CLASS BOOK _ / VO L._ I/1 FREE PUBLIC LIBRARY DECATUR ILLINOIS I I VOL.I AUGUST 11. 191,3 No. 26 Ill II il I il I I II II I THE ENT A Wise and Faithful Guide and Friend R LEARN ONE THING 1 EVERY DAY & American LandscapePainters DEPARTANT OF FINE ART I I _ I I _ _ III L _ II _ The Associated Newspaper School,ln Foh Aveu nna]ingeen Sr NewYo,.k CiLv PRICE FIFTEEN CENTS NTOR THE "A Wise and Faithful Guide and Friend" Vo]. ! AUGUST I I, I9I 3 No. 26 AMERICAN LANDSCAPE PAINTERS GEORGE INNESS HOMER MARTIN A. H. WYANT American Art Annual THOMAS MORAN D. W. TRYON F. E. CHURCH By SAMUEL ISIIAM HE beginnings of art in America were confined almost exclusively to portrait painting. In the earliest colonial times unskilled limners came from the mother country and made grotesque effi- gies of our statesmen and divines. As the settlements developed and the amenities of life increased better men came, and native painters vere found, until about the end of the eighteenth century a portrait school of surprising merit arose, founded on the contem- porary English school, and developed men like Copley, Stuart, and Sully. The other branches of painting, however,--history, allegory, genre, still life, landscape, and the rest,--were rarely attempted, and usually vith unsatisfactory results. Probably no artist devoted himself entirely to landscape until 1820, when Thonas Doughty, who was already twenty-seven years old, AMERICAN LANDSGAPE PAINTERS gave up his leather trade and took to painting American views in delicate ray and violet tones, with small encouragement from his contemporaries. TIIOMAS COLE, THE IDE.LIST Soon after came Thomas Cole, the real founder of the school, who emigrated to America with his father's family when he was nineteen. I le was a sensitive, delicate youth, who suffered much in his wanderings while trying to support himself, at first by his trade of wood engraving, but most of all after the chance meeting with an itinerant portrait painter MetroDolita Museum o[ Art THE VALLEY OF VAN GLUSE, BY THOMAS OLE led him to take up art. It was not until he came to Nev York in 825 that his merits were recognized and his difficulties ceased. Some small canvases that he exhibited xvere quickly bought, and from this time until his death his popu- larity steadily increased. The quality ot  Cole's work owes much to his own character, and perhaps also to his early English bringing up. He was an idealist rather than a real- ist. He cared less to re- produce the beauties of the nature around him than to awaken high, moral thoughts. It was not for the pleasure of the eye, but to suggest profit- able musings on the grandeur and decline of nations, the transitoriness of life, the rewards of virtue after death, that he painted the "Course of Empire," the "Voyage of Life," and the rest. lie was the founder of a ro- AMERICAN LANDSCAPE PAINTERS Other men besides Bierstadt accompanied the explorers of the West,--Whittredge, Wyant, Samuel Colman, and others,--but though they painted the plains and the Rockies they soon deserted them for other subjects. One man, how- ever, now a veteran of his profes- sion, has remained faithful to his early ideals. THOMAS MORAN Thomas hIoran, who was one of three brothers, all distinguished in art, came xvith them to this country from England in I844, when he was seven years old. He continues to our day the traditions of Church; not directly, for his training came from an entirely different source, but by his natural preference for Nature in her more striking and impressive forms. A trip to the Yellowstone as early as I871 fur- nished him with a series of subjects LAKE OF TIlE 'WOODS BY THOMAS MORAN peculiarly his oxen; but, while he has ahvays found matter for his brush in the marvels of the great West, he has added to them many of the most beautiful scenes of Great o . Britain, Switzerland, enice, and the Orient, render- ing them all with a sure facility and brilliance that .._., make his canvases recognizable at a glance. - In contrast to these men, who sought to give -..: , interest and dignity to their work by choosing imag- . inative or strange, far-sought subjects, may be placed , " those whose interest was rather in the familiar native landscape that lay about them, who found in it beauty sufficient fr their needs if only they could fully express the emotions with whic[a it inspired them. The two schools are anything but rigidly separated. The idealists made careful studies from TllOMAS MORAN nature, and the realists attempted excursions into AMERICAN LANDSCAPE PAINTERS Metropolitan Museum of Art ACROSS TIlE FIELDS, BY D. W. TRYON autumn. Naturally work of this later period, much of it left unfinished, is very unequal in merit; but at its best it marks his highest achievement rather than the more carefully planned productions of his middle ' life. It is more vital and more subtle; but all of Inness's work except his very earliest reflects the inner nature of the man. It has none of the dignified melancholy of Xlartin, which has also at times its note of revolt. Inness is never trivial: he keeps his seri- ousness; but he is never sad. Nature is to him always beautiful, always kindly. With Wyant, Xlartin, and lnness our early land- scape school reached its culmination. Their lives all continued after the end of the Civil War, they even A^^=.-, did their best work after it; but they belonged to a D. w. TRYOR school formed in other surroundings. After the xvar conditions changed. The country was less isolated, intercourse was easier, wealth had increased, and foreign paintings, calculated to show the deficiencies of native work, became increasingly common. The bud- ding artists were no longer willing to pick up their art by their own IO I II I I ......... I_ I In l i I i I | I II I ___ I I I I i 1 ! il I I .... Many leading newspapers of the United States are now publishing every weekday a human interest story about one picture in THE MENTOR READ THE DALLY STORY IN THE FOLLOWING PAPERS: ARKANSAS MINNESOTA Pine Bluff Graphic Bemidji Pioneer Texarkana Four States Press NEBRASKA CALIFORNIA Hastings Daily Tribune Eureka Humboldt Standard NEVADA Pasadena Star Redlands Daily Facts Santa Ann Blade Vallejo Daily Times COLORADO Leadviile Herald Democrat GEORGIA Augusta Herald Rome Tribune-Herald Waycross Journal IDAHO Twin Falls Times ILLINOIS Chicago Record-Herald KANSAS Coffeyville Journal Hutchinson News Lawrence Journal-World KENTUCKY Bowling Green News MISSOURI Plattsburg Leader Poplar Bluff Daily Reptblio Sedalia Capital Reno Gazette NEW HAMPSHIRE Concord Patriot NEW JERSEY Atlantic City Daily Press Hackensack Record Miliville Republican Newark Star. Phillipsburg Daily Press Trenton Times. NEW YORK Elmira Star-Gazette Ithaca Journal Olean Evening Herald Utica Herald-Dispatch " NORTH CAROLINA Greenville Reflector Rocky Mount Evening Tele- gram Washington Daily News NORTH DAKOTA Fargo Courier-News OHIO Dayton Journal Hamilton Republican Marion Star Norwalk Reflector-Herald Sandusky Register Toledo Times OREGON Coos Bay Times Salem Oregon Statesman PENNSYLVANIA Allentown Morning Call Bradford Star and Record Carlisle Evening Herald Ch.ambersburg Public Opin- ion. Mt. Carmel Item Pittsburgh Sun Warren Mirror Waynesboro Herald SOUTH CAROLINA Spartanburg Herald Sumter Item SOUTH DAKOTA Aberdeen American Lead Black Hills Call Yankton Press and Dakotan TEXAS Corpus Christi Caller and Herald UTAH Ogden Standard VIRGINIA Newport News Daily Press Richmond News Ieader WEST VIRGINIA Grafton Sentinel Matxinsburg Journal WYOMING Sheridan Enterprise $ E N I C E, T I1 E I S L A N D C I T Y ii } . J A VENICE AND THE ADRIATIC SEA .1 panorama of the beautiful "Idand City." five miles, and in this stretch of vater you will see many striped posts called "pall." These mark the navigable channels about the city. ST. MARK'S It is not the physical conditions alone that make Venice unique. In the beauty and interest of its domestic architecture it ranks before any city In the world. The mosaics of Venice have been famous for cen- turies, and are today the marvel of all who see them. The spot where Venice has massed the gems of her beauty is St. Xlark's Place. The view of Venice most familiar to stay-at-home bodies is the one to be had from across the water looking at St. XIark's Place, and includ- ing, besides the cathedral of St. Xlark, the Doge's (doje) Palace and Campanile (cam-pa-nee'-le) Toxver, and in some cases a glimpse of the Bridge of SiRhs. The Piazza of St. RIark is called the "Heart of Venice." All the life of the city surges there at certain times, then sweeps from there through its various channels. It is gayest on summer evemngs, when the population turns out to enjoy the fresh air and listen V E N I C E, T II E I S L A N D C I T Y "Paradise" is there, a marvel in size and in de- tail. The residence of the Doges and the apartment in which the authorities held their meetings are there, revealing still much of their ancient glory. The palace is virtually a museum, and it shows a great displayof fine paint- ngs, containing, among others, notably works of Tintoretto, laul \ero- nese, (.vay-ro-nay'-sch) and Palma Giovane Ijo-vah'-nch). Days could be spent profitably wan- dering through these halls, studying the treas- THE PALACE OF THE DOGES The Doge's Palace is said to have been founded beside the ct, urch of St. Theodore about 80o for the first Doge of Fenice. It has been rebuilt a,d altered many times. SCALA DEI GIGANTI, I)OGE'S PALACE The Stairway of the Giants, so calltd from the colossal statutes of Mar, ad eptue at the top, lead to the Palace of the Doges. On the highest lm, diag of these steps, in the later days of the Republic, the Doges were crowred. ures of art and history to be found there. BRIDGE OF SIGHS In one room you will find yourself gazing from a window at a sight that will be familiar to you; though you may never have traveled before. You will exclaim xhen you see it, "The Bridge of Sighs!" A corridor nearby leads you to the bridge. You will take it, and find that it conducts you across from the Palace of the Doges to the prison, where are to be seen the gloomy walls as well as the torture X E N I C E, T H E I S L A N D C I T Y SUPPLEMENTARY READING Studies in the History of Venice . . Venice ..... Makers of Venice .... The Venetian Republic (two volunes) . Venetian Life ..... St. lark's Rest .... The Stones of Venice .... Gondola Days .... Literary Landmarks of Venice . . Pen Sketches ..... H. R. F. Brown H. R. F. Brown Mrs. Olilahant W. C. Hazlitt W. D. Howells John Ruskin John Ruskin F. Hotakinson Smith Laurence Hutton Finley Archer QUESTIONS ANSWERED Anvone desiring further information concerning the subject of the week can obtain it by writing to the Inquiry Department of The Mentor Association, Inc., Nineteenth Street and Fourth Avenue, New York City. A list of all previous issues of "Tr M-rTOR" will be sent free on request. Price per issue, fifteen cents. SUBSCRIPTION RATES TO "THE MENTOR" One Year, 52 Issues - - - Five Dollars NEXT WEEK'S MENTOR THE WIFE IN ART Exquisite photogravures of Lucrezia Fedi, by Andrea del Sarto; Lucrezia Buti, by Fra Filippo Lippi; Helena Fourment, by Rubens; Saskia Van Ulenburg, by Rembrandt; Maria Ruthven, by Van Dyck;Elizabeth Siddal, by Rossetti. Comment by GUSTdF KOBB, duthor and Critic. 12 T 1! E  1 F E 1 N A R T note that he adds, "as 1 choose." lie had rather fail with her than triumph xvithout her. Indeed, nay point in mentioning Andrea and Lucrezia is to assert that he rode faster for not riding alone; that he was not the equal of the three artists he aspired to rival; and that, if it is sometimes thought he might have rivaled them, this is due to the works he painted under the inspiration of his love for I,ucrezia. She kept him in a constant state of impecuniosity and jealousy; but it was "'as I choose." .\nd well it might have been! His art seems to rise to a higher plane from the moment her dark, imperious beautv--a new note in religious paint- ing--l'ooks out at us from works like the "Xladonna of the Harpies" and the youth- ful Saint John. Vor from her face he LUCREZIA FEDI, BY DEL SARTO In the Royal Gallery, B,'rlin. painted the faces not only of women, but also of boys and youths, and always it is her beauty that dominates the picture. INFLUENCE OF THE WIFE ANDREA DEL SARTO, BY HIMSELF In the Pitti Gallery, Florence. If she, in character the worst kind of uife a man can have, so inspired her hus- band, how rare and exquisite must have been the influence of Lucrezia Buti (boo'- tee) over Fra Filippo Lippi (lip'pee), of Helena Fourment (hel-en-ah fur'-ment) over Rubens (roo-benz), of Maria Ruthven over \ran Dyck, of Saskia over Rembrandt, of Elizabeth Siddal over Rossetti! For these women were devoted to their artist-hus- bands, and were in turn adored by them. Doubtful, indeed, if any of these men would have subscribed to the doctrine that he rides fastest who rides alone. Lucrezia Buti, who was the wife of l"ra Filippo l.ippi, must not be confused with the Imcrezia Fedi (ray'-dee) whom Andrea married. IXloreover, the circumstances T II E W I F E I N A R T DETAIL OF TIlE VIRGIN AND CIlILD BY FRA FILIPPO LIPPI Lucr rzi a But i war',the model for the ff" ir gin. under which Fra Filippo wooed and won his Lucrezia were far more romantic. He was a man whose great talent manifested itself early in life, and, although he had been put in a monastery because his relatives ++'ere too poor to educate him, his evident genius for art earned him many liberties. In fact, he was decidedly gay, and the hero of numerous escapades, the most famous of which has been immortalized by Browning, who found in the two Italian artists, Andrea and IJippo, subjects for two of his finest poems. The adventure of which Brovning writes occurred upon the triumphant return to Florence of Cosimo de' Ikledici (med'-e- chee) and his patronage ofjFra Filippo. Cosimo, frequently annoyed by the friar's loose habits, and despairing of his ever finishing an important picture that he had commissioned him to paint, caused him to be locked up in a room of the X Iedici Palace. Fra Filippo stood this for a few days. Then one night, wearying of his confinement, he escaped. The friar's own pleading in Browning's poem tells the story: 1 could not paint all night-- Our! I leaned out of window for fresh air. There came a hurry of feet and little feet, A sweep of lute-strings, laughs, and whifts of song- ... Round they went. Scarce had they turned the corner with a titter, lake the skipping of rabbits by moonlight,--three slim shapes, And a face that look'd up. .Zooks, Sir, flesh and blood, That's all I'm made of! Into shreds it went, Curtain and counterpane and coverlet, All the bed furniture--a dozen knots, There was a ladder! Down I let myself Hands and feet, scrambling somehow, and so dropped, And after them. Notwithstanding his conduct, so out of keeping with his cloth, he was appointed FRA FILIPPO LIPP! T H E W I F E I N A R T '1 ROSSETTI. BY IIlMNEI.F Painted in brother artist, who had discovered her in a mil- liner's shop in London. She consented to pose for Rossetti. tlis brother, in some charm- ing reminiscences of her, writes that to fall in love with Elizabeth Siddal was a very easy performance, and that Dante Gabriel did it at tion, in the coffin of his wife, who died in Feb- ruary, I862. Not until October, I869, was the manuscript resurrected and the publication of his" poems made possible. It is doubtful if poet or' painter has ever paid a greater tribute than Rossetti thus paid to Elizabeth Siddal. Rossetti as introduced to Elizabeth by a ROSA TRIPLEX, BY ROSSETTI an early date. The name Elizabeth, however, was never on Dante's lips; but rather Lizzie or Ifiz, and fully as often Guggums, Guggum, or Gug..Irs. Hueffer, the younger daughter of Ford 3ladox-Brown, says that when she was a small child she saw Rossetti at his easel in her father's house uttering momentarily, in the absence of the beloved one, "Guggum, (lug- gum!" After awhile "Guggum" became a set- tled institution in Rossetti's studio, and other people, his brother included, understood they were not wanted there. Dante was constantly drawing from Guggum, and she designing under his tuition, tic vas unconventional, and she, if ELIZABETII Sil)I)AI. BY ROSSETTI I0 T 11 E W 1 F E 1 N A R T not so originally, became so in the course of her companionship with him. In her appearance, as in her character, she was a remarkable young woman. TIlE BEAUTY OF ELIZABETII SIDDAI. - The artist's brother writes of her that she was truly a beautiful girl,- tall, with a stately throat and fine carriage, pink anc white complexion, and massive, straight, coppery golden hair. Her heavy-lidded eyehwcre large and greenish blue. But, as this narrator says, it is not nccessarv to speak much about hcr appearance, "'as the designs of l)ante Rossetti speak for it better than l could do." l ter whole manner, in spite of her .ereat beauty, vas reserved, self-con- " trolling, and "alien from approach." Rossetti's brother says that her talk was, in his experience, scant.v; slight and scattered, with some amusing turns, and little to seize hold upon; little clue to her real self, or any- thing determinate. But, alas! the beautiful Eliza- beth was a sufferer from consump- tion, accompanied by neuralgia, l"or the neuralgia frequet doses of laud- anum had been prescribed, llcr BEATA BEATRIX. BY ROSSETTI condition was such toward the end .4 p,,rtrait ,,/Elizabeth Siddal. that sometimes she was obliged to take one hundred drops at a time. ()n l"ebruarv o, S66, she dined at a hotel in I.ondon with her husband and Swinburne. She and Rossetti returned to their home about eight o'clock. She was about to go to bed at nine, when l)ante Gabriel went out again. \Vhen he came back at half-past eleven the room vas in darkness, lle called to his wife; but received no reply, lie found her in bed, unconscious. ()n the table was a vial. It had contained laudanum--it was empty. lie paid her the tribute of burying his poems with her. tie had already paid her the great tribute of painting her, and that often. Those large, greenish blue eyes of hers were his guiding stars. I.et him who will say that he rides fastest who rides alone. There are six great artists--and nlallV more--to say hinl nav. T It E W I F E I N A R T SUP P I.,EI 1EN'FA RY READING Fra Filippo Lippi .... Rembrandt and His Wok (8,-ols.) . . Rembrandt . ..... The Rossettis ..... L'Oeuvre de P. P. Rubens . . . Rubens (Masterpieces in Color Series) . . Andrea del Sarto ..... Sir Anthony Van I)yck . . . Edward C. Strutt Wilhelm Bode R Muther Elisabeth Luther Cary Maximilian Rooses S. L. Bensusan H. Guinness Lionel Cust NEXT WEEK'S " lklENTOR " GRI,AA'I" AMERICAN INVEN'I'ORS Beautiful intaglio-gravure pictures of S. F. B. XIorse, q'honas A. Edison, Robert Fulton, Mexander Graham Bell, Eli XVhitney, and Elias Howe. Comment by H. etDDIXGTON BRUCE, Zluthor SUBSCRIPTION RATES TO "THE MENTOR" One Year, 52 Issues - - Five Dollars Let Your Friends Enjoy T heMentor You are enjoying the benefits that The Xlentor brings, l,ctters tell us every day how much pleasure and profit the readers of The Ientor are getting from its interesting reading matter and its beautiful pictures. (;ire 3"our friends a chance to enjoy The *Ientor. Send us the names of those who ouzht to have The _\lentor, and we will send them sample copies, and will write to them about The N lentor Association. Don't overlook it. You will be doing your friends a good service. VOL.1 SEPTElVIBER 1, 191,5 No. Z9 -. THE A Wise and Faithful Guide and Friend reat American nventors DEPART/VENT OF SCIENCE The FIenorAsociafior lnc Foh Aven ande, teenth treet PRICE FIFTEEN CENTS G R E A T A i E R ! ( A \ ! N  E N T () R % again in the nation's strength, and a wider opening of the door of oppor- tunity to all native-born -kmcricans, and to the constantly increasing host of newcomers from abroad. "l'he kmerican inventors have not simply astonished mankind: they have en- hanced the prestige, power, and pros- perity of their country. THE COTTON GIN "l'akc, for example, the resuhs hat have flowed from a single inven- ,ion, that of the Whitney coton gin. ,$'!1 ITNE Y'S ARMORS In 1798 the inventor of the cotton gin began the man- , ufacture of fire arms near New Haven, Connecticut. \\hen the young Yankee school- master and law student, Eli \\hitney, was graduated from Yale and settled in (;eorgia in 79 2, the production of cotton in the Southern .States was insi.nificant. .\t that time, indeed, cotton was groun by the Southerners chiefly for decorative effect in gardens, because of its hand- some flowers. Its cultivation for commercial purposes was virtually out of he question, owing to the fact that no means were available for economic- ally separating the lint from the seed. This had to be done by hand, and since it took ten hours for a quick worker to separate one pound of lint from its three pounds of seed no adequate returns could be had. \Vhat was needed, as his southern friends pointed out to \\hitney, was he inxention of some apparatus for performing the work of separa- i,n cleanly and quickly. The problem was one that appealed to him BIRTHPLACE OF WitlTNEY this house in tFestborough, Jla.rsachuttt.,, Fli #'hitney was born on December 8, 765- with peculiar force. Even as a boy in Massachusetts he had been fond of tin- keringwith lnechanical appliances. .\t the early age of twelve he had made a violin o[ fairly good tone; a year later - he was making excellent knives; and before he was fifteen he was recognized as the best mechanic in his native town of \Vestborough. It was therefore with -: real enthusiasm that he set up a work- shop in the basement of his (;eorgia home, and varied his law studies by ex- perimenting in the manufacture of a cotton in. \Vithin a few months he G R E A T .. M E R i (; A N i N V E N '!" () R S THE FIRST as a benefactor of humanity. VrLEeno.x: So, too, with Samuel F. J3. Xlorse, and Alexander Graham Bell, the one the fatherof the electric telegraph, the other the inventor of the telephone. If anybody had told Samuel Xlorse in 1811, when as a outh of wentv he sailed from New York to TIIE FIRST TELEGRAPH INSTRUMENT \\ith .klorse the turning point was reached in I827 when, some )'ears after his return from England, he attended a course of lectures in New York on the subject of electromagnetism. \\'hat he then heard fired his imagination, and led him, during a second visit abroad, to study more closely TEI, EGRAPH AND TEIEPHONE l.iverpool to study paint- ing under 13enjamin \Vest, that he xould be known to posterity as an inventor rather than as an artist, he would have laughed the prophecy to scorn. But, as has hap- pened to other gifted men, circumstances conspired to turn and fix the thoughts of this brilliant son of New England on prob- lems unconnected with the routineof his daih life, yet appealing to him with such force as to change the whole course of his career. G R E A T AMERICAN INVENTORS the nature of electricity. He spe- cially became interested in the pos- sibility of utilizing this great natural force as a medium for long-distance communication, and when homeward bound, in the autumn of I83 2, aF- plied himself to this one problem to such good purpose that before land- ing in Nev York he was able to show to his fellow passengers pla'ns of the instrument that was to im- mortalize his name. It was not until five years after- ward, however, that Xlorse made the first working demonstration of his invention, which by most people was regarded as a scientific toy rather than a creation of the highest practi- cal utility. And a scientific toy it remained until, after a heartbreaking struggle to secure the necessary finan- cial aid, XIorse persuaded Cngress in 843 to appropriate $3o,ooo for the construction of a telegraph line between Washington and Baltimore. The first message to be flashed over this line, .Xlay , 844, was the news "'LONG DISTANCE" zflexander Graham Bell opening the New York-Chi- cago long distance telephone line, October 8, 89z. ALEXANDER GR.HAM BELL'S SUBURBAN RESIDENCE AT WASHINGTON, D. C. 9  VOLI SEPTEMBER 8. 1913 No. 30 THE N A Wise and Faithful Guide and Friend LE&RN ONE THING & .VERY DAY & Furniture nd Its ]akers DEPARTNNT OF FINE ARTS THE MENTOR "A Wise and Faithful Guide and I"riend" Vol.  SEPTEMBER 8, IgI 3 No. 30 FURNITURE AND ITS MAKERS CHARLES ANDRI BOULLE I)ANIEL XIAROT J. HENRI RIESENER THO.XlAS CH I I'I'I'2N I)AI.E THOXIAS SI-iERATON GEORGE tIEPPLEWtlITE By PROI"ESSOR C. R. RICH.4RDS Director o.[ Cooper Union, New )'ork. T. is rather surprising to find how late a development furniture is in the modern sense. Up to the seventeenth century chairs xere far from common. Outside of the large and heavv armchairs re- served for the head of the family, benches, chests, and stools were the only seats in all but the wealthiest households. Before the sixteenth century fixed tables were unusual. Dining tables were almost always composed of a set of boards placed upon trestles at mealtime. Going a little further back to the fourteenth century we find furniture, even in castles of the nobility, of the scantiest and simplest. In the sleeping rooms the pieces were limited to a bed, one or txvo chests, a bench before the fireplace, and seats built into the wall, commonly under the windows. In the hall where meals were served the onl.v indispensable article besides the trestle tables and benches was a dressoir or buffet for the display of plate. All of these pieces were exceedingly heavy and massive, and often- F U RN 1 T URE AND ITS MAKERS times built into the structure of the room. Not until the seventeenth century did furniture be- come lighter, more easily movable, and more comfortable. It was at this period that chairs be- gan to be made with sloping backs and furnished with cushioned seats of leather or woven stuff. Every age has impressed its artistic stan- dards strongly upon the furniture of the period. Long after Gothic cathedral building had ceased, the cabinetmakers of northern Europe con- tinued to carve their delicate window tracery upon the panels of chests and buffets and to copy the moldings of pier and mullion. The Renaissance brought a great change in the surface appearance of furniture, and in Italy, France, Flanders, and Germany the new art spirit manifested itself in different forms, each of which reflected the peculiar genius of the people of the land. But all the earlier developments in furni- turewereover- -= "-- shadowed by LOUIS XlV CABINET EXAMPLE OF BOULLE the splendid achieve- FRENCH OR FLEMISH CABINET OF THE FIFTEENTH CENTURY ments of French art in the latter part of the seventeenth century. These began under Louis XIV, and continued with undiminished productiveness and refine- ment of design through the reigns of Louis XV and Louis XVI, to a decline under the Empire. LOUIS XV--FURNITURE OF THE BOUDOIR The foundation by Colbert, minister of Louis XIV, of the Manufactures Royales des Rleubles de la Couronne, commonly called the Gobelins, brought together fo'r the production of furniture and tapestry for the royal palaces the most talented designers and expert craftsmen of the time. Of these Charles Andr& Boulle was the master cabinetmaker. His name is FURNITURE AND ITS MAKERS gance and the play of fertile invention. The declinc had begun. EMPIRE--THE IMITATION OF THE CLASSIC The new order, built on the ovcrthrow of tmnarchical society and with no sympathy for delicacy and refinemcnt, desired a setting free from the traditions of the past. The cabinetmakers, however, had only their trai.n- ing of the reign of Louis XVI, and ths they could not transcend. For motives they had only their knowledge, or what they considered I.OUIS XVI TABI E knowledge, of ,he antique. I OUIS XVI " TABLE pire pieces seem, it can at least be said that they are more consistent and satis- fying than the inhar- monious mixture that characterized the fur- niture of the last year of Iouis XVI. [any of the Empire chairs indeed are of real dignity and beauty" of proportion. In some of these ormolu, intro- duced for the first time in chairs, was used in ()n this they endeavored to build a nev style by direct adoption of classic forms. In chairs and couches they attempted to reproduce the actual shape used by the Greeks and Romans. Figures of caryatids and sphinxes take the place of simpler structural supports in tables and stands. Ormolu was no longer employed in an architectural manner in which one decorative detail is set off against another in a play of rhythm and contrast; but xvas applied as single figures or small ornamental motives on a plain surface of mahogany. Oftentimes this ornament has so little relation to the space decorated that it could well be omitted without loss of real effectiveness. This enthusiasm for the antique passed through Egyptian, Greek, and Roman phases. Heavy and unimaginative as most of the Em- F U R N I T U R E A N D I T S M A K E R S forms introduced by \\illiam and .Iarv and Queen Anne, in which the cabriole leg with ball and claw feet and the flowing curved back with solid splat are the prominent features, he soon developed an individual style marked by great dignity, strength, and originality. His earliest chairs are perhaps the finest. In these the rabriole leg is alwa)'s employed, and the side frames of the back curve outward as they run up to more or less pronounced ears at the top. The top rail takes more or less of a cupid bow shape, and the central splat fills in the inclosed space. It is in the design of these central splats and the inclosed frame- EMPIRE COMMODE work that Chippendale is at his best. The almost inexhaustible variety of figure in these pierced and interlaced centers, always in the happiest relation to the framework, gives the principal interest to these chairs, and stamps Chippendale as one of the great mas- ters of design. EMPIRE ARMCHAIRS Chippendale's styles represent many influences. His earl)- work was patterned closely upon Queen Anne models; but with the " Direc- tor" appeared many examples of Gothic and fretted furniture. The Gothic, unsuitable as it was for domestic use, obtained little vogue; but the ornamentation of chairs and tables, either by open or, more commonly, applied fretwork, was popular for a dozen years or more, F t RN ITURE AND ITS M , KERS .I ClllPPENDALE PIE- CRUST TABI,E CIIIPPENDALE TABLE 7"hi table show strong Chinese iufluence. and is characteristic of some of Chippendale's most successful if not most showy productions. During this same period a rage for things Chinese possessed the popular taste, and in many latticed chair backs and canopied tops of cabinets the versatile cabinetmaker catered to this new interest. Besides his chairs, the name of Chippendale is closely associated with the charming tripod tables, generally made with tilted top and often with molded or "pie crust" border, with the flat card tables so much used in the gaming of the period, and with the all-china cabinets and bookcases with glass fronts, and oftentimes with a characteristic broken pediment at the top. The two other men who identified their names with I:nglish styles worked under the influence of the classical revival brought about in CHIPPENDALE SETTEEFRETWOR K CillPPENDALE ARMCHAIR England largely by the influence o the brothers Adam. In the case of Itepple- xx hite this influ- ence greatly af- fected but did not absolutely determine the style; for this practical cabi- netmaker was a FURNITURE AND ITS MAKERS EXAMPI.ES OF tlEPPLEWlllTE CHAIRS EXAMPLES OF SllERATON CllAIRS sideboards, and bookcases he substituted for carving the inlay of low- toned colored woods in the form of lines and narrow bands and other ornamental motives. SHERATON--THE PURIST The last of the three great cabinetmakers represents the culmination of the classic spirit derived both from the brothers Adam and the French Louis XVI style. Sheraton's productions, or rather his designs, depicted in the "Cabinet-maker and Upholsterer's Drawing-Book," have little of the vigor and strength of Chippendale's vork; but they are always character- ized by delicacy and refinement. Sheraton designed furniture both in mahogany and in satinwood, decorated by inlay and by painting, and [it is with this last style, the introduction of which was largely due to the popularity of the gifted young artist Ang61ique Kauffmann, that he is particularly identified. SHERATON SIDE- BOARD His work in mahogany is characterized by simplicity of form and by the taste- ful use of inlay, in which respect he was perhaps the equal of Hepplewhite. His chair backs are almost always based upon the straight line, and, although sometimes made petty by the introduction of inappropriate classic FURNITURE AND ITS MAKERS ornament, they exhibit on the whole much skill and refinement in composition. In the legs of chairs and tables he almost invariably used turned and tapering supports, which were frequently decorated by reeding. In the sides and often the backs of his chairs he reintroduced the vogue of canework, which had not appeared in fashionable furniture since the seventeenth century. Sheraton's satinwood furniture took the form mainly of commodes or bureaus, small writing desks, toilet tables, and other lighter articles for the boudoir. The daintiness and elegance of some of these pieces deco- rated by the brush of Ang61ique Kauffmann or Pergolesi challenge com- parison with some of the exquisite furniture made during the reign of Louis X\I, and they mark the final culmination of English furniture before its degeneration into the mediocrity of later times. SUPPLEXlENTARY READING French Furniture. A History of English Furniture French Furniture in the Eighteenth Century Colonial Furniture in America English Furniture of the Eighteenth Century Furniture French and English Furniture French Furniture in the Eighteenth Century The Furniture Designs of Thomas Chippendale .4. Saglio Percy Macquoid Lady Dilke Luke Fincent Lockwood Herbert Cescnsky Esther Singleton Esther Singleton Lady Dilke J. Muno Bell NEXT WEEK'S _MENTOR SPAIN AND GIBRAUF_\R Beautiful photogravures of the Alcizar at Seville, Royal Palace at Madrid, Cathedral of Toledo, the Alhambra at Granada, Cathedral of Seville, the Rock of Gibraltar. .4 Trip .4round the II'orld with DWIGHT L. ELMENDORF Lecturer and Traveler Subscription Rates to The *Ientor o. One hear, 52 Issues, Five 1)ollars VOL. 1 SEPTEMBER 1,5, 1913 No. ,.31 THE E N TOR A Wise and Faithful Guide and Friend " _ -- . LEARN ONE THIN'G & EVERY DAY  Spain And Gibraltar DEPART.MNT OF TRAVEL Issutd.Weeldy hy FToe H.e.nlorAssociation. Inc urh Avenue anl Nineeerrt  NA Cy PRICE FIFEN CENTS . S P A I N A N D G I B R A L T A R 4 1 THE ESCORIAL One of the monks oJ the monastery on the bal- con)', o:'erlooking the formal garden , Europe. 'l'here is a magnificent rep- resentation of the Spanish school, and especially of the great painter Velasquez. There are sixty pictures of his, including some of his most brilliant works. There are also many splendid examples of the art of .lurillo, and many paintings by Ru- bens and Van Dvck. THE ESCORIAL Situated twenty-seven miles from XIadrid is the village and palace of Escorial. The Escorial is a most extraordinary building..'klany of the Spanish people regard it as the eighth vonderof the world. It is a fitting memorial of the cold, cruel monarch idea of its immensity may be gathered from the statement taat it covers 26,900 square yards of ground and its sides are 50o feet long. Like man), great struc- tures in Spain,it is built of native granite. It is not easy to gain access to the in- terior of the palace. Sometimes in the absence of the royal family permission may be obtained, and those who have the privilege of being admitted find there many relics of historic value, a priceless collection of tapestry, a num- ber of most interesting old works of art, and a library containing man)" volumes of unique worth. The collection of paintings in the art museum is one of the finest in all LIBRARY OF TIlE ESCORIAL 7"his spledid room contains many rare and valuable works. The older books stand with their fronts toward the spectator and have their titles stamped on the gilt edges. S P A I N A N D G I B R A L T A R them haze features of great architectural beauty. The former building was never completed. The palace of the Generalife is situated to the east of the Alhambra and I65 feet higher. It was the summer residence of the .kloorish kings. From there the finest view about Granada can be had, covering the Alhambra below and stretching far across the vega (plain) to the distant mountains. The interior of the Generalife in its time must have been as beautiful as that of the Alhambra. The most beautiful spot is the garden of the Generalife, with its ter- races, pools, grottoes, hedges, and overhanging trees. SEVILLE It is a great relief to turn from the squalor in Granada to the comforts and delights of Seville. There is no town or city in Spain that can com- pare in charm with Seville. By its snow-white cleanliness, its fragrant fruit and flowers, its luxurious foliage, its gay and harmonious life, it invites the traveler to stay--and few can resist the invitation. Once intro- duced to the home life of the inhabitants, the visitor is apt to renounce gladly for a time all thought of departure. Every. where about him is competence, comfort, and content. It seems as if families vie with one another in making their homes attractive. The family life is in the inner court or patio. That is the summer parlor, and there in the midst of flowers, plants, and beautiful birds friendly" parties gather in happy com- panionship. It is in Seville, it seems to me, that the life of the native THE HARBOR AT BARCELONA Through Barcelona passes almost one-fourth of the entire foreign commerce o] Spain. This cit is the most important commercial and industrial town in Spain, and has a population of 530,00o. Spaniard may be seen n its most attractive light. The two most notable sights in Se- ville are the Alcfizar, which was the palace of the Moorish kings and afterward the home of Spanish rul- ers, and the cathedral, which is one of the finest, largest, and most beautiful Gothic churches to be found anywhere. The Alcfizar has IO Many leading newspapers of the United States are now publishing every weekday a human interest story about one picture in THE MENTOR READ THE DAILY STORY IN THE FOLLOWING PAPERS: ARKANSAS Pine Bluff Graphic Texarkana Four States Press CALIFORNIA Eureka Humboldt Standard Pasadena Star Santa Ann Blade Vallejo Daily Times COLORADO Leadville Herald Democrat GEORGIA Rome Tribune-Herald Waycross Journal MINNESOTA Bemidji Pioneer NEVADA Reno Gazette NEW HAMPSHIRE Concord Patriot NEW JERSEY Atlantic City Daily Press Hackensack Record Millville Republican Newark Star. Phillipsburg Daily Press Trenton Times. IDAHO Twin Falls Times ILLINOIS Chicago Record-Herald KANSAS Coffeyville Journal Hutchinson News Lawrence Journal-World NEW YORK Elmira Star-Gazette Ithaca Journal Olean Evening Herald Utica Herald-Dispatch NORTH CAROLINA Greenville Reflector Rocky Mount Evening Tele- gram KENTUCKY OHIO Bowling Green News Marion Star MISSOURI Norwalk Reflector-Herald Sandusky Register Plattsburg Leader Poplar Bluff Daily Republi- OREGON can Coos Bay Times Sedalia Capital Salem Oregon Statesman PENNSYLVANIA Allentown Morning Call Bradford Star and Record Carlisle Evening Herald Ch.ambersburg Public Opin- ion. Mr. Carmel Item Pittsburgh Sun Warren Mirror Waynesboro Herald SOUTH CAROLINA Spartanburg Herald SOUTH DAKOTA Aberdeen American Lead Black Hills Call TEXAS Corpus Christi Caller and Herald UTAH Ogden Standard VIRGINIA Newport News Daily Press WEST VIRGINIA Grafton Sentinel Martinsburg Journal WYOMING Sheridan Enterprise THE MENTOR "'A Wise and Faithful Guide and Friend" /OL. l SEPTEMBER 22, I9I 3 NO. 32 HISTORIC SPOTS OF ANIERICA j A X 1 I.:STOW N PLYMOUTH ROCK TICONI) EROGA 1 NI)I';PENI)I'INCE HALl. THE ALAMO GETTYSBURG By ROBERT Mc NUTT McELROI" llead of the D,.'parttnent of History and Politics, Princeton University FEW years before the settlement of the territory now known as the U'nited States the people of Europe had w'itnessed a great naval battle in which two kinds of civilizations contended for supremacy. England and Spain were the combatants, and the issue, as we now clearly see, was whether the old idea of monarchy or the new idea of democracy should dominate two continents. Gold fom X lexico and Peru had made Spain a great power. Successive royal inheritances had given to her kingly line the control of a large part df Europe. She was the champion of the Church of Rome, and regarded it as her mission to prevent all heretics from planting colonies in the New \Vorld. England, on the other hand, was the champion of Protestantism, whose doctrine of the direct responsibility of the individual led logically to democracy in government. England won the battle, destroying Spain's great Armada, and thus opening the New \Vorld to the settlement of men pro- II ISTORIC SPOTS OF AMERICA PLAN OF FORT TICONDEROGA 4 rextoration begun in 19o9. Thefirxtfort, calledFort Carillon, wax built by theFrench in 755- It wax taken by the British in 758 and rebuilt as Fort Ticonderoga. shackles of tyranny, but was, on the contrary, a determined refusal to allow these shackles to be put on. George the Third and his obse- quious minister, I,ord North, were the real revolutionists; for thin" sought to take away from the American colonies rights of sclf-govcrnmen't as old as Jamestown and Plymouth. In this they failed, and their failure cost England an empire. TICONDEROGA AND INDEPENDENCE IIALL To tax a man without his consent has alwa's been, since Xlagna Charta vas written, contrary to the liberties of native-born Englishmen. It was therefore contrary" also to the liberties of native-born Americans, and as such it vas resisted by our ancestors of the revolutionary epoch, as it had been resisted by our ancestors of the colonial era. \Vhen, on Xlay o, 775, Ethan All'en and Benedict Arnold, sword in hand, called upon the king's ancient fortress of Ticonderoga to surrender, giving as their authority "the great Jehovah and the Continental Congress," the3 vere but putting into striking phrase the political doctrines of Calvinism and seeking to enforce the royal promise that Americans of whatever colony were entitled to "all Liberties, Franchises, and Immunities .... as if they had been abiding and born, within this, our Realm of England." And when the great political figures of the RevolutionAdams, \\'ither- spoon, Franklin, Jefferson, and the rest--assembled in Independence l lall, 1t 1 S T O R 1 C S P O T S O F A hi E R 1 C A TIlE BATTLE OF GETTYSBURG 7"his struggle, the crisis of our Civil tFar and one of the great battles of the world, raged for three days. ture, and Longstreet declared that when the moment came for ordering " lickett and his gallant five thousand to advance, his lips refused to form the words, and to the calm inquiry, "General, shall I advance ?" he could only reply by an affirmative bow. Within thirty minutes two thousand of the detachment had fallen, and of the officers who had headed this desperate venture, only Pickett and one lieutenant came out unharmed. Stuart had failed to reach the Federal rear in time to aid the attack which, unsustained, had ended in disaster. "It was all nay fault," gener- ously commented Lee, when the whole tragic result was understood, "I,et us do the best we can toward saving that which is left us." .leade made no attempt at pursuit. I,ee led his army back to \irginia and was safe. In an order of July 4, leade had used the expression, "driving the invader from our soil," which, when the great, sad-eyed I,incoln read, he heaved a deep sigh and remarked, "\Vill our generals never get that idea out of their heads? The whole country is our soil." SUPPLEMENTARY READINGJohn Fiske's "Old Virginia and Her Neighbors," "' Beginnings of New England," "The Critical Period of American History," and "The American Revolution"; "True Relation of Virginia," Smith; " Plymouth Plantation," Bradford; "Sam Houston," Bruce; "Stuart's Cavalry in the Gettysburg Campaign," John S. Y.losbv. Many leading newspapers of the United States are now publishing every weekday a human interest story about one picture in THE MENTOR READ THE DAILY STORY IN THE FOLLOWING PAPERS: ARKANSAS Pine Bluff Graphic Texarkana Four State, Press CALIFORNIA Eureka Humboldt Standard Pasadena Star Santa Ana Blade Vallejo Daily Times Leadville Herald Democrat GEORGIA Rome Tribune-Herald Waycros Journal IDAHO Twin Falls Times ILLINOIS Chicago Record-Herald KANSAS Coffeyville Journal Hutchinson News Lawrence Journal-World KENTUCKY Bowling Green News MISSOURI Plattaburg Leader MINNESOTA Bemldji Pioneer NEVADA Reno Gazette NEW HAMPSHIRE Concord Patriot NEW JERSEY Atlantic City Daily Press Hackensack Record Millville Republican Newark Star. Phillipsburg Daily Press Trenton Time,. NEW YORK Elmira Star-Gazette Ithaca Journal Oiean Evening Herald Utica Herald-Dispatch NORTH CAROLINA Greenville Reflector Rocky Mount Evening Tele- gram OHIO Marion Star Norwalk Reflector-Herald Sandusky Register Poplar Bluff Daily Republi- OREGON can Coos Bay Time, fiedalia Capital  Salem Oregon Statesman PENNSYLVANIA Allentown Morning Call Bradford Star and Record Carlisle Evening Herald Chamberburg Public Opin. |Ono Ms. Carmel Item Pittsburgh Sun Warren Mirror Waynesboro Herald SOLFFH CAROLINA Spananburg Herald SOUTH DAKOTA Aberdeen American Lead Black  Call TEXAS Corpus Christi Caller and Herald UTAH Ogden Standard VIRGINIA Newport News Daily Pre WEST VIRGINIA Grafton Sentinel Martinsburg Journal WYOMING Sheridan Enterprise VOL.I SEPTEMBER 29. 19L5 No. 3 THE E N TOR A'Wise and Faithful Guide and Friend LEARN ONE THING A VKY DAY A Beautiful BuiMings Of TheWorld DEPARTNNT OF FINE ART8 The HenorAssociati0n. PPICE FIFTEEN CEWr$ THE MENTOR "A Wise and Faithful Guide and Friend" Vol.  S."r.MB.I 9, 93 No. 33 BEAUTIFUI BUILDINGS of the \VORI D TAJ MAHAL "FHE ALHAMBRA AMIENS CATHEI)RL SALISBURY CATHEI)RAL CH,,TEAU de CHAMBORD NEW YORK CITY H,LL By CLARENCE IFAR D Professor of Architecture, Rutgers College EAUTY in architecture is as difficult to define as beauty in nature. No single factor renders a building beautiful. Size and propor- tion, style and decoration, age and setting, all enter into account. And moreover there is the power a building possesses to appeal to the ideals of the beholder, to his mind as well as to his sight and touch. Even when judged from this broad vievpoint, the number of beautiful buildings in the world is legion. It would be impossible to point to anyone as the finest, or even to select a dozen without leaving a dozen more that were equally beautiful. Every age, and every nation, has left to us some crown- ing achievements of the builder's art. The following are therefore merely selections from this storehouse, illustrating to some degree the wealth of architectural treasures that is our heritage. Few if any buildings in the world have been the subject of such praise as that bestowed upon the Taj Mahal ("Gem of Buildings"). Travel- BEAUTIFUL BUILDINGS OF TIlE WORLD It is perhaps beside her tomb that the traveler sees a vision of the proud and mighty Jahan, cruel in many ways, but steadfast in his love, building this glorious resting place for his fair consort, whom he called by the familiar name of Taj. One may see even farther still and picture to himself this once proud ruler, bereft of all his power and even of his throne, looking out from his chamber window toward this same Taj Mahal. Perhaps its wondrous dome gleamed in the moonlight on that last night before he came to rest beneath its shades as it gleams today to the enraptured gaze of thousands who take the pilgrimage to Agra to see this wonder of the Eastern world. THE PALACE OF THE MOORISH KINGS It is not such a step as it ma) r seem from the Taj .,'klahal to the Alhambra (al-ham'-bra). Both are oriental. Both are the prod- ucts of 3lohammedan art, and mark in a way its Eastern and its Western expressions. As early as the eighth century of our era the loors of north- ern Africa crossed to Spain and made the Iberian peninsula a _.. .Ioorish califate or kingdom. ..-- Its capital and last stronghold was Granada. And here on a , lofty hill, overlooking the city', .. King or Calif AI Hamar began .,_ the mighty fortress of the Alhambra n the early years ' of the thirteenth century. As is the case with almost every .lohammedan building, - its exterior is extremely plain. But once the door is passed one seems to have stepped from Eu- rope to the Orient. Courtyards COURT OF TIlE MYRTLES. ALHAMBRA and porticos, halls and passages, r pod is bordered on both sides by beautiful dd hedges. open before the visitor in a truly oriental maze of color and decoration. The first important court is knoxvn as that of the Alyrtles. In its center is a marble basin a hundred and thirty feet long, bordered with trees of myrtle and orange, and flanked at both ends by txvo-storied pavilions with slender marble shafts BEAUTIFUL BUILDINGS OF THE WORLD and graceful NIoorish arches. From one of these pavilions opens the Hall of the Ambassadors, the throne room of the califs, and the largest cham- ber in the palace. THE ALHAMBRA'S BEAUTY But it is not its size that makes this room imposing. Here, as else- where in the palace, it is the deco- ration. Rising for three or four feet from the floor is a band of colored Xloorish tiles. All the wall above is of stucco, molded in lacelikc patterns and painted in blues and reds and brilliant goldcn yellows. The designs are largely geometrical or floral, fre- quently interspersed with Arabic inscriptions. Some of these when translated read, "God is our refuge," "Praise be to God," familiar phrases in 3Iohammedan faith, or "There is no conqueror but God." Add to this decoration of the walls imposing stalactite domes, and ceilings often of cedarwood inlaid with mother of pearl, and imagine the floors and windows again adorned with oriental rugs and hangings, and the beauty of the Alhambra will be easily under- stood. But neither the Court of the Myrtles nor the Hall of the Ambas- sadors is the crowning glory of the palace. This'honor belongs to the Court of the Lions. One hundred and sixteen by sixty-six feet in size, this court compares with any apart- ment in the world for pure, exquisite beauty of design. An open portico, its ceiling borne on a hundred and twenty-four slender and beautiful marble columns and delicately orna- HALl OF REPOSE OF THE BATHS. AI.IIAMBRA " "2 " THE GATE OF JUSTICE ,4 part of the ,41harabra palace not well pre.rerved. BEAUTIFUL BUILDINGS OF TIlE WORLD for here, in spite of the shafts of Purbeck marble, one for each hour in the year, and in spite of the rich moldings of the piers and arches, the lack of structural unity, and the comparative smallness of the windows and lowness of the vaulting cause Salisbury's nave to fall far short of that of miens in beauty of construction. Viewed from the vest, the cathedral | i _ TOWER OF TilE GRAND STAIRCASE Chliteau de Chambord. temporal power of the pope and clergy, which had been supreme throughout the .hi id- die \ges, gave way to a larRe extent to a spirit of individ- ualism and a rising pover on the part of the king and nobles. This change had its is also disappointing; for the facade is an ugly screen vall, badly decorated, and deserving of little praise. But when seen from north or south or east, xith its spire rising from the very heart of the church, Salisbury is truly inspiring. In its quiet close it seems the very expression of the church at peace. (;IIATEAU de CIIA MB()RI) Between the construction of -\miens and Salisbury and the building of the Chfiteau of ('hambord (shong-bore') lie two centuries of history. In them the spiritual power of the church, and he ' "ll " !1". IIII1 HALL IN TIlE CIIATEAU de CllAMBORD The two slainoays seen in the back wind around the same central shaft and never join. effect upon the arts. The palace took precedence over the church in architecture as the secular took precedence over the religious in painting and the other arts. The Chfiteau of Chambord dates from the earlier stages of this new architectural era. Built by King Francis I in the early years of the sixteenth century, it is but one of the hundreds of chateaux erected by the kings and nobles of France, from Francis to the fall of the monarchy. Its architectural style is what is known as early Renaissance. BEAUTIFUL BUILDINGS OF THE WORLD The claim of Chambord to beauty is due, not so much to its decoration as to its imposing size, to the sense of spaciousness it conveys, and to the manner in which it reflects the spirit of its age. Four hundred feet square along its outer walls, this vast chateau was designed by Francis I merely as a hunting seat. The chief exterior attraction of the building lies in its roof. This is a very maze of gables, dormers, chimneys, and cupolas, dominated by the lantern that crowns the center stair, and in which lights were hung to guide belated hunters from the forest. THE STAIRWAY OF CHAMBORD This stairway is the chief attraction of the interior. Sweeping round a central newel vhich forms an open well, it rises the full height of the building. Ioreover, it is not a single flight of steps, but two, so placed that one person may go up and one come down, yet never meet. From this stairway four large halls open at every floor, and four hundred and forty rooms and fifty other stairs fill up the wings of this great palace. The interior, when richly furnished, must have been magnificent. In spite of its size, Chambord has little history of which to boast. Nothing of importance or even of special interest took place there. NEW YORK CITY HALL \Ve are fortunate indeed as a nation to have had in our earlier days an architec- ture that could boast of such pleasing monuments as the New York City Hall. Our ancestors in both the North and South were strongly influ- enced from the point of view of art by that English Renais- sance which reached its cul- mination in the hands of Sir Christopher Wren. Many a New England church and many a Southern home boasts an architectural beauty of rare charm and in rare accord with the natural setting of this new land. Nor were we less fortunate in public works. The old and new statehouses STAIRWAY IN THE NEW YORK CITY llALL. i0 THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 52 East 9th St., New York, N. Y. MONDAY, SEPTEMBER 29, 93 Volume x Number 33 ANNUAL SUBSCRIPTION, FIVE DOLLARS. SIN- GLE COPIES FIFTEEN CENTS. FOREIGN POST- AGE $1.50 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POSTOFFICE AT NEW YORK, N. Y.. AS SECOND-CLASS MATTER. COPY- RIGHT, 1913. BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREASURER, R. M. DONALD- SON; VICE-PRESIDENT, W. M. SANFORD; SEC- RETARY, L. D. GARDNER. Editorial A man much occupied in his business was asked how he came to know so much on so many different subjects. His an- swer was: "Not by study--I have had no time for that--I have got my knowldge from the men who could give it to me, and from the reading that they have sug- gested to me. When several of my friends who know a subject have told me about it, I have got it in a way that I could not get in study. I have got it from different points of view." These words were said in the course of a conversation about The Mentor. Some- one had referred to the variety of subjects offered in the schedule of The Mentor Association, and had asked whether cer- tain regular courses of reading could not be included with advantage. With the thought of that business man and others like him, we are aiming for something larger and more beneficial than a fixed set of reading courses. We have planned to give in The Mentor the broad, liberal knowledge that comes not from a strict course of study closely adhered to, but from contact with writers of authority in varied fields. The readers of The Mentor get the rich benefits afforded by many minds, and the year's reading is wide in its reach and well balanced. So much for the general plan of The Mentor Association. But there is some- thing to be said for the reader who wants to have a logical course of reading through the seasons. So while we offer variety from week to week, we plan to cover the larger subjects in groups of articles that are definitely related to each other. If one wants to follow out a certain sub- ject, whether it be travel, history, or art, he can take up the reading of his Mentors in groups. Look at the schedule of I913. In the varied program of the year's read- ing you will detect numbers that naturally belong together. You can select a set of Mentors that will take you on a trip to interesting places, with Air. Dwight L. Elmendorf as a companion. If literature is a subject of interest to you, you can select Mentors on literary matters prepared un- der the advice of, and some of them written by, Mr. Hamilton W. Mabie. Suppose that history is what you are after; Professor Albert Bushnell Hart gives you the "Story of America" in several num- bers. It is hardly necessary to point out what Professor John C. Van Dyke has done for fine art in the numbers of The Mentor prepared under his direction. And so groups of Mentors on other subjects may be brought together out of the schedule. In preparing the schedule for 914 we have taken thought not only for the wide scope of the whole year's plan, but for the treatment of special subjects in a way that will form natural groups. We have found this condition has met with favor, and it seems worth while to assure ourselves that all the readers of The Mentor appreciate it. We are told that some are gathering the numbers relating to a single subject together so as to have a small library on each subject available for reference. Not a bad idea. Imagine what an attractive set of volumes could be made out of twenty or thirty Mentors on travel by Mr. Elmendorf! Think what a beautiful and valuable set of books could be had by binding up the art numbers! Keep your back numbers. They are just as valuable as the ones to come. THE MENTOR "A Wise and Faithful Guide and Friend" VOL. 1 ()CTOBV-R 6, 93 NO. 34 GAME BIRDS OF A IERICA RUFFED GROUSE CANAl).\ (;()OSI'; BOB \IIITE XIAI.I.ARI) WILl) TURKEY CA X VAS I",A(_ K By EDIIRD 11. FORBUSH, State Ornithologist of Jlassachusetts Author of " Useful Birds and Their Protection," ".1 llistory of Game Birds, H'ild l"owl, and Shore Birds," etc. '()R'I'II .\XII';RICA, when discovered by Columbus, probably con- tained more game birds than any ot]cr continent. "l'he great falling off in the number of these birds in recent times has been accentuated by the extinction of the passenger pigeon and the Eskimo curlmv, and the rapid disappearance of many others, among which are the whooping crane and the sandhill crane, great birds that are gradually being swept from the continent. The upland plover, formerly abundant in every suitable grassy region east of the Rocky Xlountains, is now facing extinction, and its salvation is beyond hope, unless the regulations, pro- tecting it at all times, recently made by the United States l)cpartment of Agriculture, under the \Veeks-XlcI,can law, can be enforced. The rails do not appear to have decreased in number quite so rapidly as have the shore birds; but from the king rail, the finest of them all, down to the sora they are much less numerous than in the early years of the last century. GAME BIRDS OF AMERICA The little ones all come from the shell together, and are fully equipped to find their own living. They need the mother only as guard, defender, and shelter. When they pop out of the eggs they leave the nest forever, and thenceforth they are at home in Robin Hood's barn, and sleep wher- ever weariness or night overtakes 1:hem. A little roving band of downy-, brownie, striped chicks, they keep close together, running heie and there, alvays hunting, picking insects from grass, ground, and foliage; while the mother, stalking behind, herds them along with soft and gentle calls, acting as rear guard, to give warning of any enemy that may be upon their trail, to lead the destroyer away if she can, to defend them with her life if she cannot, and to brood them beneath her maternal breast whenever they are wet, cold, tired, or sleepy. Wherever night finds them there they snuggle down to sleep, protected from cold and storm by her tire- less devotion. Probably the little ones do not leave much scent; but the fox, racoon, mink, weasel, dog, and cat may cross their trail at any moment, crows, owls, and hawks menace them; yet commonly about half of them escape all danger and grow and thrive while the summer waxes and wanes. They learn to fly by the end of the first week. Before they are half grown they leave the ground at night, and roost with the mother in the trees. When the "leaves begin to turn" the well grown brood seeks the wild grapevines and the wild apple and thorn trees that it may eat the fruit. When the first heavy snow falls the few that have safely run the gantlet of the guns squat beneath the low- spreading branches of some ever- green tree and calmly allow the snow to cover them if it will. They are ready for winter now, and have donned their snowshoes. What! really? Yes, actually. They have grown horny processes on both sides of the toes which will help to support their weight on packed snow or thin crust, and they are perfectly at home on or under the snow. If a crust A YOUNG GROUSE This grouse was but nine months old. ,4t this age the male is not distinguishable from the ?emale. G A M E B I R D S O F A M E R 1 C A at home. They swim about the sedge and water plants, catching insects, and vhen danger threatens keep concealed and sheltered by the herbage. They are often in peril, not only from hawks, owls, eagles, gulls, and herons, foxes, minks, and dogs, but they are attacked on all sides in their own element. Great frogs and fish spring to seize them with open mouths. Turtles prey upon them, and in the South alligators devour many. When a dog scents the little family in shoal waters and rushes in, the mother throws herself in his way and flutters off as if sorely wounded. While he chases her eagerly, his open mouth close to her tail, the little ones dive and swim away, more under water than above it, and, leaving the slough, crawl through the grass to the next refuge, hiding there safely until all danger is passed. Inherited experience has taught them the way of life, that their species may be perpetuated. THE CANVAS- BACK Long live the canvasback! His fame has gone far- ther, perhaps, than that of any other American game bird. Some epicures BLACK DUCKS The birds are gathering to feed. ,! BLACK DUCKS These birds were purposely flushed and taken on the first upward spring. rank him above the little-neck, the lob- ster, or the terrapin, and he is considered a greater luxury than quail on toast. Yet the canvas- back,when deprived of its favorite food, the wild celery, is hardly superior to the despised mud- hen. Wilson tells us that many years ago a vessel loaded with wheat was wrecked near Great Egg Harbor. The IO G A M E B I R D S O F A M E R 1 C A DUCKS SVI.MMIN(; ACROS.S A BA wheat floated out in quantities, and soon the bay was "'covered" with a new kind of duck unknown to the local gunners. They had great sport for three weeks, shooting canvasbacks, and sold them for twenty-five cents a pair; but did not discover the particular excellence of their flesh. They finally learned what they were and that they might have disposed of them for four times the sum they had received. Redheads, which feed to a great extent on wild celery, often appear on the table masquerading as canvasbacks. In one i:asc, at least, the gunner sold to some innocent clerks a lot of fish-eating shcldrakcs or mer- gansers under the name of canvasbacks. I am told that the dishes that resulted vere about as palatable as a bundle of old stewed kerosene lamp- wicks. No longer ago than I85O canvasbacks hovered in interminable flocks about Chesapeake Bay. Over ten thousand people were accustomed to shoot there. These ducks were then plentiful in all first class restaurants and hotels of the East. The glories of Chesapeake Bay as a shooting ground have largely departed, and canvasback ducks are now rarely seen on tables where they formerly appeared often; but there is still a stock of breeding birds left, and with adequate protection it will be long before we see the last of the species. So far as 1 know, no one has as yet suc- ceeded in breeding this bird in captivity. Therefore we cannot depend on artificial propagation; but must protect the stock of wild birds. SUPPLE.MENTARY READINGBirds of .\merica, by John James Audubon; Game Birds of North America, Wild Fowl of North \merica, and North American Shore Birds, by Daniel Giraud Elliott; Feathered Game of the Northeast, by Walter H. Rich; American Game Bird Shooting, by George Bird Grinnell. THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. e East 19th St., New Yok, N. Y. _MONDAY, OCTOBER 6, I913 Volume I No. 34 ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.50 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW 'ORK, N. '. AS SEC- OND-CLASS MATTER. COPVRIGHT, 1913, BV THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS- URER, R. M. DONALDSON; VICE-PRESIDENT, W. M. SANFORD; SECRETARV, L. D. GARDNER. Editorial The legend of The .XIentor must by this time have become familiar to all readers. It is printed on the cover, "A Wise and Faithful Guide and Friend." We have been asked the origin of this. The phrase is quoted exactly from the definition of .XIENTOR as given by oneof the highest authorities in the English language. We are glad that some one asked this. It is the sort of inquiry that makes our mail interesting. The character of corre- spondence that comes to The Mentor is extraordinary. It is the natural response to the offer of service that The Mentor extends. The keynote of The Mentor \ssociation plan is helpful service. Our mail shows that there is a large public that is eager and earnest in its desire to benefit by this service. It seemed to us that we could not express the spirit of The Mentor better than by quoting liter- ally the phrase that defines the word--"a guide and friend." In return The Mentor reader can be in the full sense a guide and friend to us. There must be an exchange in order to get the greatest good out of an educa- tional plan. You can help us if you do as many others have done--write and tell us what you think of The Ientor. A number of valuable suggestions have come to us in the mail. Under the stimulus of the encouragement that we have had from so many we are broadening the plan in the future. Our new prospectus, just fin- ished, will tell you fully about this. It is not simply a magazine subscription that we are concerned with. We offer a mem- bership in an Association that brings many advantages. There is a saying, "It is a good thing to be doing a good thing, and it is a good thing to know that you are." We know that The Mentor is a good thing, and it is a good thing to be told so by so many. A member of our Advisory Board, Dr. Hamilton W. Mabie, wrote us recently: "The Mentor is really a triumph of high class work and popular treatment. I believe that the very best things can be given to people in the very best way, not by writing down, but simply by using standard language in- stead of technical language. The more I think of the whole enterprise, the more I believe in it." We want to know what you think of The Mentor, and we want you to tell us how we can be of benefit to you as a mem- ber of the Association. Our service is not complete in simply sending you The Mentor and the pictures week by week. We can bring you in touch with our Ad- visory Board, so that you may have the best advice in matters of side reading, and intelligent direction as to the organization and conducting of reading clubs; also ex- pert information concerning books and pictures that bear on the topics in The Mentor. In the day's mail we find one inquiry from a member of a reading club who wants to know what side reading she should take up to prepare for an evening on "American Landscape Painters." The copy of The Mentor treating that sub- ject is to be the core and center of the evening's reading. The writers of authority associated with us enable us to give our cor- respondent the benefit of the best advice. Another writer asks for a selection of pictures suitable for wall decoration in the schoolroom, leaving it to us to suggest appropriate subjects. This is the sort of inquiry that we delight in, and we can help of course, for we have a great store of good art material, to which we are adding each week and from which a wide variety of subjects can be selected. Many leading newspapers of the-United States are now pub lishinl every weekday a human interest story about one picture in THE MENTOR READ THE DAILY STORY IN THE FOLLOWING PAPERS: ARKANSAS Pine Bluff Graphic Texarkana Four States Press CALIFORNIA Fureka Humboldt Standard Pasadena Star Santa Ann Blade V'dlejo Dally Times COLORADO Leadville Herald Democrat GEORGIA Rcme Tribune-Herald Waycross Journal -MINNESOTA Bemidji Pioneer NEVADA Reno Gazette NEW HAMPSHIRE Concord Patriot NEW JERSEY Atlantic City Daily Press Hackensack Record Millville Republican Newark Star. Phillipsburg Daily Press Trenton Times. IDAHO Twin Falls Times ILLINOIS Chicago Record-Herald KANSAS Coffeyville Journal llutchinson News Lawrence Journal-World KENTUCKY Eowling Green News MISSOURI Flattsburg Leader NEW YORK Elmira Star-Gazette Ithaca Journal Olean Evening Herald Utica Herald-Dispatch NORTH CAROLINA Greenville Reflector Rocky Mount Evening Tele- gram OHIO Marion Star Norwalk Reflector-Herald Sandusky Register Poplar Bluff Daily Republi- OREGON can Coos Bay Times Sedalia Capital Salem Oregon Statesman PENNSYLVANIA Allentown Morning Call Bradford Star and Record Carlisle Evening Herald Ch.ambersburg Public Opin- ion. Mt. Carmel Item Pittsburgh Sun Warren Mirror Wayneeboro Herald SOUTH CAROLINA Spartanburg Herald SOUTH DAKOTA Aberdeen Amerii:an Lead Black Hills Call TEXAS Corpus Christl Caller and Herald UTAH Ogden Standard VIRGINIA Newport News Daily Press WEST VIRGINIA Grafton Sentinel Martinsburg Journal V'OMING Sheridan Enterprise THE CONTEST FOR N ORTIt AMERICA around to the north of Asia and Europe. Nearly three centuries passed after De $oto reached the lower .lississippi before Lieutenant Pike found its source in" its native lair. As late as 188o no man, white or red, knev the passes across the Canadian Rockies; and to this day only two boat parties have ever gone through the length of the canyon of the Colorado. In the work of opening up North America the French surpassed the English- if no bolder, they were more adventurous. From the lower St.'Lawrence they held a direct route into the interior, which flanked the two great obstacles to western exploration; namely, the Six Nations of the Iroquois and the Alleghany Xlountains. It is hard to say which was the firmer wall against English discovery. ROBERT CAVELIER DE LA SALLE Born 1643; died x687. LA SALLE'S SHIP, THE GRIFFIN From an old print. latter. They were first to be avestruck at the site of the future city of Chi- cago; first to reach the Xlississippi; first to be stopped by the Falls of St. Anthony, which un- fortunately were not at that time subject to con- servation; first to navigate the 3lississippi; first to see the Rocky . lountains; first to cross from Lake Superior to Hudson Bay. What a fate, to be the star actors in so many first .performances, and FRENCH ADVENTURE If we were only French, we could weep at the splendid story of French discovery, as compared ith the final collapse of the French empire on the continent of North America. The French were the first to find the St. Lawrence; first to see each one of the Great Lakes; first to spread ex- aggerated ideas about Niagara Falls--where, according to lark Twain, the hack fares in his time were so much higher than the falls that the visi- tor did not perceive the THE CONTEST FOR NORTtt AMERICA I7O4, upon which an epic poem might be written. Depict the French and Indians steal- ing two hundred miles through the frozen wilderness; the Puritans in Deerfield trusting to their stockade; the sudden dash at dawn; the shots, cries, screams; the Indians chop- ping away with their hatchets at Parson Will- iams' front door, till they made a loophole through which to fire at the family; the file of captives quickly marshaled for the terrible northward trail; the valiant little band from Hatfield pursuing the Indians, many times their number, and getting a bad licking; the wrath and fear of all New England at this ap- pearance of the fearful enemy! The people of Haverhill, 3Iassachusetts, have put up a statue to a militant woman named Hannah Dustin who, when carried away a captive, had the sweet thought to brain half a dozen of her captors, and so get home again with her children. Had there GENERAL MONTCALM'S HEAD- QUARTERS AT QUEBEC QUEBEC IN COLONIAL DAYS From an old print. J. laying siege to it, digging trenches before it, compli- menting it with bombshells, and -compelling it to surrender! That was worth a score of Deerfields! q'he world has agreed to give the palm of pictur- esqueness in war- fare to the capture of Quebec in I759 been more Hannah Dustins, there would have been fewer French raids! In all these wars the English colonists excelled as fighting seamen. We may still be proud of William Phipps and his levyof colonial forces, who took Port Royal in I69o. Who shall envy him his well earned title of Sir William, and his fair brick house on Green Lane, Boston ? Think of the New England men, aided by a small British fleet, sallying out in I745 to attack IJouisburg, the proudest fortress in the western world,-- THE MENTOR "A Vise and Faithful Guide and Friend" Vol.  OcvoBv.g O, 93 No. 36 FAMOUS AMERICAN SCULPTORS JOHN QUINCY ADA.IS WA R D FREDERICK WI I,LI.\.I IAC.IONN IES GEORGE GRI'PI" B.\RNARI) I).-\NIEL CtlES'I'ER FRENCII AUGUS'I'US SAINT (L% I_I)I'NS PAUl, WAYI.AND 1", A R'I" !, i"71"T By LOR.IDO "ILII"T Sculptor, and .luthor of " History of .4merican Sculpture " IlE sto W of American sculpture is a brief one compared with the chronicles of other lands. Our first professional sculptors, Iloratio Greenough and Hiram Powers, were both born in 8o5. In European countries the records of the last hundred )-ears are but fragments, brief sequels to the story of ages of endeavor. It is difficult to realize that our actual achievement, from the very kindergarten stage of an unknown art to the proud eminence held by lmerican sculpture in the Paris Exposi- tion of 9oo, was the work of but three score }-ears and ten--was seen in its entirety by many living men. BEGINNINGS OF AMERICAN SCULPTURE The beginnings of all arts in this country have been timid and imitative, l.itcrature, music, and painting had something to found them- selves upon in the national tradition; but sculpture was never abundant in England, and this art, usually one of the earliest, was the last to appear in \merica. Its first inspirations were Italian, and for half a centur3." American sculpture was a crude parody on the art of Canova and Thor- valdsen. 3lany of our sculptors, like Powers, Greenough, Crawford FAbl O U S AM E R I CAN S C U L P T O R S Story, Randolph Rogers, Rinehart, Ball, Mead, and Harriet Hosmer, made their homes in Florence and Rome, and welcomed the ever swelling tide of American travel with wistful greetings. Perhaps their influence vas greater there upon the receptive travelers than it could have been at home; but one cannot help feeling a high regard for men like Palmer, John Rogers, and Ward, who "held the fort," developing the native ma- terial of their own land. About the time of the Centennial, France was suddenly discovered by our young sculptors. Her opportunities were appreciated, and soon the entire stream of students vas diverted thither from Italy and Ger- many. Saint Gaudens was the first important product of the American- French school of sculpture, and his talent and training together offered an irresistible argument for the new methods. JOHN QUINCY ADAMS WARD Before speaking further of our greatest sculptor, a few words should be devoted to the last and most distinguished of the pioneers, BIRTIIPLACE OF J. Q. A. WARD liZard wa. born in 183o, on a Jarrn in the neigh- borhood o] Urbana, Ohio. alive and vibrantly responsive to the forces at work about him, he was ever a contemporary of the youngest men of his profession. Ward's earliest success, "The Indian Hunter" in Central Park, New York City, vas the result of a long journey among the red men. Its intensity is an uncon- scious revelation of the man who made it: no lackadaisical dreamer could have conceived John Quincy Adams Ward (183o- 191o), who was privileged to see the triumphs of American sculpture at home and abroad, and to participate in them to the end Always keenly PAUL WAYLAND BARTLETT AND JOHN QUINCY ADAMS WARD F A M O U S A M E R I C A N S C U L P T O R S significant and admirably perfected, that the master's position at the head of the profession in this country xvas constantly reaffirmed to the day of his death. Indeed, in reviewing the life of this great artist, one asks what other sculptor of modern times has produced such a succession of notable achievements as the "Farragut"; the "Lincoln" of Chicago; the "l)ca- con Chapin" of Springfield, lklassachusetts; the "Adams lklemorial" in Washington ; the "S ha v  lemorial "- , the "Logan"-, the "Sherman" and finally the seated "Lincoln." Add to this the countless exquisite medal- lions, the delight- fully decorative high relief portraits, and, perhaps most beautiful of all, that angelic brood of which the "Amor Caritas" is the type and [culmination, and vhere shall we look for a more in- ^uGusvs S^IN GAt'DENS IN IHS STt'DIO From a painting by Kenyon Cox. dividual expres- sion ? Rodin himself, with all his contortions, has not produced so much beauty nor demonstrated himself more "original." To different moods these great works make their differing appeals. The heroic "Lincoln," with its strong, gaunt frame and its majestic head bowed in sympathetic tenderness; the sturdy "Chapin," wrapped in a voluminous cloak and self sufficiency; the mysterious, inscrutable genius of the Adams tomb; the rhythmic naomentum of the colored regiment with its fated leader riding serenely, square shouldered, and level eyed to his doom; the glorious "Victory" of the Sherman group, the most spiritual, most ethereal of all sculptured types,--what an array are these! What wealth to have brought to our national ideals! DANIEL CHESTER FRENCtl \\orthy successor to the great artist who put us all under such heavy obligations is Daniel Chester French, whose work is known throughout the land. French was born at Exeter, New Hampshire, in I85o, and F A.M O U S A M E R I C A N S C U L P T O R S grew up in Concord, Iassachusetts, amid ideal surroundings. His first youthful effort in sculpture, "The Iinute Ian of Concord," was a suc- cess, and his busy life has known no failures. No other American sculptor has produced so much, and we can name here but a few of his most important works. Best beloved is the noble "Death and the Young Sculptor," designed as a memorial to the sculptor, Iartin Iilmore. In this poetic group we have unquestionably one of the high- est expressions of a purely American BIRTHPLACE OF D. C. FRENCH French was born in Exeter, New Ilampshire, on dpril 20, I8O. . MINUTE MAN, BY FRENCH dt Concord, Massachusetts. Reproduced from American Sculpture. by Lorado Taft. Copyright, 1903, by The MacMillan Co. ALMA MATER, BY FRENCH ddorning the approach to the Library of Columbia University, New York City. DANIEL CHESTER FRENCll French is well known as a sculptor in both dmerlca and Europe. art. Other works of interest are the ascetic "John Harvard" of Cambridge; a vigorous "General Cass" and the touchingly sympathetic "Gallaudet" group, both in Washington, D. C.; the "O'Reilly" monument of Boston; the FAMOUS AMERICAN SCULPTORS and his work has never since ceased to interest the cultivated public of the world's capitals. Then followed an extraordinary "Norwegian Stove," a monumental affair illustrative of Scandinavian mythology; and "Rlaidenhood" and the "Hewer," two of the finest nudes thus far produced in America. The great work of Barnard's recent years has been the decoration of the Pennsylvania capitol. It has been said of him that he was "the only one connected vith that building who was not smirched"; but his part is a story of heroism and triumph. The writer has not yet seen the enormous groups in place, but is familiar with fragments that have won the enthusiastic praise of the best sculptors of Paris. They are inspiring conceptions which point the way to still mightier LAFAYETTE, BY BARTLETT In the Louvre, Paris. achievements in American sculpture. THE VIGOR OF BARTLETT Paul \Vayland Bartlett was born in I865 of artistic ancestry, his father being Truman Bartlett, teacher and critic. The boy grev up in Paris, entering the Beaux-Arts at the age of fifteen, and working also at the Jardin des Plantes under the help- ful guidance of Frmiet, the great animalist. His art has always offered an interesting blend of the two influences, animal forms appear- ing in nearly all his compositions. Bartlett's first important exhibit was the "Bohemian Bear Trainer"" , the second, the Indian "Ghost Dan- cer," shown at the Chicago Expo- sition. Soon followed those striking vorks for the Congressional Library, his "Columbus" and "Michelan- gelo." The former shows the dis- coverer in a new light,--no longer the gentle dreamer, the eloquent pleader, the enthusiast, nor yet the silent victim in chains, but a hero of might and confidence, hurling proud defiance at his calumniators. The "Michelangelo" is, if possible, an even more vivid though less IO F A M 0 U S A M E R I C A N S C U L P T 0 R S vehement presentation of its theme. The short, gnomelike figure with stumpy legs; the big, powerful hands; the stern face, rough hewn, with its frown and tight lips,--all these combine to make this at first sight a not very winning presentation of the great master; but it has the quality that will out- live all others. It was left to an American sculptor to grasp his character profoundly, and to create an adequate representation of the mighty Florentine. Bartlett's young "Lafayette" stands in one of the most coveted sites in all Paris, within the inclosure of the Louvre. It is well worthy of the honor, and is a monument to the artist's capacity for "taking pains," representing as it does many years of study and experiment. Bartlett collaborated with Ward upon the pedimental group of the Nev York Stock Exchange, and a logical result of the good work done there was the commission to design the long awaited pediment for the House of Representatives in Washington, a gigantic undertaking of great significance, which is nov in progress. To select these six names out of a hundred seems invidious. One wants to talk of l lerbert Adams and his beautiful busts, of Karl Bitter and all the fine things he has BLACK IIA,K. BX LORAI)O TAFT .4 concrete work of glganic proportion, oerlooking Rock Ritr, Illinois. done, of .IacNeil and Grafly and Aitken and the Piccirillis and the Borglums and all the rest, of the Boston men, of the women sculptors, even of the little western group; but space fails. They are all working enthusiastically for the love of their art and for the fair ame of America. SUPPLE,IENTARY READING"History of American Sculpture," Lorado Taft; "American Masters of Sculpture," Charles H. Caffin. XIAGAZINE ARTICLES"George Grey Barnard, Sculptor," G. B. Thaw, IForld'.r tt'ork, December, 9oz; '" Daniel Chester French, Sculptor," Lorado Taft, Bru.rh and Pencil, Vol. 5; " Bartlett" ("Some American Artists in Paris,") Francis Keyser, Studio, Vol. 3; " Frederick XlacMonnies, Sculptor," H. II. Grief, Brush and Pencil, Vol. o; "Augustus Saint Gaudens," Kenyon Cox, Century, Vol. 3; "The Work of J. Q. A. Ward," Russell Sturgis, Scribner'.r, Vol. 3z. |I The Mentor Idea HE idea of which The Men- tor Association is the out- growth is one of the oldest in the world. It is as old as Curiosity-- and just as human. The "Won- der Why" of Curiosity is always linked with the "Want to Know." The two lead on to knowledge. What has always been wanted and what is wanted now is a quick, easy and agreeable way of getting Knowledge. This is what The Mentor Association supplies Send the names and addresses of a few friends to whom you would like to have us mail copies of The Mentor with your compliments T 11 E C O N O [i E S T () F T !! E !' () !. E ,% since been the base of operations from which the South Pole was twice attained. "FARTIIEST SOUTII" After Ross came various minor expedi- tions contributing to the knowledge of the Antarctic regions, and in the I89O'S began a renaissance of \ntarctic interest and ex- ploration. In I892 , I893 , 1894 Scottish, (]erman, and Norwegian whalers recon- noitered the .\ntarctic seas of Ross and \Veddell in search of new whaling grounds, and in 1894 the first landing was made upon the .\ntarctic continent by some .. o REAR ADMIRAL ROBERT E. PEARY inembcrs of Bull's N'on c- gian crew; in 1895 New- ,hayer intro- duced in the sixth (;co- graphical Congress in AT TIlE NORTII POLE Photograph taken at the" Top o/the IFodd." London a resolution upon the importance of Antarctic exploration; and in the years following there as an international at- tack upon the problem by Bclgiuxn, (;real FIritain, (-;crmany, Scotland, Sxeden, and I"rance. Ira I898, fox the first time in the history of \ntarctic exploration, an expe- dition (the Belgian under Commander de (;erlache), passed a winter within the .\ntarctic Circle beset ira the ice; and :t year later, ira I899, a British expedition under Borchgrcvink passed a winter on the .\ntarctic continent itself, and made at Cape .\dare, ira Ross Sea, the first attempt at htnd exploration. Ira 19oi-19oz a (;erman expedition tinder l)ryzalski determined a ne part of the coast of the .\ntarctic continent south of Africa, and three others, under Bruce of Scotland, Nordenskj61d of Swc- THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 5z East 9th St., New York, N. Y. oc'rOBER z7, I913 Volume I Number 37 ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.60 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N.Y., AS SEC- OND-CLASS MATTER. COPYRIGHT. 1913, BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS- URER. R. M. DONALDSON; VICE-PRESIDENT, W. M. SANFORD; SECRETARY, L. D. GARDNER. Editorial This week's issue of The Mentor and that of last week are so distinguished in authority that we ask special attention to them. An interesting article on the Con- quest of the Poles could have been pre- pared by any good writer. The Mentor article was written by the supreme author- ity on the subject, Rear Admiral Robert E. Peary. The article on "Famous Amer- ican Sculptors," published last week, was written by Mr. Lorado Taft, one of the best-known sculptors in America. When Mr. Taft writes about Barnard, French, Bartlett and the other American sculptors he is giving an account of his fellows in art. It is fortunate that so able and so interest- ing a critical writer on sculpture as Mr. Taft could be found among sculptors. He has given to us in The Mentor just what we wantminformation imparted in a sim- ple, interesting way, and with authority. It is worth a great deal to us to read what others have to say about The Men- tor. It is a genuine satisfaction to re- ceive from far-off California a message of "surprise and great delight over this 'wise and faithful guide and friend,' which surely fills a need in the lives of busy peo- ple." A friend nearer by, in Brooklyn, offers thanks for our "wonderful weekly. The pictures are lovely," she says. "Al- ready I have shown it to many of my friends, and they are just as interested and pleased as I am. You most certainly deserve a vote of thanks from the people for placing this beautiful educational magazine within easy reach of everyone." The thanks we appreciate, but what we value most is that our Brooklyn cor- respondent showed The Mentor to many of her friends and that they were just as pleased and interested as she was. A letter like that from every reader of The Mentor would mean an aggregate mem- bership for The Mentor Association that would make it unique among the educa- tional institutions of the world. There is a prospect that we hold fondly before that of every reader showing The Mentor to every friend that might be interested. And then, when all of these friends have seen The Mentor, they will want the num- bers from the beginning. We say they "will want" them, for that is what most of our subscribers demand. A teacher in Kansas writes, "The Mentor is a delight, and its value is beyond expression. I feel that I cannot miss a single issue, so please send me the numbers from the beginning." A teacher from Pittsburgh, immediately on receiving the first copy of the magazine, asks for all previous issues. An agent in insurance writes from Arkansas for the preceding numbers, adding, "I cannot af- ford to lose one copy." So from St. Louis we hear, "Send me all preceding issues," and from New Haven a college student writes, "I like the publi- cation so much that I do not wish to miss even one number." We lack space to cite all cases of this kind, but as we turn over the mail we find here a request from To- ronto for "all numbers, beginning with the first," another from Charleston, and a third from Hyannis, Massachusetts, de- manding "all preceding numbers." It has become a regular daily incident, and it shows the unique character of The Mentor publication. It is not simply a magazine. Subscribers do not send for all back numbers of the ordinary magazine from the beginning of its existence. Every number of The Mentor is part of an inter- esting educational plan. The members of The Mentor Association want all parts of that plan. NOVMBF_ $ 191 VOLUME 1 NUMBER 38 NAPOLEON DEPARTMENT OF BIOGRAPI-I FIVE DOLLARS A YEAR N A P O L E O N B O N A P A R T E NAPOLEON TIIE OPPORTUNIST It is quite fair, I think, to characterize his early career as that of an adventurer. lie was watching for a chance, and had determined to take it, regardless of where it offered itself. It was at a moment when he was in disgrace for having refused the orders of his superiors in the army that the chance he wanted came. The convention in which at that mo- ment the l:rench government centered was attacked by the revolting Parisians. Bona- parte had no particular sympathy with the convention,--in fact, he had more with the rebels,--but when one of his friends in the government who knew his ability as an artillery officer asked him to take charge of the force protecting the Tuilleries, where L/ETITIA BONAPARTE The Mother of Napoleon. the convention sat, he accepted--with hesitation; but, having accepted, he did his work with a skill and daring that earned him his first important command, that of general in chief of the French Army of the Interior. Four months later he was made commander in chief of the Army of Italy, the army that was disputing the conquest of northern Italy with Austria. THE ITALIAN CAMPAIGN It was a ragged, disgusted, and half-revolting body, this Army of ltaly, one that for three )Tears had been conspicuous mainly for inactivity. \\'ith- out waiting even for shoes, the new commander started it out swiftly WHERE AN EMPEROR WAS BORN In thl room Napoleon wa born In I6D. on a campaign that for clever strategy, for rapidity of move- ment, for dash and courage in attack, was unlike anything Europe had ever seen. In less than two months he drove his opponents from Lombardy and had shut up the remnant of their army in Xlantua. The Austrians shortly had a new army in the field. It took eight months to defeat it and capture lklantua; but it was accomplished in that period. N A P O L E O N B O N A P A R T E FIRST CONSUL OF FRANCE Promptly and secretly Bon- aparte slipped out of Egypt, and before the powers at home knew of his intention he was in France and the people were welcoming him as their de- liverer. He was ready to be just that. It was no great trick for a man of his daring and sagacity, adored by the populace, to overturn a dis- credited and inefficient gov- ernment and make himself dictator. It was done in a few weeks, and France had a new form of government, a consu- late, of which the head was a first consul, and Bonaparte was the first consul. The most brilliant and fruitful four years of Napoleon Bonaparte's life followed; for it was then that he set out to EMPRESS JOSEPHINE From a painting by Pierre Paul Prud'hon. bring order and peace to a country demoralized and exhausted by generations of plundering by privi- leged classes, followed by a decade of revolution against privileges. France needed new machinery of all kinds, and this Bonaparte undertook to supply. There were many people who regarded him as a great general; but to their amazement he now proved himself a remarkable statesman. NAPOLEON THE STATESMAN He attacked the question of the national income like a veteran finan- cier. The first matter was reorganizing taxation. He succeeded in dis- tributing the burden more justly than had ever been known in France. The taxes were fixed so that each knew what he had to pay, and the inordinate graft that tax collectors and police had enjoyed was cut off. New financial institutions were devised; among them the Bank of France. The economy he instituted in the government, the army, his own household, everywhere that his power extended, was rigid and minute; as he personally exam- ined all accounts, there was no escape. The waste and parasitism that per- vaded the country began to give way for the first time since the Revolution. N A P O L E O N B O N A P A R T E Industries of all kinds had sickened in the long period of war. l;ona- parte undertook their revival by one of the most severe applications ex er made of the doctrine of protection,--he even attempted to make his women folk wear no goods not made in France! llis interest in agriculture was as keen as in manufacturing, and his personal suggestions and interfer- ence of the same nature. The prosperity of the count W was stimulated greatly by the public works Bonaparte undertook. One can go nowhere in France today without finding them. It was he who set the country at road building. Some of the most magnificent highways in Europe were laid out by him, including those over four Alpine passes, lie paid great attention 1o improving harbors, q'hose now at Cherbourg, llavre, and Nice, as well as at Flushing and Antwerp, Bonaparte planned and began. As for Paris, his ambition for the city xas boundless, llewas responsibh' NAPOLEON AS FIRST CONSUl, for some of her finest features and monuments. I lis greatest civil achieve- ment was undoubtedly the codification of the laws, and it was the one of which he was proudest. That he con- tributed much to the Code Napoleon besides the driving power that insisted that it be promptly put through, there is no doubt, l lis great con- tribution was the inestimable one of commonscnse, lie had no patience with meaningless precedents, conventions, and technicalities. I le wanted laws that everybody could under- stand and would recognize as necessary and just. Nothing more daring was undertaken in this period by Bonaparte than his rc/d, stab- lishmcnt of the Catholic Church and his recall of thou- sands of members of the old r6gimc driven out of the coun- try by the Rcvolution. It was an attempt to reconcile and restore the two most powerful N A P O L E O N B O N A P A R T E everybody concerned, no doubt, but rule--brilliantly and absolutely--had never left his mind since boyhood--and now it was a fact accomplished! The spectacle that followed is almost unbelievable. Napoleon with perfect seriousness set about to train himself, his lovable, but vain and unprincipled empress, Josephine, his selfish and vulgar family, his train of rough intimates of the battlefield, to the etiquette, ceremonies, and dig- nity of a court. He vorked with the same energy, attention to details, and with the same insistence on complete obedience as when directing a campaign. The Napo- leonic court achieved real brilliance and dig- nity; but to those born to the purple it was always an upstart's court. That it was far and away more moral, economic, and orderly, as well as more service- able to l"rance, counted for little with those of the old r6gime. NAPOLEON TIIE CON QUEROR The )'car after Na- polcon was crowned emperor of thc French t1804) he had himself crowned king of Italy. 'l'he territory he now governed included not only these two coun- tries, but several (;er- manic states. It was an ellOrlliOlJS power, and the old kingdoms of NAPOLEON AND QUEEN LOUISA OF PRUSSIA AT TILNIT Europe, England, Aus- tria, and Russia looked on in dismay. It was not only his power, backed as it was by his genius, but it was the ideas he was spreading. Everywhere he went he put his new code of laws into force, and preached, even if he did not always practise, personal liberty, equality before the law, religious tol- erance,--ideas that many of his enemies feared more than they did armies. N A P O L E O N B O N A P A R T E NAPOLEON'S FAREWELL TO JOSEPHINE For reasons of state Napoleon divorced the Empress Josephine to marry Marie Louise. the daughter of the emperor of Austria. His last words to the woman who loved him were: "'My destiny and France demand itl'" A coalition against him was inevitable, and in I805 he took the field again. The campaigns that followed closely in the next four years in- clude some of his most interesting military feats, --the battle of Austerlitz, of which he was proudest himself; the campaign of Jena, by which he hum- ' bled Prussia, increased French territory largely, and won the czar of Rus- sia as an ally; the war on Spain, which ended in his own deserved defeat (Na- poleon at St. Helena char- acterized his attack on Spain as "unjust," "cyni- cal," "villainous"); the campaign of Wagram, which finally humbled his persistent enemy Austria. At the end of these four years Napoleon was himself the practical mas- ter of Europe; the only nation not recognizing his power being England, which was at least tem- porarily quiet. He had created an empire; but what was he to do with it? He had no heir. To provide for one he carried out a plan long considered,--he divorced Empress Josephine and married again. The new empress was the daughter of the old and now humbled enemy of France, the emperor of Austria. Napoleon ap- parently believed that on the birth of an heir France would accept him fully, and that Europe would cease to fear and resent his power. He was wrong. He had stripped too many of wealth and position, outraged too many social and religious conventions, set in motion too many ideas hos- tile to those that Europe as a whole lived by. His demands on subjects NAPOLEON BONAPARTE From a portrait of the Emperor painted by Paul Delaroche. N A P O L E O N B O N A P A R T E and allies were too heavy, and particularly the one that he had most at heart,--that no continental nation should allow a dollar's worth of Eng- land's goods to cross its borders. His punishment of those who displeased him and disobeyed his orders was too severe. A revolt against his mon- strous assumption was inevitable. THE SETTING STAR It xvas vith his ally, Russia, that the first break came. That Napo- leon was startled by the idea of war vith Alexander and sought to pre- vent it, is certain; but Alexander refused to yield to his demand that the embargo against English goods be enforced. The embargo he had set down as the "fundamental law of the Empire." There was nothing to do but settle it by" arms, and in the summer of 82, with an army of over half a million men, he began a reluctant and hesitating march against Russia. It was a campaign of terrible disasters. The Rus- sians retreated before him, letting cold and hunger do the work of battles. So effectively did they work that the French army was practically de- stroyed. The Russian campaign is one of the most appalling in history. It was but the beginning of his overthrow. Alexander raised the cry "Deliver Europe!" Stein and other liberal minds rallied the youth of the THE BATTLE OF WATERLOO IO THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 5z East 19th St., New York, N. Y. NOVEMBER 3, 1913 Volume  Number 38 ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $I.00 EXTRA. CANADIAN POSTAGE $I.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N.Y., AS SEC- OND-CLASS MATTER. COPYRIGHT. 1913, BY THE MENTOR ASSOCIATION. INC. PRESIDENT AND TREAS- URER. R. M. DONALDSON; VICE-PRESIDENT, W. M. SANFORD; SECRETARY, L. D. GARDNER. Editorial The. present number of The Mentor ap- pears In a new cover garb. It is not to set forth the glory of the First Emperor of France that we clothe the number de- voted to Napoleon in royal red and gold. The subject and the enrichment of cover come together by mere coincidence. We have chosen this cover after a num- ber of experiments. It has not been an easy matter to settle. The Mentor, as we have stated more than once, is not simply a magazine. It does not call for the usual magazine cover treatment. What we have always wanted and have always sought for from the beginning has been a cover that would express, in the features of its design, the quality of the publication. In the endeavor to make clear by dignified design the educational value and importance of The Mentor, the tendency would be to lead on to academic severity--and that we desire least of all. On the other hand, it would be manifestly inappropriate to wear a coat of many colors. The position of The Mentor in the field of publication is peculiarmits in- terest unique. How best could its charac- ter be expressed in decorative design? We believe that Mr. Edwards has given us in the present cover a fitting expression of the character of The Mentor. It is un- usual in its linesmthat is, for a periodical. It has the quality of a fine book cover de- sign--at least so we think. It will, we be- lieve, invite readers of taste and intelli- gence to look inside The Mentor, and as experience has taught us, an introduction to The Mentor usually leads on to con- tinued acquaintance. We want The Mentor to be regarded as a companion. It has often been said that books are friends. We give you in The Mentor the good things out of many books, and in a form that is easy to read and that taxes you little for time. A library is a valuable thing to havemif you know how to use it. But there are not many people who know how to use a library. If you are one of those who don't know, it would certainly be worth your while to have a friend who could take from a large library just what you want to know and give it to you in a pleasant way. The Mentor can be such a friend to you. And since the word "library" has been used, let us follow that just a bit further. The lklentor may well become yourself in library form. Does that statement seem odd? Then let us put it this way: The Mentor is a cumulative library for you, each day, each week--a library that grows and develops as you grow and developa library that has in it just the things that you want to know and ought to knowmand nothing else. Day by day and week by week you add with each number of The Mentor something to your mental growth. You add it as you add to your statureby healthy development; and the knowledge that you acquire in this natural, agreeable way becomes a per- manent possession. You gather weekly what you want to know, and you have it in an attractive, convenient form. It be- comes thus, in every sense, your library, containing the varied things that you know. And you have its information and its beautiful pictures always ready to hand to refer to and to refresh your mind. So in time your assembled numbers of The Mentor will represent in printed and pictorial form the fullness of your own knowledge. NOVEMBER 10 1 ) 13 VOLUME I NUMBER 39 l THE MEDITERRANEAN D EPAKTM ENT OF T R.AVE L E E: FIVE DOLLARS A YEAR T H E M E D I T E R R A N E A N THE CASINO, MONTE CARLO One of the beauti- iul gaming rooms, the "Salle du Trentc-[)uarante." and so well kept. _lany who visit there prefer, however, to stop at Xlentone, which is but a few minutes distant by trolley or motorcar. NICE "l'he Nicma (ny-see'-a) of ancient times, founded by \lassilians in the fifth century B. C., Nice is the birthplace of .lass6na (mah-say-nah') and Garibaldi, (gah-rce-bahl'-dee). Sheltered by the Rlaritime Alps, and because of the great limestone cliffs along shore, which absorb the heat rays of the sun, the temperature is so modified that flowers bloom the year round. Nice and its near neighbors have become a famous resort or invalids, especially of the English, who flee to this part of the world to escape their own disagreeable winter. In sunamer the temper- ature is fifteen to twenty, degrees lower than Paris. The best view of the town is obtained from Castle Hill, overlooking the shore of the Promenade des Anglais, constructed by the English in 82, in order to give work to the unemployed. One of the secrets of the great success of .Nice as a resort s the great variety of entertainment offered by the clever l"renchmen. Fine hotels, theaters, casinos, prom- enades, and roads (the best in the world), especially the Petite and the Grand Corniche (kor-neesh'), together with a superb climate, are quite enough to attract people from all parts of the world. "Fhe business part of the tmvn is a miniature Paris. Fine avenues, lined with shops filled with all kinds of attramive things, inveigle the T 11 E M E I) 1 T E R R A N E A N Ponpeii afford an interest that is unique and compelling--an interest, too, that is continually growing, for nmv discoveries are being made from time to time. .lan.v are the scenic trips to be taken from Naples. It is a point of departure for pleasure tourists in almost every direction. The ascent of .klount Vesuvius is interesting; but that is the interest of curiosity. \Vhere visitors find the greatest happiness is in the trips to outlying points, especially" to the peninsula of Sorrento, to the island of Capri, and to .\malfi and Ravello. It is at these points that we find the greatest beauty of the Iediterranean. It seems indeed as if the great inland sea and mankind had joined there to make a pleasure ground beyond compare. It is in and about Naples that the traveler will care to linger longest. There is so much to be seen there--and, when satisfied with pleasure jaunts and scenic trips, there is it serenity of life in Naples, and a soft, sunny climate that, to repeat Byron's words, "lend to loneliness delight." ()ne friend of mine prolonged a trip, planned for a week, until it tilled out twelve months. There is much to interest and delight one in all the seaport towns of the .Iediterranean. \fter all has been said of its varied shores, however, one is apt to conclude by giving the palm of distinction in beauty and interest to Algiers, to.lonte Carlo, and to Naples with its environs. NAPI ES FROM TIlE BAY SUI'PI.E*II'NTARY REAI)ING--" Xlediterraneaq Winter Resorts," E. Reym,ids- Ball; ".\lgeria and Tunis," Frances E. Nesbitt; "The Barbary Coast," 1[..!: Field; "The Garden of Allah," R. S. tiichens: "Servitude," Irene Osgood; Burckhardt's "Cicerone," translated by .lrs. .\. l[. ('lough; ".\float and :\shore on the .lediter- ranean,'" l.ee .leriwether; "'Xleditcrranean Trip." N. Brooks; "'Italian Cities." E. H. and I".. W. Blashfieid. THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 5 z East 19th St., New York, N. Y. November Io, 1913 Vol. I No. 39 ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.i0 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK. N.Y., AS SECo OND-CLASS MATTER COPYRIGHT. 1918, BY THE MENTOR ASSOCIATION. INC. PRESIDENT AND TREAS- URER, R. M. DONALDSON; VICE-PRESIDENT. W. M. SANFORD; SECRETARY, L. D. GARDNER Editorial The Ientor has reached the farm. We have heard of its work in cities and towns and small settlements. We have had as- surance of its acceptance by professional men, business men, educators, reading so- cieties, and of the place it has assumed in the home. We have been waiting to hear from the farm--and wanting to hear, for it seems to us that a plan that carries in- formation in a popular and interesting way to the public must be a welcome vis- itor week by week to any intelligent farm family. Ad now comes the first voice from the farm, and it is in its way the finest, fresh- est, and cheeriest message that we have had. It is so full of simon-pure human notes that we are going to give it to the readers of The Mentor in full. We are sure it will interest all of our readers as much as it gratifies us: "The Mentor Association, Inc., New York City. Dear Sirs: Thank you so much for your'offer for becoming a charter member. I think The Mentor is splendid and I de- sire most keenly to accept, but alas, I am poor. My husband and I are young and struggling farmers. We are in a vay of becoming comfortably situated, but at present, though we own quite a bunch of stock, implements, some property, etc., ve really have little actual cash, and have to plan with economy and care to make every penny count. The grain in the bins means money, but must pay for labor and other expenses until another crop is harvested next year. The cream from the cows pays for food and clothing and incidentals. "I have decided to save my dimes for The Mentor, and to forego a renewal of one of my magazines. 3Iy husband spends some of his dimes for tobacco; I will save mine for The Mentor, even if it takes fifty, and share my joy with him. When I read the list of previous numbers, I longed for a complete set; but I am of a cheerful disposition, so am consoling my- self in thinking [ will some time have some of them. Best wishes to you in your great plan, and many thanks also for the two blue coupons for my friends." We have always claimed for The Men- tor a "wide human reach." Surely it must have it when a single number can bring a message like this back to us from a far western farm. And now a word about the blue coupons. They are Mentor Presentation Coupons, and they have been prepared for the use of members of The Mentor Association. We believe that every member of The Mentor Association has many friends who would be delighted to know The Mentor, and to become acquainted with the advantages which the Association affords. In this busy work-a-day world people are often too busy to pass on a good thing to their friends. Sometimes it is not because they are too busy; it is simply because there is no convenient way of passing on the information. Some of our readers have told us that if we would supply them with convenient material for making The Mentor known to others it would be appreciated and used. . So we have prepared the blue coupon specially with the thought of interesting your friends. Send to us for someof these coupons. They will enable you to place free copies of The Mentor with friends that you think will appreciate them. You enjoy The .Mentor. Give your friends a chance to enjoy it too. THE MENTOR The Plan HE purpose of The Mentor As- sociation is to give people, in an . interesting and attractive way, the information in various fields of knowledge that they all want and ought to have. The information is imparted by interesting reading matter, prepared un- der the direction of leading authors, and by beautiful pictures, produced by the most highly perfected modern processes.  The object of The Mentor Association is to enable people to acquire useful knowledge without effort, so that they may come easily and agreeably to know-the world's great men and women, the great achievements, and the permanently interesting things in art, literature, science, history, nature and travel. -The annual membership fee of The Mentor Association is Five Dollars. Every member upon accepting an invitation to membership, receives an engraved certificate of membership and becomes entitled to the privileges of the Association for one year, including fifty-two numbers of The Mentor. LEARN ONE THING EN/E RY DAY NOVEMBEIK 17 1913 VOLUME.I NUMBER 40 ANGELS IN AtkT DEPARTMENT, OF FINE,'  FIVE DOLLARS A YEAR A N G E L S I N A- R T They were dressed sometimes in colors, as with Correggio (kor-red'-jo); sometimes in gold brocades of gorgeous pattern, as with the Vivarini (vee- vahr-ee'-nee); sometimes in white and blue, as with Piero della Franqesca (frahn-ches'-kah). Again, they frequently had jeweled crowns or embossed halos or peacock-eyed wings. It xvas the idea of the old masters to make them decoratively beautiful as well as representative of purity and truth. And they carried out this idea still further in the faces, which were always of the most lovely types they could find or imagine. To us today these angel faces are perhaps the most attractive feature of this early church art of Italy. The same kind of angels, but clothed usually in white, appeared to the Shepherds, attended the Holy Family in their flight into Egypt, stood by the river bank at the baptism of Christ, were with Him in the wilderness, in the garden, at the crucifixion, watched by the tomb, and rolled away the stone from the door. Others of the angelic host appeared at times to varn Abraham, to present a message to Saint Joachim, to guide Saint Peter out of his prison. They were all ministering spirits, but without specific names. THE SEVEN ARCHANGELS On the other hand, certain deeds to be done were given to CORREGGIO; ANGEL GROUP (detail of fresco at Parma) FRA BARTOLOMMEO: MADONNA ENTHRONED (detail) certain angels who had definite names. These were the seven arch- angels. It was Michael, captain of the Hosts of Heaven, that overcame the Demon and drove him into the Bottomless Pit; it was Jophiel with the flaming sword that drove Adam and Eve out of Paradise; it was Zadkiel that stayed the hand of Abraham, and Chamuel that wrestled with Jacob. These were all arch- angels who appeared with their va- rious symbols in Christian art. Uriel, guardian of the sun, is seen less A N G E L S I N A R T GUIDO RENI; ST. MICHAEL AND THE DEMON frequently than the others; but Raphael, the chief guardian angel, is often seen in compan) with Tobit, and occasionally in the pictures of the Last Judg- ment vith NIichael, blowing the dread blast of the great resur- rection. But the angel Gabriel ap- pears in art oftener than all the other angels put together. "I'his is because he was the angel of the Annunciation and foretold the coming of Christ. He is seen a thousand times in Italian art, lilies in hand, kneeling and re- peating the message to the Ia- donna. The theme was the most popular of all, and a thousand different types of beauty were created to impersonate Gabriel. Nlany of them are still existent, and some of them are the most lovely creations of the old masters. ANGEL IDEALS OF THE OLD MASTERS Of course the ideal of angelic beauty varied with each painter. chose for a model the fairest type he could find, and each differed from his fellow. Perhaps the most popular types of angels in the early Renaissance were painted by Iklelozzo da Forli. A notable group of them vas painted in a " cupola of the Church of the Apostles in Rome. They were angels of the Ascension, and sur- rounded the rising figure of Christ. The fresco afterward became so damaged that it vas taken down, and some of the angels were .; transferred to the Sacristy of St. Peter's, . where they are now to be seen. Our reproduc- tion shows a detail of one of them,---one with " , '" a fair face, abundant hair, a halo about the head made up of golden cubes of mosaic, and large expanded wings. The figure is seen Each .1 VEROCCHIO (t$chool of) ARCIlo ANGEL RAPHAEL A N G E L S I N A R T .. . -. o .o VERONESE; ANNUNCIATION (detail) slightly foreshortened, and this, with the spread wings that seem really large enough to support an angel, gives the impression of flight, or at least a hovering movement. The wings are upraised, and seem to frame the beautiful head and its halo. This upward swing of the wings is counterbalanced by the downward sweep of the drapery from the waist line. Between the upward and the downward curves is a swirling cross line, made up by the shoulder, the arm, and the violin bow. All this is shrewdly worked out, and gives force and movement to the figure. The whole compo- sition has nobility and loftiness about it, and is not a mere sweet-- faced affair of the Carlo Dolci (dol'-chee) kind. TYPES OF BENOZZO AND LEONARDO BOTTICELLI; MADONNA, CHILD, AND ANGEL DA VINCI The angels of Benozzo Gozzoli (got'-so-lee) are of similar characters. They have not a particle of sweetness about them, and would never be called "pretty"; but what fine sentiment and decided individuality they have! They are part of a famous fresco in the Riccrdi Palace at Flor- ence, one of the finest and best preserved frescos in all Italy. The little chapel where they are had its walls entirely covered by Benozzo with a fresco representing the Adoration of the Kings. The gorgeous procession of the kings and their attendants (made up of portraits of the Medici and their friends, with Lorenzo the Magnificent riding as one of the kings) covers three walls of the chapel. The splendid cavalcade winds along, A N G E L S I N A R T and finally comes up to the fourth xvall, where vas once shown the X ladonna and Child with Joseph. This group of the Holy Family has disappeared; but the band of vorshiping angels is on the side wall, still intact. The angels are kneeling and standing amid flowers which one does not see at first because of the bright colors and the golden halos. What beautiful faces, naive forms, and praying hands are here! This is sincerity in art, and true enough sentiment into the bargain. One will travel far before seeing its better. A historic and even a sentimental interest attaches to Leonardo da Vinci's (lay-o-nahrd'-o dah vin'-chee) little angel in the Baptism of Christ by Andrea Verocchio (vay-rok'-kee-o). Vasari (vah-sah'-ree) recites the story of hoxv Verocchio, when ill perhaps, told his pupil, the young Leon- ardo, to finish this picture by painting in the second angel, and that Leonardo did it so well that it vas superior to the other parts of the pic- ture. "Perceiving this, Andrea resolved never again to take pencil in hand; since Leonardo, though still so young, had acquitted himself better in the art than he had done." This is a pretty story, which has been pooh- poohed and denied by recent criticism, but vithout reason. The angel with the profile was certainly done by a different hand than the angel with the full face. It is different from any other part of the picture, and there is every reason to believe it done by Leonardo as \'asari states. The charm of the angel, the type, the graceful contours, the light and shade, all foreshadow the later work of Leonardo. What a lovely creation, not only in face and feature, but in serenity and fine feeling! TIIE CIIARMING ANGELS OF PERUGIN() Perugino (pay-roo-jee'-no) was in that same studio of Verocchio, a fellow pupil xvith Leonardo; but his angels are much weaker conceptions than I,eonardo's. They are contem- plative, full of wistful tenderness, lost in reverie; but they lack somewhat in mental grip. They make up for this, however, by a charming sentiment. The St. Iichael, reproduced herewith, BOTTICINI; MADONNA AND CHILD (detail of anffcls) A N G E L S I N A R T PRERAPHAELITE ANGELS When the Preraphaelite movement started in England over half a century ago, with Rossetti, Holman-Hunt, and Millais as painters, and Ruskin for a prophet, it could think of no one better as a model to follow than Botticelli. The Botticelli look is quite apparent in the sad, rather unhealthy faces of Rossetti. This Rossetti influence vas handed on to his pupil, Burne Jones. None of the Pre- raphaelite ardor was abated or its senti- ment lessened with Burne-Jones. Indeed, he improved upon his master both tech- n_cally and sentimentally. He was a much better draftsman and colorist than Ros- setti, and presented the Preraphaelite idea with greater force and effect. THE ANGELS OF BURNE-JONES The Burne-Jones type had rounder, more inquiring eyes, thinner cheeks, a sadder mouth, a more willowy figure. It appears often in long, flowing hair, with swirling drapery, and dramatic action. At other times one sees it as a romantic type consumed by a fever of passionate sentiment. The Annunciation shown here- with is not a very good illustration of this. The Madonna has a dull stare in her eyes as though she was something of an invalid, and even the angel has a semi- malarious look. But the melancholy, the sadness, the morbidity, so apparent in Bot- ticelli are also apparent here. The picture is a fine example of the painter's decorative sense. It has been put together with much skill. Notice the architecture, the passageway at back, the bas reliefs, the BuRN.-JoN.s-- THr ^NUC^TO repeated lines of the draperies in both the Madonna and the angel. One could almost wish it in stained glass, so beautifully would it fill an upright window. Every painter of Botticelli's rank in Italy had a score or less of followers, and among them all there was never any dearth of sentimental Iadonnas and pathetic angels. Florence held no monop- oly of the subject. IO A N G E L S I N A R T VEROCCHIO: BAPTISM (detail of Leonardo's Angel) times out of ten, the painter's own wife. And how better could he de- pict the winged messengers of the sky than by painting them with the forms of those he loved here be- low? It is only a step across the world from heaven to earth, and is not love the band that unites them ANGELS OF BELLINI AND CARPACCIO At Venice in the early days were Bellini and Carpaccio, who produced famous Madonnas and most lovable angels. They are different angels from those of Botticelli. In fact, they arc little more than handsome children naively making music for the Madonna and Child. Their un- conscious quality is captivating. How very childlike, in their pure faces, their golden hair, their round legs and fat little hands! The models were perhaps the painter's own children. \\hy not ? Was not the Nladonna, nine MURILLO: GUARDIAN ANGEL SUPPLEXIENTARY READING.--" Sacred and Legendary Art," Jameson; " Life of Christ in Art," Farrar; " Christian Iconography," Didron; "Angels of God,'" Timpson; "Angels in Art," Clement. NOVEMBER 24 1913 VOLUME 1 NUMBER 41 FAMOUS COMPOSERS DEPARTMENT OF FllqF., ARTS FIVE DOLLARS A YEAR F A M 0 U S C 0 M. P 0 S E R S .i CHOPIN PLAYING IN THE SALON OF PRINCE RADZIWILL .1829) whereas most of even the greatest masters had contented themselves with accepted traditional forms and simply enlarging or improving them. When Paderewski plays a Chopin mazurka, he varies the pace inces- santly, with most enchanting, poetic effect. This is called "tempo rubato." It vas used before Chopin, notably by opera singers; but it was through him that it became the accepted mode of interpreting all poetic music, not only for the piano, but for the orchestra. Thanks to Chopin's influence, combined with that of Wagner and I Jiszt, no lood pianist or orchestral conductor of our time performs a piece of music in monotonous metronomic time, except in a ballroom. MENDELSSOItN'S MUSICAL SUNSItlNE When Nlendelssohn's parents called him Felix they chose the right name for him; for Felix means happy, and throughout his life few things occurred to cast on him shadows of dark clouds like those which occa- sioned the gloomy moods of Chopin, Beethoven, Schumann, and Liszt. Vhile Chopin also had his happy moments, a vein of sadness twines through most of his pieces. It is significant that of these pieces the one most often heard is the funeral march from one of his sonatas; whereas of XIendelssohn's pieces the one most in vogue is the jubilant xvedding march from his music to "A l\Iidsummer Night's Dream." I':vidently there dwells in most souls a love of both the sad and the cheerful in art. F A M 0 U S o C 0 M P 0 S E R S There was a time when Mendelssohn's popularity was second to that of no other composer. His short piano pieces known as "Songs without Words" in particular enjoyed unbounded popularity, thanks to their tunefulness, which all could appre- ciate. The thing was overdone, and as in all such cases the inevitable reaction came, these pieces being looked on now as mere sentimental trifles. Paderewski, however, has shown that if played in the modern way they appeal as much as ever to music lovers. He has the audacity to use the tempo rubato, which Mendelssohn would have none of; but there is reason to think he would like it as used by Paderewski. MENDELSSOHN'S SONGS AND CHORAL WORKS While the songs of Mendelssohn en- THE MENDELSSOHN-BA RTHOLD Y HOUSE IN HAMBURG Moses Mendelssohn, the father of Felix. was a banker. He added Bartholdy to the family name. joyed for a generation as wide popular favor as his "Songs without Words," it is not likely that they will ever recover their lost ground,-- ground which they lost because, though tuneful, most of them are superficial. There is no doubt a good deal of "small talk" in many of Mendelssohn's works, nd small talk has no enduring value. But while the songs of this master are now neglected, his choral works, "St. Paul" and "Elijah," still awe and thrill modern audiences, because in them, as in the oratorios of Handel and Bach, religious fervor is expressed in terms of noble music. It is a curious and somewhat paradoxical fact -- that, while Mendelssohn's personal sympathies were on the whole rather with the conservative " classicists in the matter of form than with the modern progressives, by far the greatest of his '- works, particularly for orchestra, are those in which " " he heeds the modern craving for realism and pro- gram music, as illustrated in his "Fingal's Cave" ' overture, the "Scotch" symphony, and the "Mid- ;..  summer Night's Dream" music. The overture to ' this is one of the marvels of music; for it is amaz- MV_.,.SSOn-BARWnO'.r ingly original from every point of view, though writ- MONUMENT, LEIPSIC ten by him when he was only seventeen years old. F A M 0 U S C 0 M P 0 S E R S phonies there are two (the "Unfinished," in two movements, and the ninth) that are as popular with high-class audiences as the best of Bee- thoven's, which they even surpass in richness and novelty of orchestral coloring and in variety and novelty of modulation, while their melodic charm is as great as that of his songs. SCHUMANN, CHIEF OF ROMANTICISTS While Schubert belongs to the romantic school, he did not follow all of its principal methods. In so far as he wrote chiefly short pieces and allowed them to crystallize into forms of their own (the variety of form in his songs is astonishing), he is a romanticist; but in writing instrumental pieces he did not associate poetic titles or stories with them. In this respect Schu- mann went far beyond him in the direction of realism and program music, and for this reason THE SCHUBERT MEMORIAL VIENNA he is considered the most thoroughly romantic of the German masters. In his early period, in particular, he seldom wrote a piece without suggesting in the title a poetic basis for it. It was his custom to issue his pieces in groups, with a general title for the group, like "Papillons" (Butterflies), "Kinderscenen," "Faschingsschwank," "Kreisleriana," and a special title for each piece in the group, suggesting its message. FRANZ SCHUBERT From portrait sketch made in 1825. by W.A. Rleder. SCHUBERT'S BIRTHPLACE. VIENNA The composer was born here in 1 LISZT PLAYING AT THE HOME OF MADAME MUNKACSY This picture, by the artist Frederic Regamey, represents one of the brilliant assemblages in the salon of Madame Munkacsy, in Paris. In the picture are many portraits. Beside Liszt stands Madame Mun- kacsy, next to her Gounod, and grouped in the front are Salnt-Sas, Portales, Daudet and other notables. lV[unkacsy, the celebrated painter, stands at the back on the extreme left. F A M 0 U S C 0 M P 0 S E R S a nev epoch or opened new and glorious vistas; and his influence on the musicians of his time and those who came after him was as great as Wagner's. The strangest thing in Liszt's extraordinary career is that when he was at the height of his fame as a pianist, and fabulous sums were offered him for recitals, he renounced his instrument, so far as concerts were concerned. For charity he would play occasionally, and for his friends and his pupils; but not for the paying public. This happened thirty-nine years before he died. Various motives prompted this action, one of them being that he pre- ferred creative work. Thus it came about that the loss of his contem- poraries in not hearing him play was our gain in enabling us to hear his songs, his piano pieces, his choral and orchestral compositions. N Iany of these are still "music of the future"; but their day is dawning. At piano recitals, in America as in Europe, no composer's pieces are ROBERT AND CLARA SCIIUMANN he makes it speak its ovn language as no one had made it speak before, Liszt's piano music is no less idiomatic, and at the same time it is even richer in color and more varied in tonal power, or what musicians call "dynamic effects." Not satisfied with the piano as such, Liszt converted it into a miniature orchestra, enabling the pianist to thunder or to whisper in tones not previously heard from that instrument. l'kluch of Liszt's music, for both piano and orchestra, is program music: it tells its story in tones. In "St. Francis Walking on the \Vaves" one actually hears the waters, as in the orchestral "Mazeppa" one hears the gallop- now more favored than Liszt's. Pianists usually place them at the end of the pro- tram; not only because they make a bril- liant close, but because they prevent the audience from leaving before the end, as few or none want to miss these pieces. THE DYNAMIC EFFECTS OF LISZT The reasons why the public is so enam- oured of Liszt are not far to seek. While Chopin is, as Rubinstein called him, "the soul of the piano- forte," because FRANZ LISZT From a portrait of him in his youth painted by Ary :hefl'er. F A M O U S C O M P O S E R S proclaiming him the "musical lklessiah." . Brahms himself once signed a "protest"aim- ed against the Wagner- Liszt school; yet his bark vas worse than 1 his bite, for his works here and there show the influence of Wag- ner, and he liked some of Wagner's operas. Johannes Brahms is the god of the con- servatives, tie aimed, half-consciously, to carry on tlae traditions of Beethoven, and he had no use for modern realism and program music. JOHANNES BRAHMS From a special photograph by Maria Fetllnger. His symphonies--the most delightful of which is the second--are marked simply numbers one, two, three, and four; and for his piano pieces he has no poetic titles after the manner of Schumann: they make their appeal by their own beauty, unadorned-- and they have von a large audience of admirers. Some of his songs everybody likes. They are on most programs, and are often redemanded. The music goes well with the words, and they are usually written most effectively for the voice, which makes the singers favor them -- too. But it is in his chamber music--trios, quar- tets, or sextets, for strings, with or without piano --that Brahms' genius is most convincing. In this department he has composed many masteravorks. -- In general, it may be said that, while Brahms is melodically less spontaneous than some of the  other masters, he excels most of them in the variety  and originality of his rhythms. THE BRAHMS MEMORIAL VIENNA SUPPLE*IENTARY READI NG--"Chopin: The .XIan and Ills .X, lusic," James Huneker; "The Life of Chopin," Frederick Niecks; Article in Grove's Dictionary of.XIusic and 31usicians, " lendelssohn," S. S. Stratton; " Romantic Composers," S. G..lason; "Songs and Song Writers," H. T. Finck; " Life of Schumann Told in Itis Letters," *lay Herbert; " Franz Liszt," James Huneker; " Life of Johannes Brahms," Flor- ence May; Articles on the Composers in Grove's Dictionary. II THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 5z East x9th St., New York, N. Y. NOVEMBER -4, I913 Volume I Number 4I ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.50 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N.Y., AS SECo OND-CLASS IATTER. COPYRIGHT, 1913, BY THE IENTOR ASSOCIATION, INC. PRESIDENT AND TREAS- URER, R. 1. DONALDSON; VICE-PRESIDENT, W. SANFORD; SECRETARY, L. D. GARDNER. Editorial A favorite phrase of ours has just come home to us in an oddly altered form. Its character has been completely reversed, and yet its value remains much the same. The phrase that we used referred to one of the advantages offered by The Mentor Association. We stated that The Mentor gives the facts that people ought to know and want to know about a subject, and we pointed out that a reader of The Mentor would find himself in a position to talk intelligently about many subjects that he had not understood before. Most people like to talk about things that they have come to know. We reckoned without one thoughtful reader, however, for he has come back at us with this: "I like The Mentor and it helps me. The more ! read it the more I realize the value of having knowledge ready at hand. But it does not make me feel like talking more on various subjects, rather like talking less and lis- tening more." And so our phrase, completely changed in color, returns to us. We are satisfied-- let our reader be assured of that--for the phrase is just as valuable in the form in which it returns as in that in which we sent it out. We congratulate our reader. He is on the way to the greater benefits in the field of knowledge. He wants to know in order to grow rather than to show. It is a great satisfaction to us to have readers bring home a phrase, especially when they amplify the idea themselves. Some time ago we called attention to the value of the odd moment, and we cited the case of a French woman who had em- ployed so profitably her odd moments that in the course of a few years she had read during those moments an astonish- ing number of standard works. This has brought to mind several other striking illustrations of industry in cultivating the odd moment. Madame de Stall was a keen minded woman, actively interested in the public affairs of her time--and withal a very cultivated woman. In the midst of troublou social and political con- ditions she was a vigorous, energetic figure, and during all her activities she managed to accumulate a fund of informa- tion that was a source of amazement to her friends. "How do you gather all this knowledge?" she was once asked. "What time do you find to read? You seem to us to be busily engaged through all your working hours." "You forget my sedan chair," was Madame de Stall's answer. While being carried in her chair she had as a companion a book or some bit of profitable reading, with which she men- tally capitalized those brief intervals in her busy day. We have been informed that a very eminent American preacher read no less than one hundred books i'n the course of three years, at his dining table. During that period of time he had always a book beside him at the table, and, whenever de- lays occurred, he would advance a few pages. The inference from this is that the divine was either a very fast reader, or that his table service was very slow; but in either case the results accomplished are an impressive demonstration of the value of the odd moment. Suppose, now, that the essential in- formation from lengthy books should be put into an article of not over 2,5oo words, by a competent authority, and this ma- terial be put before you in a simple, read- able manner, accompanied by illustrations. Would not that be the best possible men- tal fare for the odd moment? That is what The Mentor does. In the course of a year a reader of The Mentor gets the substance of the contents of many books. And it takes only a few minutes to read a single number of The Mentor. DECEMBER 1 '1"915 VOLUME 1 NUMBER 42 l EGYPT THE LAND OF MYSTERY D EPAKTM ENT OF T R.AVE L FIVE DOLLARS .A YEAR EGYPT, THE LAND OF MYSTERY TOMBS OF MAMELUKES. CAIRO buildings, the Mosque of Mehemet Ali. It is called the Alabaster Mos- que. There is a great deal in modern Egypt that is imitation. That is the reason that this building of pure MUSKI CORNER AND MINARET. CAIRO alabaster is to be valued. Its interior is rich and beautiful in design. CAIRO AND ITS SURROUNDINGS Stand on the parapet of the Citadel, and look over Cairo, and see the sun rise. Far in the distance is a sandstorm. Many people in the United States think that the weather in Egypt is as clear as crystal always. That is a great mistake. The days there are rarely as clear as American clear days. In January, February, and March you are likely to have sandstorms, or the sirocco, or wind from the desert, which almost obliterate the sun. Down by the edge of the desert is the Dead City. The tombs there and their interiors are wonderful. The beautiful buildings have been allowed to decay. It is an oriental peculiarity not to repair anything. On the other side of the Citadel are the tombs of the Mamelukes. I advise anyone going to Cairo to visit these tombs; for they contain very curious sarcophagi, and the tomb mosques are interesting, each of them being surmounted by a picturesque dome. Our modern expositions and fair grounds would not be complete without "the streets of Cairo." As we know, a bit of street life is shown, more or less accurately---chiefly less. A fairly correct impression of Egyptian street life is, however, created by such artificial reproductions. One of our pictures will no doubt recall these exposition impressions. The genuine old streets of Cairo are fascinating. Some are so narrow that the traveler must go on foot, or on a donkey. The shops are almost within arm's reach on both sides, and many of them are temptingly at- E G YPT, TIlE LAND 0 F M YSTER Y tractive. There on one side they mak famous leather goods; on another they sell glassware. Be careful not to buy unless you know how to bargain. THE STREETS OF CAIRO You must go to these little streets to find the bazaars if you want to buy anything; for the great street of the Arab quarter, the famous Muski, is not any longer a thorough Cairo street. Big shops and depart- ment stores have crept into it. Stand for a moment on the corner of this great street and see a little bit of the Arab life of old Cairo. It is a busy city. There goes a carryall (a camel), an entire family on its back, except the husband, who walks by the side. This man coming down with a strange sack on his back is a walking fountain. The sack is filled with something sweet and sticky which he calls "sweet water." It is not pleasant. The genuine water carrier of the old school goes to the river, fills his jar, and then goes through the streets shaking his cup in his hand with a chink. It is plain water that he peddles. I should not advise one to drink either of these bever- ages. Then there are the bread venders of Cairo, who walk the streets carrying bread on their heads and crying out their wares. Cairo is full of interesting mosques. The oldest and most celebrated is the glosque of Omri. It is one of the earliest of glohammedan temples in Egypt. They have a service there but once a year, when the khedive himself comes. The interior seems a i . veritable forest of pillars. One of these is a most remarkable pillar. I BAZAAR TREET. CAIRO Where the most interest|ng shops are found. THE CITADEL, CAIRO Built, II?6-120?, of stones taken from the Pyramids. EGYPT, THE LAND OF MYSTERY will tell the story of it as my boy Mohammed Mousa told it to me: "This pillar very important onemvery holy. This pillar sent by Mahomet here; for vhen Omri come to build this mosque Mahomet so pleased he sent pillar from Mecca. The pillar come here. He find no other pillar from Mecca here; so he get lonely and fly back. Mahomet very angry, and send pillar back. Sec- THE OLDEST PYRAMID. SAKKARA ond time he fly back. Mahomet then get very angry, draw his sword, and strike pillar, and tell Omri to put pillar in prison. So he put it in prison, and it stand there." That is the story that they all believe. THE PYRAMIDS The road leading down to the old Nile gate is a very beautiful one. Crossing the bridge there, we see the picturesque Nile boats, like the lateen boats of the Mediterranean. The avenue leads out to the pyra- mids, and there in the far distance you can see them,--those golden cones about which is wrapped so much of Egypt's history and mystery. The first sight of the pyramids naturally means much to any intelligent traveler. It makes no difference how much you have read, how much you have heard of them, you cannot be disappointed. It is said that the pyramids will last as long as the world, and they certainly look it. They DISTANT VIEW OF PYRAMIDS, WITH THE NILE represent to us the life of the world stretching back into the dim past; and, in their imposing solidity, they seem to give assur- ance of lasting to eternity. There are four of the pyra- mids in this group; though the mind naturally dwells on the largest,rathe Pyra- mid of Khufu or Cheops. And to think that these are the works of man, and that they are tombs of the kings who lived and reigned some- EGYPT, THE LAND OF MYSTERY THE SPHINX From a drawing showing the front uncovered by sand. much. The paws are covered by sand. It is only by industrious shovel- ing and digging that the desert is prevented from rising on the wings of the wind and completely burying the great figure. The Sphinx is the symbol of inscrutable wisdom, and its lips are sup- posed to be closed in mysterious silence,--knowing profoundly, but telling nothing. These are, however, mere impressions. Facts are the impor- tant things. No one knows how old the Sphinx is. It is supposed to have been made during the middle empire; but later investigations seem to prove that the Sphinx existed in the time of Cheops, which would mean that it is even older than the Great Pyramid. The Sphinx was made out of living rock, and the dimensions are as follows: Body, I5O feet long; paws, 5o feet long; head, 3o feet long; face, 14 feet wide; and the distance from top of head to base, 7o feet. It must have been an imposing monument when constructed; for then it stood in position to guard the valley of the Nile, and about it was Memphis, the great city of Egypt---Memphis now past and gone. Memphis was once the capital city of the Pharaohs, and is said to have been founded by FALLEN STATUE OF RAMESES. MEMPHIS EG 't PT, THE LAND OF M Y ST E R Y vessels go into a canal, and are conveniently and promptly lifted up through four locks to the level of the upper Nile. The visitor should not leave Egypt till he has seen Philae, with its beautiful temples, ruined walls, and colonnades. It is a sight for artists to draw and for us to dream of,--Phile apparently afloat; for now the Nile water has penetrated the halls of its temples and surrounded its beautiful columns. On returning from the upper Nile a visitor should go to the new National _XIuseum at Cairo. He may have visited this interesting place before he took the Nile trip; but he will know more on his return. The valuable collection of Egyptian antiquities there in the museum will mean more to him. _XIonths could be spent with profit in this building. It contains one of the richest and most interesting collections of historic remains in the world--the result of years of exploration, excavation, and the intelligent study of eminen scholars. There be- fore you are the relics of ancient Egypt. There are the statues, mummies, and other antiquities that the government has collected. In them you may read the history of ancient Egypt and learn to appreciate the life, literature, and art of Pharaoh's time. THE ISLAND OF PH/LE l"h/s picture shows the beauty of Ph/l=- before the waters of the N/le rose about it. Sance the build/rig of the great dm at Assouan the temples of Ph// are half under water. __ _ SUPPLEMENTARY READING.--" Modern Egypt and Thebes," Sir Gardiner Wilkinson; "A Thousand Miles Up the Nile," A. B. Edwards: "" Egypt," S. Lane- Poole; "A History of Eg.vpt from the Earliest Times to the Persian Conquest.'" J. H. Breasted; "A Short History of Ancient Egypt," P. E. Newberrv and J. Garstang; "The Empire of the Ptolemies,"' J. P. Mahaffy; '" Egypt in the Nneteenth Century," D. A. Cameron; "Modern Egypt," Lord Cromer. |! THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 5z East I9th St., New York, N. Y. DECEMBER I, I913 Volume I Number 4z ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.50 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N.Y., AS SECo OND-CLASS MATTER. COPYRIGHT, 1913, BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS- URER. R. M. DONALDSON; VICE-PRESIDENT, W. M. SANFORD; SECRETARY, L. D. GARDNER. Editorial It was no easy matter for Mr. Elmen- dorf to present the subject of Egypt in an article of only 2,5oo words. He has con- fined himself in his characteristic inter- esting manner to the impressions of a traveler. Of the great store of archaeo- logical treasures in Egypt, the monuments, statues, tablets, tombs, inscriptions--in fact all that is comprehended under the name Egyptology--Mr. Elmendorf could say nothing. These are subjects for the historical student rather than for the trav- eler. And they will be taken up in turn in The Mentor of some later date when we will approach the subject of Egypt from the standpoint of the historical stu- dent. There is, however, one question that readers of Mr. Elmendorf's article are apt to ask--in fact ordinary curiosity would prompt the inquiry. The monu- ments of Egypt are covered with historic records in the form of inscriptions. These records are hieroglyphic. They are what some people call "picture writings." The natural question is "How were these hieroglyphics deciphered." The answer is interesting, and it seems to us that both question and answer belong in the number of The Mentor with Mr. Elmen- dorf's article. The River Nile separates at its delta into two branches. The eastern stream en- ters the Mediterranean at Damietta. The western stream enters the great sea at Rosetta. It was near this latter town that an officer in Napoleon's army dis- covered, in August,  799, the key to Egyp- tian hieroglyphics. It is called the Rosetta Stone, and it is now in the British Museum. For years the hieroglyphic was an un- known language, and the history of Egypt, except such as is contained in the Bible, was a blind book. The Rosetta Stone was found to contain an inscription in three different languagesbthe Hieroglyphic, the Demotic, which was the common language of the Egyptians, and the Greek. When these inscriptions were examined, it was discovered that they were each a transla- tion of the other. There, then, was the clue which opened up the whole field of Egyptian history. Dr. Young, in I814, began the work of deciphering hieroglyphics by this clue. He worked on various inscriptions, especially the pictorial writings on the walls of Kar- nak. The value of this discovery may be appreciated when we consider that its dis- covery has enabled scholars to translate hieroglyphics almost as easily as they would any of the classic writings. The actual inscription on the Rosetta Stone is not so important in itself. It is a decree issued in honor of Ptolemy Epiphanes by the priests of Egypt assembled in a synod of Memphis on account of the remission of arrears on taxes and dues. It was put up in I95 B.C. Since the discovery of the Rosetta Stone other tablets containing more important inscriptions have been found, but the unique value of the Rosetta Stone lies in the fact that it contains a corresponding Greek inscription, thereby affording a clue to the meaning of the hieroglyphics. , , , The stone is black basalt, three feet seven inches in length, two feet six inches in width, and ten inches thick. After it was found by the French it was trans- ferred to the British, and in I8O2, it was brought to England, where it was mount- ed and placed in the British Museum. The Rosetta Stone is a corner stone of Egyptology. And the revelations of early Egyptian history and life, brought to light by means of it, have cleared some of the mystery of Egypt and have made known much of its history. TIlE AMERICAN REVOLUTION Buell's imaginary so-called biography; but he is the naval father of Hull and Porter, and the grandfather of Farragut and another Porter, and the great-grandfather of Sampson and Dewey. THE CIVIL REVOLUTION A revolutionary overturning came whenever the Union Jack was hauled down and the Stars and Stripes hauled up. But the revolution- ary army was not the Revolution: it was like the line in a football match, desperately holding back the other line while the backs get into play. The real Revolution was an overturning of governments, and charters, and political power. The revolving wheel whirled the old colonies out of existence, and cunningly framed and polished new state governments. The Revolution turned the British empire down, and pushed the United States of America up. The Revolution rolled to the bottom of the vheel Governor Gage of lassachusetts, and Governor Tryon of North Carolina, and Governor Dun- more of Virginia; and up to the top revolved Patrick Henry, and Benjamin Franklin, and John Adams. The Revo- lution was like a religious conversion: it set the American people out of their old ways, and into a nev upward path. All that seems natural to us; for we have been brought up on the tyranny of George III, and the misgovernment and plunder of the colonies by the Brit- ish government. We realize the bad state of things much better than did the Americans at the beginning of the Rev- olution. In truth the colonies were freer from harsh and arbitrary government than England, Scotland, and Wales, to say nothing of what was then the sep- arate kingdom of Ireland. Every colony had its local assembly: not a single English county had one. In every colony any freeman who had the neces- sary pluck and health could acquire land and become a voter: in England not a twentieth part of the adult men could vote. The colonists laid their JOHN PAUL JONES Commander of the first American navy. From the portrait by C. W. Peale. BIRTHPLACE OF JOHN PAUL JONES John Paul Jones, the "'founder of the Ameri- can navy." was born in this cottage at Kirk- bean. in 3cotland. in I47. He died in Paris in 1792. THE AMERICAN REVOLUTION The finest work of the Rev- olution was the making of a na- tional government; for vhich the army and the navy were in part responsible, because a cen,tral na- tional power was all that could save the army from capture and the navy from destruction. The Continental Congress became a government before it knew it, authorizing an army and navy, borroving money, issuing many times more paper notes than it could ever redeem, appointing THE CHAIR AND TABLE USED AT THE SIGNIN( THE DECLARATION OF INDEPENDENCE George Washington commander in chief of the Continental forces, sending ambassadors to foreign countries. Were men greater on the average then than now? Would Speaker Clark and Senator Lodge of Massachusetts, and Senator Beveridge bulk as big as Patrick Henry and Sam Adams and John Dickinson, if revolution broke out now? "These are the times that try men's souls," said Tom Paine, and it was also a time that made men's souls! The one indispensable man in the Revolution was George Washington; for there was no other in the colonies who was so central, so immovable, a force. But the Revolution would also have failed but for Benjamin Franklin, and Thomas Jefferson, and the other civilians who built up the new government. THE DECLARATION OF INDEPENDENCE And they framed the Declaration of Independence! They framed it; but Thomas Jefferson vrote it. He was bent on proving that the Revolu- tion was right. And, having taken an unpaid brief for his country, he found twenty-seven good reasons for in- THOMAS JEFFERSON BENJAMIN FRANKLIN dependence, even at the cost of a bloody revolution. Those reasons are not the Declaration: the real pith of that splendidly written document is the brief statement of "self evident truths"; among them "that all men are created equal, that they are endowed by their Creator u ith certain una- lienable Rights, that among these are Life, Liberty and the pursuit of Happiness, that to secure these rights, Governments are insti- DECEMBER 15 1 )13 VOLUME 1 NUMBER .44 FAMOUS ENGLISH POE'I'S D EPAR.TIIEN T OF LITERATURF_ FIVE DOLLARS A YEAR FAMOUS ENGLISH Lo| " POE,TS. By HAMILTON W. MABIE, Author and Critic. JOHN KEATS THE MENTOR DECEMBER H, 9x3 DEPARTMENT OF LITERATL'RE MENTOR GRAVURES BYRON WORDSWORTH SHELLEY TENNYSON KEATS BROWNING PERCY BYSSHE SHELLEY ODERN English poetry is rich not only in its quality, but in its variety, both of theme and of manner. The exuberant imagination and splendid profusion of Swinburne are in striking contrast with the restraint and clearness of style of lIatthmv Arnold; the fluency and narrative faculty of William hlorris, with the strongly etched and power- fully phrased work of Francis Thompson and Henley. The classical dignity of Landor, the humor of Hood, the seriousness of mood of Clough (Huff), the pictorial genius of Rossetti, the fresh invention of Stevenson and Kipling, suggest the range of poetic production of an age not matched in wealth of genius since the age of Shakespeare. Among the throng of poets who made lasting contributions to English literature during the nineteenth century, six may be regarded as most representative. Byron died ninety-one years ago; but, although there has been a great change in the way poets look at life and in their way of writing verse, he holds his place as one of the greater poets, not only in reputation, but in popular regard; and for tvo reasons,--he was one of the born singers to whom men will always stop to listen, and he was also a poet of revolt. He is not read in this country as Browning and Kipling are read; nor, on the other hand, is he neglected as llilton and Landor are neg- lected. His stormy nature and his tempestuous career add an element of personal interest to the claims of his poetry upon the attention of reading people today, and he is one of those men of genius about whom it is difficult to be judicial" those who like his work become his partizans, those who dislike him charge him with insincerity and immorality. It must be frankly confessed that Byron.had moments of insincerity, and that he often posed; but he was largely the victim of his tempera- ment. Rlr. Symonds has said of him that he was well born and ill bred. F A M O U S E N G L I S ti P O E T S of genius rather than command of the resources of art. He was gen- erous in impulse, enthusiastic in temper, and he loved liberty. It was the presence of these qualities in his nature, and his spirit of revolt, that led lazzini (maght- see'-nee), LADY BYRON The wife of the poet. to predict,"The day will come when Democ- racy will remember all that it oves to Byron'.' SHELLEY Shelley, too, was a lover of freedom; but of a freedom that xvas the breath of LORD BYRON the soul rather than social or political lib- r,om the c..avt.g b L,,p,o. af,e, the painting by Thomas Phillips. erty. He lacked humor, he bore no yoke in his youth, his father vas a matter-of-fact and eccentric tyrant, and the boy of genius lost his way in a world which nobody helped him to under- stand. \Vhen one reads the story of his brief and confused career, of the shabby and immoral things he did, it must be remembered that he discovered hov to fly, but nobody taught him hov to walk. He was alvays a splendid, wayward child, to whom visions were more real than facts. He died at thirty, and his life was only a beginning. But wlt a splendid prelude it was! "Alastor," the "Stanzas Written in Dejection," the "Ode to the West Wind," "The Cloud," the immortal lines "To a Skylark," are flights of poetry which reflect the splendor of the sky under which they seem to move as if impelled by wings. "Prometheus Unbound," "The Revolt of Islam," and other long poems shoxv his hatred of tyranny, whether human or divine, his ardcnt passion for humanity, lie was only at times a great artist- his verse often lacks substance and reality, and has the beauty and remoteness of cloud pictures. I-lis critical faculty was obscured by the spontaneity and facility of his creative moods; but he had the poxver of growth. His best xvork was at the end of his career, and he died at the moment the signs of maturity were shoxving themselves. He had no creed save that of resist- ance to tyranny, and he dcfined nothing; but he had noble visions, a beautiful voice, a splendid faith. With all the faults of his youth, and F A M O U S E N G L I S H P O E T S THE SHELLEY MEMORIAL Designed by E. Onslow Ford. SHELLEY'S BIRTH- PLACE Here the poet was born August 4, IF92. SHELLEY AS A CHILD From a copy by Reginald Easton of the Duc de ]Vlontpensler's m/nature of Shelley, in the Bodlelan Library. they were of tragic seriousness, there was something angelic about him, and he made life richer and more splendid. KEATS' LOVE OF BEAUTY The poets of the first quarter of the last century died young: Byron at thirty-six, Shelley at thirty, Keats at twenty-six. What Byron's future would have been no one will venture to predict; but Shelley and Keats were rapidly gaining in power when the end came. The first was the fiery leader of revolt, the second was the idealist, concerned, not with present oppressive traditions, but with untrammeled freedom of thought and of life. Keats cared for none of these things: he was in love with beauty. One must go back to Spenser to find an Englishman of his sensitiveness to beauty, and he was much simpler than Spenser, whose moral idealism expressed itself in a refined symbolism. Keats was the son of a stable keeper, went to school for a few years, and was conspicuous chiefly for his pugnacious disposition. The impression that he was a weak, sentimental boy and man is without foundation. He became the victim of a heart- breaking disease; but his was essentially a brave and manly nature. His later work is notable not only for its beauty, but for its solidity of texture. He became an apprentice to a surgeon. Through his acquaint- ance with a family of cultivated people he became a reader of good books, and discovered his vocation when he opened the "Faerie Queene." That poem did not make him a poet: it opened his eyes to the fact that he was FAMOUS ENGLISH POETS the same country. Byron died in Greece, Shelley was drowned in the Gulf of Spezia (spet'-see-eh), and Keats came to the end of his suffer- ings in the little room that looks out on the Spanish steps which are gay with flowers in the Roman spring. With the exception of a brief residence in France and Germany, Wordsworth spent eighty years on English soil, and mainly in the Lake Country. He was born in the North, went to school in a little village near Lake Windermere, and spent his life at Grasmere and at Rydal lklount only three or four miles distant. His life was free from struggles, either mental or material, and was one of medi- tation and quiet growth. In contrast with Byron, he was a poet of reflection; unlike Shelley, he saw Nature as the intimate DOVE COTTAGE companion of the spirit; and he sought beauty in the simplicity of obscure lives and daily ex- perience rath- er than in the richness of imagination WORDSWORTH'$ BIRTHPLACE IN THE LAKE REGION WORDSWORTH'$ MOTHER By Margaret Gillies. At Town End. Grasmere. GRASMERE CHURCH or in that fairy land of mythology which laid its spell on Keats. He was deeply re- ligious, and saw Nature as a revelation of the divine mind; a visible and material creation, penetrated and filled by the divine spirit. His years of inspiration were few; but his conscientious industry was untiring. In his creative moods he wrote some of the noblest and most perfect poetry in English; in his moods of faithful industry he wrote much thoughtful but unpoetic verse. In the latter class fall his long poems; in the F A M O U S E N G L I S II P O E T S former class fall many of his shorter pieces, in which lofty thought and deep feeling are fused in an art of exquisite simplicity and purity. "The Prelude" and "The Excursion" contain passages of great beauty; but they are valuable chiefly to stu- dents. In the ten years which followed the publication of the "Lyrical Ballads" in I798 he wrote many poems vhich are for all people and for all time. Such poetry as "Lucy," "To a Highland Girl," "The Solitary Reaper," "To a Cuckoo," "I Wandered Lonely," "She Was a Phantom of Delig!at," "Three Years She Grew m Sun and Shade," ought to be planted in the minds of children as refuges from the commonplace, and as a protection from all that is cheap and inferior in life and art. In the "Ode to Duty," that on "Intimations of Immortality," in many stanzas from the long poems, and in a group of son- nets, Nature and Life are in- terpreted in an art which is both commanding and beautiful. WILLIAM WORDSWORTI-I RYDAL MOUNT Wordsworth's home. At his , best, in ALFOXDEN HOUSE d e p t h Wo,d.wo,,h'. ,empo, home .. ,, ,..ow. of thought, loyalty to truth, spiritual insight, purity of feeling, and that simplicity which is the last achievement of art, Wordsworth belongs anaong the half-dozen great poets of England. It is too soon to assign their permanent places to Tennyson and Browning; but there is little doubt of their survival among the singers whom the world will not forget. Both vere fortunately born and well educated, though in different ways; both were happily situated in life; both had ample time in which to gixe full and rounded expression to their genius. Fame did not come early to either; but it dis- covered Tennyson in middle life, and for three ALFRED. LORD TENNYSON From a mezzotint by T. A. Barlow, after the pa|nt|n by Sir John E. lilla|s, made In 1881. THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 52 East t9th St., New York, N. Y. DECEMBER I5, 1913 , olume I Number 44 ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.50 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N.Y., AS SEC- OND-CLASS MATTER. COPYRIGHT. 1913, BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS- URER, R. M. DONALDSON; VICE-PRESIDENT, W. M, SANFORD; SECRETARY, L. D. GARDNER. Editorial Some of the numbers of The Mentor have been used as the subject matter for reading clubs. That is a use of The Men- tor that we most heartily welcome. We have information from one reader that the number of The Mentor on "Spain and Gibraltar" is to be used at the next meeting of a literary club in the home of the writer. This number is to be read in conjunction with a study of Washington Irving's books on Spain--"The Alham- bra" and "The Conquest of Granada." Another club has used the article on "Dutch Masterpieces" as the core of its evening's study, and we have it from a reader that he knows that number of The Mentor "almost by heart." No better thing could be said of The Mentor than that it is worth knowing by heart. It means that The Mentor has become to some readers at least a fund of important information--a fund that they can literally absorb and make their own. The New York Sun called attention editorially, a short time ago, to the yearly report of Dr. Nicholas Murray Butler, president of Columbia University, in which he deplores "too much slovenly reading matter" as an obstacle to educa- tion, "the substitution of quantity for quality," and recalls the fact that the great lawyers of the Colonial period and the makers of the Constitution had few, but the fittest, books; knew well a few first rate books. "One reason, aside from insufficient or incompetent instruction in the schools, for the so often complained of illiteracy, so to speak, of students, is probably to be found in the mass of stories which the Carnegie and other libraries feed to them, and which they skim through at the double quick, getting no permanent im- pression. Their great-grandfathers read over and over and assimilated a handful of books. The little dingy or tattered home collection was often their school, college and university. "Let us read over again Nicolay and Hay's description of Abraham Lincoln's boyhood studies: 'His reading was nat- urally limited by his opportunities, for books were among the rarest of luxuries in that region and time. But he read everything he could lay his hands upon, and he was certainly fortunate in the few books of which he became the possessor. It would hardly be possible to select a better handful of classics for a youth in his circumstances than the few volumes he turned with a nightly and daily hand bthe Bible, ".Esop's Fables," "Robinson Crusoe," "The Pilgrim's Progress," a his- tory of the United States, and Weems' "Life of Washington." These were the best, and these he read over and over till he knew them almost by heart." "Almost by heart[" Fortunate is he who has lived with a few books. In a world of volumes swollen to intolerable dimensions there are still but a few real books. They are those we make our own; that shape the mind, store the memory, are the foun- dation and discipline of our intellectual life. The purpose of The Mentor is to give the gist of knowledge to be found in the world's best books, and to give that knowl- edge in a form that is easy to retain. A number of Mentors thoroughly absorbed --as we might say, "learned by heart"- what a mental equipment it would mean! And the practical side, too, should be considered. Most people haven't time to read even the world's best books. The Mentor can be read in a few minutes. MAKERS OF AMERICAN ART By J. THOMSON WILLING WET COPLEY TUART THE MENTOR DECEMBER zz, 93 DEPARTMENT OF FINE .\RTS MENTOR GR.tI'URES LDY WENTWORTI I By John Singleton Cople.v--737-St5 CHRIST REJECTED By Benjamin West--I738-S2o GEORGE WAStlINGTON By Charles Willson Peale---74-Sz7 ALEXANDER IIAMILTON By John "l'rumbuil--756-843 DOLLY MADISON By Gilbert Stuart--t755-8z8 A SPANISII GIRL By Washington Aliston--t77-843 ARLY art in America was distinctly commercial, in that it conformed to the lav of demand and supply. In those prephotographic days records were desired of the appearance of people who were gradually coming into an easier mode of living than their ancestors, the hardy pio- neers, had been able to acquire. The Colonial otticial, the landowner, the merchant, all wished to emulate in little the great folk of the Old World, and have family portraits. The craftsmen to supply the demand were fmv, and the quality of their art far from fine. The Colonial period was barren of good production. It is marvelous that in this pictorially un- cultured time, without the stimulus of ood examples to be seen and of felloxv strivers to instruct, such wonderfully leood workers in art should arise as Copley in Boston and West in Pennsylvania, and a little later .X lal- bone in Newport, who in miniature work ou{classed an.vone then working. After study in Europe these men's work was broader and better; but vet much of their early work indicates their caliber. M A KERS OF AM ERI GAN ART MR. and MRS. IZARD (Alice DeLancey) By Copley. in Boston Museum of Fine Arts. EARLY AMERICAN PORTRAITS After the proclamation of peace the people were more prosperous and the portrait market was good. Not only family portraits were wanted, but portraits of political he- roes. The commercial artist was there to take orders and deliver the goods. The goods he delivered vere of a very high grade of workmanship. After the individual portrayal came the order for the histor- ical picture, the celebration of the dramatic moment and the great event. Further than these two classes of pictures the earliest art did not go. The life of the day in all its human aspects of picturesqueness was ignored. The genre pic- ture did not come until about the middle of the nineteenth century. In England, Benjamin West, who had gone there about his twenty- fifth year, was painting biblical and mythological subjects, inspired by his stay in Italy; for Italy was yet the field for art inspiraticn. He received extended patronage from King George, and succeeded-Reynolds as president of the Royal Academy. "Christ Healing the Sick," in the Philadelphia Hospital, and the "Death on the Pale Horse," in the Pennsylvania Academy, are two of his bst known works in America. The latter is an immense canvas, melodramatic in character, and carrying no direct message to modern observers. West seems to have wished to impress by size and industry. In regard to color he always remained a Quaker. THE GENEROSITY OF WEST Perhaps ,Vcst's best contribution to the art development of America was the splendid generosity of his welcome to his young compatriots when they came to London to study. His was the hand that gave them greeting, his the studio and the home that were at their service, and his f .. JOHN (UINCY ADAMS By (:opley. in Boston Museum of Fine Ar. F,I A K E R S O F A M E R I C A N A R T the mind that directed their work. To him came latthew Pratt of Phila- delphia, though his senior, and stayed four years, returning then to his na- tive place and carrying on his profession there. The Peales, father and son, were indebted to him for their training. Dunlap and Trumbull and Stuart all studied under his tutelage. Allston sat at his feet as a devout disciple, becoming a veritable legatee of his mode of thought and of his manner. This manner was evolved from a contemplation of grand subjects, alle- gorical, religious, mythical, and historical. Neither he nor West was an observer of the life of their day; though \\rest did a radical thing, a Rreat service to natural art, when he painted the Death of \Volfe with all the figures therein clad in the regimentals they then wore, and not in classic | . MRS. DANIEL DENI$ON ROGERS MRS. FORD By Copley. By Copley. in Hartford Athen.-um. garb, as historic happenings had hitherto been painted, l Iis work had little beauty of color, little atmosphere, and no spontaneity. It has not held its ap- preciation as have other more natural paintings of that time. To Boston, in 1723, had come John Smybert, from London, a protege0 of Bishop l;erkeley. fie there painted many portraits until his death in 1731 ; though his work had little merit. IIe was the forerunner of Copley, the first able native artist. TIIE DISTINCTION OF COPLEY In his youth Copley had the slight advantage of some instruction from his stepfatler, Peter Pelham, the engraver; but early acquired a style of MAKERS OF AMERICAN ART ELIZABETH BEALE BORDLEY MRS. WM. JACKSON Women's portraits by Stuart. FRANCES CADWALADER Cadwalader, Elizabeth Bordley, and Sallie McKean, all reputedly hand- some in the written testimony of that period, have certainly not suffered in that repute by Stuart's painting of them. _And Betsy Patterson, she of the wilful temperament and romantic career, who married the brother of an emperor, lives for all time as a beauty because of the ability of Stuart. Of this handsome woman a contemporary writes, "Mme. Jer- ome Bonaparte is a model of fashion, and many of our belles strive to imitate her; but without equal clat, as lkladame has certainly the most beautiful back and shoulders that everwere seen," and again, "To her mental gifts were added the beauty of a Greek, yet glowing, type, which not even the pencil of Stuart adequately portrayed in the ex- " quisite portrait that he wished might be . ,., buried with him: not yet on his other can- .--:i" " -"- vas which, with its dainty head in triple ............ -- pose of loveliness, still smiles in unfading ., - -. witchery." Whetheror no he painted her ' as lovely as life, he produced a canvas  that has great individuality and charm. THE CULTURE OF ALLSTON ,Vashington Allston had a great reputa- tion in his day; but his product was incon- siderable and not of a quality to justify the standing he then had. He had greater culture and a finer intellectuality than THE GIBBS-CHANNING PORTRAIT OF WASHINGTON By Stuart. in Metropolitan Museum. N. Y. MAKERS OF AMERICAN ART WASHINGTON ALLS FON lItnlature by Malbone. Boston Museum of Fine Arts. born in Utica in 1801, and lived but forty-five years. His vork was uneven, but at its best, as in the Henry Pratt portrait in the Pennsyl- vania Academy, is comparable to Raeburn. He painted Wordsworth, llacaulay, Dr. Chalmers, and other men of mark in England, on com- missions from their American admirers. Though Sully was a pupil of Stuart, he entirely lacked the master's authority of manner. His was a timid technic, without freshness of color or firm char- acterization. His life was a long and successful one, spent chiefly in Philadelphia, and he had many celebrities as sitters,Queen Victoria, Fanny Kemble, and General Jackson are among his best knovn canvases. Of the work of Sully the Pennsylvania Academy has, besides several portraits of the artist himself, a large number of his canvases. This policy of the chief galleries of Boston, New York, and Philadelphia, of acquiring works. of the several worthy artists of the older time, has become a more diffi- cult one to follov as the years go on, and the ancestral portrait, the family heirloom, becomes precious beyond price. THE BEGINNING OF AMERICAN MINIATURE PAINTING Treasured with even greater reverence is the old time min- iature. There was no produc- tion of this form of art in the Colonial days, but its practice developed after the Revolution, and had its chief exponent in Mal- bone, who, though living but from 1777 to 18o7, is to this day one of the very best artists of the portrait in little. Excellent draftsman- ship as well as good coloring gave his work a structural firmness un- usual even in Cosway's produc- tions. His best known picture was an imaginative composition en- titled "The Hours," which is now in the Athenaeum at Providence, DEAD MAN RESTORED TO LIFE BY TOUCHING BONES OF PROPHET ELISHA By Ailston, Pennsylvania Academy. IO THE M ENTOR For the New Year A MEMBERSHIP IN THE MENTOR ASSOCIATION A library of the world's knowledge, which grows more valuable every week. Fifty-two mag- azines a year. A beautiful art coliection for the home. Three hundred and twelve Mentor Gravures (six every week). . An intimate acquaintance, through pictures, with famous works of art, interesting places, nature subjects, scenic wonders of the world, and the no- table men, women and events of history. ' A daily reading course for one year, carefully arranged under the advice of the Advisory Board. A year's course in education which can be ac- quired at home in your spare moments. The price is FIVE DOLLARS. You could hardly select a gift for New Year's more certain to give keen enjoyment and solid educational value. Give your friend a year's membership in The Mentor Association. It will last a year, and will be a daily reminder of your good will. Send us the names of the friends you wish to re- member in this way, and we will see that each one receives an engraved Certificate of Membership with your name engrossed as the giver. THE MENTOR ASSOCIATION, INC. 2 East Nineteenth Street, - - NEW YORK LEARN ONE THING AMONG THE RUINS OF ROME EMPEROR CLAUDIUS beauty, whose ruined villas and towns awaken historical memories of the rise of Rome from a little settlement on the Tiber to a world- wide power and a fame that cannot die. THE APPIAN WAY The most impressive features of the Campagna as we view it from the car win- dow or in a stroll along either the old Appian Way or the modern Appian Way, are the ruins of aqueducts. The one here illustrated is the Claudia, named after Emperor Claudius, who completed it. Its sources were more than forty miles distant ; while crossing the Campagna the water flowed in a channel supported by a series of gigantic arches. It provided Rome not only with her best water, but her most abundant supply, amounting to more than 4o0,0oo cubic meters daily. .All the aqueducts together poured into the city each day more fresh water than the Tiber now empties into the sea. .As we view this work of great util- ity, we naturally wonder what sort of man was the builder. .At the time of his accession he was fifty years old, and had devoted his earlier life zeal- ously to study and writing. Grotesque in manner and eccentric in his habits, he was generally considered a learned fool; and yet he made an admirable ruler. When acting as judge he often slept during the pleas of the lawyers, waking at the close of the trial to give his decision in an equitable and humane spirit. It was unfortunate for the case, however, if he chanced to smell any- thing good cooking in a neighboring res- taurant; for he would adjourn court to refresh himself. He was far more liberal than his predecessors in bestowing Roman citizenship on subject peoples. To keep the city population sup- plied with cheap food, he subsidized and insured grain ships at the cost of the THE TEMPLE OF CASTOR AND POLLUX The ruins of this famous temple stand in the Forum. AMONG THE RUINS OF ROME (assembly-place),Min which all the citizens met to vote on questions of public importance. Adjoining the comitium was the senate-house. King (afterward two consuls), senate, and popular assembly constituted the government. The -Forum was therefore the political center of Rome, and from this circumstance it derives all its interest. When one reflects that for nearly five centuries after the downfall of the kings (5o9-27 B. C.) Rome was a republic, that during that time she conquered and organized in her empire practically the whole Mediterranean basin, we begin CLOACA MAXIMA to understand that this spot must have been the scene of stupendous political conflicts, the birthplace of far-reaching legislative and administrative measures. Here worked the brain of the best organized and most enduring empire the world has known. _An essential feature of the Roman government was re- ligion, which the senate and magistrates well knew how to operate for practical ends. It is not surprising, therefore, to find about the Forum the ruins of many temples. There is the temple of Saturn, now only a group of columns. It rests on an unusually high foundation. Within this basement were chambers which contained the treasury of the state. It was largely by the control of the treasury that the senate long maintained its political supremacy. _A few steps from the temple is the pavement of a great oblong build- ing, of whose superstructure there are but scant remains. This was the Basilica Julia, erected by Julius Cesar, and rebuilt, after a destructive fire, by Augustus. A basilica was used for law courts and for business purposes. The style of building was borrowed from Greece; but the architect at Rome wrought in the spirit of her people. He left the ex- terior plain and unattractive, to devote his whole attention to the interior. It is essentially a vast hall, with aisles separated from nave by a row of arched piers in this case, in other basilicas by colonnades. The designer molded, as it were, the interior space, so as to express in the language of art the grandeur of the empire, and in the severe harmony of the lines the orderliness and symmetry of Roman law. No other architectural type so well embodied the imperial idea. Of the other buildings connected with the Forum the most conspicu- ous is the temple of Castor and Pollux, just beyond the Basilica Julia. AMONG THE RUINS OF ROME THE COLOSSEUM FROM THE NORTH of our day by the roses, geraniums, and wild Italian flowers that grow luxuriantly wherever a bit of soil is left. THE ARCH OF TITUS Beyond the Forum and on the summit of the ridge known as the Velia is the Arch of Titus. We can read the in- scription: SENATUS POPU- LUSQUE ROMANUS DIVO TITO DIVI VESPASIANI F.VESPASIANO AUGUSTO (The senate and people of Rome (dedicated this arch) to the deified Titus Vespasianus Augustus, son of the deified Vespasianus.) Consider this inscription. Both the Greeks and the Romans propitia- ted the spirits of the dead with sacrifice and prayer. The founder of a city or any specially great benefactor of the community they venerated after death as a hero, a being intermediate in dignity and power between man and the gods. It was with this idea that the senate by decree deified (more strictly, heroized) a deceased emperor who seemed to that body to have been a specially worthy ruler. Thus they had deified Vespasian, and after him his son and successor Titus. This arch, therefore, was dedicated by the senate and people to the memory of Emperor Titus after his death. A monument of the kind commemorated a victory so great as to en- title the general to a triumph ,--a procession of the victorious com- mander and his army along the Sacred Way, past the Forum, and up the Capitol to the temple of Jupiter on the summit. The spoils of war were carried in the procession, while games and other festivities rejoiced the hearts of the populace. This arch is a memorial of the war waged by Titus against the Jews, in which he besieged and destroyed Jerusalem, their holy city. During the conflict the Jews resisted with superhuman energy; and when every- thing was lost they killed one another and their wives and children as the lot determined, in order not to be slaves. The fame of their heroism is as imperishable as the military renown of the conqueror. The triumphal arch, accordingly, represents the slaughter of innocent people, the crushing of national liberty, the brutal sacking of cities, the merciless sale of captives into slavery. While casting this gloomy shadow, it reflects on the sunlit side the glory of victory and the extension and solidification of Roman power. A M O N G T tt E R U I N S O F R O M E TIIE COLOSSEUM This immense amphitheater vas built by Vespasian and dedicated by Titus. It is a gigantic oval four stories in height. From the north side, which is still nearly intact, the first three stories present simply a series of arcades; the fourth story is a closed wall. Four entrances lead into the arena; seventy-six others into vaulted corridors, whence the spec- tators passed up various stairways to their seats, which extended in tiers from near the floor to the top of the highest story. The seats have dis- appeared, but careful measurement places the capacity at 45,000, with standing room for perhaps 5,ooo more. Hidden from viev were the cages of wild beasts and the cells for gladiators, and beneath the arena were machines for elevating animals to the surface. The dedication in 80 a. D. was accompanied with games lasting through a hundred days. A Roman "game" involved a contest; and those offered by Titus at the dedication included the baiting and slaughter of savage beasts, fights of gladiators, and a sham naval battle, the arena being flooded for the purpose. It is difficult to understand hov a ruler such as Titus, who abhorred bloodshed and vould condemn no man to death during his administration, provided the city populace with this bloody, brutalizing sport. But love of popularity has always been a powerful motive among men; and some emperors and patriotic citizens tried to excuse the sport on INTERIOR OF THE COLOSSEUIV ON A FTE DAY AMONG THE RUINS OF ROME HADRIAN'S TOMB Now known as the Castle Sant" Angelo. the civil and foreign wars that raged in and about the city. During this time it experi- enced the greatest changes in appearance by the removal of decorations and facings and the substitution of ramparts, turrets, and other elements of military defense. Its present name, Castle of Sant' Angelo, was given it in the time of Pope Gregory the Great. The story is told that in 59% when leading a procession to Saint Peter's in an attempt to check by prayer a dreadful pes- tilence, "as he was crossing the bridge, even while the people were falling dead around him, he looked up at the mausoleum and saw an angel on its summit, sheathing a bloody sword, while a choir of angels around chanted with celestial voices the anthem since adopted by the Church in her vesper service." zo EMPEROR HADRIAH THE MENTOR For the New Year A MEMBERSHIP IN THE MENTOR ASOCIATION A library of the world's knowledge, which grows more valuable every week. Fifty-two mag- azines a year. A beautiful art collection for the home. Three hundred and twelve Mentor Gravures (six every week). An intimate acquaintance, through pictures, with famous works of art, interesting places, nature subjects, scenic wonders of the world, and the no- table men, women and events of history. A daily reading course for one year, carefully arranged under the advice of the Advisory Board. A year's course in education which can be ac- quired at home in your spare moments. The price is FIVE DOLLARS. You could hardly select a gift for New Year's more certain to give keen enjoyment and solid educational value. Give your friend a year's membership in The Mentor Association. It will last a year, and will be a daily reminder of your good will. Send us the names of the friends you wish to re- member in this way, and we will see that each one receives an engraved Certificate of Membership with your name engrossed as the giver. THE MENTOR ASSOCIATION, INC. 52 East Nineteenth Street, - o NEW YORK LEARN ONE THING EX/E RY DAY dAN UARY .5 1 014 VOLUME 1 NUMBER. 47 MAKERS OF MODEP, N OPEP, A DEPARTMENT OF FINE AILT$ A FIVE DOLLARS A YEAR FIFTFFN CFNTS A COPY MAKERS OF MODERN OPERA the first two centuries following its invention. They are Verdi (vair-dee), the Italian, and Wag- ner (vahg'-ner), the German; and, strangely enough, they were both born in I813. The latter exercised an influence which was universal, and Verdi fell under it. THE GLORY OF VERDI . '... But neither in precept nor - in practice was the great Italian GAETANODONIZETTI GIOACHINO ROSSINI brought to disavow the native genius of his people. That is the great glory of Verdi. For decade after decade he kept pace with his German rival in the march toward truthfulness and variety of expression in the lyric drama; but never did he forget that the first, the elemental, appeal which music makes is through melody. His conception of melody changed as his artistic nature grew and ripened; but song, vocal melody, is as dominant a factor in his first successful opera, "Nabuco," performed in 84z , as it is in "Falstaff," which he gave to the world fifty-one years later. Verdi's music illustrates every step of progress which Italian opera has taken, from the time when Rossini overcame the taste formed by the last masters of the eighteenth century till the advent of the impetuous champions of realism who disputed popularity with him in the closing years of the nineteenth. His ideals when he wrote "Oberto" in x839 were those of his immediate predecessors, Bellini (beMee'-nee) and Donizetti (don-nee- dzet'-tee) ; but his voice was ruder,--so rude, indeed, as to lead Rossini (ros- see'-nee) to describe him as a "musician with a helmet." This rudeness was the first expression of his desire for passionate and truthful expression, a desire which at the height of his spontaneous creative powers reached its finest flower in the final trio of "I1 Trovatore" and final quartet of "Rigoletto," two examples of operatic writing which are as good in their way as any that French or German op- era has to show. It is no de- preciation of the mature and per- fect Verdi of "Otello" and "Falstaff" to say i . VERDI'S BIRTHPLACE AND HIS HOME MAKERS OF MODERN OPERA RUGGIERO LEONCAVALLO Composer of Pagliacci. him vhen he projected his Artwork of the Future. It was Verdi's association with Boito which was largely responsible for the fact that he became the successor as he had been the predecessor of Mas- cagnl (mahs-kahn'-yee). After the death of Verdi nobody was readier to concede how much he had meant to Italian art than Mascagni, who had been the first to profit by the revolt against Verdi which came with the advent of Wagner's art in Italy. When "Lohengrin" (lo'-en-grin) made its PIETRO MASCAGNI way into Florence and other places many pupils 2omposer of Cavaileria at the conservatories forsook Verdi and followed Rusticana. Wagner. The effect may have been a good one. There can scarcely be a doubt but that it was to turn his hotheaded young countrymen back to the path which he knew to be the only correct one for them that Verdi made his supreme effort in his last two works. Under the new influence the young Italians had plunged headforemost into realism of the crassest sort, and that they might follow a vulgar bent for lurid expression they went to the Neapolitan slums for their subjects. REALISM IN OPERA Some of the first fruits of the tendency toward realism are plays whose plots can scarcely be narrated without moral and even physical nausea. Compared with them Mas- cagni's "Cavalleria Rusticana" (kah-vahl- lay-reeP-ah rus-tee-kah'-nah) and Leonca- vallo's (lay-own-kah-vahl'-o) "Pagliacci " (pahl-yah'-chee) are sweet and sane. After the taste for hot blood had been measurably satiated and the failure of scores of operas in which lurid orchestration, violent shriek- ings, and rough harmonies had supplanted CoDyrisht. A. DuDont. GIACOMO PUCCINI MAKERS OF MODERN OPERA the old national ideal there came back again the reign of dramatic melody, albeit in a new form, as we have it in the works of.Iascagni, Leoncavallo, and Puccini (poot-chee'-nee). Puccini's operas are not entirely purged of artistic coarseness (as wit- ness "Tosca" and "The Girl of the Golden West"); but he has been true to his Italian mission as a melodist, and has besides widened the Italian canvas to receive the new element of local color, which is an essential element in "ladame Butterfly," the most extraordinary feature of vhich is the degree in which such stubborn material as Japanese melody has been made to yield up a charm which it does not at all possess in its native state. Fifty years ago, so far as Americans xvere concerned, French opera vas practically summed up in "Les Huguenots" and "Faust.'; Ieyer- beer (my'-er-bare) was not a Frenchman, but the embodiment of merely sensuous tendencies . xvhich belonged no more to one people than to another, but which found its fittest expression  in the glamour of Parisian life. That Gounod - (goo-no') should have prevailed against these tendencies is to the great credit of the man and the people from whose loins he was sprung. GOUNOD'S MUSIC Amiability was as marked a characteristic of Gounod's music as it was of his personality. He was graceful and winning, but not strong. He was an emotionalist and a mystic. When his expression of passion ran out into ecstasy Gx^coo ! 91 1864 he was at his best, and he could give expression to an emotional state better than he could depict its development. Essentially, therefore, he was a lyrical rather than a dramatic composer. The tvo most perfect products of his genius both disclose the climax of their beauty in scenes wherein ecstatic utterance asserts its right. The gems in Gounod's crovn are the garden scene of "Faust" and the balcony scene of "Romeo et Juliette." Critics have placed a high estimate upon the latter opera, and the lovers of senti- mental church music are fond of Gounod's religious ballads (they are nothing else), one or two of his masses, and the oratorio "The Redemp- tion"; but to the historian and the people of the future it is not likely that he will be more than the composer of "Faust," an opera which has a history that is unique in operatic annals. It had been in the repertory of the Theatre Lyrique ten years when it was transferred to the Acadmie Nationale (or Grand Opera, as it is popularly called) in 869. When the ,dAN UARY 1,2 1014 VOLUME 1 NUMBEK 48 NYOR DURER AND HOLBEIN DEPARTMENT OF FINE ARTS EIVE DOLLARS A YEAR TWO EARL Y GERMAN PAINTERS senting the four riders who begin the de- struction of mankind before the last day has never been equaled. For twelve years he worked at the designs for the Life of the Virgin, and a large and a small series of the Passion of Christ. One woodcut from the Little Passion, Christ in Geth- THE FOUR HORSEMEN OF THE APOCALYPSE By Differ semane with the sleeping apostles, is re- produced. He has used the small scale of the plate to indicate a peculiar heartless- ness In the disciples calmly sleeping so near their agonized Lord. The postures of vehement prayer and of complete ex- haustion are affectingly truthful. The basis of such designs is the artist's own pen drawing, which is pasted or traced THE AGONY IN THE GARDEN By Dfirer THE DESCENT FROM THE CROSS By Drer TWO EARL Y GERMAN PAINTERS on a pear-wood plank. All the blank spaces are cut away with a knife, leaving the lines in relief. This wood block may be set up with type pages and printed on an ordinary press. It is thus better adapted to book illustration than engraving, which requires special printing. About 1511 Durer reprinted the Revelation, and published the three new books. They were justly popular, and from that time he painted only when he pleased. The woodcuts, which faithfully represent draw- ings made with a coarse quill pen, will look rude to eyes accustomed to the often meaningless finish of modern illustrations. It will require patience tosee hovdirect, sin- cere, and vigorous is the ex- pression. With so coarse a tool nothing can be left to chance or smoothed down. Every line must tell, and every line in the Dfirer woodcut does tell its story of structure and feeling. Dfirer's woodcuts are as fine in their way as his more popular engravings. THE PAINTED POR- TRAITS From the first Dtirer re- vealed in portraiture an in- flexible curiosity as to form and insight as to character. The earlier portraits, those of his master Wohlgemuth, and of his own father, have a speaking lifelikeness. But the very endeavor to omit JOHN AND PETER PAUL AND MARK By D/rer. nothing and say everything with resolute truthfulness makes some of the early portraits stiff and forbidding. "l'his defect is hardly noticeable in the three admirable portraits of his matur- ity, which are our special theme. They were all painted after his Venetian visit of I5O6. There he saw portraiture as faithful as his own, but softer and more agreeable. Open- minded student that he always was, he readily learned the lesson. The charming head of a young woman represents the fruits of this new experi- ence. \Vith a comeliness that is by no means merely pretty, one gets the sense also of character and of capacity. The tightl.v drawn hair, the TWO EARL Y GERMAN PAINTERS DURER. by himself In the Prado. Madrid. head held alertly a little for- ward, tell of aggressiveness with self-control, of perfect physical and mental well- being. It was such strong mothers as this that bore the EMPEROR MAXIMILIAN I By Dfirer. In the Imperial Gallery, Vienna. men who in finance, manufactures, commerce, and scholarship made the lit- tle city of Nuremberg famous. Initials on the bodice suggest that this may be the wife Agnes, who was an efficient business partner and a terror to cer- tain easygoing friends. Firm yet minutely varied lines, modeling soft and lifelike but also decisive,msuch are the technical merits of this masterpiece. Among Diirer's portraits of himself, the head in which the master gave himself the aspect of a Christ is the favorite of many people. The vorkmanship is of extraordinary carefulness and beauty. Every detail of the fur, of the flowing hair, of the powerful, slender hand, is there; but the effect remains large. There is in the face a sense of dignity, reserve, decision, and sympathy. Other portraits are probably much more like Diirer as Nuremberg saw him. This presents his own ideal of himself as cre- ative artist, exemplifying a spiritual beauty that he ever strove to attain. Despite an old inscription reading IOO, we must date this portrait after that Venetian visit which brought to Dfirer new power and self-confidence. Efficiency was the trait Diirer most admired. His merchant friend Hieronymus Holzschuher possessed this quality in a high degree, as his portrait shows. He still directs toward an admiring world the bluest, brightest, steadiest eyes ever painted. The silvery hair and beard glisten TWO EARL Y GERMAN PAINTERS On the 6th of April, 1528, he passed away, only fifty-seven years old, but exhausted by constant effort. The great bankers, merchants, schol- ars, and craftsmen of Nuremberg knew that a notable citizen had gone. He had known familiarly Melancthon and Luther. Raphael had been glad to exchange drawings with him. His engravings and woodcuts were admired throughout Europe. After four centuries he remains the finest ex- emplar in art of the peculiar steadfastness and thoroughness of the German PORTRAIT OF GEORG GYZE. By Holbein. In the Berlin Gallery. race. Goethe, the greatest of German poets, has writ- ten the finest tribute to Germany's greatest artist" Wholly unsoftened and un- quibbled, Naught prettified or vainly scribbled, The very world thou shalt descry As seen by Albrecht Dfirer's eye--- Her sturdy life and manhood strong, Her inward might enduring long. HANS HOLBEIN Whoever understands the art of Diirer needs lit- tle introduction to that of Holbein (hole'-bine). Hans Holbein was born in 1497, when Diirer was just be- ginning to be famous, at the imperial city of Augsburg, which was merely a larger Nuremberg. Holbein's father was a painter, and the lad was early perfected in the craft. By his seventeenth year he was working at Basel, where for some ten years he practised book illustration, designing for metal and glass, religious subjects, wall painting. Such versatility he renounced later for the better paying branch of portraiture. In 15z6 some German merchants called him over to London. There he soon became court painter to Henry VIII, and there he remained for the most part until his death by the plague in 1543. He was one of the first of those cos- mopolitan portrait painters who follow their market, a homeless man, separated from wife and children, a completely detached person. That he was fitted for the part, the sturdy, confident portrait of himself shows. TWO EARLY GERMAN PAINTERS SIEUR de MORETTE. by Holbein _As a painter Holbein was Dfirer's superior, though inferior to him as a man. Where Dfirer set his bright colors in rather harsh combinations, Holbein worked out arrangements of mosaiclike depth and brilliance. Usually the background is pale blue, green, or other solid tone, against which the pale flesh tints, with crim- son, green, or black of the rich costumes, glow like some precious enamel. He isas accurate in his draw- ing as Diirer, with less sense of effort. Holbein painted the profile por- trait of the scholar Erasmus about I523. Erasmus was not merely very learned but also a wit, and Holbein has combined with the self-control and concentration of the face a sense of astuteness. The set lips would readily break into a smile. The gentle and careful pose of the hands is noteworthy. It is as if the great stylist caressed the paper to invite a happy phrase. Very effective too is the setting of the figure in the frame. Everything forms a beautiful pattern. Cut off the margin ever so little, and the figure will seem out of balance. Finely composed again is the fa- mous Xladonna of the Meier family. The kneeling figures make the base of a pyramid, the lines of which are carried up by the Madonna's cloak and the Christ Child's outstretched hand. Perhaps the formal arrange- ment and the stately niche are a little out of keeping with the evident sim- plicity of all the people. In fact, the greatness of the picture lies mainly in its vitality, in the sense of strength and devotion it conveys. Holbein, like Dtirer, conceives the Virgin sim- ply as a German mother, none too intelligent, and rather ungraceful, but vholly wrapped up in the Divine DUKE OF NORFOLK. by Holbein IO THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. z East x9th St., New York, N. Y. r JANUARY xz, I914 Volume x Number 48 ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $I.0 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N.Y., AS SEC- OND-CLASS MATTER. COPYRIGHT. 1913, BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS- URER, R. M. DONALDSON; VICE-PRESIDENT, W. M. SANFORD; SECRETARY, L. D. GARDNER. Editorial In the letters that we have received from members of The Mentor Association we have had appreciation in full measure from readers of mature minds. The young people were yet to be heard from. It meant a great deal to us, there- Iore, to receive a letter from a teacher concerning the work that she was doing with The Mentor. She had under her charge a class in High School, the pupils varying in age from I4 to I8 years. The teacher has been using The Mentor regu- larly. She distributes the pictures and the pupils read Monday's Daily Reading on Monday, and so following, day by day throughout the week. On Friday after- noon she gives an hour to The Mentor. The article in The Mentor is read aloud to the class and also the Saturday Daily Reading. The teacher then reviews the subject with the pupils and asks them questions. In this way, she tells us, her class thoroughly absorbs each weekly subject in turn. Since receiving this let- ter we have made inquiry, and we find that a number of teachers are doing the same thing. We call the attention of teachers generally to this. It is a plan worth trying. So much for the reading matter and the profit to be obtained for children there- from. We have said nothing about the pictures, and surely it is not necessary to lay stress on the appeal made to chil- dren by beautiful pictures. And it is not merely a'dull, crude interest that it arouses. It is in many cases an intelligent taste, that readily responds to cultivation. A writer in one of our daily papers called attention recently to an impressive scene that may be observed every Saturday morning at the Metropolitan Museum. It is a gathering of school children, who are assembled with open eyes and ears and eager and hungry minds to see and hear and know the things of beauty and of curious interest in the museum. These pupils are invited by the Metropolitan Iuseum itself, and under the sponsorship of The School Art League of New York. When this was started the lkIuseum people, it is said, doubted whether it would work. They were afraid perhaps that the school children would feel that they were being "done good to" and wouldn't come. As a matter of fact, how- ever, those who came first told the others that the visit was simply wonderful, and more and more came, until now you may see 6oo children at the Metropolitan on Saturday morning, hanging on the lips of the people who are telling them about the art of the pictures and the stories that go with them. It is a most inspiring sight for those who are interested in education. Most children are born with a certain understanding of the beautiful and a long- ing for it. They "want to know," and they listen eagerly as long as anyone can tell them something that is interesting as well as informing. That is the attitude of mind that The .Mentor addresses itself to, whether it is the mind of a child or of a grown-up. We have had plenty of assur- ances that The Mentor has interested and helped older readers. It is most gratify- ing to learn of the benefit that The Mentor is bringing to young readers--to have word from our readers that the children in the school or in the home are enjoying The Mentor. One reader tells us that he is taking The Mentor particularly for his children. "I want them to grow up with it," he says. That interests us deeply. We want The Mentor to be a real factor in the life of the home, and a real part of the education of the young generation. " THE MENTOR The Plan HE purpose of The Mentor As- sociation is to give people, in an interesting and attractive way, the information in various fields of knowledge that they all want and ought to have. The information is imparted by interesting reading matter, prepared un- der the direction of leading authors, and by beautiful pictures, produced b, the most highly perfected modern processes. The obiect of The Mentor Association is to enable people to acquire useful knowledge without effort, so that they may come easily and agreeably to know the world's great men and women, the great achievements, and the permanently interesting things in art, literature, science, history, nature and travel. The annual membership fee of The Mentor Association is Five Dollars. Every member upon accepting an invitation to membership, receives an engraved certificate of membership and becomes entkled to the privileges of the Association for one year, including fifty-two numbers of The Mentor. LEARN ONE THING F_VF RY DAY 0AN U ARY 19 19 14 VOLUME 1 NUMBER 49 VIENNA, THE OUgN CITY D EPA_TM ENT OF TRAVEL FIVE DOLLARS A YEAR FIFTEEN CENTS A COPY VIENNA, THE QUEEN CITY So located, Vienna has developed in the course of years until now, vith a population of over two million people, it is one of the most brilliant and beautiful cities of the world, rivaling Paris in attractiveness, and sur- passing it in some of its imposing vistas and magnificent parks. It is natural to compare Vienna with Paris; for there are similarities in their histories, in their geographical situations,--the Danube being to Vienna what the Seine is to Paris,--and somewhat in their character. And yet to the observing traveler strik- ..i THE INTERIOR OF SAINT STEPHAN'S This wonderful interior is 355 feet long. 113 feet wide, and nave 74 feet high. Over one hundred statues adorn the eigh- teen massive pillars -upportlng the rich groined vaulting. ing contrasts between these two great capitals are appar- ent. Both cities are full of life and activity, and of fashion, and both are famous for their beautiful women and brilliant men. The Parisian, however, shows more vivacity and more sparkle. The Viennese type is .happy; but in his happiness he as more self-contained, and shows something of the easy temperament of the people of the Orient. LIFE-LOVING VIENNA The life of Vienna is most inviting, the spirit of the peo- ple most hospitable, their greetings most sincere. They are an art-loving, music-lov- ing, life-loving people. Many travelers declare that theVien- nese women are the most beau- tiful to be found in Europe. The attractiveness of the peo- pie and of the city impresses even the most casual observer. The traveler who spends but a few days there is caught in a whirl of pleasure. It is easy to find enjoyment there too; for the city is so constncted that it offers a wealth of beautiful scenes and pleasure spots. The buildings of Vienna are magnificent, and they are so set in parks and public squares that their effect is most imposing. The attractiveness of Vienna has been largely achieved in the last forty years. Before that there was an inner city dating far back in time; historically interesting, but claiming no splendor. Old Vienna was one of the earlier cities in Europe, and it held a position of vital political importance, opposing its VIENNA, THE QUEEN CITY THE GARDENS OF SCHNBRUNN In the middle foreground is the Neptune Fountain. The Glolrette (glwahr-et'). built in 1775. may be aeen in the upper background. point through this interesting trip the art of the landscape gardener is shown in the lovely public parks. The Ringstrasse is three miles long, and, in the course of encircling tF, e city it takes a number of turns. From laria Theresa Bridge to the Maximilian Platz it is knovn as the Schottenring; but from there it turns and passes the Rathaus Park under the name of the Franzensring. An- other turn to the left and it is called the Burgring; then the Opernring. . THE SCH6NER BRUNNEN FOUNTAIN Folloving on, it is known as the Kirntner- ring until it turns sharply again to the left and makes its vay back to the Donau Canal under the names, successively, of the Kolov- ratring, the Parkring, and the Stubenring. In this way and under these varied names the Ringstrasse completes its course. As a visitor makes his way along the Schottenring, his attention is arrested at the Stiftungshaus. A story will be told him there. This benev- olent institution has an expiatory chapel, which was built by Francis Joseph, on the spot where the ill-fated Ring Theater was destroyed by fire in I881. It was the night of December 8, and the occasion was the first performance of Offenbach's last opera, "The Tales of Hoffmann." The opera had made a signal success in Paris, and it opened in Vienna to a crowded house. Scarcely VIENNA, THE QUEEN CITY IIuseum of Fine Arts, with a fine, large square between them, in the center of which rises the beautiful Maria Theresa monument. This is a most elaborate and enthusiastic art expression of the affection of the Viennese for their beloved empress. It is virtually the story of her brilliant reign told in marble and bronze. Across the vay is another fine square, back of which is the Hofburg, or the Imperial Palace, a group of most impressive and interesting build- ings. In a few minutes we find that we are on the Opernring, and we see the reason for that name in the Royal Opera House, which fills a small block by itself. From that point on the Ringstrasse is skirted chiefly by fine mansions. VIENNA HOMES As the visitor looks at them he is apt to wonder how the Viennese live. These large mansions are finely equipped apartment houses, not imposing in exterior appea rance, many of them quite plain. But within their walls are to be found all the comforts and luxury in home living that wealth can command. Following along we turn back again to where the Ringstrasse rejoins the Donau Canal. There, too, we find a vista of great interest and attractiveness, the streets spanning the stream with bridges and the banks lined with substantial buildings. The visitor who pursues this course has now encircled the city. Let him go at once, then, to the center of Old Vienna. He will find much to attract him there. Go down to the Graben. It is one of Vienna's most important busi- ness streets. It was once part of the moat outside the fortifications, and down to the thirteenth century it formed the southwest boundary of the city. Many of its buildings stand on the site of the old city battlements. In the center of the Graben rises the Trinity Column. This monu- ment was designed byBurnacini (bur-nfih-chefi-nee),and was erected in 693 to commemorate the end of the plague. It is adorned by many works of sculpture, and is very ugly. Clouds, men, angels, animals, and devils are mingled in confused array. One traveler remarked about it, "At the first THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 5z East x9th St., New York, N. Y. JANUARY 19, 19x 4 Volume x Number 49 ANNUAL SUBSCRIPTION. FIVE DOLLARS. SINGLE COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.S0 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N.Y.. AS SEC- OND-CLASS MATTER. COPYRIGHT, 1914, BY THE MENTOR ASSOCIATION, INC. PRESIDENT AND TREAS- URER, R. M. DONALDSON; VICE-PRESIDENT. W. M. SANFORD; SECRETARY, L. D. GARDNER. Editorial The phonograph has been called "min- iature music." Experience convinces us that the truth of that depends on what needle is used, but that point aside, it is true that the phonograph is a miniature presentment of music. It reduces great musical compositions to a scale suitable for the home. The remark, therefore, of one of our readers that The Mentor did for the world of knowledge what the phonograph does for the world of music, is not far amiss. It seems to us, however, that he did not carry the thought far enough. Our reader had in mind merely the fact that The Mentor gives informa- tion in miniature. An equally important point is that The Mentor also furnishes an enduring record. You can make The Mentor give you its information without delay, and as often as you want. There are some people who are thought- ful and studious enough to keep index books, so that they can go without diffi- culty to the very page in the book in their library that contains the information they want, at a particular time. But such peo- ple are few in number. Most of us read and remember part of what we read. When we want the rest we don't know where to go back and get it. There are very few that know how to get quickly at the riches of a library. And the incon- venience of getting all there is to be had from a library on any given subject dis- courages the ordinary individual. Unless he happens to have a book devoted par- ticularly to the subject that he is inter- ested in, he will have to go through dozens of books and put together the facts to be found in each of them. The Mentor does this work for its readers. We know how The Mentor does its work, for we have been told so by many. Last week a reader found himself in a house that a friend had just finished re- fitting. The walls of the hall were covered with fine carbon photographs of famous art subjects. He said that while the sub- jects had been familiar to him for several years, he examined them on this occasion with a very particular interest because he had read about them in The Mentor. At length, in one portion of the hall, a photo- graph of an equestrian statue faced him. "Tell me what that is," his host asked. His memory slipped and all he could answer was." "Art critics pronounce that to be the finest equestrian statue in the world. It was designed by two personswone of them Verocchio, who was a teacher of Leonardo da Vinci; I forget the name of the other. And, for the life of me, I cannot remember the name of the man on the horse or where that statue is located." On his return home he went immediately to the number of The Mentor, "Statues with a Story," and refreshed his memory with the fact that the equestrian figure is that of Bar- tolommeo Colleoni and that the statue is in Venice. This simple incident illustrates not only the ease and convenience with which facts can be found in The Mentor, but also how it stimulates an interest in art. A natural question arises here: "What about the future years, when there will be a great many numbers of The Mentor to be con- suited?" The one satisfactory answer to this is an index, and we are going to make one at the end of the year. We mean by this the end of The Mentor year, which will be the middle of Feb- ruary. It is our purpose to prepare a full index, containing subjects, titles, and cross references, so that by its use the wealth of information in The Mentor may be drawn upon readily. THE MENTOR A GIFT FOR ALL THE YEAR OU could hardly provide for your family or for any of your friends an advantage more certain to give keen enioyment and solid satisfaction every day during the coming year than a membership in The Mentor Association. It provides: A library of the world's knowledge--fifty- two issues a year. A beautiful art collection for the home u three hundred and twelve art prints in sepia gravure. A daily reading course throughout the year. An education under the direction of the foremost educators of this countrymin art, literature, science, nature, history, and travel. The Association has prepared an attrac- tive presentation card in red and gold on vellum, which readers may sign and attach to the engrave.d certificate of mem.bership when presenting a membership in the Association. The annual membership fee of the Association is Five Dollars. THE MENTOR ASSOCIATION, INC. NEW YORK LEARN ONE THING EVERY DAY dAN UARY 126 1014 VOLUME I NUMBER 50 ANCIENIAIHENS D EPAITM ENT OF TRAVEL FIVE DOLLARS A YEAR FIFTF.F.N] C'_F.NT A C'ClPV A N C I E N T A T H E N S plain citizens, but even the wealthy and the great. "In private life they practised such moderation that if any of you knew which was the house of Aristides (ar-is-ty'-deez) or Militiades (mil-ty'-a-deez) or any of the famous men of old, you would find it no more pretentious than any of its neigh- bors." This quotation from Demosthenes (de-mos'-the-neez) epitomizes the character of the men of that earlier generation, who merged their per- sonality in the state, and strove only to make their city great and beautiful. THE AREOPAGUS In our random walk we approach the Areopagus (a-ree-op-a-gus), a hill best described as a low, irregular mass of rock. The word seems to mean "Hill of the Curses" (Arae) or Furies, whose shrine was a cave in the northeast declivity, though a popular etymology has connected it with Ares, God of War; hence the name has been mistranslated Mars Hill. On its summit, above the rock-cut stairs shown in the picture, sat the Council of the Areopagus as a court for the trial of murder in the first degree. Its members were servants of the Furies who guarded the hill, and demanded blood for blood and death for death. The proceedings were solemn, and so well guarded and fair, and so filled with religious awe, as to make this council the most august criminal court known to the ancient world. This stronghold of tradition, and of paganism, looms conspicuous in the history of early Christianity. Five centuries after Pericles, Saint Paul, coming to Athens as a missionary of a new gospel, stood in the midst of the Areopagus and said, "Ye men of Athens, I perceive that in all things ye are too superstitious. For as I passed by, and beheld your devotions, I found an altar with this inscription, TO THE UNKNOWN GOD. Whom therefore ye ignorantly worship, him declare I unto you. God that made the world and all things therein, seeing that he is Lord of heaven and earth, dwelleth not in temples made with hands." The council has been dissolved, the temples are in ruins; but the religion of the man whom the Epicur- eans and Stoics of Athens termed a babbler still lives. PERICLES THE MARKET PLACE Turning to the north, let us descend, in our dream walk, to the market place, an irregular area nearly sur- rounded by porticos and public offices. Whereas in the southern half of this space centers the political life of the State, the northern part is devoted to trade. Deal- ers in bread, cheese, garlic, fish, wine, and other food- stuffs, in pots and pitchers, in oils, perfumes, and books, have their several wicker booths closely crowded here; and the noises of hawkers and customers, as they bar- ter and jangle, resemble the uproar of pandemonium. A N C I E N T A T II E N S THE ACROPOLI3 TIlE "TEMPLE OF TIIESEUS" Emerging from the Babel by a vesterly pathway, we see, on a slight elevation before us, a beautiful little temple, miscalled by the moderns Theseum (the-see'-um), shrineofTheseus (thee-'seoos or thee'-se-us). It is indeed a curious fact that the best-preserved of all Greek temples has for- gotten its ovn name. Provisionally we may agree with many recent scholars that it was the home of Athena (a-thee'-nah) and Hephestus (he-fes'-tus), the artisan god, whose shrine certainly stood in the vicinity, looking down upon the metal market. It is built of marble from NIount Pentelicus (pen-tel'-i-kus), in the Doric style, the more severe and chaste form of Greek architecture. Traces of color still extant suggest the general scheme of ancient architectural painting. In the great spaces, as the columns and the architrave, the marble was allowed to retain its natural color, while the detailed work was painted, chiefly red and blue. The great importance of this building, however, lies in the fact that on account of its excellent preser- vation it shows us better than any other how a Greek temple actually looked. A N C I E N T A T H E N S EXTERIOR OF THE PARTHENON (Restored) THE ACROPOLIS In our ramble through the city our attention is gradually directed to its center, the Acropolis (a-krop'-o-lis). Ancient Athens was a rough xvhcel, with the wall of defense serving as a rim and the Acropolis as the hub. From the beginning this height was the stronghold of the city. For a long time, too, the king had his palace there; and after the monarchy passed away it remained the dwelling place of Athena, the great protecting deity of Athens. Her temple, along with the entire city, was laid in ruins by the invading Persians. \Vhen the Greeks had repelled this enemy, Cimon (sy'-mon) began to prepare the summit of the Acropolis for a larger and more beautiful temple than the goddess had ever possessed before. With the proceeds from the spoils of his naval victories he built the great wall along the southern rim, which gives the Acropolis its present steep appearance on that side. The space within the walls was then filled with the ruins of earlier buildings and sculptures. His chief object was to widen the summit, so as to form a large level area for the temple. Before he could carry out his plan, how- ever, he lost his place as the leading statesman of Athens; and it was left to Pericles to continue his building policy. LABOR AND TRADE IN ANCIENT ATHENS Before examining the Parthenon (pahr'-the-non), the new temple to Athena erected under the supervision of Pericles, it may be well for us to make the acquaintance of the men whose hands performed the actual work on it. With this object in view we enter the yard of a stone mason. There are A N C I E N T A T tl E N S no large shops or factories in theAthens of Pericles. Business is on a diminu- tive scale, conducted by individuals of small means, and the yard ofou r mason is perhaps merely a space behind his dwelling. Here the proprietor works with his own hands, initiating his sons into the mysteries of his trade, and with the expansion of his business he hires or buys a few slaves as further aids. A marked feature of the shop in Periclean Athens is the spirit of equality between employer and employed, between freemen and slaves. This happy atmosphere is a condition essential to the production of work of high merit. The skilled laborer is proud of his profession. Whether slave or free, he works not for mere subsistence or gain, but in a true artistic spirit for the creation of the beautiful; in other words, the Greek mechanic is an artist. Hence it is that the products of his craft, from tombstones to pots and pitchers, are all works of genuine art. A thing inseparable from true art is individuality; and in our modern age of mechanical production it is difficult for us to appreciate the fact that the Greek apprentice aim- INTERIOR OF THE PARTHENON (Restored) ed not at a servile imi- tation of the master, but at the creation of something new, some- thing with a character and a beautyof its own. The Greek love of individual liberty pre- vented the formation of industrial compan- ies. Hence, when the State projected a great public work like the Parthenon, its com- mittee of supervisors, elected in a general as- sembly of the citizens, had to divide the ent ire labor into a multitude of diminutive parts, and let out the several pa rts by cont ract to the masters of the shops here described. The contractor agreed in writing to bring with him a specified number A N G I E N T A T H E N S of laborers, to do work of a quality satisfactory to the committee, and to be responsible for damages to the material. In the grant of the same daily wage to slave and citizen, to underling and contractor, may be found fur- ther evidence of the lack of distinction between artist and artisan, and a further expression of the democratic spirit. THE PARTHENON In 447 13. c. the Athenian citizens in general assembly resolved upon building the Parthenon, and elected a committee of supervisors to engage the artists and laborers and to oversee the work. Pericles was chairman of the committee. His chief adviser for the decoration was Phidias (rid'- i-as), the most famous sculptor bf all time. In nine years the building--in Doric style and of Pentelic (pen-tel'-ic) marble--was substantially com- pleted; though the decorative work continued half a dozen years longer. The temple extends east and west, and is divided into two rooms. The smaller, on the west, is a store chamber, and the larger, on the east, is the dwelling place of the goddess. From each room a door opens upon a porch supported by a row of six columns, and an outer colonnade ex- tends round the entire temple. These columns, which contribute to the building its chief element of beauty, a re a perfect blend of strength and grace. SCULPTURED DECORATIONS OF THE PARTHENON The decorative sculptures of the temple are all connected with the goddess, and represent chapters, so to speak, in the history of her relations ATHENIAN KNIGHT.PARTHENON FRIEZE 6 o. 1 NORTH PORCH OF TIlE ERECHTtlEUM A N C I E N T A T H E N S guardian of the city, and vas therefore more highly venerated than were any of the beautiful statues of more recent times. While lacking the simplicity, the regularity, and the artistic proportions of the Parthenon, this temple is superior in the delicacy of the ornamental sculptures. The carved decorations of the base and the capital of the Ionic columns, of cornice and door frame, have never been equaled in the history of art. Attractive, too, is the Porch of the Maidens. Though bearing heavy weights on their heads, the maidens stand at perfect ease. In dignified grace of posture and drapery they are little inferior to the sculptures of the Periclean age. Whereas the Parthenon is the best example of the Doric order of architecture, the Erechtheum, as an expression of the Ionic style, is equally above competition. It is a remarkable fact that within a period of fifty years Athens produced her most splendid models of architecture, sculpture, history, comedy, and tragedy--in a word a great part of her contributions to literature and art. A SOUND MIND AND BODY--THE GREEK IDEAL The Greek states were exceedingly small, comparable not with our oxvn, but rather with our townships and counties. This very smallness, A GREEK ATHLETE however, proved a most potent stimulus to the development of mind and body, because the state required for her pro- tection intelligence combined with the utmost physical strength and agility. Hence arose the great interest in athletics. Every city had gym- nasia and a stadium, and nearly every festival included athletic competitions. The promising winners in these local contests were sent to the great natioffal games, the most famous of which were the Olympic; and the simple olive wreath that rewarded the vic- tor brought glory to his family and state. Long after Greece had become part of the Roman empire a wealthy Athenian built for his city a magnificent marble stadium. It fell to ruins, as did Athens and the I0 THE MENTO The Plan HE purpose of The Mentor As- sociation is to give people, in an interesting and attractive way, the information in various fields of knowledge that they all want and ought to have. The information is imparted by interesting reading matter, prepared un- der the direction of leading authors, and by beautiful pictures, produced by the most highly perfected modern processes. The object of The Mentor Association is to enable people to acquire useful knowledge without effort, so that they may come easily and agreeably to know the world's great men and women, the great achievements, and the permanently interesting things in art, literature, science, history, nature and travel. The annual membership fee of The Mentor Association is Five Dollars. Every member upon accepting an invitation to membership, receives an engraved certificate of membership and becomes entitled to the privileges of the Association for one year, including fifty-two numbirs of The Mentor. LEARN ON E TH ING EVERY DAY M NY( THE BARBIZON PAINTERS DEPARTMENT OF FINE ARTS  EIVE, DOLLARS A YEAR r FIFTF.FI'q CFNTS A COPY THE BARBIZON PAINTERS coterie of artists. Six years before that two French painters from Paris had gone down to Fontaine- bleau to visit a friend who was director of the porcelain factory there, and, wandering about sketching, they lost their way in the forest. A cowherd they met directed them to the little vil- lage of Barbizon, where they passed the night in a cowshed. When daylight broke theywere charmed to discover a primitive country, quite unspoiled by city folk, and, enthusiastic, they took back to their brother painters glowing accounts of their find. Thither flocked a crowd of artists, at various times,kJean Frangois lklillet (zhong frong-swah' mee-lay'), Th6odore Rousseau (roo-so'), Narcisse JEAN FRAN,COIS MILLET Diaz (nahr-sis dee-ahth'), Charles Frangois Daubigny (do-been-yih'), Jules Dupr6 (doo-pray'), and Charles Jacque (zhahk), with Corot (ko- ro') occasionally, and many more men since distinguished. THE FONTAINEBLEAU SCHOOL The gorgeous trees, glades, and deep recesses of the adjoining forest of Fontainebleau (these men founded what is .also known as "the Fontaine- bleau school") offered them the most engaging themes for pictures; life was primitive and inexpensive, and far from the haunts of men, they worked out their problems, painted their canvases, and lived close to nature. SHEPHERDESS KNITTING By J. Fratfo|s Millet, Metropolitan Museum, N. Y. The place is partic- ularly identified with the names of Millet and Rousseau; although it was not until I849 that Millet found his way to the small vil- lage. Along with his friend Charles Jacque, the sheep painter, both of them with their families, they went by diligence from Paris, and on to Fontainebleau. From there these two con- genial souls explored the splendid woods, walking through the TIlE BARBIZON PAINTERS glades until they found Barbizon, to which they came through a cov gate that is now famous; for here, fastened on a great rock, is a double medallion portrait in bronze of NIillet and Rousseau, executed by one of the great French sculptors to commemorate the associa- tion of these painters with this place. . It is lklillet who first . comes to mind when Barbizon painters are thought of in any way. When Iillet arrived THE SOWER By J. Franfols Millet. Metropolitan Museum. New York. with his family he went afoot, holding his two little girls on his broad shoulders; while his wife trudged behind with their infant, a few months old, in her arms, and a sturdy Nor- THE ANGELUS. by J. Francois Millet Museum of the Louvre. THE MAN WITH THE HOE. by J. Francois Van den l'ynde Collect/on. Brussels. mandy servant followed with a basket of provisions. A peasant who sav them took them for strolling actors. Though NIillet vent to Barbizon expecting to stay but a few brief months, he remained until his death, twenty-seven years later. Here he lived in a modest little house, where a large north window made a possible room for the painter to work in, and here he produced those masterpieces that were to bring him immortal fame. THE BARBIZON PAINTERS Never a man of great cheerfulness, by the severe work, the struggle against poverty, against lack of recognition, and against a physical weak- ness that manifested itself in continual headaches, Miller's entire nature xvas saddened, and he labored under the greatest difficulties, his pictures reflecting the depressed mood that almost continuously remained with him. Yet he never faltered, and even in the darkest periods he kept at his easel, producing splendid canvases. MILLET'S CAREER The son of a Normandy peasant farmer, Millet was born at Gruchy, a little hamlet along the shores of the English Channel, in October, I8I 4. For one so lowly born he received a reasonably good education, being fa- miliar with Latin at thirteen. Virgil remained one of his favorite authors through the rest of his life. As a lad he was always sketching, and, though he was obliged to assist at the farmwork, he found time to make many drawings. Finally these so impressed themselves on the notice of his father that, poor as he was, he felt impelled to make some effort to have the lad take up the profession of painting, and to that end he made every sacrifice, took him to Cherbourg (share-boor'), where he entered him in THE CLOSE OF DAY, by Theodore Rousseau Langlois (long-glwah'). This teacher was so im- pressed with his talent that he interested the mayor and members of the common council, who voted Millet an annuity of eighty dollars to send him to Paris for study. The awkward country lad in Paris, big of the studio of one Bon Demoucel. Here he remained for only two months,--for his fath- er died and he came back--but now his grandmother inter- vened, and again he was sent to Cher- bourg to study with THIODORE ROUSSEAU THE BARBIZON PAINTERS IN THE FOREST OF FONTAINEBLEAU, by Th-odore Rousseau. now in the Louvre frame, vith his great shock of hair, shy manner, and sensitive nature, put off for a long while entering any studio, contenting himself with wandering about the public galleries, where he studied mainly the old masters. When he did finally enroll himself under Paul Dclaroche (de-lah-rosh'), the fellow students dubbed him "the man of wood." For the academic system of draving lklillet had no possible use; vet even his first attempts were taken seriously by his comrades, who quickly discovered that he was a genius in the rough. But he soon left Dclaroche as he had quitted other masters, and thereafter blazed a way for himself, living in a little attic with a comrade, and occasionally attending a night school where he drew from models. Neither then nor at any subsequent time did he lose confidence in his ability; for he always took himself and his talent with great seriousness. During this period he married twice. The first wife lived but two and a half years. The second remained vith him to the end, was a helpmate in ever3." sense of the vord, sharing his troubles and his short triumph, and she bore him several children. When one recalls that his famous pictures of recent years have brought sums all the way from ten thousand to tvo hundred and fifty THE BARBIZON PAINTERS thousand dollars, it is almost un- believable that Millet sold work in the early part of his career for just enough to keep the family from starvation. MILLET'S POVERTY Indeed, in I848 , acknowl- edging the receipt of one hun- dred francs (twenty dollars), he wrote, "They came in season. We have not eaten for two days." About this time he painted signs, and it is recorded that he gave six beautiful dravings for a pair of shoes. His first farm scene, a theme that was to make him eventually famous, was painted in I848, and was of a man win- nowing corn. He sold it for one hundred dollars. Shortly before Millet finished his now famous picture of "The Angelus" he wrote to his friend Sensier, "We LANDSCAPE. by Charles Fran,eols Daublgny lletropolltan l/luseum. IN. Y. have wood enough for only two or three days more. I am suffering." The American painter, William M. Hunt, who knew him at Barbizon, went to see him, and tells how" he was desperately poor, but was doing tremendous things." This picture of "The Angelus" Millet had difficulty in selling for twenty-five hundred francs ($5oo). In I889, at the famous Scretan (sek-ray-tahng') sale, it brought five hundred and fifty-three thousand francs, and the next year was sold again for no less than eight hundred thousand francs. Millet painted picture after picture, generally tillers of the soil, themes of farm life, shepherd "  girls, workmen about the farm, with occasionally a nude, and these last he did no less well. In each composition there was a rugged simplicity, a di-- rectness, and a force never for a moment to be misunderstood, invariably ringing true. There was no suspicion of a model posed, never pre- conception; but always the picture seemed a leaf c^s.^cos^umY out of the day or night work of the farm, of T H E B A R B I Z O N PA I N T E R S STUDY OF TREES. by Narclsse D|az Metropolitan Museum, N. Y. the fields, the dignity of labor, or motherhood. \\hen his brother artist Rousseau came into his good fortune and began to sell his work for large prices he bought paintings by lklillet secretly, giv- ing it out that a rich American had become the oxner, so his friend might be encouraged. Happily, a modest success came to Iillet before his death in Jan- uary, I875: he sold his work at prices that enabled him tobequite free from financial care. Like the genuine artist he was, conscious he was nearing the end, he ex- claimed a month before he passed away, "I die too soon. I disap- pear at the moment xvhen I begin to see clear in nature and art." ROUSSEAU, PAINTER AND NATURALIST Pierre Etienne Th6odore Rousseau (pyare ay-tyen'), to give the great French landscape painter his full baptismal name, was one of the greatest painters of nature the world has e er seen, a man who was not only a master in pigment, but one who knew the anatomy of the earth in a truly scientific way. He had made the most profound studies out of doors: there was not a tree he did not knoxv by heart, not a growth unfamiliar to him. The only child of a prosperous merchant tailor, he was born in Paris. There was never any doubt as to his fu- ture career, and at the age of tvelve his father sent him to study with Remond, a fairly well known ", painter. At nineteen Rousseau had a picture in the exhibition of the Royal Salon in the Louvre, and when he arrived at man's estate a picturo of his so attracted the critics in the exhibition that he was pronounced one of the coming men. Then he became more or less revolutionary, changed his style of painting, and was in great disfavor with the classicists. As they had refused his Salon picture of I836, he quit Paris for Fontainebleau, N^RcssE D^Z T H E B A R B I Z O N P A I N T E R S STUDY OF A WHITE COW By Constant Troyon, Metropolitan Museum. N. Y. misfortune which cost him one of his legs. Showing a taste for art, he was apprenticed to a maker of porcelains, where he had for a com- panion Jules Duprfi. Ite helped to decorate china; but his indepen- dence in breaking awayfrom careful detail cost him his place. Nothing daunted, he left and gave himself over to the making of pictures that suited his taste better. These he managed to sell at a price, or ex- change with dealers for pieces of bric-a-brac, rugs, and carvings, with which his studio was subsequently crowded. He painted scenery too, and life xvent merrily vith him; for he was carefree and delighted in his painting. Somewhere about I836 he drifted down to Barbizon, where he met Rousseau, who had a serious effect upon him, and, from doing trifling sketches, he gave himself to a more profound study of the landscape. Yet he could not long remain serious. Application was irksome to him, and he went his way unrestrained, passionate, versatile, unequal, but rarely, if ever, uninteresting. With his many failings, he rose at times to great heights, his color instincts being more or less inspired. He had his weaknesses; but, as a writer has said of him, in art as in music, literature, and even in humanity itself, there are enduring qualities that are above and beyond laws. As there are melodies that defy the rules of harmony and stir us to the very depths, so there are simple bits of poetry that go straight to the heart, where classic finish leaves us cold. And there are contradictory natures, passionate, illogical, selfish at times, yet which wind themselves about our affections in some strange manner. So with Diaz and his work. We are aware of his shortcomings, and yet the inborn genius, rising higher than training, than accepted rules and authorities, fascinates us by the bewitching personality with which his canvases glow, the brilliance of color, the charm, grace, and lovely harmonies of his inspired work. The German art historian Muther (moo'-ter), calls Dupr peculiarly the tone poet of the group, who sounds the most resonant notes in the romantic concert, a man who revels in contrasts, who delights in rain, night, and storm, who painted the sea in its rage, muttering like some hoarse old monster, who celebrated the commotion of the sky, nature in her angry majesty, and the most brilliant phenomena of atmospheric life. He was a melancholy spirit, and he passed a lonely existence, absorbed in his work. Born in 812, after he quitted the Svres Io THE MENTOR ISSUED WEEKLY BY The Mentor Association, Inc. 5z East x9th St., New York, N. Y. FEBRUARY z, x914 Vol. I No. 5I ANNUAL SUBSCRIPTION, FIVE DOLLARS. SINGLI COPIES FIFTEEN CENTS. FOREIGN POSTAGE $1.S0 EXTRA. CANADIAN POSTAGE $1.00 EXTRA. ENTERED AT THI. POST OFFICE AT NEW YORK. N.Y.. AS SECo OND-CLASS MATTER. COPYRIGHT. 1914, BY THE MENTOR ASSOCIATION. INC. PRESIDENT AND TREAS- URER. R. M. DONALDSON; VICE-PRESIDENT. W. M. aNFORD; SECRETARY, I. D. GARDNER. Editorial This is a composite answer to a dozen or more letters that have recently come in from Mentor readers. They all relate to the number of The Mentor on "Angels in Art," and the gist of them all is as fol- lows: "Where did the pictures that illus- trate that number come from? lklost of them are not complete paintings, but de- tails. We would like to know where the original paintings are." When a number of readers have been in- terested enough to write in for this in- formation, it is clear that all the readers should have the benefit of it. The pic- tures for this number were carefully se- lected by Professor Van Dyke, and the original paintings from which they were taken are all of them important and in- teresting works of art. We give below a list of the titles of the pictures and the gal- leries from which they were taken. The two relief placques on the first page of the number on "Angels in Art" were designed by the sculptor, Mr. Daniel Ches- ter French. The present owner is un- known to us. The Baptism of Christ, by Perugino, is in the Pinacoteca Collection, Perugia, Italy. The head at the bottom of the second page is a detail of the same picture. The Madonna of the Rosary is in the Gallery of Bologna, Italy. The Madonna Enthroned, by Fra Bar- tolommeo, is in the collection of the Louvre, Paris. Saint Michael and the Demon, by Guido Reni, is to be found in the Church of the Capuchins, Rome. The Archangel Raphael, by Verocchio, and the Baptism, by the same painter, also the Saint Michael by Perugino--which is reproduced in gravure--are in the Acad- emy at Florence. The Veronese Annunciation is in the Academy at Venice. And there also is to be seen the original of the gravure picture Angel with Lute, by Carpaccio. The Botticelli Madonna and Child and Angels may be seen in the Kaiser Fried- rich Museum at Berlin. The Botticini lkladonna and Child is in the Pitti Gallery, Florence. The Fra Angelico Trumpet Blowing Angel, and the Coronation, are in the Uffizi Gallery at Florence. The Madonna and Saint Bernard, by Filippino Lippi, is in the Badia Gallery. Florence. The Riccardi Palace at Florence holds that exquisite gravure picture oi the An- gel Choir, by Benozzo Gozzoli. The Madonna and Child with Angels, by Bellini, is in the Church of the Frari, Venice. The Angel with Violin, by lklelozzo da Forli, is in the Sacristyof St. Peter's, Rome. Finally, the Angel of Annunciation, by Burne-Jones, which is reproduced in part in gravure and complete in the pag.es of The Mentor, is in England, in the private collection of the Earl of Carlisle. In printing this list we want to assure a number of readers who have expressed a desire for such information as this that we shall hereafter give full information in reference to the origin of the pictorial material in The Mentor whenever it is possible to do so. "Why may it not be given in every case"--that is the question asked by one of our readers. Gently! The limits of our information will be only those of possibility. In some cases we cannot locate the original picture-- no information having been transmitted with the reproductions of it. In a ma- jority of cases, however, we shall be able to give this information to our readers, and we will endeavor to make it, in every case, as full as possible. So much for the future numbers. At present it is a satis- faction to give our readers the informa- tion they have asked for in reference to the "Angels in Art."