their variety of form, the result of the nature of the material employed, and the way it is treated.
"The first' condition of composition is a knowledge of materials and their proper manufacture." — -Violet le Due.
tii'x'ijpAui}-:^^
BY CHAS. F. ZIMMERMANN.
( ) Homer and Hesiod, as well as to the Greeks universally, Zeus is the great and predominant god, " the father of gods and men," whose power none of the otlier gods can hope to resist, or even deliberately think of questioning. All the other gods have their specific potency and pecu- liar sphere of action and duty, with which Zeus does not usually interfere ; but it is he who maintains the linea- ments of a providential superintendence, as well over phenomena of Olympus as over those of earth. Zeus and his brothers, Poseidon and Hades, have made a ilivision of ])ower ; he has reserved the ether and the atmosphere to him- self— Poseidon has obtained the sea — and Hades the under- world or infernal regions ; while earth, and the events which pass upon earth, are common to all of them, together with free access to Olympus.
"The inmates of this divine world are conceived upon the model, but not upon the scale, of the human. They are actuated by the full play and variety of those appetites, sympathies, pas- sions, and aflections which divide the soul of man ; invested with a far larger and indeterminate measure of power, and an exemption as well from death as (with some rare exceptions) from suffering and infirmity. The rich and diverse types thus conceived, full of energetic movement and contrast, each in his own province, and soaring confessedly above the limits of experience, were of all themes the most suitable for adventure and narrative, and operated with irresistible force upon the (jrecian fancy. All nature was then conceived as moving and working through a number of personal agents, among whom the gods of Olympus were the most conspicuous ; the reveren- tial belief in Zeus and Ajxdlo being only one branch of this omnipresent personifying faith. The attributes of all these agents had a tendency to expand themselves into illustrative legends — especially those of the gods, who were constantly invoked in the public worship. Out of the same mental source sprang both the divine and heroic myths, the former being often the more extravagant and abnormous in their incidents, in pro- portion, as the general type of the gods was more vast and awful than that of the heroes.
"As the gods have houses and wives like men, so the present dynasty of gods must have a past to repose upon; and the curious and imaginative Greek, whenever he does not tind a recorded past ready to his hand, is uneasy until he has created one. Thus the Hesiodic theogony explains, with a certain degree of system and coherence, first, the antecedent circum- stances under which Zeus accjuired the divine empire, next the number of colleagues and descendants.
"The divine race, under the presidency of Zeus, will give us: 1. The twelve great gods and goddesses of Olympus — Zeus, Poseidon, Apollo, Ares, Hepha'Stos, Hermes, Here, Athene, Artemis, Aphrodite, Hestia, Demeter.
2. An indefinite number of other deities, not included among the Olympic, seemingly because the number tivelve was complete without them, but some of them not inferior in power and dignity to many of the twelve. Hades, Helios, Hekate, Dionysos, Leto, Dione, Persephone, Selene, Themis, Eos, Har- monia, the Charities, the Muses, the Eileithyiic, the Mcerte, the Oceanids, and the Nereids, Proteus, Eidothea, the Nymphs, Leukothea, Phorkys, vEolus, Nemesis, etc.
3. Deities who perform special services to the greater gods : Iris, Hebe, the Horse, etc.
4. Deities whose personality is more faintly and unsteadily conceived: Ate, the Litse, Eris, Thanatos, Hypnos, Kratos, Bia, Ossa, etc. The same name is here employed sometimes to designate the person, sometimes the attribute or event not per- sonified— an unconscious transition of ideas, which, when con- sciously performed, is called allegory.
5. Monsters, offspring of the gods: the Harpies, the Gorgons, the Grrese, Pegasus, Chrysaor, Echidna, Chiniiera, the Dragon of the Hesperides, Cerberus, Orthros, Geryon, the Lernsean Hydra, the Nemean Lion, Scylla and Charybdis, the Centaurs, the Sphinx, Xanthos and Balios the immortal horses, etc.
" Each god had many different surnames, temples, groves, and solemnities, with each of which was connected more or less of mythical narrative, originally hatched in the prolific and spontaneous fancy of a believing neighborhood, to be afterwards expanded, adorned, and diffused by the song of the poet." — (GroU.)
" The primitive chaotic conflicts appear under the form of the war of the Titans; their end is the confinement of those giants in Tartarus, whose compulsory subjection is the com- mencement of order: thus Atlas, the son of lapetus, is made to sustain the vault of heaven in its western verge. The moral is prefigured by such myths as those of Prometheus and Epi- metheus, the fore-thinker and the after-thinker; the Iiistorical in the deluge of Deucalion, the sieges of Thebes and of Troy. A harmony with human nature is established through the birth and marriage of the gods, and likewise by their sufterings, pas- sions and labors. The supernatural is gratified by Centaurs, Gorgons, Harjjies and (!yclops.
" There was a universal agreement that heaven was situated above the blue sky; but as to hell, much difference of opinion prevailed. There were many who thought that it was a deep abyss in the interior of the earth, to which certain passages, such as the Acherusian cave in Bithynia led. But those who with Anaximenes considered the earth to be like a broad leaf floating in the air, and who accepted the doctrine that hell was divided into a Tartarus, or region of night on the left and an Elysium, or region of dawn on the right, and that was equally distant from all parts of the upper surface, were nearer to the original conception, which, doubtless, placed it on the under or shadowy
Hi
C. HENNEGKE CO., MILWAUKEE AND CHICAGO.
side of the eartli. The portals of descent were thus in the west, where the sun and stars set, though here and there were pas- sages leading through the ground to the other side, such as those by which Hercules and TJlysBes had gone. The place of ascent was in the east, and the morning twilight a reflection from the Elysian Fields.
" On the rim of the flat earth is the circumfluous ocean, the source of the rivers, which all flow to the Mediterranean. ' The sea-girt disk of the earth supports the vault of heaven.' Im- pelled by a celestial energy, the sun and stars, issuing forth from the east, ascend with difficulty the crystalline dome, but down its descent they more readily hasten to their setting. No one can tell what they encounter in the land of shadows beneath, nor what are the dangers of the way. In the morning the dawn mysteriously appears in the east, and swiftly spreads over the confines of the horizon; in the evening the twilight fades gradually away. Besides the celestial bodies, the clouds are continually moving over the sky, forever changing their colors and their shape. No one can tell whence the wind comes or whither it goes; perhaps it is the breath of that invisible divinity who launches the lightning, or of him who rests his bow against the cloud. Not without delight men contemplated the emerald plane, the sapphire dome, the border of silvery water, ever tranquil and ever flowing. Then in the interior of the solid earth, or perhaps on the other side of its plane — under world, as it was well termed — is the realm of Hades or Pluto, the region of night. From the midst of tliis dominion, that divinity, crowned with a diadem of ebony, and seated on a throne framed out of massive darkness, looks into the infinite abyss beyond, invisible himself to mortal eyes, but made known by the nocturnal thunder, which is his weapon. The under world is also the realm to which spirits retire after death. At its portals, beneath the setting sun, is stationed a numerous tribe of spectres — Care, Sorrow, Disease, Age, Want, Fear, Famine, War, Toil, Death and her half brother Sleep — Death, to whom it is useless for man to offer either prayers or sacrifice. In that land of forgetfulness and shadows there is the unnavi- gable lake Avernus, Acheron, Styx, the groaning Cocytus, and Phlegethon, with its waves of fire. There are all kinds of monsters and forms of fearful import : Cerberus, with his triple head ; Charon, freighting his boat with the shades of the dead ; the Fates, in their garments of ermine bordered with purple ; the avenging Erinnys ; Rhadamanthus, before whom every Asiatic must render his account ; JSacus, before whom every European ; and Minos, the dread arbiter of the judgment seat. There, too, are to be seen the great criminals whose his- tory is a warning to us : the giants, with dragon's feet extended in the burning gulf for many a mile ; Phlegyas, in perpetual ter- ror of the stone suspended over him, which never falls ; Ixion, chained to his wheel ; the daughters (jf Danaus still vainly try- ing to fill their sieve ; Tantalus, immersed in water to his chin, yet tormented with unquenchable thirst ; Sisyphus despairingly laboring at his ever-descending stone. Warned by such ex- amples, we may learn not to contemn the gods.
" The wanderings of Odysseus and the voyage of Jason and his heroic comrades in the ship Argo, when they went to seize the golden fleece of the speaking ram, are full of mysteries and marvels. " — ( Draper. )
With few exceptions the Roman names of deities and heroes are used, in preference to their Greek synonyms. For the convenience of those familiar with one name only, the following list is appended.
THE GODS OF OLYMPUS.
(Greek.) |
(Roman.) |
|
Zeus, |
Jupiter, |
The ruler of heaven and earth. |
Hephrestus, |
Vulcanus, |
The god of fire and the forge. |
Here, |
Juno, |
Queen of heaven. |
Pallas Athene, |
Minerva, |
Goddess of wisdom. |
Phoibos ApoUon, Phoebus Apollo, |
Presiding deity of various arts |
|
and protector of the muses. |
||
Artemis, |
Diana, |
A virgin goddess who presides over hunting, chastity, and marriage. |
Ares, |
Mars, |
The god of war. |
Aphrodite, |
Venus, |
Goddess of beauty and love. |
Hermes, |
Mercurius, |
The ambassador of the gods. |
Hestia, |
Vesta, |
The goddess of the family hearth. |
Eros, |
Amor — Cupido, |
God of love. |
Nike, |
Victoria, |
Winged attendant on the su- perior deities. |
Hebe, |
Juventas, |
Cup-bearer of the gods. |
Helios, |
Sol, |
The sungod. |
Selene, |
Luna, |
The moon. |
Eos. |
Aurora. |
Goddess of the dawn. |
Besides these there were the Muses, daughters of Zeus. They are named Polyhymnia, the muse of the grave chant of religious music; Calliope, the muse of epic poetry and science generally; Clio, the muse of history; Euterpe, the muse of lyric poetry; Melpomene, the muse of tragedy; Terpsichore, the muse of dancing; Erato, the muse of erotic poetry, together with geom- etry and the mimic art; Thalia, the muse of comedy; Urania, the muse of astronomy.
The Charities or Graces, generally appear in attendance upon the gods; their names are Aglaia, Euphrosyne and Thalia.
Themis and her three daughters, the Horfe (Seasons) — Eunomia, Dike and Irene, represent the regular march of nature in the changes of the seasons. The four chief winds were the sons of Eos. They are named Boreas, or Aquilo, the rude north wind; the Zephyrus, the welcome messenger of spring; Notus, the south wind ; and Eurus, the east wind.
OTHER 1 |
GODS. |
|
(Greek.) Poseidon, |
(Roman.) Neptunus, |
The mighty ruler of the sea. |
Amphitrite, Gfea, |
Salacia, Tellus, |
The wife of Neptune. Mother earth. |
Rhea, Dionysus, De meter, Persephone, Kora, Hades, |
Cybele, Bacchus, Ceres, Proserpina, Pluto, |
Mighty mother. The god of wine. Protectress of agriculture. Goddess of vegetation. The ruler of the lower world. |
Hekate, |
Rules over the secret forces |
|
Asklepius, |
.iEsculapius, |
of nature. The god of the healing |
art.
Hygiea was the goddess of health. She was described as the daughter of .^Esculapius. Nemesis was regarded as the goddess of equality, and sees that happiness and misfortune are allotted to man according to merit. Tyche was the goddess of good fortune. Besides Fortuna, the Romans honored a deity called Felicitas, as the goddess of positive good fortune. The Tritons were sea-deities of fantastic form. Nereus,
GRECIAN MYTHOL OGY.
Uii
the son of Pontus (the sea), represents the sea in a quiet state. Ino, afterward named Leucothea, was regarded as a benevolent sea-deity. The Sirens were also sea-deities, whose songs were death to those who were seduced by them. The Oceanids were the numerous descendants of Oceanus. The Nymphs were tender, graceful maidens, who preferred the peaceful solitude of the woods and mountains to the habitations of man. The Satyrs (Fauni) were sensual wood and mountain spirits following in the train of Dionysus. Silenus, an old satyr, tended and brought up Dionysus. Pan was a very ancient god of the woods and meadows. The Erinyes (Furise) executed the commands of Hades and Persephone.
THE HEROES.
In Homer's account of the Centaurs, they are not demons, but an old Thessalian mountain tribe of giant strength and savage ferocity, utterly unable to control their rude, sensual nature. Tliey are celebrated in ancient story for their fight with the Lapithse, which arose at the marriage feast of Pirithous. It ended by the Centaurs being expelled from their country, and taking refuge on Mount Pindus, on the frontiers of Epirus. Chiron is the most celebrated among the Centaurs. We know- that hunting the bull on horseback was a national custom in Thessaly, and that the Thessalians were celebrated riders. Hence may have arisen the fable that the Centaurs (Bull-Killers) were half men and half horses, just as the American Indians when they first saw a Spaniaril on horseback, believed horse and man to be one being. The Centaurs are frequently repre- sented in ancient works of art, and generally as men from the head to the loins, while the remainder of the body is that of a horse, with its four feet and tail.
The celebrated legend of Cadmus relates the founding of Thebes. When Europa was carried off by Zeus (Jupiter) to Crete, Agenor sent Cadmus in search of his sister, enjoining him not to return without her. Unable to find her he settled in Thrace ; but having consulted the oracle at Delphi, he was commanded by the god to follow a heifer of a certain kind, and to build a town on the spot where the heifer should lie down with fatigue. He found the heifer in Phocis and followed her to Boeotia, where she sank down on the spot on which Cadmus build Cadmea, afterwards' the citadel of Thebes. Intending to sacrifice the heifer to Athena (Minerva), he sent some persons to a neighbor- ing well where they were slain by a dragon belonging to Ares (Mars), who guarded the spring. Thereupon Cadmus slew the dragon, and, on the advice of Athena, sowed the teeth of the monster, out of which armed men grew up, who killed each other, with the exception of five, who were the ancestors of the Thebans. Cadmus and his wife Harmonia were afterwards changed into serpents and removed by Zeus to Elysium. Cadmus is said to have introduced into Greece, from Phuunicia, or Egypt, an alpha- bet of sixteen letters.
The lamentable fate of Actseon has always been a favorite subject for sculpture. Action had been trained by Chiron as a hunter and warrior. When he had hardly reached the prime of his youth, being out hunting one day on Mount Citha^ron, he was transformed by Artemis into a stag, and was torn in pieces by his own (iogs. He had incurred the displeasure of the chaste goddess and was thus punished by her.
Another tragedy, the punishment of Dirce, is related. Antiope, the mother of Amphion andZethus, having been taken prisoner by Lycus, was obliged to submit to the most harsh and humiliating treatment at the hands of his wife Dirce. At length
she managed to escape, and by a wonderful chance discovered her sons, who had grown into sturdy youths. The story of her wrongs so enraged them that they resolved to wreak vengeance on Dirce. After having taken Thebes and killed Lycus, they bound Dirce to the horns of a wild bull, which dragged her about until she perished. Her mangled remains they cast into a spring near Thebes, which was henceforth called the fountain of Dirce.
Amphion is further celebrated on account of the melan- choly fate of his sons and daughters. He married Niobe, the daughter of Tantalus, king of Phrygia. Proud of the number of her children, she deemed herself superior to Leto (Latona), who had given birth to only two children. For this presumption her children were slain by Apollo and Diana, and she was changed into stone. Amphion slew himself. Zeth.u8 was also unfortunate in his domestic affairs. Aedon, his wife, jealous of the Niobe in having so many beautiful children, while she had an only son, Itylus, resolved one night to slay the eldest son of Niobe. But by mistake she killed her own child. Zeus took compassion on her, and changed her into a nightingale. In this guise she continues to bewail her loss in long-drawn mournful notes.
One of the national heroes of Corinth was Belleroph.on. Being obUged to leave Corinth he was hospitably received by Prtetus, king of Tiryns, whose wife falling in love with him, and finding her passion slighted, slandered him before her hus- band. Proetus sent Bellerophon at once to lobates, king of I>ycia, to have him put to death. lobates sought to fulfill the command of Proetus by involving his guest in all kinds of desperate adventures. He sent him to destroy the Chimjera, a dangerous monster that devastated the land. Bellerophon destroyed the monster by raising liimself in the air on liis winged horse Pegasus, and shooting it with his arrows.
lobates now sent Bellerophon to subdue a neighboring hostile mountain tribe, which he accomplished ; and then against the warlike Amazons, a nation of women, trained from their earliest youth in all warlike exercises. Returning in triumph from this expedition, his life was attempted once more by being sur])rised by an ambuscade. Bellerophon, however, escaped, and slew all lus assailants. lobates now gave him his daughter in marriage and a share in his reign. Later in life Bellerophon was seized with madness, and wandered about alone, fleeing the society of man, until he at length perished miserably.
The story of Perseus is one of the Argive legends. Acrisius, tlie grandfather of Perseus, had him and liis mother, DanaP, con- fined in a chest and cast into the sea, because the oracle had told him that he was doomed to perish by tlie hands of this grandson. The cliest was cast by the waves on the rocky island of Seriphus, where it was found by a fisherman. Danae and young Perseus were well cared for here. Subsequently Polydectes, the governor of the island, wished to marry DanaP, and on her rejecting him, made her his slave. When Perseus was grown up, I'olydectes dispatched him to bring the head of the Gorgon Medusa. In this perilous adventure he was aided by Hermes and Athena. Perseus first went to the Grsese, the sisters of the Gorgons, took from them their one tooth and their one eye, and woidd not restore them until they showed liini the way to the Nymphs, who possessed the winged sandals, the magic wallet, and the helmet of Hades (Pluto), which rendered tlie wearer invisible. Having received from the Nymphs these invaluable presents, from Hermes a sickle, and from Athena a mirror, lie mounted into the air, and arrived at the abode of the Gorgons, who dwelt near Tartessus, on the coast of the ocean. He found them asleep, and cut oft' the head of Medusa,
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looking at her figure in the mirror, for a sight of the monster herself would have changed him into stone. Perseus put her head into the wallet which he carried on his back, and as he went away he was pursued by the other two Gorgons ; but his helmet, which rendered him invisible, enabled him to escape in safety. Perseus then proceeded to Ethiopia, where he saved and married Andromeda. Perseus is also said to have changed Atlas into the mountain of the same name by means of the Gorgon's head. On his return to Seriphus he found that his mother had taken refuge in a temple to escape the violence of Polydectes. . He hastened to the palace of Polydectes and metamorphosed him and all his guests into stone. He then gave the head of the Gorgon to Athena, who placed it in the middle of her shield or breastplate. Perseus subsequently went to Argos. Acrisius, remembering the oracle, escaped to Larissa, whither Perseus followed him in disguise to persuade him to return. On his arrival at Larissa, he took part in the public games, and accidentally killed Acrisius with the discus. Perseus is said to have founded Mycense.
The Dioscuri, that is, the sons of Zeus, the well-known heroes. Castor and Pollux, were called by the Greeks Polydeuces, by the Romans Oastores. Castor was famous for his skill in taming and managing horses, and Pollux for his skill in boxing. The fabulous life of the Dioscuri is marked by three great events. 1. Their expedition against Athens, where they rescued their sister Helen, who had been carried off by Theseus. 2. Their part in the expedition of the Argonauts, during which Pollux in a boxing match, killed Amyeus, king of Bebryces. 3. Their battle with the sons of Aphareus, Idas and Lynceus. Castor, the mortal, fell by the hand of Idas, but Pollux slew Lynceus, and Zeus killed Idas by a flash of lightning. At the request of Pollux, Zeus allowetl him to share his brother's fate, and to live alternately one day under the earth, and the other in the heavenly abodes of the gods. According to a different form of the story, Zeus rewarded the attachment of the brothers by placing them among the stars as Gemini.
Of all the Greek myths, the myth of Herakles (Hercules) is the most glorious. The first proof of his divine origin was in tlie strangling of two serpents sent to destroy him, when he was but a babe. He was a shepherd until he was eighteen. After attaining his growth he slew the lion of Cithaeron, and led a suc- cessful expedition against the King of Orchomenus, freeing the Thebans from future tribute. AVe will here give a brief outline of his twelve labors imposed upon him by Eurystheus, after he had consulted the oracle of Delphi. The first labor was the slay- ing of the Nemrean lion, which lived in the valley of Nema'a, be- tween Cleonse and Pldius. After using in vain his club and arrows against the lion, he drove him into a cave and there strangled the animal with his own hands. He returned to Eurystheus, car- rying the dead lion on his shoulders. His second labor was the fight against the Lernean hydra. This monster ravaged the country of Lerna, near Argos, and dwelt in a swamp near the well of Amymone. It had nine heads, of which the middle one was immortal. Hercules struck off its heads with his club; but in the place of the head he cut off, two new ones grew forth each time. However, with the assistance of his servant, lolaus, he burned away the heads of the hydra and buried the ninth, or immortal one, under a huge rock. Having conquered the monster, he poisoned his arrows with its bile, whence the wounds inflicted by them became incurable. His third labor was the capture of the Arcadian stag. This animal had golden antlers and brazen feet. Hercules pursued it in vain for a whole
year; at length he wounded it with an arrow, caught it, and carried it away on his shoulders. His fourth labor was the destruction of the Erymanthian boar. Hercules chased it through the deep snow, and having thus tired it out, he caught it in a net, and carried it to Eurystheus. In his pursuit of the boar, Hercules came upon the Centaur Pholus, who received him kindly. Pholus had received a cask of excellent wine from Bacchus, which Hercules opened contrary to the wishes of his host. The sweet fragrance of the wine attracted the other Centaurs, who besieged the grotto of Pholus. Hercules, how- ever, drove them back with arrows and firebrands, and com- pletely vanquished them after a terrible fight. Cliiron and Pholus were also accidentally killed. The fifth labor of Her- cules was the cleansing of the stables of Augeas, king of Elis. Augeas had a herd of 3,000 oxen, whose stall had not been cleansed for thirty years. Hercules agreed to cleanse the stables in one day, and was to receive from Augeas a tenth part of his cattle. Hercules turned the rivers Alpheus and Peneus through the stalls, which were thus cleansed in a single day; but Augeas refused to give him the reward. Hercules subsequently invaded Elis, and killed Augeas and his sons. After this he is said to have founded the Olympian games. The sixth labor of Her- cules was the destruction of the Stymphalian birds. These voracious birds had been brought up by Ares. They had brazen claws, wings and beaks, used their feathers as arrows, and ate human flesh. They dwelt on a lake near Stymphalus, in Arcadia, from which Hercules was ordered by Eurystheus to expel them. Athena provided him with a brazen rattle, by the noise of which he startled the birds; and as they attempted to fly away, he killed them with his arrows. According to some accounts, he only drove the birds away, and they appeared again in the island of Aretias, where they were found by the Argonauts. Hecules' seventh labor was the capture of the Cretan bull. The bull had been sent out of the sea by Poseidon that Minos might sacrifice it. But charmed by the beauty of the animal, Minos kept it and offered another in its stead; whereupon Poseidon drove the bull mad, and caused it to com- mit great havoc in the island. Hercules caught the bull and brought it home on his shoulders; but Eurystheus afterward set it free again. The bull now roamed through Greece, and at last came to Marathon, where it appears later, in the story of The- seus, as the bull of Marathon. The eighth labor of Hercules was the capture of the mares of the Thracian Diomedes. These horses were fed on human flesh, Diomedes causing all strangers cast upon his coasts to be given to these wild mares. Hercules seized the animals, defeated the Bistones and their king, Dio- medes, whose body he threw before the mares, and then returned to Eurystheus with the mares, which had become tame after eating the flesh of their master. The ninth labor of Her- cules was the seizure of the girdle of Hippolyte, the queen of the Amazons. The daughter of Eurystheus was anxious to obtain the girdle which Hippolyte had received from Ares, and Hercu- les was sent to get it. After various adventures in Europe and Asia, he at length came to the country of the Amazons, and having obtained the favor of their queen, she consented to give him the girdle. Bnt Here, in the guise of an Amazon, excited the Amazons against him, and in the contest that ensued, Hip- polyte was slain by Hercules, who secured the girdle and departed. On his return home he rescued Hesione from the monster sent against her by Poseidon, and for this service, her father, Laomedon, promised him the horses he had received from Zeus as a compensation for the loss of Ganymedes. But,
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as Laomedon proved false to his word, Hercules on leaving threatened to make war against Troy, a threat which he after- wards carried into execution. The tenth labor of Hercules was the capture of the oxen of Geryones in Erythia. The oxen of Geryones, a monster with three bodies, were guarded by the giant Eurytion and the two-headed dog, Orthrus, and Hercules was commanded to fetch them. He undertook this long jour- ney, meeting with numerous adventures on the way. To cross the sea, ho forced Helios to lend him a golden boat, by shooting at him with his arrows. Having reached Erythia, identified as Gades, or the Balearic islands, he killed the herdsman who was keeping the oxen, together with his dog, and the monster Ge- ryones. He sailed with his booty to Tartessus, where he returned the golden boat to Helios. On his homeward journej' many attempts were made to deprive him of the oxen, but he brought them safely to Eurystheus, who sacrificed them to Hera. The eleventh labor of Hercules was to fetch the golden apples of the Hes])erides. Hera had received them from Ga; at her wed- ding, and had entrusted them to the keeping of the Hes- perides and the dragon Ladon, on Mount Atlas, in the country of the Hyperboreans. On arriving at Mount Atlas, Hercules sent Atlas to fetch the apples, and in the meantime bore the weight of heaven for him. Atlas returned with the apples, but refused to take the burden of the heavens on his shoulders again. Hercules, apparently agreeing, asked Atlas to relieve him until he had arranged more comfortably a cushion for his back. When Atlas consented, Hercules left him in his former position, and made off with the apples. The twelfth labor of Hercules was the bringing of Cerberus from the lower world. He decended into Hades, accompanied by Hermes and Athena. He delivered Theseus and Ascalaphus from their torments. Pluto granted him permission to take Cerberus to the upper world, provided it was done without the force of arms. Hercules seized the furious beast, and having chained him, he brought him to Eurystheus, and afterward carried it back again to the lower world. After Hercules had performed the twelve labors, he was released by Eurystheus and returned to Thebes.
Theseus is the national hero of the lonians, just as Hercules is of the vEolians. There is no great undertaking of antiquity in which Theseus is not supposed to have taken part. He was brought up at Troezen, and at sixteen his mother took him to the stone where his father, jEgeus, had left his sword and sandals. Theseus, with a slight effort, raised the stone and took the tokens to Athens. On his way he destroyed the rob- bers and monsters that infested the country. Theseus next captured the Marathonian bull, which had long been the terror of the surrounding country. After this he went of his own accord as one of the seven youths whom the Athenians were obliged to send every year, with seven maidens, to Crete, in order to be devoured by the Minotaur. With the aid of a clew of thread which Ariadne, the daughter of Minos, gave him, he was able to find his way out of the labyrinth after he slew the Minotaur. Having effected his object he sailed away, carrying off Ariadne, whom he deserted at Naxos. As the vessel in which Theseus sailed approached Attica, he neglected to hoist the white sail, which was to have been the signal of the success of the expedition, whereupon ^Egeus, believing that his son had perished, thew himself into the sea. One of the most cele- brated of his adventures was his expedition against the Ama- zons. It is said that he made war upon them soon after Hercu- les had assailed them, and he carried off their queen, Antiope. The Amazons then invaded Attica, and the final battle in which
Theseus defeated them, was fought in the heart of the city of Athens. Theseus was one of the Argonauts ; joined in the Calydonian hunt ; aided Pirithous against the Centaurs, and with his assistance, carried off Helen from Sparta, and the two attempted to carry Persephone from the lower world. Pirithous perished in the enterprise, and Theseus was kept in hard durance until delivered by Hercules.
The story of Meleager and the Calydonian boar hunt is, no doubt, a provincial myth. CEneus, king of Calydon in jEtolia, on the occasion of a great festival, had either accidentally or purposely omitted to sacrifice to Artemis. To punish this neglect, she sent a huge wild boar, which proved very destruc- tive to the country, and seemed invincible by ordinary means. Meleager, the brave son of ffineus, called together all the renowned heroes of Greece, and after entertaining them with great splendor for nine days, the hunt began, and the huge beast, which was larger than an ox, was surrounded and driven from his lair. Atalante was the first to wound him, and the enraged beast tore open the body of one of the heroes who advanced with his battle-ax. At length Meleager hurled his spear and the monster received a mortal wound ; it was soon dispatched by the rest of the heroes. Meleager received the head and hide of the slaughtered animal, but gave his reward to Atalante, on the ground that she first wounded the boar. This excited the bitter jealousy of the brothers of Althaea, the mother of Meleager, and they laid in wait for Atalante and robbed her of her present. Enraged at this, Meleager slew them both. Althsea in the first outburst of grief and indigna- tion, placed a certain brand which she had carefully treasured up, again in the fire, and thus, according to the oracle, cut off the life of the noble hero in the prime of his youth.
The story of the Argonauts is the history of the heroes who sailed to Colchis for the recovery of the golden fleece. It is related that Ino, the daughter of Cadmus, persuaded her hus- band, Athamas, to sacrifice Phrixus, his son, as a sin-offering to Zeus, in order to put an end to the drouth with which the land was visited. Whether Helle, his sister, was to have shared his fate, is not stated ; but before Ino, the stepmother, could accom- plish her purpose, Nephele came to the assistance of her children, and gave them a winged ram with a golden fleece, which Hermes had presented to her for that purpose. Seated on this ram they fled over the sea to Colchis. On the way Helle fell into that part of the sea which bears her name and was drowned, but Phrixus arrived safely in Colchis, where he sacri- ficed the ram to Zeus, who had preserved him in his flight. The fleece he hung up in the grove of Ares as a sacred treasure, and was guarded day and night by a dragon.
When Jason had completed his twentieth year, he went to his uncle to demand of him his rightful inheritance. Pelias prom- ised to restore the crown if he would get the golden fleece from Colchis. Jason undertook the enterprise, and commanded Argus, the son of Phrixus, to build a ship with fifty oars, which was called the Argo, after the name of the builder. Jason was accompanied by all the great heroes of the age, to the number of fifty. After meeting with many adventures, they at length arrived at Colchis. The King ^Eetes promised to give up the golden fleece if Jason would yoke to a plow two fire-breathing oxen with brazen feet, and sow the teeth of the dragon which had not been used by Cadmus at Thebes. Medea, the daughter of yEStes, fell in love with Jason, and, on his promising to marry her, she furnished him with the means of resisting fire and steel, and put to sleep the dragon that guarded the golden fleece.
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After Jason had taken tlie treasure, lie and his Argonauts embarked by niirlit, ulonjr with Medea, and sailed away. They returned to Thessaly after an eventful journey.
The tragic history of the Theban house of Labdacidfe, has furnished many subjects for Greek art and poetry. We will briefly give the history of CEdipus as an introductory to the great events that followed. CEdipus was the son of Laius, king of Thebes. His father having learned from an oracle that he was doomed to perish by the hands of his own son, exposed QDdipus immediately after his birth, with his feet pierced and tied togetlier. The child was found by a shepherd of King Polybus of Corinth, and he reared him as his own child. When CEdipus was grown up, he met Laius on the road between Delphi and Daulis, and slew him in a scuffle without knowing that he was his father. In the meantime the celebrated Sphinx had appeared in the neighborhood of Thebes. Seated on a rock, she put a riddle to every Theban that passed by, and whoever was unable to solve it was killed by the monster. CEdipus solved the riddle and the Sphinx threw herself into a deep abyss. CEdipus was rewarded with the sovereignty of Thebes, and the hand of locaste his mother. For several years he enjoyed uninterrupted happiness, but when a plague visited Thebes in consequence of the incestuous marriage, the oracle ordered the expulsion of the murderer of Laius, and the seer Tiresias told CEdipus that he was the guilty man. Thereupon locaste hung herself, and CEdipus put out his own eyes, and wandered from Thebes, accompanied by his daughter, Antigone.. In Attica he at length found a ])lace of refuge, and he was soon after removed from the earth by the avenging deities. The curse of their father took effect on his unnatural sons. The elder drove out his brother, Polynices, who then sought the assistance of Adrastus and the other Argive heroes in the recovery of the crown of Thebes. But the attack on Thebes was repulsed, and all the Argive leaders, with the exception of Adrastus, slain. Ten years afterwards Adrastus persuaded the six sons of the heroes who had fallen in the war to make a new attack u])on Thebes. This war is known as the war of the "Epigoni," or descendants. Thebes was taken and razed to the ground.
We will now briefly recount the fourth and most celebrated of the common undertakings of the later heroic age, namely, the Trojan War. In regard to its origin we learn that Eris, the goddess of discord, not having been invited to the marriage festivities of Peleus and Thetis, avenged herself by throwing into the assembly a golden apple, with the inscription : " To the fairest." Each of the three rival goddesses — Hera, Athena and Aphrodite — claimed the apple for herself, but were referred by- Zeus to the decision of Paris. Paris was the son of Priam, the king of Troy. In consequence of an ill-omened dream which his mother had, he was exposed after his birth. He was found, however, and brought up by some shepherds. Paris decided in favor of Aphrodite, who had promised him the most beautiful woman on earth as his wife. Paris visited the court of Menelaus in Sparta, and was hospitably received and entertained by him. During the absence of Menelaus, Paris and Helen fled to Troy. On the refusal of the king of Troy to surrender Helen, Menelaus succeeded in rousing the whole of Greece to a war of revenge. Agamemnon was chosen leader of the expedition, which con- sisted of 1,186 ships and 100,000 men. The first nine years ofthe war were fruitless, but in the tenth year there were many bril- liant exploits on both sides.
The greatest and bravest Greek hero was Achilles. Accord-
ing to a legend, his mother plunged her son into the Styx, and thereby rendered him invulnerable in every part except the heel by which she held him. Ajax was a hero scarcely inferior to Achilles. He was of mighty stature and great strength. He bore a mighty shield. His brother Teucer was regarded as the best archer among the Greeks. The aged Nestor was as indispensable to the Greeks before Troy on account of his wise counsels a« the courageous Achilles, or Ajax. The Locrian, or Lesser Ajax was renowned for his skill in hurling the spear and for his great fleetness, in which he was surpassed only by Achilles. Odysseus, or Ulysses, was the most popular ofthe Greek heroes in this war. He was wise and eloquent, dextrous in feats of strength, and valorous amidst the greatest dangers. Hector was the chief hero of the Trojans, and was the eldest son of Priam. Ho fought with the bravest of the Greeks and slew Patroclus, the friend of Achilles. The death of his friend roused Achilles to the fight. All the Trojans fled before him, Hector alone remained ; but wlien he saw Achilles, his heart failed him, and he fled. Three times he raced round the city, pursued by the fleet Achilles, and then fell pierced by the spear of Achilles. The body of Hector he surrendered to his father Priam, upon his prayers, and by command of Zeus. Immediately after the death of Hector, Penthesilea, the queen of the Amazons came to the aid of the Trojans. The Amazons fought bravely, but Achilles at length slew their queen, and they were driven back. Then Memnon, king (iiIi\\M\o\)Vi., a handsome and courageous warrior arrived as an ally to the Trojans. Many fell by the hands of this great hero, but when he ventured to meet Achilles, he also was van- quished after a brave struggle. In an assault, at the head of his Myrmidons, Achilles was killed by an arrow from Paris. A furi- ous contest, lasting an entire day, took place over the possession of the body of Achilles and his armour. Ajax and Odysseus at length succeeded in getting it to a place of safety. There was great mourning among the Greeks at his death. The arms of Achilles were adjudged by Agamemnon to Odysseus, at which Ajax was so mortified that he became insane and put an end to his own life.
Odysseus thus became the chief personage among the Greeks. By his advice and assistance tlie arrows of Hercules were brought into camp; the Palladium, on which the safety of Troy depended, was stolen; the young son of Achilles brought from Scyros to the Trojan camp, and lastly, it was Odysseus who devised the wooden horse, an<l the stratagem which led to the capture of Troy. The sad fate of Laocoon, priest of Apollo, is briefly recounted. Laocoon sought to divert the Trojans from dragging the wooden horse of the Greeks into the city. While sacrificing to Poseidon on the seashore, accompanied by his two sons, he was strangled by the two serpents that came up out of the sea. On the night succeeding Laoeoon's horrible end, the Greek fleet returned, the heroes who were hidden in the wooden horse de- scended and opened the gates to the Greek host, and the city fell into the hands of the invaders. Terrible scenes of plunder and carnage ensued ; the men were put to death, the women and children, together with the rich booty, were carried off', and the city burned to the ground. On the capture of Troy, Helen became reconciled to Menelaus, and accompanied him to Sparta. The return of the Greeks was memorable for the adventures and misfortunes that befell them. Great storms carried some of them to distant lands, from which it took them years to get home. Ajax was shipwrecked, and Odysseus, after numerous wanderings and vicissitudes, returned to Ithaca to his faithful wife, Penelope, and punished the shameless suitors who had wasted his substance and goods.
EXPLANATORY OF ILLUSTRATIONS IN " ART STUDIES." EDITED BY C. F. ZIMMERMANN.
TT CHILliES, Borghese, formerly in tlie Borghese collec- Trr|> tion, Kome, now in the Louvre, Paris, tliought to be _l \_ Acliilles by the ring above tlie riglit ankle, supposed to have been placed there to protect the heel, the only ^.x-- J vulnerable part of Achilles. For further description, c_^ see Grecian Mythology.
Adonis, Vatican, Rome. — As a child his beauty at- tracted the love of Venus and of Proserpine. They quarrelled about the possession of him and Jupiter decided the matter by allowing Adonis to spend eight months of the year with Venus and four months with Proserpine. Adonis was killed by a boar while hunting and Venus changed his blood to flowers.
iEschylus was the father of Greek tragedy and over seventy tragedies of his time are ascribed to him.
iEsculapius is the god of the healing art. The centaur, Chiron, instructed him, and the disciple soon excelled bis mas- ter. He not only kej)t his j)atients from dying, but was able to restore the dead to life. In 2J)2 B.C. a fatal pestilence prevailed in Rome. The gods commanded that vEsculapius be brought fr(jm Epidaurus. When the embassy arrived there and had made their request, a snake crept out of the temple and into the ship. This snake was regarded as ylCsculapius. Returning with it to Rome the pestilence vanished.
Agassiz, Louis Jean Bodolph, one of the most distinguished of modern naturalists, was born in Switzerland in 1807, and died in Massachusetts in 187.3. Agassiz was educated at Heidelberg and Munich ; comparative anatomy being his favorite study. He filled the chair of Natural History in Neufchatel. He came to the United States in 1846, and was successively appointed at Harvard University, at Charleston, S. C, and at Cornell University, N. Y. He declined the offer of a chair in Paris made him by the Emperor of France. He wrote numerous works on Zoology.
Agrippa, M. Vipsanius, a great Roman general, born B. C. 63, and died A. D. 12. In the civil wars which followed the death of Csesar, and which gave Augustus the sovereignty of the Roman world, Agrippa took an active part, and his military abilities con- tril)uted greatly to that result. He was thrice consul, and in his third consulsliip, he built the Pantheon. He continued to be employed in various military commands till his death.
Ajaz, son of the king of Salamis. He sailed against Troy in twelve ships, and is represented in the Iliad as second only to Achilles in bravery. In the contest for the armour of Achilles he was conquered by Ulysses, and this, says Homer, was the cause of his death.
Ajax and Achilles^ also known as Menelaus and Patroclus; original group in the Loggia dei Lanzi at Florence.
Amazon, original in the Vatican, Rome. The Amazons were a nation of women trained from their earliest youth in all war-like exercises. — See Grecian Mythology under Tlieseus, and Achilleg.
Amor, EroB, Cupid. — The god of love. He was represented as a wanton boy, of whom a thousand tricks and cruel sports were related, and from whom neither gods nor men were safe.
His arms consists of arrows, quiver and of torches, which no man can touch with impunity. He is further represented with golden wings, and as fluttering about like a bird. His eyes are some- times covered, so that he acts blindly. He is the usual com- panion to his mother. Aphrodite.
Amor Greco, Vatican (Genius of the Vatican).
Amor and Psyche. Psyche, as the personification of the human soul. She excited by her beauty the jealousy and envy of Venus. To avenge herself the goddess ordered Cupid, or Amor to inspire Psyche with a love for the most contemptible of all men ; but Cupid was so stricken with her beauty that he himself fell in love with her. Having undeservedly caused the mistrust of Cupid, he deserted her and she wandered from temple to temple in search of him. Falling into the hands of Venus again her real sufferings began, for the hardest and most humiliating labors were imposed upon her and she would have perished under the weight of her suffering had not Cui)id, who still loved her in secret, invisibly comforted and assisted her in her toils.
Angelo Buonarotti, Michel, was born in 1474, and died in 1563. He stood unrivalled as a painter, sculptor and architect. His earliest original works were a Kneeling Angel, The Statues of Bacchus and David at Florence, and a magnificent group rep- resenting the Mater Dolorosa, which was placed in St. Peter's at Rome. His works were all on a collosal scale and showed mar- velous knowledge of the anatomical development of the human figure, and extraordinary powers of execution. His cartoons in the Sistine Chapel are marvels of beauty and perfection. He devoted much time to remodeling St. Peter's, in Rome, which by the touch of his genius, was converted from a mere Saracenic hall, into the most superb model of a Christian church.
Antinous, a youth of extraordinary beauty, was the favorite of the Emperor Hadrian and his companion in all his journeys. He was drowned in the Nile. The grief of the Emperor knew no bounds. He enrolled Antinous among the gods, caused a temple to be erected to him, at Mantinea, and founded the city of Antinoopolis in honor of him.
Antony, Mark, one of the most distinguished orators of his age. Born 83 B. C, he laid the foundation for extravagant living in his youth, early espoused the cause of Julius Casar, and in B. C. 44 was appointed his colleague in the government. Upon Cassar's death he delivered ttie funeral oration and incited the people to drive the conspirators from Rome. At first opposing Octavianus, who had succeeded Ciesar, he finally effected a reconciliation with Octavianus, and with him and Lepidus founded the triumvirate. In his foreign wars he met Cleopatra, queen of Egypt, and from that moment became the complete slave of her caprices. Having been defeated by Octavianus he stabbed himself and died in the presence of Cleopatra.
Apollino, the little Ajiollo, is the beautiful and well-known figure in the Tribune of Florence, appropriately named Apollino, for it is the idle, careless, dreaming god, the offspring of poetic fancy rather than genuine faith.
Apollo, one of the great divinities of the Greeks. The powers ascribed to him are apparently of different kinds; he was
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the god who punishes, whence he is represented with bow and arrows ; the god who affords help and wards off evil ; the god of prophecy ; the god of song and music ; the god who i)rotects the flocks and cattle ; the god who deliglits in the foundation of cities and towns and the estabhshment of civil constitutions, and the god of the sun.
Apollo Belvedere. — Marble in the Vatican. The original of this colossal statue was discovered in the 16th Century and placed by Michael Angelo in the Belvedere Gallery, Rome. The name of the sculptor is not known.
Apollo Sauroktonos, the Lizard-killer, is represented as a youth amusing himself by striking at a lizard on the tree beside him.
Apoxyomenos, original in the Vatican. It was the custom of Greek athletes to rub their body with oil before exercising. This statue represents a Greek youth scrapingthe oil and the dust of the arena from his body with an instrument called strigil.
Ariadne, daughter of Minos and Pasiphae, fell in love with Theseus, when he was sent by his father to convey the tribute of the Athenians to the Minotaur, and gave him the clew of thread by means of which he found his way out of the labyrinth. Theseus, in return, promised to marry her, and she, accordingly, left Crete with him ; but on their arrival in the island of Dia (Naxos), she was killed by Artemis (Diana). This is the Homeric account ; but the more common tradition related that Theseus deserted Ariadne in Naxos, where she was found by Dionysus, who made her his wife, an<l placed among the stars the crown which he gavi^ her at their marriage.
Ariadne Deserted, original in marble in the Vatican.
Ariadne and Panther. Among the productions of modern sculptors, the Ariadne of Dannecker, at Frankfort-on-the-Main, which represents her as the bride of Theseus riding on a panther, justly enjoys a very high reputation.
Aristides, a celebrated Athenian, whose great temperance and virtue procured him the surname "The Just." He was a rival of Themistocles, through whose influence he was banished, B. C. 484 ; but before six years of Ids exile had elapsed, he was recalled by the Athenians.
Aristotle, the greatest and most influential of all the Greek philosophers, was born in the year 484 B. C. He aspired to the cultivation of universal knowledge fur its own sake, in which he obtained a distinction without {)arallel in the history of the human race. At Athens he became the pupil of Plato, but soon made his master aware of the remarkable penetration and reach of his intellect, for we are told that Plato sjxjke of Aristotle as the " Intellect of the School." At the age of fifty he opened a school called the Lyceum, and from his practice of walking up and down in the garden during his lectures, arose the name of his school and sect, the Peripatetic. No other philosopher can be named whose influence has been so far-reaching and so long continued.
Arrotino, Knife Grinder. The slave sharpening his knife. An ancient statue now in the Ufiizi Palace, Florence. "As is well-known this statue is an enigma, to whit:h no satisfactory solution has ever been offered. Indeed, whether he is whetting his knife seems somewhat doubtful. But as to its power, there can be no doubt."
Atlas — with globe. Atlas made war with the other Titans upon Zeus (Jn|)iter), and being conquered, was condemned to bear heaven on his head and hands. The myth seems to have arisen from the idea that lofty mountains supported the heaven.
Auber, Daniel Francois Esprit, a French musician and com- poser, l)orn 1784 and died 1871. After a brief experience in mercantile life, he devoted himself to music. After a course of study with Cherubini, he wrote several operas which were un- successful. Persevering, however, he was recognized in 1820, and from that time on he produced a great number of works, almost all of which were well received, while some are among the most successful operas now represented on the stage. Masa- niello, Fra Diavolo, Gustave and Haydee are among his most popu- lar operas.
Aurelius, Marcus, born at Rome, A. D. 121, died A. D. 180. Roman Emjieror from 101 to 180 A. D. Marcus Aurelius was a devoted advocate of the Stoic philosophy. We still possessa work in the Greek language written by him, and entitled Meditations. No remains of antiquity possess a nobler view of philosophical heathenism. The chief stain upon his character was bis perse- cution of the Christians.
Au^stus, Caesar, was born in (v! B. C. Julius Ciesar adopted him as his son and heir, his father having died when he was but four years old. AVhen Ciesar died in 54 B. C. Augustus was a student under the celebrated orator Apollodorus. When he returned to Italy he was haughtily treated by Antony, who refused to surrender the property of Csesar. Augustus made himself a favorite with the people and succeeded in getting the will of Cfesar carried out. Augustus had consummate t^ict as a ruler and politician, and could keep his plans in secrecy while he ma(h^ use of the passions and talents of others to forward his own designs. He so beautified Rome that it was said, 'Augustus found the' city built of bricks, and left it built of marble.'
Bacchus, the noisy, or riotous god, synonymous with Diony- sos, the youthful, beautiful and effeiidnate god of wine.
Bacchus and Ariadne. Bacchus, the god of wine, and Ariadne, daugliter of Minos, King of Crete. Bacchus, returning from his triumphs in India is captivated by her beauty and marries her. At her <leath, he gives her a place among the gods, and her wedding crown is suspended in the ski(^s as a constella- tion.
Bacchus— See Silenus and the Infant Bacchus.
Bacchus — Original at the Louvre.
Bach, Jobann S(;bastian, a famous German composer and musician. Born 1685 and died 1750. Bach was in some respects the greatest musician that has lived. He early begiin the study of music, playing on the harpsichord and organ. He filled the position as organist in Arnstadt at 22, and in 1708 became court organist in Weimar. His principal compositions for the organ date during the seven years of his service there. His field of labor was enlarged from year to year, until at the age of thirty- eight Bach devoted himself to teaching and to working out his lofty conceptions of the musical art. For twenty-seven years he thus lived and labored, leaving as the fruit of those years a mass of compositions which, for nund)er, variety and excellence, form |)erhaiis the most astonishing monument of musical genius and learning. The Well-tempered Vlarier is known to every earnest student of the piano-forte.
Bacon, Francis, an English philosopher, born 1561 and died 1626. A great and luminous intellect, one of the finest of the poetic progeny of his age, who, like his predecessors, was natur- ally disposed to clothe his ideas in the most splendid dress. He was a scholar, a wit, a lawyer, a statesman and a philosopher ; one of the most original and brilliant of the men of the world. Genuine science dates from him ; his Advancemml of Learning, and Nonirn Orqanum, laid the foundation of the true scientific method, which changed the philpsopy of the world.
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Beatrice — Tlie Christian name of a younfj Florentine lady of the illustrious family of Portinuri, for whom the poet Dante con- ceived a strong but purely platonic affection, and whom he represents, in the "Divina Commedia," as his guide through Paradise. Beatrice married a nobleman, Simone dei Bardi, and died young, al>oHt the year 12ilO.
Beecher, Henry Ward, was born in 1813 and died in 1887. He graduated at Andierst in 1834, and studied theology at Lane Seminary. In 1837 he became pastor of a Presbyterian church at Lawrenceburg, Indiana. In 1847 he received a call from the Plymouth church, a new Congregationalist organization in Brooklyn, Xew York. Here, almost from the outset, he began to acfiuire that reputation as a pulpit orator which he maintained and increased till his death. He contributed regularly to peri- odicals, and wrote books on many subjects, from the novel " Norwood " to his " Life of Christ." In 1863 he visited Great Britain and did much by his speeches to change popular senti- ment regarding the meaning of the Civil War.
Beethoven, Ludwig van, a Prussian musical composer, born 1770, and dieil 1827. Commencing the study of music at the early age of four, he developed powers that made him the greatest musical genius of the age. His mission was to perfect instru- mental music as the language of feeling and of the sentiments. In his earliest works will be found much of that pensive feeling which distinguished his extemporaneous efforts, and this quality in his sonatas became more marked as he advanced in years. In the catalogue of Beethoven's works, we find hardly a l)ranch of the art in which he had not wrought, but the preponderance of the instrumental over the vocal music is striking.
Belt Bucklers — By John Peter Molin, a Swedish sculp- tor. Tlie subject here treated was taken from Swedish his- tory. In early days it was customary at large public gatherings for the men to engage in various contests of strength and skill, one with another. AVrestling, fencing, etc., were most commonly practiced, and when bad blood became aroused, these contests often had a fatal ending. When, says the history, a controversy ha<l arisen between two men, one of them would challenge the other by proposing that they should buckle their belts; which were then fastened around the waists of both to hold tliem together. The next question of the challenger was " Hoir far can'xt thou stand the cold steel?" in reply to which his adversary' would mark on the blade of the knife, used in the fight, how far he would allow it to be inserted into his body. Each party then had a right to hold with his left hand the right wrist of his opponent, and the fierce struggle for mastery (»m- menced. This wild usage was (piite common up to the beginning of the 18th Century. Molin's group represents one of these fights for life at a very critical moment, as is revealed by the strained muscles and countenances of the combatants. Four tableaux in relief on the sides of the pedestal serve further to illustrate the story of the fight.
Benivieni, (iirolano, a Florentine i)oet, born 1453 (?) died lo42. An ornament of Italian literature. He sought to imitate Dante and Petrarch. He was pious, holy, and upright, and lived to the age of 90 years. A bust of Benivieni made by Bastianini, was bought for the Louvre at a fabulous price. The modeling was so beautiful as to have passed for a genuine mediicval work.
Bismark, (!ount von, a man of mighty will and intel- lectual forecast, whose great life-work has been to unite Germany. He was born April Ist, 1815. In 1832 he studied jurisprudence and political science at' Giittingen. In 1847 he attended the first united diet at Berlin as delegate from
Saxony, and became known as an able and vehement opponent of liberal reforms. As a member of the second chamber of the Prussian diet in 1849-50, he urged increased powers for the monarchy and the consolidation of the German nationality. Was amljassador to St. Petersburg and Paris, 18.)9-(>2, and in 1862 became prime minister. His policy, at first so unjxjpular, gained for Prussia victory and renown, and the confederation of the Ger- man states is considered as chiefly due to his diplomacy and ability.
Boxer — By Canova. A most beautiful example of muscular development. The great sculptor has shown a wonderful knowledge of anatomy and the human form in action. The statue is one of Canova's lieroic compositions.
Boy with Goose — Marble group in the Louvre. Was found in 1789 at Civita Vecchia, Appian way. Thought to have been copied from a bronze work by Boethos. Tlie group probably served as a fountain, the water issuing from the bill of the goose. The composition is simple and beautiful, and the execution worthy of an original artist.
Boy with Turtle, in the Louvre. By Francois Rude, born at Dijon, 1784. From a marble bust he made he had a triangular piece left, and from this lie made h\» chef -d' ceuvre — "The Neapoli- tan Fisher Boy PUiying with a Turtle." This charming work it is impossible to praise too highly. It has all the purity and restraint of an antique, with the freedom and animation of a figure modeled direct from nature. The delight of the boy at having reined his turtle contrasts amusingly with the lugu- brious expression of the i)oor re])tile, unable to retreat under its shell. The work was bought by the Government and the sculp- tor decorated; but at the moment of his triumph Rude lost his onh' son and his health began to fail. Died 1855.
Brontolone. See Bourdaloue.
Bouidaloue, Louis, a celebrated preacher, and one of the greatest orators that France ever produced, was born at Bourges, Aug. 20, 1632. Madame de Sevigne, wrote that "she had never heard anything more beautiful, more noble, more astonishing, than the sermons of Father Bourdaloue." Louis XIV said that " he loved better to hear the repetitions of Bour- daloue than the novelties of any one else." Lord Brougham says of him : — " He displayed a fertility of resounres, an exuber- ance of topics, whether for observation or argument, not equaled by any other orator, sacred or profane."
Brutus, Lucius, Junius, one of the assassins of Ciesar, over- turned the monarchy of Rome and established the republic. He sacrificed to the new republic even his own sons, having been detected in a conspiracy to restore the monarchy.
Burns, Robert, a Scottisch poet, born 1759, died in 1796. Seldom have such manliness, tenderness and passion been united as in the songs of Burns. The popularity that his poems in. stantly attained, has continued unabated wherever English is spoken. Intemperance, exposure and disappointments helped to undermine his constitution, and he died at the early age of 37.
Byron, Lord George Gordon, an English poet, born 1788 and died 1824. He was predisposed to poetry by his innate fire, but limited to one kind. He wrote Childe Harold, The Corsair, The Bride of Ahydos, Tlie Prisoner of Chillon, Manfred and the Lament of Tasso, Don Juan, and Tlie Vision of tin; Last Judgment.
Caesar, Cains Julius, Roman general and dictator, born B. C. 100, and died by assassination B. C. 44. Ctesar had a wonder- fully fertile mind. He was not only the first general and states- man of his age, but he was — excepting Cicero — its greatest' orator. As an historian lie has never been surpassed and rarely equalled in simplicity of style, and in the truthful representation
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of that to which he was an eye witness. He was also a mathe- matician, philosopher, jurist, and architect. Most of his writings have been lost, but we still possess his Commentaries. '
Calhoun, John Caldwell, an eminent American statesman, descended from an Irish family. He was born 1782, and died in 1850. In 1817 he was named minister of war by President Mon" roe, and reduced the confused state of affairs in his department, to order, and made a great reduction in the expenditure of the army without sacrificing its efficiency. In his private character Calhoun was blameless. During many years he was employed in writing his Treatise on the Nature of Government, in which he advocates the doctrine of State sovereignty.
Caligrula, Caius, Csesar, third Emperor of Rome. He was fierce, forcible, dominating, cruel. Born AugustSl, A. D. 12, put to death in Rome January 24, A. D. 41. His low brutal head is an indication of such characteristics. Nero was his sister's son.
Canova, Antonio, an Italian sculptor, born at Pasagno, 1757, died 1822. He sprang from an ancient family, who, for genera- tions, had followed the trade of stone-cnttlng. His father died young and Antonio was left to the care and instruction of his grandfather. Works executed in his ninth year still remain. Senator Falliere became his patron and enabled him to prose- cute his studies. Canova was very abstemious. His works are very numerous and were produced with great rapidity. He executed 59 statues, 14 groups, 22 monuments, 54 busts, besides many bas-reliefs. They are classed as heroic compositions, compositions of grace, and sepulchral monuments and relievi. His large fortune which he acquired was distributed in works of charity. He endowed all the academies of Rome.
Ceres was the Roman name of Mother Earth. She was the protectress of agriculture and of all the fruits of the earth.
Chopin, Frederic Francois, Polish pianist and musical com- poser, born 1810, and died 1849. Chopin began to study music at the age of nine under masters. Prince Anton Radziwill was his patron, and introduced him into the best society in Warsaw. He studied in Germany and in Vienna. In Paris he won imme- diate and brilliant fame as a composer. His feeble health did not perndt him to prepare any great continuous work. His works are full of refinement, and of harmony never heard before.
Cicero, Marcus Tullius, Roman orator, born B. C. 106 and died B. C. 43. Cicero received an excellent education, studying law, rhetoric and philosophy. He finally became one of the greatest masters of rhetoric that has ever lived. He was also considered a good statesman. He wrote many works on philosophy and rhetoric.
Cincinnatus (Jason), Louvre, Paris. The original of this beautiful marl)le statue was purchased by Louis XIV, and placed at Versailles. Cincinnatus, L. Quintius, a favorite hero of the old Roman republic, and a model of old Roman frugality and integrity. He lived on his farm, cultivating the land with his own hand. In B. C. 458 he was called from the plow to the dictatorship, in order to deliver the Roman co«8ul and army from the perilous position in which they liad been placed by the Aequians. He saved the Roman army, defeated the enemy, and after holding the dictatorship only 16 days, returned to the farm. The statue of Jason was formerly called Cincinnatus from the ploughshare and one shoe at the base, but Winckelman saw that it was Jason.
Clay, Henry, American orator and statesman, born 1777 and died 1852. He early devoted himself to law, and was elected to Congress in 1806. He was repeatedly elected to Congress, sus- taining Madison's war measures, exerting himself for the inde-
pendence of South America, known as the author of the famous Missouri Compromise Bill, restricting slavery to the states south of thirty degrees and thirty minutes North latitude, and the com- pomise of ia50, known as the Omnibus Bill, and his defence of the protective tariff. He was several times a candidate for the Presidency, but received only a small vote.
Clytie, a daughter of Oceanus, changed into the plant helio- tropium.
Cupid, or Amor, god of love, named by the Romans in imi- tation of the Greek Eros, but he never enjoyed any public ven- eration.
Cupid— By M. Angelo. The original is in the Kensington Museum, and was bought from the Campana. It is supposed to be one of his earliest works, executed soon after his first visit to Rome.
Dante, Degli Alighieri, an Italian poet, born 1265 and died 1321, author of Divina Commedia and Inferno. In these immor- tal works Dante depicts a vision, in which he is conducted, first by Vergil, the representative of human reason, through hell and purgatory ; and then by Beatrice, the representative of human revelation ; and finally by St. Bernard through the several heavens, where he beholds the triune god.
Darwin, Charles Robert, was born 1809. He studied at the university of Ediid)urgh, in 1825, and at Cambridge in 1827, graduating in 18;?1. His apti* ide for the study of the natural sciences was early perceived by his instructors. He accom- panied the expeditions in the Southern Seas of the Adventure and Beagle, and the zoology, botany and geology of the different countries visited were exandned by Mr. Darwin. His "Journal" of this expedition is very attractive reading. Since then Mr. Darwin has contributed to many periodicals, and written some valuable works discussing philosophiital theories.
David, son of Jesse, second king of Israel, born B. C. 1055 and died B. C. 1015. David, "tlie sweet singer of Israel," wrote many psalms which are to-day read with pleasure. He was very successful in his wars, and from the shepherd who slew Goliath ho rose to become the king of the people of Israel. This grand cast is taken from the original colossal statue in mar- ble, 19 feet high, in Florence, made by Michael Angelo, repre- senting David about to hurl the stone at Goliath. The statue was cut out of one block of marble.
Dawn — by M. Angelo, original over the tomb of Lorenzo de Medici, in the church of St. Lorenzo, at Florence.
Day— by M. Angelo, Original over the tomb of Giuliano de Medici, in the church of St. Lorenzo, at Florence.
Demosthenes, the greatest orator of Greece, born B. C. 382 or 385, died B. C. 322. His father was wealthy, and dying early left him a fortune, which his guardians squandered. He resolved to devote himself to public life, and by hard study over- came the physical disabilities he was laboring under. In public life he was patriotic, eloquent and incorruptible. His "Phillipics" were wonderful orations, in which he exposed the intrigues of Phillip of Macedon. His dauntless bravery, his stainless purity of public and private life, his disinterested patriotism, and his services as a statesman and administrator, entitle him to a place among the highest and noblest men of antiquity.
Diana of Versailles. This is the most celebrated of the exist- ing statues of Diana, and came from the Villa of Hadrian at Tibur. She is conceived as having just come to the rescue of a hunted deer, and is in the act of turning with angry mien on the pursuers. With her right hand she grasps an arrow from the quiver that hangs at her back, and in her left she holds the bow.
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Diana di Oabii, marble in the Louvre. This statue takes its name from the place where it was found in 1792. It is also called Atalante adjusting her robe. This statue is unequaled in point of maidenly grace, in the purity of expression, and in its exquisite lines of drapery.
Dickens, Charles, English novelist, born 1812 and died 1870. Dickens was a very prolific writer, and among his list of works may be mentioned Nicholas Nickelby, Old Curiosity Shop, Dombey and Son, David Copperfield, Pickmck Papers, Bleak House, Hard Times, Tale of Two Cities, Our Mutual Friend.
Diesterweg, Friedrich Adolph Wilhelm, great German educator, born 1790 and died 1866. Diesterweg was director of the seminary for teachers of city schools in Berlin, from 1832 to 18.50. He wrote numerous text-books on mathematics and geo- graphy, and several manuals for teachers. He advoctated the theories of Rosseau, Pestalozzi, and modern liberalism in general, and was constantly engaged in polemics on school reform.
Diomedes. A hero in the ^tolian and Argo-Theban legends. The leader of one of the Greek tribes. A favorite of Athene, from whom he received the gift of immortality. He carried off the Trojan Palladium and brought it to Argos.
Discobolus of Myron, in the Vatican. The original was found in Hadrian's villa in 1791, and placed by Pius VI in the Vatican. Myron, of Athens, was one of the nujst famous sculp- tors of his age. His favorite theme seems to have been the luiman figure in intense action.
Discobolus of Naucydes, marble in the Vatican. The original was found on the Appian way at Rome. The athlete, with (pioit in hand, is standing quietly, collecting his powers for the crowning effort. He is about to take his position ready for the throw, and is measuring the ground with his eye. The dis- cus was a round flat plate of metal or stone, about ten or twelve inches in diameter, and when thrown it took a rotary motion. Discobolus means quoit-thrower.
Donatello or Donato, Italian sculptor; born 1388, died 14(56. There exist 40 works of Donatello of unquestioned authenticity, and 31 respecting which controversies have arisen, and 25 recorded by his contemporaries, but no longer found, must be added to the number. He was much admired and patronized by Cosmo and Pietro de Medicis. His greatest works are his Baptist, David, Judith, St. George and St. Mark.
Dryden, John, was born in 1631 and died in 1700. He was of a good family and brought up in an excellent school. In spite of several falls and many slips he shows a mind constantly upright. He wrote in a classical style. The greatest part of Dryden's poems are imitations, adaptations, or copies. He was more a rhymster than a poet. His most famous poems are argu- mentative and satirical.
Dying Oaul, marble in Capitoline Museum, Rome. Thought to represent a savage Gaul, who has stabbed himself to avoid captivity, and fallen upon his shield, his sword lying beside him .
Emerson, Ralph Waldo, born 1803, and died 1882, an Ameri- can essayist and poet. Graduated at Harvard University in 1821, he bei:ame pastor of a Unitarian congregation in Boston in 1829. Three years later he resigned his office, s))ent a year in England, and then led a quiet, retired, meditative life, chiefly at Concord. He wrote many essays and delivered lectures.
Erato, original in British Museum. The muse of erotic poetry and mimic imitation. Sometimes also represented with the lyre.
Eros (Amor). Among the most celebrated is the Torso (mutilated statue) of the Vatican. Eros was commonly reputed
the son of Aphrodite and Ares, and was generally depicted as a boy of wondrous beauty, on the verge of youth. Eros was regarded as the author of love and friendship between youths and men. On this account his statue was generally placed in the gymnasia between those of Hermes and Hercules.
Eros, Amor, or Cupid. The god of love. (See Amor).
Eur pides, the most distinguished Greek poet, born at Salamis, B. C. 480, died B. C. 406. He lived on intimate terms with Socrates. He represents men, according to the remark of Aristotle, not as they ought to be, but as they are. Hence the preference given to his plays by the practical Socrates. His great excellence is the tenderness and pathos with which some of his characters are invested. Eighteen of his tragedies are extant.
Euterpe, marble in Louvre. The inventress of song and wind instruments is here crowned, and holding a pipe or flute in each hand. Remarkable for its pleasant air, easy attitude, and graceful drapery. It was once in the Villa Borghese.
Faun, Barberini, in Glyptothek, Munich. In this fine work we have a highly realistic representation of a youthful Faun stretched on a rock, partly covered by the liide of some animal, sleeping off the effects of intoxication.
Faun— Satyr. Capitol, Rome. By Praxiteles. Praxiteles is known to have made at least three satyrs, but as there remains no description of any of these, it is impossible to say which is reproduced in this figure. Hawthorn, speaking of this satyr in his " Marble Faun," says : " Only a sculptor of the finest imag- ination, the most delicate taste, the sweetest feeling, and the rarest artistic skill— in a word, a sculptor and a poet, too— could have first dreamed of a Faun in this guise, and then have suc- ceeded in imprisoning the sportive and frisky thing in marble. Neither man nor animal, and yet no monster ; but a being in whom both races meet on friendly ground."
Faun, by M. Angelo. Museum at Florence. We have in this statue a representation of a Faun treading the scabellum. The foot is raised and placed on the high wooden shoe with which he is beating time.
Faun— With Kid. Marble at Madrid. The springy step and upward turn of the head of this Faun, together with the strug- gling kid, make a rustic group of great spirit.
Fighting Gladiator. This most spirited of all statues was found on the coast of Actium, and is a specimen of Greek sculp- ture of the Fourth Epoch. It is now thought that this statue does not represent a gladiator, but a foot soldier, defending him- self against a horseman. Whatever may be the character repre- sented, it is certainly a most perfect masterpiece of art.
Flora was the goddess of blossoms and flowers, and was held in great honor in Italy. Artists have represented Flora as the season of spring in the guise of a beautiful girl crowned with flowers.
Franklin, Benjamin, American philosopher and statesman; born 1706, and died 1790. Early fond of reading and study he soon commenced to write short articles for the press. He learned the printer's trade with his brother in Boston. In 1723 he went to Philadelphia and soon gained the reputation of a good work- man. After spending eighteen months in England he returned to Ameirica, and in 1730 founded the "Pennsylvania Gazette." He rose rapidly in the estimation of his fellowmen, and was honored by positions of trust. He studied, and hy conducting experiments was able to advance the science of electricity. He was a staunch patriot during the Revolutionary War, and was sent with commissions to England and to France, which he dis-
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charged with great }ionor to himself. He served in the Conti- nental Congress and urged the Declaration of Independence. Franklin was honored and respected for his simplicity of life, his virtues and his extraordinary common sense in all matters.
Froebel, Friedrich, German educationist, and the father of the Kindergarten system ; born 1782, and died 1852. Froebel had ah excellent university education, and early devoted him- self to reforming the existing modes of instruction in common schools by establishing schools and by his writings.
Garfield, James Abram, 20th President of the United States, born 1831, and assassinated in 1881. Garfield was a teacher in the public schools, and in 1856 graduated at Williams College. In 1857 he was president of Hiram College, in 1859 and I860 a member of the State Senate of Ohio. In 1861 he entered the army as colonel, and in 1863 was appointed chief of staff of the army of the Cumberland, under General Rosecrans. Entered Congress in 1863, and was re-elected eight times. He was elected President of the United States, but served only a short time, be- ing assassinated by Guiteau.
Genius, a protecting spirit, analogous to the guardian angel invoked by the Church of Rome. The belief in such spirits existed both in Greece and at Rome. The genii are usually represented in works of art, as winged beings. The ' Genius of the Vatican' is the best known of the Eros statues; it is called the ' Centocelle ' Cupid. The arms and legs are gone ; the head shows a face of singularly soft and melancholy beauty. It is supposed to have been executed by Praxiteles.
Germanicus — By Cleomenes the Younger. Marble in the Louvre. Germanicus was the Emperor of the eastern division of the Roman Empire, A. D. 19, and celebrated for his military genius, learning and benevolence. It is supposed that the figure represents some solemn decision rendered by the Emperor.
Gladstone, Wm. Ewart, prime minister of England, was born in 1809 at Liverpool, where his father had won eminence and wealth as a men^iant.
Gluck, Cliristoph Wilibald von, German composer, born 1714, died in 1787. Gluck received some training in singing and playing in the gymnasia and Jesuit colleges which he attended, and at 18 was obliged to devote himself to giving lessons in order to gain a livelihood. In 1736 he went to Vienna and now had an opportunity to see the great works of musicians adequately performed. Having, shown some talent in composition he re- ceived in 1740 an order to compose an opera for the court theater at Milan. The success of this opera was triumphant, and the composer was called from city to city in Italy to direct the Arta- serse. Opera upon opera was now rapidly produced, and he went to Vienna, Paris and Italy, to produce his works, honor and distinction crowning his labors everywhere.
Goethe, Johann Wolfgang von, great German author, born 1749, and died 1832. Though preparing for the legal profession, his real studies were in the wide domain of literature, philosophy, and above all, life and living character. Under the Grand duke of Saxe Weimar, he held various positions until he became "Actual Privy Councillor" at the age of thirty, a great, rich and influential man. He devoted himself in his latter j'ears to the study of nature and the fine arts. His works are numerous, and embrace all subjects, poetry, literary criticism, philosophy, art and science. "Werther," "William Meister," "Tasso," "Goetz," " Faust," " Herman and Dorothea," " Iphigenie," " Roman Elegies," "Egmont," are among his works.
Grant, Ulysses Simpson, general, and eighteenth President of the United States, born 1822, and died in 1885. Grant gradu-
ated at the Military Academy at West Point, served in the Mexi- can war, and was appointed colonel in an Illinois regiment when the civil war broke out. He was repeatedly promoted for meri- torious services until he became the commanding general of the Union forces in 1864. He compelled the surrender of Gen. Lee in 1865, which closed the war. He was elected President of the United States in 1868, and re-elected in 1872. At the close of his administration he spent two years in foreign travel. He will always stand in history among the greatest generals of the world.
Greek Slave, the most noted of the works of the great American sculptor, Hiram Powers, who died at Florence in 1873. Six copies of this magnificent work of art exist in marble, and cast copies innumerable .were produced.
Gutenberg, Johann, German reputed inventor of printing, born about 1400, and died in 1468. Gutenberg, while a citizen of Strasburg, devoted many years to mechanical experiments of various kinds. It is known that in 1438 he was in possession of a press, movable types, forms, and other appliances of the art. During his partnership with Faust appeared the Appeal against the Turks, and the well-known Mazarine Bible, their joint pro- duction.
Hahnemann, Samuel Christian Friedrich, German physi- cian and founder of the homceopathie system, born 1755, died 1843. Hahnemann studied at several universities in Germany and obtained great reputation as a physician. Becoming dissat- isfied with the common system of practice, he made experiments and discovered the law of Similia similibus curantur (Like cures like), the foundation of the homoeopathic school of practice.
Handel, Georg Friedrich, a German musical composer, born lt>85, and died in London, 1759. His predilection for music was strong from early childhood. His father at first refused, but finally yielded to the arguments of the duke, who had heard the child play. His progress in music was rapid, so that ten years of constant practice brought him to that skill in composition by which his musical ideas w-ere thrown upon paper with as much facility as he wrote his native German. Most of his life was spent in England, w'here his greatest works were produced. He composed with marvelous rapidity, and was acknowledged by his compeers to be the greatest composer that ever lived. He stands supreme in the dramatic oratorio, the Messiah, Israel in Egypt, Samson, Judas Maccabeus, being his greatest oratorios.
Haydn, Joseph, German musical composer, born 1732, died 1809. His early years were a struggle with poverty, but from 1751 to 1759, his life was tliat of a successful music teacher. At 20 he had the means to purchase works on the theory of music and studied them diligently. His own pen was never idle. Be- sides his exercises in harmony and counterpoise for his own im- provement, he wrote pieces in infinite variety for his pupils. In 1760 he was appointed chapel-master to Prince Nicholas Ester- hiizy, and this position Haydn held full thirty years. This now gave him free scope to try experiments, and to be original. The demand upon him for church and instrumental music was con- stant ; for theatrical music frequent ; and the best of his produc- tions wcjre produced in Vienna during the winter. Anything like a complete catalogue of his works during these thirty years is impossible. His last great works were The Creation and The Seasons.
Hehe represented the youthful bloom of nature. In Grecian mythology she appears as the cup-bearer of the gods, to whom at meals she presents the sweet nectar. She had the power of re- storing the aged to youth and beauty.
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Helen of Troy was of surpassing l)eauty. In her youth she was carried off by Theseus and Pirithous to Attica, from where her brothers, Castor and Polhix, liberated her. She was married to Menelaus, but subsequently carried away by Paris. Hence arose the celebrated Trojan war.
Hercules Farnese. Museum of Naples. This statue was found in 1540 and brought by Caracalla from Athens to Rome, and in 1786 to Naples. The legs were at first missing, but they were found twenty years later. This colossal statue is one of the most celebrated of antiquity. The god is resting on his club, after taking the apples of the Hesperides wliich he holds behind liim in liis right hand. The smallness of the hand indicates the scdiool of Lysippus. Of all the Greek myths, the myth of Her- acles (Hercules) is the most glorious. The first proof of his divine origin was in the strangling of two serpents sent to destroy him, when he was but a Ijabe. He was a shepherd until he was eigliteen. After attaining his growth he slew the lion of Citbiie- ron, and led a successful expedition against the King of Orclio- menus, freeing the Thebans from future tribute. It is impossible in this short sketch to describe the twelve great labors of Her- cules, imposed ui)on him, and the other deeds for which be was famous.
Hermes — By Praxiteles. Hermes of Praxiteles, original at Athens, found 1877, in the ruins of the temple Hera, at Olympia. The first stjitues of the god founde<l on the ancient Herin<x», rep- resented liim as a sheplierd, always as a jjowerful bearded man. Lati^r lie assumed a more youthful appearance, and was repre- sented as a beardless youth in the very prime of strength, with broad chest, lithe powerful limbs, curly hair, and small ears, mouth and eyes. Altogether a w'onderfid combination of grace and vigor. If we add to this the ex])ression of kindly benevolence which ])lays around his fairly cut lips, and the imiuiring look of his face as he bends forward thoughtfully, we have the principal characteristic features of the god.
Hero was a priestress of Aphrodite (Venus), in Sestus. Leander, the famous youth of Abydos, swam across the Helles- ()()nt every night to visit Hero. One night he perished in the waves; and when his corpse was washed up on the coast of Sestus next morning. Hero threw herself into the sea.
Hippocrates, tlie most celebrated physician of antiquity, was born in tlie island of Cos, about B. C. 460. Hii)i)ocrates traveled much and was lield in higli esteem by his cotomporaries. He raised medicine from a system of superstitious rites, practiced wholly by the priests, to the dignity of a learned profession. He wrote many works on medicine.
Homer, the great e])ic poet of Greece, was born about B. C. 850. He is universally regarded as the author of the two great poems — the Iliad and the Odyssey.
Humboldt, Friedrich Heinrich Alexander von, German naturalist, born 1769, died 1859. Baron von Humboldt was edu- cated at home witli special care in the natural sciences. Ho studied at several universities and at the mining academy at Freiberg. He made frequent excursions to ditt'erent i)arts of Germany, and traveled all over Europe, making botanical and geological observations. He spent five years in traveling in South America and Mexico, and undertook an expedition to northern Asia. The results of his travels and studies were pub- Hshed in numerous volumes of great scientific value. His last great work was the Kosmos.
Hygieia, the goddess of health, daughter of iEsculapius, is represented with a serpent, the symbol of health, drinking from a cuj( she holds in her hand.
Irving, Washington, American author, born 178;^, died 1859. Irving studied law at sixteen, but having no inclination for the profession engaged in commerce with his brother, as a silent partner, but devoted his time to literature. Among his works may be mentioned his Sketch Book, Life and Voyages of Columhiis, Conquest of Granada, The Alhamhra, Crayon Mueellany, Life of Goldsmith, Life of Washington.
Isis. one of the chief Egyptian divinities. She was originally the goddess of the earth, and afterwards of the moon. The Greeks identified her both with Demeter (Ceres) and with lo. Her wor- ship was introduced into Rome towards tlie end of the republic.
Jackson, Andrew, seventh president of the United States, born 1767, died 1845. Jackson's early education was limited. He enlisted in the army at 13 and was able to see some of the closing skirmishes of the Revolutionary War. Soon after being released from imprisonment his mother died, and lie was left utterly destitute, his father having died aliout tlie time of his birth. He commenced to study law at 18 and at 20 was admitted to the bar. His practice was in Nashville, Tenn., and was large. In 1796 he was elected to represent the new state of Tennessee. In 1812, when war was declared against England, Jackson . tendered his services, which were valuable to his country. In 1828 he was elected to the Presidency and served eight years. He commenced a course of rigorous government, which he main- tained during his term of office. Leaving Washington, he retiied to jjrivate life, and resided at the Hermitage until his death, ever taking a lively interest in politics, and especially in the welfare of his party.
Jahn, Friedrich Ludwig, a German patriot, and founder of gymnasia in Germany for physical (culture, Ixjrn in 1778, died 1852. From patriotic motives he establislie<l gymnasia where j'ouug men were* fitted to endure the fatigues of war. From these gymnasia, which spread over Germany, is derived the Turnkunst, or system of physical culture.
Jason, grew up in Chiron's cave, a favorite with gods and men. After completing his twentieth year he demanded of his uncle his rightful inheritance, who declared that he would resign the crown if Jason would recover the golden fleece from Colchis. Jason, like a true hero, at once accepted the perilous adventure. Thence the expedition of the Argonauts. He is here represented hurriedly tying on but one sandal, in his haste to seek liis uncle Pelias.
Jefferson, Thomas, third President of the United States, was born in 1743, and died July 4, 1826. He had excellent school advantages, and after remaining at the college of William and Mary, lie commenced the study of law. In 1774 he j>repared a document which was a bold, elaborate, and elixiuent exposition of the right to resist taxation, ami contained the germ of the Declaration of Independence. This and other papers placed him before the country as a courageous and uncompromising advocate of constitutional freedom, and as an accomplished and eloquent writer. His work in Congress was valuable and his diplomatic functions were performed with marked ability. He served as President for two terms with marked vigor. He was ardently devoted to states rights, but his views were modified W'hen he wae President, and he became convinced that the federal government must " show its teeth." He was regarded as tlie epitome and incarnation of democracy, as opposed to the old world of aristocracy.
Jeremiah, a Hebrew prophet, w-as the son of Hilkiah, a priest of Anathoth, near Jerusalem. He prophesied from 630- 590 B. c, and even later.
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C IlENNECKE CO., MILWAUKEE AND CHICAGO.
Juno, queen of heaven, and protector of the female sex. Juno takes tlie same place as goddess of childbirth and patron- ess of marriage among the Romans as Hera did among the Greeks. — Hera, sister and wife of Zeus (Jupiter). In the Iliad, Hera is treated by the Olympian gods with the same reverence as her husband. Zeus himself listens to her counsels, and com- municates his secrets to her. She is, notwithstanding, far inferior to him in power, and must obey him unconditionally. She is not like Zeus, the queen of gods and men, l)ut simply the wife of the supreme god. — Juno-I/udovisi is the most celebrated of the art monuments that relate to Juno. The Juno of the Capitol is in tlu^ Capitoline Museum at Rome.
Juno Barberini, original in the Vatican, Rome, was found by Cardinal Barberini.
Jupiter. The Roman Jupiter is the Greek Zeus, the life giver, the creator, the ruler of heaven and earth. No ancient statues of any merit have been preserved, but in numerous antique gems fine busts of Jupiter have been found, which, no doubt, are copies of the former excellent statues. The bust of Zeus in Carrara marble — now in the Vatican Museum at Rome — which was discovered in the last century at Otricoli, is the first in point of artistic worth. "The mighty locks raised in the center, and falling down on both sides, the compressed fore- head with the bold, arched eyebrows, from under which the large eyes seem to glance over the universe, the broad project- ing nose express energy and wisdom, while a mild benevolence rests on the full, parted lips, and the luxuriant beard and rounded cheeks show sensual power and imperishal)le manly beauty."
Laocoon, a Trojan priest of the Thymbraean Apollo. He tried in vain to dissuade his countrymen from drawing into the city the wooden horse which the Greeks had left behind them when they pretended to sail away from Troy. As he was pre- paring to sacrifice a bull to Poseidon two fearful serpents swam out of the sea, coiled around Laocoon and his two sons, and destroyed them. His death forms the subject of a magnificent work of ancient art preserved in the Vatican.
Leasing, Gotthold Ephraim, a German author, born 1729, and died 1781. Lessing studied at Leipsig, his father desiring him to study theology, but his restless and inquiring disposition soon directed him from theology and he ac(iuired a jnission for the theater. He commenced writing dramatic pieces and poems. His writings gradually extended over a wide field until they covered many departments of literature and art. Lessing has done much to give to German literature its present many- sided character, and to strengthen German criticism by a study of art. Minna von Banilielm, Laokoon, Nathan der Weise, and Erziehnng des Mennchengechlechts, are some of his principal works.
Leucothea. Her first name was Ino. Having excited the anger of the goddess Juno, she fled, and being pursued, she pre- cipitated herself into the o<«an and became a sea-nymph, her name being changed to Leucothea, the white goddess. Her son, Palaemon, was the protecting genius of harbors.
liincoln, Abraham, sixteenth president of the United Stales; was born in ISfK). His school advantages were very meager, and he was early at work on the farm. By studying law during his spare time he was able to ])as8 his examination and was admitted to the practice of law in 1836. He favored the election of Henry Clay in 1844, was sent to Congress in 1846, where he voted against the extension of slavery. In 1860 he was nominated for the presidency by the Republican party and elected by the northern states. The record of Lincoln's great services to the country
during the civil war need not be given here, as it is familiar to all. At the close of the war he was assassinated on the 15th of April, 1865.
Liszt, Franz, Hungarian pianist and composer ; born 1811, died 1886. At six years of age he manifested so extraordinary an aptitude for music, that his father, himself a musician of some repute, thenceforth carefully instructed him on the pianoforte. He was instructed by masters in Vienna, after which he appeared in concerts with great success. The death of his father made a deep impression upon him and he surrendered himself to gloomy fancies and religious rhapsodies. He retired from the world for several years, and almost wholly relinquished his art. In 1835 he re-appeared in Paris and was received with great eclat. He now gave concerts in Italy and Vienna, and throughout Europe; his career was a succession of triumphs. In 1847 he became con- ductor of the court concerts and the opera at Weimar. He was one of the most prolific composers of his generation. As an in- terpreter of Bach, Handel, Beethoven and the older composers, he stood pre-eminent.
Longfellow, Henry Wadsworth, American poet ; born 1807, died 1882. Graduated at Bowdoin College in 1825. He traveled much in Europe, and was professor of modern languages at Bow- doin, and later at Harvard. He began his literary work while a student at Bowdoin, and while professor contributed many able artic^les to the North American Review. Among his poems may be mentioned Hiawatha, Evangeline, Miles Stmidish. His works are much read in Europe, and have been translated into most of the Continental languages.
Lucius Verus. (See Verus).
Luther, Martin, the greatest of the Protestant reformers of the 16th century ; born 1483, died 1546. He studied at the uni- versity at Erfurt for the legal profession. Later, however, he entered a convent to devote himself to a spiritual life. In 1507 he became a teacher in the University at Wittenberg. On his return from a visit to Rome, his work as a reformer commenced. He attacked the abuses and the doctrinal system of the Church of Rome, and defended his position before the assembled powers of Germany. He translated the Bible in his seclusion which fol- lowed. Later he taught by word and published works in the doctrines of the Protestant faith until his death.
Madonna of Nuremberg. This beautiful figure carved in wood of life size, is found in the Convent at Landau. Scul{)tor unknown.
Mars was the god of war — one of the gods of Olympus.
Medici, Qiuliano de, an ideal portrait by Michael Angelo. Giuliano was a son of Pietro de Medici, and brother to Lorenzo, the Magnificent. He was assassinated during divine service by consiiirators in Florence.
Medici, Lorenzo de, surnamed the Magnificent; born 1448, died 1492. He early displayed extraordinary talent; in poetry, in his great penetration, great courage and good sense, he rendered himself conspicuous. Athough dignified, he had pleasing manners. Lorenzo was educated by the first scholars of the age; and later traveled much. After his father's death he was requested to assume the administration of the Florentine republic. He became eminent as a statesman. He had in- curred the displeasure of Pope Sixtus IV. which wouhl have led to war, but was averted by his courage and magnanimous behavior. Two attempts were made to assassinate him. Lo- renzo was a munificent patron of authors and artists, and spent large sums for public edifices, schools and libraries.
Medusa Rondanini, Glyptothek, Munich. In this Medusa was not conceived a monster who created terror by her ugh-
BIOGRAPHICAL AND MYTHOLOGICAL NOTES.
Ixv
ness, but a being possessed of great beauty wliose power came from her coldness and want of all feelimr.
Mendelssohn Bartholdy, Felix, German musical comjioser; born 1809, died 1847. His early education was carefully attended to, having liad the best of instruction. He wrote works at 15 wliicli are still regarded as classical nuisic. He gave successful concerts in Paris. He was more aj)iireciated in England than at home. His greatest oratorios are Ht. Paul and Elijah, and his overture to Shalsespeare's " Midsummer Night's Dream." Mendelssohn was as beloved for his character as he was admired for liis genius.
lYCenelaus and Patroclus. See Ajax and Achilles.
Mercury, the Greek god, Hermes, the son of Zeus and Maia. Various attributes are assigned to him, according to tlie different countries where he was deified. He is, therefore, represented as the god of speech, of eloquence, of the sciences, of traffic, and of herds; as the messenger, herald and ambassador of the gods.
Meyerbeer, .Jakob, great Gernum comjioser; born 17i>4, died 18()4. After studying music in Germany and composing several operas, he removed to Italy to study the Italian style. He com- posed and produced the great operas Cronato, Robert le Diahle, Lea Huguenots, Le Prophete, Pierre U Grand and Dinorah.
Milton, John, English poet ; born 1608, died 1674. Milton was I'are fully nurtured and educated by i)rivate tutor and in col- lege ; he took his degree in 1631 and left Cambridge, having re- linquished the idea of following law or divinity. He went to reside in his father's house studying and composing. After the execution of King Charles, he was appointed Latin Secretary to the Council of State. Unceasing study ruine<l his eyesight. Milton was alxjve all English poets, stately and grandiose. For niassiveness of thought and sublimity of imagery his epic poem. Paradise Lost, stands without a rival.
Minerva, called Athena by the Greeks, was one of the great Roman divinities. She was worshipped as the goddess of wis- dom and the patroness of all the arts and trades. Minerva also guided men in the dangers of war, where victory is gained by prudence, courage and perseverance. She was further believed to l)e the inventor of musical instruments, especially wind in- struments, the use of which was a very important part of religious worship. Pallas Giustiniani, or Minerva Giustiniani, of the Vatican Museum at Rome, is held to be the finest among exist- ing full-length statues.
Minerva Medica. The Pallas Athene of the Vatican. It was found in the temple of Minerva Medica on the Esquiline, Rome.
Moltke, Count von, was born in Mecklenburg, 1800. He entered the Prussian army when he was 22 years of age; became major-general in 1856 and chief of royal staff 1858; lieutenant- general in 1869, and was created a count in 1870. In 1874 and 1877 he was elected to the Reichstag and also made a life mem- ber of the Upper House.
Monteflore, Sir Moses, English Jewish philanthropist; born 1784, died 1885. Montefiore was married to a sister-in-law of Nathan Meyer Rothschild, the founder of the London branch of that house. He visited Palestine several times and was nuich interested in the Jewish colonies there, aiding them in various ways. He secured from the different governments concessions which looked to the amelioration of the condition of the Jews in those countries. His charity was unbounded.
Moses, the Jewish law-giver. Moses in his infancy having fallen into the handsof the daughter of Pharoah, she raised him. He received his education at the court. Leaving tlie court when arrived at manhood, he devoted his life to his people, being their teacher and lawgiver.
Mozart, Wolfgang, one of the greatest of musical composers; was born 17.56, and died 1791. At the age of four he played the clavichord and composed a nundjer of minuets. At six he played in public and astonished old musicians by his organ playing. His father traveled with him until he was ten, exhibiting his wonderful skill before crowded liouses. At tliirteen he traveled with his father to Italy, where he created an unheard-of enthu- siasm by his performances and compositions. At sixteen he was the first clavicinist in the world. In 1779 he was appointed com- poser to the roval court at Vienna, where he fixed his residence, and there the musical works were composed upon which his fame chiefly rests. His great opera, Idomeneo, was composed in 1780. The opera forms an epoch in the history of music. In 1787 he produced Don Giovanni; in 1791 his ZauberflSte, La Clemenza di Tito, and the sublime Requiem, composed in anticipation of, and finished only a few days before his death.
Myrina. Myrina was a queen of the Amazons of Libya.
STapoleon, Bonaparte. Napoleon I, Emperor of the French ; born 1769, died 1821. Napoleon was admitted to the military school at Brienne, in 1779, and in 1784 to the school at Paris, to complete his studies, and entered the army as lieutenant of artil- lery in 1785. At the siege of Toulon, in 1793, he displayed extra- ordinary military intelligence and activity, and laid the founda- tion of his whole subsequent career. His campaigns in Italy and the wars of Europe, whereby he subjected nearly all of Europe, his Egyptian campaign, his defeat in Russia, and his final defeat at the battle of Waterloo, have become part of the world's his- tory, and effected great changes in tlie dynasties of Europe. Napoleon was made First Consul of France in 1799, and assumed the title of Emperor in 1808. He was compelled to abdicate in in 1815, and died as a prisoner on the island of St. Helena, in 1821.
Narcissus, original at Naples, found in 1870 at Pompeji. A beautiful youth, who was inaccessible to the feeling of love. The nymph Echo, who was enamored of him, died of grief. But Nemesis, to punish him, caused him to see his own image re- flected in a fountain, whereupon he became so enamored of it that he gradually pined away until he was metamorphosed into the flower which bears his name.
Nero, a Roman Emperor; born A. D. 37, died by his own hand in 68. Under the care of the philosopher Seneca, he is said to liave made some progress in learning, and in his sixteenth year he delivered an oration in Greek. The first five years of his reign were marked l)y clemency and justice. After which he gave himself up to a dissolute life. Chariot racing, music, and every frivolous amusement engrossed his time. The military events of Nero's reign were glorious to the Roman arms. He was finally condemned to death, but committed suicide in the presence of the soldiers who came to seize him.
Ne-wrton, Sir Isaac, English philosopher and mathematician ; born 1642, died 1727. Newton received his early education at the grammar school near home. He left home for Cand)ridge in 1661, and immediately devoted himself to mathematical studies. His progress was rapid and he had soon mastered all the works then existing. His progress in these studies was accompanied by the discovery of laws in nature, and after the discovery of the law of universal gravitation and its ap]>lication, became ab- sorbed in investigations into the nature of light and the construc- tion of telescopes. He sat in Parliament, and was Warden of the Mint for 31 years.
Night, by M. Angelo, original over the tomb of Giuliano de Medici, in the church of St. Lorenzo, at Florence.
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a HENNECKE 00., MILWAUKEE AND OHIO A GO.
Niobs, wife of Ainphion, Kinjr of Thebes. Proud of the uuniber of her children, she deemed herself superior to Leto (Latona), who had given birth to only two children. Apollo and Diana, indignant at such presumption, slew all her children with their arrows. Niobe herself Wii.s metamorphosed into stone.
Niobid, daughter of Niobe. This is considered the finest of the whole group of fourteen figures, in Florence. The group consists of Niobe and her youngest daughter, three other daughters, the preceptor and youngest son, and five other sons. Of the many copies of members of the grcjup, the daughter of Niobe in the Vatican stands unrivalled.
O'Connell, Daniel, Irish orator and political agitator; born 1775, died 1847. O'Connell received a good education, was called to the bar in 1798, and soon became distinguished as a brilliant and successful advocate. He had no sympathy with the violent revolutionary spirit of the period. He became gradually ab- sorbed in politics, and was soon the acknowledged leader of political reform in Ireland. Through his efforts Parliament repealed the civil disal)ilities to wliich Catholics had been so long subject. He addressed monster meetings in Ireland, making the most exciting speeches. These meetings were stopped by the government and O'Connell arrested and fined as a conspirator. Upon appeal to the house of lords the decision was reversed. O'Connell grew feeble, and early in 1817 set out on a journey to Rome, but died on the way at Genoa.
Omphale was a queen of J^ydia. It is related that Hercules served her as a slave for three years, he sometimes wearing her dress, while Omphale put on the skin and carried the club.
Orpheus, Eurydice and Mercury, bas-relief in the Villa Albani, Rome. This relief reiircsents the tragic moment in the story of Orpheus when he turns to look at Eurydice as she is led out of Hades. At the left is Mercury, who has accompanied Eurydice, and now takes her hand to lead her back.
Paris, second son of Priam and Hccul)a. Paris, by carrying ofl' Helen, the wife of Menelaus ])rovoked the Trojan war.
Penelope, in Homeric legend the wife of Ulysses and mother of Telemachus.
Pericles, the most accomplished statesman of ancient Greece, was born of distinguishe<l parents in the early {)art of the fifth century B. C. He received an elaborate education, and was conspicuous all through his career for the singular dignity of his manners, the "Olympian" thunder of his eloquence, his sagacity, probity and profound Athenian patriotism. So tran- scendent were his abilities, that he rapidly rose to the highest power in the state, as the leader of the dominant democracy. Greek architecture and sculpture under his patronage reached perfection-. To Pericles Athens owed the Parthenon, the Pro- pyls, the Odeum, and other edifices. He died in 429 B. C.
Pestalozzi, Heinrich Johann, Swiss educationist; born 1746, died 1827. Through the reading of Rousseau's Em\U he was induced to abandon his legal and historical studies and engage in educational reform. By opening educational institutes and by his writings, he gave to the world a full exposition of his educational views.
Plato, Greek philosopher; born at Athens, either in B. C. 429 or 428. A pupil of Socrates, and one of the most fascinating writers that ever undertook to exjjound the enigmas of philos- ophy. He is at once poet and philosopher. Of his works we can only mention Then-tetim, Sojihistes, Parmenides, and the Statesman; Phierdrus, Si/mpouum, Phicdo, Philehus, the Mepuhlic and the Laws.
Polyhymaia. Marble in the Louvre. The muse of song is here represented leaning upon a rock of Helicon, listening to the
melody around her. The statue was once in the Villa Borghese In addition to its air of listening repose, the figure is an admir- able model of drapery.
Polyphemus, son of Neptune, was the most celebrated of the fabulous Cyclii])s, who inhabited the island of Sicily. He was of immense size and had but one eye. When Ulysses landed on that island he was confined in the cave of Polyphemus with twelve companions of which Polyphemus killed six. The others were ex- pecting the same fate, but Ulysses made Polyphemus drunk and then with a blazing torch |)ut out his eyes and escaped, leaving the blinded monster to grope about in the darkness.
Prometheus Bound, original in National Gallery, Berlin, by Edward Mueller. According to one account the Titan Prometheus was the creator of mankind. He is said to have stolen fire from heaven and to have taught its use to man. As punishment for this Zeus ordered Prometheus to be chained to a rock, where, during the day time, an eagle devoured liis liver, which always grew again during the night. Prometheus was thus exposed to perpetual torture; but Hercules killed the eagle and deli- vered the sufferer, with the consent of Zeus. Albani, a modern Italian sculptor, executed a group of Prometheus. It is con- sidered very fine.
Psyche, "the soul," occurs in the later times of antiquity as a personification of the human soul. In works of art Psyche is represented as a maiden with the wings of a butterfly. She is often seen in connection with Amor (Cupid). Amor enables her to bear the hard and humiliating labors imposed upon her by Venus, under which she is suffering and almost perishing.
Pudicitia, Berlin, a personification of modesty, was wor- 8hi])i)ed botli in Greece and at Rome.
Bape of the Sabines. One of the finest works of Gio- vanni da Bologna is the Rape of the Sabines, in which there is some very fine modeling in the figure of the Roman who is carrying off the girl. It is said that the artist designed this group to represent the three marked ages of nian^youth, man- hood, and old age; but a friend, seeing his wax model, found the attitudes so suggestive of the more classic subject, that Gian Bologna, acting on his advice, changed his design to the subject.
Raphael, Santi, born 148.'^, son of Gio Santi, a good painter. Perugino, Riiphael's teacher, was characterized by "stainless purity of soul, by the highest aspirations, by feelings sad and enthusiastically tender." He studied the works of Leonardo da Vinci and Michael Angelo, and a new life pervaded his paintings. He made friends everywhere, and at his appearance, even among painters, ill-humor vanished. Vasari said, "Nature hav- ing been conquered by art through the hand of Michael Angelo, was in Raiihael con(]uered by art and manners together." Raphael died on Good Friday, 1520. Pope Gregory XVI, had his grave opened 118 years after his death, and most impressive funeral services took place. His works were numerous and excited the wonder and admiration of all. His " Holy Family " an<l his "Madonnas" are well known.
Begulus, Marcus Atilius, a favorite hero with the Roman writers. He was chosen consul twice and sent against the Car- thaginians in the first Punic War. For sometime he was victor- ious in every encounter, but at last suffered defeat. Regulus was taken prisoner and kept in captivity for five years. His embassy to Rome at the end of that time forms an interesting chapter in Roman history. Upon his return to Carthage, he was put to death.
Rossini, Gioacchino, an Italian composer; born 1792, died 18()8. His parents were members of a strolling operatic company.
BIOGRAPHICAL AND MYTHOLOGICAL NOTES.
Ixvii
At ten years of age he played the second horn in the orohestra. He had a soprano voice of great purity and compass. In 1829 he produced Guillaume Tell, generally considered his master piece in serious composition. His operas number about forty. He also wrote cantatas, hymns, and miscellaneous vocal and instru- mental pieces.
Rubens, Peter Paul, Flemish painter; born at Siegen, Ger- many, .Tune 29, l.")7"; died in Antwerp, May 80, 1&40. He was one of tlie most distinguished painters of his time. His Madon- nas, Magdalens, and female saints are literally imitated from Flemish types of womanhood. As an animal painter he showed great excellence.
Saint Bruno, the founder of the Carthusian order of monks, was born at Cologne, 1051. He was troubled by the wickedness of tlie time and took refuge with six pious friends in a desert place near Chartreuse. Here he founded the most ancient of all orders. Each of the monks had a separate cell, only Ijeing allowed to see each other Sundays.
Saint Cecilia, the patroness of music, is said to have suf- fered martyrdom in 2:W A. D. Her heathen parents belonged to a noble Roman family, and betrothed their daughter, who had become a Christian, to a heathen. This youth and his brother also were converted and suffered martyrdom. St. Cecilia, wlien commanded to sacrifice to idols, refused and was condinnned to death. Slie is said to liavc invented tlie organ.
Saint Francis of Assisi, founder of the Franciscan order, and a saint of the K. C. Church, was one of the most extraordi- nary men of his age; born 1182. During an illness, contracted while a prisoner of war, Iiis thoughts were turned from earth and he resolved to fulfill the counsels of the gospel. Two of his fellow-townsmen were his first associates, followed very slowly by otliers until in 1219, when he held his first general assembly; .5,(KX) people were present. He died 1226.
St. Jerome, one of the four greatdoctors of the Latin Church. Born about 340, died in Bethlehem September 30, 420. Satyr, see Faun.
Schiller, Johann Christoph Friedrich von, great German poet; born 1759, died 1805. Schiller was first destined for the church, and next for the law, but he chose medicine, and in 1780 became a surgeon in the army. At an early age he composed poems and dramas. He left his profession and devoted himself to writing for the stage. He soon produced dramas and other literary productions of extraordinary merit. In 1879 he was appointed professor of history at Jena, and in 1791 finished his History of the Thirty Years' War. He was a warm friend of Goethe. His first drama was Die Rauher, his last Wilhelm Tell. Schubert, Franz, German composer; born 1797, died 1828. Schubert raised the German Lied to a place in musical art which it had not previously occupied. His fame is wholly posthumous, and has constantly gained strength since his death. He left an astonishing number of compositions, including nine symphonies, several operas, mas.ses, overtures, a great deal of chamber and pianoforte music, and about 000 songs.
Schumann, Robert, German musi('al composer; born 1810, died 1856. Up to the age of 18 his musical education was to a great extent self-directed. He then attended the University of Leipsig. Up to 1840 nearly all his compositions had been for the piano. Between 1840 and 18.54 he produced those great works upon which his fame chiefly rests, his symphonies, his quintet opus 44 and quartet opus 47, "Paradise and the Peri," "The Pil- grimage of the Rose," and many other works of large scope.
Scott, Sir Walter, Scottish novelist and poet; born 1771, died 1832. From his earliest childhood onward, he was a ravenous
and insatiable reader; his memory was of extraordinary range and tenacity. A perfect stream of novels and poems flowed from his pen. The Waverly Novels, and his Napoleon, are known to most readers; and of his poems, The Lay of the Last Minstrel, and the Laily of tlie Lake, are known to our youth.
Seneca, Lucius Annaeus, a Roman stoic philosopher; born a few years before the Christian era, died in Rome, A. D. 65. The character and works of Seneca have been the subject of much controversy. He was no beUever in the superstitions of his country, and has been called an atheist, but his religion seems to have been a pure deism. His works were chiefly on moral and philosophical subjects. He was also the author of ten tragedies. His language is clear and forcible. He was put to death by Nero.
Shakespeare, William, was born in April, 1564. He attended tlie Free Grammar School of Stratford, until, in consequence of his father's difficulties, he was withdrawn from school, and set to earn a living in some way for himself. AVhat his precise employ- ment was, is a question which affords room for much guessing, but one which cannot be answered with certainty. At 18 he was married to Anne Hathaway. She was 8 years older than her boy husband. For a number of years we hear nothing of him, until he is spoken of in 1592 as a successful actor and author. The " Queen's Players " came to Stratford in 1587. Then perhaps it was that Shakespeare decided to leave his native town, and seek his fortune in the world of London. In 1593 he was rapidly producing his historical plays and eariier comedies. In 1602 he finished his Hamlet, and in 1604 his King Lear. He died in 1616. By the voice of the whole civilized world his name is " the first in all literature ;" in imagination, in fancy, in knowledge of man, in wisdom, in wit, in humor, in pathos, in strength, in versatility, in felicity of language, in the music of his verse, and in that my.sterious power which fuses all these separate powers into one, and makes them a single means to a single end, he stands unap- proacliod and seemingly unapproachable.
Sheridan, Phiiiii Henry, greatly distinguished himself during the Civil war. Sheridan's raid, May 8-25, in 1864, is among the brilliant points of the war, whose close it greatly hastened, and Sheridan's ride before the battle of Winchester has taken its place in history and invaded the domain of poetry. He was born in Ohio, 1831 ; died 1887.
Silenus and the Infant Bacchus, Louvre, Paris. This group was found at Rome during the sixteenth century. We have here Silenus, the satyr who brought up and watched over the infant Bacchus, leaning against a tree and holding his young charge in both arms. There is a strong affection between the two, as the grim smile in the older face and the merry, hearty laugh of the younger would seem to indicate.
Slave, by Michel Angelo. This dying slave is one of the finest statues of the great master, and is found in the Louvre at Paris. The figure shows a noble treatment of the human form that scarcely found its equal since the antique. The head shows an expression of pain, that indicates deep-seated suflferings of the soul.
Socrates, the celebrated Athenian philosopher," was born in Athens, B. C. 469. In youth he was a sculptor. Being pos- sessed of a good constitution, he was able to bear extraordinary fatigue and hardship. His ugly physiognomy excited the jests both of his friends and enemies. He early displayed great moral courage. The middle and latter part of his life was devoted to the self imposed task of teaching to the exclusion of all other business, public or private, and to the neglect of all means of
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fortune. Attached to tione of the prevailing parties, he found in eacli of them liis friends and his enemies. His enemies suc- ceeded in liaving liim impeaclied and tried, charging him with corrupting the youth, and despising the tutelary deities of the state, putting in their place other new divinities. He was con- demned to drink the cup of hemlock, and died in his seventieth year, B. C. H99.
Sophocles, a Greek tragic poet, born in 496 or 495 B. C, died probably in 406. In 468 he first came forward as a competitor in a dramatic contest, having yEschylus for his rival ; and the first prize, whicli for a whole generation had belonged to jEschylus, was now awarded to his youthful rival. From this time to 441 he wrote thirty-one plays. His " Antigone " gained the prize in 440. During the succeeding thirty-four years he wrote eighty-one dramas. Sophocles is placed by the universal consent of ancient and modern critics at the head of the Greek drama.
Spartacus was leader in the insurrection of the Roman slaves, 73 B. C.
Sphinx, a fal)ulous monster of Greek mythology, which was represented as having the winged body of a lion and tlie breast of a woman, but sometimes with a female face, the breast, feet and claws of a lion, the tail of a serpent, and the wings of a bird; sometimes the fore part of the body is that of a lion, and the lower part that of a man, with the claws of a vulture and the wings of an eagle. Among the Egyptians, the Sphinx had the head of a man, bearded and capped, and the body of a lion. Clemens and Plutarch say they were placed before the temples as types of the mysterious nature of the deity.
Spinoza, Baruch, Dutch philosopher ; born 1632, died 1677. Educated for the rabbinical profession lie gained the admiration of all his teachers. But being suspected of verging toward heresy he was excluded from the synagogue. He made himself familiar with all the modern Continental languages, and by the study of Latin, gained access to the classic writings and to the great phil- osophers. He lived in poverty, carrying on his philosophical studies and writings till his death, when his principal works were published.
Sumner, Charles, an American statesman; born in 1811, and die<l in 1874. Sumner graduated at Harvard College in 1830. He devoted himself enthusiastically to the study of law, and his favorite topics were those relating to constitutional law and the law of nations. He visited Europe in 1837 and spent three years in travel. He was received with unusual distinction in the high- est circles. Sumner opposed the war with Mexico, and earnestly engaged in the opposition to tlie annexation of Texas. In 1851 he was elected to the Senate, and continued a member until his death. He served on important committees throughout his whole course. He was opposed to slavery because of its evil in- fluence on diaracter, society, and civilization, and his great zeal incensed members from the Southern states. His speeches and addresses have been collected and published, and form many volumes.
Supplicant Youth, or The Praying Boy, probably by Boedas, the son of Lysippos. Original was found in the Tiber and is now in the Museum at Berlin.
TasBO, Torquato, a great Italian poet ; born 1544, died in Rome, 1595. His grave and melancholy beauty, eloquence, and varied accomplishments, endeared him to Eleanora, the duke's sister, who became known as the special object of his adoration. His celebrated pastoral drama, Aminita, was performed with great splendor at the court. By his enemies he was regarded as
a maniac and was committed to a hospital, where he was sur- rounded by maniacs of the worst description. While fortunes were made by the sale of his epic, " Gerusaleme," Tasso lingered in prison. After his release he was obliged to live in a charitable asylum at Rome, but was rescued liy the Grand Duke of Tuscany.
Tennyson, Alfred, English poet laureate; born 1809. His verse is considered the most faultless in our language. The pleasure which his poetry gives springs largely from the lively interest which he displays in the life and pursuits of men, in beautiful aspirations and purity and strength of spiritual feeling. He wrote Maud, Idylls of tlie King, Enoch Arden, The Holy Grail, The Tournament, and many other poems.
Terpsichore. Terpsichore was one of the nine muses. She was the muse of dancing, represented with a lyre and plectrum. The muses were created by Zeus to perpetuate in song the mighty deeds of the gods. They sing of the present, the past, and the future, while Apollo's lute accompanies their sweet strains, which gladden the heart of Father Zeus, in Olympus.
Thackeray, Wm. Makepeace, novelist and satirist, was born in Calcutta, 1811. When he was seven years old he was sent to school in England. His ambition was to be an artist, and he travelled over most of Europe, studying at Paris and at Rome. He next took to literature and wrote for magazines. His prin- cipal novels are Vanity Fair, Pendennis, etc. He died December
24, isas.
Theseus, British Museum. This figure, taken from the eastern pediment of the Parthenon, shows the reputed founder of Athens, half reclining upon a rock, covered with a lion's skin and drapery. The statue, though mutilated, is one of the most valua))ie relics of Greek art.
Thorn Extractor (Spinario). Boy extracting a thorn from his foot. Original in bronze, Capitol, Rome. Said to have been found in the Tiber. An example of the best period of Greek art. This statue is distinguished by a touching simplicity and purity of style worthy of the best periods of art. The attitude is easy, natural and graceful. The form of the body is extreme- ly beautiful, and the complete absorption of mind expressed in the face is rendered with singular truth and skill. It has been attributed to Pasiteles.
The Three Graces. The daughters of Jupiter, and god- desses of grace, favor and gentleness, the sources of all grace and beauty. Their names are Aglaia, Thalia and Euphrosyne. The group No. 3799 is by Canova at Florence.
Twilight, by Angelo. Original over the tomb of Lorenzo de Medici, in the Church of St. Lorenzo, at Florence.
Venus Acropolis. Bust after the Aphrodite of the Garden just outside of Athens. The best copy of this Greek Aphrodite is found in the Berlin Museum made of Parian marble. There is a replica in the Louvre. The Venus de Milo was probably fashioned after this ancient Greek goddess.
Venus of Aries, so named because found in Aries, a town of France, in 1651. It is now in the National Museum of Paris.
Venus, coming from bath, by Allegrain. Christophe Gabriel AUegrain, was a modern French sculptor; born 1711, died 1795.
Venus, going to bath, by Falconet. Falconet was an eminent sculptor in Paris. His most important works in Paris were exe- cuted for the church of S. Roch and that of the Invalides.
Venus, by Canova, marble in Florence ; The great sculptor has taken the great Venus de Medici for his model, and by the addition of drapery created a pure and beautiful statue. .
Venus of the Capitol, is a marble in the Capitoline Museum, Rome.
BIOGRAPHICAL AND MYTHOLOGICAL NOTES.
Ixix
Venus of Capua, so-called because found among the ruins of the Amphitheatre.
Venus of Cni<lus, l)y Praxiteles, was the most important work of that master; and the people of Cnidus were so proud of it that they engraved her iimtge on their coins.
Venus, Crouching, Vatican, Rome. Found 1775 near Tivoli. Supposed to be by Dredahis. It is mentioned by Pliny as stand- ing in the porch of Octavia in the temple of Jupiter at Rome.
Venus de Hedici, marble in Florence. This statue is a copy of the original which stands in the tribunal of the Uffizi, Florence. It was discovered in the fifteenth century and brought to Rome during the reign of Cosimo de Medicis. It was executed by Cleomenes of Athens, though probably chis- eled in Rome. The goddess of love is probably the personifi- cation of the creative and generative forces of nature.
Venus de Kilo, Louvre, Paris, This statue is justly re- garded as the i)ure8t and noblest of all the existing marble statues representing the goddess of love. It was found in 1820, on the island of Melos, and is now in the Louvre at Paris. It is supposed to represent the Aphrodite Urania, or the heavenly Venus, to distinguish it from the vulgar goddess of the same> name. As the statue was in a mutilated condition when found, various attempts have been made to restore it so as to express the motive of the statue, but none have received general acceptance and it is still a riddle which defies the ingenuity of those who attempt to solve it.
Venus Oenitrix, of the Villa Borghese, at Rome, now in the Louvre. A wonderfully graceful figure of the late Roman period.
Venus Kallipygos, marble in the Xaples Museum, so-called from the fcrreek definition of its peculiar character. It was once in the Farnese Palace, Rome. The back of the figure is particu- larly admired.
Venus in Shell. This Venus is probably the Aphrodite Pontia (of the sea), the tutelary deity of the ships and mariners, who controlled the wind and the waves, and granted to ships a fair and prosperous passage. Aphrodite was born of the foam of the sea, and first touched land on the island of Cyprus, which was henceforth held sacred to her.
Venus Vicfcrix, by Thorwaldsen. In this beautiful statue the sculptor has embodied grace, symmetry and purity of style. The wonderful conception of Thorwaldsen was full of classic beauty, so that he has sometimes been called " the posthumous Greek."
Verdi, Giuseppe, Italian musical composer ; born 1814. Verdi commenced the study of operatic music at the age of 19, and his first efforts at composition of operas was a failure. In 1842, however, his Nahuceo established his fame. In this work he developed those characteristics of brilliant melody and vivid musico-dramatic effects which have maintained his public popu- larity to the present time. His other most popular operas are Ernani, Macbeth, RigoUtto, Don Carlos, Aida and H Trovatore.
Verus, Lucius, was the unworthy Son-in-law of the " good Aurelius," and was Emperor from Ifil to 169 A. D. He is repre- sented as having been exceedingly wasteful and profligate. Soon after his accession, Marcus Aurelius dispatched him to the East, and for four years carried on war with great success against the King of Parthia. He subsequently prosecuted the war with the Barbarians living along the northern limits of the empire, from the sources of the Danube to the lUyrian border.
Victory, by Riiuch. This is a copy of the statue of Victory at Berlin, Germany, which commemorates the victory of 1871,
and the union of Germany. Christian Ranch, an eminent sculp- tor, was born at Waldeck, 1777, and died 18.")7. He executed six marble " Victories " for the Walhalla, and many marble busts of great excellence. His statues are some of the finest produc- tions of modern sculpture and of classic beauty.
Vitellius was an emperor of Rome. He was born A. D. 15. He was a glutton, and an epicure; his chief amusement was gambling. Galba gave Vitellius command of the legions in Lower Germany, and the soldiers proclaimed him emperor in A. D. 69. Vitellius was assassinated after a reign of a year.
Voltaire — Francis Marie Arouet (his true name), one of the most famous of French writers; born 1694, and died 1778. His father desired him to study law, but he chose the career of a man of letters. He was sent to the Bastile for writing satirical verses reflecting on the government of Louis XIV. After his release he assumed the name of Voltaire. He was a shrewd financier, accumulating quite a fortune ; his books were never a source of great profit to him, despite their immense popularity. The sum of his literary labors remains in something like ninety volumes. He was truly a universal genius; he wrote literally everything— histories, dramas, poems, disquisitions, literary, philosophical and scientific novels. His favorite weapon was ridicule. His prose is the perfection of French style.
Wagner, Richard, German musical composer; born 1813 died 1883. Wagner received his first systematic instruction wliile studying at the Univepsity of Leipzig. From 1836 to 1842 he wrote music in his own peculiar style, but was not appreci- ated, and it was, therefore, a struggle with poverty. From that time forward his ideas gradually gained ground, and by the aid and assistance of Liszt and other great musicians and influential personages, was able to carry out his grand idea of opening a theater at Baireuth, Bavaria, where his great operas could be properly brought out. His undertaking was crowned with suc- cess. His great works a,re Faustt, Rienzi, Tannhaeuser, Lohengrin, and the series of operas founded on the Niehelungenlied.
Washington, George, the Father of his Country, and first President of the United States; born 1732, died 1799. Early en- gaged in important commissions in the French and Indian AVar, he was later made commander-in-chief of the American forces during the Revolutionary War. The war was conducted by Washington under every possible disadvantage; he met with fre- quent reverses, but rose superior to such formidable obstacles, and was able, with unexhausted patience and matchless skill, to bring the contest eventually to an auspicious and honorable close. He was President from 1789 to 1797.
Weber, Karl Maria von, German musical composer; born 1786, died 1826. Weber's mind was sensitive and poetic, and hence his treatment of subjects in which the fanciful, legendary and supernatural elements predominate. His greatest works are Der FreiKchi'itz and Oheron.
Webster, Daniel, American statesman and orator ; born 1782, died 1852. Graduating at Dartmouth in 1801, he commenced the study of law. Removing from Boston to Portsmouth he engaged in politics and was elected as a member of the Federalist party to Congress, where he immediately took rank among the fore- most men of the country. Returning to Boston he again prac- ticed law. He was elected to Congress as Representative in 1822, and as Senator in 1826. In 1859 he was Secretary of State in the Cabinet of General Harrison, and again in 18.50 under Fillmore. He aspired to the Presidency at different times but never received the nomination. His senatorial efforts were directed to the preservation of the Union.
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William, Frederick, emperor of Germany, was born 1831. His earnest character and his talents were early developed under the care of excellent teachers. He was married to the daughter of Queen Victoria in 1858. He had three sons and four daugliters. He died after a reign of less than a year in 1888.
William II., present emperor of Germany was born in 1859.
William I., king of Prussia and in 1871 emperor of Ger- many, was born 1797. He joined the army at an early age and was engaged in the campaigns of 1813 against France. On the accession of his elder brother to the throne William became
governor of Pomerania. In 1861 he ascended the throne and became the head of the North German Confederation in 1867. He died in 1888.
Wrestlers. In the Uflfizi, Florence. It is ascribed to the artists of Rliodes, and is one of the great productions co-eval witli the Laocoon and tlie Farnese Bull.
Zacharias, a Roman Pontiff, successor of Gregory III, in 741. He is noticeable as one of the series of Greelc prelates by whom the destinies of Rome and Italy were much influenced in tlie 7th and 8th centuries. He died at Rome, 752.
1^:312 ij)^ SlS'liJtf ©2 mii^0^z
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No. 3078-8i X 8i in. . . .60c.
No. 3079-9x9 in.... 75c.
No. 3080-9ix7iin....75c.
No. 3081— 9i X 7i in.... 75c.
No. 3083-8} X 7 in.... 60c.
:(TT>TIVERSITY)
k
GLASSICAL SlAfUARY. BUSfS ^^nSDELSj^rpoB.;^
No. 3083-9i X 7i 60o.
No. 3084— 9i x 7i in 60c.
No. 3085— 9i X 7i in 60c.
No. SOS*?— 9i X 7i in 60c
No 3087— Ui x7iin 80c.
No. 3088— 12 x8i in fil.OO
No. 3089-13 X 8 in
.80c.
No. 3090— OJ X 7} in 80c.
No. !fe91- la X Si iu 75c
cnnnnEGKE e9 Milwaukee a^p eniGrt^o^
No. 3092-9i X 7i in 90c.
No. 3093— 9i X 9i in |1.00
No 3094— 9i X 7i in . . .90c
No. 3095-9x9 in 90c
No. 8096—9 X 9 in Too.
No. 8097— 9x9in 75r.
No.8098— 9x9in 75c.
No. 3099-15i x 17 in |3.50
No. 3100—9 .\ "J in DUc.
GLASSICAL SlAfUARY. BOSfS ^ij'MQDELS^
'V
Illy "'^ ' '•'
No. 3101—9x9 in ...80c.
No. 3102-8 X 8 in . . .60c. No. 3103-5i x 9 in. . . .60c. No. 3104—7 x 7 in . . .40c.
No. 3l05-9ix8in....60c. No. 3106— 9 x 9 in. .. .75c. No. 3107— 9 x 8 in. .. .60c. No. 3108— 9 x 8 in. .. .60c.
No. 3109— 11 X 8 in .50c. No. 3110— 10} x 7i in. . . .60c. No 3111— lOJx 9 in. .. .75c.
No. 8112— lOi X 7ilin . . .60c.
p ^ |
^■■H iiiiiiiii|iii" |
|
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1 } |
|
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'fjF\MU |
|
^^ |
r |
|
,„ \J |
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|
\ L |
'f \ |
No. 3113— 10 x7i in. ...60c. No. 3114— 10 x 7 in. .. .50c. No. 3115— 7i x 6i in. . . .50c. No. 3116 -8 x 12 in. .. .75c.
10
G.HEnnEeKE e9 /AiLWAUKEE''ij eniG/^o^
Bead preface before ordering'.
All Plaques have Hooks to suspend.
No. 3117— 17i X lOi in . . .$1.25
No. 3118-9 X lliin .. 90c.
No. 8119— Six 13 in.... 11.00
Mo. 3133— 13 x8i in..., 90c.
No. 3134— 17i X 19 in. . . .|3.50
No. 3135-15ix lOiin . . |1.35
CLASSICAL SlAfUARY, BCSfS ^iPMQDELSig
11
llllll|llllllilillilllllilll[|llilll'll|i|lllllllllllllllllllllillllll!llilllllilJIIM^
No. 8136—13 X 8* in. . . .75c.
No. yi88-8i X lOi in. . . .90o.
Size of Plii(|ue, 7 x .">; in
No 3137— Pear price, 50c
'• S138-Orang-e
" 3129— "
" 8130— Lemon
" 3181— Citron
" 3182-Qulnce
■' 8133— Pomegranate
" 3134— Apple
" 3135— Potato
" 3186— Cocoanut
50c. 50c. 50e. 50c. 50c. 50c. 50c. 50c. 50c
No: 3139—18 x8in... 90c.
y
No. 3137— 12 X 8i in ...75c.
No. 3140— 8xl2iin....fl.30
No. 3141— 12 x8i in.... 80c.
No. 3142-lOi X 7i in. . . .90c.
No. 8143—12 x8i in. . . .|1.00
12
CnEnnECKE G9 WILWAUKEE'-iP CniG/^Gi^
.•^IlllllllilllflSillllldV
No. 3144—13 X 9i in. . . .f 1.00
No. 3145-lli X 9i in. . . .$1.00
No. 3146—9 X 6 in . . .fiOc.
No. 3147—10 X 8 in....7oc.
No. 3148—14 x|14 in. . . .|1.50
No. 3149— 14 X 14 in. . . .|1..')0
No. 3150— 8i X 7 in. . . .60c.
No. 3151— y X IHin. ..90c.
No. 315^— 16i X 11 in fl.35
GLASSICAL SIATUARY. BUSfS ^A^AQDELS^
13
No. 3153— Di X 7i in 60c.
No. 3156—9 X 17i in. . . .f 1.30
^- h\$\
Read preface before ordering. All Plaques have Hooks to suspend.
No. 3154—10 X la in ^i:4o
No. 3157—32 X 23 in . . . |3.00
No. 3155—74 X 15i in. . . .$1.25
No. 3158- Si X -Mi in |1.30
No. 3159— 8x19 in. ...#1.30
No. 3160— 14i X 19i in. . . .f8.85
No. 3161— 5ix 13 in.... $1.35
14
cnEnnECKE eo Milwaukee 'i? cmerCQQ.^
No. 3163— 17i X lOi in. . . .|1.35
No 3166-5ix4iin .. 40c
No. 3163-5 X 3i in. .3.5e. No. 3164—5 x 4i in. .35c.
No. 3167—13 X 18 in. . . .|1.75
iiiiii^^
No. 3105— 15 X 10 in ^l.:i5
No. 3168 -71x5 in.... 60c.
No. 3169—33 X 13 in. . . .f3.50
No. 3170— 15ix21... 83.75
No 3171-33 X 13 in. . . .*3.50
GLASSICAL SIaUJARY. BUSfS Ai^^AQDELSig
15
Read the preface before ordering
All Plaques have hooks to suspend.
No. 3175— 14 X 16 in ...$1.75
No. 3176—10 X 23 in. . . .li.'.u
No. 3178-y X 24 in. . . .*3.3.5
aiini.yiiiiiiiiiii I liiii ijii liiiiiiiiaiaii^
No. 3177— 18x20 in.... 13.00
16
cnenriEeKE e9 Milwaukee "i? eniGrt^G^
No. 3179— 8i X 13 in. . . .90c.
No. 3180— 9i X 13 in. . . .fl.OO
No. 3181—17 X 11 in. . . .|1.25
No. 3182-9 X Hi in... $1.00
No. 3183—9 X Hi in. . . .$1.00
No. 3184— Six 11 in ...$1.00
No. 8185— 17i X 12 in . . .$1.25
No. 3186-14 X 10 in.... $1.00
No. 3187— 18i X 10 in. . . .$1.85
GLASSICAL SlAfUARY. BUSfb Ai.^MQDELSjg 17
Bead preface before ordering.
'I'l iiii'iii'"i I ''i^^,i";i'|i'y"
' ' ii'i'ii
.ImI'I,
1' iiiM III
No. 3188—14 X 10 in. . . .H1.35
JNo. aisy— 14i X 10 in $1.00
lllTllllllllllllllll lllIN
No. 3190— 17i X 11 in . . 11.35
|'''iri«iiii!iiiii |
iiiiii,iiiiiiiifiiiiiiiiiiiiiifiiirii'iii™iiiifiiii||i |
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No 3193— Hi X 9 in ...$1.00
I§IJII^^
No. 3194— 17ix 11 in.... 11.50 No. 3190-10 x 8 in. .. .75c. No. 3196— lOi x 7 in ...7oo. No. 3197— 17^ x 11 in .$1.25
18
c./iEnriEeKE cp Milwaukee «l» eniG/^o.
'#
All Plaques have Hooks to suspend.
No.3304— 17ixllin ...|1.25
No. 3205—37 x 15 in . . |3.00
No. 3206— 17i X 11 in. . . »1.25
GLASSICAL SlAfUARY. BCSfS ^ii>MQDELS,^
19
No. 3313— 15 X 13 m ...|1.50
No. 3314— 35x13 ill,.. $2.75
Nu. 3:215— loi X 13 . . .fl.50
20
cnennEeKE C9 Milwaukee aI" enie/^o^
No. 3221—16 X lOi in. . . .|J.25
No. 3232— 21i X 18 in f2.25
No. 3323—10 X lOJ in. . . .|1.25
GLASSICAL SlAfUARY. BUSfS ^iPMQDELS^
21
No. 3234-31ixl3 in |3.35
No, 3235—22x13 in |2.50
No. 3326— ITxlOi in $1.25
All Plaques have hooks to suspend.
No. 3237-17xl0i in 81.50
No. 3328— 23x13^ in »3.25
No. 3339—33x13 in f3.25
22
G.nnnnKKE e9 Milwaukee aId eniG/^G^
No. 3330—14 in |3.25
No. 3231— 20i X 15 in $2 75
No. 3232-14 in |2.25
No. 3233-14 in |2.25
No. 3234—15 X lOi in $1.25
mmmJMm No. 3230—14 in $2.35
No. 3285—12 in $2.00
No. 3237— 15i xll $2.00
No. 3238— 12 in $3.25
CLASSICAL SlAfUARY. BUSiS ^iPAQDELSia
23
No. 3239— 29 X 15 in 13-50.
Bead tlie Preface before Ordering.
No. 3240-17 X 16 in. . . .$2.50
No. 8241 -81x8iin....$1.00
No. 8242— 8i X 8i in . . .fl.OO
No. 3243— 8i X Si in ... fl.OO
No. 3344—25 x 18 in. . . f 2.75
No. 3245—22 x 18 in. . 13.50
No. 3246— 10 in |1.50
24
cnEnnECKE e? Milwaukee «i» eniGf^o^
No. 3347—11 X 6 in. . . .80c.
No. 3348— 11 X 6 Id..., 80c.
No. 3249-17 X lOi in. . . .|1.35
No. 3350—13 X 8i in. . . 90c.
No. 3351—17 X lOi in. . . .$ 1.35
No. 8268— 11x6 in. .. 80c.
No. 3353—11 X 6 in. . . .80c.
GLASSICAL SlATlJARY BUSfS Aii>nQDELS^
25
No. 3254—11 x6 in 80c.
No. 3255— 11 x6ia
.80c.
No. 3256—11 x6in 80c.
No. 8357—11 X 6 in
.80c.
No. 3258—11 X 6 in
.80c.
No. 3359—11 x6in 80c.
'ZJL.ir'z:zot':^- -Tirir^. , -:„^:" |
^^: |
|
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|
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||
:- |
NO.J3260— 11 X 6 in 80c.
No. 3261—11 X 6 in
.80c.
26
G.nEnnEGKEGo MILWAUKEE«l»eftl£/^0.
No. 3-^68— 31 X 12J in . . $3.50
.ta-
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iiliiHliir |
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|
1 |
||
ii ^^"^ „^„ |
No. ya(i8— 10 .\ 15 in . . .$1 75
No. 3364—21 X 14 ia. . . .|4.00 " 3365- 9x 6 in.... 1.00
No. 3266—11 X 11 in ..$ 1.50 " 3266-1— 41ix 38 in.. 18.00
No. 3367— 20x15 in | 4.50
" 3267-l-40i X 25i in 12.00
" 3267-2— With Scroll, 40f x 25f in. . 12.00
No. 3208—11 X 11 in | 1.50
" 3368-1— 4H X 38 in. . . 18.00
No. 3369-18 in. ... 12.50
No. 3370—17 X 13 in. . . .$3.00
No. 8371— 18 in ...$3.50
GLASSICAL SlAfUARY. BOSfS ^iPAQDELS^
27
No. 3275—26 x 9i in. . . .|1.50
No. 3276— 10 in.... 75c.
No. 3277—10 in. . . .75c.
No. 3278-26 x 9i in. . . .$1.50
No. 3379—35 x 7 in. , . ,|1.50 No. 3280—30 x 14i in . . .13.50
No. 3381-30 X 14i la. . . .|2.50 No. 3282—35 x 7 in. . . .|1.50
28
CflEnnECKEGo /v\ILWAUKEE«l»emef^0/
No. ^283—10 X 11 in... $1.50 ANTiaUE VASE.
No. 3284— 15i X 14 in. . . .|1.50
No. 3386— Height, 8i in ... .$1.50
Bead Preface before Ordering.
>»u. ^■:i:j--10i X I2i in *l,oO
VASE DE MEDICI.
%#'^^'^
No._3287— 15f X 15i in, . . $1.50
CELLINI VASE.
No. 3288-Height, 16 in.; base. 6 x 51 in. .$3.00
No. 3389-Height, 16 in.; base, 4i in. .|3.00 No. 3290-Height, 18 in.; base, 41 in. .$3.00 No. 3391-Height, 16 in.; base, 4* in. .$3.00
GLASSICAL SlAfUAPY. BUSfS ^ipAQDELS^.
29
i|iiiiiiiii!iiiiiiiiiiiiiiiiiiiiiiMiiiiriiiiiiiiii!iiniiiiii
lilllH
ifiiii'iiniih |
iiitiiiifititiiiiiiiiiiiiiii Ill |
iiiiiiiiiiiiiiiiiiiia |
||
'i»m\» |
||||
fr'"^ |
^ |
i |
No. 3293— t7i X 10 in . . .|1.25
All Plaques have Hooks for Hanging: attached to the Back.
No. 3293—32 X Hi in. . . .$3.00
No. 3394—25 x 13 in |2 50
No. 3395--30 X 17i in »3.5U
No. 3^96—171 X Hi in. . . |1.50
No. 3297-39 X 17i in. . . *3.50
No. 3298-36 x .I4i in. . . .|3.00
CnENMECKEeo MILWAUKEE "i? GrtlG/fdO^
COMPOSITE.
No. 3299— Height, 19 in. COMPOSITE.
No. 3303— Height, 18 in. IONIC.
FIVE ORDERS OF ARCHITECTURE. CORINTHIAN.
jgMlMMimiii.iiuiiiii lum.ir^
No. 3300— Height, 19 in. CORINTHIAN.
No. 8303— Height 18 in. IONIC. TUSCAN.
DORIC.
No. 3301- Height, 10 in.
Doric.
No. 3304— Height, 16 in. TUSCAN
No. 3305— Height, 16 in. No. 3306— Height, 16 in. iNo. 3307— Height, 16 in. No. 3308— Height, 16 in.
Price of the Five Orders of Architecture, Base and Caps 130.00
Single Order of one Base and one Cap 7.50
All have Hooks to suspend.
GLASSICAL SIaTUARY. BUSfS ^A^/AQDELS^
31
ITALIAN RENAISSANCE.
From Portal St. Maria de Miracoli Venice.
CAPITAL.
From Temple Church, London
ITALIAN BEtTAISSANCE. Capital of Pilaster, Florence, Palace Vecchio.
No. 3309—18 X 13 in. .$4.00
No. 8310— 11 x9 in.. 12.00
PARTS OF A COLUMN.
13
M
ITALIAN RENAISSANCE.
-.^1^.
1. Fillet.
2. Cynia recta.
3. Corona.
4. Ovolo.
5. Cavetto.
6. Upper Fascia.
7. Lower Fascia.
8. Abacus.
9. Ovolo.
10. Colareno, or Neck.
11. Astragal.
12. Fillet or Reglet.
13. Torus.
14. Plinth.
15. Surbase.
16. Base.
'^m^'
ITALIAN RENAISSANCE.
Roman Corinthian.
ill < |
Trr^^"" "^ |
^i^Bm^n*<p««<*'B<MP>^2=^ |
|
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|
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|
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|
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No. 3311— lOix 12 in.... *2. 50
CAPITAL. From Stone Church in Kent.
No. 3312— 17i X 16 in. . . .|4.00 ITALIAN RENAISSANCE.
No. 3313—18 X lOi in. . . .$1..50 BYZANTINE.
No . 3314—18 X 13 in .. 14.00
No 3315— 14ix 12 in.. 12. 50
No. 3316- 8 x6i in.... 11.25
32
cnennECKE cq Milwaukee «i» enie/^0j^
No. 3317—18 X 13i in. . . .$1.75
No. 3318—18 X 13i in. . . .$1.75
Hooks for Hanging are attached to the back.
iMMMfmii
«n<««rt^i«vn^>«)>^ii«ii«nw^«Tt«^l«<1'*>n-*lt-«<H»n«n
tllJlLllSIIIlpJll. t iir,i» A iir lit ui lk ii: -^Li iir 1|| iiLlli 111
;^^
No. 3319—31 X 17 in. . . .$3.50
No. 8320—26 x 20 in. . . .$3 50
No 3821—23 X 13 in. . . .—$3.00
No. 3322—24 x 18 in. . . .$8.75
CLASSICAL SlAfUARY BUSfS ^ij^AQDELS^
33
No. 3333—28 x t3i in. . . .|2.75
No. 3324- 33 x 15i in. . . .|3.50
Please read Preface before ordering.
No. 3325— In Three Sections, 40 x 12i in $4.00
lii
FR
ISE' DE-R^tNCEAV:
<
No. 3336-In Three Sections, 40 x 16i in $4.50
No. 3327—20 x 12 in $3 00
No. 3338—19 X 13i in. . . .|3.00
No. 3329— In Three Sections, 38 x 18 in. . . .|3.50
34
cfiEnnEGKE eo Milwaukee "i? ertie/Y(]0^
No. 3380—10 in. . .f 1.25
No. 3333—12 in |1.25
No. 3338— 11 in.... II. 25
No. 3341-6 in.....')Oc.
r
No. 3343—7 in. . . .50c.
No. 3331— 12 in .. fl.25
sn:
No. 3334— 10 in.... 90c.
No. 3336-7 in.... 50c.
No. 333i)— 10in....|1.00
No. 3342— 5 in ...50c.
No. 3344-8 In... 80c.
No. 3332— 9 in ..90c.
No. 3335— 6 in.... 50c.
No. 3337—11 in ...$1.00
No 3340— 9 in.... f 1.00
No. 3345— 11 in....* 1. 00
No. 3346-niin. ..90c. No. 3347— 10 in. .. .|1. 00 No. 3348— 10 in . . .|1.25
Hooks for banging: are attached to all Casts that have no base.
GLASSICAL SIATUARY. BUSfS ^ii^AQDELS^
35
No. 3349-7 in... 60c.
No. 3350— 5 in.... 50c.
No. 33.51-5 in. . . .50c.
No. 3352-7 in.... 60c.
No 3358—8 ill.... $1.35
No. 3359— 12 in 11.00
No. .3360—15 in.... $1,25
No. 3361—6 in . . .50c.
No. 3363- 12in....|1.25
No. 3363-16 in... 12 00
No. 3364—11 in....«1.00
No. 3365— 12 in .. |1.25
36
e./iEnnECKE GO MiLWAUKEE'ifenief^o^
No. 3366— 10 in.... 11.25
No. 3367-6 in.... 50c.
No. 3368— 12 in.... 11.25
No. 3370—71 in. . . .75c.
No. 3371-12 in.... $1.30
No. 3369 -9i in.... f 1.50
No. 3372—12 in.... f 1.25
No. 3376-12 in |1.50
" 3377— Hand alone, 10 in. . . . 1.00
' ^fe^^'"^
No. 3373— Sin ...fl.50
No. 3374— 10 in.... 90c.
No. 3375—12 in . . |1.50
No. 3878—6 in. . . .f 1.00 No. 3379—33 in . |2.50
Hooks for hanging are attached to all Casts that have no base.
GLASSICAL SIATUARY. BUSfb ^i^^MODELS^
37
No. 3380-27 in. . . .$2.50 No. 3381-13 in. . . .fl.OO;
Bead Preface before ordering.
No. 3382—8 in. . . .75c.
No. 3383— 7 in.... 11.25
No. 3384— 11 in.... $1.00
No. 3385—6 in . . .lOc.
'No. 3386— 5 in.... 50c.
No. 3387— 5 in.... 50c.
No. 3388-8i in. . . .$1.00
No. 3389— lOi in. . . .$1.00
No. 33U0— 8in....75c.
No. 3391-8 in. . . .80c.
No. 3392— 5 in ...50c.
No. 3393— llin.... $1.50
No. 3894— 27 in.... $2. 00
No. 3395— 13 in ...»1.50
38
cnnnnEGKEGo MiLWAUKEE^ipenie/^o.
ij^
No, 3396-30 in . . .$2.00
No. 3397— 30 in.... 12.50
Read the Preface before Ordering.
No. 3398— 35 in... 12.50
No. 3399-13 in. . . .|1.80
No. 3400— 18 in.... 11.50
No. 3401— 33 in.... 12.50
No. 3402-17 in... 14 00
No. 3403—2.') in. . . .13.50
No. 3404—21 in. ... 12.50
GLASSICAL SlAfUARY, BOSfS ^ii^AQDELS^
39
No. 3407-13 in fl.OO
No. 3413— 10in....«1.50
No. 3405-6 in ...60c.
No.3408— 5in... 50c.
No. 3409—10 in. . . .|1 25
No. 3411— 7i in .. $1 00
No. 340U-Ui in... 11.25
Nc. 3410— ili in....*l.~^.5
No. 3413— 18 in.... $2 00
No. :i414 lU in |1.00
Bead Preface before Ordering.
No, 3416— 30in....S2.50
No. 3417— 23 in... 12.00
llinipiiiiiiiiiiiiiiiiiiiimiiiiiUMI No. 3418— lOi in. . . .|1.25
No. 3415—17 in. . . .|2..50
No. 3419— 11 in. ...11.25
40
cnennEGKE e9 Milwaukee ^i? enici^o^
No. 3420— 11 in.... 11.00
No. 3421—13 in. . . .|2.00
No. 3423— 18 in.... 12.00.
No. 8422—12 in. . . .$1.70
No. 3425— 12 in ...$1.50
No. 3424—33 in. . . .$3.50
No. 8426—13 in.... $3.00
No. 3427—13 in. . . .$2.00
No. 3428— 15i in. ...$3.50
GLASSICAL SlAfUARY. BUSfS ^A^AQDELS^
41
No. 3439-7 in . . .50c.
No. 3430— 8 in.... 50c.
No. 3431— 5 in.... 40c.
No. 3432—6 in. . . .50c.
No. 3433— 7 in... 60c.
No. 3434— 5 in... 50c.
No. 3437—5 in. . . .40c.
No. 3435—5 in. . . .40c.
No. 3436—9 in. . . .f 1.50
All Casts have Hooks to suspend.
Bead Preface before ordering.
ifiiiiiriiiiiiiiiiiiimiMrT™
rrrnirn ui m nmmiiiiniiiiii
No. 3438— 10 in.... $1.00
No. 3439—5 in, . . .60c.
No. 3440-6 in.... 50c.
All Casts are named and classified in Index.
No. 3441— 7i in ...60c.
No. 3442— 7i in. . . .60c.
No. 3443— 7i in.... 60c.
42
c/iEnnEeKE e9 Milwaukee wL" eniey^o^
No. 3444—12 in |1.50
No. 3445—15 in.... 12.00
\
No. 3446— 21 in... |2.50
^- ^P
No. 3447—24 in....}3.00
No .iWS— 13iu .. 8150
No, 344U— IS iu . . 12.00
No. 3150-21 iu . . $;i.00
No. 3451—23 in. . . .$4.00
Order by Number only.
f .* •*
No. 3452—31 in,... 14. 50
No. 3453—14 in... |3.00
Named and Classified in Index.
GLASSICAL SlAfUARY. BUSfS ^^lAQDtlS/c
43
No. 3454-25 in .. |4.50
No. 3455—31 in ...$3.50
No. 3458—40 in . . $13.00
No. 3459— 19 in.... $4.00
No. 3460-39 in... $13.00
44
G.nnnriEGKE e9 Milwaukee ^ip eniG/^o,
^fr
No. 3461— 13 in.... $1.50
No. 3465— 18 in 13.00
No. 3463— 11 in.... $1.50 No. 3464— 18 in . . $1.50
No. 3462— 14 in.... $2.50
.4>
No. 8465-1— 34 in.... «7. 00
iilllilliiiillllllilliiiliiilliilllH
No. 3466— 18i in.... $4.00
No. 3467— 26 in $7.50
No. 3468— 10 in $1.75
No. 3469-40 in $ 'J.OO
No. 3470— 6 it 50.00
No. 3470 has right arm extended, legs nearly straight. Round base.
GLASSICAL SlAfUARY. BUSfS Aij>/AQDELS^
45
No. 3471—8 in ^.l.^o
No. 3472-lUin. ..fl.50
No. 3473-8 iu ... 11.25
No. 3474 'Jin.... 11.25
No. 3475—20 x 14 in . . ,13.50
No. 3476-9 in.... 11.25
No. 3477— 10 in.... fl.50
No. 3478— 14 in. ..|2.00
No. 3479—11 in 11.50
s
III
^i
No. 3480— 9 in... 11.50
No. 3481— 8 in.... $1.25
IDlill No. 3482-9 in.... 11.25
No. 3483— IQ in.... 11.50
46
cnennEGKE g9 Milwaukee ^i? enie/^o^
No. 3484-15 in. .11.75 No. 3485-9x7* in. .|1.00 No. 3486—8^ in. .7oc.
No. 3487- i» in.. 75c.
No. 3488-15 in.. 1 1.75
•••2^- nXE ASKS. ^^'^
NOT fLLUSTRATED.
No. 3189-12x10 in.... II 7o
No. Height, in.
3493— Aeschylos 14
3494— Augustus 13
3495— Ajax 18
3496— Antinous 13
3497— Agrippa 15
3498-Caligula 19
3499— Canova 14
3500— Christ (on foot), by M. Angelo, 24
3501— Cicero 14
3502— Clytie 14
3503-Dante 9
3504-David, by M. Angelo 20
3505— " " " on foot... 30
3506— " " " " ... 24
3.507— Demosthenes 14
3.508— Diana 15
3509-Diomede 16
3510 — Discobolus— Nancydes 13
3511- Dying Warrior 13
3512— Euripides 15
3513— Fighting Gladiator 16
3514— Juliano DeMedici 16
3515— Juno Capitol 18
3516-Jupiter 28
3517— Madonna 14
3518— Mercury 14
3519— Minerva 14
3520— Moses 19
3521 —Nero 14
3522— N iobe Daughter 13
3523— Nubian Girl 12
3524— Psyche of Naples 12
3525— Rafael Dorbino 13
3526— St. Francis 14
3527— St. Jerome 16
3528- Socrates 15
3529— Sopliocles 15
3.')30— Spartacus 13J
3531— Venus Aries 16
3.532— " Bath 12
3533— " Capitol 14
a534- " Capua 14
353.5— " Guidos 12
3.^36- " Medici 12
3537— " Milo 12
3538— " Thorwaldsen 13
3539— Voltaire 13
Price.
11.50 1.00 2.00 1.00 1.50 2.00 1..50 5.00 125 1.50 1.00 5.00
10.00 6.00 1.50 1.25 1.50 125 1.25 1.50 1.50 1.50 1.00 5.00 1.50 1.25 1.00 2.00 1.50 1.00 1.25 1.00 1.25 1.25 2.00 1.50 1.50 1.50 1.50 1.00 1.25 1.25 1.00 1.00 1.00 1.00 1.50
dejPlTh: ]yijps.spcs. ^^
No. 3490—14x10 in... *2 00
I II I II » IIIHIII II
J UL
No. 3491—12 ill . . $2.00
3540-Beethoven. 3541— Dante
1.00 1.00
No. 3492— 14x10 in.... fa 00
GLASSICAL SlAfUARY. BUSfS ^iPAQDELS^g
47
No. 3542— 23 in f3.50
No. 354y— 14in |1.25 No. 3544— 13 in |1.25
All Masks without base have hooks to suspend.
No. 3545— 22 in |3.50
No. 354(i— 15 in f 2.00 No. 3547—13 in $1-25
lllllilllllllllillllll No. 3548—22 in *4 50
No. 3549— 15 in $1.25
All Casts are named and classified as far as their origin can be traced in index
No 3550-16 in ...*2 00
No. 35,51— 15 in... $1.50
No. 3552-15 in... $2.00
No. 3553-18 in .$2 50
48
G.nEnnEGKE C9 MILWAUKEE'-iP CniGf^G^
J^§
No. 3J54-141 X lOi in $1.75
No. 3555-l4i X lOi in. . . .fi.OO
No. 3556— 12 X 8i in ..$1.50
All Casts are named and classified in Index.
/W}':
No. 3a67— 11 x 8 in. . . |1.50
No. 3558— 19i X 19i in. . . .|3.50
No. 8559-10ix7iu....|1.50
!Jlllllii7llilfllTfli'iini"''"T1lll III' I .^^^>^^J*
No. 3560-14 X 9i in . $1.75
No. 3&61— 13i X 10 in. . . .$1.75
No. 3562-13X lOJin. ..$1.75
All Plaques have Hooks to suspend.
GLASSICAL SlAfUARY. BOSfS ^i^^MODELS^
49
No. 3563— 9i X 8 in. . . 11.00
No. 3564— 12x7 in.... $1.00
No. 3565—7x6 in. ... 11.00
All Plaques have Hooks to suspend.
No. 3566-8 X 7i in . . .fl.OO
My
No. 3567—16 X 13 in. . . .|1.75
For seventeen other Heads from the Trajan
Column, not Illustrated,
see Index.
No. 8568—8 in. . . .75c.
Bead the Preface before ordering.
No. 3581—11 X lOi in. . . .$ 1.00
No, 3583-18 X 15 in. . . .13.50
No. 3583—9 in. . . .90c.
50
cnenMEGKE cq Milwaukee «l» eniert'dG^
No. 3584— 8 in.... 11.75
Kead the Preface before ordering.
No. 3587— 14 in.... $1.50
Hooks for Hanging are attached to the hack.
No. 3585— 12 in ...fl.OO
No. 3588— 9i in.... 11.35
ie?V'
No. 3589—4 in. . . .40c.
No. 3591— 19 in.... 13 00
No. 3586-6 in 75c.
Order by Number only.
No. 3590-16 in.... 13.00
Please do not eut this book in making orders.
No.3592— lUin....|1.35
No. 3593-8iin ...75c.
No. 3593-1— 4 in.... 25c.
CLASSICAL SlATllARY. BUSfS ^^ASDELS^
51
No. 3594-6i in . . .75c.
No 3(iO0 -5 in ...75c.
No. 3595—11 in. . . .|1.75 No. 3596— 9i in. . . .75c.
HookB for Hangfing are attached to the back.
No. 3598—18 in |b 00
No. 3599-7 in.... 11.50
Please do not cut this book in waking orders. No errors will occur if you state the number of article wanted.
No. 3601— 5 in 75c.
No. 3602— 9i in.... 11.00
No. 3603— 13i in. . . |3.50
No. 3604— 18 in.... 14.00
52
C/IEnnECKE GO MILWAUKEE "iP GrtlG/^Gj
No. 3607— 6 in.... 75c.
Read Preface before ordering'.
No. 3611— 5i in.... 75c.
Hooks for Hanging are attached to the back.
No. 3615—5 in. . . .75c.
In making your orders state the number of article wanted.
No. 3616— 5 in.... 75c.
No. 3617—8 in. . . .|1.50 No. 3618-5 in. . . .75c.
No. 3619— 6i in.... 75c
GLASSICAL SlAfUARY. BUSfb ^ii^ /^QDELSig
53
CUPID.
EMPEBOR AtTGUSTUS,
PSYCHE.
No. 3663— 13 in....fl,50 JUPITER.
No. 3702-40 in.... $35.00 " 3703— 22 in... 5.00 " 8704-11 in. . . . 1.25
HERMES.
No. 3639—33 in. . . .|12.00
Busts not Illustrated, see page 54.
DAVID.
No. 8731— 13 in.... 11.50
VENUS AKROPOLIS.
No. 3739— 12in....»1.25
MINERVA HEDICA.
No. 3686—32 in....|13 00 '• 3687— 21i in. . . . 5.00 " 3688-12 in ... l.W
No. 3668—4 ft. 4 in. . . .|35.00 Bead Preface before ordering.
No. 8716— 24 in.... $8.00 Order by Number only.
54
cnnnnEGKEGo rAiLWAUKEEA4penie/^o^
j^T^^ric^i^
13 XJ^
/■^
T
Busts marked with a Star are Illustrated on Pages 54 and 56.
No. Height, In. Price.
3630-Aeschylos 37 $8.00
3621— ^Esciilapius 23 5.00
3623— " 11 1.25
3633— Agrippa 28 8.00
3634— *Aiax 36 15.00
3625—* " 36 7.50
3636—* " 13 1.50
3637— Amor 17 3.50
3638— Angelo, Michael 28 7.00
3629-Antinous 37 8 00
3630— Apollo 32 10.00
3631— " 33 5.00
3633- " 14 3.00
3633- " 13 1.35
3634— Ariadne 39 8.00
8635- " 13 1.35
3636- " 10 1.00
3637— Aristotle 36 7.50
3638— Arotino 30 10.00
3639— *Augustus Cassar in Armor 33 13.00
3640-Augu8tus (Youth) 23 5.00
3641— Bacchus 30 10.00
3642— " 13 1.35
3643— " 10 1.00
3644— Beatrice 13 1.35
364.5— Benevieni Head 18 3.50
3646— Boy Laughing 12 1.25
3647— Boy— by Donatello 19 4.00
3648— Brontalone 17 3.50
3649— Brutus 32 5.00
3650-Canova 361 8.00
3651— Cajsar, Julius 30 10.00
3652- " " 37 7.00
3653-Christ 34 6.00
3654-Cicero 30 10.00
3655- " 27 7.00
3656— " 22 5.00
3657-Clytie 38 8.00
8658- " 28 5.00
3659- " 17 3.50
3660- " 14 2.00
3661- " 10 1.00
3662— Cupid 17 3.50
3663—* " on pedestal 13 1.50
3664— Dante 26 7.00
3665- " 16 3.00
3666- " 12 1.25
3667— Darwin 36 7.00
3668— *David 53 35.00
3669— Demosthenes 27 8.00
3670- " 22 5.00
3671— " 15 2.50
3673— Diana, o* Versailles 32 15.00
3673— " " 14 2.00
3674— " " 13 1.25
3675— Diomede 28 8.00
3676-Eros 26 7.00
3677— Euripides 27 8.00
3678-Faun 26 7 00
3679— Fighting Gladiator 28 8.00
3680— Flamingo Boy 20 4 00
3681— ■' " 20 4.00
3683— Flora 14 2.00
3683— 6irl, by Donatello 19 4.00
3684 — Head with one Wing from Pompeii, with
defects of original. 13 3.00
3685-Helena 27 7.00
3686— *Hermes 32 10.00
3687—* " 22 5.00
3688-* " 12 1.50
No. Height, In. Price.
3689— Hero 30 8.00
3690— *Hippocrates 27 7.00
3691—* " 18 3.00
3692— Homer 37 7.00
3693— " 23 5.00
3694— " 15 2.50
3695— Horatius Flaccus 25 6.00
3696— Isis 31 5.00
3697— Juno Capitol 38 8.00
3698— " Barberini 40 30.00
3699— " " 30 4.00
3700— " LudovLsi 36 15.00
3701— " " 14 3.00
3702— *Jupiter, Otricoli 40 25.00
3703—* " " 33 5.00
3704—* " " 33 1.25
3705— Laokoon 27 7.00
3706— *Leucothea 32 15.00
3707—* " lOj 1.00
3708-Lucius Verus 40 25.00
3709— Madonna, (Pieta) v. V. Stoss 24 0.00
3710— Marcus Aurelius 30 10.00
3711 -Mark Antony 38 8.00
3713— Mercury 30 8.00
3713— Minerva 19 4.00
3714- Minerva Giustiani 32 12.00
3715— " " 24 5.00
3716— *Minerva Medica 24 8.00
3717— Medici Juliano de . 24 5.00
3718— Medici Lorenzo de 26 7.00
3719— Moses 37 8 00
3720— Nero 24 5.00
3721— Niobe, Daughter 36 7.00
3722— *Niobe, Mother 32 15.00
3733-* " " 11 1.25
3724— Nun Nurenberg 19 5.00
3725-Omphale 20 5.00
3726-Paris 27 7.00
3727— Pericles 37 10.00
3728-Plato 36 7.00
3729— Psyche Naples 26 7.00
3731— *P8yche on pedestai.Napies .'.".'.".'.'.'..'.'! '. 13 1.50
3732— Raphael 27 8.00
3733 -St. Bruno 10 1.00
3734-Seneca 36 8.00
3735— Socrates 27 7.00
3736- " 21 5.00
3737— Sophocles 27 8.00
3738-Sphinx 24 8.00
3739— *Venus Akropolis 12 1.25
3740— Venus Aries 28 7.00
3741— " Canova 23 5.00
3742— " " 14 2.00
3743— " Capitol 31 9.00
3744— " Capua 32 10.00
3745— " Cnidos 25 7.00
3746— " DeMedici 28 7.00
3747— " DeMilo 34 10.00
3748— " " 16 3.00
3749— " " 14 2.00
3750— " Pergamon, defects of original.. . 18 4.00
3751— Verus Lucius 40 25.00
3752— Voltaire 27 8.00
8753 -*Youth, St. Peters 32 15.00
3754—* •' " 30 5.00
3755-* " " 10 1.50
3756—* " Supplicant 16 3.00
3757— » " ofTarent ...• 161 3.00
GLASSICAL SlAfUARY. BUSfS ^A^AQDELS^
55
liEUCOTHEA— EIRENE.
SUPPLICANT YOUTH.
A J AX
No. 3706—33 in. .. .$15.00 " 3707— lOiin... 1.00
Read Preface before ordering.
TOUTH-ST. PETERS, ROBIE.
No. 3756-16 in.... $3.00
YOUTH OF TARENT.
No. 3757— 16i in. . . .$3.00
HrPPOKRATES.
No. 3624— 40 in.... $15.00 " 3625— 36 in ... 8.00 " 3626— 12 in .. 1.35
For Busts not illustrated see page 54.
No. 3753— 33 in.... $15.00 " 3754-30 in . . . 5.00 " 375.^—10 in. . . . 150
No. 3690— 27 in.... $7.00 " 3691— 18 in. . . . 4.00
No. 3733— 32 in.... $15.00 •' 3733— 11 in.... 1.20
66
cnnnnEGKE G9 Milwaukee «i» eniGf^o^
No. 3758— Height, 8i in.; base, 18 in . .
No. 3761— Height, 12 in.; base, 11 x 6 in $1.80
No. 3760-Height, 22 in.; base, 18 x 8 in. . . .|5.00
No. 3763— Height, 12 in.; base, 11 x 6 in. . . .|1.80
No. 8763— Height, 14 in.; base, 15i x 6 in |4.00
No. 3764— Height, 13 in ; base, 15^ x 6 in . . . .|4 00
GLASSICAL SlAfUARY, BUSfS Aip/^ODELS^
57
No. 3765— Height, 14 in.; base, 13i x 6 in. . . .$3.50
No. 3766 -Height, 15 in,; base, 23 x 9 in. . . . 15.00 " 8767— " 11 in.; " 15x6 in.... 3.50
No. 3768— Height, 13 in ; base, 30 x 9i in. . . . 16.00
No. 3769— Height, 10 in.; base, 9 x 3i in. . . .13.00
No. 3770— Heiglit, lU ill. ; .spread of wings, 30in ; base, 11 x 11 in. .$5.00
No. 3771— Height, 15 in. ; base, 19 x 6 in. . . .f 4.00
68
cnnnnEGKE G9 /niLWAUKEE^ipenie/^o,
1^
No. 3772— Height, lOi in. ; base, 14 x 8i in. . . $3.00
No. 3774— Height, 5i iu.; base, 9 x 4in. . . .fl.50
No. 3776— Height, 11 in.; base, 14i x Hi in. $4.50
I
.MONTI
IILIIIIIIIHlllltlllllllllliiitlili'lUHinilllllltlllllLiiiHmmiiuuiimminniiiLuimiiiiiimiiliimii
...X
iitiiiiitfl
No. 3773— Height, 20i in.; base, 19 x 9 in. . . .fG.OO
No. 3775— Height, 4 in. ; base, 8 x 4 in ... 10.40
No. 3777— Height, 7 in.; base, 11 x 5 in. . . .|1.50
"^'■'■'iittM^M"^"^
No. 3778— Height, 7 in.; base, ^^ x 5 in. . . .$1.50
No. 3779— Height, 8i in.; base, 12 x 5 in. . . .11.50
GLASSICAL SlAfUARY. BUSfS ^^lAQDLlSj?.
69
CUPID'S KEPOSE.
LION OF LUZEKNE.
ft 'I X ^)
No. 3780— Hoiglit, fi in., I)ase, l-'J x 6i in....|3.50 ARIADNE AND PANTHER.
No. 3781— Height, 11 in. ; base, 17i x 8 in |4.00
" 3783— " 4iin.; " 7i x 7J in. . . . 1.00
DESERTED ARIADNE.
No. 3783-Height, 21 ill.; base, IT xS iu... $10.00 " 3784— " 15 in.; " 13ix5iin.... 5.00
No. 3785- Height, 17 in.; base, 23 in. . . . 17.50
BOY WITH TX7RTLE.
BOY AND GOOSE.
THORN EXTRACTOR.
No. 378(5— Height, 14 in. ; base, 14 x 8 in . .$4.00 No. 3787— Height, 3 ft. . . .$25.00
No. 3788-Height, 3ft »25.00
" 37.89— " 13iin;base,10x5iin 3.25
60
cnEnnECKEeo MiLWAUKEE'ipenie/VQG^
BACCHUS AND ABIADNE.
CXTPID AND PSYCHE.
NIOBE AND DAUGHTER.
No. 3790— Heigrht, 19 in. ; base, 8x7 in..|5.00 ."
No. 3791— Height, 18 in.; base, 6 in. . .|5.00
3791
— ileigh -1— Hei
gilt, 38 in.; base, 11 in. 9.00 No. 3793-Height, 7 ft. 8 in |100.00
" 3793— " 26 in. ; base 13 x&i in. 9.00 " 3794— " 31 in.; " 14x7 in. 6.50
Order by Number only.
Bead Preface before ordering.
VENUS AND ADONIS.
AMOR AND PSYCHE.
Do not mutilate tliis book.
THE THREE GRACES.
No.3799-Heiglit,29in ; base, 17ixll
in flO.OO
" 3800— Height, 21 in ; base, 11 x&i
in 6.00
' ' 3801— Height, 12 in. ; base, 7i x 4i
No.3797-Height,29in.; ba8e,17ixl2 in 3.50
in f 10.00 " 3798— Subpedestal same as shown
" 3798 -Subpedestal for same, as in No. 3797 (Venus and No.3795— Hgt,28in.;ba8e, 10Jx7iin.$10.00 illustrated. Height, 7 in.; Adonis), height. 7 in.; base " 8796—" 13in.; " 5ix3iin. 3.00 base, 20xl4in 2.50 30xl4in 2.50
GLASSICAL SlAfUARY. BUSfS ^i-MQDELS^g
61
POLYHYMNIA.
WELCOME.
EUTEBPE.
No. 3802— Hgt, 45 in.; base, 19 x 12 in. .f 20.00 No. 3803— Hgt, 56 in.; base, 15 in. .$30 00 No. 3804— Hgt, 45 in.; base, 19x 12 in. .$20.00
Please do not cut this Book in making orders. ITo errors will occur if you state the number of article wanted.
AMOB AND PYSCHE.
LAOCOON GROUP.
No. 380.5— llt^jghl, ao 111. " 3806- '■' 16 in. " 3807— " 13 in.
Inisi-,, 26 X 12iin ...$13.00 " 19i X lOi in. . . . 8 00 •' 16 X 9 in.... 5.00
No. 3808-Height, 6 ft. . . .$100.00 " 3809— " 36 in.... 40.00
r , -.p-MlK
62
CflEnnECKE GO MILWAUKEEAi^enie/^0^
TERPSICHORE.
VICTORY.
TERPSICHORE.
No. 88 0— Height, 39 in.; base, 11 in. 115.00 No. 3811— lliight, S8 in.; base, 13i iu..|18.00 No. 381 J- Height, 39 in.; base, 11 in. .f 1.5.00
S£S£*
VICTORY.
HEBE.
No. 3813— Hgt, 60 in. , base, 16 x 13 in . $30.00 No. 3816— Hgt, 44 in. ; base, 13 in . . |30.00
" 3814-'- .50in.; " ISxllin. 25.00 " 3815—" SSin.j " 7J in 4.50
No. 3817— Hgt, 42 in.; base 12 in. . 115.00
GLASSICAL SlAfUARY. BOSfS ^^r\QDE.lSr^
63
VICTORY— To Hang.
BELT BUCKLERS.
AND PATROCLUS.
No. 3818— Height, 37 in. . . $12.00 VICTORY.
No. 3820— Height, 24 in. ; base, 16 x Sin. f 15.00 Pedestal— " 13Jin.; " 19x10 in. 5.00
No. 3819—24 in $7.50
" 3819-1 -16Hn.; base, 7 X 8in.... 5.00
JTTLIANO DE MEDECI.
LORENZO DE MEDECI.
^ llillliiiii^^ No. 3821-Hgt, 46 in.; base, 10 in. .flo.OO No. 3822— Hgt, 3 ft.; base, 15 x 13i in. .$35.00 No. 3823— Hgt, 3 ft.; base, 15x 13iin. .$25.00
64
C/IEHriEGKE G9 MILWAUKEE ^ip GniG/^Q
ij^
MINERVA.
DIANA— GABII.
MARS.
No. 3834— Height, 18 in.; base, 5i in. . . $2.50
No. 3837-Height, 18 in. ; base 6 x 5i in.. f 2.50
MINEBVA.
No. 3825— Height, 6 ft |60.00
•' 3826— •■ 28 in.; base, 8 in... 7 oO
Read Preface before ordering.
HEBE.
CERES.
No. 3828— Height, 7 ft. 6 in |75.00
" 3829— '• 42in.;base, 12x11 in 12.00
No. 3829 is without the snake.
No. b830-Height, 62 in $35 00 No. 3832— Height, 44 in.; base, 16 x 11
" 3831- " 36 in.; base, 10 in.. 10.00 in |1400
GLASSICAL SIAfUARY. BUSfb ^i^'MQDELSi?
65
VE N U8-C ANO V A.
VENTJS IN SHELL.
VENUS- GENETRIX.
No. 3836— Height, 18 In.; base, 11 x 8 in. ..|5.50
No. 3833-Height, 5 ft. 9 in 160.00
" 3g34— '• 34 in.;base, lOin.. 8.00 " 3835— " 23 in.; " 7iin.. 4.00
Read Preface before orderingr.
No. 3837— Height, 6 ft f60.00
" 3838— " 28 in ; base, 8 in.... 7.50
VENUS DE MEDICI.
VENUS— THOBWALDSEN.
APOLLINO DE HEDICI.
No. 3839— Height, 63 in 135.00 No. 3842— Height, 62 in 135.00
" 3840— " 36 in.; base, 12 in.. 12.00 " 3843— '• 38 in.; base, 12x10
" 3841— " 30in.; " 9iin.. 1000 in 12.00
No. 3844-Height, 63 in. . . .}35.00
66
cnenneeKEGo (v\iL-wAUKEEAi»enie/^o^
VENUS— Going to Bath.
CROUCHING VENUS.
VENUS— Coming from Bath.
No. 3846— Height, 48 in *50.00
" 3847— " 17in.; base, lllx6i
in 5.00
Please do not cut this Book in making orders. No errors will occur if you state the number No. 3845— Height, 33 in.; base, 10 in.. $10.00 <jf article wanted.
4-
OBEEK SLAVE.
VENUS DE MILO.
VEMU.- OF BATH
No. 3848-Height, 35 in.; base, 12 in..|10.00
Read Preface before ordering.
FLORA.
No. 3853-Height, 7 ft 150.00
No. 3849— Height, 66 in $60.00 " 3854- " 42 in; base, 12^ in. . 12 00
" 3850— " 40 in ; base, 12 in.. 12 00 " 3*55- " 3tin.; " 10 in.. 9 00 " 3851— " 19 in.; " 6in.. 3.00 " 3856— " 23 in.; " 7iin.. 4 50 " 3852- " 14iin.; " 4in.. 150 " 3857— " 19in.; " 5 in.. 3.50 No. 3858— Height, 42 in.; base, 12 in.. $12.00
GLASSICAL SIATUARY BOSfS ^i.^MQDELS^
67
HERCULES— FABNESE.
ABOTINO— Listening Slave.
GEBMANICtJS.
/ \
No. 3861— Hgt, 16 ft 160.00
" 3862— •' 17in.; base, 15x7iin... 6.00
No. 3859-Hgt., 10ft flOO.OO
" 3860— " 29 in.; base, 10 in 7.50
PSYCHE.
Please do not cut this Book in making your orders.
MOSES.
No. 8868 —Hgt., 6 ft. " 8868-1— •• 32 in..
.$75.00 . 7.50
EBATO.
No. 3864-Hgt., 86 in.
"~~™«'««*iiijijia^
No. 8865— Hgt., 46 in. ; base, 12 in. . . . 112.00 .125.00 •' 3866— " 24 in.; " 7iin.... 4.00 No. 3867— Hgt., 26 in., base, 14 x 11 in.. 17.00
68
CMEnnEGKEGO MILWAUKEE "iP eniG/^G/
SUPPLICANT YOUTH.
FAUN.
ANTINOUS.
No. 3868— Height, 54 in • • • •|25.00
" 3869— " 31 in. ; base, 7 in. . . 7.00
No. 3871 -Height, 6ft |7").00
No.3870— Height, 39in.; base, 10ix8 .. ssTi— " 35 in., base, 7i in. . 5.00
in fO.OO
BACCHUS.
FAUN.
ACHILLES BOROHESI.
XT ncr,. TT • . . « i:. . • »o,= An ^^BHiailM^
No. 3874— Height. 7 ft. 4 in |85.00
No. 3873 -Height, 5 ft., base, 15 in... tSO.OO " 3875— " 45 in.; base, 14 in. . . 15.00 No. 3876— Height, 5 ft; base, 15 in. . .$30.00
GLASSICAL SIAfUARY. BUSfS ^ipnQDELS^
69
SLAVE.
THE CYKLOP POLYPHEM.
Throwing Stone at Odysseus.
CINCINNATTJS.
I
No. 3877— Height, 46 in . . . f 12.00
No. a87'J— Heiglit, 6ft., $100.00
" 3880— " 27 in. ; base, 14 X 9
in 9.00
No. 3878— Height, 17 in.; base, 7i x 5 in
13.00
BOXEK.
FIGHTING GLADIATOR.
BOXER.
A
:^^ —T--~- -v™=' HI
^*-*-l«**B|^^ No. 3883-Height from toe to head, 0 ft.;
^^™^^^ base, 46x28 in 175.00
" 3883— Height from toe to head, 41 in.;
No. 3881— Height, 4 ft.; base, base, 23 x 13 in 12 00 No. 3885— Height, 33 in.; base,
27xl3in fl6.00 " 3884— Height, 34 in.; base, 16 x 7 in 10.00 19 x lOi in |12.00
70
Cl
.flEnnEGKEGo MILWAUKEE«L^enie/^0,
Ij^
MEBCTTRY.
SILENUS AND INFANT BACCHUS.
MERCURY.
No. 3886-Height, lOi in. ; base, 4i in. |3 00
No. 3889— Height. 63 in |40.C0
" 3890— " 23 in ; base, 8i in . 5.00
No. 3887— Height 48 in |)5 00
" 3888— " 32 in 6.00
Bead Preface before ordering.
Order by Number only.
Do not Mutilate this Book.
ATLAS.
HERMES.
No. 3891— Height, 7 ft. 8 in. " 3892— " 30 in
.flOO.OO
FAUN.
No. 3891- Height, 00 in 150.00
10.00 No. 3893— Height,:49in.;base, 13in..$ll.Q0 " 3895— "„. 34 in.; base, 11x9 in. 6.00
GLASSICAL SlATiJARY. BOSfS '^ii'/^QDELS^
71
DISCOBOLUS OF MYRON.
NABCISSXJS.
DISCOBOLUS OF NAUCYDES.
No. 3896 -Height, 6 ft. .. .885.00 " 3897— " 38 in... 6.00
APOLLO SAUROKTONOS.
■illll
No. 3901— Height, 68 in. . . .$50.00
No. 3898— Height, 36 in. ; base, 11 in. . . .|5.00
AMAZON.
No. 3899— Height, 6 ft. . . .»65.00 " 3900— •' 25 in.... 4.00
BACCHUS.
No. 3902— Height, 7 ft. . . .flOO.OO
No. 3903— Height, 63 in . . .|50.00
72
cnennEGKEGo /Milwaukee ^ipeniG/^o.
ij^
SOPHOCLES.
DEMOSTHENES.
ABISTIDES.
No. 3904— Height, 7 ft ; . . . . $100.00
" 3905— " 36 in.; base, 13x8 in. 12.00
No. 3906-Hgt., 36 in.; base, 13x8 in. .$13.00
No. 3907-Height, 7 ft $100.00
" 3908— " 36in.; base, 12x8 in. 12.00
Bead Preface before ordering'.
AESCULAPIUS.
FLYING MERCURY.
No. 3909— Height, 7 ft $100.00
" 3910— " 36in.;base, llxSiin. 13.00
No. 3911— Hgt., 35 in.; base, 7 in. ..$7.00
Height given is from base of Pedestal to top of finger.
Order by Number only.
HYGIEA.
No. 3912-Height, 6 ft $75.00
GLASSICAL SlAfUARY. BUSfS ^^lAQDLlSr^
73
FLYING MEBCUBY.
AP0XY0MEN08.
ADONIS.
No. 3914— Height, 6 ft. ; base, 16 In. . . |40.00
No 3915-Height, 7 ft. . . .|80.00 " 3916— " 42 in 15.00
DIANA.
No. 3917-Hgt.. 7 ft. 6 in |85.00
" 3918- " 37 in.; base, 13 in. 15.00
iilMlllllllllllllllllllllllllllHIIIIIIIIIIHIIIIIIIIIIl liiiiiiiiiimiiiil
No. 3919— Height, 9 in. . . .|3.00
No. 3920— Hgt., 7 ft $85.00
" 3931— " 34 in.; base, 14^ in.. 15.00
74
cnEnnEeKEGQ MiLWAUKEE«i»ertie/^o^
TWILIGHT.
DAWN.
>\ |
P |
\vl!L |
jl-,- ,- ^i-^ |
^.r^^^fl |
No. 3933— Height, 22 in; base, 20x9 in . . .$15.00
WRESTLERS.
No. 3924- Height, 23 in.; base, 20x9 in. . . . 115.00
MEBCtTRY.
DYING GAUL.
No 3926-Height, 7 f t . . flOO.OO No. 3927— Height, 14 in.; base, 26x13 in, . . |6 00 No. 3938— " 9 in.; " 17x7,'.^ in,... 3 00
No. 3925-Height, 16 in ; base, 19 in. . . .89.00
NIGHT.
V 1
I1S7SK J. ii ,,«t««^
No. 3929— Height, 12 in.; base, 8x6. . . .§3.00 DAY.
No. 3930— Height, 32 in.; base, 20x9 in. . . .|15.00
No. 3931— Height, 22 in.; base, 30x9. . . .f 15.00
GLASSICAL SlAfUARY. BUSfS i^nSDELSj?
75
vM:^m
Please do not cut this book in making orders. No errors will occur if you state the number oi article wanted.
No. 3933— Hgt., 33 in.; diam. on top,
14iin 18.00
No. 3933— Height, 38 in,; base, 13 in.;
diam. on top, 13i in $7.00
No. 3934— Hgt., 36 in ; diam. top plate,
9 in 18.00
No. 8935— Height of pedestal alone, 40i in.; base of pedestal, 11 in.; top plate, 9i in.; price of pedestal alone. . .$8.00
No. bii;iO— Height, 37 in.; base, 21 in. ; diameter on top, 18 in ; height, including castors, 40 in J28.00
76
e.nEFinEGKE GP /nilWAUKEE^i? cniGi^o^
No. 8938— Height, 11 in.; shelf, 14x13
in $6.00
" 3938-1— Height, 9in.; shelf, 12
X 12 in 5.00
All brackets have hooks.
No. 3987— Height, 14 in. ; shelf, 9Jx6}
in 13.00
No. 3940-Height, U in.; shelf, 16i x ISJin. |5.00
f'^i'^C
No. 3939— Height, 111 in.; shelf, 8x8
in $2.50
No. 3913— Hgt., 17 in.; shelf 12x12 in. f5.00 " 3943 1—" 14 in.; " 10x10 in. 4.00
No. 3942— Height of pedestal, 43iin.; base, lU in.; top plate, 9i in.;
price of pedestal ».. rn
No. 3941-Height, 14 in.; shelf, 9i x 8i in... .$3.00 alone $8.00 No. 3944-Hgt., 14in.;shelt, 8i x8i in. $d..)0
GLASSICAL SlAfUARY, BUSfS ^A^AQDELS^
77
VINCENT RELIEF.
ORPHEUS, ETJRYDICE AND MERCURY.
MANIKIN.
No. 3945-11 ill. . . .$2.00
No. 3946-44 x 38 in. . . .|1.') 00 " 3947—11 X 10 in 3 00
Modeling human foot in clay showing the work in different stages. All have a base.
No.
3994— 6 in. |
Hardwood. . |
. .$ 1.75 |
3995— 9 in. |
" |
. 3.35 |
399B— 12in. |
Softwood.. |
. 200 |
3997—15 in. |
. 2.50 |
|
3998-18 in. |
. 3.00 |
|
3999-31 in. |
. 4 00 |
|
4000— 24 in. |
. 5.00 |
|
4001-30 in. |
. 8.00 |
|
4003-36 in |
. 12 50 |
No.3948— 13in....fl.50
No. 3949—13 in.... 11.50
No. 39.50 -13 in... 11.50
Modeling human hand in clay Showing the work in different stages. All have a base.
Male and female lay figures, life size, dressed in tricot, with joints on all limbs and stand to rest upon, each, $135.00
No. 3951—16} in . . .$1..50 No. 3953-16i in. . . .$1-50 No. 3953— 16i in. . . .$1.50
Modeling the bust in clay. Different stages of work shown.
No. 3954— 12 in... il. 00
No. 3955-18iin..$3..50 No. 3956-18i in. .*2.50 No. 3957-18} in. .$2.50 No. 3958— 18} in. .$2.50 No. 3959-18 in. .$2.50
78-
cnEnnECKE g? milwaukeea4j enie/^0^
LEKYTHO— AMPHOKA .
All Vases are plain white.
GREEK AMPHORA.
i.a^%P^
^fflgllBlgT-BBgiaglagl
No. 3960— 10 ia.... $1.60
HYDRIA.
No. 3964-10 in ...|1.25
GREEK KRATER.
AMPHORA.
No. 3961—8 in ...f 1.00
GREEK AMPHORA.
Panathenaic.
AMPHORA.
No. i59t33— Sin fl.OO
LEKYTHO-AMPHORA.
No. 3963— 10 in |1.50
HYDRIA.
No. 3965-9 in ...|1.00 No. 31,66-9 in. .. .f 1.00
LEPASTE.
No. 3967— 9in....|l.S5
KRATER.
No. 3969-5 in.... f 1.00
KYLIX.
No. 3968-9 in.... $1.25 No. 3970— 5 in. .. .♦1.00 No. 3971- 9 in. . . .*1 25
In some of the Vases, the more exposed handles are cast in metal, wliit^li is eoloi-ed uniformly with the rest.
GLASSICAL SIaTUaRY. BUSfS Aii>AQDELS^
79
LECYTHU3.
Please do not cat this Book in making orders.
LEBES.
No. 3973-13 in... »1.35 No. 3!)73— 10 in . . .|1.3.5
ETBTTSCAN VASE.
LECYTHUS.
&.
No. 3977— 7iin....|1.2,5 GREEK.
No. 3976— 10 in... 11.00
ABYBALLUS.
OENOCHOE.
No. 3974— 10 in ...|1.25 CANTHABT7S.
No. 3978— 8 in... 11.25 LEBES.
No. 3979— lOi in. .11.00 No. 3980—9 in. .|1.00 No. 3981-9 in. .$1.00
GREEK VASE.
GREEK JXTO.
GREEK.
ANCIENT JUG.
PROCHOUS.
No. 3975—10 in fl.OO
MODSBN.
No. 3982—10 in... |1.00
MODERN.
No. 3983-10 in . .fl.OO No. 3984-8 in. .75c. No. 3985-8 in. .7.ic No. 3983-7 in. .75o. No. 3987—10 in. .|].25
80
cnennEGKE e9 Milwaukee "i? enicrt^o^
WIBE STATUE STJPPOKT.
BUST SUPPORT.
HODELING BOABD.
No. 3989-18 X 7 in. eaFcl only. .60c. Will hold a plaque 18 x 16 in.
No. 4003— 15 X 13 in.
.13.00
MODELING STAND FOB WORK IN BELIEF.
No. 3990.
No. 3991.
ADJUSTABLE COMBINATION STAND.
For modeling, drawing, placing drawing niodol.s, on, etc. It can be extended from 3 ft. to 6 ft. It is made of wrought iron, except the top, which is wood, and 14 x 13 inches.
No. 40O4— Hgt.. 13 in ; ba.se, 14 x 11
in.; top, 14 X 13 in ...|3 35
MODELING STAND.
For Busts and Statues, with revolving top.
No. 4005— Hgt, 50in.; top, 15 in |4.QP
" 3988— with a screw column, can be extended 3H't. to4ift.
EASEL FOB SUPPORTING MODELING BOABD.
No. 3993-Stand only . . .$6.00
No. 3993-Stand only . . .«6.00
No. 4006— Hgt, 66 in. ; width at base, 33 in. .|3.25
GLASSICAL SlAfUARY. BOSfS ^^lAQDtlSji
81
KINDERGARTEN BRICK AND BUILDING BLOCKS.
After studying the various activities of children, Froebel arrives at the conclusion that " play is the natural, the appropriate busi- ness and occupation of the child left to his own resources. The child that does not play is not a perfect child." Here, then, we have a philosopher's statement that play is appointed as a means of developing the powers of the child ; it teaches them to observe, to invent, to construct. Concerning the latter he says, " I see that they invent and construct ; but often awkwardly and aimlessly. I can avail myself of this instinct, and open to it a definite field of action. I shall prompt them to invention, and train them in the art of con- struction. The materials I shall use for this end will be simple ; but in combining them together for a purpose, they will employ not only their knowledge of form, but their imagination of the capabilities of form. In various ways I shall prompt them to invent, con- striiot, contrive, imitate, and in doing so develop their nascent taste for symmetry and beauty. And so in respect to other domains of that child-action which we call play, 1 see that I can make these domains also my own. I can convert children's activities, energies, amusements, occupations, all that goes by the name of play, into instruments for my purpose, and, therefore, transform play m to work. This work will be education in the true sense of the term." And when Froebel came to reduce his theory to practice, he devised many processes to represent the principles he advocated, among them practising the senses of the child with a definite purpose ; teaching it to observe the properties of objects ; counting ; getting notions of form and color ; drawing ; building with cubical blocks; modeling in wax or clay, etc. What more interesting and profitable exercise to the child than the building blocks afford, could we desire V The shape of each block is a study. But what an exercise for its inventive faculty ! It will build and tear down again, re arrange them in a new way and after a brief enjoyment of the structure, think of a better way in which it can be built ; and the house, church or bridge is razed or broken down and an improved building erected. The separate pieces are all carefully scanned with reference to their fitness in a certain position ; the number necessary is determined and the counting of the bricks on hand, of spandrils and arches ready for use ; the whole performance of the child showing a seriousness, an intenseness of interest and application that cannot but aid the whole mental growth of the child. And shall we withhold from the child suQh simple means for his education ? Should not every household be suiiplied with a box of geometric solids and planes, building blocks, paste-board and scissors, paper for folding and cutting, clay and wax for modeling ? Then if no kindergarten is near where the child can attend, it has a few of the materials at hand through which it can gain entrance to the world of facts and form ; by means of which its slumbering faculties can be awakened and the dominant activities determined.
No. 10.
No. 7
2x1 xH.
No. 4.
No. «
IxHxK
No. 1
IxJ^x'i
1 X 1 X 1^
IHxlx}^
The above diagrams show the exact shape and size of our Kindergarten Bricks. To place them within the reach of all we offer tlieni at the very low rate of |1 00 a box ; they are assorted as per list given below and packed in neat boxes. By the use of these blocks a child can budd houses, churches, crosses, steps, columns, bridges, etc , in a numberless variety of styles.
ASSOBTED BOX KINDEBOARTEKT BBICES.
No. 1-Number of brick in box 13 No. 7- Number of brick in box
2—
3-
4
5
6
7-
8-
9-
10-
11-
12-
.20 . 4 . 1 . 1 . 2 . 2
No. 13— Number of brick in box 1
14- 15- 16- 17-
I
Total number in box, 75,'price, $1.00.
Special prices in large quantities.
No. 4034— Froebel Monument, Cube, Cylinder and Ball, height, 12^ in fl.OO
No. 4035— Froebel Bust, height, 28 in ... |8.00. No.t4036— Froebel Bust, height, 16 in. . . .|8.00.
82
CMEnnEeKE GO MILWAUKEE'ifeme/^O^
MODELING TOOLS FOR CLAY, PLASTINA OR WAX.
No 4014—8 in per doz., $3.00
No. 4007—8 in per doz. |4.00
No. 4008— 8 in.... per doz., $3.00
No. 4015— 8 in per doz., |3 00
To form a correct idea of the size and shape of the Modeling Tools we have added full size of sectional ends, except in Nos. 4009 and 4010, which admitted giving size in figures.
No. 4009-8 in per doz , $4.00
Hennecke's Modeling Tools, are made of polished boxwood, and are the most practical tools made. By looking at the full size sectional views you will observe that the 8 make j6 distinct tools. We will send sample set of 8 tools, post paid, for JJ3.00.
Any size or shape of modeling tool made to order at a pro- portionate cost.
Modeling tools made of any other material than boxwood, cocoanut, ebony or boue, will not work satisfactorily because they "drag" the clay.
No. 4016--8 in . . .per doz., $4.50 FLEXIBLE TOOL FOR LARGE WORK.
No. 4010—9 in per doz., $6.00
STEEL IVIODELINa TOOLS.
No. 4017—10 ill. . . .per doz., 16.00 " 4018— 12 in " 7.30
RASP FOR PLASTER.
No. 4030-9 in per doz., $9.00
KNIVES FOR MOULDING. Concave on one »ide and convex on the other side.
No. 4019-9 in per doz., $6.00
No. 4026—5 in. long each, $ .60
" 4037— 7 in. " " ,80
Hennecke's Prepared Modeling Clay, is of a light stone color, brings out light and shade to perfection, is very pleasing lo the eye. works well, is very plastic, not sticky, will not shrink, and never cracks when properly used; after once trying our prepared clay you will use no other as the price is not higher than that charged for common clay, and it is far superior. The clay can be used over again— the oftener it is used the better it works If clay gets too dry add water, but knead thoroughly; if too wet then dry it. To keep clay in perfect working condition, it should be kept in a covered earthen jar; cover the entire lid with a coarse woolen cloth, burlap, orcott'ee sack, between this and cover sponge, which keep wet enough so the moisture will not drip on the clay.
Should Prepared Modeling Clay get frozen, then knead thoroughly before using .same. Plaster of Paris for Casting, by the Barrel (large) $3..50. Modeling Clay per lb. 3 cts. Plaster of Paris, extra good quality, per bbl. (300 lbs), $5.60. Plastina per lb. 60 cts. Mod- eling Wax per lb. 60 cts.
GLASSICAL S1ATLIARY. BUSfS ^^AQDELS^
83
ATOMIZEB FOB MOISTENING CLAY.
OAST STEEL DIVIDERS.
^:
No. 4021.... $1.00
No. 4028 - 5 in each, |0 50
" 4029— Tin " .60
" 4030— 9 in " .75
" 4031— 12 in " 1.00
" 4032— 15 in " 1.50
" 4033-18in " 2 00
DOUBLE CALIPERS.
CALIPERS.
No. 4022
No. 4011— 4 in.. |
. . each, 30c |
" 4012— 6 in.. |
. . " 40c |
" 4013— 8 in.. |
. . " 50c |
No. 4028— 4 in 40c.
" 4024— Sin ...50c. " 4025— 6 in .. .00c.
No. 4022 Combined Modeling and Drawing Table, price $6.00. This does not include the Drawing Board. Height of table 30 in., length, 26 in., depth 24 in. Other sizes made to order. This table has a drawer for tools, clay, etc. ; also a small drawer in same to receive any waste clay on top of desk through the cover fitting close in top of table. The drawing board when not in use can be put in its place as shown in illustration in a second. The easel to place casts and drawings against can be folded, and drops down through an opening between the table and drawing board at pleasure.
MODEL DRAWING.
A valuable book for teachers and for self-instruction, containing the Elementary Principles of Drawing from solid forms, with 20 single and 6 double-page plates. Cloth, |1.25, post paid. This book contains a course of lessons designed to teach the elements of Model Drawing and Perspective, and to encourage drawing from the ob.jects instead of from copies. The latter is considered by the foremost educators in all countries a waste of time, yields no results, and deadens the interest in the study of Art. " It is not the shadows of things, but the things themselves, which should be presented to youth."
PLASTINA.
A New Plastic Material for the Use of Sculptors and Modelers.
This new material does not get dry as is the case with clay, nor harden like wilx, but always maintains its plasticity and softness. Plastina, not being soluble in water, will not adhere to chalk, nor les.sen its cohesiveness when a cast is taken. It makes it possible to take the cast of any form without altering the .smallest details of the model. In collo.ssal models, where the great disadvantages Inseparable from clay are more felt, the superior value of Plastina is shown, even better than in small models. With Plastina the largest models can be executed hollow ; and as it contains no water that can evaporate at an ordinary temperature, it is not injurious to the health. Two precautions only are required, viz.; 1. To wrap the iron supports of models in paper. 2. To brush the mould with oil, instead of soap. Finally, I*lastina, while excluding all the disadvantages of the modeling process connected with the use of clay, preserves and enhances all its advantages. Per lb. 60 ets.
84
c.nnnnKKE gp MiiwAUKEE^ip cmcK^Oj^
No. 4037— Section of Carvers' Table, showing Screw.
No. 4041— Hand Screw. . . .10 in., 30c. 12 in , 40c. 14 in., 50e.
No. 4038— Clamp... 2J in., 25c. 4 in., 45c. 6 in., 70c.
No. 4039— Oil Stone . . .40c.
No. 4042— Carvers' Punch... 30c.
No. 4040- Oil Stone in Mahogany Case . . .$1.00.
No. 4043— Knife used for Kerbschnitt, Blade, 2i in 50c.
Bead preface before ordering.
M |
^^V |
^ |
E^-^ |
■9^^^ |
'3 |
/^ |
|
\ |
V' |
y/ |
|
JSL^ ^ |
J|^ |
C ^ |
|
/A^^ > |
<F |
x^ |
|
v^^^^ |
\^^ |
||
vS |
^^n^ |
^ |
/^ |
^ |
W>C/ |
^ |
^ ( |
^^^^ |
9 |
^^ |
|
M |
k/>VV |
Vi |
vr\ |
This illustration is a sample of Kerb- schnitt described on page xlix.
No. 4045— Set of Six Carving Tools. . . .$1.50.
These Tools are forged from best quality of Steel, and are sharpened ready for use. They have rosewood handles and are put up in walnut boxes.
GLASS! GAL SIATUARY. BUSfS ^^MSDELSjs
85
ADDIS LONDON CARVING TOOLS'
4046 4047 4048
4049
4050
4051
4053
4053
4054
4055
4056
4057
Inches. |
Inches. |
Inches. |
Inches. |
Inches. |
Inches. |
||
Nos. |
y^ |
^ |
y^ |
y^ |
1 |
134 |
|
Per doz. |
Per doz. |
Per doz. |
Per doz. |
Per doz. |
Per doz. |
||
4046 and 4047 |
1 4 80 |
$ 4 80 |
$ 5 60 |
f 6 40 |
1 6 80 |
1 9 30 |
|
4048, |
4049, 4050, 4051, 4052, 4053, 4054 |
5 60 |
5 60 |
6 60 |
7 40 |
7 80 |
10 80 |
4055 |
6 40 |
6 40 |
7 30 |
9 60 |
11 30 |
16 00 |
|
4056 |
6 40 |
7 30 |
9 60 |
11 20 |
12 80 |
19 30 |
|
4057 and 40.58 |
6 80 |
6 80 |
7 60 |
10 40 |
13 00 |
16 00 |
|
4059 |
6 80 |
8 40 |
10 10 |
13 00 |
14 40 |
19 00 |
|
4060 |
6 00 |
6 00 |
6 00 |
8 40 |
10 10 |
14 40 |
|
4061, 4063, 4063 |
6 80 |
6 80 |
7 60 |
HI 40 |
13 00 |
16 00 |
|
4064 |
6 80 |
8 40 |
10 10 |
13 00 |
14 40 |
19 20 |
|
4065 and 4066 |
8 40 |
10 10 |
13 00 |
16 40 |
20 40 |
||
4067 and 4068 |
9 30 |
11 20 |
13 80 |
>> > >
4058
4059
4000
4061
4062
4063
4064
4065
4066
4067
4068
cnennEGKEeo MiLWAUKEE^iPcnie/^o^
ISJ
ISJT^
©
Manual Training and Industrial Education Ill — XIII
Art Education... XIV— XVIII
Drawing XIX— XXX
Modeling XXX— XXXVI
Clav Modeling XXXVI— XXXVllI
The Development oftiieVase .....XXXIX— XL
Greek Pottery X^-XLII
Wood Carving....... XLIII— XLIX
Original Composition L
Grecian Mythologv LI — LVI
Biographical and IVIytliological Notes LVII — LXX
Models for Drawing 1 — 5
Conventional Leaf and Flower Forms 6 — 15
Flowers and Fruit 10—19
Historic Ornament 2(1 — 25
Reliefs, Panels and Vases 26 — 29
Tlie Five Orders of Architecture 30 — 31
Historic Ornament 32 — ^33
Hands and Arms 34 — 38
Feet and Legs 39 — 40
Eyes, Ears, Mouth, Nose 41
Torsos 42 13
Human Figure — Anatomical 44
" " —Masks, Reliefs 4-5—19
Animals .50 — 52
Busts 53— i5.5
Animals hC — 58
kStatuary .5!) — 74
Pedestals and Brackets 7,5 — 76
Casts for Study of Modeling 77
Vases 78 — 79
Materials for Modeling 89 — 83
" " Wood Carving 84 — 85
11^
:x:
To Illustrations, and Catalogue of Casts, Busts, Statues, Groups, and Materials
named in "Art Studies."
No. Name. Height, In.
30(XJ— Tetrahedron 5J
30(!1— " 3i
3002— Cube 7
3(X)3— " 4
3004— Triangular Prism 10
3005— " " 6J
30W5— Square Pyramid 10
3007— " " " 7
3008— Oblique Pentagonal Pyramid 12
300<t— '' " ■ " 8
3010— Pentagonal Pyramid 10
3011— " " 7J
3012— Hexagonal Pyramid 10
3013— '^ " 7
3014— Triangular Pyramid 10
301.5— " " 7}
3016 — Hexagonal Prism 10
3017— '^ " 6}
3018— Cone 11
301!)— " 8
302(^— Cylinder 10
3021— " 4
3022 — Cube with depression for sphere 7
3023— " " " " " 4
3024— Octahedron 8
3025- " 5J
3026— Sphere 7
3027— " 4
3028 — Hemispheres (two) 5
3029— Icosahedron 7i
3030— " (>
3031— Divided Hollow Cylinder 8
3032— Spool 8
303:V-Double Frustum 9
3034 — (>oss, St. .\ndrews, or St. Patrick's 8
303,5— Wheel 12
Price. No. Name. Height, lo. Price.
30 3036— Flight of Three Steps 8 75
20 30:W— Boitand Nut 8 60
60 3a^8— Prolate Spheroid 6i 60
40 30;«)— Sheave 5 60
60 3040— Bracket 10 75
40 3041— Double Cross 8 80
60 3042— Ring, Annulet : 8 60
40 3ai3—Oblong Slab with depression SJ 50
75 3044— Part of Ellipsoid, relief. 8 40
4f) 301-5— Oblong witli beveled edges, relief. 8 40
60 3046— Divided Square Pyramid. 8 40
40 3047— Cone in relief. 8J 40
60 3(M8— Five-pointed Star 8 50
40 3049— .\corn in capsule 8 60
60 3050— Battie-ax 8 70
40 3051 — Part of Ellipsoid, relief and mould 75 Per pair, 75
60 3052 — Prismatic Cfrystal, relief and mould 7| " 75
40 3053 — ('one, relief and mould 7| " 75
60 30-54 — Ellipsoid, relief and mould 7* " 75
40 3055 — Hexagonal Pyramid, relief and mould... 7J " 75
60 3056 — Hemisphere, relief and mould 7i " 75
30 3a57— Nine Cubes on Slab 9" 75
60 ,3058— Cross inside of Cube 9 80
30 3059— Ball Ornament 9 80
60 3060— Annulet and Drop 9 80
30 30<)1 — O088 with beveled edges (a) 7i 50
60 .30()2— (;up with Sphere 9 80
30 30(W— Ring with Cone 9^ 80
60 30<>4— Cross with beveled edges (b) 11 70
60 30(>5— Eiglit-pointed Star 9 80
40 3066— Gothic Quatrefoil (a) 7J 50
60 3067— " Trefoil 7| 50
60 30<)8— " Rosette, Wood Carving from choir
60 stall at Maulbronn 8 ,50
60 3069 — Six-pointed Star, mould and relief 5 Per pair, 75
125 3070— Gothic Quatrefod (b) 7J 50
|uj:(YBRsiTr] GLASSICAL SlAfUARY. BUSfS ^^IAQDELSa'^'P
No. Name. Height, in. Price.
;W1— Octagon, relief and mould 7j
:W72 — Conventional Ivv Leaf. 9J
807:^— " Leaf Form 9J
SOU — Annulet and Sphere 8
M075— Rosette, From choir stall at Maulbronn.. 8
S07(i— Conventional Fig Leaf Ornament 8
;H077 — Band Ornament 8 J
o078 — Carviu}.', p^lizabethan Ornament 8}
H07!)— Octofoil »
;W80— Conventional Leaf Form 9*
8081— " " " 9|
3082— Moulding 8J
808;^- Palmetto Ornament (a) 9j
80fU— " " (b) 9J
8085— Leaf Ornament 9j
8086 — Conventional Bud and Leaf Ornament (a) 9j
80.S7— " " " " " (b) 9J
8088— Acanthus Leaf 12
8089 — Conventional Leaf Ornament 12
8090— " " " 9i
8091— " " " 12
8092— " Flower 9i
80i)8— " " 9}
8094— " " 9i
8(J9.5— " Rose (a) 9
8096— " Flower 9
8097— " Rose (b) 9
8098— " Flower 9
8099 — " Ornament, Fragment of Roman Frieze 15J
3100 — Conventional Flower 9
3101— " " Pond Lilv 9
3102— " Palm Leaf ". 8
810:5 — Arum Leaf, natural 5J
3104 — Conventional Fig Leaf. 7
3105— " Leaf 9i
3106— " Flower 9
8107— " Leaf. 9
3108— " Rose Leaf. 9
3109 — Architectural Ornament 11
3110— " " lOJ
3111 — Conventional Leaf 10
3112 — Jlgyptian Lotus Leaf and Buds lOJ
3113 — Conventional Palm Leaf. 10
3114— " Clover Leaf 10
3115— " Fig Leaf. 7J
3116— Acanthus Leaf 12
3117 — Roman ornament, Honeysuckle 17J
3118— Bud llj
3119 — Leaf Ornament, Modern 12
3120— Bud of Poppy 9
3121 — Indian Corn, Conventionalized 12
2122 — Ornament, Fragment of Roman Frieze... 17
312;} — Conventional Sprig 12
3124 — Ornament, Fragment of Roman Frieze... 19
3125 — Roman Acanthus Ornament 1.5J
312(i — t'onventional Leaf Form 12
8127— Pear 7
8128— Orange 7
3129— " 7
8130— Lemon 7
3131— Citron 7
8182— Quince 7
3I3;5 — Pomegranate 7
8134— Apple 7
31:35— Potato 7
3i:i6 — Cocoanut 7
8187 — Conventional Loaf. 12
8i:58— Palm Leaf Scroll Ornament 10}
81:59 — C(jnventional Ornament 12
8140— Scroll Ornament 12}
8141 — Leaf Ornament 12
8142 — Architectural Ornament 10}
3143 — Modern Ornament, Scroll 12
3144— Natural Leaf. 12
3145— Hop Leaves 11}
3146— Natural Leaf Form 9
3147— Oak Leaf. 10
3148 — Virginia Creeper, reverse 14
8149— " " obverse 14
31.50— Currant Leaf. 8A
3151— Chestnut Leaf. lU
:il.52— Twigof Oak 16}
81.53 — Geranium Leaf. 9i
:!1.54— Bomiuet Bracket 13'
815.5 — (Janna Leaf, natural 1.5}
815<) — Plantain Leaf, natural ]7|
3157 — Ornament from Trajan Column 23 3 00
Per ]iair, 75 |
75 |
80 |
60 |
50 |
75 |
60 |
60 |
75 |
75 |
75 |
60 |
60 |
60 |
60 |
60 |
80 |
1 00 |
80 |
80 |
75 |
90 |
1 00 |
90 |
90 |
75 |
75 |
75 |
2 50 |
90 |
80 |
60 |
60 |
40 |
60 |
75 |
60 |
60 |
50 |
60 |
75 |
60 |
60 |
50 |
50 |
75 |
1 25 |
90 |
1 00 |
75 |
1 25 |
2 00 |
90 |
2 .50 |
1 25 |
75 |
50 |
50 |
50 |
50 |
50 |
50 |
50 |
50 |
50 |
50 |
75 |
90 |
90 |
1 20 |
80 |
90 |
1 00 |
1 00 |
1 00 |
60 |
75 |
1 50 |
1 50 |
60 |
90 |
1 25 |
60 |
1 25 |
1 25 |
1 30 |
No. Name. Height. In.
3158 — Dandelion Leaf, natural '>0i!
:515»— Thistle Leaf natural 19'
81(iO — Ornament, Renaissance 19}
3161— Leaf Form u
3162— Modern Scroll Ornament 171
31(«— Lizard 5'
31(>4— Frog r,
316.5— Water Adder 15
31()«— Strawberrv Leaf. r>?
:5167— British Oak Leaf 18
3168— Rose Leaf. 7}
316!)— Ornament, Grapes, Leaves and Fruit 22
3170 — Lotus Ornament 21
8171 — Scroll Ornament, Leaf, Bud and Fruit.... 22
8172 — Burdock Leaf (natural), obverse 16}
817:> — Geraniumand Aconitum Leaves (natural) 11}
:5174 — Burdock Leaf (natural), reverse 16}
;5]75 — (Jhestnut Leaf. i(i
8176 — Acanthus Leaf, from a Roman can- delabra 23
3177— Chestnut Leaf 20
3178 — Leaf Ornament, Renaissance 24
3179 — Apples, sprig 13
3180 — Apples, small sprig 12
3181 — Pomegranates, sprig 17
3182— Pears, sprig 11}
3183— " " large 11}
3184 — Apples, sprig n'
:5185— Figs, sprig 17^
3186 — Apples, sprig 14
3187 — Quince, sprig 18}
3188— Pears, sprig 14
3189— Crab AppleS; sprig 14}
3190 — Peaches, sprigs 17}
;5191 — Oranges, sprig 12'
3192— Grapes and Lizard 15
3193— Figs, sprig 11}
3194 — Pears, sprig 17}
3195 — Geranium Leaf. 10
3196— Grape Sprig 10}
3197— Grapes 17}
3198 — Bouquet of Roses, Daisies and Lilacs 10}
3199— Arum Lily and Leaf. 9?
;5200 — Bouquet of Roses and Carnations 10}
3201— Tulip 14
:5202— Grapes and Birds 10}
3203— Rose Spray 11
;5204— Tiger Lily m
3205— Faith, Hope and Charitv 27'
;5206— Sunflower ". 17}
:5207 — Sijrav of Roses 17I
:5208— Convolvulus 12'
:520i)— Tulip 18
:5210— Hollvhock 17}
;5211— Roses and Fuchsia 28'
.3212 — Daisies, Poppies and Pansies 17i
:i2i;5— Pond Lilv 15"
:5214— Poppy....'. 25
;521 5— Egyptian Lily 15}
3216 — Acanthus Leaf, Italian Reiuiissance 22}
3217 — Sepulchral Monument, Italian Renais- sance, in three sections :54
15218 — Leaf Ornament, Renaissance 12
15219 — Scroll Ornament, Modern Renaissance... 12
3220 — Ornament, Modern Renaissance 12
3221— " " " 16
;5222— " " " 2U
3223— " " " 16'
3224 — Oak Leaf Ornament, Modern Renais- sance 21}
3225 — Ornament, Italian Renaissance 22
3226 — Acanthus Leaf Ornament, Italian Re- naissance 17
3227 — Scroll Ornament, Modern Renaissance... 17 8228 — Oak Leaf Ornament, Modern Renais- sance.. 22
;5229 — Conventional Ornament, Modern 22
3230— Rose Rosette 14
;5231 — Greek Anthemion, Antefi.x to Parthenon. 20}
:52:!2 — Rosette, Roman 14
8283 — Rosette, from Fragment from Villa
Medici, Rome 14
3234— Thistle Bracket 15
3235 — Carved Leaf Ornament, from choir
stall at Maulbronn, Early Gothic 12
3236— Rosette 14
3237— Greek Ornament 15}
323&— Rosette from Pilaster, Villa Medici-Rome 12
Price.
1 30
1 :50
2 25 1 25 1 2;5
25
35
1 25
■W
1 75 (50
2 .50 2 75
2 .50
1 :w
90
1 :50
1 75
1 75
3 00
2 25 " h 1 00 1 25 1 00 1 00 1 00 1 25 1 00 1 25 1 25 1 00 1 25 1 00 1 50 1 00 1 50
75 75 1 25 1 00 75 1 00 1 00 1 00 1 00 1 25
3 00 1 25 1 25 1 00 1 25
1 25
2 .50 1 25
1 50
2 75
1 50
2 75
5 00 90 90 80
1 25
2 25
1 25
2 25 2 50
1 25
1 50
2 25 2 25 2 25 2 75 2 25
2 25
1 25
2 00 2 25 2 00 2 25
88
cnennECKE G9 Milwaukee *is enie/^o^
No. Name. Heisrht, In.
3239— Bracket, Modern 29
3240 — Grape Leaf Scroll, relief carving 17
3241— Gothic Rose Window 8J
3242— " " " 8^
3243— " " " 8j
3244 — Ornament, piece of AV^ood Carving,
Modern Renaissance 25
3246— Vase by Lienard, Paris 22
3246— Gothic'Rose AVindow 10
3247— Moulding 11
3248 — Echinus with Pearl Beading 11
3249 — Leaf Scroll Ornament, Renaissance 17
3250— " " " " 12
3251— " " " " 17
3252— Greek Fret Moulding 11
3253— Scroll Ornament Moulding II
32.54— Acanthus Leaf Moulding... 11
3255— Moulding 11
3256— Guilloche Moulding 11
3257 — Leaf bud on ogee moulding, Lesbian
cymatum 11
3258— Double Twist 11
3259— Moulding, with Leaf and Rosette 11
3260— Moulding, with Spray of Flowers 11
3261— Flower and Fruit Moulding 11
3262— Relief, St. John, by Donatello 21
326:3— Wreath 16
3264— Relief, St. Cecilia, by Donatello 21
3265— " " " 9
3266 — Boy Musicians, Relief by Luca Delia
Robbia 11
3266-1— Boy Musicians, Relief by Luca Delia
Robbia 41i
3267— Singing Boys, Relief by Luca Delia Robbia 20
3267-1— " '^ " " " 40f
3267-2—" " withScroll, Relief by Luca
Delia Robbia 40|
3267-3— Singing Boys, with Scroll, Relief by
Luca Delia Robbia 20
3268 — Playing and Dancing Boys, Relief by
Luca Delia Robbia 11
3268-1 — Playing and Dancing Boys, Relief by
Luca Delia Robbia.. 41J
3269— Spring, by Pigghi, Paris 18
3270 — Symphony, by Ernst Haehnel 17
3271 — Autumn, by Pigghi, Paris 18
3272 — Summer, by Robbia 10
3273 — Cupids, by Francois du Quesnoy, (II
Fiammingo) 39
3274— (Given as No. 3247)— Winter, by Robbia, 10
3275— Owl, Night 26
32,6— Spring, by Robbia 10
3277— Autumn, " 10
3278— Owl, Day 26
3279— Stork, Panel (a) 25
3280— Game 20
3281— Fish 20
3282— Stork, Panel (b) 25
3283 — Moorish Ornament from the Alhambra... 16
3284— " " " " " ... 15A
3285- " " " " " ... 15|
3286 — Silver Drinking Cup, German 8|
3287 — Moorish Ornament from the Alhambra... 15i
3288— Vase de Medici 16"
3289— Modern Vase 16
3290— Cellini Vase 18
32<J1— Modern Vase 16
3292 — Grotesque, Modern Wood Carving 22
3293— Encarpa, Wreath 17J
3294— Ornament, Wood Carving, Panel 25
3296 — Fragment from Roman Frieze 30
3296— Grotesque, Italian Renaissance 17i
3297— -Ornament from Frieze Notre Dame, Paris 39
3298^0rnament, Wood Carving, Renaissance... 26
3299— Entablature and Capital, Composite order 19
3300— " " " Corinthian " 19
3301— " " " Doric " 16 ;i302— Base and Pedestal, Comi)Osite order 18
3303— " " " Corinthian " 18
3304— " " " Doric " 16
3305— Entablature and Capital, Ionic order 16
3306 — Base and Pedestal, Ionic order 16
3307 — Entablature and Capital, Tuscan order... 16
330a-Base and Pedestal, " " ... 16
33C9— Capital, from Portal St. Maria de Mira-
coli, Venice — Italian Renaissance 18
3310— Capital of Pilaster, Palace Vecchio, Flor- ence— Italian Renaissance 11
Price. |
2 50 |
2 50 |
1 00 |
1 00 |
1 00 |
2 75 |
3 50 |
1 50 |
80 |
80 |
1 25 |
90 |
1 25 |
80 |
80 |
80 |
80 |
80 |
80 |
80 |
80 |
80 |
80 |
3 50 |
1 75 |
4 00 |
1 00 |
1 50 |
18 00 |
4 50 |
12 00 |
12 00 4 50 1 50
.8 00 |
2 50 |
3 00 |
2 50 |
75 |
6 00 |
75 |
1 50 |
75 |
75 |
1 50 |
1 50 |
2 .50 |
2 60 |
1 50 |
1 50 |
1 50 |
1 50 |
1 .50 |
1 50 |
3 00 |
3 00 |
3 00 |
3 00 |
3 00 |
1 25 |
2 50 |
3 50 |
1 50 |
3 50 |
3 (X) |
3 75 |
3 76 |
3 76 |
3 75 |
3 75 |
3 75 |
3 75 |
3 75 |
3 75 |
3 75 |
4 CO |
2 00 |
No. Narap. Height, in.
3311 — Capita] from Temple Church, London,
Gothic 1.5J
3312 — Capital from Stone Church in Kent, Gothic 172
3313 — " Italian Renaissance 18
3314— " " " 18
331.5— " " " Ml
,3316— " Byzantine 8
3317— Griffin 18
.3318— " 18
.3319 — Gothic Panel, from Church in Bonn 21
3320 — Fragment from the Ercchtheum 26
3321 — Roman Acanthus Ornament, from tlie
Palace Mattel, Rome 23
3322— Bas-relief from Church St. Maria dei
Miracoli — Italian Renaissance 24
3323— Greek Moulding 28
.3324— Ornament from the Villa Medici, Rome.. 33 332-5 — Fragment of a Roman Frieze, in three
sections 40
3326 — Fragment of an Ancient Roman Frieze,
•.n three sections 40
3327 — Roman Acanthus Leaf Ornament 25
3328— " " " 19
3329— From the Gates of the Baptistery, Flor- ence, by Lorenzo Ghiberti, in three
sections 38
3330— Hand, open 10
33.31— Hand, holding scroll 12
3332— Hand of Female 9
3333— Hand of Male 12
3334— Arm and Hand of Child 10
333.5— Hand of Child 6
3336— " " " 7
33.37 — Right Female Hand, with pen 11
3338— Hand 11
3.339— Hand, grasping staff. 10
3340— Upturned closed Hand 9
3341— Right Hand of Infant 6
3342— Left Hand of Girl 6
3343— Hand of Infant, left 7
3344— Bov's Hand, left 8
334.5— Right Hand of Youth 11
3346— Child's Hands crossed 5J
3347— Girl's Left Hand 10
3348 — Left Male Hand, with fingers turned in- ward 10
a349— Boy's Fist 7
33.50 — Child's Hand, grasping apple 5
33.51— " " '^ rod 6
3352 — Left Hand of Youth, grasping rod 7
33.53— Right Hand of Male, '^ " " 12
3354— Right Hand of Infant, " foot 6
335.5 — Right Hand, pointing 11
.3356 — Hands placed upon each other 10
33.57 — Left Hand grasping lightly 12
3358 — Right Arm of Child placed on breast 8
3359— Left Hand of Girl 12
3360— Right Hand of Youth grasping rod 15
3361— Child's Hand 6
3362 — Right Hand holding marble between
thumb and second finger 12
.33a3— Male Hand held upright 16
3364 — Right Hand, anatomical 11
336.5 — Left Hand of Youth, grasping stone 12
3366— Left Hand of Bov 10
3367— Hand of Child, open 6
3368— Right Hand 12
3369 — Female Hand, arm raised 9J
3370— Boy's Hand 7j
3371 — Female Hands, crossed 12
3372 — Left Hand, grasping rod 12
3373 — Grasping Hands, Youth and Infant 8
3374— Right Hand of Child 10
3.375— Hand holding Apple, upright position.... 12
3376 — Left Hand, place<t on open book 12
3377 — Left Hand, without l)ook 10
3.">78 — (;ias])ed Hands of Child 6
3:)79 — Left Female Arm, bent 33
3380 — Right F(unale Arm, hand grasping 27
3381— Right Female Hand 13
3382 — Hand, holding pencil 8
3383 — Clasped Hantfs 7
3384 — Bov s Hand and Fore Arm 11
338.5— Child's Hand 6
3386 — Infant's Hand, closed 5
3387 — Clasped Hands of Infant 5
3388— Right Female Hand 8i
3389— Left Female Hand lOJ
Price.
2 50 |
4 (K) |
1 50 |
4 ftO |
2 50 |
1 25 |
1 75 |
1 75 |
3 50 |
3 50 |
3 00 |
3 75 |
2 75 |
3 .50 |
4 00 |
4 50 |
3 00 |
2 50 |
3 50
1 25
1 25
90
1 25
90
60
60
1 00
1 1-5
1 00
1 00
50
60
.50
80
1 00
90
1 00
1 25
.50 50 60 .50 75 (K) 25 25 25 00 25 ,50
25
00 00 25 25 60 25 .50 76 20 25 50 90 50 50 00 00 50 .50 1 00 76 1 25 1 00 .50 60 60 1 00 1 00
GLASSICAL SlAfUARY. BUSfS ^A^AQDELS^
89
No. Name. Height, in.
3390— Right Hand, holding pencil 8
;«91— Loft Hand, bent at wrist 8
;>^92— Upturned Child's Hand 5
3393— Left Hand, placed on wrist of right hand 11
3394 — Right Female Arm, hand upturned 27
3395 — Male Hand, grasping female hand 13
3396— Arm of Youth, bont. 30
3397— Outstretched Right Arm of Youth 30
3398— Outstretched Right Arm of Youth, finger
pointing 35
3399— Right Hand. 13
3400— Left Arm of Female 18
3401 — Right Arm, showing layers of muscles.... 33
34(I2 — Left Male Arm, placedagainst breast 17
3403 — Hand of the Farnese Hercules 25
34(J4— Left Hand of Female 21
34ft5— t'hild's Right Foot 6
340()— Youth's Left Foot 9i
3407— Child's Left Leg 12
3408— Foot of Child 5
3409— Right Male Foot, heel raised 10
3410— Right Foot of Youth 9*
3411— '^ " Boy 7i
;M12— Legs of Child 10
3413— Child's Leg, bent at knee 18
3414— Left Foot 10
;H415 — Infant Legs, crossed 17
3416 — Anatomical Leg 30
:i417— Left Leg, heel raised 23
3418— Anatomical Foot, right lOJ
3419 — Feet crossed 11
3420— Right Foot stretched forward 11
.•M21— Left Foot of Fighting Gladiator 13
3422— Left Foot with heel raised 12
3423— Right Foot of Fighting Gladiator 13
;>124 — Foot of Farnese Hercules 22
3425— Right Foot of Male 12
3426 — Foot from Apollo Belvidere, heel raised.. 13
:U2-— " " " •' " " 13
3428 — Antique Foot, heel raised 15J
3429— Eve 7
:«30— '"' 8
:M31— Mouth 5
;M32 — Ear, colossal 6
:«:«- " " 7
34:H— Mouth 5
3436— Eye 5
3436 — Face, side view 9
3437— Mouth 5
3438— Right and Left Ear, colossal 10
3439— Right and Left Ear 5
3440— Mouth, from Statue of David 6
3441— Right Eye, from M. Angelo's David 7}
3442-7-Nose, from M. Angelo's David 7J
3443— Left Eye, from M. Angelo's David 7J
3444 — Front view of Female Bust 12
3445 — Arms of Child crossed over breast 15
3446— Male Breast 21
.3447 — Side view of Torso of Hermes 24
3448 — LowerExtremities of Male, by M. Angelo, 13
3449— Female Torso 18
34-)0_ i' " ^ 21
3451— Illyssus' Torso.!.".".'.!'.....!'.!!!.'.'".'.'.'.'.".".."!!!!" 23
,3452— Back view of Male Torso 31
3453 — Female Chest 14
3454 — Narcissus, (mutilated statue) 25
345.5 — Laocoon, (mutilated statue) 21
34-56 — Theseus or Idaean Hercules, (mutilated) 28 3457 — Hercules Torso of the Belvidere, hy Apollonius of Athens, in the Vati- can, (mutilated) 12
34.58 — Genius of the Vatican, 'Centocelli' Cupid,
Eros, (mutilated) 40
3459 — Farnese Torso 19
3460— Psyche Torso, at Naples 39
3461 — (Uierub, Floating in Air 12
3462— " Balancing. 14
3463— " Climbing 1]
34(54 — Anatomical Foot of Horse 13
3465 — Head, showing Muscles of Face and Neck 18
34a5-l— Anatomical Bust 24
3466 — Anatomical Horse 13J
3467 — Bust showing layers of Muscles 26
3468 — Anatomical Figure, by M. Angelo 10
34ti9— " ^' of Human Body 40
.3470— " " " " 72
3471-Head of Child, (a) 8
3472— Sleeping Cupid, Head UJ
75 |
80 |
50 |
1 50 |
2 00 |
1 50 |
2 00 |
2 50 |
250 |
1 80 |
1 50 |
2 50 |
4 00 |
3 50 |
2 50 |
60 |
1 25 |
1 00 |
50 |
1 25 |
1 25 |
1 (K) |
1 50 |
2 00 |
1 00 |
2 50 |
2 50 |
2 00 |
1 25 |
1 35 |
1 00 |
2 00 |
1 70 |
2 00 |
3 50 |
1 50 |
2 00 |
2 00 |
2 50 |
50 |
50 |
40 |
50 |
60 |
50 |
40 |
1 50 |
40 |
1 00 |
60 |
50 |
60 |
60 |
60 |
1 50 |
2 00 |
2 50 |
3 00 |
1 .50 |
2 00 |
3 (X) |
4 00 |
4 50 |
3 00 |
4 50 |
2 50 |
6 00 |
1 25
12 00 |
4 00 |
12 00 |
1 50 |
2 50 |
1 50 |
1 50 |
3 00 |
7 00 |
4 (H) |
7 50 |
1 75 |
9 00 |
50 00 |
1 25 |
1 50 |
No. Name HelKht, In
3473— Head of Child, (b) 8
3474- " " _(c) 9
3475 — Group of Infant Heads 20
3476— Head of Child, (d) 9
3477— " " (e) 10
3478 — Head of St. John, from the 'Crucifixion'
by Rubens 14
3479— Head of Child, f) n
3480- " " (g 9
3482— Head of Child (i). !!!!!!!!!!.'!!!!!!!!!!!!!!!!!!!!!!!! 9
348:}- " " (j) 10
3484 — Mask, Lorenzo de Medici 15
3485 — Relief, Marcus Antonius 9
3486— Mask, Female 8J
3487 — Relief, Cvme, Queen of the Amazons 9
3488— Eros Bust 15
3489— Head from Frieze of Hospital Pistoja 12
3490 — Relief, Jeremias 14
3491— Head from Frieze of Hospital Pistoja 12
3492— Relief, Seneca 14
3493— yEschylos, Mask 14
3494— Augustus, " 13
;«9.5— Ajax, " 18
;?496— Antinous, " 13
3497— Agrippa, " 15
3498— Caligula, " 19
3499— Canova, " 14
3500— Christ, Mask, on Pedestal, by M. Angelo 24
3501— Cicero, " 14
3502— Clytie, " 14
3503— Dante, " 9
3504— David, " by M. Angelo 20
3505— " " " on Pedestal 30
3506— " " " 24
3507 — Demosthenes, Mask 14
3.508— Diana, " 15
3509— Diomede, " 16
.3510 — Discobolus, Naucydes, Mask 13
3511— Dying Warrior, " 13
3512 — Euripides, " 15
3513— Fighting^Gladiator, " 16
3514— JulianoDe Medici, " 16
351.5— Juno Capitol, " 13
3516— Jupiter, " 28
3517— Madonna, " 14
3518— Mercury, " 14
3519— Minerva, " 14
3520— Moses, '• 19
3521— Nero, " 14
3522-Niobe Daughter, " 13
3523— Nubian Girl, " 12
,3524— Psycho of Naples, " 12
3525 — liafael Dorbino, " 13
:i526— St. Francis, " 14
3527 — St. Jerome, , " 16
3528— Socrates, " 15
,3529— Sophocles, " 15
3.530— Spartacus, " 13J
3531— Venus Aries, " 16
3532— " Bath, " 12
3533— " Capitol, " 14
3534— " Capua, " 14
3535— " Cnidos, " 12
3536— " Medici, " 12
3537— " Milo, " 12
3538— " Thorwaldsen, " 13
3539— Voltaire, " 13
3540— Beethoven, Mask 9
3541— Dante, " 8
3542— Brutus, " 22
3543— Laocoon, " 14
3544— Niobe, " 12
354.5— Zeus or Jupiter, Bust 22
3546— Lucius Veriis, Mask 15
3547— Omphale, " 13
3548— Dying Alexander, Mask 22
3549— Apollo Belvidere, " 15
3550— St. Jerome, " 16
3551— Vitellius, " 15
3552— Slave, by M. Angelo, " 15
3553— Agrippa, " 18
3554— Myrina, relief. 14*
3555— Regulus, " 14}
35.56— Alexander " 12
3557— Apollo " 11
3558 — Dante, from Tomb at Ravenna, relief 19}
3559 — Diana, relief. 10}
n. Price. |
1 25 |
1 25 |
3 50 |
1 25 |
1 50 |
2 00 |
1 50 |
1 .50 |
1 25 |
1 25 |
1 .50 |
1 75 |
1 00 |
75 |
75 |
75 |
1 75 |
2 00 |
2 00 |
2 (W |
1 50 |
1 00 |
2 00 |
1 00 |
1 .50 |
2 00 |
1 50 |
5 00 |
1 25 |
1 50 |
1 00 |
5 00 |
10 00 |
6 00 |
1 50 |
1 25 |
1 .50 |
1 25 |
1 25 |
1 50 |
1 50 |
1 50 |
1 00 |
5 00 |
1 50 |
1 25 |
1 00 |
2 00 |
1 50 |
1 00 |
1 25 |
1 00 |
1 25 |
1 25 |
2 00 |
1 50 |
1 .50 |
1 .50 |
1 50 |
1 00 |
1 25 |
1 25 |
1 00 |
1 00 |
1 00 |
1 00 |
1 60 |
1 00 |
1 00 |
3 50 |
1 25 |
1 25 |
3 50 |
2 00 |
1 25 |
4 50 |
1 25 |
2 00 |
1 60 |
2 00 |
2 50 |
1 75 |
2 00 |
1 50 |
1 50 |
2 50 |
1 50 |
90
cfiEnnEeKE e? Milwaukee 4? enie/^o^
No. Name. Height, in.
3560— Caligula, relief. 14
3561— Zacharias " 13J
3562— Penelope " ■■ 13
3563— Head of Female, relief from Trajan
Column 9i
3564 — Male Heads, relief from Trajan Column 12
356.5— " Head, " " " " 7
3566— " " " " " " 8
a567— " Heads, " " " " 16
3568— Head of Horse, " " " " 8
3569— Six Male Heads, ' " 14
3570— Four" " " " " " 15
3571 — Male Head, relief from Trajan Column... 9
3572— " " " " " " 9
3573— " " " " " " 7J
3574— " " " " " " 6
3575— " " " " " " 6
3576— " " " " " " 9
3577— " " " " " " 8
3578— " " " " " " 7J
35yg II i< " << " " 71
3580— " " " " " " 10
3581— Head of Horse, relief from Trajan
Column 11
3582— Lion Shield, by Donatello 18
358:>-Lion's Head 9
3584— Head of Fox 8
358.5— " Eagle 12
3586— " Lioness 6
3.587— Bacchus Mask 14
3588— Head of Lion, Antique 9J
3589— Grotesque 4
3590— Lion's Head 16
,3591— Swimming Duck 19
3592— Medusa Rondanini, relief. llj
3593 — Grotesque 8}
3593-1— Horses' Heads, by M. Angelo 4
3.594— Head of Bull 6J
3695— " Wild Boar 11
3596— " Elephant 9i
3597— " Swine 4i
3598— Ram's Head 18
3599— Head of Kid 7
3600— " Setter 5
3601— " " 5
3602— " Ram 9*
mrs— " Lioness 13j
3604— Lion's Head 18
3605— Head of Horse 6
3606— " " 9
3607— " " 6
3608— " " 6
3609— " " 12
3610— " " 22
3611— " Dog 5J
3612— " Goat 11
3613— " Dog 5
3614— " Ram 6J
361.5— " Dog 5
3616— " Cat 5
3617— " Fox 8
3618— " Dog 5
3619— " Donkey 6J
3620— yEschylos Bust, 27
3621— ^sculapius " 23
3622— " " 11
3623— Agrippa " 28
3624— Ajax.... " 36
362.5- " " 26
3626— " " 12
3627— Amor " 17
3628— Angelo, Michel " 28
3629— Antinous " 27
36:^0— Apollo " 32
3631- " " 23
36:^2— " " 14
3g33 " " 12
3634— Ariadne.".'..'..".'.".'.."..'.' " 29
363.5— " " 12
36.S(i— " " 10
3637— Aristotle " 26
3638— Arrotino " 30
3639 — Augustus Caesar in Armor " 32
3640— Augustus (Youth) " 23
3041— Bacchus " 30
3(i42— " " 12
364:}- " " 10
3644— Beatrice " 12
Price. |
1 75 |
1 75 |
1 75 |
1 00 |
1 00 |
1 00 |
1 00 |
1 75 |
75 |
1 75 |
1 75 |
1 00 |
1 00 |
75 |
75 |
75 |
1 00 |
1 00 |
1 00 |
1 00 |
1 00 |
1 00 |
2 50 |
90 |
1 75 |
1 00 |
75 |
1 50 |
1 25 |
40 |
3 00 |
2 00 |
1 25 |
75 |
25 |
75 |
1 75 |
75 |
75 |
6 00 |
1 50 |
75 |
75 |
1 00 |
2 50 |
4 00 |
75 |
75 |
75 |
75 |
1 50 |
6 00 |
75 |
1 50 |
75 |
76 |
75 |
75 |
1 50 |
75 |
75 |
8 00 |
5 00 |
1 25 |
8 00 |
15 00 |
7 50 |
1 50 |
3 50 |
7 00 |
8 00 |
10 00 |
6 00 |
2 00 |
1 25 |
8 00 |
1 25 |
1 00 |
7 60 |
10 00 |
12 00 |
5 00 |
10 00 |
1 25 |
1 00 |
1 25 |
No. Name. Height, in.
3(H.5 — Benivieni Head Bust, 18
3646 — Bov Laughing " 12
3(547— Boy, by Donatello " 19
3648— Bourdaloue " 17
3649— Brutus " 22
36.50— Canova " 26J
3().51 — Cwsar Julius " 30
36.52— " " " 27
3fi53— Christ " 24
36.54— Cicero " 30
36.5.5— " " 27
365(>— " " 22
36.57— Clvtie " 28
36.58— "" " 23
3659— " " 17
3660— " " 14
3661— " " 10
36<)2— Cupid " 17
3663— '' on pedestal " 13
36(i4— Dante " 26
3()()5— " " 16
SmUy— " " 12
3667 — Darwin " 26
3668— David " 53
3669— Demosth&nes " 27
m70— " " 22
3671— " " 15
3672— Diana, of Versailles " 32
3673— " " " 14
3674— " " " 12
367.5— Diomede " 28
367()— Eros " 26
.3677- Euripides " 27
3678— Faun " 26
3679— Fighting Gladiator " 28
;W80— II Fiammingo Bov " 20
3681— " "■ " 20
3682— Flora " 14
3683— Girl, by Donatello " 19
3(>84— Head, with Wing " 13
368.5— Helena " 27
3(>86 — Hermes, Olympian " 32
3(>87— " " " 22
3688— " " " 12
368!)— Hero " 30
3690— Hippocrates " 27
3091— " " 18
3692— Homer " 27
3693— " " 23
3694— " " 15
3695— Horatius Flaccus " 25
3696— Isis " 21
3697— Juno Capitol " 28
3698— " Barberini " 40
.3699— " " " 20
3700— " Ludovisi " 36
3701— " " " 14
3702— Jupiter, Otricoli " 40
3703— " " " 23
3704— " " " 11
370.5— Laokoon " 27
3706— Leucothea " 32
3707— " " lOJ
3708— Lucius Verus " 40
3709— Madonna, (Pieta) " 24
.3710— Marcus Aurelius " 30
3711— Mark Antonv " 28
3712- Mercury ; " 30
3713- Minerva.... " 19
3714— " Giustiniani " 32
,371.5— " " " 24
3716— " Medica " 24
3717— Medici, Juliano de " 24
3718— " Lorenzo de " 26
3719— Moses " 27
3720— Kero " 24
3721— Niobe, Daughter " 26
3722— " Mother " 32
3723— " " " 11
3724 — Madonna of Nuremberg " 19
372.5— Omphale " 20
3726— Paris " 27
3727— Pericles " 27
3728— Plato " 26
3729— Psvche Naples " 26
3730— ■" ^' " 17
3731 — " on pedestal, Naples " 13
3732— Raphael " 27
Price.
3 .50 |
1 25 |
4 00 |
3 50 |
5 00 |
8 00 |
10 00 |
7 00 |
6 00 |
10 00 |
7 00 |
5 00 |
8 00 |
500 |
3 50 |
2 00 |
1 00 |
3 60 |
1 50 |
7 00 |
3 00 |
1 26 |
7 00 |
35 00 |
8 00 |
500 |
2 50 |
15 00 |
2 00 |
1 25 |
8 00 |
7 00 |
8 00 |
7 00 |
8 00 |
400 |
4 00 |
2 00 |
4 00 |
3 00 |
7 00 |
10 00 |
5 00 |
1 60 |
8 00 |
7 00 |
3 00 |
7 00 |
5 00 |
2 60 |
6 00 |
5 00 |
8 00 |
20 00 |
4 00 |
16 00 |
2 00 |
26 00 |
5 00 |
1 26 |
7 00 |
15 00 |
1 00 |
25 00 |
6 00 |
10 00 |
8 00 |
8 00 |
4 00 |
12 00 |
5 00 |
8 00 |
5 00 |
7 00 |
8 00 |
5 00 |
7 00 |
15 00 |
1 25 |
5 00 |
5 00 |
7 00 |
10 00 |
7 00 |
7 00 |
3 50 |
1 50 |
8 00 |
CLASSICAL SlAfUARY. BUSfS ^^lAQD^lS/c
91
No. Name. Heifrht, in.
3733— St. Bruno Bust, 10
3734 — Seneca " 26
373.'>— Socrates " 27
373(i— " " 21
3737— Sophocles ' " 27
3738— Sphinx " 24
373!) — \enus Akropolis " 12
374f)— " Aries " 28
3741— " Canova " 23
3742— " " " 14
3743— " Capitol " 31
3744— " Capua " 32
374.')— " Cnidos " 25
374<)— " DcMedici " 28
3747— " DeMilo " 34
3748— " " " 16
37411- " " " 14
3750— " Pergamon " 18
3751 — Verus Lucius " 40
3752— Voltaire " 27
3753— Youth, St. Peters " 32
3754— " " " 20
375,5— " " " 10
375(i— " Supplicant (Praving Boy) " 16
3757— " ofTarent " 16J
3758— Sheep 8*
375i)— Lamb 12
3760— Horse, Btandiu}: 22
3761— " " 12
3762— " walking 12
376:^- " running, 14
3764— " walking 13
3765 — " prancing 14
3766 — Horses playing 15
3767- " " 11
3768— Horse and Colt playing 13
3761)— Camel 10
3770— Eagle 16
3771 — Lion 15
3772— Cow 10|
3773— Bull 20j
3774— Pointer 5^
3775— Pug Dog 4
3776— Cow with Calf. 11
3777 — Standing Setter 7
3778— Trotting " 7
3779— Pointer 8^
3780 — Cupid reposing, by Thorwaldsen 6
3781 — Lion of Luzerne, " 11
3782— " " " 4J
3783— Ariadne and Panther, by Dannecker 21
3784- " " " " 15
3785 — Sleeping Ariadne, also called Cleopatra... 17
378(>— Boy with Turtle, by Eude 14
3787— " Goose, by Boethos 36
3788— Thorn Extractor (Spinario), by Bofithos.. 36
378i)- " " ' ^ " " .. 13J
371)(J — Bacchus and Ariadne, by Thorwaldsen... 19
3791— Cupid and Psyche 18
3791-1- " " 28
3792— Niobe and Daughter 92
3793— " ^' 26
3794— " " 21
3795— Amor and Psyche, by Canova 28
3796— " *' " 13
3797— Venus and Adonis, " 29
3798— Subpedestal for Venus and Adonis, by
Canova 7
3799— The Three Graces, by Canova 29
3798 — Subpedestal for same 7
3800— The Three Graces, by Canova 21
3801— " " " " 12
3802— Polyhvmnia 45
3803— AVelcome 56
3804— Euterpe 4;)
3805 — Amor and Psyche, by Canova 20
■.ma- " " " " 16
3807— " " " " 13
3808 — Laocoon Group 72
3809— " " 36
3810— Dancing Girl, by Canova 39
3811— Victory, by Kiiuch 38
3812— Terpsichore, by Canova 39
3813— Hebe, by Thorwaldsen 60
.3814— " " 50
381.5— " " 25
3816— Victorv, by Ranch 44
3817— Hebe, by Canova 42
Price.
1 00 |
8 00 |
7 00 |
5 00 |
8 00 |
8 00 |
1 25 |
7 00 |
5 00 |
2 00 |
9 00 |
10 00 |
7 00 |
7 00 |
10 00 |
3 00 |
2 CO |
4 00 |
25 00 |
8 00 |
15 00 |
5 00 |
1 50 |
3 00 |
3 00 |
2 75 |
3 50 |
5 00 |
1 80 |
1 80 |
4 00 |
4 00 |
3 50 |
5 00 |
3 ,50 |
6 00 |
2 00 |
5 00 |
4 00 |
3 00 |
6 00 |
1 50 |
40 |
450 |
1 50 |
1 50 |
1 50 |
2 50 |
4 00 |
1 00 |
10 00 |
5 00 |
7 50 |
4 00 |
25 00 |
25 00 |
3 25 |
5 00 |
5 00 |
9 00 |
100 00 |
9 00 |
6 ,50 |
10 00 |
3 «) |
10 00 |
2 50 |
10 00 |
2 50 |
6 00 |
2 50 |
20 00 |
30 00 |
20 00 |
12 00 |
8 00 |
5 00 |
100 00 |
40 00 |
15 00 |
18 00 |
15 00 |
30 00 |
25 00 |
4 50 |
20 00 |
15 00 |
Ko. Name. Hei^bt, In.
3818— Victory, by Ranch 37
3819— Menelaos and Patroclos, or Ajax and
Achilles 24
3819-1 — Menelaos and Patroclos, or Ajax and
Achilles 16J
3820— Belt Bucklers 24
3820-1-Pedestal for Belt Bucklers 13i
3821— Victory, by Ranch 46
3822-Juliano de Medici 36
3823-Lorenzo de Medici 36
3824-Minerva 18
382,5— Diano di Gabii 72
382()— " " 28
3827— Mars 18
3828— Minerva, Pallas Giustiniani 90
3829— " " " 42
3830— Hebe 62
3831— " 36
3832— Ceres 44
383;^— Venus, by Canova 69
3834— " " 34
3835— " " 23
3836— Venus in Shell 18
3837— Venus Genitrix 72
3838— " " 28
3839— Venus de Medici 63
3840— " " 36
3841— " " 30
3842— Venus, by Thorwaldsen 62
3843— " " 38
3844— Apollino de Medici 63
384,5 — Venus Going to Bath, by Falconnet 32
3846— Crouching Venus 48
3847— " " 17
3848 — Venus Coming from Bath, by Allegrain... 35
3849— Greek Slave, by Powers 66
38,50— " " " 40
3851— " " " 19
38,52— " " " 14J
38,53— Venus de Milo 84
38,54r- " " 42
38,55— " " 34
3856— " " 23
38,57— " " 19
3858— Flora 42
3859— Farnese Hercules 120
3860- " " 29
3861— Arrotino, or Knife Grinder 72
3862— " " " 17
3863— Germanicus (so-called), by Kleomenes... 72
386:^1— " " " ... 32
3864-Moses, bv M. Angelo 36
3865-Psyche, by Canova 46
386()- " ' " 24
3867— Erato 26
3868 -The Praving Boy, of the Berlin Museum. 54
3869— " ■"' " " " " .. 31
3870— Faun, by Praxiteles 29
3871-Antinou8 72
3872- " 25
3873 -Piping Faun 60
3874-Borghese Achilles 88
3875- ^' " 45
3876-Bacchus 60
3877-Slave, by M. Angelo 46
3878-The Cyclop Polyphemus 17
3879 — Jason (formerlv called Cincinnatus) 72
3880— " " ■ " " 27
3881— Boxer, by Canova 48
3882— Fighting Gladiator, or Borghese Gladi- ator, by Agasias 72
3883— Boxer, by Agasias 41
38g4 " " 34
SSS6- " by Canova..!...."!!!!...."......!!!!'.!!".' 33
,3886— Mercury 15J
3887 — Silenus and Infant Bacchus 48
3888— " " " " 22
3889-Mercury 63
3890- " 22
3891— Hermes Carrying the Infant Dionysus,
by Praxiteles 92
3892— Hermes Carrving the Infant Dionysus,
by Praxiteles 30
3893— Atlas bearing Globe 49
3894— The Clapping Faun, restored by M.
Angelo 60
389,5 — The Clapping Faun, restored by M.
Angelo 34
Price. |
12 00 |
7 50 |
5 00 |
15 00 |
5 00 |
15 00 |
25 00 |
25 00 |
2 50 |
60 00 |
7 50 |
2 50 |
75 00 |
12 00 |
35 00 |
10 00 |
14 00 |
60 00 |
8 00 |
4 00 |
5 50 |
60 00 |
7 50 |
35 00 |
12 00 |
10 00 |
m 00 |
12 00 |
35 00 |
10 00 |
50 00 |
5 00 |
10 00 |
60 00 |
12 00 |
3 00 |
1 ,50 |
50 00 |
12 00 |
9 00 |
4 50 |
3 50 |
12 00 |
100 00 |
7 50 |
60 00 |
6 00 |
75 00 |
7 50 |
25 00 |
12 00 |
4 00 |
7 00 |
25 00 |
7 00 |
6 00 |
75 00 |
5 00 |
30 00 |
85 00 |
15 00 |
30 OO |
12 00 |
3 00 |
100 00 |
9 00 |
16 00 |
75 00 |
12 OO |
10 00 |
12 00 |
2 00 |
15 00 |
6 00 |
40 OO |
5 00 |
100 00 |
10 00 |
11 00 |
50 00 |
6 00 |
92
crtEnnEGKEeo fniLWAUKEE«i''eftief^o^
No. Name. Height, in
3896— Discobolus of Mvron 72
3897— " ■" 2(5
3898— Narcissus 20
3899— Discobolus of Naucydes 72
3900- " " 25
3iK)l— Apollo Sauroktonos, the Lizard-killer 63
3902— Amazon, after Phidias 84
3<)03— Bacchus 63
3i)04 -Sophocles 84
3905- " 36
3900— Demosthenes 36
3907-Aristides 84
3908- " 36
3909— JEsculapius 84
3910— " 36
3911— Flying Mercury, by Gian da Bologna. 35
3912 -Hygieia 72
3913 -Adonis 72
3914 Flying Mercury, by Gian da Bologna 72
3915 Apoxyomenos, after Lysippos 84
3916- ^ " " ^ 42
3917-Apollo Belvidere iX)
3918 " " 37
3919 Day, by M. Angelo 9
3920 -Diana de Versailles 84
3921— " " :u
3923 -Twilight, by M. Angelo 22
3924-Dawn, by M. Angelo 22
3925 -Wrestlers, (School of Rhodes) 19
3926— Dying Gaul 84
3927— " " 14
3928- " " 9
3929— Mercury, or Resting Hermes 12
3930-Night. bv M. Angelo 22
3931-Dav, bv"M. Angelo 22
3932 -Fluted' Pedestal 33
3933— " " 38
3934 — Decorated square pedestal, Antique 3()
3935- " round " " 40
3936 -Pedestal for Groups 37
3937— Bracket for Bust, (Head and Scroll) 14
3938 — Acanthus leaf bracket 11
3938— 1- Acanthus leaf bracket 9
3939— Bracket, (Grotesque Head and Scroll) IIJ
3940 -Oak-leaf bracket 14
3941 — Winged Horse (Pegasus) bracket 14
3942 -Fluted Pedestal for Bust 43J
3943 -Lvre Bracket 17
3943-1 -Lyre Bracket 14
3944— Bracket, (Grotesque and Scroll) 14
3945— Medallion of Dr. Vincent 11
3946 — Mercury, Eurydice and Orpheus, relief, 44
3947- " " '■' " " " 11
3948-)
3949 — [ Three Stages in Modeling Human Foot 13
3950— J
3951 -)
3952— [ Tliree Stages in Modeling Human Hand 13
3953 - J
3954— Human Hand, closed 12
3955—1
3956— I
3957— } Five Stages in Modeling a Bust 18}
3958— I 3959 -J
3960 — Lekytho, amphora 10
3901 — Panathenaic, amphora 8
3902— Amphora 8
3963— " 10 .
3964— Hydria 10
3965— Greek, amphora 9
3966— Lekytho, amphora 9
3967— Hyd:ria 9
3968-Greek Krater 9
3969— Lepaste 5
3970-Kylix 5
3971 — Krater 9
3972 -Lekythos 12
3973-Lebes 10
Price.
85 00
6 00 5 00
65 00
4 00 50 00
100 00 .50 00
100 00 12 00 12 00
100 00 12 00
100 00 22 00
7 00 75 00 75 00 40 00 80 00 15 00 85 00 15 00
2 00 85 00 15 00 15 00 15 00
9 00 100 00
0 00
3 00 3 00
15 00 15 00
8 00
7 00
8 00 8 00
28 00 3 00 (i 00
5 00
2 50 5 00
3 00 8 00 5 00
4 00 3 50 2 00
15 00 2 00
each, 1 50
" 1 50
1 00
2 50
1 50 1 00
00 50 25 00 00
(H) 00 25 25 25
No. Name. Height, in.
3974— CEnochoe 10
3975— Prochous 10
3976— Lekythos 10
3977 — Etruscan Vase 7J
3978 — Cantharus 8
3979-Greek Vase 10*
39S0-Arvballus 9
3981— Lebes 9
3982— Modern Vase 10
3983— Greek Vase 10
3984— " Jug 8
3985— " Vase 8
3986 — Ancient Jug 7
3987— Modern Vase 10
3988— Modeling Stand
3989— i;a8el of Wire 18
3990— Wire Support for Statue
3991 - Support for Bust
3992 — Acfjustable Combination Stand 1
Mce. 1 25 |
1 00 |
1 (K) |
1 25 |
1 25 |
1 00 |
1 00 |
1 00 |
1 (X) |
1 00 |
75 |
75 |
75 |
1 25 |
4 00 |
60 |
3«)3-
3S)94 —
3995—
3996-
3997—
3998—
39f»9-
4000—
4001-
4002 -
i
6 00
Hardwood 6
9
Soft Wood 12
15
18
21
.. 24
.. 30
.. 36
Male and female lay figures, life size, dressed in tricot, jointed limbs, and
stand
4003— Modeling Board 15
4004 — " Stand, for work in relief 12
4005— " " for Busts and Statues.... 50 4006— Easel, for supporting Modeling Board.... 66 4007 — Modeling Tool 8 perdoz
4008— " " 8
4009- " " 8 "
4010-AVire Modeling Tool 9
4011-Calipers 4
75
25
00
50
00
00
5 00
8 00
12 50
each, 135 00 2 00
2 25 4 00
3 25 4 3 4 6
each,
4012- 4013—
4014— Modeling Tool 8 per doz
4015— " " 8
4016- " " 8
4017-Flexible Modeling Tool 10
4018— " " " 12
4019-Steel Modeling Tools for Plaster 9
4020-Rasp for Finishing Casts 9
4021 —Atomizer
4022— Modeling and Drawing Table
4023 — Double C'alipers 4
4024— " '' 5
4025— " " 6
4020-Knife for Moulding 5
4027— " " " 7
4028-Ca8t Steel Dividers 5
4029—
00 00 00 00 40 40 50 3 00
3 00
4 50
6 00
7 20 6 00 9 00
each, 1 00 " 6 00
4030- 4031— 4032— 4033-
9 12 15
18
4034 — Froebel Monument 12}
4035— " Bust 28
4036— " " 16
4037— Section of Carvers' Table, showing sere w^. 4038-Clamp, 2A in
4 in
" 0 in
4039— Oil Stone
4040 — " " in mahogany case
4041— Hand Screw, 10 in....".
12 in
14 in
4042-Carvers' Punch
4043— Carving Knife
4046 — Set of six carving tools in walnut box
For Carving Tools, see page 85.
40 50 60 60 80 50 60 75 00 50 00 00 00 00
25 45 70 35 00 30 40 50 30 50 50
Errata — Page 27, Relief of Winter should be Xo. 3274 instead of 3247.
All casts of Flowers, Fruit, Leaves and parts of the' Human Body are from Nature, except
where otherwise stated.
%°
#^
MILWAUKEE,
79, 81 AND 83 BUFFALO ST.
c HeNNecKe eo,.
CHICAGO,
207 WABASH AVE.
E« ESTABLISHED 1865. •t
• -^r-c^"
O* TH
■ ♦♦ ADDRESS ALL COMMUNICATIONS TO MILWAUKEE OFFICE. ♦♦ •(( C^ J V £ J
mimim^ mum MUjMm
S considered by the foremost Educators in all countries as indispensable to the laying of a sure and broad foundation in art. The Technical commissions appointed at different periods by the Governments of Belgium, France, England and Germany (reporting unanimously), emphasized the value of drawing from nature and from the best examples of ancient and modern art. They advocated discarding the drawing from the fiat. It may be regarded as a fact, settled by experience, that the instruction in drawing which does not start from models, and which througliout is not based mainly upon models and objects is not sound instruction. "It is not the shadows of things, but things themselves, which should be presented to youth." If our patrons are moved to "read up"- on the above subject, we refer them to our "Art Studies," Catalogue No. 4, giving names, dates, etc., pages i to lxx, where the value of art education is fully set forth by prominent educators, artists and statesmen.
•^I^e 'illustrations anb price £ist in tijese Pages are a ^wpplement to Catalogue Jto. 4
3lTt 3tubies for Design.
A book of 162 quarto pages, containing illustrated essays on Manual Training and Industrial Education, Art Education, Drawing, Modeling, Clay Modeling, The Development of the Vase, Greek Pottery, Wood Carving, Original Composition, Grecian Mythology, Biographical and Mythological Notes, with 834 illustrations; besides describing 1068 Antique Statues and Busts, Models, Anatomical Studies, Parts of the Human Body from Nature, Conventional Leaf and Flower Forms, Vases, Architectural and Historical Ornaments, Animal Forms, etc., for Colleges, Schools, Academies of Design, Amateurs and Artists, also enumeriited in List D. To add to its value as a book of reference, we have appended comprehensive notes, giving a general description of each Statue, name of Scmlptor, when and where found, present place of original, mythological history, biographical sketches, etc. The elegant illustrations together with the text, make it a more valuable and complete book of reference for artists, designers, art students, or any person wishing to cultivate a taste for the beautiful, than any art book published. Will be mailed upon receipt of 81.50, post paid, which we will credit on first order, making the book really free to customers.
Experience has taught us that an edition of 100,lXKJ Catalogues annually would fail to supply the demand, should we furnish them gratis to all applicants, we arc^ therefore compelled to make a nominal charge for them; but we will send to all applicants post paid our List D, which is a complete classified Index with prices of the above described Catalogue No. 4 Art Studies for Design.
Catalogue No. 5, illustrating and describing 465 Statues and 236 Busts of celebrated personages from the earliest period up to the present time, price of Catalogue No. 5, 75 cents. This amount paid will be credited on first order. We will mail to any address No. 4 and 5 Catalogues for 12.00, and will send on apijlication post paid List A, being a complete classified Index with prices to Catalogue No. 5 (Florentine Statuary) for decorative purposes.
Florentine Statuary is a composition, in color and consistency closely reseaibling the celebrated Florentine Terra Cotta, hence its name. When it comes from the dry kiln it is of a pale reddish color, ready to be tinted or decorated. We give Vjelow the finishes most desirable.
No. 1. Florentine — A flat grey stone color. No. 2. Metal Bronze — Dark antique. No. 3. Gold Brilliant — Bronze. No. 4. Terra Cotta. No. 5. Pure White. No. 6. Marble White. No. 7. Silver — Antique.
Catalogue No. 12, of Bronze and Parian Marble, fi'ee to all applicants. We send for inspection Photographs of Marble Sculpture on application. We are in constant communication with our correspondents in European Art Centres, who keep us posted as to the latest and most valuable art productions in our line. We are therefore prepared to furnish any work of art on short notice to the entire satisfaction of the purchaser.
In many Schools and Colleges it is the commendable custom to donate a Statue or Bust from beautiful examples of Antique Sculpture, by the graduating class as a memento. If this is yearly repeated the collection will grow from an earnest and small beginning to a valuable collection and give to donors as well as the donees, more real pleasure and satisfaction than if the money was furnished to buy a large collection at one time by an imposing list of patrons.
4-(ENNEGKE'S>KEItET0N jM[£)r)EhS.
(MADE OF STEEL WIRE.)
For Use in Common Schools, High Schools, Technical Schools and
Art Schools.
^ INCE the study of the geometrical solids must always be at the foundation of all art education, it is with much pleasure that we announce to the teaching profession that Ave have designed and are now prepared to manufacture Skeleton Models made of steel wire for use in schools. These models will be found to be especially valtiable in the study of perspective and will make plain many difficulties that now appear well nigh insurmountable to the amateur draughtsman and art student. All the edges of solids and geometrical planes are represented in these skeleton figures, and the edges which are usually termed invisible, are thus made plain. One great advantage that these figures possess is their size, being made so large that it is possible to instruct an entire class at one time.
We beg further to announce that we manufacture an iron stand for these models which not only holds the model firml3% but allows the form to be placed in any position and at auA- angle. The value of the models is thereby increased a hundredfold since the adjustment can be made in a moment, giving a new position at each change and a new lesson to the student, or to the class.
The models can be made equally serviceable in the study of projection in our High schools and Technical schools.
C. HENNECKE CO.
207 WABASH AVE., CHICAGO, ILL.
79-81 BUFFALO ST, MILWAUKEE, WIS.
LARGER SIZE MODELS MADE TO ORDER.
No. 5023.
Hennecke's Model Stand for holding wire niodek. Can be adjusted to show the model in any position.
Height, 13 in. Price, $3.00,
No. 5023.
Stand showing wire njodel in j>osition. position at pleasure.
Can change
MILWAUKEE.
C. HENNECKE COMPANY.
CHICAGO.
No. 5001.
No. 5004.
Model for teiiching tlie perspective drawing of the Model to assist in illustrating the perspective drawing
right angle. of lines intersecting each other at right angles.
12 in. long, 95 in. wide. 25 cents.
13i in. long, 7i in. wide. 50 cents.
No. 5002.
Model for teaching the perspective drawing of an acute angle.
12 in. long, 4i in. wide. 25 cents.
No. 5005.
Model for teaching the perspective drawing of lines intersecting each other at right angles.
12 in. long, 12 in. wide. 60 cents.
No. 5003.
No. 5006.
Model for teaching the perspective drawing of right Model for teaching the perspective drawing of the equi-
angles. lateral triangular plane.
16 in. long, 16 in. wide. 50 cents.
Sides, 12 in. .50 cts.
MILWAUKEE.
C. HENNECKE CO.
CHICAGO.
No. 5007.
Model for tea(ihing the perspective drawing of the square plane.
12 in. square. -50 cts.
No 5010
This model is to assist in the demonstration of the prin- ciple that a circle seen in perspective appears as an ellipse; or, that a circular plane seen in perspective appears as an
elliptical plane.
12 in. diani. .50 cts.
No. 6008. Ifo. 5011.
Model for teaching the perspective drawing of inscribed Model for teacliing tlie perspective drawing of a circular
square planes. plane inscribed in a square plane.
12 in. s(iuare. $1.()(). 12 in square. «1.()0.
No. 6009. Model for teaching the perspective drawing of tlic pen- tagonal plane.
Sides, SJ in. 60 ct.s.
No. 5012.
Skeleton Triangular Prism. 16 in. high, sides 8J in wide. $2.(X).
MILWAUKEE.
C. HENNECKE CO.
CHICAGO.
No. 5013.
Skeleton Cube. 1 in square. $1.50.
No. 5016.
Skeleton Cone. This model can also be used to illus-
No. 5019.
Skeleton Squ.\re Pyramid.
trate the drawing of the Truncated Cone. ,„ . , . , „ . ^ , ^, r,-
16 in. higli, diam. at base 8 in. *2.00. ^^ m. high, 8 in. square at base. Isl.75.
No. 5014.
Skeleton Square Prism. 16 in. high, 8 in. square. $2.50.
No. 5017.
Skeleton Cylinder.
16 in. high, diaiu. 8 J in. $2.50.
No 5016.
No. 5020.
Skeleton Hexagonal Pyramid. 16 in. high, sides 4J in. at base. $2.00.
Skeleton Hexagonal Prism. 16 inches high, sides 4} in. wide
No. 6018.
Skeleton Triangular Pyramid. *3.00. 16 in. high, sides at base Si in. Sl.SO.
No. 5021. Skeleton Tetrahedron. 9 in. .sides. 80 cents.
MILWAUKEE.
C. HENNECKE COMPANY.
CHICAGO.
No. 5022.
Skeleton Sphere with two great cir- cles intersecting each other at right anglef*.
8 in. diani. 81.7-5.
I
No. 5024.
Skeleton Rkgular Octahej)kox.
11 in. high, 11 in. wide. $2.0o.
No. 5026.
Skeleton Right Rhombic
Octahedron.
14 in. liigh. 10 in. long, 7 in. wide. 82.00.
No. 5028.
Skeleton Oklique Rhomboidal Octahedron.
18 in. high, 9 in. long, 7 in. wide. 82.00.
No. 5027.
Skeleton Oblique Rhombic
Octahedron.
18J in. liigh, 9 in. long. 7 in. wide. 82.00.
No. 5029.
Skeleton Right Dihexagonal Pyramid.
14 in. high. 9J in. wide. 82.-50.
No. 6026.
Skeleton Right Square Octahedron. 14 in. high, 8J in. wide. 82.00.
We will h-enfl the c()ini)letc set of Skeleton Models, Nos. 5001 to -5022, with Stand, for |!2.5.00. Single Models at rates given ahove.
Tlie Skeleton Models of Crystals, Nos. 5024 to -5029, we will send for 81(».00. As the strings or light wire joining the angles might he broken in transit, the Models will be shii)pe<l without theni;'tliey can lie adjusted in a lew minutes-
All our Skeleton Models are made in i)roportional sizes, so that conilnna. tions can easily be made.
C. HENNEICKE CO.,
MILWAUKKE :
79-83 BUFFALO STREET.
e
CHICAGO :
207 WABASH AVENUE.
MILWAUKEE.
CHICAGO.
Parker's X^^' Striictopal Maps for T^acl^ii^g Qeo^rapl^y,
Parkfi's Structural Majm tiri' witliout doubt tin- best ri^licf niai)K for teacliini; purposes now made in tlie worlil. Thev are not only the bewt, but they are the eheai>ef-t; imported maps, not to be compared with them in real value, cost twice, if not three times as much.
The structtiral mai)S are made of a newlv discovered indestructible material which is verv much superior to papier mache. The C. Hennecke Comi)any inventors of this material, manufucturers of drawin^r models and reproducers of ancient and modern works of plastic art, are the manufacturers of these structural maps. In its i)articular branch this firm is unexcelled; and its name is a guarantee of perfect workmansliip. Each map is artisticallv paintcil.
The painting adds very much to tlie general effect of the maps as the low lands are painted the darkest tint, and the shading is made very gradual ui> the slopes, to light trray and white on the snowy tops of the jirimary highlands, thus strengthening the effect of the relief.
TIh^ Structural Maps show at a glance the general structure or relief of a continent.
The sight is not encumbered by a multitude of names or a net work of parti-colored political divisions. Clear, strong lines and simple artistic sliading preserve the whole continent as a great " organism for life." The primary land masses, crowned bv the primary highlands, the long slopes on which rest the secondary land masses, the valleys, plains and plateaus'are distinctly exhibited. " But that which is most imj)ortHnt is the full understanding these maps afford of the distribution of moisture; the drainage which forms the basis of vegetable and animal life.
With these maps Geography can be made an exceedingly interesting and profital)le studv.
These maps are so constructed and framed that breakage is next impossible. The frame" is made of Cherry stained wood and projects sutlicient to protect the map against injury.
No. 5034— ASIA.
5032
I'.ueli mail -■' -^ -"^ inches. I'lice eacii, $8.00. No. 5033— AXTSTBAIilA.
No. 5035— EUROPE.
No. 6080— AFBICA.
HB |
^M |
^^ ^TI^I^^^I^B |
^M |
^^m |
|
#■'^5 |
These maps are especially adapted to the teaching of Geography according to the methods of Humboldt, Ritter, Guvot, Pesehel and others.
The original models of the continents were made with the greatest care and skill by an excellent artist. Berghaus and Stieler's new- atlases were followed with extreme minuteness in the construction. Each 22x28 inches. Price each, 88 00.
MILWAUKEE.
C. HENNECKE CO.
CHICAGO.
No. 5036. N. AMERICA.
The fiiu'st and most valuable of all the Struetural Maps is the large map of North America just completed. 49 x 61 inches. Price, 3S2p.t.O. Experts who have seen this map are unstinted in its praise. It makes a fine ornament for any college or school room, and it anords the very best means of studying the structure of our own great continenf.
No. 5037-XJNITED STATES.
The model of the United Slates was made by Mr. Hunto.ni. - ndent of the Blind Asylum of Louisville, Kv. He made the
closest study of the United States Topograjjliica and Coast Surveys, it is pericctly safe to assert that no relief map ever made of this country can compare with this wonderful one. 22 x.'U inches. Price, $10.00.
8
MILWAUKEE.
C. HENNECKE CO.
CHICAGO.
No. 5039— ITALY.
For flic ^*tu'ly <if tlie History of Kome, and of thiB famous peninsula, this ma]) is simply invaluablp. 29x;i") inches. Price, $12.00.
No .5n,S8 PALESTINE.
Size, 22x28 inches. Price, *10.00.
This map will be found very interesting to Divines, Professors and Students of Theology, Superintendents of Sunday Schools, and others interested in Biblical Histofv.
Tlie following is a copy of one'of the numerous unsolicited testimonials and endorsements which Col. Parker has received: Tlie relief niai)S have Oeen of incalculable value to me. Through them I mvself have gained a much clearer idea of the structure of the various continents, and have been able to lead the students to do the same. I do not feel that I could work without them.
-» Yours trulv.
Clarion-, Pa., Feb. 24, 1890. ' MARY E. SYKES
■State Normal School.
9
MILWAUKEE.
C. HENNECKE COMPANY.
CHICAGO.
Supplement to Catalogue No. 4, Art Studies."
No. 4092. No. 4093. No. 4095.
5 inche.«, 60c. 8 inches, *1.00. 6 inches, 75c.
For cleaning Plaster Casts use Hennecke's Mirbane Paste.
"^JjUk
No. 4097.
4 inches, 50c.
No 4094. 12 inches, 81.50.
No. 4098.
4 inclies, -^Oc.
No. 4106— ■!() uuhcs, * 7.()0. " 3470— 6 feet, 50.00.
No. 4101.
8J inches, 11.00.
No. 4096. 13 inches, 12.00.
iirs^^^
\^
^
No. 3391.
The hand of a celebrated Pianist. Exceptionally fine.
S inches. SO cts.
No. 4099. ^°- 4100-
14} inches, $1.25. 8 inches, $1.00.
ALL HANDS, ARMS AND FEET ON THIS PAGE ARE FROM LIFE.
10
III
MILWAUKEE.
C. HENNECKE COMPANY.
CHICAGO.
,-•,,/'
■\:
No. 4075. . No. 4076 No. 4077.
9 inches, *1. 00. 10 inches, $1.50. 9i inches, « 1.00.
For cleaning Plaster Casts use Hennecke's Mirbane Paste.
No 4078.
10 inches, $1.25.
No. 4081.
8J inches, 80e.
No. 4084.
10 inches, 81.2.5.
No. 4087.
9 inches, $1.0(1.
No. 4090.
5 inches, .50c.
No. 4079. 9 inches, $1.00.
:,:s^
No. 4082. 9 inches, $1.00.
No. 4085.
8J inches, $1.00.
No. 4080. 8i inches, *1.00.
No. 4083. 9 inches, $1.00.
No. 4086.
7 inches, 75c.
No. 4089. 4 inches, 40c.
No. 4088.
6 inches, .50c.
A?'!' HANDS ON THIS PAGE ARE FROM LIF^. 11
No. 4091. 4i inches, 40c,
MILWAUKEE.
C. HENNECKE COMPANY.
CHICAGO.
No. 4124.
No. 4103.
No. 4125.
lloifflit, 14 in., I.cii<.'tli, 19 in s4 im
A (l<)ul)le anatouiical stu<lv, sliowin;; one side of the horse with liiilc removed, layins; han! tlie niustles etc., and tlie otlier side the flesli removed, sliowing the bone structure. An exceptionally fine study.
For cleaning Plaster Casts use Hennecke's Mirbane Paste.
ISindi Monk, ^:;.00.
The seven Monks, of which two are illustrated, are from tlie tomb of the Uuke of Burgundy, France.
They are considered among the very best examples of modern art and are noted for the exceptionally fine and graceful drapery.
18 ill. .Monk $3 UO
No. 4119— Monk 3 00
4102.
No.
3127— Pear $0 50
3128— Orange .50
3129— " 50
3130 — Lemon .50
3131— Citron 50
3132— Quince 50
3133 — Pomegranate .50
3134— Apple 50
3135— Potato 50
313() — Cocoanut .50
4104— Onion 50
4105— Carrot ,50
4i;!9— Cucumber .50
4126— Pepper 50
4127— Tomato 50
4128— Turnip 50
4129— Corn .50
4130— Beans 50
4131— Hadish 50
4132 — (iroup (5) Horse Chestnuts, partly open 50
4133— " (4) Butternuts 50
Tlie above are mounted on plaques, 7x5J in.
4134— Musk Melon, 7 in ._ (iO
4120— " 3 00
4121— " 3 00
4122— " 3 00
4123— •' 3 00
ST. JEBOME— MASK.
No. 3550.
On 6 inch Stand, $3.50. From nature. The jaw is held in position by two springs.
4135 — Cabbage, 4137— Squash, 7
/ in... inch.
00 00
16 in
No.
3493— .'Eschylos,
3494 — Augustus,
3495— Ajax,
3496— Antinous
3497 — Agrippa
349»— Caligula
:W99 — Canova
3500— Christ, Mask, on Pedestal
by Michael Angelo 24
3501— Cicero, Mask 14
In.
Mask.; 14
" 13
" 13
" 15
•' ....18
" 19
" 24
3502— Clytie, 3.503— Dante 3.504— David 3.505— "
.14 9
b>;_M. Angelo 20
on Pedestal 30
3506— " " by M. Angelo 24
3507 — Demosthenes, Mask 14
3508— Diana, " 15
3509— Diomede " 16
3510 — Discobolus, Naucydes,
Mask 13
3511 — Dving Warrior, Mask 13
3512— Euripides, " 15
3513— Fighting tiladiator" 16
3514— Juliano De Medici " 16
No. $1 5<) 3515 — .Juno Capit(
1 00 3516— .Jupiter,
2 00 3517— Madonna, 1 00 3518— Mercury,
1 50 3519— Minerva,
2 00 3520— Moses, 1 00 3521— Nero
3522— Niobe Daughter, 1 ,50 3,523— Nubian Cirl, 1 50 3524— Psyche of Naples 1 50 3,525— Rafael Dorbino, 1 50 3526— St. F'rancis 5 00 3527— St. Jerome, 3528— Socrates, 3529— Sophocles, 3530 — Spartacus, 3531— A enus Aries,
In. Mask 13 fl
10 00 6 00 1 50 1 25 1 ,50
3,532— " Bath,
;«33— " Capitol,
3534— " Capua, 1 25 3535— " Cnidos, 1 25 3,536— " Medici 1 50 3537— " Milo,
1 50 3538— " Thorwaldsen 13
1 50 3539— Voltaire, Mask 13
3540— Beethoven, " 9
,28 ,14 14 .14 ,19 .14 .13 .12 .12 ,13 ,14 .16 ,15 .15 .13i .16" .12 .14 .14 .12 .12 12
00 00 ,50 25 00 00 50 00 25 00 25 25 00 50 50 50 ,50 00 25 25 00 00 00 00 50 00
In.
3,541— Dante, Mask 8
:{&42— Brutus, " 22
3-543 — Laocoon, " 14
3544— NioDe " 12
:i545— Zeus or Jupiter, Bust 22
3,546 — Lucius Verus, Mask 15
3547— Omphale, " 13
3,548— Dying Alexander, Mask... .22 " ^ . .. ,. ^^
....16 ....15 ....15 ....18
11
12
....12 ....12 ....10 .... 8 ....11 ....10 ...11 ....15
II 00 3 50 1 25
1 25 3 ,50
2 00
3549— Apollo Belvidere, 3550— St. Jerome, 3.5,51— Vitellius, 35,52-Slave, by M. Angelo," 35,53— Agrippa,
4107 — Dr.Lindwurni, Dead "
4108— Napoleon III, " "
4105)— C. M. Weber, " "
4110— Kaulbach, " "
4111— Mendelssohn, " "
4112— Queen Louisa, " "
4113— Goethe, " "
4114— Liszt, " "
411,5— Schiller, " "
4116— Moor, " "
4117— Child, " "
4118— " " "
4136— Halineman, " "
25 50 25 00 50 00 50 25 50 25 25 25 1 00
,10
1 25 1 25
1 25
1 50
75
75
1 25
4138— Acropolis, 44 in, long, 28 in. wide, 9 in. high $30 00
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