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ART  AND  ARCHAEOLOGY 

THE    ARTS    THROUGHOUT    THE    AGES 
An    llliisl rated   Monthly   Magazine 

PuBUSHKD  AT  WASHINGTON,  D.  C,  by 

THE  ARCHAEOLOGICAL  INSTITUTE 
OF  AMERICA 

VOLUME    XI 
JANUARY— JUNE,   192 1 


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EDITOR-IN-CHIEF 
William  H.  Holmes 

BOARD  OF  EDITORS 

Virgil  Barker 

Howard  Crosby  Butler 

Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L.  Hewett 

Morris  Jastrow,  Jr. 

FisKE  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 
Mitchell  Carroll 

BOARD  OF  MANAGERS 

Frank  Springer,  Chairman 

J.  Townsend  Russell,  Vicc-Chairman 

James  C.  Egbert 
Ex-Officio  as  President  of  the  Institute 

BuRWELL  S.  Cutler 

John  B.  Earner 

Charles  Colfax  Long 

Dan  Fellows  I'latt 


VOLUME  XI  (Nos.  1-6,  JANUARY-JUNE,   192 1) 

CONTENTS 


The  Chal-o  Canyon  and  Its  Ancient  Monuments Edgar  L.  Hewett 5 

(Thirty-three  Illustrations.) 

1.  Introduction. 

2.  The  De<;ert,  The  Canyon  and  its  Ancient  Towns. 

3.  The  Chacones  and  their  Contemporaries. 

The  Emergence  of  Chaco  Canyon  in  History        Lansing   B.    Bloom    ....        29 

(One  Illustration.) 

The  Economic  Resources  of  Chaco  Canyon Wesley  Bradfield 36 

What  the  Potsherds  Tell Kenneth  M.  Chapman     ...       39 

(Ten  Illustrations.) 

To  Sipoph^,  The  Gate  of  Heaven  (A  Poem) John  Peabody  Harrington     .      .       44 

The  Excavation  of  Chettro  Kettle,  Chaco  Canyon,   1920  Edgar  L.  Hewett 45 

(Thirty-two  Illustrations.) 

1.  Scope  and  Method  of  the  Field  Work. 

2.  Progress  of  the  Excavations. 

A  Marble  Vase  from  the  Ulua  River.  Honduras Zelia  Nuttall 63 

(Six  Illustrations.) 

A  Sculptured  Vase  from  Guatemala Marshall  H.  Saville    ....       66 

(One  Illustration.) 

A  Ceramic  Masterpiece  from  Salvador W.  H.  Holmes 69 

Marty-red  Monuments  OP  France  II:  The  Town  Hall  OF  Arras.      .      Colonel  Theodore  Reinach  .       83 

(Eight  Illustrations.) 

Art's  Demand Le  Baron  Cooke 94 

What  the  War  Cost  France  in  Art  Treasures Stephane  Laiizanne     ....       95 

Still  Life:  Today  and  Yesterday Horace  Townsend 99 

(Eight  Illustrations.) 

Armistice  Day  (Poem) J-  B.  Noel  Wyatt        ....      105 

Playing  Cards:  Their  History  and  Symbolism W.  G.  Bowdoin 106 

(Ten  Illustrations.) 

The  Memorials  of  Rome  in  the  Italian  Colonies Giiido  Calza 131 

(Nine  Illustrations.) 

Ave  Roma  Immortalis  (Poem) .      .     Henry  S.  Washington       .      .      .      144 

Smy-rna:  "The  Infidel  City" George  Horton i4,s 

(Eight  Illustrations.) 

The  Diggers  (Poem) Han-ey  M.  Watts       ....     154 

The  Angel  in  American  Sculpture Frank  Owen  Payne    ....     155 

(Six  Illustrations.) 

TuscuLUM,  AND  The  Villa  OF  CicERO Clara  S.  Streeter 163 

(Four  Illustrations.) 

The  Arts  of  Czechoslovakia: 

Art  in  Czechoslovakia Ales  Hrdlicka 179 

Folk  Art Karel  Chotek 185 

(Twenty-six  Illustrations.) 

Architecture Oldrich  Heidrich 199 

(Three  Illustrations.) 

Sculpture Oldrich  Heidrich 207 

(Four  Illustrations.) 

Painting Ales  Hrdlicka 213 

(Six  Illustrations.) 

Sir  Moses  Ezekiel,  American  Sculptor Henry  K.  Bush-Brown    ...     225 

(Nine  Illustrations.) 

The  Alban  Lakes Mary  Mendenhall  Perkins    .  235 

(Two  Illustrations.) 

Some  Literary  Bookplates         Alfred  Fowler 239 

(Nine  Illustrations.) 

William  Rush,  The  Earliest  Native  Born  American  Sculptor   .      .     Wilfred  Jordan 245 

(Three  Illustrations.) 

Rus  IN  Urbe  (Poem) Harvey  M.  Watts        ....      247 

Glimpses  Into  Greek  Art Frederick  Paulsen       ....     248 

(One  Illustration.) 

On  a  Sarouk  Rug  (Poem) H.  H.  Bellaman 250 

Caricature  and  The  Grotesque  in  Art Alfred  J.  Lotka 251 

Piero  di  Cosimo  (Poem)  Robert  Hillyer 253 

Creators  of  Costume Kathryn  Rticker 255 

(Two  Illustrations.) 


Current  Notes  and  Comments: 

Old  English  Portraits  at  the  Ralston  Galleries 7i 

Claude  Lorrain's  "Rape  OF  Europa"  AT  THE  Satinover  Galleries 71 

The  Lawrence  Collection  OF  Gothic  Stained  Glass  AT  THE  American  Art  Galleries 71 

J.  Stewart  Barney's  Landscapes  AT  THE  Ehrich  Galleries ....'....      73 

The  Hankey  Etchings  on  Exhibition  at  the  Schwartz  Galleries 75 

General  Meeting  OF  the  Archaeological  Institute 76 

Mlle.  Helene  DuFAU.  the  Great  French  Portraitist 113 

Perronneau  Pastel  Portraits  at  the  Knoedler  Galleries 113 

■■The  Flower  Seller,"  by  George  Hitchcock 113 

Portrait  of  Robert  A.  Hay-Drummond  and  Brother  by  Benjamin  West 117 

Portrait  of  Mme.  Leopold  Gravier  by  Henri  Fantin-Latour "7 

America's  Leadership  in  City  Planning — Why  Not  Constantinople? 119 

A  Sculptured  Vase  from  Guatemala 121 

Illustrated  Lecture  on  "  Carillons  in  Holland  and  Belgium  "  before  the  Arts  Club  of  Washington 121 

American  Foundation  in  France  for  Prehistoric  Studies 121 

General  Meeting  of  the  Archaeological  Institute  of  America 122 

The  College  Art  Association  of   America 122 

An  Underground  Tomb  with  Important  Fresco  Decoration  Recently  Discovered  in  Rome   ....-.' 169 

An  Apartment  House  of  One  Thousand  Rooms 172 

Annual  Meeting  of  the  College  Art  Association 172 

"Death  and  Resurrection."  by  Ettore  Cadorin 221 

Athenian  Nights  at  Toledo  Art  Museum 221 

Annual  Convention  of  American  Federation  of  Arts 221 

Monticelli  Exhibition  at  the  VosE  Galleries.  Boston 222 

Madame  Anie  Mouroux,  French  Medalist 258 

A  John  Burroughs  Art  Exhibition  at  the  Ehrich  Galleries 259 

The  American  School  in  France  for  Prehistoric  Studies 259 

An   Unpublished  Verestchagin 260 

Sir  Moses  Ezekiel,  American  Sculptor 261 

Exhibition  of  Whistleriana  at  Library  of  Congress 261 

A  Rare  Effigy  Pipe  from  Tennessee 262 

Mrs.  Nuttall  and  the  Ulua  River 263 

The  Arts  Club  of  Washington 264 

Book  Critiques: 

From  Holbein  to  Whistler.     Notes  on  Drawing  and  Engraving,  by  Alfred  Mansfield  Brooks 77 

Attic  Red-Figured  Vases  in  American  Museums.     By  J.  D.  Beazley 77 

Everyone's  History  of  French  Art.     By  Louis  Hourticq 78 

An  Economic  History  of  Rome  to  the  End  of  the  Republic.     By  Tenney  Frank 79 

Sketches  AND  Designs  by  Stanford  White,  with  AN  OUTLINE  OF  his  CAREER.     By  Lawrence  Grant  White 123 

Dynamic  Symmetry.     The  Greek  Vase,  by  Jay  Hambidge o  02140 

The  Ideals  OP  Indian  Art.     By  E.  B.  Havel 125 

Outlines  of  Chinese  Art.     By  John  C.  Ferguson 125 

Wilderness:  A  Journal  of  Quiet  Adventure  in  Alaska.     By  Rockwell  Kent 127 

The  Sorceress  of  Rome.     By  Nathan  Gallizier 128 

The  Medallic  Portraits  of  Christ.     By  G.  F.  Hill.  Fellow  of  the  British  Academy 128 

The  Metropolitan  Museum  of  Art.     Catalogue  of  Engraved  Gems  of  the  Classical  Style.     By  Gisela  M.  A. 

Richter I73 

Fogg  Art  Museum,  Harvard  L'niversity.     Collection  of  Mediaeval  and  Renaissance  Paintings 173 

Decorated  Wooden  Ceilings  in  Spain.     A  Collection  of  Photographs  and  Measured  Drawings  with  Descripttve 

Text.      By  Arthur  Byne  and  Mildred  Stapley - I74 

Modern  Greek  Stories,  translated  from  the  original  by  Demetra  Vaka  and  Aristides  Phoutrides,  with  a  foreword  by 

Demetra  Vaka       I75 

The  Leopard  Prince.     A  Romance  of  Venice  in  the  Fourteenth  Century  at  the  Period  of  the  Bosnian  Con- 
spiracy.    By   Nathan   Gallizier 176 

Modern  European  History.     By  Hutton  Webster 176 

The  Outline  OF  History,  by  H.  G.  Wells.     Being  a  Plain  History  of  Life  and  Mankind 223 

The  New  Stone  Age  in  Northern  Europe.     By  John  M.  Tyler 224 

Venizelos.     By  Herbert  Adams  Gibbons 265 

Discovery  in  Greek  Lands.     A  Sketch  of  the  Principal  Excavations  and  Discoveries  of  the  Last  Fifty  Years. 

By  F.   H.   Marshall 267 

The  Greek  Theatre  of  the  Fifth  Century  before  Christ.     By  James  Turner  Allen 268 


APPRECIATIONS 


JJ'hat  readers  are  saying  of  recent  numbers  of  Art  and  Archaeology 


"Among  magazines  Art  and  Archaeology  is  conducted  with  the  most  distinguished 
courtesy." — Christine  Swayne,  Haverjord,  Pa. 

"Many  thanks  for  having  sent  me  a  copy  of  your  Christmas  number,  which  pars  a  splendid 
tribute  to  my  country  and  will  he  deeply  appreciated  in  France." — Stephane  Lauzanne,  Paris. 

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any  other  art  magazine  in  this  country,  and  I  will  try  to  recommend  it  to  all  my  friends  here  and 
abroad." — Ettore  Cadorin,  Nutv  York. 

"I  wish,  also,  to  e.xpress  my  appreciation  of  the  splendid  articles  and  beautiful  illustrations 
given  in  this  number  of  the  magazine,  as  well  as  for  the  unusually  fine  article  in  the  December 
number, 'The  Empress  Eugenie  and  the  .=\rt  of  the  Second  Empire,' bearing  your  signature.  In 
fact,  every  issue  of  the  magazine  seems  to  have  a  charm  of  its  own." — Mrs.  Clar.^  S.  Streeter, 
Denver,  Colo. 

"I  am  herewith  enclosing  check  for  $4.00  covering  renewal  of  my  subscription  for  the  year 
1921,  and  in  so  doing  wish  to  express  my  appreciation  of  the  artistic  and  attractive  manner  in 
which  your  publication  is  illustrated  and  printed." — Hugo  A.   Koehler,  St.  Louis,  Mo. 

"  I  want  to  take  advantage  of  this  opportunity  to  tell  you  how  much  I  admire  and  appreciate 
Art  and  .'\rchaeology.  I  receive  it  through  the  courtesy  of  The  .Arts  Club  of  your  cit.v,  of  which 
I  am  a  member.  The  magazine  is  a  marvel  pictorially,  a  perfect  exemplar  of  the  printer's  art 
and  the  text  is  of  unfailing  interest.  You  are  doing  a  wonderful  service  to  moderns  in  presenting 
in  such  an  attractive  form  the  history  of  the  ancients  as  told  by  their  ruins  throughout  the  world. 
Each  number  presents  a  mine  of  information,  and  constitutes  a  real  joy." — Edwin  Carlile 
Litsey,  Lebanon,  Ky. 

".\n  and  Archaeology  is  one  of  the  most  sumptuously  illustrated  publications  in  America. 
It  deals  largely  with  the  civilizations  of  the  past — particularly  with  those  which  existed  in  .America. 
On  this  account  it  is  of  especial  interest  to  those  who  have  travelled  in  the  Southwest,  and  desire 
to  keep  abreast  of  the  explorations  and  investigations  in  that  section  of  the  United  States.  To 
read  it  is  to  receive  a  liberal  education  in  .Art." — Charles  I.  Taylor,  Boulder,  Colo. 


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ART  AND  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 

Published  at  WASHINGTON.  D.  C.  by 

THE  ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA 

ART  AND  LIFE  (new  york)  combined  with  ART  AND  ARCHAEOLOGY 


Volume  XI 


JANUARY-FEBRUARY,   1921 


Numbers  1-2 


EDITOR-IN-CHIEF 
WILLIAM  H.  HOLMES 

BOARD  OF  EDITORS 

ViRGii.  Barker 
Howard  Crosby  Butler 
Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L.  Hewett 

Morris  Jastrow 

FiSKE  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 
MITCHELL  CARROLL 

BOARD  OF  MANAGERS 

Frank  Springer,  Chairman 

J.  Townsend  Russell,  Vice-Chairman 

James  C.  Egbbrt 

Ex-officio  as  President  of  the  Institute 

Burwell  S.  Cutler 

John  B.  Larner 

Charles  Colfax  Long 

Dan  Fellows  Platt 


Edgar  L.  Hewett 


Lansing  B.  Bloom 


CONTENTS 

The  Chaco  Canyon  and  its  Ancient  Monuments 

Thirty-three  Illustrations 

1.  Introduction 

2.  The  Desert,  The  Canyon  and  its  Ancient  Towns 

3.  The  Chacones  and  their  Contemporaries 

The  Emergence  of  Chaco  Canyon  in  History 

One  Illustration 

The  Economic  Resources  of  Chaco  Canyon Wesley  Bradfield 

What  the  Potsherds  Tell   ....  Ketinelh  M.  Chapman     . 

Ten  Illustrations 

To  Sipoph^,  the  Gate  of  Heaven John  Peabody  Harrington 

A  Poem 

The  Excavation  of  Chettro  Kettle,  Chaco  Canyon,    1920       .     .      .     Edgar  L.  Hewell 

Thirty-two  Illustrations 

1.  Scope  and  Method  of  the  Field  Work 

2.  Progress  of  the  Excavations 

A  Marble  Vase  from  the  Ulna  River,  Honduras Zelia  Nullall  .... 

Six  Illustrations 

Marshall  H.  Saville   . 


A  Sculptured  Vase  from  Guatemala 

One  Illustration 

A  Ceramic  Masterpiece  from  Salvador W.  H.  Holmes 

One  Illustration 

Current  Notes  and  Comments 

Seven  Illustrations 


Book  Critiques 


29 

36 
39 

44 
45 


63 
66 
69 
71 
77 


Instructions  for  renewal,  discontinuance,  or  change  of  address  should  be 

Also 


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Copyright.  1921.  bv  the  Archaeological  Institute  of  America 


M    f 

»  ■v 


ART  mU 
ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XI 


JANUARY-FEBRUARY,   1921 


Numbers  1-2 


THE  CHACO  CANYON  AND  ITS  ANCIENT 

MONUMENTS 

Bv  Edgar  L.  Hewett 


I.  INTRODUCTION. 

SOME  centuries  ago,  a  group  of 
communities  lived  along  a  small 
waterway  on  the  western  slope 
of  the  continental  divide  in  latitude  36 
north,  longitude  109  west,  a  place  that 
is  now  known  as  Chaco  Canyon,  New 
Mexico.  No  written  Word  of  history 
exists  concerning  them.  No  convincing 
tradition^  of  them  had  ever  been  found 
among  living  peoples  until,  on  the  eve  of 
sending  this  article  to  press,  when  a  rich 
field  of  Chaco  tradition  was  discovered 
among  the  Tewa  of  the  Rio  Grande 
valley.  The  name  by  which  they  knew 
themselves  and  were  known  among 
their  contemporaries  is  lost  utterly.  If 
the  language  they  spoke  still  exists  we 
do  not  know  of  it.  Of  all  the  peoples  of 
the  ancient  world  whose  achievements 
have  survived  the  ages,  none  have  more 
completely  attained  oblivion.  It  is 
hoped  that  somewhere  the  blood,  lan- 
guage   and    cultural    potentialities    of 

•Folk  tales  in  which  they  figure  have  been  found  among  the  Na- 
vaho.  One  touching  Pueblo  Bonito  has  recently  been  recorded  by 
Mrs.  Lulu  Wade  Wetherill  and  Dean  Byron  Cuniniings. 

[3] 


these  remarkable  people  survive  to 
become  available  in  the  evolution  of 
the  coming  American  race,  for  it  was 
virile  stock. 

A  strip  of  land  seven  miles  long  by  a 
mile  wide  embraces  the  entire  area  that 
these  communities  inhabited.-  It  is 
probable  that  they  never  cultivated 
more  than  3,000  acres  of  land  at  any 
one  time  and  never  numbered  more 
than  ten  thousand  inhabitants,  but 
they  left  as  their  racial  autograph  evi- 
dences of  great  cultural  power.  In 
enduring  architecture  for  residential 
use,  indicating  highly  organized  relig- 
ious life  and  social  structure,  they  at- 
tained to  levels  not  surpassed  by  the 
architects  of  the  ancient  world.  The 
master  builders  of  antiquity  in  Asia, 
Africa  and  Middle  America  excelled 
them  in  temples  and  mural  embellish- 
ment but  not  in  substantial  residence 

-Two  ruins,  Kin  Klizhin  (The  Black  House)  and  Kin  Biniola 
(House  of  the  Winds)  on  tributaries  of  the  Chaco,  at  a  distance  of 
five  and  ten  miles  to  the  southwest  from  the  central  group,  and 
Pueblo  Pintado  (painted)  fifteen  miles  east  above  the  oriKin  of  the 
Canyon  near  the  beginning  of  Chaco  Arroyo,  are  treated  as  out- 
posts. They  appear  to  be  identical  in  culture  with  the  central 
group. 


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Chaco  Canyon:  Chettro  Kettle  twenty  years  ago. 


building.  In  ceramics  and  some  minor 
arts  they  reached  a  plane  worthy  of  the 
greatest  of  their  contemporaries. 

Such  is  the  claim  of  Chaco  Canyon  to 
investigation.  The  ruins  of  twelve 
large  community  houses,  numerous 
small  sites  and  the  accessories  of  com- 
munity life,  such  as  sanctuaries,  ceme- 
teries, stairways,  trails,  ditches;  the  evi- 
dences of  economic  resources,  such  as 
fields,  plant  and  animal  food,  fuel  and 
building  material,  together  with  cul- 
tural remains  of  industrial,  esthetic, 
social  and  religious  character  constitute 
the  material  available  for  study.  Addi- 
tional light  may  be  obtained  through 
the  study  of  the  somatology,  language 
and  culture  of  tribes  inhabiting  adja- 
cent regions — Pueblo,  Ute,  Piute  and 
Apache. 


The  writer  began  the  study  of  the 
ancient  communities  of  Chaco  Canyon 
in  the  summer  of  1902  under  the 
auspices  of  the  New  Mexico  Normal 
University.  Among  the  results  of  this 
first  visit  were :  (i)  the  first  archaeologi- 
cal map  of  Chaco  Canyon,  prepared 
for  the  Bureau  of  American  Ethnology 
in  1905,  and  made  the  basis  for  Presi- 
dent Roosevelt's  proclamation  by  which 
the  Chaco  Canyon  National  Monument 
was  established  in  1907;  {2)  a  short 
article  on  "Prehistoric  Irrigation  in 
Chaco  Canyon,"  published  in  Records 
of  the  Past  in  1905;  (3)  the  articles  on 
Chaco  Canyon  ruins  in  the  ILuidbook 
of  American  Indians  m  1905-6;  (4)  the 
description  and  discussion  of  Chaco 
Canyon  ruins  in  "Historic  and  Pre- 
historic Ruins  of   the  Southwest  and 

[6] 


Chacii  Canyon;  Ni'ii 


tlri)  KL-tlle. 


Their  Preservation,"  prepared  for  the 
Department  of  the  Interior  in  1904;  in 
"A  General  View  of  the  Archaeology 
of  the  Southwest,"  prepared  for  the 
Smithsonian  Institution  in  1905,  and  in 
"Les  Communautes  Anciennes  dans  le 
Desert  Americain"  pubhshed  in 
Geneva,  Switzerland,  in  1908,  and  (5) 
information  furnished  to  Congress  and 
the  Department  of  the  Interior  from 
1902  to  1906  in  connection  with  the 
proposed  laws  for  the  preservation  of 
American  antiquities. 

Owing  to  incessant  duties  incident 
to  the  founding  of  the  School  of  Ameri- 
can Research  and  its  affiliated  institu- 
tions, the  Museum  of  New  ]Mexico,  at 
Santa  Fe,  and  the  Museum  of  San 
Diego,  California,  no  further  research 
work  was  done  in  Chaco  Canyon  by  the 


writer  until  the  year  1916  when  an 
agreement  was  entered  into  between  the 
Smithsonian  Institution,  the  Royal 
Ontario  Museum  of  Archaeology-,  and 
the  School  of  American  Research,  with 
a  view  to  making  this  a  field  of  investi- 
gation for  a  term  of  years.  The  plan 
was  accepted  and  the  work  authorized 
by  the  Department  of  the  Interior 
June  19,  1916. 

Acting  under  this  authorization  a 
small  party  proceeded  to  Chaco  Canyon 
for  the  purpose  of  making  a  re-exami- 
nation of  the  field  and  preparing  de- 
tailed plans  for  the  following  year. 
This  was  done  in  the  fall  of  19 16.  With 
the  entry  of  the  United  States  into  the 
World  War  in  the  spring  of  191 7  all 
work  of  the  character  proposed  was 
suspended.     The   appropriations  from 


[7] 


•;^75 


»• 


^^^*»^'-''-*'_t-.. 


**,- 


Chaco  Canyon:  Pueblo  Bonito,  north  wall,  twenty  years  ago. 


the  state  of  New  Mexico  for  carrying 
out  the  part  of  the  vSchool  of  Research 
in  the  project  were  continued  from  year 
to  year  and  the  funds  pledged  for  the 
part  of  the  Royal  Ontario  Museum 
were  held  available  on  call.  The  Smith- 
sonian Institution  did  not  succeed  in 
getting  from  Congress  the  necessary 
special  appropriation  for  its  part  of  the 
undertaking. 

In  19 1 9  preparations  were  made  by 
the  School  to  resume  its  research  pro- 
gram including  the  Chaco  Canyon 
project.  The  Canadian  institution 
signified  its  readiness  to  proceed.  Ac- 
cordingly, in  the  spring  of  1920  new 
plans  were  made  and  work  commenced. 
Provision  has  been  made  for  not  less 
than  five  years.  The  plan  contem- 
plates a  study  of  the  physiography  of 


the  region ;  its  place  in  the  Pueblo  area ; 
a  digest  of  everything  that  has  been 
written  about  it;  a  collection  of  all 
photographic  records  that  have  been 
made  of  the  ruins  from  the  earliest 
times  to  the  present;  a  thorough  study 
of  the  architecture,  art,  economic  re- 
sources and  ethnological  relations  of 
the  ancient  inhabitants. 

In  short,  the  undertaking  is  to  un- 
cover such  facts  as  are  obtainable  con- 
cerning these  extinct  communities  and 
to  produce  as  far  as  such  facts  warrant 
a  picture  of  the  life  that  was  lived  ages 
ago  in  this  remote  place.  It  is  obvious 
that  for  this  purpose  the  entire  region 
with  every  factor  of  environment  and 
ethnic  relationship  must  be  studied. 
Such  excavations  must  be  undertaken 
as  are  necessary  to  the  purpose  in  view 

[8] 


Chaco  Canyon:  Pueblo  Bonito  from  above 


and  evety  effort  made  to  effect  the 
preservation  of  this  remarkable  group 
of  ruins.  The  physical,  intellectual 
and  spiritual  development  of  a  people 
capable  of  such  achievements  as  that 
exhibited  in  the  Chaco  Canyon  culture 
constitutes  a  priceless  chapter  in  the 
history  of  the  human  mind,  especially 
valuable  as  evidence  of  the  character 
and  attainment  of  the  native  American 
race. 

A  decision  on  the  question  of  site  for 
excavation  was  not  difficult  to  reach. 
Of  the  twelve  ruins  in  the  seven  miles  of 
canyon  above  mentioned,  eight:  Wijiji, 
Una  Vida,  Hungo  Pavi,  Kin  Kletso, 
Casa  Chiquita,  Pefiasco  Blanco,  Pueblo 
Alto,  and  Tsin  Kletsin  are  single,  iso- 
lated buildings  remote  from  water,  and 
of  secondary  importance.  Four:  Pue- 
blo Bonito,  Chettro  Kettle,  Pueblo  del 


Arroyo  and  Casa  Rinconada,  constitute 
a  central  group  which,  with  their  acces- 
sories, may  be  considered  as  one  town, 
the  buildings  and  mounds  belonging 
thereto  being  included  in  a  circle  of  a 
quarter  of  a  mile  radius.  Interest  in 
the  Chaco  Canyon  culture,  therefore, 
is  concentrated  in  this  central  group. 
Insofar  as  the  story  can  be  told  by  ex- 
cavation, it  is  to  be  uncovered  here. 

Viewing  the  central  group  from 
purely  scientific  considerations,  only 
one  choice  of  site  was  possible.  Pueblo 
Bonito,  the  largest  of  all,  was  for  four 
years  the  scene  of  excavations  on  a 
large  and  expensive  scale  by  the  Hyde 
Exploring  Expedition.  Approximately 
$40,000  was  expended  on  this  work 
during  the  years  1897,  '98,  '99  and  1900; 
a  sum  which,  because  of  the  cheap  labor 
and  subsistence  of  those  days,  would  do 


[9] 


-•^i*^ 


;^i^;--\fc'v 


.^f«*t". — 


-^M 


CiiALii  Cawux:  Pueblo  ilul  Arrovo. 


■•TIS!!  '  .  •vV-- 


1..  5i«-.!\.: 


the  work  of  more  than  twice  that 
amount  now.  About  one  hundred 
Indian  workmen  were  kept  employed. 
The  work  was  under  the  scientific 
supervision  of  Professor  Frederick  W. 
Putnam  of  Harvard  University  and 
the  material  secured  was  placed  in  the 
American  Museum  of  Natural  History 
in  New  York.  Air.  George  Pepper,  who 
was  in  charge  in  the  field,  informs  me 
that  Pueblo  Bonito  was  about  6o% 
excavated.  As  that  was  in  the  days 
when  neither  government  nor  private 
excavating  was  done  with  a  view  to 
clearing  out  and  repairing  luins,  the 
excavated  rooms  were,  as  was  the  cus- 
tom of  the  archaeologists  of  that  time, 
refilled  as  the  work  advanced,  this  being 
considered  the  best  method  of  preser- 
ving the  walls. 


Accordingly,  the  excavation  of  Pu- 
eblo Bonito  now  would  mean  some 
years  devoted  to  dead  work;  that  is,  to 
the  re-excavation  of  rooms  previously 
emptied,  thoroughly  examined,  con- 
tents recorded  and  all  museum  material 
found  therein  removed  to  its  final 
repository.  Moreover,  Mr.  Pepper's 
report  on  this  work  has  not  yet  reached 
publication,  but  will  be  issued  soon  by 
the  American  Museum  of  Natural 
History.  Therefore,  Pueblo  Bonito 
seems  unpromising  as  a  scientific  propo- 
sition. 

Pueblo  del  Arroyo,  the  nearest  house 
in  the  group  to  Pueblo  Bonito,  about 
150  yards  away,  is  a  comparatively 
small  ruin,  much  reduced  by  vandal- 
ism. It  would  naturally  be  the  next 
considered.     Its  minor  importance,  to- 

[10] 


Chaci)  Caxvc 


Huiiu 


I'.ivi. 


gether  with  a  practical  reason  that  will 
be  stated  later,  dismisses  it  from  con- 
sideration. Casa  Rinconada,  across  the 
arroyo,  a  few  hundred  yards  to  the 
the  south  is  not  a  house  but  simply  an 
enormous  kiva.  It  was  probably  the 
great  sanctuary  of  the  central  group. 
It  lies  in  the  region  that  is  supposed  to 
have  been  devoted  to  the  burial  of  the 
dead  from  Chettro  Kettle,  Pueblo 
Bonito,  and  Pueblo  del  Arroyo.  It 
should  be  excavated  in  conjunction 
with  Chettro  Kettle  to  which  it  was 
clearly  tributary. 

Chettro  Kettle,  the  remaining  hovise 
of  the  central  group,  is  of  equal  im- 
portance with  Pueblo  Bonito.  No  ex- 
cavating has  been  previously  done  there 
excepting  the  vandalism  to  which  every 
ruin  in  the  region  has  been  subjected. 
A  great  part  of  it  is  deeply  buried,  well 


preserved  by  the  friendly  soil.  Not  a 
specimen  from  it  is  known  to  exist  in 
any  museum.  It  is,  therefore,  an  in- 
viting prospect  for  excavation,  from  a 
scientific  point  of  view. 

In  the  midst  of  the  Navaho  desert, 
however,  certain  practical  considera- 
tions will  of  necessity  govern.  The 
season  for  excavation  in  the  Chaco  is 
from  spring  to  fall.  During  much  of 
this  time  the  heat  is  scorching,  the 
winds  high,  and  dust  storms  frequent, 
and  at  times  well  nigh  intolerable. 
Living  in  tents  is,  therefore,  extremely 
disagreeable.  Maintaining  any  kind 
of  living  quarters  in  the  immediate 
vicinity  of  the  excavations  is  impossible 
on  account  of  the  dust  from  the  digging. 
Writing  field  notes  and  drafting  plans  is 
kept  up  with  great  difficulty.  At 
Pueblo  Bonito,  only  forty  feet  from  its 


[11] 


Chaco  Canyon:  Pueblo  Pintado. 


walls,  is  the  six-room  stone  house  built 
some  years  ago  by  the  late  Richard 
Wetherill  for  a  residence.  This  was 
found  to  be  available  for  the  permanent 
use  of  the  School.  It  would  be  buried  in 
dust  from  excavations  going  on  at 
Pueblo  Bonito,  but  entirely  unaffected 
by  work  at  Chettro  Kettle,  nearly  a 
quarter  of  a  mile  away.  At  Pueblo  del 
Arroyo,  twenty-five  feet  from  its  walls, 
also  on  the  Wetherill  homestead,  is  the 
trading  post  on  which  the  expedition 
depends  for  supplies.  The  dust  caused 
by  excavating  at  this  site  would  simply 
put  the  trading  post  out  of  business. 

Therefore,  after  numerous  trips  to  the 
Chaco  at  different  seasons  of  the  year, 
long  study  of  the  conditions  above- 
described,  and  consultations  with  all 
who  could  be  found  who  took  part  in 


the  excavation  of  Pueblo  Bonito,  only 
a  single  decision  was  possible,  viz:  that 
Chettro  Kettle  was,  for  both  scientific 
and  practical  reasons,  the  site  to  be 
chosen,  with  Casa  Rinconada  and  its 
adjacent  mounds  as  a  place  for  col- 
lateral investigation. 

The  season  commenced  with  the  estab- 
lishment of  permanent  headquarters. 
Through  the  kindness  of  Mr.  Sargent, 
lessee  of  the  Wetherill  homestead,  the 
expedition  has  excellent  accommoda- 
tions in  the  stone  house  above  referred 
to.  This  affords  office,  kitchen,  dining 
room,  field  library  and  general  confer- 
ence room,  with  space  adjacent  for  the 
storage  of  museum  material.  In  another 
stone  building  forty  feet  to  the  east, 
partly  within  the  walls  of  Pueblo  Bo- 
nito, are  three  rooms  that  have  been 


[12] 


fitted  up  for  photography,  commissary 
stores  and  tools.  With  a  number  of 
supplementary  tents  for  sleeping  quar- 
ters the  expedition  is  thus  comfortably 
and  efficiently  sheltered.  A  well,  one 
hundred  yards  from  the  house,  affords 
an  abundant  supply  of  pure  ccld  water — 
a  rare  luxury  in  the  Navaho  desert. 
The  surrounding  country  is  treeless 
except  for  stunted  cedar  and  pinon, 
but  an  out-crop  of  good  lignite  coal, 
a  mile  away,  produces  adequate  fuel 
for  camp  use.  The  trading  post  at 
Pueblo  del  Arroyo  is  available  for 
ordinary  supplies.  The  nearest  post- 
office  is  Crownpoint  38  miles  away. 
Here  is  located  the  Pueblo  Bonito 
Indian  vSchool  and  Navaho  Agency.  To 
the  superintendent,  Mr.  Stacker,  the  ex- 


pedition is  under  many  obligations  for 
cordial  assistance  and  accommoda- 
tions. 

By  the  end  of  the  season  the  entire 
regular  staff  of  the  School  and  Museum 
was  in  the  field.  As  the  work  develops 
other  specialists  will  take  up  the  parts 
assigned  to  them.  A  preliminary  ac- 
count of  the  excavations  at  Chettro 
Kettle  and  other  activities  of  the  first 
field  season  follows  in  the  papers  of  this 
number.  The  complete  report  will  be 
ready  for  publication  by  January  first. 
The  excavation  season  for  1920  closed 
October  second,  but  repair  work  neces- 
sary  to  the  preservation  of  walls  con- 
tinued for  some  weeks  longer.  Ex- 
cavating will  be  resumed  in  May  1921, 
and  from  now  on  some  phase  of  the 


[13] 


s>  -'ftil 


CiiAC)   Caxviin;  Kin  Kk-tso. 


work   will   be   in   progress   continually 
throughout  the  year. 

II.  THE  DESERT,  THE  CANYON  AND 
THE  ANCIENT  TOWNS. 

Whoever  reaches  Chaco  Canyon  will 
have  some  experience  with  the  desert. 
It  is  fifty  miles  in  any  direction  to  a  liv- 
ing stream.  From  any  point  of  ap- 
proach the  desert  barrier  must  be 
crossed.  This  is  not  a  formidable  mat- 
ter now,  with  trading  posts  every  day's 
journey  and  Fords  to  take  the  place  of 
weary  beasts.  In  the  old  days  one 
toiled  across  on  horseback  or  by  wagon, 
and  it  was  a  march  for  seasoned  vet- 
erans only.  It  was  safe  only  when 
accompanied  by  a  trusty  Navaho. 
These  bedouins  of  America  know  the 
ways    of    the    desert.      Every    spring. 


waterhole  and  rock-shelter  is  charted 
in  their  brains.  They  have  matched 
their  wits  against  scorching  winds 
and  smothering  sandstorms  and  wintry 
blasts  for  centuries  and  have  survived 
and  made  of  the  desert  a  hospitable 
home.  It  is  no  exaggeration  to  say  that 
with  all  its  seeming  hardness  they  love 
it.  You  hear  them  singing  on  the 
desert  trails  with  as  wild  a  joy  as  ever 
did  Swiss  mountaineer  or  Alsatian 
peasant. 

To  the  white  man,  until  he  has  fallen 
under  the  spell  of  the  desert,  it  was  any- 
thing but  inviting.  Food  was  scarce 
always.  The  iron  ration  was  the  cus- 
tomary thing.  Cold  springs  existed, 
but  only  the  Navaho  knew  where. 
Even  with  this  help  it  often  meant 
long  days  of  hard  riding  to  reach  water. 

[14] 


ART  AND  ARCHAEOLOGY 


But  it  must  not  be  supposed 
that  the  Chaco  region  is  al- 
ways a  place  of  burning  sands 
and  suffocating  dust  storms. 
Like  all  other  deserts  it  has 
its  times  of  unearthly  charm. 
The  scene  invites  reflection 
upon  the  exchanges  made  in 
coming  from  metropolitan 
civilization  into  this. ;  For  the 
morning  rush  to  business  in 
the  subway,  the  sunrise  stroll 
to  work  along  a  desert  trail; 
for  the  orchestral  din  at  meal 
time,  the  quiet,  unbroken  by  a 
real  noise  within  sixty  miles; 
for  the  movies,  a  pastoral  of 
flocks  rounding  into  the  corral 
against  an  afterglow  on  red- 
brown  cliffs ;  and  for  the  great 
white  way,  an  indescribable 
moonlight  over  calm  desert 
canyons.  The  majesty  of  si- 
lence and  space  that  rests 
upon  the  land  suggests  the 
vastness  in  which  Eternal 
Mind  organizes  the  energies 
of  the  universe.  The  human 
spirit  so  immersed  for  gen- 
erations must  live  in  a  state 
of  freedom  that  is  unknown 
in  crowded  centers  of  popu- 
lation. Humanity,  in  this  environ- 
ment for  ages,  would  probably  be 
content  without  rapid  movement,  in- 
stantaneous communication,  the  meas- 
urement of  time  into  fractions  of 
seconds,  the  incessant  shock  of  ma- 
chinery, political  campaigns,  class  ha- 
treds, industrial  revolutions  and  world 
wars.  Space  is  the  first  requisite  of 
mental  and  spiritual  tranquility.  It  is 
reflected  in  the  imperturbable  nature 
in  the  Indian  race  whose  psychology 
was  established  in  the  freedom  of  limit- 
less   plains    and    deserts,    forests    and 


Chaco  Canyon:  Tsin  Kletzin. 

mountains.  Contrast  the  history  of  the 
European  mind — the  crowded  races 
perpetually  fighting  for  the  limited 
advantages  of  valleys  and  seas  and 
natural  boundaries.  Taking  by  vio- 
lence, holding  by  force,  organizing  de- 
ception to  supplement  physical  might, 
living  through  the  ages  under  the 
shadow  of  impending  conflict  with 
crowding  neighbors — Europe  could 
hardly  have  had  a  different  history  and 
the  European  race  could  not  have  been 
other  than  it  is — the  race  preeminent  in 
war,  industrial  strife  and  cunning  prop- 


[15] 


Chaco  Canyon:  Ancient  stairway  back  of  Hungo  Pavi. 


ART  AND  ARCHAEOLOGY 


aganda,  with  such  tendencies  as  mur- 
der, stealing  and  lying  pervading  all 
social,  political  and  international  life. 

The  mystery  of  the  desert  reaches  its 
climax  when,  in  the  center  of  this  area 
a  hundred  miles  square  without  a  flow- 
ing stream  of  any  sort,  we  come  upon  a 
group  of  ruins  such  as  Egypt  and  Mes- 
opotamia and  Asia  Minor  and  Middle 
America  have  been  supposed  to  have 
a  monopoly  on.  These  are  the  long- 
deserted  homes  of  the  Chacones,  the 
ancient  communities  which  are  the  sub- 
ject of  this  article — a  group  of  ruins 
which  W.  H.  Jackson  in  1877  declared 
to  be  "preeminently  the  finest  remains 
of  the  work  of  unknown  builders 
to  be  found  north  of  the  seat  of  the 
Aztec  Empire  in  Old  Mexico,"  an 
opinion  which  time  has  more  than  justi- 
fied. Only  a  brief  description  of  these 
sites  will  be  presented  here.  The 
photographs  and  drawings  will  be 
depended  upon  mainly  to  convey  the 
picture  of  this  desert  land,  the  silent 
canyon  and  the  ruined  buildings. 

I.   THE  CENTRAL  GROUP. 

The  ancient  communities  of  the 
Chaco  had  one  principal  focus  of  popu- 
lation, concentrated,  as  previously 
stated,  within  a  radius  of  a  quarter  of  a 
mile.  To  this  place  it  may  be  proper  to 
apply  the  indefinite  term  town.  We 
have  no  name  by  which  to  designate  it 
as  a  whole.  Its  component  units  will 
be  described  under  the  names  by  which 
they  are  best  known:  some  of  which, 
like  those  of  the  entire  region,  are 
Spanish,  some  Navaho,  some  of  un- 
known origin;  small  village  sites  re- 
main  nameless. 

Pueblo  Bonito  (Bonito-Beautiful) 
has  long  been  considered  the  most 
important  ruin  in  the  Chaco  region,  if 
not  in  the  United  States.  Certainly  it 
is   the   most   famous.      Its   excavation 

[17] 


from  1897  to  1900  brought  it  into  note 
and  its  name  came  to  stand  for  the 
group.  Because  of  the  excavations, 
more  of  it  is  in  sight  than  of  any  other 
and  it  has  usually  been  the  one  selected 
for  description  by  writers.  Its  vast  size 
and  the  magnitude  of  its  ruined  walls 
make  it  most  impressive.  It  may  be 
doubted  if  in  the  great  days  of  the 
Chaco  it  was  distinguished  among  its 
neighbors  for  its  beauty.  Several  others 
surpassed  it  in  this  respect.  A  glance 
at  its  ground  plan  shows  it  to  have  been 
without  unity  in  design.  It  grew  to  its 
great  proportions  by  successive  addi- 
tions that  did  not  conform  to  any 
established  plan.  Its  general  form  is 
that  of  a  capital  D.  Its  long  diameter 
is  667  feet;  the  shorter  axis  315  feet. 
It  varied  in  its  different  parts  from  the 
one-story  southern  facade,  to  five  sto- 
ries in  height  along  its  northern  side. 
This  vast  sweep  of  curving  wall  over 
eight  hundred  feet  in  length,  still 
standing  almost  fifty  feet  high  in  places, 
is,  to  my  knowledge,  unmatched  among 
ruins  of  residential  architecture  in  the 
new  world ;  nor  can  I  think  of  anything 
with  which  to  compare  it  in  ancient  old 
world  architecture  of  similar  purpose. 
About  every  style  of  masonry  known  to 
the  Chaco  is  found  in  the  walls  of  Bonito. 
Tliirty-two  kivas  (circular  council 
chambers,  or  sanctuaries)  have  been 
found  in  the  course  of  the  excavations, 
all  in  the  interior  of  the  building.  Up- 
ward of  500  rooms  were  excavated  and 
mostly  refilled  by  the  Hyde  Exploring 
Expedition. 

Bonito  is  only  seventy  feet  from  the 
canyon  wall  which  here  is  a  vertical 
rock,  one  hundred  feet  to  the  top  of  the 
first  ledge.  At  this  point,  as  in  many 
other  places  along  the  canyon  wall, 
a  huge  wedge-shaped  mass  of  the  sand- 
stone has  become  detached  by  erosion. 
This    towers    threateningly    balanced 


y-^i>ts-- 


Chaco  Canyon:  Kin  Biniola. 


ovej"  Pueblo  Bonito.  One  vast  section 
of  it  has  actually  been  thrown  down  at 
no  very  distant  time,  breaking  into 
masses  many  tons  in  weight,  some  of 
which  were  cast  perilously  near  to  the 
Pueblo  walls.  One  can  imagine  the 
terror  this  must  have  caused  the  people 
if  the  place  was  inhabited  when  the 
shock  occurred.  The  same  thing  has 
been  happening  for  thousands  of  years 
in  this  canyon  and  will  continue  to  hap- 
pen as  the  work  of  nature  proceeds. 
Small  villages  against  the  cliff  lie  under 
these  fallen  masses,  whether  covered 
before  or  after  desertion  no  one  can  yet 
say.  Herein  may  lie  the  secret  of  the 
abandonment  of  Chaco  Canyon  by  the 
ancient  people.  They  were  not  only 
prudent,  but  superstitious.  It  required 
mighty  forces  to  cast  down  these  great 
rocks.    The  Indian  would  readily  sense 


the  displeasure  of  deific  powers  in  such 
a  disaster,  and  when  so  convinced,  the 
works  of  centuries  would  be  abandoned 
in  a  day. 

A  ledge  of  masonry  reinforced  with 
timbers  was  built  under  the  balanced 
rock  back  of  Bonito.  It  is  often  sur- 
mised that  this  was  a  childlike  attempt 
to  keep  the  cliff  from  falling;  a  device 
that  would  have  no  influence  whatever 
in  holding  up  that  vast  weight.  The 
Navaho  evidently  so  believe  and  from 
time  immemorial  have  called  the  place 
Sa-ba-ohn-nei  (place  where  the  rock  is 
braced  up).  But  the  wise  Bonitans 
who  knew  enough  to  build  stone  walls 
that  would  stand  through  many  cen- 
turies of  exposure  to  the  elements  made 
no  such  mistake  in  judgment.  These 
rock  masses  are  eroded  to  the  danger 
point  by  water  and  wind  undercutting 

[18] 


Chaco  Canyon:  Wijiji. 


them  in  the  soft  strata  at  the  base. 
Protect  them  from  such  erosing  by 
shoring  up  with  soHd  masonry^  and  the 
danger  has  been  obviated  in  exactly 
the  same  manner  that  we  today  stop  the 
deterioration  of  a  heavy  wall  by  shoring 
up  at  the  base  with  concrete. 

The  nearest  neighbor  to  Pueblo 
Bonito  was  Pueblo  del  Arroyo,  an 
average  city  block  to  the  west.  It  is 
much  reduced  but  has  some  very 
beautiful  masonry  remaining.  It  stands 
beside  the  arroyo,  now  dry  except  in 
flood  season,  and  in  places  has  been  cut 
into  by  the  water.  This  is  one  of  the 
smaller  houses  and  as  will  be  seen  by 
looking  at  its  ground  plan,  was  a  good 
example  of  the  most  prevalent  Chaco 
Canyon  type  of  building,  which  in 
general  took  the  form  of  our  capital 

[19] 


letter  E.  The  order  of  growth  probably 
was  first  the  straight  linear  mass,  re- 
presented by  the  back  of  the  letter. 
When  needed  one  wing  was  built  on 
giving  the  building  an  L  shape.  vSeveral 
of  the  Chaco  pueblos  remained  in  this 
form  to  the  end.  With  the  majority 
the  other  wing  was  added,  and  in  some 
instances  the  central  stem  of  the  E. 
Whether  this  last  member  was  added  or 
not  the  extremities  of  the  wings  were 
usually  connected  by  a  curving  front 
wall,  or  as  in  several  of  the  larger 
pueblos  by  a  series  of  one  or  two-story 
rooms,  built  on  a  sweeping  curve,  form- 
ing a  fourth  side  of  the  building  and 
inclosing  a  spacious  court  which  in 
time  was  nearly  filled  with  circular 
kivas.  Pueblo  del  Arroyo  has  all  these 
elements  except  the  middle  stem. 


ART  AND  ARCHAEOLOGY 


It  should  be  pointed  out  that  this 
style  of  ground  plan,  (with  the  excep- 
tion of  the  curved  front  wliich  might 
well  be  copied),  is  now  widely  used  in 
hotel  and  office  buildings  in  modem 
American  cities,  being  dictated  by 
economy  and  efficiency  as  to  light,  air 
and  space.  The  Department  of  the 
Interior  building  in  Washington,  if  it 
had  the  central  stem  shortened  and  the 
curved  front  added  would  be  in  good 
Chaco  Canyon  style  as  to  ground  plan. 
The  Chacones  would  have  spread  it 
over  more  space,  limited  the  height  to 
four  or  five  stories  on  the  exterior,  with 
a  succession  of  terraces  arotmd  the 
inner  courts. 

Chettro  Kettle  of  the  central  group 
is  nearly  a  quarter  of  a  mile  east  of 
Bonito.  By  referring  to  the  ground 
plan  it  will  be  seen  that  it  varies  from 
the  type  by  having  one  of  the  wings  of 
the  E  completely  extended,  the  other 
only  partially;  the  central  stem  is 
present  and  the  sweeping  curved  front. 
As  yet  an  accurate  comparison  of  size 
with  Pueblo  Bonito  can  not  be  made  for 
the  reason  that  so  much  of  Chettro 
Kettle  is  buried.  The  great  curved 
front,  not  merely  a  wall  as  formerly 
supposed,  but  a  part  of  the  building  two 
to  three  rooms  wide  and  one  to  two 
stories  high,  is  seven  hundred  feet  in 
length — two  average  city  blocks.  It  is 
entirely  buried,  showing  only  as  a  ridge 
of  earth.  The  long  north  wall  standing 
one  to  three  stories  above  the  surround- 
ing sand  with  a  full  story  buried 
beneath,  is  over  four  hundred  fifty  feet 
long.  If  one  starts  at  the  southeast 
corner  of  this  structure,  at  the  point 
where  the  excavations  commenced,  and 
follows  its  outer  walls  clear  around  to 
the  point  of  starting,  he  must  walk 
1540  feet — between  a  quarter  and  a  third 
of  a  mile.  Here  then  was  a  community- 
residence  (an  ancient  apartment  house) 


which,  if  set  down  in  a  modern  Ameri- 
can city,  would  pretty  fully  occupy  two 
average  blocks.  As  a  dwelling  house, 
built  by  people  for  their  own  domestic 
purposes,  I  know  of  nothing  to  compare 
with  it  in  the  world — ancient  or  modern. 
Chettro  Kettle  is  rich  in  the  variety  and 
beauty  of  its  walls.  The  striking 
banded  effects,  produced  by  courses  of 
heavy  stone  alternating  with  layers 
made  up  of  fine  laminated  plates,  are  to 
be  seen  here  at  their  best.  This  device, 
of  both  artistic  and  structural  merit,  is 
characteristic  of  the  Chaco  Canyon 
ruins,  being  used  in  only  the  most 
elementary  way  elsewhere. 

Casa  Rinconada,  the  remaining 
unit  of  the  Central  group,  lies  across  the 
arroyo  to  the  south.  It  was  a  great 
ceremonial  chamber,  sixty-six  feet  in 
diameter  pertaining  to  the  large  Pue- 
los — a  tribal  sanctuary.  Like  all  the 
kivas  of  the  Chaco,  it  was  circular  in 
form.  There  are  about  it  the  ruined 
walls  of  probably  thirty  to  forty  rect- 
angular rooms.  In  the  walls  of  the 
great  circular  chamber  at  regular  inter- 
vals apart,  are  thirty-two  niches,  twelve 
by  sixteen  inches,  by  fourteen  inches 
deep,  probably  recesses  for  ceremonial 
objects.  The  chamber  may  have  been 
an  open  arena  without  roof.  Excava- 
tion will  be  necessary  to  determine  the 
character  of  this  interesting  ruin  in 
detail.  It  is  significant  that  it  is  iso- 
lated from  the  large  dwelling  houses,  in 
what  may  prove  to  be  the  necropolis  of 
the  community. 

2.  NEIGHBORING  TOWNS. 

These  will  be  only  briefly  mentioned. 
Their  ground  plans  are  given,  with 
photographs  showing  the  present  con- 
dition of  the  ruins. 

Pueblo  Alto  is  on  the  mesa  north  of 
the  canyon,  a  little  more  than  half  a 
mile  from  Bonito.     It  consists  of  two 

[20] 


Chaco  Canyon:  Una  Vida. 


buildings,  Alto  Grande  and  Alto  Clii- 
quita.  The  former  is  the  main  one  and 
is  greatly  reduced.  Only  a  small  per 
cent  of  the  walls  remain  standing  and 
not  much  of  it  is  buried.  The  building 
stone  was  poor.  The  small  house  is  in  a 
better  state  of  preservation. 

Tsin  Kletzin  (black  wood,  or  char- 
coal, place)  is  a  small  ruin  on  the  mesa 
nearly  a  mile  south  of  Bonito.  It  has 
many  interesting  features,  including  an 
imusual  ground  plan.  It  has  some 
excellent  masonry  in  its  walls.  The  fact 
that  a  point  near  this  ruin  could  be  seen 
from  nearly  every  one  of  the  Chaco 
settlements,  even  the  distant  outposts, 
suggests  the  possibility  of  this  spot  as 
an  ancient  signaling  station. 


Down  the  canyon  a  scant  mile 
below  Bonito  is  Kin  Kletso  (the  Yellow 
House)  and  another  mile  further  on 
Casa  Chiquita  (Little  House).  Both  of 
these  are  small  houses  that  never  got 
beyond  the  early  stages  of  development. 
No  wings  were  extended  from  their 
main  axes.  Interesting  masses  of  their 
walls  remain  standing. 

Three  miles  below  Bonito,  on  a  high 
point  south  of  the  Canyon  is  Penasco 
Blanco  (White  Rock  Point).  It  ranks 
almost  with  Bonito  and  Chettro  Kettle 
in  size  and  interest.  In  its  ground 
plan  it  is  a  great  ellipse,  all  its  ex- 
terior walls  being  curved.  It  has  been 
sadly  vandalized  and  in  some  parts 
shows  indications  of  having  been  vio- 


[21 


,„.;"■('.     ,>'>"ll"ll„    ..lll'l"//;,,    ,,,111//,, 

^-..«;.\'ii;;;.:.'.'.';i/ii\r  ^'  ^  /  ""''i--. 


''"iinwm^ 


# 


S-^vWl'/ftj, 


•'<«. 


%.,Ai'//,.v\«ii////,,AMr:- 


■J-  'i>. 


t^ffiiit- 


--•?     *'//iii*"'" 


%/iil#    %//«# 


$:?"'/,,, Ill,,  ,^i"'"/i('i"',,  ,,'•= 
.■».,.ui»<--.ii./,.-,ill/;i Iii,.;.,ui,v- 


'^^/I'/llll*'^ 


'#i. 


%'.'.'.''rwil#%//iny'-„..-ii//,„ 

"I"      ^///n^      '///in'  ''/I- 


ilin"""///|i I'll ii//iii"''iiiin""' 

Surface  Plan  of  Chettro  Kettle 


", %nwu<^''''iih\'^^'%nu-%''''lm^^^^^^^^^ 


,,oti*''". .  ■         


;>%, 


*•■'• — .„„ 


After  Hoi  singer 


Ground  Plan  of  PuebJo  Bonito. 


•■aiiHiai|>ii»iMnr'^ai>li>li>)(ii>ii<li>',M>ilir<i<|i<>tr(i>*|C'"',"''<."''."% 


Pueblo  del  Arroyo. 


v\ 


Penasco  Blanco. 


vrf'' „ »""""'"';!'i*j»,„„^  "x^ 


\. 


Hungo  Pavi. 


Jwtl I «l ■•»■«■<■' ^    J^>"l"M"IH.l.M, 


no 


i     i 


|IHIHIii|Ufl/WllfB*Illlll>lll'l>U/l|lll 


'"'""""•pfli.pi *^'"*'*-. 

Casa  Rinconada. 


<«Mi|lli|llllii|t/</ 


vMMUtlllilllKiHn 


5V»Mp.(/'(  irfMrOifn.tni'iMiiiiini.Mi  .t  >ii'(>iiMl''(.ii(n.riiiiiti.ti»(\i 


jlll'l|.'jlMu(ll»i(|p 

r  :■■ 


L^^fi 


■     8 


Kin   Biniola 


r^% 


Pueblo  Alto. 

Ground  Plans  of  Chaco  Canyon    Community  Houses. 


ART  AND  ARCHAEOLOGY 


,ul»iinN,w,„„„^^^^^^ 


v\«\n\lllg.  ...»;iiHiljy^y^^y^j)jl)|i^i^jj|,j;hiiMMilMnHiinMa"^J]gj^^ 


f  ■•■';■"  I  I"'-"  ■!■■'■■£  Jf 


\^^"\'^. 


^1 

■  •^U1/W»(IUtlil|(|<l}MtMl»f|l'l"1H\ftlfi'i 

Ground  Plan  of  Tsin  Kletzin. 

lently  overthrown  as  by  an  earthquake. 
It  displays  every  grade  of  masonrs^ 
some  extremely  poor,  and  some  of  the 
most  substantial  sort,  with  some  of  the 
finest  examples  of  banded  walls  to  be 
seen  in  the  Chaco  group. 

Two  miles  above  Chettro  Kettle, 
close  up  to  the  canyon  wall,  is  the  ruin 
of  Hungo  Pavi  (Crooked  Nose?).  It  is 
one  of  perfect  unity  of  plan,  the  E 
form,  with  both  wings  complete,  central 
stem,  and  the  wings  connected  by  a 
curved  front.  The  north  wall  stands 
thirty-feet  high  in  places,  and  is  built 
of  small  stone,  closely  and  compactly 
laid.  It  lacks  the  ornamental  effects 
that  are  so  prevalent  at  Chettro  Kettle. 
The  whole  building  is  dark  brownish- 
red  in  color.  One  of  the  most  interest- 
ing stairways  to  the  mesa  top,  with 
which  each  pueblo  was  provided,  is  the 
one  at  Hungo  Pavi. 

A  mile  farther  up  the  canyon  where 
the  two  forks,  Chaco  and  Fahada  join, 
is  Una  Vida.  The  ruin  is  not  well 
preserved;  it  contains  much  poorly 
built  wall.  Its  situation  is  particularly 
interesting.  Across  the  canyon  to  the 
southeast  is  the  great  round  Mesa 
Fahada,   a  landmark  for  all  the   sur- 


/ 


# 


§o..,.„vl""";"'"'|p»«i 


^///(em"|f\iiivJinii()ii(|niiriiii/,|iiiii 


Ground  Plan  of  Kin  Klizhin. 

rounding  country.  The  Navaho  call  it 
Say-de-gil,  the  vSacred  mountain.  It 
is  a  cardinal  point  in  Navaho  myth- 
ology. Above  Una  Vida  on  a  ledge 
about  one  hundred  yards  to  the  north 
west,  is  a  circular  ceremonial  chamber 
of  great  size,  only  second  to  Rinconada 
above  described,  and  one  in  the  Court 
at  Chettro  Kettle. 

Wijiji  is  a  small  ruin  about  two  miles 
above  Una  Vida.  It  is  perfectly  sym- 
metrical in  its  ground  plan  and  has  no 
unusual  features.  It  is  without  the 
curving  front  wall.  The  main  north 
wall  is  pierced  with  portholes  in  the 
second  story,  the  apertures  extending 
diagonally  through  the  wall  and  alter- 
nating in  direction  from  northeast  to 
northwest.  This  may  have  been  a 
device  for  archers  in  defending  the 
place. 

3.   THE  OUTPOSTS. 

Pueblo  Pintado  is  ten  miles  east  of 
Wijiji,  near  the  top  of  the  continental 
divide  where  the  Chaco  originates.  It 
occupies  a  high  point  visible  from  far 
distances  and  constitutes  a  valuable 
landmark  in  the  desert.  It  is  a  large 
ruin,  well  preserved,  and  particularly 
important  in  being  near  the  frontier  of 

[24] 


^^' 


-   t'  -^^ ,  *>       >""-     '  l^Kt    r-i'—  -^-V'  -■.'r'>_         _jB    ■'-/.■-.J*-  ,->.-»■ 


•ic- 


iSm..- 


'_.,*':'■ 


S^lfef 


;^ 


CuAco  Canyon:  Casa  Chiquita. 


the  Rio  Grande  pueblos.  Aluch  desert 
legendry  centers  about  it  and  its  walls 
exhibit  interesting  evidence  of  historic 
changes. 

Kin  Klizhin  (the  Black  House),  five 
miles  south  west  of  Bonito  in  a  side 
canyon  off  the  Chaco,  is  mainly  a  large 
tower-kiva,  inclosed  in  the  walls  of  a 
small  pueblo.  It  could  have  accom- 
modated only  a  small  clan.  Near  by 
are  the  remains  of  interesting  prehis- 
toric irrigation  works. 

Kin  Biniola  (House  of  the  Winds)  is 
ten  miles  southwest  of  Bonito  in  a 
branch  of  the  Chaco.  It  is  one  of  the 
important  ruins  of  the  region,  mostly 
above  ground  and  well  preserved.  It  is 
surrounded  by  interesting  outlying  sites 
and  was  well  provided  with  agricultural 

[25] 


land.     It  was  probably  the  center  of  a 
considerable  population. 

III.  THE  CHACONES  AND  THEIR 
CONTEMPORARIES 

Let  us  now  note  the  location  of  Chaco 
Canyon  in  the  southwest  and  consider 
the  relation  of  these  communities  to 
their  contemporaries  in  the  ancient 
southwestern  world.  Consulting  the 
accompanying  map,  showing  the  dis- 
tribution of  sedentary  population  in 
the  centuries  of  great  building  activity 
antedating  the  coming  of  Europeans 
to  America,  it  is  seen  that  this  large 
culture  province  was  composed  of  five 
sub-areas  which  correspond  to  the  prin- 
cipal drainage  basins  of  the  region,  viz : 
the  Rio  Grande  on  the  east  side  of  the 


•t    -w^      ' 


CuAcu   Canvun:  PucIjIo  Alto. 


continental  divide,  the  vSan  Juan,  Little 
Colorado  and  Gila  on  the  western  slope, 
and  the  inland  basin  of  Chihuahua. 
This  region,  a  thousand  miles  north  and 
south  by  eight  hundred  east  and  west, 
was  one  physiographic  area.  That  it 
became  in  course  of  time  a  culture  area 
that  was  co-extensive,  speaks  clearly 
of  the  coercive  influence  of  environment 
upon  human  society. 

The  groups  of  population  that  are 
indicated  may  be  considered  contem- 
poraneous. This  must  not  be  taken  to 
mean  exactly  synchronous  periods,  but 
construed  in  the  newer  historic  sense 
in  which  chronology  has  become  less 
important  and  evolution  the  dominant 
factor  in  human  history.  A  difference 
of  a  century  or  two  in  time  is  not  taken 
into  account  in  this  use  of  the  term  con- 
temporaneous. 


Chaco  Canyon  is  in  the  San  Juan 
drainage  near  the  southern  rim  of  that 
basin,  in  southwestern  New  Mexico, 
one  hundred  miles  in  an  air  line  slightly 
north  of  west  of  the  capital  of  the  state, 
Santa  Fe.  It  is  sixty- six  miles  north 
of  the  vSanta  Fe  railway  at  Thoreau, 
seventy  south  of  the  Denver  and  Rio 
Grande  at  Farmington,  and  one  hun- 
dred and  fifty  miles  northwest  from 
Albuquerque.  These  are  the  principal 
points  from  which  the  place  may  be 
reached  by  passable  wagon  roads. 

In  the  days  of  the  Chacones  neigh- 
bors were  far  apart.  To  the  northwest 
a  lumdred  miles  were  the  cliff  dwellers 
of  Mesa  Verde ;  a  hundred  miles  slightly 
west  of  south  were  the  forebears  of  the 
"vSeven  Cities  of  Cibola,"  the  ancient 
Zuni  towns.  Within  this  circle  were 
numerous  minor  settlements,  as  those 


[26] 


ART  AND  ARCHAEOLOGY 


along  the  San  Juan  seventy  miles  north, 
Canyon  de  Chelly,  fifty  miles  west,  and 
isolated  outposts  of  small  population 
here    and    there    in    every    direction. 
About  a  hundred  miles  west  were  the 
ancestors  of  the  ancient  Hopi ;  the  can- 
yons on  both  sides  of  the  lower  vSan 
Juan    basin    were    inhabited    by    cliff 
dwellers ;  the  Little  Colorado  valley  was 
the  seat  of  many  villages.     In  the  Rio 
Grande  drainage  the  communities  were 
forming  which  developed  into  the  set- 
tlements of  Jemez,   Taos,    Pecos   and 
Gran  Ouivira.  In  southern  New  Mexico 
the  people  of  the  Mimbres  lived,  and 
along  the  Gila  almost  from  its  head- 
waters in  New  Mexico  to  its  mouth  in 
Arizona  were  settlements  of  cliff  dwell- 
ers   when    geographical    conditions    so 
directed,   and  mesa  and  valley  towns 
like    Casa   Grande    in   the    level    flood 
plain.      Five   hundred    miles    away   in 
Chihuahua  were  the  populous  districts 
of  Casas  Grandes,  Cave  Valley  and  the 
cliffs  and  canyons  of  the  headwaters 
of  the  Yaqui.     All  these  may  be  con- 
sidered the  contemporaries  and  cultural 
cognates  of  the  Chacones.     It  may  be 
reasonably  supposed  that  1 500  miles  to 
the  south  on  the  Mexican  plateau  the 
pre-Aztecan    towns    were    flourishing; 
that    in    Central  America,    the  earlier 
Maya  communities  of  Yucatan  and  the 
temple  cities  of  Guatemala  and  Hon- 
duras were  in  their    prime,   and    that 
in  far-away  Peru  the  Incas  were  run- 
ning their  course. 

It  must  be  remembered  that  chrono- 
logical exactness  is  not  claimed  for  the 
above  suppositions.  It  is  an  impression 
gained  by  a  study  of  all  these  places. 
That  there  was  an  epoch  of  great  build- 
ing in  America  from  Colorado,  Utah, 
Arizona  and  New  Mexico  to  Peru,  ex- 
tending over  several  centuries  and 
finished  long  before  the  European  inva- 
sion is  an  hypothesis  that  is  advanced 

[27] 


with  some  confidence.  It  assumes  that 
the  period  originated  with  the  establish- 
ment of  the  sedentary  communities  over 
this  vast  region,  all  of  which  invited  this 
mode  of  life  as  the  great  plains  with 
their  countless  buffalo  herds,  the  tem- 
perate forest  and  mountain  areas  with 
abundant  game  and  fish,  and  coast  re- 
gions with  bountiful  resources  of  sea 
food,  would  not.  Where  subsistence 
was  derived  mainly  from  the  soil,  and 
corn  was  the  chief  product  it  became  a 
matter  of  vital  interest  to  the  people 
to  secure  land  in  permanence  and  insure 
its  water  supply  and  build  permanent 
structures  for  residence,  defense  and 
religious  practices. 

There  is  a  similarity  of  resources 
throughout  this  entire  region.  It  occu- 
pies the  Cordillera,  with  its  principal 
foci  of  population  in  high  altitudes  with 
the  exception  of  where  the  continent 
narrows  down  to  the  connecting  strip 
between  the  two  Americas,  and  the 
Maya  built  their  towns  as  far  down  the 
slopes  as  sea  level.  From  its  northern 
to  its  southern  extremities  corn  was  the 
common  factor  of  cultural  evolution,  as 
metal  was  in  Europe.  With  the  excep- 
tion of  the  mid-tropical  region  it  was 
necessary  to  farm  by  irrigation,  rainfall 
being  too  unevenly  distributed  over  the 
seasons  to  insure  germination,  growth, 
fertilization  and  maturity  of  corn  and 
other  food  crops.  The  conditions  of 
climate  and  subsistence  were  suffi- 
ciently alike  to  produce  throughout  a 
general  type  of  social  structure,  dis- 
cernible in  the  building  of  the  towns; 
and  a  religion  based  upon  the  Indian's 
view  of  nature  which  was  practiced  with 
great  zeal.  Pottery  making  and  weav- 
ing of  fabrics  were  arts  that  were  gener- 
ally cultivated. 

vSo  a  building  culture  came  into  exis- 
tence in  localities  that  invited  perma- 
nence.    The  students  of  vSouthwestcrn, 


ART  AND  ARCHAEOLOGY 


JMexican,  Central  American  and  Peru- 
vian archaeology  have  tentatively  as- 
signed to  the  sites  under  investigation 
an  antiquity  of  from  one  to  two  thousand 
years.  During  this  epoch  the  energies 
of  the  people  were  thrown  into  building, 
not  altogether  out  of  need  for  housing 
but  as  a  development  of  religious  ac- 
tivity. For  example:  in  the  town  of 
Chettro  Kettle,  now  being  excavated, 
the  indications  are  that  not  less  than 
fifty  kivas  (sanctuaries)  will  be  un- 
covered. Frcm  the  top  of  the  pyramid 
of  the  sun  at  Cholula,  Mexico,  the  sites 
of  not  less  than  ninety  temple-pyramids 
may  be  seen.  The  period  ran  its  course 
and  was  far  into  its  decline  when 
America  was  invaded  from  Europe. 
This  decay  would  have  been  easy  to 
account  for  had  it  not  set  in  until  after 
1492.  The  shock  of  the  European  con- 
quest could  not  fail  to  radically  change 
the  direction  of  the  energies  of  the 
people.  It  would  give  them  a  new 
and  dominating  concern  which  would 
modify  their  entire  history.  But  the 
movement  reached  its  apex  centuries 
before.  It  would  seem  that  it  simply 
ran  its  course  and  passed  naturally  into 
decline  as  did  the  epoch  of  cathedral 
building  in  Europe  in  the  middle  ages, 
and  as  such  exuberance  usually  does. 

In  Chaco  Canyon  the  range  of  activ- 
ity was  necessarily  small,  so  that  energy 
not  employed  in  food  production  went 
into  religious  ceremonies,  building,  and 
ceramic  art,  all  rather  closely  inte- 
grated. The  result  was  such  a  pihng 
up  of  architectural  monument  as  has 
rarely  occurred  in  the  world.  Lieut. 
Simpson  estimated  that  in  the  con- 
struction of  Chettro  Kettle  not  less 
than  thirty  million  pieces  of  stone  had 
been  quarried,  transported,  shaped  and 
laid  in  the  walls.     We  now  know  that 


he  might  more  accurately  have  made  his 
estimate  fifty  million,  so  much  more  of 
the  town  being  buried  than  he  supposed 
and  in  a  great  part  of  the  walls  there 
being  an  average  of  eight  hundred 
pieces  to  the  square  yard  instead  of  the 
four  hundred  and  fifty  counted  by  him. 
In  addition  to  this,  the  thousands  of 
logs,  poles  and  slabs  that  had  to  be  cut 
in  distant  forests,  transported  by  man 
power,  prepared  with  stone  tools  and 
built  into  the  structures ;  the  tons  upon 
tons  of  mortar  that  had  to  be  made — 
altogether  it  represents  a  prodigious 
task  for  the  rather  small  population  of 
Chettro  Kettle.  This,  it  must  be  re- 
membered, was  repeated  proportion- 
ately in  each  of  the  twelve  large  com- 
munities of  the  Chaco  Canyon,  and  an 
unknown  number  of  small  villages. 
And  it  was  no  unwilling  work  under  the 
lash  of  priestly  or  kingly  task  masters; 
the  American  Indians  were  never  so 
ruled.  It  was  the  spontaneous,  per- 
haps intuitive,  impulse  of  a  virile  peo- 
ple, comparable  to  the  heaping  up  of 
great  mounds  far  in  excess  of  actual 
needs,  by  insect  communities.  Other 
examples  might  be  pointed  out  of  the 
excessive  activities  of  the  human  species 
as  the  building  of  the  earth  mounds  of 
the  Mississippi  valley,  the  Eg>'ptian 
pyramids,  the  Great  Wall  of  China  and 
the  European  cathedrals  of  the  middle 
ages.  A  parallel  to  it  is  seen  in  the 
present-day  piling  up  of  wealth  beyond 
the  needs  or  possible  uses  of  accumula- 
tors. The  endless  repetition  of  money- 
making  transactions  characterizes  our 
commercial  age  of  today,  which  is  being 
lived  as  unconsciously  to  the  majority 
of  people,  so  far  as  its  real  meaning  is  con- 
cerned, as  was  the  building  millennium 
of  the  aboriginal  Americans  in  their  time. 

School  of  American  Research,  Santa  Fe,  N.  M. 


[28; 


THE  EMERGENCE  OF  CHACO  CANTON 


IN  HISTORY 
By  Lansing  B.  Bloom 


THE  TERM  "Chaco"  is  today  re- 
stricted in  usage  to  the  canyon 
which  bears  that  name.  His- 
torically, however,  it  was  of  much  wider 
significance,  designating  at  least  a  large 
part  of  the  drainage  area  in  which 
this  canyon  with  its  mysterious  and 
wonderful  ruins  is  the  central  feature. 
Whether,  as  originally  applied,  it  in- 
cluded any  of  the  country  north  of  the 
canyon  is  not  known,  but  it  did  cover 
the  mesa,  or  tableland,  lying  north  of 
Mt.  Taylor  and  extending  from  the 
continental  divide  westward  for  many 
miles. 

Whether  the  name  of  this  area  has 
come  down  from  antiquity  or  simply 
from  early  vSpanish  times  cannot,  un- 
fortunately, be  stated  definitely.  The 
term  "  Chacra,"  now  associated  with 
the  mesa  above  indicated,  is  a  Spanish 
word  meaning  "a  house  of  the  field" 
and  no  doubt  refers  to  the  Navaho 
hogans  which,  from  earliest  historic 
times,  were  scattered  over  this  region. 
The  2nd  report  of  the  U.  S.  Board  on 
Geographical  Names  (1890-99)  defines 
"Chacra:  (not  Chaca  nor  Chaco)  Mesa 
in  Bernalillo  Co.,  New  Mexico.  "  Maps 
and  manuscripts  of  the  i8th  century 
and  even  later  do  not  use  either  the 
word  Chaco  or  Chacra;  instead  we  find 
the  terms  Chaca,  Chusca,  "la  mesa  de 
Chaca,"  Chacat,  and  various  refer- 
ences to  the  Navaho  occupants  of  the 
region. 

A  petition  dated  1761,  for  example, 
for  a  grant  in  the  Rio  Puerco  valley, 
recites  the  western  boundary  asked  as 
"la    sierra    alta    do  fide    siembran     los 


Apaches  Nabajoses."  Another  petition 
of  1766  drew  forth  the  comment  by 
Gov.  Velez  Cachupin  that  the  peti- 
tioners might  have  joined  the  new  set- 
tlements of  San  Miguel  de  Laredo  and 
San  Gabriel  de  las  Nutrias  (also  in  the 
Puerco)  but  they  doubtless  feared  to  do 
so  as  these  were  "frontier  settlements" 
and  they  lacked  courage,  preferring  to 
register  for  pasturage  "in  the  peaceful 
region  of  the  Navajo  country;"  but  he 
made  the  grant,  on  condition  that  the 
natives  of  that  district  did  not  object 
and  permitted  them  the  use  of  their  pas- 
ture grounds,  they  on  their  part  to  en- 
deavor not  to  injure  the  said  Apache 
Indians.  The  commissioner,  named  by 
the  governor  to  investigate  the  merits 
of  this  petition,  reported  among  other 
things:  "In  regard  to  whether  the 
Navajo  Apaches  have  planted,  or  now 
plant,  upon  the  land  applied  for,  I 
state  that  I  have  seen  in  a  branch  of 
the  little  valleys  scattered  here  and 
there  a  few  corn  stalks,  but  I  have 
never  observed  that  the  Apaches  lived 
near  these  small  patches  of  com,  but 
they  mostly  make  their  huts,  owing  to 
their  dread  of  the  Utahs,  distant  and  on 
the  highest  and  roughest  parts  of  the 
mesas. " 

A  petition  of  1767  has  similar  refer- 
ence to  "the  fields  which  the  Apaches 
de  Navajo  are  accustomed  to  plant." 
Another,  of  1768,  asks  for  lands  "un- 
cultivated, unsettled,  situated  on  the 
slope  of  the  Navajo  country,"  and 
recites  as  northern  boundary-  "a  white 
mesa  called  the  Mesa  de  Chaca.  "  And 
still  another,  encroaching  on  the  Navaho 


[29] 


1-  v:i*tv^  -#  :^^!-t>^T^?^?  ^ 


^"'^^^^^^^^^^^  :  ..v'^^^ 


-*4«- 


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V 


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, ;  ^  \   -  .^1    Ui    nui-iirn 


.A. 


,1.\ 


\ 


v'.'H 


o  ur-^i)**' 


if;'- 5 
.     / 


' '  t. 


./.>,V 


,4^"=*     : 


■^    • 


*  'V 


Map  5y,^  Library  of  Congress 

Section  of  a  Map  by  Don  Bernardo  Miera  y  Paciieco,  dated  Jan.  3,  1777 


ART  AND  ARCHAEOLOGY 


country  and  involving  a  spring  called 
vSan  M'iguel,  asserted  that,  "altho  some 
small  parties  of  Apaches  of  said  prov- 
ince are  accustomed  to  live  at  said 
spring,  this  will  not  prevent  them  from 
so  doing,  but  will  rather  serve  to  con- 
ciliate and  gratify  them,  and  con- 
tribute to  their  quietude  whilst  in  our 
lawful  friendship  and  good  relations." 
The  commissioner  in  the  last  case  found 
no  Navaho  Apaches  at  the  spring,  but 
was  told  by  other  Navahoes  that  "usu- 
ally when  out  hunting  a  few  come  to 
reside  a  short  time  at  said  spring." 

All  the  above  grants  were  in,  or  west 
of,  the  Rio  Puerco  valley  and  north  of 
Mt.  Taylor,  and  they  show  beyond 
question  that  "the  Chaco"  was  then  in 
the  Navaho  country.  In  fact,  it  always 
has  been.  Excavations  of  the  past  sea- 
son have  uncovered  typically  Navaho 
cists,  such  as  are  today  used  by  this 
people  in  parching  com,  and  they  ap- 
pear at  levels  in  the  Chettro-Kettle 
ruins  which  certainly  antedate  con- 
siderably the  entrance  of  the  first  Span- 
iards in  New  Mexico. 

How,  then,  did  the  word  "Chaco" 
become  attached  to  this  region?  If  we 
identify  it  as  a  Spanish  word,  it  is  of 
South  American  origin  and  means  the 
"circle  formed  by  Indians  in  hunting 
the  vicufia."  Describing  the  linguistic 
stocks  of  "the  Gran  Chaco"  in  vSouth 
America,  Brinton  states  that  the  word 
"Chaco"  is  properly  chacu,  a  Kechua 
word  applied  to  game  driven  into  pens, 
and  he  cites  Lozano  as  authority  for 
its  metaphoric  use  in  reference  to  the 
numerous  tribes  driven  from  their 
homes  into  the  forests.  Similarly  Ban- 
delier,  discussing  the  communal  charac- 
ter of  hunting  as  practiced  by  Pueblo 
Indians,  says:  "What  in  Peru  has  been 
described  as  the  'Cha-cu,'  or  great 
hunting  expeditions  of  the  Incas,  could 
be  witnessed  in  New  Mexico  as  late  as 

[31] 


this  century,"  and  he  goes  on  to  speak 
of  the  periodical  "rabbit  drives"  a,s  a 
survival   of    such  communal    hunting. 

It  is  known  that  certain  of  the  early 
vSpaniards  who  came  to  New  Mexico 
had  had  previous  acquaintance  with 
vSouth  America.  Governor  Penalosa, 
for  example,  who  held  office  from  1661 
to  1664,  was  born  in  Peru.  He  paid 
ofhcial  visits  to  Zuni  and  to  Aloqui,  and 
he  must  have  skirted  close  to  the  region 
now  known  as  the  Chaco,  if  he  did  not 
actually  cross  it ;  but  what  similarity  to 
the  Gran  Chaco  he,  or  any  other  Span- 
iard, could  have  seen  sufficient  to  apply 
this  name  is  certainly  not  clear.  If  the 
word  is  of  South  American  origin,  the 
only  reasonable  theory  would  seem  to 
be  that  the  author  of  the  name  had 
been  witness  to  an  impressive,  spec- 
tacular drive  of  game  by  the  Apaches 
de  Navaho — not  on  horseback  and  with 
muskets,  but  afoot  and  with  only  their 
primitive  weapons,  as  described  by  such 
early  writers  as  Villagra  and  Torque- 
mada. 

It  is  probable,  however,  that  "Chaco" 
is  the  Hispanicized  form  of  some  word 
found  locally.  This  is  suggested  by  the 
variant  forms  "Chaca"  and  "Chacat, " 
both  of  which  appear  earlier  than 
"Chaco."  Indeed,  it  is  an  interesting 
fact  that  the  spelling  "Chaco"  is  not 
found  previous  to  1849,  though  of 
course  this  form  may  have  been  used 
long  before  that  date. 

Doubtless  no  Spaniard  of  his  time 
was  better  informed  regarding  the 
"Provincia  de  Nabajoo"  than  Don 
Bernardo  Miera  y  Pacheco,  who  ac- 
companied Padres  Domingues  and 
Escalante  on  their  exploring  expedition 
of  1776,  and  who  subsequently  drafted 
the  map  which  accompanied  their  re- 
port, a  section  of  wliich  is  shown  here- 
with. "  Formerly  chief  alcalde  and  war 
captain  of  Pecos  and  Galisteo, "  he  was 


ART  AND  ARCHAEOLOGY 


commissioned  in  1761  by  Governor 
ToMias  \^clez  Cachupin  to  investigate 
tlie  merits  of  a  claim  to  what  is  now 
known  as  the  Lagunitas  Grant.  Again, 
in  the  summer  of  1769,  his  name  ap- 
pears as  a  witness  in  the  papers  relating 
to  the  Agua  Salada  Grant.  Both  of 
these  grants  lay  in  the  valley  of  the 
Rio  Puerco,  next  to  the  frontier  of  the 
Navaho  Province,  and  in  all  such  grants 
is  evidence  of  some  knowledge  at  least 
of  the  country  beyond  that  frontier. 
It  is  doubtful,  however,  whether  Miera 
y  Pacheco  ever  actually  saw  the  pueblo 
ruins  in  Chaco  Canyon,  as  the  jour- 
ney of  1776,  while  it  completely  en- 
compassed the  Navaho  country,  yet 
crossed  only  the  southwestern  part  of 
it;  and  moreover  his  map  particularly 
makes  the  ruins  of  the  Mesa  Verde  area, 
whereas  here  it  indicates  simply  hogans 
with  accompanying  springs  as  "Chus- 
ca, "  "Chacat, "  and  "ojo  de  las  casas 
de  Navajoo. " 

"Chusca"  as  here  used  is  probably 
of  Navaho  origin  rather  than  Spanish, 
but  "Chacat"  is  not.  Yet  the  latter 
seems  a  more  archaic  form  of  "  Chaca, " 
and  this  in  turn  could  readily  have 
been  modified  into  the  variants  "Cha- 
cra"  and  "Chaco."  That  "Chaca" 
was  not  considered  an  adjective  by  the 
Spaniards  is  evident  by  the  reference  in 
the  papers  of  the  Ignacio  Chavez  grant 
to  the  high  mesa  west  of  the  Rio  Puerco 
as  "una  Mesa  Blanca  que  comunmente 
llaman  la  Mesa  de  Chaca"  (a  White 
Mesa  commonly  called  the  Mesa  de 
Chaca.)  And  in  passing  it  may  be  said 
that  the  word  "white"  in  this  phrase 
indicates  the  Navaho  origin  of  the  name 
"  Chusca  "  given  by  Miera  y  Pacheco  to 
approximately  the  same  part  of  the 
Navaho  country.  But  as  to  "Chacat" 
and  its  derivatives  all  that  can  be 
affirmed  is  that  they  are  not  Spanish  or 
Navaho,   but    presumably    have    been 


transmitted  through  the  Navaho  from 
some  other  Indian  source.  Whether  any 
linguistic  evidence  of  historic  value 
along  this  line  can  be  secured  from 
Zuni,  Moqui,  Jemez,  or  elsewhere, 
is  yet  to  be  ascertained. 

The  field  of  legend  and  tradition  like- 
wise gives  evidence  which  is  chiefly 
negative.  The  Montezuma  legend  is 
certainly  an  anachronism,  and  the 
tradition  of  the  origin  of  the  Aztlans, 
whatever  historic  fact  may  underlie 
it,  cannot  be  connected  with  the  pueblo 
ruins  of  the  San  Juan  drainage  if  present 
indications  are  corroborated  by  subse- 
quent findings  in  the  research  which  is 
now  being  carried  on.  The  cultural 
evidence  thus  far  secured  shows  relation 
of  the  builders  of  the  Chaco  Canyon 
pueblos  with  the  Pueblo  Indians  in 
New  Mexico  rather  than  with  any  peo- 
ple of  Uto-Aztecan  stock;  and  the 
somatic  data  presented  by  Louis  R. 
vSullivan  in  the  October  number  of  the 
A?itJ!ropologist,  altho  tentative,  is  an 
indication  in  the  same  direction. 

Because  of  a  curious  similarity  to  the 
name  "Chaca"  it  may  not  be  out  of 
place  here  to  give  a  little  of  the  Aztlan 
tradition  as  quoted  in  "Puchas  His 
Pilgrimes"  from  the  Jesuit  writer, 
Acosta.  The  second  settlers  in  Mexico, 
he  says,  were  the  Navatalcas  (Nahua- 
tals)  who  "came  from  other  farre  Coun- 
treyes,  which  lye  toward  the  North, 
where  now  they  have  discovered  a 
Kingdome  thev  call  New  Mexico. 
There  are  two  Provinces  in  this  Coun- 
trey,  the  one  called  Aztlan,  which  is  to 
say  a  place  of  Herons;  the  other  Tucul- 
huacan,  which  signifies  a  Land  of  such, 
whose  Grandfathers  were  divine.  The 
Inhabitants  of  these  Provinces  have 
their  houses,  their  lands  tilled,  Gods, 
Customes,  and  Ceremonies,  with  like 
order  and  government  to  the  Navatal- 
cas, and  are  divided  into  seven  Tribes 

[32] 


ART  AND  ARCHAEOLOGY 


or  Nations:  and  for  that  they  have  a 
custome  in  this  Province,  that  every 
one  of  these  Linages  hath  his  place  and 
private  Territorie,  the  Navatalcas  paint 
their  beginning  and  first  Territorie  in 
figure  of  a  Cave,  and  say  that  they  came 
forth  of  seven  Caves  to  come  and  people 

the  Land  of  Mexico By 

the  supputation  of  their  Bookes,  it  is 
about  eight  hundred  yeeres  since  these 
Navatalcas  came  forth  of  their  Coun- 
trey,  reducing  which  to  our  accompt, 
was  about  the  yeere  of  our  Lord 
720. 

"These  seven  Linages  I  have  spoken 
of,  came  not  forth  altogether:  the  first 
were  the  Suchimikos,  which  signifie  a 
Nation  of  the  seeds  of  flowers.  .  .  . 
Long  time  after  came  they  of  the  second 
Linage  called  Chalcas,  which  signifies 
people  of  mouthes,  who  also  built  a 
Citie  of  their  name. 

The  same  form  appears  in  Clavigero's 
Ilistoria  A  ntigiia  de  Mejico  in  the  name 
Chalcatzin,  whom  he  lists  as  the  second 
of  seven  chiefs  under  whom  the  Toltecs 
began,  in  596  A.  D.,  their  migration 
from  the  "kingdom  of  Tollan, "  lying 
northeast  of  Nuevo  Mejico;  but  unless 
the  pueblo-builders  of  "Chacat"  had 
some  affinity  with  the  ancient  Uto- 
Aztecans  there  can  be  no  significance  in 
these  similarities. 

The  earliest  reference  to  an  actual 
visit  to  the  Chaco  may  be  that  given  in 
Brinton's  "  American  Race  "  :  "When, 
in  1735,  Pedro  de  Ainza  made  an  expe- 
dition from  vSanta  Fe  against  the  Nava- 
jos,  he  discovered  tribes  dwelling  in 
stone  houses  'built  within  the  rocks,' 
and  guarded  by  watch-towers  of  stone. 
The  Apaches  still  remember  driving 
these  cliff-dwellers  from  their  homes, 
and  one  of  the  Apache  gentes  is  yet 
named  from  them,  'stone-house  peo- 
ple.'" This  is  more  applicable  to  the 
buildings  in  the  Canon  de  Che-gui  (now 

[33] 


spelled  Chelly),  but  such  an  expedition 
might  well  have  crossed  the  Chaca 
Mesa  and  perhaps  visited  the  Chaco 
Canyon.  Yet  the  maps  of  Miera  y 
Pacheco,  forty  years  later,  indicate  no 
acquaintance  with  these  impressive 
ruins,  and  no  reference  to  any  of  them 
is  recorded  until  1844.  The  Navahos 
were  thoroughly  respected  by  the  vSpan- 
iards  and  Mexicans  as  lords  of  their 
own  country,  and  even  in  the  i8th 
century  they  were  by  far  the  better 
equipped,  both  in  arms  and  horses.  In 
1778  the  Spaniards  of  New  Mexico 
could  report  only  84  serviceable  mus- 
kets and  8  guns,  one  of  which  had  no 
carriage. 

To  Gregg  must  be  giv^en  the  credit  of 
having  introduced  the  reading  public  to 
the  Chaco.  His  "Commerce  of  the 
Prairies"  was  published  in  1844,  after 
he  had  had  some  nine  years'  experience 
in  northern  Mexico.  Discussing  various 
ruins  of  the  southwest,  he  gives  the 
following  with  reference  to  Pueblo 
Bonito  and  the  other  ruins  of  this  area: 
"There  is  sufficient  evidence  in  the  ruins 
that  still  exist  to  show  that  those 
regions  were  once  inhabited  by  a  far 
more  enlightened  people  than  are  now 
to  be  found  among  the  aborigines.  Of 
such  character  are  the  ruins  of  Pueblo 
Bonito,  in  the  direction  of  Navajo,  on 
the  borders  of  the  Cordilleras;  the 
houses  being  generally  built  of  slabs  of 
fine-grit  sand-stone,  a  material  utterly 
unknown  in  the  present  architecture  of 
the  North.  Although  some  of  these 
structures  are  very  massive  and  spa- 
cious, they  are  generally  cut  up  into 
small,  irregular  rooms,  many  of  which 
yet  remain  entire,  being  still  covered 
with  the  vigas  or  joists,  remaining  nearly 
sound  under  the  azotcas  of  earth ;  and  yet 
their  age  is  such  that  there  is  no  tradi- 
tion which  gives  any  account  of  their 
origin.    But  there  have  been  no  images 


ART  AND  ARCHAEOLOGY 


or  sculptured  workjofrany  kind  found 
about  them.  Besides  these,  many  other 
ruins  (though  none  so  perfect)  are  scat- 
tered over  the  plains  and  among  the 
mountains.  What  is  very  remarkable 
is,  that  a  portion  of  them  are  situated  at 
a  great  distance  from  any  water;  so  that 
the  inhabitants  must  have  depended  en- 
tirely upon  lain,  as  is  the  case  with  the 
PueJalo  of  Acoma  at  the  present  day.  " 

Col.  A.  W.  Doniphan,  in  his  expedi- 
tion into  the  Navalio  country  in  the 
fall  of  1846,  seems  to  have  traversed 
what  is  now  called  "Chacra  Mesa." 
After  receiving  advices  from  Major 
Gilpin  who  had  ascended  the  Chama 
River  and  entered  the  Navaho  country 
from  the  north.  Col.  Doniphan  started 
out  from  Cubero  and  marched  for  two 
days  toward  the  sources  of  the  Puerco 
River,  into  "a  district  of  countr>^  occu- 
pied by  that  canton  of  Navajoes  of 
whom  Sandoval  was  chief."  His  com- 
pany then  traveled  over  "a  valley 
country  in  a  westerly  direction — gently 
rolling  hills,  rocky  bluffs,  bench  lands, 
then  crags  and  bleak  knobs,  and  then 
barren  naked  giant  masses  of  gray 
granite  and  dark  basalt  rising  on  the 
right,  and  a  heavy  forest  of  pines  and 
cedars,  always  verdant,  spreading  over 
the  lowlands  to  the  left.  The  surface  of 
the  country  continued  uniform  for  the 
next  two  days'  march  ...  to 
Bear  Spring. "  If  this  route  took  him 
down  the  Chaco  Wash,  he  must  have 
seen  many  of  the  ruins;  it  is  probable, 
however,  that  he  bore  to  the  west  before 
he  had  gone  sufficiently  to  the  north. 

Shortly  before  this,  Captain  Reid,  of 
Doniphan's  command,  had  gone  on  a 
mission  into  the  Navaho  country  with 
only  thirty  volunteers ;  but  the  general 
direction  which  he  took  was  first  west 
and  then  north.  The  author  of  "  Doni- 
phan's Expedition"  states  that  the 
New    Mexicans    were    amazed    at    the 


temerity  of  Capt.  Reid's  proceeding, 
but  the  Navaho  chief,  Sandoval,  proved 
a  reliable  guide;  "besides,  the  New 
Mexicans  have  but  a  very  limited 
knowledge  of  that  mountain  country, 
never  departing  from  their  settlements 
through  fear  of  the  Indians." 

To  Lieutenant  James  W.  Simpson  is 
due  the  first  account  of  the  Chaco  ruins 
in  any  official  report,  and  it  is  worthy  of 
mention  also  that  he  was  the  first  to  use 
the  spelling  "Chaco."  He  was  con- 
nected with  the  corps  of  topographical 
engineers,  and  in  August  1849  he  accom- 
panied Governor  John  M.  Washington 
on  an  expedition  to  the  Navaho  country, 
which  started  from  Jemez  and  by  way 
of  the  Nacimiento  struck  west  to  the 
head  of  Chaco  Canyon.  His  descriptions 
and  illustrations  of  Pueblo  Pintado,  Wi- 
ji-ji,  Una  Vida,  Hungo-Pavi,  Pueblo 
Bonito,  and  others  are  not  only  interest- 
ing but  they  are  especially  valuable  be- 
cause of  the  data  they  give  for  compara- 
tive study  of  the  same  ruins  today. 

At  some  time  during  the  period 
1850-57  occurred  what  may  be  con- 
sidered the  first  scientific  reconnais- 
sance of  the  Chaco  ruins.  L'Abbe  Em. 
Domenech,  who  was  both  an  apostolic 
missionary  and  a  member  of  the  Geo- 
graphical and  Ethnographical  Societies 
of  France,  returned  to  that  country  to 
interest  others  in  his  "beloved  savages. 
One  result  of  his  seven  years  of  travel 
and  investigation  in  the  United  States 
was  the  publication  of  two  works,  and 
in  "The  Great  Deserts  of  North  Amer- 
ica" is  reference  to  these  ruins. 

This  writer  defines  two  roads  from 
vSanta  Fe  to  Zuni,  diverging  at  Santo 
Domingo:  "one  passes  northwest,  trav- 
ersing the  Navajos  country."  After 
fording  at  vSanto  Domingo,  the  traveler 
goes  down  the  Rio  Grande  to  the  mouth 
of  the  Jemez  River,  then  up  that  stream 
to  Santa  Ana,  San  Isidro,  Jemez,  and  to 


[34] 


ART  AND  ARCHAEOLOGY 


the  thermal  springs  and  ruined  Spanish 
mission  12  miles  above  that  pueblo. 
"Going  still  deeper  into  the  western 
solitudes  the  ruins  increase  in  number. 
The  first  are  those  of  the  Pueblo  Pin- 
tado, in  the  Sierra  de  los  Mimbres,  then 
those  of  We-je-gi,  from  whence  you  also 
perceive  magnificent  mountains,  rocks 
piled  one  above  the  other,  truncated 
cones,  natural  columns  broken,  and  pla- 
teaux overgrown  with  cedars  and  pines. 
It  is  there  that  the  desert  truly  appears 
in  all  its  grandeur.  Northwest  of  the 
Pueblo  of  \\x-je-gi  is  situated  the  Mesa 
Fachada,  which  is  a  very  vast  tableland, 
as  smooth  as  a  lake,  and  whose  bound- 
less horizon  reminds  one  of  the  immensity 
of  the  ocean.  You  next  enter  the  canyon 
of  Chaco;  on  the  northern  summit  of 
this  deep  glen  are  the  ruins  of  eight 
other  pueblos,  lying  at  a  distance  of 
nine  miles  and  a  half  from  each  other; 
judging  from  their  dimensions,  the 
principal  ones  would  be  the  pueblos 
of  Hungo,  Parie,  Chetro,  Kettle,  Bonito, 
del  Orroyo,  and  Penasca  Blanca.  The 
heart  saddens  at  the  sight  of  so  many 
deserted  towns  which  time  is  daily 
demolishing  since  their  extinct  popula- 
tions lie  smouldering  in  their  silent 
graves. "  The  misrendering  of  some  of 
the  above  names  must  have  been  an 
oversight  in  proof-reading,  as  they  are 
correctly  given  later  in  the  same   volume. 

In  the  year  1858  several  autographs 
by  members  of  "Co.  E,  R.  M.  B. "  were 
added  to  the  pictographswhich  had  been 
left  on  the  walls  of  the  canyon  by  its  an- 
cient inhabitants.  This  was  a  year  of 
serious  trouble  with  the  Navahoes,whom 
the  Mormons  were  asserted  to  have  sup- 
plied with  firearms,  and  troops  were 
brought  in  from  abroad ;  but  what  unit 
"R.  M.  B."  represents  cannot  be  stated. 

With  the  printing  of  the  accounts  of 
Gregg,  a  prairie-trader,  of  Simpson,  an 
army  officer,  and  of  Domenech,  mis- 
sionary and  scientist,  Chaco  Canyon  and 

[35] 


its  ruins  may  be  said  to  have  emerged 
from  the  oblivion  of  centuries.  Since 
their  time,  many  have  been  the  adven- 
turer, soldier,  trader,  and  scientist  who 
has  either  gazed  on  their  walls  with 
merely  curious  eye  or  felt  his  imagina- 
tion quicken  as  he  stood  before  the 
stilled  heart,  as  it  were,  of  a  civilization 
which  had  hushed  into  silence  far  out  in 
the  plains,  many  miles  from  the  hvury- 
ing,  resounding  world  as  he  himself 
knew  it.  Merely  to  name  over  the 
writings  which  have  resulted  from  the 
impressions  thus  received  would  neces- 
sitate a  bibliography  of  considerable 
length;  in  addition  to  those  already 
mentioned,  it  would  needs  include  the 
names  of  Bell,  Bickford,  Cope,  Gushing, 
Hardacre,  Hewett,  Holtzinger,  Jackson, 
Loew,  Lummis,  Matthews,  Mindeleff, 
Morgan,  Pepper,  Powell,  and  Putnam. 

Once  only  since  the  coming  of  the 
Spaniard  has  the  busy,  commercial 
world  of  today  crowded  in  upon  the 
Chaco.  From  1896  to  1902  the  Hyde 
Exploration  Expedition  established  at 
Pueblo  Bonito  the  headquarters  of  an 
extensive  trading  enterprise.  During 
this  period  great  lines  of  freighters  were 
constantly  pulling  in  from  Gallup  or 
Thoreau,  and  others  went  out  to  the 
minor  trading  posts  over  the  Navaho 
country;  and  Bonito  itself  (or  Putnam, 
as  the  post-office  was  called)  was  a 
swarming  hive  of  traders,  Navahoes  and 
other  Indians,  cowboys,  adventurers, 
and  an  occasional  scientist  or  investi- 
gator. But  that  time  has  long  since 
past,  and  nothing  remains  of  it  all  ex- 
cept a  little  store  which  is  maintained 
by  its  owner  simply  for  the  benefit  of 
his  sheep-herders  who  winter  their 
flocks  in  that  neighborhood.  The  Chaco 
has  dropped  back  into  the  brooding 
silence  of  centuries,  ready  to  welcome 
those  who  come  to  learn  the  secrets 
still  hidden  within  its  ruins. 

Santa  Fe,  N.  M. 


ECONOMIC  RESOURCES  OF  CHACO  CANYON 


By  Wesley  Bradfield. 


IT  LS  BELIEVED  that  the  natural 
economic  resources  of  the  Chaco 
Canyon  region,  available  to  the  in- 
habitants of  its  prehistoric  pueblos, 
varied  materially  from  those  of  the 
present  day.  The  water  supply  was 
the  foundation  of  the  whole  economic 
life.  Upon  the  determination  of  the 
source  and  quantity  of  this  water  sup- 
ply rests  the  solution  of  many  problems 
connected  with  the  past  history  of  these 
people,  of  whom  we  have  as  yet  but  little 
knowledge. 

Today,  wells  have  to  be  dug  to 
furnish  sufficient  water  to  enable  this 
territory  to  be  used  as  a  winter  range 
for  sheep.  The  fall  of  snow  with  what 
water  is  available,  is  insufficient.  In 
spring  and  summer  the  rains  are  too 
light  to  provide  water  enough  for  more 
than  a  very  small  number  of  animals. 
There  are  five  or  six  springs  within  the 
region,  each  of  which  supplies  only 
enough  water  for  as  many  Navaho 
families. 

The  great  Chaco  Wash,  which  carries 
water  only  after  heavy  rains,  except  in 
an  underground  flow,  and  which  drains 
this  fertile  canyon,  has  been  formed  by 
erosion  within  the  last  few  generations. 
It  has  broken  through  the  deep  clayey 
soil  of  the  canyon  floor,  into  the  under- 
lying sand  stratum.  It  is  from  fifteen 
to  thirty  feet  in  depth,  and  from  fifty 
feet  to  one-fourth  of  a  mile  in  width  in 
its  lower  course.  At  the  present  time 
the  erosion  varies  with  the  intensity  of 
the  periodic  rains  throughout  the  upper 
drainage  area  and  along  its  tributaries. 
Visible  effects  of  this  erosion  have 
greatly  increased  within  the  last  twenty 


years.  This  Wash  has  become  the  great 
drainage  canal  of  the  whole  valley,  and 
deprives  the  soil  immediately  adjacent 
to  it  on  both  sides  of  the  canyon  of  a 
great  part  of  its  underground  seepage 
water.  The  Russian  thistle  and  other 
desert  plants  abound.  There  are  oc- 
casional bunches  of  grass,  and  some- 
times wild  sunflowers  grow  in  the  low 
shallow  spots  in  the  upper  part  of  the 
canyon. 

The  character  and  number  of  trees 
growing  in  the  region  is  strikingly  seen 
by  going  from  the  upper  to  the  lower 
parts  of  the  canyon.  They  tell  an 
interesting  story  and  are  a  valuable 
record  of  the  change  in  water  conditions 
through  the  succeeding  centuries.  In 
the  upper  part  of  the  canyon,  there  are 
scattered  slow-growing  yellow  pines  and 
a  fair  stand  of  cedar  and  pinon  on  some 
of  the  mesas.  The  cedars  and  pinons 
extend  perhaps  nine  or  ten  miles  down 
the  canyon,  more  especially  on  its 
eastern  mesas.  Then,  for  four  or  five 
miles,  one  may  find  only  scattered 
specimens,  until,  on  the  mesa's  rim 
south  of  Chettro  Kettle,  there  remain 
two  lonely  yellow  pine  sentinels  which 
are  barely  able  to  exist.  Below  Chettro 
Kettle  and  Pueblo  Bonito  the  last 
remnants  of  the  stumps  and  roots  of 
once  flourishing  cedars  are  now  care- 
fully htmted  for  firewood.  The  last  of 
the  poplars  save  one,  which  stood  below 
Pueblo  Bonito  twenty  years  ago,  has 
disappeared,  and  one  must  go  eight 
miles  above  Chettro  Kettle  to  find  the 
very  last  guard  of  poplars  now  slowly 
dying  from  lack  of  moisture. 


[36] 


ART  AND  ARCHAEOLOGY 


Whether  the  present  desert  condition 
of  the  region  originated  in  a  rapid  de- 
nudation of  its  tree  growth,  or  was  ac- 
compHshed  slowly  by  gradual  denuda- 
tion accompanied  by  continual  light 
rain-fall  through  a  period  of  years  can 
probably  be  determined  by  further 
study  throughout  the  whole  territory 
in  question.  However,  the  evidence 
thus  far  obtained  points  to  mesas 
covered  in  centuries  past  with  a  reason- 
ably good  stand  of  cedar,  pihon  and 
yellow  pine;  to  a  canyon  floor  covered 
with  abundant  grass  in  its  meadow-like 
openings  among  flourishing  stands  of 
yellow  pine  and  poplar;  to  a  naturally 
conserved  abundance  of  soil  moisture; 
to  flowing  springs;  and  to  a  small  run- 
ning stream  that  had  not  yet  formed 
the  great  Chaco  Wash.  It  seems  prob- 
able that  in  the  centuries  past  water 
existed  in  plentiful  supply  for  each  of 
the  fifteen  pueblos  of  the  region. 

Today,  with  the  exception  of  rabbits 
and  quail,  the  game  animals  which  fur- 
nished a  great  part  of  the  food  of  the 
people  are  practically  extinct,  and  one 
must  travel  several  days'  journey  on  foot 
to  find  the  natural  feeding  grounds  of  the 
larger  game.  Evidences  of  abundant 
game,  however,  have  been  found  in  the 
limited  excavations  of  the  past  season. 
Bones  of  the  buffalo,  elk,  deer,  moun- 
tain sheep  and  bear,  together  with 
those  of  the  smaller  animals,  varying 
in  size  from  those  of  the  dog  or  wolf  to 
the  squirrel  have  been  found.  Much  of 
the  bone  material  obtained  has  not  yet 
been  fully  identified. 

Of  vegetable  foods,  a  small-eared 
com  must  have  been  the  staple.  Squash 
seeds,  pinon  nuts  and  beans  were 
taken  out  of  many  of  the  rooms.  Small 
bundles  of  plants  and  roots  of  various 
kinds,  as  yet  unidentified,  were  recov- 
ered. These  compactly  tied  bundles 
may  have  had  a  food  value,  or  may 

[37] 


have  been  used  for  other  purposes.  At 
the  present  time  the  Navahos  of  the 
same  region  gather  a  yellow-flowered 
plant,  which  matures  in  late  summer, 
tie  the  twigs  and  leaves  into  small  bun- 
dles and  use  it  throughout  the  year  for 
brewing  "  Navaho  Tea.  " 

From  the  character  of  the  ashes,  both 
in  the  great  refuse  heap  to  the  east  of 
Chettro  Kettle  and  the  debris  removed 
from  the  rooms,  wood  was  the  principal 
fuel  in  common  use.  There  are  traces 
of  coal  ash  but  not  enough  has  yet  been 
found  to  warrant  an  assertion  that  the 
people  used  coal  for  fuel  to  any  great  ex- 
tent. This  point  will  be  cleared  up  as 
excavation  progresses.  There  is  a  heavy 
outcropping  of  coal  on  both  sides  of  the 
canyon.  One  long  used  modem  tunnel 
which  extends  for  over  one  hundred 
feet  into  the  south  canyon  wall  one  mile 
below  Chettro  Kettle  runs  through  a 
vein  seven  feet  thick.  The  coal  used  this 
summer  at  the  excavation  camp  was 
obtained  one-half  mile  nearer  camp 
from  the  exposed  face  of  the  same  vein. 
If  the  people  of  Chaco  Canyon  under- 
stood the  use  of  coal  there  was  enough 
within  a  stone's  throw  to  last  them  for 
centuries. 

Clothing  material  thus  far  obtained  is 
a  negligible  quantity.  A  few  strands  of 
twisted  yucca,  rabbit  fur  entwined  with 
twisted  fibre;  and  one  finely  woven 
sandal  with  a  cord  to  pass  over  the 
great  toe  and  other  cords  to  tie  the  sides 
and  heel  to  the  ankle  are  the  principal 
finds.  Without  doubt  they  practiced 
weaving  of  fine  fabrics  and  the  use  of 
animal  skins  for  clothing,  but  these 
inferences  must  be  further  developed. 

There  was  great  abundance  of  excel- 
lent building  material.  Massive  sand- 
stone cliff's  form  the  canyon  walls.  The 
greater  part  of  this  is  one  solid  mass 
which  is  constantly  weathering  and 
falling  to  the  canyon  below.    On  top  of 


ART  AND  ARCHAEOLOGY 


the  mesa  above  Wijiji  one  may  find 
large  quantities  of  weathered  laminated 
sandstone  capping  the  canyon  walls. 
This  is  identical  with  that  used  in  the 
greater  part  of  the  excellent  masonry 
work  of  the  Chaco  Canyon  pueblos, 
and  was  abundant  everywhere  through- 
out the  region.  Adobe  for  mortar  and 
plaster  was  found  in  every  pueblo  door 
yard.  The  ceiling  beams  or  vigas  were 
principally  of  pine.  These  vary  from 
eight  to  fourteen  inches  in  diameter  at 
the  small  end  and  also  vary  in  length 
with  the  sizes  of  the  rooms  in  which 
they  were  used.  On  the  lower  floor  of 
an  excavated  room  in  Chettro  Kettle 
were  found  three  large  logs  with 
squarely  cut  ends,  one  of  which  meas- 
ured nineteen  inches.  In  this  day 
native  timber  of  every  kind  with  which 
to  build  these  pueblos  could  not  be  ob- 
tained within  thirty-five  to  forty  miles, 
and  for  the  smooth,  gradually  tapering 
logs  that  are  found  in  the  ruins  indica- 
tive of  growth  under  most  favorable 
forest  conditions,  it  would  be  necessary 
to  go  to  the  mountain  forests  many 
miles  farther  away. 

In  building  floors  smaller  pine  poles, 
and  in  many  cases  poplar,  were  laid 
across  the  heavy  vigas.  On  these  rested 
the  split  slabs  of  cedar  often  six  inches 
wide  to  six  or  eight  feet  long,  closely 
packed  straight  rods  a  half  inch  in 
diameter,  or  long  grasses  in  a  heavy 
thatch.    Over  this  was  placed  the  pure 


clay  which  was  often  intermixed  with 
cedar  bark  to  form  a  good  binding  ele- 
ment. vSmall  poles  of  pine,  cedar  or 
Cottonwood  were  used  over  the  door- 
ways and  window  openings.  For  rein- 
forcing, poles  and  small  logs  of  pine  or 
cedar  were  imbedded  in  the  walls  dur- 
ing the  course  of  erection.  One  can  but 
conclude  that  the  supply  of  timber  for 
construction  purposes,  no  matter  where 
its  source,  was  indeed  plentiful. 

Clays  of  various  degrees  of  purity, 
and  of  varying  colors  can  be  found  on 
the  mesas  nearby  as  well  as  in  the  can- 
yon. These  will  be  ultimately  tested 
to  determine  their  pottery  making  pos- 
sibilities. Red  ochre  is  found  in  small 
deposits  throughout  the  region,  but 
more  especially  in  the  lower  part  of  the 
canyon.  Red  pigments  do  not  seem  to 
have  been  used  extensively  in  coloring 
or  decorating  pottery  though  some  red 
is  found.  Obsidian  and  flint  flakes  are 
not  abundant,  but  material  of  this 
character  was  used  to  make  cutting 
edges,  arrows  and  spears.  It  may  have 
been  obtained  by  barter,  but  probably 
was  derived  from  the  mountains  to  the 
northeast  where  it  is  to  be  had  in  un- 
limited quantities. 

Such,  briefly,  were  the  natural  re- 
sources of  Chaco  Canyon  and  the 
adjacent  territory  available  for  the  uses 
of  the  people  in  the  days  of  their  great 
activities. 

Sania  Fe,  N.  M. 


[38] 


WHAT  THE  POTSHERDS  TELL 


Bv  Kenneth  M.  Chapman 


MUCH  of  the   artistic  impulse  of 
mankind    has    been   expended 
upon  the  making  and  decoration 
of  useful  objects  so  perishable  or  fragile 
that  they  are   often   destroyed  before 
their  service  has  well  begun.    Ever  since 


Fig.  1. 

primitive  man  added  ceramics  to  his 
list  of  accomplishments,  the  breakage 
of  pottery  must  have  been  one  of  the 
household's  most  serious  economic 
problems. 

One  needs  but  walk  over  the  shard- 
strewn  site  of  an  ancient  pueblo  ruin  to 
realize  fully  the  great  waste  of  time  and 
effort  in  providing  for  the  simple  culinary 
needs  of  a  primitive  community.  Large 
storage  jars,  hidden  in  some  safe  comer 
of  a  room  may  have  outlived  the  genera- 


FlG.    2. 


tion  of  their  makers;  but  water  jars  and 
canteens,  pitchers  and  dippers  must 
soon  have  met  the  fate  of  the  proverbial 
pitcher  "that  goeth  often  to  the  foun- 


tain." Food  bowls,  whose  rightful 
place  was  upon  the  floor,  must  have 
been  even  more  liable  to  accident. 

But  though  the  fragility  of  pottery 
gave  it  so  little  permanence,  it  tended 
to  perfect  the  art  by  making  necessary 
the  continual  production  of  new  ware 
to  replace  this  steady  loss,  and  thus 
ceramic  art  grew  to  be  one  of  the 
ancient  Pueblo  woman's  highest  accom- 


FlG.   3. 

plishments.  So  breakage  must  have 
been  taken  as  a  matter  of  course;  the 
fragments  were  gathered  up  in  the  day's 
sweepings  and  thrown  upon  the  com- 
munal refuse  heap  which  grew  to  be  a 
depository  of  countless  shards  repre- 
senting each  successive  period  of  the 
pueblo's  growth. 


[39] 


ART  AND  ARCHAEOLOGY 


mounds,  for  as  the  excavation  of  the 
plaza  proceeded  it  was  found  that  many 
abandoned  kivas  had  served  as  pits  for 
the  deposit  of  refuse  in  which  shards 
were  strewn  by  thousands.  At  the  close 
of  the  season's  work  it  seemed  advisable 
to  make  a  test  examination  of  the  mate- 
rial from  one  kiva.  For  this  purpose  the 
large  collection  from  kiva  No.  1 1  was 
chosen.  No  appreciable  difference  was 
found  in  the  types  of  ware  separated 
from  four  successive  levels,  so  this 
deposit  may  be  taken  to  represent  but 
one  period  in  the  life  of  Chettro  Kettle. 
The  test  may  therefore  be  considered 
as  a  study  of  the  various  types  of  ware 
of  that  one  period. 

^  These  shards  taken  from  the  stratified  The  potsherds  were  first  separated 
deposits  of  refuse  mounds  afford  the  i"to  ten  distinct  classes  and  each  of 
best  evidence  of  the  development  of  a  these  classes  was  then  further  subdi- 
pueblo's  ceramic  art.  Indeed,  they  may  ^'^ded.  This  process  was  contmued  until 
be  the  only  record  of  earlier  types.  The 
custom  of  burying  pottery  with  the 
dead  may  not  have  prevailed,  and  the 
ware  recovered  from  the  ruins  of  the 
building  itself  may  represent  only  the 
period  immediately  preceding  its  aban- 
donment. 

Perhaps  no  group  of  ancient  pueblo 
ruins  has  a  more  extensive   series  of      ^^^^ 
refuse    mounds    than    that    of    Chaco 

Canyon.    The  large  mound  of  Chettro       i  n  |(|  |  |  i  |  i  i|jj  j  M  M  M  I  I  I  I  U 

Kettle,  which  was  trenched  during  the       •  • 

excavation  of  1920,  proved  to  be  made  V J  ,!        1 

up  of  a  clearly  stratified  deposit  fully  ^ ^ 

fifteen  feet  in  depth.    A  thorough  test 

of  its  stratigraphy  will  be  an  important 

factor  in  determining  the  nature  of  the 

community's  growth.      However,   this         ^     V^' 

study  need  not  be  confined  entireh'  to  "■  Fig.  5. 

[40] 


ART  AND  ARCHAEOLOGY 


chosen  for  a  detailed  study.  A  restora- 
tion of  some  of  these  is  given  in  the  ac- 
companying figures. 

It  is  not  always  possible  to  determine 
the  nature  of  a  design  from  the  small  por- 
tion shown  in  one  shard.  An  instance 
is  given  in  Fig.  i ,  a.  This  shard  appears 
to  show  a  portion  of  a  simple  decora- 
tive band  placed  just  below  the  dotted 
rim  of  a  bowl.  But  hundreds  of  other 
shards  show  that  a  hachure  of  oblique 


Fig.  6. 

the  group  finally  chosen  for  special 
study  contained  only  the  rim  shards  of 
food  bowls  whose  smoothed  concave  or 
interior  surface  bore  geometric  designs 
in  black  upon  a  whitish  slip.  Having 
laid  out  hundreds  of  such  specimens, 
it  was  found  that  these  geometric 
designs  could  be  subdivided  into  several 
types.   Of  these  only  border  bands  were 


kkkkkkkkA 


Fig.   7. 


[41] 


ART  AND  ARCHAEOLOGY 


P^P 


m^m 


Fig.  8. 

lines  is  almost  invariably  used  in  mean- 
der patterns  or  swastika  figures  such 
as  are  shown  in  Figs.  2  and  3.  Similar 
designs  are  indicated  in  even  such  small 
shards  as  those  in  Fig.  i,  b  and  c,  so 
that  in  the  absence  of  other  portions  of 
the  rim  of  i  a,  we  are  justified  in  assum- 
ing that  what  is  apparently  a  part  of  a 
simple  border  band  is  really  but  the 
rim  portion  of  a  much  more  involved 
design.  Portions  of  two  border  bands 
^\•hich  cannot  be  restored  with  any  de- 


FlG.    9. 

gree  of  certainty  are  shown  in  Fig.  4. 
In  the  first  we  are  in  doubt  as  to  the 


[42] 


ART  AND  ARCHAEOLOGY 


manner  in  which  the  design  was  ex- 
tended at  either  end.  In  the  second, 
apparently  a  part  of  a  zig-zag  pattern 
like  those  in  Fig.  7,  we  have  no  means 
of  determining  its  full  depth. 

Having  discarded  all  the  shards 
which  presented  such  complications,  the 
collection  was  finally  cut  down'to  forty, 
each  with  a  distinct  form  of  border 
design  which  could  be  readily  de- 
ciphered. The  restoration  of  these 
decorative  bands,  about  one-third  natu- 
ral size,  is  given  in  Figs.  5  to  10  inclu- 
sive. In  Figs.  5  and  6,  the  relative  size 
and  shape  of  the  shard  is  indicated  in 
each  design.  In  Figs.  7  to  10  inclusive, 
only  the  restored  designs  are  shown. 
We  find  the  simplest  motives  in  Fig.  5 
and  the  most  complex  in  the  fret  pat- 
terns of  Fig.  10.  Many  variations  of 
the  same  motive  were  produced  by  the 
use  of  hachure,  dots,  and  even  by  slight 
changes  in  the  relative  proportion  of 
black  and  white  spaces.  It  will  be 
noticed  that  the  favored  direction  for 
oblique  lines  is  upward  from  left  to 
right,  probably  the  natural  result  of 
drawing  with  the  right  hand.  Having 
determined  something  of  the  variety 
of  these  border  designs,  it  is  also  import- 
ant that  we  know  which^'were  most 
frequently  used.  Many  other  examples 
of  some  of  these  motives  are  found, 
their  varying  size  and  proportions  show- 
ing that  they  were  not  parts  of  the  same 
bowl.  We  find,  for  instance,  several 
exact  repetitions  of  the  second  band 
from  the  top  in  Fig.  9.  This  simple  and 
effective  arrangement  of  black  and 
white  spaces  seems  to  have  been  a  fa- 

[43] 


£3 


^ 


^[M]@@ 


I'K 


vorite  for  it  also  ajipears  many  times  in 
other  combinations  with  lines  and  dots. 


ART  AND  ARCHAEOLOGY 


The  origin  and  significance  of  these 
designs  is  yet  to  be  determined.  They 
represent  but  a  small  part  of  the  decora- 
tive art  that  might  be  restored  from  the 
shards  of  kiva  1 1 .  But  the  collection 
suffices  to  show  one  of  the  many  things 
that  may  be  learned  by  working  with 
such  fragmentary  evidence. 

Potsherds  tell  of  many  other  things: 
of  clays  and  tempering  materials,  of 
slips  and  pigments.  They  record  every 
process  in  their  making  and  every  vari- 
ety in  form.  They  show  the  individual 
touch  of  their  makers;  the  crude  work 
of  inexperienced  hands  or  of  hands 
grown  old  and  infirm,  as  well  as  the 
deft  touch  of  expert  potters  who  sang 
as  they  moulded  and  painted,  even  as 
the    Pueblo   women   of   today.      They 


r  ecord  the  creative  instinct  which  mani- 
fested itself  in  the  modeling  of  birds, 
frogs  and  other  animals  to  serve  as 
handles,  lugs  and  spouts.  A  few  show 
by  their  composition,  form  and  decora- 
tion that  they  must  have  come  from 
other  areas,  thus  giving  a  hint  of  Chet- 
tro  Kettle's  intercourse  with  the  outside 
world. 

All  this  may  be  better  learned  later, 
on  by  the  recovery  of  great  quantities 
of  perfect  or  restorable  pottery.  But 
by  their  numbers  alone  the  hundreds  of 
thousands  of  shards  that  must  come  to 
light  as  the  work  of  excavation  pro- 
ceeds will  have  great  weight  in  deter- 
mining the  character  and  growth  of  the 
ceramic  art  at  Chettro  Kettle. 

Satila  Fe,  N.  M. 


TO  SIPOPHH,  THE  GATE  OF  HEAVEN* 
By  John  Peabodv  Harrington 

Not  to  the  tomb,  but  to  the  H  oinb 
Moves  on  this  pageant  strange — 
Sivept  on,  yet  deeming  that  they  guide 
Down  to  the  great  world's  Womb  they  ride. 
The  Womb  of  Change. 

That  Womb  where  start  all  things  of  heart 

And  all  things  else  beside! 
Unshadoived  are  the  thoughts  they  wear. 
And  proud  the  visage  that  they  bear; 

Lightly  they  ride. 

To  Sipophe  where  all  things  stay. 

Rally,  and  rearrange — 
How  lightly  on  the  eternal  tide 
Down  to  the  great  world's  Womb  they  ride. 

The  Womb  of  change! 

•Inspired  by  Julius  Rolshoven's  famous  painting.  "To  the  Land 
of  Sipophe."  for  a  reproduction  of  which  see  cover  picture  and  full- 
page  plate  p.  30  Art  AND  Archaeology,  Vol.  IX,  No.  i.(Jan  1920.) 


[44] 


THE  EXCAVATION  OF  CHETTRO  KETTLE, 


CHACO  CANTON,  1920 
Bv  Edgar  L.  Hewett 


I.  SCOPE  AND  METHOD   OF  THE 
FIELD  WORK 

THE  CHACO  CANYON  presents 
a  concentrated  group  of  problems. 
Except  for  the  necessary  study  of 
environmental  conditions,  the  search 
for  traditions,  and  comparative  culture 
studies  among  tribes  in  the  surrounding 
country  the  area  of  investigation  is  only 
seven  miles  long  and  a  mile  wide.  This 
omits  three  outposts,  five,  ten  and  fifteen 
miles  distant  respectively,  none  of 
which  appears  to  be  essential  in  the 
study. 

There  was  naturally  great  homo- 
geneity in  culture  throughout  this  little 
district.  Doubtless  all  the  communi- 
ties spoke  the  same  language.  While 
each  had  its  own  individuality,  as  shown 
in  the  building  of  the  towns  and  prac- 
tice of  ceramic  art,  all  evidence  points 
to  identity  in  religion,  social  structure, 
symbolism  and  ordinary  customs  of 
life.  No  cross  currents  of  alien  culture 
are  discernible.  No  indication  of  aban- 
donment, disuse  or  reoccupation  by  the 
original  stock  or  by  other  peoples  are 
found.  On  the  contrary  one  gains  the 
impression  that  a  single  tribe  of  people 
occupied  this  little  valley,  grouped 
themselves  in  community  centers, 
availed  themselves  with  exceptional 
intelligence  of  the  resources  about  them, 
held  their  own  against  all  invaders, 
developed  through  the  stages  of  com- 
munity life,  with  agriculture  and  hunt- 
ing as  the  chief  occupations  of  subsist- 
ence, grew  physically  and  intellectually 
vigorous,  and  manifested  its  virility  in 
unusual  social,  aesthetic  and  religious 

[45] 


activities — conspicuously  in  the  build- 
ing of  great  community  structures  and 
religious  sanctuaries  which  challenge 
the  admiration  and  constructive  ability 
of  our  modern  civilization.  One  seems 
to  be  studying  a  people  that  matured 
its  culture  without  serious  interruption, 
that  ran  its  course  to  the  summit  of  its 
civilization  and  then  suddenly  went 
into  oblivion.  Evidences  of  decline 
such  as  one  sees  in  modern  towns  or 
pueblos  in  New  Mexico  and  Arizona 
are  not  visible.  In  the  Rio  Grande 
Valley  we  have  actually  seen  com- 
munities die  a  natural  death,  the  popu- 
lation shrink  down  to  the  last  man  as  at 
Pojoaque.  Almost  the  same  thing 
occurred  at  Pecos  where  a  once  power- 
ful and  populous  town  dwindled  in  three 
centuries  to  seventeen  people  and  was 
then  abandoned.  The  same  process  is 
now  going  on  at  Nambe  and  San  Ilde- 
fonso.  We  are  thus  familiar  with  the 
appearance  of  a  decaying  Indian  town 
and  have  a  basis  in  actual  experience  for 
believing  that  nothing  of  this  kind  oc- 
curred at  Chaco  Canyon.  It  looks  as 
though  abandonment  came  at  the  full 
tide  of  life,  except  that  there  are  no  signs 
of  sudden  destruction. 

It  must  be  understood  that  these  im- 
pressions gained  after  some  years  of 
observation  in  this  interesting  region 
and  comparison  with  other  vSouth- 
western  groups,  ancient  and  modern, 
are  by  no  means  final  but  await  the 
convincing  results  of  more  intensive 
study.  They  assist  in  determining 
what  shall  be  the  scope  and  method  of 
the  investigation  to  be  pursued.  In  the 
first  place,  what  we  have  undertaken  is 


'///// 


a 


Chaco  Canyon:  Ground  Plan  of  part  of  Chettro  Kettle. 
Excavated  1920, 


Chettro  Kettle  :  Excavation  of  the  Great  Refuse  Mound,  showing  stratification. 


a  study  of  an  extinct  tribe,  its  life  and 
achievements  together  with  all  the 
factors,  natural  and  ethnological,  by 
which  these  were  influenced.  For  con- 
venience this  tribe  will  be  called  Cha- 
cones,  for  the  same  reason  that  we  have 
called  the  ancient  cliff  and  mesa  dwell- 
ing people  who  inhabit  the  plateau 
between  the  Rio  Grande  and  Jemez 
mountains  Pajaritans.  It  is  simply  a 
term  employed  to  designate  a  people 
from  the  region  inhabited,  in  the 
absence  of  any  ethnological  relation 
from  which  they  might  be  correctly 
named.  The  various  lines  of  study 
have  been  assigned  to  members  of  the 
scientific  staff  according  to  the  follow- 
ing plan: 


1.  Chaco  Canyon:  its  location,  place 
in  the  ancient  southwestern  world ;  dis- 
tribution of  the  communities  and  gen- 
eral description  of  their  towns  and  other 
archaeological  remains. 

2.  Natural  conditions:  topography, 
geology,  botany,  zoology,  climate. 

3.  Economic  resources:  fuel,  food, 
clothing  material,  clays,  minerals, 
water  supply,  building  material. 

4.  The  Art  of  Chaco  Canyon  com- 
munities: cultural  stratification,  clas- 
sification, design. 

5.  Architecture:  plans  of  community 
houses,  construction,  masonr\',  sanctu- 
aries, stairways. 

6.  Etlmic  relations:  traditions,  leg- 
ends of   the  southwestern  tribes   (Pu- 


[47] 


CiiUTTRO  Kettle;  Kiva  Area  and  Outer  Wall  and  Defensive  Trench,  after  excavation. 


eblo,  Navaho,  Apache,  Ute,  Piute),  rela- 
tive to  the  ancient  inhabitants  of  Chaco 
Canyon. 

7.  Archive  and  bibhographic  work: 
a  digest  of  everj-thing  heretofore  writ- 
ten on  the  ruins  of  Chaco  Canyon,  and 
search  in  Spanish  archives  for  early 
references  thereto. 

Of  the  methods  of  pursuing  the 
various  lines  of  research  above  out- 
lined nothing  need  be  said  except  with 
reference  to  excavation  and  treatment 
of  archaeological  remains. 

The  waste  and  destruction  of  antiq- 
uities in  the  old  world  is  matched  by 
the  same  kind  of  vandalism  in  the 
southwest.  There  has  been  little  ven- 
eration for  the  ancient  places.  Build- 
ings, shrines  and  sanctuaries  have  been 
wrecked  in  the  path  of  progress — even 


in  the  name  of  science.  The  pot  hunter, 
both  scientific  and  commercial,  has  been 
scouring  the  southwest  for  fifty  years. 
His  particular  field  has  been  the  burial 
places  and  refuse  heaps  about  the  great 
community  houses,  and  so  industriously 
has  this  nefarious  work  been  carried  on 
that  no  archaeologist  of  this  generation 
has  had  the  privilege  of  excavating  an 
important  site  that  had  not  been  pre- 
viously looted.  When  it  is  considered 
to  what  an  extent  vanished  peoples 
have  left  their  records  in  burial  places 
and  refuse  heaps  contiguous  to  their 
dwellings  the  loss  occasioned  by  the 
pot  hunter  can  be  understood.  Along 
the  important  seven  miles  of  the  Chaco 
Canyon  with  its  great  central  group  and 
a  large  community  house  on  each  mile 
of  the  north  side  of  the  valley,  not  a 

[48] 


'^■^- 


Chettro  Kettle:  Wall  and  Ceiling  Construction. 


refuse  heap  is  to  be  seen  that  has  not 
been  dug  over,  and  across  the  valley  to 
the  south  where  the  dead  from  the 
great  communities  are  supposed  to  have 
been  buried,  not  a  mound  can  be  found 
that  has  not  been  pitted  over  and  over 
in  search  for  pottery.  The  principal 
museum  collections  in  America  have 
been  secured  by  purchase  from  unscien- 
tific collectors  working  in  this  way. 
The  Government  has  endeavoured  to 
establish  a  perpetual  closed  season  on 
pot  hunting  but  without  success.  Even 
on  the  lands  owned  and  controlled  by 
the  United  States  the  evil  practice  goes 
on. 

It  should  be  the  rule  that  burial 
places  and  refuse  heaps  shall  not  be 
touched  except  in  connection  with  the 
excavation  of  the  buildings  to  which 

[49] 


they  are  related.  In  no  other  way  can 
anything  like  a  complete  record  be 
obtained  of  any  ancient  site.  Graves 
are  likely  to  contain  the  most  important 
articles  of  ceremonial  and  domestic  use. 
Refuse  heaps  are,  theoretically  at  least, 
composed  of  the  waste  of  the  town 
swept  out  from  day  to  day,  possibly  for 
centuries,  building  up  in  regular  con- 
secutive layers  and  thus  embracing  in 
chronological  arrangement,  though  in 
broken  or  worn  out  condition,  remains 
of  every  description  from  every  age  of 
the  existence  of  the  place. 

The  complete  excavation  of  a  site 
then  includes  the  uncovering  of  the 
buildings  and  the  exploration  of  all 
contiguous  mounds.  vSince  the  latter 
are  likely  to  be  so  situated  that  some  of 
them  will  be  in  the  way  of  the  dump 


ART  AND  ARCHAEOLOGY 


from  the  main  excavation,  they 
must  be  examined  first.  Such 
mounds  are  usually  covered 
with  shards  which  call  for  some 
examination,  but  it  must  be 
remembered  that  surface  finds 
have  a  very  limited  value. 
Prairie  dogs  and  pot  hunters 
have  so  disturbed  the  contents 
of  mounds  that  the  original 
place  of  surface  shards  is  in- 
determinable. The  pitting  of 
mounds,  so  largely  employed 
by  non-scientific  excavators,  is 
reprehensible,  spoiling  the 
mound  for  systematic  exami- 
nation and  record,  and  serves 
no  purpose  save  the  occasional 
yield  of  specimens.  As  a 
means  of  arriving  at  accurate 
conclusions  concerning  the 
stratification  of  mounds,  pit- 
ting is  altogether  misleading. 
A  pit  sunk  in  one  part  of  a 
mound  may  reach  the  oldest 
deposits  of  the  mound  within 
a  few  feet  of  the  surface,  while 
another  pit  ten  feet  away  may 
at  the  same  depth  penetrate 
only  recent  refuse  deposits. 
The  method  is  worthless  and 
destructive.  The  use  of  short 
and  unrelated  trenches  is  only  slightly 
less  so. 

A  mound  is  not  properly  examined 
until  it  has  been  divided  on  both  diam- 
eters by  broad  trenches  extending  clear 
through  the  mound  and  down  to  native 
undisturbed  earth.  The  vertical  sides 
of  the  trench  then  present  perfect  ex- 
posures which  are  almost  certain  to 
record  the  history  of  the  building  up  of 
the  mound  and  possibly  enable  the 
observer  to  locate  the  specimens  ob- 
tained with  reference  to  their  chronolog- 
ical deposition.      It   must  be   remem- 


Chettro  Kettle:  Long  Gallery,  in  process  of  excavation. 


bered,  however,  that  no  one  mound  is 
likely  to  afford  a  record  of  continuous 
growth  from  its  earliest  to  its  latest 
deposits;  that  numerous  other  refuse 
heaps  were  in  process  of  formation 
contemporaneously  about  the  town, 
probably  none  continuously  used,  there 
being  great  irregularity  in  formation, 
periods  of  disuse,  and  periods  of  exces- 
sive use;  occasions  of  disturbance  be- 
cause of  the  extension  of  buildings  at 
which  times  refuse  may  have  been  so 
handled  as  to  cause  a  complete  reversal 
of  its  stratification.    Many  other  con- 


[SO] 


Chettro  Kettle:  Interior  of  a  Room, 


ceivable  circumstances  would  interfere 
with  the  orderly  arrangement  of  the 
material. 

vSince  the  geographical  and  chronolog- 
ical classification  of  pottery  is  being 
made  a  basis  for  important  generaliza- 
tions concerning  the  movements  of 
southwestern  peoples,  and  the  relative 
dating  of  the  ancient  centers  of  popula- 
tion, it  is  proper  to  point  out  the  ex- 
tremely insecure  foundation  on  which 
the  structure  rests.  In  practice,  ancient 
technique  often  survives  alongside  of 
modem  methods.  In  a  single  com- 
munity the  art  of  one  group  of  potters 
may  be  ascending  and  that  of  another 
descending  at  the  same  moment.  In 
two  adjoining  towns  during  the  same 
year  pottery-making  may  be  flourishing 
in   one   and   dying   out    in   the   other. 

[51] 


Again  the  characteristic  style  of  one 
pueblo  may  be  engrafted  upon  another 
temporarily  or  permanently  by  the 
change  of  residence  of  a  single  indi- 
vidual. This  will  account  for  much  of 
the  so-called  "trade  pottery"  found  by 
excavation.  On  the  whole,  so  many 
probabilities  of  error  exist  in  the  use  of 
this  method  of  study  that  one  can  not 
avoid  the  apprehension  that  there 
may  be  too  ready  an  acceptance  of  the 
results  by  those  who  rely  upon  the  re- 
searches of  others.  Therefore  the  limits 
of  the  method  must  be  frankly  stated. 
When  it  comes  to  the  major  task  of 
the  archaeologist,  namely  the  uncover- 
ing of  entire  towns,  one  is  confronted 
with  a  multitude  of  problems.  Chief 
among  them  are  the  questions  of  pres- 
erv'ation  and  interpretation  of  archaeo- 


Chettro  Kettle:  Southeast  corner,  in  process  of  excavation. 


logical  evidence.  Archaeology,  like 
every  other  phase  of  history,  invites 
conjecture  and  unwarranted  conclu- 
sions, which,  announced  with  an  ap- 
pearance of  finality  or  made  permanent 
by  the  restoration  or  reconstruction 
of  buildings,  can  only  lead  to  the 
confusion  of  history.  The  archaeolo- 
gist, like  other  historians,  best  serves 
his  science  by  recovering,  describing, 
and  preserving  unaltered  the  evidences 
of  human  activity  throughout  the  ages, 
calling  attention  to  possible  interpreta- 
tions of  the  evidence  and  allowing  it  to 
teach  what  it  will.  He  is  the  observer 
of  the  mental  processes  of  people  of  a 
different  age  and  usually  of  a  different 
race  from  his  own.  Until  he  can  detach 
himself  from  his  own  time  and  race  and 
attain   the   attitude   of  an   impersonal 


spectator  of  activities  proceeding  over 
vast  reaches  of  time,  he  will  mislead  by 
his  conjectures  and  restorations. 

The  vast  literature  of  speculative 
archaeology  and  the  amount  of  uncon- 
vincing interpretation  and  reconstruc- 
tion of  past  human  achievements  move 
one  at  the  beginning  of  a  new  investiga- 
tion to  adopt  a  procedure  that  will  be  as 
free  as  possible  from  the  danger  of  false 
teaching.  This  calls  for  the  careful 
recovery  and  description  of  buried 
material;  the  laying  bare  of  evidence 
for  study  by  contemporary  and  later 
students;  the  preservation  of  archaeo- 
logical remains  as  nearly  as  possible  in 
the  state  in  which  found,  with  only  such 
repair  as  is  necessary  for  preservation ; 
restoration  to  a  very^  limited  extent 
after  positive  verification,  and  for  the 


[52] 


-**»■  '■•'  "  "*w'*^.''   '*! ,'"' ^? 


#',    -  -',  "^  ^*'  '    '    y  i      ~,  1      "I'M,  . 


o^-:>«^^^i^;jy»- 


.••'■■    J*r' 


^...*-- 


CiiETiRo  Kettue:  TIk 


TrLiiclus  tliruuKli  the  Great  Refuse  Mound  and  the  beginning  of 
the  excavation  of  the  main  building. 


presentation  of  our  own  conclusions; 
a  liberal  use  of  pictorial  illustration 
offered  subject  to  amendment  with  the 
accumulation  of  new  facts.  A  great 
ruin  is  an  object  of  veneration  and  may 
be  a  never-ending  source  of  knowledge. 
A  restored  building  is  likely  to  be  a 
sealed  book,  or  what  is  worse,  a  ghastly 
imitation,  from  which  the  spirit  of  its 
builders,  to  which  is  due  whatever  of 
greatness  it  ever  had,  has  been  driven 
for  ever. 

In  the  work  in  the  Chaco  Canyon  we 
have  the  incalculable  advantage  of 
having  the  actual  work  of  excavation 
done  by  Indians.  They  are  not  far  re- 
moved in  their  cultural  status  from  the 
people  whose  productions  are  being 
recovered.  Their  minds  run  in  the  same 
racial    channels.       Thev    live    on    the 


ground  and  in  the  environment  from 
which  sprang  the  civilization  that  is 
under  investigation.  They  see  vestiges 
which  are  hardly  discernible  to  other 
than  Indian  eyes,  for  they  themselves 
are  the  product  of  many  generations  of 
experience  on  this  their  home  soil. 
When  it  comes  to  interpretations,  one 
can  not  fail  to  see  that  the  philosophy  of 
the  Indian  of  to-day  is  derived  from  the 
same  sources  that  shaped  the  beliefs 
and  activities  of  the  ancients  of  his  o\\ti 
race.  Indian  psychology  is  peculiarly 
definite,  a  development  that  has  come 
through  ages  of  life  ordered  to  conform 
to  the  great  natural  forces  with  which 
the  race  has  been  so  intimately  in  con- 
tact. These  forces  have  been  constant 
for  ages  past  and  the  human  reaction 
has  been  identical  in  tlie  ancient  and 


[53] 


Chettro  Kettle:  Looking  into  excavated  rooms. 


modern  of  the  same  race.  Therefore,  the 
Indian  workman  who  readily  becomes 
an  observing  student,  is  an  invaluable 
aid  in  American  archaeological  re- 
search. 

The  Navaho,  who  have  for  some  cen- 
turies inhabited  the  region  surrounding 
the  Chaco  Canyon,  are  a  numerous  and 
increasing  tribe.  They  number  approx- 
imately 32,000  at  the  present  time,  and 
are  a  people  of  great  promise.  They 
have  successfully  met  the  conditions  of 
the  desert.  They  have  kept  their  blood 
pure,  are  comparatively  free  from  in- 
fectious diseases  and  show  a  power  of 
adaptation  to  changing  conditions 
which  promises  survival  and  progress. 
Unlike  the  Pueblos  who  are  communal 
in  mode  of  life,  the  Navalio  are  indi- 


vidualists. With  respect  to  vital  and 
economic  conditions,  as  well  as  for  the 
development  of  personal  initiative,  the 
latter  mode  has  every  advantage  over 
the  former.  The  Navaho  are  indus- 
trious, good  natured,  susceptible  to 
education,  as  honest  as  their  white 
neighbors,  capable  of  acquiring  habits 
of  thrift,  and  on  the  whole  constitute 
a  valuable  element  in  our  population. 
The  expedition  is  extremely  fortunate 
in  having  them  for  workmen. 

1 1.    THE  EXCAVATION  OF  CHETTRO 
KETTLE. 

The  first  step  was  to  examine  the  area 
surrounding  the  ruin  for  refuse  heaps 
and  burial  places,  which  unless  ex- 
cavated first,  might  be  lost  under  the 


[54] 


ChEttro  Kettle:  An  excavated  area. 


debris  from  the  buildings.  The  large 
oval  mound  a  few  yards  to  the  east  of 
the  walls  was  divided  from  end  to  end 
by  a  broad  trench  on  its  longer  axis, 
going  down  to  the  undisturbed  soil.  A 
similar  trench  on  the  short  diameter  cut 
it  into  quarters.  In  addition  to  this, 
large  sections  on  the  side  of  the  mound 
nearest  the  pueblo  were  completely  ex- 
cavated, minutely  examined  and  re- 
moved. The  stratification  of  the 
mound  from  its  beginning  is  thus  laid 
bare,  not  only  for  our  own  information 
but  for  study  by  anyone  else  who  wishes 
to  undertake  the  reading  of  the  story  it 
has  to  tell.  The  successive  layers  are 
fairly  clear,  all  carrying  plentiful  de- 
posits of  cultural  remains,  bone  im- 
plements,   potsherds    and    the    usual 


refuse  of  domestic  life.  Whatever  has 
been  unconsciously  recorded  from 
generation  to  generation  by  casting  the 
waste  of  the  community  into  common 
dumps,  can  here  be  disclosed  by  intel- 
ligent, patient,  persevering  study.  To 
detect  the  gradual  changes  in  culture, 
advancing  or  retrograding;  the  accelera- 
tions, retardations,  dislocations,  is  pos- 
sible but  full  of  possibilities  of  error.  I 
suppose  a  perfect  refuse  mound  (which 
probably  doesn't  exist)  would  show  the 
response  of  the  human  .group  to  chang- 
ing conditions  in  much  the  same  manner 
that  the  annular  rings  of  forest  trees  tell 
of  the  seasons  of  prosperity,  adversity, 
well-being,  disease,  etc.,  that  the  forests 
have  experienced. 


[55] 


-»^^m^. 


Chettro  Kettle:  An  excavated  Kiva. 


The  great  mound  at  Chettro  Kettle 
was  not  a  place  for  the  burial  of  the 
dead.  It  yields  much  material  for 
study  but  little  that  is  suitable  for 
museum  display.  Other  refuse  places 
and  possibly  cemeteries  may  be  found 
near,  for  no  area  will  be  used  for  dump- 
ing from  the  excavations,  save  low 
places  which  nature  has  laid  bare, until 
thorouglily  trenched. 

In  determining  the  procedure  at 
Chettro  Kettle,  it  was  assumed  that 
many  unfamiliar  factors  must  be 
reckoned  with — an  assumption  that 
was  fully  confirmed  as  the  work  ad- 
vanced. The  most  favorable  approach 
seemed  to  be  by  way  of  the  southeast 
comer.  It  was  almost  completely 
buried,  suggesting  a  minimum  of  danger 


to  workmen  from  shattered  walls.  It 
was  at  the  end  of  one  wing,  presenting 
the  only  clearly  exposed  corner  of  the 
ruin.  It  was  one  point  of  origin  of  the 
great  ridge,  formerly  supposed  to  be  a 
buried  wall,  that  sweeps  in  a  bold  curve 
from  this  point  to  the  west  end  of  the 
site  seven  hundred  feet  away.  The 
examination  of  this  corner  then  would 
probably  reveal  several  important  as- 
pects of  our  problem. 

Therefore,  an  area  ninety  feet  square 
was  laid  off  for  excavation.  The  surface 
indication  was  that  it  would  disclose  the 
end  of  the  east  wing,  the  juncture  of  the 
curved  front,  and  nine  or  ten  living 
rooms  on  the  ground  floor  of  the  wing. 
What  was  found  will  be  understood  best 
by  referring  to  the   photographs   and 


[56] 


ART  AMD  ARCHAEOLOGY 


architectural  plan  of  the  excavated 
area.  The  curved  front  is  a  building 
with  a  massive  central  axis  and  rooms 
on  either  side.  It  may  have  been  two 
stories  high  in  places.  The  central  wall 
is  pierced  by  doorways,  all  securely 
closed  with  masonry,  originally  afford- 
ing communication  between  the  rooms 
on  the  inner  court  and  those  facing 
outward.  The  exterior  rooms  are  with- 
out outside  openings  on  the  level  that 
remains.  Outside  this  series  of  exterior 
rooms  is  a  trench  eight  feet  deep,  two 
feet  wide,  between  heavy  walls  of 
masonry  that  for  solidity  could  not  be 
excelled  unless  built  of  modem  concrete. 
The  floor  is  hard  and  smooth  and 
shows  much  use.  This  trench,  entirely 
unexpected,  is  without  precedent  in 
the  ruins  of  the  southwest.  If  it  proves 
to  be  continuous  with  the  curving  ridge, 
as  seems  almost  certain,  it  afforded  a 
protected  passage  from  the  extreme 
southeast  comer  of  the  town  to  the 
northwestern  quarter  seven  hundred 
feet  away. 

The  excavation  of  the  southern  ex- 
tremity of  the  east  wing  of  the  building 
disclosed  two  stories  buried,  instead  of 
one  as  expected.  The  views  looking 
down  into  the  excavated  rooms  convey 
a  fair  idea  of  the  situation  as  we  find  it, 
and  reveal  the  knowledge  of  construc- 
tion possessed  by  these  people.  Parti- 
tion walls  were  sometimes  reinforced  by 
imbedding  timbers  in  the  masonry  as 
we  reinforce  concrete  walls  with  iron 
rods.  Floors  and  ceilings  were  con- 
structed by  first  laying  hea\y  support- 
ing logs  (vigas)  across  from  wall  to  wall. 
Upon  these  were  laid,  longitudinally, 
smaller  logs  or  poles,  placed  closely  side 
by  side.  Upon  these  were  laid  thin 
cedar  slabs  and  over  this  a  layer  of 
cedar  bark.  Upon  this  was  a  solidly 
packed  layer  of  earth,  kept  hard  and 
smooth    by    rubbing    with    smoothing 

[57] 


stones.  The  methods  of  timbering  and 
flooring  as  well  as  of  plastering  may  be 
clearly  seen  in  the  photographs.  The 
views  of  some' of  the  cleared  rooms 
show  a  remarkable  state  of  preservation 
of  both  masonry  and  timbers.  Many 
rooms  are  unexpectedly  large,  being 
considerably  more  spacious  than  those 
wliich  I  have  enjoyed  in  the  National 
Arts  Club  in  New  York,  the  Cosmos 
Club  in  W'ashington,  or  even  in  the  very 
modem  Alvarado  Hotel  in  Albuquerque. 
Neither  is  the  advantage  as  to  fire 
hazard,  light,  warmth  and  ventilation 
altogether  with  these  hostelries  of  Gram- 
ercy  Park  and  Lafayette  vSquare. 

The  extension  of  the  excavation  into 
the  plaza  or  irmer  court  brought  other 
surprises.  The  perfectly  level  surface 
gave  no  sign  of  the  labyrinth  of  kivas, 
shafts,  cists  and  variously  walled  spaces 
that  were  uncovered.  The  views  will 
partially  explain  it.  Kivas  crowding 
one  another,  cutting  into  one  another, 
overlying  one  another  are  found  as  far 
as  the  digging  has  gone.  Each  one  is  a 
variant  from  the  conventional  type  of 
the  San  Juan  culture  area.  The  com- 
mon characteristic  is  that  all  are  circu- 
lar and  solidly  walled. 

The  excavation  of  Chettro  Kettle  is 
at  least  well  started.  The  pronounced 
impressions  that  one  receives  from  the 
study  of  these  ancient  communities  so 
far  are : 

1.  Exuberance  in  the  building  im- 
pulse. 

2.  Predominance  of  domestic,  com- 
munity life. 

3.  Intense  religious  activity. 

4.  Master}'  in  building  in  stone. 

5.  Efficiency  in  ceramic  art. 

6.  Resourcefulness  in  meeting  en- 
vironmental conditions, 

7.  Dependence  upon  agriculture, 
with  hunting  as  the  secondary  means  of 
subsistence. 


■at,-- 


^i^^ 


•"-"'■'^•-'       ^sss^ 


i 


i^: -■-.'-, 

'"'  i:' ' 

^--vJt  '^■■ 

/.,.  .    • 

'.     V,      •■■ 

^:^:^'... 

><-''-''       '     •    ■ 

f"         ;.      .* 

'       * 

L  luttiM  K.  Ill, 


CllLtllU    KlUIc 


CS7l.w<=-.-v 


Chaco  Canyon:  Specimens  of  Walls. 


NiHA,  Syria:  Ancient  Baal  Temple. 


Nippur:  S.  E.  wing  of  Assurbanipal's  Ziggurat. 


Eryx,  Sicily:  Carthaginian  walls. 


Mycenae:  Circular  Precinct  and  Shaft  Graves. 


Jericho:  Crude  Canaanitish  wall  in  north  anti 
west  sides  of  the  German  excavations. 


Pkehi^toric  Jericho:  Living  Room. 


Photographs  by  Frederick  Bennett  Wright 


^ 


Trov:  Section  of  one  of  the  oldest  walls. 


Tkov:  Ruins  of  the  Citadel. 


Gizeh:  Mastaba  of  the  reign  of  Cheops. 


..i.-' 


Gizeh:  Stone  faced  Mastaba  with  ruff-e  cone. 
IV  dynasty. 


Nippur;  Drain  in  city  wall  of  Naram  Sin — 2750  b.  c. 


Photographs  by'Frederick  Bemiell  Wright. 


i% 


Babylon:  A  wall  iu  Ancient  Babylon. 


Peru:  Ruins  of  Pachacamac,  Peru — entrance  to  the  Municipal  Palace  of  the  town. 


4( 


ART  AND  ARCHAEOLOGY 


In  closing  this  preliminary  account  of 
tlie  ancient  monuments  of  Chaco  Can- 
yon, I  have  arranged  a  comparison  of 
the  achievements  of  these  native  Ameri- 
can builders  with  the  much  better- 
known  works  of  ancient  civilizations  of 
the  old  world.  Here  are  buildings  which, 
abandoned,  unroofed,  exposed  to  the 
elements  and  vandals  of  centuries  stand 
as  very  few  specimens  of  walls  (we  are 
not  comparing  with  pyramidal  masses) 
in  any  land  have  withstood  the  ages. 
In  wall  masonry  the  Chaco  builders 
were  unsurpassed,  and  it  may  be 
doubted  if  our  modem  masonry  will  be 
as  enduring.  As  to  our  reinforced  con- 
crete, time  has  made  no  test.  For  the 
purpose  of  comparison,  typical  Chaco 
Canyon  walls  are  shown  in  photo- 
graphs with  illustrations  of  walls  of 
ancient  Troy,  Mycenae  Babylon,  Nip- 
pur, Jericho,  Carthage,  Gizeh,  Niha  in 
Syria  and  Pachacamac  in  Peru.  For 
the  present,  the  illustrations  must  be 
allowed  to  speak  for  themselves.  At 
some  future  time  it  is  hoped  that  a  com- 
parative study  of  new  world  and  old 
world  masonry  may  be  made. 

Most  interesting  are  the  architectural 
remains  of  ancient  peoples  in  relation  to 
human  life.  Monuments  of  the  old 
world  are  chiefly  memorials  of  kings, 
priests  and  a  miscalled  "nobility" — 
palaces,  fortresses,  temples,  tombs — 
built  by  myriads  whose  sordid  lives 
were  of  no  account,  under  the  compul- 
sion of  military  and  religious  power. 
The  common  people  whose  hands  made 
the  vast  structures  built  little  for 
their  own  use.  Those  dynasties,  courts, 
and  priestly  orders  have  been  extinct 
for  ages,  but  the  races  survive  in  the 


abject,  servile,  degraded  humanity  to 
be  seen  today  in  Egypt  and  the  Near 
East.  The  great  houses  that  have  been 
the  subject  of  this  article  are  an  expres- 
sion, first  of  all,  of  the  domestic  life  of 
a  race.  They  were  built  by  free  men, 
of  their  own  volition,  in  their  own  time 
and  way,  as  homes  for  their  fatriilies. 
They  represent  the  labor  "of  the  peo- 
ple, by  the  people,  for  the  people, "  and 
they  are  not  wanting  in  the  qualities 
that  make  for  endurance.  They 
memorialize  the  lives  of  the  people,  not 
of  kings.  This  culture,  too,  is  in  ruins, 
but  the  race  survives;  and  whether  its 
survivors  prove  to  be  Navaho  or  Pueblo 
or  Yaqui  or  Aztec,  or  any  other  Indian 
tribe,  it  will  be  found  that  in  spite  of  all 
the  handicaps  of  conquest  by  a  race  of 
superior  material  resources,  there  sur- 
vives a  dignity,  self-respect  and  poise 
of  a  people  who  developed  their  culture 
under  conditions  of  freedom — a  genuine 
"nobility. " 

It  is  significant  that  only  representa- 
tive government  existed  among  the 
native  American  peoples.  This  fact  is 
not  sufficiently  recognized,  partly  due 
to  a  misleading  nomenclature  that  is 
still  tolerated — even  used — by  his- 
torians. Such  terms  as  "Indian  prin- 
cess," "Aztec  empire,"  "the  Emperor 
Montezuma,"  "Old  Empire  and  New 
Empire,"  (as  applied  to  the  epochs  of 
Maya  history),  "Inca  kings,"  "cliflf 
cities  of  the  southwest,"  etc.,  are  based 
upon  a  false  conception  of  the  social  and 
political  structure  of  the  native  Ameri- 
can peoples  which  all  Americanists 
should  unite  in  correcting. 

School  of  American  Research,  Santa  Fe.  N.  M. 


[62] 


A  MARBLE  VASE  FROM  THE  ULMA  RIVER 

HONDURAS* 

By  Zelia  Nuttall 


THE  following  comments  are  in- 
tended to  serve  as  a  supplement 
to  Dr.  George  Byron  Gordon's 
article  on  "A  Marble  Vase  from  the  Ulna 
River,  Honduras,"  which  appeared  in 
Art  and  Archaeology  (Vol.  IX,  No.  3) 
in  March  1920. 

In  his  text  he  states  that  "the  broad 
central   zone    (surrounding  the   sculp- 
tured vase)  corresponding  to  the  main 
field  of  decoration  claims  special  atten- 
tion;" that  "it  is  entirely  covered  with 
ornament  of  elaborate  and  curious  com- 
position ; "  that  "  in  order  to  explain  the 
elements  or  units  that  enter  into  the 
composition  of  this  ornament  it  is  neces- 
sary to  have  recourse  to  drawings  and 
subdivide  the  contour  into  two  semi- 
cylindrical  surfaces  .   .   .   ."  and  that 
"What   may  be   called   the    principal 
unit    in   the   design   is   repeated   with 
striking  alterations  on  the  other  side. 
The  unit  of  design  next  in  importance 
occurs  eight  times,  yet  in  no  case  is  it 
repeated  in  the  same  form.    The  minor 
units  of  design  are  manifestly  three  in 
number,  readily  comprehended,  each  of 
which  again  passes  through  its  conjuga- 
tion on  either  side  of  the  vessel  in  mak- 
ing the  composition  of  the  ornament." 
In  this  analysis  no  allusion  is  made 
to  the  fact  which  is  so  vital  and  inter- 
esting, namely  that  the  "  principal  units 
of   design"    are   conventionahsed   ser- 
pents' heads,  front  and  side  views  of 
which  are   represented  and  combined 
with  marvellous  ingenuity.     These  ser- 
pents' heads  are  clearly  discernible  in 
the  photographic  reproduction   of  the 
vase    which    illustrates    Dr.    Gordon's 
article,  but  curiously  enough,  are  barely 


•Comments  on  the  article  by  Dr.  George  Byron  Gordon, 


recognisable  in  the  carefully  executed, 
outline  drawings.  Figs,  i  and  2. 

To  make  this  clear,  the  Mexican  art- 
ist Sr.  Jose  Leon  has  made  drawings 
from  the  published  photographs  in 
which  the  forms  of  the  conventional- 
ised serpents'  heads  and  the  peculiar 
technique  of  the  native  sculptor  who 
worked  in  low  relief,  are  skilfully  ren- 
dered. In  Fig.  I,  the  upper  half  of  the 
central  band  is  seen  to  consist  of  the 
front  view  of  a  serpents'  head  on  either 
side  of  which  and  facing  each  other  are 
other  serpents'  heads,  seen  in  profile. 
Directly  under  the  central  head  is  the 
composite  figure  of  two  serpents'  heads 
in  profile,  facing  each  other  and  so 
closely  joined  that  their  upper  and 
lower  jaws  meet;  their  combined  pro- 
files appearing  to  form  a  single  face 
seen  from  the  front.   (Figs.  2,  3.) 

This  effect  recalls  the  identical  result, 
purposely  obtained  by  the  joining  of 
two  serpents'  heads  so  that  a  single  one 
is  formed  in  the  famous  statue  pre- 
served at  the  National  Museum  of 
Mexico,  which  symbolises  the  native 
ancient  philosophical  theme  of  the 
Divine  Twain  or  DuaHty,  personified 
as  "Quetzalcoatl." 

As  in  the  Nahuatl  language  the 
word  coatl  is  a  homonym  for  serpent 
and  twin,  the  name  Quetzalcoatl  liter- 
ally signified  either  the  "  precious  twin  " 
or  "  serpent."  This  fact  must  be  borne 
in  mind  when  the  serpent  is  encountered 
in  sculptured  or  painted  native  Mexican 
designs,  which  would  be  equally  sig- 
nificant to  the  Maya  people  as  the  name 
of  their  deity,  Kukulcan,  also  means 
"the  Divine  Serpent." 

Both   Mexicans   and   Mayas   would 


[63] 


Examples  of  Sculptured  Designs,  Mexican  and  Mayan,  to  illustrate  Mrs.  Nuttall's  paper. 


ART  AND  ARCHAEOLOGY 


probably  have  discerned  in  the  narrow 
bands  above  and  below  the  central  one 
the  sculptor's  intention  to  repeat  the 
sacred  theme  in  another  form,  as  both 
bands  consist  of  a  series  of  overlapping 
scales,  broken  at  intervals  by  a  curious 
duplicate  symbol  which  may  well  pass 
as  an  attempt  to  symbolise  the  dualities 
(the  Above  and  Below,  Light  and  Dark- 
ness, Male  and  Female,  etc.),  and  is 
repeated  consecutively  around  the  base 
of  the  vase. 

While  the  presence  of  the  serpent 
motif  and  its  treatment  by  the  ancient 
artist  appear  to  reveal  his  familiarity 
with  the  religious  symbolism  of  the 
Mexican  and  Maya  people,  the  shape 
and  size  of  the  sculptured  vase  link  it 
to  the  sacrificial  vessels  of  ancient 
Mexico,  such  as  were  found  on  the 
island  of  Sacrificios  in  1827  by  Sefior 
Luna  and  are  now  preserved  in  the 
National  Museum  of  Mexico  (see  figs. 
4,  5  and  6) .  Both  of  the  latter  are  made 
of  the  tecali  or  Mexican  onyx  which 
Brantz  Mayer  and  other  writers  have 
referred  to  as  "white  marble  "  or  "white 
transparent  marble,"  not  realising  that 
as  yet  no  true  marble  has  been  found  in 
Mexico  or  Central  America. 

The  prehistoric  quarries  which  fur- 
nished the  tecali  of  different  kinds,  of 
which  the  numerous  ancient  vases  and 
vessels,  unearthed  in  different  parts  of 
Mexico  and  Central  America,  generally 
at  great  depths,  are  made,  have  been 
located  about  Etta,  in  the  state  of 
Oaxaca.  Until  other  ancient  quarries 
are  found  and  it  is  proven  that  a  marble 
was  obtainable  in  the  region  of  the 
Ulna  River,  Honduras,  one  may  be  per- 
mitted to  question  Dr.  Gordon's  view 
that  the  vase  in  question  is  of  marble 
and  a  product  of  Ulna  culture. 

It  seems  more  probable  that  like 
those  found  on  the  island  of  Sacrificios, 
it  and  the  others  found  with  it  were 


conveyed  to  the  Ulna  river  by  water  or 
land  from  the  cultural  region  situated 
further  north.  On  making  a  compari- 
son between  the  Honduras  vase  and  the 
finest  of  the  two  found  on  vSacrificios 
where  the  chief  temple  was  dedicated 
to  Quetzalcoatl,  it  will  be  seen  that 
whereas  in  the  first  the  band  that  en- 
circles the  base  is  executed  in  open- 
work, the  second  displays  an  elaborate 
ornamental  band  of  the  same  technique 
around  its  rim.  In  the  Sacrificios  speci- 
men light  is  thrown  on  the  purpose  for 
which  it  was  fashioned  by  the  unique 
and  ingenuous  contrivance  consisting  of 
a  tube  made  inside  the  vase  and  extend- 
ing up  its  side  from  within  a  short 
distance  from  its  bottom  to  the  top  of 
the  openwork  rim  (see  figs.  4  and  5). 
It  is  obvious  that  as  the  ancient  native 
ritual  exacted  the  offering  of  human 
hearts  to  the  idols  and  the  anointing 
of  the  latter's  mouths  with  the  blood 
thereof,  that  in  such  a  vessel  as  de- 
scribed the  prescribed  offering  could 
not  only  be  made,  but  the  blood  be 
poured  from  it  without  disturbing  its 
gruesome  contents  or  soiling  the  open- 
work border. 

It  may  be  safely  inferred  that  the 
Honduras  vase  whose  handles  facili- 
tated the  pouring  out  of  its  contents 
and  the  second  one  found  at  Sacrificios 
with  a  single  handle  in  the  form  of  an 
alligator  or  "lizard"  (fig.  6)  and  others 
of  similar  size  and  shape  were  planned 
for  ritualistic  purposes. 

It  is  hoped  that  the  above  comments, 
which  throw  additional  light  on  the  in- 
teresting vase  from  Honduras,  will  be 
found  of  sufficient  interest  to  justify  my 
objection  to  Dr. Gordon's  statement  that 
"it  would  be  as  useless  to  speculate  con- 
cerning the  symbolism  of  all  this  orna- 
ment as  it  would  be  to  guess  at  the  serv- 
ice for  which  the  vessel  was  designed." 

Casa  AlvjradJ,  Coyjacm,  D.  F.  Mexico. 


[65] 


Drawn'J>y  William  Blake 


Detail  of  the  Design 


A  SCULPTURED  VASE  FROM  GUATEMALA 

By  Marshall  H.  Saville 


THE  truly  splendid  piece  of  ancient 
American  ceramic  art  here  illus- 
trated was  found  a  few  years  ago 
in  a  tomb  near  the  town  of  San  August! 
Acasaguastlan,  in  the  western  part  of 
the  Department  of  El  Progreso,  central 
Guatemala.  This  region  is  at  present 
occupied  by  people  speaking  Spanish, 
and  the  name  of  the  particular  branch 
of  the  Mayan  family,  builders  of  the 
now-ruined  cities  of  Yucatan  and  Cen- 
tral America,  who  formerly  lived  here, 
is  unknown. 

This  vase  was  formerly  in  the  collec- 
tion of  the  German  Consul-General  in 
Guatemala  City,  and  its  conservation 
in  the  Museum  of  the  American  Indian, 
Heye  Foundation,  is  due  to  the  gener- 
osity of  Harmon  W.  Hendricks,  Esq., 
a  Trustee  of  the  Museum,  who  provided 
for  its  purchase  after  special  permission 
had  been  granted  for  its  exportation 
from  Guatemala  by  President  Estrada 


Cabrera.  It  was  obtained  during  the 
month  of  September,  19 17,  a  piece  of 
great  good  fortune  for  science,  for  a 
little  more  than  three  months  later 
occurred  the  series  of  devastating  earth- 
quakes which  practically  laid  in  ruin 
the  entire  city,  and  there  is  little  doubt 
that  this  precious  object  would  have 
been  destroyed  at  that  time. 

The  vase  is  without  question  the 
most  beautiful  example  of  earthenware 
ever  found  in  either  North  or  South 
America,  and  it  is  in  a  class  by  itself  as 
a  triumph  of  Indian  art.  The  deco- 
ration is  sculptured,  that  is,  the  designs 
were  probably  cut  while  the  clay  was 
still  plastic,  and  before  firing.  This 
type  of  decoration  is  exceedingly  rare 
in  the  pottery  of  Mexico  and  Central 
America.  In  technique  it  reminds  us 
of  the  great  stone  sculpture  known  as 
"  The  Turtle,"  at  the  ruins  of  Ouirigua, 
Guatemala,  which  is  only  about  fifty 


[66] 


Surrounding  the  Vase. 

miles  distant  in  an  air-line  from  the 
place  where  the  vase  was  found.  It 
also  resembles  in  concept  the  well- 
known  stucco  reliefs  of  the  ruins  of 
Palenque  and  the  beautiful  carved 
wooden  lintels  and  altar  plates  of  the 
ruins  of  Tikal.  These  examples,  and 
the  vase,  belong  to  the  best  period  of 
Mayan  art. 

The  striking  feature  of  the  involved 
designs  on  the  vessel  are  the  two  ser- 
pents which  spread  around  the  body  of 
the  vase  in  undulating  folds,  the  tails 
terminating  at  the  back,  their  tips  being 
hidden  by  elaborate  masks  of  mytho- 
logical personages.  In  the  open  jaws  of 
each  serpent  are  heads,  the  larger  of 
which  represents  the  Sun  God,  charac- 
terized by  a  Roman  nose,  and  having  a 
kind  of  helmet  covering  the  forehead, 
bearing  a  four-lobed  design,  which  is 
repeated  on  the  protruding  lower  part 
of  the  eye ;  it  is  a  variant  of  the  glyph 
Kifi,  the  sun  sign.  Opposite  is  a  human 
head  in  the  jaw  of  the  other  serpent, 
evidently  representing  a  suppliant.  The 
motive  of  heads  and  figures  in  the  open 
jaws  of  serpents  or  dragon-like  figures 


Museum  of  the  American  Indian.  Heye  Foundation 

is  a  familiar  one  in  Mayan  art,  and  is 
a  feature  of  the  famous  Calendar  Stone 
of  the  Aztecs  of  the  Valley  of  Mexico. 

Above  the  two  heads  in  the  serpents' 
jaws  is  the  figure  of  the  Death  God, 
shown  by  the  sutured  skull  and  the 
ribs.  The  lower  part  of  the  figure  is 
represented  as  human,  with  flesh.  On 
the  other  side  of  the  vase,  where  tails 
of  the  serpents  end,  is  another  Sun  God 
seated  with  the  feet  pressed  flat  against 
the  hips.  Each  arm  encloses  a  fold  of 
a  serpent.  Intermingled  and  interlaced 
with  the  undulations  of  the  serpents 
are  mythological  animal  figures  and 
heads,  notably  the  crocodile,  and  hu- 
man figures  and  heads,  and  no  surface 
was  left  unadorned,  featherwork  and 
masks  filling  the  space.  This  is  a  char- 
.  acteristic  feature  of  a  certain  stage  of 
Mayan  culture,  the  artists  being  loth 
to  leave  plain  surfaces. 

The  accompanying  drawing  shows 
the  intricate  interwoven  designs  spread 
out  in  a  panel.  At  some  future  time 
a  comparative  study  and  an  analysis  of 
the  import  of  this  vessel  will  be  made. 


[67] 


A  Ceramic  Masterp  iece  from  Salvador 


A  CERAMIC  MASTERPIECE  FROM  SALVADOR 


Bv  W.  H.  Holmes. 


THE  remarkable  earthenware  ves- 
sel presented  in  the  accompany- 
ing figure  was  brought  as  a  gift 
to  the  National  Museum  by  vSeiior 
Emilio  Mosonyi,  who  obtained  it  from 
a  native  in  Salvador,  Central  America. 
It  is  exceptionally  attractive  in  appear- 
ance, taking  as  a  work  of  art  a  high 
place  among  ceramic  masterpieces  of 
the  region  represented. 

It  is  tubular  in  shape,  twelve  inches 
in  height,  biownish  in  color  and  uni- 
formly polished.  It  is  embellished  with 
a  broad  encircling  band  of  ornament  of 
unusual  complexity,  which  comprises 
four  rows  of  human  heads  modeled  in 
bold  relief  and  three  lines  of  hiero- 
glyphs. The  human  heads  are  forty- 
eight  in  number  and  are  inclosed  in 
sunken  panels  formed  by  interlooping 
and  interwoven  filaments,  the  arrange- 
ment as  a  whole  giving  a  somewhat 
textile  suggestion  to  the  embellished 
band.  The  heads  are  closely  alike  as  if 
formed  by  pressing  the  plastic  clay  into 
a  common  mold,  the  eyes  and  mouths 
having  been  afterward  emphasized  with 
a  pointed  modeling  tool.  The  heads  are 
crowned  in  each  case  with  a  short 
scroll-like  fillet  of  clay  coiled  upward  in 
front  which  appears  to  connect  with  the 
plume  fillets  of  the  framewoik.  The 
floors  of  the  panels  against  which  the 
heads  are  placed  have  been  blackened 
and  checkered  with  incised  lines. 

The  three  lines  of  glyphs  are  skil- 
fully introduced,  being  inclosed  in  shal- 
low panels  formed  by  the  interlooped 
strands.  The  panel  surfaces  have  been 
blackened  and  the  glyphs  incised  on 
these  with  a  sharp  point.  The  lines  of 
glyphs  connect  around  the  body  of  the 
vase   and   are    inclosed    in    the   border 

[69] 


filament  loopings  at  the  upper  and 
lower  margins,  the  third,  in  the  middle, 
being  inclosed  in  squarish  fillet  frames, 
and  these  again  by  two  strands  which 
rise  above  and  part  around  the  glyph 
frames  joining  again  below.  It  is  not 
assumed  that  glyphs,  even  thus  used 
in  the  ancient  time,  are  necessarily 
significant  for  Dr.  Spinden*  states  that 
"The  hieroglyphs  which  so  frequently 
occur  on  vessels  from  {Salvador  are 
probably  no  more  than  meaningless 
decorations,  but  the  same  may  be  said 
of  many  of  those  on  vases  from  the  heart 
of  the  Maya  area.  Learning  was  doubt- 
less in  the  hands  of  the  priests  and  upper 
classes,  and  potters  had  to  content 
themselves  with  outward  forms.  Some- 
times a  single  face  glyph,  with  or  with- 
out dot  numerals,  is  repeated  over  and 
over  again  around  the  rim  of  a  bowl. 
At  best  such  a  glyph  could  only  stand 
for  a  name  or  a  day." 

It  should  be  mentioned  that  Prof. 
Marshall  H.  Saville,  who  is  well  ac- 
quainted with  the  fictile  work  of  the 
ancient  Mayas  as  well  as  with  certain 
skillful  imitations  of  the  present  period, 
has  expressed  a  fear  that  the  decorative 
band  in  this  specimen  may  have  been 
added  to  the  manifestly  ancient  tubu- 
lar body ;  but  the  most  critical  exami- 
nation of  the  specimen  shows  that  this 
cannot  be  the  case.  It  is,  however,  not 
readily  determined  whether  the  speci- 
men is  of  the  period  of  greatest  Maya 
development  since  it  stands  distinctly 
alone  in  its  embellishment,  or  of  some 
later  stage  in  the  history  of  this 
people ;  but  it  is  observed  that  the  skill 
shown  in  the  modeling  of  the  plastic 
design  is  nowhere  surpassed. 

'Spinden.   Herbert    J.,  Ameruati  Atithropologist.  (N.  S.)  Vol.  17, 
No.  3.  p.  446. 


Ralston  Galleries,  New  York 


"Portrait  of  Samuel  Brandram,  Esq.,"  by  John  Hoppner. 


CURRENT  MOTES  AND  COMMENTS 

Old  English  Portraits  at  the  Ralston  Galleries. 

Notable  works  by  the  English  portraitists  continue  to  come  to  America,  despite  the  scarcity 
of  fine  pictures  on  the  London  market,  and  the  tenacity  with  which  English  collectors  hold  on 
to  their  possessions.  xVmong  the  latest  arrivals  are  three  typical  examples  obtained  in  England 
last  summer,  by  Mr.  Louis  Ralston,  and  which  are  now  on  view  at  the  Ralston  Galleries,  in  Xew 
York.  There  is  Hoppner's  portrait  of  Samuel  Brandram,  (1743-1812),  London  color  merchant, 
which  was  obtained  from  Mr.  Andrew  Brandram,  now  head  of  the  same  ancient  merchantile 
establishment — a  most  pleasing  characterization,  representing  Hoppner  at  his  best.  The  others 
are  Gainsborough's  portrait  of  the  Duke  of  Rutland,  purchased  from  Lord  Canterbury,  and 
Raeburn's  portrait  of  Janet  Mellville. 

Mr.  Ralston  also  brought  to  America  three  Corots,  among  them  being  "The  Sacred  Fountain," 
which  is  accorded  a  place  by  critics  among  the  master  works  of  the  master  of  misty  hours  and 
filtered  light.  It  is  in  Corot's  favorite  mood,  when,  in  late  evening,  the  last  rays  of  light  from  a 
delicate  violet  sky  form  an  atmospheric  background.  There  are  four  figures  of  girls  in  the 
foreground.  The  silence  of  the  moment  is  enhanced  by  the  many  graceful  trees  glimpsed 
behind  the  figures. 

American  admirers  of  the  art  of  Lhermitte  will  be  interested  to  know  that  the  Ralston  Galleries 
have  "The  Reapers,"  which  was  the  artist's  salon  picture  of  1920. 

Claude  Lorrain's  "Rape  of  Europa"  at  the  Satinover  Galleries. 

Outside  of  one  picture  in  the  Metropolitan  Museum  of  Art,  America  heretofore  has  had  no 
opportunity  to  study  at  home  the  works  of  Claude  Lorrain,  who  ranks  as  one  of  the  five  greatest 
landscapists  among  the  old  masters,  the  others  being  Ruysdael,  Hobbema,  Constable  and  Turner. 
This  has  been  due  to  the  fact  that  Claude's  works  have  been  closely  held  by  their  possessors  in 
Europe.  Ninety-two  of  them  are  in  public  galleries,  where  they  will  always  remain.  Recently 
two  superb  examples  have  been  brought  to  New  York,  and  are  being  shown  at  the  Satinover 
Galleries. 

They  are  "A  Villa  in  Arcadia"  and  "The  Rape  of  Europa."  Their  French  owner  sold  them  to 
Joseph  Satinover  just  eleven  days  before  the  French  law  laying  an  embargo  on  the  exportation  of 
old  masters  went  into  effect.  It  is  not  likely  that  any  more  will  ever  cross  the  ocean;  therefore  it 
is  hoped  that  their  ultimate  possessor  will  be  an  American  museum  rather  than  a  private  collector. 

These  two  works  are  fit  companions  for  the  group  of  Claude's  in  the  Louvre  and  the  eleven  in 
the  British  National  Gallery.  One  of  them  is  more  than  six  feet  wide  and  the  other  nearly  five 
feet.  What  is  most  important,  however,  is  that  they  have  never  been  marred  by  the  restorer, 
and  have  the  beautiful  limpid  aerial  blues  that  characterize  Claude's  art.  In  this  they  diff'er 
from  "A  Seaport,"  in  the  Hearn  collection  at  the  Metropolitan,  which  is  greatly  darkened  by 
restorations. 

Claude  was  the  inspiration  of  Turner,  who  when  he  died  provided  that  two  of  his  own  master- 
pieces should  hang  by  the  side  of  two  of  Claude's  in  the  National  Gallery. 

The  Lawrence  Collection  of  Gothic  Stained  Glass  at  the  American  Art  Galleries. 

One  of  the  most  important  events  of  the  present  art  season  will  be  the  dispersal  by  the  American 
Art  Galleries,  in  New  York,  of  the  notable  collection  of  Gothic  stained  glass  and  other  medieval 
objects  of  art  formed  by  ihe  late  Henry  C.  Lawrence.  The  American  art  world  owes  a  debt  of 
o-ratitude  to  this  collector  not  only  because  of  his  ser\-ices  in  bringing  so  many  rare  and  precious 
things  to  this  country,  but  also  because  of  the  example  he  set  in  connoisseurship.  This  lousiness 
man  (for  he  was  one  of  the  best  known  stock  brokers  in  New  York  and  a  governor  of  the  New 
York  Stock  Exchange)  was  an  ideal  collector.  He  acquired  art  not  merely  for  the  sake  of  col- 
lecting, but  because  he  wanted  to  live  with  it  and  have  its  companionship  every  day. 

An  instance  of  this  is  the  way  Mr.  Lawrence  arranged  his  collection  of  stained  glass,  of  which  he 
had  examples  of  every  period  from  the  thirteenth  century  to  the  seventeenth.     These  glasses 

[71] 


From  the  Lawrence  Collection  of  Gothic  Stained  Glass. 

were  more  difficult  to  assimilate  into  modern  living  conditions  than  were  the  furniture,  the  tapes- 
tries, the  wood  cartings  or  the  stuccoes,  but  Mr.  Lawrence  assimilated  them.  He  adjusted  each 
panel  of  the  glass  into  a  mount  that  fitted  some  particular  window  pane  in  the  house,  where  he 
could  place  it  and  remove  it  at  will.  On  Sundays,  or  days  when  he  could  be  at  home  to  enjoy  his 
possessions,  the  glasses  would  be  all  in  place,  and  then  the  house  was  one  of  glory.  Connoisseurs 
came  from  great  distances  to  see  and  enjoy.  It  was  an  envied  experience  to  hear  Mr.  Lawrence 
talk  of  the  glasses.     A  play  was  inspired  by  the  story  of  some  of  them. 

The  Lawrence  home  was  a  repository  of  art  throughout.  From  its  front  door,  set  with  a  fine 
thirteenth  century  stained  glass  panel,  to  the  remotest  bedroom,  where  the  walls  were  decorated 
with  Florentine  and  Italian  polychrome  stuccoes,  everv'thing  was  part  of  the  collection  and  the 
collection  made  the  home.  In  the  living  rooms  the  genius  of  the  collector  had  its  highest  expres- 
sion. The  walls  of  the  dining  room  were  constructed  as  a  background  for  his  tapestries.  Food 
was  served  from  a  priory  table  of  the  sixteenth  century,  and  there  were  chairs,  chests  and  cup- 
boards of  the  same  period. 

In  the  drawing  room  tapestries  were  hung  a  bit  more  formally  and  in  every  available  corner 
were  wood  carvings  and  dinanderies.  The  chairs  were  of  various  periods  from  the  fourteenth  to 
the  seventeenth  centuries,  and  two  choir  stalls  served  as  a  couch.  An  old  lectern  supported  a 
table  lamp  which,  with  candles  set  about  the  room,  provided  a  soft  glow  that  brotight  out  the 
beauty  of  each  antique  treasure.  In  one  corner  stood  a  marriage  chest,  and  credences  were  con- 
venient storage  places. 

The  sitting  room  was  similar,  but  in  lighter  vein.  The  principal  bedroom  was  in  some  ways 
the  greatest  room  of  all,  the  main  tapestry  being  a  mille-fleur  frieze,  with  rabbits,  dogs,  deer  and 
birds  playing  among  the  flowers — one  of  the  finest  of  this  type  of  tapestry  in  existence. 

The  dispersal  of  a  beloved  collection  like  this  has  in  it  an  element  of  sadness,  but  it  is  the  true 
spirit  of  the  connoisseur  that  provides  a  chance  for  others  to  taste  the  same  joys  of  possession. 

/.  Stcivart  Barney's  Landscapes  at  the  Ehrich  Galleries. 

For  an  architect  to  turn  painter  and  do  presentable  work  at  his  easel  does  not  appear  to  be  a 
remarkable  thing;  in  fact,  it  would  be  expected  of  such  a  man  that,  being  already  well  founded  in 
draughtsmanship,  he  would  be  able  to  put  upon  canvas  faithful  presentments  of  facts.  But  for 
an  architect  to  take  up  painting  and  in  the  short  period  of  two  years  produce  landscapes  that  have 


[73] 


ART  AND  ARCHAEOLOGY 

great  breadth  and  freedom  of  handling,  and  that  reflect  the  spirit  of  nature  rather  than  merely  her 
lineaments,  is  an  achievement  that  calls  for  more  than  passing  comment.  Such  an  accomplish- 
ment has  taken  many  artists  the  greater  part  of  their  lives,  for  it  is  almost  the  rule  in  the  develop- 
ment of  a  painter  that  he  begins  by  representing  things  as  he  sees  them  and  ends  by  revealing 
things  as  he  feels  them. 

That  J.  Stewart  Barney,  of  New  York  and  Newport,  who  first  gained  fame  as  a  champion  of 
progressive  ideas  in  American  architecture,  has  come  fully  equipped  into  the  ranks  of  painters  is 
proved  by  the  collection  of  Scottish  and  Newport  landscapes  which  the  Ehrich  Galleries,  of  New 
York,  will  show  during  the  week  of  January  23.  A  preliminary  view  of  the  group  displays 
for  him  both  facility  in  his  medium  and  a  fine  grasp  of  beauty,  no  matter  whether  seen  in  its  rugged 
or  its  more  quiet  aspects. 

The  paintings  are  about  e\  enly  divided  between  the  Scottish  highlands,  where  the  artist  has  a 
shooting  moor  in  the  Ben  Nevis  country,  and  the  countryside  and  shore  near  Newport,  where  his 
summer  home  is  located.  Of  the  latter  series  perhaps  the  finest  is  "Ofi'  the  Be?ten  Track," 
which  is  remarkable  for  its  breadth  and  synthesis.  It  is  a  glimpse  of  rocks  and  water  and  sky, 
set  down  with  reticence  and  with  great  structural  integrity.  Next  in  point  of  interest  is  "The 
Piping  Rock,"  in  which  Mr.  Barney  has  accomplished  brilliajitly  the  difficult  technical  feat  of 
interpreting  the  play  of  waters  as  they  break  on  rocks.  "Summer  Afternoon"  reveals  a  stretch 
of  sun-kissed  pasture,  extending  over  the  crest  of  a  hill,  while  in  the  foreground  is  a  stream  of 
limpid  water  mirroring  the  coolness  of  trees  on  either  side. 

Of  the  Scottish  series  the  most  picturesque  is  "Old  Ben's  Nightcap,"  whose  theme  is  Ben 
Nevis,  seen  in  the  distance  beneath  a  crown  of  clouds,  while  in  the  foreground  is  a  mountain  lake 
and  rugged  slopes.  This  work  breathes  the  verj-  spirit  of  Scotland,  as  does  also  "Sunset  Over  the 
Moors"  and  "The  Burn,"  both  of  which  are  very  characteristic  of  color. 

Mr.  Barney's  career  as  a  painter  will  be  watched  with  much  interest,  both  because  of  its  great 
promise  and  because  of  the  debt  the  art  world  already  owes  him  for  his  stand,  almost  alone, 
against  the  adaptation  of  absurd  old  world  styles  to  the  steel  and  concrete  of  the  American  sky- 
scraper. The  struggle  he  made  for  truth  as  regards  the  skyscraper  is  now  history,  but  it  waged 
fiercely  more  than  a  decade  ago,  when  he  denounced  his  brother  architects  for  trying  to  make 
New  York's  tall  buildings  look  shorter  by  means  of  horizontal  treatment.  His  contention  was 
that  the  skyscraper,  by  letting  it  look  tall  and  adapting  for  it  a  Gothic  treatment,  could  be  made 
very  beautiful.  Time  has  completely  vindicated  his  position,  and  now  foreign  artists  visiting 
New  York  for  the  first  time  say  that  out  of  our  modern  steel  and  concrete  has  arisen  an  architec- 
ture which  has  no  superior  for  beauty  anywhere  in  the  world. 


Among  the  interesting  exhibitions  of  the  month  is  the  group  of  early  Spanish  paintings  also 
at  the  Ehrich  Galleries.  The  outstanding  feature  of  the  show  and  one  which  is  drawing  crowds 
of  visitors  to  the  galler>'  is  the  superbly  painted  and  exceedingly  rare  "vStill  Life"  by  Velasquez 
( 1 594-1 793).  When  one  realizes  that  there  are  less  than  one  hundred  acknowledged  original 
paintings  by  this  master,  the  interest  in  this  example  is  easily  understood.  The  composition  is 
simple,  direct  and  dignified.  Among  other  paintings  worthy  of  note  are  two  Spanish  Primitives 
of  the  15th  Century — "St.  Jerome"  and  "St.  Michael" — highly  decorative  panels,  beautiful  in 
color,  rarely  seen  outside  of  Spain. 

The  Hankey  Etchings  on  Exhibition  at  the  Schwartz  Galleries. 

William  Lee  Hankey,  whose  work  began  to  be  known  in  this  country  only  a  few  years  ago, 
seems  definitely  to  have  joined  in  popularity  the  group  of  famous  modern  British  etchers  whose 
prints  are  so  deeply  appreciated  by  our  collectors,  and  whose  ranks  include  such  men  as  D.  Y. 
Cameron,  Hedley  Fitton,  Frank  Brangwyn  and  Axel  Haig.  Beyond  coming  into  rank  with  them, 
however,  there  is  no  resemblance  between  Hankey's  etchings  and  those  of  the  four  men  just 
mentioned.  Their  reputations  are  based  mainly  on  the  presentation  of  architectural  beauty, 
and,  in  the  case  of  Brangwyn,  the  attainment  of  strength.  Hankey  is  rather  the  interpreter  of 
human  feelings.  Mothers  and  children  are  his  favorite  subjects,  and  even  when  he  essays  land- 
scape it  is  human  feeling  that  guides  his  hand  rather  than  abstract  beauty. 

Sixty-four  of  his  etchings,  now  on  exhibition  at  the  Schwartz  Galleries,  New  York,  afford  the 
art  lover  opportunity  for  a  comprehensive  study  of  Hankey.     Despite  what  has  been  said  of  the 

[75] 


Schwartz  Galleries,  New  York 


"Two  Sisters,"  drypoint  etching  by  William  Lee  Hankey. 


preponderance  of  human  emotion  in  his  work,  this  collection  presents  a  distinctly  decorative 
aspect.  A  delicious  virtuosity  in  color  and  quahty  is  obtained  in  these  black  and  white  prints 
because  of  the  fact  that  Hankey  used  the  drypoint  method;  that  is  he  cuts  his  lines  directly  on 
the  metal  with  an  instrument  instead  of  tracing  them  through  a  fill-in  of  wax  and  letting  acid 
"etch"  them  on  the  burnished  surface.  The  drypoint  method  leaves  a  "burr"  where  the  metal 
is  "ploughed"  with  the  instrument,  and  this  either  produces  a  shading  by  the  ink  or,  in  case  of 
masses,  results  in  a  rich,  velvety  black. 

The  most  famous  print  in  the  collection  is  "The  Flight  from  Belgium,"  which  is  so  great 
because  the  face  of  the  woman  bears  in  it  a  realization  of  all  that  has  befallen  and  all  that  impends. 
"Sole  Possessions  "  is  another  notable  subject.  A  Belgium  woman  in  whose  arms  is  her  baby  and 
on  whose  back  is  a  bundle.  In  depicting  the  normal  feelings  of  motherhood  and  childhood,  how- 
ever, Hankey  is  most  amiable.  "Two  Sisters"  and  "Maternite"  are  especially  good,  and  "Con- 
fession," which  conveys  the  sense  of  spiritual  control  on  the  mother's  part,  is  a  remarkable 
expression. 

Of  the  landscapes  the  finest  perhaps  is  'Sur  la  Niege,"  a  glimpse  of  a  French  farm  in  winter 
so  true  that  the  weight  of  snow  on  the  roofs  is  actually  felt,  and  an  illusion  of  dazzling  luminosity 
attained.  "In  Belgium"  has  the  same  sort  of  human  appeal,  with  its  group  of  slender  trees,  its 
low-lying  village  beyond,  and  its  white  clouds  billowing  up  in  the  distance. 

General  Meeting  of  the  Archaeological  Institute 

The  General  Meeting  of  the  Archaeological  Institute  of  America  and  the  Annual  Meeting  of 
the  Council  were  held  at  the  Johns  Hopkins  University,  Baltimore,  Md.,  Dec.  28-30,  1920. 
Some  account  of  the  papers  presented  of  especial  interest  to  Art  .and  Archaeology  readers  will 
appear  in  our  next  number. 


[76] 


BOOK  CRITIQUES 


From  Holbein  to  Whistler.  Xotes  on  Drawing 
and  Engraving,  by  Alfred  Mansfield  Brooks. 
Neiv  Haven,  Yale  University  Press,  ig20. 

A  most  valuable  and  beautiful  book  has  been 
added  to  the  large  library  of  books  upon 
engraving,  by  Alfred  M.  Brooks,  of  the  Univer- 
sity of  Indiana,  Curator  of  Prints  in  the  John 
Herron  Institute  of  Indianapolis,  therefore 
qualified  to  speak  authoritatively  on  the  sub- 
ject. 

From  Hans  Holbein  in  the  early  i6th  cen- 
tury to  Whistler  in  the  19th  century,  there 
is  a  world  of  art,  of  which  the  real  fundamentals 
are  drawing  and  engraving.  Mr.  Brooks 
cleverly  shows  "the  ways  by  which  the 
engraver  and  his  art,  or  the  engraver  and  his 
trade,  have  had  a  hand  in  the  concerns  of 
religion  and  the  spread  of  knowledge,  not  to 
mention  increasing  the  material  and  durable 
satisfaction  and  delights  of  civilized  and  culti- 
vated men." 

The  object  of  the  book,  he  says,  is  to  make 
plain  that  engraving,  which  is  but  a  kind  of 
drawing,  is  one  of  the  noblest  of  all  the  arts 
and  one  not  imderstood  by  the  majority  of 
persons  who  pretend  to  an  interest  in  art,  and 
not  regarded  or  understood  at  all  by  most 
persons.  Beside  the  technicalities  of  engrav- 
ing and  etching,  the  time  of  their  invention  and 
discovery,  he  gives  small  sections  showing  the 
lines  made  by  the  burin  and  the  etching  needle, 
which  will  be  of  great  value  to  the  student  of 
these  graphic  mediums. 

The  introduction  is  a  clear  and  interpretative 
discussion  of  what  constitutes  originality  in 
art,  its  understanding  and  appreciation  and  one 
is  tempted  to  quote  at  length. 

Mr.  Brooks  says  that  "  to  distinguish  between 
good  work  and  that  which  is  downright  excel- 
lent, requires  accurate  powers  of  discrimina- 
tion, firm  and  abiding  fairness,  a  thoughtful 
bent  of  mind,  imagination  and  all  the  informa- 
tion that  possibly  can  be  had.  The  result  is 
true  appreciation,  another  name  for  profound 
understanding.     It  always  implies  sympathy. " 

The  grouping  of  the  subjects,  of  which  the 
book  treats,  is  quite  unlike  that  of  other  writers 
and  is  all  the  more  interesting  and  illuminating. 
Line  engraving  and  wood-engraving  in  Italy 
and  in  the  North,  is  followed  by  a  chapter  on 
the  very  important  masters  of  engraving,  two 
Itahans,  Mantegna  and  Marcantonio;  two 
Germans,  Diirer  and  Holbein,  and  one  Dutch- 

[77] 


man,  Lucas  of  Ley  den.  They  all  lived  during 
the  Renaissance,  that  period,  of  great  art  when 
architecture,  painting  and  sculpture  came  to 
"full  bloom,"  an  age  which  produced  as  well, 
great  artist-draughtsm.en. 

They  were  painter-engravers  and  interpreta- 
tive engravers,  their  remarkable  creations  of 
Christian  art,  their  sacred  subjects  represented 
with  lovely  landscape  backgroimds,  Diirer's 
manner  in  particular,  are  still  the  much  sought 
prints  of  Museums  and  Collectors. 

Rem.brandt,  Van  Dyck  and  Claude  Lorrain 
are  the  great  m.asters  of  etching,  Rembrandt, 
the  greatest  not  only  of  the  seventeenth  cen- 
tury but  of  all  centuries.  They  are  a  story  by 
themselves. 

Turner's  "Liber  Studiorum"  that  wonderful 
collection  of  engraved,  etched  and  mezzotinted 
landscapes  which  Mr.  Brooks  says  surpass  all 
works  of  landscape  which  the  world  has  seen, 
forms  another  chapter  with  Wordsworth's 
poetry,  both  artist  and  poet  possessing  the 
rom.antic  point  of  view,  seeing  nature  and 
representing  it  in  picture  and  poem,  that  are  to 
"the  realities  of  this  world  as  visions  of  another 
world."  "They  accepted  every  aspect  of 
nature,  from  the  calm  of  a  summer's  day  to  the 
gale  on  a  winter's  sea." 

The  making  of  the  book  technically  is  the 
most  finished  product  of  the  Yale  University 
Press  and  is  the  fourth  work  published  by  the 
Herbert  A.  Scheftel  Memorial  Publication 
Fund,  which  was  established  by  the  widow  of 
Herbert  A.  Scheftel,  of  the  Class  of  1898,  who 
died  in  19 14.  The  gift  was  made  "in  recogni- 
tion of  the  affection  in  which  he  always  held 
Yale  and  in  order  to  perpetuate  in  the  Univer- 
sity the  memory  of  his  particular  interest  in  the 
work  of  the  Yale  University  Press." 

A  beautiful  and  unusual  memorial,  that  of 
stimulating  fine  book  making! 

The  illustrations,  of  which  there  are  nearly 
one  hundred,  are  the  finest  possible  reproduc- 
tions of  wood  and  line-engraving  and  etching. 

The  book  is  not  only  a  contribution  to  art 
history,  but  to  literature.  H.  Wright. 

Attic  Red-Figured  Vases  in  Atnerican 
Museums.  By  J.  D.  Beazley.  Cambridge: 
Harvard  University  Press;  London:  Humphrey 
Milford,  igi8.    X+236  pp.,  118  illustrations,  $7. 

Mr.  Beazley  has  done  more  than  any  other 
recent  scholar  m  the  way  of  identifying  unsigned 


The    Ehrich    Galleries 

Announce  an  Exhibition 

oj 

Scottish  and  Newport 

LANDSCAPES 

hy 

J.  Stewart  Barney 

January  24—29 

inclusive 

1^1    Fifth    Avenue,    New    York 


PAINTINGS 

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by 

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Wyant 

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GEORGE  H.  AINSLIE 
GALLERY 

615  Fifth  Avenue.  NEW  YORK 

On  Exibition  Fine  American  Paintings 


vases.  He  has  discovered  more  than  fifty 
new  vase-painters  and  although  certain  scholars 
such  as  Percy  Gardner  and  Pettier  have  ques- 
tioned his  methods,  there  is  no  doubt  that  his 
identifications,  which  often  are  the  same  as 
those  made  independently  by  others  (Hoppin, 
Swindler,  Frickenhaus,  myself,  and  others) 
are  in  the  majority  of  cases  sound.  He  cer- 
tainly has  an  unusual  knowledge  of  stylistic 
details  and  aesthetics  and  a  familiarity  with 
the  original  vases  themselves,  such  as  perhaps 
no  other  living  scholar  has. 

The  present  volume  deals  with  a  far  greater 
field  than  its  title  indicates  and  represents  a 
treatment  of  the  whole  red-figured  style  down 
to  Meidias.  There  are  many  new  attributions 
to  artists  already  known,  such  as  Epictetus, 
Oltus,  Macron,  and  to  those  created  by  Beazley 
such  as  the  Achilles  and  Pan  Painters.  Several 
new  painters  are  identified,  the  best  being  the 
Niobid  Painter,  an  artist  of  first  rank.  Some 
of  the  names  of  the  artists  such  as  the  Flying 
Angel  Painter;  The  Providence  Painter,  The 
See-saw  Painter,  The  Painter  of  the  Deepdene 
Amphora  seem  strange  and  the  arrangement 
of  the  material  might  have  been  more  practical. 
But  there  are  very  few  errors  in  the  book,  which 
is  one  of  the  most  important  contributions  ever 
made  to  Greek  ceramics.  Many  unpublished 
vases  in  America  and  Europe  are  here  illus- 
trated for  the  first  time  and  there  are  several 
better  reproductions  of  vases  already  published. 

D.  M.  R. 

Everyone's  History  of  French  Art.  By  Louis 
Hourticq.  Translated  by  M.  Herbert.  With 
iSi  illustrations,  and  practical  information  for 
artistic  tours.     Librairie  Hachette  et  Cic.   Paris. 

This  admirable  little  handbook  should  be  on 
the  desk  or  in  the  pocket  of  everyone  interested 
in  French  Art.  It  presents  in  a  nutshell  the 
information  most  desired  by  the  traveler  in 
France  or  the  reader  who  wishes  to  familiarize 
himself  with  the  salient  facts  in  this  long  and 
interesting  story.  You  have  here,  in  brief 
compass, "  the  archaeologist's  handbook  to  Paris 
and  the  Provinces,"  notes  on  the  Paris  and 
provincial  Museums,  and  the  annual  Salons, 
and  a  chronological  and  topographical  table. 
Then  follow  "Facts  about  French  Art, "  begin- 
ning with  the  sources,  and  briefly  describing  the 
Romanesque,  Gothic,  Renaissance,  Louis  XIII, 
XIV,    XV,    XVI,     Revolution    and    Empire 


Kindly  Mention  Art  and  Archaeology. 


periods  down  to  contemporary  art.  "When 
you  study  the  artistic  record  of  a  nation,  you 
witness  its  progress  toward  the  ideal,"  and  of 
all  countries,  except  Greece,  this  is  most  truly 
exemplified  by  France.  M.  C. 

An  Economic  History  of  Rome  to  the  end  of 
the  Republic.  By  Tenney  Frank.  Baltimore, 
The  Johns  Hopkins  Press,  ig20.  xi+310 
pp.     $2.00. 

This  book  deals  with  Agriculture  in  early 
Latium,  The  early  trade  of  Latium  and  Etruria, 
The  rise  of  the  peasantry.  New  lands  for  old, 
Roman  coinage.  The  establishment  of  the  plan- 
tation, Industry  and  commerce.  The  Gracchan 
revolution.  Public  finances.  The  Plebs  Urbana.- 
Industry  at  the  end  of  the  Republic,  Capital, 
Commerce,  The  Laborer,  and  The  exhaustion 
of  the  soil.    Great  use  is  made  of  archaeology 
and  the  result  is  a  very  important  as  well  as 
readable  contribution  to  the  study  of  Roman 
history  and  archaeology.     There  are  excellent 
summaries  of  the  economic  conclusions  to  be 
drawn  from  coins,  inscriptions,  the  excavations 
of  private  houses  and  shops,  from  the  finds  in 
bronzes,   silver,   glass,   jewehy,   bricks,   pipes, 
vases,  and  other  archaeological  evidence.     The 
book  is  full  of  interesting  statements  even  for 
our    modern    age.      For    example,    we    learn 
(p.  81)  that  Cicero's  house  cost  about  $150,000 
(p.  280  the  cost  is  given  as  about  $200,000), 
but  Sulla  could  have  rented  a  flat  for  $150  a 
year  and  workmen  could  get  miserable  rooms  at 
a  dollar  per  month;  that  the  rate  of  exchange 
between  silver  and  gold  was  about  16:1,  the 
gold  bringing  little  more  if  any  more  than  its 
present  day  equivalent.    Again  we  read  (p.  1 1 1 ) 
"In  a  thousand  years  of  Rome's  history  there 
is  not  one  labor  strike  recorded. "    I  remember 
an  inscription  which  tells  of  a  strike  during  the 
building  of  the  Roman  theatre  at  Miletus,  but 
such  things  seem  not  to  have  existed  at  Rome. 
Those  concerned  with  present  day  problems  as 
well  as  those  interested  in  Roman  history  or 
archaeology  will  receive  much  profit  and  pleas- 
sure  from  a  reading  of  Professor  Frank's  original 
and  scholarly  book.    The  printing  is  well  done 
and  the  book  is  one  of  taste.     I  have  noticed 
only  a  few  misprints,  such  as  courage  for  coin- 
age (p.  83),  satrapsies  for  satrapies  (p.   131), 
wrong  punctuation  of  p.  167,  n.  4,  open  for  opus 
(p.  1 73),  wTong  order  of  notes  on  p.  256.     P.  102 
the  Ficoroni  cista  is  said  to  be  silver  whereas 
it  is  bronze.  D-  M.  R. 


(n 


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An  Illustrated  Monthly  Magazine 

POBLISHED  AT  WASHINGTON.  D.  C,  by 

THE  ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA 

ART  AND  LIFE  (NEW  YORK)  COMBINED  WITH  ART  AND  ARCHAEOLOGY 


Volume  XI 


MARCH,  1921 


Number  3 


EDITOR-IN-CHIEF 
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BOARD  OF  EDITORS 

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COHTENTS 


Martyred  Monuments  of  France  II:  The  Town  Hall  of  Arras     .  Colonel  Theodore  Reinach       .      .  83 

Eight  Illustrations 

Art's  Demand Le  Baron  Cooke 94 

What  the  War  Cost  France  in  Art  Treasures Stephane  Lausanne    ....  95 

Still  Life:  Today  and  Yesterday Horace  Townsend       ....  99 

Eight  Illustrations 


Armistice  Day 

Poem 

Playing  Cards:  Their  History  and  Symbolism 

Ten   Illustrations 


/.  B.  Noel  Wyatt        ....      105 
W.  G.  Bowdoin 106 


Current  Notes  and  Comments 113 

Five  Illustrations 

Book  Critiques 123 


Terms:  55  go  a  year  in  advance:  single  numbers.  50  cents, 
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Instructions  for  renewal   discontinuance,  or  change  of  address  should  be 


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provided  for  in  section  1103,  Act  of  October  3,  1917,  authorized  September  7.   191S. 

Copyright.  192 1, bv  the  Archaeological  Institute  of  America. 


n:.     .:.■    lA, 


o 


ART  &n3. 

ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XI 


MARCH,  1921 


Number  3 


MARTYRED  MONUMENTS  OF  FRANCE 

II:  THE  TOWN  HALL  OF  ARRAS 

B\'  Colonel  Theodore  Reinach 


Membre  de  rin<!lilnt  de  France 


IN  A  former  number  of  this  periodical 
I  gave  a  short  account  of  the  wanton 

destruction  by  the  Germans  of  the 
far-famed  castle  of  Coucy.  Hardly  a 
less  odious  crime  against  art,  history 
and  civilization  was  the  annihilation  of 
the  town  hall  of  Arras.  If  Coucy  was 
the  unparalleled  specimen  of  military 
architecture  in  the  Middle  ages,  the 
Hotel  de  Ville  of  Arras  was  one  of  the 
finest  productions  of  civil  architecture 
in  the  early  Renaissance.  As  the  keep 
of  Coucy  was  the  king  of  our  Donjons, 
so  was  the  clock-tower  of  Arras  rightly 
termed  the  king  of  our  Beffrois. 

Northern  France,  of  which  Arras 
marks  about  the  center,  is  a  singular 
compound  of  provinces  and  peoples, 
some  of  Teutonic,  some  of  Romanic 
stock,  little  by  little  blended  in  that 
wonderful  melting-pot  of  races,  cus- 
toms, traditions  and  civilizations,  our 
many-sided,  but  one-hearted,  modern 
France.    Their  story  is  a  perfect  maze 


iArt  and  Archaeology.  IX,  No.  3,  March  1920. 


of  ever-changing  lordships.  Artois,  the 
comte  of  which  Arras  is  the  chief  town, 
although  of  French  tongue  and  culture 
and  depending  in  feudal  law  from  the 
realm  of  France,  formed,  as  a  matter  of 
fact,  during  two  centuries  (i  180-1384), 
a  semi-independent  state,  connected 
sometimes  with  Flanders,  sometimes 
with  England.  Later  on,  after  the 
ghastly  ravages  of  the  English  hosts, 
it  became  a  part  of  Burgundy,  the 
enterprising  buffer-state,  which  had 
sprung  up  between  France  and  Ger- 
many. After  the  dismemberment  of 
Burgundy,  towards  the  end  of  the  fif- 
teenth century,  it  was  French  again  for 
a  short  time,  only  to  become  for  about 
one  hundred  and  forty  years  a  Spanish 
province,  previous  to  its  final  reunion, 
in  1640,  to  the  French  crown. 

It  is  a  notable  fact  that  Arras,  not- 
withstanding it  having  thus  been  a 
Spanish  possession  for  a  century  and 
a  half,  does  not  show  in  its  outward 
aspect,  in  its  architecture  or  sculpture. 


[83] 


Arras:  The  Town  Hall. 


ART  AND  ARCHAEOLOGY 


the  slightest  trace  of  Spanish  influence. 
The  contrary  has  often  been  asserted  by 
romantic  archaeologists  and  in  our  own 
days  by  the  poet  Verlaine,  who  prettily 
described  .  .  .  "/a  viUe  anx  toits  foUets 
Poignardant,  espagnols,  les  dels  cpais 
de  Flandre"  .  .  .  But  poets  are  not 
bound  always  to  say  the  truth.  Now 
the  plain  truth  is  that  whatever  here  is 
not  purely  French  is  decidedly  of  Flem- 
ish origin,  for  many  and  narrow  were 
the  political  and  commercial  ties  be- 
tween Artois  and  the  neighboring  cities 
of  Flanders  which,  under  the  mantle  of 
republican  freedom,  developed,  during 
the  last  centuries  of  the  middle  ages, 
unequalled  wealth  and  unrivalled  splen- 
dor. 

Since  Roman  times  there  stood  here 
a  flourishing  city,  the  chief  mart  of  the 
corn  trade  in  a  fertile  country  and  the 
seat  of  a  renowned  fabric  of  woolen 
stuffs,  the  luxury  of  which  already 
scandalized  the  holy  Jerome.  In  the 
later  middle  ages,  when  Arras,  detached 
from  the  comte  of  Artois  and  nominally 
a  part  of  the  king's  own  dominions,  was 
practically  a  free  city,  a  thriving  indus- 
try and  a  profitable  trade  developed 
here,  hand-in-hand  with  a  fine  literary 
and  artistic  taste.  Widely  known  was 
the  skill  of  the  goldsmiths  from  "Arras 
libiaus."^  The  hangings  or  tapestries 
woven  here  were  so  highly  valued  that 
the  name  of  the  town  became  in  several 
countries  a  generic  denomination  for 
fine  tapestries,  like  in  later  times  the 
word  Gobelins.  Who  does  not  remem- 
ber the  Galleria  degli  Arazzi  in  the 
Vatican,  and  in  Hamlet,  old  Polonius 
hiding  behind  the  "  arras  ? ' '  Music  and 
poetry  were  also  at  home  among  the 
"Arrageois;"  they  were  a  joyful,  I  may 
even  say  a  jolly  people,  and  devoted 
admirers  of  the  fair  sex.  The  Jeu  de 
Robin  et  de  Marion,  by  a  man  of  Arras, 

i"Arras  the  handy  one"  in  the  vernacular  dialect. 

[85] 


Adam  de  La  Halle,  is  the  very  first 
musical  comedy  in  history,  and  more 
than  one  fanciful  invention  of  the  old 
trouvere  has  crept  by  unknown  chan- 
nels from  his  jeu  de  la  Feiiillee  into  the 
moonlit  visions  of  a  Midsummer  Night's 
Dream. 

Hardly  anything  remains  nowadays 
of  mediaeval  Arras.  The  beautiful  city 
walls  with  their  battlements,  gates  and 
turrets,  the  public  baths,  the  fine 
private  mansions,  the  huge  abbey  and 
Gothic  cathedral,  the  carved  tombstones 
and  crosses,  nay,  the  very  altar  screens, 
almost  everything  has  disappeared, 
sometimes  by  brutal  warfare,  mostly 
under  the  hammer  and  chisel  of  the 
so-called  embellishers  of  later  times. 
For  the  modern  visitor  of  Arras,  the 
most  striking  features  are  the  two  large 
squares,  about  the  middle  of  the  old 
town,  known  as  Petite  Place  and  Grande 
Place.  As  they  stand,  or  rather  stood 
of  late,  they  are  a  work  of  the  seven- 
teenth century  executed  soon  after  the 
French  reconquest  of  1640;  but  their 
ground  plan  was  due  to  the  emperor 
Charles  V,  and  they  show  even  some 
remembrances  of  the  old  wooden  dwel- 
lings of  the  XIHth  century,  one  of 
which — la  maison  Deleau — is  still  stand- 
ing on  the  Grand  Place.  Moreover,  the 
new  houses  have  retained  the  old  cel- 
lars, the  so-called  boves,  spacious,  deep 
and  sometimes  two-storied,  which  in 
the  time  of  Guicciardino,  as  well  as  in 
our  own,  afforded  a  priceless  refuge 
against  the  cannon  of  a  barbarous  foe. 

Both  of  these  squares,  as  well  as  the 
wide  street — rue  de  la  Taillerie — which 
connects  them,  were  lined  with  houses 
of  a  uniform  type,  though  allowing 
some  variety  of  size  and  ornament.  Be 
it  said  to  the  praise  of  the  mayors  and 
municipalities  of  the  ancien  regime: 
they  never  allowed  any  facade  to  be 
repaired,  unless  brick  was  substituted 


Arras:    Insiik  \ie\v  of   the  Cathedral. 


Arras:  Inside  view  of  the  Cathedral  (present  state). 


Auras:  The  Palace  of  St.  Vaast — court  yard  of  the  Museum. 


for  brick  and  stone  for  stone.  So  these 
two  huge  places,  with  their  hundred 
and  fifty-five  houses,  kept  their  char- 
acter unchanged  and  unblemished  down 
to  our  own  days.  The  ground-floor 
recedes  behind  an  open  gallery,  the 
narrow  arcades  of  which  are  supported 
b}'  monolith  Doric  sandstone  columns. 
Two  two-storied  mansions  are  built  in 
stone  and  brick,  their  lofty  roof  facing 
in  the  shape  of  a  rounded  gable,  the 
base  of  which  ends  in  a  pair  of  heavy 
volutes;  the  facades,  only  two  or  three 
windows  wide,  are  adorned  with  quaint 
sign-boards,  carved  in  stone,  mostly 
copies  of  much  older  ones.  All  in  all, 
says  one  of  our  best  authorities  in 
archaeology,  you  have  here  an  ensemble 
unique  in  the  world. 

The   Petite  Place,   the   older   of   the 


two,  was  formerly  the  animated  centre 
of  the  burghers'  life,  the  celebrated 
forum  of  the  town.  In  mediaeval  days 
a  charming  chapel,  the  so-called  "lan- 
tern of  the  holy  candle,"  had  been 
erected  in  the  middle  of  the  place  as 
a  sort  of  permanent  record  of  the  dead  : 
it  fell  a  victim  to  the  revolutionists  of 
1793.  And  on  one  of  the  small  sides  of 
the  same  place  stood  until  yesterday 
the  far-famed  Hotel  de  Ville,  the  glory 
of  old  Arras,  the  chief  subject  of  this 
paper. 

Town  halls  were  very  scarce  in  Nor- 
thern France  down  to  the  end  of  the 
fourteenth  century.  The  cities  were 
neither  rich  nor  free  enough  to  indulge 
in  such  luxuries;  moreover  the  churches 
sufficed  as  a  rule  for  the  accommodations 
of  such  few  public  services  as  existed 


[88] 


Arras:  The  Grande  Place  as  it  is. 


and  specially  for  the  meetings  of  the 
burghers  discussing  their  affairs.  In 
this,  as  in  other  respects,  the  cities  of 
Flanders  showed  us  the  way.  Gradu- 
ally our  northern  towns  followed  in 
their  lead,  one  of  the  earliest  and  finest 
specimens  of  this  class  of  buildings 
being  the  town  hall  of  Saint  Quentin, 
another  victim  of  the  recent  war. 

The  present  town  hall  of  Arras, 
which  replaced  an  older  Halle  des 
Echevins,  was  not  erected  before  the 
first  decade  of  the  sixteenth  century,  in 
the  days  of  Arch-duke  Maximilian. 
Chronologically  it  belongs  already  to 
the  Renaissance,  but  artistically  it  is 
still  a  Gothic  structure  of  pure  flam- 
boyant style,  a  style  which  persisted 
very  late  in  our  Northern  regions  and 
celebrated  here,  in  contemporary  times, 


a  remarkable  revival.  No  more  than 
the  houses  of  Arras  does  the  town  hall 
exhibit  any  trace  of  Spanish  influence: 
it  is  a  plant  sprung  from  the  native 
soil.  The  designer  of  the  main  building, 
Mahieu  Martin,  was  an  Artesian  by 
birth,  and  so  were  his  two  most  notable 
successors,  Jacques  Le  Caron,  the  com- 
pleter of  the  heMrj,  and  Mathieu  Tes- 
son,  the  architect  of  the  left  wing. 

Martin's  work,  which  forms  now  the 
nucleus  of  the  aggregate,  was  to  a  cer- 
tain extent  inspired  by  the  aforesaid 
town-hall  of  Saint  Quentin.  The  low 
ground  floor  is  screened  by  a  vaulted 
portico  opening  towards  the  place  and 
offering  a  shelter  against  sun  and  rain. 
The  arches,  of  unequal  sizes,  alternately 
round  and  pointed,  rest  on  slender  col- 
umns of  sandstone;  they  are  elegantly 


[891 


Arras:  The  Museum  and  Cathedral  (present  state). 


decorated  with  flower-work.  Then, 
above  an  elaborate  cornice,  rises  the 
ver>^  lofty  upper  story,  lit  up  by  eight 
beautiful  Gothic  windows  in  the  style 
of  the  later  cathedrals  and  adorned 
with  delightful  tracery.  In  front  of  the 
two  middle  windows  projects  a  hand- 
some balcony,  originally  of  wrought  iron 
and  a  work  of  the  eighteenth  centur^^, 
but,  in  our  own  days,  clumsily  rebuilt 
in  stone.  Between  the  high  gables  of 
the  facade  windows,  ran  a  series  of 
small  round  openings,  so-called  oeil-de- 
boeuf,  quaintly  divided  into  segments 
by  muUions  of  varied  devices.  An  open 
balustrade,  also  of  an  ingenious  design, 
ended  the  wall  of  the  facade,  and  above 
this  balustrade,  giving  its  peculiar  char- 
acter to  the  whole  building,  rose  a  high 
slated  roof,  enlivened  with  three  rows 


of  sky-lights,  each  of  which  was  framed 
with  elegant  metal  open-work  and 
crowned  with  gilt  sundisks  or  with 
small  quaint  weather-cocks.  The  whole 
facade,  including  the  Gothic  niches  at 
the  angles,  constituted  a  magnificent 
monument,  the  like  of  which  was  hardly 
to  be  found  in  any  other  French  town. 

Unfortunately  this  fine  building,  in 
its  noble  restraint,  did  not  remain  un- 
blemished throughout  the  centuries.  In 
course  of  time,  new  wants,  the  ever 
growing  expansion  of  public  services 
caused  many  additions  to  be  made  to 
the  old  Gothic  town  haU;  not  all  of 
these  were  felicitous,  one  of  the  last — 
the  restoration  of  1840 — being  by  far 
the  worst. 

As  early  as  1572,  a  whole  wing  was 
erected   to   the   left    (speaking  as  one 


[90] 


Arras:  Belfrey  and  Town  Hall  after  the  bombardment. 


looks  from  the  place)  and  somewhat  in 
the  rear  of  the  main  building.  This 
work  of  Mathieu  Tesson  was,  all-in-all, 
a  good  example  of  the  Flemish  Renais- 
sance style,  without  any  survival  of 
Gothic  elements.  The  tvsfo  lower  stories 
reminded  of  the  Louvre  with  their 
belted  pilasters,  their  bossages  and  large 
square  windows.  The  "perron"  had  a 
cupola  which  was  removed  in  the  eigh- 
teenth century.  A  refined  taste  could 
hardly  approve  of  the  gorgeous  little 
niches  and  twisted  columns  of  the  third 
story  nor  of  the  massive  intricate  gables 
above  the  windows  of  the  attic. 

Still  less  satisfactory — I  mean  still 
more  over-loaded  with  useless  deco- 
ration— was  the  right  wing,  added 
under  Napoleon  III,  by  the  romantic 


Grigny,  one  of  the  leaders  of  the  Gothic 
revival:  nowhere  appears  more  glaring 
the  mistake  of  Ruskin's  formula  "beauty 
in  architecture  is  ornament."  The  same 
architect  and  his  mate  Mayeur  planned 
the  inner  fittings  of  the  town  hall,  in  a 
profuse  and  exuberant  style,  flavoring 
of  the  so-called  Alanoelic  architecture 
in  Portugal. 

I  have  still  to  mention  what,  in  the 
opinion  of  many,  was  the  most  valuable 
pearl  in  the  crown  of  the  old  city  or, 
to  use  the  phrase  of  Shakespeare,  "the 
feather  in  her  cap : "  I  mean  the  belfry 
or  clock-tower.  Standing  close  behind 
the  town  hall,  it  was  not,  strictly  speak- 
ing, a  part  of  it:  so  the  campanile  is 
distinct  from  an  Italian  Diiomo.  Nay, 
the  belfry  was  rather  older  than  the 


[91] 


ART  AND  ARCHAEOLOGY 


hall  itself,  having  been  built  between 
1463  and  1499.  Its  airy  structure,  its 
buttresses,  bell-turrets,  niches,  high  and 
pointed  twin  windows,  made  it  very 
like  the  tower  of  a  Gothic  cathedral. 
Originally  it  ended,  like  those  towers 
usually  do,  by  a  balustrade  and  a  long 
slender  spire.  However,  towards  the 
middle  of  the  sixteenth  century,  the 
spire  was  pulled  down  and  in  its  stead 
were  raised  by  Jacques  Le  Caron  of 
Marchiennes — the  work  was  dedicated 
on  July  2nd,  1554 — two  more  stories  of 
octagonal  design,  tapering  as  they  rose, 
gorgeously  clothed  with  lace-hke  carv- 
ing, and  sheltering,  among  many  mighty 
bells,  one  of  the  most  famous  chimes  or 
carillons  of  northern  France.  The  upper 
story  culminated  in  a  large  closed 
crown  formerly  of  stone,  lately  restored 
in  cast  iron,  on  the  top  of  which  a  big 
heraldic  lion  of  brass  carried  the  glori- 
ous pennon  of  Artois:  a  quaint  device 
inspired  from  the  town  hall  of  Aude- 
narde,  but  here  far  more  effective,  be- 
cause the  belfry  rises  to  more  than 
twice  the  height  of  the  hall. 

Thus,  this  king  of  French  beffrois, 
shooting  to  the  height  of  seventy-five 
metres,  has  a  giant  sentry  of  the  city 
lying  below,  towered  above  the  pic- 
turesque labyrinth  of  wide  places,  nar- 
now  streets,  houses  squeezed  together, 
of  the  many  churches,  the  huge  un- 
gainly cathedral  of  the  eighteenth  cen- 
tury, as  a  beacon  beckoning  from  afar 
to  the  weary  traveler,  a  herald  of  com- 
fort, beauty  and  joy,  reminding  of  the 
lines  of  the  French  Heine : 

Belle,  tres  au-dessus  de  toule  la  contree, 
Se  dresse  eperdumenl  la  tour  demesuree 
Attestant  les  devoirs  et  les  droits  du  passe. 

Hall  and  belfry  happily  completed 
each  other :  together  they  were  the  pride 
of  Arras,  as  the  famous  Cloth  Hall,  like- 
wise ill-fated,  was  the  pride  of  Ypres. 
They  testified,   in  a  magnificent   lan- 


guage, understood  by  all,  to  the  civic 
spirit  of  mediaeval  burghers  and  to  the 
refined  taste  of  the  Renaissance;  they 
presided  over  the  thriving  life  which  in 
the  nineteenth  centur}'  permeated  and 
revived  the  time-honored  capital  of  the 
Atrebates  and  of  Countess  Mahault,  the 
song-loving  home  of  the  trouveres  and 
of  the  Rosati,  the  native  city  of  Jehan 
Bodel  and  of  Maximilien  Robespierre. 

Several  times  already  in  the  history 
of  Arras  has  a  period  of  peaceful  and 
prosperous  development  been  suc- 
ceeded by  the  hurricane  and  havoc  of 
invasion  or  civil  war.  The  old  capital 
of  the  Atrebates  was  burnt  in  the  fifth 
century  by  the  Vandals  and  Attila; 
the  new  Arras  of  the  holy  Vaast  was 
ransacked  by  the  Normans  in  881. 
Fearful  were  the  ravages  wrought  by 
the  wars  of  the  fifteenth  and  sixteenth 
centuries  from  King  Louis  XI  to  Em- 
peror Charles.  vStreams  of  blood  were 
shed  here  in  the  time  of  the  Revolution 
and  Terror.  But  none  of  these  calami- 
ties was  comparable  in  point  of  destruc- 
tion, to  the  ghastly  doom  which  befell 
the  old  city  in  our  own  days. 

The  suddenness  of  the  catastrophe 
added  to  its  frightfulness.  "Arras," 
writes  M.  Enlart,  "was  extending  and 
developing  her  trade,  confiding  in  a 
peaceful  future,  enjoying  the  present 
welfare.  Thus  lives  a  harmless  bird, 
chirping  and  pecking  close  to  the  jaw 
and  claws  of  a  treacherous  cat,  which 
feigns  to  be  friendly  or  asleep!"  Who 
has  forgotten  what  the  waking  of 
the  cat  was  like,  in  the  first  days  of 
August  1 9 14,  the  terrific  leap  of  the 
wild  beast,  the  flood  of  carnage  and 
destruction;  or,  to  use  the  word  of  a 
German  professor.  Doctor  Clemen,  the 
"measureless  devastation"  which 
spread  for  more  than  four  years  over 
our  flourishing  northern  provinces? 
Five  towns,  two  hundred  villages,  num- 

[92] 


ART  AND  ARCHAEOLOGY 


berless  churches  and  factories  reduced 
to  ashes,  172  works  of  art  registered  as 
historical  monuments  stolen  from  the 
sanctuaries  where  they  were  housed, 
hundreds  of  mines  flooded,  thousands 
of  trees  cut  down,  smiling  fields  and 
orchards  changed  into  hideous  deserts, 
the  very  earth  turned  out  of  its  bowels 
and  mimicking  the  craters  of  the  moon, 
five  of  our  finest  departments  plunged 
into  a  state  of  miser>^  and  ruin  which 
even  now  after  two  years  of  peace  and 
deliverance,  they  are  strenuously  en- 
deavoring to  overcome — such  was  the 
balance  of  the  worst  and,  let  us  hope, 
the  last  of  the  barbaric  invasions. 

Arras,  although  an  open  town,  was 
one  of  the  hinges  of  the  gate,  or  rather 
the  network  of  trenches  coated  with 
brave  breasts,  which,  from  the  latter 
end  of  September  1914,  protected  the 
heart  of  France  against  the  advance 
of  the  German  foe.  After  a  short  occu- 
pation of  four  days,  the  Germans  had 
evacuated  the  city.  Not  a  soldier  was 
within  its  walls,  as  Mr.  Whitney  War- 
ren has  testified,  when  the  so-called 
"preventive  bombardment"  began  on 
the  5th  of  October;  it  lasted,  with  short 
interruptions  until  the  month  of  Sep- 
tember 1 9 18,  and  the  final  discomfiture 
of  the  invaders.  During  these  four 
years,  the  barbarians  never  ceased  fir- 
ing at  buildings,  none  of  which  could  be 
of  any  military  use :  public  monuments 
and  private  dwellings,  churches  and 
hospitals,  nothing  was  spared;  they 
went  on  blindly,  as  writes  a  witness,' 
"ruining  ruins,  reopening  scars,  killing 
the  dying. ' ' 

As  early  as  the  7th  of  October  1914, 
the  first  and  noblest  victim,  the  beauti- 
ful town  hall,  went  up  in  flames.  On 
the  2 1st  of  the  same  month,  a  shower  of 
high  explosive  shells  was  poured  upon 
the  belfry  and  at  the  69th  hit  the  proud 


•Potez,  Arras,  p.  43. 


structure  tumbled  to  the  ground;  on  the 
helpless  stump,  the  German  batteries 
continued  to  vent  their  fury.  Later  on, 
came  the  turn  of  the  railway  station, 
of  the  fine  Gothic  church  of  John  the 
Baptist,  of  the  clock-tower  of  Saint 
Nicholas.  In  the  unwarrantable  con- 
flagration of  the  old  people's  hospital, 
thirty  poor  women  were  wantonly 
slaughtered.  The  fine  palace  of  Saint 
Vaast  sheltered  the  archives,  the  library 
and  the  museum ;  this  also  fell  a  prey  to 
the  incendiary  bombs.  Some  of  the 
most  precious  treasures  had  been 
brought  into  safety,  but  nearly  all  the 
books  and  part  of  the  provincial  ar- 
chives were  burnt,  including  the  valu- 
able documents  collected  by  Father 
Ignace  and  archivist  Lavoine;  also  the 
fine  paintings  of  Tattegrain  and  many 
pictures  by  local  artists.  Lastly  the 
disaster  overwhelmed  the  cathedral, 
formerly  the  abbey  church  of  Saint 
Vaast.  It  was  an  unattractive  build- 
ing, of  stone  and  plaster,  in  the  Louis 
XVI  style,  completed  only  in  1833,  but 
remarkable  for  its  colossal  proportions 
and  majestic  regularity.  Ripped  up  in 
its  turn,  it  became  day  by  day  a  gigan- 
tic ruin,  more  beautiful  in  its  desolation 
than  in  its  splendor.  "Half  over- 
thrown," writes  an  eye-witness,  "it 
shows  the  sky  between  its  massive  pil- 
lars, reminding  us  of  an  etching  by 
Piranesi.  A  few  months  have  clothed 
it  in  the  forlorn  grandeur  which  it  took 
centuries  to  pour  on  the  Baths  of 
Caracalla.  Columns,  capitals,  frag- 
ments of  arches,  everything  glares 
with  the  whiteness  of  snow. " 

What  now  about  the  private  dwell- 
ings? It  is  heart  rending  to  look  on  the 
Grande  Place  and  Petite  Place  with 
the  hideous  gaps  torn  everywhere, 
some  of  them  gigantic  in  size ;  one  single 
volley  threw  down  nine  gables  at  a 
time!    In  the  center  of  the  town  not  a 


[93] 


ART  AND  ARCHAEOLOGY 


block  has  been  spared;  some  streets 
have  completely  vanished.  Seventy 
per  cent  of  the  houses  haye  been  utterly 
annihilated  or  reduced  to  their  wooden 
frame-work;  even  those  that  seem  to 
be  sound  show,  at  a  closer  inspection, 
threatening  wounds.  Nor  are  pictur- 
esque scenes  wanting:  here  has  a  house 
crumbled  to  dust,  while  its  roof  remains 
suspended  as  by  a  miracle  between  the 
projecting  beams  of  its  two  neighbors; 
there  an  upper  story  shows,  through 
the  broken  facade  and  shattered  win- 
dows the  inner  fittings  and  forlorn  fur- 
niture as  on  a  film  or  on  an  uphol- 
sterer's model.  Strange  to  say,  among 
so  many  corpses  the  little  house  of 
Robespierre  remained  untouched,  neat 
and  tidy,  as  was  its  master  of  yore,  the 
dandy  of   the   guillotine. 

However,  in  that  field  of  desolation, 
no  sight  is  more  dismal  than  that  of  the 
late  town-hall.  So  sweeping  has  been 
the  blow,  that  an  untrained  visitor  can 
hardly  trace  the  outlines  of  the  old 
fabric,  with  its  central  structure  and  its 


two  receding  wings,  buried  among 
stretches  of  smouldering  walls,  heaps  of 
crumbled  stones  and  a  perfect  forest  of 
wild  herbs  and  plants  shooting  out 
from  the  thick  layers  of  rubbish.  On 
the  left,  a  few  arches  and  noble  columns 
stand  out  in  solitary  majesty;  on  the 
right,  a  shred  of  lace  glittering  among 
the  ashes  is  all  that  subsists  of  Grigny's 
romantic  tracery.  Of  the  king  of  bel- 
fries, of  that  time-honored  treasury  of 
joy  and  song,  nothing  remains  but  a 
shapeless  stump,  jagged  and  pallid  as  a 
ghost,  pointing  towards  heaven  with  its 
mangled  finger  as  if  to  protest  against 
crime  and  appeal  for  retaliation.  And 
the  words  of  an  old  chronicler,  quoted 
by  my  friend  Enlart  revert  to  our 
memory  when,  speaking  of  similar 
outrages  committed  by  German  sol- 
diery in  the  fourteenth  century,  he  con- 
cludes thus:  "Maudits  soient-ils!  ce  sont 
gens  sans  pitie  et  sans  honneur  et  aussi 
n'en  devrait  mil  prendre  a  merci." 

Pan's,  France. 


ART'S  DEMAND 

By  IvE  Baron  Cooke. 

Art  is  an  exacting  mistress;  she  demands  purity  of  conception  in  all  her  spheres: 
Literature,  Painting,  Drama,  Music,  and  Architecture;  and  if  one  proves  himself 
inadequate,  she  flaunts  before  him  one  truly  fine  and  meritorious  Achievement 
worthy  the  privilege  of  sitting  at  her  Board,  thus  implanting  the  Seed  of  Discontent 
in  the  mind  of  the  one  having  failed;  the  seed,  which,  after  all,  will  determine  if  the 
artist-spirit  is  an  indwelling  conviction  in  the  ma?i  by  a  renewal  of  consecration  to  the 
one  Thing  by  which  his  soul  can  truly  live  and  flower. 

True,  the  artist  pays  dearly  for  the  aspirations  for  which  he  gropes,  that  is,  of 
course,  if  we  consider  material  sacrifices  and  privations;  but  the  inner,  spiritual 
satisfaction  of  the  one  -ivho  proves  himself  the  artist  in  his  realization  of  Creation 
makes  the  reivards  that  follow  mundane  pursuits  seem  trivial  and  ephemeral  indeed. 


[94] 


WHAT  THE  WAR  COST  FRANCE 

IN  ART  TREASURES 


By  St^phane  Lausanne 

Editor-in-Chief  of  the  "Matin" 


THE  world  war  cost  France  not  only 
one  million  four  hundred  thou- 
sand human  lives,  entire  cities,  fac- 
tories, mines,  and  buildings:  it  cost  her 
also  a  part  of  her  magnificent  store  of 
art  treasures.  And  that  part  can  never 
be  restored  to  her.  Houses  are  recon- 
structed, mines  are  reopened,  factories 
are  reorganized,  and  cities  are  rebuilt. 
Other  men  are  bom  to  take  the  place  of 
those  w^ho  have  disappeared.  But  we 
cannot  replace  a  cathedral  ten  centuries 
old,  with  the  memories  attached  to  it; 
we  cannot  replace  a  chateau  of  the 
middle  ages,  with  the  epoch  that  it 
calls  to  mind;  nor  can  we  replace  the 
stained  glass  which  was  the  work  of  the 
greatest  artists  of  the  Renaissance. 

Frightful  is  the  list  of  ruins  of  French 
art — as  frightful,  perhaps,  as  that  of 
Rome  or  of  Athens  when  sacked  by  the 
Barbarians.  It  is  this  list  which  I  wish 
to  place  before  the  eyes  of  the  American 
public  which,  more  than  any  other,  has 
always  shown  an  affectionate  respect 
and  an  enthusiastic  admiration  for  the 
old  historic  monuments  of  France. 

Almost  a  century  ago — in  1832,  to  be 
exact — France  officially,  by  law,  put 
under  the  protection  and  the  control  of 
the  State,  the  most  beautiful  edifices  of 
which  the  nation  was  proud.  A  service 
was  created,  the  service  of  historic 
monuments,  which  under  the  direction 
of  the  Minister  of  Fine  Arts,  was 
charged  with  the  care  of  these  edifices, 
with  their  upkeep,  and  with  their  repair. 
All  the  projects  and  all  the  expenses  are 
inscribed  on  the  budget  each  year,  and 


consequently  are  paid  for  by  all  the 
citizens. 

Before  the  war  almost  a  thousand 
artistic  or  historic  monuments  in  France 
were  thus  placed  under  the  surveillance 
and  care  of  the  Department  of  Fine 
Arts.  Of  these,  two  hundred  and  fifteen 
during  the  war,  have  been  either  com- 
pletely destroyed  or  seriously  damaged : 
there  is,  therefore,  in  considering  only 
the  figures,  a  decrease  of  more  than  a 
fifth  in  the  art  treasure  of  France;  but 
the  loss  is  even  greater,  for  unfortu- 
nately some  of  the  works  destroyed  con- 
tained what  was  of  the  highest  value  in 
art  and  in  history. 

Let  us  consider  in  the  first  place  what 
has  been  totally  wiped  out,  that  which 
will  never  be  able  to  live  again,  that  part 
which  is  definitely  lost  to  the  patrimony 
of  civilization. 

To  begin,  we  should  cite  the  Chateau 
de  Coucy,  in  the  department  of  the 
Aisne.'^ 

A  great  French  architect,  who  was 
also  a  great  historian,  VioUet-le-Duc, 
called  the  Chateau  of  Coucy  "a  veri- 
table city,  conceived  in  its  ensemble  and 
built  by  a  single  effort,  dominated  by  a 
powerful  will."  This  splendid  chateau 
was  in  fact  a  whole  little  city,  built  in 
the  thirteenth  century  on  a  height  from 
which  can  be  seen  on  the  horizon  Laon, 
Noyon,  and  Chaimy — thirty  miles  of 
valley,  of  plain,  and  of  forest.  Behind 
the  moat  and  the  great  towers  there 
was  a  whole  series  of  buildings :  a  Gothic 
chapel;  a  court  house,  called  the  hall  of 

'Art  and  Archaeology,  IX,  No.  3,  March,  1920. 


[95] 


ART  AND  ARCHAEOLOGY 


the  knights  because  it  was  ornamented 
with  the  statues  of  nine  vahant  knights ; 
shops;  stables;  modest  httle  houses  for 
the  ofhcers  and  majordomos ;  and  finally 
the  dwelling  of  the  master,  he  who  was 
called  the  Sire  de  Coucy.  All  that  was  a 
marvelous  restoration  of  a  unique  corner 
of  the  France  of  the  middle  ages,  with 
its  life,  its  habits,  and  its  institutions. 
And  all  that  has  been  annihilated, 
ploughed  over,  pulverized  by  the  heavy 
German  shells  that  rained  upon  it ;  there 
remain  just  one  fragment  of  the  great 
round  tower  and  the  ruins  of  the  ram- 
parts. But  inside,  the  wreck  and  chaos 
are  such  that  the  Department  of  Fine 
Arts  has  been  forced  to  give  up  any 
attempt  even  to  clear  away  the  debris. 
Of  the  Chateau  of  Coucy,  whose  princi- 
pal parts  were  preserved  during  eight 
centiuies,  posterity  will  know  only  the 
enormous  ashlers  and  the  blocks  of 
stone  heaped  up  on  top  of  each  other. 

The  Chateau  of  Ham,  in  the  depart- 
ment of  Somme,  older  by  a  hundred 
years  than  the  Chateau  of  Coucy,  was 
somewhat  smaller,  but  was  not  less 
glorious.  It,  also,  was  enclosed  within 
enormous  towers,  one  of  which  measured 
thirty-three  meters  in  height  and  in 
diameter,  and  was  behind  a  fortified 
French.  It  had  resisted  all  the  wars: 
against  the  English,  against  the  Spanish 
against  the  Austrians;  but  it  could  not 
resist  the  German  bombardment,  which 
put  it  in  the  same  sta^e  as  the  Chateau 
of  Coucy.  It  also  will  remain  a  per- 
petual ruin. 

The  belfries  of  Comines  and  of  Arras 
are  also  lost  forever.  The  former  dated 
from  the  fourteenth  century,  and  had 
a  historic  value  great  to  every  French- 
man, for  it  belonged  to  the  charming 
chateau  where  was  born  the  celebrated 
historian,  Philippe  de  Comines.  But 
how  speak  of  the  second,  seventy-five 
meters  high,  which  dominated  the  Hotel 


de  Ville  of  Arras  and  which  was  a 
veritable  artistic  joy,  with  its  carven 
colonnades,  its  wonderful  chimes  dating 
from  1434,  and  its  beautiful  platform  on 
which  stood  a  colossal  lion?  These 
belfries  where  of  old,  in  the  middle  ages, 
guards  were  placed  to  watch  over  the 
countryside,  and  from  which  pealed  a 
bell  to  summon  to  meeting  the  citizens 
and  notables,  existed  hardly  anywhere 
except  in  the  north  of  France  and  in 
Belgium;  practically  speakhig,  there 
are  none  to  be  seen  south  of  the  Seine. 
Their  destruction,  therefore,  is  all  the 
more  to  be  regretted. 

The  Hotel  de  Ville  of  Noyon  is 
another  irreparable  loss.  Noyon,  the 
bridge  city  closest  to  Paris,  (M.  Clemen- 
ceau  kept  repeating  for  three  years, 
"  We  must  not  forget  that  the  Germans 
are  still  at  Noyon"),  prided  herself  on 
two  works  of  art:  her  Gothic  cathedral,^ 
constructed  in  the  twelfth  century, 
which  resembled  the  basilica  of  St. 
Denis  and  was  the  first  Gothic  cathedral 
built  in  France,  with  all  its  annexes,  its 
cloister,  its  treasure  room,  and  its 
library;  and  the  Town  Hall,  which  was 
part  Gothic  and  part  Renaissance.  At 
the  cost  of  great  efforts,  the  cathedral 
can  perhaps  be  restored;  but  for  the 
Town  Hall,  which  was  reduced  to  bits, 
all  work  would  be  in  vain:  it  must  be 
considered  dead  forever  more. 

Gone  also  is  the  delightful  House  of 
the  Musicians  at  Rheims,  with  its  five 
alcoves  framing  four  high,  wide  win- 
dows. Each  alcove  contained  the  sil- 
houette of  a  musician,  larger  than 
nature.  The  first  was  playing  a  drum, 
the  second  a  bagpipe,  the  third  held  a 
falcon  in  his  hand,  the  fourth  played  a 
harp,  and  the  fifth  a  violin.  The  five 
statues  have  been  saved,  but  the  charm- 
ing house,  which  belonged  to  the 
brotherhood  of  fiddlers  of  Rheims,  has 


'.\rt  and  Archaeology, Vin,  No.  4.  July-.A.ugust  1919. 


[96] 


ART  AND  ARCHAEOLOGY 


been  reduced  to  bits  by  the  heavy 
shrapnel  fire.  Never  again  will  the 
statues  return  to  their  alcoves. 

To  sum  up,  more  than  thirty 
churches,  all  classed  as  historic  monu- 
ments, have  been  totally  destroyed, 
and  the  Fine  Arts  administration  has 
given  up  even  the  consideration  of  their 
possible  reconstruction:  let  us  cite 
notably  the  church  of  Ablain-Saint- 
Nazaire  in  Pas-de-Calais,  the  church  of 
Tracy-le-Val  in  Oise,  the  church  of 
Givry  in  the  Ardennes,  and  the  church 
of  Lafi"aux  in  Aisne.  Particularly  tragic 
is  the  fate  of  the  church  of  Laffaux, 
which,  built  in  the  twelfth  century,  was 
ornamented  with  ancient  mural  paint- 
ings. Misfortune  willed  that  it  be 
situated  in  the  very  centre  of  the  plateau 
of  the  Chemin  des  Dames,  and  of  it 
there  remains  not  the  slightest  vestige. 
The  grass  and  the  weeds  have  grown 
over  what  once  were  the  church,  the 
mill,  and  the  village  of  Laffaux.  And  a 
sign,  stuck  into  the  naked  ground,  bears 
this  simple  and  terrible  inscription  : 

THLS  WAvS  LAFFAUX. 

Such  is  the  list  of  the  monuments  that 
might  be  called  the  war's  great  dead: 
no  trick  of  architecture  will  ever  make 
them  live  again. 

The  list  of  the  great  injured  is  not 
less  painful,  for  here  are  to  be  found  the 
most  illustrious  artistic  glories  of 
France — and  among  them  the  five 
magnificent  cathedrals  of  Rheims, 
Soissons,  Noyon,  Verdun,  and  vSaint- 
Ouentin,  the  delightful  Abbey  of  vSaint- 
Vaast,  the  Gothic  churches  of  Peronne, 
of  Roye,  of  Etain,  and  of  vSaint-Mihiel, 
and  the  town  halls  of  Arras,  of  Verdun, 
and  of  Saint-Ouentin. 

At  the  disposition  of  the  five  cathe- 
drals have  been  placed  the  most  emi- 
nent architects  of  France  and  the  best 
crews  of  workmen.    All  of  the  work  for 

[97] 


fifteen  months  past  has  consisted  prin- 
cipally in  preventing  the  further  de- 
terioration of  such  parts  as  are  still 
standing.  The  basilicas  have  had  to  be 
protected  against  the  rain  and  the  wind ; 
the  supports  and  the  walls  which  threat- 
ened to  crumble  have  had  to  be 
propped  up;  the  scattered  stones  and 
sculptures  have  had  to  be  brought  back, 
catalogued,  and  labelled;  in  a  word,  it 
has  been  necessary  to  save  the  still 
healthy  members  of  the  glorious 
wounded.  The  work  of  reconstruction 
properly  speaking  will  hardly  begin 
before  next  year.  But  what  should  be 
remarked,  from  now  on,  is  that  even 
when  we  shall  have  succeeded  in  re- 
storing completely  the  cathedral  of 
Rheims,  the  basilica  of  Noyon,  or  the 
collegiate  of  vSaint-Ouentin,  there  will 
always  be  lacking  to  these  three  historic 
marvels  precious  things,  and  things 
which  cannot  be  replaced.  The  sculp- 
tured figures  and  the  carvings  that 
decorated  the  facade  of  the  cathedral 
of  Rheims  will  always  be  lacking;  for- 
ever lacking  will  be  the  burned  books 
of  the  library  of  the  basilica  of  Noyon; 
there  will  be  lacking  the  paintings  which 
walled  the  Hotel  de  Ville  of  vSaint- 
Ouentin,  and  which  were  blackened, 
soiled,  discolored  purposely  by  the 
Germans  during  the  four  years  of  their 
occupation;  above  all,  there  will  be 
lacking  a  great  part  of  the  panes  of 
colored  glass — perhaps  the  most  beauti- 
ful in  France — of  the  cathedral  and  of 
the  church  of  vSt.  Remi  at  Rheims,  of 
the  collegiate  of  Saint-Ouentin,  and  of 
the  church  of  St.  Jean  at  Roye. 

The  art  of  making  colored  glass  was 
an  art  essentially  French  and  special 
to  the  middle  ages  All  the  patience 
of  the  monks  and  of  the  artisans  of  long 
ago  was  needed  to  give  to  this  work  th'j 
indespensable  attention  to  detail  and 
long-continued  efi"ort.    In  fact,  from  the 


ART  AND  ARCHAEOLOGY 


ei^q^hth  centiin',  all  Europe  came  to 
France  to  admire  the  work  in  colored 
glass,  and  the  French  glass  workers  were 
in  demand  in  England,  in  Germany, 
and  even  in  vScandinavia.  It  was  in 
the  fourteenth  century  that  the  dis- 
covers* of  silvered  yellow,  which  allows 
a  brilliant  yellow  tone  on  a  neutral 
background,  brought  to  its  height  the 
art  of  making  colored  glass.  The  glass- 
workers  then  found  new  colorations 
and  new  motifs  for  decoration;  they 
gave  vigor  to  their  figures,  on  back- 
grounds ever  clearer ;  they  dressed  their 
people  in  garments  bedizened,  embroid- 
ered, treated  with  a  surprising  skill; 
they  tripled  or  quadrupled  the  panes  of 
glass  in  order  to  multiply  the  shades. 
In  a  word,  they  obtained  the  effects  of 
striking  portraits.  After  that,  the  use 
of  colored  glass  diminished  or  was  lost. 
In  the  seventeenth  century,  there 
remained  hardly  any  ateliers  except 
those  of  Troyes  which  still  produced  a 
few  interesting  examples.  In  the  eigh- 
teenth century  these  shops,  too,  were 
closed.  Today,  the  artistic  pane  is  still 
produced,  but  there  is  nothing  to  com- 
pare with  the  religious  glasswork  of 
four  hundred  years  ago.  We  have  not 
the  time,  and  machinery  has  killed 
individual  art.  Thus,  we  understand 
what  an  irreparable  loss  is  even  the 
partial  destruction  of  a  rose-window 
such  as  that  of  the  Apostles  at  Rheims, 
or  the  pulverisation  of  the  glasses  of 
Saint-Ouentin.  This  will  never  be  re- 
placed, any  more  than  we  could  replace 
a  picture  by  Titian  or  a  canvas  by 
Michael  Angelo.  The  cathedral  of 
Rheims  and  the  collegiate  of  Saint- 
Ouentin  will  never  be  more  than  pal- 
aces without  windows — than  bodies  of 
women  without  expression. 


Let  us  sum  up.  And,  to  recapitulate 
as  well  as  possible,  it  is  best  to  give  the 
floor  to  the  director  of  French  Fine 
Arts  himself,  M.  Paul  Leon. 

"We  must  count,"  he  told  me, 
"twenty  years  before  the  artistic  ruins 
of  the  north  of  France  can  be  restored. 
And  for  that  we  will  need  five  thousand 
workmen,  sculptors,  molders,  and  ex- 
perts. The  cost  will  be  more  than 
a  billion  francs.  Forty  monuments 
never  can  be  restored  and  are  lost  for 
all  time.  A  hundred  and  fifty  cathe- 
drals, churches,  and  town  halls  will 
rem  ain  eternally  mutilated .  The  cathe- 
drals of  Rheims  and  of  vSoissons  will 
never  again  see  some  of  their  sculptures 
and  all  of  their  colored  glass.  The 
town  hall  of  Arras  will  never  again  see 
its  wainscoting,  its  chairs,  its  chandelier 
or  its  embossed  chimneys.  Three- 
quarters  of  the  work  of  eight  centuries 
in  Flanders,  in  Picardy,  and  in  Artois 
can  be  considered  as  totally  destroyed. 
France  is  poorer  by  four  hundred  chefs 
d'cFiivre,  which  nothing  can  ever  re- 
place." 

M.  Paul  Leon  told  me  this,  one  warm 
spring  morning,  while  the  sun  gilded 
with  its  rays  the  Louvre,  that  other 
artistic  glor}^  of  France.  By  the  open 
window  the  birds  were  to  be  heard 
singing,  and  business  men  were  to  be 
seen  reading  the  newspapers.  Perhaps 
they  were  reading  the  latest  important 
speeches  of  the  principal  statesmen  of 
Europe,  assuring  us  that  we  must  aid 
the  rehabilitation  of  Germany — of  the 
Germany  who  has  done  all  this,  and 
who  has  not  lost  a  pane  of  glass  from 
one  of  her  churches  or  a  stone  from  one 
of  her  monuments. 

Paris,  France. 


[981 


Game,  Fruit  and  \'egetablEs:  Franz  Snyders  (1579-1657J. 


STILL  LIFE:  TODAY  AND  YESTERDAY 


Bv  Horace  Townsend 


HANGING  cheek  by  jowl  with  pic- 
tures by  Ryder,  Twachtman,  and 
his  own  father,  there  is  exposed 
to  pubHc  view  in  a  New  York  gallery 
today  a  study  in  still  life  painted  by 
a  boy  who  has  hardly  emerged  from  his 
'teens.  It  is  a  little  picture  of  a  Brazier 
and  Tea-kettle  by  Dines  Carlsen,  son 
of  the  National  Academician  Emil 
Carlsen,  and  its  rich  deep  tones,  its 
satisfying  color  and  its  picturesque  ar- 
rangement unite  to  make  it  a  truly 
remarkable  painting.  Here  is  a  mere 
lad  and  yet  he  seems  to  be  gifted  with 
the  secret  of  that  imaginative  realism 
which   lies   back   of   all    the   best   still 

[99] 


life  painting  which  the  ages  have  to 
offer  us.  It  is  not  difficult  to  realize 
when  we  regard  it  that  the  Academi- 
cians themselves,  before  the  opening  of 
each  exhibition,  are  wont  eagerly  to 
contend  for  the  canvasses  signed  by  this 
gifted  boy  or  that  one  of  them  was 
among  the  artistic  treasures  chosen  in 
most  cases  for  their  technical  accom- 
plishment which  the  late  William  M. 
Chase  gathered  together  and  which 
were  dispersed  at  his  death. 

Though  a  still  life  in  the  ordinary 
acceptation  of  the  term,  means  a  pic- 
ture which,  like  those  of  young  Dines 
Carlsen,    concerns   itself   entirely   with 


Dead  Game:  Jan  Weenix  (1640-1719). 


Still  Life;  Jan  Jansz  Treck  (1606-1652). 


ART  AND  ARCHAEOLOGY 


Still  Life:  Jan  Davidsy  de  Heem  (1600-1674). 

the  representation  of  metal-work,  por- 
celains, potteries,  fruits  or  other  inani- 
mate objects,  pretty  nearly  all  paintings 
and  certainly  all  those  which  deal  with 
interiors  and  all  portraits  are,  to  a 
certain  extent,  pictures  of  still  life. 

The  primitives,  who  painted  in  the 
fifteenth  and  early  sixteenth  centuries, 
Italian  as  well  as  Flemish,  were  great 
fellows  for  these  still  life  attributes  of 
their  pictures.  They  lavished  at  least 
as  much  care  and  attention  on  the 
embroidered  draperies  of  their  Ma- 
donnas, and  the  carved,  gilded  and 
inlaid  thrones  upon  which  they  sat, 
upon  the  shining  armor  of  their  war- 
rior-saints, or  upon  the  music  instru- 
ments carried  by  their  angels,  as  upon 
the  faces  and  figures  themselves. 
Even  in  the  elaborately  worked  gold 
backgrounds  they  were  so  fond  of 
employing  the  decorative  genius  of 
the  still  life  painter  is  manifest. 

Advancing  a  handful  of  years  the 
fact  that  certain  Asia-Minor  rugs  are 
today  known  to  collectors  as  "Hol- 
bein" rugs,  is  significant.  The  use  of 
the  term  is  due  to  their  frequent 
appearance  in  Hans  Holbein's  (1497- 
1543)  pictures,  as  for  instance  in  that 
masterpiece,  the  Meier  INIadonna, 
now  in  the  Darmstadt  Museum.    Not 


that  the  worthy  Hans  was  the  only 
painter  who   so  incorporated  these 
bits'f^of  '^still  life  in  his  pictures  for 
his   Flemish  predecessors  from  Jan 
van  Eyck  (i  380-1 440)  and  Memlinc 
(1430-1494)     to    Gheeraert    David 
( 1 460-1 523)  were  all  in  the  habit  of 
doing  likewise.    Perhaps,  however,  it 
was  in  their  portraits  tl?at  these  early 
painters  particularly  loved  to  bestow 
their  utmost  technical  skill   on  the 
rendering  of  the  still-life  accessories 
and  whether  it  was  a  tall  conical  glass 
of  flowers,  a  money-weigher's  scales, 
a  scrivener's  inkstand,  or  some  stray 
leather-bound  books,  each  was  limned 
with  that  loving  meticulosity  which  is 
inseparable  from  the  painter  of  still  life. 
Indeed    the    portrait   and   even    the 
subject  painters  of  other  schools,  coun- 
tries  and   ages  were   just   as   fond   as 
these  old  Flemings  of  introducing  pas- 
sages  of   inanimate   nature   into   their 


Still  Life:  Dines  Carlsen. 


[102] 


ART  AND  ARCHAEOLOGY 


pictures.  Murillo,  for  instance  has 
been  called  incomparable  as  a  painter 
of  still  life,  and  whether  he  was  deal- 
ing with  a  group  of  luscious  peaches, 
a  cluster  of  purple-bloomed  grapes, 
some  yellow  oranges  or  fruits  bursting 
with  ripeness,  whether  it  was  an 
earthenware  pitcher  or  a  basket  of 
plaited  rushes  he  had  to  reproduce, 
he  was  wont  to  portray  them  with  a 
realism,  and  depth  of  tone  that  none 
of  his  successors,  save  perhaps  the 
Frenchman  Chardin,  could  equal. 

It  was  in  Holland  and  Flanders, 
however,  in  the  seventeenth  cen- 
tury that  still  life  painting  was  ele- 
vated into  a  distinct  and  definite 
branch  of  the  painter's  art.  In  Flan- 
ders, especially,  the  encouragement 
given  to  its  practitioners  must  have 
been  most  cordial,  for  men  of  acknowl- 
edged   talent    devoted  themselves   en- 


Still  Life:  Emil  Carlsen,  N.  A. 


Fruits:  Pieter  Snyers  (1681-1752). 

tirely  to  its  pursuit.  These  are  the  men 
whose  work  has  proved  of  such  abid- 
ing excellence  that  today  it  hangs  in 
favored  positions  on  the  walls  of  our 
public  museums  or  in  the  homes  of  our 
leading  collectors.  There  is  the  early 
work,  for  instance,  of  Franz  Snyders 
(1579-1657)  and  of  his  favorite  pupil 
Paul  de  Vos  (i 600-1 654),  the  dogs 
and  their  inanimate  rivals  the  "  Dead 
Game"  of  Jan  Fyt  (1609-1661),  the 
fruit,  game  and  still  life  objects  of 
Adriaen  van  Utrecht  (1599-1652)  and 
later  the  incomparable  fruits  of  Pieter 
vSnyers  (1681-1752).  It  is  curious  by 
the  way  to  notice  how  these  painters  of 
dead  nature  reflected  the  exuberance 
of  the  full-blooded  Flemish  life  of 
their  day.  The  most  casual  study  of 
the  paintings  of  that  day  and  country 
impresses  one  with  the  feeling  that 
here  was  a  community  which  delighted 
above  all  things  in  the  pure  and  un- 
diluted joie  de  vivrc,  and  to  this  taste 
the  artists,  headed  by  Peter  Paul  Ru- 
bens (157 7-1 644),  ministered  to  the 
full.  With  an  epicurean  imagination 
the  still  life  painters  did  their  best  to 
titillate  the  appetites  of  those  for  whom 


[103] 


Still  Life  Group:  Jan  Davidsz  de  Heem  (1600-1674). 


their  pictures  were  painted  and  in  pur- 
suance of  this  desire  they  crowded  their 
canvasses  with  artfully  disposed  dead 
game,  interspersed  with  lobsters,  oys- 
ters and  other  shell  fish  and  backed 
with  groups  of  luscious  fruits,  so  that 
even  to  this  day  one's  mouth  waters 
in  their  contemplation. 

Not  altogether  different  was  the  atti- 
tude of  their  rivalling  neighbors  the 
Dutchmen.  This  was  the  hey-day  of 
Holland's  political  and  material  pros- 
perity and  the  almost  ostentatious 
luxury  of  its  wealthiest  citizens  domi- 
nated the  pictures  painted  for  the  decor- 
ation of  the  paneled  rooms  of  their 
houses.  Jan  Davidsz  de  Heem  (1600- 
1674)   among  others,   the   noteworthy 


son  of  a  distinguished  father,  found  his 
chief  pleasure  in  the  deft  arrangement 
and  admirable  presentation  of  fruits 
and  flowers,  gold  and  silver  vases, 
musical  instruments  and  richly  mounted 
jewel  caskets,  while  he  was  especially 
happy  in  his  rendition  of  glass  ware  and 
crystal  which  he  hardly  ever  failed  to 
introduce  into  his  pictures.  vSimilar 
recorders  of  their  generation,  to  pluck 
but  a  few  from  a  crowded  quiver-full, 
were  William  Klaesz  Heda  (i 594-1 680), 
Jans  Janszoon  Treck  (1606-1652),  Jan 
Baptist  Weenix  (i 621 -1660)  and  Bar- 
end  van  der  Meer  (1659-  ?  ).  But 
the  Dutch  of  the  seventeenth  century 
were  not  only  merchants  and  politi- 
cians,  they  were   theologians  as  well, 


[104] 


ART  AND  ARCHAEOLOGY 


and  this  other  side  of  their  charac- 
ters, its  somewhat  austere  reUgiosity, 
is  to  be  seen  in  another  group  of  stiU 
Hfe  pictures.  Prominent  among  the 
painters  of  these  was  Pieter  Potter 
(1600-1652),  the  father  of  the  better- 
known  and  more  capable  Paul  whose 
"Bull"  is  one  of  the  world's  great  pic- 
tures. Potter  gives  us  groups  of  skulls, 
prayer-books,  crucifixes  and  guttering 
candles  surcharged  with  an  asceticism 
which  seems  to  suggest  the  title  of 
"Vanitas  Vanitatum"  to  each  of  them. 
During  the  eighteenth  century  we 
have  to  look  to  France  for  the  most 
notable  of  still  life  painters.  Refer- 
ence has  already  been  made  to  Jean 
vSimeon  Chardin  (1699-1779)  whose 
"Kitchen  Utensils"  and  "Silver  Gob- 


let" are  held  in  reverence  in  Paris  col- 
lections, while  his  contemporary  Jean 
Baptiste  Oudry  (i  685-1 755),  though 
chiefly  known  as  a  Gobelin  tapestry 
designer,  was  also  an  accomplished 
painter  of  still  life.  Among  the  later 
French  painters  may  be  picked  out 
that  Chardin  of  his  time  Antoine  Vollon, 
( 1 833-1 900)  as  well  as  Augustin  Theo- 
dule  Rebot  (182 3-1 891),  Madeleine  Le- 
maire  and  Fantin-Latour,  while  Eng- 
land has  her  William  Hunt  (i  790-1 864) 
and  George  Lance  (i 802-1 864).  In  our 
country  besides  the  youthful  Dines 
Carlsen  already  referred  to,  perhaps  the 
most  noteworthy  modem  painter  of 
still  life  is  the  late  William  M.  Chase. 

AViu  York,  N.  Y. 


ARMISTICE  DAT 

Paris,  Nov.  11,  1920. 
By  J.  B.  Noel  Wyatt. 

H'liose  tomb  is  this,  who  lies  beneath  this  pile? 

The  stateliest  arch  that  Art  hath  e'er  conceived. 

Pointing  to  Heaven  to  tell  each  passing  year 

Of  power  and  empire  once  by  him  achieved 

If'hose  dust,  'neath  gilded  dome,  doth  not  rest  here. 

ff'hose  tomb  is  this,  who  sleeps  beneath  this  arch? 

No  need  of  carven  letters  to  define; 

Unnamed,  unknown,  but  here  before  this  shrine 

The  world  bows  doivn  and  brings  its  palm  and  ivreath 

For  him  and  those  who  passed  the  gate  of  Death 

To  give  to  men — 'twas  all  they  had — their  life. 

With  legacy  to  earth  of  ending  strife; 

Where  weeping  mothers,  kneeling  here  alone. 

Rejoice  for  them  that  stand  before  the  throne. 

And  know  not  only  now  of  armistice. 

But,  past  all  understanding,  God's  own  peace; 

H'hile  wondering  still  we  wait  the  Mystery, 

The  "Arch  of  Triumph"  looming  to  the  sky. 

Suggested  by  the  Cnver  Picture  of  "La  Belle  France"  Number 
of  Art  and  Archaeology.  A',  No.  6.  Dec.  iq20 


[105] 


Xdliu'lal  Library  Prints 

Cards  of  Lyons  known  under  the  name  of  "Jeu  de  Piquet  de  Charles  VII."     Attributed  originally  to  the  15th 
century,  but  published  at  Lyons  at  the  beginning  of  the  i6th  century. 

PLAYING  CARDS:  THEIR  HISTORY 
AMD  SYMBOLISM 

By  W.  G.  BowDOiN. 


PLAYING-CARDS  have  a  history 
that  is  both  ancient  and  honor- 
able. Certain  writers  have  held 
that  they  were  invented  to  divert 
Charles  VI  of  France,  who  had  fallen 
into  melancholia.  Other  authorities 
have  ascribed  an  antiquity  to  the  ear- 
liest playing-cards  that,  to  the  most 
generally  accepted  present-day  experts, 
is  extreme.  An  historic  age  of  at  least 
five  hundred  years  may,  however,  be 
conservatively  assigned  to  them.  So 
far  as  our  present  knowledge  extends, 
the  definite  historj'  of  playing-cards 
certainly  does  not  antedate  the  second 
half  of  the  fourteenth  century,  other- 
wise and  more  precisely,  according  to 
W.  H.  Willshire,  the  year  1392.  Other 
originating  dates  have  also  been  ad- 
vanced by  different  writers  on  the  sub- 
ject. Some  of  these  trace  a  relationship 
between  playing-cards  and  the  inven- 
tion of  wood-engraving.  The  Buxheim 
Saint  Cliristopher  of  1423,  and  some  of 
the  earlier  known  playing-cards,  are 
indeed    almost    contemporaneous. 


Various  legendary  accounts  credit 
the  introduction  of  playing-cards  into 
Europe,  to  India  or  to  China.  A  com- 
mon origin  for  both  cards  and  chess, 
has  likewise  sometimes  been  traced, 
and  it  has  more  than  once  been  held 
that  both  games  were  jointly  intended 
to  figure  the  contrasts  between  the 
different  social  orders,  classes,  or  castes, 
which  compose  a  national  state. 

The  originators  of  playing-cards, 
whoever  they  were,  are  said  to  have 
pondered  upon  life's  significance  and  to 
have  decided  that  the  symbolism  of 
existence  could  well  be  divided  like  a 
disc  into  four  quarters.  Playing-cards 
were,  in  the  early  days,  harnessed  to 
this  symbolism;  which,  first,  concerned 
itself  with  the  heart,  the  beginning  of 
life,  in  the  quarter  of  love  out  of  which 
life  was  evolved.  Secondly,  there  was 
the  quarter  of  knowledge,  by  means  of 
which  man  learned  how  to  manage  his 
life.  Thirdly,  the  management  and 
regulation  of  life  having  been  learned, 
there  came  the  time  for  accumulating 

[106] 


ART  AND  ARCHAEOLOGY 


l-^.  . 

-^m^ 


-.■aT113S\lVWV   aMlVHMO 

aa  xioMD  Yi3a3M9i3SNaiv 
3  N  lOHiN  V  s  ^^^o>^<^  ,l\  vvi  Aa  wa  a 
aa  n  a  zaj  avjaod  an  S3  n  la  sa.i.MV3 


Muniiipat  Anhives  of  Marseilles 

Envelope  by  Goury  Fuzelier, 
master  card-maker  of  Marseilles,  1676-1688. 

the  riches,  the  good  things,  the 
worthwhile  things  of  1  if  e .  That  was 
the  quarter  of  affluence  or  weahh. 
Finally,  all  of  these  things  having 
been  acquired,  there  remained  but 
death  for  contemplation. 

In  their  wisdom,  the  ancients  de- 
vised symbols  for  these  quarters 
and  for  the  first  quarter,  that  of  life 
and  love,  they  took  the  emblem  of 
the  heart.  The  second  emblem  was 
not  so  easy  to  standardize,  but  the 
clover- leaf  or  sham^rock  leaf  (as  be- 
ing the  first  plant  to  be  observed  in 
the  spring,  and  the  last  to  linger 
in  the  fall),  now  the  dub,  was 
finally  chosen.  For  the  emblem  of 
wealth,  the  J/fl;»o»f/ was  selected; 
and  for  the  last  quarter  the  sym- 
bol now  called  a  spade,  was  adop- 
ted. It  was,  however,  not  a  spade 
when  first  used,  but  an  acorn  which 
is  far  more  imaginative  than  a  mere 
spade,  and  typified  the  final  ripen- 
ing of  life.  The  acorn  on  the  oak, 
once  ripened,  falls  into  the  earth 
and  springs,  like  man,  into  a  new 


existence.  The  spade  of  the  playing 
card  of  today  is,  in  consequence,  merely 
a  modification  of  the  acorn,  which  per- 
sonifies death  and  resurrection. 

The    most    ancient    cards    that 
have  been  preserved  to  us  are  those 
which  have  been  made  by  hand; 
and  various  records   still   exist   of 
other  early  cards  which  were  thus 
produced,  together  with    such  de- 
tails   as  the  names   of  the  artists 
who  designed  them,  as  well  as  the 
price   paid   them   for    their    work. 
Certain  stencilled  cards,  now  in  the 
British  Museum  collection,  were  found 
in  the  covers  (or  boards)  of  an  old  book. 
By  chance  they  were  used  in  the  bind- 


Departmental  Archives  of  Vieytfta 


I'rench  card  of  the  begimiing  of  the  i6th  century. 


[107] 


ART  AND  ARCHAEOLOGY 


Card  of  Lyons,  end  of  15th  century. 

ing,  and  thus  were  preserved  to  us, 
becoming,  indeed,  museum  treasures. 
The  figures  that  appear  upon  cards 
vary  considerably  in  difi"erent  countries, 
and  the  number  in  a  standard  pack  is, 
similarly,  not  always  the  same.  Some 
of  the  Mexico-Spanish  inhabitants  of 
South  and  Central  America,  for  exam- 
ple, have  sometimes  eighty  cards  in 
the  pack  and  again  as  many  as  one  hun- 


dred and  four  in  other  packs.  The 
writer  has  a  pack  of  cards  obtained 
through  the  U.  vS.  Consul  at  Bom- 
bay, from  the  interior  of  India,  that 
contains  120  cards,  ornamented  by 
the  natives,  and  showing  most  in- 
teresting myth  figures.  These  cards 
are  round  and  have  perfectly  plain 
backs,  and  were  placed  in  a  square 
native  box  with  pictorial  embellish- 
ments. 

The  pack  number  of  cards  with 
us,  and  with  certain  of  the  European 
countries,  which  is  now  fixed  at  fifty- 
two,  has  been  subject  to  frequent 
change.  Toward  the  end  of  the 
fourteenth  century  cards  called  Ta- 
rots  were  produced  in  Italy.  The 
pack,  or  deck,  then  contained  sev- 
enty-eight cards,  of  which  twenty- 
two  were  emblematic,  and  fifty-six 
were  numbered  pieces,  divided  into 
four  suits  of  fourteen  cards  each, 
the  several  suits  consisting  of  ten 
pip  cards,  numbered  as  with  us,  from 
one  to  ten  and  of  four  picture  or 
coat  cards  (subsequently  corrupted 
into  court  cards),  viz :  King,  Queen, 
Cavalier,  and  Man-servant.  In  some 
cases  the  Queen  was  wanting,  the 
introduction  of  feminine  symbols 
having  been  an  afterthought.  The 
series  of  twenty-two  cards,  to  which 
the  term  Tarots  applies,  are  charac- 
terized by  whole-length  figures,  or 
other  designs,  emblematic  of  various 
conditions  of  life,  and  of  certain  vicis- 
situdes, to  which  humanity  is  subject. 
These  figures  varj'  somewhat  according 
to  period,  as  well  as  in  the  various  coun- 
tries where  they  occur,  but  taking  an 
early,  but  lingering  set,  that  was  fre- 
quently found  in  Italy,  some  parts  of 
Switzerland,  Germany  and  the  South 
of  France,  before  the  war,  the  symbol 
figures  may  be  tabulated  as  follows : 


[108] 


ART  AND  ARCHAEOLOGY 


I-  A  Juggler 

2.  (Juno)  Female  Pope 

3.  An  Empress 

4.  An  Emperor 

5.  (Jupiter)  The  Pope 

6.  The  Lovers  (or  Alarriage) 

7.  A  Chariot  with  warrior 

8.  Justice  with  the  scales 

9.  A  Cowled  Hermit 

10.  The  Wheel  of  Fortune 

1 1 .  Force  (Rending  a  Lion) 

12.  A  man  hanging  by  his  foot, 

head  downward 

13.  Death  (The  unlucky  13  is  thus 

possibly  explained 

14.  Temperance 

15.  The  Devil 

16.  The  Tower  struck  by  Light- 

ning 

17.  A  Star  (with  nude  female) 

18.  The  Moon  (with  baying  dogs) 

19.  The  Sun 

20.  The  Last  Judgment 

21.  The  World  (Kosmos) 

22.  A  Fool.    Generally  unnumber- 

ed and  sometimes  placed  first. 

This  emblematic  series  was,  in  the 
process  of  time,  withdrawn  altogether, 
except  where  it  was  required  for  the 
old  Tarots  game,  which   still  lingers  in 
some  corners  of  Europe.    The  complete 
pack  of  Tarots,  with  pip  and  emblem 
cards  together,  were  part  of  the  Egyp- 
tian mysteries,  and  particularly  of  the 
worship  of  Thoth.     Court  de  Gebelin 
who   wrote   on   this   subject    in    1773, 
traces  the  resemblances  of  the  figures 
and  the  qualities  or  values  attributed  to 
them  to  Isis,  Maut,  Anubis,  or  other 
personages  in  the  Eg>'ptian  cosmogony. 
Confirmation  of  this  appears  in  Tarots 


Museum  Ccrnavahl 

A  Revolutionary  Playing  Card. 

of  the  Bohemians ,  by  Papus.  The  same 
author  has  tried  to  prove  that  the  Tarot 
pack  of  Egypt  was  "the  Bible  of  the 
Gypsies,"  and  he  has  also  stated  that 
it  was  also  the  book  of  Thoth,  Hermes 
Trismegistus  of  ancient  civilization. 
Others  who  have  studied  the  Tarots 
believe  that  they  are  the  key  to  for- 
gotten mysteries.  All  the  early  games 
for  the  Tarots  were  arranged  for  two 
persons.  Modifications  that  crept  in 
after    1400    allowed    other  players  to 


Suil 
Coeur  (Hearts) 
Carreau  (Diamonds) 
Trefle  (Clubs) 
Pique  (Spades) 

Kings 
Charles  or  Charlemagne 
Caesar 
Alexander 
David 

Queens 
Judith 
Rachel 
Argine 
Pallas 

Valets 
Lahire 
Hector 
Lancelot 
Hogier 

[109] 


ART  AND  ARCHAEOLOGY 


join,  when  different  names  were 
given  to  the  newly  invented  games. 

During  the  middle  ages  the  play- 
ing of  cards  attained  tremendous 
popularity  in  Europe,  and  the  pas- 
sion for  gaming  was  greatly  aided 
and  abetted  by  means  of  them.  Not 
even  the  clergy  were  in  all  cases  im- 
mune from  the  influence  exerted  by 
them.  The  custom  of  giving  names 
to  the  figured  cards  is  peculiar  to 
France ;  those  anciently  conferred  are 
as  given  at  bottom  of  page  109. 

Though  not  uniformly  observed, 
these  names  have  been  reimposed 
in  modem  times.  The  four  kings 
are  supposed  to  represent  the  four 
ancient  monarchies,  of  the  Jews, 
Greeks,  Romans,  and  Franks;  and 
the  queens,  Wisdom,  Birth,  Beauty, 
and  Fortitude.  In  some  packs  Es- 
ther, as  an  impersonation  of  piety,  is 
substituted  for  Rachel. 

The  dresses  now  commonly  repre- 
sented on  our  court  cards,  are  the 
same  as  those  which  prevailed  about 
the  time  of  Henr>'  VH  or  Henry 
\TII.  The  lappets  which  fall  on 
each  side  of  the  faces  of  the  queens. 


£}£  9&WL  S>S:  ROY  , 

.it      I'uMifit  Siu„m    Sr,    <4A<.    Cnjttt,  ij^Ou«, 


iwvs^ 


^-^        «^-         ^^-^^  . 


Collection  Henry  d'A 
Knave  of  Hearts  and  of  Spades,  of  a  revolutionary 


llemagne 
pack. 


KMrtej  JuperfincJ  eL,  trea  coulant&j 
'our  JilrnainiLc  eL>-pcnir  .Ja^ 
nco  Tabtinueea par  ITloiidJin 


■co&TmrdeJ 


Miintiipal  Arihivcs  of  Xanles 

Envelope  for  six  packs,  by  Pierre  Moussin,  1 760. 


in  our  standard  packs,  are  in  point  of 
fact,  a  rude  but  faithful  representation 
of  the  dress  of  the  females  of  that  his- 
toric period,  or  from  1 500-1 540.  The 
crown  or  coronet,  as  placed  at  the  back 
of  the  head,  may  be  traced  to  a  period 
as  late  as  the  reign  of  Elizabeth  or  James. 
Attempts  have  been  made  at  various 
times  to  change  these  familiar  figures, 
l)ut  such  attempts  have  never  become 
popular.  The  same  applies  to  ornate  or 
harlequin  cards,  for  the  reason  that  your 
serious  card  player  is  against  having 
his  attention  diverted  from  the  game 
in  any  possible  manner.  A  quaint 
custom,  it  would  appear  from  a  passage 


[110] 


ART  AND  ARCHAEOLOGY 


in  the  GuWs  Hornbook,  published  dur- 
ing the  reign  of  James  I  was  that  the 
spectators  at  the  playhouse  amused 
themselves  with  playing  cards  while 
waiting  for  the  commencement  of  the 
performance.  The  symbolism  of  the 
cards  is  highly  interesting.  Diamonds 
were,  in  the  early  days,  used  to  typify 
wealth;  hearts,  the  affections;  spades, 
industr}-;  and  clubs,  physical  force. 
Applying  the  symbolism  directly  to 
the  social  grades  as  then  organized, 
diamonds  stood  for  the  tradespeople, 
the  merchants  and  others  in  gainful 
occupations ;  hearts  were  the  personi- 
fication of  monks,  priests  and  ecclesi- 
astics; spades  represented  the  nobility 
and  soldiers;  while  clubs  or  trefoils 
signified  the  peasants  or  lower  classes. 

During  the  time  of  Charles  II  a 
pack  of  Cavalier  playing-cards  was 
issued  that  contemplated  a  complete 
political  satire  of  the  Commonwealth. 
The  achievements  of  Cromwell  as 
Commander-in-Chief  in  Ireland,  con- 
stitutes the  motif  for  the  cards  and 
the  illustrations  they  carry.  Crom- 
well's retainers  and  contemporaries 
enter  into  the  pictorial  embellish- 
ment of  these  cards,  and  they  have 
much  historical  interest,  altogether 
aside  from  their  value  as  playing- 
cards,  pure  and  simple. 

Napoleon  whilcd  away  the  tedious 
hours  of  his  captivity  at  St.  Helena 
with  playing-cards.  His  favorite  games 
are  said  to  have  been  Vingt-et-un, 
Piquet  and  Whist.  It  is  recorded  that 
even  when  he  was  at  the  zenith  of  his 
fame  and  power  he  never  entered  upon 
any  enterprise  or  military  operation 
without  consulting  a  pecuhar  pack  of 
cards,  not  provided  with  the  custom- 
ary m.arks  or  suits,  in  fact  not  divided 
into  suits  at  all.  These  cards  have  been 
carefully  preserved.  They  are  smaller 
than  those  generallyused  and  were  print- 

[111] 


German  round-shaped  cards  with  the  monogram  T.  W. 

(i)   King  of  Parrots.      (2)  Queen  of  Carnation.      (3)   Knave  of  Colum- 
bine.    (4)   Knave  of  Horse.      (5)  Three  of  Parrots.     (6)  Ace  of  Carna- 
tion.    Bibl.  Imp.  of  Paris. 


ed  in  black  on  yellow  pasteboard.  They 
were  surrounded  with  Zodiacal  signs 
which  had  a  cabalistic  significance. 
Each  card  was  divided  by  a  black  line 
drawn  through  its  center.  Two  little 
pictures  were  printed  on  every  card, 
one  of  which  was  above  and  the  other 
below  the  line.  Rings,  Hearts,  Roses, 
Cupids,  Ladies,  Kings,  and  Queens 
were  thus  displayed  on  the  cards.  They 
were  useful  only  for  divination  and  not 
for  gaming. 

The  British  Museum  has  specialized 
in  playing-card  collection  and  its  Cata- 


ART  AND  ARCHAEOLOGY 


logue  of  Playing-Cards  and  other  game 
cards,  issued  in  1876,  constitutes  a 
bulky  volume  of  nearly  five  hundred 
pages.  The  illustrations  in  this  convey 
an  illuminating  idea  of  the  beauty  of 
some  of  the  old  cards  and  of  some  of 
the  very  beautifully  designed  cards  of 
later  periods. 

In  recent  years  many  attempts  have 
been  made  to  render  playing-cards  ca- 
pable of  communicating  information 
and  instruction,  while  ordinary  games 
were  being  played.  These  attempts 
have  uniformly  been  received  with  dis- 
favor, their  novelty  alone  temporarily 
receiving  attention.  Packs  of  cards 
having  the  ordinary  suits  and  symbols 
more  or  less  distinctly  marked  have 
been  devised  again  and  again  by  which, 
through  the  addition  to  them  of  illus- 
trations and  inscriptions,  the  most  va- 
ried fonns  of  knowledge  were  sought 
to  be  conveyed.  Cards  with  such  sec- 
ondary purpose  may  be  met  with,  in- 
tended to  teach  arithmetic,  grammar, 
geography,  history,  heraldry,  mythol- 
ogy, astronomy,  astrology,  the  use  of 
mathematical  instruments,  and  the 
principles  of  military  science  and  en- 
gineering. Besides  such  cards  as  these, 
others  of  a  satirical,  proverbial,  carica- 
ture, and  amusing  kind  have  been 
manufactured,  provided  with  the  marks 
of  the  usual  suits  so  that  they  might 
be  employed  in  the  ordinary  way.  In 
all  these  endeavors  it  appears  to  have 
been  forgotten  that  those  persons  who 
desired  to  learn  grammar,  etc.,  did  not 


want  to  play  at  cards;  and  that  such 
as  would  willingly  play  at  cards,  might 
be  blind  to  the  blandishments  of  gram- 
mar. Even  were  such  not  the  case,  it 
is  extremely  doubtful  whether  gram- 
marian or  card-player  would  be  more 
confused  in  the  double  duty  he  under- 
took to  perform,  since  the  definition  of 
the  "points"  and  figure  cards  was 
generally  so  imperfect  or  so  subser- 
vient to  the  other  illustrations  as  to 
render  ordinary  play  more  of  a  penance 
than  a  pleasure,  while  the  grammatical 
or  other  knowledge  was  given  in  so 
concentrated,  terse,  or  tabular  a  form 
as  not  to  be  intellectually  digestible  at 
a  moment's  notice.  Be  this  as  it  may, 
such  cards  have,  as  a  finality,  generally 
found  a  resting-place  in  the  cabinets 
of  the  curious,  but  little  favor  has  been 
shown  them  by  either  the  student  or 
the  player. 

In  recent  years  playing-cards  for  the 
blind  have  been  devised.  The  marks 
or  pips  of  such  cards  are  stamped 
slightly  in  relief  so  that  their  distin- 
guishing marks  may  be  known  through 
the  sense  of  touch.  It  is  a  matter  of 
incidental  interest  to  know  that  the 
amount  of  capital  invested  in  the  manu- 
facture of  playing-cards  in  the  United 
vStates,  is  very  large;  some  years  ago 
it  exceeded  $10,000,000  with  yearly 
sales  of  more  than  13,000,000  packs. 
It  is  quite  certain  that  these  figures 
are  largely  increased  by  contemporary 
production. 


[112] 


CURREKfT  NOTES  AND  COMMENTS 

Mile.  Helene  Diifau,  the  Great  French  Portraitist. 

The  first  woman,  after  Rosa  Bonheur,  to  be  decorated  by  the  French  Government  with  the 
Legion  of  Honor,  Mile.  Helene  Dufau,  perhaps  the  greatest  living  French  portraitist  and  painter, 
is  now  visiting  America.  Her  work  includes  strong  and  beautiful  portraits  of  men  and  women, 
striking  mural  paintings,  and  studies  of  the  nude  out  of  doors,  in  which  last  she  was  an  innovator, 
being  the  first  woman  painter  in  France  to  essay  the  nude  in  the  open  air.  Greeted  at  first  by  a 
storm  of  protest,  this  work  was  accepted  a  little  later,  and  she  received  many  commissions  from 
the  French  Government,  including  four  panel  decorations  for  the  Sorbonne. 

Several  of  Mile.  Dufau's  pictures  are  in  the  Luxembourg,  among  them  a  self-portrait.  Others 
are  in  museums  of  Rouen,  Bordeaux  near  her  own  early  home  in  the  south  of  France,  in  Buenos 
Aires  and  Cuba,  and  scores  of  collections  public  and  private  in  Europe  including  the  magnifi- 
cent villa  Anagra  of  the  French  poet  Rostand,  of  whose  son,  Maurice  Rostand,  she  made  several 
fine  portraits,  besides  mural  decorations  for  the  villa. 

Mile.  Dufau  is  at  present  in  New  York,  engaged  upon  a  portrait  of  Miss  Anne  Morgan.  Another 
American  picture,  of  a  young  American  girl,  whom  she  met  on  the  boat  coming  over,  has  been 
exhibited  at  Knoedler's  galleries.  This  will  form  the  February  cover  page  of  the  new  French- 
American  magazine.  La  France,  the  editor  of  which,  Madame  Claude  Riviere,  is  an  intimate 
friend  of  Mile.  Dufau. 

French  reviewers  speak  in  highest  praise  of  Mile.  Dufau's  work  and  temperament.  "The 
beautiful  women  of  the  world  flock  to  her  studio, "  says  one  writer,  "anxious  to  have  a  portrait 
by  this  poet  of  feminine  splendor. "  .  .  .  "  Her  portraits  of  men  show  rare  penetration  and 
perfect  execution. " 

When  asked  the  secret  of  her  painting.  Mile.  Dufau  replied,  "An  artist's  work  is  only  the  ex- 
pression of  his  personality  and  of  his  life.  I  put  into  my  pictures  what  I  observed,  my  thoughts, 
my  reading." 

The  cover  picture  reproduces  Mile.  Dufau's  portrait  of  Mme.  Maubrac  in  the  Luxembourg. 

Perronneau  Pastel  Portraits  at  the  Knoedler  Galleries. 

The  Knoedler  Galleries  of  New  York  have  recently  brought  from  France  two  beautiful  and 
typical  pastel  portraits  by  Jean-Baptiste  Perronneau  (1731-83),  one  of  the  most  renowned  por- 
traitists of  the  eighteenth  century.  The  subjects  are  Monsieur  and  Madame  Braun,  who  lived 
during  the  second  half  of  the  eighteenth  century  at  Strasbourg.  She  was  a  lady  of  honor  and  he  a 
chamberlain  at  the  court  of  Furstenberg.  The  portraits  were  obtained  from  their  direct  de- 
scendents. 

Perronneau's  genius  was  never  fully  recognized  until  after  his  death.  He  never  caught  the 
favor  of  the  French  court,  either  that  of  Louis  XV  or  Louis  XVI,  and  his  fine  art  of  portraiture 
was  exercised  among  the  middle  class,  "who  have  no  history. "  He  flitted  from  city  to  city,  living 
in  each  as  long  as  orders  were  plentiful.  This  makes  his  portraits  invaluable  commentaries  on 
the  times. 

"The  Flower  Seller,"  by  George  Hitchcock. 

Last  Autumn  the  French  government  bought  a  picture  by  a  dead  American  artist  for  the  Lux- 
embourg Museum.  The  picture  was  "The  Vanquished"  and  the  artist  was  George  Hitchcock, 
who  passed  away  in  1913.  The  subject  was  a  Dutch  soldier,  wounded,  astride  a  heavy  horse  that 
picked  its  way  unguided  through  fields  of  flowers,  toward  the  home  of  its  master.  The  picture 
is  remarkable  for  its  representation  of  the  bright  flower  culture  and  the  gentle  atmosphere  of 
Holland.  It  is  thoroughly  typical  of  the  art  of  a  painter  who  was  better  known  in  Europe  than 
at  home,  and  who  was  the  pioneer  of  the  alien  artists  who  went  to  Holland  to  paint  that  land. 

America  never  got  very  well  acquainted  with  Hitchcock — not  as  well  acquainted  as  Germany, 
Austria,  France  and  England.  After  his  death  the  war  came  on  and  the  world  had  no  time  for 
artists'  reputations.  Now  that  peace  has  come,  New  York  is  soon  to  see  a  memorial  exhibition  of 
George  Hitchcock's  paintings  and  the  nation  will  have  the  opportunity  to  become  better  ac- 
quainted with  his  gentle  and  picturesque  art. 

[113] 


Conrlt'sy  of  (he  Knocdler  Gtilleries 


'Mine    Brauii."  by  Jean-Baptiste  Perronneau. 


Courtesy  of  Henry  Reinhardt  ^  Son 


"The  Flower  Seller,"  by  George  Hitchcock. 


The  American  museums,  however,  have  not  been  unmindful  of  Hitchcock,  and  possess  some  of 
his  most  beautiful  pictures.  The  Metropolitan  Museum  has  "The  Hour  of  Vespers" ;  the  Chi- 
cago Art  Institute  "The  Last  Moments  of  Sappho"  and  also  the  beautiful  "Holland  Morn;  a 
Dutch  Flower  Seller";  the  Indianapolis  Art  Institute  possesses  "Calypso";  and  other  works 
are  in  the  public  galleries  of  Providence,  Buffalo,  St.  Louis,  Savannah  and  Minneapolis.  But 
Hitchcock's  best  recognition  came  from  the  Central  Empires.  Berlin,  Dresden  and  Munich 
bestowed  their  medals  on  him,  and  Vienna,  besides  conferring  its  medal  and  its  officer's  cross 
of  the  Franz  Josef  order,  elected  him  a  corresponding  member  of  its  Academy.  He  is  the  only 
American  who  has  received  the  last  two  distinctions.  France,  in  turn,  made  him  a  chevalier  of 
the  Legion  of  Honor.  Pictures  by  him  hang  in  the  Imperial  Collection  of  Vienna,  in  the  Dresden 
Gallery,  in  the  Luxembourg  and  in  the  municipal  galleries  of  Alkomaar  and  Egmond,  Holland. 
In  England  his  works  have  places  in  distinguished  private  galleries,  including  Blenheim,  the  seat 
of  the  Duke  of  Marlborough,  and  the  McCulloch  Gallery,  which  possesses  his  well  known  "Ma- 
ternity, "  Whistler  and  he  being  the  only  American  representatives  in  that  great  house. 

George  Hitchcock  was  the  seventh  in  direct  line  of  descent  from  Roger  Williams,  and  he  was 
born  in  1850  in  Providence,  R.  I.,  the  city  founded  by  Williams  and  his  little  band  of  five  exiles 
that  were  banished  from  Narragansett  Bay.  Destined  for  the  legal  profession,  he  was  graduated 
in  law  from  Harvard  in  1874.  Going  to  Chicago  to  take  up  practice,  he  became  interested  in  an 
exhibition  of  water  color  paintings  and  forthwith  turned  artist.     He  struggled  along  by  himself 


[1151 


'Portrait  of  Robert  Auriol  Hay-Drummond,  9th  Earl  of  KinnouII  and  of  his  next  brother,  Thomas 
Drummond. "     Painted  by  Benjamin  West,  P.  R.  A. 


ART  AND  ARCHAEOLOGY 

for  a  few  years,  but  in  1879  went  to  Paris  to  study  at  Julien's  Academy;  thence  to  Dusseldorf  and 
finally  to  the  studio  of  Mesdag,  at  The  Hague.  By  this  time  he  had  mastered  the  technicalities 
of  painting.  Giving  up  entirely  all  instruction,  he  went  to  Egmond,  a  little  village  on  the  coast 
of  the  North  Sea,  to  work  out  his  own  salvation. 

Here  he  cut  loose  from  academicism  and  did  the  then  extremely  bold  thing  of  painting  peasants 
and  fisherfolk  and  a  commonplace,  though  picturesque  world.  He  produced  picture  after  picture 
characterized  by  sincerity,  refinement  and  gentleness  of  color  and  a  remarkable  achievement  of 
atmosphere.     The  gentle  Holland  sunlight  and  the  fields  of  flowers  were  his  ever  recurring  themes. 

Many  of  Hitchcock's  paintings  have  been  made  familiar  to  the  public  through  countless  re- 
productions. Among  them  are  "Maternity, ""The  Flight  into  Egypt,"  "Mary  at  the  House 
of  Elizabeth,"  "Hagar  and  Ishmael,"  "St.  George,"  "The  Promise  of  March,"  "Hyacinths," 
"  The  Annunciation, "  "Proserpina,"  "Ariadne"  and  "St.  Genevieve,  Patron  Saint  of  Paris." 
The  latter  four  will  be  included  in  the  memorial  exhibition,  together  with  others  that  are  equally 
typical  and  cover  the  artist's  whole  career. 

Portrait  of  Robert  A.  Hay-Drummond  and  Brother  by  Benjamin  West. 

Although  he  left  his  native  home  in  the  colony  of  Pennsylvania  while  still  a  young  man,  never 
to  return,  and  became  in  all  reality  an  Englishman,  art  lovers  in  America  have  always  taken  pride 
in  the  career  of  Benjamin  West  and  have  somehow  regarded  him  as  an  American  painter.  This 
feeling  will  probably  always  exist,  in  spite  of  the  fact  that  not  the  least  American  influence  can  be 
traced  in  his  work  and  that  he  was  wholly  a  product  of  Italian  and  British  training.  Early  in  his 
career  in  England  he  was  so  fortunate  as  to  attract  distinguished  patronage.  He  was  one  of  the 
founders  of  the  Royal  Academy  and  succeeded  to  its  presidency — the  most  honored  position  in 
English  art — on  the  death  of  Reynolds. 

Because  of  the  many  reproductions  made  of  them,  Benjamin  West  has  always  been  best  known 
for  his  representations  of  Biblical  and  mythological  subjects.  These  have  a  picturesque  and 
decorative  quality.  They  are  noble  illustrations,  following  Italian  tradition,  but  have  a  gran- 
diloquent and  theatrical  element  that  exclude  them  from  consideration  as  the  highest  art  expres- 
sions. By  his  contemporaries  he  was  adjudged  to  be  a  better  portraitist  than  anything  else. 
Many  of  his  portraits  attain  the  beauty  and  high  decorative  quality  one  expects  in  the  works  of 
the  six  immortals  who  were  his  contemporaries — Reynolds,  Romney,  Gainsborough,  Raeburn, 
Lawrence  and  Hoppner.  This  gives  peculiar  importance  to  the  bringing  to  this  coun'^ry  of  a 
work  which  is  one  of  his  finest  achievements,  "Portrait  of  Robert  Auriol  Hay-Dn,mmond, 
Ninth  Earl  of  Kinnoull,  and  of  His  Next  Brother,  Thomas  Drummond. " 

This  picture,  which  is  now  on  exhibition  at  the  galleries  of  Scott  &  Fowles,  in  New  York,  has 
additional  interest  because  its  subjects  are  the  eldest  two  sons  of  the  Archbishop  of  York,  who, 
as  West's  first  great  patron,  was  instrumental  in  obtaining  for  him  the  favor  of  Gejrge  III,  for 
whom  he  painted  "The  Departure  of  Regulus  from  Rome."  The  archbishop  wsi  the  soul  of 
old  English  hospitality,  and  such  a  great  royal  favorite  that  he  preached  the  coronation  sermon  of 
George  III.  Walpole  referred  to  him  as  "a  sensible,  worldly  man,  but  addicted  to  his  bottle" 
and  Lecky  as  "a  liberal  patron  of  English  artists." 

Undoubtedly  West  sought  to  repay  the  kindness  of  his  benefactor  when  he  pai.ited  in  1767  the 
double  portrait  of  his  two  sons,  Robert,  aged  seventeen,  and  Thomas,  aged  sixteen.  He  put  into 
it  the  beautiful  architectural  treatment  of  the  old  English  school.  The  two  brothers  are  posed 
before  a  green  curtain ;  at  one  side  is  a  statue  of  Minerva  and  at  the  other  an  open  window  through 
which  the  heir  points  to  a  classical  building,  probably  the  Pantheon.  With  his  arm  on  his  bro- 
ther's shoulder,  he  seems  to  be  discoursing  to  him  on  some  lesson  of  the  past.  One  is  attired 
in  rich  red,  the  other  in  scholastic  black,  which,  taken  with  the  green  of  the  cuvtain  and  the  blue 
of  the  open  sky,  make  an  effective  color  scheme. 

The  elder  lad  succeeded  to  his  uncle  as  the  Ninth  Earl  of  Kinnoull.  The  portrait  has  been  in 
the  possession  of  the  Kinnoull  family  until  recently. 

Portrait  of  Mme.  Leopold  Gravier  by  Henri  Fantin-Latoiir. 

"Portrait  of  Madame  Leopold  Gravier"  by  Henri  Fantin-Latour  (1836- 1904),  on  display  at  the 
Kraushaar  Galleries,  in  New  York,  is  notable  because  it  is  one  of  the  few  portraits  by  this  famous 
artist  that  have  made  their  way  to  this  country.    Americans  are  most  familiar  with  Fantin-Latour 

[117] 


Courtesy  of  Kraushaar  Gjller'.i 
"Portrait  of  Mme.  Leopold  Gravier,"  by  Henry  Fantin-Latour. 


ART  AND  ARCHAEOLOGY 

through  his  idealistic  landscape  groups,  those  misty  and  mysterious  compositions  with  their 
charming  nudes  by  the  side  of  fountains  that  are  as  dream-like  as  glimpses  of  fairyland. 

Himself  the  pupil  of  Couture,  from  whom  he  inherited  his  characteristic  "scraped  canvas" 
technique,  in  which  filmy  effects  are  obtained  through  applying  pigment,  then  removing  part  of 
it,  he  was  the  friend  and  companion  of  Corot,  Courbet,  Legros  and  Whistler.  He  belongs  in 
art  definitely  to  that  group  of  artists  who  looked  at  nature  through  idealistic  eyes  and  prepared 
the  world  for  the  atmospheric  vision  of  Impressionism. 

As  can  be  expected  there  is  less  of  the  fanciful  in  a  Fantin  portrait  than  in  a  Kantin  landscape 
group,  but  still  in  this  example  the  substance  is  idealized  and  its  quality  of  texture  is  the  pic- 
ture's supreme  point  for  admiration.  It  was  first  shown  at  the  Salon  of  1890  and  belongs  to  the 
artist's  ripest  period.  Madam  Gravier,  mature  and  pleasing  of  face,  is  seated  in  a  square  chair 
of  the  Louis  XIII  tvpe,  attired  in  evening  dress,  wearing  bracelets  and  carrying  a  fan.  The  velvet 
of  the  chair,  the  black  panels  of  the  waist,  and  the  glimpse  of  tulle  and  mousseline  figure  in  the 
artist's  gently  decorative  scheme. 

America's  Leadership  in  City  Planning — Why  Not  Constantinople? 

When  Mr.  Balfour  was  visiting  New  York  he  voiced,  more  or  less  unconsciously  perhaps,  but 
nevertheless  very  accurately,  the  changed  attitude  of  Europe  toward  our  public  art  in  so  far  as  it 
is  expressed  in  current  architecture,  by  referring  in  terms  of  unrestrained  admiration  to  "these 
great  cathedrals  which  you  call  business  buildings."  Earlier  Blasco  Ibanez  had  declared  that  in 
the  presence  of  New  York's  skyline  and  the  magnificence  of  its  great  structures  he  felt  "a  new 
pride  in  the  achievements  of  man."  This  is  all  very  interesting,  since  it  is  a  direct  reversal  of  the 
opinion  usually  expressed  by  the  visiting  foreigner  a  generation  ago.  For  came  he  from  Latin  or 
Teuton  or  Anglo-Saxon  Europe,  as  a  rule,  he  felt  quite  privileged  to  dismiss  American  archi- 
tecture by  asserting,  before  he  even  landed  at  New  York,  that  he  knew  it  was  bad  and  that  all 
skyscrapers  were  "ugly"  per  se.  But  what  are  the  facts  today?  Not  only  has  America  been 
invited  to  plan  the  restoration  of  Rheims,  but  Whitney  Warren,  who  built  the  Grand  Central 
depot.  New  York,  has  been  asked  to  supervise  the  rebuilding  of  the  University  of  Louvain,  and, 
more  than  this,  the  greatest  problem  of  all  that  confronts  European  specialists,  the  planning  of  a 
new  Constantinople,  has  just  been  referred  to  American  architects,  who  are  asked  by  Professor 
Francis  W.  Kelsey,  of  the  University  of  Michigan,  to  come  to  the  aid  of  a  city  that,  next  to  Rome, 
stands  nearer  to  the  great  historic  past  of  Western  peoples  than  any  other,  and  take  the  grave 
issue  of  its  replanning  in  hand. 

So  pressing  does  Professor  Kelsey  consider  this  Constantinople  "commission"  that  his  article 
laying  the  issue  before  this  country  is  printed  in  the  current  numbers  of  Art  and  Arch.^EOLOGy 
and  The  Journal  of  the  American  Institute  of  Architects.  And  in  this  article  he  asks  that  the 
Institute,  in  association  with  the  Archaeological  Institute  of  America  and  the  American  Historical 
Association,  and  possibly  other  kindred  associations,  shall  send  representatives  "immediately" 
to  New  York  to  join  in  a  conference  in  order  to  attack  the  problem  of  Constantinople  in  an  effective 
way.  Aside  from  the  fact  that  part  of  the  problem  is  to  plan  the  rebuilding  of  a  city  one-fourth 
of  which  has  been  burned  over  within  the  last  twelve  years  and  lies  "unrestored  and  desolate," 
the  dramatic  thing  is  that  it  is  to  the  American  expert,  the  American  architect,  the  American 
city  planner,  that  this  most  celebrated  of  cities  turns  in  its  present  plight.  What  a  revenge  of 
time  is  here!  The  Sydney  Smiths  of  the  European  architectural  world,  who  have  been  asking 
for  years  who  studies  an  American  building  or  looks  at  an  American  plan,  are  routed  horse, 
foot  and  dragoons.  They  have  been  routed  for  years,  but  with  a  colossal  impertinence  until 
very  recently  were  fond  of  asserting  the  old  superciliousness.  But  now,  confronted  with  the 
part  America  is  to  play  in  the  replanning  of  Rheims.  the  rebuilding  of  the  LTniversity  of  Louvain, 
they  must  at  least t)e  respectful;  while  that  the  New  World's  artificers  and  architects  should  be 
urged  to  take  in  hand  the  great  archaeological  prize  of  Europe  and  Asia  Minor  is  something  that 
cannot  be  easily  overestimated. — Henry  M.  Watts,  in  Public  Ledger,  Philadelphia,  Sunday  Jan. 

2,   1Q21. 

[119] 


x'^-aibiMifiUMi 


A  Sculptured  Vase  from  Guatemala. 
See  Art  and  Archaeology  XI.  Nos.  1-2,  Feb.  192 1.  pp.  66,  67 


ART  AND  ARCHAEOLOGY 

A   Sculptured   Vase  from  Guatemala. 

It  will  be  remembered  that  in  the  preceding  issue  of  Art  and  Archaeology  there  appeared  an 
interesting  article  by  Dr.  M.  H.  Saville,  on  "A  Sculptured  Vase  from  Guatemala,"  which  is 
accompanied  by  an  illustration  of  the  remarkable  design  which  covers  the  entire  periphery  of  the 
vessel.  Unfortunately  through  inadvertance,  the  illustration  of  the  vessel  itself,  here  reproduced 
was  omitted.  This  specimen  commands  attention  not  only  because  of  the  intricacy  of  the  design 
and  the  skill  of  its  execution,  but  especially  on  account  of  the  unique  method  employed.  Almost 
universally  the  potter's  art  is  a  plastic  art,  but  in  this  case  the  entire  design  is  sculptured.  The 
clay  has  been  allowed  to  become  rigid  and  in  this  state  was  carved,  as  is  clearly  shown  in  the 
accompanying  illustrations.  The  second  figure  is  so  posed  as  to  show  the  two  human  faces  pro- 
truding from  the  open  jaws  of  the  two  marvelous  feathered  serpents,  the  coils  of  which  encircle 
the  vessel.  The  bold  profile  of  the  sun  god  on  the  right  and  the  smaller  and  weaker  profile  of  the 
supposed  suppliant  on  the  left.  The  faces  as  well  as  the  many  other  features  of  the  complicated 
design  are  executed  with  a  boldness  and  precision  and  a  decorative  appreciation  amply  illus- 
trating the  virile  artistic  genius  of  the  Maya  race. 

Illustrated  Lecture  on  "Carillons  m  Holland  and  Belgium''  before  the 

Arts  Club  of  Washington. 

The  Carillon  Committee  of  the  Arts  Club,  which  is  promoting  the  plan  for  the  erection  of  a 
National  Peace  Carillon  in  the  Capital  City,  launched  their  movement  in  an  effective  manner 
Thursday  evening,  February  12,  192 1,  at  a  meeting  in  the  auditorium  of  the  Corcoran  Gallery 
of  Art,  when  Colonel  William  Gorham  Rice  of  Albany,  N.  Y.,  a  recognized  authority  on  the 
carillon,  gave  an  illustrated  lecture  on  "Carillons  in  Holland  and  Belgium." 

Colonel  Rice  urged  the  commemoration  of  a  great  epoch  in  our  h'story  by  a  memorial  in  which 
the  48  states  of  the  Union,  and  the  6  territories  should  be  each  represented  by  a  bell  attuned  in 
perfect  unison  with  its  fellows.  These  54  bells  would  form  a  great  carillon  to  be  placed  in  a  noble 
tower  that  should  be  built  in  Washington. 

He  reassured  the  Arts  Club  of  the  cooperation  of  Mrs.  Rice  and  himself  in  its  plans  and  made 
the  promise  to  secure  the  funds  for  the  bell  that  is  to  represent  New  York  State.  Mr.  Rice  then 
gave  an  interesting  description  of  his  journey  last  August  to  Holland  and  Belgium,  undertaken  to 
see  how  the  Belgium  carillons  had  stood  the  five  years  of  war.  He  found  that  so  great  had  been 
Belgium's  industry  since  the  end  of  the  World  War,  and  so  fearful  were  the  Germans  of  the 
penalty  promised  them  by  President  Wilson  if,  when  evacuating  the  great  Belgion  cities  after  the 
Armistice,  they  destroyed  any  property,  that  all  the  finest  carillon  towers — Bruges,  Ghent, 
Antwerp,  Malines — had  been  spared.  In  fact,  only  two  important  ones — Ypres  and  Louvain — 
had  been  destoryed. 

An  illustrated  article  on  this  subject  by  Mr.  Rice  will  appear  in  a  future  number  of  Art  and 
Archaeology. 

American  Foundation  in  France  for  Prehistoric  Studies. 

At  the  meeting  of  the  Governing  Board  of  the  American  Foundation  in  France  for  Preliistoric 
Studies,  held  at  the  Hotel  Plaza,  New  York,  on  February  3,  1921,  Professor  George  Grant  Mac- 
Curdy  was  elected  first  Director  of  the  Foundation.  Dr.  Charles  Peabody  is  Chairman  of  the 
Board  and  for  the  present  will  also  serve  as  Treasurer  of  the  Foundation. 

The  year's  work  will  open  at  La  Quina  (Charente)  on  July  ist.  After  a  stay  of  some  three 
months  at  La  Quina,  there  ^\-ill  be  excursions  in  the  Dordogne,  the  French  Pyrenees  and  to  the 
Grimaldi  caves  near  Mentone.  The  winter  term  will  be  in  Paris;  and  the  work  of  the  spring  term 
will  include  excursions  to  the  important  Chellean  and  Acheulian  stations  of  the  Somme  valley, 
to  Neolithic  sites  of  the  Marne  or  other  suitable  locality,  and  to  Brittany  for  a  study  of  mega- 
lithic  monuments. 

Students  may  enroll  for  an  entire  year  or  for  any  part  thereof.  Those  who  contemplate  enter- 
ing either  for  the  year  or  for  the  first  term,  should  communicate  immediately  with  the  Director, 
at  Yale  LTniversity  Museum,  New  Haven,  Conn.;  or  with  Dr.  Charles  Peabody,  Peabody 
Museum,  Cambridge,  Mass. 

[1211 


ART  AND  ARCHAEOLOGY 

One  Foundation  scholarship  of  the  value  of  2,000  francs  is  available  for  the  first  year.  The 
special  qualifications  of  the  applicant,  together  with  references  should  accompany  each  applica- 
tion.    The  Foundation  is  open  to  both  men  and  women  students. 

The  address  of  the  Director  after  June  15th  will  be  care  of  Guaranty  Trust  Company,  Paris. 

General  meeting  of  the  Archaeological  Institute  of  America. 

The  Twenty-second  General  Meeting  of  the  Archaeological  Institute  of  America  was  held  in 
conjunction  with  the  American  Philological  Association  and  the  Maya  Society  at  the  Johns 
Hopkins  University,  Baltimore,  December  28,  29,  30,  1920.  The  first  day  was  devoted  to  a 
meeting  of  the  Executive  Committee  of  the  Council  of  the  Institute  and  to  a  meeting  of  the  Coun- 
cil itself.  Interesting  reports  were  read  by  the  officers  and  chairmen  of  the  different  man- 
aging committees.  In  the  evening  there  was  a  joint  meeting,  with  the  annual  address  by  the 
president  of  the  Philological  Association,  Professor  Clifford  H.  Moore  of  Harvard  on  the  sub- 
ject "  Prophecy  in  the  Epic. "  On  December  29,  papers  were  read  by  Mr.  Stohlman  on  "A  Sub- 
Si  damara  Sarcophagus";  by  Professor  Charles  Upson  Clark  on  "The  Treasure  of  Pietroasa  and 
Other  Gothic  Remains  in  Southeastern  Europe";  by  Professor  Michael  T.  Rostovtzeff  of  Wis- 
consin on  "The  Origin  of  Gothic  Art  in  Jewelry,"  which  he  believes  the  Germans  got  from 
Southern  Russia;  by  Ernest  Dewald  of  Rutgers  on  "Carolingian  Initials";  by  Professor  Henry  A. 
Sanders  of  Michigan  on  "A  Papyrus  Manuscript  of  Part  of  the  Septuagint."  The  members  of 
the  Institute  paid  a  visit  to  the  very  interesting  private  galleries  of  paintings  at  the  house  of  Dr. 
and  Mrs.  Jacobs,  to  the  Walters  Art  Gallery,  and  also  to  the  archaeological  collections  of  the 
Johns  Hopkins  University.  In  the  evening  Dr.  T.  L.  Shear  of  Columbia  read  a  very  interesting 
paper  on  "A  Marble  Head  from  Rhodes"  which  has  been  published  in  the  last  number  of  the 
American  Journal  of  Archaeology;  and  Professor  Peabody  of  Harvard  told  about  the  new  school 
recently  established  for  studying  prehistoric  archaeology  in  France.  On  December  30,  papers 
were  read  by  Prof.  Emerson  H.  Swift  of  Princeton  on  "Imperial  Portrait  Statues  from  Corinth"; 
by  Prof.  D.  M.  Robinson  on  "Terra-Cotta  Antefixes  at  The  Johns  Hopkins  University";  by 
Dr.  Stephen  B.  Luce  of  the  University  of  Pennsylvania  on  "A  Group  of  Architectural  Terra- 
Cottas  from  Corneto";  by  Prof.  George  W.  Elderkin  of  Princeton  on  "Dionysiac  Resurrection  in 
Vase  Painting";  by  Miss  vSwindler  of  Bryn  Mawr  on  "Greek  Vases";  by  Miss  Richter  of  the 
Metropolitan  on  "The  Firing  of  Greek  Vases";  by  Prof.  Kent  of  the  University  of  Pennsylvania 
on  "A  Baffled  Hercules."  The  Maya  Society  gave  an  interesting  dinner  in  the  evening  of  De- 
cember 30,  and  addresses  were  made  by  Professor  Laing  of  Chicago  on  "Archaeology  and  Phil- 
ology," and  by  Mr.  WiUiam  Gates  on  "The  Maya  CiviHzation. " 

The  College  Art  Association  of  America. 

The  next  meeting  of  the  College  Art  Association  will  be  held  at  the  Corcoran  Art  Gallery  in 
Washington,  D.  C,  March  24-26.  A  large  attendance  is  expected  and  an  attractive  program  is 
being  prepared  which  will  include  many  papers  in  the  field  of  art  and  also  there  will  be  much  dis- 
cussion of  problems  connected  with  the  teaching  of  art  and  art  history.  Arrangements  are  being 
made  for  visits  to  some  of  the  important  collections  in  Wasliington. 

Some  of  the  speakers  who  have  already  consented  to  present  papers  are  as  follows :  Professor 
Edgell  of  Harvard  on  "the  American  Academy  in  Rome";  Professor  Churchill  of  Smith  College 
on  "Post  Impressionism";  Mr.  Zantzinger  of  Philadelphia  on  " The  Work  which  the  Committee 
on  Education  of  the  American  Institute  of  Architects  is  doing";  Miss  Harcum  of  the  Royal 
Ontario  Museum  on  the  "Statue  of  Aphrodite  in  Toronto";  Mrs.  E.  S.  Kelley  of  Western  College, 
Ohio  on  "Creative  Artists  Fellowships";  Dr.  Luce  of  the  LTniversity  Museum,  Philadelphia,  on 
' '  Art  at  Newport. ' '  Mr.  Kelsey  of  Philadelphia  will  give  an  illustrated  address  on  ' '  That  Spititual 
Craving  which  so  few  of  our  Colleges  ever  Try  to  Satisfy. "  Other  speakers  will  be  Mr.  Zolnay 
the  sculptor  of  Washington,  Duncan  Phillips,  Dr.  Kelley  of  Ohio  State  University,  and  Mrs. 
Braun  of  the  LTniversity  of  Tennessee.  There  will  also  be  informal  discussions  of  subjects  to  be 
announced  later. 

Every  one  who  is  interested  is  cordially  invited  to  attend  the  sessions.  Headquarters  will  be 
at  the  Powhatan  Hotel.  '  D.  M.  R. 

[1221 


BOOK  CRITIQUES 


Sketches  and  Designs  by  Stanford  White,  with 
an  outline  of  his  career,  by  his  son  Laivrence 
Grant  White.  Architectural  Book  Publishing 
Co.,  New  York,  igzo. 

"To  have  grasped  the  spirit  of  the  masters  of 
the  Renaissance  and  brought  the  living  flame 
of  their  inspiration  across  the  Atlantic  to  kindle 
new  fires  on  these  shores,"  is  a  great  achieve- 
ment for  any  man.  To  have  had  the  broad 
understanding  and  appreciation  of  things 
artistic  and  above  all  to  have  possessed  an 
unbounded  enthusiasm  for  them — is  an  enviable 
possession  for  any  man. 

A  sumptuous  volume  that  records  the 
remarkable  accomplishment  of  Stanford  White 
is  recently  published  by  his  son  Lawrence 
Grant  White.  It  is  made  up  of  his  sketches 
and  designs  and  includes  drawings  made  in 
France  (the  frontispiece  a  lovely  water-color  of 
the  Cathedral  of  Laon),  charming  bits  of  the 
old  chateaux,  doorways,  courts  and  towers — 
some  of  them  finished  drawings,  others  the 
briefest  records  for  his  note  book. 

As  a  member  of  the  great  firm  of  architects, 
McKim,  Mead,  and  White,  he  designed  some  of 
the  most  notable  residences,  clubs  and  churches 
in  the  country,  principally  in  New  York,  a  list 
of  which  is  given.  His  own  house  in  New  York 
and  the  one  on  Long  Island  are  beautifully 
illustrated  with  large  plates  and  innumerable 
memorials  are  shown  in  monuments,  fountains, 
and  windows.  As  a  designer  of  picture  frames 
he  was  unsurpassed.  He  knew  just  the  proper 
frame  for  each  particular  picture,  whether 
portrait  or  landscape. 

Perhaps  it  is  not  generally  known  that 
Stanford  White  made  the  designs  for  the  covers 
of  the  well-known  magazines.  Century,  Scribner 
and  Cosmopolitan — those  quiet,  dignified  and 
thoroughly  artistic  covers,  made  to  survive  the 
flaming  colored  covers  of  most  of  the  periodicals 
that  scream  from  the  news  stands. 

Stanford  White's  influence  upon  art  and 
architecture  in  New  York  was  very  great  and 
most  of  his  wealthy  clients  gave  him  absolute 
liberty  not  only  in  the  architectural  plans,  but 
in  the  furnishings.  Consequently  he  made 
frequent  trips  abroad  and  brought  back  quanti- 
ties of  beautiful  material,  doorways,  carved 
mantels,  rugs,  and  furniture,  combining  these 
acquisitions  with  the  greatest  skill  and  success. 

A  letter  written  to  his  mother  from  Bruges  in 
1878,  reveals  his  characteristic  enthusiasm  for 


painting,  which  branch  of  art  he  might  have 
pursued  with  equal  success.  "The  architecture 
and  the  old  town  are  enough  to  set  you  wild; 
but  when  you  add  to  these  the  pictures,  all 
there  is  to  do,  is  to  gasp  for  breath  and  die 
quietly.  Here  Hans  Memling  and  his  school 
plied  their  handicraft  and  in  one  hospital  alone 
besides  the  shrine  of  St.  Ursula,  there  is  a  whole 
room  crammed  with  pictures  by  him  and  them. 
Full  of  lovely  faces,  simple  and  quiet,  and  all 
modeled  up  in  beautiful  flesh  tints  without  a 
shadow;  hair  that  seems  to  blow  in  the  wind, 
and  green  embroidered  gowns,  that  make  the 
nails  grow  out  of  the  ends  of  your  fingers  with 
pleasure.  To  think  they  have  so  many,  and 
that  we  have  none  and  that  at  Douai — a 
wretched  little  French  town — there  could  be  a 
portrait  by  Paul  Veronese,  that  nearly  squeezed 
tears  out  of  my  eyes;  .  .  .  And  above  all, 
Raphael's  wax  head  at  Lille — the  loveliest  face 
ever  conceived  by  man.  Architecture  seems 
but  poor  stuff  compared  with  things  like  these. ' ' 
The  book  is  dedicated  to  William  Rutherford 
Mead,  "my  Father's  Partner,  Counselor  and 
Friend  and  Mine." 

Helen  Wright. 

Dynamic  Symmetry.  The  Greek  Vase,  by  Jay 
Hamhidge.  New  Haven:  Yale  University  Press; 
London:  Humphrey  Milford,  ig20.  Pp.  161. 
Illustrated.     Plates  and  Figures.     $6.00. 

This  volum.e,  the  first  published  on  the  Trow- 
bridge Mem.orial  Publication  Fund,  is  another 
very  im.portant  book  in  the  field,  of  Greek  ce- 
ramics. Mr.  Ham.bidge  thinks  that  he  has  re- 
covered the  m.athem.atical  principles  under- 
lying the  form.s  of  Greek  Art  and  especially 
Greek  vases.  He  has  rediscovered  the  laws 
governing  so-called  Dynam.ic  Sym.rr.etry.  Dy- 
nam.ic  Sym.metry  deals  with  com.mensurable 
areas  which  represent  the  projection  of  solids. 
The  sym.m.etry  of  m.an  and  plant  is  dynam.ic; 
the  sym.m.etry  of  the  entire  fabric  of  classic  art, 
including  buildings,  statuary,  and  the  crafts  is 
dynam.ic.  The  sym.m.etry  of  all  art  since  Greek 
classic  times  according  to  Hambridge  is  static. 
But  to  prove  this  for  even  one  design  is  almost 
impossible  since  the  number  of  figures  to  be 
examined  is  almost  endless  One  of  my  mathe- 
matical friends,  Mr.  Kdwin  M.  Blake,  who  will 
publish  a  review  of  the  theory  in  The  A  rt  Bulle- 
tin, believes  that  any  design  whatever  can  be 
analyzed  by  the  Hambridge  method.     Most  of 


[123] 


STfe"- 


^1 


S^j 


OXFORD  books  and  Oxford 
scholarship  are  synony- 
mous. All  bookmen  know 
this  and  unhesitatingly  recom- 
mend them,  confident  that  the 
reader  will  be  pleased. 

c/1  selection  of  those  recently  issued. 

HELLENISTIC  SCULPTURE 

■By  Guy  Dickins  f^t  ^8.00 

A  scholarly  monograph,  beautifully  illust- 
rated, for  the  art  lover  and  student. 

MEDALS  OF  THE  RENAISSANCE 
'By  G.  F.  Hill  '^t  $25.00 

Covers  the  entire  field  of  medallic  art  in 
the  fifteenth  and  sixteenth  centuries,  valu- 
able alike  as  a  reference  work  and  for  its 
fine  illustrations  which  figure  for  the  most 
part  pieces  not  previously  illustrated. 

MOSLEM  ARCHITECTURE 

"By  G.  T.  RiVOIRA  "^t  ^21.00 

A  pioneer  work  describing  the  develop- 
ment of  the  Mosque  in  Syria,  Egypt, 
Armenia  and  Spain  from  its  birth  down 
to  the  twelfth  century.    158  plates. 

HISTORICAL  PORTRAITS 
1400-1850 

■By  C.  R.  Fletcher       4  vols.  ^22.60 

A  splendid  collection  of  491  portraits  by 
masters  of  all  periods  selected  by  Mr.  Emery 
Walker,  with  an  interesting  biographical 
sketch  of  each  subject. 

RAJPUT  PAINTING 

'By  Ananda  Coomaraswamy 

2  vols. '=A(_e*^126.00 

Probably  the  greatest  work  on  the  subject, 
with  a  large  number  of  exceptionally  fine 
plates  many  of  which  are  in  color 

INTRODUCTION    TO    ENGLISH 
CHURCH  ARCHITECTURE 

By  Francis  Bond  2  vols,  '^f  ^25.00 

A  standard  work  covering  the  subject 
from  the  eleventh  to  the  sixteenth  centuries 
with  upwards  of  1400  illustrations. 

A  HISTORY  OF  FINE  ART  IN 
INDIA  AND  CEYLON 

By  V.  A.  Smith  ^38.00 

The  result  of  a  lifetime  of  study  both 
from  the  archaeological  as  well  as  the  art 
point  of  view  with  nearly  400  illustrations. 

c/lt  all  booksellers  or  from  the  publishers. 

OXFORD  UNTVERSITY  PRESS 

•^American  Branch 
35  WEST  32nd  STREET,  HEW  YORK 


py 


■y-^^ 


the  Greek  vases  in  the  Metropolitan  and  Bos- 
ton   Museums    have    been    studied    with    the 
assistance  of  Miss   Richter  and  Dr.   Caskey; 
and    Mr.     Hambidge's     book     contains     be- 
sid.-s   many   photographs,    many    drawings  of 
vases    showing    the    Hambidgian    principles. 
Mr.  Hambidge  has  certainly  shown  that  the 
best  Greek  vases  are  based  on  mathematical 
principles   such   as   the  whirling   square   root, 
rectangles,  etc.     But  the  question  is  whether 
the  Greek  potters  really  drew  a  plan  of  every 
vase  before  they  fashioned  it.     Is  it  not  pos- 
sible   that   the   Greek's   love   of   rhythm   and 
proportions    and    his    knowledge    of    mathe- 
matics were  so  innate  that  he  could  m.ake  these 
beautiful    shapes    unconsciously?      Otherwise 
why  such  infinite  variety  am.ong  the  Greek 
vases?     If  the  principles  were  mathematical 
and  the  Greek  potter  had  a  drawn  plan,  we 
should  expect  to  find  exact  duplicates  in  great 
num.bers  and  such  is  not  the  case,  until  the 
tim.e  of  such  late  and  poor  vases  as  the  Faliscan 
ware.     These  principles  do  seem.,  however,  to 
exist  in  Greek  art  but  there  are  so  m.any  possi- 
bilities that  it  doesn't  follow  that  all  works  of 
art  that  have  these  principles  are  beautiful  and 
all  that  haven't,  if  there  are  such,  are  ugly. 
A  statue  of  Michelangelo  is  a  work  of  art  even 
if    not    made    on    these    principles.     A    mod- 
ern   coffee    pot    of   no    great   beauty    can    be 
seen  to  have  them,   and  some  of  the  things, 
including  a  Gothic  clock,   made  recently  by 
Tiffany    and    other    artists    on    these    princi- 
ples, are   not   great  works   of   art.     There   is 
no  doubt,  however,  that  Ham.bidge  has  m.ade 
an  important  discovery  and  we  m.ust  conclude 
that  one  secret  of  Greek  art  is  that  the  Greeks, 
unlike  later  races,  were  m,ainly  geom.etricians 
and  did  their  arithm.etic  in  geom_etrical  surfaces 
in  space  instead  of  line,  as  Plato  indicates  in  the 
Theaetetus  where  the  boys  are  working  out 
root-rectangles    which    seem,    to    have    been 
fam.iliar  to  the  elder  Socrates,  who,  before  he 
becam.e    a    philosopher,    was    a    stone-cutter. 
Whether  these  principles  are  based  on  nature 
and  phyllotaxis  is  doubtful,  and  I  understand 
that  many  botanists  are  skeptical  about  Ham- 
bidge's  theories   of  phyllotaxis.     So   the   aes- 
thetic excellence  claimed  for  them  is  not  certain ; 
and  I  do  not  feel  that  the  Greeks  designed  in 
the   way    Hambidge   says.     The   number   and 
variety  of  figures  in  geometry  is  so  enormous 
that  the  same  design  may  be  analyzed  in  many 
ways;  and  we  cannot  be  sure  which  design  the 
potter  used,  if  he  used  any  at  all. 


KinJIy  Mi-tition  Art  and  .Ircliaeology. 


[124] 


The  work  is  also  a  contribution  of  the  very 
first  im.portance  to  the  whole  field  of  art  and 
offers  valuable  material  for  designers,  crafts- 
men, advertising  illustrators,  and  all  interested 
in  artistic  expression.  Many  such  have  adopted 
the  Hambidgian  principles.  They  are  being 
tried  with  success  for  exam.ple  by  Howard  Giles 
in  the  New  York  School  of  Fine  and  Applied 
Arts  and  if  they  are  fully  realized,  will  revolu- 
tionize the  present  methods  of  art  instruction. 
Let  us  hope  that  Mr.  Hambidge  may  soon  pub- 
lish similar  books  for  sculpture  and  architec- 
ture, especially  now  that  he  is  studying  the 
application  of  his  principles  in  Europe  and 
especially  Greece.  Dr.  Caskey  is  also  abroad 
and  will  soon  publish  a  voluro.e  on  The  Geometry 
of  Greek  Vases,  treating  of  the  Ham.bidgian 
principles  as  applied  to  the  vases  in  Boston 

D.  M.  R. 

The  Ideals  of  Indian  Art.  By  E.  B.  Havell. 
New  York:  E.  P.  DiUton  and  Company,  ig20. 
32  plates.     Pp.  xx-\-i8S. 

This  is  a  new  edition  of  a  work  by  Mr.  Havell, 
formerly  Principal  of  the  Government  School 
of  Art  and  keeper  of  the  Art  Gallery,  Calcutta, 
whose  first  book  on  the  subject  "  Indian  Sculp- 
ture and  Painting"  is  now  out  of  print.  Indian 
art  has  now  obtained  a  wider  recognition  and  is 
now  treated  respectfully  by  American  and 
European  scholars  and  museums.  London  has 
recently  established  a  School  of  Oriental  Studies 
and  a  lectureship  in  Indian  Art  is  to  be  endowed 
in  that  school.  In  this  book  Mr.  Havell  reviews 
the  main  achievements  of  Hindu  art,  especially 
sculpture,  and  explains  the  leading  ideas  of  the 
mythology  which  inspired  Indian  art.  Many 
interesting  problems  which  have  troubled 
archaeologists  for  many  years  are  discussed  and 
solutions  proposed.  The  art  of  India  is  spir- 
itual and  is  still  a  living  thing  with  vast  poten- 
tialities, of  such  unique  value  to  India  and  all 
the  world  that  it  should  be  regarded  as  a  great 
national  trust  which  Great  Britian  is  bound  in 
honor  and  duty  to  guard  and  maintain.  The 
book  is  a  good  one  for  the  general  reader  as  well 
as  for  the  student  and  is  illustrated  with  thirty 
plates  well-chosen  and  well  reproduced. 

D.  M.  R. 

Outlines  of  Chinese  Art.  By  John  C.  Fergu- 
son. Chicago:  The  University  of  Chicago  Press, 
igig.     Illustrated.     Pp.  .xi-\-26j. 

In  this  book  are  published  the  Scammon  lec- 
tures given  at  the  Art  Institute  of  Chicago  in 
1918.  The  author,  Dr.  Ferguson,  knows  China 
well.  He  has  been  president  of  Nanking 
University  and  of  Nanyang  College  in  Shang- 


DRESSING  UP  A  ROOM  WITH 
HERE-AND-THERES 

"VJ  O  T  H  I  N  G  so  enhances  a  room  as   the    light 
touches  of  ornature  or  decoration,  e.\emplified 
in  those  odd,  occasional  pieces  of  Furniture  which 
we  have  christened  Here-and-Theres. 

The  selection  of  such  pieces  at  Sloane's  is  a  series 
of  progressive  surprises.  They  have  been  incor- 
porated into  decorative  units,  by  our  own  designers, 
so  that  you  may  see  how  certain  pieces  fit  into 
varying  schemes  of  arrangement.  And  if  none  of 
them  appeals  to  you,  we  will  improvise  others  while 
you  wait. 


W.  &  J.  SLOANE 

Floor  Coverings  :  :  Fabrics  :  :  Furniture 

Fifth  Avenue  at  47th  Street,  New  York 

Washington  San  Francisco 


The  Cliff  Dwellers 


Four  sepia  half-tone  pictures 
of  typical  prehistoric  ruins  in 
Mesa  Verde  National  Park, 
Colorado,  may  be  obtained 
by  sending  25  cts.  to  Frank 
A.  Wadleigh,  Passenger  Traf- 
fic Manager,  Dept.  B,  Denver 
&  Rio  Grande  Railroad,  Den- 
ver Colo.  The  prints  are 
6x8  inches  with  wide  mar- 
gins, and  the  subjects  are  of 
great  archaeological  and  edu- 
cational interest. 


[125] 


Kindly  Mention  Art  and  .-Irchaeology. 


oa 


Prepared — Permanent 

ARTISTS'    OIL  COLORS 

In  Collapsible  Tubes 

D;EV0E  colors  make  your 
achievements  permanent  records  of 
faithful  color  interpretation. 
Krom  carefully  prepared  pigments 
ground  to  a  firm  consistency  and 
liiitness  of  texture  and  most  thor- 
(lu^'hly  incorporated  with  the  purest 

This  embodiment  creates  an  easy- 
llowing,  sympathetic  medium  that 
will  meet  all  the  requirements  of  the 
most  exacting  artist. 
Whether  applied  generously  or  spar- 
ingly their  brilliance  remain  unim- 
paired. 

The  most  minute  details  in  color 
making  have  been  scientifically  and 
laboriously  developed  to  produce 
Devoe  Master  Colors. 
These  painstaking  efforts  have  been  rewarded  by 
the  production  of  mediums  recognized  the  world 
over  as  Master  Pigments — Devoe  Artists'  Colors. 
It  uill  indeed  be  a  pleasure  to  give  such  expert 
injcrmation  as  may  be  aestred — either  theoretical, 
chemical,  or  pertaining  to  actual  color  application 
—  Krite  us  freely. 

The  Oldest  Color  Makers  in  America 

ESTABUISHIiD    I754 

DEVOE  &RAYNOLDS  CO.,  Inc. 

New  Vork-Chicaiio-Kausas  City-New  Orleans 


PAINTINGS 

WANTED 


We  Wish  to  Purchase  Paintings 

Inness 

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Twachtman 

Wyant 

Weir 

Martin 

Ryder 

Homer 
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Whistler 
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Blakelock 


Murphy 


GEORGE  H.  AINSLIE 
GALLERY 

615  Fifth  Avenue,  NEW  YORK 

On  Exibition  Fine  American  Paintings 


hai,  counsellor  of  the  Chinese  Department  of 
State,  1915-17,  and  in  191 7  adviser  to  the  presi- 
dent of  China,  and  has  held  many  other  posi- 
tions in  China.  The  first  chapter  is  an  intro- 
duction, where  the  treasures  of  the  government 
museum  at  Peking  are  discussed  and  the  art  life 
of  China  is  said  to  have  been  determined  by 
China's  devotion  to  ceremony — family  and 
tribal.  "China,  therefore,  must  be  studied  as 
an  artistic  entity.  The  laws  and  principles 
which  today  control  criticism  or  production 
are  those  which  have  come  down  from  the 
earliest  period  of  China's  national  life.  Art 
is  now  decadent  in  China,  as  far  as  products  are 
concerned,  but  considered  in  the  light  of  adher- 
ence to  principles  it  flourishes  with  a  strength 
equal  to  that  which  characterized  it  in  the 
golden  age  of  the  T'ang  dynasty.  It  is  found 
in  every  man  of  culture  and  struggles  to  assert 
itself  in  every  new  collector.  Its  sway  is  not 
even  distributed  by  the  incoming  of  modern 
education. '  "•  ■ 

The  second  chapter  deals  with  Bronzes  and 
Tades  and  much  emphasis  is  laid  on  the  de- 
lights of  jade  to  a  sensitive  touch,  a  form  of 
artistic  feeling  new  to  our  occidental  con- 
sciousness. "The  beauty  of  good  specimens 
of  jade,  especially  of  ancient  jade,  is  not  only 
appreciated  by  the  eye,  but  also,  as  has  been 
pointed  out,  by  the  sense  of  touch.  It  is  unique 
in  making  this  double  appeal  to  the  aesthetic 
taste.  It  may  readily  be  granted  that  it  is 
not  a  branch  of  art  that  can  become  popular 
with  a  large  number  of  people.  Its  subtlety 
restricts  its  enjoyment  to  the  few,  but  to  them 
it  provides,  in  every  sense,  the  refinement  of 
artistic  feeling." 

The  third  chapter  discusses  Stones  and  Ce- 
ramics. "  Whatever  may  be  the  position  to  which 
China  has  relegated  pottery  and  porcelain, 
they  will  always  remain  for  the  occidental  the 
most  favorite  field  of  Chinese  art.  The  richness 
of  colors  found  in  the  Clitin  Yao,  the  purity  of 
the  Ting  Yao,  with  its  graceful  incised  decora- 
tions, the  charm  of  the  pale  green  of  the  Luiig- 
ch'tian  Yao — these  show  an  appreciation  of 
color  combined  with  skillful  modeling  which 
has  never  been  equaled  in  pottery  by  any  other 
nation.  The  black-grounds,  green-grounds, 
and  yellow-grounds  of  porcelain,  together  with 
the  apple-greens,  peach-blooms,  clair-de-lunes, 
sang-de-boeufs,  and  pure  whites,  are  a  splendid 
exhibition  of  high  artistic  spirit." 

Chapter  four  is  devoted  to  Calligraphy  and 
Painting,  and  chapters  five  and  six  to  Painting. 
The  book  is  well  printed  and  makes  interesting 
reading,  though  it  does  not  give  a  history  of 
Chinese  art  such  as  one  would  like  to  have,  and 
has  many  omissions.  D-  M.  R. 


Kindly  Mention  Art  and  Archaeology. 


[126] 


"Wilderness:  A  Journal  of  Quiet  Adventure 
in  Alaska,"  by  Rockicell  Kent.  New  York. 
G.  P.  Putnam's  Sons,  iq20. 

Because  of  this  volume's  essential  character 
one  can  write  about  it  at  a  late  date  without 
apology.  In  reviewing  the  ordinary  book, 
timeliness  is  admittedly  an  important  factor, 
for  publisher  and  reviewer  and  reader  all  three. 
The  reader  wants  his  liook  fresh,  the  reviewer 
wants  to  get  on  to  something  else,  and  the  pub- 
lisher wants  to  sell  while  he  can.  But  with 
"Wilderness"  these  considerations  are  for- 
tunately not  paramount;  and  while  it  is  too 
late  to  write  the  i:sual  review,  it  is  not  too  late 
to  write  an  appreciation. 

The  book  is  of  enduring  stuff.  The  man  is 
not  a  mere  painter  mildly  practising  a  pleasant 
profession,  but  an  artist  who  has  wrested  some- 
thing vital  from  life  itself;  and  his  book  is  not 
just  so  many  pages  of  text  to  accompany  the 
drawings,  but  a  definitely  original  addition  to 
both  literature  and  art. 

It  required  a  distinguished  foreigner,  Mr. 
C.  Lewis  Hind,  to  call  attention  to  the  true 
significance  of  Kent's  sojourn  in  Alaska.  He 
did  not  hesitate  to  name  one  of  the  greatest 
of  all  the  sojourners  in  the  wilderness,  not  by 
way  of  placing  Kent  on  a  level  with  John  of 
Patmos,  but  by  way  of  identifying  the  nature 
of  the  experience.  Kent  went  to  that  lonely 
island  impelled  by  an  inner  and  compulsive 
urge  to  contact  with  primary  things.  It  is 
not  a  new  manifestation  in  this  country; 
indeed,  this  strain  of  wildness,  this  lure  of  the 
further  wilderness,  has  probably  had  about  as 
much  to  do  with  our  westward  growth  as  the 
more  easily  detected  push  from  behind  of 
crowded  populations.  The  most  notable  pre- 
vious expression  in  our  literature  of  this  hunger 
for  the  elemental  is,  of  course,  "Walden;" 
and  it  is  not  too  much  to  say  that  this  book  of 
Kent's  has  enough  quality  of  its  own  to  go  on 
the  same  shelf  with  that  of  Thoreau. 

The  book's  appeal  to  the  eye  through  its 
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and  no  other.  He  reaches  the  same  part  of 
us,  by  two  ways,  through  two  senses;  and  the 
two-fold  expression  of  the  same  experience 
comes  home  with  so  much  the  more  emphasis 
and  sense  of  reality.  It  is  pleasure  to  pay 
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a  hearty  gale  of  wildness  that  for  a  time  dis- 
perses the  miasmas  of  a  mercantile  civilization. 

Virgil  Barker. 


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ART  AND  ARCHAEOLOGY 
The  Octagon,  Washington,  D.  C. 


Kindly  Mention  Art  and  Archaeology 


The  Sorceress  of  Rome.  By  Nathan  Gallizier. 
Pictures  by  the  Kinneys.  Decorated  by  Ever- 
burg.  The  Page  Company,  Boston,  Publishers. 
Second  Impression,  ig2o. 

This  historical  romance  of  the  Eternal  City 
at  the  close  of  the  tenth  century  when  men  were 
awaiting  the  End  of  Time,  illumines  a  period 
whose  darkness  is  dissipated  by  no  contempo- 
rary historian.  The  seat  of  empire  had  been 
for  several  centureis  transferred  to  the  shores  of 
the  Bosporus,  and  the  state  of  civilization  in 
old  Rome  had  reached  its  lowest  ebb.  Rome 
had  become  the  prey  of  most  terrible  disorders. 
The  halo  and  prestige  of  the  Papacy  had  de- 
parted. The  German  Kings,  as  Emperors  of 
the  Holy  Roman  Empire,  tried  in  vain  to  con- 
trol the  turbulent  spirit  of  the  nobles.  The 
story  has  to  do  with  the  third  rebellion  of  Cres- 
centius.  Senator  of  Rome,  and  the  doom  of  the 
third  Otto,  gransdon  of  Otto  the  Great,  of 
whose  love  for  Stephania,  the  beautiful  wife  of 
Crescentius,  innumerable  legends  are  told  in 
the  old  monkish  chronicles. 

The  author  possesses  historical  imagination 
in  high  degree,  He  has  used  the  love  story  of 
the  boy  emperor  and  the  fascinating  woman 
who  drew  him  to  his  doom,  as  the  main  theme 
about  which  he  has  grouped  sumptuous  word- 
pictures  of  tenth  century  Rome.  Descriptions 
of  the  city  with  its  ruined  grandeur,  of  the 
gorgeous  ceremonials  of  the  Vatican  and  the 
court,  abound.  The  Page  Company  is  to  be 
congratulated  on  the  beauty  of  the  letter- 
press, the  colored  illustrations,  and  the  careful 
editing  of  this  volume.  M.  C. 

The  Medallic  Portraits  of  Christ.  By  G.  F. 
Hill,  Fellow  of  the  British  Academy.  Oxford 
University  Press,  ig20. 

The  three  essays  included  in  this  volume — 
The  Medalhc  Portraits  of  Christ,  The  False 
Shekels,  and  The  Thirty  Pieces  of  Silver, 
which  have  appeared  in  earlier  publications, 
are  reproduced  in  response  to  constant  inqui- 
ries concerning  these  subjects  addressed  to  the 
British  Museum.  The  68  illustrations,  and  the 
careful  descriptions  of  the  medals  reproduced 
add  greatly  to  the  value  and  interest  of  the 
text.  The  first  of  the  three  esssays  is  of  the 
most  general  interest.  The  author  limits  him- 
self chiefly  to  the  medallic  portraits  of  the  Re- 
naissance, only  incidentally  mentioning  earlier 
representations  and  ignoring  altogether  the 
question  whether  the  numerous  portraits 
bear  any  resemblance  to  the  actual 
countenance  of  Christ.  The  volume  exhibits 
in  every  respect  the  high  standard  maintained 
by  the  Oxford  University  Press.  M.  C. 

[128] 


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ART  AND  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 

Published  at  WASHINGTON.  D.  C.  by 

THE  ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA 

ART  AND  LIFE  (new  york)  combined  with  ART  AND  ARCHAEOLOGY 


Volume  XI 


APRIL,  1921 


Number  4 


EDITOR-IN-CHIEF 
WILLIAM  H.  HOLMES 

BOARD  OF  EDITORS 

Virgil  Barker 
Howard  Crosby  Butler 
Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L.  Hewett 

Morris  Jastrow 

FisKE  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 
MITCHELL  CARROLL 

BOARD  OF  MANAGERS 

Frank  Springer.  Chairman 

J.  Townsend  Russell,  Vice-Chairman 

James  C.  Egbert 

Ex-officio  as  President  of  the  Institute 

Burwell  S.  Cutler 

John  B.  Larnbr 

Charles  Colfax  Long 

Dan  Fellows  Platt 


CONTENTS 


The  Memorials  of  Rome  in  the  Italian  Colonies Guido  Calza 131 

Nine  Illustrations 

Ave  Roma  Immortalis Henry  S.  Washington  144 

Poem 


Smyrna:  "The  Infidel  City' 

Eight  Illustrations 


George  Horton 145 


The  Diggers Harvey  M.  Watts        ....      154 

Poem 

The  Angel  in  American  Sculpture Frank  Owen  Payne    ....      155 

Six  Illustrations 


TUSCULUM,  AND  ThE  ViLLA  OF  CiCERO 

Four  Illustrations 


Current  Notes  and  Comments 

Three  Illustrations 


Book  Critiques 


Clara  S.  Streeter 163 

169 

173 


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Entered  at  the  Post  OfSce  at  Washington.  D.  C.  as  second-class  mail  matter.      Acceptance  for  mailing  at  special  rate  of  postage 

provided  for  in  section  1103,  Act  of  October  3.   1917.  authorized  September  7,  191S. 

Copyright,  1921.  bv  the  Archaeological  Institute  of  America. 


Statue  of  Aphrodite  discovered  by  the  Italians  at  Cyrene  in  North  Africa. 

delle  Terme,  Rome. 


Now  in  the  Museo 


ART  mx3 

ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XI 


APRIL,  1921 


Number  4 


THE  MEMORIALS  OF  ROME  IN  THE 
ITALIAN  COLONIES 

By  GuiDO  Calza, 

Inspector  of  the  Excavations  and  Monuments  of  Ancient  Ostia. 


LEAVE  one's  country  without  leav- 
ing one's  fatherland!  Yes,  this 
is  what  we  Italian  archaeologists 
do  when  we  climb  mountains  and  cross 
over  seas  in  search  of  the  memorials  of 
Rome.  No  joy  can  be  more  vital,  no 
pride  more  just,  than  that  of  tracing  the 
foot-prints  left  by  Rome  during  her 
vast,  world-wide  dominion.  A  Latin 
inscription  that  repeats  names  we  hear 
even  to-day ;  a  tomb  that  makes  the  soil 
of  the  most  distant  and  most  desert  and 
savage  regions  sacred  to  us ;  an  aqueduct 
that,  in  the  remotest  parts  of  Africa  or 
Asia,  brings  before  our  eyes  long  files  of 
arches  in  the  Roman  Campagna;  the 
paving-stones  of  a  road  that  makes  us 
re-live  a  thousand  years  of  Latin  con- 
quests and  Latin  triumphs — all  these 
are  discoveries  having  the  double  fasci- 
nation of  scientific  conquests  and  moral 
victories.  Therefore,  Italian  archae- 
ologists could  not  fail  to  be  interested  in 
the  historical  and  archaeological  re- 
searches, which  the  nations  have  been 


making  in  the  Italian  colonies  by  means 
of  scientific  missions.  Though  poorer 
than  the  others,  Italy  has  been  second 
to  none;  and,  with  that  perfect  good- 
fellowship,  characteristic  of  Italian  men 
of  letters,  she  has  tried  to  carry  her 
scientific  researches  to  places  of  which 
none  have  yet  thought.  And  I  take 
especial  pleasure  in  describing  to  the 
readers  of  Art  and  Archaeology  the, 
for  the  most  part  unpublished,  studies 
and  discoveries  made  by  Italians  in  the 
Colonies  of  Libya,  in  the  ^Egean  and 
in  Anatolia. 

Libya,  the  new  colony  that  Italian 
arms  gave  back  to  us  ten  years  ago,  was 
the  first  field  of  exclusively  Italian 
archaeological  exploration  outside  our 
peninsula.  The  actual  conquest  of 
Libya  was  even  hastened  by  this  first 
Italian  mission,  which  was  led  by  our 
illustrious  scientist  Prof.  Halbherr,  the 
successful  explorer  of  the  Island  of 
Crete,  because  the  obstacles  and  perils 
encountered  bv  the  Italian  mission  were 


[131] 


Tripoli:  Marcus  Aurelius'Arch,  after  the  Italian  restoration. 


ART  AND  ARCHAEOLOGY 


so  many  that  the  Government  deter- 
mined on  the  armed  occupation  of  the 
country. 

As  soon  as  the  country  had  been 
conquered  we  continued  the  excavation 
and  restoration  of  its  most  important 
monuments,  as  well  as  the  archaeolog- 
ical exploration  of  Tripolitania  and 
Cyrenaica — already  initiated  by  that 
distinguished  and  lamented  American, 
Mr.  Richard  Norton,  whom  Art  and 
Archaeology  fittingly  commemo- 
rated in  December  1919.  Valuable 
objects  of  art,  that  bear  witness  to  the 
work  accomplished  by  us,  are  now  being 
collected  in  the  two  Italian  museums  at 
Tripoli  and  at  Benghazi.  One  sole  piece 
of  sculpture,  among  the  many  found, 
has  been  taken  to  Rome,  carrying  a 
greeting  from  the  ancient  colony — the 
statue,  that  alone,  might,  perhaps,  suf- 
fice to  re-pay  the  expenses  and  perils  of 
our  war.  The  beautiful  Aphrodite 
from  Cyrene,  now  in  the  Museo  delle 
Terme,  is,  perhaps,  the  most  beautiful 
in  the  whole  world — were  it  possible  to 
draw  a  comparison  between  the  god- 
desses of  beauty.  According  to  the 
learned  essay  by  Prof.  L.  Mariani,  chief 
of  the  Italian  Archaeological  Office  in 
Libya,  this  masterpiece  is  an  original  by 
a  Greek  artist  of  the  IV  century  before 
Christ,  perhaps  Euphranor  of  Corinth. 
The  goddess,  carved  in  a  block  of  the 
choicest  Parian  marble,  transparent 
and  warm  in  color,  is  represented  nude 
in  the  style  of  the  Anadyoniene,  rising 
from  the  sea-waves  at  the  moment  of  her 
first  appearance  to  moitals,  and  all  wet 
and  just  pressing  the  water  fiom  her 
hair,  and  combing  it.  A  sense  of 
shame,  a  tremor  of  the  body  at  contact 
with  the  air  because  of  its  nakedness, 
makes  the  delicate  form  shiver  a  little ; 
and  it  is  this  ingenuous  movement  that 
renders  the  virgin  nudity  of  the  goddess 
perfectly  chaste.     This  exquisite  sculp- 

[133] 


ture  was  found  in  the  great  hall  of  the 
recently  excavated  baths,  along  with 
many  other  beautiful  and  interesting 
statues:  two  groups  of  the  Graces,  an 
Eros  drawing  his  bow,  a  Satyr  with  the 
child  Bacchus,  a  Hermes  in  the  manner 
of  PolycUtiis,  and  the  colossal  statue  of 
Alexander  the  Great.  This  whole  fig- 
ure, cast  in  a  solemn  mould,  breathes 
force  and  power,  and  is  animated  by 
the  genius  of  the  hero.  It  is  an  inter- 
esting sculpture  both  because  it  may 
perhaps  be  a  copy  of  Alexander  with 
the  lance  by  the  sculptor  Lysippus, 
and  also  because  the  face  shows  us  the 
portrait,  not  of  the  idealized  Alexander, 
but  of  the  great  leader,  thoughtful,  yet 
daring  in  action,  who  meditates  his 
great  undertakings,  his  battles  and 
conquests. 

All  these  sculptures  were  overthrown 
by  one  of  those  earthquakes  that  were 
among  the  causes  of  the  decadence  of 
Cyrenaica  toward  the  close  of  the  IV 
century  b.  c.  The  splendid  Hall  of 
the  Thermae,  which  was  divided  in 
three  parts  by  beautiful  Corinthian 
columns  with  transenne  formed  by  the 
two  groups  of  the  Graces,  must  have 
been  like  a  museum;  and  it  was  here 
that  the  people  loitered  while  waiting 
for  their  baths. 

These  excavations  and  discoveries 
have  thrown  light  upon  every  aspect  of 
history  and  life  in  ancient  times,  as  well 
as  upon  art.  An  inscription  tells  of  a 
road  from  Cyrene  to  ApoUonia  that  was 
re-built  by  the  Emperor  Hadrian  in  1 18, 
because  it  had  been  tmnulto  iudaico 
eversa  et  corrupta;  that  is:  broken  up 
and  destroyed  by  the  Jews  from  Egypt 
and  Cyrenaica  during  an  insurrection 
when  220,000  Greeks  and  Romans  were 
massacred. 

These  excavations — among  them 
that  of  a  Temple  of  Jove  with  a  beauti- 
ful statue  of  the  god — have  been  sup- 


Aghhk.mi>  '  C  \  iinaica; :  Roman  Tombs. 


plemented  by  scientific  studies  in  the 
City  of  Benghazi,  the  antique  Berenice. 
The  vast  necropoHs,  rich  in  tombs  and 
funeral  ornaments,  has  been  explored 
with  the  result  that  the  history  of  this 
city,  which  existed  for  ten  centuries, 
may  now  be  seen  in  the  light  of  the 
various  civilizations  under  which  she 
developed — the  indigenous,  Hellenic 
and  Roman.  Teuchira,  the  city  on 
which  Anthony  tried  in  vain  to  impose 
the  name  Cleopatris,  after  the  Queen  of 
Egypt  whom  he  madly  loved,  and 
which  still  displays  her  solid  walls  even 
to-day;  Barce  with  her  magnificent 
tombs;  Ptolemais  with  the  imposing 
ruins  of  walls,  gates  and  cisterns  and 
the  beautiful  arcades  of  the  Agora  and 
harbor;  Apollonia,  which  was  also 
destroyed  by  an  earthquake,  yet,  like 
the  others,  displays  the  ruins  of  an 
aqueduct,  a  theatre  and  a  mole;  and, 
last  of  all,  Cyrene,  with  rich  tombs  cut 
in  the  rock  and  immense  cisterns, 
have  been  systematically  investigated. 
Each  and  all  illustrate  for  us  the  politi- 
cal history  and  the  life  of  the  people  of 
these  countries. 


The  archaeological  offices  at  Tripoli 
and  in  Tripolitania  have  not  only 
executed  the  more  pleasing  part  of  their 
task — that  of  searching  out  and  exca- 
vating monuments — but  they  have 
also  been  active  in  restoring  and  pre- 
serving those  already  existing.  Thus, 
the  Arch  of  Marcus  Aureliiis  at  Tripoli 
has  been  restored;  considered  as  a 
whole  with  its  sculptures  and  its  daring 
architectural  form,  it  is  the  most 
beautiful  and  important  monument  in 
the  colonies.  It  was  built  by  the 
municipal  magistrates  to  celebrate  the 
glory  won  by  Marcus  Aurelius  and 
Lucius  Verus  in  their  recent  victories 
over  the  Parthians.  This  arch  was 
earthed  up  to  the  height  of  three 
meters;  the  interior  transformed  into  a 
cinematograph,  and,  to  further  dis- 
honor it,  the  niches  used  as  vegetable 
stalls.  However,  it  has  now  been  freed 
from  all  these  barbarous  disfigurements ; 
and  Apollo  in  his  chariot  drawn  by 
griffins,  and  Athena  in  her  car  with  the 
winged  sphinx  surrounded  by  trophies 
and  arms,  again  tell  the  glory  of  the 
Antonines.     And  the  excavations  in  the 


[134] 


Rhodes:  The  Cavalieri's  Hospital,  after  the  ItaUan  restorations 


Christian  cemetery  of  Ain  Zara  serve  to 
illustrate  a  whole  period  of  religious 
history,  limited  until  now  to  a  simple 
list  of  bishops. 

But  still  more  marvelous  is  the  birth- 
place of  the  Emperor  SeptimiusSeverus, 
Septis  Magna,  which,  sepulchered  in 
sand,  has  reserved  for  us  the  surprise  of 
discovering  a  city  all  of  marble,  with 
temples,  a  forum,  a  theatre,  public 
baths  and  magnificent  palaces,  and 
among  them  that  of  Septimius  Severus 
himself,  built  by  him  to  commemorate 
his  good  fortune.  There  are  testi- 
monials of  ancient  prosperity  every- 
where: Sabratha,  the  last  of  the  three 
cities  of  Tripolis,  was  the  grain  market 
of  the  coast  of  Sirtica,  and  presents  an 


imposing  group  of  ruins.  The  mosaics 
found  near  Zliten  are  the  most  beautiful 
yet  discovered  on  the  African  coast. 
Their  variety  of  design  and  vivacious 
coloring  make  the  small  squares  with 
fishes  and  scenes  of  animal  life,  the 
battles  of  dwarfs,  and  the  larger  com- 
positions showing  litdi  gladiatorii  and 
venationes  worthy  of  having  figured  in 
the  most  splendid  house  of  Imperial 
Rome. 

The  dominion  of  the  Arabs  over  these 
countries  has  led  to  no  artistic  develop- 
ment, and  has  dimmed  all  this  splendor 
of  life  and  art;  but  Latin  civilization 
has  returned,  throwing  light  upon  the 
past  and  continuing  the  glorious  tra- 
ditions of  Rome. 


[135] 


Rhodes:  The  Castcllania. 


RHODES. 

A  new  history  has  also  begun  for  the 
group  of  charming  islands  in  the 
^gean,  known  as  the  Sporades,  of 
which  the  largest  and  most  lovely  is 
Rhodes.  These  islands  were  occupied 
by  Italy  in  May  191 7,  and  we  at  once 
began  to  restore  that  artistic  beauty 
which  is  their  greatest  fascination. 
The  energy  of  a  vital  civilization  has 
accomplished  marvels  in  spite  of  the 
traditional  sluggishness  of  the  Turkish 
Government.  The  most  beautiful  and 
interesting  street  of  Rhodes,  the  via  dei 
Cavalieri,  commemorates  in  its  name, 
which  has  always  been  Italian,  the 
dominion  of  the  Order  of  Knights  of 
the  principal  Catholic  States  of  Europe 
( 1 308-1 522),  the  object  of  which  was  to 
keep  the  civilization  of  the  Occident 


alive  in  the  Orient.  The  old  hospices 
of  the  various  nations,  which  are  in  this 
street,  have  recovered  the  lines  of  their 
original  architectural  style,  an  archi- 
tecture that  has,  here  at  Rhodes,  a 
typical  local  physiognomy,  and  indi- 
vidual characteristics  which  distinguish 
it  from  its  parent-style,  the  French- 
Gothic.  It  was  chiefly  the  French, 
Spanish,  and  Italians  who  influenced 
the  special  character  of  the  public 
buildings  of  the  city;  but  the  military 
architecture  of  Rhodes  is  Italian, 
because  it  was  directed  and  inspired  by 
Italian  military  architects  and  based  on 
Italian  models.  The  hospital  which 
the  Knights  erected  as  worthy  to 
shelter  their  pious  mission,  undertaken 
for  the  entire  Christian  world,  is,  with 
its    grandiose    proportions    and    indi- 


[136] 


ART  AND  ARCHAEOLOGY 


vidual  architectural  style,  the  most 
conspicuous  public  building  in  Rhodes ; 
and  is  also  one  of  the  most  notable 
examples  of  that  hospice-architecture 
which  was  transplanted  into  the  Orient 
by  the  Latins.  It  was  used  as  a 
military  garrison  by  the  Turks;  but 
extensive  and  accurate  restorations 
have  now  been  completed,  giving  it 
once  more  the  architectural  lines  of  the 
XVI  century.  And  our  learned  Prof. 
Maiuri  has  transformed  it  into  a 
historical  and  archaeological  museum, 
in  which  all  the  material  illustrating 
the  most  antique  civilizations  of  the 
Sporades  is  being  collected.  This  mu- 
seum is  divided  into  three  sections :  the 
Classic  for  Greek  and  Roman  pre- 
historic, artistic,  numismatic,  and  epi- 
graphic  material ;  the  Mediaeval  for  the 
material  belonging  to  the  period  of  the 
Knights;  and  the  Ethnographical  for 
the  study  of  customs,  art,  and  litera- 
ture, and  the  conditions  of  life  down  to 
the  present  time.  So,  this  splendid  and 
characteristic  edifice  has  not  only  been 
saved  as  an  artistic  whole,  but  a  new 
element  of  beauty  has  been  lent  to  it. 
This  museum,  which  is  being  con- 
tinually enriched  by  the  explorations 
and  excavations  at  Rhodes  and  on  the 
islands,  is  one  of  the  most  characteristic 
and  interesting  museums  in  the  Levant ; 
it  is,  moreover  a  new  beacon  of  Latin 
civilization,  signalizing  the  marvelous 
energy  of  our  race. 

Pindar's  song  may,  indeed,  be  sung 
again  to-day:  for  Rhodes  (the  rose) 
blooms  once  more  in  all  her  matchless 
beauty,  that  daughter  of  the  Sea  and 
the  vSun,  whom  the  Sun  begged  and 
obtained  from  Jove,  and  who  expanded 
from  the  waters  like  a  flower. 

ANATOLIA. 

Before  the  War  absorbed  all  the 
energy  of  the  nations,   we    began    to 

[137] 


open  up  another  fruitful  field  of  archae- 
ological exploration — Asia   Minor,   or, 
more  precisely,  Anatolia.     An  Italian 
commission    had    initiated    active   re- 
searches on  this  wide  peninsula  that 
juts  out  from  the  center  of  the  Asiatic 
continent   like   a   bridge   between  the 
Occident   and   the    Orient,    under  the 
direction  of  a  scholar  of  high  standing, 
Prof.  Roberto  Paribeni,  to  whom  I  owe 
these  interesting,  unpublished  details. 
Not  only  were  there  memorials  of  Rome 
to  trace  in  this  region,  but  all  the  long 
history  of  the  peoples  and  kingdoms 
that  succeeded  each  other  in  the  pos- 
session of  this  marvelously  beautiful  and 
fertile  land,  from  the  almost  fabulous 
Empire  of  the  Etheii  to  the  kingdoms  of 
Lydia  and  Phrygia  and  Persia,  and,  last 
of  all,  the  Greek  and  Roman  colonies. 
This  country,  which  saw  the  bloom  of 
the  first  fruits  of  Hellenic  ganius,  repre- 
sented to  the  Ancient  World  of  the 
Mediterranean   what    America   is   for 
Modern  Europe.     But  it  is  after  its 
conquest    by    Alexander    the    Great, 
that,  open  at  last  to  Hellenic  civiliza- 
tion and  culture,  it  enters  the  sphere  of 
the  Western  World,  and  until  the  end 
of  the   Roman  domination  continues 
to  be  the  land  of  wealth  and  happiness, 
the  land  of  pomp  and  splendor,  that 
neither  knows  nor  measures  nor  spares 
her  inexhaustible  gold-mines,  the  goal 
dreamed  of  by  the  Roman  governors 
who    seek    here    the    reward    of    the 
labors    and    fatigues    of    office.     Very 
beautiful  cities  flourish  on  every  hand, 
springing    up,    innumerable    and    im- 
mense either  from  the  growth  of  the 
capitals  of  the  small  native  states,  or 
from  the  new  metropolis  founded  by 
new    sovereigns.     It   is   quite    natural 
that  such  a  rich  country  should  attract 
the  dominating  power  of  Rome.     The 
most  valorous  generals  try  their  arms 
against  it,  Sulla  and  Marius,  LucuUus 


i7>i 


ART  AND  ARCHAEOLOGY 


and  Pompey ,  Caesar  and  Crassus ;  and  a 
horde  of  Roman  merchants  and  traders 
invade  it.  But  one  must  trace  all  these 
glorious  memorials  of  the  Past  through 
the  misery  and  desolation  of  the 
Present;  for  the  end  of  the  Roman 
domination  signalized,  for  these  coun- 
tries, also  ruin  and  desolation  which  the 
Turkish  government  has  always  more 
and  more  accentuated.  Though  one 
sees  at  every  kilometer  the  richest 
ruins  of  cities,  and  of  castles  and 
fortresses,  of  churches  and  monasteries, 
it  takes  a  whole  day's  hard  walking  to 
find  the  few  houses  of  a  wretched 
village,  or  a  loathsome  camp  of  jurukJa 
with  only  a  cafe  under  a  shelter  built  of 
branches. 

AD  ALIA. 

The  researches  of  the  Italian  Archae- 
ological Mission  were  made  in  the 
antique  provinces  of  Pamphylia,  Pisidia, 
Caria,  Lycia,  and  Cilicia,  that  is:  in  the 
present  vilayet  of  Konia  and  Adana.  A 
fertile  field  of  work  and  study  has  been 
found  in  these  provinces,  although  they 
were  not  the  richest  and  most  populous 
of  Asia  Minor.  A  base  of  operations 
was  established  in  the  most  important 
center  of  this  zone  at  Adalia,  the 
antique  Attalea,  which  looks  out  to  sea 
from  the  summit  of  a  rock,  like  a 
charmifig  Haniim  on  the  mysterious 
balcony  of  her  house.  The  beautiful 
walls,  which  were  originally  Roman, 
have  been  partly  demolished,  in  spite 
of  protests  from  the  Italian  mission. 
There  still  remains,  however,  a  monu- 
mental gate,  which  the  city  built  and 
decorated  in  honor  of  the  Emperor 
Hadrian,  with  the  towers  that  stand 
beside  it.  Since  the  wall  that  hid  it  has 
been  demolished,  this  monumental 
record  of  Rome  triumphs  over  the  little 
Turkish  city  with  the  splendor  of  its 
architectuie  and  ornamentation;  only 

[1411 


the  gilded  letters  of  the  inscription  are 
lacking,  having  emigrated  to  Constanti- 
nople some  few  years  since.  But  the 
very  first  greeting  one  receives  on  land- 
ing at  the  little  port  of  Adalia  comes 
from  another  splendid  memorial  of 
Rome:  the  mausoleum  of  a  Roman 
governor  of  the  province,  built  on  the 
line  of  the  walls,  so  that  other  explorers 
have  thought  it  a  fortress.  It  has, 
instead,  a  well-known  form  and  in 
many  respects,  recalls  the  tomb  of 
Cecilia  Metella  on  the  Via  Appia.  A  re- 
lief on  the  sides  of  this  monument  shows 
the  fasces  of  the  lictors,  symbols  of  the 
empire  attributed  to  Roman  magis- 
trates. He  was  then  a  child  of  Rome, 
this  un  known  magi  strate , who ,  buried  f  ar 
from  his  country,  wished  that  the  very 
architecture  of  his  tomb  should  at  once 
awaken  the  memory  of  the  fatherland 
in  those  who  disembarked  on  this 
distant  shore.  Many  interesting  Greek 
and  Latin  inscriptions  have  also  been 
found  at  Adalia ;  and  our  mission  is  now 
studying  the  mosque  at  Giumzin,  an 
excellent  example  of  Byzantine  art,  also 
a  minaret  covered  with  azure-colored 
majolica  which  records  the  dominion  of 
the  sultans  of  Iconium.  There  are  also 
beautiful  ruins  in  the  four  other  great 
antique  cities  of  Pamphylia,  which  is 
now  a  desolate,  uncultivated  plain, 
although  it  has  a  wealth  of  water.  At 
Perga,  celebrated  for  a  sanctuary  of 
Artemis,  there  are  the  ruins  of  the  walls 
and  a  theatre,  and  of  a  stadium  that 
still  has  its  tiers  of  seats  in  position,  and 
of  the  vast  necropolis  with  large  carved 
sarcophagi.  Prof.  Paribeni  has  found 
an  interesting  inscription  here  dedicat- 
ed to  a  physician  on  whom  Perga,  his 
native  city,  and  vSeleucia  conferred  high 
honors,  either  for  his  unusual  bravery  or 
for  the  lectures  on  health  and  public 
hygiene  that   this  follower    of  ^scul- 


Adaua:  Door  of  a  Madrasa,  or  Moslem  Seminary. 


ART  AND  ARCHAEOLOGY 


apius  gave  in  the  gymnasium.  In  this 
way,  Sillyum,  now  at  last  identified 
beyond  a  doubt  by  numerous  inscrip- 
tions, has  been  brought  back  to  hfe, 
and  Aspendus  with  her  splendid,  well- 
preserved  theatre,  carefully  built  after 
the  Greek  model.  The  floods  of  the 
Cydnus,  the  impetuous  river  that  put 
Alexander  the  Great  in  peril  of  his  life, 
have  destroyed  much  in  Cilicia,  which 
was  the  active  center  of  study  during 
the  Roman  period.  But  mountainous 
Cilicia  is  beautiful  and  interesting 
beyond  all  others — aspera,  as  it  was  for 
the  Greeks,  and  as  Cicero  found  it,  for 
he  was  its  governor  in  his  old  age. 
High  up  in  these  mountains,  whence, 
across  low  hills  covered  with  flowering 
broom,  the  Island  of  Cyprus  is  seen 
smiling  on  the  horizon,  an  antique  city 
has  been  discovered  near  the  modern 
village  of  Adana.  This  city,  unknown 
until  to-day,  is  completely  hidden  in  a 
thick  wood,  but  numerous  inscriptions 
have  been  found  in  the  vast  necrop- 
olis, in  which  are  many  small  mortuary 
temples  and  colossal  sarcophagi  with 
inscriptions  and  carvings.  This  is 
Soli,  afterwards  called  Pompeiopolis  for 
Pompey,  who  repopulated  it  with  the 
pirates  infesting  the  coast.  vSimilar  to 
Cilicia  in  nature  and  appearance  is 
Lycia,  characterized  by  tombs  cut  in 
walls  of  rock  like  the  cells  in  a  bee-hive, 
and  by  tall  sarcophagi  of  several  stories 
in  imitation  of  the  wocden  houses  of  the 
first  inhabitants  of  this  region. 

PISIDIA. 

The  most  important  discovery  has, 
however,  taken  place  in  Pisidia;  Pedne- 
Jissos,  quite  a  large  and  wealthy  city, 
sought  for  in  vain  by  former  explorers, 
has  been  found  and  identified  by  the 
Italian  mission. 

The  site  of  these  ruins  is  on  the  top  of 
a  mountainous  group  in  the  high  valley 

[143] 


of  theCestrus  about  ten  hours  northeast 
of  Adalia  in  the  center  of  a  zone  that  has 
been  left  desolate  until  now  in  the  maps 
of  ancient  Asia  Minor.  The  city  was 
divided  into  two  parts:  the  lower  city, 
the  only  accessible  portion  in  the  whole 
area  of  the  antique  city ;  and  the  upper 
city  with  imposing  ruins  hidden  by 
thick,  impenetrable  undergrowth.  The 
city,  which  was  fortified  within  a  poly- 
gon of  walls,  built  on  the  irregulatities 
of  the  soil,  stiU  preserves  the  double 
circle  of  walls  surrounding  the  acropolis; 
the  towers  and  gates,  the  principal  one 
of  which  is  buried  in  sand,  show  us  the 
defensive  system  of  a  Greek,  not  a 
Roman,  city.  The  most  important  of 
the  existing  edifices,  and  also  the  best 
preserved,  is  the  Agora,  which  occupies 
a  plateau  in  the  highest  part.  It  was 
converted  into  a  church  during  the 
Byzantine  period;  and  there  are  still  a 
few  columns  dividing  it  into  three 
naves.  Adjoining  it  was  an  arcade, 
and  a  temple  of  which  there  remain 
beautiful  architectural  fragments. 
Further  on  is  a  Sacellam  Lamm,  a 
shrine  cut  in  the  rock,  and  the  ruins  of  a 
temple  built  of  stone  blocks.  Outside 
the  city  is  what  still  exists  of  the  Greek 
necropolis:  two  Heroa,  like  little  quad- 
rangular temples  in  an  elegant  style  of 
architecture,  and  a  few  sarcophagi. 
Without  the  walls  are  a  few  cisterns  and 
the  ruins  of  two  Byzantine  churches. 
Though  no  great  work  of  art  has  yet 
made  the  discovery  of  these  ruins  even 
more  gratifying,  a  beautiful  stela  in  the 
Attic  style  of  the  IV  century  has, 
however,  been  found,  with  a  figure  of 
Helios  Apollo,  and  a  large  sarcophagus 
with  six  columns,  separating  three 
niches,  each  of  which  contains  a  statue. 
The  city,  which  must  have  sprung  into 
existence  after  the  time  ot  Alexander, 
that  is,  during  the  p.-riod  of  the  greatest 
prosperity  of  this  country,  is  built  on  a 


ART  AND  ARCHAEOLOGY 


plan  corresponding  exactly  to  that  of 
the  Hellenic  fortified  cities.  After  more 
than  ten  centuries  of  death,  she  has 
come  back  to  life  offering  hospitality  to 
the  representatives  of  the  Latin  race. 

Our  mission  has,  then,  in  the  briefest 
space  of  time,  opened  quite  a  new 
horizon  for  history  and  for  archaeology. 
But  it  is  not  the  Roman  world  alone 
that  re-awakens  and  reveals  itself  to 
him  who  peruses  these  pages  of  a 
remote  and  glorious  past ;  the  period  of 
the  Crusades  also  returns  to  us — that 
admirable  expression  of  Latin  energy 
and  of  Christian  faith.  Here,  also, 
are  found  the  maritime  records  of  the 


great  republics  of  Venice,  Genoa  and 
Amalfi  stamped  on  the  walls  and 
castles,  and  also  on  the  maritime  dia- 
lects, which,  even  among  the  Greeks 
and  Turks,  have  always  been  Italian. 
It  is,  then,  beautiful  and  holy  that 
Italians  should  return  to  these  lands, 
armed  only  with  science  and  learning, 
to  protect  the  monuments  and  search 
out  and  revivify  the  memorials  of  past 
civilizations.  And  it  should  be  per- 
missible even  to  preserve  this,  which  is, 
perhaps,  the  most  beautiful  form  of 
civilization,  and  to  assure  its  triumph. 

Rome,  Italy. 


AVE  ROMA  IMMORTALIS. 

(On  seeing  tixo  butterflies  in  the  Forum). 

Around  old  Rome's  most  hallowed  things, 

Festalian  court,  Juturna's  springs, 

Eager  to  spread  their  yellow  wings 

Roam  two  small  butterflies. 

O'er  Caesar's  pyre  they  are  at  play, 

Much  as  they  were  in  Trajan's  day, 

All  ignorant  that  their  life  so  gay 

Is  gone  with  summer  skies. 

Musing  within  the  historic  place, 

Methinks  a  symbol  one  can  trace 

Of  what  befell  that  lordly  race 

Rome  nurtured  in  her  youth. 

Though  people  die  the  race  persists, 

And  Romans,  winning  well  the  lists, 

Let  the  world  know  Rome  still  exists 

In  deeds  of  valor  that,  forsooth, 

Seem  those  of  Rome  in  Rome's  proud  youth. 

Henry  S.  Washington. 

Rome,   April,  1919. 


[144] 


SMYRNA:  "THE  INFIDEL  CITY" 

By  George  Horton, 

American  Consul  General  in  Smyrna.. 


SMYRNA  has  been  called  "  Ghiaur," 
or  "Infidel"  by  the  Turks  ever 
since  it  came  into  their  possession, 
to  denote  its  non-mussulman  charac- 
ter. The  fact  is  that  this  ancient  city 
is,  and  always  has  been,  essentially 
Greek. 

I  was  somewhat  surprised  to  learn, 
on  a  recent  visit  to  the  United  States, 
that  many  intelligent  Americans  do  not 
know  where  Smyrna  is.  I  was  asked 
the  most  extraordinary  questions  as  to 
the  route  by  which  I  expected  to  return 
there,  and  one  charming  lady  who  was 
well  posted  on  most  questions,  acci- 
dentally disclosed  to  me  that  she  was 
laboring  under  the  illusion  that  Smyrna 
was  the  capital  of  Siam.  Fortunately  I 
discovered  her  error,  as  my  wife  is  look- 
ing forward  to  the  pleasure  of  corre- 
sponding with  her. 

Professional  archaeologists  have  long 
ago  discovered  that  the  laiety  of  the 
Archaeological  Institute  are  most 
familiar  with  places  that  are  mentioned 
in  Holy  Writ.  I  shall  begin  then,  by 
remarking  that  Smyrna  was  one  of  the 
seven  cities  of  the  Apocalypse.  Ephe- 
sus,  where  St.  Paul  fought  with  beasts, 
is  but  a  short  journey  from  there  by  rail, 
and  is  a  favorite  excursion  for  Smyrni- 
otes. 

I  am  writing  this  on  board  the  Megali 
Hellas,  a  Greek  steamer  that  makes  the 
journey  from  Brooklyn  to  Piraeus,  the 
harbor  of  Athens,  in  14  days.  Inci- 
dentally, the  Megali  Hellas  is  rolling  so 
that  I  am  holding  my  Corona  with  my 
left  hand  to  keep  if  from  sliding  off  the 
table  while  I  pound  it  wnth  my  right. 
From  Piraeus  to  Smyrna  is  over  night 


on  the  ^gean  Sea,  zigzaging  through 
the  Cyclades  islands,  sprinkled  like 
stars  in  the  sky.  North  of  vSmyrna,  in 
the  same  sea  lies  Lesbos,  (now  Mity- 
lene)  where  Sappho  loved  and  sung,  and 
to  the  south  is  Samos,  whose  wine  Byron 
counsels  us  to  dash  down. 

A  learned  treatise  on  Smyrna  would 
bristle  with  references  to  the  classic 
poets  and  other  writers.  I  believe  that 
I  can  safely  say,  writing  here  from 
memory  and  without  a  library  handy, 
that  Smyrna  is  one  of  the  oldest  cities 
in  existence,  in  the  sense  that  organized 
communities  have  inhabited  the  present 
site,  or  sites  in  the  immediate  neighbor- 
hood, since  the  dawn  of  history  and 
before. 

The  antiquity  of  vSmyrna  is  attested 
by  the  fact  that  ancient  legend  gave  as 
its  founder  the  mythical  hero  Tantalus, 
whose  memory  is  perpetuated  by  the 
word  "tantalize,"  recalling  the  punish- 
ment to  which  he  was  condemned  in  the 
lower  regions.  It  is  said  that  the  first 
name  of  the  city  was  Navlochon,  or 
harbor  for  ships,  and  the  same  name 
would  apply  equally  well  to  the  magnifi- 
cent, land-locked  harbor  of  the  modern 
city,  in  which  the  biggest  merchant 
craft  and  giant  battleships  find  safe 
anchorage.  Recently  many  American 
merchant  ships,  as  well  as  battle  fleets 
of  the  Entente,  have  been  coming  into 
this  harbor.  The  American  Arizona, 
one  of  the  largest  warships  in  the  world, 
sailed  into  Smyrna  harbor  not  long  ago, 
and  made  an  extended  visit. 

The  name  of  the  mythical  founder  of 
the  city  is  still  preserved  at  Smyrna. 
An  ancient  construction,  not  far  from 


[145] 


Smyrna:  The  Grand  Aqueduct.     Photograph  by  Edmund  Boissonnas,  from  the  collection  exhibited 

by  the  Greek  Government  in  New  York. 


Smyrna:  Entrance  to  the  harbor. 


the  town,  is  familiarly  known  as  The 
Tomb  of  Tantalus. 

The  origin  of  the  name  "  Smyrna  "  is 
a  subject  which  might  well  give  rise  to 
much  interesting  discussion.  Tacitus 
mentions  Theseus  or  one  of  the  Amazons 
as  the  founder  of  Smyrna.  The  "Life 
of  Homer"  affirms  that  Theseus  gave 
the  name  of  Smyrna  to  the  city  which 
he  founded,  in  honor  of  an  Amazon  who 
conquered  him  by  her  attractions. 
Those  wishing  to  harmonize  these  two 
legends  can  consider  the  city  as  having 
been  rebuilt  and  rechristened  by  the 
Attic  hero. 

It  is  interesting  to  note  that  the 
word  "Smyrna"  is  closely  allied  to 
"myrrhe,"  or  perfume,  and  that  the 
wise  men  offered  to  the  infant  Jesus 
"gifts,  gold,  frankincense  and  myrrh;" 
{Smyrnan,  in  Greek). 

It  would  be  difficult  to  convince  a 
visitor  to  the  modern  city  that  this 
latter  is  the  correct  derivation  of  the 
name,    unless    ideas    about    perfumes 


have  greatly  changed  since  the  days  of 
Tantalus  and  Theseus. 

During  its  long  history  Smyrna 
passed  through  several  periods  of  splen- 
dor and  influence  and  decline,  had  its 
sieges,  its  changes  of  sovereignty,  its 
massacres.  For  a  long  time  the  second 
city  of  the  Byzantine  Empire,  it  was 
besieged  by  Tamerlane  in  1402,  who  is 
said  to  have  built  a  sort  of  tower  of 
the  skulls  of  the  murdered  inhabitants. 
Later  it  passed  definitely  into  the 
hands  of  the  Turks,  who  have  held  it 
for  nearly  500  years. 

It  is  the  boast  of  the  inhabitants  of 
Smyrna  that  the  actual  city  of  today, 
situated  on  the  slopes  of  Mount  Pagos, 
was  founded  by  Alexander  the  Great, 
who  found  in  the  vicinity  various 
settlements,  remnants  of  the  ancient 
town,  and  collected  them  on  the  pres- 
ent site.  This  contention  is  based  on 
statements  of  Pliny  and  Pausanias. 

A  burning  question  in  the  Near  East, 
a  really  vital  one,  is  that  cf  the  place 


[148] 


Smyrna:  Old  Roman  Aqueduct. 


of  the  nativity  of  Homer.  It  will  not 
be  difficult  for  our  city  rooters  and 
boosters  in  America  to  understand  how 
live  a  question  this  is  to  the  Greeks. 
What  better  advertisement  for  a  town 
than  the  claim,  once  established,  that 
the  immortal  bard  was  born  there? 
After  the  great  name  of  Christ,  there 
is  none  other  better  or  more  generally 
known  than  that  of  Homer. 

We  are  told  that  in  antiquity  seven 
cities  disputed  this  honor,  but  more  re- 
cently the  contention  seems  to  have 
narrowed  down  as  between  Chios  and 
Smyrna.  In  support  of  their  case,  the 
partisans  of  Smyrna  cite:  a  so-called 
"Epigram  of  Homer;"  the  "Life  of 
Homer,"  attributed  by  some  to  Hero- 
dotus ;  the  Third  Idyll  of  the  poet  Mos- 
chos  on  the  death  of  Bion,  in  which 
appears  the  line,  "This  is  a  second 
grief  for  you,  O  River  Meles,  who 
formerly  lost  Homer ; "  Plutarch;  vari- 
ous inscriptions  and  medals  for  which 
there  is  not  space  in  an  article  of  this 
kind ;  Pausanias,  who  mentions  a  grotto 

[149] 


at  Smyrna  in  which  Homer  wrote  his 
poems;  and  various  Latin  authors, 
among  them  Cicero,  who  refer  to  the 
author  of  the  Iliad  as  a  Smyrniote. 

On  the  whole,  Smyrna  seems  to  have 
the  weight  of  the  argument,  and  as  I 
remember  having  once  heard  the  late 
Herbert  DeCou,  one  of  the  soundest 
archaeologists  that  America  has  pro- 
duced, say  that  the  man  who  collected 
the  ancient  legends  growing  out  of  the 
Trojan  war  into  the  so-called  "Poems 
of  Homer,"  probably  lived  in  Asia 
Minor,  I  am  inclined  to  accept  the 
statement  that  he  was  born  in  Smyrna, 
and  be  done  with  the  matter.  It  now 
rests  with  our  friends  the  Greeks  to 
resurrect  the  grotto  where  he  wrote 
his  poems  and  show  it  to  wondering 
tourists.  It  should  be  an  even  greater 
attraction  than  the  "Prison  of  Soc- 
rates," at  Athens. 

Another  burning  question  at  Smyrna 
is:  which  one  of  two  streams  is  the 
rightful  River  Meles,  sacred  to  the 
great  bard? 


Smyrna:  Amphitheatre  where  St.  Polycarp  was  burned. 


One  of  these  streams,  about  9  miles 
long,  takes  its  source  near  the  village 
of  Sevdikeui,  flows  the  length  of  the 
beautiful  Valley  of  Saint  Anne,  where 
it  serves  to  irrigate  numerous  gardens, 
and  empties  into  the  sea,  after  having 
passed  through  one  of  the  humbler 
quarters  of  Smyrna.  In  summer  its 
pools  are  much  frequented  by  naked 
urchins,  and  its  waters  turn  a  pictur- 
esque mill  or  two.  Unfortunately,  a 
tannery  has  recently  been  erected  on 
its  banks.  It  should  be  mentioned  in 
this  connection  that  legend  locates  the 
last  resting  place  of  St.  Anne  in  this 
valley,  on  what  authority  I  know  not. 
Commuters  from  Smyrna  to  Paradise, 
the  village  where  the  International 
College,  an  important  American  insti- 
tution, with  imposing  buildings  erected 
by  money  raised  in  the  United  States, 
is  situated,  skirt  this  delightful  valley 
all  the  way.  The  ancient  "Bridge  of 
Caravans  "  over  which  countless  strings 
of  camels,  plodding  patiently  to  and  fro 
between  the  great  mart  of  Smyrna  and 


the  heart  of  the  East,  laden  with  figs, 
tobacco,  raisins  and  oriental  carpets, 
have  been  passing  for  no  one  knows 
how  long,  spans  this  river  at  its  lower 
end. 

I  can  easily  imagine  a  poet  writing 
in  one  of  the  gardens  or  in  a  grotto  on 
the  banks  of  this  stream,  but  it  is  sug- 
gestive rather  of  the  peaceful  reveries 
of  a  Theocritus  than  the  martial  in- 
spiration of  the  author  of  the  Iliad. 

The  other  stream  issues  from  a  pow- 
erful spring  whose  pure  waters  form 
the  principal  supply  for  Smyrna.  Issu- 
ing first  in  a  large  lake  or  basin,  they 
flow  away  into  the  sea  in  a  clear  river 
about  a  mile  in  length.  This  spring 
and  its  lake  are  the  so-called  "Baths 
of  Diana"  and  there  is  much  to  be 
said  in  favor  of  this  little  river  as  the 
veritable  Meles  of  Homer.  The  ancient 
aqueducts  shown  in  the 
span  the  longer  stream 
through  the  valley  of  St. 
illustration  with  the  leafless  trees  on  its 
bank,   is   from   a   photograph   of    the 

[150] 


illustrations 
which  flows 
Anne.     The 


Smyrna:  Meles  River. 


stream  which  issues  from  the  "Baths 
of  Diana." 

I  leave  to  the  reader  to  pursue  the 
investigation  and  decide  for  himself. 

The  patron  saint  of  Smyrna  is  Poly- 
carp,  who  was  burned  alive  in  the  old 
stadium  back  of  the  town  on  the 
slopes  of  Mount  Pagos.  His  tomb,  in  a 
corner  of  a  Turkish  cemetery  not  far 
from  the  place  of  his  martyrdom,  is 
held  in  much  veneration  by  Orthodox 
and  other  Christians.  The  situation, 
and  the  stone  wall  enclosing  it,  are 
shown  in  the  photograph.  Unfortu- 
nately, there  has  been  a  steadily  grow- 
ing doubt  of  late  years  as  to  the  authen- 
ticity of  this  tomb,  and  even  as  to 
whether  St.  Polycarp  was  buried  at  all 
at  Smyrna. 

The  martyrdom  of  St.  Polycarp  is 
said  by  Rohrbacher,  in  his  Histoire 
Universelle  de  I'Kglise  Catholique  to 
have  taken  place  February  26,  in  the 
year  156  a.  d.  Various  authorities 
give  the  hour  as  half  past  two  in  the 
afternoon  and  the  age  of  the  Saint  at 


the  time  of  his  death  as  86  years.  The 
fact  of  his  martyrdom  at  Smyrna  and 
the  place  appear  to  be  matters  of  au- 
thentic history.  In  the  picture  given 
with  the  accompanying  text,  the  author 
of  this  article  is  shown  sitting  on  the 
green  slopes  of  the  ancient  stadium 
gazing  at  the  spot  where  the  agents 
of  an  organized  and  highly  civilized 
government  burned  alive  a  venerable, 
learned  and  holy  man  because  he  would 
not  deny  his  Christ.  To  the  mind  of 
one  sitting  in  such  a  place,  the  centuries 
roll  up  like  a  parchment,  and  Polycarp 
stands  there  again  among  his  torment- 
ing flames  that  robe  him  in  immortal 
glory. 

Mount  Pagos  was  the  acropolis  of 
ancient  and  mediaeval  Smyrna,  and  a 
considerable  portion  of  the  old  walls 
still  exist,  in  a  fairly  good  state  of  pres- 
ervation. By  a  study  of  these  walls 
and  foundations  I  am  convinced  that 
one  could  trace  the  existence  of  the 
town  from  prehistoric  times  down  to  the 
days  of  the  Turk. 


[1511 


ART  AND  ARCHAEOLOGY 


fc.MVKNA:  I'ortion  of  AnciLiit  Wall. 

Reliable  statistics  as  to  the  popula- 
tion of  Smyrna  in  recent  times  are 
difficult  to  obtain.  The  latest  figures 
given  by  the  American  Consulate  Gen- 
eral, which  are  doubtless  near  the 
truth,   are   as   follows: 

Greeks 155,000 

Turks 165,000 

Jews 35.000 

Armenians 25,000 

Italians 10,000 

French 3,000 

British 2,000 

Americans 150 

Total 395.150 

Since  the  Greek  occupation  there 
has  been  a  large  influx  of  that  element, 


which  is  now  greatly  in  the  ascendency, 
and  the  population  of  the  town  has 
increased  by  at  least  100,000.  The 
city  is  now  so  congested  that  it  is 
practically  impossible  for  a  newcomer 
to  find  a  house,  or  even  a  room,  and 
rents  have  reached  a  New  York  scale. 

To  understand  the  Greek  character 
of  Smyrna  and  indeed  of  the  whole 
Asia  Minor  coast  and  of  many  towns 
in  the  interior,  one  should  not  consider 
the  population  solely  from  a  numerical 
point  of  view.  The  Turks  are  mostly 
government  officials,  day  laborers,  por- 
ters and  small  retail  dealers  in  the 
Turkish  quarters.  They  have  little 
touch  with  the  outside  world  and  have 
made  no  progress  mentally  or  in  their 
style  of  living  for  500  years.  The 
Greeks  are  bankers,  exporters  and  im- 
porters, architects,  electricians,  doctors, 
cooks,  domestic  servants,  employees 
in  business  houses,  ship  builders,  school 
teachers.  They  travel  continually  and 
bring  home  new  ideas  especially  from 
America.  In  the  few  months  since 
the  Greeks  occupied  Smyrna,  American 
automobiles  have  appeared  in  large 
numbers  in  its  streets— a  thing  hitherto 
unknown  since  the  time  of  Tantalus. 
Many  thousands  of  chilkd  steel  plows 
have  been  ordered  in  America  to  re- 
place the  wooden  plows  of  the  days 
of  Homer,  and  American  tractor  plows 
are  already  humming  in  the  Plain  of 
the  Hermus.  Up  till  the  time  of  the 
Greek  occupation  only  one  tractor 
plow  had  been  brought  to  Smyrna 
since  the  epoch  of  the  Amazons,  and 
that  by  a  Greek  naturalized  American 
from  Washington,  D.  C.  It  was  de- 
stroyed by  the  Turks  on  the  road  to  the 
farm,  and  its  ruins  still  lie  by  the  side 
of  the  highway  a  little  distance  out  of 
Smyrna. 

Whenever  Greeks  have  been  col- 
lected in  communities  throughout  the 


[152] 


ART  AND  ARCHAEOLOGY 


Turkish  Empire  during  the  long  years 
of  that  subjection,  they  have  formed 
oases  of  European  civiUzation  of  re- 
markable excellence,  when  one  takes 
into  consideration  the  difficulties  under 
which  they  have  labored.  These  oases 
have  been  characterized  by  houses  of 
better  construction,  hospitals,  churches, 
charitable  organizations,  and  above  all 
schools,  in  which  the  light  of  that 
Hellenic  culture,  to  which  the  Western 
world  owes,  in  large  measure,  its  own 
civilization,  was  kept  burning.  In 
this  respect  Smyrna  has  always  been 
well  in  the  front  rank. 

The  Hospital  of  Saint  Charalambos, 
supported  by  the  Greek  community, 
would  do  credit  to  any  town.  It  has 
wards  for  surgery,  pathology,  gyne- 
cology, ophthalmology,  mental  diseases, 
besides  an  old  peoples'  asylum  and  a 
maternity  department.  In  the  year 
1916-1917  it  had  2500  patients  treated 
within  the  hospital,  and  about  16,000 
outside  patients. 

Among  these  were  many  Mussulmans 
and  Jews,  as  well  as  Greeks. 

The  most  important  schools  of 
Smyrna  are  those  of  the  Evangel,  for 
boys;  and  St.  Photeine  and  the  Homer- 
eion,  for  girls. 

The  Evangelical  school  has  a  re- 
markable library  of  over  30,000  vol- 
umes, which  has  fortunately  come 
through  the  war  intact. 

To  keep  up  the  Greek  schools  of 
Smyrna  costs  about  150,000  dollars 
annually,  no  small  tax  on  a  community 
of  that  size,  but  there  is  never  any 
difficulty  in  finding  the  money. 

The  hinterland  of  Smyrna,  the  terri- 
tory naturally  tributary  to  it,  is  one  of 
the  richest  regions  in  the  world,  and  it 
has  lain  practically  fallow  since  the 
fall  of  Constantinople.  Miserable 
Turkish  villages  now  occupy  the  sites 


Smyrna  :  Tomb  of  St.  Polycarp. 

of  once  populous  and  splendid  Greek 
cities.  History,  that  has  a  habit  of 
repeating  itself,  has  shown  that  Asia 
Minor  is  the  natural  soil  of  the  Greek. 
During  the  last  quarter  of  a  century 
the  Greeks  had,  up  till  the  outbreak  of 
the  European  war,  made  great  progress 
along  the  entire  coast  of  Asia  Minor, 
and  their  civilization  was  gradually 
penetrating  into  the  interior,  building 
schools,  churches  and  hospitals,  and 
respectable  and  cleanly  quarters  in  the 
towns.  They  were  dotting  the  whole 
country  with  pretty  farm  houses,  and 
were  introducing  European — and  more 
especially,  American — up-to-date 
methods  of  farming.    The  broad  state- 


[153] 


ART  AND  ARCHAEOLOGY 


menl  that  the  Greek  is  a  trader ,  and  the 
Turk  is  a  farmer,  is  an  erroneous  one. 
The  Greek  is  cmnipresent  throughout 
the  Near  East  as  a  trader,  it  is  true. 
The  Turk  has  no  ability  to  speak  of 
for  commerce.  He  is  a  hard  worker 
in  the  country  districts  and  it  is  hoped 
that  he  will  not  emigrate  in  large  num- 
bers from  the  Greek  occupied  area. 
The  Greek  peasant,  however,  is  just 
as  hard  a  worker  as  the  Turk,  and  he 
differs  from  the  latter  in  that  he  is 
enterprising  and  progressive.  He  goes 
to  America,  gets  new  ideas  about  phyl- 
loxera, grafting,  agricultural  imple- 
ments and  comes  home  and  applies 
them. 

In  1914  practically  all  the  Greek 
farmers  were  driven  out  of  the  Smyrna 
district,  and  Turkish  refugees,  to  the 
number  of  25,000  put  in  their  place. 
The  amount  of  damage  done  by  those 
25,000  Turks  in  so  short  a  space  of  time 
is  incredible  to  any  one  who  has  not 
seen  it.  An  extensive  region  that  re- 
sembled, in  its  intensive  cultivation 
reaching  even  to  the  tops  of  the  moun- 
ains,  the  best  parts  of  Italy,  has  been 
laid  in  ruins.  Villages,  towns,  farm- 
houses, for  miles,  have  been  so  thor- 
oughly destroyed  that  they  look  like 


the  walls  of  Pompeii.  Vineyards  have 
been  uprooted  for  the  wood  of  the  roots, 
or  are  overgrown  with  grass.  But  the 
Greek  farmers  are  coming  back.  They 
are  living  in  the  cellars  of  their  de- 
stroyed houses,  or  in  rooms  covered 
with  boards  or  canvas,  or  in  tents 
furnished  by  the  Greek  government, 
and  they  are  working  like  bees  at  the 
task  of  restoration. 

What  they  have  done  in  the  fields 
in  a  few  months,  is  almost  a  miracle, 
but  it  will  take  them  a  long  time  to 
rebuild  their  farmhouses  and  villages 
torn  down  for  the  sake  of  the  firewood 
they  contained — for  the  Mussulman 
refugees  were  few  and  the  houses 
many. 

What  the  return  of  the  Greek  to 
Smyrna  means  is  that  the  vast  and  im- 
mensely rich  region  tributary  to  it  has 
been  again  thrown  open  to  that  civiliza- 
tion which  the  Greek  gave  to  the  West- 
ern world.  Thus,  the  proud  province 
of  the  Roman  and  Byzantine  empires, 
where  flourished  the  cities  of  Sardis, 
Phocis,  Colophon,  Ephesus,  Pergamum, 
Thyatira,  Laodacea,  Philadelphia,  and 
others,  will  again  teem  with  industrious 
millions. 

Smyrna,  Asia  Minor 


THE  DIGGERS 

TROY — MYCENAE — KNOSSOS 
They  seek  the  broken  fragments  of  the  past, 
The  wreck  of  palace  and  the  loot  of  kings, 
The  jumbled  heap  of  long  forgotten  things. 
Aeon-encrusted,  till  the  diggers  cast 
From  la3'ered  pit,  after  a  lapse  so  vast 
That  memory  halts,   as  spade  thrust  loudly  rings, 
The  golden  spoil  of  which  blind  Homer  sings; 
Tombs  of  the  great,  heroic  to  the  last! 
And  lo,  before  the  thrilled,  astounded,  gaze 
Of  those  who  delve  beneath  these  massy  quoins, 
Atreus  and  Priam  and  their  splendid  line 
Live  once  again!  Famed  Minos  and  his  maze! 
Yea  from  these  sherds  we  may  their  ways  divine 
Proud  of  our  rise  from  out  these  mighty  loins ! 

Harvey  M.  Watts. 


[1541 


THE  ANGEL  IN  AMERICAN  SCULPTURE 

By  Frank  Owen  Payne 


PROBABLY  there  is  no  one  theme 
in  all  the  realm  of  art  which  has 
figured  more  conspicuously  than 
the  angel.  Miracles  of  mediaeval 
stained  glass  in  Gothic  churches,  mo- 
saics that  glow  in  Italian  basilicas, 
paintings  of  all  the  great  masters  of 
the  brush,  triumphs  of  the  chisel  in 
niche  and  sanctuary,  and  sombre 
memorials  on  tombs  and  sarcophagi — 
all  these  have  contributed  to  the 
prominence  of  angelic  forms  in  art. 
That  the  angel  is  among  the  most 
ancient  conceptions  is  evidenced  by 
the  golden  cherubim  wrought  by  the 
inspired  Bezaleel,  which  bent  their 
wings  above  the  mystic  mercy  seat 
on  the  Ark  of  the  Covenant.  Indeed, 
from  that  remote  day  until  the  present, 
to  every  age  and  to  every  phase  of 
human  life  has  been  granted  its  angelic 
representatives.  Angels  of  birth  and 
of  death,  guardian  angels  and  minis- 
tering angels,  bearers  of  comfort  and 
messengers  of  love,  rejoicing  angels 
and  mourning  angels,  angels  of  peace 
and  of  war,  angels  of  darkness  borne 
on  batty  wings  from  the  gloom  of  the 
pit,  and  angels  of  light  that  bask  with 
seraphim  about  the  Throne  Eternal — 
all  these  have  been  depicted  by  the 
audacious  pencil  of  sublime  art. 

And  yet,  beautiful  as  is  the  idea  of 
the  angel  so  far  as  its  spiritual  signifi- 
cance is  concerned,  and  exquisitely  as 
it  has  been  delineated  by  all  the  imple- 
ments of  art,  there  is  an  incongruity 
about  it  which  does  not  make  it  articu- 
late in  the  groove  of  modern  thought. 
The  angel  is  the  last  of  that  race  of 
hybrid  monstrosities  to  survive  the 
centuries  and  milleniums.  It  belongs 
to  the  brood  of  monsters  which  adorned 

[155] 


the  temples  and  royal  palaces  of  Nine- 
vah  and  Memphis — the  sphinxes, 
griffins,  winged  bulls  and  lions,  and 
various  hybrid  combinations  of  eagles, 
lions  and  bulls  with  men.  It  is  the 
last  survivor  of   a  race   of  monsters. 

To  the  Arab,  an  angel  is  a  dove;  the 
Babylonian  conceived  it  as  a  winged 
bull.  Christianity  with  characteristic 
elevation  of  thought,  has  forsaken  the 
groveling  traditions  inherited  from  a 
remote  heathen  ancestry  and  has  given 
to  the  angel  the  human  form  and  super- 
human intelligence.  Thus,  beautiful 
though  it  be  in  form  and  feature,  and 
hallowed  as  it  is  by  the  fervor  of  re- 
ligious belief,  the  angel  is  none  the  less 
an  absurdity.  It  is  about  the  most 
incongruous  creation  of  art.  It  defies 
the  laws  of  biology  and  contemns  the 
most  obvious  principles  of  physics. 
To  manage  a  pair  of  wings  demands  a 
definite  anatomical  structure,  namely 
a  breast  bone  and  a  wishbone  like  a 
bird.  It  also  demands  a  muscular  de- 
velopment quite  out  of  all  proportion 
with  that  of  human  beings.  Thus,  no 
matter  how  beautiful  the  idea  of  the 
swiftness  of  angel  ministrations,  there 
is  nevertheless  an  incongruity  which 
naturalists  and  modern  realists  must 
deplore.  We  have  yet  to  see  an  angel 
anywhere  in  art  where  the  wings  seem 
to  belong  to  the  body.  They  invaria- 
bly appear  to  be  fastened  on,  and  never 
to  be  the  property  of  the  wearer,  be- 
coming, as  Ruskin  suggests,  "A  spe- 
cies of  decorative  appendage,"  the 
mere  sign  of  an  angel  as  the  halo  is 
symbolic  of  a  saint. 

Not  all  angels,  however,  need  to  be 
represented  with  wings,  although  artists 
have  usually  seemed  to  think  that  they 


ART  AND  ARCHAEOLOGY 


Angel  with  scroll,  by  Herbert  Adams,  on  the  Pratt 

Memorial   in   Emanuel   Baptist   Church,   Brooklyn, 

New  York 


must  be  thus  represented.  Had  the 
three  angels,  who  visited  the  tent  of  the 
Hebrew  patriarch,  been  equipped  with 
such  accessories,  their  angelic  nature 
would  have  been  promptly  recognized 
by  Abraham  and  his  good  wife  Sarah 
during  that  momentous  visitation. 

Again,  the  human  body  is  not  well 
adapted  for  representation  as  if  in 
flight.  When  thus  depicted,  it  is  apt 
to  present  either  a  sprawling  attitude 
or  else  it  appears  to  be  merely  sus- 
pended without  visible  support.  When 
shown  in  relief,  it  seems  to  be  pressed 
flat  to  the  background  like  a  specimen 
in  an  herbarium.    The  flight  of  angels 


can  not  be  described  either  as  soaring, 
or  hovering,  or  flitting.  Their  so-called 
flight  is  in  open  defiance  of  the  laws  of 
aerial  navigation.  Thus,  contemplated 
from  any  and  every  point  of  view, 
whether  it  be  the  anatomical  structure, 
or  the  principles  involved  in  aviation, 
or  from  the  yet  more  difficult  problem 
of  picturing  to  mortal  eyes  the  immortal 
conception  of  a  celestial  being — the 
angel  in  sculpture  is  manifestly  absurd. 
In  short,  the  utter  impossibility  of  giv- 
ing to  the  world  a  convincing  picture 
of  an  angel,  is  evidenced  in  holy  writ 
where  we  read  that  "Eye  hath  not 
seen' '  these  things.  Thus,  it  will  appear 
that  there  are  at  least  three  insuperable 
difficulties  in  the  way  of  convincing 
representations  of  the  angel  in  sculp- 
ture. These  are  its  anatomical  incon- 
gruity, the  absurdity  of  depicting  a 
terrestrial  creature  in  flight,  and  the 
futility  of  trying  to  portray  to  mortal 
eye  what  eye  hath  not  seen. 

Yet,  in  spite  of  these  incongruities 
and  these  other  difficulties,  the  angel 
stands  among  the  most  popular  sub- 
jects of  artistic  delineation.  What 
more  stimulating  or  fascinating  theme 
could  be  found  for  the  artist  than  this 
most  ethereal  subject?  What  else 
could  be  moie  appealing  to  the  imagi- 
nation or  more  remote  from  the  exhaust- 
ing cares  and  tensions  of  our  nerve- 
racking  generation?  It  is  doubtless 
for  some  such  reason  as  this,  together 
with  the  ever  upward  look  of  the  human 
race,  that  the  angel  has  always  been  a 
popular  theme  for  artistic  representa- 
tion. 

Popular  as  it  is,  there  are  but  few 
who  have  been  able  to  give  any  thing 
more  or  less  than  conventional  forms. 
Tradition  has  also  hampered  the  artist 
more  probably,  in  this  theme,  than  in 
any  other  for  the  belief  in  the  nature 


[156] 


ART  AND  ARCHAEOLOGY 


and  offices  of  angels  has  descended  to  us 
from  the  most  remote  antiquity  and  it 
has  moulded  human  thought  and  ham- 
pered it.  No  one,  not  even  Fra  An- 
gelico  was  able  to  escape  the  earthly 
and  present  anything  remotely  sug- 
gesting the  unearthly — the  celestial 
being.  That  is  why  most  angels  in  art 
are  merely  beautiful  ladies  or  effeminate 
gentlemen  like  the  models  who  posed 
for  them,  to  whom  the  ubiquitous  sym- 
bol of  flight  has  been  attached.  Even 
the  cherubs  which  accompany  the  Sis- 
tine  Madonna  and  those  that  fill  the 
background  of  Murillo's  Immaculate 
Conception  are  children  well  fed,  hu- 
man children  quite  earthly  in  face  and 
feature,  and  not  more  spiritual  than 
choir  boys!  In  spite  of  all  such  facts 
as  these,  the  angel  has  commanded  the 
supreme  genius  of  the  world's  greatest 
artists.  That  justifies  its  consideration 
here. 

A  theme  which  makes  such  appeal  to 
the  heart  of  the  ages  and  which  has 
been  essayed  by  the  foremost  artists 
of  every  age,  can  scarcely  present  any- 
thing new  or  original  in  our  day. 
American  sculptors  have  in  the  main 
followed  tradition  in  their  portrayal  of 
angels.  That  they  should  do  so  is 
obvious.  The  demand  for  traditional 
angels  for  churches,  and  the  almost 
universal  popularity  of  the  angel  as 
an  ornament  for  tombstones  will  ex- 
plain the  creation  of  about  all  the  angels 
in  the  plastic  art  of  America.  The 
adaptability  of  the  conventional  angel 
form  to  fit  into  such  spaces  as  spandrils 
over  arches,  and  lunettes  and  tympani 
over  doors,  have  doubtless  added 
greatly  to  the  popularity  of  angels  as  a 
purely  decorative  feature  on  secular 
buildings.  MacMonnies'  angel  figures 
over  the  Washington  Arch  and  the 
Brooklyn  Arch  are  purely  decorative 


Angel  of  the  Resurrection,   by   Couper,   in  Chicago. 

Note   the  beautifully   modeled   hands   and   graceful 

draperies. 

without  one  whit  of  spiritual  signifi- 
cance. Apart  from  the  sacred  charac- 
ter of  the  angel,  the  idea  of  victory  is 
probably  the  most  significant  example 
of  the  winged  figure  in  art.  The  preva- 
lence of  the  angel  upon  tombstones,  the 
laborious  efforts  of  stone  cutters,  has 
cheapened  such  works  to  the  extent  of 
making  them  ridiculous,  if  studied 
apart  from  the  solemn  sunoundings 
where  they  are  foimd. 

Let  us  consider  a  few  of  the  works  by 
American  sculptors  on  the  angel  theme. 
These  examples  are  representative  of 
the  best  that  has  been  done  on  this 
most  venerable  of  all  subjects  of  art. 


[157] 


ART  AND  ARCHAEOLOGY 


Guardian  Angel,  by  William  Couper,  on  a  clock  tower 
in  Methuen,  Alass. 

Although  for  the  most  part  these  works 
have  been  conceived  and  executed  in 
strict  accord  with  artistic  conventions, 
it  is  pleasing  to  note  that  our  artists 
here  as  elsewhere  have  not  been  ham- 
pered as  regards  many  details  which 
might  otherwise  make  their  works 
stiff  and  uni)leasing  to  the  beholder. 
We  believe  that  our  artists  have  given 
rather  more  attention  to  the  human 


aspects  of  angels  and  less  to  the  archaic 
and  strictly  conventional  treatment  of 
the  theme.  There  are  certain  symbols 
such  as  the  pen,  the  scroll,  the  trumpet, 
and  the  sword  which  have  been  found 
necessary  for  the  proper  interpretation 
of  certain  angel  forms  in  sculptural  art. 
Without  such  symbols  there  would  be 
nothing  to  signify  the  special  function 
of  an  angel  in  a  work  of  art. 

The  angel  with  a  scroll  which  Herbert 
A-dams  placed  on  the  Pratt  memorial 
in  Emanuel  Baptist  Church  in  Brook- 
lyn, has  been  much  admired.  It 
probably  portrays  the  function  of  an 
accusing  angel  or  a  herald  who  reads 
from  a  scroll  the  deeds  of  some  saintly 
life.  The  expression  on  that  sweet 
uplifted  face,  the  direct  look  in  the  eyes, 
and  the  ineffable  smile  on  the  lips, 
make  this  one  of  the  most  satisfactory 
angels  in  American  sculpture.  It  pre- 
sents as  near  an  approach  to  the  spiri- 
tual as  we  have  yet  seen  in  marble. 

Many  angelic  forms  have  been  de- 
picted by  the  facile  chisel  of  Daniel 
Chester  French.  For  the  greater  part, 
all  these  angels  have  been  modeled  with 
the  same  care  for  truth  as  regards 
draperies  and  textures  of  flesh  and 
feather  as  that  artist  gives  us  in  all  his 
works.  They  are  all  beautiful  figures 
but  they  are  all  with  one  exception 
merely  beautiful  women.  In  one  of  his 
angels,  however,  French  has  reached 
the  high- water  mark  of  all  his  works. 
This  is  Death  and  the  Yomig  Sculptor, 
which  marks  the  tomb  of  Martin  Mil- 
more,  a  young  sculptor  of  great  promise 
who  died  at  the  very  beginning  of  his 
artistic  career.  In  Death  and  the 
Young  Sculptor,  French  has  portrayed 
a  handsome  youth  in  the  act  of  carving 
a  relief  of  the  sphinx.  The  angel  of 
death  heavily  hooded,  comes  to  arrest 


[158] 


ART  AND  ARCHAEOLOGY 


the  sculptor's  hand.  In  her  other  hand 
she  holds  a  spray  of  poppy  flowers, 
emblematic  of  sleep.  Upon  her  half- 
concealed  countenance  there  is  an  in- 
scrutable expression.  In  its  fine  con- 
ception, in  its  execution,  and  in  its 
forceful  handling,  this  work  deserves 
to  take  rank  as  the  greatest  creation 
of  its  versatile  author.  In  its  other- 
worldliness  it  approaches  the  Adams 
Memorial  by  St.  Gaudens,  in  Rock 
Creek  Cemetery,  Washington,  D.  C. 

Adolph  A.  Weinman  has  produced  a 
vast  number  of  angels,  most  of  which 
belong  to  the  purely  decorative  type. 
Among  these  decorative  angels  are  the 
reliefs  in  white  and  blue  formerly  on 
the  pediment  of  the  Madison  Square 
Presbyterian  Church,  now  on  the  li- 
brary of  the  Metropolitan  Museum  of 
Art  to  which  building  they  were  re- 
moved when  White's  masterpiece  was 
razed  recently.  Weinman's  angels  are 
executed  with  the  same  masterly  tech- 
nique as  characterizes  all  his  sculptural 
creations. 

Reference  has  been  made  to  the 
Adams  Memorial  in  Rock  Creek  Ceme- 
tery by  St.  Gaudens.  Although  not 
intended  for  an  angel,  it  surpasses  all 
other  sculptural  works  in  mystery  and 
spiritual  feeling.  It  is  the  most  spirit- 
ual work  in  all  the  realm  of  American 
sculpture.  St.  Gaudens  was  the 
author  of  the  splendid  reredos  figures 
in  the  Church  of  St.  Thomas  which 
represented  angels  adoring  the  Cross. 
That  superb  work  of  art  was  destroyed 
in  the  fire  which  laid  waste  that  im- 
posing Gothic  building.  No  replica  of 
it  is  known  to  exist.  But  the  best 
known  of  all  St.  Gauden's  angels  is 
Amor  Caritas  which  belongs  to  the 
Luxemburg,  replicas  of  which  are  the 
property  of  many  other  art  museums. 

[159] 


Amor    Caritas,    by    Augustus   St.    Gaudens,  in    the 

gallery  of  the  Luxemburg  in  Paris.     It  is  one  of  the 

best  known  renderings  of  the  angel  theme  by  the 

greatest  of  American  sculptors. 

For  angels  of  the  strictly  conven- 
tional type,  the  works  of  Lee  Laurie  are 
probably  most  numerous.     Laurie  has 


o 
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ART  AND  ARCHAEOLOGY 


specialized  in  ecclesiastic  sculpture. 
His  latest,  and  by  far  the  most  pre- 
tentious, work  of  its  kind  in  America, 
if  not  in  the  world,  is  the  new  rere- 
dos  of  St.  Thomas  Church,  New  York 
City. 

The  art  of  William  Couper  has  dis- 
played itself  to  a  greater  degree  in 
angel  portrayal  than  in  any  other  field 
of  sculptural  art.  We  are  permitted 
herewith  to  present  examples  of 
Couper's  work  on  the  angel  theme. 
The  Recording  Angel  is  in  Norfolk,  Va., 
of  which  there  is  a  replica  in  marble 
in  the  Montclair  Art  Museum.  The 
Angel  of  the  Resurrection  is  in  Chicago, 
and  the  great  relief  or  rather  applique, 
known  as  The  Guardian  Angel,  is  in 
Methuen,  Mass.,  where  it  ornaments 
the  entrance  of  a  memorial  clock  tower. 
Couper  excels  in  the  modeling  of  drap- 
eries and  the  realistic  rendering  of 
hands.  His  works  betray  the  influence 
of  Italy  where  Couper  spent  many  long 
years  in  study  and  work. 

In  portraying  the  angel  there  has 
often  been  a  funny  side.  Serious  as 
must  ever  be  the  theme,  and  sacred  as 
is  its  association  with  the  sadder  aspects 
of  life,  it  is  amusing  to  read  of  the 
absurd  discussions  which  have  from 
time  to  time  disturbed  human  thought 
regarding  the  nature  of  these  sublime 
beings  and  their  specific  functions  in 
the  economy  of  human  existence.  Per- 
haps there  is  no  more  amusing  discus- 
sion than  that  concerning  the  sex  of 
angels  and  the  acrimony  with  which 
polemical  wars  have  been  waged  con- 


cerning that  most  absurd  of  all  con- 
siderations. Forgetting  that  there  is 
neither  marriage  nor  giving  in  marriage 
in  heaven,  that  angels  were  just  created 
to  fulfill  divine  commissions,  that  they 
never  grow  old  but  always  remain  ex- 
actly as  they  were  created — that  the 
question  of  sex  should  ever  have  come 
up  for  consideration  is  preposterous. 
And  yet  because  of  that  very  discussion, 
Gutzon  Borglum  was  constrained  to 
demolish  the  angels  which  he  had  been 
commissioned  to  carve  for  the  Cathe- 
dral of  St.  John  the  Divine  in  New 
York.  We  regret  that  no  pictures  of 
those  much  abused  angels  are  available 
for  presentation  here. 

Whether  around  about  us  all  unseen 
by  mortal  eye  these  celestial  creatures 
minister  to  our  needs,  or  whether  on 
tireless  pinions  they  fathom  empyrean 
abysses  or  wing  their  flight  to  supernal 
altitudes,  we  may  not  know.  Indeed, 
whether  they  exist  at  all,  or  if  existent, 
whether  they  possess  the  form  which 
has  been  attributed  to  them  since  the 
world  began — all  this  is  of  little  moment 
to  us.  It  is  enough  that  as  Clara  Ers- 
kine  Clement  has  well  said :  "Angels  and 
archangels,  cherubim  and  seraphim, 
and  all  the  glorious  hosts  of  heaven, 
were  a  fruitful  source  of  inspiration  to 
the  oldest  painters  and  sculptors  whose 
works  are  known  to  us ;  while  the  artists 
of  our  own  more  practical,  less  dream- 
ful age  are  from  time  to  time  inspired 
to  produce  their  conceptions  of  the 
guardian  angels  of  our  race." 

Brooklyn,  N.  Y. 


[161] 


-■■■  ■■                                     \ 

^i 

1 

.  1  ffn'  '                                       K^^^^^^^^^^^^^l 

CI 


TUSCULUM,  AND  THE  VILLA  OF  CICERO 

By  Clara  S.  Streeter 


IT  IS  MORE  than  a  thousand  years 
since  the  spiked  helmets  of  the  con- 
querors of  Rome  first  glistened  in  the 
sunshine  on  the  Campagna  wastes,  or 
the  tramp  of  their  mailed  feet  sounded 
along  the  old  Roman  roads.  But  their 
pathways  are  still  marked  by  half- 
buried  ruins  that  stand  like  grim- 
visaged  sentinels,  keeping  guard  over  a 
mighty  past,  where,  under  the  maul  of 
unappreciative  power,  "Temples  and 
towers  went  down,"  never  again  to 
rise.  Lord  Byron  and  other  gifted 
writers  have  grown  eloquent  over  that 
"double  night  of  ages"  and  Rome  "in 
her  voiceless  woe,"  while  over  the 
verdure-clothed  debris  on  the  Tusculum 
hills  only  the  nightingale  has  told, 
through  forgotten  centuries,  the  story 
of  life  and  of  conquest  in  the  lovely 
villas  that  once  crowned  those  splendid 
heights  and  gave  bits  of  local  color  to 
the  themes  of  classic  writers  who  loved 
to  find  seclusion  there. 

After  the  fall  of  Rome,  six  centuries 
of  changing  conditions  and  disintegrat- 
ing forces  made  the  ancient  city  of 
Tusculum  an  easy  prey  to  the  com- 
bined forces  of  the  attacking  Romans 
and  Germans,  and  in  the  year  1191  it 
was  razed  to  the  ground.  Then,  with  a 
gentle  hand,  pitying  Nature  shrouded 
its  desolation  with  woods  and  tangled 
thickets.  Situated  in  a  commanding 
position  on  one  of  the  eastern  ridges  of 
the  Alban  hills,  a  mile  and  a  half  from 
modern  Frascati,  and  with  Rome  lying 
fifteen  miles  to  the  northwest,  Tuscu- 
lum lures  the  traveler,  not  so  much  by 
its  ruins  as  by  its  atmosphere,  its  vistas 
of  memory,  and  its  vivifying  impres- 
sions of  buried  greatness. 


"Why  go  there?"  asked  my  Roman 
friend,  when  I  expressed  a  desire  to  see 
Tusculum  and  the  Villa  of  Cicero. 
"There's  nothing  to  see!  Are  there 
not  ruins  enough  in  Rome?" 

"If  ruins  were  all,  Rome  would 
suffice,"  I  replied.  "But  now  that  we 
are  in  Cicero's  own  land,  both  my  com- 
panion and  I  feel  that  we  must  gratify 
our  desire  to  look  over  the  hills  he  loved 
and  frequented  long  ago,  and  to  see  the 
spot  where  so  many  of  his  great  works 
were  written. " 

"My  wife  and  I  have  called,"  he 
returned  suavely,  smiling  at  my  en- 
thusiasm, but  including  both  my  com- 
panion and  me  in  his  glance,  "to  invite 
you  to  go  with  us  for  a  drive  on  the 
Aventine  at  four  o'clock  tomorrow 
afternoon.  Later  we  will  have  tea  on 
the  balcony  of  the  Ristcronte  dell  Cas- 
tello  die  Cesari,  overlooking  the  Pala- 
tine— a  view  of  enchantment  in  the 
light  of  the  setting  sun.  On  this  popu- 
lar balcony  you  may  indulge  in  a  bit 
of  sentiment  over  our  renowned  Cicero, 
if  you  wish.  It  will  be  a  more  com- 
fortable way  than  taking  a  long  tire- 
some ride  out  to  the  Tusculum  hills 
and  wandering  over  the  supposed  re- 
mains of  his  once  beautiful  villa." 

"A  ride  of  fifteen  miles  will  surely 
not  be  long  and  tiresome,"  my  com- 
panion laughingly  affirmed,  "and  we 
will  enjoy  our  drive  with  you  and  our 
tea  far  better  if  we  have  first  been  to 
the  hills." 

It  was  arranged,  therefore,  that  we 
should  go  to  Tusculum  as  we  had 
planned,  and  at  an  early  hour  the  next 
morning  we  were  a-top  a  double- 
decked     tramcar,      passing      rapidly 


[163] 


— 4«i^jl, 


r holograph  by  Clara  S.  Streeter 
On  the  Tusculum  Hills,  not  far  from  the  ruins  of  Tusculum  and  its  famous  villas. 


through  the  Principe  Umberto.  We 
caught  gHmpses  of  the  traffic  along  the 
way — of  workmen  hurrynng  toward  the 
city,  of  women  with  prayer  books 
going  to  early  mass,  of  vehicles  rattling 
over  the  cobblestones,  of  newsboys 
crying  their  papers — until  presently 
our  thoughts  were  turned  from  these 
scenes  to  the  magnificent  basilica  of 
San  Giovanni  in  Laterno,  founded  by 
Constantine  the  Great,  and  around 
which  so  much  of  history  and  art  have 
centered.  Bells  from  the  campanile 
pealed  out,  then  grew  fainter  and 
fainter  as  our  car  sped  on  beyond  the 
old  Roman  wall  into  the  gardens  and 
villas  surrounding  it.  Here  we  lost  the 
impressions  of  urban  life  with  its  noise 
and  strife,  for  olive  groves,  vineyards 
and  blossoming  trees,  still  wet  with 
morning  dew,  extended  around  us  in  a 
of  refreshing  beauty. 

Tusculana,    the 


maze 


Following   the 


V'ia 


old  road  to  Tusculum  most  frequented 


by  wealthy  Romans  in  going  to  their 
country  homes  on  the  hill  slopes,  we 
passed  through  an  arch  of  the  Aqua 
Felice,  called  Porta  Furba,  thence 
to  the  station  of  Ostria  del  Curato,  six 
miles  out  from  Rome,  where  the  road 
forks,  and  the  tramway  turns  to  the 
right,  proceeding  the  rest  of  the  way 
along  the  still  more  ancient  Via  Latina. 
The  imposing  ruins  of  the  great  aque- 
duct constructed  by  Claudius  stand  as 
silent  testimonials  of  the  wealth  and 
mechanical  skill  needed  for  such  a  stu- 
pendous work,  but  cur  modern  tram- 
car,  clanging  its  right  of  way  over  a 
"no-man's-land"  of  tombs,  crumbling 
columns,  and  fragments  of  ancient 
walls,  seemed  in  marked  contrast  to 
the  prevailing  desolation;  for  the  Cam- 
pagna,  except  for  a  herdsman's  cabin 
or  a  slow-moving  train,  was  what 
Charles  Dickens  has  aptly  called  it — • 
a  graveyard;  but  a  graveyard  that 
showed  "  the  vanishing  footprints  of  a 


[164] 


Photograph  from  Chicago  Art  Institute 

The  remains  of  the  large  amphitheatre,  showing  the  wildness  of  the  approach,  and  the  desolation  now 
surrounding  the  ruins  of  the  Villa  of  Cicero. 


once  mighty  race  that  has  left  our  earth 
forever. ' '  Lifting  our  eyes  to  the  Alban 
hills,  banked  snugly  against  the  Sabine 
mountains,  with  the  azure  sky  and  mel- 
low sunshine  over  all,  we  felt  the 
glorious  springtime  enfolding  us,  as  it 
had  enfolded  the  great  and  buried  past 
in  its  ever-living  embrace. 

As  we  ascended,  however,  the  sense 
of  desolation  lessened  and  we  found  the 
approach  to  Frascati  very  beautiful. 
There  were  little  fields  of  grain  and  fine 
orchards  on  the  hillsides;  hamlets  with 
weather-stained  cottages,  and  villas 
that  nestled  in  rose  gardens  under  large 
beech  trees.  There  were  men  and  wo- 
men in  bright-colored  dress,  toiling  in 
the  sunshine  or  cultivating  vineyards 
where  little  children  ran  in  and  out 
trellises.      All   were 


among   the   rude 


needed  for  our  kaleidoscopic  view  of 
fair  Italy  in  May  time ;  and  they  helped 
us  to  appreciate  the  extensive  garden 
operations  of  the  Frascatese  whose 
very  name  seems  the  equivalent  of 
Garden  girl.  The  gardens  and  the  town 
itself  we  found  alluring  even  at  noon- 
time, when  we  descended  from  our 
high  seat  and  lofty  thoughts  into  a 
throng  of  frantic  cab  drivers,  all  eager 
to  take  us  to  Tusculum.  Eluding  these, 
we  went  to  the  Plaza  Romana  to  secure 
a  permit  to  drive  through  the  private 
grounds  by  which  the  old  road  to 
Tusculum  now  is  reached.  Afterward 
we  spent  a  pleasant  half-hour  noting  the 
interesting  features  of  the  place  among 
which  are  two  old  churches  said  to 
have  first  been  mentioned  in  the  ninth 
century,  and  to  have  been  built  on  the 


[165] 


Photograph  from  Chicago  Art  histit:ite 
A  partial  restoration  of  the  theatre  among  the  ruins  of  Tuscnhtm, 


ruins  of  a  Roman  villa,  overgrown  with 
underwood  (frasche),  whence  the  name. 
The  Cathedral  of  San  Pietro,  founded 
about  1700  by  Innocent  III,  is  com- 
paratively new.  Like  Tu senium  of  old, 
however,  the  chief  interest  of  Frascati 
is  due  to  its  palatial  villas,  each  of 
which  has  its  own  historical  setting  and 
appeals  to  the  traveler  as  a  unique 
blending  of  the  antique  with  modern 
conveniences  of  life. 

Finding  a  driver  with  a  bright  boyish 
face,  who,  also,  was  possessed  of  a  clean 
carriage  and  a  decent -looking  horse,  we 
bartered  with  him  to  take  us  to  Tus- 
culum  and  back  in  two  or  three  hours. 
And  such  a  ride  of  delight  as  it  was! 
After  leaving  the  shady  highway  and 
passing  through  the  grounds  of  the 
Villa  Aldobrandini,  with  its  terraced 
gardens,    grottos,    and    fountains,    we 


came  to  the  ancient  road  that  led  to 
Tusculum.  A  grey  stone  Capuchin 
church  partly  covered  with  vines  stood 
on  a  green  knoll,  and  a  little  farther  we 
saw  the  historic  Villa  Ruffinella  almost 
hidden  in  a  bit  of  shady  woodland. 
The  air  was  filled  with  fragrance  as  we 
ascended  by  this  unpaved  road  through 
meadows  flecked  with  daisies  and  red 
poppies,  and  dells  where  ferns  and  val- 
ley lilies  seemed  hiding  in  the  cool 
mossy  shade.  Snowy  clumps  of  bridal 
wreath  grew  in  the  hedgerows  and 
mingled  with  the  pink  petal?  of  the 
wild  roses,  making  a  most  delightsome 
harmony  of  color  effects,  and  a  charm- 
ing nesting-place  for  the  little  birds 
that  flittered  around  us  and  sang  in  the 
joyous  morning  sunshine.  Some  shep- 
herds driving  their  sheep  toward; rich 
pastures  on  the  other  side  of  a  deep 

1166] 


ART  AND  ARCHAEOLOGY 


ravine,  seemed  to  complete  the  sweet 
pastoral  beauty  of  those  quiet,  verdant 
hills 

After  we  left  our  carriage,  the  road 
was  steep  and  lonely  and  a  guide  with 
a  pretty  fox  terrier  went  with  us  the 
rest  of  the  way.  Following  a  footpath 
through  woods  of  elm,  ash,  ilex,  and 
chestnut  trees,  and  creeping  under 
tangled  thickets,  we  came  to  the  re- 
mains of  a  large  amphitheatre,  re- 
cently excavated,  but  still  partly  filled 
with  earth  and  overgrown  by  shrubs 
and  grasses.  This  amphitheatre  with 
its  central  arena  and  backward  sloping 
seats,  capable  of  seating  three  thousand 
people,  we  were  told,  was  one  of  the  most 
remarkable  remnants  of  the  once  proud 
city  of  Tusculum.  As  we  stood  fDy  its 
crumbling  walls  I  remembered  that 
Tusculum  was  noted  for  its  command- 
ing position;  that  according  to  tradi- 
tion it  was  founded  by  Telegonus,  the 
son  of  Ulysses  and  Circe;  that  histori- 
cally it  was  a  prosperous  and  powerful 
city  in  the  days  of  Imperial  Rome  and 
that,  during  the  Republic,  wealthy 
Romans  had  built  their  villas  there, 
beautifying  the  grounds  with  gardens 
and  fountains,  and  adorning  the  walks 
and  loggias  with  sculpture  and  art  from 
far-off  Greece.  I  knew,  too,  that  after 
the  Western  Empire  fell,  this  city,  safe 
on  its  height,  survived  until,  at  the 
close  of  the  twelfth  century,  it,  too, 
fell  before  its  conquerors.  I  turned 
suddenly,  from  the  evidences  I  found  of 
the  tragic  wreck  of  war,  and  tried  to 
picture  how  the  city  looked  in  her  first 
pride  and  glory  and  wondered  where 
the  famous  villas  had  been  built. 

LucuUus,  we  are  told,  had  a  large  and 
very  magnificent  villa,  here,  with  parks 
and  gardens  extending  northward  for 
miles.  Similar  country  homes  were 
built  by  Cato,  Julius  Caesar,  Crassus, 
Brutus  and  others.     Near  Tusculum, 

[167] 


on  the  way  to  Rome  and  close  to  Via 
Latina,  we  know  that  Tiberius  erected 
a  palace.  But  the  most  interesting 
associations  of  this  once  famous  city 
cluster  about  the  great  orator,  Cicero, 
whose  favorite  residence  for  study  and 
disputations  was  at  Tusculum.  Here 
many  of  his  philosophical  works  were 
written,  and  tire  charming  dialogues, 
so  universally  known  and  loved. 

We  knew  that  the  location  of  his 
villa  is  not  definitely  known,  but  we 
readily  followed  our  guide  for  aborrt 
three-quarters  of  a  mile  to  the  left  of  the 
amphitheatre  where  some  extensive 
ruins,  largely  concealed  by  brushwood, 
bears  the  name  of  Villa  of  Cicero.  Our 
friend  was  right.  There  was  nothing 
to  see  save  bracken,  turf  and  wildwood. 
But  if  this  were  the  site,  the  environs  as 
well  as  the  villa  must  have  been  an 
inspiration    to    the   great   scholar. 

Near  the  ruins  we  found  the  remains 
of  the  forum  arrd  a  large  open  air 
theatre,  excavated  in  1839.  Following 
a  narrow  footpath  to  the  right  and  bend- 
ing under  tangled  vines  for  a  quarter 
of  a  mile,  we  reached,  on  higher  ground, 
the  site  of  the  castle.  It  was  built 
on  an  artificially  hewn  rock,  now  sur- 
mounted by  a  rude  cross  held  in  place 
by  a  pile  of  stones,  half  hidden  in  shrub- 
bery. With  difficulty  we  climbed  this 
pile  of  rocks,  and,  startling  a  thrush 
from  her  nest  at  the  foot  of  the  weather- 
beaten  cross,  we  looked  out  over  an 
expansive  and  most  magnificent  view. 
In  the  distance  the  purple  shadows  of 
the  Sabine  mountains  blended  with  the 
depths  of  misty  blue  above  and  melted 
into  the  fresh  green  of  the  woodlands, 
fields,  and  vineyards  below.  Against 
these  Tivoli  and  Mintecelio  seemed  like 
cameos  wrought  on  emerald.  Soracte 
arrd  the  Ciminian  mourrtains  shimmered 
in  the  scintillating  rays  of  the  rroonday 
sun;    the    wide    Campagna,    with    its 


ART  AND  ARCHAEOLOGY 


aqueducts,  stretched  towards  the  sea; 
and  Rome,  with  the  dome  of  St.  Peter's 
shining  above  it,  could  be  seen  in  the 
distance.  At  our  left  lay  Grotta- 
ferrata,  Marino,  Castel  Gandolfo,  and 
Monte  Cavo  with  Rocca  de  Papa  below 
it.  Close  at  hand,  fertile  valleys  and 
wooded  hills  shone  resplendent  in  the 
sunshine. 

But  the  sunshine  on  the  hills  is  less 
subject  to  change  than  are  the  works 
of  man.  We  may  trace  the  scenic 
beauties  of  the  natural  world  that  must 
have  charmed  the  eye  of  Cicero,  but 
only  through  the  writings  of  himself 
and  his  contemporaries  may  we  know 
the  plan  of  his  villa  and  its  comparative 
value  and  beauty.  Cicero  tells  us  that 
it  was  not  so  large  as  that  of  his  neigh- 
bor, Gabibius,  the  consul,  but  it  must 
have  been  of  considerable  size  for  it 
had  two  gymnasiums  with  covered 
porticoes  for  exercise  and  discussion. 
One  of  these,  on  higher  ground,  was 
called  the  Lycciuji  and  contained  a 
library;  the  other,  shaded  by  trees, 
was  called  the  Academy.  The  main 
building  contained  a  covered  portico 
or  cloister  with  recesses  for  seats.  It 
also  had  bath  rooms  and  contained  a 
number  of  works  of  art-pictures — and 
statues  in  bronze  and  marble. 

We  like  to  think  of  Cicero  as  the  fore- 
most voice  of  the  senate;  to  feel  the 
passionate  patriotism  with  which  he 
frustrates  such  conspirators  as  Catiline. 
But  we  knew,  too,  that  his  humane  and 
scholarly  life  often  seem  unfitted  to 
the  time  in  which  his  lot  was  cast — the 
wildest  century  in  the  grim  annals  of 
Rome.  Cicero  was  pre-eminently  a 
pleader,  but  when  his  ill-starred  politi- 
cal alliances  forced  him  into  retirement, 
other  literary  activities  were  his  em- 
ployment and  his  solace.  The  Villa 
and  its  environs  are  important  because 
they  furnish  the  background  for  Ci- 


cero's best  known  works.  It  was  under 
the  porticos  of  his  gymnasium  that  he 
discussed  with  his  friends  the  topics  of 
wisdom,  pain,  good  and  evil,  virtue, 
and  the  meaning  of  death.  These 
conversations  he  perpetuated  in  the 
charming  dialogues  known  as  Tuscidan 
Disputations.  It  was  here  that  most 
of  his  philosophical  works  were  written ; 
here  he  sought  letirement  when  his 
tempestuous  public  career  drew  toward 
its  close;  here  that  he  wrote  the  mas- 
terly essays  which  everj^  student  of 
literature  learns  to  love :  the  De  Senec- 
tiitc  in  which  he  praises  the  worth  of  a 
wise  old  age;  and  De  Amicitia  in  which 
he  explains  his  ideas  of  friendship. 
Surely  Cicero  must  have  loved  this 
charming  spot!  Many  of  his  writings 
reflect  the  harmony  and  beauty  of 
nature  which  he  felt,  and  an  atmosphere 
of  retirement  that  reflection  upon  the 
ultimate  issues  of  life  requires. 

As  we  took  a  last  lingering  look  from 
the  heights  and  turned  to  retrace  our 
steps,  I  tried  to  realize  that  nearly  two 
thousand  years  had  passed  since  Cicero 
had  sojourned  there.  I  thought  rever- 
ently of  his  life;  his  fine  oratory,  his 
statesmanship;  his  finished  rhetoric; 
his  many  and  varied  works.  I  remem- 
bered, too,  that  in  his  career  he  had 
known  the  full  gamut  of  public  opinion, 
having  been  exalted  as  a  god — a  "Sav- 
ior of  Rome"  and  having  met  enmity, 
proscription  and  death.  The  villa 
where  he  lived  is  gone.  The  plaintive 
dove  coos  to  her  mate;  the  lark  soars 
and  sings  in  the  blue  above  the  hills 
he  loved;  the  city  of  Tusculum, 
strong,  prosperous  and  influential  for 
centuries  is  a  ruined  waste;  but,  the 
great  scholar's  thoughts  live  on  and 
many  of  his  works  are  no  more  subject 
to  death  and  decay  than  are  the  moun- 
tains or  the  stars. 


Denver,  Colorado. 


[168] 


CURRENT  NOTES  AND  COMMENTS 

An  Underground  Tomb  With  I)iiporta)it  Fresco  Decoration  Recently  Discovered  in 

Rome. 


Medallion,  representing  different  animals  feeding  near  rustic  cottages. 
Below  probably  Ulysses  after  his  return  to  Ithaca. 

In  November  1919,  an  important  archaeological  discovery  was  made  in  Rome  near  the  Viale 
Manzoni  in  the  Esquihne  region,  about  300  meters  from  the  Porta  Maggiore,  where  is  situated  the 
subterranean  basilica  of  which  an  account  was  given  by  Mr.  C.  Densmore  Curtis  in  Art  and 
Archaeology  for  June  1920. 

As  often  happens  in  the  case  of  striking  and  important  archaeological  discoveries,  this,  too, 
was  due  to  chance.  During  the  construction  of  foimdations  for  a  great  auto-garage  the  workmen 
came  upon  traces  of  early  walls  which  were  not  thought  worthy  of  preser\'ation.  During  their 
demolition,  however,  they  came  upon  the  vault  of  an  underground  room  covered  with  frescoed 
decoration.  At  this  juncture  the  government  Bureau  of  Excavations  took  charge  of  the  work 
which  was  carried  out  under  the  direction  of  the  author  of  the  present  article. 

The  discovery  was  soon  found  to  be  of  much  more  importance  than  was  at  first  supposed,  and 
in  a  short  time  the  excavators  disclosed  a  spacious  room,  nearly  square  in  form,  with  sides  4.50 
meters  in  length,  covered  with  a  vaulted  roof  in  the  center  of  which  is  a  square  opening  com- 
municating with  the  outer  air.  The  walls  and  vault  are  entirely  covered  with  fresco  decoration. 
In  the  walls  on  either  side  of  the  staircase  which  gives  entrance  to  this  room  are  arched  niches, 
or  arcosolia,  clear  proof  that  the  monument  was  used  as  a  tomb,  and  still  further  evidence  is 


[169] 


Fresco  with  a  row  of  twelve  human  figures. 


given  by  the  inscription  in  the  mosaic  floor,  formed  of  black  letters  on  a  white  ground  and  giving 
the  name  of  a  certain  Aurelius  Felicissimiis  who  dedicated  the  tomb  to  others  of  the  same  family, 
both  brothers  and  fellow  freedmen. 

In  the  wall  opposite  the  entrance  a  monumental  doorway,  built  of  cut  bricks,  with  tympanum 
and  columns,  was  added  at  a  later  period.  In  its  construction  one  of  the  arcosolia  was  destroyed 
and  also  some  of  the  original  frescoes.  The  door  gives  access  to  a  descending  staircase  from  which 
one  enters  into  galleries  formed  as  a  result  of  successive  enlargements  of  the  tomb,  with  loculi 
excavated  in  the  tufa  as  in  the  catacombs.     The  entire  tomb  was  plundered  in  ancient  times. 

The  most  important  feature  of  the  discovery  consists  of  the  frescoes  on  the  walls  of  the  main 
sepulchral  chamber.  There  we  find  executed  on  the  low  plinth  a  series  of  eleven  (originally 
twelve)  standing  male  figures  each  clad  in  a  long  robe  or  pallium,  and  varying  from  1.04  to  1.13 
meters  in  height  (Fig.  2).  Some  are  bearded  and  some  are  of  younger  aspect  with  smooth  face. 
Some  hold  in  the  hand  a  roll  or  vohimen  while  others  are  speaking  with  animated  gestures.  The 
preservation  of  the  frescoes  is  good  and  shows  the  skill  by  means  of  which  the  artist  with  the  use 
of  but  few  fines  was  able  to  give  life  and  character  to  his  figures.  Later  research  may  disclose 
the  identity  and  purpose  of  the  individuals  represented,  but  even  now  we  can  without  hesitation 
say  that  this  portrait  gallery  is  the  most  important  Roman  monument  of  its  kind,  and  is  therefore 
of  inestimable  value. 

Above  the  eleven  male  figures  are  numerous  friezes  and  lunettes,  and  above  these  is  the  richly 
frescoed  vault  in  which  we  find  four  symmetrically  arranged  medallions  each  with  a  representation 
of  the  "Good  Shepherd."  Surrounding  these  are  masks,  baskets,  peacocks  and  other  birds, 
between  garlands  and  other  floral  motives.  On  the  wall  to  the  left  as  one  enters,  within  a 
medallion,  is  represented  a  bearded  sitting  man  with  an  open  roll  in  his  hands  and  at  his  feet  a 


[171] 


ART  AND  ARCHAEOLOGY 

flock  of  sheep.  In  the  frieze  below  is  a  man  on  a  prancing  horse  followed  by  a  crowd  of  persons 
and  received  near  the  gate  of  a  city  by  a  procession  of  citizens.  The  town  is  shown  in  most  novel 
manner  in  a  bird's  eye  view.  On  the  central  wall  is  a  crowded  assemblage  of  persons  within  a 
quadriporticus  or  forum.  On  the  right  as  one  enters  is  another  medallion  with  a  banquetting 
scene,  and  a  great  lunette  (Fig.  i)  in  which  is  skillfully  represented  a  large  number  of  different 
beasts  such  as  oxen,  horses,  asses,  and  goats,  feeding  near  several  rustic  cottages  beneath  the  walls 
of  a  city  which  appears  in  the  background.  Below  the  lunette  is  a  scene  which  probably  represents 
Ulysses  after  his  return  to  Ithaca  but  before  he  is  recognized  by  Penelope.  In  the  center  is  a 
weaver's  loom. 

Still  another  staircase  leading  to  the  right  from  the  one  descending  to  the  main  chamber  gives 
access  to  still  another  sepulchral  room  with  arcosolia.  It  has  the  same  orientation  as  the  main 
chamber  and  is  enriched  with  interesting  pictures  which  are  not,  however,  as  important  as 
the  first  described.  Figure  3  gives  an  example  of  these  frescoes  and  represents  the  rear  wall  of  an 
arcosolium  on  which  we  see  a  row  of  twelve  human  figures.  From  this  room  also  one  can  descend 
to  'a  still  lower  gallery  which  was  excavated  at  a  later  period  and  furnished  with  loculi  and  frescoed 
arcosolia. 

The  date  of  the  tomb  is  in  the  second  half  of  the  II  century  A.  D.,  about  the  time  of  Marcus 
Aurelius.  The  meaning  of  certain  of  the  frescoes  is  still  in  doubt.  Was  it  a  Christian  cemetery? 
Does  the  series  of  twelve  figures  represent  the  Apostles?  The  hypothesis  most  worthy  of  credence 
is  that  we  have  a  hypogeum  belonging  to  the  members  of  a  Christian  but  heretic  community. 
Wliatever  may  be  the  final  decision,  however,  as  to  the  meaning  of  the  different  frescoes,  it  is 
certain  that  we  have  in  this  tomb  a  most  important  example  of  the  decorative  art  of  Imperial 
Rome.  GoFFREDO  Bendinelli, 

Inspector  of  the  Government  Excavations,   Rome,   Italy. 

An  Apartment  House  of  One  Thousand  Rooms. 

Under  the  above  caption.  The  Boston  Evening  Transcript,  January  22,  1921  gives  a  full  page 
review,  with  reproductions  of  7  illustrations  of  the  Chaco  Canyon  Double  Number  of  Art 
AND  Arch.veology  (Jan.-Feb.,   1921). 

The  writer  of  the  review,  Theodore  G.  Joslin,  summarizes  the  account  of  the  excavation  of 
Chettro  Kettle  by  Dr.  Hewett,  in  the  opening  paragraph  as  follows: 

"Great  community  structures  and  religious  sanctuaries,  which  challenge  the  admiration 
and  constructive  ability  of  our  modern  civilization,  are  being  slowly  unearthed  b)'  archae- 
ologists operating  in  what  is  known  today  as  Chaco  Canyon,  New  Mexico.  Centuries 
ago  these  buildings  were  occupied  by  a  race  which  has  attained  complete  obhvion.  In 
recent  years  the  desert  sands  have  been  swept  aside,  revealing  one  wonder  after  another. 
The  greatest  wonder  of  all,  however,  came  to  light  only  a  few  months  ago,  when  forces 
working  at  Chettro  Kettle,  under  Edgar  L.  Hewett,  director  of  the  School  of  American 
Research  at  Santa  Fe,  excavated  an  ancient  apartment  house  containing  one  thousand 
rooms.  In  enduring,  residential  architecture  the  unknown  people  who  constructed  the 
building  attained  to  levels  not  surpassed  by  the  architects  of  the  ancient  world.  The 
apartment,  which  has  been  entirely  buried  for  centuries,  would  occupy  two  average  blocks 
if  set  down  in  a  modern  American  city.  Its  great  curved  front  extends  for  seven  hundred 
feet.  In  its  walls  are  fifty  million  pieces  of  quarried  stone,  not  to  mention  thousands  of 
logs,  poles  and  slabs,  which  were  cut  in  distant  forests,  transported  by  man-power,  and  set 
in  their  respective  p'aces  with  the  aid  of  implements  of  stone.  The  building,  archaeologists 
are  satisfied,  was  erected,  not  by  unwilling  workers,  who  labored  under  the  lash  of  priestly 
or  kingly  taskmasters,  but  by  a  virile  people,  who  took  pleasure  in  what  they  were  doing." 

Annual  Meeting  of  th3  College  Art  Association. 

The  Annual  Meeting  of  the  College  Art  Association  of  America  was  held  at  the  Corcoran 
Gallery  of  Art,  Washington,  D.  C,  March  24-26.  An  account  of  the  papers  of  especial 
interest  to  Art  and  Archaeoi^ogy  readers  will  appear  in  the  next  number. 

[172] 


BOOK  CRITIQUES 


The  Metropolitan  Museum  of  Art.  Catalogue 
of  Engraved  Gems  of  the  Classical  Style.  By 
Gisela  M.  A.  Richter.  New  York,  iq20.  Pp. 
Ixxiv,  2J2.     Illustrations  and  plates.     $j.oo. 

This  ideal  catalogue  continues  the  high 
standard  set  by  Miss  Richter's  catalogue  of  the 
Greek,  Roman  and  Etruscan  Bronzes  and  by 
her  Handbook  of  the  Classical  Collection  (see 
Art  AND  Archaeology,  p.  Ill,  24;  VIII,  p.  240). 
It  is  beautifully  printed  and  beautifully  illus- 
trated with  eighty-eight  plates  on  which  is 
reproduced  practically  every  one  of  the  464 
gems  in  the  exact  size  of  the  original,  the  more 
important  repeated  in  enlarged  form  and  those 
especially  attractive  reproduced  from  enlarged 
drawings. 

Gems  have  had  an  interest  for  collectors 
from  the  earliest  times  and  even  in  the  ancient 
day  as  nowadays  collectors  deposited  them  in 
temples,  which  were  really  museums,  for  the 
public  to  enjoy.  Scaurus  had  a  cabinet  of 
gems.  Pompey  placed  the  collection  of  Mithri- 
dates  in  the  Capitol  at  Rome.  Julius  Caesar, 
who  was  especially  fond  of  collecting  gems  by 
old  engravers,  deposited  as  many  as  six  cabinets 
in  the  temple  of  Venus;  and  many  other  ex- 
amples might  be  cited.  So  it  is  a  pleasure  to 
see  an  old  custom  revived  today  and  many  fine 
private  collections  going  into  museums,  and  we 
hope  that  the  Lewes  collection  of  which  Mr. 
Beazley  has  published  a  catalogue  simul- 
taneously with  Miss  Richter's  catalogue  will 
be  purchased  for  a  public  museum  in  America. 
Classical  gems  combine  exquisite  workmanship 
with  beauty  of  material,  and  their  artistic 
excellence  lifts  them  out  of  the  class  of  decora- 
tive objects  and  puts  them  on  a  par  with  the 
products  of  the  higher  arts.  The  study  of 
Greek  and  Roman  gems  is  the  study  of  classical 
art  in  miniature,  since  they  reflect  faithfully 
the  styles  of  the  various  periods  to  which  they 
belong,  giving  an  accurate  picture  of  the  de- 
velopment, prime,  and  decadence  of  classical  art. 

The  Introduction  of  seventy-five  pages  gives 
the  best  short  account  of  ancient  gems  of  which 
I  know  in  English.  This  supplies  a  need  which 
is  not  supplied  by  Beazley's  recent  catalogue  of 
the  Lewes  collection  and  makes  Miss  Richter's 
catalogue  much  more  than  a  catalogue  of  the 
Metropolitan  collection.  It  is  a  good  general 
handbook  for  all  interested  in  the  subject  of 
gems  and  because  the  collection  is  so  repre- 


sentative covers  the  whole  history  of  art. 
Here  can  be  found  an  excellent  treatment  of 
gems  as  works  of  art  and  as  seals  (I  miss  a 
reference  to  Bonner's  article  on  The  Use  and 
Effect  of  Attic  Seals  in  Classical  Philology  III, 
1908,  pp.  399-408),  of  the  choice  of  designs  on 
gems,  of  gems  as  ornaments,  as  amulets,  of  the 
appreciation  of  gems,  of  gem  engravers,  of 
forgeries,  of  the  technique  of  gem  engraving  and 
of  materials  used  for  ancient  gems. 

The  Introduction  is  followed  by  a  bibli- 
ography and  a  list  of  collections  and  then  comes 
the  catalogue  proper  arranged  according  to 
periods  from  the  Minoan  to  the  Post-classical 
of  the  eighteenth  and  nineteenth  centuries. 
For  the  Graeco-Roman,  Later  Imperial  and 
Post-classical  periods  the  gems  are  divided  into 
intaglios  and  cameos  and  discussed  under  such 
subjects  as  deities,  heroes,  mythological  animals 
and  monsters,  portraits,  scenes  from  daily  life, 
animals,  grylloi,  objects,  symbols,  etc. 

The  text  is  extremely  accurate,  though 
scholars  may  dispute  the  genuineness  of  a  few 
of  the  gems.  There  are  very  few  misprints. 
Dio  Cassius  should  be  Cassius  Dio  (p.  xxi). 
P.  XXXV  Dexamenusis  from  Paros;  p.  xxxviii  he 
is  from  Chios  (which  is  correct).  P.  xxxix 
the  gems  of  Delon  and  Sosis  are  intaglios  not 
cameos.  P.  xlii  Nicomacus  should  be  Nicoma- 
chus.  P.  37  there  is  a  mistake  in  the  Greek 
word  for  seal  rings  quoted  from  Aristophanes. 
In  no.  177  the  forms  of  the  letters  in  the  inscrip- 
tion are  wrongly  given  and  in  no.  345  the  last 
letters  of  the  inscription  cannot  be  seen  in  the 
illustration.  P.  54  for  the  mutilation  of  limbs 
to  prevent  vengeance,  a  reference  to  Rohde's 
Psyche-,  i,  p.  326  and  especially  to  Matthies, 
Die  Praenestinischcn  Spiegel,  p.  23  would  be 
profitable  (cf.  ApoUonius  Rhodius,  Argonaulica 
IV,  477  f.)  P.  116  Adriasteia  should  be 
Adrasteia.  D.  M.  R. 

Fogg  Art  Museum,  Harvard  University.  Col- 
lection of  Mediaeval  and  Renaissance  Paintings. 
Harvard  University  Press,  Cambridge. 

This,  the  first  Fogg  Catalogue  of  early  paint- 
ings, is  far  more  than  a  Catalogue,  and  sets  a 
standard  well  worthy  of  emulation  by  other 
Museums.  It  represents  only  one  department 
of  the  Fogg  Museum's  rich  collections,  but  that 
on  which  it  has  laid  especial  emphasis  from  the 
start,  namely,  the  gathering  of  masterpieces  of 


[173] 


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Prepared — Permanent 

ARTISTS'    OIL  COLORS 

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DEVOE  COLORS  make  your 
arhieveraents  permanent  records  of 
Itithful  color  interpretation. 
Irom  carefully  prepared  pigments 
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uti^;hly  incorporated  with  the  purest 
oil. 

This  embodiment  creates  an  easy- 
Ilciwing,  sympathetic  medium  that 
will  meet  all  the  requirements  of  the 
most  exacting  artist. 
Whether  applied  generously  or  spar- 
ingly their  brilliance  remain  unim- 
paired. 

The   most  minute  details   in   color 

making  have  been  scientifically  and 

laboriously    developed    to    produce 

Devoe  Master  Colors. 

These  painstaking  efforts  have  been  rewarded  by 

the  production  of  mediums  recognized  the  world 

over  as  Master  Pigments — Devoe  Artists'  Colors. 

It  will  indeed  be  a  pleasure  to  give  such  expert 

informalioji  as  may  be  desired — either  theoretical. 

chemical,  or  pertaining  to  actual  color  application 

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DEVOE  &RAYNOLDS  CO.,  Inc. 

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PAINTINGS 

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615  Fifth  Avenue,  NEW  YORK 

On  Exibition  Fine  American  Paintings 


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early  religious  painting.     This  volume  is  con- 
fined to  pictures  dated  before  1700. 

As  the  catalogue  is  designed,  among  other 
purposes,  to  be  a  handbook  for  Harvard  and 
Radcliffe  students,  its  plan  is  an  exposition  of 
the  various  historic  fchools  Reproductions  of 
the  sixty-seven  paintings  are  divided  into 
eleven  groups,  each  with  an  introduction  and 
descriptive  matter.  Especially  deserving  of 
mention  are  the  accounts  of  Byzantine  in- 
fluence on  later  schools  by  the  director  Edward 
W.  Forbes,  that  of  Florentine  painting  by 
Arthur  Pope,  and  that  of  the  Sienese  School  bv 
George  H.  Edgell.  The  Umbrian,  North 
Italian  and  Venetian  Schools,  and  Spanish, 
German,  French,  Flemish  and  English  Painting 
are  next  discussed  in  the  order  mentioned. 
The  paintings  are  described  in  unusual  detail. 
Mention  is  made  of  examples  of  the  work  of 
each  of  the  painters  in  other  American  collec- 
tions, and  the  bibliographies  make  it  possible 
for  the  student  to  pursue  the  subject  to  his 
heart's  content.  Thus  the  volume  is  more  than 
a  mere  catalogue  or  handbook.  It  is  a  com- 
prehensive and  scholarly  treatment  of  im- 
portant schools  of  Mediaeval  and  Renaissance 
Painting  based  upon  the  study  o;'  the  examples 
in  the  Fogg  Art  Museum.  M.  C. 

Decorated  Wooden  Ceilings  in  Spain.  A 
Collection  of  Photographs  and  Measured  Draw- 
ings with  Descriptive  Text.  By  Arthur  Byne 
and  Mildred  Stapley.  The  Hispanic  Society  of 
America.  G.  P.  Putnam's  Sons.  igso.  $ij. 
Supplementary  Volume  of  Text  bv  same  authors. 
$1.50. 

This  handsome  portfolio  with  the  small 
volume  of  text,  on  "Decorated  Wooden  Ceilings 
in  Spain,"  is  one  of  the  series  of  publications 
issued  by  the  Hispanic  Society  of  America,  for 
whom  G.  P.  Putnam's  Sons  are  the  publishing 
agents.  The  wooden  ceilings  of  Spain  are 
unique  in  Europe,  save  for  a  few  Sicilian 
examples  dating  from  the  Saracenic  occupation, 
and  this  is  the  first  time  that  they  have  been 
presented  in  collected  form. 

The  duodecimo  volume  with  its  16  full-page 
il'ustrations,  after  an  introduction  giving  some 
general  facts  about  ceiling-making,  devotes 
single  chapters  to  Mudejar  Ceilings  (the 
Mudejar  style  being  that  evolved  by  Moorish 
artisans  working  for  Christians) ;  the  Christian 
Ceiling  and  its  History;  Structural  Classifi- 
cation; the  Renaissance  Coffered  Ceiling;  and 
the  Painted  Decoration  of  Ceilings.  The 
authentic  history  of  this  subject  begins  with 
tlie  Moorish  occupation  of  Spain,  and  con- 
cludes with  the  latter  part  of  the  sixteenth 
centurv. 


Kindly  Mention  Art  and  .ircliaeology. 


[174] 


The  Portfolio  of  Plates  contains  56  repre- 
sentative examples,  both  as  to  structural  form 
and  applied  decoration,  of  Spanish  Ceilings. 
Patrons  and  lovers  of  architecture  are  greatly 
indebted  to  the  Hispanic  Society  and  the 
publishers  for  the  production  of  this  rare  and 
beautiful  work,  which  places  a  comparatively 
unknown  field  of  art  in  the  reach  of  all. 

M.  C. 

Modern  Greek  Stories,  translated  from  the 
original  by  Demetra  Vaka  and  Arislides  Phoii- 
trides,  with  a  foreword  by  Demetra  Vaka. 
Duffield  Company,  New  York.     ig20. 

"Take  Greece  to  your  heart  and  you  will 
feel  grandeur  quivering  within  you,"  says 
Solomos.  But  it  is  only  the  "Glory  that  was 
Greece"  that  the  world  has  taken  to  its  heart. 
Byron  and  the  Revolution  awoke  a  momentary 
interest  but  it  remained  for  Venizelos  to  make 
us  think  of  Greece  in  the  present  tense.  Per- 
haps the  quickest  way  to  know  a  people  is  not 
through  history  but  the  contemporary  fiction 
which  reflects  its  daily  life.  Those  who  have 
had  only  a  traveler's  glimpse  of  the  picturesque, 
hospitable  peasants  among  the  golden  hills  of 
Hellas,  will  be  grateful  to  Demetra  Vaka  and 
Aristides  Phoutrides  for  the  opportunity  of 
becoming  better  acquainted.  The  "Modern 
Greek  Stories"  they  have  translated,  tho 
written  by  Intellectuals,  are  vivid  pictures  of 
village  life.  One  story,  by  Palamas,  begins 
with  a  dedication  to  his  old  nurse:  "It  was 
from  your  mouth  that  I  heard  it  first  and  I 
tried  to  be  just  your  echo.  For  when  you  talk, 
a  whole  people  whispers  your  words,  and  tho 
you  don't  know  it,  every  story  you  tell  is  a 
poem  of  the  race."  It  is  interesting  to  see  in 
these  modern  peasant  tales,  racial  traits  of  the 
old  classics — the  poetic  personification  of 
Nature,  and  a  melancholy  sometimes  carried  to 
the  point  of  fatalism  but  always  lightened  by 
the  Greek  love  of  beauty  and  joie  de  vivre.  For 
example,  "Sea"  by  A.  Karkarvitsas  suggests 
Sing's  "Riders  to  the  Sea"  in  its  characteriza- 
tion of  the  ocean  as  man's  tragic  and  irresistible 
fate.  But  there  is  none  of  the  gray  Celtic  gloom 
in  the  Greek  tale.  The  young  sailor  knows 
that  the  Sea  "has  no  faith  or  mercy, "  that  her 
call  may  mean  death.  But  she  comes  to  him  as 
his  first  sweetheart,  to  lure  him  from  home  and 
human  love,  he  sees  her  as  "a  young  bride, 
clothed  in  blue,  young,  glad  and  tenderly;" 
he  remembers  the  touch  of  her  waters  "like 
warm  kisses;"  he  hears  her  call,  "Come!  come!" 
And  he  goes  to  his  fate  with  joy  as  well  as 
regret.  AnxE  Charlotte_D.\rlington. 


■^ 


^XFORD  books  and  Oxford 
scholarship    are    synony- 
mous. All  bookmen  know 
this    and    unhesitatingly    recom- 
mend  them,  confident   that   the 
reader  will  be  pleased. 

cA  selection  of  Aose  recently  issued. 

HELLENISTIC  SCULPTURE 

"By  Guy  Dickins  fiet  ^8.00 

A  scholarly  monograph,  beautifully  illust- 
rated, for  the  art  lover  and  student. 

MEDALS  OF  THE  RENAISSANCE 
■By  G.  F.  Hill  "^et  ^25.00 

Covers  the  entire  field  of  medallic  art  in 
the  fifteenth  and  sixteenth  centuries,  valu- 
able alike  as  a  reference  work  and  for  its 
fine  illustrations  which  figure  for  the  most 
part  pieces  not  previously  illustrated. 

MOSLEM  ARCHITECTURE 

%  G.  T.  RivoiRA  ^^H^t  ^21.00 

A  pioneer  work  describing  the  develop- 
ment of  the  Mosque  in  Syria,  Egypt, 
Armenia  and  Spain  from  its  birth  down 
to  the  twelfth  century.    158  plates. 

HISTORICAL  PORTRAITS 
1400-1850 

'By  C.  R.  Fletcher       4  vols.  ^22.60 

A  splendid  collection  of  49 1  portraits  by 
masters  of  all  periods  selected  by  Mr.  Emery 
Walker,  with  an  interesting  biographical 
sketch  of  each  subject. 

RAJPUT  PAINTING 

'By  Ananda  Coomaraswamy 

2  vols.  "^V^e/?  126.00 

Probably  the  greatest  work  on  the  subject, 
with  a  large  number  of  exceptionally  fine 
plates  many  of  which  are  in  color 

INTRODUCTION    TO    ENGLISH 
CHURCH  ARCHITECTURE 

'By  Francis  Bond  2  vols,  "^t  ^25.00   K]f 

A  standard  work  covering  the  subject 
from  the  eleventh  to  the  sixteenth  centuries 
with  upwards  of  1400  illustrations. 

A  HISTORY  OF  FINE  ART  IN 
INDIA  AND  CEYLON 

'By  V.  A.  Smith  ^38.00 

The  result  of  a  lifetime  of  study  both 
from  the  archaeological  as  well  as  the  art 
point  of  view  with  nearly  400  illustrations. 

c4t  all  booksellers  or  from  the  publishers. 

OXFORD  UNIVERSITY  PRESS 

American  'Branch 
35  WEST  32nd  STREET,  HEW  YORK 


[175] 


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The  Leopard  Prince.  A  Romance  of  Venice 
in  the  Fourteenth  Century  at  the  Period  of  the 
Bosnian  Conspiracy.  By  Nathan  Gallizier. 
The  Page  Company.     Boston,  igzo. 

This  is  an  historical  romance  of  Venice,  the 
Queen  of  the  Adriatic,  beginning  with  the  year 
1355.  of  which  the  central  figure  is  the  Prince  of 
Lepanto,  Zuan  Costello,  known  as  the  Leopard 
Prince  from  his  coat  of  arms,  a  dramatic  hero 
who  combats  the  conspiracy  headed  by  Lucio 
Strozzi  to  betray  Venice  to  the  Ban  of  Bosnia 
and  Louis  of  Hungary.  The  "eternal  triangle " 
is  completed  with  the  two  heroines,  Fulvia  the 
young  wife  of  the  Leopard  Prince,  and  the 
Princess  Yaga,  secret  emissary  of  the  Ban  of 
Bosnia.  The  author  gives  a  vivid  picture  of  the 
artistic  splendor  and  autocratic  government  of 
Venice  at  this  period.  The  book  is  of  timely 
interest  because  the  author  has  chosen  scenes 
for  his  story  which  figured  in  the  World  War. 

Modern  European  History  by  Button  Webster. 
D.  C.  Heath  Co.     ig20. 

This  school  text  book  of  Modern  European 
History  is  of  value  to  art  students  because  of 
the  manner  in  which  the  author  has  set  forth 
the  literary  and  artistic  development,  as  well  as 
the  social,  economic,  and  political  progress  of 
European  nations  from  the  beginning  of  the 
X\TI  Centun,'  through  the  Peace  Conference. 


ART  AND  ARCHAEOLOGY 

And  many  other  high  grade 
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ART  AND  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 

Pdblishbd  at  WASHINGTON,  D.  C.   by 

THE  ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA 

ART  AND  LIFE  (new  York)  combined  with  ART  AND  ARCHAEOLOGY 


{(\ 


Volume  XI 


MAY,  1921 


Number  5 


EDITOR-IN-CHIEF 
WILLIAM  H    HOLMES 

BOARD  OF  EDITORS 

Virgil  Bareer 
Howard  Crosby  Butler 
Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L-  Hewbtt 

Morris  Jastrow 

FiSKE  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 
MITCHELL  CARROLL 

BOARD  OF  MANAGERS 

Frank  Springer.  Chairman 

J.  Townsend  Russell.  Vice-Chair  man 

James  C.  Egbert 

Ex-officio  as  President  of  the  Institute 

BuRwELL  S.  Cutler 

John  B.  Larnbr 

Charles  Colfax  Long 

Dan  Fellows  Platt 


CONTENTS 

THE  ARTS  OF  CZECHOSLOVAKIA. 

Planned  and  Edited  by  Ales  Hrdlicka. 
Art  in  Czechoslovakia Ales  Hrdlicka       .      .      .     179 

Folk  Art       . Karel  Chotek  ....     185 

Twenty-six  Illustrations 

Architecture Oldrich  Heidrich        .      .     199 

Three  Illustrations 

Sculpture Oldrich  Heidrich         .      .     207 

Four  Illustrations 

Painting         Ales  Hrdlicka       .      .      .213 

Six   Illustrations  ' 

Current  Notes  and  Comments 221 

Two  Illustrations 

Book  Critiques 223 


Terms:  ?5.oo  a  year  in  advance:  single  numbers,  50  cents.      Instructions  for  renewal,  discontinuance,  or  change  of  address  should  be 
sent  two  weeks  before  the  date  they  are  to  go  into  effect. 

AH  correspondence  should  be  addressed  and  remittances  made  to  Art  and  Archaeology,  the  Octagon.  Wa'^hington,  D.  C.     Also 
manuscripts,  photographs,  material  for  notes  and  news,  books  for  review,  and  exchanges,  should  be  sent  to  this  address. 

Advertisements  should  be   sent  to  Chandler-Jennings,  Inc.,  Advertising  Managers,    i  W^est  34th  St.,  New  York.  N.  Y,  the  New 
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Foreign  subscriptions  and  advertisements  should  be  sent  to  David  H   Bond.  407  Bank  Chambers,  Chancery  Lane.  London.  W.  C.-i. 

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provided  for  in  section   110.3.  Act  of  October  3.  1917.  authorized  September  7,   1918. 

Copyright.  i92i.bv  the  Archaeological  Institute  qf  America 


u 


3 


u 


0 

< 


ART  dnS. 

ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XI 


MAY,  1921 


Number  5 


ART  IN  CZECHOSLOVAKIA 

Introduction  bv  Ales  Hrdlicka. 


IN  vSPEAKING  of  Art  among  mod- 
ern peoples  of  the  white  stock,  we  can 

hardly  do  so  any  more  in  the  com- 
prehensively subjective  sense  and  say 
American,  or  English,  or  even  French, 
Russian  or  Czechoslovak  Art;  it  is, 
rather,  art  in  America,  England,  France 
Russia,  Czechoslovakia.  The  pristine 
time,  when  a  people  such  as  the  Egyp- 
tians, Assyrians  or  Greeks,  could  de- 
velop an  art  realm  of  their  own,  is  past, 
and  the  more  modern  nations  must  be 
content  with  a  more  or  less  secondary 
role .  For  art ,  however  broadly  we  take 
it,  is  after  all  limited.  It  is  limited  by 
our  resources,  but  especially  by  the 
scope  of  our  senses  and  our  intellect. 
Once  the  available  field  is  fairly  covered 
and  the  main  possibilities  have  been 
utilized,  there  remains  not  much  more 
for  art  than  amplification  and  refine- 
ment. Later  historic  nations  develop 
details,  styles,  peculiarities,  "schools," 
but,  in  the  main,  upon  already  well 
known  principles. 

However,  as  each  people  differs  more 
or  less  in  mentality  from  all  others,  so 
will  their  art  differ.     Given  the  same 

[179] 


ideological  proposition,  no  two  scholars 
will  achieve  the  same  literary  produc- 
tion, and  the  same  applies  to  art  and  to 
nations.  It  is  thus  that  art  in  America 
will  some  day  be  shaded  "American," 
that  art  in  France  is  tinged  by  some- 
thing distinctly  "French,"  and  that  art 
in  Czechoslovakia  has  acquired  and 
is  developing  the  flavor  of  "Czecho- 
slovak," which  might  be  difficult  to 
define  in  so  many  words,  but  which  is 
well  appreciated  by  those  of  developed 
art  knowledge  and  sense  in  other 
countries. 

Artistic  tendencies  are  inborn  in  all 
peoples,  they  are  a  pan-human  quality, 
but  they  differ  from  group  to  group  in 
volume,  warmth,  color,  directions  and 
effects.  Again,  as  with  individuals, 
there  are  peoples  in  whom  artistic 
tendencies  on  the  whole  are  poorly  de- 
veloped, or  at  best  remain  quite  sec- 
ondary to  the  routine  mental  manifesta- 

NoTE. — The  Bohemian  alphabet  has  a  number  of 
letters  not  occurring  in  English ;  they  are  pronounced  as 
follows:  c=ch  in  "child";  s  =  shin  "she";  z  =j  in  "jour" 
or  z  in" azure ;"ch=ch  in  "Nacht";and  r,  which  can 
be  approached  by  the  combination  of  "rzh."  The 
accent  '  makes  the  letter  long.  \'owels  are  all  pro- 
nounced full,  as  in  continental  Latin. 


ART  AND  ARCHAEOLOGY 


tions,  the  routine  life ;  in  others  they  are 
well  represented  in  the  mental  complex, 
but  yield  readily  to  a  cool  coordination 
with  the  rest  of  the  intellectual  pur- 
suits ;  and  then  there  are  those  in  whom 
the  love  of  beauty,  of  form,  of  live  color, 
of  sound,  of  rhythm,  are  of  the  strongest 
life  attributes,  and  in  whom  art  in  some 
form  or  other  is  a  constant  efflorescence, 
at  the  expense  even  sometimes  of  the 
more  utilitarian  functions.  These  are 
the  favored  of  the  Muses,  to  whom  ap- 
preciation and  love  of  beauty  in  its 
whole  gamut  are  soul  essentials.  Such 
people  create  in  art,  and  in  all  directions 
where  creation  is  still  possible;  with 
nature's  tools  they  embellish  and  intone 
more  sober  natuie,  and  if  general  con- 
ditions are  not  forbidding,  they  give 
from  their  plentiful  cup  to  the  rest  of  the 
world;  they  produce  painters,  sculptors, 
architects,  musicians  of  world  reputa- 
tion. 

The  Czechoslovaks  must  belong 
somewhere  near  this  last  category  of 
peoples.  With  the  rest  of  the  Slavs  they 
are  people  of  sentiment,  of  natural  and 
pious  idealism,  of  predominating  love 
of  beauty  in  all  its  forms.  Their 
villages  blossom  irrepressibly  with  folk 
art ;  their  cities  reflect  the  best  arts  of 
modern  Europe;  while  music,  a  higher 
than  ordinary  music,  from  ancient 
poetic  folk  song  to  modern  powerful 
hymns  and  opera,  pervades  everything. 
As  a  witness  to  their  riches  in  just  one 
direction — there  is  now  in  press  a  col- 
lection of  their  folk  chants,  to  the 
number  of  twenty  thousand.  They 
have  given  the  world,  notwithstanding 
their  relatively  small  numbers  and  their 
debacle  during  the  Thirty  Years'  War, 
with  the  subsequent  three  paralyzing 
centuries  under  Austrian  subjection, 
many  a  composer,  musician,  painter  and 
others  in  art,  not  to  speak  of  poetry  and 
literature,  of  more  than  local  and  in 


some  cases  of  truly  world  reputation. 
Names  like  Dvorak,  Smetana,  Fibbich, 
Sevcik,  Kubelik,  Destinn,  Manes, 
Brozik,  Mucha  and  others  are  well 
known  wherever  art  is  cherished. 

The  innate  qualities  of  the  Czecho- 
slovaks in  relation  to  art  are  an  in- 
heritance of  the  far  past,  and  have  their 
source  doubtless  in  the  original  Slav 
stock  from  which  these  tribes  during  the 
earlier  part  of  the  first  millenium  b.  c. 
began  to  separate.  In  the  course  of 
their  subsequent  existence  however,  the 
Czechs  in  all  lines  of  intellectual  pur- 
suits are  subjected  to  considerable  out- 
side influences,  especially  in  Bohemia; 
but  the  effects  of  these  influences  may 
always  be  traced  and  discounted.  They 
merely  give  another  direction  now  and 
then,  and  usually  a  general  impetus,  to 
the  art  pursuits  in  the  country.  There 
are  noticeable  in  Bohemia  in  turn  strong 
Byzantine,  Roman,  Dutch,  Italian,  as 
well  as  French  and  German  influences. 
These  influences  introduce  the  classic 
styles  and  modernized  art,  and  at  times 
prevail;  in  the  end,  however,  their 
results  are  essentially  always  but  a 
stimulation  and  strengthening  of  the 
native  qualities;  the  new  is  largely  as- 
similated rather  than  grafted  on.  As 
soon  as  the  pressure  of  circumstances 
relaxes,  the  native  artists,  the  native- 
bred  art  begin  to  reassert  themselves. 
Moreover  the  foreign  influences  remain 
limited  to  the  cities  and  their  spheres  of 
influence — the  country,  in  the  main, 
remains  as  it  was.  That  there  was 
never  respite  enough,  outside  of  folk  art, 
fully  to  develop  the  native  tendencies, 
was  wholly  a  matter  of  the  vicissitudes 
to  which  the  country  was  subjected. 

The  history  of  art  in  Czechoslovakia 
may  be  roughly  divided  into  (i)  the 
Early  Historic;  (2)  the  Mediaeval;  and 
(3)  the  Modern.  The  Early  period  is 
that  before  the  Christianization  of  the 

[180] 


ART  AND  ARCHAEOLOGY 


rulers  of  Bohemia  in  874 ;  the  Mediaeval 
may  well  be  conceived  to  begin  with  the 
year  874  and  to  end  with  the  Thirty 
Years'  War  and  the  long  prostration 
that  followed  it;  while  the  Modern 
period,  though  beginning  properly  with 
the  commencing  reawakening  of  the 
nation  towards  the  end  of  the  XVIII, 
does  not  actually  set  in  before  the 
middle  of  the  XIX  century. 

The  art  of  the  Early  Historic  period 
was  the  Czechoslovak  art  proper;  but 
it  was  perishable  art  which  left  little  if 
anything  to  posterity,  except  in  sur- 
vivals. It  was  the  art  of  the  frame 
dwelling,  of  the  carved  statue  of  the 
pagan  deity,  of  possibly  some  carved  or 
painted  utensils  and  furniture,  and  of 
the  woven,  embroidered  or  painted 
decoration.  There  was  also  some  art 
in  pottery,  weapons  and  jewelery,  but 
this  was  probably  less  truly  native,  and 
belongs  also  more  to  the  field  of  archae- 
ology. There  were  surely  abundant 
folk  dances  and  folk  songs  with  poetry 
and  mimicry.  Survivals  of  much  of 
this  can  be  traced,  and  that  in  wide 
distribution,  to  this  day,  but  records  are 
very  fragmentary. 

The  christening  of  the  Czech  Duke 
Bofivoj  in  874,  by  the  Macedonian 
apostles,  Cyril  and  Methodius,  which 
was  soon  followed  by  the  Christianiza- 
tion  of  the  whole  nation,  makes  a  sharp 
boundary  in  art  development.  Under 
Byzantine  and  then  Byzantine-Roman 
influence,  characteristic  church  and 
later  on  monastery  and  convent  struc- 
tures arise,  remnants  of  which  may  be 
found  in  Czechoslovakia  to  this  day; 
and  architecture  is  soon  followed  by 
church  painting,  sculpture  and  carving. 
In  the  course  of  time  as  cities  grow  there 
is  also  a  development  of  lay  architec- 
ture with  decoration  and  artistic  work 
in  metals.  The  Dukes  and  then  Kings, 
the    nobles,    the    wealthy   merchants, 

[181] 


foster  art  in  all  directions.  Where 
native  training  does  not  suffice,  they 
call  in  temporarily  renowned  architects 
and  other  artists  from  other  countiies. 
The  transitional  or  old,  and  then  the 
true  Gothic,  follow  upon  the  Byzantine 
and  Roman,  exerting  a  profound  and 
widespread  influence.  Prague  the 
capital,  other  large  cities  and  the 
country,  become  studded  with  re- 
markable churches,  castles  and  man- 
sions, many  of  which  (seme  still  well 
preserv^ed,  some  in  ruins)  exist  to  this 
day  in  the  "hundred-towered"  city 
above  the  Vltava  and  elsewhere  in 
Bohemia.  And  the  smaller  towns,  then 
as  later,  reflect  the  prevailing  art  in  the 
fafades  of  their  houses,  in  their  roofs, 
their  causeways  and  ceilings,  their 
furniture,  and  in  other  particulars. 
Even  the  better  class  of  rural  houses 
show  the  changing  tendencies.  The 
prosperous  period  of  art  lasts  from  the 
XIII  to  the  XV  century.  The  time  of 
Karel  IV  (1333-1378),  in  particular,  is 
the  "  golden  age  "  of  art  in  all  branches, 
in  what  then  represented  the  Czech 
countries. 

The  XV  century,  however,  brings  a 
serious  reversion.  It  is  the  time  of  the 
stern  spirit  of  early  Reformation,  and 
engenders  the  terrible  Hussite  wars 
(141 9-1436)  which  are  attended  with 
vast  destruction.  Many  of  the  castles 
are  ruined,  churches  burned,  much  in 
all  forms  of  art  destroyed,  and  but  little 
constructed. 

The  main  work  for  many  decades 
after  the  Hussite  wars  is  that  of 
repairs.  With  the  gradual  advent  of 
more  peaceful  times  Art,  however, 
reasserts  itself,  and  that  with  the  so- 
called  Vladislavian  or  late  Gothic,  and 
then  with  the  Renaissance  (15 10  on- 
ward) ;  and  also  in  illumination.  But 
the  nation  never  fully  recovers.  It  is 
beset  with  increasing  internal  as  well  as 


ART  AND  ARCHAEOLOGY 


external  difficulties  of  religious  and 
political  nature,  which  forcibly  pre- 
occupy the  minds  and  which  eventually, 
in  1620,  culminate  in  the  abrogation  of 
Bohemia's  independence,  in  the  scourge 
of  the  Thirty  Years'  War,  the  exile  of 
nearly  thirty  thousand  of  the  best 
Czech  families,  the  systematic  destruc- 
tion under  Jesuit- Austrian  guidance  of 
the  literature  of  the  "rebel,"  "heretic" 
people,  with  a  vast  loss  of  life  and  ma- 
terial ruination. 

It  is  long  after  the  Thirty  Years'  War 
that  Art  in  the  Czechoslovak  countries 
really  begins  again  to  prosper,  and  little 
wonder  that  once  more  it  is  the  subject 
at  first  of  considerable  outside  assist- 
ance, favored  by  the  enriched  enemies 
whom  indebted  Austria  has  rewarded  at 
Bohemia's  expense.  Only  slowly  do  the 
innate  qualities  of  the  people  begin  again 
to  reassert  themselves.  Some  of  the 
damage  is  repaired  and  some  new  work 
furthered.  The  baroque  and  rococo, 
introduced  by  the  now  dominant  Cath- 
olic church,  are  adopted,  and  are  greatly 
modified  into  more  pleasing  forms 
which  gain  a  wide  dispersion.  History, 
literature,  poetry,  painting,  especially 
painting  al  fresco,  and  sculptuie  begin 
again  to  be  cultivated.  But  on  the 
whole,  the  nation  is  recuperating,  and 
preparing  for  its  future  cultural  as  well 
as  political  liberation. 

The  Revival  or  jSIodern  art  period  is 
delayed  until  the  XIX  centur>^  When 
it  finally  comes,  it  is  characterized  in 
Bohemia  as  everywhere  by  a  variety 
and  mixture  of  styles,  with  adaptation 
to  modern  requirements  and  resources. 
Painting,  which  hitherto  has  been 
almost  wholly  church,  portrait  cr 
decorative  and  ilknninative  painting, 
extends  now  predominantly  into  the 
natural  and  humane  spheres,  to  cul- 
minate in  the  beautiful  wall  paintings 
of  Zenisek  and  Ales  in  the  National 


Theatre,  the  ^sceneries  of  Mafak,  the 
portraits  of  Svabinsky,  the  exquisite 
sketches  of  Marod,  and  the  great 
historic  tableaux  of  Brozik  and  Mucha. 
The  old  "Fraternity  of  Painters," 
established  in  1348,  is  succeeded  (1796) 
by  the  "Association  of  Friends  of  Art," 
which  exists  to  this  day.  Art  work  in 
metals  and  carving  rejuvenates,  only 
however  almost  to  yield  later  to  modern 
machinery.  Sculpture  assumes  a 
healthy,  virile  progress,  and  has  reached 
already  some  striking  composites,  such 
as  Palacky's,  St.  Vaclav's  and  the  Jan 
Hus  monuments  in  Prague. 

Aroused  by  Manes  the  national 
spirit  finds  increasing  favor  and  for  a 
time  it  seems  as  if  at  last  it  would  be 
permitted  to  develop  fully — when  at  the 
very  end  of  the  century  it  is  temporarily 
no  doubt,  but  seriously  blighted  once 
more  by  the  "official,"  made-to-order, 
art  "regulations"  of  Austria.  Austria, 
increasingly  jealous  of  its  provinces, 
and  controlling  absolutely  all  art  as  well 
as  other  instruction,  abuses  its  position 
for  the  introduction  of  regulations 
which  do  away  on  the  part  of  the  Czech 
art  scholars  with  national  originality  or 
tendency,  replacing  it  forcibly  by  a 
banal,  cold  art  of  the  Austrian  "em- 
pire." This  results  in  a  progeny  of 
"ex-nationalists"  whose  art  is  out  of 
sympathy  wich  the  warm  national  Slav 
tendencies.  Only  the  masters  have 
escaped,  but  their  whole  example  and 
influence,  as  well  as  time,  will  be  re- 
quired for  undoing  the  harm  done. 
Austria  has  left  to  Czechoslovakia 
many  a  burden  of  malheritage,  of  which 
that  in  Art  is  not  the  least. 

Notwithstanding  all,  to-day  Art  in 
every  branch,  in  the  purely  aesthetic  as 
well  as  in  the  applied  and  the  industrial 
arts,  is  once  more  fully  alive  in  Czecho- 
slovakia, and  as  in  the  past  so  now,  it  is 
willingly  or  unwillingly  modifying  the 


[182] 


ART  AND  ARCHAEOLOGY 


foreign,  the  weak  "  internationalistic  " 
and  the  abnormal  "  hypermodern  "  ten- 
dencies, in  accordance  with  the  inherent 
poetic,  sensitive  individuahsm  of  the 
people.  If  times  are  propitious,  a  rapid 
and  fruitful  development  in  all  lines 


Example  of  native  ceramics — the  plate  on  right 
from  1770.  In  front,  a  dishful  of  "kraslice" 
— Easter  eggs   decorated   by  country  girls. 


may  confidently  be  predicted,  and  it  will 
not  be  long  before,  in  painting  and 
sculpture  particularly,  the  Czecho- 
slovak artists  may  give  to  the  art  world 
new  classics,  radiating  the  pure  spirit 
of  the  nation's  individuality. 

Czechoslovakia  is  rich  in  art  instruc- 
tion, and  rich  in  museums  devoted  ex- 
clusively or  partly  to  Art.  It  is  a 
country  of  museums,  for  there  are  over 
350  of  these  scattered  over  the  larger 
and  smaller  cities,  and  established 
mainly  for  the  preservation  of  local  folk 
art  and  artistic  antiquities.  At  the 
head  of  these  stand  the  Modern  Art 


National  and  Ethnographic  Museums 
in  Prague,  and  the  vState  Museum  of 
Moravia  in  Brno.  As  to  art  schools, 
Prague  has  the  Academy  of  Arts,  the 
Schools  of  Architecture  and  Industiial 
Arts,  the  Conservatorium  of  Music, 
and  a  vSchool  for  Organ  Music;  in 
addition  to  which  there  are  the  Govern- 
ment School  for  Sculpture,  the  Govern- 
ment School  for  Ceramics,  a  Govern- 
ment School  for  Arts  in  Metal,  a  School 
for  Art  Industries  in  Bronze,  etc.,  and 
additional  ceramic  schools  also  in  other 
large  cities.  Besides  which  Czecho- 
slovak students  are  to  be  found  in  all  the 
most  renowned  art  schools  in  Europe. 

America  itself  is  not  wholly  a  stranger 
to  Czechoslovak  art,  even  if  we  omit 
music.  There  are  several  of  Brozik's 
pictures  in  this  country ;  there  are  now 
being  exhibited  here  a  series  of  those  of 


A  painted  linen  chest  from  a  village  in  Moravia. 


Mucha ;  and  there  exist  here  already  a 
number  of  noted  young  native-born  or 
Gallery  with  the  older  Art  Gallery  naturalized  painters  and  sculptors  of 
"Rudolfinum,"  in  Prague,  the  Art  In-     Czechoslovak  derivation. 

dustrial  Museum  in  the  same  citV,   the  U.  S.  National  Museum,  Smilhsonian  Institulion. 


[183] 


>.ORTHERN'    I:i.o\-.\kia:  a  villagt;  house  with  decorated  gable. 


FOLK  ART 
By  Professor  Karel  Chotek, 

In  charge  of  the  Ethnographic   Museum,  Prague. 


pOLK  ART,  it  is  now  generally  re- 
cognized, deserves  a  much  greater 
attention  by  artists  and  art  students 
than  it  has  been  receiving,  for  as  far  as 
it  goes  it  is  a  faithful  index  of  the  men- 
tal qualities  and  endowments  of  the 
respective  peoples. 

Folk  art  of  Czechoslovakia,  though 
as  yet  but  little  known  outside  of  its 
boundaries,  is  of  the  richest  and  most 
interesting  in  the  whole  of  Europe ;  and 
it  is  interesting  not  only  from  the 
standpoint  of  antiquity  and  local  dif- 
ferentiations, but  also  from  that  of  the 
results  of  various  influences  which,  in 
the  course  of  time,  have  affected  its 
evolutions. 

These  influences  relate,  in  the  first 
place,  to  the  nature  of  the  habitat  of 
the  Czech  population.  Their  territory 
is  long  and  narrow.  From  its  western- 
most portion,  Bohemia,  which  forms 
the  heart  of  Europe,  it  stretches  far 
eastward  along  the  southern  slopes  of 
the  Carpathians.  In  western  parts 
the  people  were  surrounded  by  other 
neighbors  than  the  eastern,  and  the 
cultural  differences  of  these  neighbors 
were  of  a  radically  different  nature. 
Bohemia  and  Moravia,  since  the  be- 
ginning of  their  history,  were  in  con- 
stant contact  and  struggle  with  the 
Germanic  tribes,  while  eastern  Czecho- 
slovakia, the  home  of  the  Slovaks,  had 
for  its  neighbors  the  Carpathian  Slavs, 
the  Rumanians  and  the  Magyars — 
groups  of  different  culture  from  that  of 
the  Germans.  Even  the  natural  en- 
vironment of  the  two  main  parts  of 
the  territory  is  not  the  same.  The 
western  portion  is  represented  by  two 
well-defined  basins — the  Bohemian  and 
the  Moravian — while  the  eastern  por- 

[1851 


tion,  bounded  by  mountains  on  the 
north  and  facing  openly  towards  the 
south,  is  marked  by  a  series  of  cross 
valleys  which  divide  it  naturally  into 
a  series  of  small  districts. 

In  addition  the  internal  political 
conditions  of  the  two  main  portions  of 
the  territory  differed  for  many  centu- 
ries. While  Bohemia  and  Moravia  con- 
stituted, up  to  the  XVII  century,  a 
kingdom  of  their  own  whose  history 
was  deeply  interwoven  with  that  of 
Europe  in  general,  the  land  of  the 
Slovaks  succumbed  in  the  X  century 
to  the  Magyars  and  constituted  since, 
until  the  termination  of  the  World  War, 
a  part  of  Hungary. 

It  may  well  be  expected  that  dif- 
ferences of  such  a  weighty  nature  could 
not  but  have  had  an  important  bearing 
on  the  life  of  the  two  portions  of  the 
Czechoslovak  people  and  their  culture ; 
and  it  is  interesting  to  observe  how  the 
originally  homogeneous  tribes  reacted 
to  these  agencies. 

The  western  portion  of  the  nation, 
the  Czechs,  subjected  since  the  earliest 
time  to  all  the  cultural  influence  of 
western  Europe,  has  come  to  reflect 
these  in  its  folk  as  well  as  professional 
arts.  Thus,  it  is  possible  for  us  to  see 
in  the  Czech  folk  art  now  the  spiiit  of 
Renaissance,  now  that  of  Baroque, 
Rococo,  Empire,  etc.  This,  however, 
does  not  mean  a  mere  thoughtless  imi- 
tation. On  the  contrary,  the  new  styles 
were  absorbed  and  made  to  subserve 
the  native  needs  and  tendencies.  They 
assisted  without  changing  the  native 
artist. 

In  the  more  eastern  parts  of  Czecho- 
slovakia on  the  other  harrd,  where  the 
intense  political  and  cultural  currents 


Bohemia:  A  frame  house  in  a  village,  showing  influence  of  the  baroque  style. 


Bohemia:  A  strongly  built  large  mIUik"--  'l»t 


Carved  chairs,   from   rural  Bohemia  and   Moravia. 


were  felt  much  less,  the  folk  ait  re- 
mained in  a  large  part  faithful  to  its 
old  Slav  traditions;  and  its  neighbors, 
Slav,  or  with  a  considerable  Slav  blood 
in  their  composition,  tend  in  the  main 
only  to  sustain  it  in  these  lines.  That 
there  is  no  intellectual  passiveness  or 
inferiority  is  best  seen  from  the  fact 
that  these  regions  gave  Czechoslovakia 
already  a  whole  line  of  noted  writers 
and  artists. 

The  differences,  of  course,  are  no- 
where sudden,  but  show  gradual  transi- 
tions. Even  in  a  detailed  study  of  the 
various  units  of  native  art,  it  is  impos- 
sible to  find  any  definite  boundaries. 
The  central  portion  of  the  territory, 
comprising  a  large  part  of  Moravia, 
forms  a  broad  transitional  belt  between 
the  west  and  east.  Its  folk  art  shows 
many  archaic  motives,  and  many  con- 
nections with  the  more  eastern  regions, 
but  it  also  shows  many  reminders  of  the 
historic  and  western  styles,  especially 
the  renaissance  and  baroque.  The 
ethnic  unity  of  the  Czechoslovak  people 
is,  however,  still  indicated  everywhere 
by  the  sameness  of  fundamentals,  which 
increase  in  numbers  and  clearness  as 
we  proceed  backward. 


Before  the  separate  lines  of  the 
Czechoslovak  folk  art  are  approached, 
it  may  be  well  to  say  a  few  words  as  to 
regional  distribution.  This,  fortunately, 
is  still  possible,  though  many  of  the 
western  parts  of  the  country  are  already 
quite  modernized.  It  is  possible, 
through  the  fact  that  every  larger,  and 
many  even  of  the  smaller  towns  in 
Czechoslovakia,  has  its  own  museum  in 
which  folk  art  finds  the  foremost  repre- 
sentation; in  addition  to  which,  there 
are  a  number  of  important  private 
collections.  This  permits  us  to  recog- 
nize that  in  Bohemia  there  existed 
about  five  distinct  territories  of  folk 
art.  They  were  that  of  the  centre, 
not  only  the  most  fertile  part  of 
Bohemia  but  also  the  district  con- 
taining the  capital;  and  the  northern, 
western,  southern  and  eastern  regions. 
To  the  western  district  we  may  add  the 
southwest,  in  and  near  the  Bohemian 
Potest,  the  only  place  in  Bohemia  where 
the  native  dress  still  fully  survives  and 
is  worn  as  a  sign  of  national  and  local 
pride.  This  is  the  territory  of  the  tribe 
of  Chods,  the  age-long  defenders  and 
guardians  of  the  important  Sumava 
passes  against  German  invaders. 

[188] 


ART  AND  ARCHAEOLOGY 


In  Moravia,  the  distribution  of  the 
main  varieties  of  folk  art  follows  the 
old  tribal  boundaries  which  are  better 
preserved  than  in  Bohemia.  As  in 
Bohemia,  there  may  also  here  be  dis- 
tinguished four  or  five  folk  art  regions. 

As  to  Slovakia,  which  comprises  the 
eastern  lands,  there  is  no  tribal  dif- 
ferentiation, but  a  series  of  geographi- 
cal cultural  districts.  In  fact,  each 
valley  here  constitutes  a  native  cul- 
tural district  of  its  own.  They  all, 
however,  may  be  grouped  into  four 
large  areas:  the  northern,  or  Carpa- 
thian; the  western,  extending  into 
Moravia ;  the  central  and  southern ;  and 
the  easternmost,  which  already  shows 
a  considerable  Russian  influence.  How- 
ever, the  creative  spirit  of  the  people 
is  such  that  hardly  two  villages  in  the 
better  preserved  regions  show  art  of 
exactly  the  same  nature. 

And  new  as  to  a  few  details. 

The  student  of  Czechoslovak  folk 
art,  whether  a  stranger  or  a  native, 
can  not  but  soon  be  forcibly  impressed 
by  the  extraordinary  natural  art  en- 
dowments of  the  rural  people,  as  well 
as  by  their  originality.  They  receive 
nothing,  even  of  their  predecessors  or 
friends,  without  impressing  upon  it 
their  own  character  and  elaborating  it 
in  their  own  manner.  There  is  no  mere 
imitation,  but  always  more  or  less  crea- 
tion. Aloreover,  they  are  always  logical 
and  in  harmony  with  their  conditions 
and  environment.  In  studying  district 
after  district  and  locality  after  locality, 
it  will  be  seen  even  in  the  same  cultural 
territory,  that  definite  variations  stand 
in  direct  relation  with  the  material  con- 
dition of  the  people  and  with  their  en- 
vironment .  Thus,  in  the  richer  districts 
the  folk  art  will  be  not  only  more  profuse 
but  usually  also  richer  in  brighter 
tones;  while  in  the  poorer  districts  it 
is  less  abundant  as  well  as  more  sober. 

[189] 


A  painted  wardrobe  from  Northern  Bohemia; 
the  work  of  a  village  artisan. 

Another  striking  quality,  apparent 
everywhere,  is  good  taste.  It  is  safe  to 
say,  except  where  modern  industrial 
conditions  have  unfavorably  affected 
the  people,  we  shall  never  find  an  object 
lacking  in  taste.  The  student  will  often 
be  surprised  by  the  venturesomeness  in 
the  arrangements  of  the  native  dress, 
in  the  figures  of  the  ornamentation,  and 
especially  in  the  choice  of  colors;  but 
the  results  are  never  eccentric  or  vulgar. 
Even  in  the  choice  of  colors,  the 
innate  love  of  color  is  never  misused. 

In  addition,  one  becomes  conscious  of 
another  constant  phenomenon,  which  is 
the  absence  of  all  effort  at  cheap  effect. 
On  the  contrary,  there  are  found  in  the 
older  pieces,  and  in  the  always  deeper 
and  more  serious  work  of  the  mountain 
people,  decorations  so  fine  and  thorough 
that  they  cannot  be  viewed  but  in  ad- 


ART  AND  ARCHAEOLOGY 


miration.  An  aversion  to  superficiality 
and  looseness,  together  with  a  sort  of 
artistic  modesty,  are  traits  met  all  over. 
In  connection  with  the  above  stands 
frequently  a  high  technical  skill  in  the 
execution  of  the  various  decorations. 
This  is  shown  especially  in  the  laces  and 
embroideries.  In  both  of  these  lines 
the  Czechoslovak  folk  art  offers  not 
only  all  the  known  variations,  but  also 
some  that  are  not  known  elsewhere  in 
Europe.  Occasionally,  the  skill  rises 
to  the  degree  of  virtuosity,  and  we  see 
plainly  that  the  woman  has  intention- 
ally chosen  the  most  difficult  work  just 
to  pride  herself  with  her  cleverness. 
An  example  or  two  will  suffice.  In  the 
western  parts  of  Bohemia  it  is  the  fash- 
ion to  embroider  with  silk  of  one  color ; 
but  the  worker  again  and  again  will 
endeavor  to  pile  the  stitches  so  as  to 
give  the  figures  a  beautiful  plastic  or  re- 
lief effect.  Another  exquisite  but  labo- 
rious process  is  the  so-called  "knot" 
(allied  to  "French  knot")  embroidery, 
by  which  the  surface  of  the  cloth  is 
covered  with  fine  knotted  stitches 
slightly  different  in  color  from  the 
base  fabric,  leaving  among  them  lines 
which  constitute  a  fine  and  complicated 
pattern.  In  such  embroideries,  the 
beauty  of  the  ornamentation  and  the 
difficulties  that  have  to  be  overcome 
can  often  be  appreciated  only  by  a 
detailed  inspection.  In  the  eastern 
parts  of  Czechoslovakia  the  women 
excel  in  native  forms  of  the  so-called 
au  jour  embroidery,  producing  pieces 
up  to  three  yards  in  length  by  one-half 
broad  with  rich  figures.  As  an  acme 
of  technique,  it  may  be  mentioned 
that  in  some  distiicts  even  the  very 
finest  patterns  are  embroidered  from 
the  obverse.  And  it  is  necessary 
to  add  that  all  this  is  done  by  women 
of  the  people  who  are  not  formally  in- 
structed in  these  arts  and  who  in  Slo- 


vakia, at  least,  often  grow  up  without 
the  influence  of  even  common  schooling ; 
and  that  their  artistic  work  has  often  to 
be  done  in  the  sparse  whiles  of  freedom 
from  hard  farm  and  household  work. 

We  may  now  approach  some  of  the 
special  applications  of  the  Czecho- 
slovak folk  art.  In  the  first  place 
should  be  named  the  dwelling.  The 
fundamental  type  of  dwelling  is  the 
type  of  central  Europe  in  general.  For 
the  most  part,  the  house  is  of  but  one 
story,  and  subdivided  into  three  rooms 
besides  the  antechamber — the  kitchen, 
the  living  room  and  the  store  room. 
In  richer  districts  and  with  better  social 
conditions  of  the  owners,  the  living 
rooms  may  be  more  numerous,  and  the 
house  may  rise  to  another  story  above 
the  ground  floor.  The  building  material 
is  both  wood  and  stone.  In  the  richer 
districts,  the  house,  as  a  rule,  is  of  stone ; 
in  the  mountain  districts  it  is  almost  in- 
variably of  wood.  The  details  show 
many  characteristic  features.  The 
country  builder  worked  essentially  in 
the  spirit  of  native  culture,  and  his 
motives  for  detail  and  ornamentation 
were  generally  taken  from  the  native  art. 

In  the  line  of  rural  stone  houses  the 
most  interesting  are  those  of  the  central 
district  of  Bohemia.  The  palatial 
architecture  of  Prague  did  not  remain 
without  a  considerable  influence  on  the 
country  styles,  and  it  is  exceedingly 
interesting  to  note  how  the  rural  builder 
was  often  able  ingeniously  to  adapt  or 
incorporate  the  styles  he  saw  in  the 
palaces  and  mansions  of  the  capital  to 
the  country  constructions  on  which  he 
was  engaged.  As  a  result  there  may  be 
found  in  the  central  districts  of  Bohe- 
mia, and  even  beyond,  a  whole  series  of 
handsome  houses  reflecting  the  Re- 
naissance, baroque,  rococo  or  Empire 
styles.  In  Moravia  and  Bohemia  the 
influence   of   these   western   European 

[190] 


upper:  A  man  from  southern  Slovakia  on  a  holiday. 

Lower:  Type  of  a  young  country  woman  in  ordinary 
dress,  Bohemia. 


Upper:  A  woodsman  of  the  Carpathians  on  Sunday. 
The  broad  heavy  leather  belt  serves  as  a  protection. 

Lower:  A  young  Moravian  woman  on  Sunday. 


X 


ART  AND  ARCHAEOLOGY 


A  Slovak  woman  in  her  finery,  from  the  vicinity 
of  Bratislava  (Pressburg). 

styles  is  much  less;  and  the  stone  house, 
in  consequence,  is  in  general  much 
simpler.  But  the  simplicity  of  the 
architecture  in  these  territories  is  often 
compensated  for  by  the  external  as 
well  as  internal  painted  ornamentation. 
There  may  be  noted  a  universal  en- 
deavor to  beautify   the   simple   walls, 


Kmbroideries  from  western  Slovakia. 

especially  about  the  doors  and  windows. 
All  this  painted  ornamentation  is  the 
work  of  the  ordinary  countrywoman, 
who  imitates  her  friends  and  creates 
here  as  she  does  in  her  embroideries; 
and  it  is  very  interesting  to  note  how  in 


Man's  shirt  richly  embroidered  with  yellow  silk, 
western  Slovakia. 


fl94] 


ART  AND  ARCHAEOLOGY 


some  cases  the  fine  patterns  of  embroid- 
ery may  be  adapted  or  applied  to  the 
room   and   the   dwelhng. 

The  wooden  houses  are  even  more 
interesting  than  those  of  stone.  They 
are  by  no  means  Hmited  to  the  small 
simple  mountain  dwelling,  but  the  type 
may  be  found  occasionally  even  in  the 
multiple  structures  of  large  estates. 
Such  a  cluster  of  dwellings,  with  per- 
haps a  two-story  main  house,  reminds 
one  somewhat  of  the  ancient  wooden 
fortresses.  This  variety  of  archi- 
tecture, which  today  is  rapidly  giving 
way  to  more  modern  conditions,  carries 
much  more  than  the  stone  house  the 
imprint  of  the  native  spirit.  Except 
among  the  very  poor,  the  wooden 
dwelling  is  highly  decorated.  It  is 
picturesque,  partly  on  account  of  its 
general  plan  and  its  main  details,  but 
also  because  it  usually  shows  parts 
where  the  village  artisan  endeavored 
especially  to  show  his  taste  and  in- 
genuity. This  is  particularly  so  in  the 
gables  where,  by  an  artistic  combina- 
tion of  painted  and  carved  laths,  there 
are  produced  nice  geometrical  figures. 
On  the  gables,  also,  are  found  various 
ornamental  inscriptions,  usually  ex- 
pressing the  seriousness  and  deep  piety 
of  the  people.  Furthermore,  there  are 
various  porches  of  more  or  less  carved 
wood,  frequently  decorated  also  in 
colors,  and  supported  by  nicely  modeled 
posts.  The  doors  and  the  windows 
are  also  often  surrounded  by  carvings 
or  paintings.  It  is  interesting  to  note 
that  this  frame  architecture,  which  in 
these  countries  is  much  older  than 
architecture  in  stone,  shews  many 
similarities  and  identities  from  one  end 
of  the  Czechoslovak  territories  to  the 
other,  pointing  to  the  original  identity 
of  the  people. 

A  special  chapter  might  be  devoted 
in  this  place  to  the  old  wooden  churches. 

[195] 


They  are  scattered  all  over  the  Czecho- 
slovak territory.  In  Bohemia  they 
reflect  mostly  the  various  styles  that 
changed  Bohemian  architecture  in  gen- 
eral; but  in  vSlovakia  they  show  onh' 
the  earliest  Byzantine  influence.  There 
may,  also,  be  included  in  this  category 
some  of  the  small  wooden  castles. 
Modern  architecture  in  Czechoslovakia 
appreciates  highly  the  native  art,  and  is 
utilizing  its  motiveson  many  occasions. 

If  the  building  of  the  houses  received 
so  much  care,  it  is  natural  that  it  was 
even  more  so  with  the  finishing  of  the 
interior.  The  ornamentation  of  the 
interiors  consists  especially  of  painting. 
This  is  again  all  done  by  the  women ; 
the  vSlovak  women,  in  particular,  deco- 
rate whole  sections  of  the  interior  with 
bright  ornaments.  These  ornaments 
are  always  tasteful,  not  loud,  and  in- 
crease greatly  the  coziness  of  the  dwell- 
ing. They  are  painted  freehand,  with- 
out any  preliminary  pattern.  And 
these  interiors  are  harmoniously  fur- 
nished with  more  or  less  carved,  painted 
or  inlaid  furniture.  In  the  west,  and 
among  the  well-to-do,  the  furnituie  is 
essentially  of  hardwood  with  a  rich 
inlay  or  rich  decoration  in  paint.  The 
more  usual  native  furniture  is  generally 
brightly  colored  and  decorated  with 
figures.  In  the  east,  the  painted  fur- 
niture is  usually  more  simple. 

To  supplement  the  house  decoration, 
some  of  the  young  women  add,  on 
holidays  when  weather  conditions  are 
propitious,  a  form  of  sand  painting  in 
front  of  the  dwelling.  Tasteful  scrolls 
or  figures  are  laid  out  in  different  col- 
ored sands  and  the  colors  are  freshened 
by  water. 

As  is  natural,  however,  the  greatest 
variety  and  ingenuity  of  nativ^e  art 
is  manifested  in  the  dress.  The  various 
fabrics  and  articles  of  dress  give  not 
only  ample  opportunity  for  decoration, 


Southern  Bohemia:  Embroidered  head  kerchief. 


but  also  they  are  made  at  home  by  each 
individual  owner  and  afford  the  great- 
est field  for  individual  variation. 

The  dress  offers  for  consideration,  on 
the  one  hand,  the  general  composi- 
tion or  style,  and  on  the  other  the  spe- 
cial ornamentation  of  its  parts,  par- 
ticularly in  embroideries  and  laces. 
In  both,  there  may  be  noted  in  Czecho- 
slovakia regional  differences  of  which 
we  have  already  spoken.  In  the  cen- 
tral parts  of  Bohemia,  the  dress  of  the 
country  people  has  already  approached, 
very  considerably,  that  of  the  city  peo- 
ple which  is  cosmopolitan;  but  even 
here  we  see  that  the  countryman,  and 
particularly  the  countrywoman,  are 
not  satisfied  with  a  mere  adaptation, 
but  that  they  modify  the  city  dress  in 
many  interesting  details,  which  on  the 
one  hand  serve  practical  purposes  and 
on  the  other  demonstrate  the  innate 
artisljic  taste  of  the  people.     The  fur- 


ther we  go  from  the  capital  and  the 
other  large  cities,  the  weaker  the  mod- 
em influence  becomes,  and  the  more 
frequently  we  may  note  the  presence 
of  the  native  elements,  which  in  general 
show  a  fundamental  similarity  with 
those  of  the  largely  rural  and  least 
affected  eastern  parts  of  Bohemia.  As 
we  proceed  into  Moravia  and  then  into 
Slovakia,  the  variety  of  native  dress  and 
native  art  in  dresses  increases,  to 
reach  a  climax  in  the  more  eastern  parts 
of  Slovakia,  where  every  little  valley 
has  its  own  style,  every  village  its  own 
taste  in  dress.  There  are  even  instances 
where  the  Catholics  and  the  Protestants 
living  in  the  same  village  have  each  a 
native  style  of  dress  of  their  own. 

The  main  decorative  elements  of  the 
dress  are  the  embroideries  and  the  laces. 
Bohemian  embroideries  are  in  the 
main  white  and  marked  by  fine  tech- 
nique.    If  the  patterns  or  figures  are 

[196] 


ART  AND  ARCHAEOLOGY 


Embroidered  winter  coat,  western  Slovakia. 

colored,  as  they  are  exceptionally, 
they  are  as  a  rule  in  one  color.  Many- 
colored  embroideries  are  found  only 
along  the  outskirts  of  Bohemia,  par- 
ticularly in  the  north  and  in  the  south. 
The  products  of  both  of  these  regions 
show  much  similarity  with  the  multi- 
colored embroideries  of  Moravia. 
Richly  colored  embroideries,  however, 
are  found  in  Slovakia.  Here  the 
countrywomen  have  reached  sucn  per- 
fection in  geometric  as  well  as  curved 
line  ornamentation,  and  such  art  in  the 
selection  of  colors,  that  they  exceed  in 
these  points  anything  else  to  be  found 


in  Europe.  The  local  museums  pre- 
serve many  examples  of  dresses  showing 
how  the  choice  and  combination  of 
colors  has  intentionally  produced  a 
special  "tone"  to  the  attire.  Thus, 
there  are  dresses  for  a  cheerful  and 
dresses  for  a  sad  effect — just  as  we  have 
among  the  same  people  cheerful  and 
sad  folk  songs. 

Lace    is    common    throughout    the 
Czechoslovak  territory  and,  in  its  best 


An  example  of  native  Czechoslovak  ceramic. 


Native  ceramics  in  Slovakia. 

examples,  reaches  the  limits  of  techni- 
cal perfection.  This,  of  course,  does 
not  apply  to  the  commercial  lace- 
making  of  northern  Bohemia  which  is 
regulated  by  the  nature  of  demand. 
A  specialty  to  be  mentioned  are  the 
native  multi-colored  Slovak  laces. 

A  component  part  of  the  folk  art  of 
Czechoslovakia  is  also  the  native  deco- 


[197] 


VariouN  kitchen  utensils  nf  wood  ciecorated  with  carvings. 


rated  ceramic.  The  ornamental  plates 
and  pitchers  are  of  course  not  made  by 
the  people  at  large  but  by  native  potters 
in  the  small  towns;  their  ornamenta- 
tion, however,  is  that  of  the  people  in 
whose  territory  they  are  produced,  and 
the  better  pieces  form  a  part  of  the 
interior  decorations  of  the  dwellings. 

A  real  high-class  specialty  of  Czecho- 
slovak folk  art  is  that  of  the  so-called 
"kraslice"  ("beauties")  or  decorated 
Easter  eggs.  Every  country  girl  takes 
pride  in  decorating  her  own  Easter 
eggs,  which  are  to  be  used  as  valued 
gifts,  and  chooses  her  own  designs  and 
color.  A  variety  of  ingenious  methods 
is  used  for  the  decoration,  such  as  en- 
graving, etching,  painting,  etc.,  and 
many  of  the  best  class  products  are 
genuine   works  of   art. 

Finally,  mention  should  be  made  of 
the  flowers  which,  in  season,  decorate 
everywhere  the  windows,  and  which 
serve  for  both  the  satisfaction  and  in- 


spiration of  the  art  sense  of  these  folk 
to  whom  beauty  means  so  much. 

This  brief  survey  shows  that  folk  art 
in  Czechoslovakia  is,  in  general,  both 
highly  represented  and  highly  de- 
veloped. It  belongs  unquestionably 
among  the  most  important  similar 
manifestations  in  Europe.  Its  princi- 
ples, which  are  the  principles  of  Slav 
folk  art  in  general,  are  reflected  in  the 
art  of  the  neighboring  countries,  par- 
ticularly Hungary  and  Rumania,  the 
blood  of  both  of  which,  like  that  of 
Greece  in  the  south,  contains  important 
Slavic  additions.  It  differs  in  many  re- 
spects from  the  folk  art  of  the  non- 
Slavic  nations  in  Europe,  particularly 
that  of  the  Germans  and  other  more  or 
less  nordic  nations.  And  it  is  an  index, 
on  the  one  hand,  of  the  original  unity 
of  the  Czech  population,  and,  on  the 
other,  of  the  partial  effects  in  the  course 
of  centuries  of  differing  foreign  con- 
tacts and  introductions. 


Prague,  Bohemia. 


[198] 


ARCHITECTURE 


By  Dr.  Oldrich  Heidrich, 

Cultural   Attache,    Czechoslovak   Legation,    Washington. 


'THE  PAGAN  Czechoslovaks  built, 
*■  so  far  as  we  can  judge,  exclusively 
in  wood.  Even  fortifications  were  of 
piles  and  logs.  And  as  there  were  no 
pretentious  "temples,"  the  cult  of  the 
old  deities  being  essentially  a  cult  in  the 
open,  the  ancient  native  architecture 
must  have  been  restricted  to  the  dwell- 
ings. What  it  was,  and  that  it  was  by 
no  means  devoid  of  the  artistic  element, 
may  be  safely  judged  from  the  prevail- 
ing folk  constructions  of  historic  times, 
which  doubtless  perpetuate  many  of  the 
older  features. 

The  first  important  outside  archi- 
tectural impulse  that  reached  the 
Czechoslovak  territories,  was  that  of 
Byzantium.  It  came  with  the  Mace- 
donian apostles  who  Christianized  the 
nation  towards  the  end  of  the  IX  cen- 
tury ;  and  it  soon  manifested  itself  in  a 
series  of  moderate-sized  characteris- 
tic round  churches,  which  remained  a 
strict  specialty  of  Bohemia  and  Moravia 
not  extending  farther  westward.  The 
earlier  of  these  churches  were  still  frame 
structures,  but  the  usa  of  stone  was  not 
long  delayed.  Kosmas,  the  first  Bo- 
hemian historian,  some  of  whose  writ- 
ings have  been  preserved  to  our  times, 
notes  that  already  in  the  X  century  the 
Czechs  had  structures  of  stone,  and  that 
these  were  built  in  the  Roman  style 
(opere  romano).  This  doubtless  refers 
to  the  gradual  extension  into  Bohemia, 
in  the  wake  of  the  purely  Byzantine,  of 
the  more  western  Roman  influences, 
which  may  be  well  observed  on  the 
regrettably  only  too  scant  architectural 
remains  from  these  periods.  These 
influences  came  in  all  likelihood  with 
the  first  Roman  monks,  whom  the 
bishop,  St.   Vojtech,   toward    the   end 

[199] 


of  the  X  century,  brought  to  the 
first  Benedictine  Monastery,  located 
near  Prague;  and  they  were  doubtless 
strengthened  through  the  voyages  which 
the  Czechoslovak  Abbots  carried  out 
from  time  to  time  for  the  purpose  of 
keeping  up  direct  relations  with  their 
Orders  in  France  and  Italy.  The 
church,  and  particularly  the  monaster- 
ies and  convents  in  Bohemia,  as  else- 
where, must  receive  due  credit  for  both 
the  introduction  as  well  as  the  fostering 
of  art  in  many  branches,  even  though 
it  was  essentially  church  art  in  the 
beginning. 

As  the  Roman  influence  advanced, 
the  originally  simple  rotund  church 
became  enlarged  by  a  semi-circular  apse. 
The  most  typical  and  interesting  ex- 
amples of  this  wider-spread  style  re- 
maining in  Czechoslovakia,  are  the 
Chapel  of  the  Holy  Cross  in  Prague; 
the  Chapel  of  St.  Martin  on  Vyse- 
hrad — the  myth-clad  fortress,  religious 
centre  and  abode  of  the  earliest  Czech 
rulers;  and  the  little  church  of  St. 
George  on  the  hill  Rip,  standing  on  the 
old  site  where,  tradition  tells  us,  once 
stood  with  his  people  the  patriarch 
Cech,  who  was  leading  his  tribe  "  across 
three  rivers"  into  the  Bohemian  terri- 
tory, which  from  the  Rip  appeared  all 
that  could  be  desired. 

In  course  of  time,  the  Byzantine- 
Czech,  later  Roman-Byzantine-Czech 
rotunds,  became  supplemented  by  basil- 
icas with  a  single  nave  or  a  nave  with 
two  aisles,  and  of  a  larger  size.  The 
noblest  reminder  of  this  style  is  the 
Church  of  St.  George  in  Prague, 
founded  in  12 15  and  reconstructed,  in 
the  style  of  a  Roman  basilica,  in  the 
middle  of  the  XIII  century. 


ART  AND  ARCHAEOLOGY 


The  Roman  architectural  style  in 
general  reaches  its  highest  development 
in  Bohemia  during  the  XI  and  XII 
centuries,  and  is  especially  favored  and 
furthered  by  Vladislav  I,  the  first  Czech 
ruler  with  the  title  of  King. 

Towards  the  end  of  the  XII  century, 
architectural  construction  begins  to 
change  in  style.  The  simple  harmoni- 
ous lines  are  affected  by  the  approach- 
ing "old"  Gothicextending  into  Bohemia 
from  western  Europe.  The  pointed 
arch  appears — a  form  destined  to  have  a 
powerful  influence  on  further  Bohemian 
architecture.  The  transitional  period 
to  a  pure  Gothic  lasts  from  the  end  of 
the  XII  to  about  the  middle  of  the 
XIII  centuries;  after  that  reigns  the 
age  of  the  Gothic. 

More  or  less  artistic  architecture  by 
this  time  has  extended  to  public  struc- 
tures, as  well  as  to  the  richer  dwellings; 
but  its  main  representatives  are  still 
the  churches.  These  now  become  char- 
acterized by  inspiring  high  towers, 
by  rich  ornamentation,  and  by  beauti- 
ful, daringly  vaulted  roofs,  characteriz- 
ing so  faithfully  the  contemporaneous 
powerful  wave  of  religion  feeling.  In 
Bohemia,  the  Gothic  blossoms  out 
especially  during  the  reign  of  Karel  IV, 
culturally  the  most  active  of  the  Bo- 
hemian kings,  and  the  one  who  to  this 
day  is  lovingly  remembered  by  his 
people.  Karel  was  educated  largely  in 
France;  he  there  became  deeply  en- 
thused by  the  monumental,  elevating, 
pure  art  of  the  Gothic  cathedrals,  and 
his  endeavor  when  he  became  King  of 
Bohemia,  was  to  give  his  country  works 
of  the  same  nature. 

Due  largely  to  his  fortunate,  peaceful 
and  long  reign,  Karel's  intentions  were 
realized  in  an  abundant  measure.  In 
1344,  he  laid  the  foundation  of  the  cele- 
brated St.  \'itus  Cathedral  of  Prague, 
which,  built  on  a  high  elevation  and 

[201] 


offering  from  all  directions  a  view  of 
beauty,  remains  to  this  day  the  foremost 
ornament,  and  almost  a  symbol  of  the 
capital  city.  The  construction  of  the 
cathedral  was  entrusted  at  first  to  a 
Frenchman,  Mathias  of  Arras,  and  after 
his  death  to  Petr  Parlef  and  then  to  his 
son,  Jan  Parlef,  of  Prague. 

The  establishment  in  Prague  during 
Karel's  reign  of  a  native  archbishopric 
checked  in  a  ver^^  large  measure  a 
threatened  German  influence  in  church 
architecture.  The  people  even  then 
were  very  suspicious  of  any  such  influ- 
ence, feeling  well  that  it  was  liable  to  be 
only  the  forerunner  of  foreign  meddling 
in  politics  and  national  life  in  general. 

Petr  Parlef  built  also  the  church 
"Karlov"  in  Prague,  whose  great  cupola 
is  arched  so  daringly  and  ingeniously 
that  it  remains  to  this  day  an  object  of 
admiration.  In  the  XIV  century,  when 
built,  the  vault  seemed  so  wonderful 
that  before  long  the  church  became 
woven  about  with  superstition.  It  is 
told  to  this  day  that  the  builder  suc- 
ceeded only  by  the  aid  of  the  infernal 
powers ;  and  it  is  further  said  that  even 
he  himself  finally  lost  faith  in  his  suc- 
cess, and  at  the  termination,  after  hav- 
ing fired  the  scaffolding  and  hearing 
from  a  distance  its  crash,  took  this  for 
the  crash  of  the  dome  itself  and  com- 
mitted suicide  in  desperation. 

At  the  bidding  of  Karel  IV  there  was 
also  built  the  castle  "Karliiv  Tyn," 
which  an  eminent  professor  of  Art 
History  characterizes  as  "a  monu- 
mental construction  in  every'  respect, 
impregnable  in  its  time  and  indestruc- 
tible." The  castle  became  the  de- 
pository of  art,  of  religious  relics,  of  the 
most  important  state  documents,  and 
of  the  crown  jewels.  It  stands  well 
cared  for  to  this  day  as  one  of  the  pearls 
of  architecture  and  decorative  art  of  the 
XIV  century. 


ART  AND  ARCHAEOLOGY 


Karel's  son,  Madislav  IV,  was  also  a 
friend  of  art  and  of  the  Gothic  style; 
but  his  reign  is  marked  rather  by  atten- 
tion to  luxurious  detail  in  art  than  by 
monumental  construction.  A  splendid 
example  of  this  tendency  may  be  seen  in 
the  gable  of  the  old  building  of  the 
University. 

The  Hussite  wars  of  the  XV  century 
paralyzed  architecture,  as  well  as  other 
arts,  and  were  attended  by  widespread 
destruction.  A  multitude  of  churches, 
monasteries,  convents  and  castles  fell 
prey  to  the  religious  effervescence  and 
warlike  operations.  Vandalism  was 
severely  punished,  but  a  religious  war  is 
a  poor  protector.  There  is  a  tradition 
that  the  incendiary  of  the  beautiful 
church  in  Sedlec  was  punished  by  the 
famous  Hussite  leader  Zizka,  by  having 
melted  metal  poured  into  his  throat. 

The  Gothic  blossoms  out  once  more 
in  its  latest  phases  during  the  reign  of 
Vladislav.  It  is  largely  limited  to  the 
repair  and  restoration  of  ruined 
churches,  but  in  details  produces 
valuable  and  original  innovations.  The 
best  examples  of  these  are  the  complex, 
richly-ribbed  vaulted  ceilings.  This 
period  produced  at  least  two  noted 
architects  whose  names  have  been  pre- 
served to  our  time,  namely  Benes  of 
Loun,  and  Alatyas  Rejsek. 

The  XVI  century  is  essentially  that 
of  the  advent  of  the  Renaissance.  In 
1534,  under  the  direction  of  the  Italian 
master  Terrabosco,  there  is  constructed 
the  wonderfully  beautiful  little  castle 
of  Queen  Anne,  indisputably  the  finest 
example  of  Renaissance  art  north  of  the 
Alps.  It  is  quite  impossible  in  a  few 
lines  to  describe  the  harmony,  and  the 
attractive  gentle  elegance  of  this  con- 
struction, which  fortunately  remains  to 
our  day  in  an  excellent  state  of  pres- 
ervation. 

[203] 


This  century,  as  a  whole,  may  be  said 
to  be  marked  by  the  influence  of  noted 
Italian  architects,  called  into  the 
country  by  the  Bohemian  nobility.  The 
Italian  masters  everywhere  worked, 
however,  hand-in-hand  with  those  of 
native  derivation,  and  after  a  more  or 
less  temporary  stay  left  architecture  in 
the  hands  of  the  latter.  Moreover, 
the  influence  of  the  native  builders 
resulted  in  such  modifications  of  the 
Italian  style,  that  we  are  justified  in 
some  instances,  at  least,  in  speaking  of 
the  Renaissance  of  Bohemia.  These 
conditions  persist  until  the  end  of  the 
century,  when  some  influences  from  the 
northwest  of  Europe  begin  to  manifest 
themselves. 

The  best  architectural  remains  of  the 
XVI  century  comprise  the  Schwarzen- 
berg's  castle  in  Prague;  the  castles  in 
Litomysl,  Opocno  and  Krumlov,  and 
the  city  halls  in  Plzefi  and  Prachatice. 
Another  remarkable  construction  repre- 
senting the  old  Gothic  is  the  Church  of 
St.  Barbara  in  Hora  Kutna,  erected  by 
the  proud  inhabitants  of  that  rich  city 
with  the  object  of  exceeding  in  both  size 
and  luxury  the  St.  Vitus  Cathedral  of 
Prague.  Still  other  monumental  struc- 
tures from  this  period  are  the  well- 
known  Most  Tower,  erected  for  the 
defence  of  the  Karel  Bridge;  and  the 
great  Vladislav  Hall  in  the  Prague 
Castle ,  which  used  to  serve  for  banquets 
and  even  for  knights'  combats.  This 
remarkable  hall  and  the  equally  re- 
markable T5'n  Church,  are  at  the  same 
time  the  two  structures  which  in  Bo- 
hemia show  the  first  traces  of  the 
coming  Renaissance,  which  reaches  Bo- 
hemia at  least  two  decades  earlier  than 
it  does  any  part  of  Germany. 

The  XVII  century  is  essentially  that 
of  the  Thirty  Years'  War,  with  its 
great  destruction  and  paralyzing  con- 
sequences.    Architecture    as    well    as 


ART  AND  ARCHAEOLOGY 


the  other  arts  were  naturally  among  the 
pursuits  that  suffered  most.  As  a 
result  there  are  but  few  noteworthy 
architectural  remains  from  this  period. 
The  brightest  is  the  castle  constructed 
in  Prague  during  the  war  for  Valdstyn 
(Waldstein),  the  famous  general.  The 
palace  encloses  an  admirable  loggia, 
which  is  as  if  transplanted  from  the 
very  heart  of  sunny  Italy. 

After  the  Thirty  Years'  War  and  its 
immediate  consequences,  architecture 
in  Bohemia  begins  again  to  revive,  this 
time  through  the  influence  of  the 
Jesuits — the  same  Jesuits  who  did  so 
much  for  the  destruction  of  Czech 
literature  and  art  during  the  war.  The 
role  of  the  Jesuits  in  the  Czechoslovak 
countries  was  to  recatholicize,  to  bring 
back  to  the  fold  of  Rome,  the  popula- 
tion. To  further  this  purpose  they  now 
began  to  build  new  showy  churches,  the 
form  and  riches  of  which  were  to  in- 
fluence the  mind  of  the  people  and 
create  due  respect  for  the  Catholic 
religion.  In  addition  the  estates  of  the 
executed  or  exiled  true  Czech  nobles  and 
rich  families,  were  during  and  at  the  end 
of  the  war  distributed  by  the  victorious 
Hapsburgs  to  foreign  adventurers  and 
Austrian  tools,  who,  finding  themselves 
with  valuable  possessions  were  now,  on 
the  ruins  of  the  old,  building  their  new 
mansions  and  castles.  Whatever  art 
was  manifested  in  these  movements  was 
outside  art,  generally  more  or  less 
mediocre  and  not  connected  with  the 
native  population.  The  latter,  crushed 
politically,  deprived  of  its  best  blood 
and  reduced  to  little  more  than  a 
remnant  in  numbers,  had  now  no  means 
or  inclination  for  artistic  pursuits  in  any 
direction. 

The  essential  contribution  of  the 
Jesuits  to  the  architecture  of  Bohemia 
was  the  introduction  by  them  of  the 
baroque,  which  in  the  course  of  time 


became  the  prevailing  style  in  the 
country,  and  was  eventually  so  de- 
veloped and  generalized  that  many  of 
its  remains  may  still  be  seen  in  the 
Bohemian  cities.  Of  the  most  notable 
is  the  St.  Nicholas  Church  in  Prague 
which,  with  its  picturesque  dome, 
characterizes  the  whole  part  of  the  city 
between  the  Vltava  (Moldau)  and  the 
Hradcany,  the  present  seat  of  the 
Parliament  and  Government  of  the 
Czechoslovak  Republic.  Another  in- 
teresting construction,  belonging  to 
this  class,  is  the  so-called  Russian 
Church  in  Prague;  while  a  similar 
structure,  but  a  real  jewel  of  archi- 
tectural art,  is  the  little  "Castle"  now 
known  under  the  name  of  "America." 
If  we  enter  some  of  the  crooked  streets 
of  Mala  Strana,  in  Prague,  we  are  in  a 
regular  museum  of  baroque  architec- 
ture ;  and  similarly  in  parts  of  some  of 
the  smaller  cities. 

Besides  the  baroque,  later  Prague 
reflects  also  some  of  the  cold  "empire." 
This  style  was  never  sympathetic  in 
Czechoslovakia,  and  it  remained  es- 
sentially an  "  official "  style  utilized  by 
the  Austrian  Government  for  its  own 
constructions,  which  fact  only  added  to 
its  unpopularity. 

The  introduction  of  the  empire  left 
certain  unfavorable  effects  which  are 
perceptible  to  this  day,  and  which  mani- 
fest themselves  in  monotony.  It  is 
really  a  subjection  of  art.  The  only 
objects  of  consideration  are  "practical 
purposes ' '  and  the  results  are  unattrac- 
tive. 

It  is  only  in  the  sixties  of  the  XIX 
century  that  a  real  turn  to  the  better 
may  be  noticed.  There  is,  in  a  way,  a 
revival  of  the  Renaissance.  This  is 
marked  first  on  public  structures.  They 
gradually  reach  their  acme  in  the 
National  Theatre  a  truly  national  insti- 
tution built  for  the  nation  and  by  the 

[204] 


ART  AND  ARCHAEOLOGY 


nation,  as  one  of  the  means  of  pre- 
serving the  Czech  language  and  culture 
and  of  combating  German  oppression. 
It  was  built  by  the  Czech  architect 
Zitek,  and  represents  one  of  the  finest 
modem  structures  in  all  Europe. 
Viewed  from  whatever  direction  it 
represents  a  pure,  ideal  art  which  pro- 
duces a  deep  impression.  The  stones 
of  its  foundation — as  those  of  Washing- 
ton's obelisk — were  brought  from  the 
various  districts  of  the  Czechoslovak 
territory.  The  enormous  cost  was  de- 
frayed wholly  by  voluntary  contri- 
butions of  the  Czech  people,  in  which 
even  the  beggars  participated;  and 
when  during  the  finishing  touches,  due 
to  the  carelessness  of  a  plumber,  the 
first  building  burned  down,  the  whole 
nation  grieved  and  wept;  but  com- 
menced at  once  new  collections,  and  in 
a  short  time  built  even  a  better  struc- 
ture.    (See  cover  picture.) 

Another  monumental  structure,  dat- 
ing from  the  latter  half  of  the  XIX 
century,  and  showing  the  influence  of 
the  Renaissance,  is  the  National  Mus- 
eum, standing  at  the  head  of  the  square 
of  St.  Vaclav  in  Prague. 

The  Renaissance  as  modified  in 
Czechoslovakia  has  in  the  course  of 
time  become  very  popular,  and  there  is 
hardly  a  small  town  in  which  either  the 
town  hall  or  the  Sokol  Hall,  or  some  of 
the  schools  do  not  reflect  this  style 
which  dates  back  to  the  XVI  century', 
but  which  during  the  XIX  century  has 
been  modernized  and  still  further  de- 
veloped. 

At  the  present  time  the  Czecho- 
slovak architects  are  following  the 
modem  tendencies.  As  a  rule,  they 
supplement  their  studies  outside  of 
Czechoslovakia,  more  particularly  in 
France,  and  are  applying  their  endow- 
ments as  well  as  possible  under  modern 


technique,  material  and  requirements. 
There  is  no  definite,  unique,  national 
tendency — there  has  been  no  time  as 
yet  for  its  development;  but  the  best 
minds  are  searching  for  a  true  way  in 
that  direction. 

Of  the  most  remarkable  recent  pro- 
ductions in  architecture  may  be  men- 
tioned Panta's  Station  in  Prague, 
known  since  the  armistice  as  the 
"Wilson"  Station — in  slight  recogni- 
tion of  the  aid  extended  to  Czecho- 
slovakia by  the  American  President, 
whose  true  greatness  will  perhaps  only 
be  appreciated  by  the  historian;  and 
also  the  "Representative  Prague  Hall," 
the  work  of  Balsanek  and  Polivka. 
Both  of  these  are  structures  that  well 
deserve  the  attention  of  the  art  student 
visiting  the  capital  of  Czechoslovakia. 

On  the  whole,  we  see  from  this  brief 
and  very  incomplete  survey  that  while 
the  wars  of  the  XV  and  XVII  centuries 
have  brought  about  widespread  de- 
struction of  architectural  remains, 
Czechoslovakia,  and  in  particular  Bo- 
hemia, with  its  capital  Prague,  still 
possesses  many  memorable  and  inter- 
esting structures,  representing  prac- 
tically the  whole  evolution  of  European 
architecture,  with  native  modifications. 
These  tendencies  are  most  marked  in 
the  capital  of  the  country,  but  they  are 
reflected  all  over  in  the  larger  and 
smaller  towns,  and  even  in  the  higher 
class  of  rural  constructions.  Some  of 
these  structures  represent  veritable 
jewels,  dispersed  over  the  country. 
They  are  witnesses  of  the  inherent 
qualities  of  the  people. 

Taking  into  consideration  the  relative 
smallness  of  the  nation,  Czechoslovakia 
may  well  be  proud  of  its  architectural 
record. 

]\'ashington,  D.  C. 


[205] 


"The  Pastoral  Madonna"  bv  B.  Kafka. 


SCULPTURE 

•     B\  Dr.  Oldrich  Heidrich 


CCULPTURE,  in  the  proper  sense 
•^  of  the  term,  was  unknown  in 
Czechoslovakia  before  the  introduction 
of  Christianity  in  the  IX  century. 
According  to  the  old  chronicles,  the 
pagan  Czechoslovaks  had  statues  or 
statuettes  of  their  deities,  which  they 
called  "dedki;"  but  all  these  were 
carved  in  wood.  The  first  efforts  at 
true  sculpture  date  from  about  the 
X  and  XI  centuries,  and  were  made  by 
the  monks  of  the  famous  Sazava  Mon- 
astery, in  which  native  church  art, 
in  all  forms,  was  fostered  from  the 
beginnings   of   the   establishment. 

During  these  earlier  centuries,  sculp- 
ture was  intimately  associated  with 
architecture,  which  it  served,  and  can 
hardly  be  said  to  have  existed  as  a 
separate  art.  It  manifested  itself  par- 
ticularly in  bas-reliefs  and  decorations, 
of  which  some  interesting  remains  are 
preserved. 

With  the  advent  of  the  Gothic,  all 
plastic  arts  and  sculpture  in  particular 
assumed  a  great  development  in  Bohe- 
mia. Petr  Parlef,  the  builder  of  the 
renowned  St.  Vitus  Cathedral  in 
Prague,  was  also  a  famed  "artist  in 
stone,"  who  left  us  the  statue  of  St. 
Vaclav  which  is  still  preserved  in  the 
cathedral,  and  participated  in  the  sculp- 
tures of  the  "  tombs  of  the  Pfemysls  " — 
the  kings  of  the  Pfemysl  dynasty. 

A  whole  series  of  valuable  sculptures 
remain  from  the  period  of  Karel  IV 
and  his  son  Vaclav,  in  the  XIV  centur}'. 
The  triforium  of  the  St.  Vitus  Cathe- 
dral bears  a  row  of  marble  busts, 
portraits  of  the  kings,  queens,  notables 
and  architects  who  patronized  or  as- 
sisted in  the  construction.  Somewhat 
coarser   are   the   stone   statues  of   the 


Old  Town  Bridge  Tower  in  Prague. 
There  is  a  beautiful  piece  of  sculpture 
in  the  Tomb  of  Ste.  Ludmila,  in  the 
Church  of  St.  George.  The  expressive 
reliefs  on  the  portal  of  the  Tyn  Cathe- 
dral in  Prague  are  also  from  this  period. 

The  XVI  century  brings  with  it  the 
beneficial  influence  of  the  Renaissance. 
Italian  builders  and  artists  are  called  to 
Bohemia  to  introduce  the  style,  and  the 
country  is  enriched  by  a  number  of 
masterpieces  of  architecture.  With 
the  builders  come  also  prominent  sculp- 
tors, whose  places,  however,  are  soon 
filled  by  native  scholars. 

This  period  marks,  too,  a  high  devel- 
opment in  artistic  sculpture  in  metal. 
Unfortunately,  much  that  was  pro- 
duced during  this  and  the  earlier  periods 
was  carried  away  or  destroyed  during 
the  Thirty  Years'  War.  Of  the  sur- 
viving works  of  plastic  Renaissance  art 
one  of  the  most  interesting  is  the  so- 
called  "Singing  Fountain,"  the  work  of 
Jaros  or  Brno,  located  in  the  former 
Emperor's  garden  in  the  Prague  Castle. 
Besides  the  handsome  sculptured  form 
of  this  fountain,  as  the  water  falls  back 
on  it,  it  emits  a  series  of  melodious 
tones,  wherefore  the  term  "Singing 
Fountain. " 

The  period  of  the  baroque  in  Bohe- 
mia and  Moravia  of  the  latter  part  of 
the  XVII  and  the  XVIII  centuries 
left  also,  especially  in  the  churches,  a 
series  of  sculptural  remains,  both  in 
the  capital  and  in  the  smaller  cities. 
But  the  end  of  the  XVIII  century, 
under  the  influence  of  the  Austrian 
Emperor,  Joseph  II,  was  very  unpro- 
pitious  to  art  in  general.  Many  of  the 
monasteries,  and  convents  in  particular, 
were  confiscated  and  turned  into  bar- 


[207] 


Can-ing  in  wood,  "Weep  not  for  Me,"  from  the  famous   Via  Dolorosa  at  Kolin  by  Bilek. 


The  "Second  Fall,"   from    Via  Dolorosa  by  Bilek. 


ART  AND  ARCHAEOLOGY 


-— -"-'^^cr 


■•^-  ] .  J 


Kamciiy  Dum  (the  "Stone  House"),  XIV  Century. 
Kutna  Hora. 

racks  or  used  for  other  purposes,  which 
was  attended  by  extensive  dispersion, 
if  not  destruction,  of  art  objects  of 
every  nature.  The  nobihty  of  Bohemia 
who  up  to  this  time,  outside  of  the 
churches  and  monasteries,  constituted 
the  main  support  of  art  in  all  its 
branches  lost  temporarily,  under  the 
influence  of  the  Court,  interest  in  these 
directions.  And  the  renowned  art 
collections  of  Bohemia,  brought  to- 
gether particularly  under  the  Emperor 
Rudolph  II,  were  in  the  main  sold  in 


order  that  funds  might  be  obtained  by 
the  Austrian  Government  for  more 
"  practical "  purposes.  It  is  little  won- 
der that  this  period  is  marked,  in 
sculpture  as  well  as  in  other  branches 
of  art,  by  mediocrity  as  well  as  scarcity 
of  production. 

The  modern  revival  of  sculpture  in 
Czechoslovakia  belongs  to  the  XIX 
century.  During  the  earlier  part  of 
this  century  there  are  still  to  be  noted 
the  depressing  and  binding  influences 
of  the  old  traditions  and  conven- 
tionality, but  before  long  and  simulta- 
neously with  the  cultural  revival  of  the 
nation  in  all  directions,  a  number  of 
young  sculptors  appear  who  gradually 
raise  the  art  to  the  level  of  other 
contemporaneous  standards.  The 
cold  empire  style,  as  well  as  the  baroque 
sculptures  of  the  saints  and  of  church 
decorations,  are  gradually  abandoned. 
That  progress  was  not  even  more 
marked  and  rapid  was  due  wholly  to  the 
repressive  influence  of  the  Austrian 
Government  which,  in  the  characteriza- 
tion of  Gen.  Marlborough,  "was  always 
behind  the  rest  of  Europe  by  one  army, 
one  thought,  and  one  century."  We 
know  that,  so  far  as  thoughts  and  ideas 
are  concerned,  Austria  was  behind  by 
far  more  than  one;  only  a  future  im- 
partial study  of  the  baneful  influence 
of  Austria  on  its  "provinces"  will 
show  how  unwholesome,  not  to  sav  para- 
lyzing, this  influence  was  in  the  direc- 
tion of  a  free  inspiration  and  unfet- 
tered development  of  all  branches  of 
fine  arts  as  well  as  of  literature. 

Among  the  modern  pioneers  of  sculp- 
ture, in  Czechoslovakia,  may  be  men- 
tioned Vaclav  Levy  ( 1 820-1 870),  whose 
teacher,  Schwanthaler  of  Munich,  wrote 
that  he  was  "his  best  scholar,  but 
without  a  hair  of  his  (Schwanthaler's), 
being  just  his  own  and  original.  "  Levy- 
also  spent  twelve  years  in  Rome,  where 

[210] 


ART  AND  ARCHAEOLOGY 


his  fame  grew  so  that  some  of  his  works 
were  purchased  by  Pope  Pius  IX.  His 
sculptures,  largely  of  a  religious  nature, 
show  a  sincere  piety  with  a  deep  appre- 
ciation of  antique  beauty  and  harmony. 
It  would  be  difficult  in  this  place  to 
mention  the  individual  Czechoslovak 
sculptors  of  the  transitional  and  modern 
periods — they  have  mainly  a  local 
significance.  One  who  rises  considera- 
bly above  this  is  Josef  Vaclav  Myslbek 
( 1 848-1 909),  for  many  years  a  profes- 
sor of  the  Prague  Academy  of  Arts. 
Myslbek  was  a  sculptor  of  high  indi- 
viduality, fine  technique  and  origi- 
nality. Breaking  away  from  all  that 
was  oppressive  in  the  tradition  of 
sculpture,  he  blazed  his  own  way.  His 
statues  breathe  with  freshness,  whole- 
someness  and  inspiring  heroism.  The 
realities  and  beauties  of  nature  are  his 
teachers  and  models.  His  love  of 
faithfulness  is  such  that  when  he 
modeled  the  great  monument  of  vSt. 
Vaclav,  the  patron  of  Bohemia,  he  lay 
on  the  ground  and  had  a  horse  repeat- 
edly pass  over  him  in  order  that  he 
might  properly  study  the  action  of  the 
animal's  muscles  also  from  that  direc- 
tion. The  monument  in  question, 
standing  now  in  the  foremost  square  of 
Prague,  is  his  most  popular  production, 
for  outside  of  the  high  artistic  value  of 
the  work,  its  subject  St.  Vaclav,  is  a 
national  hero.  It  is  St.  Vaclav,  who 
the  people  believed  up  to  the  World 
War,  slept  with  his  knights  in  the  hill 
"Blanik,"  from  which,  when  Bohemia 
was  in  direst  straits,  he  would  emerge 
for  its  salvation.  When  the  Czecho- 
slovak army,  led  by  the  Sokols,  ap- 
peared suddenly  in  Siberia  and  Russia 
and  did  wonders  which  contrilsuted  in 
so  large  a  degree  to  the  liberation  of 
Czechoslovakia,  many  of  the  common 
unsophisticated  people  were  inclined  to 
accept    that    these    were    the    Blanik 

[211] 


The  Woundi'd  Soldier,  by  Jan  Stursa. 

knights  of  St.  Vaclav.  The  monument 
in  question  is  a  symbol  of  the  more 
fortunate  future  of  the  Czechoslovak 
nation;  the  statue  itself  exhales 
strength,  confidence  and  hope  in  the 
events  to  come. 

The  latter  part  of  the  XIX  century 
marks  the  emancipation  of  the  Czecho- 
slovaks' sculpture  from  the  art  of  Ger- 
many and  German  Austria.  The  ideals 
are  now  French,  besides  the  best  of  old 
Greece,  Rome  and  Italy.  Rodin,  in 
particular,  exerts  a  marked  influence. 
But  throughout  all  there  is  manifest 
a  desire  of  the  sculptors  of  "being 
their  own. " 

Among  the  most  noted  of  the  later 
generation  are  Josef  Mouder,  whose 
works    embellish    the    Vysehrad    Pan- 


ART  AND  ARCHAEOLOGY 


theon;  Antonin  Prochazka,  a  sculptor 
of  eminent  technique  devoted  to  slavic 
types;  and  others.  The  foremost  after 
Myslbek,  however  is,  Stanislav  Su- 
charda.  His  statues,  for  the  ideals  of 
which  he  delves  into  folk  lore  and  folk 
life,  are  full  of  warmth  and  gentleness. 
Sucharda  is  a  poet-sculptor,  but  a  poet 
who  does  not  slight  faithful  technique ; 
also,  he  may  be  strong  dramatically. 
His  chef  (Toeuvre  is  the  granite  and 
bronze  composite  monument  of  Palacky 
the  "father  of  Bohemian  history," 
in  Prague.  This  striking  and  symbolic 
monument,  to  which  illustrations  do 
scant  justice,  is  justly  a  j^ride  of  the 
Czech  capital.  It  represents  Palacky 
the  historian,  listening  to  the  voice  of 
the  historic  current  of  events;  while 
some  of  the  subsidiary  figures  point  to 
the  nation's  subjection  and  hope  for 
liberation. 

Still  another  living  Czechoslovak 
sculptor  of  note  is  Ladislav  Saloun. 
He  is  the  sculptor  of  the  third  greatest 
monument  in  Prague,  that  of  Jan  Hus, 
standing  in  the  memorable  square  of 
the  "Old  Town. " 

In  addition,  the  present  generation 
of  Czechoslovak  sculptors  is  represented 
by  a  whole  series  of  names,  some  of 
which  are  already  well  known  beyond 
the  boundaries  of  the  new  Republic, 
but  which  it  is  impossible  to  mention 


within  the  scope  of  this  paper.  And 
the  progress  of  the  art  of  sculpture  in 
Czechoslovakia,  with  minor  exceptions, 
is  a  healthy  progress  full  of  promise  for 
the  future. 

Notwithstanding  the  vicissitudes  of 
time,  and  the  serious  disadvantages 
under  which  sculpture  labored  in 
Czechoslovakia  until  the  latter  part  of 
the  XIX  century,  the  appreciative 
visitor  to  Prague  can  not  but  be 
pleasurably,  and  here  and  there  deeply, 
surprised  at  what  remains.  The 
churches,  the  cemeteries,  the  squares, 
the  museums,  the  castles,  many  of  the 
old  rich  mansions,  the  ancient  Gothic 
towers,  and  last  but  not  least  the 
Karel's  Bridge,  show  far  more  in  the 
line  of  sculpture  than  can  be  found  in 
any  modern  city  of  similar  size  to  the 
Czech  capital.  They  are  the  accumula- 
tions of  art  remains  of  ten  centuries, 
and  they  represent  a  book  of  the  history 
of  sculpture  and  related  arts  which 
deserve  a  much  more  attentive  perusal 
than  it  has  yet  received  from  outsiders. 
Some  day,  we  may  hope,  these  and  the 
other  art  treasures  of  Bohemia,  to  which 
these  scant  few  lines  can  barely  call  at- 
tention, will  be  suitably  described  in  the 
English  language  and  shown  in  illustra- 
tions which  are  not  yet  available. 

Washington,  D.  C. 


[212] 


PAINTING 

By  Ales  Hrdlicka. 


.4  Honeymoon  in  Hand  (rich  district  of  Moravia),  by  Joseph  Manes. 


•yHE  HISTORY  of  the  art  of  paint- 
^  ing  in  Czechoslovakia  has  really  but 
two  subdivisions,  the  old  and  the  mod- 
ern, the  latter  beginning  strictly  only 
with  the  later  half  of  the  XIX  cen- 
tury. 


The  long  old  period  is  characterized 
especially  by  church  art.  The  first 
painters  mentioned  in  Czech  history 
are  the  first  two  abbots  of  the  Sazava 
Monastery.  The  art  is  partly  orna- 
mental, partly  representative;  and  the 


1213] 


ART  AND  ARCHAEOLOGY 


J, 


tu-cty    JprocK^-VWd-l".  * 


_^J2>"'<'^>^»I^ 


PTACEK. 
Illustration  to  the  Folk  Song  "A  Birdie." 
By  Mikulas  Ales 

latter  appears  for  a  long  time  restricted 
or  almost  so,  to  paintings  on  cloth,  wall 
or  wood,  or  religious  scenes,  of  saints 
and  of  madonnas.  Of  the  earlier  pro- 
ductions but  very  little  remains  to 
our  day,  and  we  are  unable  to  judge  of 
their  standards. 

As  for  all  arts,  so  for  painting  in 
Czechoslovakia,  the  "golden  days" 
are  those  of  the  XIV  century.  In  1348 
the  painters  are  already  numerous  and 
important  enough  to  associate  into  a 


Fraternity.  It  was,  also,  during  this 
time  that  painters  and  other  artists 
were  elevated  to  a'special  dignity  at  the 
Court. 

It  is  of  interest  to  note  that  the 
Painters  Fraternity  embraced  painters 
in  general  and  the  heraldry  painters, 
batween  whom  there  was  kept  a  clear 
distinction  which  is  not  now  fully 
understood.  The  patron  saint  of  the 
fraternity  was  St.  Lucas. 

During  this  century  there  is  an  in- 
flux into  Bohemia  of  painters  from 
Germany,  some  of  whom  remain  tempo- 
rarily, while  others  settle  permanently 
in  the  new  country ;  and  with  these  new- 
comers are  brought  in  German  and 
Dutch  influences  which  are  very  per- 
ceptible in  the  Bohemian  art  remains 
of  the  period.  In  conformity  with  the 
spirit  of  the  time,  and  the  piety  of 
Karel  IV,  the  sphere  of  painting  re- 
mains still  very  largely  religious,  but 
there  is  also  som.e  portrait  and 
"  worldly  "  painting.  There  is  a  marked 
development  of  painting  "al  fresco." 

The  survivals  of  painting  from  this 
period  are  quite  numerous  and  afford 
interesting  material  for  study.  Besides 
the  western  there  are  noticed  seme 
Italian  and  even  still  some  Byzantine 
influences.  The  quality  of  work  reaches 
in  some  instances  a  high  standard  with- 
out, however,  constituting  masterpieces 
which  would  equal  the  best  Flemish  or 
Italian.  It  is  plain  that  circumstances 
have  as  yet  not  been  sufficiently  pro- 
pitious to  develop  a  school  of  charac- 
teristic painters  of  Bohemia  itself. 

Simultaneously  with  the  develop- 
m.ent  of  painting  at  large,  a  very  con- 
siderable progress  has  also  been  realized 
during  these  earlier  centuries  in  the 
development  of  miniature  paintings 
and  especially  in  the  illumination  of 
bibles,  breviaries,  psalters,  and  books 
of  the  gospels.    An  effort  was  also  made 

[216] 


ART  AND  ARCHAEOLOGY 


during  the  reign  of  Karel   IV  in    art 
mosaic. 

During  this  period  the  painting  of 
church  interiors  reached  its  maximum 
development,  and  there  are  accounts  of 
whole  series  of  churches  and  castles 
that  were  filled  with  paintings  in  this 
manner.  Unfortunately  a  large  ma- 
jority of  this  painting  has,  in  the  course 
of  time,  been  destroyed.  Some  good 
examples  have  been  accidentally  re- 
covered in  recent  times  during  repairs 
to  old  churches. 

During  the  reign  of  Vaclav  IV,  the 
son  of  Karel,  the  favorable  period  for 
the  development  of  art  and  painting 
continues,  but  the  latter  is  now  marked 
by  more  boisterousness  and  less  re- 
striction. The  art  of  illumination  has 
progressed  extensively,  and  has  left  a 
series  cf  valuable  examples. 

The  Reformation  and  the  Hussite 
wars  of  the  XV  century  not  only 
stopped  art  progress,  but  resulted  in 
widespread  destruction.  What  this 
produced  follows  very  largely  old  tra- 
ditions. The  art  of  illumination,  how- 
ever, shows  a  decided  advance  still 
further,  as  witnessed  by  the  number  of 
precious  remaining  examples,  some  of 
which  begin  already  to  show  the  in- 
fluence cf  the  Renaissance. 

In  the  XVI  century  painting  is 
especially  favored  during  the  reign  of 
Rudolf  II.  AsaHapsburg,  Rudolf  called 
in  a  number  of  Dutch  and  German  mas- 
ters, the  foremost  of  whom  is  Bartholo- 
mew Sprangher  of  Antwerp,  who  even- 
tually settles  in  Prague  for  the  rest  of 
his  life.  The  new  impetus  given  to  the 
art  of  painting  extended,  however,  all 
over  the  country^  and  resulted  in  the  ap- 
pearance of  a  series  of  native  painters, 
some  of  whom  become  especially  noted. 

The  XVII  century  and  the  Thirty 
Years'  War  were  on  the  whole  a  most 
unfavorable  period  for  the  art  of  paint- 

[217] 


ing  in  the  Bohemian  territories.  A 
number  of  the  foremost  native  artists 
were  among  the  exiles  from  the  countrv ; 
and  there  was  no  incentive  for  the  de- 
velopment of  others.  In  addition  to 
which  there  was  a  wide  destruction. 
After  the  Thirty  Years'  War  the  new 
nobility  and  new  rich  owners,  mostly 
of  foreign  extraction,  in  repairing  the 
partly  ruined  and  in  building  new 
mansions,  called  in  again  numbers  of 
foreign  painters,  the  foremost  of  whom 
was  Peter.  Brandl,  whose  paintings  were 
characterized  by  unusual  power.     The 


-'<5j^^    .vcjcAcn.    iy.^Acc^    u   fcbe     ?a.l>y*vff. 


>vJJJd..,a    wuiKiTia  J^«»;ka  tawt    ,fraiC 
5Tj3.hxH.cL    J,y,Ulli.i>.^    >fitfUAl.    brAtn<:^l^ 


BITVA  U  KOLI.N'A 

Illustration  to  Folk  Song  relating  to  Battle  of  Kolin. 
By  MikulaS  AleS 


ART  AND  ARCHAEOLOGY 


art  that  showed  the  most  rapid  advance 
toward  recovery  was  painting  al  fresco, 
represented  by  a  new  progeny  of  native 
painters,  among  whom  excelled  especial- 
ly Vaclav  Reiner  (died  1745).  The  de- 
velopment in  this  direction  is  such  that 
it  is  possible  to  speak  of  a  Czech  School 
of  fresco  paintings  of  the  XVIII  cen- 
tury. The  subjects  of  the  paintings 
were  partly  religious,  partly  battle 
scenes,  either  historical  or  allegorical, 
besides  which  there  appear  also  land- 
scapes, paintings  of  flowers,  etc. 

The  reign  of  Joseph  II,  as  a  complete 
antithesis  to  that  of  Rudolf  II,  directly 
interfered  with  all  progress  in  art,  in- 
cluding painting.  By  the  decree  of 
1782,  the  Painters  Fraternity  was  dis- 
solved. Rudolf's  art  gallery,  and  many 
privately  owned  pictures  were  sold 
abroad ;  and  nothing  was  now  produced. 
This  curious  state  of  affairs  can  only  be 
regarded  as  one  of  the  manifestations  of 
abnormality  which  here  and  there  have 
been  observed  in  the  different  Haps- 
burgs.  Fortunately,  in  1796  conditions 
have  so  changed  that  the  establishment 
of  an  "Association  of  the  Patiintic 
Friends  of  Art"  became  possible, 
which  was  soon  followed  by  the  founda- 
tion of  a  permanent  Art  Gallery  and 
Art  School.  This,  properly  speaking, 
was  the  beginning  of  the  modern  period 
of  the  art  of  painting  in  Bohemia, 
though  for  a  long  time  yet  the  art  was 
laboring  under  foreign  influence. 

The  rest  of  the  history  of  painting  in 
Czechoslovakia  is  that  of  a  steadily 
accelerating  development  toward  the 
best  of  modern  standards  and  an 
equally  augmenting  emancipation  from 
traditional  and  foreign  influences.  The 
main  pioneer  in  this  direction  is  J. 
Manes  (1821-71),  whose  excellent 
studies  of  the  native  types  and  illus- 


trations from  old  Czech  history  have 
exerted  a  strong  infli'jsnce  on  a  line  of 
followers.  Jaroslav  Cermak  (181 1-78) 
devotes  himself  to  scenes  from  the  life 
and  environment  of  Slavs  in  the  Bal- 
kans. F.  Zenisek  and  Mikulas  Ales 
follow  ingeniously  and  originally  in 
the  same  direction  (in  Bohemia  and 
Moravia).  It  is  these  two  who  pro- 
duced in  the  main  the  exquisite  wall 
paintings  of  the  National  Theatre. 

Historic  painting  is  represented  fore- 
most by  Vaclav  Brozik  (1851-1900), 
known  the  world  over  by  his  great  tab- 
leaux "Jan  Hus  before  the  Council  of 
Constance,"  "Columbus  before  the 
Court  of  Isabella,"  etc. ;  and  at  the  pres- 
ent time  by  A.  Mucha  who,  since  1890, 
is  working  on  twenty  great  tableaux  that 
are  to  illustrate  the  main  events  of  vSlavic 
history.  Eleven  of  these  huge  tableaux , 
18  X  28  feet,  have  been  completed  and 
a  number  of  them  have,  within  the  last 
two  years,  been  shown  in  the  Art  Insti- 
tute of  Chicago  and  the  Brooklyn 
Museum.  Scenery  in  all  its  forms, 
genre,  and  all  other  forms  of  the  art  of 
painting,  have  today  in  Czechoslovakia 
able  and  noted  representatives. 

The  older  national  collections  of  art 
are  housed  since  1882  in  the  beautiful 
and  extensive  Rudolfinum  in  Prague, 
while  the  more  recent  art  treasures  are 
housed  in  the  "Modern  Gallery."  Also, 
there  are  a  number  of  important  private 
collections,  and,  taking  the  arts  to- 
gether, the  great  old  churches  and  man- 
sions of  Prague,  and  the  old  churches, 
monasteries,  castles  and  mansions  scat- 
tered over  the  country,  are  similarly 
as  in  Holland,  Belgium,  France  and 
Italy,  so  many  parts  of  one  vast  art 
museum. 

U.  S.  National  Museum. 


[219] 


"Death  snd  Resurrection,"  Group  in  Bronze,  by  Ettore  Cadorin. 


CURRENT  NOTES  AND  COMMENTS 

"Death  cuid  Resurrection,"  by  Ettore  Cadorin. 

This  photograph  represents  the  bronze  group  "Death  and  Resurrection"  by  the  sculptor 
Ettore  Cadorin.  It  will  shortly  be  erected  for  the  Karagheusian  family  of  New  York  Citv,  in 
Woodlawn  cemetery. 

The  group  represents  the  symbol  of  the  Christian  belief,  according  to  which  death  is  considered 
but  a  passage  from  this  life  to  the  Eternal  Life,  through  the  resurrection  of  the  spirit. 

The  two  figures  emerge  from  the  massive  block  with  a  calm  and  large  movement,  especially  of 
the  torsos,  while  a  part  of  the  bodies  remain  enveloped  and  melted  in  the  block.  One  of  the 
figures  expresses  a  complete  attitude  of  lethargic  sleep  like  death,  which  is  not  the  end  of  every- 
thing, but  a  temporary  rest.  The  other  figure  is  animated  by  a  movement  of  deliverance  and  life 
and  the  face  expresses  a  rapture  of  serenity  and  beatitude. 

The  hair  of  the  two  figures  descends  along  the  bodies  in  floating  masses  which  further  down 
shapes  themselves  into  the  block  so  as  to  envelope  the  figures  and  add  to  the  poetic  mystery  of 
the  ensemble.  The  artist  aims  with  this  work  to  give  a  new  character  to  the  sculpture  of  ceme- 
teries less  conventional,  and  with  a  deeper  and  more  symbolic  meaning.  A  number  of  his  works 
done  in  the  same  style,  stand  in  the  cemeteries  of  France  and  Italy. 

Athenian  Nights  at  Toledo  Art  Museum. 

Would  you  like  to  spend  some  time  back  in  old  Athens  with  the  filleted  maidens  and  bronzed 
athlete  of  the  Parthenon  frieze  ?  Would  you  care  to  see  a  play  of  Sophocles  or  Aeschylus  given  just 
as  the  ancients  viewed  it?  Would  you  catch  a  bit  of  the  real  flavor  of  Greek  art  and  civilization? 
Impossible!  you  say.  Not  at  all!  Toledo  is  doing  it  through  her  Museum  of  Art  and  it  is  one 
of  the  many  things  which  mark  this  museum  as  no  mausoleum,  but  a  living,  pulsating  community 
center  of  art  appreciation. 

It  all  began  when  someone  realized  the  possibilities  of  the  steps  of  the  museum  as  a  stage  for  a 
Greek  play.  The  dancers  were  members  of  a  High  School  gymnasium  class,  and  the  actors  came 
from  a  class  in  Public  iSpeaking.  The  play  chosen  was  Sophocles'  Antigone,  so  different  from  the 
problem-plays  of  today,  yet  containing  the  world-old  and  ever-new  conflict  between  duty  and 
desire,  and  bringing  home  the  truth  of  that  truth  the  world  seems  able  to  learn  through  individual 
experience,  "What  a  man  sows,  that  shall  he  also  reap." 

It  was  a  perfect  June  night.  A  silver  thread  of  a  moon  in  a  real  Aegean  blue  sky  floated  over 
the  dark  tree-tops  and  hung,  poised,  over  the  Ionic  columns  which  form  the  stately  entrance  to 
the  museum.  Seats  for  the  spectators  were  placed  along  the  broad,  flagged  portico,  while  the 
actors  played  their  parts  on  the  marble  steps.  The  Parthenon  itself  could  not  have  formed  a 
more  classic  background. 

Between  the  acts,  a  group  of  girls,  their  white  tunics  caught  with  silver  bands,  danced  as  the 
old  Greek  chorus  used  to  do.  Girls  of  the  twentieth  century  were  they?  Oh,  no!  They  were 
devotees  of  Athene,  once  more  offering  their  gifts  to  their  patron  goddess,  and  delighting  to  do 
her  homage. 

When  the  spectators  demanded  an  encore,  the  dancers  became  gleeful  children,  dancing  in  the 
courtyard  of  their  home,  and  bounding  balls  to  the  accompaniment  of  their  delight.  Finally, 
running  dov\'n  to  the  fountain  in  the  middle  of  the  square,  where  the  waters  of  the  pool  flashed 
in  the  mellow  moonlight,  they  raised  graceful  arms  in  adoration  of  Artemis,  the  moon-goddess. 

It  was  the  scene,  in  the  flesh,  that  is  to  be  found  on  many  a  Greek  urn.  The  entire  performance 
had  that  elusive  charm  which  marked  it  as  "a  thing  of  beauty,"  and  the  remembrance  of  it  in 
the  minds  of  the  audience  will  be  a  "joy  forever."  C.  L.  Pray. 

Annual  Convention  of  American  Federation  of  Arts. 

The  twelfth  Annual  Convention  of  the  American  Federation  of  Arts  will  be  held  at  the 
Corcoran  Gallery  of  Art,  Washington,  D.  C,  May  i8,  19,  20.  Special  sessions  will  be  devoted 
to  "Art  and  the  People,"  "The  Artist's  Point  of  View,"  "Professional  Art  Problems,"  "Educa- 
tional Work"  and  "The  Art  Museum." 

[221] 


'Fete  Champetre,"  by  Adulphe  Monticelli. 


Courlesy  of  Vose  Galleries,  Boston 


Monticelli  Exhibition  at  the  Vose  Galleries,  Boston. 

The  Vose  Galleries,  of  Boston,  on  March  1 7,  celebrated  the  eightieth  anniversary  of  the  founding 
of  the  house  by  opening  one  of  the  most  remarkable  exhibitions  that  has  ever  been  held  in  this 
countr}' — a  display  of  twenty-one  paintings  by  the  immortal  French  colorist  and  romanticist, 
Adolphe  Monticelli  (1824-1886).  Professor  Churchill,  of  Smith  College,  delivered  a  lecture  on 
Monticelli  before  a  notable  assemblage  of  connoisseurs. 

vSuch  another  exhibition,  for  brilliancy  and  beauty  of  color,  has  probably  never  been  seen  in 
this  country.  Critics  have  come  to  accept  MonticeUi  as  the  leader  in  his  field,  as  richer  and  more 
vibrating  than  Watteau,  and  as  the  superior  of  Diaz  both  in  color  and  in  composition.  The  Vose 
display  ser\-ed  to  confirm  this  estimation  of  the  master. 

The  outstanding  picture  in  the  exhibition  was  "A  Summer's  Day;  Idyl,"  which  is  regarded  by 
many  as  Monticelli's  greatest  work.  It  was  lent  by  R.  B.  Angus,  of  Montreal,  who  is  one  of 
Canada's  biggest  collectors.  Cool,  joyous  and  lightsome,  in  it  the  artist  reached  the  very  heights 
of  idyllic  painting,  with  its  group  of  happy  figures  surging  like  music  amid  a  wood,  under  a 
romantic  sky.  Another  masterpiece,  also  from  the  Angus  collection,  "A  Garden  Fete:  Sunset," 
is  in  some  ways  the  antithesis  of  the  other,  because  it  is  intensely  warm  and  glowing. 

Monticelli's  pictures  all  have  the  qualities  of  precious  gems,  but  especially  jewel-like  is 
"  Romantic  Scene,"  also  in  the  exhibition.  This  work  has  the  beauty  of  rubies,  emeralds  and  gold. 
Another  extremely  fine  subject,  "Woodland  Dance,"  lent  by  the  Hillyer  Gallery  of  Smith  College, 
was  a  prized  possession  of  the  late  George  Fuller.  Other  superlative  examples  in  the  display  was 
"Fete  Champetre,"  brilliant  and  positive;  "In  the  Woods,"  cool  and  exquisite  with  its  cameo-like 
faces,  and  "The  Star  of  Bethlehem,"  with  oriental  splendor  flaming  through  the  duskiness  of 
night.  "The  Pet  Dove"  and  "The  Peacock  Garden "  were  large  subjects  belonging  to  the  series 
that  Monticelli  painted  for  the  Empress  Eugenie,  and  that  introduce  her  portrait.  Earliest  of  all 
in  point  ol  date,  was  "The  Lark,"  that  reminded  one  more  of  Watteau  than  any  of  the  others. 

[222] 


BOOK  CRITIQUES 


The    Outline    of   History,    by  H.    G.     Wells. 

Being  a  Plain  History  of  Life  and   Mankind. 

New  York  :  The  Macmillan  Co.  ipso.     2  vols. 
$10.50. 

It  is  obvious  that  so  clever  and  calligraphic 
a  ready  writer  as  Mr.  Wells  can,  if  he  shuts 
himself  in  his  study  with  thirty  or  forty  recent 
books  and  a  stock  of  reference  works,  compile 
in  a  few  months  a  history  of  the  world,  inferior 
as  a  history  to  the  book  that  any  one  of  a  score 
of  historians,  if  unhampered  by  scholarly 
inhibitions,  could  produce,  but  more  likely 
to  be  read  by  the  man  in  the  street.  As 
the  reverend  William  Sunday  wins  souls,  so 
Mr.  Wells  is  said  to  be  winning  to  the  study  of 
history  many  hitherto  innocent  readers.  And 
timid  preachers,  and  scholars  who  can  be 
intimidated  by  Mr.  Wells'  denunciations  of 
"the  bent  scholarly  man  as  intolerant  as  a 
priest,  as  obscurantist  as  a  physician,"  will 
fear  to  criticize  the  methods  of  either.  But 
there  is  no  reason  why  any  serious  critic  should 
take  seriously  this  propagandist  pamphlet  and 
book-making  enterprise,  except  as  a  symptom 
of  the  intellectual  decadence  that  threatens  our 
civilization.  It  is  for  Anglo-American  post- 
bellum  culture  what  the  sale  of  forty  thousand 
copies  of  Spengel's  "  Downfa'l  of  the  West,  or 
Morphology  of  World  History"  is  for  the  more 
pessimistic  reading  public  of  Germany.  And, 
if  European  civilization  really  were  fore- 
doomed to  another  secular  eclipse,  prophecy 
might  salute  Mr.  Wells'  work  as  the  Orosius  of 
the  New  Dark  Ages.  The  chief  hindrance  to 
such  an  unenviable  immortality  would  be  its 
bulk.  Mr.  Wells  calls  it  an  Outline,  and  it  is 
made  a  very  meagre  and  spotty  sketch  by  the 
space  wasted  in  explanation  of  its  choices  and 
apology  for  its  rejections;  or  on  those  thumb 
sucking  disquisitions  of  cosmic  introspection, 
with  which  we  are  already  too  familiar  in  "The 
Research  Magnificent,"  "Anticipations"  and 
other  of  Mr.  Wells'  eleven  "books  on  social, 
religious  and  political  questions. "  But  thirteen 
hundred  large  pages  economically  used  would 
hold  more  history  than  Mr.  Wells  had  time  to 
get  up,  or  than  his  shrewdness  would  inflict 
upon  the  reader  who  wants  "plain  statements 
that  he  can  take  hold  of  comfortably."  With 
no  larger  expenditure  of  paper,  the  publishers 
could  have  reprinted  an  orderly  presentation  of 
three  or  four  times  the  amount  of  historical 
facts  given  by  Mr.  Wells;  and,  in  addition, 
Macaulay's,  Carlyle's  and  Frederick  Harrison's 
essays  on  history.    Mill's   review   of  Guizot's 

[223] 


"History  of  Civilization,"  Bryce's  "Holy 
Roman  Empire,"  Henry  Adams'  "Mont  iSt. 
Michel  and  Chartres, ''  Jebbs'  "Primer  of 
Greek  Literature,"  the  best  parts  of  Mackails" 
"History  of  Roman  Literature,"  equivalent 
sketches  of  the  chief  modern  literatures,  and  a 
brief  authentic  history  of  science.  But  where 
in  such  a  collection  would  be  the  unity,  the 
stamp  of  Mr.  Wells'  demiurgic  mind?  There 
would  be  quite  as  much  real  unity  as  there  is 
now.  For  what  complaisant  reviewers  call  the 
unity  of  this  book,  is  an  illusion  created  by 
repetition  and  cross  references  and  the  reitera- 
tion of  Mr.  Wells'  prepossessions  and  prejudices: 
his  socialism;  his  affectation  of  a  Tolstoian 
Christianity,  which  his  way  of  life  gives  him  no 
right  to  preach;  his  disdain  for  the  past;  his 
exultation  in  the  progress  that  has  substituted 
the  conveniences  of  his  study  for  the  defective 
library  of  Alexandria;  his  Shelleyan  prophecies 
of  the  dawn  of  happiness  and  science  on  the 
world ;  his  uneasy  contempt  for  scholarship  and 
culture;  his  antipathies  to  patriotism,  the 
University  of  Oxford,  the  Romans,  Demos- 
thenes, Rudyard  Kipling  and  Gladstone. 

There  is  no  unity,  either,  of  artistic  composi- 
tion or  of  critical  apprehension  of  the  causal 
sequences  and  interrelations  of  history.  The 
separate  chapters  were  obviously  composed  by 
the  method  of  diluting  a  capricious  abstract 
of  whatever  modern  book  on  the  subject  pleased 
Mr.  Wells  best,  with  the  reflections  and  happy 
thoughts  that  flowed  into  his  pen  as  he  wrote. 
His  nominal  coadjutors,  Mr.  Ernest  Barker, 
Professor  Gilbert  Murray,  and  the  rest,  profess 
to  discuss  these  happy  thoughts  seriously  with 
the  author  in  the  foot  notes.  But  why  should 
any  other  scholar  concern  himself  with  Mr. 
Wells'  prejudiced  estimates  of  literatures, 
which  he  has  not  read,  and  his  jaunty  pro- 
nouncements on  historical  problems  which  he 
knows  from  the  hand  books  open  before  him? 
A  professor  in  a  great  American  University  pro- 
fesses to  be  awe  struck  by  Mr.  Wells'  accuracy, 
and  says  that,  though  he  himself  is  a  life-long 
student  of  history,  he  can  detect  no  errors.  If 
he  will  find  an  arena  for  joint  debate,  I  will 
begin  by  presenting  him  with  a  score  of 
"howlers."  Or  does  he  merely  mean  that  Mr. 
Wells  and  his  corps  of  experts  have  succeeded 
in  spelling  most  of  the  proper  names,  and  have 
correctly  copied  out  the  comparati\-ely  few 
dates  given? 

But  the  chief  defects  of  the  book  are  the 
faulty   perspective   and   proportions,    and   the 


ART  AND  ARCHAEOLOGY 


preposterous  valuations.  Nearly  three  hundred 
pages  are  wasted  on  geologic  aeons  and  con- 
jectural prehistoric  human  histor>%  for  which  a 
brief  chapter  would  have  sufficed.  More  space 
is  given  to  Philip  and  Alexander  of  Macedon 
than  to  the  civilization  and  literature  of  Greece 
from  Salamis  to  Chaeroneia.  The  literature 
and  law  of  Rome  and  their  influence  are  alto- 
gether ignored.  The  Renaissance  is  lost  to 
sight  and  the  entire  political  history  of  modem 
Europe  from  1400  to  1800  muddled  and  skimped, 
in  two  confused  and  confusing  chapters  on  the 
"Renascence  of  Western  Civilization"  and 
"Princes,  Parliaments  and  Powers."  The 
two  chief  topics  of  19th  century  history  for  Mr. 
Wells  seem  to  be  the  scholarship  of  Karl  Marx 
and  the  bad  education  of  Gladstone. 

WTiile  professing  to  write  a  history  of  the 
ideas  and  the  mind  of  man,  he  omits  the  pre- 
Socratics,  and  Thucj'dides;  is  ludicrously  in- 
adequate about  Plato  and  Aristotle;  says 
nothing  of  stoics,  epicureans  and  neo-Platonists, 
does  not  mention  Chaucer,  Dante,  Shakespeare, 
Alilton,  Spinoza  and  Kant;  has  for  Demos- 
thenes only  a  sneer ;  has  nothing  to  say  of  Grotius 
Burke,   Alexander   Hamilton   and  Lincoln. 

To  make  up,  he  has  eleven  references  each  to 
Nabonidus  and  to  the  Neanderthal  man;  is 
copious  on  Roger  Bacon,  Loyola,  Machiavelli 
and  Confucius;  praises  the  erudition  of  Karl 
Marx  and  the  scatological  psychology  of 
Freud  and  Jung;  gossips  for  several  pages  each 
on  the  stor}-  of  Croesus,  the  scandals  of  the 
Alacedonian  court  and  the  abdication  of 
Charles  V,  and  quotes  three  pages  from  an 
essay  on  modern  Hindu  life  by  one  Mr.  Basu. 

Such  are  the  proportions  and  the  estimates 
of  value  in  the  Philosophic  History  on  which 
the  reconstruction  of  our  civilization  is  to  be 
based.  Paul  Shorey. 

The  New  Stone  Age  in  Northern  Europe.  By 
John  M.  Tyler.  New  York.  Charles  Scrihner's 
Sons.     jgsi. 

It  is  one  thing  to  collect  facts  concerning  pre- 
historic times  and  to  draw  the  true  deductions 
from  them,  and  quite  another  thing  to  present 
the  information  in  an  interesting  way  so  that  a 
man,  who  has  not  specialized  on  the  subject, 
finds  pleasure  as  well  as  profit  in  perusing  the 
student's  writings.  To  combine  the  two  is  an 
art.  Professor  John  I\L  Tyler  has  exhibited 
this  art  in  his  recent  book.  The  New  Stone  Age 
in  Northern  Europe. 


The  author  begins  with  a  brief,  though  com- 
prehensive, review  of  the  types  of  man  appear- 
ing on  earth  prior  to  the  Neolithic  Period,  with 
which  those  interested  in  primitive  mankind 
have  been  made  delightfully  familiar  by  Pro- 
fessor Osborn  in  his  Men  of  the  Old  Stone  Age. 
Dr.  Tyler,  after  devoting  a  chapter  to  the 
transition  between  these  two  periods  and  the  ge- 
ological changes  affecting  the  European  fauna 
and  flora,  takes  up  in  orderly  sequence  the  re- 
mains, which  have  been  unearthed,  throwing 
light  on  the  life  and  industry  of  the  New  Stone 
Age.  Through  undetermined  and  undetermin- 
able millenia  the  reader  is  led  from  one  stage 
of  culture  to  another,  up  from  the  crude  state 
of  the  cave-dwelling  hunter  to  the  community 
life  and  tribal  organization  resulting  from  agri- 
culture and  to  the  nomadic  life  which  came  later 
with  the  domestication  of  herbiverous  animals. 

The  migration  routes  of  prehistoric  peoples 
under  the  pressure  of  populations  and  the  relig- 
ious concepts  bom  of  new  and  changing  condi- 
tions are  treated  in  an  attractive  way.  The 
reader  sees  a  continual  progress  in  the  indus- 
trial, social  and  intellectual  life  of  these  ancient 
races.  He  sees  the  rudiments  of  modern 
civilizations  gradually  take  form  and  develop. 
He  is  led  on  and  on,  step  b}'  step,  through 
thousands  of  years  until  he  at  last  emerges  into 
the  dim  twilight,  which  we  term  "the  dawn  of 
history,"  when  man  invented  the  means  of  re- 
cording events  for  future  ages. 

Taken  as  a  whole  The  New  Stone  Age  in 
Northern  Europe  is,  to  use  a  paradoxical  term, 
a  fascinating  history  of  a  prehistoric  period. 
It  is  a  story  which,  when  one  begins  to  read 
it,  he  will  find  it  hard  to  lay  aside.  The 
attractive  nature  and  the  sustained  interest 
are  due  in  large  measure  to  the  skillful  treat- 
ment of  the  subject  and  the  author's  talent  as 
a  writer.  Eliminating  the  scientific  value  of 
the  analysis  of  collected  data,  and  the  years 
evidently  given  to  the  comparative  study  of 
authorities,  the  excellence  of  the  literary  style 
would  make  the  book  well  worth  the  reading. 
There  is  a  deftness  of  touch  which  clothes  the 
driest  facts  with  a  charm  which  holds  the  atten- 
tion and  gives  them  life.  The  work  is  a  fitting 
sequel  to  The  Men  of  the  Old  Stone  Age  which 
brought  to  its  writer  so  much  favorable  com- 
ment a  few  years  ago. 

Professor  Tyler  has  enhanced  the  value  of 
this  decided  contribution  to  archaeological 
literature  by  appending  to  the  work  an  excel- 
lent bibliography.  Robert  Lansing. 


1224] 


$5.00  THE  YEAR 


SO  CENTS  THE  COPY 


ART  AND  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 

Pdbushed  at  WASHINGTON.  D.  C.   by 

THE  ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA 


ART  AND  LIFE  Cnbw  york)  combined  with  ART  AND  ARCHAEOLOGY 

Volume  XI  JUNE,   1921 


Number  6 


EDITOR-IN-CHIEF 
WILLIAM  H.  HOLMES 

BOARD  OF  EDITORS 

Virgil  Barker 
Howard  Crosby  Butler 
Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L-  Hewett 

Morris  Jastrow 

Fiske  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 
MITCHELL  CARROLL 

BOARD  OF  MANAGERS 

Frank  Springer,  Chairman 

J.  TowNSEND  Russell,  V ice-Chairman 

James  C.  Egbert 

Ex-ojicio  as  President  of  the  Institute 

BuRWELL  S.  Cutler 

John  B.  Larnbr 

Charlbs  Colfax  Long 

Dan  Fellows  Platt 


CONTENTS 

Sir  Moses  Ezekiel,  American  Sculptor Henry  K.  Bush-Brown  .      .     225 

Nine  Illustrations 

The  Alban  Lakes Mary  Mendenhal/  Perkins   .     235 

Two  Illustrations 

Some  Literary  Bookplates Alfred  Fowler     ....     239 

Nine  Illustrations 
William  Rush,  the  Earliest  Native  Born  American  Sculptor        .      .      IVilfred  Jordon   ....      245 

Three  Illustrations 

Rus  IN  Urbe  (Poem) Harvey  M.  Watts      .      .      .     247 

Glimpses  Into  Greek  Art Frederick  Paulsen     .      .  248 

One  Illustration 

On  a  Sarouk  Rug  (Poem) H.  H.  Bellaman  .      .  250 

Caricature  and  the  Grotesque  in  Art        ...  Alfred  J.  Lotka  251 

PiERo  Di  CosiMO  (Poem) Robert  Hillyer      ....  253 

Creators  of  Costume Kathryn  Rucker  ....  255 

Three  Illustrations 

Current  Notes  and  Comments 261 

Six  Illustrations 

Book  Critiques       .  ' 267 


Terms:  ?5.oo  a  year  in  advance:  single  numbers,  50  cents.      Instructions  for  renewal,  discontinuance,  or  change  of  address  should  be 
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Copyright.  1921,  bv  the  Archaeoloiical  Institute  op  America. 


Confederate  Soldiers'  Monument  by  Sir  Moses  Ezekiel  in  the  Arlington  National  Ctmetery 

Washington,  D.  C. 


ART  mid. 

ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XI 


JUNE,  1921 


Number  6 


SIR  MOSES  EZEKIEL:  AMERICAN  SCULPTOR 


By  Henry  K.  Bush-Brown.^ 


WE  ARE  assembled  this  day  to  do 
honor  to  one  who  by  his  own 
genius  has  gained  the  recogni- 
tion of  the  world  and  the  love  of  many 
friends,  and  we  naturally  pause  to  in- 
quire on  what  food  was  this  man  nour- 
ished that  he  became  so  great.  Born 
of  a  family  of  trades  people  there  was 
certainly  a  vision  in  his  mind  as  a 
child,  and  it  is  the  vision  of  childhood 
when  coupled  with  courage  which 
makes  for  greatness. 

Moses  Jacob  Ezekiel  (known  as 
Sir  Moses  Ezekiel),  American  Sculptor, 
was  born  in  Richmond,  Virginia,  on 
October  28th  1844,  the  son  of  Jacob  and 
Catherine  de  Castro  Ezekiel.  The  first 
of  the  family  in  America  was  Ezekiel 
Jacob  Ezekiel  and  Rebecca  Israel  Ezek- 
iel, who  came  to  this  country  from 
Amsterdam,  Holland,  and  settled  at 
Philadelphia,  Pa.,  in  1808.  These  were 
the  parents  of  Jacob  Ezekiel,  the  father 
of  Sir  Moses  Ezekiel.  In  early  boy- 
hood Moses  Ezekiel  manifested  the 
greatest  interest  in  the  primary  fields  of 
art  and  when  scarcely  ten  years  of  age 

'Address  made  on  Wednesday  evening,  March  30th.  192 1.  at 
the  Memorial  Services  in  the  Scottish  Rite  Temple.  Washington, 
D.  C. 

[227] 


gave  expression  to  his  innate  talent  in  the 
painting  of  panoramas  and  making  mov- 
ing figures  and  scenic  dioramas,  for  the 
amusement  of  his  family  and  friends. 
At  the  age  of  fourteen  he  had  received 
an  ordinary  common  school  education, 
having  devoted  his  spare  time  day  and 
night  in  drawing,  painting  and  writing 
poetry,  and  some  of  these  early  effusions 
were  quite  remarkable  for  such  a  mere 
youth.  About  this  time  he  stopped 
school  and  determined  to  follow  a 
mercantile  life,  but  after  a  few  years  he 
tired  of  the  monotony  and  usual  routine 
of  business  affairs.  In  the  year  1861, 
becoming  imbued  with  the  military 
spirit  of  that  period,  he  entered  the 
Virginia  Military  Institute  at  Lexington 
as  a  cadet,  remaining  there  until  the 
Institute  was  burned  by  the  Union 
General  Hunter  in  1864  when  he  left 
with  the  Corps  of  Cadets  for  the  field 
of  action  in  the  valley  of  Virginia  and 
participated  with  them  in  the  Battle  of 
Newmarket,  remaining  in  the  Con- 
federate Army  until  the  close  of  the 
Civil  War.  In  1865  he  again  returned 
to  the  Institute  and  graduated  with 
honors    the    following   year.     The    re- 


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famous  corner   of  the  studio  of  Sir  Moses  Ezekul    m  tlK-    Hath->   dl    liuaiLtian,  Rome,   Italy, 
spicuous  are  the  "Homer"  group,  the  statue  of  "David"  and  the  bust  of  "Longfellow." 


Con- 


ART  AND  ARCHAEOLOGY 


Bust  of  the  composer  Franz  Liszt,  by  Sir  Moses  Ezekiel . 

verses  met  with  by  his  family  on 
account  of  the  Civil  War  induced  him 
again  to  re-commence  his  mercantile 
profession.  On  returning  to  Richmond 
in  1866  he  soon  tired  of  commercial 
affairs.  He  determined  to  adopt  paint- 
ing as  a  profession  and  executed  some 
very  creditable  canvasses,  among  which 
was  the  "Prisoner's  Wife"  for  Mrs. 
Mary  Custis  Lee,  wife  of  the  leader  of 
the  vSouthern  armies,  whose  friendship 
and  encouragement  he  had  enjoyed 
while  studying  at  Lexington  where 
General  Lee  and  his  family  resided. 
He  soon,  however,  turned  from  the 
study  of  painting  to  that  of  sculpture, 
his    first    efforts    being   a   bust    of    his 


father  and  an  ideal  composition  of 
"Cain,  or,  The  Offering  Rejected," 
His  knowledge  of  anatomy  being  in- 
adequate to  the  necessities  of  his  future 
requirements  for  the  study  of  art  he 
entered  the  Medical  College  of  Virginia 
for  the  regular  course  of  lectures  and 
study  in  "Anatomy  and  Dissection  of 
the  Human  Body." 

His  removal  to  Cincinnati,  Ohio, 
in  1868  gave  his  purpose  a  new  oppor- 
tunity. There  he  studied  drawing  at 
an  art  school  for  a  short  period  and 
worked  in  the  studio  of  a  local  sculptor 
where  he  made  a  statuette  entitled 
"Industry,"  which  was  publicly  ex- 
hibited and  favorably  criticized. 

It  was  but  natural  that  his  aspira- 
tions should  direct  his  steps  to  Europe 
for  his  further  training  in  what  he  in- 
tended as  a  profession  and  in  the  spring 
of  1869  we  find  him  sailing  for  Germany, 
for  it  was  in  Berlin  at  the  Royal  Art 
Academy  that  his  study  and  success 
brought  him  honor  and  a  still  broader 
opportunity.  In  the  summer  of  1873, 
at  the  age  of  29  years,  he  gained  the 
Michael- Beer  Prize  of  Rome,  which 
had  never  before  been  awarded  to  a 
foreigner,  for  his  basso-relievo  of 
"Israel,"  giving  him  two  years  study 
in  the  "Eternal  City.  "He  thereafter 
made  Rome  his  home,  with  an  occa- 
sional visit  to  Berlin  his  foster  mother, 
to  Paris  where  he  had  a  studio  also, 
and  to  America  his  native  land. 

While  in  Berlin,  during  his  four  years 
of  study  he  executed  several  ideal  works 
in  marble  for  patrons  there  and  also 
fulfilled  quite  a  number  of  commissions 
for  America.  Thus,  it  may  be  said, 
he  was  the  product  of  American  free- 
dom of  thought  and  purpose  plus  the 
patronage  of  Germany  and  the  inspi- 
ration of  Italy. 

It  was  then  but  natural  that  his 
art  should  follow  the  choicest  classical 


[229] 


Colossal  Marble  Group  of  "Religious  Liberty",  by  Sir  Moses  Ezekiel  'in   front  of  Horticultural  Hall, 
Fairmont  Park,  Philadelphia.     Unveiled  at  the  Centennial  Exposition  in  1876. 


Recumbent  Marble  Statue  of  "Christ  In  The  Tomb,"  in  the  Chapel  of  the  Consolation,  Rue  Goujon,  Paris, 

France,  by  Sir  Moses  Ezekiel.    Deeply  religious  in  his  nature,  it  is  quite  synificant  that  he,  an  Israelite,  should 

give  to  the  world  one  of  the  best  interpretations  of  Christ. 


lines  and  find  its  best  and  noblest  ex- 
pression in  ideal  subjects.  The  first 
and  greatest  one  was  the  incarnation 
of  an  abstract  idea  as  exemplified  in 
the  colossal  marble  group  of  "Religious 
Liberty"  for  the  Centennial  Exposi- 
tion of  1876,  which  was  permanently 
erected  inFairmount  Park,  Philadelphia. 
His  other  most  important  works  of  this 
character  are  "Eve  Hearing  the  Voice ;" 
"  Homer  Reciting  the  Ihad;  "  "Apollo 
Listening  to  Mercury;"  "David  Re- 
turning from  Victory;"  "Art  and  Na- 
ture;" "The  Fountain  of  Neptune;" 
"Christ  in  the  Tomb;"  "Napoleon  at 
St.  Helena;"  "The  Martyr,  or  Christ 
Bound  to  the  Cross;"  "Pan  and  Amor;" 
"Ecce  Homo;"  "David  vSinging  his 
Song  of  Glory;"  "Judith  vSlaying  Holo- 
fernes;"  "Jessica;"  "Portia,"  and 
others.  He  made  eleven  decorative 
heroic  portrait  statues  of  the  greatest 
painters  and  sculptors  for  the  old 
Corcoran  Art  Gallery  building  of  Wash- 
ington; the  "Stonewall  Jackson" 
statue  for  Charleston,  West  Virginia, 
and  a  replica  for  Lexington,  Virginia; 
the  allegorical  Jefferson  Monument  for 
Louisville,  Kentucky,  and  a  replica 
in  front  of  the  University  of  Virginia  at 
Charlottesville;     "Virginia     Mourning 

[231] 


Her  Dead"  at  the  Virginia  Military 
Institute  at  Lexington;  the  "Con- 
federate Outlook"  at  Johnson's  Island, 
Lake  Erie;  the  Lord  Sherbrooke  Mem- 
orial in  Westminster  Abbey,  London, 
England;  bronze  seated  public  sta- 
tues of  Anthony  J.  Drexel inFairmount 
Park,  Philadelphia,  of  Senator  Daniels 
at  Lynchburg,  Virginia ,  of  Edgar  Allan 
Poe  (his  last  work)  for  Baltimore, 
Maryland,  and  others. 

He  excelled  in  portrait  busts  and 
executed  many  of  them  in  marble  and 
bronze;  that  of  "Washington,"  now  in 
the  Cincinnati  Art  Museum,  giving 
him  his  professional  start  in  Berlin. 
Those  of  Franz  Liszt  and  Cardinal 
Gustave  von  Hohenlohe  gained  for 
him  the  Knighthood  for  "Science  and 
Art,"  and  many  other  very  notable 
men  and  women  sat  to  him  for  por- 
trait busts  and  relievos.  He  was  ac- 
corded the  rank  of  "Chevalier"  by 
King  Victor  Emmanuel  and  later  re- 
ceived the  title  of  "Officer  of  the  Crown 
of  Italy"  from  King  Humbert.  He  re- 
ceived medals  from  the  Royal  Art  Asso- 
ciation of  Palermo,  the  Raphael  Medal 
of  Urbino,  medals  of  honor  and  honor- 
ary membership  from  many  other  Art 
Institutions,  Societies,  and  Expositions. 


Thomas  Jefferson  Monument  by  Sir  Moses  Ezekiel,   in    front  of  the  University  of  Virginia,  at  Char- 
lottesville.    A  replica  of  this  monument  is  also  in  front  of  the  City  Hall  at  Louisville,  Ky. 


ART  AND  ARCHAEOLOGY 


Marble   relievo— "Confession. "      M.    Ezekiel,    Berlin, 
Professor  Leo's  Collection,  Potsdam,  Germany. 


While  these  successes 
brought  him  deserving  recog- 
nition from  the  highest  art 
authorities,  it  is  nevertheless 
the  man  and  the  artist  to 
whom  we  are  paying  tribute 
today,  for  what  he  was  is 
quite  as  important  as  what 
he  did. 

He  established  his  studio 
in  the  ruins  of  the  Baths  of 
Diocletian,  a  most  spacious 
place,  and  the  simplicity  and 
greatness  of  the  man  was 
manifest  everywhere  in  the 
Eternal  City.  Here  he  wel- 
comed all  alike  whether  great 
or  lowly,  and  he  was  always 
ready  to  give  aid  and  en- 
couragement to  young  stu- 
dents who  came  to  him  for 
advice. 

Every  Friday  afternoon 
Ezekiel  kept  open  house  for 


873. 


his  friends  and  here  one  heard 
the  finest  music  by  the  great- 
est talent  and  met  not  only 
the  best  people  of  Rome, 
but  also  eminent  strangers 
who  might  be  visiting  the 
city  from  all  parts  of  the 
world.  Therefore,  an  invita- 
tion from  him  was  one  of  the 
prized  artistic  opportunities 
of  Rome.  Here  the  Queen 
Mother  and  other  members  of 
the  Royal  Household  were 
frequent  visitors.  It  was  in 
this  quaint  and  unique  abode 
that  he  liked  to  show  to  his 
friends  and  visitors  remark- 
able rare  examples  of  ancient 
art,  including  many  Greek 
and  Roman  fragments,  which, 
together  with  this  part  of  the 
Roman  Baths  themselves, 
contributed  in  no  little  degree 


Marble  relievo — "Consolation."      M.   Ezekiel,  Berlin,  1873. 
Professor  Leo's  Collection,  Potsdam,  Germany. 


[233] 


ART  AND  ARCHAEOLOGY 


Virginia  Mourning  Her  Dead. 

Colossal  bronze  statue  by  Sir  Moses  Ezekiel,  Rome, 
erected  on  campus  in  front  of  main  building  of  the 
Virginia  Military  Institute  at  Lexington  in  memory  of 
the  Cadets  of  the  V.  M.  I.  who  fell  at  the  battle  of  New- 
market, Va.  in  1864. 


to  the  nobility  of  the  setting  in  which 
art,  music,  and  beauty  were  most  hap- 
pily combined  with  living  forms  of 
foliage,  flowers  and  birds. 

Early  in  this  Roman  life  he  made  the 
acquaintance  of  Franz  Liszt,  the  emi- 
nent musical  composer,  and  Cardinal 
Gustave  von  Hohenlohe,  the  Papal 
representative  of  Austria.  An  intimate 
friendship  grew  up  between  these  three 


which  lasted  throughout  their  lives. 
They  formed  in  themselves  a  lovely 
trinity  of  Art,  Music  and  Religion,  as 
between  man  and  man,  and  it  is  quite 
natural  that  his  portrait  busts  of  these 
two  notables  should  be  among  his  best 
works.  Besides  the  winters  in  "The 
Eternal  City"  these  three  famous 
friends  had  frequently  their  summers  in 
the  Villa  d'Este  at  Tivoli,  that  sump- 
tuous palace  and  home  of  the  Cardinal. 
In  such  a  soil  and  in  such  an  atmos- 
phere was  the  sensitive  soul  of  Ezekiel 
nourished.  What  more  could  a  pro- 
found artist  ask,  greater  than  these,  for 
the  growth  of  the  spirit? 

After  a  residence  of  over  thirty  years 
in  the  Baths  of  Diocletian  it  nearly 
broke  his  heart  to  have  the  Govern- 
ment demand  the  possession  of  this 
part  of  the  ruins  as  an  adjunct  to  the 
National  Museum.  On  leaving  there 
he  was  given  by  the  municipal  author- 
ities the  Tower  of  Belisarius  on  the 
Pincian  Hill  overlooking  the  Borghese 
Gardens,  which  furnished  him  a  home 
for  the  rest  of  his  years,  while  he  took 
a  studio  and  work  rooms  in  the  Via 
Fausta  just  off  the  Piazza  del  Populo. 

However,  this  disappointment  had 
its  redeeming  side,  for  in  consequence 
at  this  time  he  took  occasion  to  visit 
America  and  while  in  his  native  country 
received  the  commission  to  execute 
the  Confederate  Soldiers  Monument, 
which  has  served  today,  in  a  measure, 
as  his  tomb,  in  the  Arlington  National 
Cemetery — this  monument  and  that  of 
Edgar  Allan  Poe,'  for  Baltimore,  being 
his  last  important  works. 

Ezekiel  was  helpful  and  generous  to 
the  poor,  a  friend  to  everyone,  and  by 
his  works  calls  all  who  follow  after 
him  to  the  service  of  man  for  better  and 
higher  ideals. 

Washi'iiglon,  D.  C. 

•See  Art  and  Archaeology,  vol.  V  no.  5  (May   191  7)   pp.    ^06- 
jios. 

[234] 


Lake  of  Nemi  in  the  Alban  Hills.     It  was  in  the  bottom  of  this  lake  that  the   ruiiiams  of  the   two  ships 

belonging  to  the  time  of  the   Roman   Emperor   Caligula   were  found.     The  banks   are  330  feet  in  height 

and  the  waters  of  the  lake  are  over  100  feet  in  depth. 


THE  ALBAN  LAKES 

By  Mary  Mendenhall  Perkins. 


I 


SAW  something  in  the  Museo 
delle  Terme  yesterday,  of  singular 
interest,"  observed  my  compan- 
ion, as  we  chatted  about  our  recent 
respective  Roman  wanderings. 

"What  was  it?"  I  asked. 

"Those  bronze  mooring  rings  and 
ornaments  from  the  two  ships  which 
were  discovered  in  the  bottom  of  Lake 
Nemi,  in  the  Alban  Hills." 

"Yes,  I  saw  those,  and  I  saw,  too, 
some  heavy  beams  of  larchwood,  one 
of  them  eight)'-five  feet  long,  which 
came  from  one  of  these  same 
ships." 

"  Let's  take  a  day  off  from  museums 
and  churches  and  visit  the  Alban 
lakes  tomorrow,"  she  suggested. 

[235] 


"Agreed,"  I  replied  gladly. 

The  Alban  Mountains,  with  their 
extinct  volcano  of  Monte  Cavo,  are 
still  frequently  reminded  of  their  vol- 
canic origin  through  the  medium  of  an 
occasional  earthquake,  while  the  two 
lakes,  Albano  and  Nemi,  without  doubt, 
occupy  the  beds  of  two  craters. 

The  region  about  Frascati,  has 
always,  owing  to  its  height  and  situa- 
tion, been  a  healthful  district,  abound- 
ing in  springs,  and  enjoying  the  benefits 
of  luxuriant  cultivation.  Alban  wine, 
as  we  know,  was  famous  even  in  antiq- 
uity. Both  Frascati  and  Albano,  near 
these  lakes,  have  been  surrounded  since 
the  most  ancient  times,  with  the  coun- 
try houses  of  wealthy  Romans. 


ART  AND  ARCHAEOLOGY 


Bronze  mooring-ring  from  one  of  the  ships  sunk  in 

the  bottom  of  Lake  Nemi  in  the  time  of  Caligula. 

It  is  of  perfect  workmanship  and  may  be  seen  today 

in  the  Museo  delle  Terme,  in  Rome. 

"No  wonder  the  region  is  so  full  of 
fascination  for  the  student,"  I  said.  "It 
is  the  human  interest,  after  all,  that  adds 
the  greatest  charm  to  these  scenes." 

"Yes,"  replied  my  friend,  "it  makes 
very  real  the  great  men  who  once  were  a 
part  of  it  all,  who  belonged  to  this  very 
soil." 

As  we  left  Frascati  behind  us  and 
took  the  road  to  Lake  Albano,  we 
passed  a  fountain  with  a  large  reservoir, 
at  which  a  number  of  the  country 
women,  wearing  the  picturesque  Alban 
costume,  were  washing  and  beating  their 
clothes,  talking,  laughing,  exchanging 
the  gossip  of  the  day,  and  making  a 
pleasure  of  their  labor. 

We  drove  along  this  beautiful  road, 
in  the  early  spring-time,  with  Monte 
Cavo  towering  above  us,  and  came  sud- 
denly into  full  view  of  the  Lake  of 
Albano.     Its  deep,   clear,   oval   basin, 


flowering  banks,  rich,  green  ilex  and 
cypress  trees  made  a  picture  of  endur- 
ing beauty.  We  passed  Castel  Gon- 
dolfo,  the  pope's  summer  residence, 
which  he  never  visits  now,  and  entered 
Albano  by  a  long  avenue  of  noble  ilex 
trees.  It  is  said  there  is  no  more  re- 
markable antiquity  in  the  world  than 
the  emissarium,  or  outlet  of  the  Alban 
lakes.  This  was  made  four  hundred 
years  before  the  Christian  era.  It  is  a 
tunnel  a  mile  and  a  half  long,  bored 
through  solid  rock  of  the  mountain  of 
Albano,  and  built  of  masonry.  It  was 
made  to  carry  off  the  waters  of  the  lake 
which  had  risen  to  such  a  height  that 
they  threatened  the  whole  plain  of 
Latium,  and  Rome  itself,  with  in- 
undation. 

At  this  time  Rome  was  besieging  the 
Etruscan  city  of  Veii,  twelve  miles  to 
the  north.  The  Delphic  oracle  being 
consulted,  said  that  Rome  would  never 
be  safe  or  Veii  conquered,  'til  the  waters 
of  the  Alban  were  made  to  flow  into  the 
sea.  As  it  occupied  the  bed  of  an  old 
volcanic  crater,  it  had,  up  to  this  time, 
no  visible  outlet.  So  the  Romans 
inspired  by  fear  of  defeat  and  destruc- 
tion, undertook,  and  carried  through, 
the  gigantic  work  within  a  year.  After 
the  lapse  of  twenty-three  hundred 
years,  it  still  carries  the  surplus  waters 
of  the  Alban  lakes  to  the  sea.  As  the 
channel  is  only  six  feet  high  and  three 
and  a  half  wide,  it  is  said  but  three  men 
could  work  in  it  at  one  time.  Piranesi 
says  they  must  have  bored  deep  pits,  in 
several  places  in  the  mountain,  to  the 
proper  level  and  let  men  down  to  work 
at  it.  The  strong  arch  of  masonry  at 
its  mouth  is  a  proof  that  the  structure 
of  the  arch  was  known  to  the  Romans 
as  early  as  400  B.  c. 

A  little  farther  on  we  saw  along  the 
shore  of  the  lake,  some  high  artificial 
caves  or  grottoes,  hollowed  out  of  the 

1236] 


ART  AND  ARCHAEOLOGY 


rocky,  steep  banks,  called  by  the 
natives,  the  "Bagni  di  Diana"  or  the 
"Baths  of  Diana."  They  are  thought 
to  be  the  remains  of  a  nymphaeum,  or 
summer  retreat,  constructed  by  the 
Emperor  Domitian. 

The  nymphae  of  ancient  times  were 
usually  made  in  the  sides  of  steep  hills ; 
certainly  no  more  delightful  place  for 
one  could  be  found  than  the  shore  of 
the  Alban  Lake. 

The  Emperor  Domitian  had  a  magni- 
ficient  villa  on  this  lake ;  portions  of  its 
ruins  being  visible  yet  in  the  extensive 
grounds  of  the  Villa  Barberini.  The 
villa  of  Domitian  included  those  of 
Clodius  and  Pompey.  The  most  curi- 
ous part  to  be  seen  today  is  a  long 
crypto-portico,  or  underground  pas- 
sage-way. Cicero  called  the  villa, 
■'Clodius's  insane  structure." 

The  present  Villa  Barberini  follows, 
in  its  general  plan,  the  outline  of  the 
glorious  villa  of  Domitian.  Many  of  the 
ancient  walls,  terraces  and  other  ruins 
are  so  concealed  by  a  thick  growth  of 
ivy,  ferns  and  evergieens,  that  one  feels 
rather  than  sees,  the  antiquity  of  the 
place.  It  is  said  that  no  tree,  flower  or 
bird  that  is  not  purely  of  classic  times 
seems  to  be  allowed  to  live  in  this  once 
imperial  domain.  No  flowers  adorn 
the  emerald  green  of  the  lawns,  except 
the  classic  rose  and  violet. 

Lanciani,  the  greatest  archaeologist 
in  Rome  today,  says  that  the  view 
from  the  Villa  Barljerini,  commands 
more  classic  history  "as  it  stretches  far 
away  from  the  foot  of  the  Alban  Hills 
to  the  Mediterranean,  from  the  pro- 
montory of  Circe  to  Mt.  Soracte, 
from  Ostia  to  the  Tiber  and  Rome, 
than  in  all  other  districts  of  Italy 
together." 

To  reach  Lake  Nemi,  we  followed  an 
ancient  road  which  led  over  an  impos- 
ing viaduct  spanning  the  gorge  betwene 

[237] 


Albano  and  Ariccia,  two  hundred  feet 
to  the  bottom  of  it!  Ariccia  was  the 
fifth  station  on  the  Appian  Way,  which 
is  remembered  as  the  place  where 
Horace  spent  the  first  night  of  his 
journey  to  Brundusium.  The  women 
of  Ariccia  and  Genzano,  on  Lake  Nemi, 
are  famed  for  their  beauty. 

The  beautiful  little  Lake  of  Nemi, 
was  once  the  crater  of  an  active  vol- 
cano. It  is  somewhat  smaller  than  the 
Lake  of  Albano,  more  nearly  round, 
and  sunk  more  deeply  in  its  woody 
banks;  so  deeply  indeed  that  it  is  said 
no  wind  ever  ruffles  its  glossy  surface. 
The  ancient  poets  called  it,  "  Diana's 
Mirror";  this  from  a  temple  to  the 
Scythian  Diana,  on  the  north  side  of 
the  lake,  where,  at  that  time,  was  only 
a  dense  forest.  Of  this  temple  only 
ruins  remain. 

The  rule  of  this  sanctuary  by  the  Lake 
of  Nemi,  was  truly  barbaric,  and  worthy 
of  the  Scythians,  for  no  one  could  be 
elected  High  Priest  of  the  Temple, 
unless  he  had  slain,  in  single  combat, 
with  his  own  hands,  his  predecessor, 
who  had  won  the  office  in  the  same 
manner.  Imagine  the  state  of  terror  in 
which  the  pagan  priests  must  have 
lived.  This  dreadful  rite  was  con- 
tinued down  to  the  time  of  Marcus 
Aurelius,  in  the  second  century  of  the 
Christian  era. 

Archaeologists  tell  us  that  this  lake 
was  formed  hundreds  of  years  before 
the  extinction  of  the  last  volcano  in  the 
Alban  Mountains.  One  can  imagine 
what  an  awe-inspiring  place  it  must 
have  been  to  the  worshippers  in  the 
Temple  of  Diana.  The  borders  of  the 
lake,  covered  with  its  thick  forest 
must  have  echoed  and  re-echoed  to  the 
rumbling  and  frightful  outbursts  of  the 
nearby  Monte  Pila.  We  are  told  that 
the  ashes  and  smoke  filled  the  sky  and 
the  echoes  from  cliff  to  cliff  and  from 


ART  AND  ARCHAEOLOGY 


mountain  to  mountain  were  heard  as 
far  as  Rome. 

Perhaps  the  most  interesting  thing 
connected  with  this  lake  today,  was  the 
discovery  some  years  ago,  of  the  two 
ships  at  the  bottom  of  the  lake  which  is 
over  one  hundred  feet  deep.  The 
ships,  relics  of  which  had  formed  the 
immediate  cause  of  this  pilgrimage  of 
ours,  are  of  great  size  and  rich  in  va- 
rious kinds  of  ornament.  They  were 
doubtless  launched  in  the  luxurious 
time  of  Caligula,  nearly  two  thousand 
years  ago.  Many  attempts  have  been 
made  during  the  last  five  hundred  years 
to  bring  them  to  the  surface,  but  so  far, 
without  success,  as  they  are  deeply 
imbedded  in  the  silt  and  mud  of  the 
lake.  By  an  ingenious  arrangement  of 
floaters,  tied  to  strong  cords,  the  other 
ends  of  the  latter  fastened  around  the 
sides  of  the  sunken  ship,  the  exact 
shape  and  outline  of  these  boats  were 
obtained.  One  of  the  ships  was  thus 
found  to  be  two  hundred,  the  other  two 
hundred  and  fifty  feet  long. 

For  the  fourth  time,  the  raising  of  the 
submerged  craft  was  tried  in  1895,  with 
better  results  than  formerly.  The 
decks  of  the  first  boat  examined  by  the 
divers  must  have  been  a  marvelous 
sight;  evidently  money  had  not  been 
spared  to  make  them  wonderfully 
beautiful.  They  were  paved  with  disks 
of  porphyry,  and  serpentine,  two  of  the 
rarest  marbles,  about  a  quarter  of  an 
inch  thick,  framed  in  lines  of  white, 
gold,  red  and  green  enamel.  The 
parapet  and  railings  were  all  heavily 


gilded ;  the  lead  pipes  which  had  carried 
the  water  to  the  fountain  on  deck,  were 
inscribed  with  the  name  of  Caligula, 
Roman  Emperor.  The  beautiful 
bronze  mooring-rings  from  the  first 
ship,  to  be  seen  in  the  Museo  delle 
Terme  today,  include  lions,  wolves  and 
tiger's  heads,  also  a  fine  head  of  Medusa, 
in  bronze.  A  large  number  of  Larch- 
wood  beams,  which  we  saw  in  the  same 
museum,  were  brought  up  partially 
broken. 

On  the  second  ship,  marble  terraces, 
enameled  decks,  shrines  and  fountains, 
were  discovered,  with  what  had  once 
been  hanging  gardens. 

"How,"  asked  my  friend,  "were  two 
such  large  ships  ever  launched  on  this 
small  lake,  with  its  steep  banks, 
hundreds  of  feet  to  the  waters' 
edge?" 

"No  one,  even  among  our  learned 
archaeologists,  has  answered  that  ques- 
tion yet,"  I  replied. 

"Of  course  there  are  many  opinions 
and  theories,  but  thus  far  they  are  only 
surmises.  The  wisest  of  them  all, 
Lanciani,  says  he  believes  the  ships 
were  used  for  religious  ceremonies  con- 
nected with  the  Temple  of  Diana,  and 
for  combined  processions  on  land  and 
water." 

When  these  ships  are  floated  again, 
if  they  ever  are,  perhaps  discoveries  will 
be  made,  then,  which  will  reveal  to  us 
the  mystery  of  their  origin  and,  it  may 
be,  tell  us,  too,  what  fates  conspired  to 
bring  about  their  end. 

Los  A  ngeles,  California. 


[238] 


SOME  LITERARY  BOOKPLATES 


By  Alfred  Fowler. 


THE  HIGHWAYS  of  Literary  Book- 
plates have  been  well  and  truly  ex- 
plored but  many  byways  of  untold 
charm  and  happiness  are  still  uncharted. 
The  bookplates  of  literary  people  are 
usually  "association  copies"  but  some  of 
them  bear  more  clearly  than  others  the 
sign  manual  of  individuality.  Tower- 
ing head  and  shoulders  above  the 
majority  of  its  fellows — always  pro- 
vided a  bookplate  may  have  head  and 
shoulders — may  be  found  the  design 
used  by  A.  Edward  Newton  of  Ameni- 
ties of  Book-Collecting  fame. 

For  bookplates  some  people  choose 
posters,  others  choose  engravings  after 
the  fashion  of  their  silver  plate,  whilst 
still  others  seem  to  prefer  merely  to 
enhance  the  decoration  of  their  books 
by  adding  some  conventional  ornament. 
But,  whatever  the  motif,  whatever  the 
mode,  a  wise  man  like  Mr.  Newton 
chooses  a  design  he  will  always  cherish. 
The  wise  man's  bookplate  has  an  in- 
dividuality and  permanency  which,  like 
his  choice  of  books,  reflects  his  own 
character. 

As  one  would  expect,  Mr.  Newton's 
bookplate  is  of  Johnsonian  interest  and 
depicts  an  incident  in  Boswell.  John- 
son and  Goldsmith  were  standing  in  the 
Poet's  Corner  of  Westminster  Abbey 
when  Johnson  quoted,  "  Forsitan  et 
nostrum  fjonien  miscebitur  istis."  (Per- 
haps some  day  our  names  will  mingle 
with  these.)  On  their  way  home  they 
noticed  the  heads  of  some  traitors 
spiked  on  Temple  Bar  and,  probably 
with  thoughts  of  their  own  Jacobite 
tendencies  in  mind,  Goldsmith  para- 
phrased the  quotation,  "Perhaps  some 
day  our  heads  will  mingle  with  those!" 


The  bookplate  of  Algernon  Charles 
Swinburne  is  typical  of  his  attitude 
toward  his  books  during  those  last 
years  "the  little  old  genius  and  his 
little  old  acolyte"  (Watts-Dun ton)  spent 
in  their  "dull  little  villa"  in  Putney. 
When  Fitzmaurice-Kelly  complimented 
the  poet  on  his  collection  of  Elizabethan 
and  Jacobean  dramatists  Swinburne 
said,  "Yes!  not  bad  for  a  poor  man," 
and  so  it  was  with  his  bookplate  except 
the  bookplate  would  not  have  been  bad 
for  a  rich  man  who  really  loved  his 
books. 

Being  a  severely  simple  typographical 
label,  the  bookplate's  interest  lies  purely 
in  its  association  with  its  genius  owner 
who  withdrew  more  and  more  into  his 
books  as  deafness  and  the  beneficent 
tyrarmy  of  Watts-Dunton  overwhelmed 


[239] 


ART  AND  ARCHAEOLOGY 


•:•  Fr6m  tfie  CiBfary  of" 


Mgefhon  Chaffes  SwinGuihe 


him  at  "The  Pines."  No  far  stretch  of 
the  imagination  is  required  to  visuaUze 
the  poet  pasting  his  emblem  of  esteem — 
for  was  he  not  giving  it  his  own  name  ? — 
into  a  newly  acquired  and  much  be- 
loved Elizabethan  quarto  just  added  to 
that  select  company  which  had  become 
such  a  real  part  of  himself  in  those  last 
years  of  seclusion. 

That  Swinburne  was  a  great  admirer 
of  Victor  Hugo  is  attested  by  the  fact 
that  he  called  Hugo  "the  greatest  man 
bom  since  the  death  of  Shakespeare." 
Whether  or  not  we  fully  agree  with  that 
opinion,  most  of  us  will  admit  being 
very  much  interested  in  Hugo's  life  and 
work,  although  all  too  few  of  us  are 
acquainted  with  his  bookplate  made  in 
July,  1870,  by  Aglaiis  Bouvenne  and 
sent  to  him  as  one  of  the  countless  gifts 
received  during  his  "glorious  exile"  in 
Guernsey.  We  may  well  believe  that 
such  a  staunch  advocate  of  the  utilty 
of  the  beautiful  made  good  use  of  the 
bookplate  in  the  small  but  select  work- 
ing library  of  "The  Lookout"  on  the 
roof  of  Hauteville  House.  Here  the 
red-robed  figure  worked  incessantly, 
standing  before  a  little  shelf  high  on  the 
wall,  magically  transmuting  bottles  of 
ink  into  golden  fruit. 

The  bookplate  is  a  result  of  the 
artist's  admiration  for  Les  Chatiments, 
"a  book  written  in  lightning"  as  Swin- 
burne says,  and  shows  Notre  Dame  de 
Paris  in  a  storm-shadowed  background 
with  a  streak  of  lightning  flashing  across 
the  foreground  and  bearing  the  name 
"Victor  Hugo."     There  is  also  an  im- 


aginary bookplate  in  existence  which 
Hugo  never  saw  or  used  and  which 
depicts  a  frog  on  a  ledge  over  the  water, 
looking  at  the  setting  sun  in  which 
appears  the  name  "Hugo." 

vSpeaking  of  Shakespeare  calls  to 
mind  the  two  superb  bookplates  the 
late  C.  W.  Sherborn,  R.  E-,  engraved 
for  the  Shakespeare  Memorial  Library 
and  the  Shakespeare's  Birthplace  Li- 
brary at  Stratford-upon-Avon.  These 
two  bookplates  were  engraved  by  Mr. 
Sherborn  in  his  best  style,  that  for  the 
Birthplace  Library  reproducing  the 
interior  of  the  room  in  which  the  bard 
is  said  to  have  been  born  whilst  the 
bookplate  for  the  Alemorial  Library 
reproduces  the  Droeshout  portrait  per- 
fectly in  a  space  less  than  an  inch  and  a 
half  high! 

Around  the  portrait  is  a  frame  of 
beautiful  roses  and  leaves  from  the  forest 
of  Arden  and  just  above  the  portrait  are 
the  Shakespeare  arms  with  the  old 
motto,  "  Non  sans  droict."  A  Baconian 
with 


fair    degree    of    confidence 


m 


[240] 


ART  AND  ARCHAEOLOGY 


Shakespeare's  integrity  must  find  con- 
siderable food  for  thought  in  that 
motto — "  Nothing  without  Right "  ! 

Mr.  T.  Sturge  Moore,  that  genius  so 
talented  in  poesy  as  well  as  art,  has 
made  only  a  few  bookplates  but  all  of 
them  are  rare  examples  of  what  a  vital 
piece  of  art  a  bookplate  can  be  in  the 
hands  of  a  master.  Mr.  Moore  always 
combines  his  own  ideas  with  those  of 
his  friends  in  making  bookplates  for 
them.  Thus  the  bookplate  of  W.  B. 
Yeats  is  doubly  interesting  as  a  literary 
bookplate  since  it  combines  in  a  "sweet 
wedding  of  simplicity"  the  ideas  of  its 
poet  owner  and  its  poet-artist  maker. 
The  design  has  precisely  the  feeling  one 
would  expect  to  find  in  the  personal 
mark  of  the  author  of  Deirdre  and  The 
Host  of  the  Air. 

On  one  side  we  see  a  full-formed 
maiden  reaching  for  the  overflowing 
flagon  of  life  whilst,  on  the  other  side, 
the  empty  bowl  is  being  reluctantly  put 
down  by  a  hooded,  wasted  figure  of  age, 

[241] 


symbolical  of  life  and  of  its  fullness  and 
emptiness  at  once.  A  vignette  in  the 
center  recalls  the  Rose  of  Shadow  where 
"suddenly  the  thatch  at  one  end  of 
the  roof  rolled  up,  and  the  rushing 
clouds  .  .  .  seemed  to  be  lost  in^a 
formless  mass  of  flame  which  roared  but 
gave  no  heat,  and  had  in  the  midst  of 
it  the  shape  of  a  man  crouching  on  the 
storm." 

The  bookplate  Mr.  vSturge  Moore  has 
made  for  Campbell  Dodgson  is  another 
particularly  fine  creation,  this  time  com- 
bining the  ideas  of  two  ardent  enthu- 
siasts of  wood-engraving  with  the  happy 
results  one  might  justly  expect.  Mr. 
Dodgson,  who  is  the  Keeper  of  Prints 
and  Drawings  at  the  British  Museum, 
has  written  a  great  deal  about  wood- 
engraving  and  other  branches  of  art, 
especially  the  work  of  Albrecht  Diirer. 
"  Diligence  Taming  the  Passions  "  is  the 
subject  of  the  design  in  which  the  poet- 
artist  has  given  full  play  to  his  mastery 


,  ^^^^^SS^. 


ART  AND  ARCHAEOLOGY 


of  design  and  of  the  art  of  engraving  on 
wood,  resulting  in  a  little  masterpiece 
that  will  rank  with  the  chosen  few  as 
time  goes  on.  The  lettering  and  border 
were  added  when  the  bookplates  were 
printed  at  the  Eragny  Press. 

A  shepherd  in  a  leafy  bower  whiling 
away  the  dreamy  noontide  charmed  by 
the  piping  of  Pan  was  Edmund  Clarence 
Stedman's  idea  of  an  idyllic  existence. 
The  motto  on  the  bookplate  of  this 
anomalous  genius  who  once  character- 
ized himself  as  "  a  man  of  letters  among 
men  of  the  world,  and  a  man  of  the 
world  among  men  of  letters,"  gives 
another  interesting  glimpse  of  his  real 
character.  The  motto  " Le  coeiir  an 
metier,"  which  may  be  freely  translated 
"With  your  heart  in  your  work" 
echoed    his    heartfelt    sentiments    and 


reflected  a  hidden  strength  which  drove 
him  to  wrestle  with  Commerce  to  gain 
the  leisure  to  woo  the  Muses.  When 
he  sought  refuge  at  Kelp  Rock  from  the 
stormy  existence  at  the  Stock  Exchange 
it  is  easy  to  believe  that  he  derived  an 
immense  amount  of  satisfaction  from  a 
possession  which  so  constantly  re- 
minded him  of  his  ideal.  On  opening 
a  book,  even  a  glance  at  the  little  book- 
plate would  do  much  toward  establish- 
ing that  peaceful  state  of  mind  he 
sought. 

Stedman's  verse  and  criticism  testify 
to  his  abihty  as  a  man  of  letters  whilst 
his  popularity  with  his  business  asso- 
ciates led  them,  after  his  death,  to 
subscribe  a  fund  to  furnish  a  room  in  the 
Keats-Shelley  house  at  Rome  in  per- 
petuation of  his  memory.  The  Keats- 
Shelley  Memorial,  in  this  connection, 
has  an  unusual  bookplate  engraved  on 
wood  by  Timothy  Cole  after  a  design 
by  Howard  Pyle  which  is  one  of  only 
eight  designs  for  bookplates  by  that 
artist. 

A  comprehensive  paper  on  Literary 
Bookplates  would  include  an  almost 
endless  list  of  authors'  bookplates  and 


tt?T^EX/LIBRIS  CAMPBELL  DODGSON»>^ 


[242] 


ART  AND  ARCHAEOLOGY 


EX 


BRIS 


B 


—  i.E   COEUR' 


STEDMAN 


hearts  of  collectors.  In  this  small  space 
the  attempt  has  been  to  deal  with  a  few 
exceptional  devices  which  stand  out 
from  their  fellows  as  affording  otherwise 
closed  vistas  of  their  owners'  lives  and 
characters.  The  field  has  not  been 
exhausted  —  indeed  the  surface  has 
^_.  .  -     .■^^^_— -—-----_         barely  been  scratched ! — and  it  may  be 

Fr'AT ^"SHF LLrniFTIORlAL ' \      possible    to    deal   with   additional   ex- 
f^t.^l_^^rmJ^u^^i^_i:^Ll- )       ^^pi^g    ^^   ^^^   future    if    the    subject 


would   be   about    as   useless   as   those     should  be  found  of  sufficient  interest, 
check-lists  which  are  so  dear  to  the       Kansas  City,  Mo. 


[243] 


WILLIAM  RUSH 


THE  EARLIEST  NATIVE-BORN  AMERICAN  SCULPTOR 
By  Wilfred  Jordan. 


WHEN  OUR  ancestors  came  to 
America  they  brought  with  them 
only  a  few  essential  household 
goods  and  for  a  considerable  period  were 
unable  to  supplement  these,  except  with 
the  plainest  and  most  necessary  things 
of  their  own  manufacture.  Later,  as 
conditions  became  more  settled  our 
early  craftsmen  found  opportunity  to 
beautify  their  work  and  these  efforts 
mark  the  beginning  of  American  Art. 
The  craft  of  the  wood  carver  in  early 
times  being  a  luxury  rather  than  a 
necessity,  its  development  was  slow, 
and  only  became  stabilized  when  our 
cities  began  to  grow  and  general  pros- 
perity was  established. 

The  names  of  the  most  of  these 
artists  in  wood  have  long  been  forgotten 
but  one  stands  out  preeminent  as  the 
master  of  them  all,  William  Rush. 
Bom  in  Philadelphia,  in  1756,  he  was 
apprenticed  while  a  mere  lad  to  Edward 
Cutbush,  a  carver  from  London,  and 
developed  such  remarkable  aptitude 
that  it  was  not  long  before  he  was 
"rewarded  by  a  large  and  lucrative 
business  in  the  designing  of  figureheads 
for  ships." 

In  such  times  as  Rush  could  snatch 
from  his  occupation,  he  executed  a 
creditable  number  of  pieces  of  sculpture. 
Of  these  the  best  known  are  his  figures 
of  "George  Washington"  and  "Leda 
and  the  vSwan"  (sometimes  called  the 
"Nymph  and  the  Bittern"  and  "The 
vSpirit  of  the  vSchuylkill. ")  Both  of 
these  examples  of  his  work  are  in  the 
National  Museum  collection  at  Inde- 
pendence Hall. 

In  more  than  forty  biographical  and 
historical  works  in  which  William  Rush 

[245] 


is  mentioned,  the  name?  of  his  parents 
or  descendants  are  not  given.  "The 
son  of  a  ship  carpenter,"  "Third  child 
of  a  family,"  "The  only  child  of  a  ship 
carpenter,"  so  his  biographers  state; 
agreeing,  however,  that  he  was  bom  in 
Philadelphia  July  4,  1756,  and  died  there 


Liberty  cruvvning  Washington  the  latest  Rush  find. 

Now  on  exhibition  in  the  Metropolitan  Museum  of 

Art,  New  York  City. 


ART  AND  ARCHAEOLOGY 


Januan'  17,  1833.  Few  of  the  details 
of  Rush's  life  have  been  preserved  in 
any  form.  The  best  sketch  of  him, 
though  very  brief  is  to  be  found  in 
William  Dunlap's  Arts  of  Design. 

To  see  any  of  the  work  of  Cutbush, 
to  whom  Rush  was  apprenticed,  is  to 
realize  that  he  was  chiefly  self-taught, 
and  in  spite  of  his  limitations  his  work 
displays  a  depth  and  breadth  of  artistic 
feeling  and  understanding  that  are  truly 
remarkable  in  view  of  his  restricted 
opportunities. 

His  figurehead  of  the  "Indian 
Trader"  for  the  ship  William  Penn  was 
so  true  to  life  that  the  wood  carvers  of 
London  would  come  in  row  boats  and 
lay  near  the  vessel  and  sketch  designs 
from  it,  they  even  made  plaster  casts  of 
the  head.  His  figure  of  "The  Genius 
of  the  United  States"  for  the  frigate 
United  States,  his  "Nature"  on  the 
frigate  Constellation,  and  his 
"America,"  a  female  figure  crowned 
with  laurel  decorating  the  frigate 
America  launched  in  1782.  All  were 
of  chaste  design  and  of  great  strength. 
Of  his  "River  God"  on  the  ship 
Ganges,  Charles  Willson  Peale  said, 
"  Its  beautifully  proportioned  moulding 
forms  a  face  that  seems  'petrified  by  the 
sentiment  of  the  Infinite;'  one  is  im- 
pelled to  reverence." 

Besides  numerous  real  and  mythical 
characters.  Rush  also  executed  ad- 
mirable busts. 

What  is  interesting  and  not  generally 
known  is  that  many  of  his  works  are 
still  preserved,  and  in  a  remarkable 
state  of  preservation,  considering  the 
usage  many  have  received. 

A  list  of  his  carvings  which  have  been 
identified  by  the  writer  and  not  already 
mentioned,  follows: 

Full-length  figures  of  "Wisdom," 
"Justice,"  "Winter,"  "The  Schuylkill" 
(river),    "Chained,"    "The    Schuylkill 


Original  head  of  Leda  from  the  wood  carved  figure  of 

Leda  and  the  swan  by  WiUiam  Rush.    The  rest  of  the 

figure  has  been  destroyed. 

Freed,"  "Comedy,"  "Tragedy,"  "The 
American  Eagle,"  "Commerce,"  "La- 
bor," "Peace,"  "War,"  and  "Liberty 
Crowning  Washington" — a  recent  dis- 
covery, now  on  exhibition  at  the  Metro- 
politan Museum  of  Art,  New  York  City. 
The  biggest  group  of  these  is  at  the 
Old  Fairmount  Water  Works,  Phila- 
delphia, now  the  New  Municipal  Aqua- 
rium. Here  repose  "Wisdom"  and 
"Justice,"  both  colossal  figures  carved 
for  the  occasion  of  Lafayette's  visit  to 
Philadelphia  in  1824.  Originally  these 
were  placed  on  a  triumphal  arch  in 
front  of  Independence  Hall.  "Justice" 
leans  on  a  shield  with  balance  and 
scales;  "Wisdom"  looks  into  a  mirror, 
which  she  holds  in  her  right  hand,  a 
serpent  coils  down  her  left  arm  its  head 
within  the  grasp  of  her  half-closed 
hand. 

[246] 


ART  AND  ARCHAEOLOGY 


Rush  gave  an  exhibition  of  his  work 
at  the  Philadelphia  Academy  of  the 
Fine  Arts,  in  1812,  which  included  busts 
of  Linnaeus,  William  Bartram,  Henr}' 
Muhlenberg,  two  busts  of  William  Penn, 
a  bust  of  himself,  and  busts  of  Voltaire, 
Franklin,  Rousseau  and  Lafayette ;  also, 
statues  of  ideal  figures:  "Architecture," 
"Exhortation,"  "Praise,"  "Cherubim," 
"Agriculture,"     and    "Christ    on    the 

ross. 

It  is  very  easy  to  analyze  Rush's 
style  and  to  pick  hall-marks  for  identi- 
fication; he  had  his  favorite  motifs  and 
designs;  his  proportions  were  nearly 
perfect,  his  details  fine.  In  almost 
every  case  his  figures  were  hollow,  where- 
ever  the  proportions  admitted,  even  in 
the  arms  and  feet ;  and  each  section  was 


carefully  fitted  with  long  wooden  dowels 
and  then  glued  together.  There  is 
evidence  that  he  treated  the  hollow 
parts  of  his  figures  to  help  preserve 
them,  using  cedar  oil  or  bees'  wax  for 
that  purpose. 

Dunlap  tells  us:  "His  time  would 
never  permit  or  he  would  have  worked 
in  marble.  He  used  to  say  it  was  im- 
material what  the  substance  was,  the 
artist  must  see  distinctly  the  figure  in 
the  block." 

It  is  impossible  to  find  in  America 
better  expressions  of  the  woodworker's 
art  than  the  work  of  this  genius  who 
may  be  truthfully  called  the  earliest 
native-bom  American  sculptor. 

Independence  Hall,  Philadelphia. 


RU5  IN  URBE 

Song  for  City  Folk  in  tKe  Spring-time. 

/4nd,  oh,  "where'er  the  Sunset  trails 

Beauty  inheres, 
Whether  o'er  land  the  daylight  fails 

Or  on  shimmering  meres; 
E'en  these  small  squares  of  city  grass, 

Emerald  and  gold. 
In  magery  of  web  surpass 

Famed  meads  of  old. 
And,  oh,  where'er  Youth  doth  abound 

Love  hath  delight, 
Whether  of  low,  near  to  the  ground, 

or  of  the  height! 
Humble,  indeed,  who,  hand  in  hand, 

Walk  through  the  streets; 
Yet  glance  and  touch  make  fairyland 

As  the  heart  beats! 

H.ARVEY  M.  Watts. 


[247  J 


GLIMPSES  INTO  GREEK  ART 


By  Frederick  Poulsen. 


I 


N  ONE  of  the  cabinets  of  the  Met- 
ropoHtan  Museum  of  Art  in  New 
York  is  exhibited  a  gold  ring  with  an 
engraved  bezel,  representing  a  young 
woman  who  has  thrown  her  dress  over  a 
chair  and  now  stands,  lifting  her  arms  in 
sheer  joy  of  the  pliant  strength  of  her 
young  body.  Judging  by  its  style  it 
was  executed  in  the  fifth  century  b.  c. 
by  a  Greek  artist, 
but  there  is  some- 
thing so  fresh  and  en- 
gaging in  the  figure 
that  after  two  thou- 
sand years  its  charm 
is  still  felt  by  the 
spectator.  I  wonder 
how  many  persons  in 
the  busy  and  rest- 
less crowds  of  New  York  know  of  the 
existence  of  this  little  work  of  art  which 
after  many  travels  has  come  to  rest  in 
the  heart  of  their  city,  reminding  them 
of  the  joys  to  be  gained  from  the 
memory  of  their  past.  No  one  can 
escape  sorrow,  but  it  is  in  the  power 
of  everyone  to  fill  his  leisure  hours  with 
the  pleasure  to  be  found  in  the  artistic 
creations  of  man.  It  is  the  dream  of  the 
artist  that  his  work  shall  lighten  the 
daily  life  of  the  generations  to  come. 
But  the  artist  is  powerless  without  the 
help  of  others  who  guard  and  transmit 
what  he  has  made.  A  poet's  songs  will 
not  be  remembered  and  treasured  by 
generation  after  generation  unless 
lovers  of  poetry,  year  by  year,  bear 
witness  to  the  worth  of  their  treasures. 
As  with  poetry,  so  it  is  with  painting. 
During  the  period  of  the  Renaissance  it 
was  seen  that  life  became  more  vivid, 
that  new  sources  of  pleasure  were 
opened  through  the  study  and  appre- 


ciation of  the  art  of  antiquity,  study 
aimed  not  at  imitation,  but  pursued 
for  inspiration  in  art,  and  for  the  adorn- 
ment of  everyday  life .  And  to  this  very 
day  intellectual  Europe  is  living  on  that 
inheritance.  Its  historians  are  the 
enemies  of  corruption,  the  servants  of 
immortality,  the  steadfast,  chivalrous 
guard  of  the  great  memories  of  life  and 
art. 

But  the  muse  of  history  is  like  the 
fairy  who  lures  her  knight  deeper  and 
deeper  into  the  charmed  mountain. 
Imperceptibly  it  leads  the  inquirer  from 
art  to  life,  from  the  great  events  and 
persons  of  the  past  to  the  common- 
places of  its  everyday  life.  In  this 
change  of  view  the  excavation  and  re- 
discovery of  the  lost  ancient  cities  Her- 
culaneum  and  Pompeii  formed  the  turn- 
ing-point, by  bringing  to  the  investiga- 
tors of  the  eighteenth  century  the  prob- 
lem of  interpreting  life  as  lived  in  these 
old  towns,  in  the  artistic  dwellings  of  the 
aristocracy  as  well  as  in  the  mean  gar- 
rets of  the  common  people.  The  dis- 
coveries did  away  with  the  erroneous 
conception  of  the  Greeks  as  a  chosen 
people,  endowed  by  the  gods  with 
superiority  both  in  art  and  in  science. 
And  how  much  has  been  added  by  later 
investigation,  how  much  both  of  light 
and  shade  has  been  brought  out  in  the 
picture?  What  a  revelation  it  is  when, 
through  the  inscriptions  from  the  tem- 
ple of  Asklepios  in  Epidauros,  we  learn 
of  a  popular  ignorance  and  superstition 
against  which  the  contemporary  works 
of  a  Plato  and  an  Aristotle  are  thrown 
into  strong  relief.  That  students  have 
sometimes  gone  too  far  in  recording 
commonplace  facts  must  be  admitted, 
but  the  final  decision  in  this  matter  does 


[248] 


ART  AND  ARCHAEOLOGY 


not  rest  with  the  layman.  He  must 
content  himself  with  the  assurance  that 
not  all  secrets,  not  all  peccadillos  are 
recorded,  and  it  is  possible  to  commit 
even  a  great  many  follies  which  will 
disappear  into  the  common  grave  of 
time,  leaving  no  trace  behind.  But 
does  anything  remain  of  special  and 
exclusive  value  in  the  Greeks  and  in 
Greek  art  when  the  soul  of  their  peo- 
ple is  thus  placed  under  the  microscope 
of  scientific  investigation?  Greek 
sculpture  cannot  be  denoted  simply  as 
classical  and  contrasted  with  realism 
and  romanticism.  Art  was  only  classi- 
cal in  the  fifth  century  and  during  a 
small  part  of  the  fourth  century  b.  c. 
During  the  remainder  of  the  fourth 
century  and  the  whole  of  the  Hellenis- 
tic period  we  see  Greek  art  pass  through 
all  stages  from  extreme  realism  to 
romantic  pathos,  from  charming,  often 
superficial,  conventionality  to  the  ex- 
pression of  the  most  intense  feeling, 
thus  including  as  many  living  and  in- 
dividual forms  as  are  possible  within 
the  limits  of  the  art  of  sculpture. 
Hellenistic  art  embraces  not  only  rep- 
resentations of  street  characters  and 
intoxicated  crones  but  also  the  theatri- 
cal contortion  of  Laocoon.  The  con- 
trast between  ancient  and  modem 
sculpture  lies  not  in  the  style  or  tech- 
nique, since  we  find  styles  ranging  from 
the  baroque  to  dry  classicism,  and  we 
find  great  variety  both  in  the  treatment 
of  material  and  in  the  employment  of 
tools.  The  contrast,  as  the  English 
archaeologist  Guy  Dickins,  who  lost 
his  life  in  the  World  War,  has  so  well 
said,  lies  only  in  the  psychological  rela- 
tion of  the  people  to  art.  In  modern 
times,  which  we  may  consider  as  be- 
ginning with  ancient  Rome,  the  mass  of 
the  people  are  indifferent  to  works  of 
art.  It  would  be  no  punishment  to 
exile  a  man  of  the  people  to  a  town  de- 

[249] 


void  of  statues  and  paintings.  He 
would  not  suffer  consciously  either 
in  his  spiritual  or  his  bodily  well- 
being.  Even  in  the  time  of  the  Re- 
naissance, which  was  much  keener  in 
its  enthusiasm  for  art  than  the  present 
time,  it  did  not  make  any  difference  in 
a  man's  emotional  attitude  toward 
life  whether  he  lived  in  a  town  full  of 
paintings  or  in  one  where  there  were 
only  a  few,  for  even  paintings,  which 
the  present  time  understands  far  better 
than  sculpture,  are  only  considered  a 
handsome  supplement  to  good  furni- 
ture, not  as  a  vital  necessity.  Art  is  a 
beautiful  by-product  of  human  activity, 
but  can  be  dispensed  with  in  modem 
opinion.  But  to  the  ancient  Greeks 
art  was  more  than  a  luxury  and  an 
ornament  of  life ;  and  even  to  a  common 
Greek  exile  to  a  city  without  statues 
would  have  been  a  terrible  punishment. 
It  would  have  meant  to  him  banishment 
to  a  desert  of  ungodliness,  and  a  life 
without  religion.  The  religious  feelings 
of  the  Greeks  were  not  satisfied  by 
ceremonies  and  edifying  speeches.  The 
temples  of  the  gods  and  their  glorious 
images  were  to  him  the  real  edification. 
Again  the  local  patriotism  of  the  Greek 
demanded  statues  of  the  heroes  of 
the  city,  the  strong  and  mighty  men 
whose  power  endured  even  after  death ; 
and  how  could  the  city's  pride,  the 
victors  in  the  games,  be  remembered 
unless  there  were  statues  representing 
them  in  their  triumphant  youth?  The 
Nike  of  Samothrace  was  to  the  Greek 
not  only  a  masterpiece  of  sculpture, 
but  victory  itself  which  produced  in  his 
mind  the  emotion  which  prayers  and 
hymns  bring  to  the  mind  of  a  Christian. 
There  is,  then,  in  Greek  art  a  nucleus 
of  deep  seriousness.  Of  course,  one 
smiled  at  caricature,  just  as  one  laughed 
in  the  theatre  at  the  misfortunes  of 
Herakles  and  Dionysos  in  a  comedy  of 


ART  AND  ARCHAEOLOGY 


Aristophanes.  What  could  not  be 
endured  was  frivolity  in  the  deeper 
sense.  There  were  dogmas  in  Greek 
art  which  were  just  as  Httle  shaken  by 
caricature  as  the  dogmas  of  the  Middle 
Ages  were  touched  by  satires  or  comedies 
in  which  the  devil  played  a  comic  part. 
But  just  as  the  Church  showed  a  stern 
face  if  too  many  liberties  were  taken, 
so  the  Greek  would  hav^e  felt  the 
modern  pursuit  of  various  styles,  from 
impressionism  to  futurism  and  cubism, 
to  be  blasphemy,  and  would  have  heard 
with  anger  the  constantly  recurring 
phrase  of  modern  critics:  "the  sensa- 


tion of  this  exhibition.  "  For  this  rea- 
son Greek  art  is  like  a  spacious  and 
cool  temple  free  from  the  contamination 
of  the  people  as  well  as  from  the  scented 
air  of  the  boudoir.  Good  and  evil  were 
to  the  Greek  equivalent  to  beauty  and 
ugliness,  and  there  was  no  good  taste, 
because  bad  taste  was  altogether  un- 
known. And  that  is  why  we  shall 
always  fall  back  upon  Greek  art,  how- 
ever much  modern  art  may  strive  and 
experiment  to  the  farthest  bounds  of 
extravagance. 

Ny-Carlsberg  Glypiothek,  Copenhagen. 


ON  A  5AROUK  RUG 


Rose  and  blue  and  ffold/ 
It  lies  under  the  lamps 
And  carpets  my  room 
Jf  itii  the  evocation 
Of  gardens  long  dust 
And  hours  long  dark. 
Rose: 
.  Edge  of  dawn 
Above  black  trees. 
Blue  and  gold: 
If  hiie-starred  midnights 
And  smoke  of  desert  fires 
Lance-straight  on  guard 
By  sleeping  caravans. 
Pottiegranates  forever  out  of  reach 
Of  gilded  tortoise, 
Roses  of  Iran 

And  ghost-pale  almond  branch 
Forever  still  in  a  breezeless  close. 
***** 

Thrum, 

Thrum. 

The  sitar's  empty  voice  in  tune — 

Thru  the  dissolving  years 

Breaks  the  high,  thin  tinkle 

Of  many  bracelets. 


Gleams  the  white  flutter 

Of  ardent  feet 

Like  seeking  butterflies 

In  the  soft  rose  and  gold 

Of  this  Sarouk  garden  place. 

O  lotus-white  and  pink, 

O  breeze-bloivn  curve  of  open  arms! 

The  Eastern  sun 

Slants  thru  palace  ivindows 

Lights  your  siveet,  child  mouth. 

Your  rose-tipped  hands; 

Lights  your  ivaving  grace 

As  you  sivay 

Like  some  wondrous  passion-flower 

Sprung  from  the  glowing  garden 

Of  this  ancient  Sarouk  rug. 

*  *  *  »  "  #  * 

O  Persian  love  of  mine — ■ 

Hoiv  long  ago  your  little  feet 

Pressed  this  rose  and  blue  and  gold! 

And  still  you  answer  dream  with  dream 

And  keep  your  nightly  tryst 

W  hen  an  imagined  sitar 

Thrums  its  fevered  beat 

In  the  heart  of  your  IJ'estern  lover. 

Come  too  late. 

H.  H.  Bellamann. 


[250] 


CARICATURE  AND  THE  GROTESQUE  IN  ART 

By  Alfred  J.  Lotka. 


IT  HAS  been  remarked  that  most  dis- 
quisitions on  humor  bear  the  stamp 

of  having  been  written  by  persons 
themselves  somewhat  lacking  in  the 
sense  of  humor.  Schopenhauer,  to 
whom  we  owe  a  classic  on  the  subject, 
cites,  as  an  example  of  the  ludicrous,  the 
appearance  presented  by  the  tangent 
meeting  the  circumference  of  a  circle. 
Having  delivered  himself  of  this  bril- 
hant  example  of  the  ludicrous,  he  pro- 
ceeds to  analyse  why  it  should  be  so 
funny.  In  justice  to  Schopenhauer  be 
it  said  that  some  of  the  other  examples 
which  he  condescendingly  adduces  "in 
order  to  come  to  the  assistance  of  the 
mental  inertness  of  the  reader,"  are  gen- 
uinely funny  and  elicit  a  hearty  laugh. 

The  fact,  of  course,  is  that  the  comic 
is  one  of  those  things  which  it  is  difficult 
to  analyze  or  define,  though  most  of  us 
have  no  difficulty  in  recognizing  it  when 
we  meet  it.  Not  that  the  sense  of  humor 
is  at  all  uniform.  The  musical  "comedy" 
which  draws  a  large  and  seemingly  much 
amused  audience  may  arouse,  in  one 
critically  disposed,  nothing  more  than 
a  smile  of  pity  for  the  feeble  attempt  at 
humor,  and  perhaps  some  resentment  of 
the  insult  offered  to  his  intelligence  in 
expecting  him  to  laugh  at  such  in- 
anities. On  the  other  hand,  some  of  us 
who  lately  attended  the  rendering  of 
John  Ferguson,  were  much  annoyed  by 
the  malformed  sense  of  humor  of  certain 
persons  in  the  audience ;  a  correspondent 
writing  to  one  of  our  daily  papers  and 
commenting  on  this,  suggested  the 
founding  of  a  "Society  for  Extermi- 
nating Audiences  Who  Laugh  at  the 
Wrong  Time . "  Of  course ,  in  such  cases 
the  fault  may  not  lie  wholly  with  the 
audience — but  as  to  this  let  the  critic 

[251] 


decide.  The  fact  is,  the  line  between 
the  tragic  and  the  comic  is  not  so  very 
clearly  defined,  and  for  this  reason  the 
playwright  or  actor  who  seeks  to  appeal 
to  our  sense  of  the  tragic  is  always  in 
danger  of  breaking  through  thin  ice  and 
calling  forth  laughter  out  of  season. 
The  descent  from  the  sublime  to  the 
ridiculous  is  perilously  easy.  Even  in 
real  life  we  occasionally  meet  with 
terrible  illustrations  of  the  close  neigh- 
borly relation  between  the  emotions 
associated  with  the  comic  and  the  tragic. 
There  is  an  instance  on  record  of  an 
entire  funeral  procession  being  con- 
vulsed with  laughter  started  by  one  of 
the  mourners  recalling  a  witty  saying  of 
the  deceased ;  and  history  related  how  a 
certain  frontiersman,  returning  to  his 
home,  and  finding  his  wife  and  children 
murdered,  burst  into  a  fit  of  uncontrol- 
lable laughter,  exclaiming  again  and 
and  again  "It  is  the  funniest  thing  I 
ever  heard  of";  and  so  he  laughed  on 
convulsively  until  he  died  from  a 
ruptured  blood-vessel. 

In  the  graphic  arts  the  comic  finds 
its  most  marked  expression  in  the  carica- 
ture and  the  grotesque.  Here  also  we 
find  a  mixture  of  the  solemn  and  the 
ludicrous.  In  his  characteristic  style, 
which  is  singularly  adapted  to  this 
topic,  G.  K.  Chesterton  remarks: 
"Caricature  is  a  serious  thing;  it  is 
almost  blasphemously  serious.  Cari- 
cature really  means  making  a  pig 
more  like  a  pig  than  even  God  has 
made  him.  But  anyone  can  make  him 
not  like  a  pig  at  all;  anyone  can  create 
a  weird  impression  by  giving  him  the 
beard  of  a  goat." 

We  are  accustomed  not  to  take 
Chesterton    too    seriouslv.     Yet    there 


ART  AND  ARCHAEOLOGY 


is  always  an  element  of  truth  in  his 
over-statements.  And  that  there  is 
some  quite  serious  motive  behind  the 
frolics  of  the  artist  let  loose,  venting 
his  humor  in  caricature,  is  evidenced 
by  the  sketches  of  such  great  masters  as 
Leonardo  da  Vinci.  Vasary  tells  us 
that  Leonardo,  if  he  chanced  to  meet  a 
face  of  extraordinary  character,  would 
follow  its  owner  for  a  day  at  a  time, 
until  the  features  were  thoroughly 
impressed  upon  his  mind ;  on  his  return 
home  he  would  then  draw  his  model  from 
memory  as  if  he  were  present  to  view. 
Lomazzo  tells  an  amusing  story,  which 
shows  how  keen  was  da  Vinci's  interest 
in  the  humorous  side  of  life,  and  which 
at  the  same  time  illustrates  the  origi- 
nality of  method  of  this  wonderful 
genius.  Leonardo  on  the  occasion  nar- 
rated gave  a  dinner  to  which  he  invited 
a  number  of  peasants.  He  amused  his 
guests  by  telling  them  funny  stories, 
until  he  had  them  all  convulsed  with 
laughter.  He  then  withdrew,  and  when 
he  returned  to  his  company  he  brought 
with  him  a  collection  of  sketches  of  his 
guests  which,  by  their  grotesqueness, 
only  renewed  the  merriment.  A  little 
gruesome  is  the  report  that  da  Vinci 
made  a  custom  of  attending  executions 
to  watch  the  facial  contortions  of 
criminals  in  their  death-throes.  It  is 
supposed  that  his  interest  here  was 
largely  anatomical. 

Next  of  kin  to  caricature  is  the 
grotesque.  The  term  has  been  some- 
what variously  used.  Without  enter- 
ing into  a  discussion  of  its  history,  or 
attempting  a  precise  definition,  we  may 
accept  Ruskin's  statement  that  the 
grotesque  is  composed  of  two  ele- 
ments— the  ludicrous,  and  the  fearful. 
"As  either  of  these  elements  prevails,  it 
becomes  the  sportive  or  the  terrible 
grotesque." 

The  psychology  of  the  grotesque  in 


art  is  something  of  a  riddle.  We  com- 
monly conceive  of  the  beautiful  and  the 
true  as  the  theme  and  essence  of  crea- 
tive art.  But  in  the  grotesque  we  fre- 
quently have  the  hideous,  and  always 
an  exaggeration,  distortion,  or  a  curious 
jumble  of  the  truth.  In  gargoyles,  for 
example,  the  stonecutters  seem  to  vie 
with  each  other  to  see  just  how  ugly  a 
thing  each  can  produce.  Speaking  of 
the  gargoyles  of  Weatherby  church, 
Thomas  Hardy,  in  the  novel  "Far  from 
the  Madding  Crowd,"  says:  "A  be- 
holder was  convinced  that  nothing  on 
earth  could  be  more  hideous  than  those 
on  the  south  side,  until  he  went  round 
to  the  north." 

So  far  as  the  element  of  the  terrible 
in  the  grotesque  is  concerned,  its 
raison  d'etre  is  probably  seen  in  the  same 
instinct  which  causes  children  to  take  a 
peculiar  delight  in  terrifying  masks  and 
in  stories  of  witches,  blue-beards  and 
ogres;  the  same  instinct  which  lends 
even  for  grown-ups  a  peculiar  attraction 
to  ghost  stories  and  spiritualistic 
seances.  We  like  to  be  frightened  just 
a  little.  We  enjoy  that  "creepy  feel- 
ing" of  the  graveyard  atmosphere.  In 
like  manner  the  element  of  danger  is  the 
spice  of  sport — whether  it  take  the  form 
of  scaling  the  precipitous  side  of  a 
towering  mountain  peak,  or  the  more 
commonplace  form  of  automobile  speed- 
ing. 

In  the  more  extreme  forms  of  the 
terrible  grotesque  it  seems  likely  that 
another  instinct  plays  a  part — the 
instinct  of  cruelty,  a  survival  of  our 
primitive  animal  nature.  The  reader 
will  readily  call  to  mind  figures  of 
eastern  idols  which  have  this  character- 
istic strongly  marked.  But  it  would 
not  be  difficult  to  find  striking  examples 
of  this  class  also  among  modern  pro- 
ductions of  the  Occident. 

If  the  grotesque  is  related  on  the  one 

[252] 


ART  AND  ARCHAEOLOGY 


side  to  the  caricature,  its  relative  on 
the  other  side  is  the  mystic.  Art  draws 
its  themes  in  part  from  the  real  world,  in 
part  from  fictions  of  the  mind.  Not 
only  the  furniture  of  earth,  but  the 
choirs  of  heaven  and  hell  also  have 
inspired  the  artist.  The  great  master- 
piece in  this  field  of  art  is  surely  that 
wonderful  prose  poem,  the  Revelation 
of  Saint  John  the  Divine.  Its  popula- 
tion of  strange  creatures,  uncouth  in 
their  mixed  anatomy,  forcibly  brings 
out  the  relation  of  this  type  of  artistic 
creation  to  the  grotesque,  where,  also, 
hybrid  monsters  are  of  constant  oc- 
currence. 

What  Saint  John,  Dante,  Milton  and 
many  others  have  done  in  this  field  with 
the  pen,  has  been  rendered  for  us  with 
pencil  and  brush  in  unsurpassed  excel- 
lence by  Dore  and  Blake. 

As  for  caricature  in  secular  fiction,  it 
is  impossible  to  frame  these  words  even 
without  thinking  of  Charles  Dickens 
and  his  inimitable  illustrator,  Cruik- 
shank.  And  though  life  in  a  world 
peopled  wholly  with  caricature  would 
be  an  unendurable  nightmare;  though 


none  of  us  would  choose  Dickens  for  our 
sole  literary-  diet,  any  more  than  one 
should  attempt  to  live  on  salt  alone; 
yet,  like  the  pepper  and  salt  in  our 
food,  a  judicious  seasoning  of  humor 
and  caricature  adds  zest  to  life.  Often 
it  may  serve  to  point  a  serious  lesson 
where  the  solemn  preacher  has  striven 
in  vain.  Laughter  has  proved  one  of 
the  most  powerful  allies  of  the  reformer. 
Ridicule  will  pierce  many  a  hide  too 
thick  to  yield  to  more  gentle  persuasion. 
With  one  dart  from  his  acid  quiver 
Dickens  found  the  vulnerable  spot  of  a 
multitude  of  Squeers.  Caricature  in 
this  case  proved  indeed  a  serious  thing, 
for  the  benefit  of  many  a  British  school- 
boy of  that  day. 

But  that  caricature  is  not  wholly 
serious,  that  it  has  its  refreshingly  amus- 
ing side,  for  this  we,  living  in  a  world 
not  devoid  of  much  real  sadness,  are 
duly  thankful.  For,  most  of  us  agree 
with  Robert  Louis  Stevenson  in  that  we 
do  not  want  to  pay  for  tears  anywhere 
but  on  the  stage;  though  we  are  "pre- 
pared to  deal  largely  with  the  opposite 
commodity." 


PIERO  DI  COSIMO 

Piero  di   Cosimo, 

Your  unicorns  and  afterglow, 

Your  black  leaves  cut  against  the  sky, 

Black  crosses  where  the  young  gods  die, 

Black  horizons  where  the  sea 

And  clouds  contend  perpetually, 

And  hanging  low, 

The  menace  of  the  night. 

They  called  you  madman.     Were   they  right, 
Piero    di    Cosimo? 

Robert  Hillyer. 


[253] 


Pamleil  by  Hans  Holbein. 

An  English  Lady  of  Fashion.     Probably  Margaret  Wyat,  Lady  Lee. 


CREATORS  OF  COSTUMES 

By  Kathryn  Rucker. 


CHANGEvS  in  the  social  and  politi- 
cal structure  that  followed  one 
after  another  in  mediaeval  times, 
growth  of  wealth  and  power,  and  the 
development  of  the  industrial  arts  of 
weaving,  embroidering,  and  jewel-craft, 
created  not  only  alone  a  love  of  luxury, 
but  new  intellectual  vigor  and  alert- 
ness— a  broadening  of  the  mental  hori- 
zon. 

All  the  minor  expansions  of  art  that 
preceded  the  high  tide  of  culture  of  the 
Renaissance  exhibited  an  increase  of 
individuality.  The  possibilities  for  its 
expression  in  costume  gave  opportunity 
to  the  rulers  of  men  to  attract  atten- 
tion, to  win  new  admiration  and  social 
conquests,  or  inspire  awe.  Lords  and 
ladies  of  the  court  were  ever  ready  to 
practice  that  art  of  sincerest  flattery, — 
imitation,  and  innovations  in  dress  were 
eagerly  adopted.  The  trick  of  invent- 
ing new  modes  eventually  became  so 
desirable  to  leaders  of  fashion  and  so 
profitable  to  costumiers  that  strange 
novelties  succeeded  each  other  with 
such  swiftness  that  the  fickle  goddess 
exhausted  her  treasure  houses,  and 
soon  had  to  metamorphose  old  into 
new. 

Sponsoring  Fashion,  each  new  royal 
head  thought  to  ring  in  her  changes 
with  greater  eclat  than  had  yet  been 
known.  Favorites,  too,  were  given  to 
sway  the  magic  wand;  and  by  high 
patronage  artists  in  numbers  and  arti- 
sans galore  played  their  part  in  the 
creation  of  costumes  until  theirs  was 
the  prerogative  to  determine  the  mode 
and  dictate  Fashion's  mandate  to  less 
mighty  sovereigns. 

The  king's  chamberlain  and  queen's 
inaitresse  de  la  robe  had  in  charge  Their 


Majesties'  wardrobes.  They  sum- 
moned to  their  service  the  best  sartorial 
talent,  expertest  jewelers,  most  skilled 
hairdressers  and  finest  bootmakers. 
With  these,  crowned  heads  conspired 
to  create  attire  suited  to  their  tastes, 
their  times  and  their  high  estate. 

Inspiration  came  not  always  from 
Beauty;  personal  and  princely  Pride  it 
was  that  prompted  those  ancient  auto- 
crats of  style  to  clothe  themselves  in 
splendor.  Feminine  coquetry  has 
usually  acted  to  enhance  natural 
charms  or  conceal  physical  defects  by 
dress;  but  masculine  vanity  often  dis- 
played no  such  wisdom.  Bow  legs  and 
gros  ventre  are  as  boldly  paraded  in  knee 
breeches  and  short  jerkin  as  though 
Apollo  strode  within  them. 

It  must  be  admitted,  however,  that 
scrawny  necks  and  corpulent  arms  and 
ankles  are  today  no  deterrent  to  decol- 
letage  or  brief  skirts.  But  the  graceful, 
trailing  robes  of  the  thirteenth  cen- 
tury were  created  to  effectively  hide 
unshapely  limbs,  the  unfortunate  pos- 
sessions of  daughters  of  Louis  VIII; 
while,  later  in  the  period,  Philip  Ill's 
wife  adopted  the  genuine  because  of 
her  long  throat  and  flat  chest. 

Among  early  arbiters  of  dress  in 
merry  England  was  one  Robert,  who 
earned  the  epithet  of  "Cornadu"  for 
setting  the  fashion  by  wearing  shoes 
having  their  points  stuffed  till  they 
curled  like  a  ram's  horn.  Henry  II  of 
the  succeeding  epoch  was  dubbed 
"Short  Cloak"  according  to  his  de- 
parture from  previous  styles  in  mantles. 

Pronounced  types  of  dress  had  been 
chosen  by  vivid  personalities,  and  it  is 
these  that  are  the  crescendos  in  the 
song  of  fashion.     Queen  Elizabeth  was 

[255] 


ART  AND  ARCHAEOLOGY 


surely  one  of  the  noblest.  She  was  a 
clever  adaptor,  exaggerating  all  the 
foreign  details  of  her  mode  into  cos- 
tumes strictly  Elizabethan.  But  did 
not  Fashion  play  a  prank  upon  the 
virgin  queen  when  captivating  her  with 
that  evil  device,  the  hooped  skirt?  It 
was  originated  by  a  wicked  Spanish 
Senora  as  a  means  of  adroitly  con- 
cealing her  lover  when  need  be.  Eliza- 
beth was  truly  a  creator  of  costumes, 
and  no  more  characteristic  dress  is 
vouchsafed  in  all  Fashion's  category. 
The  maiden  queen  died  possessed  of  no 
fewer  than  eight  thousand  gowns. 

The  King  Charles  costume,  in  which 
king  and  cavalier  of  the  seventeenth 
century  were  so  picturesque,  bore  all 
the  stamp  of  him  who  gave  it  vogue. 
It  was  elegant,  gallant,  debonnaire; 
it  gathered  ornament  from  Flanders 
and  Spain,  from  Rome  and  Geneva, 
representing  cosmopolitan  culture  and 
refinement.  Van  Dyck  painted  so 
many  portraits  of  these  brave  figures, 
that  the  style  of  dress  often  is  spoken 
of  as  "Van  Dyck." 

Louis  XIV  and  XV  each  left  his 
mark  upon  the  world  of  fashion,  and 
their  various  feminine  favorites  made 
no  small  stir  by  their  surpassing  cos- 
tumes. De  Montespan,  de  Pompa- 
dour, and  even  du  Barry,  one  time 
midiuette,  wore  the  diadem  of  Vanity 
Fair.  But  not  until  Louis  XVI  gave 
Marie  Antoinette  to  the  French  Court 
as  queen,  had  beau  monde  beheld  such 
marvels  in  modes,  nor  had  the  heads  of 
women  been  so  turned  by  dress. 

The  real  creator  of  the  Marie  Antoin- 
ette fantasies  was  but  a  country  lass 
who  one  day  took  a  notion  to  find  her 
way  to  Paris.  Quick  of  eye  and  ready  of 
hand,  the  captivating  garden  Rose  be- 
came the  famous  Mile.  Bertin,  milliner 
and  dressmaker  to  the  Queen,  with  easy 
access  to  Her  Majesty's  private  apart- 


Cartoon,  of  unknown   authorship,   caricaturing   the 
crinoline. 


ments.  Unwittingly  Rose  did  her  bit, 
to  the  extent  of  millions,  toward  taking 
France  to  the  guillotine. 

She  it  was  who  conceived  and  directed 
the  minutiae  of  the  Queen's  dress,  out- 
rivalling  all  competitors  in  the  origina- 
tion of  extravaganzas,  she  retained  the 
Queen's  patronage  until  that  hapless 
lady  paid  France  for  her  follies  with  her 
frivolous  head,  leaving  Rose's  account 
unsettled. 

So  extraordinary  a  personage  was 
Mile.  Bertin  that  she  not  only  suc- 
ceeded in  pleasing  the  Queen  and  Court 
with  her  creations,  but  in  writing  her 
own  name  indelibly  in  annals  of  suffi- 
cient importance  to  be  preserved  in  the 
archives  of  the  nation.  And  to  her  we 
doubtless  owe  our  thanks  for  establish- 
ing a  precedent — for  records  of  later 
creators  of  costume.  None  before  her 
had  attained  equal  prominence,  and 
none  after  quite  echpsed  her  fame. 

Rose  Bertin's  success  was  not  wholly 
a  matter  of  taste  and  talent.  Tact  she 
frequently  ignored,  but  she  knew  the 
value  of  advertising,  and  she  was  by  no 
means  content  with  but  a  single  queen ; 
she  drew  from  all  Europe,  and  had  luck 
with  queens.  According  to  a  custom 
prevailing  in  Paris  after  the  fifteenth 
century.  Rose  sent  dolls  dressed  to 
show  the  Bertin  modes  to  every  Euro- 


[256] 


ART  AND  ARCHAEOLOGY 


pean  court,  subsequently  receiving  or- 
ders for  entire  wardrobes  for  queens  and 
princesses. 

Later,  the  younger  ]\Ioreau,  a  notable 
artist,  collaborated  with  the  milliner 
and  dressmaker  in  the  production  of 
engraved  fashion  plates  which  por- 
trayed her  creations  together  with 
Beaulaud's.  Fredin,  Ouentin  and  Picot 
were  among  her  distinguished  rivals, 
but  Bertin's  star  waned  only  with  the 
passing  of  the  ancien  regime,  when  she 
saw  the  rise  of  the  new  star  that  was  to 
shine  in  her  place — the  celebrated  Leroi, 
costumier  for  the  Court  of  Napoleon. 

During  the  brief  period  before  Jose- 
phine rose  to  supremacy,  Madame 
Tallien,  that  unscrupulous  beauty  who 
won  for  herself  the  title  of  "Queen  of 
the  Directoire,"  was  high  priestess  at 
the  pagan  shrine  of  Fashion,  offering 
upon  its  altar  her  bewitching  charms 
unhidden  by  her  neo-Greek  garment  of 
Egyptian  gauziness. 

"It  was  in  no  inaccessible  Olympus 
that  she  held  her  court,  but  in  public 
places  amid  the  throng  and  press  of  the 
common  herd.  She  was  the  Aphrodite 
of  the  people,"  says  her  biographer, 
Gastine,  who  further  styles  her  "Queen 


of  shreds  and  patches."  She  it  was  who 
inspired  and  personified  the  mad  Mer- 
veilleuses. 

The  time  was  ever  ready  to  acclaim 
new  fashions  with  new  favorites,  and 
Josephine's  gowns  were  soon  the  models 
for  all  Europe.  Leroi  replaced  the 
Bertin  shawl  with  a  sho alder  drapery  of 
rich  brocade,  and  the  Directoire  folds 
with  the  straight  narrow  Empire  skirt. 

Though  so  largely  adopting  French 
and  Continental  styles,  English  sover- 
eigns and  social  elite  have  originated 
native  fashions  that  likewise  found 
their  way  across  the  Channel.  Bucking- 
ham, Beau  Brummel,  Spencer  and 
Chesterfield  afforded  some  rather  last- 
ing models,'  and  the  Byron  collar  and 
Prince  Albert  coat  still  are  being  copied. 

The  renowned  artists,  Watteau  and 
Gainsborough,  are  claimed  by  Fashion 
in  the  name  of  a  pleat  and  a  hat,  and  our 
own  worthy  Gibson  may  be  known  to 
some  chiefly  through  the  medium  of  a 
shirt  waist.  In  Titian's  incomparable 
blondes  we  may  behold  one  reason  for  the 
perpetual  vogue  for  red  hair,  while  Velas- 
quez, Goya  and  Rembrandt  gave  life 
without  end  to  the  fashions  of  their  days. 

New  York,  N.  Y. 


[257] 


"America  Enters  The  War"  by  Mme.  Anie  Mouroux. 


CURRENT  NOTES  AND  COMMENTS 

Madame  An  ic  Mouroii.w  French  Medal  is!. 


"Fraternity  uu  the  Battlefield"  by  Mme.  Anie  Mouroux  who  won  the  I'l  ;\  u^  1;i,i:.l,  October,  1919. 

The  first  woman  to  win  the  Prix  de  Rome,  Madame  Anie  Mouroux,  designed  a  striking  com- 
position for  the  subject  assigned,  "  Fralernile  sur  le  champ  de  bataillc."  The  five  other  contestants 
were  all  men.  It  was  the  first  time  that  a  woman  had  even  been  admitted  to  the  competition, 
since  1666,  when  the  Prix  de  Rome  was  established.  The  successful  design  of  Madame  Mouroux, 
which  won  for  her  the  Prix,  a  year's  travel  and  study  in  Rome,  was  an  ideal  and  classic  interpre- 
tation of  "Fraternity  on  the  Battlefield."  This  was  bought  by  the  French  Government  and 
presented  to  Madame  Mouroux's  home  town  of  Cosne,  not  far  from  Paris. 

As  is  well  known,  those  who  compete  for  this  historic  prize  are  secluded  during  ninety-six  days, 
each  in  a  little  cell-like  room  alone,  where  they  must  prove  their  ability  for  original  creation. 

In  France  Madame  Mouroux  has  made  many  medals  to  commemorate  anniversaries.  An 
idealistic  delineation  of  Jeanne  d'Arc  portrays  the  young  peasant  girl  as  a  symbol  of  patriotism 
and  suff'ering. 

"More  than  any  other  event  of  the  war,"  we  are  told  in  La  France  for  March,  "the  coming 
of  the  Americans  inspired  Madame  Mouroux.  .  .  .  She  began  to  make  studies  of  Americans. 
To  this  period  belong:  'Medal  dedicated  to  the  American  Soldiers:  The  hour  has  come  (obverse), 
To  save  humanity'  (reverse),  'Medal  dedicated  to  the  American  Mothers,'  'Medal  to  honor  the 
American  Soldiers  killed  in  France,'  and  'The  Guardian  Angel  of  the  United  States.'  " 

General  Pershing,  who  saw  Madame  Mouroux's  portrait  of  Colonel  H.  H.  Whitney,  chief  of 
the  general  staff,  expressed  a  wish  to  have  his  own  made  by  the  same  artist.  He  gave  several 
sittings  to  Madame  Mouroux,  the  only  medalist  thus  honored,  and  she  completed  a  very  suc- 
cessful medal  of  the  General,  and  another  of  his  son  Warren.  General  Pershing's  letter  of 
appreciation  is  one  which  Madame  Mouroux  prizes  most  highly.  On  the  reverse  of  the  Pershing 
portrait  is  the  General's  masterly  phrase,  "LaFayette,  nous  voila,"  with  dates  1917-191S. 

Madame  Mouroux  is  now  visiting  America  and  has  recently  completed  a  portrait  cf  the 
Honorable  Maurice  Casenave,  Minister  Plenipotentian,'  and  Director  General  of  the  French 
Services  in  the  United  States,  a  strong  and  impressive  face.  Her  medals  have  attracted  much 
favorable  attention  at  the  Wildenstein  Galleries.  She  has  now  taken  a  studio  on  the  top  of  the 
Woman's  Exchange  at  Madison  Avenue  and  Fifty-fourth  Street,  New  York,  where  she  adds 
interior  decoration  to  her  many  other  achievements.  Madame  Mouroux's  thoroughness  in 
everything  she  undertakes  is  illustrated  bv  her  exceptional  master}^  of  the  English  language 

—  G.   R.  Brigham. 

[258] 


ART  AND  ARCHAEOLOGY 

A  John  Burroughs  Art, Exhibition  at  The  Ehrich  Galleries. 

Artistic  Fifth  Avenue  has  seldom  if  ever  before  enjoyed  an  individual  exhibition  exactlv 
comparable  to  the  one  now  installed  at  the  Ehrich  Galleries.  This  is  a  gathering  of  portraits  of, 
and  sketches  of ,  scenes  intimately  associated  with  the  poet-naturalist  John  Burroughs,  author  of 
"Winter  Sunshine,"  "Birds  and  Poets,"  and  countless  others  writings  that  for  more  than  a  genera- 
tion already  have  helped  make  the  great  heart  of  Nature  literally  an  open  book  to  men,  women 
and  children  wherever  the  English  language  is  read.  All  these  pictures,  from  the  academic  pre- 
sentment lent  by  Yale  University  to  the  fragmentary  pencil  notes  of  some  fleeting  characteristic 
pose  or  gesture,  are  by  one  artist,  Orlando  Rouland,  a  portrait  painter  of  national  reputation, 
Thus  we  have  in  a  double  sense  an  individual  or  "one-man"  show,  yet  full  or  varietv  and  interest. 
There  is  a  literary  tang  to  it,  as  attractive  as  unusual.  Burroughs  the  man,  quite  independently 
of  the  literary  savant,  was  a  lovable  and  picturesque  person,  and  no  one  knew  him  better  in 
such  engaging  aspect  than  did  Orlando  Rouland.      (See  cover  picture.) 

The  artist  was  a  neighbor  and  intimate  companion  of  Burroughs  during  almost  a  score  of  years. 
He  lived  beside  him  in  the  log  cabin,  "vSlabsides"  by  the  soft-flowing  Esopus  in  the  foothills  of 
the  Catskill  Mountains,  and  entertained  him  on  return  visits  at  his  New  York  home  and  studio, 
or  in  the  Long  Island  "Fish-house,"  which  the  naturalist  re-christened  "Slabsides-by-the-Sea." 
More  than  once  the  two  roamed  together  around  Washington,  the  National  Capital,  where  in 
Ci\'il  War  days  Burroughs  and  Walt  Whitman  worked  together  in  the  Treasury  Department, 
and  where  "Wake  Robin"  was  written.  During  a  hundred  walks  and  talks,  in  woods  and  fields, 
in  library  and  studio,  the  "documents"  were  gathered  for  these  serial  portraits,  so  to  speak,  of 
John  Burroughs  in  his  habit  as  he  lived — and  talked  and  wrote.  For  nearly  every  one  of  Rou- 
land's  portraits,  some  of  which  were  brushed  in  at  a  single  sitting,  others  sketched  surreptitiously 
without  the  genial  or  meditative  philosopher  knowing  of  it  at  the  time,  carries  some  special  note 
of  reminiscence  or  comment. 

One  of  the  finest  of  the  finished  oil  studies,  quite  the  peer  of  the  standard  Yale  portrait,  and 
which  ought  to  find  a  Museum  niche  as  companion  to  Alexander's  Walt  Whitman,  is  the  contem- 
plative pose  bearing  date  of  191 1.  Burroughs  specially  favored  it,  and  wrote:  "It  sums  me  up 
pretty  well.     That's  how  I  feel  most  of  the  time." 

Further  back  (1903),  and  reflecting  more  relaxed  moods,  are:  "Seated  in  Log  Cabin,  Twilight 
Park,  Catskills — "Telling  of  Trip  Through  the  Yellowstone  with  Colonel  Roosevelt,"  and  "Painted 
at  Slabsides — Discussing  and  Cussing  Nature  Fakirs."  The  picture-record  of  1907  shows  Bur- 
roughs as  a  convalescent,  visiting  in  the  artist's  home  in  New  York,  on  which  occasion  he  wrote 
a  letter  to  President  Roosevelt  expressing  his  joy  at  the  recovery  of  his  friend's  son,  Archie: 
"When  such  a  danger  as  that  threatens  one's  child,  how  vain  and  empty  seems  all  the  applause 
of  the  world.     Your  affectionate,  OOM  JOHN." 

There  is  a  homely  view  of  the  bouldered  field  at  Roxbury,  N.  Y.,  showing  Woodchuck  Lodge 
and  the  old  gray  barn  where  "Barndoor  Studies"  were  written,  and  the  farmer-vagabond  coming 
up  the  road  is  Burroughs  himself.  Then  we  have  a  view  of  the  old  Burroughs  farm,  his  birth- 
place, with  the  veritable  "little  red  schoolhouse"  over  the  brow  of  the  hill  in  the  middle  distance, 
and  on  the  right  the  "Maplebush"  of  many  sugared  passages  in  his  writings. 

Henry  Ttorell. 

The  American  School  in  France  for  Prehistoric  Studies. 

Professor  George  Grant  MacCurdy  has  leave  of  absence  from  Yale  University  for  the  academic 
year  of  1921-22.  With  Mrs.  MacCurdy  he  sails  for  Europe  on  June  i8th  as  the  first  Director 
of  the  American  School  in  France  for  Prehistoric  Studies.  The  School  opens  at  the  rock  shelter 
of  La  Quina  near  Villebois-Lavalette  (Charente)  on  July  ist. 

An  Unpublished  Verestchagin. 

Among  the  Russian  "purpose  painters"  of  the  nineteenth  century  Verestchagin  stands  supreme. 
The  great  Tretiakoff  Gallery  in  Moscow  contains  three  rooms  devoted  to  his  works.  There  are 
many  of  his  canvasses  in  the  Gallery  of  Alexander  III  at  Petrograd  and  numerous  examples  of  his 
work  in  private  collections  in  Europe  and  this  country.  Among  them  all  there  are  few  in  which 
he  does  not  indict  the  old  Russian  regime  and  in  most  of  them  he  portrays  the  horrors  of  war  as 
they   are  nowhere  else  painted.     His  pyramid  of  grisly  skulls  from  which  the  sated  vultures  rise, 

[259] 


An  unpublished  Verestchagin,  "The  Morning  Cloud",  Toledo  Art  Museum,  L.  E.  Lord. 

entitled,  "The  Apotheosis  of  War  dedicated  to  all  conquerors,  past,  present  and  to  come,"  is  but 
a  single  example  of  his  well  known  st\-le. 

"The  Morning  Cloud,"  reproduced  here  for  the  first  time,  is  an  example  of  this  Russian  artist's 
work  in  an  entirely  new  field.  It  is  the  property  of  the  Toledo  Museum  of  Art.  To  the  artist's 
signature  is  added  the  date,  1903.  In  1904  Verestchagin  went  to  the  Japanese  front  to  secure 
material  for  a  new  series  of  war  pictures.  He  was  killed  that  same  j-ear  when  the  Russian  battle- 
ship to  which  he  was  assigned  was  sunk  by  the  Japanese.  This  picture  is,  then,  one  of  his  last 
works  if  not  the  final  canvass. 

The  dawn  is  breaking  and  from  the  embrace  of  the  rugged  mountain  rises  the  cloud  which  has 
rested  there  during  the  night.  The  spirit  of  the  mountain  is  the  drowsy  giant  whose  immobilitv 
seems  to  unite  him  indissolubly  with  the  crag  on  which  he  sits.  The  Cloud  Spirit  floats  upward 
on  the  "wings  of  the  morning"  wrapped  in  all  the  delicate  color  that  the  "rosy  fingered  dawn" 
flings  forth.  From  the  abyss  below  where  sable  night  still  lingers,  an  eagle  rises  up  to  greet  the 
dawn  and  join  the  Spirit  of  the  Clouds  as  she  drifts  lightlj'  from  her  couch  on  the  breath  of  the 
morning  wind.  The  drawing  may  not  satisfy  at  every  point  but  the  harmony  of  colors,  shading 
from  the  heavy  black  of  the  rocks  to  the  delicate  blues  and  pinks  of  the  clouds  that  half  envelope 
and  half  expose  the  figure,  is  masterly.  The  whole  spirit  of  the  painting  is  indeed  new  for  the 
painter  of  the  horrors  of  war.  Louis  E.  Lord.' 

Sir  Moses  Ezekiel,  American  Sculptor. 

We  publish  as  our  leading  article  this  month  the  address  of  Mr.  Henr\-  K.  Bush-Brown,  de- 
livered at  the  memorial  service  in  honor  of  the  late  Sir  Moses  Ezekiel  by  the  Arlington  Confederate 
Monument  Association  and  the  Daughters  of  the  Confederacy  at  the  House  of  the  Temple, 
Washington,  D.  C,  March  30,  192 1.  This  service  followed  in  the  evening  the  Commitment 
Ceremonies  in  the  afternoon  when  the  body  of  Sir  Moses  Ezekiel  was  laid  to  rest  in  Arlington 
Cemetery  close  by  the  base  of  the  Confederate  Soldiers  Monument,  Ezekiel's  own  masterpiece, 
and  the  Secretarj'  of  War  delivered  the  principal  address,  reviewing  the  life  of  the  American 
artist ,  and  a  letter  from  President  Harding  was  read  h\  Mrs.  Marion  Butler,  representing  the  United 
Daughters  of  the  Confederacy — "Ezekiel  will  be  remembered,"  said  the  President,  "as  one  who 
knew  how  to  translate  the  glories  of  his  own  time  into  the  language  of  art  w-hich  is  common  to 
all  peoples  and  all  times."  The  occasion  was  notable  as  being  the  first  time  an  American  artist 
has  been  interred  with  military  honors  in  the  National  Cemetery. 

1  This  note  is  supplementary  to  Professor  Lord's  article   on    "Some    Modern    Russian    Painters"   in  Art   and   Arcbaeouogy,   vii.  pp. 
301-12,  Sept. -Oct.  1918.] 


[260] 


ART  AND  ARCHAEOLOGY 

Whistler iana  i)i  the  Library  of  Co>igress. 

A  rare  and  unique  exhibition  has  lately  been  installed  in  the  Galleries  of  the  Print  Division  of 
the  Library  of  Congress  by  Mr.  and  Mrs.  Joseph  Pennell. 

It  consists  of  a  part  of  their  great  collection  of  Whistleriana  which  they  have  generously 
presented  to  the  Government  and  which  has  been  thirty  years,  a  large  part  of  their  lives,  in  its 
accumulation. 

It  is  very  unusual  that  so  much  of  a  man's  history,  the  artistic,  as  well  as  the  personal  side  of  his 
life,  can  be  set  forth  in  so  comprehensive,  so  sympathetic  a  manner,  as  this  has  been  done  by  Mr. 
Whistler's  biographers  and  close  personal  friends.  The  Catalogue  which  is  issued  of  this  exhi- 
bition is  very  skillfully  arranged  as  to  case  and  numbered  items,  enabling  one  to  follow  the  artist's 
checkered,  exciting  and  picturesque  career. 

There  is  a  beautiful  showing  of  Whistler's  etchings,  lithographs  and  pastels,  books  containing 
illustrations  bv  him,  various  editions  of  his  own  publications,  the  famous  "Ten  O'Clock"  and  the 
"Gentle  Art  of  Making  Enemies,"  catalogues  of  his  exhibitions,  letters  to  friends,  original  docu- 
ments in  the  Whistler-Ruskin  Trial,  the  Eden  Case  and  the  Greaves  affair,  photographs  of  his 
paintings  and  of  himself,  caricatures,  posters,  the  Rodin  Memorial  photographs,  and  the  letters 
from  the  subscribers  thereto — the  whole  an  intimate  and  interesting  history  of  an  accomplished 
artist  and  a  peculiar  personality — that  can  rarely  be  gathered  together. 

The  Collection  reveals  the  tireless  and  exhaustless  work  of  the  Master's  biographers,  whose  own 
accomplishment  exceeds  that  of  the  artist  whose  dramatic  life  they  so  cleverly  portray. 

Their  gift  to  the  Government  is  a  generous  one  and  will  supplement  that  made  by  Mr.  Freer, 
whose  Gallery  contains  Whistler's  paintings  and  drawings,  thus  making  Washington  the  Mecca 
for  students  of  Whistler's  Art.  H.  W. 

A  Rare  Effigy  Pipe  From  Tennessee. 

Primitive  man  took  to  sculpture  earlier  than  to  any  other  form  of  the  fine  arts.  This  was  true 
of  the  cave  man  in  Europe  and  was  no  doubt  also  true  of  the  American  Indian.  Figures  in  the 
round  of  animals  were  the  favorite  models.  The  impulse  to  reproduce  figures  of  animals  familiar 
to  man  was  so  strong  that  utilitarian  objects  in  general  were  made  to  take  on  effig>'  forms. 

It  is  not  known  when  the  American  Indian  first  made  use  of  tobacco  as  a  narcotic.  We  know 
that  its  use  had  become  a  fixed  habit  before  the  advent  of  the  European  as  indicated  by  the 
remains  of  elaborate  apparatus  for  utilizing  tobacco  smoke.  Any  one  who  has  come  under  the 
spell  of  this  narcotic  can  understand  why  the  red  man  should  have  se'ected  his  pipe  as  a  special 
object  of  ornamentation.     Moreover,  its  uses  were  ceremonial  as  well  as  personal. 

An  unusually  fine  example  of  what  is  evidently  a  ceremonial  pipe  recently  came  into  the  posses- 
sion of  Mr.  W.  O.  Whittle  of  Knoxville,  Tennessee.  It  had  been  ploughed  up  in  the  bottom  land 
not  far  from  the  ]McBee  Mound  (explored  nearly  fifty  years  ago  by  the  Rev.  E.  O.  Dunning  and 
described  in  a  recent  publication  by  the  author  *) . 

This  bird  eflfigy  pipe  is  remarkable  not  only  for  its  artistic  form  and  finish,  but  also  for  its 
great  size.  Its  length  is  i8  inches  (45.75  cm.)  and  it  weighs  7  pounds  (3.18  kilograms).  The 
material  of  which  it  is  made  is  a  compact,  fine-grained  greenish-gray  steatite,  blackened  and 
polished  by  long  usage,  except  for  the  slight  scars  made  by  the  plow.  The  effigy  is  that  of  a 
water  bird,  presumably  the  duck.  In  representing  the  wings,  the  short  feathers  are  differen- 
tiated from  the  quill  feathers  and  the  tips  of  the  wings  overlap.  The  legs  are  cut  in  relief  and  the 
feet  are  brought  together  in  a  median  ventral  plane.  It  is  difficult  to  account  for  the  lump  on  the 
breast  and  the  longitudinal  ridge  on  the  throat.  The  eye  is  indicated  by  a  shallow  round  de- 
pression. Mr.  Whittle  has  just  located  another  effigy  pipe  from  the  same  locality  and  almost 
identical  in  shape  with,  but  only  about  one-third  as  large  as,  the  one  here  figured. 

The  art  of  the  mound  builder  reached  a  high  stage  in  the  shaping  of  effigy  pipes.  These  are 
particularly  fine  and  numerous  in  certain  Ohio  mounds,  for  example  the  Tremper  Mound  and 
Mound  No.  8  of  the  Mound  City  group,  near  Chillicothe.  From  a  cache  in  the  latter,  the  early 
explorers,  Squier  and  Davis,  took  about  a  hundred  examples  which  were  later  sold  to  the  Black- 
more  Museum  at  Salisbury,  England.     In  the  Tremper  Mound,  Mills  and  Shetrone  took  136  pipes 

G.  G.  MacCurdy,     Some  Moun  is  of  EastL-rn  Tennessee.      Proc.  XlXth  Intern.  Congress  of  Americanists.  Washington.  1917. 

[261] 


ART  AND  ARCHAEOLOGY 


from  one  cache  and  9  from  another.  All  the  pipes  from  the  first  cache  were  intentionally  broken 
on  the  occasion  of  their  deposition;  those  in  the  second  cache  had  been  deposited  in  a  perfect 
condition.  The  pipes  from  the  Mound  City  depository  had  likewise  been  broken  intentionally. 
All  these  broken  pipes  have  been  skillfully  repaired.  Those  found  by  IMills  and  Shetrone 
may  be  seen  at  the  Museum  in  Columbus,  Ohio.  George  Grant  MacCurdy. 


Mrs.  Nuttall  and  The  Ulna  River. 

In  Art  and  Archaeology,  Vol.  XI,  No.  1-2,  Mrs.  Nuttall  offers  some  comments  on  a  vase 
from  Honduras  described  and  illustrated  by  me  in  the  Holmes  Anniversary  Volume  (Washington, 
19 16),  and  afterwards  reprinted  with  some  verbal  changes  and  with  the  omission  of  five  explana- 
tory' drawings  in  this  magazine.  Asa  sincere  friend  of  Mrs.  Nuttall  I  must  express  my  regret 
that  she  did  not  consult  the  original  article,  for  the  volume  in  which  it  appeared  is  one  of  a  serious 
character,  with  which  Mrs.  Nuttall  cannot  be  unacquainted.  On  the  other  hand,  it  would 
appear  that  the  article,  even  in  its  original  form,  was  not  sufficiently  explicit  to  forestall  the 
errors  into  which  Mrs.  Nuttall  has  imfortunately  fallen.  These  errors  are  indeed  quite  natural 
for  they  are  based  in  the  main  on  misconceptions  that  are  ver}-  prevalent  and  on  methods  that 
find  much  favor. 

Mrs.  Nuttall  obser\-es  that  I  made  no  allusion  "to  the  fact  which  is  so  vital  and  interesting" 
that  the  principal  units  of  design  which  I  described  "are  conventionalized  serpents'  heads." 

It  is  true  that  I  made  no  such  allusion  for  I  was  under  the  impression  that  these  units  of  design 
are  something  quite  different.  So  clear  was  this  impression  in  my  mind  that  I  contented  myself 
with  giving  accurate  drawings,  together  with  a  photograph  of  the  vase  and  the  statement  that 
the  units  of  design  are  abstractions  borrowed  from  one  of  the  animal  forms  represented  on  the 
handles.  Mv  thought  was  that  anyone  who  would  be  likely  to  read  my  article  would  need  no 
further  help  in  identifying  the  units  of  design  with  these  animal  forms. 

Mrs.  Nuttall  proceeds  with  this  statement:  "These  serpents'  heads  are  clearly  discernible  in 
the  photographic  reproduction  of  the  vase  which  illustrates  Dr.  Gordon's  article,  but  curiously 
enough,  are  barely  recognizable  in  the  carefully  executed  outline  drawings."  She  then  offers 
as  a  substitute  for  some  of  the  drawings  that  accompanied  my  article  certain  other  drawings  to 
which  she  refers  as  follows:  "To  make  this  clear,  the  Mexican  Artist,  Sr.  Jose  Leon  has  made 
drawings  from  the  published  photographs  in  which  the  forms  of  the  conventionalized  serpents' 
heads  and  the  peculiar  technique  of  the  native  sculptor     .     .     .     are  skilfully  rendered." 

Now,  only  one  photograph  has  been  published,  and  this,  the  one  that  accompanied  my  article, 
was  the  only  one  to  which  Sr.  Leon  could  have  had  access.  It  shows  one  aspect  of  a  cylindrical 
surface.  The  drawings  published  by  me  were  made  from  the  original  object  by  ]Miss  M.  Louise 
Baker  under  my  direct  supervision  and  criticism.     They  are  accurate  and  strictly  literal.     More- 

[262] 


ART  AND  ARCHAEOLOGY 

over,  they  reproduce  faithfully  the  character  of  the  can-ing  which  is  vigorous,  free  and  sponta- 
neous. 

On  the  other  hand  the  illustrations  that  Airs.  Xuttall  reproduces  are  inaccurate  in  drawing  and 
fail  to  show  the  character  of  the  original  workmanship.  The  fact  is  that  there  are  no  serpent 
heads  at  all  on  the  Honduras  vase.  The  devices  that  Mrs.  Nuttall  calls  serpents'  heads  are 
different  ways  of  showing  the  heads  of  the  animals  that  are  represented  with  more  realism  in  the 
handles  of  the  vessel.  These  animals  are  quadrupeds  and  the  whole  design  on  the  body  of  the 
vase  is  made  up  of  parts  of  one  or  the  other  of  these  animals  as  follows:  the  front  face,  the  profile, 
the  paw,  the  ear  and  the  jaw. 

Having  started  with  a  wrong  identification,  Mrs.  Nuttall  was  quite  naturally  led  into  an  erro- 
neous interpretation,  for  being  subject  to  this  correction  the  meaning  which  she  ascribes  to  the 
design  loses  its  only  support. 

In  her  next  argument,  Mrs.  Nuttall  makes  the  statement  that  no  true  marble  has  been  found 
in  IMexico  or  Central  America.  It  is  evident  that  Mrs.  Nuttall  has  been  generally  misled  on  the 
subject  of  marble  for  she  claims  that  the  substance  found  in  the  State  of  Oaxaca  and  locally 
called  tecali  is  not  marble  but  onyx  and  that  this  is  the  material  from  which  "numerous  ancient 
vases  and  vessels  unearthed  in  different  parts  of  Mexico  and  Central  America  ....  are 
made     . 

Therefore,  the  argument  runs,  the  vase  which  I  call  marble  is  in  reality  made  of  onyx,  and 
since  that  material  comes  only  from  Oaxaca  it  follows  that  the  vase  itself  cannot  be  a  product  of 
Ulua  culture,  and  must  have  been  imported  from  Mexico. 

Here  are  three  fallacies  combined  to  support  each  other.  First,  that  the  material  found  in 
Oaxaca  and  locally  called  tecali  is  onyx;  second,  that  there  is  no  marble  in  Honduras;  and  third, 
that  the  object  of  which  I  wrote  is  made  of  onyx. 

As  these  errors  of  Mrs.  Nuttall  are  based  on  popular  notions  and  a  habitual  looseness  in  the 
use  of  language  by  writers  generally,  and  on  a  confusion  of  terms,  they  had  better  be  set  right 
for  the  sake  of  general  accuracy.  The  substance  called  tecali  found  in  Oaxaca,  and  used  bv  the 
ancient  Mexicans  in  the  practice  of  their  arts  and  industries,  is  marble  and  not  onyx.  It  is  popu- 
larly called  Mexican  onyx  and  also  onyx  marble  on  account  of  the  banded  appearance  that  gives 
it  a  superficial  resemblance  to  onyx.  It  is  a  carbonate  of  lime  with  a  compact  crystalline  structure 
and  a  true  marble.  Onyx  is  a  hard  silicious  mineral  quite  distinct  from  marble  and  unrelated 
thereto 

Geologists  tell  us  that  the  Mexican  marble  found  at  Tecali  in  Oaxaca  was  deposited  in  the  form 
of  stalagmite  and  belongs  in  the  same  class  of  marbles  as  the  socalled  onyx  marble  of  Algeria, 
the  stone  that  was  largely  used  in  the  building  of  ancient  Rome. 

I  repeat  that  the  stone  found  in  the  Tecali  district  in  the  State  of  Oaxaca  in  Mexico  is  marble 
and  not  on^'x.  Mrs.  Nuttall's  statement  that  it  is  onyx  and  not  marble  evidently  arises  frojii  the 
popular  practice  of  calling  it  on}'x  marble  or  IVIexican  onyx  on  account  of  its  supposed  resemblance 
to  onyx.  But  these  facts  do  not  fully  disclose  the  error  of  Mrs.  Nuttall's  statement  that  "as 
yet  no  true  marble  has  been  found  in  Mexico  or  Central  America. "  True  marble  has  been  known 
within  these  regions  for  a  long  time.  Besides  the  deposits  of  marble  in  Mexico  alread}'  men- 
tioned, there  is  a  well  known  deposit  in  Honduras  near  Omoa,  adjacent  to  the  Ulua  River.  This 
deposit  was  described  by  E.  G.  Squier  in  his  book,  "The  vStates  of  Central  America,"  published 
in  1858,  in  the  following  words: 

"The  hills  and  mountains  back  of  Omoa  have  exhaustless  quarries  of  a  fine  compact  white 
marble  remarkably  free  from  faults  and  stains  and  well  adapted  for  statuary  and  ornamental 
use."     (Page  189.) 

The  same  words  are  repeated  in  Squier's  book  on  Honduras,  published  in  1S70.  (Page  125.) 
The  deposit  of  marble  at  Omoa  is  not  of  the  banded  variety  found  in  Oaxaca  and  is  easily  dis- 
tinguished therefrom.  The  material  from  which  the  Ulua  marble  vases  are  made  is  identical 
with  the  marble  of  Omoa. 

These  considerations  would  seem  to  dispose  of  ]\Irs.  Nuttall's  contention  that  "Until  other 
ancient  quarries  are  found  and  it  is  proven  that  a  marble  was  obtainable  in  the  region  of  the  Ulua 
River,  Honduras,  one  may  be  permitted  to  question  Dr.  Gordon's  view  that  the  vase  in  question 
is  of  marble  and  a  product  of  Ulua  culture." 

[2631 


ART  AND  ARCHAEOLOGY 

The  following  facts  are  quite  clear:  namely,  that  Mrs.  Nuttall's  identification  of  the  figures  on 
the  body  of  the  vase  fails  to  be  supported  by  an  appeal  to  the  figures  themselves;  that  her  drawings 
of  these  figures  are  incorrect  and  indicate  an  entire  want  of  comprehension;  that  her  interpreta- 
tion of  these  figures  is  without  foundation;  that  her  proposals  about  the  material  of  the  vase  are 
made  regardless  of  the  facts;  that  her  suggestion  as  to  the  origin  of  the  vessel  is  inadmissible  in 
view  of  these  facts,  and  .finally  since  her  description  of  the  use  of  the  vessel  is  based  on  a  com- 
bination of  the  foregoing  errors,  it  is  clear  that  her  ideas  on  that  subject  must  also  be  rejected. 
In  short,  Mrs.  Nuttall's  article  has  confirmed  in  my  mind  the  conviction  that  I  formerly  expressed 
in  the  following  words: 

"  It  would  be  useless  to  speculate  concerning  the  symbolism  of  all  this  ornament  as  it  would  be 
to  guess  at  the  ser\-ice  for  which  the  vessel  was  designed.  We  are  at  liberty  to  assume  that  so 
elaborate  and  refined  an  object  had  a  ceremonial  function  and  that  its  symbolism  corresponds  to 
ideas  associated  with  its  use,  but  its  interpretation  is  quite  beyond  our  reach. " 

George  Byrox  Gordon. 

The  Arts  Cliih  of  Washington. 

The  Arts  Club  of  Washington  whose  activities  are  attaining  national  importance  showed  its 
approval  of  last  year's  administration  by  re-electing  at  its  annual  meeting  Mr.  George  Julian 
Zolnay,  President,  Dr.  Mitchell  Carroll,  Vice-President,  Dr.  W.  E.  Safford,  Corresponding 
Secretary,  Mr.  Roy  L.  Neuhauser,  Treasurer,  with  Mr.  George  H.  Dawson,  Recording  Secretary. 

The  reports  of  the  various  committees  evidenced  that  never  in  the  history  of  the  club  had  its 
activities  been  so  manifold  and  it  is  doubtful  if  any  other  club  in  the  countrs'  provides  functions 
equal  in  number  and  quality. 

There  were  37  concerts  during  the  year  in  which  69  artists  took  part.  Eight  plays,  in  addition 
to  several  scenes  from  Shakespeare  presented  in  costume,  were  produced  by  the  Arts  Club 
Players.  Exhibitions  of  paintings,  sculpture,  architecture,  and  the  applied  arts  succeeded  each 
other  in  which  many  of  the  foremost  artists  of  the  country  were  represented. 

Among  the  innovations  initiated  during  the  year,  the  most  noteworthy  were  the  Saturday 
evening  Forums  which  provide  the  broadest  opportunity  for  open  discussion  and  interchange  of 
id«as  concerning  the  great  fundamental  questions  in  art,  of  interest  to  the  laymen  no  less  than  to 
the  artist. 

Through  the  regular  Tuesday  Salons  and  Thursday  discussions  the  Club  has  heard  messages 
from  many  American  and  foreign  speakers  and  the  almost  unlimited  range  of  artistic  and  intellec- 
tual subjects  touched  upon  may  best  be  gathered  from  the  following  partial  list  of  addresses,  most 
of  them  illustrated  by  slides. 

Modern  English  Poetr}-,  by  Charles  Edward  Russell;  The  Arts  of  China  and  Japan,  Dr.  A. 
Hrdlicka  of  the  Smithsonian  Institution;  ]Music  and  Drama  of  the  American  Indian,  Miss  Alice  C. 
Fletcher  and  Mr.  La  Flesche;  "In  A  Persian  Garden,"  song  cycle  by  Elsa  Lehman,  under  direction 
of  Mr.  Paul  Bleyden;  The  Reconstruction  of  the  Parthenon^  Mr.  G.  J.  Zolnay;  The  Architecture 
of  India,  Mr.  R.  B.  Prendergast;  The  Spirit  of  Gauginism,  Mrs.  F.  E.  Farrington;  Hawaii,  Dr. 
W.  E.  Safford;  The  Vale  of  Cashmere,  Rev.  F.  Ward  Denys;  Shakespeare  as  a  Philosopher,  Dean 
W.  A.  Wilbur,  George  Washington  University;  Problems  of  Journalism,  Geo.  P.  Morris;  The 
History-  of  the  Cartoon,  C.  K.  Berryman;  The  Bell  Towers  of  Belgium,  Mr.  W.  G.  Rice;  The  Lure 
of  the  South  Seas,  Dr.  L.  A.  Bauer;  How  to  Build  and  Judge  a  Play,  Dr.  G.  W.  Johnston;  How  to 
Appreciate  Sculpture,  G.  J.  Zolnay;  How  to  Appreciate  Architecture,  Mr.  A.  B.  Bibb;  What  is 
Interesting?  W.  A.  DuPuy;  The  Hopi  Indians  of  Arizona,  Mr.  Will  C.  Barnes;  China  Past  and 
Present,  Dr.  Paul  Reinsch  (U.  S.  IMinister  to  China) ;  What  is  Beauty?  by  G.  J.  Zolnay ;  What  is 
the  Important  Thing  in  Art?  by  Prince  Bibesco  (Roumanian  ^Minister) ;  Czecho-Slovakia,  Dr. 
Bedrick  Stepanek  (Czecho-Slovaikian  Minister) ;  The  Psychology  of  the  Aesthetic  Judgment,  Dr. 
Tom  Williams;  The  Island  of  Yap,  Mr.  Claude  N.  Bennett. 

In  lighter  vein  was  the  Spring  Carnival,  in  which  a  street  in  the  old  Latin  Quarter  of  Paris  was 
built  in  the  club  rooms,  and  in  which  ever\-one  appeared  in  costume;  it  was  an  unqualified  success 
and  has  demonstrated  that  such  a  carnival,  conceived  and  carried  out  artistically  in  the  best  sense 
of  the  word,  could  and  should  be  made  a  yearly  event  in  the  life  of  the  National  Capital. 

[264] 


BOOK  CRITIQUES 


Venizelos,  by  Herbert  Adams  Gibbons.  Hough- 
ton Mifflin  Company,  Boston  and  Xew  York. 
The  Riverside  Press,  ig20. 

All  those  who  love  Greece  will  read  this  book 
with  the  same  thrill  they  experienced  in  learn- 
ing the  Classics.  The  adventures  of  Jason  and 
Theseus  live  again  in  the  personality  of  the 
Cretan  hero  of  modern  times  who  is  silhouetted 
against  the  sky  of  history  like  some  ancient 
God  on  the  apex  of  his  own  temple ;  albeit  no 
Medean  magic,  no  desertion  of  Ariadne  led 
or  marred  the  clear  vision  which  pierced 
through  difficulties  to  prophesy  results  which 
it  would  bring  about  without  the  aid  of  the 
machinery  of  the  Gods  on  which  the  ancient 
sooth-sayers  relied.  The  labors  of  Hercules, 
the  agony  of  Prometheus  Bound  seem  but  alle- 
gories of  his  undertakings,  and  remind  one 
that  the  Greek  dramatists  and  artists  ever 
employed  their  mj-thological  scenery  as  a 
setting  for  actual  events.  No  where  on  the 
Earth  has  human  character  and  political  pas- 
sions remained  so  true  to  types  as  in  Greece. 

Mr.  Gibbons  has  outlined  the  biography  and 
described  the  stages  in  the  life  of  a  remarkable 
rnan— one  of  the  greatest  statesmen  of  modern 
times  He  has  told  us  everything  about  him 
except  why  he  was  unable  to  hold  the  Greeks 
at  the  altitude  of  patriotism  to  which  he  had 
led  them.  For  about  the  time  Mr.  Gibbons' 
book  was  issuing  from  the  printing  press 
M.  Venizelos  stepped  down  from  power,  went 
out  from  Greece — an  exile  \\-ithout  personal 
stain  still  beloved  of  his  own  party,  admired  by 
the  whole  world,  and  openlv  venerated  by  even 
thousands  of  those  who  voted  against  him  in 
the  elections  which  restored  King  Constantine 
to  the  Greek  throne. 

It  has  been  always  a  fatality  of  the  Balkan 
peoples  to  overthrow  at  repeated  intervals 
whatever  of  real  progress  they  have  acquired 
through  their  own  prowess  or'  the  luck  of  cir- 
cumstances, in  which  their  geographical  posi- 
tion is  the  prize  they  are  allowed  to  keep  be- 
cause its  possession  by  any  other  one  nation, 
or  group  of  nations,  would  upset  world  equi- 
librium. One  reason  why  so  few  even  of  the 
closest  observers  of  Balkan  events  can  grasp 
the  paradoxes  of  volte-face  which  result  from 
the  pressure  of  any  strong  outside  influences 
on  these  intensely  democratic  peoples  is  be- 
cause whoever  studies  them  closely  enough  to 
be  drawn  into  association  with  them  almost 

[265] 


irivariably  becomes  so  intensely  partisan  that 
his  judgment  is  clouded  and  his  utterances 
grow  to  be  as  intemperate  as  those  of  the 
native  politicians  and  writers,  which  is  saving 
a  great  deal! 

Mr.  Gibbons  has  not  fallen  into  this  Scylla 
nor  been  shipwrecked  on  that  Charvbdis. 
His  book  reveals  clearly  the  mainspring  of  his 
hero's  high  purpose,  his  ardent  desire  for  free- 
dom of  every  Greek  community  from  alien 
domination.  It  was  against  the  intolerable 
thralldom  of  the  Great  Powers  quite  as  much 
as  against  the  Turks  that  Venizelos  was  chosen 
as  leader. 

In  1 909  the  Royal  Family  of  Greece  including 
Prince  George  of  Crete  were  little  more  than 
the  executors  of  the  Great  Powers  who  sent 
them  orders  and  instructions  as  openly,  if  more 
diplomatically,  as  ever  Rome  did  its  Consul 
Herodes  Atticus  after  whom  was  named  the 
street  on  which  stands  the  palace  of  King 
Constantine. 

The  Balkan  Accord  of  191 2  was  an  un- 
pleasant surprise  to  the  Great  Powers.  Russia 
guided  by  one  of  her  ablest  diplomats  merelv 
looked  over  the  agreement,  reserving  the  right 
to  restrict  territorial  changes  and  arbitrate  dif- 
ferences. But  of  this  not  even  Bulgaria  took 
any  real  heed.  Serbia  and  Greece  in  the  second 
war  acted  on  their  own  judgment  for  their 
common  safety  and  aspirations.  Germanv 
was  the  first  to  recognize  that  these  cadets 
among  the  nations  had  attained  their  majoritv. 
She  sought  the  alliance  of  Greece  and  Bulgaria 
the  better  to  make  war  on  Serbia  and  Rou- 
mania.  Russia  already  tottering  in  the  dotage 
of  her  institutions  began  to  lean  upon  her  now 
grown  up  daughters  for  whom  she  had  sought 
to  obtain  popular  liberties  greater  than  those 
she  had  accorded  to  her  own  subjects.  Onlv 
the  Latin  and  Anglo-Saxon  States  still  treated 
the  Balkans  as  inferiors  who  were  not  to  be 
allowed  a  voice  even  in  their  own  aflfairs. 

It  was  with  the  ready  consent  of  the  Greek 
people  that  Venizelos  led  them  to  war  in  19 12. 
At  his  bidding  they  forgave  the  Royal  Princes 
their  previously  bad  stewardship,  delighted  to 
find  them  conscious  at  last  that  they  were 
Greeks.  This  idea  became  the  slogan  of  the 
Greek  Court.  Even  Queen  Sophia  hurled  it  at 
her  brother  the  German  Emperor  when  hastily 
departing  from  Berlin  in  July,  1914.  For 
nearly  a  year  King  Constantine  endeavored  in 


Do  YOU  TIRE  of  the  superfi= 
cial   things  you   read   about 
the  theatre?      Do  you  want 
something  better,  something  more 
entertaining,  yet   something  that 
instructs?    Then  read 

THE    DRAMA 

A  monthly  review  of  the 
allied  arts  of  the  threatre, 
beautifully        illustrated. 

Here  is  a  magazine  that  is  not  packed  with 
press-agent  puffs  or  back-stair  gossip  about 
vamps  and  scandals. 

The  Drama  is  edited  for  people  who  like  to 
think,  for  folks  whose  brains  haven't  yet  lost 
their  nimbleness.  For  eleven  years  it  has 
pioneered,  bringing  to  its  audience  the  best 
from  all   lands. 

It  has  talks  about  and  talks  by  some  of  the 
foremost  actors,  play-wrights,  and  scenic 
revolutionists;  yet  it  never  hesitates  to  give 
space  to  the  brilliant  articles  of  unknown 
authors. 

Each  issue  contains  one  or  two  plays  in 
reading  form.  They're  more  fascinating 
than  short  stories  because  they  retain  the 
dramatic  punch. 

No  magazine  can  compare  with  The  Drama. 
It  occupies  a  unique  position  in  the  world  of 
the  theatre.  Once  you  begin  to  read  it, 
you'll  become  one  of  its  devoted  admirers. 
You'll  enjoy  its  stimulating  contents.  You'll 
keep  each  issue  on  file,  for  each  is  like  a 
valuable  book. 

To  introduce  The  Drama  to  new  readers, 
we  make  a  special  offer.  Send  only  $1  and 
The  Drama  will  come  to  you  for  Five 
Months.  You  will  also  receive  your  mem- 
bership card  in  The  Drama  League  of 
America. 

$1  is  so  little  for  so  much.  So  why  not  tear 
out  the  coupon  below  NOW?  Pin  a  dollar 
bill  to  it  and  mail  it  today. 


TRIAL  SLBSCRIPTION   FOR  $1 

The  Drama  Corporation- 

59  East  Van  Buren  Street    Chicago 

Attached    herewith    is    $1    for   which    send    me    The 
Drama  for  Five  Months. 


Name 
Street  . 


City.- 


State 

Kindly  Mention 


vain  to  wrest  from  the  Entente  a  treaty  of 
alliance  on  equal  terms.  Indignation  at  being 
treated  like  a  vassal  drove  him  to  accept  the 
contract  with  the  Germans  and  to  dissent 
from  the  policy  of  Venizelos  who  urged  patience 
with  the  Allies  and  good  faith  with  Serbia. 

Venizelos'  opponents  declared  that  an  inde- 
pendent Greece  was  a  greater  glory  than  the 
most  brilUant  alliances.  When  King  Con- 
stantine  arose  as  the  champion  of  that  inde- 
pendence, even  against  Venizelos  himself,  he 
took  that  place  in  the  hearts  of  his  people  re- 
served for  the  high  priest  of  their  creed  of 
Liberty.  His  mistakes  and  weaknesses  were 
forgiven,  his  helplessness  except  for  their 
lovalty  and  acclaim  appealed  to  them  a 
thousand  times  more  than  Venizelos'  title  of 
the  Just. 

As  to  the  principle  of  the  thing,  dislike  of 
Constantine  and  Sophia's  pro-Germanism,  it 
must  be  understood  that  only  the  merest 
minority  of  Greeks  ever  detested  the  Germans. 
Turkey  and  Bulgaria  had  been  restrained  by 
Germanv  alone  from  massacring  Greeks  as  they 
never  had  been  by  the  whole  Concert  of  the 
Powers.  Of  the  security  which  the  Entente 
might  give  them  there  was  little  guarantee 
after  Serbia  had  been  left  undefended  and  her 
whole  population  delivered  over  to  martyr- 
dom and  pillage  for  three  years. 

The  victorv  of  the  Allies  and  Greece's  share 
in  the  spoils  of  war  should  have  confirmed  their 
confidence  in  Venizelos'  leadership.  The  faults 
of  the  partisans  and  appointees  of  his  regime 
were  the  active  cause  of  its  defeat.  The  perse- 
cution of  anti-Venizelists  and  finally  the 
assassination  of  Jean  Dragoumis,  a  rival  Liberal 
leader,  in  August  of  last  year,  for  which  bar- 
barous crime  M.  Venizelos  was  in  no  wise  per- 
sonal! v  responsible,  horrified  and  outraged 
Peloponnesian  and  Athenian  public  opinion  as 
much  as  the  murder  of  Agamemnon  must  have 
provoked  the  anger  of  the  Argive  people.  The 
younger  leader's  brothers  and  sisters,  his  aged 
statesman  father,  and  the  wide  public  to 
which  his  books  (written  in  the  popular  tongue) 
appealed  cried  for  vengeance.  The  story  calls 
for  a  new  Euripides  or  Sophocles  to  paint  its 
horror  and  sadness.  No  real  account  of  it  ca.n 
be  given  in  the  space  of  a  book  re\new,  but  it 
was  an  event  which  future  historians  cannot 
fail  to  give  note  in  any  analysis  of  the  causes 
of  the  fall  of  Venizelos.  The  return  of  Con- 
stantine was  the  only  alternative  that  could 
give  peace  to  the  nation.  Mr.  Gibbons  himself 
compared  the  murder  of  Jean  Dragoumis  to 
that  of  the  Duke  d'Enghien  which  was  the 
beginning  of  the  end  for  Napoleon. 

[266] 


Art  and  Archaeology, 


The  tragedy  unnerved  Venizelos  more  than 
anything  his  opponents  could  have  done.  He 
rebuked  all  those  who  were  even  indirectly 
responsible,  and  ordered  the  punishment  of  the 
assassins.  Thenceforth  he  refused  any  show 
of  authority,  submitting  his  party  and  himself 
to  the  people's  judgment  at  the  polls.  No  cen- 
sure of  the  result  has  come  from  his  lips  or  pen. 
In  exile  he  has  pleaded  for  Greece  as  earnestly 
as  when  he  was  in  oflice.  Venizelos  the  man 
will  be  honored  in  himself  wherever  he  goes. 

Venizelos'  form  will  be  the  shadow  in  which 
Constantine  must  walk  unless  his  own  can 
surpass  it  by  superior  dimensions.  Is  there 
place  in  Greece  for  both?  Jean  Dragoumis' 
heresy  was  to  declare  that  there  could  be  a 
liberal  policy  in  Greece  without  Venizelos. 
His  aspirations  to  lead  that  policy  committed 
him  to  two  years  of  exile  before  his  death. 
Conscious  of  the  failure  of  his  Cabinet  to 
govern  well  in  his  absence,  Venizelos  preferred 
to  make  no  real  effort  to  gain  a  new  victory  at 
the  polls.  Spiritually  listless  he  acquiesced  for 
himself  and  refused  to  lend  his  sanction  to  any 
revolt  of  his  party.  Socrates  himself  can  have 
drunk  the  cup  of  hemlock  with  no  steadier 
hand.  M.  G.  D.  G. 

Discovery  in  Greek  Lands.  A  Sketch  of  the 
Principal  Excavations  and  Discoveries  of  the  last 
Fifty  Years.  By  F.  H.  Marshall.  Cambridge: 
at  the  University  Press,  igzo.  Pp.  xi  +  isy. 
Illustrated.     8s  6d. 

This  is  an  attractive  little  sketch,  with  well 
selected  illustrations  of  the  results  of  excava- 
tions since  1870,  written  for  the  Cambridge 
Manuals  of  Science  and  Literature.  It  gives 
much  information  about  vases,  sculpture,  and 
other  art  finds,  as  well  as  about  archaeology'  and 
topography.  The  specialist  will  probably  turn 
to  Michaelis,  "A  Century  of  Archaeological 
Discoveries"  (translated  by  Miss  Kahnweiler) 
and  to  the  detailed  reports  in  the  journals,  but 
the  general  reader  who  would  like  to  know 
something  of  the  progress  of  discovery  in  Greece 
and  Greek  lands  will  find  this  a  very  useful 
book;  but  even  the  archaeologist  will  profit  by 
this  good  brief  resume  and  find  it  a  useful  intro- 
duction to  the  subject.  The  material  is 
arranged  chronologically  and  the  main  sites  are 
treated  under  an  earlier  (before  1000  B.C.)  and 
later  prehistoric  period  (1000-700  B.  C),  an 
earlier  (700-500  B.  C.)  and  later  historic  period 
(500-150  B.  C.).  There  are  special  chapters  on 
Temple  Sites  and  the  Great  Centers  of  Greek 
Life,  Delphi,  Olympia,  etc.  There  is  a  useful 
bibliography  and  a  list  of  the  more  important 
excavations  in  chronological  and  topographical 
order.  D.  M.  R. 


THE  BISHOP'S  LODGE 

Santa  Fe,  New  Mexico 


CITUATED  three  miles  north  of  the  city,  this  unique 
'^  resort  offers  its  hospitality  both  to  the  leisure-loving 
tourist,  and  to  the  archaeological  investigator. 

Readily  accessible  are  all  of  the  points  comprised 
within  what  has  been  called.  "The  most  interesting  50- 
mile  circle  in  America." 

Because  of  6o-guest  capacity.  The  Lodge  necessalily 
caters  to  a  limited  clientele.  It  appeals  especially  to 
those  who  appreciate  the  good  things  of  life,  and  is 
totally  unlike  any  "hotel." 

Open  the  year  around.  To  insure  accommodations 
reservations  should  be  made  well  in  advance. 

Rates  and  other  information  upon  request. 


Czecho 

Paintit 

-Slovak  Art  &  Craft 

JgS 

Photographs 

Slides 

Costume  Cards 

Pictures                             1 

B    0    0    li    s 

M    u    s 

i   c 

Embroideries 

Hand  Carved  Articles 

RAF. 

D.  SZALATNAY 

IMPORTER 

542  East  79th  Street.  R-llO 

' 

NEW  YORK  CITY. 

[267] 


Kindly  Mention  Art  and  .4rchaeology. 


ANNOUNCEMENT 

Messrs.  Winsor    &    Newton 

the  well-known  manufacturers  of 

ARTISTS'  COLOURS 
AND  MATERIALS 

have  frequently  had  their  attention  drawn 
to  a  rumor  which  would  appear  to  have  been 
widely  circulated,  to  the  effect  that  the  Own- 
ership of  their  business  has  changed   hands. 

This  announcement  is  to 
emphasize  the  fact  that 

No  Change  Whatever 

has  been  made  in  Ihc  Ownership  and  thai 
the  business  is  still  being  carried  on  as 
heretofore,  their  various  products  being 
manufactured  by  them  at  their  London 
factory,  as  in  the  past. 


LONDON 

38  Rathbone  Place 


NEW  YORK 
31  East  17th  Street 


NOTICE 

Owing  to  the  rapid  growth  of  the  mailing  list  of 
Art  and  Archaeology,  and  the  unusual  demand 
for  special  numbers,  our  stock  is  almost  exhausted 
of  the  following: 

V,  No.  I  (Tanuarv,  1917); 
V,  No.  4  (.April,  19:7); 
VI,  Nc.  6  (December,  1917); 
VIII,  No.  5  (September-October,  1919) 

25  cents  per  copy  will  be  paid  for  any  of  these 
numbers   upon   delivery   at  this   office. 

ART  AND  ARCHAEOLOGY 

The  Octagon,  Washington,  D.  C. 


The  Cliff  Dwellers 

Four  sepia  half-tone  pictures  of  typical  pre- 
historic ruins  in  Mesa  Verde  National  Park, 
Colorado,  may  be  obtained  by  sending  25  cts.  to 
Frank  A.  Wadleigh,  Passenger  Traffic  Manager, 
Dept.  B,  Denver  &  Rio  Grande  Railroad,  Denver, 
Colo.  The  prints  are  6x8  inches  with  wide  mar- 
gins, and  the  subjects  are  of  great  archaeological 
and  educational  interest. 


The  Greek  Theatre  of  the  Fifth  Century  before 
Christ.  By  James  Turner  Allen.  Berkeley: 
The  University  of  California  Press.  ig20.  Pp. 
x-\-  iig.     Illustrated.     $1.25. 

Many  books  and  articles  have  been  appearing 
on  the  Greek  theater  and  drama  in  the  last  few 
years,  the  most  important  being  Flickinger's 
"The  Greek  Theatre  and  its  Drama."  Pro- 
fessor Allen  has  been  interested  in  the  Greek 
drama  for  many  years  and  has  already  pub- 
lished several  articles  and  reviews  on  literarv 
and  archaeological  problems  connected  with 
the  Greek  drama.  But  the  problem  of  the 
reconstruction  of  the  fifth  century  theatre  at 
Athens  has  had  for  him  a  strange  fascination 
and  he  has  devoted  many  hours  to  it  and  finally 
got  a  clue  to  its  solution  in  the  spring  of  19 18 
when  he  published  his  short  article  "The  Key 
to  the  Reconstruction  of  the  Fifth  Century 
Theatre  at  Athens."  The  nature  of  this  clue 
is  set  forth  in  Chapterlll,  and  illustrated  by  Fig. 
20  on  page  30.  Here  the  inner  corners  of  the 
paraskenia  of  the  Lycurgean  scene-building, 
nearest  the  orchestra,  coincide  exactly  with  the 
inner  edge  of  the  retaining  wall  of  the  old 
orchestra  terrace,  and  it  is  shown  that  the  inner 
sides  of  the  paraskenia  and  the  wall  connecting 
them  at  the  rear  exactly  fit  the  circle  of  the  old 
terrace.  The  north-south  diameter  of  the 
remaining  portion  of  this  terrace  is  the 
same  as  that  of  the  fourth-century  orchestra, 
for  if  a  line  be  drawn  between  the  paraskenia 
and  at  the  same  distance  back  from  their  front 
line  as  the  Hellenistic  proskenion  stood  back 
of  the  Hellenistic  paraskenia  (about  four  feet) 
this  line  is  an  exact  chord  of  the  outer  circle  of 
the  old  terrace  wall.  These  certainly  are 
striking  coincidences,  so  that  it  would  seem 
that  Professor  Allen  has  really  made  an  im- 
portant discovery.  He  draws  the  conclusion 
that  before  the  position  of  the  theatre  was 
moved,  the  scene  building  had  been  erected 
both  on  and  about  the  orchestra  terrace. 
In  other  words  the  Lycurgean  orchestra  was 
merely  a  counterpart  of  the  Sophoclean  and 
Euripidean  orchestra,  which  was  probably  used 
also  for  the  last  plays  of  Aeschylus.  Professor 
Allen  further  thinks  (see  especially  Chapter 
\'III.  "The  Origin  of  the  Proskenion")  that 
the  fifth-century  scene  building  served  as  a 
model  for  the  building  which  replaced  it  later. 
He  thinks  (Chapter  IV,  "The  Evidence  of 
the  Dramas")  that  the  ske^ie  (hut  or  booth) 
which  was  at  first  a  flimsy  structure,  came 
in  the  fifth  century  to  be  a  substantial  building, 
two  stories  high.  The  book  is  written  in  a 
readable,  interesting  and  attractive  style. 

D.  M.  R. 


Kindly  Mention  Art  and  Archaeology. 


[268J 


/O 


> 


ART  AND  ARCHAEOLOGY 

An    Illustrated   Monthly   Magazine 

Published  by 

THE  ARCHAEOLOGICAL  SOCIETY 
OF  WASHINGTON 

Affiliated  With 

THE  ARCHAEOLOGICAL  INSTITUTE 
OF  AMERICA 

VOLUME    XII 
JULY— DECEMBER,   192 1 


ART  EDITOR 
William  H.  Holmes 

EDITORIAL  STAFF 

Virgil  Barker 

Peyton  Boswell 

Howard  Crosby  Butler 

Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L.  Hewett 

Fiske  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 
Mitchell  Carroll 

BOARD  OF  DIRECTORS 

J.  Townsend  Russell,  President 

Frank  Springer,  Vice-President 

Mitchell  Carroll,  Secretary 

John  B.  Earner,  Treasurer 

James  C.  Egbert 

Ex-Officio  as  President  of  the  Institute 

Robert  Woods  Bliss 

Mrs.  B.  H.  Warder 


H.  B.  F.  MacFarland,  Counsel* 


•Died  October  14,  1921 


VOLUME  XII  (Nos.   1-6,  JULY-DECEMBER,   192 1) 

CONTENTS 


The  High  Priest  of  the  Lost  Temple 

A  Study  of  the  "Sarcophage  Anthropoide"  of  Cadiz" 
(Twelve  Illustrations.) 

The  Investigations  at  Assos         

(Ten  Illustrations.) 

The  Broadmoor  Art  Academy       

(Three  Illustrations.) 

The  Czars  Summer  Palace  in  Warsaw  (Poem) 

(One  Illustration.) 

The  Marble  Bath  of  Jerome  Bonaparte         

(Three  Illustrations.) 

The  Carillons  of  Belgium  after  the  Great  War         .... 

(Eleven  Illustrations.) 

The  Reconstruction  of  the  Nashville  Parthenon        .... 

(Seven  Illustrations.) 

Home  of  the  Arts  Club  of  Washington  

(Four  Illustrations.) 

Activities  of  the  Arts  Club  of  Washington 

(Three  Illustrations.) 
Prologue — Ideals  of  the  Arts  Club — Exhibitions — Tuesdays  and  Thnrs- 
days^Musical  Evenings — The  Arts  Club  Players — The  Club  in 
Lighter  Vein. 

The  National  Peace  Carillon 

Promoted  by  the  Carillon  Committee  of  the  Arts  Club. 
Chicago  as  an  Art  Center: 

Introduction 

The  Plan  of  Chicago — Its  Purpose  and  Development 

(Six  Illustrations.) 

Architectltre  in  Chicago  

(Eight  Illustrations.) 

The  Monu-ments  of  Chicago 

(Seven  Illustrations.) 

Chicago  Painters,  Past  and  Present 

(Ten  Illustrations.) 

The  Art  Institute  of  Chicago 

(Nine  Illustrations.) 

Some  Collectors  of  Paintings 

(Fifteen  Illustrations.) 

Friends  of  American  Art . 

(Four  Illustrations.) 

Field  Museum  of  Natural  History 

(One  Illustration.) 

Art  at  the  University  of  Chicago        

(Two  Illustrations.) 

Art  at  Northwestern  University 

(One  Illustration.) 

Municipal  Art  I,eague  of  Chicago        

Eagle's  Next  Camp,  Barbizon  of  Chicago  Artists         .... 

(Six  Illustrations.) 

Artistic  Nature  (Poem) 

Housekeeping  in  Primitive  Hawaii         . 

(Seven  Illsutrations.) 

The  Aesthetics  of  the  Antique  City  

(Three  Illustrations.) 

Sappho  to  Her  Slave  (Poem)         

The  Debt  of  Modern  Sculpture  to  Ancient  Greece   .... 
Philip  A.  de  Laszlo 

(Five  Illustrations.) 

Lorado  Taft,  Dean  of  Chicago  Sculptors 

(Eight  Illustrations.) 

The  Fountain  of  Time  (Poem) 

Motherhood  in  American  Sculpture 

(Six  Illustrations.) 

Madonna  and  Child  by  Luini  (Poem)  

The  Shepherds  and  the  Kings 

(Seven  Illustrations.) 

Notes  from  the  New  York  Galleries 


B.  Harvey  Carroll 

Howard  Crosby  Butler 
Theo.  Merrill  Fisher    . 
John  Finley       .... 
Mary  Mendenhall  Perkins 
William  Gorham  Rice  . 
George  Julian  Zolnay  . 
Susan  Hunter  Walker 


George  William  Eggers 
Charles  H.  Wacker 

Thomas  E.  Tallmadge 

Lorado  Taft 

Ralph  Clarkson 

Clarence  A.  Hough 

Lena  M.  McCauley 

Lena  M.  McCauley 

Fay -Cooper  Cole     . 

David  A .  Robertson 

Stella  Skinner  . 

Everett  L.  Millard  . 
Josephine  Craven  Chandler 

John  H.  D.  Btanke 
Ernest  Irving  Freese 

Guido  Calza 


Agnes  Kendrick  Gray 
Herbert  Adams 
Helen  Wright    .      . 

Robert  H.  Moulton 

Emma  Schrader 
Frank  Owen  Payne 

Agnes  Kendrick  Gray 
Georgiana  Goddard  King 

Peyton  Boswell 


17 
27 
32 
33 
51 
75 
82 

85 


94 


99 

lOI 


121 
129 
145 
155 
173 
179 
181 
187 

189 
195 

204 
205 


218 

-2i 

243 

252 
253 

263 
265 

273 


Current  Notes  and  Comments 

An  Exhibition  of  American  Art  Objects       37 

Incorporation  of  "American  Schools  of  Oriental  Research"       37 

Addition  to  the  Whistler  Collection  in  the  Library  of  Congress 37 

National  Gallery  of  Art  Commission  Formed 38 

Discovery  of  a  New  Prehistoric  Site  in  Greece  at  Zvoouries 38 

Investigations  at  Assos •    ■    •    •     39 

The  Aztec  Studio.  San  Francisco 40 

American  Classical  League       40 

The  Votive  Hand  of  Avenches 41 

Louis  Comfort  Tiffany  Foundation 42 

Summer  Galleries  and  Summer  Exhibitions 43 

Summer  Program  of  the  School  of  American  Research.  Santa  Fe.  N.  M 44 

The  Chicago  Academy  of  Fine  Arts 190 

Sir  George  Frederick  Watts'  Picture  "Love  and  Life"      223 

When  Critics  Disagree — The  Metropolitan's  French  Exhibition       225 

The  Congress  on  THE  History  OF  Art  AT  Paris 226 

The  Adventure  of  A  Painting 228 

Winter  Exhibition  of  the  National  Academy  of  Design 273 

Annual  Exhibition  of  the  New  Society  of  Artists 274 

Hay*' Water  Colors  AND  Prints  AT  the  Brown-Robertson  Galleries 275 

The  Two  "Blue  Boys" 275 

Frans  Hals'  "Portrait  of  A  Man"       278 

Sir  John  Watson  Gordon's  Contemplation  at  the  Fearon  Galleries      278 

General  Meeting  of  the  Archaeological  Institute  OF  America       279 

The  American  School  IN  France  for  Prehistoric  Studies 279 

University  OF  Pennsylvania  Excavations  at  Beisan 279 

Stonehenge 279 

The  National  Peace  Carillon  Proposed  by  Arts  Club  of  Washington      280 

Biennial  Exhibition  of  the  Corcoran  Gallery  of  Art 28c; 

The  Benjamin  West  Exhibition  at  the  Art  Alliance,  Philadelphia 280 

Book  Critiques: 

The  Empire  of  the  Amorites.     By  Albert  T.  Clay 25 

Delphi  by  Frederick  Poulsen.     Tran'^Uted  by  G.  C.  Richards  with  a  Preface  by  Percy  Gardner 45 

The  Charm  of  Kashmir.     By  V.  C.  Scott  O'Connor       46 

Albert  Pinkham  Ryder.     By  Frederick  Fairchlld  Sherman 47 

Daniel  H.  Burnham;  Architect,  Planner  OF  Cities.     By  Charles  Moore 229 

J.  J.  I.ANKEs;  Painter-Graver  ON  wood.     By  Bolton  Brown       230 

College  Teaching — Studies  in  Methods  of  Teaching  in  the  College.     Edited  by  Paul  Klapper 230 

"When  Turkey  was  Turkey — In  and  Around  Constantinople."     By  Mary  A.  Poynter,  with  an  introduction  by  the 

late  Sir  Edwin  Pears 230 

Macedonia:  A  Plea  for  the  Primitive.     By  A.  Goff  and  Hugh  A.  Fawcett.  with  illustrations  by  Hugh  A.  Fawcett      .    .   231 

"The  Spell  op  Alsace."     By  Andr6  Hallays.     Translated  by  Frank  Roy  Fraprie 232 

Art  Principles  with  Special  Reference  to  Painting.     By  Ernest  Govett 281 

Furniture  of  the  Pilgrim  Century.     By  Wallace  Nutting 282 


THE  ARCHAEOLOGICAL  SOCIETY 

OF    WASHINGTON,    AFFILIATED    WITH    THE 

ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA 


Offices:  The  Octagon,  1741  New  York  Ave.,  Washington,  D.  C. 


OFFICERS,  1921 

President 
Hon.  Robert  Lansing 


Col.  Robert  M.  Thompson 
Hon.  Henry  White 

Secretary  and  Director 
Mitchell  Carroll 


Vice-Presidents 


Miss  Mabel  T.  Boardman 
Mrs.  Henry  F.  Dimock 

Treasurer 
John  B.  Larner 


Charles  Henry  Butler 
Wilbur  J.  Carr 
F.  Ward  Denys 
Albert  Douglas 
W.  P.  Eno 


BOARD  OF  TRUSTEES 

The  above-named  officers  and 

Gilbert  H.  Grosvenor 

William  H.  Holmes 

Martin  A.  Knapp 

Charles  Colfax  Long 

H.  B.  F.  Macfarland 


James  Parmelee 
J.  Townsend  Russell 
George  O.  Totten,  Jr. 
Mrs.  B.  H.  Warder 
Miss  Helen  Wright 


THE  ARCHAEOLOGICAL  SOCIETY  of  Washington  was  organized  as  the  Washington 
Society  of  the  Archaeological  Institute  of  America  in  April,  1902,  and  was  incorporated  January 
18,  1921.  It  is  first  in  point  of  membership  of  all  the  Affiliated  Societies  of  the  Institute,  and  has 
participated  largely  in  all  its  scientific  and  educational  activities,  contributing  an  aggregate  of 
over  $60,000  in  the  20  years  of  its  history.  The  objects  of  the  Society  are  "to  advance  archae- 
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archaeology,  history  and  the  arts;  and  to  contribute  to  the  higher  culture  of  the  country  by  en- 
couraging every  form  of  archaeological,  historical  and  artistic  endeavor."  It  contributed  to  the 
American  Expedition  to  Cyrene  in  1910,  11,  and  during  1919  conducted  the  Mallery  Southwest 
Expedition  in  New  Mexico.  The  Annual  Meeting  of  the  Society  is  held  in  November,  and  six 
regular  meetings  at  the  homes  of  members  are  held  from  November  to  April,  when  illu;  rated 
lectures  are  given  by  specialists  in  the  various  fields  of  archaeology  and  art.  To  conduct  the 
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ART  AND  ARCHAEOLOGY  PRESS, 
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ART  AND  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 
PuUisKed  by  THE  ARCHAEOLOGICAL  SOCIETY 

OF   WASHINGTON.    AFFILIATED  WITH  THE 

ARCHAEOLOGICAL  INSTITUTE  OF   AMERICA. 


ART  AND  ARCHAEOLOGY  PRESS,  Inc. 


Volume  XII 


JULY,   1921 


Number  1 


ART  EDITOR 
WILLIAM  H.  HOLMES 

EDITORIAL  STAFF 

Virgil  Barker 

Nathan    Boswell 

Howard  Crosby  Butler 

Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L.  Hewett 

FisKE  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 
MITCHELL  CARROLL 

BOARD  OF  DIRECTORS 

J.  TowNSEND  Russell,  President 

Frank  Springer,   Vice-President 

Mitchell  Carroll.  Secretary 

John  B.  Earner,   Treasurer 

James  C.  Egbert 

Ex-o^cio  as  President  of  the  Institute 

Robert  Woods  Bliss 

Mrs.  B.  H.  Warder 


H.  B.  F.  Macfarland,  Counsel 


CONTENTS 


The  High  Priest  of  the  Lost  Temple B.  Harvey  Carroll      ....       3 

A  Study  of  the  "Sarcophage  Anthropoide"  of  Cadiz 
Twelve  Illustrations 

The  Investig.\tions  at  Assos Howard  Crosby  Sutler      .      .      .      17 

Ten  Illustrations 


The  Broadmoor  Art  Academy     

Three  Illustrations 

The  Czar's  Summer  Palace  in  Warsaw  (Poem) 

One  Illustration 

The  Marble  Bath  of  Jerome  Bonaparte 

Three  Illustrations 


27 


Theo  Merrill  Fisher  . 

John  Finley 

Mary  Mendenhall  Perkins   .      .     33 


32 


Current  Notes  and  Comments 37 

Three  Illustrations 

Book  Critiques 45 

Tbrms:  S5  00  a  year  in  advance:  single  numbers,  so  cents.     Instructions  for  renewal,  discontinuance,  or  change  of  address  should  be 
sent  two  weeks  before  the  date  they  are  to  go  into  effect. 

All  correspondence  should  be  addressed  and  remittances  mile  to  Art  ano  Arch^Souooy.  the  Octagon.  Washington.  D.  C.     Also 
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Advertisements  should  be  sent  to  S.  W.  Frankel.  Advertising  Manager,  786  Sixth  Ave..  New  York.  N,  Y..  the  New  York  Office  of 

.^RT  AND  ArCH.\EOLOGV. 

Entered  at  the  Post  Office  at  Washington.  D.  C.  as  second  class  mail  matter.     Acceptance  for  mailing  at  special  rate  of  postage 

provided  for  in  section  1103.  Act  of  October  3    iQt7.  authorized  -September  7.  1918. 

Copyright.  1921,  by  the  Art  and  Archaeology  Press, 


ART  mxB. 

ARCHAEOLOGY 

The  Arts  Throughout  theA^ 


Volume  XII 


JULY,  1921 


Number  1 


THE  HIGH  PRIEST  OF  THE  LOST  TEMPLE 

A  Study  of  the  "Sarcophage  Anthropoide"  of  Cadiz  in  its  Relation  to  the  Phoenician  Temple  of  Hercules. 

By  B.  Harvey  Carroll, 

Consul  of  the  United  States  at  Cadiz,  Spain,  with  original  Pencil  Drawing  Illustrations 

By  Carl  N.  Werntz, 

President  of  the  Chicago  Academy  of  Fine  Arts. 


PONCE  DE  LEON  is  the  name  of 
the  island  peninsula  whose  rocky 
promontory,  projected  into  the 
Atlantic,  is  crowned  by  the  white  city 
of  Cadiz.  In  early  modern  times  the 
island  was  a  part  of  the  ancestral  estate 
of  that  family  which  sent  a  son  adven- 
turing into  the  everglades  of  Florida  in 
search  of  the  fountain  of  youth. 

Back  through  many  a  brilliant  page 
flutters  the  history  of  the  city  itself 
until  history  is  merged  into  tradition 
and  tradition  is  illumined  with  myth. 

Cadiz  claims  Hercules  as  founder. 
Its  coat  of  arms  shows  Hercules  be- 
tween the  columns,  equipped  with  mace 
and  mantle  of  lion  skin  and  subduing  a 
rampant  lion  with  either  hand.  Its 
motto  is  "Cadium  Dominator  qve 
Hercules  Eundator"  while  the  inscrip- 
tion that  twines  around  the  pillars  is  the 
famous  "Non  Plus  Ultra"  that  Charles 
V.  amended  by  ehminating  the  "non," 

[3] 


after  Columbus  had  discovered  a  new 
world. 

Perhaps  it  is  best  not  to  smile  too 
quickly  at  the  claim.  Nothing  is 
wholly  false,  not  even  tradition,  and 
back  of  the  myths  are  the  great  deeds  of 
great  men. 

Modern  Cadiz  is  the  great  Atlantic 
port  of  Spain,  especially  for  its  trade 
with  South  America.  The  island  pe- 
ninsula is  an  arm  that  makes  a  land 
locked  port  of  the  Bay  of  Cadiz,  the 
first  port  of  Europe  outside  the  straits 
of  Gibraltar.  The  city  is  now  sur- 
rounded by  high  walls,  walls  that  served 
to  keep  out  the  armies  of  Napoleon,  and 
within  the  walls  of  resistant  and  defiant 
Cadiz  were  formulated  and  uttered  in 
i8i2  the  brilliant  paragraphs  of  the 
Constitution  that  is  a  Charter  of 
Spanish  Liberties  until  today.  The 
stor>"  of  that  period  would  make 
pleasant  and  patriotic  reading  and  a 


r^ 


■^{ 


^4Z^* 


'■••'■».-.-^^ 


F^ 


•»  ,^r*- 


The  "Puerta  de  Tierra",  City  Gate  of  Cadiz. 


ART  AND  ARCHAEOLOGY 


huge  painting  in  the  Municipal  Art 
GaUery  of  Cadiz,  by  Ramon  Rodri- 
guez, shows  how  the  summons  to  sur- 
render, sent  by  Joseph  Bonaparte  in 
19 ID,  was  received  and  answered. 

Cadiz  has  but  two  entrances,  the  gats 
of  the  sea  and  the  great  gate  that  opens 
through  the  walls  known  as  the  Puerta 
de  Tierra,  the  gate  of  the  land.  Through 
this  land  gate  all  who  approach  Cadiz 
other  than  by  boat  must  enter  for  there 
is  only  one  road.  Under  the  great 
portal  pass  the  endless  streams  of 
donkeys  whose  panniers  are  filled  with 
fruit  and  garden  produce  or  with  what- 
ever wares  the  country  offers  to  the 
town.  Shawled  women  and  barefooted 
children  often  top  the  load.  Some- 
times the  donkey  seems  to  have  about 
two  cords  of  wood  upon  his  back  but  it 
is  only  the  rough  bark  of  the  quercus 
that  we  know  as  cork.  Besides  the 
donkeys  there  flows  in  and  out  of  the 
big  gate  all  the  picturesque  life  of 
vSpain,  pleasure-seekers  in  honking  auto- 
mobiles ;  wedding  parties  complete  as  to 
veils,  flowers  and  costumes  occupying 
the  handsome  "coaches"  whose  horses 
have  their  harness  adorned  with  scores 
of  silver  bells;  brown  gypsies,  barefoot; 
trim  soldiers  on  horseback,  their  scab- 
bards or  gun  barrels  gleaming  and  their 
red  and  yellow  trappings  lending  color; 
naval  officers  in  blue  and  gold  braid, 
uniforms  almost  identical  with  those 
worn  by  officers  of  the  United  States 
Navy;  civil  guards,  in  pairs,  on  foot  and 
on  horseback,  distinguished  by  their 
triangular  cocked  hats  of  patent  leather, 
and  by  their  readiness  to  shoot;  work- 
men in  blue  smocks  and  red  sashes; 
carriages  with  bevies  of  Andalusian 
beauties  wearing  characteristic  gaily 
colored,  embroidered  shawls,  pinettas 
or  high  combs  of  tortoise  shell  and 
creamy  lace  mantillas  and  manipu- 
lating   brightly    painted    or    feathered 

[S] 


fans,  and,  inevitably  accompanying  the 
beauties,  prim  duehas  in  black  silk  and 
black  lace  rebosas;  coaches  filled  with 
foreign  sailors,  drunk  and  happy,  with 
legs  swinging  over  the  sides  of  the 
vehicle  and  raucous  voices  singing  some 
chanty  meant  to  accompany  a  pull  on 
the  halliards;  military  motorcycles 
carrying  hurrying  orderlies;  cowled 
friars;  beggars  and  mendicants  of  both 
sexes  and  all  ages;  peasants  of  Anda- 
lusia wearing  the  big,  broad  and  stiff 
brimmed  hats  that  mark  them  as  being 
of  the  caste  of  bullfighters,  friends,  some- 
times a  bullfighter  in  person,  distin- 
guished, when  not  in  costume,  by  the 
little  pig  tail  or  coleta  which  he  ap- 
parently tries  to  keep  concealed  under 
his  hat  but  which  always  artlessly 
manages  to  reveal  itself;  silk  hatted 
and  prosperous  gamblers  going  to  try'  a 
turn  at  the  roulette  wheel  at  the  casino 
on  the  beach;  concave  young  dandies 
with  modish  garments;  a  group  of 
priests,  acolytes  and  choir  boys  with 
church  banners,  gilded  ecclesiastical 
emblems,  candles  and  incense  lamps; 
fishermen,  with  trousers  turned  up 
above  the  knees  revealing  corded  mus- 
cular brown  legs;  officers  on  prancing 
Andalusian  chargers;  goat  herds  pre- 
ceding and  following  their  flocks  of 
milch  goats  entering  the  city  to  deliver 
milk  direct  from  goat  to  consumer; 
wooden  wheeled  carts,  with  hoods  of 
plaited  straw  bulging  out  like  the 
canvas  tops  of  the  American  prairie 
schooner,  drawn  by  patient  oxen  with 
heads  sagging  beneath  the  yoke; 
"Gitana"  fortune  tellers  garbed  in 
bright  colored  rags,  their  necks  encircled 
with  strings  of  gold  and  silver  coins; 
porters;  peddlers;  mules,  and  more 
"burricos,"  all  showing  at  pack  saddle 
or  bridle  latchet.a  silver  half  moon,  or  a 
colored  tassel  or  a  bit  of  wolf  or  badger 
skin,  as  charms  against  the  evil  eye; 


,p£I2fepl 


The  Cathedral  of  Cadiz,  sketched  from  the  Atlantic  side  of  the  island. 


ART  AND  ARCHAEOLOGY 


hawkers  of  fish,  their  wares  displayed  in 
flat  baskets,  burricos  loaded  with  pot- 
tery visible  under  rope  woven  panniers ; 
venders  of  pink  shrimp,  ware  that 
appeal  loudly  to  eye  and  nose ;  holy  men 
and  unholy  women  unwittingly  jostling 
each  other  at  the  barriers;  in  short  all 
the  color-rich  life  of  leisurely  Spain, 
prince,  peasant  and  pauper  converging 
to  and  congesting  the  city's  gate. 

Mr.  Carl  N.  Wemtz,  head  of  the 
Academy  of  Fine  Arts  in  Chicago,  has 
caught  the  spirit  of  that  flow  of  life  into 
the  portal  as  well  as  the  beautiful  pro- 
portions of  the  old  gate  tower  itself  and 
his  wonderful  pencil  sketch,  (repro- 
duced on  page  4)  suggests  the  color 
which  is  the  one  thing  lacking.  Outside 
the  gate,  a  hundred  yards  on  either  side, 
one  sees  the  blue  of  the  Atlantic  and 
the  blue  of  the  bay  and  down  the  sand 
spit  the  white  ribbon  of  road  that  is  the 
only  avenue  to  the  main  land  10  miles 
away.  This  road  is  the  old  Avenue  of 
Hercules  that  led  to  the  temple  in  pre- 
historic days. 

Equally  characteristic  as  a  glimpse  of 
Cadiz  is  the  sketch  of  the  Cathedral 
whose  twin  towers  dominate  the  city 
whether  viewed  from  land  or  sea.  The 
sketch  is  made  from  the  parapet  of  the 
city's  wall  on  the  Atlantic  side  and  over 
the  wall  the  eternal  casual  fishermen 
watch  their  lines  and  the  eternal  gulls 
maneuver  about  them. 

With  gate  and  cathedral  one  sees  the 
heart  of  the  present  city,  and  Spanish 
cities  change  their  customs  and  out- 
lines so  slowly  that  a  matter  of  a 
hundred  years  or  so  makes  but  little 
difference,  but  Archeology  gropes  back 
not  through  the  cycles  but  through  the 
millenniums,  and,  sifting  out  sagas  and 
myths  and  the  dust  of  dead  men,  reads 
its  stories  amid  the  stones  and  bones  of 
the  prehistoric  past. 

Reversing  the  centuries  we  pass  un- 

[7] 


heeding  the  days  when  the  Duke  of 
Albuquerque  defended  the  city  against 
Marshal  Soult  until  the  Duke  of  Wel- 
lington came  and  lifted  the  siege  in 
August,  1812,  until  we  reach  the  time  in 
1596  when  Elizabeth's  favorite,  the  Earl 
of  Essex,  destroyed  a  Spanish  fleet,  40 
treasure  galleons  and  looted  the  city 
only  9  years  after  Drake  had  "singed 
the  beard  of  the  King  of  Spain"  by 
burning  the  shipping  in  the  harbor.  It 
was  then  that  the  present  walls  began 
to  be  constructed  about  the  town  and  its 
prosperity  returned  until  it  was  richer 
than  London,  the  wealth  of  Mexico, 
Peru  and  the  West  Indies  pouring  an 
average  shipment  of  $25,000,000  a  year 
into  its  coffers. 

Before  the  discovery  of  the  New 
World,  Cadiz,  under  the  Arabs,  had 
sunk  to  slight  importance  and  was 
plundered  by  the  corsairs  of  Barbary 
but  it  was  one  of  the  early  conquests  of 
the  vSpanish  arms,  Alonso  the  Learned 
capturing  it  in  1262.  R.  Balaca,  a 
modern  painter  has  a  large  picture  in 
the  Cadiz  Academy  of  Fine  Arts  show- 
ing the  entry  of  Alonso. 

Before  the  Arabs  it  had  languished 
under  the  Vandals  who,  coming  about 
410  A.  D.,  remained  in  power  until  711, 
leaving  little  trace  beyond  the  beautiful 
name  of  Andalusia  and  a  strain  of  fair 
hair  and  blue  eyes  in  the  population. 
Here  as  elsewhere  the  Vandals  drove 
out  the  Romans  who  had  named  the  city 
Gades.  Csesar  and  Pompey  had  fought 
for  it.  Scipio  Africanus  had  used  it  as  a 
base  of  operations  and  supplies  in  the 
Second  Punic  war  as  Hamilcar  and 
Hannibal  had  done  in  the  first  war 
between  Rome  and  Carthage.  The 
Carthaginians  had  held  the  town  since 
about  500  years  before  Christ,  and  ruled 
it  nearly  300  years. 

But  a  thousand  years  before  the 
Carthaginians     came,     their     mother 


Metropolis  ol  Cadiz:  Group  of  Tombs,  discovered  July   1914. 


country  of  Phoenicia  had  sent  ex- 
plorers and  colonists  and  these  sun 
worshippers,  finding  already  a  race  of 
sun  worshippers,  had  erected  a  temple 
to  Hercules  Melkarte  or  Hercules,  the 
city  god. 

•  So  far  as  history  goes  we  are  told  that 
the  Greek  Pytheas  had  studied  its 
tides  in  the  days  of  Alexander  the 
Great.  As  the  Mediterranean  is  tide- 
less  (but  not  the  Adriatic)  it  may  be 
that  this  was  the  first  time  in  the  history 
of  man  that  this  disconcerting  pheno- 
menon was  ever  studied.  On  the  light- 
house reef  at  Cadiz  there  is  still  a 
modern  hydrometer  and  hydrographic 
station. 

Of  the  early  Carthaginian  period 
and  of  the  Phoenician  period  little  is 
known.  It  is  not  even  known  when  the 
famous  temple  to  Hercules  disappeared. 
One  of  Murillo's  great  paintings  at 
Cadiz  shows  Caesar  visitin?  this  temple. 


Now  there  is  no  trace  and  the  leading 
archaeologist  of  Cadiz,  Don  Pelayo 
Ouintero  Atauri,  Director  of  the  Acad- 
emy of  Fine  Arts,  who  as  delegate  of  the 
Junta  vSuperior  of  Excavations  in  Spain 
has  supervised  all  the  excavations  that 
have  been  made  in  Cadiz  under  scienti- 
fic observation  and  who  had  discovered 
two  groups  out  of  the  five  discovered 
groups  of  ancient  tombs,  and  who  has 
carefully  excavated  and  studied  many 
tombs  of  the  Ibero-Roman  period,  is  of 
the  opinion  that  this  temple  was  not  at 
Cadiz  but  at  the  other  extremity  of  the 
peninsula,  that  is  at  its  base  near  San 
Fernando. 

In  company  with  Don  Pelayo  I  have 
visited  and  studied  the  tombs  that  re- 
main and  with  .great  appreciation  I  have 
read  his  scholarly  book  "Cadiz  Primitive 
Primeros  Plobadores  Hallazgos  Arqueo- 
logicos"  (Primitive  Cadiz,  Its  First 
Inhabitants    and    Archaeological   Sur- 

[8] 


ART  AND  ARCHAEOLOGY 


vivals)  in  which  he  makes  an  exposition 
of  the  facts  and  the  theories,  and  if  I 
modestly  venture  to  differ  with  him  on 
some  of  his  important  conclusions  it  is 
yet  largely  on  the  basis  of  scholarly 
evidence  adduced  by  him. 

The  testimeny  of  Strabo  shows  that 
in  the  days  of  Augustus  this  temple  was 
flourishing.  Strabo's  evidence  seems 
clear  enough  as  to  the  location  of  the 
temple  of  Hercules.  A  free  translation 
would  be :  "There  is  much  to  say  of  the 
Gaditaneans  since  it  is  they  who  send  out 
ships  many  and  beautiful,  who  navigate 
not  only  our  sea  (the  Mediterranean) 
but  also  the  ocean.  ...  At  the 
extremity  of  this  island  (the  island 
peninsula  of  Cadiz)  there  is  a  temple 
dedicated  to  Saturn,  and  at  the  opposite 
part,  that  is  to  say  toward  the  East,  is 
the  temple  of  Hercules,  and  this  is  the 
point  where  the  island  is  nearest  to  the 
continent  in  such  a  manner  that  it  is 
only  separated  from  it  by  a  canal  of  the 
sea  of  only  a  stadium.  There  are  those 
who  say  the  temple  is  distant  from  the 
city  1 2  miles  so  that  the  number  of  the 
miles  may  equal  the  tasks  of  the  god, 
but  in  fact  the  distance  is  the  length  of 
the  island  from  West  to  East." 

After  a  reference  to  the  fable  of 
Geryon,  Strabo  recites  in  detail  the 
tradition  held  in  Cadiz  at  that  time 
according  to  which  an  oracle  gave  the 
Tyrians  instruction  to  send  a  colony  to 
the  columns  of  Hercules.  After  two 
expeditions,  which  by  the  disapproval 
of  the  auguries  were  shown  to  have 
failed  to  locate  the  columns  of  Hercu- 
les, a  third  expedition  finally  settled  at 
Cadiz  (Gadir),  the  mountains  at  the 
Straits  of  Gibraltar  and  an  island  near 
Huelva  being  the  places  tried  and 
rejected  by  the  first  expeditions.  These 
expeditions  had,  however,  found  a  well 
established  cult  of  the  primitive  Iberian 
Hercules.     According  to  Strabo  most 

[9] 


of  the  Greek  writers  held  that  the  pillars 
were  at  the  entrance  of  the  Straits  but 
the  Iberians  and  the  Libyans  held  that 
the  true  columns  were  at  Cadiz,  and 
Pindar  and  others  seem  to  hold  with 
them. 

Strabo's  geography  and  topography 
would  fit  the  present  island  peninsula 
like  a  glove  but  there  is  a  most  interest- 
ing reference  in  Pliny  the  Younger  (78 
A.  D.)  which  describes  a  small  island 
between  Cadiz  and  the  continent  at.  a 
distance  of  one  hundred  steps  from  the 
main  island  and  about  a  mile  long  in 
which  was  the  primitive  city  of  Cadiz. 
This  small  island,  he  says,  was  called 
Erytrea  by  certain  Greek  writers  and 
Aphrodisia  by  others,  but  the  primitive 
inhabitants  named  it  after  Juno. 

While  Strabo  does  not  mention  this 
island  by  name  he  incidentally  confirms 
its  existence.  After  describing  how 
flourishing  Cadiz  is  and  how  it  numbers 
among  its  inhabitants  by  a  recent  census 
500  patrician  knights,  a  number  greater 
than  any  other  cities  except  Rome  and 
Padua,  he  adds  that  the  city  in  ancient 
times  was  small  but  Balbus  the  Gadita- 
nean  (Balbus  the  younger  who  had 
been  granted  a  triumph  and  was  the 
son  of  L.  Cornelius  Balbus)  had  built 
near  it  another  city  called  Neapolis  and 
the  two,  united  into  one,  called  itself 
Didyma  (the  twin).  Many,  he  said,  in- 
habited the  nearby  coast  and  many 
more  inhabited  a  little  neighboring 
island  where  there  had  been  built 
another  city  that  competed  with  the 
"twin"  and  where  one  might  live  with 
great  pleasure  because  its  soil  was  of 
great  fertility.  He  tells  later  how 
Phericidas  thinks  that  Cadiz  was  called 
Er>'thia  and  narra  tes  how  there  occurred 
in  it  the  fable  of  Geryon  and  says  others 
suppose  that  Geryon  inhabited  an 
island  near  to  Cadiz  and  separate  from 
it  by  only  a  narrow  canal  of  the  sea  one 


ART  AND  ARCHAEOLOGY 


Necropolis  of  Cadiz:  Front  of  the  Anthropoid 
Sarcophagus. 


stadium  in  width,  in  which  island  such 
was  the  abundance  and  quahty  of  the 
grass  that  when  the  sheep  ate  it  their 
milk  became  so  rich  that  much  water 
had  to  be  added  before  cheese  could  be 
made  from  it,  and  after  30  days  pas- 
turaee  on  it  cattle  had  to  be  bled  to 
keep  them  from  suffocating. 

There  seems  to  be  no  room  for  doubt 
that  on  this  little  island  was  the  legend- 
ary site  of  the  ninth  labor  of  Hercules 
and  that  it  represented  a  primeval  cult 
of  Hercules. 


At  the  present  time  there  is  no  island, 
the  railroad  now  following  the  low  sandy 
stretch  that  represents  the  fiUed-in 
canal  between  the  island  and  the  main 
land  but  the  projection  that  on  modern 
maps  is  represented  as  the  ship  yard 
of  the  Astilleros  Gaditanos  is,  I  think, 
without  doubt  the  core  of  the  former 
island,  the  site  of  the  oldest  civilization 
and  settlement  near  Cadiz  and  the 
natural  place  at  which  one  might  expect 
to  encounter  remains  of  the  pre-Roman 
period. 

There  is  a  large,  unexplored  mound 
within  the  limits  of  the  ship  yard  and  it 
was  near  this  mound  where  the  first  and 
most  important  archaeological  find  was 
made  in  Cadiz,  to-wit,  the  tomb  with 
the  marble  sarcophagus  known  as  the 
anthropoid  sarcophagus,  and  near  this 
first  tomb  and  also  within  the  limits  of 
the  former  island  were  found  other 
tombs  while  across  the  railroad  and  on 
what  were  once  the  terraced  slopes  of  the 
the  coast  line  of  the  main  peninsula, 
distant  a  stadium,  were  found  the  other 
groups  of  prehistoric  tombs. 

In  June,  1887,  while  levelling  the 
ground  for  a  Maritime  Exposition-  it 
was  necessary  to  remove  a  little  emi- 
nence that  jutted  into  the  waters  of  the 
bay,  and  there  was  uncovered  a  .group 
of  three  sepulchres  one  of  which  con- 
tained the  beautiful  marble  sarcopha- 
gus, apparently  made  of  the  white 
marble  ol  Almeria  or  a  marble  similar  to 
a  marble  found  there.  In  the  sarco- 
phagus was  the  well  preserved  and 
perfectly  articulated  skeleton  of  a  man 
while  of  the  two  sepulchres  at  the  feet 
of  the  one  containing  the  marble  casket, 
one  was  found  to  contain  the  bones  of  a 
man  and  the  remains  of  iron  weapons 
and  the  other  the  bones  of  a  woman. 
The  marble  casket  was  apparently  that 
of  a  priest  so  that  the  strange  group  ap- 
parently  gave   the   triangle   of   priest, 

[10] 


The  Sculptured  head  on  the  Anthropoid  Sarcophagus.     Detail  by  Carl  N.  Werntz. 


warrior  and  woman.  Some  of  the 
trinkets,  jewels  and  weapons  in  these 
tombs  passed  into  the  hands  of  indi- 
viduals and  have  never  been  recovered. 
The  tombs  themselves  were  destroyed 
but  the  sarcoghagus  and  its  content 
constitute  one  of  the  archaeologist's 
greatest  discoveries. 

The  sarcophagus  follows  the  general 
outlines  of  a  mummy  case  but  there  is 
no  reason  to  believe  that  the  body 
whose   bones   remain   had   ever   been 

[11] 


embalmed.  The  cover  of  the  case  sug- 
gests the  outlines  of  an  heroic  figure  and 
the  head  is  perfectly  modelled  and 
presents  an  appearance  so  striking  that 
one  cannot  resist  the  impression  that  it 
is  a  portrait.  The  coiffure  oi  hair  and 
beard  is  Chaldean  or  strikingly  suggests 
the  curls  of  Assyrian  heads.  The  cast 
of  features  is  Semitic.  So  Abraham 
might  have  looked.  The  face  is  full  of 
dignity  and  power,  high  cheek  bones, 
curved   (but  not  hooked)    nose,   beard 


ART  AND  ARCHAEOLOGY 


exuberant  and  long,  down  drooping 
mustachios  curled,  as  if  by  a  barber  of 
Babylon.  The  lips  are  full,  sensual  and 
arrogant.  Once  in  real  life  I  have  seen 
such  a  face,  and  it  was  that  of  the 
Samaritan  high  priest  who  still  on 
Alount  Ebal  sacrifices  annually  in  full 
accord  with  the  Mosaic  ritual.  These 
Samaritans  are  lineal  descendants  oi 
the  colony  that  Nebuchadnezzar 
planted  in  Samaria  which  were  Juda- 
ized  to  the  extent  of  accepting  the 
Pentateuch  alone  of  the  Hebrew  Holy 
Books.  The  faces  of  these  Samaritan 
priests  as  I  saw  them  nearly  20  years 
ago,  brought  vividly  to  my  mind  the 
faces  of  Assyrian  sculpture,  hair,  beard 
and  features  the  same.  These  vSamari- 
tans  are  the  closest  living  kin  perhaps  of 
the  Ninevite  and  Phoenician  race  and 
it  is  one  of  their  faces  that  appears  on 
this  sarcophagus  lid. 

\\'hile  the  head  and  face  are  in  almost 
the  three  dimensions  of  complete  sculp- 
ture the  outlines  of  the  body  are  indi- 
cated by  light  bas-relief  scarcely  a 
quarter  of  an  inch  high.  The  figure  is 
shown  wearing  a  short  sleeved  tunic 
that  drops  to  the  instep  but  leaves  the 
shoulders  and  arms  bare.  In  those 
almost  suggested  lines  of  arms  and 
shoulders,  as  in  the  structure  of  the  face 
there  is,  however,  shown  a  perfect 
knowledge  of  anatomy  as  well  as  a  fine 
command  of  art.  The  muscles  of  the 
neck,  shoulder  and  arms  are  not  only 
beautifully  but  correctly  indicated, 
sterno-mastoid,  trapezius,  deltoid  and 
biceps  showing  beauty  and  strength. 
The  feet,  shown  from  the  insteps  down, 
are  bare  and  are  firmly  planted,  the  wide 
interval  between  the  first  two  toes  sug- 
gesting that  the  feet  had  been  accus- 
tomed to  sandals,  although  no  sandals 
are  shown.  Silius  Italicus  says  that  the 
priests  of  Hercules  wore  white  tunics 
and    that    the    feet    were    bare.      The 


position  of  the  feet  and  the  general 
form  of  the  sarcophagus  and  cover  as 
well  as  the  attitude  of  the  figure  carved 
thereon  clearly  indicate  that  this  casket 
was  intended  to  be  placed  not  hori- 
zontally, as  it  was  found  in  the  primi- 
tive tomb,  but  upright,  perhaps  in  a 
niche  in  the  temple. 

The  right  arm  is  dropped  full  length 
down  the  side  of  the  figure  and  the 
fingers  of  the  hand  are  closed  as  if 
upon  the  hilt  of  a  sword  or  knife,  th? 
back  of  the  hand  being  to  the  front. 
Don  Pelayo  think';  that  this  closed 
hand  held  a  wreath  of  laurel  which  was 
painted  on  but  I  think  that  in  such  a 
case  the  palm  would  have  been  turned 
hah  way  outward  and  the  last  two 
fingers  would  have  been  more  relaxed 
and  not  tensed  in  a  grip  as  they  are.  A 
laurel  wreath  would  have  been  held 
between  the  thumb  and  the  first  two 
fingers.  The  knife  or  sword  is  only 
indicated,  as,  carved  at  right  angles  to 
the  body,  the  beauty  of  the  lines  would 
have  been  affected,  or  perhaps  the 
dimensions  of  the  marble  did  not  admit. 

The  left  hand  is  brought  forward  to 
the  center  of  the  body  and  holds  a 
human  heart.  The  significance  of  this 
seems  not  to  have  been  appreciated 
although  the  sacerdotal  character  of 
the  figure  is  conceded  by  all.  But  to 
my  mind  it  seems  clear  that  we  have 
here  not  only  a  priest  but  a  high  priest 
depicted  in  the  supreme  moment  of  his 
career  and  at  the  climax  of  his  ritual, 
when,  having  torn  open  the  breast  of  a 
human  sacrifice  with  the  curved  knife 
that  he  held  in  his  right  hand,  he  lifts, 
as  an  offering  to  the  Sun  God,  the 
bleeding,  smoking  heart  that  he  has 
plucked  out  with  his  left  hand. 

This  would  not  be  out  of  accord  with 
what  we  know  of  Canaanite,  Hittite, 
Chaldee  or  Phoenician.  Even  Abra- 
ham approached  to  the  very  verge  of 

[121 


Amulet  of  the  Lioness 
Headed  Goddess,  with 
Moon  Disc.  Found  in 
a  primitive  tomb. 


Amulet  of  a  Ram  Headed 
God.  Found  in  a  prehis- 
toric tomb. 


Funeral  seal  ring  with  Scarabaeus  and  Fragment 
of  Sidereal  collar  showing  agate,  gold  and  bone 
beads  with  golden  sun  emblem. 


human  sacrifice  when  he  was  ready  to 
offer  up  Isaac,  and  Jahveh's  method  of 
seaUng  a  promise  to  man  was  by  '  'cut- 
ting a  covenant."  Moreover  it  would 
chime  perfectly  with  the  sun  worship  in 
the  new  world  as  Cortes  found  it  and  as 
Lew  Wallace  describes  it  in  "The  Fair 
God . ' '  The  Samaritans  have  continued 
until  the  present  time  to  offer  living 
sacrifices  of  animals  in  accord  with  the 
instructions  given  by  Jahveh  to  Abra- 
ham that  animals  should  substitute 
human  beings. 

The  feet  and  garments  of  the  statue 
recall  and  resemble  those  of  the  As- 
syrian king  taken  from  Nimrud  that  is 
found  in  the  British  Museum,  the  slop- 
ing projection  on  which  the  feet  rest 
being  identical.  This  foot  rest  and 
the  shape  of  the  sarcophagus  as  well 
as  the  coiffure  of  head  and  beard  are 
markedly   like    those    of     the     sarco- 

[13] 


phagus,  unquestionably  Phoenician 
found  in  Sidon  and  now  in  the 
Louvre. 

Only  the  shape  of  the  sarcophagus 
reminds  one  of  the  sarcophagus  of 
Echmunezar  which  is  as  Egyptian  in 
sculpture  style  as  the  Cadiz  tomb  is 
Greek.  (See  sketch  of  head  of  the 
figure  carved  on  the  Sidon  sarcophagus.) 
The  statue  sarcophagus  of  Echmunezar 
however,  besides  being  found  in  vSyria, 
contains  an  inscription  in  Phcenician 
that  pronounces  a  curse  against  the 
profaners  of  tombs. 

These  differences  in  the  sculpture 
lead  one  to  believe  that  the  Phoenicians 
ordered  their  tombs  in  advance  and 
invoked  the  aid  of  famous  artists  who 
carved,  each  according  to  his  art, 
traditions,  and  nationality. 

I  can  not  agree  with  my  friend  Don 
Pelayo  that  the  Sarcophagus  is  Hittite 


ART  AND  ARCHAEOLOGY 


Sketch  from  Sarcophagus  of  Echmunezar, 
Phoenician  Tomb  in  Egyptian  Style  of 
Sculpture. 

and  precedes  the  Phoenician  period  but 
I  think  it  more  likely  that  when  the 
Phoenicians  set  up  the  temple  to  the 
worship  of  the  sun  in  honor  of  Hercules 
they  possibly  left  some  great  high  priest 
to  serve  it  and  that  this  priest  imported 
hip  monument  which  was  carved  by  a 
Greek  artist  in  accordance,  or  in  partial 
accordance,  with  Assyrian  traditions. 
The  excellent  anatomy,  the  fore- 
shortening of  the  left  arm  and  hand, 
and  the  suggestion  of  Greek  art,  despite 
the  lightness  of  the  bas-relief  of  the 
figure  are  impressive.  I  am  most 
fortunate  in  being  able  to  present  che 
detail  sketches  of  feet  and  left  hand  by 
Mr.  C.  N.  Wemtz  made  ac  the  Archseo- 
logical  Museum  in  Cadiz,  especially 
to  accompany  this  study. 


*  1 


J 


Bas-Relief  Sculpture  Drawing  of  the  Feet  of  the 
High  Priest.     Detail. 


Articles  found  in  the  first  group  of 
tombs  were  lost  or  passed  into  private 
possession.  It  is  probable,  however, 
that  a  sidereal  collar  emblematic  of  sun 
worship,  a  scarabeus  set  in  a  liturgical 
ring  so  as  to  revolve  and  having  the 
underside  engraved,  and  two  rings  or 
ear  rings  of  soft  pure  gold  were  in 
this  tomb.  No  inscription  and  no 
written  word  was  found  save  the  as  yet 
untranslated  engraving  on  the  scara- 
beous  seal  ring.  The  absence  of  money 
in  these  early  tombs  is  significant  that 
the  period  was  still  one  of  barter.     In 


■^ 


Light  Bas-Relief  Sculpture  Drawing  of  the  Left  Hand 
of  the  High  Priest,  holding  a  Heart.     Detail. 

other  tombs  of  the  period  were  found 
similar  objects  such  as  sidereal  collars 
adorned  with  sun  emblems,  the  petals 
of  the  sun  medallion  varying  from  8  to 
12  and  the  beads  of  the  collars  being 
alternate  agate  and  pure  gold,  some- 
times also  alternating  with  bits  of 
enamel  and  sections  of  finger  bones. 

The  agate  beads  are  not  rounded  but 
are  short  sections  of  drilled  cylinders. 
There  is  shown  a  sketch  of  a  section  of  a 
collar,  of  a  scarabeus  and  of  two  of  the 
four  amulets  or  funeral  emblems  that 


ART  AND  ARCHAEOLOGY 


seem  almost  purely  Egyptian  but  that 
are  connected  with  the  worship  of  the 
sun  and  moon.  One  is  that  of  a  lioness 
headed  god  and  the  other  is  of  a  ram 
headed  god.  The  disc  over  the  head  of 
the  lioness,  the  huntress  of  the  night,  is 
the  moon  disc,  with  the  cobra  in  front, 
and  the  vertical  rays  of  the  sun  form 
the  disc  over  the  head  of  the  ram, 
emblem  of  vigor  and  fertility.  It  does 
not  seem  necessary  to  identify  these 
two  meticulously  with  the  funeral 
genii  of  the  Egyptians  although  amulets 
with  the  head  of  the  hawk  and  of  the 
jackal  were  also  found  and  in  one  tomb 
a  golden  bee,  one  of  the  fecundity 
emblems  of  Diana  of  the  Ephesians. 
The  many  breasted  ancient  statue  of 
Diana  at  Naples  shows  the  mantle 
covered  with  bees.  The  heads  of  these 
amulets  are  of  purest  gold  modelled 
with  a  skill  that  the  expert  jewelers  of 
today  could  not  surpass.  The  shafts 
of  the  amulets  are  of  copper,  now  badly 
corroded  but  once  hollow  and  filled 
with  some  substance  now  indistin- 
guishable, perhaps  a  tiny  cylinder  of 
inscribed  papyrus  or  parchment. 

Perhaps  over  the  subterranean  tombs 
there  were  originally  inscribed  tablets 
but  at  present  one  has  to  lament  the 
complete  lack  of  inscriptions  whether 
in  Hebrew,  Aramaic  or  Phoenician, 
hieroglyphs  or  Greek.  Of  these  primi- 
tive tombs  a  number  have  been  found, 
clearly  distinguishable  from  the  Cartha- 
ginian and  Ibero-Roman  periods. 

Suarez  de  Salazar,  writing  in  1610, 
describes  3  classes  of  sepulchres,  (one 
of  them  corresponding  to  these  ancient 
tombs,)  which  were  found  while  build- 
ing the  walls  of  Cadiz. 

The  discovery  of  the  group  contain- 
ing the  carv^ed  sarcophagus  took  place 
in  June  1887.  In  1890  a  group  of  four 
similar  sepulchres  but  without  sarco- 
phagi was  found  very  near  this  group 

[15] 


while  laying  out  the  shipyard  now 
known  as  the  Astilleros  Gaditanos.  In 
Jan.  1 89 1  another  group  of  four  was 
found  but  this  time  on  what  was  once 
the  shore  of  the  island  peninsula  and 
across  what  was  the  canal  of  a  stadium 
in  width.  In  April  1891  another 
double  group,  verj^  near,  and  in  1892 
another  group  of  four.  All  of  these  save 
the  1887  group  were  perfectly  oriented 
and  all  contained  skeletons  that 
crumbled  on  being  touched.  The 
measurements  of  the  skeleton  in  the 
sarcophagus  have  been  very  accurately 
taken  in  detail.  A  sketch  showing  the 
contour  of  the  skull  is  given.  I  think 
all  three  of  the  tombs  in  the  first  group 
were  priestly,  two  priests  and  a 
priestess.  The  rusted  weapons  in  one 
of  the  tombs  were  sacrificial  knives. 

Beginning  with  September,  191 2, 
orderly  excavations  have  been  made 
under  the  direction  of  Don  Pelayo 
Ouintero  Atauri  who  has  uncovered 
twenty-three  prehistoric  tombs  and 
many  of  the  Carthaginian  and  Roman 
period.  The  Roman  cemetery  was  on 
the  Atlantic  side  of  the  island  and  just 
outside  of  the  present  walls  of  the  city, 
and  the  tombs  are  pottery  funeral  urns 
containing  the  cremated  remains  of  the 
dead  and  other  objects  such  as  coins, 
amulets  of  clay,  small  clay  masks,  idols 
and  vessels,  which  discoveries,  valuable 
as  they  are,  lie  outside  the  scope  of  this 
stor}\ 

The  story  that  seems  to  coincide  with 
the  tombs  and  with  the  traditions  is 
that  long  before  the  dawn  of  recorded 
history  some  Syrian  tribe  of  sun  wor- 
shippers, coming  perhaps  from  near 
Tarsus,  perhaps  from  the  shores  of  the 
Red  Sea,  but  having  traversed  Eg>'pt 
and  Northern  Africa  en  route,  arrived 
at  the  bay  ol  Cadiz  and  found  inside  the 
island  peninsula  a  small  sheltered  island 
of  great  fertility  separated  by  the  stad- 


ART  AND  ARCHAEOLOGY 


ium  wide  canal  from  the  island  and  by 
the  bay  from  the  mainland,  and  used  as 
an  enclosed  pasture  by  some  mainland 
aboriginal  chief.  The  migration  was 
led  by  some  sturdy  hero  whom  tra- 
dition has  identified  as  Tubal  Cain. 
The  newcomers  dispossessed  the  original 
inhabitants,  after  a  struggle,  perhaps  a 
duel,  between  the  old  chief  and  the  new, 
and  we  have  a  reminiscence  of  that 
combat  in  the  story  of  the  ninth  (some- 
times listed  as  the  tenth)  labor  of 
Hercules  in  taking  the  huge  red  bulls  of 
the  Giant  Geryon,  by  the  significant 
aid  of  the  ocean  nymph  Callirrhoe. 

With  the  lapse  of  years  hero  became 
demi-god  and  demi-god  became  deity 
and  along  the  Atlantic  coast  of  Spain 
there  was  a  well  developed  worship  of 
Hercules,  a  primitive  temple  begin 
located  at  what  is  now  known  as  the 
Punta  Canteras  in  the  Bay  of  Cadiz  and 
another  near  Huelva,  which  facts  were 
discovered  by  the  two  abortive  Phoeni- 
cian expeditions  sent  out  to  locate  the 
pillars  of  Hercules.  The  third  expe- 
dition found  in  the  bay  of  Cadiz  a 
protected  harbor  and  a  shelter  for  their 
boats  under  the  lee  of  the  little  island. 
They  no  doubt  also  found  the  settle- 
ment there  at  war  with  the  shore  tribes 
and  the)'  found  a  welcome  by  announc- 
ing that  they  had  come  to  seek  the 
pillared  shrine  of  Hercules  and  to 
found  a  temple  to  that  god,  now  ele- 
vated by  Egyptian  influence  to  a  sun 
god.  They  were  welcomed  and  took 
possession.  The  time  was  perhaps  1400 
B.C. 

With  the  coming  of  the  high  carved 


galleys  of  Phoenicia  to  Cadiz  the 
history  of  Spain  began.  I  think  the 
sarcophagus  is  that  of  the  first  high 
priest  of  Hercules  introduced  by  the 
Phoenicians.  I  would  expect  to  find  the 
remains  of  the  old  temple  of  Hercules 
within  the  hmits  of  that  smaller  island 
perhaps  in  the  unexplored  and  un- 
explained mound  that  exists  in  the  ship- 
yard crowned  with  a  few  fragments  of  a 
far  later  edifice  were  it  not  for  the 
explicit  testimony  of  Strabo.  Perhaps 
when  the  temple  was  destroyed  the 
sarcophagus  of  the  high  priest  was  taken 
from  its  niche  to  the  safety  of  the 
smaller  island  or  perhaps  on  that 
island  a  smaller  temple  was  erected. 
Certainly  within  its  limits  will  be  found 
other  objects  going  back  to  the  most 
primitive  period  of  Spanish  history. 
The  ruins  of  the  temple  of  Hercules 
itself  should  be  found  at  the  base  of  the 
present  island  peninsula  near  the  canal 
that  unites  at  that  poin<"  ocean  and  bay. 
That  bayou-like  canal  has  no  doubt 
shifted  its  location  somewhat  in  the 
centuries  but  the  ruins  should  still  be 
easy  to  find  and  when  they  are  found 
there  will  no  doubt  be  found  with 
them  the  great  stone  altar  of  human 
sacrifice.  For  the  rest  one  can  only 
quote  the  words  of  Emil  Huebner, 
written  prior  to  any  of  these  dis- 
coveries: "The  discovery  of  the  treas- 
ured riches  in  the  famous  temple  of 
Melkarte,  the  Tyrian  Hercules,  in  the 
island  of  Cadiz,  is  the  opus  magnum 
reserved  without  doubt  to  a  Schliemann 
of  the  future." 

Cadiz,  Spain. 


[16] 


THE  INVESTIGATIONS  AT  ASSOS 


CONDUCTED  BY  THE  ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA 
B\  Howard  Crosby  Butler. 


EVERYONE  who  is  interested  in 
Classical  archaeology,  everyone 
who  cares  about  Greek  architec- 
ture, and  many  others  who  have  only  a 
love  of  Art  in  general  will  hail  with 
enthusiasm  the  long  delayed  appear- 
ance of  the  final  parts  of  the  publica- 
tions of  the  Investigations  at  Assos. 
These  investigations,  which  were  the 
first  of  the  kind  undertaken  by  Amer- 
icans in  the  field  of  Classical  archae- 
ology, were  begun  forty  years  ago  under 
the  auspices  of  the  Archaeological  In- 
stitute of  America,  as  the  result  of  the 
untiring  energy  and  skill  of  the  late 
Joseph  Thatcher  Clarke,  and  with  the 
cordial  cooperation  at  home  of  the  late 
Professor  Charles  Eliot  Norton.  The 
first  installments  of  these  publications 
appeared  twenty  years  after  the  exca- 
vations had  been  undertaken,  and 
vicissitudes  such  as  the  absorption  of 
the  architect  of  the  expedition  in  the 
business  of  his  profession,  lack  of  funds 
for  publication,  and  a  world  war,  have 
delayed  the  completion  of  the  work 
until  now.  The  earlier  parts  of  the 
publications  have  been  of  great  scien- 
tific value  and  interest;  now  we  are  to 
have  a  folio  containing  carefully  meas- 
ured map-plans  of  ancient  Assos,  re- 
storations in  perspective  of  parts  of  the 
city,  scale-drawings  of  plans,  elevations 
and  details,  and  restorations  of  the 
principal  monuments,  together  with  a 
wealth  of  large  reproductions  of  photo- 
graphs of  the  ruins.  ]Most  of  the  plans 
and  drawings  of  elevations,  details  and 
restorations  are  the  work  of  Mr. 
Francis  H.  Bacon,  in  his  peculiar  and 
most  beautiful  style  as  a  draftsman,  a 

[171 


style  which  is  one  of  the  most,  if  not  the 
most,  satisfactory  that  has  ever  been 
attempted  for  the  rendering  and  in- 
terpretation of  ancient  Classical  archi- 
tecture. One  is  by  his  brother,  Henry 
Bacon,  the  gifted  architect  of  the 
Lincoln  Memorial  in  Washington.  No 
picture  or  word  description  could  be 
more  illuminating  to  the  youthful  or  to 
the  experienced  student  of  Greek  archi- 
tecture and  of  Greek  life  than  Mr. 
Bacon's  Restoration  of  the  Agora  at 
Assos,  a  cut  of  which  is  presented  here- 
with. No  rendering  of  any  sort,  or  in 
any  medium,  could  better  depict  the 
delicate,  artistic  charm,  and  the  logical 
constructional  processes  of  the  archi- 
tecture of  Greece  than  the  accompany- 
ing pen-drawing  of  the  Vaulted  Tomb. 
These  drawings  give  us  not  only  a 
sense  of  the  refined  and  dignified  beauty 
of  the  monuments  of  Greek  and  Hel- 
lenistic architecture;  but  are  proof  in 
themselves  of  the  accuracy  and  fidelity 
to  truth  with  which  they  were  executed. 
Nodetail,  however  minute,  is  lostin  these 
restorations,  and  the  large-scale  draw- 
ings of  various  details  will  be  of  great 
value,  not  only  to  the  architect,  but  to 
all  students  of  Greek  architectural 
ornament.  The  verbal  descriptions 
which  accompany  the  drawings  are  con- 
cise, clear  and  to  the  point.  The  in- 
scriptions have  been  drawn  and  edited 
with  great  care.  The  coin  types  have 
been  published  by  Mr.  H.  W.  Bell  with 
his  usual  pains  and  accuracy.  The 
publications  throughout  are  of  such  a 
high  quality  of  scholarship,  technical 
presentation,  and  artistic  execution, 
that      American      archaeologists     and 


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Western  Transverse  Wall,  showing  a  high  grade  of  stone-work,  and  a  Gateway  with  a  corbelled  arch. 


lovers   of  art  may  well  be   proud   of 
them. 

Thi  s  work ,  so  long  in  preparation ,  is  at 
last  completed  and  a  short  account  of 
the  book  may  interest  our  readers. 
The  first  part  of  the  work  was  issued  in 
1902,  but  owing  to  various  delays  the 
final  parts  have  only  been  completed 
this  year.  The  expedition  to  Assos  was 
sent  out  by  the  Archaeological  Institute 
of  America  in  1881  and  carried  on 
excavations  during  1881-1882  and  1883. 
The  present  work  is  intended  to  be  a 
book  of  plates  giving  exact  drawings  of 
all  the  buildings  investigated  including 
the  Temple,  Gymnasium,  Agora  with 
the  adjoining  Stoa,  Bouleuterion  and 
Bazaar  or  Market  building,  the  Forti- 
fication Walls  and  gateways  and  the 
interesting  street  of  Tombs  with  its 
many  Sarcophagi  and  Monuments; 
brief  descriptions  accompany  the  plates 
with  exact  drawings  and  measures  of  all 


fragments.  Assos  was  a  provincial 
Greek  city  in  the  southern  part  of  the 
Troad,  built  on  terraces  around  a  steep 
hill  directly  on  the  sea  and  facing  the 
island  of  Lesbos.  Along  the  narrow 
paved  streets  that  ran  around  the  sides 
of  the  Acropolis  were  the  dwellings  and 
public  buildings  placed  in  picturesque 
relation  to  each  other,  the  whole  en- 
closed by  massive  fortification  walls. 
High  above  all  was  the  Temple  of 
Athena  which  formed  here,  like  the 
Parthenon  at  Athens,  a  quiet  sanctuary 
far  removed  from  the  bustle  of  the  city 
below.  Its  pavement  is  nearly  eight 
hundred  feet  above  the  sea  level,  and  so 
steep  is  the  ascent  that  from  the  edge 
of  the  cliff  one  can  look  into  the  holds  of 
the  small  vessels  clustered  in  the  port 
below.  The  temple,  a  very  early  Doric 
building  of  the  VI  Century  B.C.  has 
long  been  of  interest  to  archaeologists  on 
account     of     the     sculptured    epistyle 

[20] 


'  J-  - 

Large  Urnamented  Sarcophagus,  No.  XV'l,  raistd  upon  a  high  Podium.     Paved  Street  in  foreground. 


blocks  which  had  been  noticed  by  early 
travelers.  In  1838  the  French  Govern- 
ment removed  eleven  of  these  blocks  to 
Paris.  Eleven  more  fragments  were 
found  by  the  American  expedition. 
The  plan  of  the  temple  was  definitely 
established  and  enough  fragments  found 
to  make  drawings  of  the  elevations 
possible.  The  Agora  was  on  a  terrace 
below  the  temple.  An  arched  gateway 
formed  the  Western  entrance,  at  the 
North  was  the  Stoa,  a  long,  open,  two- 
storied  portico,  over  three  hundred  feet 
long,  with  the  Bouleuterion  at  the  East. 
On  the  South  was  the  Bazaar  or  Market 
building  with  a  row  of  small  rooms  for 
shops  on  the  lower  floor;  the  second 
floor  was  probably  for  store-rooms; 
while  the  upper  story  formed  an  open 
portico  entered  from  the  Agora  level. 
The  Stoa  formed  a  shelter  from  the  rain 
and  sun  and,  being  in  the  public  square, 
was  a  place  of  general  resort  for  the 
merchants  and  business  men  of  the  city 

[21] 


as  well  as  for  others.  An  interesting 
passage  in  Strabo  illustrates  this  use 
of  the  Stoa  in  the  life  of  the  Greeks,  and 
also  the  fact  that  all  jokes  are  old.  In 
speaking  of  Cyme,  a  city  fifty  miles 
south  of  Assos,  he  says: 

"And  another  storv^  is  that  they 
borrowed  the  money  to  build  their  Stoa, 
and,  not  paying  up  on  the  appointed 
day,  were  shut  out  from  the  building. 
But,  when  it  rained,  the  money- 
lenders, for  very  shame,  sent  out  the 
crier  to  bid  them  come  under;  and,  as 
the  crier  made  proclamation,  'Come 
under  the  Stoa,'  the  story  got  abroad 
that  the  Cymaeans  did  not  know 
enough  to  go  in  when  it  rained,  unless 
they  were  notified  by  the  herald." 

The  principal  Avenue  of  Tombs  was 
evidently  laid  out  with  great  care.  A 
level  unpaved  terrace  about  13  m. 
wide  and  250  m.  long  extended  from  the 
city  wall  to  the  paved  road  leading  to 
the    upper    gates.     This    avenue    was 


^3 


A  Vaulted  Tomb,  partly  restored,  showing  perfection  of  construction  and  high  finish.     On  all  sides 

Sarcophagi  and  Stelae  are  crowded  together. 


Li-irj^^^ 


^r 


'i  ■  Its  --If;  4^/^ -•--■A-ft^^-?-r^S^ 

.^.-   T .^/■l  -.I.---,-— j  :;—  -^ 

.S':'-V    "    "^- 


■HENRY    BACON    DEL  / 


Tomb  of  Publius  Varius,  outside  the  western  gate  of  the  city,  facing  down  the  long  Street  of  Tombs. 


ART  AND  ARCHAEOLOGY 


Mcirljlc  IVduital  from  Tomb  of  Publius  Varius. 

lined  with  monuments  on  each  side,  the 
large  Tomb  of  Publius  Varius  facing  the 
center.  Between  the  monuments  were 
many  buried  sarcophagi.  In  several 
places  were  found  small  jars  containing 
charred  bones,  the  ground  thus  used 
through  successive  ages  became  full  of 
graves  and  later  comers  had  difficulty  in 
finding  places  not  already  occupied. 
Ever}^  available  space  was  filled  and 
later  sarcophagi  were  placed  in  the 
exedras  and  many  tombs  were  re- 
appropriated.  It  seemed  to  be  against 
their  scruples  to  remove  any  buried  jar 
or  sarcophagus,  and  in  several  instances 
buried  sarcophagi  were  found  around 
which  walls  had  been  built  as  a  founda- 
tion for  a  later  tomb.  Altogether  in 
different  parts  of  the  Necropolis  were 
found  over  a  hundred  buried  sarcophagi 
with  the  lids  still  on.  These  were 
simple  stone  coffins,  large  enough  to 
contain  a  human  body.  Most  of  them 
had  been  opened  in  later  times  and 
other  bodies  placed  inside.  In  some 
were  the  remains  of  five  or  six  skeletons, 
one  over  another  in  as  many  layers. 

[25] 


Most  of  the  larger  monuments  had 
seats  or  exedras  in  front  and,  owing  to 
the  proximity  to  the  main  gate,  the 
place  must  have  been  one  of  general 
resort,  as  there  is  a  beautiful  view  of  the 
sea  and  of  the  island  of  Lesbos  opposite. 
It  is  especially  pleasant  at  sunset,  for 
at  this  time  the  wind  which  generally 
blows  steadily  all  day  ceases,  the 
laborers  come  in  from  the  fields,  the 
goat  bells  tinkle  and  the  shepherds  are 
heard  calling  to  their  flocks  in  the  valley 
below. 

A  graphic  picture  of  the  neglected 
condition  of  a  Greek  Street  of  Tombs 
as  early  as  75  B.  C.  is  given  by  Cicero 
in  his  Tusculan  Disputations,  Book  V. 
He  went  to  Sicily  as  Quaestor  and  when 
at    Syracuse   endeavored    to    find    the 


Capital  from  the  very  early  Doric  Temple  of 
Athena  at  Assos. 


f 


^'^aifmmfmmmmmm 


wniiwi 


Dog  Inscription  from  Mytilene. 


tomb  of  Archimedes,  which  no  one 
remembered,  and  some  even  denied  its 
existence.  Cicero's  account  of  its  dis- 
covery is  as  follows: 

"I  searched  out  the  tomb,  shut  in  on 
all  sides  and  enveloped  in  briars  and 
brushwood ;  for  I  held  in  my  hand  some 
iambic  verses  which  I  had  heard  were 
carved  on  his  monument,  and  which 
showed  that  it  had  at  the  top  a  sphere 
and  a  cylinder.  When  I  had  personally 
inspected  that  great  throng  of  grave- 
monuments  just  outside  of  the  Agri- 
gentine  gate  of  Syracuse,  at  last  I 
noticed  a  small  column,  a  little  rising 
above  the  brushwood,  on  which  were 
carved  the  figures  of  sphere  and  cylinder. 
Sending  there  a  squad  of  men  with  axes 
and  pruning  knives,  I  soon  had  the  place 
opened  and  cleared;  then  we  went  to 
the  base  of  the  shaft,  and  there  was  the 
epitaph,  though  the  ends  of  the  verses 
were  almost  half  eaten  off.     Thus  it  was 


seen  that  an  illustrious  Grecian  city, 
formerly  eminent  in  science,  had  for- 
gotten the  tomb  of  its  one  most 
learned  citizen,  and  must  learn  its 
existence  from  a  man  of  little  and 
remote  Arpinum." 

One  of  the  last  illustrations  in  the 
book  is  that  of  a  figure  of  a  dog  cut  on  a 
marble  slab,  above  an  inscription — a 
touching  tribute  of  a  Lesbian  youth 
named  Anaxeos  to  the  memory^  of  his 
dog  Parthenope.  The  stone  was  found 
in  Mytilene  in  1880  and  is  now  in  the 
Museum  at  Constantinople.  A  free 
translation  of  the  inscription  is  as 
follows. 

"Parthenope  his  dog,  with  whom  in  life 
It  was  his  wont  to  play,  Anaxeos  here 
Hath  buried;  for  the  pleasure  that  she  gave 
Bestowing  this  return.     Affection,  then, 
Even  in  a  dog,  possesseth  its  reward. 
Such  as  she  hath  who,  ever  in  her  life 
Kind  to  her  master,  now  receives  this  tomb. 
See,  then,  thou  make  some  friend,  who  in  thy  life 
Will  love  thee  well,  and  care  for  thee  when  dead." 
Princeton  University.  H.  G.  C.  Jr. 

[26] 


THE  BROADMOOR  ART  ACADEMY 

By  Theo  Merrill  Fisher. 


IN  THE  Broadmoor  Art  Academy  at 
Colorado  Springs  the  West    boasts 

an  art  institution  which  in  the  brief 
span  of  a  year  has  estabUshed  itself  as 
one  of  really  national  consequence. 
This  is  possibly  a  daring  verdict  to 
offer  as  the  judgment  of  only  a  twelve- 
month's activity  but  consideration  of 
the  record  herewith  presented  will,  we 
are  confident,  bear  it  out. 

The  organization  of  the  Academy  in 
the  fall  of  19 19  was  in  reality  the  coming 
true  of  Mr.  and  Mrs.  Spencer  Penrose's 
long  cherished  dream  of  giving  their 
attractiv^e  and  spacious  town  house  as 
the  foundation  for  and  the  center  of  an 
art  institution  for  the  city  where  they 
resided.  At  the  same  time  they  pro- 
vided the  nucleus  of  a  five  year  main- 
tenance and  development  fund  which 
will  insure  financial  needs.  The  name 
"Broadmoor,"  it  might  be  noted,  is  that 
of  the  dehghtful  residential  suburb 
where  these  donors  now  have  their 
home. 

In  true  western  spirit  the  organizers 
of  the  Academy  decided  against  the 
usual  policy  of  small  beginnings  and 
half  hearted  programs,  concluding  that 
the  fate  of  this  altruistic  venture — be  it 
happy  or  dismal — were  determinable 
quickly  and  surely  if  boldness  in  at- 
tempting the  realization  of  their  pur- 
poses was  their  guiding  principle. 
Although  the  central  idea  is  to  make  the 
Academy  in  everj^  possible  way  a  com- 
munity center  for  all  the  arts — really 
an  "Akademeia"  in  the  original  Greek 
sense,  as  we  shall  presently  see — the 
focal  point  of  its  interests  is  found  in  the 
field  of  the  line  arts  and  particularly  in 
what  it  offers  as  a  school  of  art.  The 
significance  of  the  institution  from  the 


standpoint  of  the  country  at  large  is 
found  too  in  this  connection.  The 
amazing  response  which  immediately 
followed  its  initial  announcement  last 
spring,  is  largely  accounted  for,  it 
appears,  in  the  attractiveness  which  art 
students  in  all  sections  found  in  the 
summer  art  school  program.  The  com- 
bination of  instruction  of  unsurpassable 
quality  in  an  environment  of  rare 
climatic  and  scenic  charm  was  the 
magnet  wisely  calculated  to  draw,  and 
draw  it  did  more  powerfully  than 
fondest  anticipations  had  deemed  pos- 
sible. John  F.  Carlson,  one  of 
America's  most  eminent  painters  and 
long  known  as  one  of  the  country's 
foremost  teachers,  especially  through 
his  work  at  Woodstock,  New  York,  was 
presented  as  the  instructor  in  land- 
scape painting  and  for  study  of  the 
figure  and  portrait  painting,  Robert 
Reid,  member  of  the  National  Academy 
and  Society  of  Ten  American  Painters, 
who  besides  holding  a  very  high  place 
as  a  portraitist  and  mural  decorator 
also  has  been  distinguished  as  a  teacher. 

The  summer  school  opened  June 
1920  for  a  three  months'  term.  Be- 
fore its  conclusion  eighty  were  attend- 
ing its  adult  classes  with  an  additional 
fifteen  to  twenty  youngsters  enrolled 
for  instruction  under  Alice  Craig,  a 
pupil  of  William  Chase,  Robert  Henri 
and  Robert  Reid. 

The  Great  West  is  just  coming  into 
its  own  as  a  field  for  the  landscapist, 
needing  but  acquaintance  to  become 
established,  as  it  is  now  doing,  as  one  of 
charms  peculiar  to  itself;  a  land  of 
infinitely  varied  aspects,  color  and 
atmosphere.  The  hope  of  making  the 
Broadmoor  Academy   of  vastly   more 

[27] 


-• :-  4  "■■  ■■'^-'" 


Photograph  of  H.  L.  Standley,  Colorado  Springs 

Broadmoor  Art  Academy,  from  Monument  Valley  Park. 


than  local  consequence,  aside  from  the 
place  that  first  class  instruction  alone 
would  give  it,  is  found  then  in  what  we 
may  term  its  strategic  position.  Colo- 
rado vSprings  as  it  happens,  is  in  the 
exact  railroad  center  of  the  United 
States,  being  by  fast  train  service  just 
forty-eight  hours  from  both  coasts  and 
the  Canadian  and  Mexican  borders. 
More  important  than  convenience  of 
access  though,  is  its  pictorial  resources, 
for  situated  as  it  is,  where  the  Great 
Plains  in  their  westward  rise  abruptly 
terminate  in  the  tremendous  upthrust 
of  the  Front  Range  Rockies,  the  art 
student,  novice  or  adept,  here  has  the 
choice  of  and  ready  access  to  these  two 
fields  of  work  widely  different  in  char- 
acter, and  each  in  its  way  offering  him 
a  superb  challenge  and  inspiration. 

[29] 


The  Academy  itself  is  most  at- 
tractively situated,  just  off  of  one  of  the 
town's  principal  residential  thorough- 
fares, its  grounds  whch  cover  half  of  a 
city  block  and  its  frontage  on  the  rim  of 
Alonument  Valley  Park  across  whose 
meadows  and  tiny  lakes  it  looks  to  the 
far-flung  panorama  of  Pikes  Peak  and 
many  lesser  summits,  give  it  seclusion 
and  rare  setting. 

To  the  new  uses  the  dwelling  and 
other  buildings  were  readily  adapted. 
What  was  formerly  the  green  houses 
having  been  metamorphosed  into 
studios  for  the  two  principal  instruc- 
tors, lecture  and  class  rooms  and  a 
small  exhibition  gallery.  The  second 
and  third  floors  of  the  residence  and  the 
loft  of  the  garage  are  now  living  apart- 
ments and  studios  for  local  and  visiting 


Photograph  of  Theo  M.  Fisher 

Broadmoor  Art  Academy,  Colorado  Springs  Galleries,  Art  Society  Exhibitions  of  Gorham  Bronzes  and  display. 


artists.  The  salon,  conservatory  and 
dining  room  that  were,  have  been 
thrown  together  to  make  a  large  as- 
sembly room, — the  setting  for  many 
delightful  affairs,  including  the  meet- 
ings of  the  several  organizations  which, 
through  its  purpose  to  serve  as  a  center 
for  so  many  as  possible  of  the  com- 
munity's artistic  groups,  the  Academy 
affiliated  with.  Among  others  The 
American  Music  Society  and  the 
Musical  Club,  to  name  the  two  most 
important  of  musical  interests,  and  the 
Drama  League,  now  enjoy  this  hos- 
pitality, the  latter  on  occasion  of  its 
performances,  with  curtains  and  port- 
manteau stage,  converting  the  room 
into  a  little  theatre  that  comfortably 
seats  two  hundred.     It  is  used  also  as  a 


studio  for  Mrs.  Grace  Milone's  classes 
in  interpretative,  classical  and  other 
dancing. 

Aliss  Laura  Gilpin,  a  graduate  of  the 
Clarence  White  School  of  pictorial 
photography  of  New  York  City,  one 
of  whose  pictures  we  are  privileged  to 
reproduce  herewith,  has  her  work  rooms 
in  the  building. 

The  summer  session  is  of  course  at 
the  outset  the  chief  feature  of  the  art 
school  phase  of  the  Academy's  activi- 
ties, at  least  in  point  of  popularity. 
Teaching  during  the  winter  was,  how- 
ever, continued  by  Mr.  Reid  and  JNIiss 
Craig  and  new  courses  in  design,  in- 
terior decoration  and  various  crafts 
were  offered  under  ISIiss  Helen  Finch,  a 
graduate  of  the  Chicago  Art  Institute. 

[30] 


ART  AND  ARCHAEOLOGY 


As  it  is  the  intention  of  the  directors 
to  have  an  art  exhibition  of  some  kind 
on  display  at  all  times,  the  past  year  has 
seen  in  its  gallery  one  interesting  col- 
lection after  another  and  all  available 
for  visitors'  enjoyment  without  ad- 
mission charge. 

These  have  included  decorative  de- 
signs by  Leon  Bakst;  monotypes  by 
John  Anson  James ;  two  of  old  masters — 
one  group  a  small  but  choice  assemblage 
from  local,  private  homes  and  another 
from  the  Ehrich  Galleries  of  New 
York — pastels  and  oil  paintings  by 
William  P.  Henderson;  examples  of 
Henry  Golden  Dearth's  work;  bronzes 
by  noted  American  sculptors,  through 
the  courtesy  of  the  Gorham  Galleries; 
during  the  summer  a  showing  of  Mr. 
Carlson's  landscapes  including  a  num- 
ber of  his  first  depictions  of  far  western 
themes  which,  although  the  artist 
named  them  but  experimental  sketches 
were  so  appealing  as  to  make  one  im- 
patient of  the  time  when  he  will  offer 
more  ambitious  work  from  this  vicinity. 
More  recently  art  lovers  were  favored 
with  the  chance  of  seeing  Mr.  Reid's 
studies  of  the  mountains  and  plains 
near  Colorado  Springs,  with  a  group  of 
his  "moonlight  motives"  in  the  Garden 
of  the  Gods,  confirming  the  impression 
that  in  taking  up  permanent  residence 
in  Colorado  as  he  has  done,  the  far  west 
has  gained  a  great  addition  to  its 
artistic  assets  and  art  the  enrichment 
that  has  come  from  such  attractive 
canvasses,  representing  a  new  and 
radically  different  phase  of  his  interests. 

For  many  years  the  Colorado  Springs 
Art  Society  served  its  community  un- 
selfislily  and  effectively,  bringing  to  the 
city  art  collections  of  the  highest  rank, 
most  of  which  are  rarely  shown  this  far 
from  eastern  art  centers,  and  too 
always  offering  them  without  admission 
fee.     With    the    inauguration    of    the 

[31] 


Broadmoor  Academy  the  Society  felt 
than  in  the  interest  of  the  objects  it  had 
at  heart  and  because  of  greater  achieve- 
ment possible  through  the  newer  organi- 
zation, it  were  wise  to  give  place  to  it. 
In  reality  the  two  have  been  amalga- 
mated, the  executive  committee  of  the 
former  becoming  the  latter's  exhibition 
committee  and  its  members  the  active 
or  artist  members  of  the  Academy. 

One  of  the  most  valuable  and  inter- 
esting of  collateral  activities  is  the  free 
musical  study  available  for  young 
people.  Edwin  A.  Dietrich  directs  a 
junior  symphony  orchestra  which  at- 
tracts forty  or  more  every  Saturday 
morning  during  the  school  year  and 
Mrs.  H.  Howard  Brown's  instruction  in 
musical  appreciation  and  choral  singing 
draws  at  least  an  equal  number. 

The  Academy  has  recently  been 
given  what  promises  to  be  an  important 
impetus  and  enlargement  of  scope 
through  the  arrangement  whereby  it 
has  been  made  one  of  the  centers  for 
the  artistic,  vocational  training  of 
former  service  men.  This  has  neces- 
sitated the  organization  of  a  distinct 
department  of  industrial  arts,  compre- 
hending the  courses  formerly  in  Miss 
Finch's  charge,  other  craft  instruction, 
particularly  in  pottery  together  with 
commercial  illustration  and  photogra- 
phy. C.  P.  da  Costa  Andrade,  formerly 
of  Philadelphia,  has  been  made  director 
of  this  new  division  with  Lloyd  Moylan 
and  Wilfred  Stedman  his  immediate 
assistants  and  Miss  Gilpin  in  charge  of 
photographic  instruction. 

An  initial  assignment  of  twenty  men 
was  made  by  the  Government  in  April 
and  it  is  anticipated  that  before  fall  the 
number  will  have  increased  to  fifty  or 
more.  Because  of  the  unusually  favor- 
able climatic  conditions,  men  desiring 
industrial  art  training  will  be  sent  here 
not  only  from  the  states  of  the  Rocky 


ART  AND  ARCHAEOLOGY 


Mountain  "division"  but  as  well  from 
all  sections  of  the  country. 

The  second  year  of  the  Academy's 
active  history  began  June  15th  with  the 
return  of  Mr.  Carlson  from  the  east  for 
the  opening  of  the  summer  school.  He 
will  remain  for  a  year  and  continue  his 
classes  through  the  school's  winter 
term. 

The  enrollment  for  the  summer 
school  at  this  writing  is  so  greatly 
ahead  of  that  of  the  same  time  a  year 
ago  it  is  anticipated  an  assistant  will 


be  imperative  for  the  work  afield.  Mr. 
Reid  will  of  course  continue  his  classes 
as  in  time  past"  '-^t 

For  an  insignia  the  Academy  has 
adapted  an  antique  seal  which  was  once 
probably  used  by  some  ecclesiastical 
organization  in  Old  Mexico ;  the  device 
showing  an  angel  with  torch  and  globe, 
in  this  latter  connection  appropriately 
signifying  Art's  supernal  meaning  to 
the  world. 

Colorado  Springs,  Colo. 


The  Czur'i  iMuniiiLT  I'alacL-  lit  Wurs.iw. 


THE  CZAR'S  SUMMER  PALACE  IN  WARSAW. 


The  great  ivhite  palace  waits  in  vain 
The  host  ivho  ne'er  will  come  again 

To  Varsovie; — 
To  Varsovie,  To  Varsovie, 

The  great  ivhite  Czar 

Journeys  afar 
And  sleeps  no  more  in  Varsovie. 


Warsaw  (Varsovie),  Poland. 
May  14,  1921. 


JOHX   FiXLEY. 


[32] 


The  Lowenburg:  the  small  castle  built  by  Jerome  Bonaparte  in  the  grounds  of  the  Castle  Wilhelmshohe, 

at  Cassel,  Germany. 


THE  MARBLE  BATH  OF  JEROME  NAPOLEON 

By  Mary  Mendenhall  Perkins. 


THE  youngest  brother  of  the  great 
Napoleon  I,  can  truly  be  said  to 
have  had  an  exceptional  career, 
from  almost  the  very  beginning  to  the 
end  of  his  life. 

Whenever  his  name  is  mentioned  we 
naturally  recall  his  famous — or  shall  I 
say  infamous? — American  romance,  the 
result  of  which  reflects  but  little  credit 
on  either  Jerome  or  his  illustrious 
brother. 

After  Napoleon  I,  who  was  greatly 
displeased  with  his  brother's  marriage 
to  Miss  Elizabeth  Patterson,  had  passed 
a  decree  annulling  the  marriage,  Jerome 
returned  to  France  in  submission  to  his 
brother's    wishes.     He    was    rewarded 

[33] 


with  a  high  command  in  the  navy,  later 
being  made  a  brigadier-general  in  the 
army.  But  the  highest  honor  remained 
to  be  bestowed  upon  him  by  his  royal 
benefactor,  Napoleon  I,  when  he  was 
handed  the  crown  of  the  Kingdom  of 
Westphalia  in  Germany. 

With  the  crown  went  the  hand  of  the 
daughter  of  Frederick,  King  of  W^uer- 
temburg.  There  is  but  little  doubt 
that  he  left  his  heart  in  America,  in  the 
keeping  of  the  beautiful  Miss  Patterson 
of  Baltimore,  as  he  is  said  to  have  led 
a  rather  reckless,  dissolute  life  ever 
after  his  return  to  France.  It  is  cer- 
tain that  he  cared  little  for  the  happi- 
ness of  his  German  wife. 


ART  AND  ARCHAEOLOGY 


While  King  of  Westphalia  he  made 
Cassel,  the  lovely  old  town  on  the 
Fulda,  in  the  province  of  Hesse,  his 
place  of  residence.  He  built  a  fine 
opera-house  on  the  Friedrichsplatz,  a 
small  but  very  beautiful  castle,  perfect 
in  every  detail,  in  the  grounds  of  the 
great  castle  of  Wilhelmshohe,  where 
he  spent  much  of  his  time.  This  later 
became  famous  as  the  prison,  for  seven 
months,  of  the  ill-starred  Napoleon  IH, 
after  the  debacle  of  Sedan. 

But  what  clings  closest  to  the  name 
and  fame  of  Jerome  Bonaparte  in  the 
Cassel  of  today  is  his  Marble  Bath. 
This  was  a  wonderful  creation,  wholly 
of  white  Carrara  marble,  with  a  flight  of 
steps  leading  down  to  the  great  sunken 
pool.  In  Cassel  they  say  that  the  dis- 
sipated Jerome  used  to  have  this  filled 
with  wine  in  which  he  bathed  to  re- 
store his  depleted  energies.  Report 
says  further  that  he  afterward  gave  the 
wine  to  his  valet,  who  bottled  and  sold 
it  for  his  own  profit.  The  walls  were 
covered  with  fine  bas-reliefs  of  myth- 
ological subjects  suggested  by  the 
Metamorphoses  of  Ovid,  and  wrought 
out  by  the  French  sculptor  Monnot,  all 
in  Carrara  marble.  There  were  ten  of 
these  large  allegorical  groups  done  in 
bas-relief.  The  accompanying  illustra- 
tion of  one  of  these  will  serve  to  give  an 
idea  of  their  artistic  value.  It  repre- 
sents Daphne  and  Apollo.  In  the 
legend  it  appears  that  Apollo,  seeing 
Cupid  playing  with  his  bow  and  arrows, 
taunted  him,  saying  he  should  leave 
warlike  weapons  for  hands  worthy  of 
them  and  content  himself  with  the 
torch  of  love.  At  this  Cupid  replied, 
"Thine  arrows  may  strike  all  things 
else,  Apollo,  but  mine  shall  strike  thee." 
So  saying  he  took  his  stand  on  a  rock  of 
Parnassus  and  drew  from  his  quiver  two 
arrows,  one  to  excite  love  and  one  to 
repel   it.     With   the   latter   he   struck 


Uiie  of  the  bas-reliefs  in  Carrara  marble  on  the  wall  of 
Jerome  Bonaparte's  Marble  Bath  at  Cassel,  Germany. 

the  nymph  Daphne,  the  daughter  of 
the  river-god  Peneus,  and  with  the 
other  one  he  struck  Apollo  through  the 
heart.  At  once  Apollo  was  seized  with 
love  for  Daphne,  but  she  abhorred  the 
idea  of  loving  him.  Her  delight  was  in 
woodland  sports  and  in  the  spoils  of  the 
chase.  Apollo  saw  the  charming  dis- 
order of  her  hair;  he  saw  her  eyes  as 
bright  as  stars;  he  saw  her  lovely  lips; 
he  longed  for  Daphne.  He  followed 
her,  but  she  fled.  She  heeded  not  his 
entreaties,  but  ran  as  swiftly  as  the 
wind.  He  called  to  her  that  it  was 
for  love  that  he  fallowed  her,  but  still 
she  would  not  listen.  Even  as  she  ran 
she  charmed  him.  The  wind  caught 
her  hair  and  unbound  it  so  that  it  fell 
in  streams  behind  her.  At  last  her 
strength  began  to  fail;  ready  to  sink, 

[34] 


ART  AND  ARCHAEOLOGY 


and  with  Apollo's  breath  upon  her,  she 
called  out  to  her  father:  "Help  me, 
Peneus!  Open  the  earth  to  enclose 
me,  or  change  ?ny  form,  which  has 
brought  me  into  this  danger!"  Im- 
mediately a  stiffness  came  upon  her 
limbs,  and  gradually  she  took  on  the 
appearance  of  a  laurel  tree.  Apollo 
embraced  the  branches;  they  shrank 
from  his  lips.  Kissing  the  wood,  he 
said:  "Since  thou  canst  not  be  my  wife, 
thou  shalt  be  my  tree.  I  will  wear 
thee  for  my  crown.  I  will  decorate 
with  thee  my  harp  and  my  quiver. 
When  the  Roman  conquerors  conduct 
the  triumphal  pomp  to  the  Capitol  thou 
shalt  be  woven  into  wreaths  for  their 
brows.  And  as  eternal  youth  is  mine, 
thou  shalt  be  always  green,  and  thy 
leaf  know  no  decay."     The  laurel  tree 


bowed  its  head  in  grateful  acknowledg- 
ment. 

The  sculptor  shows  us  Daphne  at  the 
moment  Apollo  has  overtaken  her. 
Peneus,  the  river-god,  is  seated  on  the 
bank.  The  metamorphosis  is  taking 
place  slowly  in  the  foreground,  the 
nymph's  lower  limbs  becoming  encased 
in  bark,  her  long  lovely  fingers  trans- 
forming into  leaf-covered  twigs,  while 
in  the  distance  stands  the  laurel  tree 
which  represents  her  completed  change 
of  form. 

Jerome  Bonaparte  and  his  whole 
dynasty  have  long  since  passed  away, 
but  the  lovely  Marble  Bath,  with  its 
charming  allegories  in  snowy  stone, 
remains  to  tell  us  of  the  glories  of  his 
fitful  reign. 

Los  Angeles,  California. 


MORRIS  JASTROIV,  JR. 

Morris  Jastrozv,  Jr.,  of  the  University  of  Pennsylvania, 
one  of  the  Board  of  Editors  of  ART  AND  ARCHAE- 
OLOGY, died  in  Philadelphia,  June  22,  1921.  Of  Profes- 
sor Jastrow's  academic  career  and  important  contributions 
in  the  fields  of  scholarship  and  letters,  other  periodicals  have 
spoken  at  length.  To  his  breadth  of  vision,  his  devotion 
to  the  humanities,  his  wide  sympathies,  his  helpful  coopera- 
tion as  an  editorial  colleague,  we  wish  to  give  brief  testi- 
mony. Probably  no  scholar  of  the  present  day  in  America 
was  -more  familiar  with  the  entire  field  of  Oriental  culture 
than  Morris  Jastrow.  These  gifts,  combined  with  great- 
ness of  soul  and  charm  of  personality,  made  him  most  help- 
ful in  his  relations  with  ART  AND  ARCHAEOLOGY  and 
other  activities  of  the  Archaeological  Institute,  and  won  for 
him  the  abiding  affection  of  those  zvho  came  in  contact  with 
him. 


[35] 


CURRENT  NOTES  AND  COMMENTS 

An  Exhibition  of  American  Art  Objects. 

The  Burlington  Fine  Arts  Club  of  London  has  recently  held  an  exhibition  of  objects  of  indig- 
enous American  art.  The  pieces  on  view  were  selected  from  the  collections  of  forty-one  private 
individuals  and  from  the  museums  at  Oxford,  Cambridge,  Liverpool,  and  Warrington.  An 
elaborate  catalogue,  containing  a  useful  summary  of  the  archaeolog}'  of  Middle  America  and 
western  South  America  by  Mr.  T.  A.  Joyce,  has  already  been  published,  and  an  illustrated  edition 
is  contemplated  in  the  near  future. 

Of  special  importance  were  the  Maya  and  Peruvian  exhibits.  The  former  included  objects 
from  the  remarkable  collection  of  Mr.  C.  L.  Fenton,  who  for  many  years  was  British  consul  in 
Guatemala,  and  also  Mayan  ceramics  collected  by  Dr.  Gann  and  now  in  the  Li^  erpool  Museum. 
Tliis  institution  also  loaned  the  Mexican  Manuscript  known  as  the  Codex  Fyervary-Mayer. 
The  Peruvian  exhibit,  which  contained  many  fine  specimens  of  Nasca  ware,  was  based  largely  on 
the  collections  of  Mr.  J.  Guthrie  Reid  and  Mr.  L.  C.  G.  Clarke. 

The  American  visitor  was  impressed  not  only  by  the  importance  of  the  specinfens  shown  but 
also  by  the  fact  that  the  greater  part  of  these  objects  were  in  private  hands.  That  the  Burlington 
Fine  Arts  Club  should  undertake  such  a  show  may  be  regarded  as  mute  testimony  to  the  growing 
appreciation  of  the  artistic  value  of  American  antiquities  among  lovers  of  the  beautiful. 

Incorporation  of  "American  Schools  of  Oriental  Research." 

The  American  School  of  Otiental  Research  in  Jerusalem,  which  was  founded  in  1900,  has 
followed  the  example  of  thfe  sister  Schools  affiliated  with  the  .•^.rchaeological  Institute  by  securing 
legal  incorporation.  This  was  effected  on  June  14  under  the  laws  of  the  District  of  Columbia 
under  the  name  of  the  "A.merican  Schools  of  Oriental  Research."  This  broad  title  was  adopted 
so  that  the  institution  may  plant  schools  in  other  regions  of  the  Near  Orient  than  Palestine,  and 
with  special  thought  of  the  proposed  school  in  Bagdad,  plans  for  which  are  in  active  progress. 
The  new  corporation  will  definitely  continue  its  long  established  work  and  also  its  former  rela- 
tions of  closest  affiliation  with  the  Institute.  The  first  meeting  of  the  new  Board  of  Trustees 
was  held  in  New  York,  June  17,  and  organization  was  effected.  The  Trustees,  numbering 
fifteen,  are  as  follows: 

James  A.  Montgomery,  University  of  Pennsylvania,  and  Philadelphia  Divinity  School,  Presi- 
dent; James  C.  Egbert,  Columbia  University,  e.x-officio  member  as  President  of  the  Institute, 
Vice-President;  George  A.  Barton,  Br>'n  Mawr  College,  and  Philadelphia  Di\-inity  School, 
Secretary  and  Treasurer;  Wilfred  H.  Schoff,  Commercial  Museum,  Philadelphia,  representative 
of  the  American  Oriental  Society,  Associate  Treasurer;  Cynis  Adler,  President  of  Dropsie  College; 
Benjamin  W.  Bacon,  Yale  University;  Howard  Crosby  Butler,  Princeton  University;  Albert  T. 
Clay,  Yale  University;  A.  V.  Wilhams  Jackson,  Columbia  University;  Morris  Jastrow,  Jr.,* 
University  of  Pennsylvania;  Warren  J.  Moulton,  Bangor  Theological  Seminary,  representing  the 
Society  of  Biblical  Literature  and  Exegesis;  Edward  T.  Newell,  of  the  American  Numismatic 
Society,  New  York;  Dr.  James  B.Nies,of  New  York,  President  of  the  .Ajrierican  Oriental  Society; 
James  H.  Ropes,  Har\'ard  University;  Charles  C.  Torrey,  Yale  University.  Dr.  W.  F.  Albright 
who  has  been  ser\-ing  as  i^.cting  Director  of  the  School  was  appointed  Director  for  the  coming 
year.  With  him  will  be  associated  next  year  Prof.  Wm.  J.  Hinke,  Auburn  Theological 
Seminary,  as  Annual  Professor,  and  W.  E.  Staples,  of  Toronto  University,  as  Thayer  Fellow. 

Addition  to  the  Whistler  Collection  in  the  Library  of  Congress. 

Mr.  and  Mrs.  Joseph  Pennell,  ha\'«  recently  obtained  all  of  thfe  Whistler  papers  in  the  suit 
of  Whistler  vs.  Ruskin,  and  deposited  them  in  their  Whistler  Collection  in  the  Library  of  Con- 
gress. Extracts  and  facsimilies  will  be  published  in  The  Wliisilcr  Journal,  which  the  J.  B.  Lippin- 
cott  Company  will  issue  in  the  autumn.  The  Whistler  Journal  will  also  contain  photographs 
of  the  proposed  memorial  by  Rodin  to  Whistler. 

•Died  June  22,  1921. 

[37] 


ART  AND  ARCHAEOLOGY 

National  Gallery  of  Art  Commission  Formed. 

The  board  of  regents  of  the  Smithsonian  Institution  at  a  special  meeting  held  May  27  created 
the  National  Gallery  of  Art  Commission,  whose  primary  functions  "shall  be  to  promote  the 
administration,  development,  and  utilization  of  the  National  Gallery  of  Art  at  Washington, 
including  the  acquisition  of  material  of  high  quality  representing  the  fine  arts,  and  the  study  of 
the  beet  methods  of  exhibiting  material  to  the  public  and  its  utilization  for  instruction." 

The  National  Galler>-  of  Art,  administered  by  the  Smithsonian  Institution,  is  the  legal  reposi- 
tory' of  all  art  works  belonging  to  the  United  States  not  legally  assigned  to  other  departments  of 
the  Government.  The  collections  already  acquired  by  the  Gallery  have  a  value  of  about  seven 
million  dollars  and  with  reasonable  encouragement  the  development  of  Washington  as  a  great 
art  center  is  assured.  The  work  of  the  Commission  should  meet  with  earnest  support  on  every 
hand. 

The  Commission  as  constituted  by  the  Smithsonian  Regents  consists  of  five  public  men  inter- 
ested in  fine  arts,  five  experts,  five  artists,  ajnd  the  Secretary  of  the  Smithsonian  Institution,  who 
will  be  ex-officio  a  member  of  the  Commission.  The  five  public  men  interested  in  the  arts  named 
are  W.  K.  Bixby  of  St.  Louis,  Joseph  H.  Gest  of  Cincinnati,  Charles  Moore  of  Detroit,  James 
Parmelee  of  Cleveland,  and  Herbert  L-  Pratt  of  New  York;  the  five  experts  are  John  E.  Lodge  of 
Boston,  Frank  Jewett  Mather,  Jr.,  of  Princeton,  Charles  A.  Piatt  of  New  York,  Edward  Willis 
Redfield  of  Center  Bridge,  Pa.,  and  Denman  W.  Ross  of  Cambridge;  the  artists  named  for  the 
Commission  are  Herbert  Adams  of  New  York,  Edwin  H.  Blashfield  of  New  York,  Daniel  Chester 
French  of  New  York,  William  H.  Holmes  of  Washington,  Director  of  the  National  Gallery',  and 
Gari  Melchers  of  Falmouth,  Va.;  and  the  Secretary  of  the  Smithsonian  Institution,  Charles  D. 
Walcott. 

At  the  meeting  of  the  Commission  on  June  8,  special  committees  were  appointed  to  take  up 
various  phases  of  art,  as  follows :  American  painting,  modern  European  painting,  ancient  European 
art.  Oriental  art,  sculpture,  architecture,  ceramics,  textiles,  prints,  mural  painting,  and  the 
portrait  gallery.  The  chairmen  of  these  committees  will  be  ex-officio  members  of  the  Advisory 
Committee. 

The  Commission  will  at  once  proceed  with  its  work  of  developing  and  increasing  the  usefulness 
of  the  National  Gallery  of  Art,  and  one  of  the  very  important  matters  which  will  receive  attention 
is  the  provision  of  a  suitable  building  to  house  the  valuable  art  works  already  in  the  custody  of 
the  Nation,  and  to  provide  for  the  future  expansion  of  the  collections.  The  Gallery  is  a  present 
inadequately  installed  on  the  first  floor  of  the  Natural  History  Building  of  the  National  Museum. 

The  National  Gallery  of  Art  is  an  institution  in  which  every  American  citizen  should  take 
interest  and  pride.  Its  proper  development  and  utilization  will  insure  America's  standing  among 
nations  in  the  field  of  art. 

Discovery  of  a  New  Prehistoric  Site  in  Greece  at  Zygouries. 

Last  autumn  the  members  of  the  America^.  School  in  Athens,  on  one  of  their  trips,  were  lunch- 
ing on  a  hill  which  interested  Mr.  Blegen  as  a  prehistoric  site,  when  two  of  the  members  discovered 
that  they  were  sitting  on  a  small  prehistoric  marble  idol  such  as  have  been  found  in  the  islands 
but  never  before  on  the  mainland.  An  examination  of  the  site  disclosed  Helladic  potsherds 
and  remains  of  early  walls.  So  it  was  decided  to  excavate,  especially  as  there  was  a  village  near, 
and  the  excavators  could  live  in  a  villa  put  at  their  disposal  by  the  monks  who  owned  it.  Work 
began  in  April  and  continued  to  the  end  ot  May  under  the  direction  of  Mr.  Blegen  assisted  by  Mr. 
Wace,  director  of  the  British  School  in  Athens,  Dr.  Harland,  Mr.  Holland  and  Mr.  Young,  the 
son  of  Professor  Young  of  Columbia  University.  This  natural  mound  is  called  Zygouries  from 
a  bush  named  Zygouria  which  grows  on  it  in  places.  It  is  about  125  metres  by  50  metres,  and 
is  on  an  average  eight  to  ten  metres  above  the  surrounding  plain,  a  short  distance  from  the 
modern  village  of  Hagios  Basilios  (St.  Basil)  about  10  miles  north  of  Mycenae,  near  the  ancient 
site  of  Cleonae,  a  mound  to  which  Baedeker  probably  refers,  but  which  curiously  has  been 
neglected  hitherto  by  archaeological  explorers.  The  excavations  have  brought  to  light  an  early 
Helladic  settlement, "(about  2500  B.  C.  or  earher)  clearly  labelled  by  the  pottery,  where  in  some 
cases  the  early  Helladic  house  walls  appeared  less  than  half  a  meter  below  the  surface  and  had 
never  been  built  upon  in  later  times.     There  was  also  a  Middle  Helladic  settlement  and  a  late 

[38] 


ART  AND  ARCHAEOLOGY 

Helladic  town,  which  as  at  Tiryns  and  Mycenae,  was  below  the  mound  to  the  east.  Here  are 
many  Mycenaean  house-walls  which  had  been  revealed  by  a  stream  which  had  cut  through  the 
soil  that  "had  been  washed  down  from  Mt.  Fretos.  From  the  period  of  Late  Helladic  HI  (about 
I  loo  B.  C.)  the  site  was  uninhabited  till  Mediaeval  times,  from  which  time  dates  also  a  so-called 
Venetian  castle  with  Mediaeval  towers  and  walls  on  a  crag  above  St.  Basil.  The  most  interesting 
discover)-  was  a  two-roomed  pottery  shop  on  the  east  slope  of  the  mound,  loaded  with  Late 
Helladic  HI  cylices,  jugs,  saucers,  cooking-pots  shaped  like  craters,  and  pithoi  which  have  never 
been  used.  Some  ii  entire  cooking-pots,  12  jars,  30  cups,  and  20  painted  cylices  were  found  and 
fragments  of  more  than  250  cooking  vessels.  There  are  good  examples  of  Early,  Middle  and 
Late  Helladic  wares  and  many  new  shapes,  and  our  knowledge  of  Early  Helladic  vases  has  been 
greatly  increased.  Many  houses  of  this  early  period  were  unearthed  and  several  Middle  Helladic 
graves,  two  of  which  were  infant  burials.  Another,  enclosed  in  an  irregular  ring  of  stones  was 
almost  complete  with  the  corpse  in  the  bent  up  contracted  position.  In  the  grave  were  found 
beads,  bronze  circles  and  spirals  of  wire  about  the  head  of  the  corpse,  two  Middle- Helladic 
matt-painted  vases,  a  whorl,  and  a  bone  pin.  Some  Mediaeval  graves  with  their  skeletons  were 
also  opened.  This  site  of  Zygouries  ought  to  be  uncovered  entirely  so  that  it  would  serve  as 
as  example  of  an  early  Helladic  site,  as  Tirvns  does  for  a  late  Helladic  or  Mycenaean  site. 

D.  M.  R. 

Investigations  at  Assos. 

The  first  American  excavations  on  Greek  soil  were  made  by  a  little  expedition  sent  out  in  1881. 
They  were  conducted  by  Joseph  T.  Clarke,  Francis  Bacon,  and  Robert  Koldewey,  but  a  great 
number  of  men  who  have  since  made  their  mark  in  American  scholarship  had  connection  of 
longer  or  briefer  duration  with  the  site.  The  excavations  were  conducted  with  a  care  and  skill 
that  makes  them  even  after  the  lapse  of  many  years  the  admiration  of  archaeologists. 

The  work  and  the  publication  will  always  be  associated  with  the  memory  of  Charles  Eliot 
Norton.  The  founding  of  the  Archaeological  Institute  of  America  and  of  the  American  School  at 
Athens,  as  well  as  our  first  excavation  on  Greek  soil  were  all  made  possible  by  him ;  his  foresight, 
his  zeal,  the  great  influence  he  possessed  through  his  large  body  of  friends,  were  forces  of  invaluable 
strength.  He  was  ably  seconded  by  John  Williams  White.  The  two  of  them  would  take  an 
honest  pride  in  the  appearance  of  the  long  delaj'ed  book  on  Assos.  They  both  knew  of  the  many 
obstacles  to  its  publication,  and  they  would  be  the  first  to  congratulate  Francis  Bacon  on  the 
splendid  and  patient  work  he  has  done.  To  carry  on  the  occupations  of  a  busy  life,  and  in  hours 
which  most  men  would  devote  to  pleasure  and  relaxation  to  decipher  notes  taken  by  others  many 
years  ago,  to  edit  a  great  book  which  he  never  dreamed  would  be  his  task,  to  find  the  time  to 
make  repeated  visits  to  Assos  in  order  to  solve  puzzling  questions,  confirm  new  theories,  and  to 
verify  or  correct  old  ones — these  Bacon  has  done.  And  he  has  created  a  book  of  beauty  such  as 
those  who  have  seen  it  and  have  a  right  to  an  opinion  pronounce  a  work  of  art.  His  modesty 
everyA\'here  conceals  his  own  part,  but  archaeologists,  architects,  scholars,  and  lovers  of  beauty 
are  under  deep  debt  to  him.     He  has  been  prodigal  of  his  own  time,  money,  and  ability. 

There  are  many  others  to  whom  the  great  publication  owes  a  debt  of  gratitude,  for  advice,  for 
encouragement,  and  for  work  contributed,  as  well  as  for  financial  aid.  I  want  to  thank  those 
many  friends  of  scholarship  who  have  already  subscribed  for  the  book  and  paid  their  score  in 
whole  or  in  part  these  many  years,  and  waited  patiently  all  the  time.  They  have  a  slight  reward 
in  the  fact  that  while  their  cost  was  but  twenty-five  dollars,  it  is  necessary  to  charge  forty  dollars 
to  the  subscribers  for  the  few  remaining  copies.  They  will  doubtless  receive  still  further  reward 
from  the  value  which  bibliophiles  will  shortly  be  putting  on  this  imique  example  of  archaeological 
research. 

I  must  add  the  gratitude  which  his  friends  Norton  and  White  felt  towards  James  Loeb  for  his 
financial  support  of  the  undertaking,  in  which  he  has  been  equalled  by  Francis  Bacon. 

For  the  two  remaining  members  of  the  committee  I  take  a  smiling  farewell  of  a  task  that  has 
covered  many  vears,  brought  a  great  deal  of  work,  some  reproaches,  a  large  amount  of  bantering, 
a  lot  of  solid'pleasure  and  many  friends.  William  Fenwick  H.\rris. 

Cambridge,  Massachusetts,  July  IQ21. 

[39] 


ART  AND  ARCHAEOLOGY 

The  Aztec  Studio,  San  Francisco. 

On  one  of  the  busiest  streets  in  San  Francisco,  lined  with  stately  buildings  and  filled  with  the 
rush  and  noise  of  commercial  life,  stands  the  Aztec  Studio.  The  name  alone  recalls  visions  of 
races  and  cities  whose  origin  is  lost  in  the  night  of  time  and  to  the  searcher  after  the  artistic, 
the  curious  or  exotic,  this  studio  will  prove  a  mine  of  interest. 

Entering  and  ascending  the  stairs  we  find  that  we  are  indeed  in  a  new  realm  of  ideals  and 
projects  far  removed  from  the  busy  world  outside.  The  walls  of  the  hall  are  covered  with 
strange  and  mysterious  decorations  which  hold  the  gazer's  attention  with  the  strength  and  beauty 
of  the  design.  These  are  copies  of  the  famous  tablets  of  Palenque,  that  mysterious  city  which 
was  old  before  the  discovery  of  America.  They  are  one  of  the  finest  achievements  of  primitive 
American  Art,  in  which  the  strength  and  beauty  of  their  work  is  well  illustrated.  These  won- 
derful colored  drawings  of  priestly  figures  surrounded  by  strange  symbolic  designs  strike  the 
beholder  with  a  feeling  of  awe.  This  hall  decorated  in  every  detail  with  motives  derived  from 
Mayan  Art  impresses  one  with  the  wonderful  advancement  made  by  that  race. 

Entering  the  main  hall  we  find  it  a  veritable  museum  in  itself.  Replicas  from  the  most  famous 
monuments  found  in  ancient  America,  original  carvings,  and  superb  pieces  of  antique  and  modern 
Mexican  pottery,  textiles  and  interesting  curios  adorn  the  shelves  or  repose  in  the  cases.  The 
walls  are  covered  with  strong  and  brilliant  designs  which  are  different  from  any  seen  before. 
They  are  not  Egyptian  nor  Chinese,  nor  do  they  bear  any  resemblance  to  any  other  ancient 
nation.  They  are  purely  American  in  origin,  a  legacy  we  inherit  from  that  pre-Columbian  Art 
and  culture  which  once  flourished  in  the  new  world. 

This  truly  wonderful  studio  with  its  splendid  collection  is  the  work  of  Francigco  Cornejo,  the 
Mexican  artist,  who  has  devoted  fifteen  years  of  study  and  toil  to  illustrate  and  further  his  ideals 
in  reviving  these  arts  of  the  ancient  civilization  of  this  continent.  Gifted  with  a  fine  artistic 
sense,  and  having  access  to  the  splendid  public  and  private  collections  in  the  City  of  Mexico, 
he  was  powerfully  influenced  by  the  treasures  of  art  and  architectural  relics  to  be  found  in  that 
land  of  romance  and  mystery,  and  early  in  his  career  he  came  to  the  conclusion  that  the  works 
of  these  ancient  people  would  be  an  inspiration  for  the  development  of  a  pure  American  Art. 
Though  these  arts  were  known  to  the  scientific  world,  yet  no  artist  had  made  use  of  them  to  an 
extent  before.  If  American  artists  would  be  influenced  by  any  form  of  Art,  why  not  make  use 
of  the  wealth  of  decoration  inherited  from  our  primitive  sources? 

To  carry  out  his  ideals  and  to  illustrate  them  more  graphically,  Mr.  Cornejo  planned  that  the 
large  room  in  the  studio  should  be  the  apex  of  the  whole  decorative  scheme.  This  room  he 
calls  the  Temple  of  the  Sun,  and  his  motive  was  to  impress  one  with  all  the  strength  and  force 
combined  with  line  and  color  to  be  found  in  Aztec  and  Mayan  art.  This  is  felt  immediately 
upon  entering  the  room.  The  subdued  lighting  effects,  the  richly  harmonious  color  schemes  and 
subtle  combinations,  interposed  with  symbolic  designs,  all  have  a  solemn  influence.  The  main 
motive  is  the  famous  Aztec  calendar  stone,  reproduced  for  the  first  time  in  its  original  colors. 
This  combined  with  the  unique  furniture,  hangings  and  rugs,  all  show  the  artist's  fine  use  of 
color  design  and  proportion. 

Let  us  hope  that  the  artists  and  decorators  of  today  wnll  take  a  deeper  interest  in  the  encour- 
agement and  development  of  this  movement,  as  it  is  likely  to  form  the  impetus  for  a  genuine 
renaissance  in  American  Arts  and  Crafts.  D.  Cartuel. 

American  Classical  League. 

The  Second  Annual  Meeting  of  the  i\.merican  Classical  League  was  held  at  the  University 
Museum,  Philadelphia,  July  6  and  7.  Dean  West's  Annual  Report  as  President  on  the  organi- 
zation of  classical  investigation  authorized  by  the  General  Education  Board,  and  Vice-President 
Coolidge's  address  on  the  value  of  classical  studies,  were  events  of  national  significance. 

Professor  Gonzalez  Lodge's  paper  on  "A  six-year  secondary  school  course  in  its  bearing  on 
Latin  and  Greek"  emphasized  the  importance  of  an  archaeological  background  as  a  factor  in 
classical  teaching. 

[40] 


ART  AND  ARCHAEOLOGY 


The  Votive  Hand  of  Avenches. 

Avenches  lies  on  the  old  road  leading  from 
Berne  to  Lausanne.  It  was  a  very  flourishing 
Roman  colony  in  the  first  and  second  centuries 
and  there  is  still  a  Roman  theatre  to  be  seen  in 
the  village  today. 

Avenches  was  raided  and  the  theatre  closed 
definitely  in  the  second  and  third  centuries, 
by  the  hordes  of  the  Alemans  sweeping  down 
into  Switzerland  and  laying  cities  and  countr\-- 
side  to  waste.  One  single  column  still  stands 
in  Avenches,  all  that  remains  of  the  Temple  of 
Apollo,  and  of  this  column  Bvron  writes  in 
Childe  Harold: 

"By  a  lone  wall  a  lonelier  column  rose, 
A  grey  and  grief -worn  aspect  of  old  days." 

But  although  the  Roman  colony  disap- 
peared; although  the  country  round  about  lay 
ruined  and  uninhabited  for  two  centuries  or 
more;  although  a  new  culture  finally  grew  up 
on  the  ruins  of  the  old,  certain  objects  belong- 
ing to  the  Romans  and  speaking  of  intimate 
details  in  the  lives  of  those  far-off  settlers,  lay 
deep  in  the  ground,  patiently  awaiting  the 
moment  when  the  pick  of  a  workman  and  the 
trained  eye  and  pen  of  the  scientist  should 
reveal  them  to  an  interested  world.  The  mu- 
seum at  Avenches  is  full  of  such  treasure-trove 
in  various  stages  of  preservation.  But  the 
pearl  of  the  collection  is  a  little  bronze  Roman 
votive  hand,  dug  up  in  the  year  1854  and  per- 
fect in  every  detail. 
If  other  archaeological  finds  in  Avenches  point  to  certain  details  in  the  housing  of  the  Roman 
colony  there,  in  the  shape  of  their  household  utensils,  in  the  manner  of  setting  hobnails  in  the 
Legionaries'  sandals,  this  little  hand  goes  much  deeper  and  reveals  the  maternal  love  of  some 
young  Roman  mother  for  her  baby  and  the  steps  she  took  to  propitiate  the  Phrygian  and  Roman 
gods  to  whom  she  prayed  to  look  after  her  child.  It  has  been  my  good  fortune  to  get  hold  of  a 
description  of  the  hand  written  shortly  after  it  had  been  found.  The  explanation  of  the  man 
of  science  of  the  various  symbols  with  which  the  hand  is  covered  seem  so  interesting,  coming  from 
aji  eye  witness  of  its  resurrection,  that  I  hesitate  to  consult  a  later  authority,  and  will  stick  to 
his  conclusions. 

The  hand  is  of  bronze  and  stands  aljout  four  inches  high.  It  is  the  right  hand,  and  the  hand 
of  a  woman,  presumably  that  of  the  baby's  mother.  In  size  it  is  smaller  than  life,  but  it  is  a 
lovely  hand,  well-groomed,  and  with  dainty  tapering  fingers.  Two  of  these  fingers,  the  little 
one  and  the  ring  finger,  are  bent  down  into  the  cushioned  palm.  The  thumb,  first  and 
middle  fingers  are  standing.     This  is  the  gesture  of  the  oath  or  blessing. 

The  little  hand  is  ornamented  with  tiny  busts  of  gods  and  their  attributes.  Every  one  of 
these  gods  has  been  called  upon  by  the  young  mother  to  protect  her  child,  and  she  herself  is 
portrayed  on  the  back  of  the  wrist,  nursing  the  little  fellow  in  question.  Around  the  wrist  is 
coiled  a  snake,  his  head  reaching  to  the  palm.  The  serpent  means  health,  as  everybody  knows. 
On  the  tip  of  the  thumb  there  stands  a  pine-comb.  On  the  knuckles  of  the  two  bent  fingers  there 
is  a  youthful  head  of  Mercury.  Just  behind,  and  also  on  the  back  of  the  same  two  fingers,  a 
ram's  head.  A  small  bust  of  Bacchus  with  his  arm  flung  over  his  head  is  placed  on  the  outside 
of  the  two  standing  fingers,  and  just  inside  is  a  bearded  bust  of  Sabazius,  wearing  a  Phrygian 

[41] 


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The  Votive  Hand  of  Aw 


ART  AND  ARCHAEOLOGY 

cap.  The  object  directly  under  this  last-named  god  looks  like  a  cake  and  is  often  seen  on  decor- 
ated vases.  Almost  nose  to  nose  with  the  ram,  a  frog  is  seen  creeping  up  the  outer  rim  of  the 
hand,  and  behind  him  a  tortoise.  Next  to  the  tortoise,  on  the  back,  is  a  vase  with  two  handles, 
and  below  this  vase,  to  the  left,  is  a  lizard.  On  the  outside  of  the  thumb  near  the  wrist  is  the 
bust  of  Cybele,  easily  recognized  by  her  crenelated  crown,  and  above  this  Asiatic  goddess  hangs 
her  tambourine.  Below  the  serpent's  head  one  sees  a  bell  and  next  to  the  climbing  tortoise  an 
oak  branch  waves  its  leaves  and  acorns. 

At  the  time  the  hand  was  made,  somewhere  in  the  first  century,  the  religion  of  the  Romans 
was  sadly  confused.  Some  were  sticking  to  the  old  gods,  some  were  for  taking  up  the  new,  others 
had  given  up  all  religion  entirely  or  were  timidly  turning  towards  Christianity.  The  young 
Roman  matron  whose  hand  is  upheld  in  blessing  of  her  child  was  unwilling  to  take  any  chances. 
The  Christian  religion  was  too  new  and  untried,  but  there  were  two  kinds  of  gods  to  choose  from. 
She  therefore  picked  out  a  couple  of  Roman  and  a  couple  of  Phrygian  gods,  and  assembled  them 
on  the  votive  hand  she  was  having  constructed. 

Cybele  and  Sabazius  were  the  mysterious  gods  of  nature  worshiped  by  the  Phrygians.  Cybele 
was  the  creator  of  the  earth  and  all  earth's  treasure,  while  Sabazius  was  the  god  of  the  sun  and 
his  life-giving  rays.  The  Phrygians  believed  that  these  gods  slept  in  winter  and  awakened  in 
summer.  It  was  in  the  late  spring,  therefore,  that  the  great  festivals  took  place,  like,  yet  far 
more  gorgeous  than  the  Bacchus  and  Mercury  festivals  of  the  Romans.  Bacchus  was  worshiped 
as  a  god  who  poured  down  the  wine  of  pleasure  on  mankind,  while  Rlercurj'  meant  good  crops, 
healthy  herds  and  freedom  from  care. 

These  four  gods,  united  in  one  little  hand  to  bring  all  good  things  to  the  child,  were  accom- 
panied by  the  attributes  of  their  godhead.  The  tambourine,  the  bell  and  the  pine-cone  belonged 
to  Cybele,  and  probably  too  the  oak  branch.  The  pine  tree  was  the  special  tree  of  this  goddess 
and  on  its  branches  her  devotees  hung  gifts  and  offerings.  Sabazius  is  recognized  by  his  beard, 
his  Phrygian  cap  and  his  serious  expression.  His  attribute  is  the  sacrificial  cake  above  referred 
to.  Bacchus,  crowned  with  grapes  and  dra,ped  in  his  supple  chlamys  is  characteristically 
accompanied  by  a  huge  two-handled  beaker.  Mercury  is  accompanied  by  the  ram's  head  to 
indicate  the  fact  of  his  being  the  patron  of  the  herds.  The  other  figures,  the  lizard,  the  frog 
and  the  tortoise,  are  all  identical  with  the  creatures  with  which  the  Romans  decked  arms, 
neck,  breast  and  fingers  to  keep  off  the  evil  eye. 

Thus  we  can  attempt  today  to  reconstruct  the  prayer  of  that  mother  almost  twenty  centuries 
ago,  and  I  think  it  would  go  somewhat  like  this : 

"I  lift  my  hand  in  blessing  on  my  little  son,  and  I  call  on  you,  Mercury,  Bacchus,  Cybele 
and  Sabazius,  to  take  him  under  your  special  care. 

O  Mercury,  give  him  worldly  goods! 

O  Bacchus,  give  him  pleasures! 

O  Cybele,  let  the  earth  yield  him  her  treasures! 

O  Sabazius,  let  the  sun  pour  on  him  his  life-giving  rays! 

O  Serpent,  grant  him  health! 

O  Frog,  O  Tortoise,  O  Lizard,  keep  him  from  the  power  of  the  evil  eye! 

Amen." 

As  we  look  at  this  touching  ex  voto  in  the  museum  at  Avenches  we  cannot  help  hoping  that 
the  owner  of  the  taper  fingers  and  the  plump  little  palm  was  safely  landed  on  the  other  side  of 
the  Styx  before  the  savage  hordes  rushed  down  from  the  north,  destroying  her  lovely  home  in 
"Aventicum,"  the  capital  of  Helvetia,  and  perhaps  her  baby  too,  and  buryang  in  the  ashes  of 
her  ravaged  city  for  a  sleep  of  twenty  centuries  the  beautiful  little  bronze  votive  hand. 

Ethel  Hugh-Camp. 

Louis  Comfort  Tiffany  Foundation. 

The  Third  Annual  Meeting  of  the  Louis  Comfort  Tiffany  Foundation  was  held  at  the  home  of 
Mr.  Louis  C.  Tiffany,  Laurelton  Hall,  Oyster  Bay,  L.  L,  on  Sunday,  June  19th,  1921.  The 
members  present  were  Louis  Comfort  Tiffany,  Founder;  Daniel  Chester  French,  Vice-President; 
Francis  C.  Jones,  George  F.  Kunz,  and  A.  Douglas  Nash,  Trustees;  Gurdon  S.  Parker,  Mrs. 
W.  A.  W.  Stewart,  Robert  Vonnoh  and  Harry  W.  Watrous  of  the  Advisory  Art  Committee; 
Stanley  Lothrop,  Director  of  the  Foundation;  and  Gegrge  F.  Heydt,  Secretary. 

[42] 


ART  AND  ARCHAEOLOGY 

Besides  the  routine  matters  discussed,  Mr.  Edwin  H.  Blashfield  was  elected  a  Trustee  of  the 
Foundation,  and  Daniel  Garber,  Philip  Hale  and  Frederic  C.  Clayter  were  elected  members  of 
the  Advisory  Art  Committee.  It  was  resolved  to  supplement  the  seal  of  the  Foundation  with 
the  words  Art  Guild  to  better  explain  the  nature  of  the  Institution.  The  Foundation  aims  to 
bring  together  artists  and  craftsmen,  and  it  is  proposed  that  in  the  same  way  the  alumni  should 
grow  into  an  association  or  guild  to  help  each  other  in  art  endeavor  and  to  bind  the  various  arts 
more  closely. 

The  Director  reported  that  with  the  concurrence  and  advice  of  the  Founder  a  gallery  had 
been  acquired  for  the  purpose  of  the  exhibition  and  sale  of  the  work  done  by  the  present  and 
former  resident  artists,  in  the  building  secured  by  the  Art  Centre  Inc.,  at  65-67  East  56th^Street, 
New  York  City. 

It  was  also  resolved  to  include  as  resident  artists  in  the  Foundation,  a  small  number  of  women 
on  the  same  terms  and  conditions  as  the  men.  For  this  purpose  a  separate  dormitory  has  already 
been  prepared  in  the  wang  of  the  main  building  of  Laurelton  Hall.  It  was  further  voted  to  limit 
the  residence  of  artists  in  the  Foundation  to  a  period  of  two  months  with  the  understanding  that 
in  case  their  work  meets  the  approval  of  the  Advisory  Art  Committee  they  will  be  granted  extra 
time. 

Summer  Galleries  ajid  Siunmer  Exhibitions. 

Summer  Galleries  and  Summer  exhibitions  have  become  quite  important  in  the  Art  world. 
Good  juries,  good  prices  and  a  large  leisure  audience  makes  them  worth  while  and  artists  can 
transfer  pictures  from  their  studios  to  these  galleries  with  very  flattering  chances  of  sales. 

The  little  Gallery  on  the  Moors  at  East  Gloucester,  Massachusetts,  with  the  big,  altruistic 
purpose,  has  a  rare  program  of  activities  for  this  summer.  The  whole  general  plan  of  the  Gallery 
work  is  primarily  Art — Art  Exhibitions,  talks,  theatre,  literature  and  music. 

The  Art  Exhibitions  are  not  held  for  Gloucester  exclusively,  but  for  the  whole  North  Shore 
region;  not  for  the  benefit  of  the  artist  alone  although  great  pleasure  is  felt  over  the  sales  that 
are  made,  but  the  purchaser  is  considered  fortunate  too.  It  is  believed  that  the  individual 
effort,  however  small,  manifsted  in  Art  Galleries  and  Exhibitions,  love  of  pictures,  small  theatres 
with  high  ideals,  people's  pageants,  fused  into  a  living  current  by  community  spirit — in  these 
lie  the  great,  perhaps  onlv  hope,  of  inculcating  a  love  of  Art  in  the  younger  generation. 

Another  aim  of  the  Gallery  is  that  it  shall  be  entirely  free  from  favoritism  or  even  friendly 
preference.  Each  picture  is  admitted  solely  on  its  merit  and  not  because  of  the  artist's  name  or 
reputation.  Last  year  the  exhibitors  chose  their  own  jury  and  a  very  successful  exhibition  was 
hung.  This  year  a  new  plan  is  to  be  adopted,  a  Committee  will  be  appointed  consisting  of  five 
people,  two  from  out  of  town  to  judge  the  paintings,  and  two  to  judge  the  sculpture.  The 
Exhibition  is  held  from  August  3rd  to  August  21st.  Opening  day  for  artists  and  press,  in  which 
they  are  invited  to  meet  the  Jury,  is  August  2nd. 

Ever\-one  who  has  been  fortunate  enough  to  be  in  Gloucester  during  these  Exhibits,  knows 
that  they  represent  work  as  fine  as  any  shown  in  the  larger  and  more  pretentious  exhibitions  and 
many  of  the  pictures  are  to  be  seen  later  in  the  New  York  Museum  shows. 

The  Gallery  on  the  Moors  is  also  the  scene  of  the  Plays  given  by  the  "Community  Dramatic 
School,"  being  equipped  with  stage,  scenery,  dressing  rooms,  excellent  lighting,  and  all  the  neces- 
sarv'  theatre  requirements. 

This  School  and  the  "Boston  School  of  Public  Speaking"  at  Gloucester,  offer  rare  advantages 
this  year.  The  course  of  instruction  includes  Acting,  Play  Directing,  Interpretation,  Public 
Speaking,  Voice,  Physical  Training,  Dancing  and  Delcroze  Eurythmics. 

Miss  Florence  Cunningham,  the  theatre  Director,  spent  last  winter  in  Paris  studying  at  Copeau's 
theatre.  She  found  there  very  earnest,  sincere  work  that  is  beginning  to  show  results  which  are 
recognized  by  all  Paris. 

Others  on  the  Staff  are  Mrs.  Florence  Evans,  Principal  of  the  Boston  School  of  Public  Speaking, 
also  instructor  for  Boston  Business  Corporations;  Miss  Ester  V.  vShultz,  Leon  Sturtevant  and 
others. 

The  first  group  of  plays  will  be  given  from  July  20th  to  the  26th.  The  second  group  from 
August  25th  to  the  31st.     The  School  opens  the  first  of  July  and  continues  until  August  29th. 

[43] 


ART  AND  ARCHAEOLOGY 

Some  special  performance  for  the  children  is  planned,  which  has  an  educational  basis,  as  a  protest 
against  the  poorer  class  of  "Mo\nes." 

Lyme,  Connecticut,  another  artist  colon}',  has  now  a  fine  Gallen,^  which  has  been  built  through 
the  generous  subscriptions  from  artists  and  public  spirited  citizens  cos-ting  $20,000.  Charles 
H.  Piatt  is  the  architect  which  insures  the  perfection  of  arrangement  for  the  purpose.  The  sale 
of  pictures  last  year  amounted  to  $8,000  and  the  location  of  the  Gallery  on  the  Boston  Post  Road 
must  attract  the  many  automobihsts  who  daily  pass  on  their  way  to  Xew  London,  Newport  and 
the  resorts  in  the  neighborhood. 

The  Newport  Gallery  also  has  summer  exhibitions  held  this  year  during  July.  Prizes  are 
offered  for  the  best  picture  and  there  is  a  "People's  prize,"  for  the  picture  receiving  the  popular 
vote. 

This  new  summer  interest  may  be  a  wholesome  diversion,  an  up-lift  from  the  summer  hotel 
piazza  rocking  chair,  resulting  in  an  art  fashion  that  may  develop  into  an  art  enthusiasm  that 
will  work  to  the  great  advantage  of  artists.  H.  W. 

Summer  Program  of  the  School  of  American  Research,  Santa  Fe,  N.  M. 
I.  Archaeological  Survey  of  Jcmez  Mesas. 
An  archaeological  sur\-ey  of  the  little  known,  forested  mesas  lying  between  the  Jemez  mountains 
and  the  Navaho  Desert  will  occupy  the  time  of  a  party  of  six  men  during  July  and  August.  The 
School  has  previously  conducted  excavations  at  two  sites  in  this  region,  in  collaboration  with  the 
Royal  Ontario  Museum  of  Toronto  and  the  Bureau  of  American  Ethnologv'.  The  ruins  of  this 
area  are  prehistoric  sites  of  the  Jemez  people,  now  reduced  to  one  pueblo,  but  formerly  occupying 
numerous  towns  and  villages.  Sites  in  the  \-alley  are  particularly  valuable  on  account  of  yielding 
evidences  of  the  consequences  of  first  contact  with  the  European  race.  The  staff  for  the  survey 
will  include  Lansing  Bloom  and  Wesley  Bradfield  of  the  School;  Roger  Goodland,  Peabody 
Museum;  Major  J.  C.  Troutman,  Military  Institute  of  Roswell;  Randolph  Carroll,  University  of 
Virginia;  Anderson  Hill,  Pomona  College,  California. 

2.  Studies  in  Chaco  Canyon. 
It  is  expected  that  a  fall  campaign  will  be  put  on  in  Chaco  Canyon  from  September  ist  to 
December,  if  working  conditions  are  agreeable.  The  January-February  number  of  Art  and 
Archaeology  caused  the  previous  work  of  the  School  on  this  great  group  of  ruins  to  become 
widely  known.  Publication  by  the  American  Museum  of  Natural  History  of  the  long  delayed 
reports  of  the  Hyde  Exploring  Expedition's  excavation  of  Pueblo  Bonito  is  now  going  through  the 
press,  and  several  recent  magazine  articles  by  earlier  investigators  here  have  brought  these  ruins 
to  the  fore.  The  work  that  the  School  has  set  itself  to  do  has  already  been  made  known  in  detail. 
The  School  has  its  headquarters  in  the  seven  room  stone  residence  built  years  ago  by  the  late 
Richard  Wetherill.  Its  equipment  here  for  scientific  field  work,  including  drafting,  photo- 
graphing, cataloguing,  color  work,  librar\'  and  conference  rooms,  with  commissary  and  living 
quarters,  will  soon  be  the  most  complete  that  any  archaeological  expedition  has  been  able  to 
establish.  It  will  be  to  some  extent  a  realization  of  an  early  dream  of  the  late  Dr.  F.  \V.  Putnam 
of  Har^-ard  University,  who  often  expressed  a  hope  to  see  a  well  equipped  training  school  in 
ethnolog}'  and  archaeology  established  in  Chaco  Canyon. 

J.  Worli  on  tlie  Early  Franciscan  Missions. 
The  School  and  Museum  at  Santa  Fe  are  coming  into  possession  of  the  principal  ancient  mis- 
sion sites  of  New  Mexico,  for  preservation  and  custodianship.  These  great  structures  are  approxi- 
mately a  hundred  and  fifty  years  older  than  the  oldest  Californian  Missions,  and  their  massive, 
archaic  style  of  architecture  make  them  priceless  landmarks  of  the  early  civilization  of  the  South- 
west. Pecos  (1617)  is  in  process  of  excavation  under  the  direction  of  Dr.  Kidder  of  Andover.  It 
is  now  the  property  of  the  School  of  American  Research.  Jemez  (161 7 )  has  recently  been  deeded 
to  the  School  and  wih  be  fenced  and  cleared  during  the  present  summer.  A  custodian  has  been 
employed  and  put  in  charge.  Gran  Quivira  (1629)  around  which  clusters  so  much  early  romance 
of  the  days  of  the  Spanish  conquest,  belongs  in  the  main  to  the  School,  but  in  part  to  the  U.  S. 
Government.  Steps  are  being  taken  to  fence  this  site  and  place  it  under  proper  custodianship 
during  the  present  year.  These  three  great  monuments,  contemporaneous  in  settlement  by 
Europeans  with  Plvmouth  Rock,  are  to  be  developed  into  small  archaeological  parks. 

[44] 


BOOK  CRITIQUES 


The  Empire  of  the  Amorites,  by  Albert  T.  Clay. 
New  Haven:  Yale  University  Press,  igig.  192 
pages. 

Archaeology  is  bringing  to  light  long  lost 
nations.  How  true  this  has  been  of  the  Egypt- 
ian, Babylonian,  Assyrian,  and  Hittite  empires. 
Our  foremost  American  assyriologist,  Prof.  A. 
T.  Clay,  of  Yale  University,  has  now  put  upon 
the  map,  Amurru,  the  empire  of  the  Amorites. 
Formerly  our  knowledge  of  this  people  was 
limited  to  scattered  references  in  the  Old 
Testament.  By  the  scholarly  researches  of  Dr. 
Clay  we  now  know  the  territon,',  culture  and 
religion  of  the  Amorites  as  far  back  as  the 
third,  fourth  and  fifth  millenniums. 

The  empire  of  the  Amorites,  at  its  greatest 
extent,  included  Syria,  Palestine  and  Meso- 
potamia. The  capital  was  Amurru — Ur — prob- 
ably Mari  on  the  Euphrates  some  400  miles 
northwest  of  Ur  in  south  Babylonia  and  about 
220  southeast  of  Harran.  This  site.  Dr.  Clay 
regards  as  Abraham's  Ur  of  the  Chaldees. 
The  Amorites  were  a  vSemitic  people  and  seem 
to  have  inhabited  Amurru  as  far  back  as  pre- 
historic times.  They  reached  their  highest 
civilization  about  the  fourth  millennium  B.C. 
From  Amurru  they  radiated  in  many  direc- 
tions. Long  before  3000  B.C.  the  Amorites 
entered  Babylonia,  settled  there  and  gradually 
absorbed  the  non-Semitic  Sumerians.  An 
Amorite  civilization  per\-aded  Babylonia.  Even 
the  traditions  of  creation,  flood,  sabbath,  and 
ante-diluvian  kings  came  from  the  Amorite 
land  into  Babylonia. 

Prof.  Clay's  argument  rests  upon  an  exhaus- 
tive study  of  the  names  of  deities,  persons, 
countries,  cities  and  temples.  In  these  names 
he  finds  Amorite  elements  and  so  he  rightly 
infers  that  where  such  names  abound  it  betrays 
the  influence  of  an  Amorite  civilization.  Thus 
in  regard  to  most  of  the  gods  of  the  Semitic 
Babylonians,  Dr.  Clay  shows  that  they  had 
their  origin  in  the  empire  of  the  Amorites.  The 
supreme  god  of  the  Amorites  was  Amurru- 
Amar-Ur,  which  by  certain  modifications  be- 
came in  Babylon  the  supreme  god  Marduk. 
The  first  Babylon  dynasty  was  Amorite  as  well 
as  the  dynasties  of  Opis,  Kish,  Nisan,  Larsa 
and  perhaps  Erech.  The  famous  Hammurabi 
code  goes  back  to  Amorite  sources. 

Prof.  Clay's  volume  is  of  great  value  in 
showing  that  the  prevalent  opinion  of  Assyri- 
ologists  regarding  early  Babylonian  civilization 
must  be  modified.     The  common  view  is  that 

[45] 


non-Semitic  Sumerians  entered  Babylonia  as 
eariy  as  7000  B.  C.  and  attained  a  high  civiliza- 
tion. As  early  as  3500  B.  C.  waves  of  Semitic 
nomads  from  Arabia  gradually  entered  Baby- 
lonia, conquered  the  vSumerians  and  appro- 
priated their  high  ci\'ilization.  From  Baby- 
lonia this  civilization  then  spread  west  to 
Mesopotamia,  Syria  and  Palestine.  Dr.  Clay's 
researches  show  that  a  high  civilization,  from 
the  northwest,  that  of  the  Amorites,  entered 
Babylonia  at  a  very  early  period  and  pervaded 
this  land.  The  difficult  problem  of  Sumerian 
civilization  is  not  discussed. 

Dr.  Clay's  book  is  a  most  valuable  contribu- 
tion to  the  early  history-,  religion  and  geog- 
raphy of  Syria,  Palestine,  Babj'lonia  and 
Assyria.  The  Biblical  student  will  find  much 
matter  of  great  interest.  Thus  the  name 
Jerusalem  is  shown  to  be  from  Uru-salim,  i.e., 
"the  god  Uru  is  appeased."  Bethlehem  is 
derived  from  Beth-Lahamu,  i.e.,  "the  shrine 
of  the  god  Lahamu."  Bethany  comes  from 
Beth-Anu,  i.e.,  "the  shrine  of  the  god  Anu." 
Uru,  Lahamu  and  Anu  were  Amorite  gods. 
Abram  is  a  shortened  form  of  Abraham,  and 
both  forms  are  found  on  tablets. 

The  whole  volume  is  a  masterly  contribution 
to  American  oriental  learning.  The  paper, 
printing  and  binding  are  of  that  high  standard 
which  we  always  expect  from  the  Yale  Uni- 
versity Press.  George   S.    Duxc.'^n. 

Delphi  by  Frederick  Paulsen.  Translated  by 
G.  C.  Richards,  with  a  Preface  by  Percy  Gardner. 
London,  Glydendal,  igzo.  Pp.  x/-|-jjr?.  21 
sh.  net.     Illustrated. 

The  famous  firm  of  Gyldendal,  established  in 
Copenhagen  as  long  ago  as  1770,  has  recently 
established  a  London  branch  and  is  making  an 
excellent  start  as  well  as  rendering  an  im- 
portant service  to  archaeology^  and  the  classics 
by  issuing  an  English  translation  of  Dr. 
Poulsen's  book  on  Delphi,  which  appeared  in 
its  Danish  form  in  1909.  The  book  is  beauti- 
fully printed  on  fine  paper  in  large  type  with 
164  excellent  illustrations,  at  the  very  reason- 
able price  of  a  guinea.  Delphi  was  one  of  the 
most  important  places  in  Greece  and  in  many 
ways  the  history  of  the  oracle  and  the  shrine  of 
Apollo  is  the  history  of  Greece.  Plato 
believed  in  the  oracle's  great  influence  on 
religion  and  morality.  Aristotle  and  Plutarch 
were  in  the  service  of  the  oracle.  Even  in 
Roman  times  Cicero  consulted  the  oracle  and 


Do  YOU  TIRE  of  the  superfi= 
cial   things   you   read  about 
the  theatre?     Do  j'ou  want 
something  better,  something  more 
entertaining,  yet  something  that 
instructs?    Then  read 

THE   DRAMA 

A  monthly  review  of  the 
allied  arts  of  the  threatre, 
beautifully        illustrated. 

Here  is  a  magazine  that  is  not  packed  with 
press-agent  puffs  or  back-stair  gossip  about 
vamps  and  scandals. 

The  Drama  is  edited  for  people  who  like  to 
think,  for  folks  whose  brains  haven't  yet  lost 
their  nimbleness.  For  eleven  years  it  has 
pioneered,  bringing  to  its  audience  the  best 
from  all  lands. 

It  has  talks  about  and  talks  by  some  of  the 
foremost  actors,  play-wrights,  and  scenic 
revolutionists;  yet  it  never  hesitates  to  give 
space  to  the  brilliant  articles  of  unknown 
authors. 

Each  issue  contains  one  or  two  plays  In 
reading  form.  They're  more  fascinating 
than  short  stories  because  they  retain  the 
dramatic  punch. 

No  magazine  can  compare  with  The  Drama. 
It  occupies  a  unique  position  in  the  world  of 
the  theatre.  Once  you  begin  to  read  it, 
you'll  become  one  of  its  devoted  admirers. 
You'll  enjoy  its  stimulating  contents.  You'll 
keep  each  issue  on  file,  for  each  is  like  a 
valuable  book. 

To  Introduce  The  Drama  to  new  readers, 
we  make  a  special  offer.  Send  only  $1  and 
The  Drama  will  come  to  you  for  Five 
Months.  You  will  also  receive  your  mem- 
bership card  in  The  Drama  League  of 
America. 

$1  is  so  little  for  so  much.  So  why  not  tear 
out  the  coupon  below  NOW?  Pin  a  dollar 
bill  to  it  and  mail  it  today. 


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Drama  for  Five  Months. 


Name 
Street  . 
City 


State- 


Hadrian  placed  his  favorite  Antinous  among 
the  statues  of  gods  in  the  precinct  where  one  of 
the    most    stately    statues    of    Antinous    has 
actually  been  found.     Delphi  was  a  colossal 
intelligence    bureau,    a    permanent    court    of 
arbitration  of  a  league  of  nations,  the  guiding 
spirit  in  Greek  politics,  active  in  numerous  in- 
centives to  colonization,   fostering  art,  giving 
strong  impulses  to  great  men  to  echo  her  words, 
planting    in    the    human    mind    the    universal 
yearning  for  the  lofty  and  supernatural  and 
showing  to  all  mankind  the  way  to  honorable 
effort  in  the  arena  of  life.     It  was  a  foregone 
conclusion  that  the  excavation  of  Delphi  in  view 
of  the  enormous  catalogue  of  treasures  men- 
tioned by  Pausanias,  even  after  Nero's  plunder 
of  500  bronze  statues,  would  yield  many  im- 
portant results,   and  so  the  Germans   (one  of 
whom  Ottfried  MuJler  in  1840  suffered  a  fatal 
sunstroke    copying   the   manumission    inscrip- 
tion, vengeance  of  Apollo  perhaps  for  his  denial 
that  he  was  a  sun-god),  Americans,  and  French 
all  vied  with  one  another  to  get  the  firman  to 
undertake  the  work.     The  French  finally  got 
the  grant,  though  delayed  by  the  Greek  demand 
for  a  lowering  of  the  duty  on  Greek  cmrants, 
and  excavations  began  in  1892,  after  removal  of 
the  village  of  Kastri,  which  covered  the  site,  to 
its   modern    location.      The   villagers,    fearing 
they  would  not  get  the  money  for  their  homes, 
attacked  the  workmen,  but  finally  the  riot  was 
quelled  by  soldiers  and  excavations  continued 
every  spring  and  summer  from  1893  to  1900, 
under  the  direction  of  Homolle.     The  publica- 
tion has  been  very  slow  and  while  many  hand- 
some   important    volumes    of    plates    of    the 
"Fouilles  de  Delphes"  appeared  before  the  war, 
only  a  few  volumes  of  text  have  been  published. 
The    "Fouilles   de    Delphes"   is   an   expensive 
publication,  for  specialists,  so  that  we  are  very 
glad  to  have  a  comprehensive  and  interesting 
account  of  the  excavations  in  readable  form  in 
a  single  volume,  well  documented  and  beauti- 
fully illustrated.     It  is  the  first  good  account  in 
English  of  Delphi  and  will  long  remain  the  best 
treatise     on     the     aesthetic     appreciation     of 
Delphi,  for  the  book  is  full  of  the  most  fasci- 
nating and  suggestive  and  original  observations 
on  Greek  art,  and  lays  more  stress  on  that  side 
than  on  topography  or  history.  D.  M.  R. 

The  Charm  of  Kashmir,  by  V.  C.  Scott  O'Connor. 
London,  New  York,  Bombay,  Calcutta,  and 
Madras:  Longmans,  Green  and  Co.  igzo.  16 
colored  plates  and  24  illustrations  from  photo- 
graphs.     Pp.   182.      $2J.§0. 

In  this  book  the  charm  of  one  of  the  most 
beautiful  spots  in  the  world  is  pictured  with 
beautiful  illustrations,  and  with  a  text  that  is 


Kindly  Mention  Art  and  Archaeology. 


[46] 


exquisitely  printed  on  the  very  best  of  paper. 
The  place  of  honor  is  assigned  to  the  paintings 
of  Abanindro  Nath  Tagore  who  was  the  founder 
of  the  modem  school  of  Indian  art  at  Calcutta. 
The  softness  and  beauty  of  line  that  character- 
ize his  paintings  have  made  him  well  known  not 
only  in  India  but  also  in  Europe  and  America. 
There  are  included  colored  interpretations  of 
the  very  soul  of  Kashmir;  there  are  also  re- 
productions of  the  paintings  of  Mrs.  Sultan 
Ahmad,  and  Miss  Hadenfeldt  and  the  late 
Colonel  Strahan.  The  many  colored  plates 
and  the  photographs  really  illustrate  the  text, 
and  help  make  the  country  known  in  a  very 
original  and  entertaining  manner.  The  pic- 
tures are  all  symbolic  of  the  East  and  any  one 
who  is  interested  in  this  very  important  and 
charming  section  of  the  world  will  do  well  to 
look  through  this  volume  which,  in  every  way, 
is  a  work  of  art  in  itself.  It  is  no  wonder  that 
the  Queen  of  England  allowed  the  book  to  be 
dedicated  to  her.  D.  M.  R. 

Albert  Pinkham  Ryder.  By  Frederick  Fairchild 
Sherman.     New  York:  privately  printed,  iq20. 

Simply  as  a  material  possession,  this  mono- 
graph is  a  thing  to  treasure.  The  maroon 
binding,  the  texture  of  the  paper,  the  type  and 
margins,  the  quality  of  the  illustrations,  the 
very  proportions  of  length  and  breadth  and 
thickness — all  these  things  render  the  book  a 
delight  to  hand  and  eye.  Charm  of  format  has 
all  along  been  a  characteristic  of  Mr.  Sherman's 
privately  printed  volumes,  and  in  these  days  of 
costly  production  it  is  no  little  merit  in  a 
publisher  to  maintain  an  established  high 
standard  of  workmanship. 

But  surface  beauty  is  in  this  case  fortunately 
subordinate  to  both  subject  and  treatment. 
The  real  significance  of  this  volume  consists  in 
its  being  an  adequate  tribute  to  a  great  artist. 

The  scale  of  the  book  is  nicely  proportioned 
to  Ryder's  peculiar  position  in  the  history  of 
our  painting.  For  Ryder,  whatever  his  essen- 
tial originality  and  true  genius,  is  too  limited  in 
appeal  and  influence  to  require  a  tribute  in 
folio.  The  panel  on  which  his  name  is  carved 
in  the  temple  of  our  culture  is  in  the  first  rank 
of  honor,  but  it  is  neither  large  nor  striking 
enough  to  attract  the  attention  of  the  majority. 
The  modest  five  divisions  of  Mr.  vSherman's 
essay  sufficiently  set  forth  all  the  important 
aspects  of  his  subject,  and  any  further  con- 
sideration of  Ryder  must  be  what  Mr.  Frank 
Jewett  Mather,  in  The  Weekly  Review  for  Janu- 
ary 26,  justly  terms  ".  .  variations  .  .  upon 
the  critical  themes  announced  by  Mr.  Sher- 


THE  BISHOPS  LODGE 

Santa  Fe.  New  Mexico 


CITUATED  three  miles  north  of  the  city,  this  unique 
^  resort  offers  its  hospitality  both  to  the  leisure-loving 
tourist,  and  to  the  archaeological  investigator. 

Readily  accessible  are  all  of  the  points  comprised 
within  what  has  been  called,  "The  most  interesting  50- 
mile  circle  in  America." 

Because  of  60-guest  capacity.  The  Lodge  necessarily 
caters  to  a  limited  clientele.  It  appeals  especially  to 
those  who  appreciate  the  good  things  of  life,  and  is 
totally  unlike  any  "hotel." 

Open  the  year  around.  To  insure  accommodations 
reservations  should  be  made  well  in  advance. 

Rates  and  other  information  upon  request. 


FINE  PRINTS 

For  the  collector 
For  wall  decoration 


f  Color  wood  block  by  Charles  W.  Bartlett, 
"The  Hawaiian  Fisherman,"  published  in 
limited  edition.  Each  proof  signed,  price 
$25.00.     Portfolios  sent  for   inspection. 

Brown-Robertson  Gallery 

415   Madison   Avenue,   New  York. 


[47] 


Kindly  Mention  Art  and  Archaeology. 


INVESTIGATIONS 

AT — 

ASSOS 

Drawings  and  Photographs  of  the  Buildings 

and  Objects  Discovered  During  the 

Excavations  of  1881,  1882,  1883 

BY — 

Joseph  T.  Clarke 
Francis  H.  Bacon 
Robert  Koi.dewey 
Edited   with   explanatory   notes,   by 
Francis  H.  Bacon 
Published  for   The  Archaeological  Insti- 
tute of  America 
By  a  Committee  originally  consisting  of 
Charles  Eliot  Norton 
John  Williams  White 
Francis  H.  Bacon 
William  Fenwick  Harris 

TABLE  OF  CONTEXTS 

History  of  Assos. 

Account  of  the  Expedition. 

Agora. 

Mos.-Mcs  Below  Agora. 

Theatre  Photographs  and  Plans. 

Greek  Bridge. 

Roman   Atrium. 

Acropolis — Plan. 

Turkish   Mosque. 

Gy.mnasium. 

Byzantine  Church. 

FoRTiFicAi'iON  Walls. 

Street  of  Tombs — General  Plan. 

Dog   Inscription   from   Mytilene. 

Inscription   from  Pashakieui. 

Coins  from  Assos. 

The  magnificent  volume  is  now  ready  in 
a  portfolio,  the  five  parts  together. 

Five  hundred  and  twenty-five  copies  have 
been  printed.  Subscriptions  for  the  remain- 
ing two  hundred  and  forty  copies  will  be  re- 
ceived at 

FORTY  DOLLARS  EACH. 

The  rate  to  original  subscribers  remains 
twenty-five  dollars.  The  book  will  not  be 
reprinted.     Cheques  should  be  sent  to 

WILLIAM  FENWICK  HARRIS, 

8  Mercer  Circle, 
CAMBRIDGE,  MASSACHUSETTS. 


In  one  instance,  indeed,  he  seems  somewhat 
too  liberal;  for  the  section  on  Ryder's  poetry, 
brief  as  it  is,  might  well  have  been  spared.  All 
of  the  painter's  literary  productions  are  flawed 
by  traces,  sometimes  whole  paragraphs,  of  the 
"polite "  writing  of  a  bygone  era.  The  mistress, 
whose  lover  constantly  lifted  her  "in  and  out  of 
conveyances  and  over  objects  that  destroy  the 
grace  and  harmony  of  woman's  movements," 
can  not  be  made  poetic  by  any  device  of  words ; 
and  the  mature  man  who  thought  to  accom- 
plish that  by  the  extraneous  quality  of  high- 
flown  language  could  never  have  become,  as  Mr. 
Sherman  claims,  "a  poet  or  a  philosopher." 
Let  Ryder  be  left  secure  in  his  fame  as  a  painter ; 
his  occasional  literary  felicities  remain  unim- 
portant. His  limitations  and  deficiencies  as  a 
writer  are  such  as  ought  to  preclude  any 
separate  consideration  in  that  capacity. 

The  biographical  section  is  thoroughly 
adequate  to  the  uneventfulness,  the  simplicity, 
and  the  dignity  of  Ryder's  outward  life.  He 
was  one  of  the  rare  few  who  have  no  biography. 
The  nearest  he  came  to  making  something  hap- 
pen was  when  he  proposed  marriage  to  a  pre- 
viously unintroduced  violinist  neighbor,  and 
was,  in  consequence,  carried  off  to  Europe  by  a 
friend.  His  life  was  not  a  series  of  incidents  so 
much  as  a  continuous  artistic  effort.  A  true 
account  of  it  is  not  a  narrative,  but  a  descrip- 
tion— a  description  such  as  he  himself  once 
made  in  impersonal  and  inspiring  language: 
"The  artist  must  buckle  himself  with  infinite 
patience.  His  ears  must  be  deaf  to  the  clamor 
of  his  insistent  friends  who  would  quicken  his 
pace.  His  eyes  must  see  naught  but  the 
vision  beyond.  He  must  await  the  season  of 
fruitage  without  haste,  without  worldly  am- 
bitions, without  vexation  of  spirit."  A  life 
thus  barren  of  outward  occurrences  requires  no 
formal  chronicle;  it  is  enough  to  indicate 
sympathetically  its  mental  attitude  and  spirit- 
ual atmosphere.  And  this  JMr.  Sherman  has 
discreetly  and  successfully  done. 

However,  since  his  volume  is  professedl}'  a 
critical  one,  it  must  stand  or  fall  mainly  by  the 
sections  on  Ryder  as  an  artist ;  and  it  is  by  the 
last  three  parts  of  his  study  that  the  author 
justifies  himself.  Just  as  Ryder's  own  literary 
efforts  do  not  show  a  real  mastery  of  words,  so 
Mr.  Sherman's  writing  lacks  that  final  con- 
densation of  style  which  marks  the  writer 
foreordained.  But  his  comments  on  the  indi- 
vidual pictures  are  helpful,  even  to  those  who 
may  occasionally  doubt  or  disagree;  and  his 
"estimate  of  the  Artist  and  his  Art "  is  sane  and 
well  balanced,  emphasizing  just  the  right 
ciualities.  Virgil  Barker. 


Kindly  Mention  Art  and  Archaeology. 


[48] 


15.00  THE  YEAR 


SO  CENTS  THE  COPY 


ART  AND  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 
Published  by  THE  ARCHAEOLOGICAL  SOCIETY 

OF  WASHINGTON,  AFFILIATED  WITH  THE 

ARCHAEOLOGICAL  INSTITUTE  OF   AMERICA. 


ART  AND  ARCHAEOLOGY  PRESS,  Inc. 

AUGUST,  1921 


Volume  XII 


Number  2 


ART  EDITOR 
WILLIAM  H.  HOLMES 

EDITORIAL  STAFF 

Virgil  Barker 

Peyton    Boswell 

Howard  Crosby  Butler 

Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currellv 

H.  R.  Fairclough 

Edgar  L.  Hkwett 

FiSKE  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 

MITCHELL  CARROLL 

BOARD  OF  DIRECTORS 

J.  TowNSEND  Russell,  President 

Frank  Springer,   Vice-President 

Mitchell  Carroll,  Secretary 

John  B.  Larner,  Treasurer 

James  C.  Egbert 

Ex-o£icio  as  President  of  the  Institute 

Robbrt  Woods  Bliss 

Mrs.  B.  H.  Warder 


H.  B.  F.  Macfarland,  Counsel 


CONTENTS 

ARTS  CLUB  OF  WASHINGTON  NUMBER 

Cover  Picture:  Ghent,  with  Cathedral  and  Bell-Tower 

Colored  Aquatint  in  Library  of  Congress.     Engraver,  Anonymous,   19th  Century;  Artist,  S.  Prout, 
1783-1852. 

The  Carillons  of  Belgium  after  the  Great  War  .      .      .      William  Gorham  Rice      ....       51 

Eleven    Illustrations 

The  Reconstruction  of  the  Nashville  Parthenon    ....     George  Julian  Zolnay      ....       75 

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Promoted  by  the  Carillon  Committee  of  the  Arts  Club 

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i^-O 


Home  of  the  Arts  Clib  of  Washington 
(See  pp.  81-84) 


ART  mxd 


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ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 

Volume  XII  AUGUST,  1921  Number  2 

THE  CARILLONS  OF  BELGIUM  AFTER 
THE  GREAT  WAR 

By  William  Gorham  Rice, 

Author  of  "  Carillons  of  Belgium  and  Holland"  and"  The  Carillon  in  Literature." 

Prologue 

COMMEMORATION  of  a  great  epoch  in  our  history  and  of  the  service 
of  thousands  of  patriotic  men  and  women,  is  proposed  by  a  memorial 
carillon  at  the  National  Capital,  in  which  all  the  states,  the  District  of 
Columbia,  and  afhliated  territorial  possessions  would  be  represented,  each  by 
a  bell  tuned  in  perfect  accord  with  its  fellows.  The  bells  thought  of  would  crown 
a  noble  tower — a  tower  which,  following  Ruskin's  idea  of  architectural  sugges- 
tion, would  recall,  but  not  rival,  the  neighboring  Washington  monument.  This 
new  structure  possibly  might  be  placed  at  one  terminal  of  the  axis  about  which 
some  space  along  the  Potomac  levels  south  of  the  White  House  could  be  sys- 
tematically arranged.  Or  it  might  be  on  some  height  in  Rock  Creek  Park  where 
already  existing  natural  beauty  and  peaceful  surroundings  make  appropriate 
setting.  Not  only  would  such  a  memorial  celebrate  days  of  national  rejoicing 
but  awakening  deep  emotion  it  would  bear  a  part  in  days  of  national  sorrow. 
The  tower  would  be  enduring ;  and  dignified  yet  democratic  would  be  the  appeal 
of  the  music. 

The  Arts  Club  of  Washington  has  been  a  pioneer  in  promoting  the  idea  of  a 
carillon  as  a  truly  noble  and  distinguished  tribute  to  those  of  the  United  States 
who  gave  their  best  to  the  contest  for  the  preservation  of  civiHzation.  Honor 
is  due  that  organization  for  the  energy  and  intelligence  with  which  its  members 
are  devoting  themselves  thus  to  the  setting  up  in  Washington  of  a  memorial 
which  shall  justly  and  fittingly  record  in  majestic  and  satisfying  artistic  form 
the  aspirations  of  our  people  in  the  Great  War. 

Lecture  delivered  at  the  Corcoran  Gallcrv  of  Art  under  the  auspices  of  the  Carillon  Committee  of  the  Arts  Club  of  Washington,  Feb- 
ruary 10,  1921. 

[51] 


Antwerp:     The  Cathedral  from  the  Grand'  Place. 
In  the  Spire  is  a  great  Carillon  of  47  bells. 


ART  AND  ARCHAEOLOGY 


T   DREAMT  that  people  from  the  land  of  chimes 

Arrived  one  autumn  morning  with  their  bells 
To  hoist  them  on  the  towers  and  citadels 
Of  my  own  country,  that  the  musical  rhymes 
Rung  by  them  into  space  at  measured  times 
Amid  the  market's  daily  stir  and  stress. 
And  the  night's  empty  starlit  silentness. 
Might  solace  souls  of  this  and  kindred  climes. 
Then  I  awoke:  and  lo,  before  me  stood 
The  visioned  ones,  but  pale  and  full  of  fear; 
From  Bruges  they  came,  and  Antwerp,  and  Ostend, 
No  carillons  in  their  train.     Vicissitude 
Had  left  these  tinkling  to  the  invaders'  ear. 
And  ravaged  street,  and  smouldering  gable-end. 

Thus  Thomas  Hardy  wrote  in  his 
Sonnet  on  the  Belgian  Expatriation. 
And  it  was  with  thoughts  awakened  by 
these  verses  that  we  sailed  on  a  Dutch 
ship  at  the  end  of  last  July  for  a  brief  j  our- 
ney  chiefly  through  the  Low  Countries. 

In  Holland,  in  Belgium,  in  England, 
the  countries  visited  in  our  29  days 
abroad,  deep  as  have  been  the  changes 
in  aspects  political,  overwhelming  as 
have  been  in  England  and  Belgium  grief 
and  loss,  yet,  except  in  the  immediate 
battle  line  and  in  some  few  places  along 
the  path  of  the  invaders'  march,  on  the 
surface,  scarcely  a  scar  appears. 

Our  ship  touched  at  old  Plymouth 
and  at  Boulogne,  and  then,  on  a  Friday 
night,  about  nine  o'clock,  we  found  our- 
selves at  the  mouth  of  the  River  Maas, 
waiting  for  the  high  tide  at  two  in  the 
morning,  to  make  it  possible  for  the 
great  ship  to  steam  slowly  up  to  Rotter- 
dam. 

The  night  was  mild  and  clear,  and  as 
we  lay  at  anchor  with  the  coast  lights  of 
the  Province  of  Zeeland  glimmering  in 
the  distance,  all  the  mystery  and  charm 
of  the  Netherlands  anew  asserted  them- 
selves. Truly  we  felt  that,  if  we 
listened  attentively,  we  might  hear  over 
the  space  of  waters  between  us  and  the 
land,  a  song  of  welcome  from  some 
carillon,  which,  among  dikes  and  dunes, 
looked  down  from  its  tower  upon  the  red 
roofs  of  an  ancient  town.     And  the  past 


seemed  strangely  linked  with  the 
present,  for  had  not  Tromp  and  De 
Ruyter  been  inspired  by  such  music, 
had  not  Grotius  felt  its  benediction,  had 
not  Vermeer  and  Rembrandt,  and  Van 
Dyck  and  Rubens,  listened  to  it  as  they 
painted  the  life  of  their  time?  Travelers 
from  other  lands  return  again  and  again 
to  the  Low  Countries,  attracted  by 
picturesque  scenes  of  market-place  and 
busy  harbor,  of  civic  hsll  and  church 
tower,  of  quiet  canal  and  lush  field,  but 
only  when  the  music  of  bells  is  heard 
over  all  does  the  charm  become  com- 
plete. 

Very  early  Saturday  morning  we  were 
at  the  Rotterdam  docks  and,  after  the 
usual  custom  house  delay  and  confus- 
ion, found  ourselves  by  1 1  o'clock  ready 
again  to  explore  a  Netherlandish  city. 

n 

De  Amicis,  the  Italian  traveler, 
reaching  Rotterdam,  climbed  St.  Law- 
rence's tower  there  and,  looking  out, 
discovered  "ships  scattered  among 
houses  and  all  about  the  city  a  vast 
green  plain  sprinkled  with  windmills, 
and  villages  hidden  in  masses  of  verdure 
showing  only  the  tops  of  their  steeples. ' ' 
And  he  says,  "For  the  first  time  I  felt 
that  indefininable  sentiment  inspired  by 
the  Dutch  landscape,  which  is  neither 
pleasure  nor  sadness,  but  which  holds 
one  for  a  long  time  silent  and  motion- 
less." Then  he  heard  strange  music 
coming  from  he  knew  not  where,  and 
this  he  tells  us,  "was  from  a  chime  of 
bells  ringing  a  lively  air,  the  silvery 
notes  now  falling  slowly  one  by  one,  and 
now  coming  in  groups,  in  strange 
flourishes,  in  trills,  in  sonorous  chords, 
a  quaint  dancing  strain,  somewhat 
primitive,  like  the  many-colored  city, 
on  which  its  notes  hovered  like  a  flock 
of  wild  birds,  or  like  the  city's  natural 


[53] 


Louvain:     Church  of  St.  Gertrude. 

This  church  with  its  Carillon  of  46  bells  still  exists.     St.  Peter's  Church  with  its  Carillon  of  40  bells 

was  destroyed,  1914,  in  the  Great  War. 


ART  AND  ARCHAEOLOGY 


voice,  the  echo  of  the  antique  hfe  of  her 
people,  recalhng  the  sea,  the  soUtudes, 
the  huts,  and  making  one  smile  and 
sigh  at  the  same  moment. ' '  And  finally 
he  meditates:  "Thus  in  Holland  the 
passing  hour  sings,  as  if  to  distract  the 
mind  from  sad  thoughts  of  flying  time, 
and  its  song  is  of  country,  faith  and  love 
floating  in  harmony  above  the  sordid 
noises  of  the  earth." 

Many  travelers  besides  De  Amicis 
have  sought  to  comprehend  the  secret 
of  the  attractiveness  of  the  Low  Coun- 
tries. Complex  and  elusive  that  secret 
doubtless  is,  yet  I  believe  a  clue  for  the 
search  will  be  found  in  knowledge  of  the 
distinctive  music  we  are  considering 
together.  Surely  the  long-continued 
hold  of  this  musfc  upon  the  people  of 
Holland  and  Belgium;  its  association 
with  stirring  events  in  their  history ;  its 
touch  with  prosaic  duties;  its  demo- 
cratic spirit;  its  companionship  with 
time;  its  seat  in  lofty  towers,  and  its 
maintenance  at  the  public  charge;  all 
give  suggestions  of  racial  temperament 
well  worth  thought. 

The  towers  themselves  were  indeed 
symbols  of  municipal  freedom  and 
represented  to  the  eye  and  ear  the  idea 
of  civic  solidarity.  Grant  Allen,  in 
"The  European  Tour,"  analyzing  the 
character  of  the  art  of  Belgium,  re- 
marks : 

These  Flemish  belfries  are  in  themselves  very  inter- 
esting relics,  because  they  were  the  first  symbols  of 
corporate  existence  and  municipal  power  which  every 
town  wished  to  erect  in  the  Middle  Ages.  The  use  of 
the  bell  was  to  summon  the  citizens  to  arms  in  defence 
of  their  rights,  or  to  counsel  for  their  common  liberties. 
Every  Teutonic  burgher  community  desired  to  wring 
the  right  of  erecting  such  a  belfry  from  its  feudal  lord; 
and  those  of  Bruges  and  Ghent  are  still  majestic 
memorials  of  the  freedom-loving  wool-staplers  of  the 
thirteenth  century.  By  the  side  of  the  Belfry  stands 
the  Cloth  Hall,  representing  the  trade  from  which  the 
town  derived  its  wealth. 

The  crown  of  every  belfry  was  a 
carillon.  The  belfry  and  its  carillon 
were   the    proud   possession   of   every 

[55] 


prosperous  community.  And  today, 
wherever  the  carillon  may  hang,  its 
bells  belong  to  the  town  and  the  bell- 
master  is  a  municipal  officer. 

My  story  is  one  of  discovery  and  ex- 
ploration ;  exploration  leading  often  into 
fascinating  fields,  and  discovery,  for 
many  Americans  at  least,  of  a  new  kind 
of  music.  Yet  the  land  of  which  I 
speak  is  not  far  off  and  the  music  has 
long  been  heard.  Winter  and  summer 
it  sounds  from  that  Fifteenth  Century 
New  Church  at  Delft,  where  William  of 
Orange  victorious  but  assassinated  for- 
ever rests;  and  night  and  day  it  floats 
down  from  St.  Catherine's  tower  at 
Brief,  on  the  island  of  Voorne,  where 
first  "The  Beggars  of  the  Sea"  rose  up 
against  the  power  of  Spain.  From  the 
belfry  of  Ghent  the  bells  ring  in  con- 
cord now  as  they  did  when  the  Treaty 
of  1 8 14  first  was  proclaimed,  and  from 
the  belfry  of  Bruges  yet  come  the  songs, 
"Low  at  times  and  loud  at  times," 
which  inspired  Longfellow  when  he  first 
journeyed  through  Flanders. 

vSo  tower  after  tower  might  be  named, 
each  a  part  of  this  chain  of  melody. 
Assuredly  no  music  joins  more  perfectly 
in  celebration  of  days  of  national  re- 
joicing; but,  better  stih,  it  sends  out 
from  aerial  heights  an  influence  which 
lightens  routine  and  to  happy  occupa- 
tion adds  enchanting  accompaniment. 

HI 

"The  secret — which  is  also  the 
reward — of  all  study  lies  in  the  passion 
for  the  search,"  declares  Sir  Arthur 
Ouiller-Couch.  To  discover  exactly 
what  a  carillon  was,  and  its  origin  and 
development,  was  indeed  my  passion 
through  several  of  the  years  just  before 
the  War,  and  its  indulgence  consumed 
many  delightful  hours. 

The  tale  in  brief,  as  it  gradually  un- 
folded in  my  search,  seems  to  be  that  in 


ART  AND  ARCHAEOLOGY 


Holland  and  Belgium  in  the  distant 
years  when  clocks  and  watches  were 
much  more  rare  than  now  and  the 
people  were  much  more  dependent 
upon  the  town  clock  for  knowledge  of 
the  time  of  day,  or  night,  it  became  the 
custom  to  precede  the  striking  of  the 
hour  by  a  short  automatic  chiming  on 
three  or  four  small  bells  in  the  clock 
tcwer  as  a  premonitory  signal. 

As  this  town  and  that  sought  to 
surpass  its  neighbors,  the  bells  were 
increased  in  number,  and  the  musical 
scale  of  tones  and  half  tones  became 
complete.  Brief  melodies  began  to  be 
heard  at  the  hour  and  half  hour,  and 
with  still  more  bells  came,  at  these 
divisions,  whole  tunes.  All  this  play- 
ing was  automatic. 

Then  came  the  point  of  greatest 
advance.  The  keyboard  was  just  be- 
ginning to  be  used  with  stringed  in- 
struments. What  was  more  natural 
than  that  bells  should  have  their  key- 
board, or  clavier,  and  so  be  made  ready 
to  respond  to  the  art  of  the  aspiring 
musician?  Soon  pedals  were  employed 
with  the  heavier  bells.  By  these  im- 
provements rapid  and  quite  complicated 
playing  was  possible  and  almost  any 
composition  could  be  fairly  interpreted 
by  a  skillful  executant  and  so  regular- 
carillon  recitals  or  concerts  came  into 
being. 

Thus  in  the  course  of  two  or  three 
centuries,  was  developed  the  carillon,  a 
musical  instrument  of  distinct  char- 
acteristics and  possessing  wide  possi- 
bilities for  community  service.  Not 
only  did  the  carillon  have,  by  auto- 
matic play,  constant  companionship 
with  time,  but  beyond  this  the  master 
of  its  clavier  could  make  the  town 
council  meeting  hour  enjoyable,  and  the 
market  (ever  a  feature  of  the  life  of  the 
Low   Countries)    additionally   gay   for 


young  and  old.  For  he  could  give,  with 
expression,  the  folk  songs  and  patriotic 
airs  they  loved  to  sing,  and  could  play 
in  accurate  rythm  the  lively  tunes  to 
which  they  danced  at  the  Kermess  and 
on  every  other  occasion  of  merry- 
making. And  the  mid-day  and  the 
summer  evening  concerts  appealed  par- 
ticularly to  the  Netherlander  for  they 
were  something  which  he  could  frugally 
enjoy  in  the  quiet  of  his  own  home  or 
in  the  jovial  companionship  of  neighbor 
and  friends,  many  or  few,  assembled 
together  in  the  Grande  Place. 

Today  as  one  wanders  in  some  old 
town  of  the  Low  Countries,  he  may 
meet,  as  I  did,  a  baker's  boy  carrying 
his  tray,  who  without  slackening  his 
pace,  had  time  to  hear  that  quarter 
hour  sheaf  of  notes  from  the  bells  high 
above  him,  and  then  reminded,  whistled 
the  local  song  of  the  traditional  duty  of 
the  carillon  to  play, 

Saturday  for  the  country  folk 
And  Monday  for  the  city, 
Sunday  for  girls  who  charm  the  boys 
And  make  themselves  so  pretty. 

Saturday,  there,  through  centuries, 
has  been  the  market  day;  while  on 
Monday,  likewise,  the  city  council  has 
always  met.  And  Sunday — well,  Sun- 
day, as  a  courting  day,  is  affectionately 
regarded  even  in  regions  distant  from 
carillon  clime! 

IV 

Elsewhere  I  have  described  in  detail 
the  gigantic  musical  instrument  whose 
development  has  just  been  traced. 
Here  it  will  suffice  to  repeat  in  con- 
densed form  a  few  words  about  the 
bells  themselves.  These  in  Belgium 
are  always  hung  in  tiers  while  in 
Holland  they  are  often  arranged  in 
circles.  In  a  carillon  of  the  first  order, 
one   having  three  or  four   octaves  of 


[57] 


ART  AND  ARCHAEOLOGY 


chromatically  attuned  bells,  the  deepest 
bass  bells  are  very  large,  each  bass  bell 
weighing  from  four  to  eight  tons,  while 
the  lightest  bells  in  the  highest  octave  of 
the  same  carillon  will  weigh  not  over 
twenty  pounds  each.  To  compare  a 
carillon  with  a  chime  (the  arrangement 
of  bells  best  known  to  people  outside  of 
Belgium  and  Holland)  it  may  be  said, 
that  a  chime  has  perhaps  eight  or  ten 
diatonically  attuned  bells  and  that  all 
of  these  are  fairly  heavy,  the  biggest 
weighing  two  or  three  tons  and  the 
smallest  300  or  400  pounds.  For  in- 
stance in  the  Cornell  University  Chime 
at  Ithaca  the  biggest  bell  weighs  4,830 
pounds  and  the  smallest  310  pounds. 
At  Mechlin  the  biggest  bell  of  the  Caril- 
lon, Salvator  by  name,  weighs  17,768 
pounds  while  the  smallest  weighs  about 
18  pounds.  In  the  Mechlin  carillon  the 
biggest  bell  is  thus  in  round  numbers 
1,000  times  the  weight  of  the  smallest 
while  in  the  Ithaca  chime  the  biggest 
bell  is  only  about  16  times  the  weight  of 
the  smallest.  A  chime  has  been  some- 
times described  as  a  "slice"  of  about  ten 
bells  taken  approximately  from  the 
middle  of  the  range  of  a  carillon  but 
including  only  such  bells  as  are  neces- 
sary to  form  the  diatonic  scale  upon 
which  the  chime  is  based. 

Where  the  bells  of  a  chime  are  hung 
"fixed,"  or  so  as  not  to  swing,  the  chime 
may  be  played  by  a  small  clavier  or 
drum  in  manner  similar  to  a  carillon. 
English  change  ringing  and  pealing  is 
done  upon  swinging  bells  few  or  many 
tuned  to  the  diatonic  scale.  Each  bell 
in  such  playing  is  operated  by  a  rope 
assigned  to  a  particular  man— one  man 
for  each  bell.  The  bells  are  rung  in  a 
more  or  less  complete  mathematical 
order  or  sequence.  The  result  is  a 
kaleidoscopic  mosaic  of  sounds,  rapidly 
and  regularly  continued  sometimes  for 
several  hours  before  all  the  "changes" 

[59] 


are  gone  through  with.  Change  ring- 
ing and  pealing  while  interesting  from 
certain  points  of  view  can  hardly  come 
within  the  definition  of  music  as  that 
word  is  generally  understood. 

To  reiterate;  a  carillon  is  played 
automatically  by  a  revolving  cvlinder 
in  connection  with  a  tower  clock  or  by 
a  carillonneur  seated  at  a  clavier.  The 
automatic  playing  is  what  the  traveler 
constantly  hears  as  he  wanders  through 
old  towns  of  Belgium  and  Holland. 
The  clavier  playing  takes  place  at  a 
fixed  time  on  the  market  day,  and  on 
each  Sunday,  and  in  the  greater  cities 
on  some  regular  week  day  evening  in 
summer.  The  last  mentioned  playing 
is  known  as  the  carillon  program  con- 
cert. Recitals  of  this  kind  are  an- 
nounced by  widely  distributed  posters 
and  the  music  to  be  given  and  the 
carillonneurs  who  are  to  play  are 
announced,  months  in  advance  by 
means  of  quite  elaborately  printed  and 
illustrated  booklets. 

Nine  carillons, — those  of  Audenarde, 
Dinant,  Dixmude,  Nieuport,  Ostende, 
Roulers,  Termonde,  Ypres  and  (St. 
Peter's)  Louvain, — out  of  the  fifty-three 
I  have  listed  elsewhere  for  Belgium 
were  destioyed  in  the  great  war.  But 
of  those  destroyed,  only  two,  that  of 
(St.  Peter's)  Louvain,  and  that  of  (the 
Cloth  Hall)  Ypres,  were  of  the  first 
importance.  The  four  finest,  those  of 
Malines,  Bruges,  Antwerp  and  Ghent, 
are  today  more  than  ever  perfect. 

V 

My  story  here  does  not  concern 
itself  with  the  tower  music  of  Holland, 
though  the  carillons  there  are  as  many 
as  those  in  Belgium.  Yet  before  we 
leave  Rotterdam  something  ought  to  be 
said  about  the  carillon  just  installed  in 
the  new  city  hall  there,  a  public  spirited 
gift  to  the  municipality  from  Mr.  P.  J. 


ART  AND  ARCHAEOLOGY 


Van  Ommercn.  This  is  the  largest 
completely  chromatic  carillon  existing. 
Its  bells  are  tuned  to  equal  tempera- 
ment, being  accurate  to  a  single  vibra- 
tion in  a  second.  Thus  it  is  considered 
the  most  accurately  attuned  of  any 
carillon  known,  while  in  quality  of  tone 
its  bells  are  believed  to  equal  the  best 
anywhere  heretofore  made.  The  Taylor 
bell  foundry  at  Loughborough,  Eng- 
land, produced  this  fine  example  of  the 
perfected  carillon. 

The  bass  bell  at  Rotterdam  is  A  flat 
in  pitch  and  weighs  lo,  loo  pounds.  The 
total  weight  of  the  49  bells  constituting 
the  carillon  there  is  62,730  pounds,  and 
the  cost  was  a  little  over  $53,000.  The 
carillon  of  25  bells  such  as  that  which  it 
is  just  announced  is  soon  to  be  possessed 
by  the  Church  of  Our  Lady  of  Good 
Voyage  at  Gloucester,  Massachusetts, 
will  have  a  bass  bell  of  about  2,240 
pounds,  will  weigh  in  total  1 4, 500  pounds 
and  will  cost  in  England  something  like 
$1 2,000  complete.  The  Gloucester  car- 
illon is  to  be  made  at  the  Taylor  foundry 
above  mentioned  and  it  will  be  the  first 
accurately  tuned  carillon  in  America. 

Mr.  Williaim  Wooding  Starmer,  Fel- 
low of  the  Royal  Academy  of  Music  in 
London,  who  is  a  musician  of  genius 
with  an  amazingly  accurate  ear,  will 
test  the  Gloucester  carillon  before  it  is 
shipped  to  the  United  vStates.  Present 
practice  in  England  requires  that  all 
bells  should  be  thus  carefully  adjudged 
as  to  their  compliance  with  specifica- 
tions and  be  approved  by  some  com- 
petent musical  authority  before  they  are 
accepted  for  public  use — a  procedure 
wisely  to  be  followed  everywhere. 

Mr.  Starmer  who  has  specialized  for 
many  years  on  bells  and  bell  music,  has 
been  the  first  to  set  forth  a  complete  and 
consistent  theory  as  to  the  musical 
possibilities  of  bells  and  the  conditions 
which  govern  them.  Thanks  to  him  it 
is  now  possible  to  say  how  and  why  one 


In 


wtm 


('athedhal  Spire  at  .-Vntwerp. 
tliis  Spire  is  a  great  Carillon  of  47  bells. 

[60] 


ART  AND  ARCHAEOLOGY 


bell  is  better  than  another  and  often  to 
remedy  inaccuracy  of  tone. 

Mr.  Starmer  has  also  shown  that 
ceteris  paribus  modern  bells  should  be 
better  than  ancient  ones  because  of  the 
latter-day  improvements  in  melting  the 
alloy  so  as  to  secure  a  perfect  admix- 
ture, in  casting,  and  in  the  form  of  the 
bell. 

Notwithstanding  Longfellow's  "heart 
of  iron"  and  Poe's  "golden  molten 
bells"  and  the  "silver  bells"  of  many 
other  poets,  the  only  metals  used  in 
founding  bells  of  the  most  perfect 
timbre  are  copper  and  tin.  The  addi- 
tion of  gold,  silver,  antimony,  bismuth, 
or  any  other  metal  impairs  the  quality 
of  tone.  The  proportion  of  tin  used 
is  from  21%  to  25%.  A  recent  chemi- 
cal analysis  by  Dr.  Euwes  of  some  of 
the  Hemony  bells  in  the  Zuider  Kerk  at 
Amsterdam  shows  that  the  alloy  used 
consists  exclusively  of  copper  and  lin, 
but  not  in  fixed  proportions. 

At  the  present  time  bells  can  be 
tuned,  a  set  of  tuning  forks,  1,500  in 
number  being  employed,  with  greater 
exactness  than  the  piano.  Principles, 
however,  have  had  to  be  dealt  with,  all 
kinds  of  complicated  ratios  discovered, 
and  machines  invented  to  accomplish 
the  very  fine  work  necessary. 

In  days  gone  by  the  highest  tone  of 
bells  was  the  only  one  that  any  attempt 
was  made  to  tune,  and  the  other  tones 
were  left  to  fate,  a  conglomerate  mass 
of  noise!  Poor  bells  ought  to  be  a 
nuisance  everywhere,  but  it  is  impos- 
sible for  good  bells  to  be  a  nuisance  to 
anyone.  But  observe  they  murt  be 
good  bells.  The  u?es  of  bells  must  be 
understood  and  the  difference  between 
change  ringing  cr  chiming  or  pealing, 
on  the  one  hand,  and  music  plaj^ed  on  a 
carillon  keyboard  on  the  other.  In  the 
former,  there  is  an  intense  blow,  but  in 


carillon  music  the  clapper  strikes^the 
bells  from  a  very  small  distance — one 
quarter  to  half  an  inch,  and  therefore 
there  is  no  intense  amount  of  sound  at 
any  time.  Ther?  is  an  element  in 
carillon  music  to  which,  so  far  as  I 
know,  attention  has  never  heretofore 
been  called.  That  element  is  the  varia- 
tion in  expression  which  results  from 
the  influence  that  air  currents,  always 
present  more  or  less  in  the  open,  have 
in  curving  and  deflecting  sound  waves. 
By  thus  apparently  varying  the  volume 
of  the  tones,  nature  conspires  with  man 
and  makes  clavier  play  additionally 
pleasing  and  likewise  modifies  agreeably 
the  sometimes  rigid  effect  of  tunes  given 
automatically. 

The  carihon  is  indeed  a  very  beautiful 
and  majestic  m.usical  instrument.  Only 
those  who  have  heard  Chopin's  Funeral 
March  on  this  instrument  can  conceive 
how  impressive  that  music  can  be.  The 
carillon  can  reach,  and  instruct  and 
give  joy  to  thousands  assembled  out  of 
doors  and  in  this  it  surpasses  any  other 
instrument. 

Says  Van  der  Straeten, 

A  good  bell  is  not  made  by  chance  but  is  the  result 
of  a  wise  combination  of  qualities  and  thought,  and  a 
fine  carillon  is  as  precious  as  a  violin  by  Stradivarius. 

When  I  first  became  interested  in 
tower  music,  the  Assistant  Keeper  of 
the  British  Museum  wrote  me,  "I  know 
of  no  work  on  carillons."  His  declara- 
tion was  confirmed  by  my  own  careful 
search  in  libraries  of  the  United  vStates, 
and  in  those  of  Antwerp  and  Brussels, 
The  Hague,  Amsterdam,  and  the  Bib- 
liotheque  Nationale  of  Paris.  How- 
ever, one  curious  book  I  found  in  the 
University  Library  at  Amsterdam.  It 
is  by  Picter  Hemony,  an  octavo  of  but 
eight  leaves  in  all,  published  at  Delft 
in  1678,  and  has  this  imposing  title: 
"De  On-Noodsaakelijkheid  van  Cis  en 


[61] 


ART  AND  ARCHAEOLOGY 


Dis  in  de  Bassen  der  Klokken.  Ver- 
toont  uyt  verscheyde  advysen  van 
ervaren  organisten  ende  klokken - 
speelders," — "The  Uselessness  of  C 
sharp  and  D  sharp  in  the  Bass  of 
Carillons.  vShown  by  various  opinions 
of  skilful  organists  and  carillonneurs." 
No  copy  is  known,  except  the  one  at 
Amsterdam.  Hemony  treats  his  theme 
with  vigour  and  decided  partisanship, 
his  decision  being  sustained  and  en- 
dorsed by  the  signatures  of  the  city 
carillonneurs  of  Briel,  Delft  and  Am- 
sterdam. The  book  ends  with  these 
lively  verses  by  Dirck  vScholl  of  Delft 
directed  against  Ouiryn  van  Blanken- 
burgh,  official  carillonneur  of  the  Hague 
who,  it  appears,  had  strongly  argued 
that  C  sharp,  Flemish  "Cis,"  and  D 
sharp,  Flemish  "Dis,"  were  necessary: 

Those  bells  Cis  and  Dis  of  old  Gouda's  big  Chime, 
In  truth  were  they  bought  to  make  melody  fine? 
Quirinus  says:  Yes,  that  their  music  is  rare. 
To  us  it  were  better  they'd  never  hung  there. 

For  the  city  was  cheated  and  wrongly  induced 
To  purchase  what  scarcely  could  ever  be  used. 
Each  stroke  of  these  bells  costs  a  pound,  so  'tis  said; 
Pretending  they're  living,  in  fact  they  are  dead! 

VI 

The  historical  Seventeen  United  Pro- 
vinces over  which  Charles  V  once  ruled, 
had  boundaries  which  coincide  with 
those  of  Belgium  and  Holland  and  the 
part  of  France  known  as  French  Flan- 
ders as  they  exist  today.  The  carillon 
region  in  general  terms  is  substantially 
the  territor^^  within  these  boundaries, 
except  that  no  carillons  are  found  in  the 
extreme  southeastern  portion,  that 
which  constitutes  the  Province  of  Lux- 
emberg,  the  smallest  of  the  nine  prov- 
inces which  now  make  up  Belgium. 

On  the  eastern  border  of  the  region, 
carillons  are  few  and  scattered,  but  in 
the  central  and  western  portion  are 
many.  This  area  of  many  carillons 
covers    approximately    15,000    square 


St.  Rombold's  Tower  at  Mechlin. 
In  the  Tower  i.s  a  great  Carillon  of  45  bells. 

miles — not  quite  twice  the  size  of  New 
Jersey,  which  state  it  resembles  in  shape 
and  in  having  the  sea  coast  on  its  longer 
side. 

There  are  in  Belgium  about  30  caril- 
lons of  importance  and  about  20  in 
Holland.  If  those  of  lesser  consequence 
in  both  these  countries  and  in  French 
Flanders  are  included,  the  number  is 
over   100. 

Here  and  there  in  other  countries, 
carillons  exist — Great  Britain  now  has 
several  fine  ones  and  the  number  there 
is  increasing — but  until  quite  recently 
tower  music  was  scarcely  to  be  found 
outside  the  land  where  four  centuries 
ago  it  had  its  birth. 

Paths  leading  into  the  literary  field 
also  invite  those  who  would  explore 
tower    music.  Ambassadors,    and 

travelers,  and  poets  have  listened  to  the 


]62] 


ART  AND  ARCHAEOLOGY 


carillon  and  in  different  centuries,  in 
different  languages,  with  charm,  with 
pathos,  with  humor  even,  have  ex- 
pressed the  thoughts  awakened  by  its 
melodies.  The  reflections  of  De  Amicis 
and  the  vSonnet  of  Hardy  have  already 
been  given.  Verses  from  Rossetti  and 
Victor  Hugo  will  later  appear.  And  the 
sentiments  of  not  a  few  other  well 
known  authors  will  come  also  into  the 
story.  Particularly  will  the  vision  of 
Longfellow  bring  us  into  the  atmos- 
phere of  the  land  where  the  influence  of 
this  music  has  oftenest  been  felt. 

Many  writers  have  spoken  more  or 
less  incidentally  of  the  carillon.  Else- 
where I  have  referred  to  these  at  some 
length.  Here  there  can  be  little  more 
than  the  mention  of  their  names.  Such 
a  list  recalls  the  allusions  of  James 
Howell,  1622,  in  Familiar  Letters;  John 
Evelyn,  1641,  in  his  Diary;  Sir  John 
Carr,  1806,  in  his  Travels;  Edward 
Dowden  in  his  Southey;  Hilaire  Belloc 
in  describing  Delft's  Tower;  Dr.  Chat- 
terton-Hall  in  reviewing  the  novels  of 
Rodenbach;  George  Wharton  Edwards 
in  Old  Flemish  Towns;  the  Reverend 
William  Harmon  Van  Allen  in  Travel 
vSketches;  John  Finley  in  The  Road  to 
Dieppe;  and  William  De  Morgan  in  a 
Visit  to  Louvain. 

To  be  remembered  also  are  other 
authors  as:  J.  P.  A.  Fischer,  1737,  of 
Utrecht,  who  requires  for  a  carillon- 
neur  "good  hands  and  good  feet  and  no 
gout" ;  A.  Schaepkens,  1857,  of  Brussels, 
who  discusses  bell  making  contracts; 
the  old  Dutch  versifier  Poot;  Marie 
Boddaert  in  the  Middelburg  Children's 
Song;  G.  van  Dorslaer,  W.  P.  H. 
Jansen,  D.  F.  vScheurleer,  F.  A.  Hoefer, 
J.  W.  Enschede,  Prosper  Verheyden 
and  others  in  archeological  annals; 
Georgio  Georgi,  1626,  Marcantonio 
Correr,  Guiseppi  Garampi,    1764,  and 


Francesco  Belli  in  Relazione  Veneziane ; 
Maurice  Donnay,  the  French  dramatist 
in  King  Albert's  Book;  Jean  Loredan 
who  writes  of  the  bells  of  Armen- 
tieres;  and  Dominque  Bonnaud,  the 
Parisian  chansonnier,  whose  carillon 
song  has  been  translated  by  Lord 
Curzon  of  Kedleston. 

In  such  a  survey  particularly  to  be 
recalled  are  the  names  of  those 
authors  who  have  made  the  carillon 
theme  a  feattire  of  considerable  import 
in  some  of  their  writings,  as  Charles 
Burney,  1773,  in  that  quaint  book. 
Music  of  the  Netherlands;  the  Rever- 
end H.  R.  Haweis,  1875,  in  Music  and 
Morals  (though  statements  therein 
about  bells  are  at  times  fanciful) ; 
E.  G.  J.  Gregoire,  1877,  of  Brussels,  in 
the  Library  of  Popular  Music;  Thack- 
eray in  one  of  his  Round-about- 
Papers  ;  Macdonald  in  Robert  Falconer ; 
Robert  Chambers  in  The  Barbarians; 
and  D.  J.  Van  Der  Ven  and  A.  Loosjes 
of  Amsterdam  in  quite  recently  pub- 
lished books  about  Holland's  Towers. 
Specially  should  be  mentioned  William 
Wooding  Starmer  of  Tunbridge  Wells, 
England,  whose  extensive  researches 
concerning  Bells,  Chimes,  and  Carillons, 
it  is  hoped  are  soon  to  be  published. 

vn 

Appreciation  of  some  phases  of  tower 
music  come  to  us  best  as  we  read  the 
very  words  of  authors  themselves. 
Almost  three  hundred  years  ago  Am- 
sterdam's most  famous  carillon  was 
celebrated  in  many  joyous  stanzas  by 
Joost  Van  den  Vondel.  Therein  is 
this  tribute  to  the  carillonneur  Verbeek : 

His  bell  music  surpasses 

The  finest  organ  tones, 

He  plays  with  bells  as  with  cymbals 

Heaven's  choirs  are  looking  out. 

Well  has  a  recent  reviewer  called 
this  a  bold  yet  true  figure  of  speech. 


[63] 


1 


Antwerp:     The  Carillon  Clavier  or  Ivey-board. 


recalling  the  painting  of  some  Italian 
master  with  angels  half  concealed  be- 
hind the  clouds.  A  later  stanza  of 
Vondel's  poem  is  devoted  to  Franz 
Hemony,  perhaps  the  most  distin- 
guished of  ancient  bell  makers,  and  he 
is  described  as: 

One  who  so  skillfully  found  his  bells 
That  their  notes  charm  our  ear. 
And  make  us  wish  to  dance  a  bell-dance 
On  the  airy  tower  galleries! 

It  was  at  Antwerp  that  Arethusa  and 
Cigarette  began  their  voyage,  and  in 
that  delightful  chapter  The  Oise  in 
Flood,  Stevenson  tells  us  how  a  new 
sensation  of  sound  revealed  itself.  I 
give  but  one  sentence: 

There  was  something  very  sweet  and  taking  in  the  air 
he  played,  and  we  thought  we  had  never  heard  bells 
speak  so  intelligently  or  sing  so  melodiously  as  these. 

Arnold  Bennett  writing  of  Belgium 

[65] 


and  finding  almost  beyond  belief  the 
appeal  of  its  bell-music  exclaims : 

Bruges  was  to  me  incredible  in  its  lofty  and  mellow 
completness.  It  was  a  town  in  a  story;  its  inhabitants 
were  characters  out  of  unread  novels;  its  chimes  were 
magic  from  the  skies. 

Wicked  was  the  destruction  in  19 14 
of  the  carillon  at  Termonde  and  pa- 
thetic is  the  scene  Grace  Hazard  Conk- 
ling  gives: 

The  bells  that  we  have  always  known, 
War  broke  their  hearts  today, 

*  *  *  * 

They  used  to  call  the  morning 
Along  the  gilded  street, 
And  then  their  rhymes  were  laughter 
And  all  their  notes  were  sweet. 
*  *  *  * 

The  Termonde  bells  are  gone,  are  gone, 
And  what  is  left  to  say  ? 

And  as  war  overwhelms  all  the  land 
Henry  Van  Dyke  in  The  Bells  of  Ma- 
lines  declares  in  prophetic  verse : 


ART  AND  ARCHAEOLOGY 


O  brave  bell-music  of  Malines 

In  this  dark  hour  how  much  you  mean' 

The  dreadful  night  of  blood  and  tears 

Sweeps  down  on  Belgium,  but  she  hears 

Deep  in  her  soul  the  melody 

Of  songs  she  learned  when  she  was  free. 

She  will  not  falter,  faint,  nor  fail 

But  fight  until  her  rights  prevail. 

And  all  her  ancient  belfries  ring 

"The  Flemish  Lion,"  "God  Save  the  King.' 


The  lives  of  the  great  founders  and 
their  rivalries,  the  exactions  of  con- 
tracts, the  public  competitions  and 
private  quarrels  of  carrillonneurs,  the 
holidays  decreed  and  the  elaborate 
ceremonies  at  the  dedication  and  first 
official  playing  of  a  carillon,  the  tales 
of  capture  and  ransom  of  carillons  in 
war,  and  many  other  phases  of  the  art 
are  full  of  romance.  These  all  appeal 
to  the  interest  and  the  imagination,  and 
those  that  ar?  curious  will  find  much  to 
repay  study  therein.  Nor  is  humor 
lacking  from  the  story. 

John  V,  of  Portugal,  visited  the  Neth- 
erlands about  1730  and  was  so  delighted 
with  the  bell  music  that  he  deter- 
mined to  have  a  carillon  for  his  sump- 
tuous palace  then  building.  The  price 
having  been  ascertained,  the  suggestion 
was  guardedly  made  by  his  treasurer, 
the  Marquis  of  Abrantes,  that,  in  view 
of  the  financial  burdens  upon  the  King's 
purse,  this  was  a  large  expenditure. 
The  implied  criticism  is  said  to  have  so 
offended  the  self-esteem  of  the  monarch 
that  he  replied:  "Nao  suppunha  fosse 
tao  barato;  quero  dois" — "I  did  not 
think  it  would  be  so  cheap ;  I  wish  two." 
And  these  he  got,  for  two  carillons,  one 
of  47  bells  in  the  south  tow^er  and  one 
of  46  bells  in  the  north  tower,  each 
played  by  clavier  and  clockwork  still 
exist,  so  the  Portugese  Department  of 
State  informs  me,  in  the  twin  towers  of 
the  convent,  formerly  the  palace  chapel 
at  Mafra. 


VIII 

When  we  came  to  Antwerp  and 
entered  the  great  railway  station,  where 
trains  were  rolling  in  and  out,  and  the 
high  keyed  little  whistles  of  the  engines 
were  signaling  sharply,  and  crowds  of 
people  were  hurrying  up  and  down  the 
many  platforms,  we  felt  that  this  active 
city  was  just  as  we  had  left  it  seven 
years  before.  Outside  the  station,  the 
same  atmosphere  continued.  As  we 
drove  to  the  hotel  we  passed  along  the 
great  avenue  of  shops  and  patisseries, 
and  the  crowds  went  their  busy  ways 
just  as  in  1913. 

Looking  out  over  the  trees  of  the 
Place  Verte  from  the  open  windows  of 
our  rooms,  we  saw  the  cathedral,  now- 
close  enough  to  us  to  reveal  the  delicate 
details  of  its  beauty  and,  above  the  con- 
fusion of  the  flower  market  and  tram 
cars  in  the  busy  square  below,  we  heard, 
before  the  great  bell  Karolus  struck  the 
hour,  a  lightly  falling  carillon  melody. 

Every  few  minutes  of  the  day — a 
background  to  the  animated  market 
scene — the  rippling  notes  came  floating 
down  from  the  lace -like  spire  above ;  and 
at  night  it  was  a  delight  to  fall  asleep 
listening  to  the  soft,  exquisite  music. 

Full  of  poetic  association  are  the 
nearby  river  banks,  for  it  is  "on  the 
Scheldt  near  Antwerp"  that  the  scene 
of  Lohengrin  is  laid.  And  majestic  is 
the  sweep  of  space  and  time  and  the 
silence  of  night,  with  this  music  domi- 
nating aU,  that  Rossetti  has  conceived 
and  embodied  in  his  Antwerp  and 
Biuges: 

In  Antwerp  harbour  on  the  Scheldt 
I  stood  alone,  a  certain  space 
Of  night.     The  mist  was  near  my  face; 
Deep  on,  the  flow  was  heard  and  felt. 
The  carillon  kept  pause,  and  dwelt 
In  music  through  the  silent  place. 

I  went  to  the  carillonneur's  house  to 
recaU  myself  to  him  after  seven  years' 


[66] 


The  bells  of  the  Cahillon'  at  Mechlix. 
This  shows  the  bells  hung  in  straight  rows,  and  tiers,  the  best  arrangement. 


absence,  and  he  walked  back  with  me 
to  the  hotel.  As  we  sat  in  the  small 
parlor  looking  out  on  the  flower  market, 
he  told  us  in  French  oi  the  carillon's 
fate  during  the  war.  He  said  that 
when  the  city  officials  decided  to  let  the 
Germans  enter  Antwerp,  and  thus  save 
their  splendid  buildings  from  destnic- 
tion,  the  Burgomaster  sent  for  him  and 
told  him  to  lock  the  outside  door  of  the 
tower  and  to  bring  the  great  key  to  him. 
This  command  the  carrillonneur,  Mr. 
Brees,  carried  out. 

When  the  enemy  later  asked  for  the 
carillonneur,    saying    they    wished    to 

[67] 


have  the  carillon  wound  daily,  and  thus 
kept  playing,  the  answer  was  always 
the  same:  "He  has  gone  away."  "But 
I  really  did  not  go  away  at  all,  except 
from  the  tower,"  said  Mr.  Brees,  smil- 
ing; "I  stayed  in  Antwerp  all  those 
years  and,  what  is  more,  I  played  the 
organ  in  the  Cathedral  for  all  the  chief 
services,  for  I  am  both  organist  and 
carillonneur.  When  the  armistice  was 
signed,  the  Burgomaster  again  sent  for 
me,  gave  me  back  the  great  key  and 
told  me  to  unlock  the  tower  door.  Then, 
after  four  years,  I  again  climbed  the 
405  steps  of  the  tower  staircase,  and 


ART  AND  ARCHAEOLOGY 


once  more  found  myself  in  the  little 
room  among  my  bells.  In  a  short  time 
all  was  again  in  order,  and  with  wild 
demonstrations  from  the  crowd  below 
in  the  Place  Verte,  who  sang  as  I 
played,  I  gave  La  Brabanconne.  It 
was  a  great  moment!" 

IX 

At  Ghent,  where  the  bells  hang  in  a 
separate  structure.  The  Belfry,  there  is 
at  present  no  city  carillonneur,  that 
official  having  grown  too  old  to  play. 
But  an  intelligent  custodian  took  us  up 
the  tower  in  a  modern  electric  lift.  No 
where  else  is  a  carillon  tower  so  equipped 
and  to  those  who  would  gain  the 
height  and  see  for  themselves,  near  at 
hand,  the  bells  of  a  carillon  of  the  first 
order,  and  its  mechanism  and  the 
carillonneur 's  cabin,  and  yet  would 
avoid  an  arduous  climb,  Ghent  is  com- 
mended. 

The  action  of  the  Ghent  clavier  is 
easy  and  permission  having  been  ob- 
tained, my  wife  who  has  been  compan- 
ion and  inspiration  in  all  my  carillon 
exploration,  took  her  place  on  the  caril- 
lonneur's  seat  and  "Fair  Harvard" 
sounded  over  the  surprised  town  below. 
So  may  anyone  of  musical  taste  who  is 
familiar  with  the  piano  or  organ  play 
acceptably  the  modem  clavier,  though 
to  develop  a  fine  technique  of  course 
requires  faithful  practice.  INIr.  Denyn's 
daughter  Madelaine  is  able  to  play 
even  Mechlin's  carillon  where  the 
action  is  difficult  and  heavy — quite  a 
feat  for  a  woman  to  accomplish. 

\Mienever  anything  happens  to 
Roland — the  biggest  and  most  fa- 
mous bell — it  is  an  ill  omen  to  "les 
Gantois. ' '  So,  when  in  July  1914a  great 
crack  appeared  in  Roland,  hundreds, 
day  after  day,  came  to  look  at  the  bell 
and  to  wonder  what  evil  was  to  fall  on 


their  beloved  countrx'.  In  less  than  a 
fortnight  the  Germans  marched  into 
Belgium,  and  the  Great  War  began. 
The  invaders  soon  occupied  Ghent, 
and  insisted  that  the  clock  work  of  the 
carillon  should  be  regularly  wound, 
so  that  the  bells  should  continue  to 
ring  over  the  city.  The  custodian 
said  that  he  was  always  accompanied  on 
this  round  of  work  by  a  German  soldier. 
The  Carillon  of  Ghent  rang  out  a 
century  ago  when,  on  December  24th, 
1 8 14,  was  completed  there  the  treaty  of 
peace  between  Great  Britain  and  the 
United  States.  That  Christmas  Eve 
agreement  was  the  work  of  J.  O. 
Adams,  Gallatin,  Clay,  Bayard,  and 
Russell,  representatives  at  Ghent  on 
the  part  of  the  United  States,  aided  by 
the  wisdom  of  Madison  and  Monroe  at 
home.  On  the  part  of  England  it  was 
due  to  Castlereagh,  Bathurst,  Liver- 
pool, and  Wellington,  though  none  of 
these  men  were  actually  Peace  Com- 
missioners. No  accomplishment  of  the 
treaty  was  more  important  than  that 
which  provided  for  the  arbitration  of  the 
boundary'  between  the  United  States 
and  Canada;  a  line,  with  its  subsequent 
extensions,  running  by  land  and  water 
nearly  4,000  miles.  Since  the  signing  of 
the  treaty,  not  a  few  irritating  contro- 
versies have  arisen  between  the  two 
nations  who  were  parties  to  it,  and  great 
populations  active  in  trade  rivalries 
have  come  to  exist  on  either  side  of  the 
dividing  line,  yet  through  all,  that  line 
has  continued  unfortified,  unguarded, 
and  unpatroUed.  Both  adjacent  peoples 
have  maintained  their  rights,  both  have 
advanced  in  prosperity  and,  as  fixed  by 
arbitration,  that  boundary  has  re- 
mained secure  with  neither  forts,  nor 
soldiers,  nor  ships  of  war  upon  it  to 
keep  a  threatening  or  even  a  protective 
watch. 


[68] 


ART  AND  ARCHAEOLOGY 


vSurmounting  the  topmost  spire  of 
Ghent's  belfry  is  the  gilded  copper 
dragon  which  has  looked  down  upon 
many  stirring  scenes  in  Flemish  history. 
There  is  a  legend  that  the  Crusaders 
brought  this  dragon  from  Constanti- 
nople to  crown  the  belfry  of  Bruges  and 
that  there  it  remained  until  Artevelde, 
victorious,  carried  it  a  prized  trophy  to 
Ghent  where  it  was  again  set  high  above 
bells.  As  we  ascend  to  the  upper  levels 
of  this  ancient  tower  and  meditate,  and 
gaze  upon  the  vast  expanse  below,  does 
there  not  come  vividly  to  mind  that  day 
when  'tis  said  Charles  V,  likewise  be- 
holding the  splendid  panorama  from 
this  same  great  eminence,  met  Alva's 
cruel  suggestion  that  the  city  should  be 
destroyed,  with  the  question  "  Combien 
faudrait-il  de  peaux  d'Espagne  pour 
faire    un    Gant    de    cette    grandeur?" 


"O  la  plaisante  ville  aux  carillons 
si  doux,"  Paul  Verlaine  writes  of 
Bruges.  And  Baudelaire  as  he  listens 
to  the  carillon  on  a  winter  night  finds 
sadness  and  joy  mingled  and  he  muses. 

II  est  amer  et  doux, 

pendent  les  nuits  d'hivei, 
D'ecouter,  pres  du  feu  qui 

palpite  et  qui  fume, 
Les  souvenirs  lointains 

lentement  s'elever 
Au  bruit  des  carillons  qui 

chantent  dans  !a  brume. 

(Bitter  and  sweet  it  is  on  winter  nights, 
Before  the  fluttering,  smouldering  fire. 
Gently  to  dream  of  a  long-distant  past 
Led  on  by  songs  of  mist-hid  carillon.) 

Even  deeper  are  the  thoughts  that 
Theophile  Gautier  brings  to  us  in  his 
Noel: 

Le  ciel  est  noir,  la  terre  est  blanche, 
Cloches,  carillonnez  gaiment! 
Jesus  est  ne;  la  Vierge  penche 
Sur  lui  son  visage  charmant. 

(The  heavens  are  dark,  the  earth  is  white, 

O  carillon  ring  gaily! 

Jesus  is  born;  the  Virgin  bends 

O'er  Him  her  face  so  lovely.) 


In  C'etait  I'Ete  Camille  Lemonier 
dwells  peacefully  in  the  atmosphere  of 
this  tower  music  while  Georges  Roden- 
bach  seems  to  be  constantly  haunted 
and  possessed  by  the  carillon,  for  its 
appeal  echoes  through  almost  every- 
thing he  writes.  Both  in  Bruges-la- 
Alorte  and  in  Le  Carrillonneur,  Bruges' 
Belfry  is  made  a  part  of  his  story  and  in 
Le  Miroir  du  Ciel  Natal  his  verses  em- 
body most  delicate  imagery: 

Les  cloches  ont  de  vastes  hymnes. 

Si  legeres  dans  I'aube. 

Qu'on  les  croirait  en  robes 

De  mousseline; 

Robes  des  cloches  balancees, 

Cloches  en  joie  et  qui  epanchent 

Une  musique  blanche. 

Ne  sont-ce  pas  des  mariees 

Ou  des  Premieres  Communiantes 

Qui  chantent? 

(The  bells  are  like  majestic  hymns, 

So  light  at  break  of  day. 

That  robed  in  sheerest  lawn  they  seem 

Or  clad  in  flowing  sound 

Poured  out  from  joyous  bells 

In  purest  melody. 

Is  it  not  blest  married  ones,  in  truth,  who  sing; 

Or  white-robed  first  communicants?) 

But  while  all  these  writers  and  others 
that  I  have  mentioned  earlier  or  shall 
mention  in  later  chapters  here  have 
more  or  less  briefly  touched  upon  the 
carillon  it  is  an  American  poet  who  first 
makes  it  the  subject  of  extended  verse . 
Longfellow  early  came  under  the  spell 
of  be  Us  in  the  Low  Countries  and  in  the 
diary  of  his  student-day  wanderings  in 
Europe  we  read : 

May  30,  1842.  In  the  evening  took  the  railway  from 
Ghent  to  Bruges.  Stopped  at  La  Kleur  de  file, 
attracted  by  the  name,  and  found  it  a  good  hotel.  It 
was  not  yet  night;  and  I  strcUed  through  the  fine  old 
streets  and  felt  myself  a  hundred  years  old.  The 
chimes  seemed  to  be  ringing  incessantly;  and  the  air  of 
repose  and  antiquity  was  delightful. 

May  31.  Rose  before  five  and  climbed  the  high 
belfry.  The  carillon  of  forty-.seven  bells;  the  little 
chamber  in  the  tower;  the  machinery,  with  keys  like  a 
musical  instrument  for  the  carillonneur;  the  view  from 
the  tower;  the  singing  of  swallows  with  the  chimes;  the 
fresh  morning  air;  the  mist  in  the  horizon;  the  red  roofs 
far  below;  the  canal,  like  a  silver  clasp,  linking  the  city 
with  the  sea — how  much  to  remember. 


[69] 


ART  AND  ARCHAEOLOGY 


These  impressions  soon  ripened  into 
a  poem  of  importance  and  wonderfully 
does  the  genius  of  Longfellow  give  the 
scene  at  night  when  silence  perfects  the 
sound  of  the  bells. 

Thus  dreamed  I,  as  by  night  I  lay 
In  Bruges,  at  the  Fleur  de  Ble, 
Listening  with  a  wild  delight    I 
To  the  chimes  that,  through  the  night. 
Rang  their  changes  from  the  belfry 
Of  that  quaint  old  Flemish  city. 

As  we  read  the  second  part  of  the 
Belfry  of  Bruges,  its  daytime  images 
conceived  as  Longfellow  stood  on  the 
lofty  balcony  near  the  carillon,  his  art 
leads  us  into  his  own  mood,  and  living 
become  the  scenes  and  stirring  events 
associated  with  bell-tower  after  bell- 
tower  of  the  ancient  Low  Countries. 

Visions  of  the  days  departed,  shadowy  phantoms  filled 

my  brain; 
They  who  live  in  history  only,  seemed  to  walk  the  earth 

again; 

All  the  Foresters  of  Flanders, — mighty  Baldwin  Bras 

de  Fer, 
Lyderick  du  Bucq  and  Cressy,  Philip,  Guy  de  Dam- 

pierre. 

I  beheld  the  pageants  splendid  that  adorned  those  days 

of  old; 
Stately  dames,  like  queens  attended,  knights  who  bore 

the  Fleece  of  Gold. 

XI 

It  was  evening  when  we  reached 
Bruges.  As  wa  took  a  late  supper  we 
could  hear  at  frequent  intervals  the 
agreeable  jangling  of  distant  bells  and 
after  finishing  our  meal  we  went  out 
into  the  dusky  street.  Then  the  mys- 
tery and  the  music  enticed  us  forth. 
As  we  wandered  through  the  windings 
of  the  narrow  echoing  pavements,  now 
a  flourish,  now  an  irregular  snatch  of 
song  was  wafted  to  us.  The  notes  came 
so  clear  that  at  every  moment  we  looked 
to  see  the  belfry.  Thus  led  by  the 
broken  melodies  we  at  length  found 
ourselves  in  a  great  moonlit  square. 


Belfry  of  Bruges. 
From  the  Quai  Verte. 

Here  all  was  silent  except  for  the  steps 
of  an  infrequent  passer  and  the  hum  of 
faint  music  and  voices  issuing  from  the 
estaminets  that  form  the  north  side  of 
the  Groote  Market.  From  somewhere 
came  the  plaintive  notes  of  a  zither,  the 
only  distinguishable  sound.  At  the  foot 
of  the  monument  in  the  center  of  the 
square,  we  waited  for  the  hour.  Pres- 
ently there  was  a  ripple  and  then  a  burst 
of  tune,  inaccurate  of  tone  and  Hme, 
but  mysteriously  beautiful,  coming  from 
the  dark  tower  and  floating  into  every 
nook  of  the  silent  city.  The  tune  over, 
the  deep  bell  struck  eleven  and  we 
turned  homeward. 

The  morning  following  I  ascended  the 
tower,  and  saw  and  heard  the  sights  and 
sounds  of  which  Longfellow  writes, — 
the  coming  of  dawn  over  the  great  plain 


170] 


ART  AND  ARCHAEOLOGY 


below,  the  canal  like  a  silver  clasp  link- 
ing the  city  with  the  sea. 

Four  men,  two  at  a  time,  remain  in 
the  tower  day  and  night  and  keep 
watch  over  the  town.  When  I  gained 
the  carillonneur's  cabin,  after  a  climb  of 
400  steps,  one  of  these  men  was  on 
duty  as  watchman,  and  the  second  was 
cobbling  shoes.  A  cobbler's  shop  250 
feet  in  the  air ! 

Anton  Nauwelaerts  of  Bruges,  the 
most  promising  of  the  younger  genera- 
tion of  carillonneurs,  was  of  age  to  serve 
in  the  army  and,  so,  his  wife  and  child 
having  been  sent  to  England,  the  caril- 
lon was  left  to  its  fate.  When  the  war 
was  ending,  Nauwelaerts  found  himself 
near  Bruges  and  asked  permission  to  go 
and  see  how  his  home  had  fared. 
Finding  all  was  well  there,  he  ascended 
the  tower  and  sought  out  his  beloved 
bells.  There  he  discovered  the  wires 
had  been  cut  but  quickly  mending  these 
he  was  able,  when  the  King  and  Queen 
rode  into  the  city  a  few  hours  later,  to 
play  upon  the  bells  La  Brabanqonne. 

XII 

Seven  years  ago,  Ypres  and  its  set- 
ting was  one  of  the  garden  spots  of 
Belgium.  Now  the  city  itself  has  been 
battered  down,  and  the  once  superbly 
cultivated  fields  and  propserous  vil- 
lages about  it  exist  only  as  shelltorn 
remnants.  Long  before  its  site  is 
reached,  the  still  majestic  base  of  the 
tower  of  the  destroyed  magnificent 
Cloth  Hall  stands  out  in  many  shades 
of  gray,  pathetic  and  sublime.  The 
carillon  that  hung  in  that  towerf 
perished  with  it,  and  its  carillonneur,  i, 
not  killed,  has  departed  to  make  another 
home. 

At  one  end  of  the  ruin  stands  a  large 
framed  tablet  of  white  painted  wood. 
On  it,  in  black,  are  these  words: 

This  is  Holy  Ground. 

No  stone  of  this  fabric  may  be  taken  away. 

It  is  a  heritage  for  all  civilized  people. 

[71] 


Nearby  on  another  tablet,  hung  about 
when  we  were  there  with  a  fresh  garland 
of  laurel,  is  this  inscription: 

To  THE  Vanguard,  Ypres- 


1914. 


Oh  Little  Mighty  Force  That  Stood  For  England. 


Oh  little  force  that  in  your  agony, 
Stood  fast  while  England  got  her  armour  on. 
Held  high  our  honour  in  your  wounded  hands, 
Carried  our  honour  safe  with  bleeding  feet, 
We  have  no  glory  great  enough  for  you ! 

XIII 

Ralph  Adams  Cram,  says  of  the  old 
city  and  cathedral  at  Mechlin,  often 
known  as  Malines, 

It  is  a  town  of  old  houses  and  still  canals,  a  strangely 
poetic  combination,  a  little  Bruges  with  a  finer  church, 
vSt.  Rombold's  Cathedral,  than  any  the  perfect  Flemish 
city  could  boast.  The  church  itself  is  of  a  vigorous  type 
of  earliest  14th  century  architecture,  but  the  great 
tower  which  was  planned  as  the  highest  and  most 
splendid  spire  in  the  world,  though  it  completed  only 
320  of  its  projected  550  feet,  is  15th  century,  and  as 
perfect  an  example  of  late  Gothic  as  may  be  found  any- 
where in  the  world.  It  is  really  indescribable  in  its 
combination  of  majesty,  brilliancy  in  its  combination 
of  majesty,  brilliancy  of  design  and  inconceivable 
intricacy  of  detail.  The  exuberance  that  makes  the 
flamboyant  art  of  France  is  here  controlled  and  directed 
into  most  excellent  channels,  and  if  ever  it  had  been 
completed  it  must  have  taken  its  place  as  the  most 
beautiful  tower  in  the  world.  As  it  is  it  ranks  in  its 
own  way  with  the  Southern  Fleche  of  Chartres  and 
Giotto's  Tower  in  Florence,  and  more  one  cannot  say. 

In  this  noble  structure  hangs  the 
most  renowned  of  carillons.  Close  by 
we  found  the  carillonneur,  our  dear  old 
friend  Josef  Denyn — Jef  Denyn  as  he  is 
affectionately  called.  He  is  again  in  his 
pleasant  home,  with  his  family  about 
him,  and  is  giving  his  beautiful  Mon- 
day evening  concerts,  just  as  before 
the  war.  Except  for  its  clavier,  the 
carillon  was  little  damaged,  although 
the  tower  in  which  it  hangs  was  scarred, 
and  part  of  the  cathedral  itself,  was 
demolished  by  shells. 

When  the  Germans  approached, 
D?nyn  being  too  old  to  enter  the 
Belgian  army,  and  having  six  young 
children  to  consider,  decided  to  go  with 
his  family  to  England,  and  there  they 
all  lived  until  peace  came. 


ART  AND  ARCHAEOLOGY 


The  invaders  after  bombarding 
Mechlin,  entered  it  and  marching  im- 
mediately to  the  Cathedral,  placed  one 
of  their  men  at  the  organ.  Then  moving 
the  chairs  from  the  nave,  they  danced  to 
the  organ's  tunes.  Then  they  demanded 
that  the  cariljonneur  should  appear  and 
play.  When  they  learned  that  he  had 
departed,  they  broke  the  clavier  and 
left  the  carillon  unplayable  and  thus  it 
remained   as   long   as   war  continued. 

But  the  year  19 14  did  not  bring  its 
first  experience  of  war  to  Mechlin's 
ancient  and  famous  carillon  for  more 
than  a  century  before,  at  the  time  of  the 
French  Revolution  in  1792,  it  had  been 
in  even  greater  danger.  Then  it  was 
saved  from  destruction  by  the  diplo- 
macy of  Gerard  Gommaire  Haverals, 
the  carillonneur  at  the  time.  The 
revolutionary  council  had  decreed  that 
all  the  Mechlin  bells  should  be  melted 
and  made  into  cannon,  when  Haverals 
by  his  eloquence  and  cleverness  per- 
suaded the  French  authorities  that  at 
least  this  carillon  should  be  preserved. 
Otherwise,  he  asked,  how  properly  could 
be  celebrated  "la  gloire  de  la  Re- 
pubUque?"  A  few  years  later  the 
reaction  came,  and  he  was  given  a  sharp 
reprimand  by  the  town  coimcil  because 
of  the  republican  songs  he  had  played. 
His  beloved  bells,  though,  were  safe,  and 
so  again  he  changed  his  tunes  to  suit 
changed  times  and  endured  patiently 
the  municipal  castigation.  Happily 
his  devotion  and  skill  were  so  compell- 
ing that  even  political  passions  were 
subdued,  and  he  continued  as  carillon- 
neur until  he  died  in  1841,  being  on  the 
verge  of  fcur-srcore  years,  and  having 
played  the  bells  in  vS.  Rombold's  tower 
continuously  since  he  was  seventeen. 

We  went  twice  to  Mechlin,  last 
August,  for  we  did  not  feel  that  we 
could  afford  to  miss  either  of  the  two 


Monday  evening  recitals  that  occurred 
during  our  nine  days'  stay  in  Belgium. 
The  first  Monday  as  Mr.  Denyn 
climbed  to  his  cabin,  while  crowds  were 
gathering  in  the  great  square,  we  were 
sitting  in  a  quiet  courtyard  of  a  convent 
school  looking  toward  the  majestic 
tower  rising  in  the  distance  and  listen- 
ing eagerly  for  the  delicate  notes  of  the 
opening  prelude. 

XIV 

The  second  Monday,  we  heard  the 
evening  music  as  we  sat  with  Cardinal 
Mercier  in  the  garden  of  the  Arch- 
Episcopal  palace.  The  beauty  of  the 
scene  with  the  stars  gradually  filling  the 
sky,  the  sentiments  awakened  by 
thought  of  what  Belgium  had  experi- 
enced since  we  were  before  within  her 
borders,  the  presence  of  the  great 
Cardinal,  and  the  art  of  a  master 
musician,  made  the  evening  one  never 
to  be  forgotten. 

As  the  wide  gates  of  the  palace 
opened  to  admit  us,  the  guardian 
sounded  a  bell,  and  we  passed  through 
an  ample  entrance  hall,  and  found 
ourselves  in  a  pathway  of  tall  white 
flowers.  Again  the  bell  sounded, 
and  then  from  out  of  the  dusk  in  the 
distance,  appeared  the  benign  and  im- 
pressive form  of  the  cardinal  himself, 
followed  by  a  group  of  priests.  He 
welcomed  us  in  French  and  English, 
and  led  the  way,  in  the  deepening 
twilight,  to  seats  far  back  in  the 
mysterious  depths  of  a  tree-shaded 
lawn.  There  in  perfect  quiet,  we 
listened  to  Denyn's  prelude,  to  a 
vSonata  by  Pleyel,  to  Haendel's  "O 
Lord  Correct  Me,"  and  to  old  Flemish 
Folk  songs — simple  and  exquisite,  all 
of  them ;  given  forth  from  the  lofty  and 
massive  tower  dominating  the  southern 
horizon.     Here  was  a  splendid  master- 


[72] 


ART  AND  ARCHAEOLOGY 


hand  bringing  out  from  his  mighty 
instrument  not  alone  grand  and  sub- 
hme  effects,  but  also  the  tenderest 
shades  of  feeling,  and  awakening  both 
memory  and  aspiration.  Indeed,  the 
tower  seemed  a  living  being,  opening  its 
lips  in  the  mysterious  night  to  pour  out 
a  great  and  noble  message  to  all  man- 
kind. 

As  the  hour  passed,  daylight  died. 
If  there  was  occasion  to  speak,  we  spoke 
in  whispers.  It  seemed  that  if  we 
moved  or  spoke  aloud,  the  tower,  the 
far  away  light,  and  the  music  might  all 
vanish.  Nothing  we  had  ever  experi- 
enced had  been  like  this.  vSometimes 
the  sounds  seemed  to  come  from  an 
infinite  distance,  so  faint  and  delicate 
were  they.  Then  at  other  times,  great 
chords,  in  the  volume  of  many  organs, 
burst  forth  rapturously. 

As  the  night  grew  cooler,  the  Cardinal 
arose  and  walked  slowly  back  and  forth 
in  the  shadows.  Just  before  the  close  of 
the  playing,  he  came  to  each  one  of  us  in 
turn  and  said  a  few  words  of  parting; 
words  which  in  his  voice  spoke  hope, 
bestowed  a  blessing,  expressed  farewell. 
Then  as  we  continued  listening  to 
the  carillon's  majestic  music  but  with 
our  eyes  fixed  upon  him,  he  took 
his  way  quietly  down  a  path  leading 
toward  the  palace.  And,  though  his  tall 
form  soon  to  us  was  lost  in  the  darkness, 
yet,  his  presence  remained  to  our  inner 
vision,  radiantly  alive. 

XV 

To  Victor  Hugo,  awakened  at  night 
in  Mechlin,  a  vision  appeared  which  he 
put  in  verse  exquisite  in  imagery  and  in 
native    cadence.      His    poem    in    Les 


Rayons  et  les  ombres,  bears  the  legend. 
Ecrit  siir  la  vitre  d'une  fcnetre  flamande: 

J'aime  le  carillon  dans  tes  cites  antiques, 
O  vieux  pays  gardien  de  tes  moeurs  domestiques. 
Noble  Flandre,  oil  le  nord  se  rechauffe  engourdi 
Au  sok'il  de  Castille  et  s'accouple  au  midi! 
Le  carillon,  c'est  I'heure  inattendue  et  foUe, 
Que  I'oeil  croit  voir,  vetue  en  danseuse  espagnole, 
Apparaitre  soudain  par  le  trou  vif  et  clair 
Que  ferait  en  s'ouvrant  une  porte  de  I'air; 
Elle  vient,  secouant  sur  les  toits  lethargiques 
Son  tablier  d'argent  plein  de  notes  magiques, 
Reveillant  sans  pitie  les  dormeurs  ennuyeux, 
Sautant  a  petits  pas  comme  un  oiseau  joyeux, 
Vibrant,  ainsi  qu'un  dard  qui  tremble  dans  la  cible; 
Par  un  frele  escalier  de  cristal  invisible, 
Effaree  et  dansante.  elle  descend  des  cieux; 
Et  I'esprit,  ce  veilleur  fait  d'oreilles  et  d'yeux 
Tandis  qu'elle  va,  vient,  monte  et  descend  encore, 
Entend  de  marche  en  marche  errer  son  pied  sonore! 

Translation  always  is  inadequate  and 
yet  I  venture  thus  to  end  my  story: 

I  love  the  carillon  in  thine  ancient  towns, 

O  Flanders,  guardian  of  a  noble  race. 

Where  the  cold  North,  a  glow  of  warmth  has  found. 

Reflected  from  the  sun  of  bright  Castile. 

The  carillon  with  starry  melodies 

Adorns  the  unawaited  midnight  hour. 

Till  faint  above,  in  shimmering  azure  fields. 

Imagination  sees  the  mystic  gleam 

Of  form  most  like  a  Spanish  dancing  maid. 

In  raiment  music-filled  and  silvery. 

Which  then,  down-coming  through  the  nearer  air. 

Appears  a  being,  radiant  and  gay. 

On  glittering  wing  she  sweeps  o'er  drowsy  roofs. 

And  strewing  wide  her  magic  rippling  notes. 

Awakes  without  remorse  earth's  weary  ones. 

Now  rising,  falling,  as  a  joyous  bird. 

Now  quivering  as  a  dart  that  strikes  the  targe. 

Now  touching  the  transparent  crystal  stair 

That  frail  depends  from  heights  Elysian, 

Behold  this  spirit  quick,  this  soul  of  sound. 

This  elf  aerial  from  another  sphere. 

Bold,  glad,  extravagant  of  motion,  free! 

Anon  she  mounts,  anon  descends  the  skies. 
Then  step  by  step,  with  tinklings  delicate. 
In  distance  far,  tlie  vision  fades  away. 

A  silent  space.     Then  Time  on  deep-toned  bell. 
With  stroke  on  stroke,  compelling,  tranquil,  slow. 
Anew  to  man  declares  mortality. 

/J5   Washington  Avenue 
Albany.  N.  V. 


[73] 


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THE  RECONSTRUCTION  OF  THE  NASHVILLE 

PARTHENON 


By  George  Julian  Zolnay, 

President  of  the  Arts  Club* 


WHEN  Phidias,  the  sculptor, 
Ictinus,  the  architect,  and 
Pericles,  the  statesman,  con- 
ceived and  built  the  Athenian  Parthe- 
non they  little  thought  that  after  a 
lapse  of  twenty-four  hundred  years  a 
new  people  on  a  then  undreamed  of 
continent  would,  from  the  remnants  of 
their  creation,  reconstruct  that  great 
masterpiece  in  a  more  enduring  form 
than  was  theirs.  But  that  is  what  takes 
place  today  at  Nashville,  Tenn.,  where 
the  great  temple  of  Athena  is  being 
rebuilt  for  the  glory  of  art  and  the 
greater  happiness  of  the  people. 

The  history  of  this  reconstruction 
goes  back  twenty-four  years  when 
Tennessee  celebrated  its  hundredth 
anniversary  of  statehood  by  an  Inter- 
national Exposition.  To  house  the  art 
exhibit  Major  E.  C.  Lewis,  Director  of 
the  Exposition  conceived  the  idea  to 
tangibly  bear  out  Nashville's  claim  of 
being  the  "Athens  of  the  South," 
and  built  in  temporary  form  what 
remains  even  today  the  only  exact-to- 
the-inch  replica  of  the  Parthenon  in 
the  world;  the  so-called  Parthenon  at 
Regensburg  being  merely  an  adaptation 
of  the  great  Athenian  temple. 

Although  the  measurements  of  the 
original  Parthenon  were  strictly  ad- 
hered to,  the  haste  in  which  this  tem- 
porary structure  had  to  be  built  and 
the  comparatively  small  amount  of 
money  available  for  the  work,  natu- 
rally left  much  to  be  desired  in  the 
execution  of  the  delicate  ornamentation 
and  of  the  many  of  statues  which  had 
to  be  reconstructed  from  the  in- 
adequate drawings    then   in  existence. 


And  yet  the  general  effect  of  that 
cream  colored  staff  structure  with 
brilliant  colors  in  the  frieze  and  gables 
so  over-shadowed  all  the  other  build- 
ings that  when  the  Exposition  was 
over  the  people  demanded  its  preserva- 
tion and  it  became  a  shrine  to  the 
residents  and  visitors  of  Nashville. 

It  was  only  a  few  years,  however, 
until  the  exterior  began  to  lose  its 
brilliancy,  the  plaster  statues  to  disin- 
tegrate and  the  necessity  of  demolish- 
ing the  building  became  apparent. 

But  the  mysterious  power  of  the 
masterpiece,  even  in  its  incomplete 
form,  had  cast  its  spell  and  the  people 
demanded  that  it  remain. 

At  great  expense  the  necessary  re- 
pairs were  made  and  the  entire  struc- 
ture was  repainted  which  prolonged  its 
life  for  the  time  being;  but  soon  the 
ravages  of  time  again  threatened  its 
existence  and  once  more  it  had  to  be 
renovated. 

Three  years  ago,  however,  when  the 
disintegration  had  progressed  to  the 
point  where  some  of  the  large  statues 
of  the  pediments  began  to  fall  down,  the 
building  had  to  be  closed  for  public 
safety,  and  the  Board  of  Park  Com- 
missioners was  at  last  confronted  with 
the  inevitable  alternative  of  either 
dem.olishing  or  reconstructing  it  in 
permanent  form. 

By  mental  association  with  the  origi- 
nal the  first  thought  naturally  centered 
upon  marble;  when  it  was  calculated, 
however,  that  such  an  undertaking 
would  run  into  millions,  marble  had  to 
be  discarded,  particularly  because  of 
carving  the  two  hundred  odd  statues 


[75] 


"Illustrated  lecture  given  at  the  Club  Dinner  in  honor  of  President  Zolnay  upon  his  return  from  Nashville.  Oct.  7,  1920. 


Present  condition  of  the  Nashville  Parthenon. 


and  ornamentation  of  the  frieze  and 
gable. 

Another  draw-back  which  the  use  of 
marble  presented  was  the  color  prob- 
lem, for  it  is  definitely  established  that 
in  its  original  form  the  Parthenon  was 
polychrome.  To  apply  pigments  to  the 
surface  of  marble  as  was  done  by  the 
Greeks,  would  be  as  impermanent  as  it 
was  twenty-four  hundred  years  ago, 
in  fact,  in  the  more  severe  climate  of 
Nashville,  with  the  inevitable  smoke 
and  gases  of  a  modern  city,  the  coloring 
would  have  to  be  renewed  every  few 
years  at  a  cost  which  the  Park  Com- 
missioners did  not  wish  to  saddle  on  the 
people  in  perpetuity. 

There  remained,  therefore,  the  in- 
expensive concrete  used  by  the  Romans 
which  has  stayed  intact  for  two  thous- 
and years,  thus  obviously  considered 
the  most  durable  as  well  as  the  least 
expensive  material  known.  More- 
over, since  concrete  can  be  cast  into 
moulds  very  successfully  it  also  does 
away  with  the  great  cost  of  carving  the 


statues  and  ornaments.  But  if  con- 
crete possesses  all  these  material  vir- 
tues it  also  has  a  number  of  serious 
drawbacks.  First  of  all  there  is  what  is 
technically  known  as  "lifeless  appear- 
ance" due  to  its  opaque  nature.  Stone 
and  marble  are  more  or  less  translucent 
and  therefore  reflect  a  certain  amount 
of  light  which  is  what  gives  life  and 
charm  to  all  stone  and  marble  buildings. 
vStill,  there  being  no  other  choice,  con- 
crete was  decided  upon  as  the  only 
available  material  and  the  Park  Board 
commissioned  Mr.  Russell  E.  Hart,  a 
New  York  architect  living  in  Nashville 
to  make  the  necessary  drawings  and 
study  the  problem  from  every  angle. 
Mr.  Hart,  whose  admirable  training 
has  made  him  an  authority  on  classic 
architecture  in  general  and  the  Parthe- 
non in  particular,  enthusiastically  en- 
tered into  this  work  and  after  exhaus- 
tive investigations  of  the  most  modern 
methods  of  concrete  construction  finally 
recommended  the  method  known  as 
"Mosaic  vSurface"  developed  by  John 


[76] 


Opening  the  Mould  of  the  Capitals. 


Early  of  Washington,  D.  C,  who  was 
entrusted  with  that  part  of  the  work. 
The  essential  difference  between  ordi- 
nary concrete  and  the  mosaic  method  is 
that  in  the  former  the  surface  is  brought 
about  by  the  combination  of  cement 
and  sand  whereas  in  the  latter  it  is 
composed  of  stone  fragments.  The 
modus  operandi  consists,  roughly 
speaking,  in  carefully  selecting  stone 
of  the  desired  color  and  translucency, 
crushing  and  screening  it  to  a  uniform 
size  varying  from  one  eighth  to  a 
quarter  of  an  inch  in  diameter.  These 
stone  fragments,  called  aggregate,  are 
then  mixed  with  Portland  cement  and 
water  and  poured  into  the  forms  or 
trowelled  as  the  case  may  be.  Then 
instead  of  allowing  the  aggregate  to 
remain  covered  by  the  cement  as  is  the 
case  with  ordinary  concrete,  that  sur- 
plus cement  is  removed  with  acids  and 
brush  until  the  stone  fragments  arc 
exposed  yet  firmly  cemented  in  the  wall. 
This  process  at  once  gives  the  struc- 
ture four  cardinal  virtiies:  it  makes  it 


practically  non-absorbent,  permanent 
in  color,  gives  it  a  texture  on  which  the 
play  of  light  is  far  more  beautiful  than 
it  is  on  a  smooth  surface  and  finally 
it  gives  sufficient  translucency  to  com- 
pare favorably  with  stone. 

But  even  with  this  problem  solved 
there  still  remained  the  great  question 
of  the  red  background  of  the  metopes 
and  gables,  the  blue  of  the  triglyphs  as 
agreed  upon  by  the  majority  of  authori- 
ties on  Greek  architecture.  To  merely 
apply  pigments  to  the  surface  of  these 
cement  casts  would  have  involved  the 
same  periodical  expense  of  renewing 
the  colors  as  it  would  have  on  marble. 
Thus  once  more  the  project  seemed 
blocked. 

About  that  time  the  writer  was  ex- 
perimenting with  the  production  of  a 
durable  material  other  than  the  costly 
stone  and  bronze,  realizing  that  not 
until  the  sculptor's  work  can  be  suc- 
cessfully reproduced  in  less  expensiv^e 
yet  durable  materials  will  sculpture 
become  a  trulv  democratic  art. 


[7/1 


ART  AND  ARCHAEOLOGY 


The  result  of  these  experiments  was 
a  synthetic  stone,  which  not  only 
"poured,"  but  can  be  made  of  any 
color.  And  when  through  the  columns 
of  the  press  this  matter  came  to  the 
attention  of  the  Nashville  Park  Com- 
missioners and  their  investigation 
proved  that  at  last  a  satisfactory  solu- 
tion of  the  problem  had  been  found, 
the  writer  was  commissioned  to  recon- 
struct the  figures  of  the  great  temple 
and  then  reproduce  them  in  this  arti- 
ficial stone.  The  task  of  reconstructing 
these  figures  may  well  be  approached 
with  reverence ;  not  only  because  of  its 
magnitude  but  also  because  of  the  re- 
sponsibility assumed  by  the  sculptor 
in  the  translating  to  posterity  a  truth- 
ful representation  of  the  creations  of 
these  masters  of  the  past.  Thanks 
to  the  camera,  however,  the  present 
day  facilities  for  a  correct  interpreta- 
tion of  these  works  are  infinitely  bet- 
ter than  they  were  twenty-three  years 
ago  when  the  only  material  at  our  dis- 
posal were  unsatisfactory  wood  cuts 
made  from  the  Elgin  marbles  in  the 
British  Museum.  Now  with  photo- 
graphs of  every  fragment  preserved  in 
the  great  museums  of  the  world  and  of 
what  remains  standing  on  the  Acropolis 
these  reconstructions  are  no  longer  a 
matter  of  guess  work  but  one  of  logical 
deduction  even  in  cases  where  the 
greater  part  of  the  figures  has  disap- 
peared. 

The  original  ninety-two  metopes  of 
the  frieze  in  which  the  legendary  bat- 
tles between  the  centaurs  and  lapithae 
are  represented  in  high  relief,  have  been 
so  injured  in  the  course  of  time  that 
only  about  one  third  can  be  restored  to 
their  original  form;  of  the  other  two 
thirds  nothing  remains  but  bare  slabs 
with  insufficient  traces  to  even  attempt 
reconstruction.      It  is  very  fortunate, 


however,  that  among  the  thirty-two 
remaining  metopes  about  a  dozen  are 
so  well  preserved  that  they  remain  a 
perfect  guide  in  the  restoration  of 
those  even  seriously  damaged. 

It  is  the  intention  of  the  Park  Board 
to  preserve  these  reconstructed  models 
for  the  benefit  of  those  who  wish  to 
study  them  at  close  range,  for  it  must 
be  remembered  that  when  set  in  place 
they  will  be  fifty  feet  from  the  ground. 

The  necessarily  careful  study  of  these 
remnants  have  convinced  the  writer 
that  while  Phidias  did  supervise  the 
work  in  general,  none  of  the  exterior 
sculpture  is  his  own  individual  work. 
Not  only  is  the  treatment  and  charac- 
ter of  the  metopes  entirely  different 
from  that  of  the  pediment  groups  repre- 
senting the  contest  between  Athena 
and  Poseidon  over  the  fields  of  Attica, 
but  also  both  are  so  unlike  the  Athenian 
frieze  that  they  could  not  be  the  work 
of  the  same  man.  This  frieze  five  hun- 
dred and  twenty  feet  long  by  three 
feet  four  inches  high,  set  on  the  exterior 
walk  of  the  cella  is  unquestionably  the 
highest  example  of  that  most  difficult 
form  of  sculpture,  the  relief.  It  is 
indeed  the  work  of  a  great  genius  such 
as  Phidias  must  have  been  and  the  only 
sculpture  of  the  Parthenon  preserved  in 
its  entirety  and  almost  intact. 

On  the  other  hand  some  of  the  me- 
topes are  veritable  masterpieces 
whereas  others  are  of  rather  inferior 
quality,  which  justifies  the  assumption 
that  they  are  the  work  of  several 
sculptors  of  varying  degrees  of  ability. 

As  for  the  pediment  groups  the  uni- 
formity of  treatment  points  to  their 
being  the  work  of  one  man  of  extra- 
ordinary ability.  The  nudes  reveal  an 
almost  incomparable  knowledge  of  the 
human  body  and  the  draperies,  next  to 
the  famous  Victory  of  Samothrace,  are 


[78] 


Reproductions  uV    MukjI'i;.^  icK  the  Nasiuillu  I'arthu.nu.x, 


George  Julian  Zolnaj',  Sculptor. 


ART  AND  ARCHAEOLOGY 


perhaps  the  most  perfect  example  of 
treatment  and  technique  of  all  times. 
To  what  extent  the  Greek  sculptor  car- 
ried the  execution  of  his  work  is  well 
illustrated  in  these  pediment  groups 
where  even  the  backs  of  the  figures  are 
carefully  finished,  even  though  they 
lean  against  the  wall  so  that  under  no 
circumstances  could  these  backs  be 
seen.  While  such  seemingly  useless 
expenditure  of  time  and  energy  appears 
utterly  absurd  to  the  modern  mind,  to 
the  Greek  who  slighted  nothing  it  was 
a  matter  of  course  and  must  have  had 
its  share  in  developing  that  astound- 
ing perfection  found  in  the  Greek  work. 

While  most  of  the  theories  and  princi- 
ples established  by  architects  and 
archaeologists  find  their  confirmation 
in  this  work,  there  are  some  which 
must  be  discarded  when  ])ut  to  the  acid 
test  of  actual  reconstruction,  and  this 
sifting  of  accumulated  hypotheses  and 
speculations  cannot  fail  to  prove  bene- 
ficial in  the  long  run. 

That  the  architectural  and  artistic 
principles  of  the  Parthenon  were  pri- 
marily an  intellectual  triumph  of  sym- 
metry, balance  and  mathematical  inter- 
relation of  parts  is  self-evident,  but 
it  might  be  profitably  stated  that 
while  the  unification  of  these  principles 
was  due  to  a  sense  of  beauty  such  as  no 
other  race  has  displayed  before  or  since, 
the  emotional  element  was  rather  neg- 
ligible compared  with  the  reasoning 
power  of  the  Greek. 

If  the  long  horizontal  lines  were 
curved  upwards  it  was  to  prevent  the 
appearance  of  "sagging"  for  the  same 
optical  reason  that  the  columns  were 
not  equidistant,  those  near  the  corner 
being  nearer  together  and  inclined 
toward  the  center  which  gave  the  ap- 
pearance of  greater  strength.  For  simi- 
lar   reasons    outside    mouldings    were 


different  from  those  in  the  diffused 
light  of  the  interior,  all  of  which  can  be 
summed  up  in  what  is  so  aptly  ex- 
pressed by  "fitness  of  things"  which  is 
the  fundamental  basis  of  all  good  art. 
The  same  superior  qualities  are  evi- 
denced in  their  technical  skill  so 
well  illustrated  in  the  handling  of  the 
forty-six  columns.  These  colossal  sup- 
ports of  the  entablature  measuring 
over  six  feet  in  diameter  at  the  base 
and  thirty-four  feet  high  were  built  of 
nine  superimposed  sections  technically 
called  drums  and  were  so  closely  fitted 
together  that  even  today  the  joints  are 
barely  visible. 

The  mooted  question  as  to  how  the 
original  roof  might  have  been  con- 
structed is  entirelv  eliminated  in  this 
work,  since  the  demands  which  will 
eventuallv  be  made  on  this  structure 
require  a  definite  treatment  of  its 
covering.  While  the  reconstruction  of 
the  interior  is  not  included  in  the 
present  plans,  it  is  certain  that  the 
ultimate  destination  of  the  building 
will  be  that  of  housing  the  Art  Museum 
which  will  eventually  result  from  the 
efforts  of  the  Nashville  Art  Associa- 
tion. Therefore  the  first  consideration 
is  that  of  having  the  best  possible 
light  which  will  be  obtained  by  a  flat 
sky-light  following  the  slope  of  the  roof, 
the  ground  glass  ceiling  below  which 
will  create  an  air  chamber  for  the 
regulation  of  the  temperature.  The 
rest  of  the  roof  will  be  covered  with 
light  asbestos  tiles  to  harmonize  with 
the  rest  of  the  structure. 

Whether  the  original  Parthenon  had 
an  open  roof  or  whether  there  was 
some  structural  arrangement  with  side 
lights  masked  by  the  cornice  has  never 
been  definitely  established.  Certain  it 
is  that  unless  the  roof  was  open  which 
is  quite  doubtful,  there  was  not  much 


[80] 


ART  AND  ARCHAEOLOGY 


light  in  the  interior  which  would  be  in 
perfect  keeping  with  the  fact  that,  like 
all  pagan  temples,  the  Parthenon  was 
not  designed  to  hold  a  congregation  as 
does  the  Christian  church,  but  was 
essentially  the  abode  of  the  Deity,  a 
mysterious  shrine  in  front  of  which  the 
people  worshipped. 

At  the  rate  at  which  the  work  has 
been  progressing  the  exterior  of  the 
building  will  probably  be  completed 
in  the  fall  of  1922  and  will  stand 
forth  as  a  monument  to  man's  innate 
craving  for  beauty  which  was  the  sole 
factor  in  this  reconstruction.  It  will 
also  be  a  demonstration  of  what  ade- 
quate laws  can  do  for  a  community. 

^^'hen  the  Tennessee  legislature  cre- 
ated a  Nashville  Park  Commission  a 
few  years  ago,  it  gave  it  a  form  which  so 
stimulated  the  highest  instincts  of  good 
citizenship  that  it  at  once  enlisted  the 
interest  of  the  very  best  element  of  the 
city;  it  made  the  position  of  a  Park 
Commissioner  one  of  such  honor  that  it 
obtained  the  free  services  of  five  of  its 
most  prominent  citizens  whose  only 
desire  it  is  to  serve  their  fellow  man. 
Being    a    self-perpetuating    body    en- 


tirely independent  of  politics,  these 
men  can  fill  such  vacancies  as  occur 
from  time  to  time  with  men  of  their 
own  calibre  and  thus  insure  the  best 
interests  of  the  community  against  any 
possible  deterioration  of  its  personnel. 
The  law  assigns  to  the  commission  a 
certain  per  cent  of  the  city's  revenues 
for  the  maintenance,  extension  and 
improvement  of  the  city  parks  over 
which  it  has  complete  and  absolute 
jurisdiction  with  discretionary  power 
to  expend  these  funds  as  they  deem 
best. 

No  park  commission  differently  con- 
stituted could  have  responded  to  the 
needs  of  the  community  as  readily  as 
it  did  when  it  decided  to  add  to  its 
former  achievements  this  replica  of 
man's  highest  creation  in  art;  and, 
whatever  the  cost  of  this  work  will  be 
it  is  money  well  spent  for  it  is  another 
step  toward  the  realization  of  the  fact 
that  art  is  and  must  be  part  and  parcel 
of  our  life,  the  most  tangible  expression 
of  the  human  mind  and  cannot  be 
separated  from  our  intellectual  exis- 
tence. 

Washington,  D.  C. 


THE  NASHVILLE  PARTHENON 
"A  POSSESSION  FOREVER." 

When  we  build,  let  us  think  that  ice  build  forever.  Let  it  not 
be  for  present  delight  nor  for  present  use  alone — let  it  be  such  work 
as  our  descendants  will  thank  us  for,  and  let  us  think  as  we  lay  stone 
on  stone,  that  a  time  is  to  come  when  those  stones  will  be  held  sacred 
because  our  hands  have  touched  them,  and  that  tnen  will  say  as  they 
look  upon  the  labor  and  wrought  substance  of  them:  "See!  This 
our  fathers  did  for  us!" — John  Ruskin. 


[81] 


THE  HOME  OF  THE  ARTS  CLUB  OF 
WASHINGTOM 

By  Susan  Hunter  Walker 


WHEREIN  lies  the  charm  of  the 
Arts  Club  of  Washington?  Why 
is  it  its  members  are  not  as  a 
whole  enthusiastic  when  the  question  of 
removal  to  larger  quarters  is  broached  ? 
What  alluring  quality  does  the  Club 
possess  which  makes  its  guests  happy  to 
receive  repeated  invitations  to  its  af- 
fairs ?  These  are  oft-repeated  questions. 
The  home  of  the  Arts  Club,  situated 
as  it  is  a  bit  too  far  west  of  the  heart  of 
the  Capital  to  be  wholly  convenient ,  and 
too  far  south  to  claim  connection  with 
the  region  of  fashion,  and  by  no  means 
adequate  as  to  dimensions,  yet  holds  a 
charm  so  irresistible  to  its  members  that 
they  are  loath  to  consider  its  relin- 
quishment and  are  more  likely  to  follow 
the  scheme  which  favors  the  extension 
of  the  building  over  its  own  ground 
space,  thereby  providing  adequate  room 
for  its  growing  needs,  than  give  up  the 
club  home  of  five  years  of  happy 
occupancy. 

It  is  not  alone  the  history  of  more 
than  ordinary  intrinsic  interest  adher- 
ing to  the  picturesque  home  of  the  Arts 
Club  of  Washington  which  holds  the 
allegiance  of  its  members,  nor  can  it 
truthfully  be  said  to  be  its  entire  con- 
venience, for  the  latter  is  at  times  con- 
spicuous by  its  absence.  But  there  is  a 
charm  which  holds  the  club  where  it  is, 
and  which  most  of  its  members  fear  that 
any  change  of  residence  might  break. 
It  is  the  atmosphere  of  the  Arts  Club 
which  endears  it  to  its  members — the 
invisible,  intangible  spirit  of  goodwill, 
of  gracious  fellowship,  of  stimulus  to  the 
spirit  through  the  high  and  fine  things 
expressed  there  thathave  fed  the  mind 

[83] 


and  soul,  with  the  not-to-be-forgotten 
flow  of  philosophy  and  humor  that  has 
coursed  freely  round  its  well-spread 
tables.  These  are  some  of  the  things 
which  have  become  a  part  of  its  atmos- 
phere and  bind  it  with  bonds  of  firmest 
loyalty  to  its  members. 

The  tall,  handsome  Georgian  house 
at  2017  I  Street,  which  is  the  home  of 
the  Arts  Club  of  Washington,  has  the 
good  fortune  to  be  a  genuine  home  of 
the  spacious  and  gracious  type  of 
Colonial  days.  Its  lunette-topped, 
knockered,  blue-green  door  offers  its 
first  pleasing  note,  while  the  wide 
entrance  hall  with  fluted  arch  relieving 
the  bare  length  and  the  mahogany- 
railed  staircase  carr'>'  on  the  favorable 
impression.  The  reception  room  and 
the  dining  room  on  the  right,  these  also 
divided  by  a  wide  arch,  continue  the 
idea  of  old-time  dignity  accompanied 
by  hospitality,  the  cheerful  open  fire- 
place in  both,  the  well-chosen  pictures, 
the  old  English  mahogany,  the  flowers 
always  in  evidence,  further  enhancing 
the  atmosphere  of  leisurely  dignity. 

These  main  first  floor  rooms  are  for 
the  reception  of  members  and  guests,  for 
the  regular  formal  dinners  given  every 
Thursday  for  members  and  their  guests, 
when  the  two  rooms  thrown  into  one  are 
filled  to  overflowing  and  when  an  an- 
nounced program  is  always  part  of  the 
function;  for  the  less  formal  Tuesday 
and  Saturday  dinners  with  their  ac- 
companiment of  spontaneous  wit  and 
wisdom;  for  the  comfortable  little 
Sunday  suppers  that  may  be  ordered  a 
few  hours  ahead ;  for  luncheons  and  for 
afternoon    teas    of    large    and    small 


A  Summer  Evening  in  the  Garden 


dimensions  of  any  and  every  day. 
Back  of  these  dignified  first  floor  rooms 
is  the  Arts  Club  grill  room,  with  a  high, 
pipe-flanked  chimneypiece,  a  big  crafts 
table  with  benches  on  either  side, 
curiously  decorated  walls,  all  suggestive 
of  intimacy,  good  cheer  and  much 
tobacco  smoke. 

Two  large  communicating  rooms  oc- 
cupy most  of  the  space  of  the  second 
floor  of  the  home  of  the  Arts  Club  of 
Washington.  It  is  in  these  that  the 
club's  many  art  exhibitions  are  pre- 
sented and  in  which  are  given  its 
musicales  and  other  set  forms  of  enter- 
tainment; its  famous  talks  on  every 
variety  of  subject  touching  art  in  any 
form,  and  where  on  days  of  especial 
festivity  the  club  members  hold  high 
carnival.  Studios  available  to  artists, 
and  other  rooms,  fill  the  third  floor,  and 
the  fourth  floor  rooms  are  occupied  by 
part  of  the  resident  staff. 


One  of  the  chief  prides  of  the  Arts 
Club  of  Washington  is  its  garden.  This 
garden  contains  a  long  stretch  of  grass 
bordered  on  one  side  by  a  vine-covered 
pergola  and  on  the  other  by  a  high 
green-draped  fence,  with  shrubs,  roses, 
old-fashioned  flowers  and  ferns  planted 
wherever  carefully  tending  hands  might 
place  them,  but  so  that  they  do  not 
interfere  with  the  groups  of  tables  and 
chairs  which  must  be  set  there  through- 
out the  summer,  for  the  garden  is  used 
for  dinners,  teas  and  other  forms  of 
entertainment  on  every  possible  oc- 
casion. These  grounds  are  lighted  at 
night  by  a  clear,  electric  moon  which 
shines  down  from  the  top  of  the  house, 
and  is  so  fitted  that  it  can  be  made  to 
throw  adjusted  lights  on  the  movable 
stage,  which  is  a  part  of  its  equipment. 

The  history  of  the  Arts  Club  house  is 
notable.  Among  its  early  owners  and 
tenants  were  many  famous  men,  among 

[84] 


Music  Room  of  the  Arts  Club 


them,  James  Maccubin  Lingan,  a  revo- 
lutionary officer  and  friend  of  George 
Washington;  General  Uriah  Forrest, 
aide  to  General  Washington;  Benjamin 
Stoddert,  first  Secretary  of  the  Navy; 
Robert  Morris,  financier  of  the  Revo- 
lution; and,  most  distinguished  of  all, 
James  Monroe,  who  owned  and  occupied 
the  mansion  while  Secretary  of  State 
and  who  also  bequeathed  to  it  further 
distinction  by  using  it  as  the  Executive 
Mansion  between  the  time  of  his 
inauguration  in  March,  1817,  and  his 
departure  on  a  tour  of  the  then  United 
States  in  June  of  the  same  year,  while 
the  White  House  was  in  the  hands  of 
workmen. 


A  still  later  distinguished  line  of 
tenants  included :  the  Right  Honorable 
Stratford  Canning,  Envoy  Extraordi- 
nary and  Minister  Plenipotentiary  from 
Great  Britain;  Baron  de  Mareschal, 
Envoy  Extraordinary-  and  Minister 
Plenipotentiary  from  Austria;  United 
States  Senator  Charles  Francis  Adams, 
of  Massachusetts,  son  of  John  Ouincy 
Adams  and  father  of  Henry  Adams,  the 
historian;  General  Silas  Casey;  Virgil 
Maxcy,  Solicitor  of  the  Treasury,  and 
Professor  Cleveland  Abbe,  founder  of 
the  United  States  Weather  Bureau, 
from  whose  heirs  the  Arts  Club  of 
Washington  purchased  the  property 
which  is  now  its  home. 


[85] 


ACTIVITIES  OF  THE  ARTS  CLUB  OF 
WASHINGTON 

Prologue. 

The  Arts  Club  of  Washington  was  organized  April  7,  1916,  at  a  meeting  of  Washington  artists 
held  in  the  studio  of  Mr.  H.  K.  Bush-Brown,  1736  G  Street  N.  W.  The  Constitution  and  By- 
Laws  were  adopted  and  officers  and  a  board  of  governors  were  elected  for  the  ensuing  year,  as 
published  in  the  Arts  Club  Booklet  of  1916-17.  It  was  voted  to  secure,  if  possible,  a  colonial 
house  for  the  home  of  the  Club.  For  this  purpose  the  President  named  a  special  committee,  who 
were  so  fortunate  as  to  secure  the  old  Monroe  residence  on  I  Street,  just  described. 

From  the  proceeds  of  a  sale  of  pictures,  statuary  and  books  generously  donated  by  members  and 
friends,  the  house  was  renovated  and  furnished  so  that  it  became  a  most  congenial  home  for  the 
Club.  Also  the  neglected  back  yard  was  transformed  into  an  attractive  garden.  Owing  to  the 
attractiveness  of  its  new  home  and  the  interesting  features  provided  for  its  gatherings,  the  Club 
grew  within  the  course  of  the  first  year  from  less  than  fifty  to  more  than  four  hundred  members. 
The  work  of  the  Club  is  now  well  under  way,  its  activities  guided  by  competent  committees,  its 
bulletins  and  announcements  telling  their  own  story.  Mr.  Henry  K.  Bush-Brown,  the  first  Presi- 
dent, was  reelected  annually  until  April,  1920,  when  he  was  succeeded  by  Mr.  George  Julian 
Zolnay,  who  is  now  ser\-ing  his  second  term. 

The  art  of  right  living  is  the  one  great  fine  art.  The  application  of  what  is  finest  and  best  in 
art  to  our  daily  life  is  an  essential  element  of  culture.  Human  happiness  depends  not  on  bread 
alone,  but  on  the  satisfaction  of  spiritual  hunger  by  the  pursuit  of  arts  and  letters.  These  con- 
tribute both  to  the  right  enjoyment  of  business  and  the  true  employment  of  leisure.  All  the  arts 
which  pertain  to  humanity  have  a  certain  common  bond,  and  are  held  together  by  an  intimate 
relationship. 

Such  ideals  have  inspired  the  Arts  Club  in  the  four  years  of  its  history.  It  has  presented  to  its 
members  and  guests  the  work  of  architects,  sculptors,  painters,  musicians,  dramatists,  poets  and 
writers.  By  these  activities  it  has  sought  to  demonstrate  that  art  is  not  for  the  few  but  for  the 
many;  not  for  the  pleasure  of  the  moment,  but  for  the  joy  of  every-day  life;  not  merely  for 
recreation,  but  also  for  one's  daily  pursuits. 

One  great  advantage  which  the  Arts  Club  offers  is  the  promotion  of  intercourse  between  artists, 
art  lovers  and  laymen,  the  effect  of  which  is  the  cultivation  of  the  aesthetic  sense  and  the  enhance- 
ment of  the  joy  of  li\-ing.  Another  advantage  is  the  furnishing  of  a  forum  where  each  may  con- 
tribute the  best  in  himself  for  the  welfare  of  others.  It  strives  to  fill  the  waste  places  of  life  wich 
joy  and  mutual  helpfulness,  that  more  people  may  direct  their  pursuit  of  happiness  to  its  best 
fulfillment.  The  Club  is  in  fact  the  true  home  of  art  where  a  welcome  awaits  kindred  spirits  who 
seek  association  with  their  fellows  in  the  pursuit  of  the  True  and  the  Beautiful. 

The  Club  attains  these  ends  by  frequent  gatherings  in  its  halls  and  in  its  garden,  through  the 
medium  of  exhibitions  and  lectures  and  concerts,  and  in  receptions  to  distinguished  guests.  It 
offers  its  facilities  to  all  organizations  which  seek  to  promote  the  arts  and  the  humanities,  and 
aspires  to  become  the  national  center  for  the  development  of  the  Nation's  Capital,  and  the  higher 
Hfe  of  the  country. 

Mitchell  Carroll. 

Ideals  of  the  Arts  Club. 

The  ideals  of  the  Arts  Club  may,  perhaps,  be  fairly  summarized  as  follows: 

1 .  To  secure  a  constant  inflow  of  fruitful  entertainment,  of  specialized  knowledge,  and  of  artistic 
inspiration  from  without  the  Club; 

2.  To  stimulate  all  worthy  forms  of  art-expression  and  productivity  within  it; 

3.  To  encourage  good-fellowship,  and  to  promote  a  spirit  of  friendly  cooperation  and  generous 
rivalry  among  its  members,  and, 

4.  To  extend  a  sympathetic,  helpful  and  energizing  influence  wherever  and  whenever  such  seems 
needed  for  the  public  good. 

[86] 


Board    of    Governors  ©  Underwood  if  Underwood. 

From  left  to  right:  Neuhauser,  Treasurer;   Deming,  Chairman  House  Committee;  Carroll,  Vice-President; 
Dawson,  Recording  Secretary;  Zolnay,  President;  Safford,  Corresponding  Secretary;  Bush-Brown,  former 
President;  Akers,  Mahoney.     Absent:  Mrs.  Charles  Fairfax  and  E.  W.  Donn. 

These  ideals  have  been  largely  realized.  But,  it  having  become  evident  that  they  could  not  be 
achieved  in  their  entirety  save  through  a  broader  extension,  a  nicer  adjustment,  and  a  more 
zealous  and  widespread  participation  in  the  Club's  activities,  certain  changes,  especially  designed 
to  attain  these  ends,  have  recently  been  introduced  therein. 

Amongst  these  may  be  mentioned  a  new  committee,  called,  for  lack  of  a  better  name,  the 
Committee  on  Hospitahty  and  Cooperation.  Its  minor  purpose  is  to  be  a  social  one;  its  major 
and  essential  function  is  the  making  of  a  sur\-ey  of  the  club-membership,  and  wherever  the  willing- 
ness and  capacity  to  serve  the  Club  in  any  way  are  discovered,  to  provide  outlet  and  opportunity 
therefor.  Its  work  will  be  intensive  in  character — to  invigorate  the  whole  organization  by  causing 
each  member  to  become  as  interested,  as  active  and  as  useful  a  unit  therein  as  is  possible. 

The  field  to  be  tilled  by  the  newly-created  Civic  Committee,  lies  not  within,  but  without  the 
Club.  Its  membership  includes  representatives  of  all  the  arts,  and  it  is  intended  that  it  shall 
concern  itself  with  every  phase  of  art  that  touches  the  life  of  the  citizen,  primarily  of  Washington, 
and  secondly  of  the  nation.  It  has  already  obtained  decisive  results  in  matters  of  this  kind;  and 
it  is  expected  that  as  a  leader  among  other  organizations  interested  generally  in  civic  welfare,  it 
will  become  a  power  in  the  community,  and  will  thus  be  enabled  to  create  and  sway  a  large  and 
influential  body  of  public  opinion,  with  an  ultimate  improvement  in  public  taste  and  enhance- 
ment of  civic  beauty.  Some  twelve  or  fifteen  members  of  this  Committee,  accustomed  to  public 
speaking,  constitute  a  Free  Lecture  Bureau,  which  is  prepared  to  supply  local  organizations  with 
addresses,  illustrated  by  slides,  upon  various  subjects  of  art  interest. 

Lastly,  the  Art  Forums,  inaugurated  in  February  1921,  have  for  their  principal  object,  like  the 
Committee  on  Cooperation,  developmental  work  within  the  club-membership.  They  have  been 
held  weekly  for  the  free  discussion  of  selected  subjects  dealing  with  varied  forms  of  art-expression. 
Their  success  has  been  unqualified;  attendance  upon  them  has  steadily  increased,  and,  what  is  of 
even  greater  importance,  the  number  of  active  participants  in  the  discussions  carried  on  has  grown 
appreciably  larger.  A  list  of  some  of  the  questions  mooted  may  not  be  out  of  place  here.  These 
were:  What  is  beauty?  The  psychology  of  the  aesthetic  judgment.  The  spirit  of  revolt  in 
modem  literature.  The  American  school  of  art.  How  to  judge  architecture.  Wliy  is  music? 
How  to  appreciate  classic  sculpture.  What  is  the  viewpoint  of  modem  art?  How  to  build  and 
judge  a  play.     Etc. 

[87] 


HKNKY  K.  BUSH-BROWN  IN  HIS  STUDIO  COHarris  Ewing 

First  President  of  the  Arts  Club  (1916-1920) 
Studied  art  at  National  Academy  of  Design,  pupil  of  Henry  Kirke  Brown;  studied  art  in  Paris  and  Italy. 
1886-9.  Prominent  works:  Equestrian  statues  Gen.  G.  G.  Meade  and  Gen.  John  F.  Reynolds,  Gettysburg. 
Pa.;  statues  Justinian,  Appellate  Court,  New  York;  Indian  Buffalo  Hunt,  Chicago  Exposition,  1893;  group 
representing  Truth.  Buffalo  Exposition,  1901;  memorial  tablet  Relief,  Union  League  Club.  Philadelphia; 
decorative  figures.  Hall  of  Records,  New  York;  equestrian  statue  Gen.  Antony  Wayne  for  Valley  Forge.  Pa.; 
memorial  arch.  Stony  Point.  N.  Y..  memorial  fountain,  Hudson,  N.  Y..  Gray  reserve  statue,  Union  League 
Club,  Philadelphia;  Mary  Jemison  statue,  Letchworth  Park.  N.  Y.;  the  Spirit  of  "61.  Philadelphia;  the  Lincoln 
Memorial.    Gettysburg;    Union   Soldiers   Monument.    Charlestown,    West   \'irginia;   equestrian   statue.    Gen. 

John  Sedgwick,  Gettysburg,  etc. 


ART  AND  ARCHAEOLOGY 

This  brief  sur\'ey  of  the  ideals  and  more  recent  activities  of  the  Arts  Club  of  Washington  is 
published  here  in  the  hope  that  it  may  contain  suggestions  helpful  to  kindred  organizations 
elsewhere,  and  may  elicit  from  them  suggestions  likely  to  be  of  aid  to  us. 

George  W.  Johnston. 

Exhibitions  at  the  Arts  Club. 

With  a  record  of  fifty-five  Exhibitions,  in  addition  to  several  hundred  concerts,  recitals, 
lectures,  dramatic  performances,  etc.,  all  within  the  five  years  of  its  existence,  the  Arts  Club  of 
Washington  may  well  be  reckoned  as  one  of  the  most  active  art  associations  in  the  countrs-. 

This  large  number  of  exhibitions  was  made  possible  by  eliminating  the  large  annual  and  periodi- 
cal shows  in  favor  of  small,  specialized  exhibits  of  about  one  month  duration  and  following  each 
other  at  a  few  days  interval.  It  is  this  new  exhibition  policy  which  has  enabled  the  Club  to  give 
Washington  an  extraordinary  variety  of  carefully  selected  works  of  virtually  every  branch  of 
Art,  in  keeping  with  the  principles  on  which  the  Club  was  founded  and  will  be  made  the  center 
and  rallying  point  of  every  art  manifestation,  be  it  painting,  sculpture,  architecture,  music, 
drama,  literature  and  the  arts  and  crafts  in  every  form. 

Of  these  55  exhibitions,  nine  were  oils,  largely  one-man  shows  in  which  the  tendency  and 
temperament  of  the  individual  artist  is  always  brought  out  more  forcibly  than  it  is  possible  with 
mixed  exhibitions.  Among  the  group  displays  the  lithographs  of  the  Sennefelder  Club  of  London, 
England,  the  wood  block  prints  by  the  Provincetown  Artists  and  a  series  of  drawings  by  the 
Handicraft  Guild  were  of  particular  interest,  not  only  because  of  their  very  high  quality  but 
because  they  gave  a  most  comprehensive  view  of  the  range  and  possibilities  of  these  special 
mediums.     These  exhibitions  were  arranged  by  the  Art  Committee,  Miss  Perrie,  Chairman. 

A  retrospective  exhibition  of  works  by  the  late  Hopkinson  Smith  proved  that  the  art  of  that 
versatile  veteran  has  lost  nothing  of  its  appeal  to  the  general  public  as  well  as  to  the  discriminating 
connoisseur;  the  Club  was  fortunate  enough  to  acquire  for  its  permanent  collection  one  of  his 
choicest  works  in  black  and  white. 

A  large  collection  of  Cartoons,  and  exhibition  of  textiles  and  batiks,  one  of  American  and  one 
of  foreign  war  posters,  a  group  exhibit  by  ten  Sculptors  of  Baltimore,  one  by  ten  Washington 
Architects,  etc,  show  the  wide  range  covered  by  these  Arts  Club  exhibitions  and  as  it  has  been 
made  a  fixed  policy  to  give  every  school  and  tendency  an  equal  opportunity,  provided  the  works 
come  up  to  a  recognized  standard  of  excellence,  it  can  legitimately  be  assumed  that  the  Arts  Club 
of  Washington  will  soon  be  a  recognized  center  of  our  national  art  expression. 

George  Julian  Zolnay. 

Tuesdays  and  Thursdays  at  the  Arts  Club. 

In  the  history  of  the  Arts  Club  of  Washington,  Thursday  defied  the  calendar  and  preceded 
Tuesday,  for  the  first  established  function  was  the  Thursday  dinner.  No  Thesaurus  affords  a 
word  that  adequately  describes  this  particular  feature  of  the  Arts  Club  life.  It  has  maintained 
its  popularity  with  the  growth  of  the  membership,  and,  since  the  walls  of  the  dining  rooms,  despite 
the  ingenuity  of  the  House  Committee,  refuse  to  become  elastic,  every  week  many  members  are 
unable  to  secure  coveted  places.  As  Carlyle  said  of  Bums's  poetry,  there  must  be  some  rare 
excellence  to  account  for  this  popularity.     What  is  that  excellence? 

It  may  be  explained  in  part  by  the  setting.  Although  even  the  most  partial  soul  admits  the 
need  of  new  wall-coverings  and  paint,  its  charm  is  felt  by  everyone.  From  the  little  brass 
knocker  on  the  wide  entrance  door,  with  its  fan-light  above  radiating  hospitality,  to  the  tiniest 
fireplace  in  the  topmost  dormer  room,  the  spell  of  the  old  house  is  upon  us. 

This  may  lend  a  glamor  to  the  food,  which  the  mundane  mind  inevitably  associates  with  the 
word  "dinner."  All  that  need  be  said  on  this  score  is  that  it  is  always  abundant,  cooked  to  the 
taste,  and  served  at  just  the  right  tempo  to  make  possible  pleasant  and  stimulating  conversation 
with  the  worthwhile  people  who  are  sure  to  be  found  at  every  one  of  the  small,  compactly  placed 
tables,  as  well  as  among  the  guests  of  honor  at  the  larger  table.  Here  the  host  and  hostess  of  the 
evening  preside  and  a  greater  degree  of  formality  is  observable  in  the  matter  of  dress.  At  other 
tables  the  visitor  may  note  a  wide  diversity  in  the  dress  of  the  women,  and  the  dress  of  the  men  is 
equally  in  accordance  with  individual  preference.     Whether  this  is  to  be  considered  one  of  the 

[89] 


GEORGE  JULIAN  ZOLNAY  IN  HIS  STUDIO  ^.Harris  Ewing 

President  of  the  Arts  Club  (1920-  ) 
Honor  graduate  Royal  Art  Institute.  Bucliarest  and  Imperial  Academy  of  Fine  Arts,  Vienna,  1890; 
lived  in  New  York  1902-03;  removed  to  St.  Louis,  1903,  in  charge  of  sculpture.  Art  Department,  World's 
Fair,  and  instructor  St.  Louis  School  of  Fine  Arts,  Washington  University,  (1903-1909);  has  lived  in 
Washington  since  1910.  Principal  works  abroad:  Vienna.  St.  Poelten.  Bucharest  and  Budapest;  in 
America:  E.  A.  Poe  and  Tympanum.  University  of  Virginia;  Jefferson  Davis.  Hayes  and  Winnie  Davis 
memorials.  Richmond;  Gen.  McLaws  and  Gen.  Barton  monuments.  Savannah;  Duncan  Jacobs 
memorial,  Louisville;  groups  in  U.  S.  Courthouse.  San  Francisco;  Pierre  Laclede  monument.  Colossal 
Lions.  University  City  Gates  and  Confederate  monument.  St.  Louis;  Sam  Davis  and  Confederate 
Soldiers  monuments.  Nashville;  Education,  frieze  on  new  Central  High  School.  Washington;  statue  of 
Sequoya.  Statuary  Hall.  etc.  Portrait  Busts:  Francis  Joseph.  Victor  Hugo.  Stonewall  Jackson.  Fitz 
Hugh  Lee.  etc.     In  charge  reconstruction  Parthenon  Sculptures.  Nashville  Parthenon. 


ART  AND  ARCHAEOLOGY 

special  virtues  of  our  club  life  or  not  is  a  question  of  personal  judgment,  but  certain  it  is  that  this 
liberty  of  choice  leaves  the  mind  of  a  guest  unburdened  by  the  eternal  problem  of  clothes.  In 
this  as  in  other  respects,  simplicity  is  the  keynote  of  all  Arts  Club  functions. 

The  real  significance  of  the  Thursday  dinners,  however,  is  to  be  found  neither  in  the  setting  nor 
in  the  lack  of  uncomfortable  formality,  but  in  the  program  offered  for  the  evening.  In  the  early 
days  of  the  club,  it  began  with  the  coffee  and  cigars,  and  the  talks  were  more  in  the  nature  of 
after-dinner  speeches.  But  this  custom  was  discontinued  during  the  War  when  the  ser\'ant 
question  became  acute,  and  now  we  adjourn  to  the  music  room  and  the  adjoining  library  for  the 
program. 

A  survey  of  the  Bulletins  for  the  past  year  will  disclose  a  great  variety  in  the  character  of  these 
popular  evenings.  They  range  from  dignified  occasions  graced  by  the  presence  of  a  prince  and 
princess,  members  of  the  diplomatic  corps  and  other  foreigners  of  distinction,  public  officials, 
army  officers,  and  representatives  of  practically  all  the  arts,  to  now-and-then  merry-makings  that 
suggest  the  nonsensical  refrain  of  an  Elizabethan  song. 

A  few  concrete  illustrations  of  the  themes  and  speakers  for  the  year  beginning  in  April  1920  may 
not  be  amiss.  Some  of  the  most  interesting  were  the  following:  Artistic  Photography  by  Dr. 
William  Radford  of  the  British  Embassy;  The  Experience  in  London  of  a  U.  S.  Scientific  Attache, 
by  Henry  A.  Bumstead,  Chairman  of  the  National  Research  Council;  The  City  of  the  Violet  Crown, 
by  Dr.  Mitchell  Carroll;  The  Lure  of  the  South  Seas  by  Dr.  L.  A.  Bauer  of  the  Carnegie  Institution; 
Child  Welfare  Work  in  Paris  by  Dr.  William  J.  French;  Modern  English  Poetry  by  Dr.  Charles 
Edward  Russell;  France  in  Town  and  Country  by  Mr.  Frederick  E.  Partington;  The  Arts  of  China 
by  Dr.  Paul  Reinsch;  The  American  Army  on  the  Rhine  by  Colonel  Irving  S.  Hunt;  a  sparkling 
after-dinner  speech  by  the  Princess  Bibesco,  formerly  Miss  Asquith,  wife  of  Prince  Bibesco,  the 
new  Roumanian  Minister.  Such  a  fragmentary  list  does  not  do  justice  to  the  excellent  work  of 
the  Entertainment  Committee,  Dr.  Mitchell  Carroll,  Chairman,  nor  to  the  speakers  themselves, 
for  mere  names,  even  when  a  list  is  complete,  lack  the  vital  essence  of  personality. 

Two  of  the  Thursday  evening  frolics  deser\'e  more  than  a  passing  word.  One  of  these  was 
marked  by  the  appearance,  in  counterfeit  presentment,  of  the  Prince  of  Monaco,  Einstein,  and 
IMadame  Curie,  their  hair,  masks,  and  costumes  beggaring  description.  The  actors  were  dis- 
tinguished for  their  supreme  display  of  self-sacrifice,  as  the  masks  necessitated  total  abstinence 
from  food  during  the  entire  dinner. 

In  the  late  spring  and  summer  the  Thursday  dinners,  in  fact  most  of  the  club  functions,  are  held 
in  the  garden,  when  the  weather-man  is  kindly  disposed.  The  first  out-of-door  affair  this  year 
was  in  May,  a  beach-combers'  dinner.  The  tables  were  arranged  in  the  shape  of  a  ship's  prow. 
Appropriate  costumes,  lanterns,  and  candles  set  in  cork  floats  lent  a  rough  picturesqueness  to  the 
scene.  The  dinner  was  of  the  variety  familiarly  known  as  a  shore-dinner.  A  ship's  bell  heralded 
the  speakers.     This  was  one  of  the  merriest  and  most  unique  of  the  season's  events. 

But  there  is  no  more  charming  feature  of  club  life  than  the  garden  dinners  when  the  carnival 
spirit  is  in  abeyance  and  the  members  and  guests,  in  quieter  mood,  enjoy  the  beauty  of  the  little 
garden  and  the  old  walls,  illumined  by  the  ready-to-serve  moon,  an  electric  substitute  for  the  genuine 
article,  perched  so  high  that  the  illusion  is  very  satisfying. 

The  Tuesday  Fortnightly  Salon  has  become  almost  as  famous  as  the  Thursday  dinner.  The 
talks  by  eminent  men  and  women  during  the  past  year  have  been  many.  It  was  on  one  of  these 
Tuesday  evenings  in  I^Iarch  that  the  club  was  presented  by  the  Japanese  Embassy  with  a  valuable 
set  of  books  containing  Japanese  prints.  An  attache  of  the  embassy,  acting  for  the  Japanese 
Ambassador,  made  the  presentation  speech,  following  an  illustrated  lecture  on  "The  Arts  of 
Japan"  by  Dr.  W.  E.  Safford.  Another  evening  was  devoted  to  the  Arts  of  Bohemia,  when 
the  Czecho-Slovak  Minister,  Mr.  Stepanek,  gave  us  moving  pictures  of  Prague  and  other  cities,  and 
delighted  us  with  the  rendition  of  many  Czecho-Slovak  folk-songs. 

Within  the  year  the  Entertainment  Committee  has  provided  interesting  programs  for  the 
remaining  Tuesdays  of  each  month.  Music,  the  drama,  poetry,  the  short-story,  and  subjects  of 
national  and  international  appeal  have  furnished  material  for  the  discussions. 

The  Tuesday  dinners  were  instituted  last  autumn  for  the  accommodation  of  members  and 
their  guests  who  wished  to  attend  the  evening's  entertainment.  These  are  not  so  largely  patron- 
ized as  the  Thursday  dinners,  but  some  of  those  who  have  formed  the  Tuesday  habit  find  them  even 
more  delightful. 

[91] 


ART  AND  ARCHAEOLOGY 

The  Arts  Club  of  Washington  is  not  a  rich  club — far  from  it.  Our  guest  rooms  lack  elegance 
and  perhaps  certain  necessary  comforts,  but  out-of-town  guests  and  non-resident  members 
accustomed  to  more  luxurious  clubs  and  more  elaborate  feasts  than  our  Thursday  dirmers  are 
usually  enthusiastic  in  their  praise,  and  depart  reluctantly.  Such  unbiased  commendation  should 
convince  anv  who  need  convincing  that  the  Arts  Club  has  an  atmosphere  all  its  own : 

We  feel  it  as  we  enter  at  the  door, 
And  tread  the  wide  boards  of  the  ancient  floor, 
And  add  our  footsteps  to  the  peopled  stair — 
Above,  below,  we  breathe  it  everywhere. 

Clem  Irwin  Orr. 
The  Arts  Club  Players. 

From  the  beginning  the  Arts  Club  has  been  interested  in  and  its  home  has  been  the  scene  of 
dramatic  performances,  by  members  of  the  Club.  Regarding  the  drama  as  one  of  the  fine  arts, 
it  has  been  sought  to  cultivate  expression  on  this  plane,  by  readings  and  staged  plays,  with  increas- 
ino-  success.  At  first  only  occasional  short  plays  were  given,  in  the  parlors  and  when  the  season 
was  suitable  in  the  garden  of  the  Club.  A  committee  was  placed  in  charge  of  such  efi"orts  and 
during  the  Club  year  1918-19  several  excellent  renditions  were  achieved.  It  was  not  imtil  the 
season  of  1919-20,  however,  that  the  development  reached  the  point  of  systematic  dramatic 
productions.  A  group  of  talented  performers,  most  of  them  members  of  the  Ck:b,  was  organized 
into  a  company  known  as  the  "Arts  Club  Players"  and  under  the  direction  of  C.  W.  O'Connor 
and  Dr.  George  W.  Johnston,  several  artistic  productions  were  given,  mainly  in  the  little  theater 
in  the  Post  Office  Department  building,  and  also  in  some  of  the  public  schools. 

It  was  finally  concluded  that  the  Arts  Club  should  present  its  dramatic  productions  within 
the  Club  premises,  similarly  to  its  art  exhibits,  its  lectures,  its  musicales  and  its  other  activities. 
The  practical  obstacles  to  such  a  procedure  were  difficult,  inasmuch  as  the  Club  has  no  auditorium 
and  it  was  necessary  to  use  the  parlors  as  the  setting  for  the  plays.  To  adjust  to  this  condition 
plays  were  chosen  that  could  be  given  in  such  circumstances,  at  first  without  scenery  or  back- 
ground, and  on  the  same  level  as  the  audience.  With  no  curtain,  no  wings  for  entrances  and 
exits,  no  accessories  for  proper  lighting,  a  series  of  programs  was  produced  during  the  season  of 
1920-21  that  proved  to  be  interesting  to  the  members,  who  on  these  occasions,  with  their  guests, 
completely  filled  the  rooms. 

It  is  the  hope  of  the  Dramatic  Committee  to  foster  interest  in  the  literary  drama,  to  arouse  a 
cooperative  spirit  on  the  part  of  the  writer  members  to  provide  original  plays,  and  to  develop  the 
latent  dramatic  talents  of  members  so  that  "Arts  Club  plays"  may  eventually  be  wholly  of  Club 
production,  in  every  particular.  Plans  are  in  contemplation  for  the  development  of  a  small 
practical  stage  in  the  parlors,  which  will  permit  a  more  effective  presentation  of  the  dramatic 
offerings.  If  in  the  course  of  time  the  Club  equips  itself  with  an  auditorium,  its  dramatic  pro- 
ductions may  be  given  an  adequate  setting  that  will  fully  express  the  artistic  talents  of  members, 
in  the  provision  of  scener\'  and  stage  equipment. 

In  the  choice  of  plays  care  has  been  exercised  to  present  representative  drama,  not  of  any 
particular  school,  but  calculated  to  arouse  the  interest  of  all  members,  however  variant  their 
tastes.  But  many  attractive  plays  have  of  necessity  been  rejected  because  of  the  limitations  of 
space  and  the  lack  of  scenic  settings.  In  their  offerings  the  "players"  have  been  greatly  aided 
by  the  sympathetic  adjustment  of  the  audiences  to  the  conditions.  When  asked  to  consider  the 
comer  of  the  Club  parlor  as  a  bit  of  woods  in  Maine,  for  one  of  two  plays  on  a  double  bill,  and 
half  an  hour  later  to  regard  the  same  comer  as  a  modem  apartment,  for  the  succeeding  play,  the 
members  of  the  Club  and  their  friends  have  readily  accepted  the  suggestion.  The  intimacy  of 
the  performances,  furthermore,  has  aided  in  the  establishment  of  a  cordial  spirit  of  cooperation, 
which  is  one  of  the  vital  necessities  of  successful  dramatic  rendition. 

It  is  felt  that  in  this  way  the  Arts  Club  is  helping  to  keep  alight  a  flame  that  has  at  times  during 
the  past  few  years  of  American  stage  decadence  seemed  to  be  flickering  into  extinguishment.  The 
ideal  of  the  "little  theater"  in  which  dramatic  experiments  can  be  tried  with  freedom  and  with 
abundant  talent  and  proper  setting  inspires  those  who  are  working  in  the  present  difficulties  to 
maintain  the  drama  as  one  of  the  arts  which  the  Club  fosters. 

G.  A.  Lyon. 

[921 


ART  AND  ARCHAEOLOGY 

Musical  Evenings  at  the  Arts  Club. 

There  was  a'time  when  the  statement  that  Washington  was  not  a  musical  city,  and  thatTher 
citizens  had  httle  or  no  appreciation  of,  or  love  for  really  good  music  carried  with  it  some  bit  of 
truth. 

That  time,  however,  has  passed  and  if  one  is  to  judge  by  the  audiences  that  pack  to  the  doors 
the  largest  of  our  theatres  and  concert  halls  at  all  the  many  high  grade  musical  affairs  during 
the  season,  including  the  series  of  concerts  by  three  or  four  of  the  country's  greatest  orchestras, 
then  Washington  stands  at  the  very  head  of  the  list  in  its  appreciation  of  good  music. 

Certainly  there  is  no  other  city  of  its  size  in  this  country  where  as  many  high  grade  musical 
affairs  are  given  each  season  to  capacity  audiences  as  here  in  Washington.  Visitors  to  the  city 
invariably  comment  on  this  fact  and  especially  the  novelty  of  the  time  of  day  they  are  generally 
given,  for  probably  95*/c  of  these  musical  events  begin  at  4.45  in  the  afternoon,  a  time  which  give^ 
the  music  loving  government  employees  a  chance  to  attend  just  after  the  close  of  office  hours. 
Doubtless  much  of  the  change  in  musical  appreciation  has  come  through  the  presence  in  the  city 
of  the  80  or  90  thousand  government  employees  permanently  located  here  who  are  of  an  unusually 
high  grade  in  their  artistic  likings.  Their  subscriptions  to  the  many  series  of  concerts  year  after 
year  at  high  prices  guarantees  to  the  managers  of  such  entertainments  a  very  substantial  backing. 

As  befitting  its  location  in  the  nation's  capital  the  Arts  Club  of  Washington  must  continue  to 
be  in  the  future  as  it  has  been  in  the  past,  the  very  fountain  head  of  things  musical,  not  only  of 
the  city  but  of  the  nation  as  a  whole. 

As  such,  it  offers  to  the  musical  and  artistic  people  of  this  country  a  most  attractive  place  in 
which  to  meet  others  with  similar  interests  who,  more  and  more  are  finding  in  the  Capital  City 
a  most  congenial  and  inspiring  artistic  environment. 

Perhaps  no  single  feature  of  the  many  attractions  the  Arts  Club  has  offered  during  the  past 
year,  has  given  as  much  pleasure  to  the  members  and  their  invited  guests  as  the  series  of  concerts 
held  in  the  club  parlors  everj^  Sunday  evening  beginning  November  7th,  1920  and  ending  May 
29th,  1 92 1. 

During  this  period  30  recitals  were  presented  by  the  Chairman  of  the  Music  Committee,  Mrs. 
Charles  W.  Fairfax,  whose  wide  acquaintance  among  musicians  not  only  of  Washington  but 
throughout  the  entire  East  made  it  possible  to  offer  programs  of  wide  diversity  as  to  their  character 
as  well  as  of  unusually  high  grade. 

One  of  the  most  interesting  features  of  these  Sunday  evening  musicales  has  been  the  fine  oppor- 
tunity it  has  given  a  number  of  ambitious  young  musicians  from  other  cities  to  be  heard  by  the 
very  pick  of  Washington's  musical  circles.  To  this  end  the  Music  Committee  of  the  Arts  Club 
makes  most  sincere  and  earnest  effort  to  discover  and  bring  before  its  members  these  young 
musicians  who  through  this  splendid  medium  are  thus  enabled  to  get  into  close  touch  with  musical 
people  from  all  over  the  country. 

Will  C.  Barnes. 

The  Arts  Club  in  Lighter  Vein. 

It  must  not  be  inferred  from  these  pages  that  the  Arts  Club  is  given  only  to  serious  pursuits, 
and  cultivates  only  the  more  conserv^ative  arts.  In  fact  we  know  how  to  turn  with  amazing 
agility  from  grand  opera  to  jazz,  from  .Shakespeare  to  Amy  Lowell,  from  Michael  Angelo  to 
Gauguin,  especially  in  these  hot  summer  months  when  the  garden  and  the  great  out-doors  beckon 
us.  Thus  the  Club  celebrated  its  lifth  anniversary  last  April  with  a  Carnival  when  the  rooms 
were  decorated  to  resemble  the  Latin  quarter  of  Paris,  and  the  members  appeared  in  variegated 
costumes  to  celebrate  in  true  carnival  spirit  the  remarkable  growth  of  a  few  short  years. 

Also  the  Arts  Club  Follies  have  become  an  annual  event  of  the  summer  months,  following  a 
moonlight  supper,  on  the  hospitable  lawn  of  Dr.  and  Mrs.  Farrington  in  Chevy  Chase. 

Likewise  the  Summer  Amusement  Committee,  Mrs.  William  James  Monro,  Chairman,  has 
provided  a  series  of  Tuesday  evening  entertainments  in  the  Garden,  replete  with  dancing,  song 
a*id  jollity,  with  wit,  wisdom  and  wickedness.  Who  can  forget  the  pageant,  "A  Tribute  to 
Beauty,"  with  its  rhythmic  dances,  the  "Evening  in  a  Persian  Garden,"  the  moving  picture 
rehearsals,  the  shadowgraph  shows,  and  other  "Midsummer  Night's  Screams"  that  have  added 
to  the  joy  of  life? 

[93] 


ERECTION  OF  A  NATIONAL  PEACE  CARILLON 

promoted  by 
The  Carillon  Committee  of  the  Arts  Club. 

An  announcement  of  great  interest  to  the  city  of  Washington  and  to  the  country  at  large  has 
just  been  made.  The  General  Federation  of  Women's  Clubs  at  its  June  meeting  in  Salt  Lake 
City,  unanimously  and  enthusiastically  endorsed  the  report  of  a  special  committee  approving 
the  National  Peace  Carillon  proposed  by  the  Arts  Club  of  Washington,  and  authorized  the 
representatives  of  the  Federation  to  join  in  the  incorporation  of  the  association  to  bring  about  the 
erection  of  the  memorial. 

This  announcement  means  that  the  forty-seven  thousand  clubs  and  the  two  million  five 
hundred  thousand  members  of  the  General  Federation  of  Women's  Clubs  will  be  active  in  the 
Carillon  movement  and  that  the  Carillon  will  take  on  the  character  of  a  national  woman's 
memorial  to  the  valor  of  those  who  died  defending  the  cause  of  liberty  in  the  late  war. 

The  Carillon  Project  had  its  inception  at  a  meeting  of  the  Arts  Club  of  Washington  nearly  two 
years  ago,  when  J-  Marion  ShuU,  the  artist,  read  a  paper  on  the  subject.  So  much  enthusiasm 
was  aroused  that  it  was  immediately  voted  that  the  Arts  Club  undertake  to  bring  about  the  erec- 
tion of  a  Carillon  in  Washington. 

The  board  of  governors  approved  the  plans  and  a  special  committee  consisting  of  W.  B.  West- 
lake,  Chairman,  H.  K.  Bush-Brown,  Capt.  W.  I.  Chambers,  U.  S.  N.,  E.  H.  Droop,  Miss  Marv 
A.  Crs'der,  Miss  Dick  Root,  Mrs.  L.  MacD.  Sleeth,  Col.  J.  F.  Reynolds  Landis,  J.  Marion  Shull, 
Secretary,  and  Dr.  Erwin  F.  Smith,  Treasurer,  was  appointed  to  devise  ways  and  means  to  carry 
out  the  plans. 

The  committee  began  a  systematic  propaganda  to  create  interest  throughout  the  United  States. 
The  Governors  of  all  the  states  were  communicated  with  and  the  majority  of  them  expressed 
hearty  approval.  Through  newspapers,  magazines  and  music  publications,  wide  publicity  was 
secured.  The  National  Music  Dealers  Association  took  up  the  question  and  approved  the 
project.  Many  local  organizations  throughout  the  United  States  have  had  the  matter  presented 
to  them  and  have  also  approved  it. 

Under  the  direction  of  the  committee  several  lectures  have  been  given  in  Washington  by  William 
Gorham  Rice,  an  eminent  writer  and  authority  on  the  subject,  and  the  entire  board  of  directors  of 
the  Federation  of  Women's  Clubs  was  the  guest  of  the  Arts  Club  at  a  dinner  last  October,  at  which 
the  plan  was  proposed  and  discussed  A  special  committee  of  the  Federation  was  appointed, 
which  has  since  investigated  the  plans  of  the  Arts  Club  thoroughly  and  has  communicated  with 
most  of  the  state  organizations  of  Women's  Clubs  and  the  proposal  has  been  enthusiastically 
approved. 

Immediate  steps  will  be  taken  to  make  the  necessary  legal  incorporation  and  the  active  work  of 
preparing  for  the  erection  of  memorial  will  be  carried  on  vigorously. 

Paul  Cret,  the  eminent  architect  who  designed  the  Pan  American  Building,  has  made  the  pre- 
liminarv'  sketches  for  the  tower  and  the  finished  design,  which  will  soon  be  completed,  is  expected 
to  be  the  most  distinctive  in  the  United  States  and  one  of  the  finest  in  the  world.  It  will  rise  to  a 
height  exceeding  three  hundred  feet  and  in  its  upper  chambers  will  carry  fifty -four  bells  with  a 
combined  weight  of  154,000  pounds.  These  bells  will  be  tuned  chromatically  so  that  music  can 
be  played  upon  them  in  any  key  and  practically  any  composition  that  can  be  rendered  upon  the 
piano  or  organ  can  be  played  on  the  bells.  Recent  developments  have  perfected  the  tuning  of 
bells  scientifically  to  the  fineness  of  a  single  vibration,  so  that  the  bells  will  be  more  harmoniously 
tuned  than  the  strings  of  a  piano. 

Bell  makers  say  the  National  Peace  Carillon  will  be  one  of  tlie  wonders  of  the  world;  that  the 
music  will  have  a  grandeur  never  before  heard  and  that  music  lovers  from  all  over  the  world  will 
travel  to  Washington  to  hear  the  Carillon  concerts  just  as  in  Europe  it  is  common  for  thirty  or 
forty  thousand  people  to  travel  to  Mechlin  to  hear  Joseph  Denyn,  the  world's  greatest  carillon- 
neur,  play  upon  his  beloved  bells  in  Saint  Rombold's  tower. 

The  site  for  the  Carillon  was  selected  by  John  Taylor  of  the  great  bell  founders'  firm  of  Taylor 
Bros.,  Loughborough,  England,  who  recently  visited  Washington  for  that  purpose.  Preliminary 
steps  to  obtain  the  site  have  already  been  taken.  It  will  require  two  years  to  make  and  tune  the 
bells  and  it  is  hoped  that  the  plan  may  be  carried  to  completion  as  quickly  as  the  actual  work  can 
be  done.  W.  B.  Westlake. 

[94] 


INVESTIGATIONS 

— AT — 

AS505 

Drawings  and  Photographs  of  the  Buildings 

and  Objects  Discovered  During  the 

Excavations  of  1881,  1882,  1883 

BY — 

Joseph  T.  Clarke 
Francis  H.  Bacon 
Robert  Koldewey 
Edited   with   explanatory   notes,   by 
Francis  H.  Bacon 
Published  for  The  Arcliaeological  Insti- 
tute of  America 
By  a  Committee  originally  consisting  of 
Charles  Eliot  Norton 
John  Williams  White 
Francis  H.  Bacon 
William  Fenwick  Harris 

table  of  contents 

History  of  Assos. 

Account  of  the  Expedition. 

Agora. 

Mosaics  Below  Agora. 

Theatre  Photographs  and  Plans. 

Greek  Bridge. 

Roman  Atrium. 

Acropolis — Plan. 

Turkish   Mosque. 

Gymnasium. 

Byzantine  Church. 

Fortification  Walls. 

Street  of  Tombs — General  Plan. 

Doc  Inscription   from  Mytilene. 

Inscription  from  Pashakieui. 

Coins  from  Assos. 

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THE  BISHOPS  LODGE 

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SITUATED  three  miles  north  of  the  city,  this  unique 
resort  offers  its  hospitality  both  to  the  leisure-loving 
tourist,  and  to  the  archaeological  investigator. 

Readily  accessible  are  all  of  the  points  comprised 
within  what  has  been  called,  "The  most  interesting  50- 
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Because  of  60-guest  capacity.  The  Lodge  necessarily 
caters  to  a  limited  clientele.  It  appeals  especially  to 
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Open  the  year  around.  To  insure  accommodations 
reservations  should  be  made  well  in  advance. 

Rates  and  other  information  upon  request. 


FINE  PRINTS 

For  the  collector 
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(rColor  wood  block  by  Charles  W.  Bartlett, 
"The  Hawaiian  Fisherman,"  published  in 
limited  edition.  Each  proof  signed,  price 
$25.00.     Portfolios  sent  for  inspection. 

Brown-Robertson  Gallery 

415   Madison   Avenue,  New  York. 


[95] 


Kindly  Mention  Art  and  Archaeology. 


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XFORD  books  and  Oxford 
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mous. All  bookmen  know 
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A  pioneer  work  describing  the  develop- 
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■By  C.  R.  Fletcher       4  vols.  ^22.60 

A  splendid  collection  of  491  portraits  by 
mastersof  all  periods  selected  by  Mr.  Emery 
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sketch  of  each  subject. 

RAJPUT  PAINTING 

By  Ananda  Coomaraswamy 

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Probably  the  greatest  work  on  the  subject, 
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A  standard  work  covering  the  subject 
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DO  YOU  TIRE  of  the  superfi= 
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No  magazine  can  compare  with  The  Drama. 
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[96] 


11. 


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ART  AND  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 
Published  by  THE  ARCHAEOLOGICAL  SOCIETY 

OF  WASHINGTON,  AFFILIATED  WITH  THE 

ARCHAEOLOGICAL  INSTITUTE  OF   AMERICA. 


ART  AND  ARCHAEOLOGY  PRESS,  Inc. 

SEPTEMBER-OCTOBER,  1921 


Volume  XII 


NUMBEI^S  3^ 


ART   EDITOR  _a^SS^te6»  DIRECTOR   AND  EDITOR 

WILLIAM  H    HOLMES  VJJJji^SFi^^^^u  MITCHELL  CARROLL 

EDITORIAL  STAFF                                      ^^^"^^^^^^^^^^^  BOARD  OF  DIRECTORS 

Virgil  Barker                                       iS^/I^^'^ri^    i^'^t  ^'  Townsend  Russeul,  President 

Peyton    Boswell  W^^/    J^^jjafumT'^i,  FRank  Springer,  Vice-President 

Howard  Crosby  Butler  W?,  '  ll^^^^^isi        \\3Wn 

Charles  Upson  Clark  U^'      vI^F'    J^MFM   '  ol  Mitchell  Carroll,  S«««iry 

Albert  T.  Clay  W,      '          i^'^-^^T^        * fu  ^""^  ^'  ^*'''"''''  Treasurer 

Charles  T.  Currelly  toO      ^^^HTPRtO      "^ M  James  C.  Egbert 

H.  R.  Fairclough  ^.*^        ^^^KiRVM     -^jS  Ex-officio  as  President  of  the  Institute 

Edgar  L.  Hkwett                                     ^<b-\  ""^^^      > -^M  Robert  Woods  Bliss 

FisKE  Kimball                                           ^^JS^'IT^r.^v^'^^^  Mrs.  B.  H.  Warder 

David  M.  Robinson                                              ^%^^;M«0R>^^^  

Helen  Wright                                                     ^**^o,*,^^>-*^  H    B.  F.  Macfarland.  Counsel 

CONTENTS 

CHICAGO  AS  AN  ART  CENTER. 

Introduction George  William  Eggers       99 

The  Plan  of  Chicago — Irs  Purpose  and  Development Charles  H.  Wacker     loi 

Six  Illustrations 

Architecture  in  Chicago Thomas  E.  Tallmadge     1 1 1 

Eight  Illustrations 

The  Monuments  OF  Chicago Lorado  Tafi     121 

Seven  Illustrations 

Chicago  Painters.  Past  and  Present Ralph  Clarkson     129 

Ten  Illustrations 

The  Art  Institute  of  Chicago Clarence  A.  Hough     145 

Nine  Illustrations 

Some  Collectors  of  Paintings Lena  M.  McCauley     155 

Fifteen  Illustrations 

Friends  OF  American  Art Lena  M.  McCauley     173 

Four  Illustrations 

Field-Museum  of  Natural  History Fay-Cooper  Cole     179 

One  Illustration 

Art  AT  THE  University  OF  Chicago         David  A.  Robertson     181 

Two  Illustrations 

Art  AT  Northwestern  University         Stella  Skinner     187 

One  Illustration 

Municipal  Art  League  of  Chicago        .  ,  Everett  L.  Millard     189 

Terms:  $5.00  a  year  in  advance:  single  numbers,  so  cents.     Instructions  for  renewal,  discontinuance,  or  change  of  address  should  be 
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Copyright,  192 1,  by  the  Art  and  ArchaBology  Press. 


Abraham  Lincoln  by  Augustus  Saint-Gaudens,  in  Lincoln  lark,  CliKayo. 


ART  micl 

ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XII 


SEPTEMBER-OCTOBER,  1921 


Numbers  3^ 


CHICAGO  AS  AM  ART  CENTER 

INTRODUCTION, — hy  GEORGE   WiLLIAM  EggERS, 

Director  0}  the  Art  Institute. 


THE  STORY  of  mankind  is  a  story 
of  migrations — some  gradual  and 
deliberate,  some  swift  and  violent; 
unopposed  invasions  and  stern  col- 
lisions, enterprises  and  escapes.  The 
little  crossed  swords  on  a  map  of  Europe 
show  how  men  have  clashed  century 
after  century  on  the  same  old  battle- 
fields— and  the  grass  grows  greener  in 
many  a  place  because  these  mountains, 
those  rivers,  these  valleys,  those  defiles 
have  forced  the  travels  of  the  human 
race  into  the  same  old  pathways  on  the 
long  road  to  the  millennium. 

The  history  of  Chicago  is  the  history 
of  the  world  in  miniature — it  is  a  meet- 
ing place  of  Odysseys.  Its  earliest  great 
figure  is  the  prodigious  traveler  LaSalle, 
who  is  at  once  a  myth  with  seven- 
league  boots,  a  local  hero,  and  an 
historic  fact.  The  city's  location  is  at 
the  crossing  of  transcontinental  trails 
by  land  and  by  water;  it  marked  an 
important    portage    and    was   early    a 

[99] 


thriving  station  for  supplies,  where 
packs  were  shifted  from  one  shoulder 
to  the  other,  so  to  speak,  intelligence 
exchanged  as  to  the  outward  trails,  and 
a  place  of  shelter  found  when  war 
clouds  came  too  low  upon  the  land- 
scape. This  was — and  this  is — Chicago. 
In  the  outward  aspect  the  Chicago 
of  today  is  simply  an  enlargement  of 
the  Chicago  of  the  beginning  of  the 
nineteenth  century.  Its  high  walls 
still  suggest  the  stockade  of  its  old  fort 
upon  the  flat  broad  plain.  Its  parks 
reiterate  the  unbroken  levels  of  lake 
and  prairie  which  surround  it.  Its 
grandeur  is  fundamentally  the  grandeur 
of  horizontals.  Its  people  are  still 
peculiarly  addicted  to  the  habit  of 
travel,  and  peculiarly  free  from  pro- 
vinciality. The  trails  of  other  days 
have  been  made  smooth  and  straighter, 
and  they  have  been  shod  with  iron,  but 
they  bring  in  the  explorers  as  of  yore 
and  lead  forth  the  pioneers  to  the  still 


ART  AND  ARCHAEOLOGY 


romantic,  still  not  wholly  tamed, 
"Great  West."  Chicago's  past  is 
vivid  in  its  present. 

And  the  city's  past  is  richly  pic- 
turesque both  as  history  and  as  legend. 
It  is  a  matter  of  historic  record  that  on 
the  day  that  its  ill  fated  garrison  passed 
from  the  fort  to  perish  in  Chicago's 
first  great  tragedy,  it  moved  out  to  the 
music  of  the  Dead  March  from  Saul. 

Chicago  has  its  local  genius  as  New 
York  has  Father  Knickerbocker — but 
"Dad  Dearborn"  w^as  an  actual 
personage,  and  his  portrait  may  be 
seen  today  in  the  Art  Institute,  painted 
by  Gilbert  Stuart.  Almost  on  the  very 
day  that  these  words  are  before  the 
reader's  eyes  Chicago  will  be  celebrating 
the  fiftieth  anniversary  of  the  Great 
Fire,  and  even  this  has  its  legend  in  the 
story  of  Mrs.  O'Leary's  cow  that  kicked 
over  the  lamp,  now  so  much  a  part  of 
Chicago's  folk-lore  that  it  deserves  to 
be  marked  by  a  monument  commemo- 
rating the  site  and  episode  The  World's 
Fair  of  1 893  seemed  to  have  achieved  a 
climax  of  beauty  in  its  creation,  but  it 
was  destined  to  have  a  final  moment 
even  more  spectacular — for  on  a  winter 
night  soon  after  its  close,  its  classic  mass 
went  up  like  ancient  Troy  "in  one  red 
roaring   coal." 

Thus  runs  the  city's  histor\-,  sil- 
houetted against  a  background  of  flame 
and  quest.  The  art  which  it  has  thus 
far  produced  is  chiefly  lyrical  and 
narrative,  but  with  the  passing  of  time 
such  material  as  this  will  have  its  epic, 
rubricated  in  the  colors  of  fire  and  the 
blood  of  striving  men. 

Chicago  has  recieved  the  benefit  of 
two  cultural  streams,  one  from  New 
England  on  the  route  along  the  Great 
Lakes,  the  other  by  the  Cumberland 
Trail,  Braddock's  old  line  of  march, 
from  Virginia.  These  two  streams  first 
mingled  in  Indiana  and  left  in  the 
history   of  American   letters   an   illus- 


trious group  of  names.  Chicago  was 
the  nearest  metropolis  and  here  was 
found  an  objective  and  here  was  built 
up  a  literary  and  esthetic  life  whose 
impulse  is  still  felt. 

The  city's  outstanding  esthetic 
achievement  is  the  Chicago  plan.  To 
its  twenty-five  odd  projects  contem- 
plated fifteen  years  ago  when  the  plan 
was  first  made  public,  and  which,  it  was 
vaguely  said,  "would  require  a  century 
or  so"  for  realization,  this  community 
has  addressed  itself  with  such  energy 
that  approximately  half  are  completed. 

The  city's  art  life,  and  that  of  a  great 
part  of  the  countr}'  round,  focuses  in  the 
Art  Institute,  where  collections,  ex- 
hibitions, schools,  libraries,  lecture 
courses,  and  meeting  places  for  societies 
of  artists  and  lovers  of  art,  are  under  one 
ample  rambling  roof.  From  here  too, 
is  projected  the  extension  work  which 
carries  the  Art  Institute  into  towns  and 
cities  everywhere  on  this  continent.  In 
general  the  tendency  of  art  in  Chicago 
has  been  one  of  health.  Art  has  been 
seen  in  its  relation  to  the  life  of  the 
people.  Its  most  characteristic  works 
have  been  public  works:  its  parks,  its 
playgrounds,  its  recently  established 
girdle  of  forest  lands.  Its  first  and 
largest  beauty  is  democratic  in  its 
impulse. 

vSuch,  then,  is  the  huge  adolescent 
city,  careless  for  the  moment  of  its  own 
ugliness  but  even  in  the  midst  of  this, 
scheming,  and  indeed  creating,  a  future 
of  true  splendor;  unregardful  today  of 
the  safety  of  its  people,  but  developing 
beautiful  forested  spaces  for  the  welfare 
of  its  unborn  children ;  still  with  its  face 
to  the  West,  and  clinging  to  the  title 
"mid-western  city,"  but  slipping  in- 
evitably, for  better  or  for  worse,  into 
the  habits  and  manners  of  the  East — as 
the  slow  invasion  of  cosmopolitanism, 
moving  as  the  sun,  overtakes  it  and 
envelopes  it. 

[100] 


THE  PLAN  OF  CHICAGO-ITS  PURPOSE 
AND  DEVELOPMENT 

By   Charles  H.    \\\\ckER,    Chairman  Chicago  Phui  Commission. 


THE  Plan  of  Chicago  is  set  forth  in 
a  book  under  that  title,  which  was 
presented  by  The  Commercial 
Club  of  Chicago  to  the  City  in  1909. 
This  book  is  recognized  as  the  best  and 
most  comprehensive  book  on  City 
Planning  ever  published  in  the  United 
States. 

It  was  prepared  by  a  corps  of  the 
best  experts  obtainable,  under  the 
direction  of  the  late,  lamented  Daniel 
H.  Burnham  and  Edward  H.  Bennett, 
the  present  City  Planning  expert, 
after  a  most  thorough  study  of  the 
physical  conditions  in  Chicago  and 
environs. 

It  is  the  basis  of  all  the  improvements 
contemplated  in  the  City  of  Chicago  in 
connection  with  the  Chicago  Plan. 
When  this  book  was  presented  the  Club 
requested  that  a  Plan  Commission  be 
created  by  the  City  Council,  which  was 
done  in  1909. 

The  goal  which  the  creators  of  the 
Chicago  Plan  ever  kept  in  mind  is  com- 
prehensively set  forth  in  the  Plan  book 
as  follows : 

"In  creating  the  ideal  arrangement, 
everyone  who  lives  here  is  better 
accommodated  in  his  business  and  his 
social  activities.  In  bringing  about 
better  freight  and  passenger  facilities, 
every  merchant  and  manufacturer  is 
helped.  In  establishing  a  complete 
park  and  parkway  system,  the  life  of 
the  wage  earner  and  of  his  family  is 
made  healthier  and  pleasanter;  while 
the  greater  attractiveness  thus  pro- 
duced keeps  at  home  the  people  of 
means  and  taste,  and  acts  as  a  magnet 


to  draw  those  who  seek  to  live  amid 
pleasing    surroundings.  The    very 

beauty  that  attracts  him  who  has 
money  makes  pleasant  the  life  of  those 
among  whom  he  lives,  while  anchoring 
him  and  his  wealth  to  the  city.  The 
prosperity  aimed  at  is  for  all  Chicago." 

The  Commercial  Club  of  Chicago,  a 
group  of  one  hundred  hard-headed  suc- 
cessful business  men,  realized  from  the 
beginning  that  our  city  was  an  entity 
and  that  whatever  was  done  would 
have  to  be  done  skilfully  and  com- . 
pletely  and  that  the  Plan  of  Chicago 
must  stand  for  the  improvement  of 
living  conditions  on  a  large  scale,  for 
the  reclaiming  of  our  lake  front  for  the 
use  of  the  people,  for  increasing  our 
park  areas  and  public  playgrounds,  for 
creating  additional  bathing  beaches  and 
pleasure  piers,  for  acquiring  forest  pre- 
serves, and  for  a  scientific  development 
of  railway  terminals,  harbors,  and  water- 
ways, and  for  the  adequate  develop- 
ment of  street  facilities  connecting  the 
different  sections  of  the  city. 

The  first  necessary  step  for  success 
in  City  Planning  had  been  taken  in 
presenting  the  Plan  of  Chicago  to  the 
City  in  definite  form,  carefully  and 
scientifically  worked  out,  covering  the 
whole  City  and  its  environs  as  fully  and 
as  completely  as  the  skill  of  the  engin- 
eer and  the  architect  could  make  it. 
The  Plan  was  made  definite  with  posi- 
tive qualities;  it  became  our  ideal  and 
we  dared  to  recognize  it  and  work  for 
it.  There  is  no  question  in  the  minds 
of  the  people  of  Chicago  in  regard  to 
the  sanity,  wisdom,  and  ultimate  sue- 


[101] 


Michigan  Avenue  Improvemt-nt. 

This  new  north-and-south  connection  across  the  Chicago  River  gives  Chicago  a  continuous  boulevard  drive 
extending  for  forty  miles  along  the  shore  of  Lake  Michigan. 


New  Union  Station  under  construction  at  Canal  Street  and  Jackson  Boulevard  just  west  of  Chicago  River.     The 

low  building  on  the  right  is  the  present  Chicago  &  Northwestern  Depot  and  the  central  building  occupies  the 

recommended  two  block  site  for  Chicago's  new  post  office 


cess  of  the  Plan.  Indefiniteness  and 
incompleteness  are  the  causes  leading 
to  the  failure  of  City  Planning  in  many 
cities  in  this  country.  Having  estab- 
lished a  right  plan  what  was  the  next 
step? 

The  next  step  was  the  promotion  of 
the  Plan.  In  our  country  public  opin- 
ion rules.  Therefore,  the  promotional 
work  is  very  important.  How  did  we 
go  about  this?  First  of  all,  we  enlisted 
the  cooperation  of  the  city  government 
and  then  we  began  to  sell  the  Plan  to 
the  City  of  Chicago.  We  inaugurated 
an  educational  and  promotional  cam- 
paign along  the  most  scientific  lines. 
We  proved  to  our  people  that  the  Plan 
of  Chicago  is  basically  sound,  that  it  is 
in  the  interest  of  the  commercial  and 
industrial  future  of  our  city  and  that 
its  adoption  and  completion  v  ould 
benefit  every  citizen. 

For  the  purpose  of  enlisting  and 
establishing  the  interest  of  the  citizens 
of   tomorrow,    we   introduced    in    the 


schools  the  City  Planning  Manual 
which  is  being  used  as  a  text  by  30,000 
Chicago  school  children  every  year. 
This  also  has  a  reflex  influence  upon  the 
parents  of  these  school  children,  who 
carry  their  enthusiasm  and  inspiration 
home  with  them. 

Through  a  course  of  stereopticon  lec- 
tures we  have  been  able  to  r^ach  every 
civic,  commercial,  improvement,  fra- 
ternal, and  religious  organization  in 
Chicago.  These  lectures  have  been  so 
popular  that  it  has  kept  us  busy  to 
meet  all  the  requests  which  have  come 
to  us  to  speak  on  the  Chicago  Plan. 

We  have  maintained  from  the  begin- 
ning that  the  people  must  become  en- 
thusiastically devoted  to  their  Plan; 
and  that  in  doing  so,  doubt,  suspicion, 
pessimism,  and  unjust  criticism  must 
be  eliminated.  Selfishness,  always  pres- 
ent and  unavoidable,  when  public 
improvements  are  undertaken,  must  be 
routed.  No  private  interest  must  be 
allowed  to  stand  in  the  way  of  what  is 


[103] 


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Proposed  new  Illinois  Central  Terminal,  Chicago,  fronting  upon  Grant  Park  at  Roosevelt  Road,  alongside 
New  Field  Museum  and  Stadium  at  entrance  to  new  five  mile  park  along  the  shore  of  Lake  Michigan. 


for  the  good  of  all  the  people.  We  al- 
ways try  to  remember  that  the  health, 
happiness,  and  general  prosperity  of 
the  people  are  of  far  greater  importance 
than  the  petty  whims  and  bickerings  of 
any  class  or  the  selfishness  of  any  in- 
dividual. 

We  maintain  that  public  spirit  is  a 
fundamental,  and  that  Chicago  possesses 
that  public  spirit  to  a  very  marked 
degree,  which  the  history  of  Chicago 
shows  in  clearly  defined  epochs  prior 
to  the  establishment  of  the  Chicago 
Plan. 

To  arouse  this  public  spirit  we  ap- 
pealed to  the  press  of  Chicago.  Our 
success  in  this  direction  has  been 
phenomenal  and  I  dare  say  that  the 
unprecedented  support  continuously 
given  to  the  Chicago  Plan  Commission 
and  its  efforts  during  the  past  eleven 
years  has  never  been  equaled  in  any 
other  city  of  the  world.  We  are  also 
greatly  indebted  for  our  success  to 
magazines,  trade  journals,  the  publica- 
tions of  numerous  important  societies, 
and  the  large  business  houses,  banks. 


etc.,  which  in  the  most  public-spirited 
manner  have  used  our  material  through 
their  advertising  mediums. 

The  result  of  this  and  many  other 
promotional  methods  adopted  which  I 
cannot  here  enumerate,  has  been  that 
every  Chicago  Plan  bond  issue  pre- 
sented to  the  people  has  been  passed  by 
increasing  majorities. 

In  all  of  our  work  we  have  cooperated 
closely  with  our  city  officials.  Every 
plan  recommended  so  far  has  had  the 
unanimous  approval  of  the  Board  of 
Local  Improvements  and  its  technical 
staff  and  of  the  Chicago  Plan  Commis- 
sion and  its  engineers  and  architects. 
The  administrations  of  Mayor  Busse, 
Mayor  Harrison,  and  Mayor  Thomp- 
son, have  been  in  sympathetic  accord 
with  the  Chicago  Plan  Commission  and 
have  been  composed  of  men  big  enough 
and  broad  enough  to  understand  the 
vital  importance  of  City  Planning. 
These  administrations  have  given  us 
continuous  support,  without  which  we 
could  not  have  been  successful.  We 
have  placed  trust  in  public  officials  and 

[104] 


CHICAGO   PLAN  COMMLSSION 

PEOPQSED  IMPROVEMENT  AND  DEVELOPMENT 

OF 

30UTH  WATER  JTEEET 

VTEW    LOOKIr-'C    JOUTH    VvTJT 


South  Water  Street  Improvement. 

The  upper  and  lower  streets  connect  with  the  two  levels  of  Michigan  Avenue  and  the  improvement  marks  the 
first  step  towards  making  the  banks  of  the  Chicago  River  attractive  as  well  as  useful. 


found  that  we  could  secure  their  full 
cooperation  by  laying  our  cards  upon 
the  table,  convincing  them  that  we  are 
non-partisan,  non-sectional,  and  that 
we  have  no  axes  to  grind  nor  private 
interests  to  serve. 

In  these  few  words  I  have  attempted 
to  show  how  the  Chicago  Plan  came 
into  existence,  how  the  Commission 
was  created  and  how  it  operates.  Now 
comes  the  natural  question,  "What  has 
been  accomplished?" 

Today  twelve  basic  features  have 
been  provided  for  by  bond  issues  where 
necessary,  and  are  either  under  con- 
struction or  advanced  in  procedure  in 
the  Board  of  Local  Improvements  or  in 
the  courts.  Projects  in  the  making 
embrace : 

Quadrangle:  The  creation  of  a  cir- 
cuit of  wide  streets  around  the  heart  of 
the  city  to  relieve  traffic  congestion  and 
allow  the  central  business  district  to 
expand  normally.  This  quadrangle  is 
composed  of  Michigan  Avenue  on  the 
east,    Roosevelt   Road   on    the   south, 

[105] 


Canal  Street  on  the  west,  and  South 
\^'ater  Street  on  the  north. 

Michigan  Avenue:  The  last  details 
of  this  great  improvement  will  be  com- 
pleated  early  in  192 1.  With  the  lower 
level  now  in  use  for  heax'y'  traffic,  the 
old  Rush  vStreet  bridge  has  been  re- 
moved. 

Roosevelt  Road:  Construction  of 
the  viaduct  will  be  continued  as  rapidly 
as  possible,  and  it  is  hoped  that  the 
new  bridge  will  be  under  construction 
before  the  end  of  the  year. 

West  Side  Terminal  Develop- 
ment :  Notable  progress  should  be  made 
this  year  in  building  the  new  Union 
station  on  Canal  street  and  Jackson 
Boulevard;  in  widening  Canal  street, 
and  in  connecting  it  with  Orleans 
street  via  the  two-level  Kinzie  street 
bridge.  Many  features  of  the  terminal 
ordinance  are  now  completed. 

Lake  Front  Park  Development: 
This  project  should  progress  rapidly, 
now  that  $20,000,000  of  bonds  have 
been  voted.   The  bond  issue  will  enable 


Stadium,  Soldiers  Memorial,  and  New  Field  Museum  of  Natural  Histor>,  a  part  of  the  Great  Lake  Front 

Development. 


the  South  Park  commissioners  to  start 
constructing  the  park  lands  between 
Sixteenth  and  Thirty-ninth  streets,  to 
build  the  stadium,  and  to  widen  South 
Park  avenue  in  order  to  extend  Grand 
Boulevard  from  Thirty-fifth  street  north 
to  Randolph  street.  This  development 
will  add  1,138  acres  of  parklands  along 
the  city's  waterfront,  containing  a 
lagoon  600  feet  wide  and  five  miles  long. 
There  will  be  nine  large  bathing  beaches 
and  ample  provision  for  all  sorts  of  out- 
door sports,  such  as  baseball,  tennis, 
golf  and  the  like. 

Outer  Connection  Between 
Grant  and  Lincoln  Parks:  The  Lin- 
coln and  vSouth  Park  boards  have 
agreed  to  a  plan  for  an  outer  drive 
between  Grant  and  Lincoln  parks, 
which  will  greatly  relieve  loop  conges- 
tion. 

Harbor  and  Waterway  Develop- 
ment: The  Chicago  Plan  Commission 
from  its  inception  has  realized  the  in- 
adequacy of  our  industrial  harbor  de- 
velopment and  has  fully  understood 
the  necessity  for  creating  adequate  har- 


bor facilities.  The  City  Council  has 
passed  the  necessary  ordinance  for  an 
industrial  harbor  in  the  Calumet  dis- 
trict, where  still  can  be  had  adequate 
land  at  reasonable  prices,  and  where 
water,  rail  and  industries  can  be  brought 
together,  which  is  essential  for  economi- 
cal operation.  In  addition  a  mammoth 
transfer  harbor,  called  Illiana,  along 
the  shore  of  Lake  Michigan,  partly  in 
Illinois  and  partly  in  Indiana,  as  sug- 
gested by  Col.  W.  V.  Judson,  U.  S.  A., 
is  being  considered  by  both  states. 
Facilities  bring  business.  Chicago 
must  offer  the  best  or  lose  its  trade  to 
competing  cities  which  are  today  mak- 
ing improvements  on  a  very  large  scale 
for  the  purpose  of  improving  their  com- 
mercial and  industrial  conditions. 

Illinois  Central  Plans:  This  ter- 
minal development,  including  the  elec- 
trification of  that  system,  was  made 
possible  by  an  extremely  impoitant 
city  ordinance,  accepted  by  the  rail- 
road company  and  the  South  Paik 
Commissioners. 

South  Water  Street:  The  widen- 

[106] 


ART  AND  ARCHAEOLOGY 


ing  ordinance  has  already  been  passed 
by  the  City  Council,  and  the  Board  of 
Local  Improvements  is  now  preparing 
the  ordinance  for  a  two-level  street. 
The  importance  of  this  improvement  is 
not  yet  fully  appreciated.  It  will  re- 
claim an  east-and-west  artery,  now 
absorbed  by  private  interests,  and  will 
open  north-and-south  arteries  now  con- 
gested by  produce  market  trafHc.  It 
will  connect  the  freight  terminals  on 
the  lake  front  with  those  on  the  west 
side,  via  INIarket  street,  with  a  lower 
level  street,  uninterrupted  by  cross 
traffic.  The  upper  street  will  facilitate 
traffic  between  the  north,  west  and 
south  sides  and  will  remove  fully  six- 
teen per  cent  of  the  present  traffic  con- 
gestion in  the  loop.  The  yearly  savirig 
to  the  merchants  and  consumers  will 
amount  to  almost  as  much  as  the  total 
cost  of  the  improvement. 

West  Side  PostofficE:  The  Plan 
Commission  has  started  anew  to  insist 
upon  the  acquisition  of  the  two-block 
site  on  Canal  street  for  a  new  post- 
office,  so  imperatively  necessary  to  pro- 
tect the  future  business  interests  not 
only  of  Chicago  and  its  tributary  terri- 
tory, but  also  of  the  entire  nation. 
Postal  conditions  in  Chicago  are  daily 
growing  worse,  and  if  the  postoffice  is 
to  continue  to  function  at  all,  adequate 
postal  facilities  must  be  created. 

Straightening  of  the  Chicago 
River:  The  Illinois  State  Legislature 
has  just  recently  passed  the  necessary 
enactments  to  enable  the  City  of  Chi- 
cago to  straighten  the  Chicago  river 
between  Polk  and  vSixteenth  vStreets. 
The  value  of  this  improvement  cannot 
be  overestimated.  It  will  permit  Wells, 
Market,  Franklin,  LaSalle  and  Dear- 
born streets  to  be  opened  through  the 
now  closed  terminal  area  and  connected 
with  the  great  southwest  diagonal 
Archer  avenue.     Already  progress  has 

[107] 


been  made,  and  negotiations  are  now 
pending  between  the  city  and  the  rail- 
road companies  tending  to  the  accom- 
plishment of  this  imperatively  needed 
development. 

Area  Between  Polk,  State  and 
Sixteenth  Streets  and  the  Chicago 
River:  The  conditions  in  this  "pocket" 
are  deplorable  and  most  harmful  to  the 
business  interests  of  the  city.  This 
problem  must  be  solved  in  an  accept- 
able manner.  The  widening  of  Polk 
vStreet  from  State  to  Clark  Streets,  now 
being  done,  is  a  part  of  the  plan  to  im- 
prove conditions. 

West  Side  vStreETs  :  Western  avenue 
is  now  being  widened.  The  Board  of 
Local  Improvements  has  taken  all  neces- 
sary action  and  the  City  Council  has 
passed  a  number  of  ordinances  neces- 
sary for  the  widening,  opening  and 
extension  of  Ogden  and  Ashland  ave- 
nues. Court  proceedings  will  soon  be 
started.  Much  progress  should  be 
made  in  opening  and  widening  these 
highly  important  arteries — two  of  them 
extending  from  city  limits  to  city 
limits — during  the  year.  Robey  street, 
offering  many  difficult  problems,  is  now 
being  studied,  and  will  soon  be  ready 
for  consideration  by  the  Board  of 
Local  Improvements. 

Pershing  Road  (39th  street) :  The 
technical  staff  of  the  Plan  Commission 
is  now  making  a  careful  study  of  Persh- 
ing Road,  which  will  connect  Lake 
Michigan  with  the  McCormick  zoo- 
logical gardens,  and  will  give  Chicago 
another  very  greatly  needed  east-and- 
west  through  artery. 

Outer  Circuit:  The  City  Council 
has  already  passed  an  ordinance  for 
the  widening  and  opening  of  Peterson 
avenue.  This  is  part  of  an  important 
encircling  highway  which  will  extend 
from  Lake  Michigan  on  the  east  along 


NEW  GArwm 


The  Michigan  Avenue  and  South  Water  Street  two-level  improvements  and  the  new  Wrigley  Building  at  the 

new  gateway  of  the  greater  Chicago. 


Peterson  and  Rogers  avenues  to  the 
Desplaines  river  on  the  west,  thence 
south  through  forest  preserves  return- 
ing again  to  the  lake  on  the  south  near 
134th  street. 

Forest  Preserves:  The  Board  of 
Forest  Preserve  Commissioners  of  Cook 
county  has  already  purchased  over 
20,000  acres  of  forests,  more  than 
one-half  of  the  total  acreage  available 


in  the  county.  The  recommendation 
of  this  Board  to  purchase  over  2,000 
acres  in  the  Skokie  valley  undoubtedly 
will  be  consummated  during  the  year. 
The  necessary  preliminaries  to  the 
establishment  of  the  McCormick  zoo- 
logical garden,  which  is  to  be  patterned 
after  the  best  zoological  garden  in  the 
world,  are  already  under  way.  These 
forest  preserves  are   to  be  connected 

[108] 


ART  AND  ARCHAEOLOGY 


with  one  another  by  good  roads,  and 
when  completed  will  produce  the  finest 
natural  park  system  in  the  world. 

Housing  :  Better  housing  is  an  inter- 
national problem.  People  are  no  longer 
satisfied  to  live  in  slums.  Better  hous- 
ing facilities  are  necessary  to  maintain 
the  virility  and  strength  of  our  people. 

Zoning  :  It  has  been  well  said  by 
Edward  H.  Bennett,  our  consultant: 
"Zoning  is  fundamentally  connected 
with  all  other  features  of  city  planning. 
Coordination  in  the  various  features  of 
city  planning  results  in  work  of  the 
highest  value.  Zoning,  if  well  schemed, 
more  than  any  other  agency,  will  give 
quality  to  the  growth  of  a  city.  It  will 
bind  all  ether  plans  in  a  harmonious 
whole." 

Civic  Center:  A  concentration  of 
public  buildings  would  mean  a  great 
convenience  to  the  public  and  a  tre- 
mendous saving  of  time,  so  important 
in  the  economical  transaction  of  busi- 
ness. In  the  words  of  the  Chicago 
Plan  book:  "The  city  has  a  dignity  to 
be  maintained,  and  good  order  is 
essential  to  material  advancement. 
Consequently  the  Plan  provides  for 
impressive  grouping  of  public  buildings 
and  reciprocal  relations  among  such 
groups." 

All  these  improvements  should  b^ 
completed  within  the  next  five  years, 
excepting  the  entire  electrification  of 
the  Illinois  Central  Railroad  and  the 
completion  of  the  Lake  Front  Park 
plans  south  of  Thirty-ninth  vStreet  to 
Jackson  Park. 

There  are  numerous  items  as  to  the 
cost  of  Plan  projects,  the  increase  in 
property  values,  city  revenue  increase, 
and  the  result  and  benefit  of  improve- 
ments which  I  have  not  space  to 
mention. 

While  the  Chicago  Plan  is  a  practical 
and  commercial  one,  there  is  another 


and  deeper  motive  in  planning  for  the 
future  greatness  of  our  city  than  its 
splendid  material  upbuilding.  This  is 
the  social,  intellectual,  and  moral  up- 
building of  the  people.  City  building 
means  man  building. 

Who  is  there  among  us  who  is  not 
lifted  above  mere  sordid  industrial 
existence  into  the  realm  of  the  beautiful 
and  ennobling  things  of  life  by  attrac- 
tive surroundings?  Beautiful  parks, 
fine  monuments,  well  laid  out  streets, 
relief  from  noise,  dirt,  and  confusion — 
all  these  things,  and  many  others  con- 
templated in  the  Plan  of  Chicago,  are 
agencies  that  make  not  only  for  the 
future  greatness  of  the  city  but  the 
happiness  and  prosperity  of  its  people. 

Fully  realizing  the  importance  of 
object  lessons,  we  are  now  undertaking 
to  make  the  four  bridge  houses  on  the 
Michigan  avenue  bridge  between  the 
two  plazas  as  attractive,  as  archi- 
tecturally correct,  and  as  historically 
significant,  as  it  is  possible  to  make 
them.  The  location  of  the  plazas 
lends  itself  to  such  treatment,  the  north 
plaza  being  the  site  of  John  Kinzie's 
house,  the  first  white  man's  dwelling 
built  in  Chicago,  and  the  south  plaza 
being  the  site  of  old  Fort  Dearborn. 
To  make  this  possible,  Wm.  Wrigley, 
Jr.,  and  the  Ferguson  Fund  Trustees 
each  gave  $50,000  to  be  used  in  em- 
bellishing the  bridge  houses. 

Thus  the  bridge  houses  will  give  an 
artistic  setting  to  the  junction  of  the 
upper  level  of  South  Water  Street  with 
the  south  Michigan  Avenue  plaza. 
When  these  plazas  and  the  bridge  are 
developed  in  this  way,  no  public  author- 
ity hereafter  will  think  of  permitting 
anything  to  be  attached  to  them  of  an 
inferior  nature.  An  artistic  character 
will  become  impressed  upon  the  Michi- 
gan Avenue  improvement,  which  will 
undoubtedly  elevate  to  a  very  marked 


[109] 


ART  AND  ARCHAEOLOGY 


degree  the  character  of  future  improve- 
ments, and  will  be  of  incalculable  aid 
in  embellishing  South  Water  street 
from  the  bridge  to  Market  Street,  a 
distance  of  about  a  mile,  with  appro- 
priate decorative  features,  and  in  mak- 
ing of  the  Chicago  River  an  attractive 
water-course,  similar  to  European 
water-courses.  Michigan  Avenue,  and 
South  Water  Street  in  the  City  of 
Chicago  should  then  become  as  import- 
ant and  widely  known  as  are  the  Place 
de  la  Concorde  in  Paris,  Trafalgar 
Square  and  Hyde  Park  in  London, 
Ringstrasse  in  Vienna,  and  Unter  den 
Linden  in  Berlin.  The  nature  of  the 
improvement  will  have  a  very  decisive 
elevating  influence  on  the  character  of 
the  buildings  that  will  be  erected  along 
Michigan  avenue  from  Randolph  Street 
to  Chicago  Avenue,  as  well  as  along  the 
entire  north  side  of  the  River,  and 
eventually  throughout  the  city. 

From  the  Reconstruction  Platform  of 
the  Chicago  Plan  Commission,  ad- 
dressed to  his  Honor  the  Mayor  and 
the  City  Council  of  Chicago,  I  quote 
the  following  paragraph : 

"There  is  eloquence  in  stone  and 
steel;  there  is  inspiration  in  good  archi- 
tecture; there  is  character-building  in 
artistic  and  good  surroundings.  Our 
city  as  our  larger  home  does  much  to 
mould  our  character.  Unknown  and 
unrealized  by  us  the  silent  forces  of 
our  environement  are  working  upon  us 


and  upon  each  of  our  fellows.  Chicago 
has  a  good  citizenry — a  patriotic  citi- 
zenry— it  is  proud  of  its  citizens  and  its 
citizens  are  proud  of  their  city.  They 
know  that  attractive  development  and 
good  citizenship  go  hand  in  hand  and 
they  want  to  see  their  city  made  the 
best  it  can  be  made." 

Not  only  should  our  art  museums 
receive  the  widest  possible  support, 
both  public  and  private,  but  art  should 
become  a  part  of  our  daily  life,  which 
could  be  accomplished  by  adorning  our 
parks  and  public  places  and  buildings 
with  originals  and  copies  of  the  master- 
pieces of  sculpture  of  all  times.  Thus 
could  be  created  an  atmosphere,  now 
lacking,  which  would  stimulate  an 
interest  in  art,  inspire  latent  genius, 
and  ultimately  bring  out  the  best 
there  is  in  the  spiritual  forces  of  our 
nation. 

To  maintain  the  strength  and  virility 
of  the  people,  it  has  become  imperative 
the  world  over  immediately  to  in- 
augurate and  speedily  carry  out  hy- 
gienic, economic,  and  humanitarian 
projects.  We  could  afford  to  spend 
Ijillions  for  war:  why  not  millions  for 
peace  and  contentment?  The  war 
taught  us  many  lessons,  but  nons  was 
greater  than  the  result  obtained  by 
unity  of  action.  Nation-wide  unity  of 
action  in  upbuilding  our  great  country 
will  lead  to  a  patriotic  devotion  to  it 
that  will  make  of  us  a  people  both 
prosperous  and  happy. 


[Oh  account  of  lack  of  space  the  articles  by  Jens  Jensen  and  Dwight  H. 
Perkins  on  the  Parks,  Playgrounds  and  Forest  Preserves,  of  Chicago, 
and  of  Cook  County,  have  been  reserved  for  a  later  number,  when  Mr. 
Jensen  will  discuss  Landscape  Art  in  its  relation  to  the  Park  System.] 


UlOl 


ARCHITECTURE  IN  CHICAGO 

By  Thomas  E.  Tallmadge,  A.  I.  A. 


WHEN  a  history  of  Architecture 
in  the  United  States  shall  have 
been  written,  it  will  be  found 
that  Chicago,  synonymous  in  many 
minds  with  materialism,  has  been  more 
potent  in  the  development  of  architec- 
ture in  this  country  than  any  other 
City. 

First:  She  was  the  mother  of  the 
skyscraper,  whose  steel  skeletons  and 
cliflf-like  forms  have  filled  our  urban 
scenery  with  canyons  and  mountain 
ranges. 

Second:  She  furnished  the  site  and 
her  sons  directed  the  great  World's 
Columbian  Exposition,  an  artistic  ex- 
pression which,  in  our  architectural 
history,  ended  one  epoch  and  began 
another. 

Third  :  She  alone  has  had  the  courage 
to  offer  to  a  suspicious  and  highly 
skeptical  world  an  American  style. 

Architectural  history  in  Chicago  did 
not  begin  until  long  after  that  fair 
flower  which  we  call  the  Colonial  Style 
had  been  laid  away  and  for  the  time 
forgotten.  When  Chicago  was  fight- 
ing for  her  life  in  the  black  mud  bogs 
of  the  Thirties,  the  style  known  as 
the  Greek  Revival  was  in  high  favor. 
The  columns  of  the  Parthenon  and  of 
the  Erectheon  were  resurrected  to 
express  the  ideals  of  a  new  democracy, 
and  the  acanthus  bloomed  again  on  the 
prairies  of  Illinois  and  on  the  shores  of 
Lake  Michigan.  These  buildings,  for 
the  most  part  of  wood,  with  their 
Greek  porticoes  and  Roman  domes, 
have  almost  all  disappeared,  chiefly  in 
the  great  conflagration  of  1872. 

The  Classic  Revival,  dignified  if 
somewhat  pompous  and  illogical,  in  its 
turn  fell  a  victim   to  the   caprice   of 

[111] 


fashion,  and  just  before  the  Civil  War 
appeared  a  new  mode.  This  curious 
mixture  of  mansard  roofs,  of  wax 
flowers,  of  hoop  skirts,  of  Dundreary 
whiskers,  of  English  Gothic  tracery,  of 
cast  iron  deer,  I  am  calling  here  for  the 
first  time  the  Parvenue  Style. 

The  plague  continued  in  Chicago  for 
thirty  years  or  more,  and  the  Phoenix 
that  rose  from  its  ashes  in  '72  was  the 
same  ugly  bird  it  was  before.  There 
are  many  examples  of  this  Parvenue 
Style  still  standing  in  decayed  splendor, 
the  Palmer  House,  for  instance,  and 
the  Board  of  Trade,  while  the  most  out- 
standing examples  were  the  old  County 
Building  and  the  City  Hall,  destroyed 
some  fourteen  years  ago. 

William  Morris  in  England  and  H. 
H.  Richardson  in  the  United  States 
were  the  knights  that  overthrew  this 
dragon  of  bad  taste.  Richardson's 
Romanesque  Revival  spread  over  the 
entire  country  in  the  '8o's.  We  have 
many  noble  examples  from  Richard- 
son's own  hand,  such  as  the  Field 
Wholesale  Building,  the  Chicago  Club, 
the  MacVeagh  house.  By  some  ot  his 
brilliant  young  disciples  were  the  Rook- 
ery,'the  Woman's  Temple,  the  Monad- 
nock  Block,  all  by  Burnham  &  Root. 
The  Auditorium  by  Adler  &  Sullivan, 
and  the  Higgenbotham  House  by 
Henry  Whitehouse. 

In  the  midst  of  the  Romanesque 
Revival  came  the  invention  of  the  high 
speed  passenger  elevator  and  the  skele- 
ton steel  frame.  The  Tacoma  Build- 
ing on  La  vSalle  and  Madison  Streets  by 
Holabird  &  Roche  is  the  first  skeleton 
steel  frame  building  in  the  world,  and 
consequently  is  one  of  the  most  im- 
portant   architectural   monuments    in 


Transportation  Building,  East  Entrance,    Wdrld's  Columbian  Exposition.     The  great  work  of  Louis  H.  Sullivan. 
Critics,  especially  those  from  abroad,  saw  in  these  rainbow  arches  the  promise  of  an  American  Style 


this  country.  It  revolutionized  the 
building  of  many  storied  structures. 
Its  ornament,  you  might  note,  is  in  the 
Romanesque  style. 

In  1893  came  the  World's  Fair.  Its 
classic  peristyks  and  measured  beauty 
gave  the  coupe  de  grace  to  the  already 
tottering  Romantic  movement  inaug- 
urated by  Richardson.  Its  overwhelm- 
ing beauty  turned  a  nation's  eyes 
back  to  Greece,  Rome  and  the  Renais- 
sance, and  it  officially  opened  the 
architectural  epoch  in  which  we  now 
live,  an  epoch  of  Artistic  Eclecticism. 

The  Fine  Arts  Building  from  the 
magic  hand  of  Charles  Atwood,  was 
the  most  beautiful  building  of  the 
Exposition,  and  Daniel  Burnham  has 


said  the  most  beautiful  building  in  the 
world.  It  stands  now  beautiful  in  its 
ruin,  which  is  the  final  test  of  beauty. 
A  Damoclean  pick  and  shovel  hang 
over  its  exquisite  head,  and  a  year  from 
now  unless  Chicago  raises  the  money 
to  restore  and  maintain  it,  we  will  stare 
at  an  ugly  wound  in  the  earth,  and 
curse  the  day  that  we  allowed  our 
loveliest  flower  of  architecture  to  be 
uprooted  and  destroyed. 

The  "World's  Fair"  is  still  with  us 
in  the  presence  of  its  offspring.  Its 
larger,  healthier  and  vastly  more  popu- 
lar child  is  our  present  Architectural 
Eclecticism.  In  this  frame  of  mind  our 
buildings  may  be  of  any  style,  though 
some  adaptation  of  the  Italian  Renais- 


[113] 


The  Tacoma  Building.     A  Milestone  in  American  architecture.     The  first  building  in  the  world  of  skeleton 

steel  construction 
Holahird  and  Roche,  Architects. 


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Auditorium  Hotel. 
The  "Palazzo  Vecchio"  of  Chicago — Designed  by  Louis  H.  Sullivan  in  the  Romanesque  style. 


sance  is  the  favorite.  Most  of  the 
great  buildings  since  the  World's  Fair 
express  this  new  found  right  to  choose 
and  ability  to  execute  in  any  style. 
The  Gas  Building,  The  Art  Institute, 
The  Field  Museum,  The  Continental 
and  Commercial  Bank,  The  Wrigley 
Building,  are  classic  in  style.  The 
University  Club,  the  Harper  Memorial, 
the  Fourth  Presbyterian  Church,  are 
Gothic.  The  Monroe  Building  and 
the  Crerar  Library  are  Italian  Roman- 
esque. However  much  such  an  eclec- 
ticism may  lack  conviction  and  unity 
of  purpose,  it  certainly  adds  variety  and 
piquancy  to  our  architectural  ensemble, 
and  technically  it  reaches  a  high  level 
of  excellence  in  its  individual  expres- 
sion. 

The  other  child  of  the  World's  Fair, 


wan  and  feeble  as  yet,  is  our  creative 
movement,  sometimes  called  the 
Chicago  School;  a  direct  attempt  to 
found  an  American  vStyle  by  an  ex- 
pression in  architecture  of  the  rela- 
tions of  form  and  function,  a  recogni- 
tion of  materials  employed  and  the  use 
of  indigenous  forms  for  ornament.  It 
owes  its  existence  to  the  genius  of  Louis 
Sullivan,  whose  Transportation  Build- 
ing at  the  World's  Fair  marks  its  first 
appearance,  and  whose  Gage  Building 
is  the  most  logical  expression  that  the 
skeleton  steel  frame  building  has  ever 
received. 

Chicago's  interesting  past  is  but  the 
period  of  her  youth  and  tutelage.  She 
stands  on  the  threshold  of  a  glorious 
maturity.  The  completion  of  her  boule- 
vard link  will  bring  in  its  train  a  series 


1117] 


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a^xt-tr  era  g-i£j  pg  i 


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The   Pcoi^lcs  uas 
interesting  texture 

Graham 


Gas   Building — a  brilliant  example  of  modern  eclecticism.     The   Roman   detail   forms  ; 
sture.     The  first  story  granite  columns  are  a  solecism — they  support  nothing  but  themselv 


Anderson,  Probst  and  White,  Architects. 


detail   forms  an 
-es. 


University  Club  and  Monroe  Building,  the  former  Gothic  in  style,  the  latter  Italian  Romanesque. 


of  magnificent  buildings  of  which  the 
Wrigley,  nearing  completion,  is  the 
first;  the  consummation  of  the  Grant 
Park  and  South  Park  outer  boulevard 
plans  will  give  her  the  most  beautiful 


approach  and  setting  in  the  world,  and 
the  next  generation  will  see  the  City 
stretch  in  an  almost  unbroken  line 
along  the  shore  of  Lake  Michigan  from 
Indiana  to  Wisconsin. 


[119] 


THE  MONUMENTS  OF  CHICAGO 


B\  LoRADO  Taft. 


CHICAGO'vS  sculptured  memorials 
are  comparatively  few  but  are 
already  sufficient  to  mark  the 
changing  tastes  of  a  primitive,  sturdy 
people.  Something  like  the  waves  of 
our  great  inland  sea  which  build  and 
destroy,  the  incessant  surge  of  the  years 
has  begxin  to  leave  upon  Lake  Michi- 
gan's sandy  shores  its  records  of  western 
enthusiasms. 

Such  records  are  of  profound  sig- 
nificance. Sculpture  is  a  difficult  and 
expensive  craft;  monuments  are  not 
erected  by  a  community  without  good 
and  sufficient  reason.  How  unfailingly 
expressive  they  are  of  their  time — how 
unerringly  they  mark  the  average  of 
culture !  It  cannot  be  said  as  ot 
Grecian  art  that  our  sculpture  and 
architecture  embody  the  ideals  of  the 
people,  for  on  these  lines  we  have  as  yet 
no  ideals  at  all ;  it  is  their  absence  which 
is  vividly  suggested  by  our  early 
monuments. 

Nothing  for  instance  could  be  more 
representative  of  the  fashion  of  its  day 
than  the  Douglas  monument  at  the 
lake  end  of  39th  Street.  When  in  1861 
Stephen  A.  Douglas  died  in  Chicago, 
his  fellow  citizens  promptly  undertook 
the  erection  of  a  suitable  memorial. 
The  result,  the  work  of  the  pioneer 
sculptor  Leonard  Volk,  marks  the 
location  of  the  Douglas  home.  The 
passengers  of  the  Illinois  Central  ex- 
press trains  catch  a  glimpse  of  a  high 
shaft  from  the  top  of  which  the  in- 
credibly short  and  yet  more  fore- 
shortened "Little  Giant"  looks  down 
upon  the  metropolis  which  he  helped  to 
create.  Four  low-seated  bronze  women 
of   non-committal   aspect   occupy    the 


corners  of  the  pedestal.     Who  they  are 
no  one  asks. 

Remote  as  is  this  work  of  another 
century,  one  pauses  to  thank  its  creator 
for  reminding  our  fathers  that  there  was 
such  a  thing  as  sculpture.  His  was  not 
an  easy  task  but  it  had  its  reward.  His 
bust  of  the  living  Lincoln  is  of  inesti- 
mable value.  His  statue  of  Lincoln  in 
tlie  capital  at  vSpringfield  may  have 
furnished  the  motif  for  our  great 
"Lincoln,"  standing  before  the  chair 
of  state. 

I  shall  not  attempt  to  trace  our  prog- 
ress through  the  years.  A  chronological 
catalogue  of  our  sculpture  would  be  of 
little  public  interest.  To  those  un- 
privileged to  live  in  our  modest  town 
the  subject  "Monuments  of  Chicago" 
connotes  just  one  work  and  to  this  I 
gladly  turn. 

It  was  in  1887  that  Augustus  vSaint- 
Gaiidens'  "Lincoln"  came  to  dwell 
among  us.*  Its  welcome  was  enthusias- 
tic although  we  did  not  at  first  realize 
how  precious  a  treasure  was  ours. 
Then  we  began  to  hear  it  proclaimed 
the  finest  portrait  statue  in  America. 
So  the  critics  have  told  us — and  we  like 
to  think  it  so  today.  The  standard  of 
the  nation's  monuments  has  been  vastly 
raised  in  these  thirty-four  years  but 
this  figure  is  yet  to  be  surpassed.  It 
was  a  labor  of  reverent  love  upon  which 
the  master  expended  much  time  and 
study.  As  in  many  of  his  greatest 
achievements  he  enjoyed  in  this  case 
the  collaboration  of  Stanford  White, 
with  the  result  that  the  setting  is  in 
perfect  taste  and  perfect  harmony  with 
its  surroundings.  It  is  well  placed. 
The  monument  is  no  "accident"  in  the 


•See  Frontispiece. 


[120] 


ART  AND  ARCHAEOLOGY 


park;  its  location  was  carefully  con- 
sidered and  broad  roads  converge  to  it. 
The  wide  platform  and  long,  low  granite 
steps,  flanked  with  bronze  globes,  are  in 
themselves  impressive.  The  curving 
walls  have  a  generous  sweep  of  sixty 
feet  and  bear,  in  the  perfection  of  Saint- 
Gaudens'  lettering,  these  two  utter- 
ances of  the  martyred  president:  "With 
malice  toward  none,  with  charity  for 
all,  with  firmness  in  the  right  as  God 
gives  us  to  know  the  right,  let  us  strive 
on,"  and  "Let  us  have  faith  that  right 
makes  might,  and  in  that  faith  let  us 
to  the  end  dare  to  do  our  duty  as  we 
understand  it." 

The  massive  block  on  which  the 
figure  stands  is  raised  so  little  above  the 
height  of  the  wall  that  at  a  distance  the 
various  members  work  together  for  a 
solidity  of  effect,  one  might  almost  say 
an  inevitableness  of  structure,  which  is 
rare  indeed  in  the  monumental  archi- 
tecture of  this  country.  From  the  side 
the  bold  separation  of  figure  and  chair 
may  appear  at  first  odd  and  even  un- 
pleasant, but  one  soon  becomes  ac- 
customed to  it.  From  the  front,  the 
cooperation  of  the  mass  and  lines  of  the 
chair  is  very  grateful  to  the  eye,  espe- 
cially at  a  distance  where  the  silhouette 
o^  the  slender  unaided  statue  would  be 
meagre.  It  gives  the  volume  and  the 
"color"  which  the  old-time  sculptors 
sought  to  gain  by  hanging  cloaks  on 
their  figures  and  by  piling  improbable 
accessories  about  them.  Upon  nearer 
approach  the  chair  fades  out  of  focus; 
the  magnificent  head  holds  the  entire 
attention. 

How  fine  this  work  is  my  poor  pen 
could  never  tell  you ;  I  turn  with  grati- 
tude to  Mrs.  Van  Rensselaer  who  years 
ago  expressed  her  admiration  in  the 
following  eloquent  words:  "The  pose  is 
simple,  natural,  individually  character- 
istic— as  far  removed  from   the   con- 


"George  Washington"  (front  view)  by  Daniel  C. 
French  and  Edward  R.  Potter.  Presented  to 
France  by  D.  A.  R.  Copy  in  Washington  Park, 
Chicago. 

ventionally  dramatic  or  '  sculpturesque ' 
as  from  the  baldly  commonplace. 
Neither  physical  facts  nor  facts 
of  costume  are  palliated  or  adorned 
.  and  the  figure  is  idealized 
only  by  refinement  and  breadth  and 
vigor  in  treatment.  .  .  .  This 
'Lincoln,'  with  his  firmly  planted  feet, 
his  erect  body,  and  his  squared 
shoulders,  stands  as  a  man  accustomed 
to  face  the  people  and  sway  them  at  his 
will,  while  the  slightly  drooped  head 
and  the  quiet,  yet  not  passive,  hands 
express  the  meditativeness,  the  self- 
control,  the  conscientiousness  of  the 
philosopher  who  reflected  well  before  he 


[1211 


ART  AND  ARCHAEOLOGY 


Abraham  Linculn,   "The  Rail  Splitter"   l.\    Charles 
J.  Mulligan,  in  Garfield  Park. 


spoke,  of  the  moralist  who  realized  to 
the  full  the  responsibilities  of  utter- 
ance. The  dignity  of  the  man  and  his 
simplicity;  his  strength,  his  inflexi- 
bility and  his  tenderness;  his  goodness 
and  his  courage;  his  intellectual  con- 
fidence and  his  humility  of  soul;  the 
poetic  cast  of  his  thought,  the  homely 
rigor  of  his  manner,  and  the  underlying 
sadness  of  his  spirit, — all  these  may  be 
read  in  the  wonderfully  real  yet  ideal 
portrait  which  the  sculptor  has  created." 

I  feel  strongly  today,  as  I  have 
written  in  the  past,  that  the  value  of  so 
high  an  example  of  the  monumental 
art  can  scarcely  be  overestimated.  Its 
workmanship  will  be  a  canon  and  a 
guide  for  generations  of  sculptors  to 
come;  the  serene  dignity  of  the  con- 
ception has  already  had  its  marked  in- 
fluence on  the  side  of  gravity  and  dis- 
tinction in  public  works.  Strange,  is  it 
not,  that  this  quiet  figure  which  lifts 
not  a  hand  nor  even  looks  at  you,  should 
have  within  it  a  power  to  thrill  which 
is  denied  the  most  dramatic  works 
planned  expressly  for  emotional  appeal ! 

Already  a  generation  of  men  have 
lived  and  departed  since  that  statue  was 
erected  in  Lincoln  Park.  Continue  to 
come  and  go  they  will,  like  the  surf 
which  curls  about  a  mighty  cliff".  He 
remains  unchanged.  Wonderful  the 
genius  which  so  charged  with  emotion 
this  bronze  that  it  gives  forth  today  of  a 
potency  undiminished  by  the  years — 
enhanced,  rather,  by  accumulating  asso- 
ciations! Of  it  might  one  well  say  as 
did  Lowell  at  Chartres:  "Be  reverent, 
ye  who  flit  and  are  forgot,  of  faith  so 
nobly  realized  as  this." 

Besides  the  "Lincoln"  which  wel- 
comes to  the  park  and  is  so  grandly  and 
overpoweringly  the  genius  of  the  place, 
there  are  two  or  three  other  admirable 
works  most  fittingly  bestowed — ap- 
paritions  which   one   does   not   resent 

[122] 


ART  AND  ARCHAEOLOGY 


amid  the  shrubbery  and  trees.  "The 
Signal  of  Peace"  by  Cyrus  DalHn,  was, 
if  I  remember  right,  the  earUest  of  that 
impressive  series  of  quiet  Indian  figures 
upon  patient  horses  which  has  culmi- 
nated in  the  masterly  "Appeal  to  the 
Great  Spirit"  of  Boston.  Rodin  used 
to  tell  us  that  his  task  was  "  to  find  the 
latent  heroic  in  everyday  actions"  ;  Mr. 
Dallin  finds  it  without  difficulty  in  his 
favorite  subjects  and  our  cities  are 
enriched  through  his  sympathetic  in- 
terpretations. Another  echo  of  primi- 
tive life  we  find  in  the  group  called 
"The  Alarm."  My  old-time  friend 
John  J.  Boyle,  while  still  a  student  in 
Paris  received  from  the  late  Martin 
Ryerson  an  order  for  a  memorial  to  the 
Ottawa  Indians;  the  result  was  the 
massive  and  thoroughly  admirable  com- 
position which  we  illustrate,  a  work 
which  the  eager  sculptor  never  sur- 
passed in  his  too-brief  career. 

Related  likewise  to  the  story  of  other 
days  and  happily  placed  in  the  edge  of 
the  park,  at  the  head  of  La  Salle  Ave- 
nue, is  the  statue  of  the  intrepid  vSieur 
de  La  Salle,  one  of  the  earliest  of  our 
distinguished  visitors.  This  work  by 
Jacques  Lalaine,  a  Belgian  sculptor,  is 
suavely  modeled  and  in  spite  of  the 
elevation  of  the  right  foot  upon  a  high 
stone,  with  resultant  square  angles  in 
the  silhouette,  is  a  sufficiently  dignified 
presentment. 

Our  equestrian  statue  of  General 
Grant  by  Louis  Rebisso  is  perched  upon 
a  nondescript  pile  of  masonry  which 
rests  in  turn  upon  a  bridge.  The 
sculpture  harmonizes  with  the  archi- 
tecture in  its  complete  absence  of  artis- 
tic distinction.  However,  despite  the 
fact  that  we  look  in  vain  for  felicities  of 
modeling  and  that  never  in  the  world 
would  this  bronze  "make  the  heart  leap 
as  to  a  war  chant,"  the  figure  is  without 
question  that  of  the  silent  hero  of  the 

[123] 


Statue  of  the  Republic,  erected  in  Jackson  Park, 
Chicago.     By  Daniel  Chester  French. 

Appomattox.  General  Fred  Grant 
once  told  me  that  it  was  to  his  mind  the 
miost  satisfactory  portrait  of  his  father 
in  existence. 

In  Leonard  Crunelle's  "Governor 
Oglesby"  we  have  a  statue  worthy  to 
be  in  the  same  park  with  Saint  Gaudens' 
"Lincoln."  The  sincerity  and  power  of 
this  work  are  instantly  apparent.  The 
physical  adequacy  of  the  fine  old  leader, 


ART  AND  ARCHAEOLOGY 


Miner  and  Child,  By  Charles  J.  MulHgan, 
Humboldt  Park,  Chicago. 

his  bonhomie  and  his  homely  grace  are 
completely  realized  in  a  figure  which  is 
sculptural  by  first  intention.  Gutzon 
Borglum  in  his  statue  of  Gov'ernor 
Altgeld — another  public  man  of  marked 
individuality — has  followed  an  opposite 
method,  summarizing  his  theme  in  a 
sketchy  mass  which  however  pleasingly 
facile  in  treatment  lacks  the  qualities 
of  incisive  characterization.  The  un- 
mistakable features  and  picturesque 
garb  of  Benjamin  Franklin  mark  a  com- 
petent work  by  Richard  M.  Parke. 
Its  silhouette  is  not  an  unpleasant  one 
against  the  sky. 

A  seated  "Shakespeare  "  is  one  of  the 
best  achievements  of  that:  cultiv^ated 
sculptor,    William    Ordway    Partridge, 


and  receives  annual  homage  from  the 
school  children  of  Chicago.  Here,  too, 
is  a  bust  of  Beethoven  by  John  Gelert 
and  a  statue  of  Hans  Christian  Ander- 
sen from  the  same  conscientious  artist. 
To  most  people  it  is  a  surprise  to  learn 
what  manner  of  man  was  the  great 
story-teller.  Gelert  shows  him  seated 
in  formal,  long-tailed  coat  amid  his 
swans,  ascetic  and  dreary  in  face  and 
form.  Gherardi's  "Garibaldi"  has 
always  been  a  little  uncertain  as  to  his 
center  of  gravity,  but  is  a  thoughtful 
and  sincere  characterization. 

Of  this  statue  as  of  most  of  these 
effigies,  foreigners  and  governors  alike, 
and  particularly  of  the  dentist  glorified 
by  Frederick  Hibbard,  one  asks  in 
perplexity,  \Miy  are  they  here?  The 
one  spot  on  the  North  side  where  one 
hopes  to  find  a  glimpse  of  nature,  the 
joy  of  flowers  and  trees,  is  encumbered 
with  metal  coats  and  trou.sers.  Every 
eligible  site  and  vista  culminates  in 
something  which  you  do  not  wish  to  see. 
The  impulse  to  erect  memorials  is 
worthy  and  indeed  irrepressible,  but 
why  not  put  the  formal  bronzes  in 
formal  places,  along  avenues  and  against 
buildings — anywhere  but  here  where 
greensward  and  sky-line  are  so  in- 
finitely precious? 

The  same  mistake  has  been  made  in 
our  West  side  parks.  Instead  of  works 
of  imagination  and  themes  harmonious 
with  sylvan  beauty  we  find  there 
another  petrified  congress  of  nations,  a 
sculptural  card-index  of  the  peoples 
represented  in  Chicago's  mighty  melt- 
ing pot.  From  his  pedestal  Alexander 
von  Humboldt  beams  upon  Kosciusko's 
prancing  steed,  the  while  Leif  Ericson 
and  stodgy  Fritz  Reuter  exchange  the 
time  of  day.  Robert  Burns — in  the  form 
of  the  stock  figure  to  be  seen  in  Mil- 
waukee, Denver  and  way-stations — 
waves  distant  greetings  to  Bohemia's 


[124] 


ART  AND  ARCHAEOLOGY 


vehement  representative,  Karel  Hav- 
licek,  whose  uphfted  arm  is  usually 
adorned  with  a  series  of  wreaths.  They 
are  all  very  much  at  home;  all  are 
welcome  in  Chicago,  but  the  parks 
would  be  better  without  them  and  their 
own  dignity  would  be  enhanced  by  a 
more  formal  setting.  That  was  a  true 
word  spoken  by  the  Municipal  Art  Com- 
mission of  New  York:  "Most  of  our 
monuments  look  as  if  they  had  been 
carried  about  by  some  giant  and  drop- 
ped wherever  he  happened  to  be  when 
he  became  fatigued."  The  casual  way 
in  which  memorials  are  planted  in  our 
parks  is  a  fault  to  be  corrected;  it  will 
be  when  they  are  not  permitted  there 
at  all. 

Very  appropriate  on  the  other  hand 
are  Crunelle's  four  youthful  figures  at 
the  corners  of  the  Rose  Garden  pool  in 
Humboldt  Park,  and  the  small  bronzes 
by  French  and  Potter  The  last  named 
were  made  from  the  working  models  of 
certain  admirable  groups  of  the  Colum- 
bian Exposition  and  while  hardly  large 
enough  to  satisfy  the  eye  in  their  pres- 
ent location  are  among  the  finest  of  our 
possession. 

I  quite  forgot  in  my  enthusiasm  to  tell 
you  who  did  all  of  these  brave  works. 
The  "Chicago  City  Manual",  con- 
veniently at  hand,  is  rich  in  misin- 
formation. Perhaps  we  can  straighten 
some  of  it  out.  "Humboldt"  is  attri- 
buted, we  hope  correctly,  to  F.  Garling, 
of  somewhere,  who  may  however,  have 
been  the  bronze  founder.  "Kosciusko" 
was  modeled  in  Chicago  by  the  Polish 
sculptor,  Casimir  Chodinski.  "Eric- 
son,"  the  book  tells  us,  was  made  by 
"Asbor  Jornson;"  which  is  a  neat 
camouflage  for  our  Chicago  sculptor, 
Sigvald  Asbjornsen.  I  like  best  what 
we  are  told  about  honest  "Fritz 
Renter:"  "Franz  Renter,  bronze,  by 
Gegossen  von   Ch.   Lens,   Nurnberg!" 


The  Alarm,  by  John  J.  Boyle,  Lincoln  Park,  Chicago. 

How  is  that  for  an  official  publication  of 
"the  sixth  largest  German  city"?  If 
your  German  is  rusty  just  ask  some 
scholarly  friend  who  "Gegossen"  was! 

"Burns"  is  by  the  clever  Edinburgh 
sculptor,  W.  Grant  Stevenson;  and  the 
strenuous  "Havlicek,"  a  really  admir- 
able piece  of  modeling,  is  by  Joseph 
Strachovsky  of  Prague. 

Charles  J.  Mulligan,  an  enthusiastic 
and  inost  likable  young  Irishman,  de- 
voted himself  with  untiring  zeal  to  the 
adornment  of  the  great  West  side. 
Its  park  system  offers  a  series  of  works 
from  his  untiring  hand.  He  never  was 
adequately  paid  and  most  of  these 
monuments  bear  unhappy  evidence  of 
the  haste  in  which  they  were  conceived 


[1251 


ART  AND  ARCHAEOLOGY 


and  executed.  At  the  time  of  his  death 
Mr.  Mulhgan  had  orders  which  would 
have  enabled  him  to  demonstrate  the 
talent  which  he  possessed,  but  his 
hand  was  suddenly  stayed.  It  does 
not  seem  quite  fair.  Among  his  pro- 
ductions may  be  mentioned  the  "  Presi- 
dent McKinley"  in  McKinley  Park; 
"Fourth  of  July  Fountain,"  Inde- 
pendence Square;  Colonel  Finerty  Me- 
morial and  "The  Rail-splitter"  (Lin- 
coln) in  Garfield  Park ;  "  The  Miner  and 
Child"  in  Humboldt  Park. 

A  monument  on  the  west  side  which 
is  not  to  be  overlooked  is  the  Illinois 
Centennial  Memorial,  a  stately  column 
designed  by  Henrv'  Bacon  and  happily 
decorated  by  Evelyn  Longman.  The 
reliefs  at  the  base  and  the  conventional 
eagle  which  crowns  this  chaste  tribute, 
are  exquisitely  carved  in  mellow  Ten- 
nessee marble. 

In  Union  Park,  we  are  told  by  our 
invaluable  "Manual,"  we  shall  find 
"Carter  H.  Harrison,  stone,  by  W. 
Grant  Stephenson"  which  to  the  in- 
formed means  that  the  portrait  of  our 
picturesque  World's  Fair  mayor  is  in 
bronze  and  by  Frederick  K.  Hibbard  of 
Chicago.  It  is  one  of  Hibbard's  early 
works  but  remains  one  of  his  best,  a 
simple  dignified  figure.  The  next  item 
in  our  guide  is  "Policeman's  Monu- 
ment, bronze  by  J.  Gilbert,  erected 
after  the  Haymarket  riot,  with  the 
legend,  'In  tlae  name  of  the  People  I 
command  Peace,'  "  which  is  all  right 
excepting  the  fact  that  this  inexorable 
representative  of  the  law  was  made  by 
our  old-time  friend  John  Gelert. 

The  Park  Commissioners  of  the  vSouth 
Side  have  from  the  first  held  a  different 
view  regarding  portrait  statues  in  their 
domain.  All  wistful  candidates  have 
been  shown  the  door  and  with  this 
tradition  well  established  it  is  as  easy 
now  to  keep  them  out  as  it  is  easy  for 


them  to  crowd  into  the  other  parks  of 
the  city.  Perhaps  it  was  the  weird 
"Drexel"  at  the  head  of  Drexel  Ave- 
nue which  saved  the  day.  This  Un- 
known, perched  on  his  queer  fountain, 
was  an  inheritance  from  a  forgotten 
past;  having  tried  him  they  will  have 
no  other.  vSculpture  is  not  entirely 
banished  however;  Washington  Park 
is  made  significant  by  a  copy  of  that  fine 
equestrian  "Washington"  which  the 
Daughters  of  the  Revolution  presented 
to  France,  the  work  of  those  two 
masters,  Daniel  C.  French  and  Edward 
C.  Potter.  Wrote  Wm.  A.  Coffin  of  it : 
"Washington,  in  Mr.  French's  statue, 
is  represented  as  taking  command  of  the 
army  at  Cambridge,  dedicating  his 
sword  to  the  service  of  his  country,  and 
appealing  to  Heaven  for  the  justice  of 
his  cause.  With  the  head  thrown 
slightly  backward,  the  figure  holds  with 
the  left  hand  and  arm  the  military  hat 
and  the  bridle  reins,  and,  the  other  arm 
being  extended  perpendicularly,  the 
right  hand  holds  the  sword  exactly 
upright.  The  pose  is  heroic  and  dra- 
matic. The  spirit  of  the  motive  is 
admirably  expressed  in  the  action  of  the 
figure,  and  the  head  is  noble  and  com- 
manding in  aspect."  It  may  be  said 
that  the  Father  of  His  Country  looks 
just  as  noble  at  the  entrance  of  Wash- 
ington Park  as  he  does  in  the  Parisian 
"Place." 

Another  appropriate  work,  to  be 
found  in  Jackson  Park,  is  the  one 
sculptural  record  of  the  Columbian 
Exposition.  Dominant  among  the  ivory 
palaces  of  the  White  City  stood  the 
majestic  golden  figure  of  the  "Re- 
public." I  admired  greatly  that  monu- 
mental creation  and  wrote  my  enjoy- 
ment of  it  in  a  book,  but  here  is  no  space 
to  quote.  The  original  was  some  sixty 
feet  high;  we  now  have  in  permanent 
material  a  reduction  twenty-four  feet 


[126] 


ART  AND  ARCHAEOLOGY 


high,  a  tiny  descendent  of  the  one  we 
loved.  It  is  upon  a  fine  pedestal  not  too 
far  removed  from  the  vanished  Court  of 
Honor  and  serves  to  recall  past  glories. 

Returning  city-ward  one  passes  at 
the  foot  of  1 8th  vStreet  a  strange  com- 
position which  from  the  train  is  a  mere 
tangle  of  bronze  figures.  It  is  Carl 
Rohl-Smith's  Indian  group  commemo- 
rating the  Fort  Dearborn  massacre  and 
its  great  significance  lies  in  the  fact  that 
it  marks  the  very  spot  where  the  ill- 
fated  caravan  met  its  doom.  A  con- 
scientious and  skilful  work,  its  realism 
is  enjoyed  by  many. 

Back  to  the  "Lake  Front"  once 
more.  We  observe  upon  a  considerable 
artificial  elevation  the  restless  silhouette 
of  Saint-Gaudens'  "General  Logan." 
The  hero  is  shown  bareheaded,  grasping 
a  flag  which  he  has  seized  from  a  falling 
color  bearer.  All  is  excitement  and  ten- 
sion. It  is  the  most  agitated  of  all  of 
Saint-Gaudens'  works  and  is  to  me  the 
least  satisfactory.  However,  it  has  the 
beauty  of  modeling  which  never  failed 
our  greatest  master  and  Grant  Park 
would  be  poorer  without  it. 

Some  fifteen  years  ago  it  was  found 
that  Benjamin  F.  Ferguson,  a  lumber- 
man of  Chicago,  had  left  in  his  will  a 
large  sum  as  a  trust  fund,  the  in- 
come of  which  was  to  be  devoted  to  the 
embellishment  of  the  city  with  statues, 
fountains  and  other  forms  of  memorials 
in  commemoration  of  individuals  and 
historic  events.  The  money  carefully 
invested  soon  reached  the  desired 
amount  of  one  million  dollars  and  its 
income  became  available  in  1907.  The 
first  of  these  purchases  was  the  writer's 
"  Fountain  of  the  Great  Lakes,  "  agroup 
of  five  figures  erected  in  Grant  Park,  at 
the  south  end  of  the  Art  Institute,  and 
dedicated  to  the  memory  of  Mr.  Fergu- 
son himself.  The  second  was  a  grace- 
ful if  not  robust  presentment  of  Alex- 

[127] 


ander  Hamilton  by  the  late  Bela  L. 
Pratt  of  Boston.  This  bronze  stands  in 
Grant  Park  near  Monroe  vStreet  and  is 
admirably  backed  by  an  architectural 
setting  designed  by  Charles  A.  Coolidge 
of  Boston. 

The  third  purchase  was  the  Illinois 
Centennial  Column  already  referred  to. 
Others  promised  are  a  memorial  to 
Marquette  to  be  placed  upon  a  historic 
site  near  the  Chicago  River  on  the  West 
side;  and  an  elaborate  monument  to 
Theodore  Thomas,  our  great  musical 
leader.  This  work,  in  exedra  form,  is 
already  far  advanced  under  the  skil- 
ful hands  of  Albin  Polasek  of  this  city, 
and  will  be  one  of  our  most  valued 
possessions.  A  recent  experiment  in 
location  on  the  Michigan  Avenue  border 
of  Grant  Park,  opposite  Orchestra  Hall, 
was  very  successful;  "Music"  personi- 
fied by  a  large  female  figure  of  unusual 
beauty  was  shown  standing  before  an 
architectural  mass  of  dark  granite  upon 
which  in  almost  Egyptian  simplicity 
are  to  be  outlined  the  forms  of  Theodore 
Thomas  and  his  players.  To  those  who 
have  watched  the  development  of  the 
work  and  who  know  what  those  compo- 
board  silhouettes  represented  the 
promise  was  great. 

From  month  to  month  we  hear  of 
other  projects:  fountains,  decorations 
of  bridges,  etc.,  are  being  considered. 
The  Ferguson  Fund  works  all  the  time ; 
its  beneficient  returns  have  but  begun 
to  appear.  Imagine  what  twenty  years 
will  give  us — a  hundred!  In  regard  to 
our  monuments  as  well  as  other  things, 
we  reveal  Chicago's  usual  irritating 
optimism  which  in  spite  of  disorder  and 
obvious  deficiencies  persists  in  pro- 
claiming: "  Our  Chicago  is  not  what  you 
see,  but  the  city  that  is  to  be,  the  city  of 
destiny !"  We  bahold  her  wreathed  with 
flowers  and  begirt  with  monumental 
jewels  of  wonderful  artistry. 


G.  P.  A.  Healy,  Self-portrait.     Collection  of  the  Art  Institute. 


CHICAGO  PAINTERS,  PAST  AND  PRESENT 


By  Ralph  Clarkson. 


TO  understand  and  appreciate  the 
artistic  growth  of  the  individual 
one  must  place  him  against  the 
background  of  the  economic,  political 
and  social  life  of  his  time.  A  great 
artist  like  Michael  Angelo  becomes 
more  real  when  we  know  the  conditions 
that  surrounded  him  during  his  best 
creative  period,  the  reign  of  Juhus  II. 
He  produced  his  masterpieces,  torn  by 
internal  struggles,  willing  to  relinquish 
his  work  many  times,  yet  urged  on  by 
his  patron.  He  finally  completed  the 
Sistine  Chapel,  convinced  that  "the 
times  were  not  in  sympathy  with  art 
production."  How  like  today!  One 
wonders  whether  his  development  was 
entirely  from  within,  uninfluenced  by 
precedent,  or  was  the  culmination  of 
tradition  and  example.  However,  Mich- 
ael Angelo  did  have  before  him  some  of 
the  most  beautiful  statues  of  ancient 
times,  as  several  were  uncovered  during 
this  period  of  his  sojourn  in  Rome  and 
he  was  big  enough  to  profit  by  their 
proximity. 

Velasquez  developed  his  incompar- 
able art  amid  political  and  social  dis- 
tractions. He  had  duties  that  would 
have  overwhelmed  a  weaker  spirit,  but 
he  was  in  constant  contact  with  the 
best  examples  of  the  Renaissance  which 
gave  him  a  background  and  standard 
that  none  but  a  great  talent  could  have 
surpassed.  I  am  reverting  to  these 
artists  to  call  attention  to  the  truth 
that  the  work  of  these  geniuses  culmin- 
ated after  a  long  period  of  growth 
that  had  established  high  standards  of 
craftsmanship  and  individuality  of  ex- 
pression. And  now  I  wish  to  construct 
a  simple  background  against  which  I 

11291 


can  place  the  work  and  influence  of  the 
painters  of  the  past  three  score  years. 

The  Art  history'  of  Chicago  up  to  the 
time  when  G.  P.  A.  Healy  was  enticed 
from  painting  noted  personages  of 
Europe  in  1855  is  practically  negligible, 
but  her  citizens  were  then  traveling 
abroad  and  coming  in  contact  with  the 
cultural  influences  of  art,  and  they 
showed  sound  judgment  in  inducing  a 
native  painter  of  such  talent  and  suc- 
cess to  make  a  "frontier  town,"  as 
Chicago  was  then  rated,  his  temporary 
home.  That  they  asked  him  to  portray 
them  instead  of  importing  some  foreign 
artist  is  greatly  to  their  credit.  His 
visit  lasted  some  two  years,  but  it  was 
cut  short  by  the  business  depression  of 
1857.  He  returned  from  Europe  from 
time  to  time  to  paint  noted  Americans 
in  public  life,  and  eminent  Chicagoans, 
finally  coming  back  with  his  family, 
members  of  which  still  live  here,  to  pass 
his  remaining  years.     He  died  in  1892. 

It  may  be  said  that  the  traditions  of 
the  art  of  the  City  were  more  or  less 
founded  upon  the  ideals  of  a  mind 
saturated  with  the  ideas  of  the  early 
American  painters,  and  it  seems  most 
fortunate  that  its  great  men  during  the 
most  critical  period  of  the  nation's 
life  should  have  been  portrayed  by  one 
thoroughly  American  in  spirit  and 
adequate  technically. 

Healy,  though  not  native  to  the 
State,  was  given  freedom  of  practice 
through  the  patronage  of  its  citizens 
and  he  has  bequeathed  to  the  country 
an  invaluable  heritage  of  characteriza- 
tions of  many  of  its  greatest  statesmen 
and  citizens.  It  has  been  the  fashion 
to  speak  of  his  work  as  "overmodeled 


La  Vacherie,  By  Chas.  Francis  Browne 


and  photographic,"  yet  his  best  work 
will  stand  in  the  first  rank  with  his 
contemporaries. 

No  progress  was  made  in  the  civil 
war  period,  and  the  foundation  for  all 
that  the  present  day  holds  may  be  said 
to  have  been  laid  in  1866,  when  a  group 
of  earnest  artists  founded  the  Academy 
of  Design. 

The  year  previous  the  Crosby  Opera 
House,  intended  to  be  the  home  of  the 
arts,  and  planned  to  surpass  anything 
in  the  West  in  architectural  beauty,  was 
opened  at  the  end  of  the  week  on  which 
Lincoln  was  assassinated,  but  from  the 
first  it  was  a  financial  failure.  Soon 
after  the  "Crosby  Art  Association"  was 
formed  and  an  arrangement  was  made 
to  dispose  of  the  Art  treasures,  and  the 
Opera  House  itself,  by  lotterv'. 

This   article    is   not   especially   con- 


cerned with  this  venture,  except  as  it 
was  the  first  home  of  the  Arts,  the  place 
where  the  Academy  of  Design  held  its 
exhibitions  and  where,  in  the  lottery, 
a  number  of  important  pictures  were 
drawn,  "including  the  masterpiece  of 
the  collection,  The  Yosemite  Valley," 
by  Bierstadt.  This  building  was  re- 
decorated in  time  to  be  opened  on 
October  9,  1871,  only  to  be  destroyed 
by  the  great  fire. 

I  understand  also  that  it  was  here 
that  the  first  classes  in  drawing  and 
painting  were  held  in  1866  under  the 
auspices  of  the  Academy  of  Design. 
Chicago  was  the  third  city  in  the  coun- 
try. New  York  and  Philadelphia  being 
the  others,  to  give  such  instruction. 

At  this  time  it  was  a  place  of  250,000 
inhabitants,  and  there  were  those  among 
her  citizens  who  had  the  audacity  to 

[130] 


Geese,  By  Jesse  Arms  Botke.     Collection  of  the  Art  Institute. 


predict  that  "some  time  in  the  distant 
future  it  would  number  a  miUion  souls." 
It  is  almost  incredible  that  there  are 
many  who  have  seen  her  reach  nearly 
three  times  that  number  and  who  have 
lived,  as  mature  men,  through  her 
entire  artistic  life. 

During  the  period  from  the  organiza- 
tion of  the  Academy  of  Design  to  the 
fire  of  1 87 1,  the  success  and  influence 
of  the  society  were  unusual.  The  lead- 
ing American  painters  exhibited  at  its 
shows,  and  among  its  members  were 
men  already  well  known  and  others 
destined  to  be  among  our  foremost 
artists.  Leonard  Volk  was  its  first 
president  and  H.  C.  Ford,  a  landscape 
painter,  its  vice-president.  On  the 
Council  was  Walter  Shirlaw,  a  vScotch- 
man,  who  was  a  copper-plate  engraver 
for  the  American  Bank  Note  Company, 


and  who,  after  studying  in  Germany, 
returned  to  New  York,  where  he  be- 
came one  of  the  most  important  of  our 
painters.  His  work  was  imaginative, 
decorative  and  suave.  Associated  with 
him  was  J.  F.  Gookins,  a  thorough 
American,  who  made  a  deep  impression 
upon  his  students  and  who  was  a  cap- 
able painter,  both  in  landscape  and 
figure.  Probably  the  best  known  at 
this  time  was  Heniy  W.  Elkins,  who 
showed  in  his  landscapes,  a  daring,  both 
in  importance  of  subject  and  bigness  of 
canvas.  His  popularity  was  emphasized 
by  the  fact  that  he  looked  the  typical 
artist  with  his  long  hair  and  other 
expected  signs  of  his  profession. 

D.  F.  Bigelow  painted  a  most  able 
landscape  and  remained  for  many  years 
the  highly  esteemed  dean  of  his  craft, 
and  Theo.  Pine  executed  some  import- 


[131] 


Mrs.  Charles  L.  Hutchinson,  By  Oliver  Dennett  Grover 


ART  AND  ARCHAEOLOGY 


ant  portrait  groups  which  show  both 
abiHty  and  knowledge.  The  produc- 
tion in  various  fields  of  A.  J.  Pickering 
was  well  known  and  bought.  Frederick 
S.  Church,  among  the  early  associates, 
who  afterwards  settled  in  New  York, 
has  given  to  our  art  a  charming,  fanci- 
ful and  decorative  note  through  many 
years  of  endeavor,  and  C.  G.  Dyer,  who, 
after  these  early  days,  lived  mostly  in 
Munich,  Venice  and  Paris,  has  left  some 
worthy  pictures.  It  is  interesting  to 
note  that  a  beautiful  small  portrait  of 
Mrs.  Dyer,  by  Sargent,  painted  in 
Venice  in  1882,  is  owned  by  the  Art 
Institute. 

Probably  the  best  portrait  painter  of 
his  time  resident  here  was  Henry 
Peterson,  and  J.  Antrobus  painted  an 
excellent  portrait  in  the  Holbein  man- 
ner. As  I  look  over  the  namas  of 
the  members  of  the  Academy  of  Design 
of  1868,  I  notice  only  one  whose  begin- 
nings go  back  to  that  far-off  time  and 
who  is  still  actively  at  work.  C. 
Pebbles,  a  portrait  painter,  has  sus- 
tained a  meritorious  reputation  during 
half  a  century.  Joining  this  group, 
after  service  in  the  Civil  War,  came 
Alden  F.  Brooks,  who  painted  praise- 
worthy figures  and  portraits  and  whose 
activities  still  continue.  Frank  Bromly, 
a  pupil  of  Elkins,  achieved  great  facility, 
but  died  before  his  talent  had  matured. 
The  still  life  of  C.  P.  Ream  has  been 
favorably  known  through  many  years. 

In  the  exhibitions  of  the  Academy, 
one  recognizes  the  names  of  practically 
all  of  the  leading  Americans  of  the 
period  and  can  well  understand  that 
these  early  shows  aroused  an  enthusi- 
asm and  a  patronage  that  has  not  been 
surpassed  until  quite  recently.  Of 
course  the  fire  of  1871  and  the  panic  of 
1873  nearly  extinguished  the  art  life. 
The  Academy  of  Design  was  the  out- 
growth  of   a   group   that   worked   to- 

[133] 


gether  from  life  and  had  been  managed 
and  controlled  entirely  by  artists.  It 
possessed  a  valuable  charter  and  had  a 
bright  future  before  it,  but  the  fire 
swept  all  hopes  away — the  calamity 
proved  too  great.  After  an  attempt 
at  a  revival,  lack  of  funds  and  want  of 
interest  caused  bankruptcy.  The  school 
continued,  except  for  the  interruption 
caused  by  the  fire,  after  which  it  was 
transferred  to  the  site  now  occupied  by 
the  Chicago  Club,  where  it  finally 
expired.  In  1878  a  number  of  wealthy 
citizens  interested  in  Art  matters  in- 
corporated the  Academy  of  Fine  Arts, 
and  all  its  possessions,  except  its  char- 
ter, passed  into  their  hands.  When  the 
Academy  of  Fine  Arts  was  formed  it 
was  located  for  three  years  at  the  cor- 
ner of  State  and  Monroe  Streets,  where 
a  school  was  maintained  and  occasional 
exhibitions  were  given.  Then,  for  a 
while,  it  functioned  in  the  old  Exposi- 
tion Building,  finally  locating  on  Van 
Buren  Street,  and  there  it  remained 
until  the  Art  Institute  was  organized 
and  the  building  at  the  corner  of  Michi- 
gan Avenue  and  Van  Buren  Street  con- 
structed in  1882-3. 

While  this  is  not  the  story  of  the  Art 
Institute,  enough  must  be  known  of  it 
to  show  the  conditions  under  which  our 
artists  were  educated.  This  new  locale 
on  Van  Buren  Street  was  really  the 
home  of  the  influences  that  were  to 
shape  the  careers  of  our  future  artists, 
and  it  was  fortunate  that,  at  the  begin- 
ning, there  were  devoted  and  superior 
craftsmen  to  guide  them. 

H.  F.  Spread,  was  the  leading  in- 
structor, well  grounded  in  his  art,  an 
indefatigable  worker,  in  every  instinct 
and  feeling  an  educator  and  an  artist, 
and  interested  in  public  aff'airs.  He 
brought  to  his  students  enthusiasm  and 
the  application  needed  for  their  work. 
By  birth  and  education  he  was  eminent- 


The  Blue  Rafter,  by  Frederic  Clay  Bartlett.     Collection  of  Art  Institute 


ly  English.  In  portraiture,  he  painted 
some  admirable  heads,  and  in  land- 
scapes, in  depicting  certain  phases  of 
nature,  he  was  true  and  sympathetic. 
His  fine  influence  and  advice  formed 
the  careers  of  the  men  who  were  not 
only  to  achieve  prominence  as  artists, 
but  to  occupy  leading  places  as  teachers. 
Through  his  enthusiasm  and  eflfort  was 
formed  the  first  Chicago  Society  of 
Artists  in  1888,  which  held  its  weekly 
meetings  in  his  studio  and  aided  in  '  'the 
advancement  and  cultivation  of  social 
relations  among  its  members."  L.  C. 
Earle  was  among  these  early  teachers 


and  for  many  years,  until  he  moved  to 
the  East,  was  prominent  in  the  Art  life 
of  the  city,  where  he  left  many  can- 
vases that  show  marked  ability. 

At  this  period,  the  early  eighties,  we 
begin  to  have  a  new  state  of  affairs. 
The  former  students  are  either  return- 
ing from  abroad  to  take  up  their  pro- 
fession, or  settling  in  New  York,  some 
remaining  in  Europe.  This  coming 
home  to  America  to  gain  one's  living 
has  always  been  the  most  trying  epoch 
in  an  artist's  life.  He  has  probably  had 
wonderful  years  abroad,  surroimded  by 
beauty    and    bohemian    freedom,    un- 


[134] 


r 


Indians  of  Taos,  New  Mexico,  By  Victor  Higgins. 


mindful  of  earning  money,  and  his  re- 
turn to  the  bald  realities  of  necessity 
amid  an  unattractive  environment  has 
always  been  a  deep  discouragement. 
The  truth  about  most  successful  Ameri- 
can artists  is  that  they  found,  on  their 
return,  that  they  must  either  teach  or 
illustrate,  for  the  demand  for  their  out- 
put was  limited.  So  we  have  the  situa- 
tion of  our  young  men  going  into  fields 
where  the  demand  for  their  product 
was  greater.  Thus  many  have  sought 
New  York,  not  to  live  by  painting 
alone,  but  by  some  form  of  art  practice. 
In  this  way  we  have  lost  many  a 
talented  one,  the  complete  list  of  which 

[135] 


it  would  be  difficult  to  compile,  but 
among  whom  may  be  named:  Douglas 
Volk,  Walter  Shirlaw,  Carroll  Beck- 
with,  Walter  Blackman,  C.  G.  Dyer, 
L.  C.  Earle,  Albert  Sterner,  George 
Hitchcock,  Robert  McCameron,  Henry 
S.  Hubbell,  Lawrence  Mazzanovich, 
Karl  Anderson,  Gustave  Bauman,  Louis 
Betts,  Alson  Skinner  Clark,  Arthur  S. 
Covey,  Dean  Comwell,  Arthur  B. 
Davies,  Helena  Dunlap,  Will  H.  Foote, 
Frederick  C.  Frieseke,  Jules  Guerin, 
Oliver  Herford,  John  C.  Johansen,  Troy 
Kinney,  Margaret  West  Kinney,  Mabel 
Key,  F.  X.  and  J.  C.  Leyendecker,  Orson 
Lowell,  Fred  Dana  Marsh,  Jean  Mc- 


Provincetown,  Mass.,  By  Pauline  Palmer. 


Lane  (Johansen) ,  Meysa  McMein,  Ross 
E.  Moflfett,  Lawton  S.  Parker,  Jane 
Peterson,  Bertha  Menzler  Peyton, 
Grace  Ravlin,  Frederick  Richardson, 
Ralph  Holmes,  Hovsep  T.  Pushman, 
Harriet  Blackstone,  Frank  Werner,  Will 
Howe  Foote,  Wm.  P.  Henderson,  Chas. 
Abel  Corwin,  E.  A.  Burbank,  Mrs.  Mar- 
shall Clark,  Walter  Goldbeck,  Henry 
Hutt,  Abram  Poole,  Edgar  Payne,  Dud- 
ley Crafts  Watson,  W.  D.  Stevens,  Louis 
Ritman,  Chauncey  F.  Ryder,  Gardner 
Symons,  Harry  Townsend,  Harry  Solo- 
mon, S.  B.  Linder,  Ruth  Townsend, 
Thos.  Wood  Stevens,  Walter  Ufer, 
William  Wendt,  J.  Laurie  Wallace,  J. 
Francis  Murphy,  Wilson  Irvine,  Hard- 
esty  G.  Maratta,  Walter  Burridge, 
Frank  Green  and  Alexander  Schilling. 
It  is  only  sufficient  to  read  this  list  to 


realize  that  the  students  of  our  schools 
are  among  the  most  honored  in  the  larger 
world  of  art.  Of  course  Chicago  could 
not  keep  them,  even  America  has  not 
been,  early  in  their  careers,  appreciative 
enough  to  hold  and  give  them  their 
maximum  development,  yet  many  still 
depend  upon  this  city  for  their  patron- 
age. 

Among  the  very  first  to  return  from 
study  abroad,  an  Illinoisian  by  birth 
and  one  whose  art  instruction  began  in 
the  Academy  of  Design,  was  Oliver 
Dennett  Grover.  At  this  time,  1884, 
he  had  already  studied  in  Munich  and, 
fresh  from  Duveneck's  class  in  Florence, 
and  the  JuHan  Academy  in  Paris,  im- 
pressed himself  quickly  upon  the  stu- 
dents of  the  Art  Institute  by  his 
vigorous  handling  of  the  head  and  the 

[136] 


ART  AND  ARCHAEOLOGY 


human  figure.  A  portrait  of  his  grand- 
mother, painted  about  this  time,  at- 
tracted much  attention,  combining  as 
it  did  strength  with  great  dehcacy  and 
refinement.  His  work  as  chief  instruc- 
tor of  the  Art  Institute  did  much  to 
raise  the  character  of  that  schooL 
Even  his  interest  in  civic  work  and 
enthusiasm  in  building  up  the  art  life 
of  a  city  added  to  the  necessity  of 
earning  a  livelihood,  neither  stunted 
him  nor  prevented  his  developing 
into  the  high  artistic  position  that  he 
now  occupies.  Well  grounded,  as  a 
young  man  in  the  fundamentals  of  his 
art,  he  shows  what  superior  craftsman- 
ship can  accomplish,  for  his  successes 
have  been  nearly  equal  in  the  realm  of 
decoration,  landscape,  scenes  of  Venice 
and  the  Italian  lakes  and  portraiture. 
Although  he  has  lived  much  abroad,  he 
has  never  stayed  away  long  enough  to 
detach  himself  from  the  life  of  the  city, 
but  has  brought  back  with  him  each 
time,  beautiful  canvases,  new  ideas, 
greater  development  in  his  art  and  an 
intense  desire  to  be  of  service. 

Numbered  among  the  returning  stu- 
dents of  the  Academy,  whose  foreign 
experience  had  been  entirely  French 
was  John  H.  Vanderpoel,  who  was 
destined  to  bring  a  new  note  to  the 
school,  the  emphasis  on  draftsmanship, 
and  through  whose  hands  were  to  pass 
most  of  the  students  who  have  made 
their  fame  as  artists  during  the  past 
forty  years.  He  loved  form  and  its 
analysis  and  insisted  on  its  careful 
study,  combined  with  appreciation  for 
the  beauty  of  outline. 

The  lasting  impression  that  he  has 
left  upon  those  who  were  fortunate 
enough  to  study  under  him  was  that 
of  thoroughness,  and  this  of  course, 
implies  industry,  two  things  essential 
to  the  life  and  success  of  the  individual 
as   well  as   of   the  school.     Undoubt- 

[137] 


edly  his  high  standard  of  achievement 
and  earnest  endeavor  were  inheritances 
from  his  Dutch  ancestry,  and  we  are 
fortunate  indeed  to  have  had  at  the 
beginning  of  our  instructive  and  con- 
structive period  an  influence  so  neces- 
sary in  laying  a  firm  foundation  and  so 
helpful  as  a  tradition. 

The  next  Chicagoan  to  return  and 
place  his  talent  at  the  disposal  of  the 
Art  Institute  school  was  Frederick  W. 
Freer,  who  at  the  early  age  of  17,  in 
1866,  had  gone  abroad  to  study  in 
Munich  and  Paris  and  who,  on  his 
return,  had  settled  in  New  York,  where 
he  won  honors  in  both  watercolors  and 
oils,  making  a  decided  impression  in 
his  paintings  of  figure  and  landscape. 
His  admiration  for  color  was  great,  and 
he  was  a  thoroughly  trained  draftsman, 
who  loved  the  actual  use  of  paint,  enjoy- 
ing both  the  process  and  the  result  and 
whose  stimulus  in  this  direction  at  this 
time  was  most  valuable.  For  more 
than  fifteen  years  his  influence  was 
important  in  the  school,  not  by  aggres- 
sive means,  but  by  his  helpful  profes- 
sional and  personal  qualifications. 

During  this  same  period  an  English- 
man, Charles  E.  Boutwood,  a  student 
of  the  Royal  Academy  in  London  and 
later  a  pupil  of  Bouguereau  and  Fleury, 
one  of  the  organizers  of  the  Chicago 
Society  of  Artists  in  1888,  a  fine  drafts- 
man, a  painter  of  excellent  portraits 
and  genre  pictures,  was  a  member  of 
the  teaching  staff  of  the  Art  Insti- 
tute. 

During  the  period  up  to  the  time  of 
the  World's  Fair,  the  city  was  continu- 
ally exerting  an  artistic  influence  that 
brought  forth  movements  which  made 
possible  the  success  of  the  Art  Institute, 
the  triumph  of  the  Fair  and  the  forma- 
tion of  the  "Friends  of  American  Art." 
The  advance  of  Chicago  toward  a  com- 
manding position  in  shaping  the  art  of 


ART  AND  ARCHAEOLOGY 


the  country  has  been  powerful  and  per- 
sistent. 

When  Chicago  was  designated  as  the 
place  in  which  to  hold  the  celebration 
commemorating  the  discovery  of  Amer- 
ica, it  was  felt  by  many  that  it  might  be 
a  success  from  a  business  standpoint, 
but  that  it  would  fail  in  its  large  artistic 
conception.  Yet  those  who  doubted 
that  anything  epoch-making  could 
come  out  of  the  West  lived  to  see  a 
standard  set  for  international  exposi- 
tions that  had  never  been  achieved 
before.  Those  citizens  in  control  of 
its  destiny  were  farsighted  enough  to 
call  to  their  aid  the  best  talent  of  the 
city  and  placed  at  the  head,  men  whose 
visions  were  worldwide,  whose  ideals 
led  into  the  realm  of  the  imagination, 
and  whose  power  for  organization  was 
great  enough  to  make  practical  their 
plans  for  a  "Dream  City." 

For  a  long  time  the  annual  exhibition 
of  works  of  art  had  drawn  to  the  Windy 
City  the  best  and  highest  things  pro- 
duced by  American  and  foreign  painters. 
During  many  years  agents  had  selected 
from  studios  and  salons  abroad  and  in 
the  East  the  best  things  to  be  found, 
and  were  so  liberal  in  forwarding  and 
returning  the  objects  solicited  that,  even 
in  the  early  days,  the  exhibitions  con- 
ained  works  of  the  highest  quality. 
It  is  recalled  that  Whistler's  portrait  of 
his  mother  and  Sargent's  Carmencita, 
now  masterpieces  of  the  Luxembourg 
gallery,  were  brought  here.  This  big 
generous  policy  has  continued  and  has 
not  been  stultified  by  the  personal  likes 
or  dislikes  of  any  individual.  On  the 
contrary,  the  aim  has  been  to  place 
before  the  public  the  many  phases, 
"styles"  and  movements  that  during 
the  past  fifty  years  the  art  world  has 
given  forth. 

In  the  summer  of  1914,  we  visited 
the  principal  countries  of  Europe,  seek- 


ing new  ideas  in  the  realm  of  art  expres- 
sion. At  the  end  of  the  trip,  it  could 
truthfully  be  said  that  during  previous 
years  there  had  been  displayed  on  the 
walls  of  the  Art  Institute  all  the  achieve- 
ments and  experiments  of  the  various 
branches  of  the  art  of  the  world.  Thus 
examples  of  the  best  and  latest  had  been 
for  years  before  the  eyes  of  those  who 
could  see  and  appreciate,  creating  a 
background  against  which  it  was  more 
or  less  easy  to  build  a  venture  like  the 
Columbian  exposition. 

The  architectural  director,  practi- 
cal in  his  idealism,  surrounded  himself 
with  men  who  could  materialize  their 
visions.  One  does  not  feel  that  it  is 
too  much  to  assert  that  Chicago  was 
the  inspiration  and  impetus  needed  for 
the  development  of  decorative  painting 
in  America.  Of  the  twelve  men  known 
as  the  "domists,"  the  greater  number 
were  awaiting  the  opportunity  that 
came  at  this  moment,  and  they  made 
good.  Their  accomplishment  here  led 
to  their  employment  in  many  national 
and  state  buildings  and  established  on 
a  firm  basis  the  perception  of  beauty 
that  comes  from  co-operation  of  painter 
and  architect. 

It  was  the  same  with  sculpture. 
These  far-sighted  men,  realizing  how 
much  external  features  were  enhanced 
by  groups,  fountains,  bas-reliefs,  and 
symbolic  figures,  called  to  their  aid 
many  of  our  sculptors,  giving  them  an 
opportunity,  which  made  the  exterior 
ensemble  a  thing  of  enchantment.  The 
people  of  this  country  and  the  world 
were  given  an  example  of  artistic  unity 
that  had  hardly  existed  before,  a  prod- 
uct of  the  idealism  of  a  distinctly 
material  city. 

The  reaction  from  the  World's  Fair 
was  in  appearance  distinctly  retrograde ; 
yet  this  was  not  true,  for  the  level  of 
public  interest  was  much  higher  and 

[138] 


ART  AND  ARCHAEOLOGY 


soon  movements  took  place  that  showed 
how  deeply  rooted  had  become  the 
desire  to  possess  art  knowledge.  Many 
societies  were  formed  to  promote  all 
kinds  of  artistic  endeavor  too  numerous 
to  write  about  here.  These  gave  pres- 
sure and  influence  in  the  right  direc- 
tion. Finally  the  most  important 
Society  of  the  past  quarter  of  a  century 
came  into  being,  the  "Friends  of 
American  Art." 

From  the  earliest  days  of  the  Acad- 
emy and  the  Art  Institute  schools  there 
have  always  been  women  students  of 
exceptional  talent.  Some,  like  Annie 
C.  Shaw  and  Alice  Kellogg,  were  cut 
off  by  death  when  nearing  the  goal  of 
notable  careers.  Annie  Shaw  was 
greatly  influenced  by  the  Barbizon 
school,  which  was  very  much  in  vogue 
at  that  moment,  but  she  gave  promise 
of  the  development  of  a  strong  personal 
point  of  view.  Her  landscapes  had 
freedom  of  execution  and  beauty  of 
color.  Alice  Kellogg  possessed  an  ap- 
preciation of  character  backed  by  solid 
technical  training  that  was  surpassed 
by  few  of  the  men.  She  had,  added  to 
her  schooling  here,  the  advantages 
of  Paris  and  undoubtedly  would  have 
continued  to  be  one  of  the  leaders 
in  our  local  art  circle.  Marie  Koupal 
(Lusk),  endowed  with  keen  intelligence, 
talent  and  application,  gave  promise 
of  a  future  second  to  none  of  her  sex, 
and  Pauline  Dohn  (Rudolph)  had 
achieved  an  enviable  position  in  her 
art  when  they  entered  a  matrimonial 
career.  Although  one  may  feel  in  these 
cases  that  fine  talent  has  been  denied 
complete  expression,  yet  the  power  of 
such  individuals  may  have  had  its  great 
influence  in  guiding  the  taste  of  many 
into  art  channels. 

Miss  Caroline  D.  Wade's  life  has  been 
devoted  to  the  cause  of  teaching  and 
her  pupils  have  had  inculcated  in  them 

[139J 


the  basic  principles  of  art  practice,  and 
yet  she  has,  from  time  to  time,  shown 
interesting  pictures.  Like  Alice  Kel- 
logg, Martha  Baker  was  taken  away  at 
the  height  of  her  achievement  wheu 
she  had  won  general  recognition  in 
painting  easel  pictures  and  miniatures. 
In  this  latter  art  few  have  excelled 
Virginia  Reynolds  in  breadth  of  treat- 
ment and  beauty  of  color.  We  have 
been  dealing  with  women,  up  to  now, 
who  for  one  reason  or  another  have 
ceased  to  produce  but  have  held  fore- 
most positions  in  our  art  world.  Had 
I  space  I  would  like  to  write  of  those 
of  whose  fame  we  are  proud,  like  M. 
Jane  McLane  (Johansen),  and  whose 
successes  we  applaud;  but  the  number 
of  active  workers  still  remaining  here 
is  ver>^  considerable.  Pauline  Pal- 
mer, whose  effervescent  personality 
pervades  and  enlivens  all  wherever 
she  appears,  expresses  herself  in 
spontaneous  canvases,  be  it  figure 
or  landscape.  The  signal  honor  of 
being  twice  made  president  of  the 
Chicago  vSociety  of  Artists  has  been 
hers.  Entirely  a  product  of  the  School, 
Anna  L.  Stacey  paints  attractive  figures 
and  portraits  that  are  in  constant 
demand  and  show  a  high  degree  of 
technical  ability.  To  develop  an  in- 
dividual style  is  the  aim  of  all  painters 
and  its  recognition  brings  added  joy 
to  the  beholder.  This  accomplishment 
is  denied  the  many  but  not  to  Jessie 
Arms  Botke  whose  decorative  inter- 
pretations possess  a  charm  of  detail  that 
does  not  detract  from  but  rather  adds 
interest  to  her  artistic  expression.  It  is 
probably  fortunate  for  her  many  pupils 
that  Ethel  Coe  devotes  so  much  time 
to  teaching,  but  we  should  be  much 
richer  artistically  if  her  talent  were 
allowed  free  rein.  Lucie  Hartrath  paints 
excellent  Sunny  landscapes  and  Eugenie 
F.  Glaman  depicts  faithfully  the  "home 


a 
o 


o 

o 


V 

n 

•3 
o 
►J 
>. 

M 


ART  AND  ARCHAEOLOGY 


life"  of  sheep  and  cows.  Cecil  Clark 
Davis  has  gained  an  enviable  reputa- 
tion in  portraits  of  eminent  people  from 
Paris  to  Buenos  Aires.  Delightful  mini- 
atures have  come  from  the  hand  of 
Mary  Hess  Buehr,  and  Marie  Gelon 
Cameron,  an  adopted  daughter  from 
France,  has  painted  many  creditable 
portraits  and  genre  subjects.  The  ap- 
peal of  maternity  is  found  in  the  well 
done  pictures  of  Ada  Schultz,  and  Jessie 
Benton  Evans  loosely  interprets  inter- 
esting Western  wastes.  Flora  I.  Schoen- 
feld  adequately  interprets  what  she 
considers  the  modern  point  of  view. 
The  studio  of  Elizabeth  K.  Peyraud 
produces  too  few  canvases  when  one 
realizes  her  ability,  and  Caroline  D. 
Tyler's  miniatures  are  sympathetic  in- 
terpretations. 

This  list  of  our  women  painters  is  by 
no  means  complete,  containing  as  it  does 
only  some  of  the  names  of  those  seen 
regularly  in  our  exhibitions,  yet  it 
shows  how  important  they  are  in  our 
art  life  in  numbers  and  quality.  There 
are  a  few,  like  Bertha  E.  Jaques,  who, 
with  distinction  and  charm  in  her  work, 
and  unusual  executive  ability,  has  been 
the  leader  in  making  the  Chicago 
Society  of  Etchers  a  pronounced  suc- 
cess. Hazel  Frazee  has  designed  charm- 
ing book-covers  and  decorative  illus- 
trations, and  there  are  numerous  others 
who  are  doing  excellent  work  in  different 
fields  of  artistic  endeavor.  The  Bohe- 
mian Club,  in  the  eighties,  and  the 
Palette  Club,  later,  were  strong  women's 
organizations.  They  are  now  but 
memories. 

The  Chicago  Society  of  Artists, 
formed  in  1888,  after  the  Art  League 
and  the  Western  Art  Association  had 
outlived  their  usefulness,  eventually 
subsided  into  inefTectiveness.  It  was 
weakened  by  members  who  seceded  to 
organize  the  Cosmopolitan  Club  whose 

[141] 


life  was  neither  long  nor  brilliant  and 
which  eventually  ran  out.  A  little  over 
twenty  years  ago  a  new  Chicago 
Society  of  Artists  came  into  existence 
which  has  continued  to  grow  until  its 
influence  has  become  one  of  the  greatest 
in  the  city.  Contemporary  with  it  were 
the  Art  Association  and  Municipal  Art 
League,  the  latter  finally  absorbing  the 
former.  The  League  has  leavened  and 
related  large  groups  of  people  with  art 
activities  and  has  had  a  hand  in  initiat- 
ing many  of  the  civic  beauty  move- 
ments. Closely  related  to  it  in  its 
functions  is  the  Chicago  Public  School 
Art  Society.  It  possesses  a  fine  col- 
lection of  paintings  and  prints  which  are 
loaned  in  rotation  to  the  various  schools 
and  which  help  to  elevate  and  direct 
the  taste  of  the  thousands  of  pupils. 
And  there  are  various  Women's  Clubs 
which  have  their  art  committees  and 
which  hold  exhibitions  and  receptions 
to  give  their  members  contact  with 
what  is  taking  place  in  the  art  world. 
During  this  period  of  formative  art 
life  we  have  been  fortunate  in  some  of 
our  writers  who  have  shown  sympathy 
and  appreciation  of  our  efforts.  A  lay- 
man, J.  Spencer  Dickerson,  wrote  for  a 
long  time  discriminating  and  entertain- 
ing reviews  for  various  periodicals  and 
he  undoubtedly  had  much  influence  in 
guiding  the  taste  of  many  people.  Prob- 
ably James  William  Pattison,  who  was 
for  years  the  vSecretary'  of  the  Municipal 
Art  League,  helped  materially  by  his 
kindly  and  effective  criticism.  He  was 
an  artist  of  ability  and  a  fluent  writer 
and  talker.  While  sympathetic  with  all 
ideas  his  convictions  were  grounded  in 
belief  in  highest  craftsmanship.  Isabel 
McDougall  of  the  Post  appreciated  and 
upheld  local  accomplishment  and  Lena 
McCauley  of  the  same  journal  has 
shown  a  keen  understanding  of  our  work 


ART  AND  ARCHAEOLOGY 


and  the  province  of  the  newspaper  in 
art  criticism.  Harriet  Monroe,  the 
editor  of  "Poetry,"  for  a  long  period 
wrote  interestingly  for  various  journals 
and  stirred  us  up  with  "rough  electric 
shocks." 

Some  ten  years  ago  Kenyon  Cox 
wrote  of  another  important  factor  as  fol- 
lows in  the  New  York  EveningPost,  May 
3rd,  191 1 :  "The  hearty  cooperation  of 
all  those  in  any  way  interested  in  art  is 
generally  facilitated  by  the  existence  of 
another  institution,  the  Cliff  Dwellers. 
Perched  upon  the  top  of  the  Orchestra 
building,  overlooking  the  lake  and 
almost  opposite  the  Institute,  is  this 
artistic  and  literary  Club  *  *  * 
where,  apparently,  almost  every  one 
who  is  any  one  in  Chicago  may  be  met 
on  any  day  but  Sunday  between  twelve 
and  two  o'clock.  There  come  the 
painters,  the  sculptors,  and  the  archi- 
tects, the  writers  and  the  musicians, 
and  there  also  come  the  bankers  and 
the  officials  of  the  Institute;  there,  over 
the  coffee-cups,  many  a  scheme  is  dis- 
cussed, and  those  schemes  that  survive 
such  discussion  are  finally  launched. 
If  such  a  club  existed  in  New  York  it 
would  not  be  such  weary  work  trying  to 
procure  adequate  exhibition  facilities  for 
the  National  Academy  of  Design  and 
the  other  artistic  societies  centered  in 
that  city.  Because  such  a  club  exists 
in  Chicago  they  have  the  'Friends  of 
American  Art.'  " 

I  have  written  of  those  men  who 
were  active  in  the  early  days  before  the 
Columbian  Exposition  and  of  whom 
some  have  carried  on  to  the  present 
time,  and  of  the  women  painters  before 
and  since,  but  there  are  still  a  number 
that  should  be  adequately  characterized 
and  whose  participation  in  our  field 
of  art  is  important.  There  is  a  large 
body  of  teachers  who  have  sacrified 
something   in   accepting  the   vocation 


and  one  finds  in  them  a  group  that  has 
made  their  impress  not  only  in  the 
modeling  of  young  art  life  but  in  our 
exhibitions.  Charles  Francis  Browne, 
a  Massachusetts  man,  came  here  in 
1892,  entering  into  the  art  life  of  the 
city  whole  heartedly  and  into  compan- 
ionship with  its  workers.  During  the 
period  of  his  activities  he  taught  in  the 
school,  lectured,  wrote,  and  produced 
landscapes  of  a  high  order.  The  Bos- 
ton and  Philadelphia  art  schools  gave 
him  a  basis  of  craftsmanship  to  which 
was  added  the  influence  of  various 
trips  abroad.  Many  well  designed, 
tender  and  richly  toned  pictures  came 
from  his  brush.  An  annual  exhibitor 
in  the  National  Academy  of  Design, 
Adam  E.  Albright,  has  contributed  to 
the  joy  of  those  who  love  real  children 
at  play,  sunny  and  pleasing  in  their 
presentation.  Karl  Buehr,  bom  in 
Germany,  but  owing  more  in  his  art  to 
France,  shows  much  clever  invention, 
pleasing  color,  and  fine  drawing  in  his 
figure  arrangements,  both  in  and  out 
of  doors. 

Psychology  is  not  often  depicted,  yet 
Wellington  J.  Reynolds  has  displayed  a 
number  of  canvases  that  exhibit  a 
thorough  technique  and  well  illustrate 
his  ideas.  Sunlight,  with  strong  con- 
trasts of  warm  and  cold  color,  appeals 
to  Frederick  F.  Fursman  and  F.  De- 
Forrest  Schook  is  happy  with  delicate, 
luminous  effects,  while  John  W.  Norton 
makes  beautiful  somber  decorations. 
Albert  H.  Krchbiel  has  painted  some 
scholarly  decorations  and  refined  land- 
scapes. Walter  M.  Clute  taught  and 
painted  well,  dying  with  expectation 
of  greater  accomplishments.  Men- 
tion should  be  made  of  Leon  Roec- 
ker,  Walter  Sargent,  Cornelius  Botke, 
Adolph  R.Shultz,  Antonin  Sterba.A.  H. 
Schmidt,  Albert  H.  Ullrich,  Dr.  G.  E. 
Colburn,    Wm.     Clusman,    J.    Jeffrey 

[142] 


ART  AND  ARCHAEOLOGY 


Grant,  L.  O.  Griffith,  Oscar  Gross, 
Beatrice  Levy,  E.  Martin  Hennings, 
Edward  J.  Holslag,  Alfred  Juergens, 
Arvid  Ny'holm,  Fred  V.  Poole  and  Allan 
E.  Philbrick,  as  constant  contributors 
and  upholders  of  our  exhibitions. 

A  native  son,  Frederic  Clay  Bartlett, 
has  gone  far  in  developing  a  distinctly 
personal  expression  of  artistic  beauty 
and  Frederic  M.  Grant  has  opened  up 
a  delightful  field  of  decorative  imagin- 
ings. Frank  V.  Dudley  makes  the  pic- 
turesqueness  of  the  Dunes  sympathe- 
tically alluring  in  its  various  seasons. 
Etching  and  painting  are  equally  suc- 
cessful in  the  handling  of  Charles  W. 
Dahlgreen,  and  Carl  R.  Kraft  is  achiev- 
ing reputation  through  landscapes  of  a 
highly  meritorious  quality.  Rudolph 
Ingerle  depicts  with  appreciative  in- 
sight the  hills  and  dales  of  the  Ozarks. 
It  is  through  the  doors  of  the  Palette 
and  Chisel  Club  that  many  of  these  men 
have  come  out  into  larger  fields  and  it 
should  be  counted  one  of  the  big  in- 
fluences in  assisting  and  shaping  the 
careers  of  our  artists. 

For  years  Edgar  S.  Cameron  has  con- 
tributed pictures  of  undoubted  merit 
to  our  exhibitions  and  has  painted  a 
number  of  successful  decorations.  That 
John  F.  Stacey  teaches  more  than  he 
paints  is  our  loss,  for  he  knows  his  craft. 
Victor  Higgins'  art  has  developed  into 
a  synthetic  rendering  in  lovely  color 
arrangements  of  New  Mexico  subjects. 
Between  illustrating  and  teaching  Allan 
vSt.  John  finds  time  to  execute  some 
clever  canvases. 

The  art  impetus  is  so  strong  that 
several  of  our  business  men  have 
achieved  prominence  enough  to  be 
made  professional  members  of  our  art 
societies  and  are  among  the  regular 
exhibitors.  They  are  Edward  B.  But- 
ler, Charles  H.  Dewey  and  Wallace 
DeWolf.     Recently  the  Business  Men's 


Art  Club  has  been  organized  with  some 
fifty  members  where  regular  students' 
work  goes  on. 

The  Commission  for  the  Encourage- 
ment of  Local  Art  to  purchase  works  of 
art  to  be  placed  in  the  City  Hall,  the 
public  schools  and  other  public  build- 
ings of  the  city  was  the  creation  of 
Mayor  Harrison  who  has  always  been  a 
sympathetic  and  knowing  friend  in 
aesthetic  matters.  The  Arts  Club, 
during  the  social  season,  holds  frequent 
and  varied  exhibitions. 

In  this  article  I  have  not  attempted 
to  give  even  the  names  of  many  that 
might  well  be  included  nor  have  I 
written  about  those  who  no  longer  con- 
sider Chicago  their  home.  Some  of 
these  return  from  time  to  time  to 
exhibit  or  execute  commissions.  In 
most  cases  the  mere  mention  of  their 
names  whould  be  enough  to  recall  their 
successes.  I  think  I  have  shown  how 
alive  we  are  and  that  we  have  been  most 
vital  in  the  development  and  life  of 
American  art.  I  believe  that  the  ad- 
vancement of  today  would  not  exist 
upon  the  high  plane  that  it  does  had 
it  not  been  for  the  deep-rooted  idealism 
of  the  West  that  nurtured  Lincoln. 
Our  art  schools  are  founded  upon 
ideas  that  seek  to  promote  the  develop- 
ment of  craftsmanship  and  individual- 
ity and  they  are  largely  attended. 
That  of  the  Art  Institute  alone  numbers 
some  3,000  students  each  year,  who 
come  from  all  parts  of  the  world. 
Chicago  wishes  to  stand  solidly  for  the 
encouragement,  development  and  pa- 
tronage of  American  art.  As  in  1855, 
when  her  citizens  asked  Healy  to  make 
this  city  his  home,  so  today  she  wants 
the  best  that  our  own  art  can  create. 
That  this  hope  will  eventually  be  ful- 
filled there  is  no  doubt  since  the  organ- 
ization of  the  Friends  of  American 
Art,    whose   function   is   to   that   end. 


[1431 


Overlooking  the  Grand  Staircase,  Art  Institute  of  Chicago. 


West  Front  Art  Institute  of  Chicago. 


THE  ART  INSTITUTE  OF  CHICAGO 


By  Clarence  A.  Hough 


THE  Art  Institute  of  Chicago  was 
incorporated  on  May  24,  1879, 
"for  the  founding  and  mainte- 
nance of  schools  of  art  and  design,  the 
formation  and  exhibition  of  art  col- 
lections" and,  with  the  still  wider 
purpose  of  cultivating  and  extending 
knowledge  and  appreciation  of  the  fine 
arts. 

While  the  Institute  was,  in  a  measure, 
the  outgrowth  of  previous  art  im- 
pulses or  associations  in  Chicago  yet  it 
possessed  an  immediate  individuality 
that  distinguished  it  at  once  from  all 
former  organizations.  For  several  years 
following  its  incorporation  in  '79,  its 
possessions,  visitors  and  art  school  were 
cared  for  in  modest  rented  quarters  in 
the  business  heart  of  the  city.  Interest 
in  the  institution  grew  with  remarkable 
rapidity  and  a  corresponding  expansion 


followed  quickly.  In  less  than  four 
years  the  Institute  opened  its  own 
building  on  Van  Buren  Street  and  with- 
in the  next  half  decade  erected  an  ad- 
dition and  then  added  the  adjoining 
fine  four-story  stone  Romanesque  build- 
ing on  Michigan  Boulevard  at  the 
corner  of  Van  Buren  Street,  the  present 
home  of  the  Chicago  Club. 

The  next  event  of  consequence,  and 
the  one  which  first  gave  the  Art  In- 
stitute international  importance,  was 
the  purchase  in  1890  of  fifteen  of  the 
choicest  Old  Dutch  Masters  from  the 
famous  collection  of  the  Princess  Demi- 
doff  of  Florence.  These  paintings,  with 
other  important  canvasses  of  their 
school,  now  hang  in  the  Charles  Law- 
rence Hutchinson  Gallery  of  Old 
Masters.  This  gallery  has  been  named 
in  honor  of  Mr.  Hutchinson,  who  has 


[145] 


^  ■ 
\ 


>  *^^ 


ART  AND  ARCHAEOLOGY 


been  the  president  of  the  Institute  for 
nearly     forty     years.  Rembrandt, 

Rubens,  Van  Dyck,  Hals,  Hobbema, 
Van  Ostade,  Ter  Borch,  Jan  Steen, 
Teniers,  Ruysdael,  Van  de  Velde  and 
other  masters  are  finely  represented  in 
this  gallery. 

The  next  step  of  importance  in  the 
history  of  the  Institute  followed  soon 
and  was  closely  connected  with  the 
Chicago  World's  Fair  of  1893.  There 
was  a  general  sentiment  in  Chicago  that 
some  permanent  building  should  be 
erected  in  connection  with  the  Fair 
which  should  remain  as  a  memorial  of 
the  great  exposition.  This  sentiment 
soon  crystallized  into  the  proposition 
that  there  should  be  an  art  temple  on 
the  Lake  Front,  and  that  this  structure, 
at  the  close  of  the  Fair,  should  become 
the  permanent  home  of  the  Art  Insti- 
tute. By  a  three  party  agreement  be- 
tween the  City  of  Chicago,  the  direc- 
tors of  theWorld'sFair  and  the  Trustees 
of  the  Art  Institute,  the  city  granted  the 
use  of  400  feet  of  frontage  on  Michigan 
Boulevard  at  the  foot  of  Adams  Street 
on  which  a  building  should  be  erected 
at  the  expense  of  the  Art  Institute  and 
the  World's  Fair,  the  former  to  bear  the 
greater  part  of  the  cost,  the  latter  to 
have  the  use  of  the  building  for  the 
World's  Congresses,  and  the  Institute 
to  have  permanent  possession  and 
occupancy  after  the  termination  of  the 
Fair.  The  principal  condition  of  oc- 
cupancy by  the  Art  Institute,  as  de- 
fined in  the  agreement,  was  that  the 
museum  should  be  free  to  the  public 
on  Wednesdays,  Saturdays,  Sundays 
and  public  holidays.  Immediately  fol- 
lowing the  close  of  the  exposition  the 
museum  collections  were  installed,  and 
on  December  8,  1893,  the  permanent 
home  of  the  Institute  was  formerly 
opened  to  the  public  and  its  doors  have 
never  since  been  closed  for  a  single  day. 

[149] 


In  later  years  the  Ryerson  Library, 
FuUerton  Hall  and  the  large  East  Wing 
were  added  to  the  main  building,  giving 
a  total  floor  space  of  120,000  square  feet, 
devoted  to  about  150  galleries,  school- 
rooms, studios  and  offices.  The  Ryer- 
son Library  contains  14,000  volumes 
and  is  one  of  the  few  libraries  in  the 
world  devoted  exclusively  to  art.  Im- 
mediately adjoining  the  Ryerson  is  the 
Burnham  Library  with  2,500  volumes 
on  architectural  subjects.  Fullerton 
Hall  is  an  auditorium  seating  500 
people.  Here  are  held  most  of  the  im- 
portant lectures  and  entertainments  of 
the  Institute. 

The  museum  possesses  more  than  750 
paintings ;  i  ,000  pieces  of  sculpture,  in- 
cludingcasts,  originals  and  antique  frag- 
ments; thousands  of  prints,  etchings, 
engravings  and  lithographs;  1,500  tex- 
tiles of  ancient  and  modern  times,  in- 
cluding Egyptian  and  Peruvian  ex- 
amples to  the  1 8th  century;  collections 
of  china,  potteries,  porcelains,  etc., 
among  them  the  Blanxius  collection  of 
English  potteries  and  porcelains,  one  of 
the  most  complete  extant.  Among  the 
well  known  collections,  in  addition  to 
the  Old  Masters  mentioned  above,  are 
the  Henry  Field,  A.  A.  Munger  and 
Nickerson  memorial  collections  which 
include  canvasses  by  painters  of  the 
Barbizon  school  and  early  American 
landscape  and  figure  painters.  Modem 
art  is  well  represented  by  a  group  of 
nearly  100  paintings  presented  to  the 
Institute  by  the  Friends  of  American 
Art,  an  association  organized  ten  years 
ago  for  the  purpose  of  purchasing  and 
presenting  to  the  Institute  works  by 
American  artists.  One  gallery  in  the 
Institute  is  occupied  entirely  by  paint- 
ings by  George  Inness,  the  gift  of  Ed- 
ward B.  Butler  of  Chicago.  The  col- 
lection of  paintings  in  the  museum  has 
been     greatly    enriched     within     late 


Rembrandt's  portrait  of  "Young  Girl  at  Half  Open  Door."     One  ul  l1i^  iii.ai\  lrca:,uicN  ol  tliu  Art  In-,Uuite 

of  Chicago. 


'The  Song  of  the  Lark,"  By  Jules  Breton.     The  most  popular  painting  in  the  Art  Institute  of  Chicago. 


\  Ti 


Assumption  of  the  Virgin,  By  EI  Greco.     Art  Institute  of  Chicago. 


ART  AND  ARCHAEOLOGY 


months  by  the  addition  of  the  im- 
portant Kimball  and  Palmer  bequests. 
These  two  collections  contain  important 
examples  of  the  work  of  some  of  the 
world's  greatest  painters.  Among  the 
painters  represented  are  Rembrandt, 
Turner,  Reynolds,  Gainsborough, 
Romney,  Millet,  Delacroix,  Corot, 
Renoir,  Zorn,  Monet,  Degas  and  Puvis 
de  Chavannes. 

The  museum  contains  a  large  number 
of  interesting  and  important  art  objects 
of  antiquity,  many  of  which  have  been 
presented  by  The  Antiquarian  vSociety 
of  the  Art  Institute. 

The  permanent  collections  of  the 
Institute  are  of  great  value  to  the  stu- 
dent and  the  general  pubHc  but  they 
constitute  only  a  part  of  what  is  offered 
to  both.  Each  year  there  are  about 
sixty  temporary  exhibitions  of  paint- 
ings, sculpture,  architecture  and  apphed 
arts  consisting  of  group  collections, 
"one  man  shows"  and  loans  from  pri- 
vate collections.  A  number  of  these 
exhibitions  are  conducted  under  the 
auspices  of  art  societies  and  organiza- 
tions. At  the  close  of  each  school  year 
there  is  a  large  and  interesting  exhibi- 
tion of  the  work  of  the  students.  There 
are  literally  hundreds  of  other  passing 
attractions  during  the  year  in  the  form 
of  lectures,  association  meetings,  con- 
certs, pageants  and  other  entertain- 
ments in  Fullerton  Hall  and  the  Club 
Room.  These  affairs  are  of  vital  im- 
portance to  the  Institute  in  its  mission 
of  carrying  art  to  the  people.  The 
patrons,  visitors  and  students  are  thus 
kept  constantly  informed  of  current 
achievement  and  thought  in  the  art 
world  and  the  increasing  thousands  of 
citizens  who  constantly  are  drawn  to 
the  exhibits  during  the  year,  are  evi- 
dence of  what  the  Institute  is  doing  for 
art  among  the  people.  vSince  the  open- 
ing of  the  present  home  of  the  Institute 
twenty  million  people  have  visited  the 

[153] 


galleries,  libraries,  school  and  audi- 
torium; the  annual  attendance  has 
usually  passed  the  million  mark  and  at 
the  present  writing  the  Institute's 
membership  stands  at  about  13,000. 

Three  years  ago  the  Institute,  in  con- 
formity with  its  purpose  to  spread  the 
knowledge  and  appreciation  of  art, 
widened  its  field  of  endeavor  through 
the  mediimi  of  an  extension  department 
which  carries  the  message  of  art  in  the 
home  to  cities  and  towns  far  and  near. 
This  intimate  and  rather  specific  propa- 
ganda is  called  "The  Better  Homes 
Institute."  A  lecturer  with  an  elabo- 
rate equipment,  consisting  of  oil  paint- 
ings, a  collapsible  room,  movable  fire- 
place, windows  and  doors,  draperies, 
house  and  garden  plans,  photographs, 
etc.,  conducts  a  five  day  series  of  lec- 
tures and  practical  demonstrations  on 
how  to  build,  decorate  and  furnish  the 
home. 

The  school  of  the  Art  Institute  is 
cosmopolitan.  It  draws  a  patronage  of 
3,000  students  a  year  from  many  states 
and  nations.  Many  of  the  graduates 
and  former  students  of  the  school  have 
won  fame  and  success  in  the  art  world. 
The  faculty  of  the  school  is  composed  of 
about  forty  instructors  and  teachers. 
Eminent  painters  from  the  world  over 
are  from  time  to  time  secured  as  tem- 
porary instructors— among  them  have 
been  such  men  as  vSoroUa,  Mucha, 
Chase,  Hawthorne,  Melchers,  Carlsen 
and  Bellows. 

The  ever  increasing  support  of  the 
people,  the  constant  vigilance  and  care 
of  officers  and  trustees,  and  the  be- 
quests from  philantliropic  citizens  have 
combined  to  make  The  Art  Institute  of 
Chicago  what  it  is  today — an  educator 
of  professional  artists  and  art  instruc- 
tors, and  an  active,  militant  and  effec- 
tive agent  in  disseminating  the  appre- 
ciation of  art  among  all  classes  of  people. 


Portrait  of  George  Washington,  By  Gilbert  Stewart.     Collection  of  Arthur  Meeker. 


The  Sacred  Grove,  Bv  Pierre  Puvis  de  Chavaiiiies.     Collection  of  Mrs.  Potter  Palmer. 


SOME  COLLECTORS  OF  PAINTINGS 

By  Lena  M.  McCaulEy. 


LEvSvS  than  a  century  since  its 
settlement,  and  but  half  a  cen- 
tury rising  Phoenix-like  from  the 
flames  of  the  Great  Fire  of  1871  that 
burned  out  its  heart  and  veiled  in 
gloom  the  ambitions  of  its  founders, 
Chicago  in  these  short  years  has  estab- 
lished itself  as  a  stronghold  of  the  fine 
arts  in  America  with  an  enthusiastic 
spirit  of  enterprise  that  is  stimulating 
to  the  energies  of  producers  and  col- 
lectors alike. 

Among  the  pioneer  city  fathers  were 
men  of  vision  who  inherited  culture 
from  their  homes  in  older  cities.  In 
the  early  thirties  the  village  was  named 
the  "Garden  City"  because  of  the 
tasteful  home  grounds  and  the  subur- 
l)an  groves  of  native  oaks,  willows, 
dogwoods  and  wealth  of  prairie  flora  at 
the  head  of  Lake  Michigan,  a  condition 
of  natural  beauty  which  in  later  years 
gave  a  park  system  and  the  Forest 
Preserves  to  the  metropolis.     In  look- 


ing backward,  it  is  believed  that  the 
unusual  number  of  painters  of  land- 
scape of  the  middle  west  and  Lake 
Alichigan  region,  and  the  preponder- 
ance of  paintings  of  landscape  in  private 
collections  may  in  some  measure  be 
due  to  the  influence  of  the  woodlands 
of  the  Desplaines  and  Chicago  Rivers 
and  the  Dunes  of  Lake  Michigan  with 
prairie  lands  and  their  sunset  skies 
between. 

With  a  background  of  nature  and  un- 
limited opportunity  for  expansion  and 
business  advantage,  the  democratic 
social  leaders  of  Chicago  accepted  an 
artistic  illumination  in  ways  peculiarly 
their  own.  The  owners  of  stately 
homes  on  the  North  vSide,  on  Michigan 
Avenue  south  of  the  river,  and  on  the 
west  side  of  the  stream — tliree  colonies 
of  individuality,  had  their  own  house- 
hold gods  in  ancestral  portraits,  some 
of  the  schools  of  Sir  Joshua  Reynolds, 
Sir  Thomas  Lawrence,  Romney,  Hop- 


;i5S] 


The  Sea,  By  William  Ritschel.     Collection  of  Paul  Schulze. 


ner  and  Raebum  and  others  proud  of 
Colonial  inheritance  from  Stuart  and 
Copley.  That  collectors  of  the  ear'y 
time  had  public  spirit  appears  in  the 
catalogue  of  the  "First  Exhibition  of 
Statuary,  Paintings,  etc."  which  opened 
at  Burch's  Building,  Wabash  avenue 
and  Lake  Street  May  9,  1959.  Lieut. 
Col.  James  D.  Graham  U.  S.  A.  was 
chairman  of  the  committee  and  Leonard 
W.  Volk  the  Curator.  Mr.  Volk 
executed  five  pieces  of  the  fifteen 
pieces  of  sculpture,  one  of  these  being 
a  life  size  statue  of  Stephen  A.  Douglas. 
G.  P.  A.  Healy,  the  portrait  painter,  in- 
vited   west    to    execute    commissions 


(1855)  had  seventeen  portraits  in  a  col- 
lection of  305  canvases  of  European 
origin.  Col.  Graham  loaned  paintings 
by  Da  Vinci,  Van  Ostade,  Salvator 
Rosa  and  Titian,  and  thus  is  among  the 
first  private  collectors  of  Chicago.  In 
the  meantime  Martin  O'Brien  had  come 
from  New  York  to  sell  prints  to  col- 
lectors and  in  1855  opened  the  first  Art 
Dealers'  Gallery.  When  the  Academy 
of  Design  was  organized  in  1866  by 
L.  W.  Volk,  Walter  Shirlaw  and  F.  S. 
Church,  Martin  O'Brien  was  a  Fellow 
and  John  La  Farge,  G.  P.  A.  Healy  and 
Elkins,  the  landscape  painter,  ex- 
hibitors. 

[156] 


■■-..-  *^; 

''  S^^lh-    $ 

^ 

c 

9^ 

i 

if    ■ "  V 

£                                      ■'i.-^^m^^^'"^  '^:<'  .    . 

f-^ 

1 

PBgK't?''"     .  ^^in^HS^HI 

7,V 

-> 

Interior  of  Forest,  By  Diaz.     Collection  of  C.  Bai  Lihme. 


The  influence  of  G.  P.  A.  Healy, 
painting  575  portraits  of  eminent  men 
and  women  of  Illinois  in  the  years  be- 
tween 1855  and  1867,  laid  the  founda- 
tions for  a  general  interest  in  portrait- 
ure. Mr.  Healy's  presentments  of 
statesmen  of  the  Civil  War  period  and 
prominent  citizens  are  highly  regarded 
today.  The  devastating  Great  Fire  of 
1 87 1  which  wiped  out  the  handsome 
homes  on  the  north  side  destroyed 
many  portraits  by  Mr.  Healy.  At  his 
death  not  long  ago  he  bequeathed  his 
own  private  collection  of  portraits  to 
the  Newberry  Library  where  they  hang 
today.    The  Historical  vSociety  and  the 

[157] 


Art  Institute  possess  examples  of  the 
original  collection  owned  by  the  artist. 

While  the  Great  Fire  of  1871  had 
wiped  out  homes,  art  galleries  in  the 
making,  the  public  library  and  what- 
ever art  treasure  the  city  had  acquired, 
in  less  than  eight  years  on  May  24,  1 879, 
the  Art  Institute  was  incorporated,  the 
school  opened  and  in  1883  the  first  ex- 
hibition held  in  the  Art  Institute 
Galleries.  Like  the  initial  display  of 
1859,  it  was  a  loan  collection,  and  is 
evidence  that  lovers  of  the  fine  arts 
had  begun  to  acquire  works  of  art. 

The  World's  Columbian  Exposition 
of  1893  gave  the  greatest  impetus  of  all 


ART  AND  ARCHAEOLOGY 


Beata    Beatrix,    By    Dante   Gabriel   Rossetti. 
lection  of  Chas.  L.  Hutchinson. 


Col- 


to  a  curiosity  concerning  the  arts  of 
diflferent  lands  and  the  opportunity  to 
purchase  paintings.  Artists  came  from 
abroad.  Anders  Zorn  of  vSweden,  Blom- 
mers  of  Holland  and  his  companions, 
painters  from  France  and  England 
directly  contributed  to  the  Chicago 
collectors. 

Many  private  collections  of  paintings 
date  their  beginnings  to  the  artistic 
awakening  of  the  World's  Fair.  With 
that  era  Chicago  became  more  cosmo- 
politan, its  wealth  growing  rapidly,  and 
great  fortunes  were  accumulated  in  the 
"Golden  Age"  preceding  the  "World 
War"  just  at  an  end.     The  Art  Insti- 


tute museum  testifies  to  the  private 
collectors  of  that  era,  the  Henry  Field 
Memorial  Room,  the  Elizabeth  Ham- 
mond Stickney  Room,  the  A.  A.  Mun- 
ger  and  the  Nickerson  Collections  of 
paintings,  prints  and  oriental  anti- 
ciuities.  It  was  the  private  collector 
who  laid  the  stones  of  the  institution 
that  today  welcomes  over  1,000,000  of 
visitors  annually  to  its  galleries. 

To  Charles  L.  Hutchinson  the  presi- 
dent, and  to  Martin  A.  Ryerson, vice- 
president,  of  the  Art  Institute,  Chicago 
and  the  present  generation  of  private 
collectors  in  particular,  owes  a  debt  of 
gratitude.  They  have  added  treasure 
generously  and  have  persuaded  others 
to  give  to  the  exhibits.  The  hospitality 
of  the  institution  leads  to  educational 
influences  among  citizens  at  large,  and 
there  is  not  a  collector  to  be  named  who 
does  not  feel  responsive  to  the  purposes 
of  the  museum  and  who  does  not  realize 
the  power  it  has  to  elevate  taste  and  to 
satisfy  a  hunger  for  the  solace  of  art 
among  the  people.  Hence,  Chicago's 
private  collectors  do  not  stand  apart, 
but  are  bound  up  with  the  civic  inter- 
ests in  art  matters. 

Mr.  Alartin  A.  Ryerson,  vice-presi- 
dent of  the  Art  Institute,  is  first  in 
honors  as  a  private  collector.  Mr. 
Ryerson  is  a  persistent  traveler,  a  stu- 
dent of  art  and  a  keen  observer  of  the 
changing  fashions  in  technique  and  the 
conditions  that  rule  the  periods  of  art 
production.  His  taste  has  a  liberal 
range  from  the  early  Primitives  of 
Italy  to  the  transitional  styles  of  today. 
While  his  purchase  of  the  "Old  Masters" 
of  the  fifteenth  and  sixteenth  centuries, 
Perugino,  Hans  Memlinc,  Ghirlandajo, 
Maitre  de  Moulins,  School  of  the 
Amienois,  Arentino  vSpinello,  Jacopo 
del  Sellaio,  Giovanni  Battista  Tiepolo, 
Allegretto  Nuzi,  Neroccio  di  Bartolom- 
meo,  Alessandro  Magnasco,   Giovanni 

[158] 


Rembrandt  with  a  Steel  Gurgct,  By  Rembrandt.     Collection  of  Frank  G.  Logan. 


I  T'? 


Landscape,  By  Cuiot.     Collection  of  Charles  L.  Hutchinson. 


di  Paolo,  and  Colijn  de  Coter  and 
Bartholomeus  de  Bruyn  and  their  kin- 
dred, might  lead  the  viewer  to  believe 
that  Mr.  Ryerson  preferred  to  choose 
among  these  and  the  Flemish  and  Dutch 
of  this  and  later  periods — Gheraerd 
David,  Gerard  Ter  Borch,  Jan  Breughel 
the  Younger,  Joos  van  der  Beke,  Jan 
van  Goyen,  Pieter  de  Hooch,  Adriaen 
van  Ostade,  Casper  Netscher,  Jacob 
van  Ruisdael,  David  Teniers  the 
Younger,  Rogier  van  der  Weyden  and 
Lucas  van  Leyden,  together  with  the 
Spaniards,  Lucientes  y  Goya,  and 
"Spanish  Artist  Unknown,"  the  Vene- 
tian Guardi,  the  Genoese  Alessandro 
Magnasco,  the  German  Sebastian  Scheel, 
one  has  but  to  turn  from  the  doorway 
of  the  gallery  in  which  he  houses  a 


"Loan  Collection"  at  the  Art  Institute 
to  discover  that  he  has  made  recent 
additions  to  his  collections  of  modem 
French  and  secured  unusual  examples 
of  American  art. 

In  time,  the  collection  of  canvases 
which  Mr.  Ryerson  is  gathering  from 
the  studios  as  well  as  the  markets  of 
modern  French  painters,  will  be  monu- 
mental of  the  era  ushered  in  by  Claude 
Monet  and  Pierre  August  Renoir.  His 
French  Impressionists  galler>'  contains 
paintings  of  Monet's  "Garden  at  Ar- 
genteul,"  "Poplars  at  Givemy,"  "The 
Coast  Guard,"  "vSea  and  Cliffs,"  "Chff 
Road,"  "Misty  Morning"  executed  in 
different  years,  his  Venice  "L'Eglise 
San  Gorgio"  and  from  Monet's  English 
tour  the  paintings  of  "Waterloo"  and 

[160] 


Dutch  Fishing  Boats,  By  J.  M.  W.  Turner     Collection  of  Mrs.  W.  W.  Kimball. 


"Westminster" — and  in  yet  another 
mood  a  study  in  color  of  an  arrange- 
ment of  fruit.  Thus  there  is  a  compre- 
hensive representation  of  phases  of  the 
life  work  of  the  great  Frenchman. 

The  canvases  by  Renoir  hanging  in 
the  same  gallery,  illustrate  his  in- 
dividuality beside  the  productions  of 
his  brother  artist.  Mr.  Ryerson's  Re- 
noirs  including  the  figure  paintings  of  a 
"Child  in  a  White  Dress"  and  "The 
Sisters"  with  happy  arrangements  of 
fruit  and  flowers  suggest  the  growth  of 
a  particular  collection  with  a  definite 
purpose.  Contributing  to  the  larger 
general  collection  of  French  painting 
since  Monet  and  of  the  present  are 
nearly    one    hundred    canvases     each 

[1611 


chosen  with  care  as  speaking  for  its 
master  who  is  working  overseas  today. 
Mr.  Ryerson's  twenty-two  water- 
colors  by  Winslow  Homer  belong  to  the 
years  of  the  noblest  powers  of  this 
celebrated  American.  Such  a  group  of 
drawings  is  convincing  of  the  direct 
methods  of  a  great  painter  in  which 
technique  and  poetry  are  equally  bal- 
anced. The  catalogue  includes  studies 
from  Winslow  Homer's  excursion  to  the 
Bahamas,  his  months  in  England  and 
his  fruitful  period  at  the  Atlantic 
Coast.  Among  the  subjects  from  the 
Bahamas  are  "The  Gulf  Stream," 
"Stowing  vSail"  and  "After  the  Tor- 
nado"— themes  that  developed  into 
great  compositions  later.     From  over 


ART  AND  ARCHAEOLOGY 


Altar  Piecu,  ii\  Gii)\aiiiii  HaUisla  Tit'iiulu.     Collection 
of  Martin  A.  Ryerson. 


seas  came  "Scarboro,  England,"  "The 
Watcher,"  "The  Return,"  "Tyne- 
mouth  Priory"  and  "Flamboro  Head." 
Adventures  in  the  Adirondacks  resulted 
in  "Northwoods  Club,"  "The  Rapids- 
Hudson  River,"  "End  of  the  Day," 
"Camp  Fire,"  "The  Lone  Boat"  and 
"The  Guide,"  and  at  his  favorite 
studio  on  the  Atlantic  coast  he  painted 
"Breaking  vStorm — Coast  of  Maine," 
"  Marblehead, ' '  "  Sunshine  and  Shade — 


Prout's  Neck,"  "Breakers,"  "Evening 
Calm"  and  "Breaking  Wave — Prout's 
Neck." 

Mr.  Ryerson  is  an  insatiable  col- 
lector of  the  arts  of  all  time,  but  as  yet 
chiefly  of  the  painters  of  Europe.  His 
example  as  a  discriminating  collector 
has  inspired  his  associates,  and  should 
the  day  ever  come  when  his  private 
collections  will  be  displayed  in  their 
entirety,  the  feast  and  all  its  surprises 
will  be  for  the  public  and  Chicago 
greatly  benefit  thereby. 

The  Mrs.  W.  W.  Kimball  Collection 
of  paintings  assembled  year  after  year 
under  the  most  exacting  scrutiny  of 
every  canvas  and  its  history,  gave  her 
home,  1 80 1  Prairie  avenue,  the  quality 
of  a  small  art  gallery  of  the  noblest 
order.  Mrs.  Kimball  had  traveled  and 
acquainted  herself  with  art  collections 
of  the  first  rank  and  when  she  decided 
to  acquire  for  herself,  she  had  the 
wisdom  to  ask  the  service  of  con- 
scientious art  dealers  with  knowledge 
of  the  paintings  on  the  market  and  the 
means  of  obtaining  them.  Her  draw- 
ing room  and  library  adorned  with 
bronzes  and  art  objects,  each  with  its 
romance,  the  walls  hung  with  paintings 
rare  in  the  world's  history  of  two 
centuries,  was  a  Mecca  to  which  only 
the  few  could  make  pilgrimages,  al- 
though the  doors  were  thrown  open  to 
the  American  Federation  of  Arts  in 
Convention  in  Chicago  some  ten  years 
ago. 

At  the  death  of  Mrs.  Kimball,  June 
1 92 1,  her  will  bequeathed  the  paintings, 
about  twenty  in  all,  valued  at  $1,- 
000,000  to  the  Art  Institute,  in  which 
thc}^  are  hanging  today.  Her  last 
acquisition  was  "The  Keeper  of  the 
Herd"  by  Jean  Francois  Millet,  the 
finest  example  of  the  Barbizon  master's 
work  in  the  west.  The  portrait  of  Rem- 
brandt's father,  "Harmen  Gerritz  van 


[162] 


ART  AND  ARCHAEOLOGY 


Rijn"  painted  in  1631  and  signed  in 
monogram  by  Rembrandt,  is  a  valued 
canvas.  The  Sir  Joshua  Reynolds 
portrait  "Lady  Sarah  Bunbury  sacri- 
ficing to  the  Graces"  is  famous  in  its 
school,  and  "Dutch  Fishing  Boats"  by 
J.  M.  W.  Turner  commands  regard  as  a 
thrilling  example  of  the  spectacular 
compositions  by  this  eminent  English- 
man. 

"vStoke-by-Nayland"  (Suffolk)  a 
richly  liued  luxuriant  landscape  by 
John  Constable  (1776-1837) ;  the  por- 
trait of  the  Countess  of  Bristol  and  a 
landscape  by  Thomas  Gainsborough 
(172 7-1 788),  portrait  of  Mrs.  Wolff 
(18 15)  by  Sir  Thomas  Lawrence,  por- 
trait Lady  Francis  Russell  (Anne  Ker- 
shaw) painted  by  George  Romney 
( 1 785-1 787)  and  an  Italian  Landscape 
with  white  cliff  and  castle  by  Richard 
Wilson  of  the  same  period,  constitute  a 
worthy  representation  of  the  British 
painters  of  the  eighteenth  century  of 
which  the  Lady  Sarah  Bunbury  of  Sir 
Joshua  Reynolds  is  the  brightest  star  in 
the  galaxy  of  the  arts  assembled. 

In  addition  to  the  lovely  canvas,  "The 
Keeper  of  the  Herd",  by  Millet,  Mrs. 
Kimball's  group  of  French  masters  in- 
cludes, "Bathing  Nymphs  and  Child", 
(landscape)  by  Corot,  "Pond  in  the 
Woods,"  by  Diaz,  Landscape  by  Jules 
Dupre,  and  of  the  modern  impression- 
istic painters  the  compositions, "  Woods ; 
Village  Church  in  Background,  "by 
Georges  d'Espagnat  (1870);  "Nym- 
phaea,"  Waterscape  (1907),  Bordighera 
(1884)  and  "A  Field  of  Flowers  in 
France,"  by  Claude  Monet  (1840-); 
"Banks  of  River"  (1877)  by  Camille 
Pisarro;  "The  Stout  Poplar"  (1891) 
by  Alfred  Sisley  and  "Cattle  in  a  Hilly 
Country"  by  Emile  Van  Marcke  (1827- 
185 1).  Of  the  Dutch  School  there  is  a 
"Wooded  Landscape  with  Cottage  and 


Madonna  with  Angels,  By  Colyn  de  Coter.     Collec- 
tion of  Martin  A.   Ryerson. 

Horseman"  by  Hobbema  (i 638-1 709) 
and  a  "Waterfall  near  a  Castle"  by 
Jacob  van  Ruisdael,  strikingly  char- 
acteristic of  the  masters.  All  canvases 
in  this  collection  bear  the  signatures  of 
the  artists. 

The  private  collection  of  paintings 
by  French  masters  of  the  nineteenth 
century  made  by  the  late  Mrs.  Potter 
Palmer  and  long  housed  in  a  gallery 
built  for  them  adjoining  her  residence  on 
the  Lake  vShore  Drive  stands  alone  in  its 
importance.  Mrs.  Palmer  traveled  ex- 
tensively, visiting  artists  in  their  studios 


[163] 


Landscape,  By  George  Inness.     Collection  of  Cyrus  H.  McCormick. 


Lady  Bunbury,  By  Sir  Joshua  Reynolds,  Kimball  Collection. 


Its' 


Clouds  ami  Miiishine,  By  A.  H 


Cresmer. 


and  acquainting  herself  with  the  arriv- 
ing styles  and  the  younger  painters 
making  themselves  famous  in  and  near 
Paris.  Her  private  gallery  to  which 
she  made  additions  until  the  time  of  her 
death  a  few  years  ago,  was  open  to  the 
public  and  a  knowledge  of  the  cele- 
brated group  of  men  of  the  Barbizon 
School  and  those  after  them,  Monet, 
A-Ianet,  Renoir,  Sisley,  Pissaro,  Raf- 
faelli  and  Puvis  de  Chavannes  was 
brought  into  the  educational  field  of 
art  in  the  western  city.  By  a  generous 
agreement  of  her  heirs,  the  Art  Insti- 
tute has  the  privilege  of  selection  of  the 
most  desirable  paintings  without  limit- 
ing their  choice  to  the  $100,000,  named 
in  the  bequest. 

Mrs.  Potter  Palmer's  gallery  includes 
"The  Sacred  Grove"  by  Puvis  de  Cha- 
vannes, a  composition  that  embodies 
the  peculiar  characteristics  of  this  poetic 
Frenchman    whose    special   gifts    were 


exercised  in  mural  paintings  of  greater 
size.  The  eight  examples  of  Jean 
Charles  Cazin  are  illuminating  of  the 
breadth  of  vision  of  this  master.  Here 
is  the  "Adam  and  Eve  Driven  from 
Eden,"  "Magdalen  in  the  Desert," 
"Judith  Leaving  the  Walls  of  Bethuha," 
"Bathers'  Breakfast,"  "Harvest  Field" 
and  "Cafe  de  la  Paix"  and  a  "Night 
Scene." 

From  Camille  Corot,  there  is  a 
variety  of  compositions  to  surprise  the 
average  viewer  building  his  knowledge 
on  the  typical  museum  landscapes 
known  to  all.  The  six  Corots  present 
"Amalfi  Italy,"  "Evening  Landscape," 
"Ville  d'Avray,"  "Fisherwoman  of  Zuy- 
decote-op-Zee,"  "Interrupted  Reading" 
and  the  notable  "Orpheus  Saluting  the 
Light."  The  four  canvases  by  Jean 
Francois  Millet  maintain  the  popular 
ideal  in  "Hilltop,  Shepherdess  and 
Sheep,"     "Little    Shepherdess,"    "The 


fl66] 


Morning,  By  Blakelock.     Collection  of  Ralph  L.  Cudney. 


vSheep  Shearers,"  and  "Rail  vSplitter." 
There  is  a  "Wood  Interior,"  by  Diaz, 
"Lion  Hunt,"  by  Delacroix,  "Reverie," 
by  Bastien-Lepage,  two  paintings  of 
women  by  Besnard,  and  a  "Cattle 
Scene"  by  Troy  on. 

By  means  of  the  striking  figure  paint- 
ings, "The  Dancer,"  "The  Morning 
Bath"  and  "On  the  Stage,"  Mrs.  Palmer 
introduced  Edgar  Degas  to  the  art 
public  of  Chicago.  Claude  Monet's 
four  typical  canvases,  as  many  by 
Camille  Pissarro,  "Horse  Racing  and 
Regattas  on  the  Mediterranean,"  by 
Edouard  Manet,  a  trio  of  studies  of 
Paris  by  Jean  Francois  RaffacUi,  and 
four  canvases  by  August  Renoir,  "Cat- 
tle Scene,"  by  Troyon,  "Le  Bretonne," 
by  Dagnan-Bouveret,  "Village  Street 
Moret,"bySisley  ."Twilight ,  "by  Lerolle , 
two  water  color  sketches  by  Anton 
Mauve  and  a  "Harbor Scene  at  Sunset," 
by  Jongkind,  both  from  Holland — are 
exceptional  works.  W'ith  these  is  an 
effective  selection  from  American  paint- 
ers— George  De  Forest  Brush,  Mary 
Cassatt,     Eastman    Johnson,     George 


Hitchcock,  Gari  Melchers  and  the  well 
known  "SouthamptonWater,"  by  James 
McNeill  Whistler.  To  these  must  be 
added  the  distinguished  portrait  of  Mrs. 
Palmer  by  Anders  Zorn. 

As  President  of  the  Art  Institute 
longer  than  three  decades,  the  first 
interest  of  Mr.  Charles  L.  Hutchinson 
in  the  matter  of  collecting,  is  not  for 
himself  but  for  the  museum  and  its 
galleries.  Mr.  Hutchinson  has  an  inde- 
pendent taste  cultivated  by  travel 
which  has  led  to  an  intimacy  with  the 
famous  collections  abroad  and  in  Amer- 
ica, and  the  producing  artists  of  the 
present.  His  liberal  point  of  view  ac- 
cepts the  worthy  expressions  of  the  day, 
while  the  private  gathering  of  paintings 
that  he  loans  to  the  Art  Institute  from 
time  to  time,  indicates  that  he  has 
bought  the  pictures  of  all  periods  be- 
cause he  liked  them  for  one  reason  or 
another,  the  gallery  being  a  museum 
exposition  of  periods  and  masters  on  a 
small  scale. 

"Beata  Beatrix,"  by  Dante  Gabriel 
Rossetti  of  the  Pre-Raphaelites,  is  the 


[167] 


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Maj.  Andr6,  Attributed  to  Sir  Thomas  Lawrence.     Collection  of  Charles  F.  Gunther,  now  at  the  Chicago 

Historical  Society. 


ART  AND  ARCHAEOLOGY 


brilliant  canvas  of  this  collection.  The 
portrait  of  Joachim  by  George  Freder- 
ick Watts  is  notable.  There  are  repre- 
sentative works  by  Corot,  Daubigny, 
Dupre,  Diaz  and  Fromentin.  "The 
Laughing  Boy"  by  Hals,  "Skaters"  by 
Van  der  Neer,  small  paintings  by 
Teniers,  Baron  de  Leys,  Thomas  de 
Keyser,  Netscher,  Palamedes,  and  mod- 
ern canvases  by  Ranger  and  Henri, 
with  examples  of  the  Early  Italian  and 
a  number  of  unsigned  works,  make  a 
pleasing  exhibition  rather  for  the  sake 
of  what  pictures  ofTer  than  from  the 
point  of  view  of  the  specialist  collector. 

Mr.  Frank  G.  Logan's  home  has 
congenial  wall  spaces  for  the  enshrining 
of  his  portrait  of  "  Rembrandt  Wearing 
a  Steel  Gorget,"  by  the  immortal 
Dutchman.  In  association  with  it  are 
"Seamen"  and  "Peasant  Interior," 
by  Josef  Israels,  superior  landscapes  by 
Weissenbruch,  De  Bock  and  Mauve, 
"  Cattle, "  by  Troyon,  "  Landscape  with 
Figures,"  by  Corot,  and  choice  com- 
positions from  Dupre,  Diaz,  Jacque  and 
Rousseau,  and  by  way  of  variation  in  a 
somewhat  extensive  gathering  admir- 
able portraits  by  Hoppner  and  Opie  of 
the  English  school  of  over  a  century  ago. 

William  O.  Goodman,  associated  with 
Mr.  Logan  as  trustee  of  the  Art  Insti- 
tute, is  first  of  all  interested  in  the  larger 
collections  of  the  Friends  of  American 
Art.  In  his  home  is  the  result  of  many 
years  intimate  interest  in  the  contem- 
porary art  of  Europe  with  work  of 
Americans  who  have  arrived  at  dis- 
tinction. Mr.  Goodman's  refined  selec- 
tion is  shown  in  his  assembly  of  the 
paintings  by  Cazin  (3),  Jacque,  Diaz, 
Van  Marcke,  Harpignies,  L'Sidaner, 
Israels  (2),Blommers,  Mauve,  Schreyer, 
Bouguereau,  and  the  Americans  Keith, 
Inness,  Dewing,  Murphy,  Tryon  and 
Benson  and  J.  Francis  Murphy,  with 
a  liberal  choice  of  as  many  more  from 

[169] 


the  studios  of  the  nineteenth  century 
and  after. 

The  Edward  B.  Butler  Collection  of 
paintings  by  George  Inness,  one  of  the 
most  valued  galleries  at  the  Art  In- 
stitute, was  the  outcome  of  that  gentle- 
man's increasing  devotion  to  the  ac- 
complishments of  this  masterly  artist 
who  had  the  appreciation  of  Europe  and 
Great  Britain  as  well  as  the  praise  of  his 
own  countrymen.  Mr.  Butler's  twenty 
canvases  by  George  Inness  were  pur- 
chased for  a  sum  approaching  $150,000. 
Mr.  Inness'  periods  are  represented  in 
pictures  from  the  Catskills  dated  1867 
and  1870,  a  season  in  Italy,  and  France 
and  that  most  fruitful  period  in  the 
nineties  when  the  "Sunset  in  the 
Valley,"  "Moonrise,"  "The  Home  of 
the  Heron,"  "Early  Morning  Tarpon 
Springs,"  "Threatening"  and  "The 
Afterglow"  were  painted  with  other 
memorable  canvases  of  the  gallery 

As  might  be  expected,  in  the  interest- 
ing collection  at  Mr,  Butler's  home 
there  is  a  "Silver  Morning"  by  Inness. 
And  characteristic  of  the  American  col- 
lector who  rarely  specializes  on  century 
old  canvases  but  who  is  alive  to  his 
generation,  Mr.  Butler  has  acquired 
fine  examples  of  the  Dutch  masters  at 
the  height  of  their  powers  not  so  long 
ago — Israels,  Weissenbruch  and  Mauve, 
of  Thaulow,  eminent  in  his  time,  and 
Le  Sidaner  of  France.  He  owns  a 
dramatic  western  landscape  by  William 
Wendt,  a  marine  by  Paul  Dougherty, 
and  "In  the  Firelight"  by  Frank 
Benson  of  Boston  with  other  works  of 
interest. 

Mr.  C.  Bai  Lihme's  less  than  a 
dozen  paintings  familiar  to  the  public 
includes  "Sunrise  in  the  Orchard,"  by 
George  Inness  (1892),  a  composition  of 
the  first  rank.  This  and  the  land- 
scapes by  Corot,  Rousseau  and  Diaz 
and  an  A.  H.  Wyant,  constitute  one  of 


Dr.  Welsh  Tennent,  By  Sir  Henry  Raeburn.      Collection  of  the  Art  Institute,  formerly  of 
the  R.  Hall  McCormick  Collection. 


ART  AND  ARCHAEOLOGY 


the  most  carefully  selected  of  the  per- 
sonal collections  known  in  the  city.  All 
the  canvases  are  of  goodly  size,  all  of 
exquisite  charm  in  spirit  and  the  magic 
of  color. 

The  Mrs.  Francis  Nielson  gallery  of 
twenty  seven  canvases  is  extraordinary 
because  of  the  distinguished  portraits  of 
beautiful  women  of  the  family — that  of 
JMrs.  Neilson  painted  by  J.  J-  vShannon 
and  of  Isabel  and  Alarion  Neilson  and 
of  Ruth  Morris,  painted  by  Ruth  von 
SchoUey,  together  with  the  portraits  of 
Mrs.  Veitsch  and  Jane  Nesbit  by  Sir 
Henry  Raeburn,  Captain  Porter  by 
Sir  Joshua  Re3'nolds,  "Master  Tucker" 
and  "Lady  Bernard  as  Psyche,"  by 
Sir  William  Beechy.  It  is  one  of  those 
galleries  in  which  attention  has  been 
given  to  attractive  subject  material. 
Great  names  are  represented  from  the 
Dutch,  French  and  English  Schools, 
while  the  eye  at  once  recognizes  that 
exceptional  care  was  exercised  in  the 
choice.  Among  the  paintings  are  "Old 
Age"  and  "A  Labor  of  Love"  by 
Israels,  "The  Harvest  Wagon,"  by 
Gainsborough,  "The  vSeiners"  and  a 
landscape  by  Corot,  landscapes  by 
Daubigny,  Dupre,  Diaz  and  Richard 
Park  Bonington,  a  "Golden  Sunset"  by 
Inness  and  representative  canvases  by 
Monet,  Wyant  and  Alillais. 

Mr.  and  Mrs.  Cyrus  Hall  McCor- 
mick's  paintings  illustrate  the  interest 
of  art  lovers  at  the  beginning  of  the 
twentieth  century.  The  enthusiasm  for 
George  Inness  finds  expression  in  five 
landscapes  of  the  best  period  of  the 
great  American.  A.  H.  Wyant,  his  con- 
temporary, is  represented  by  "Keene 
Valley. ' '  The  English  School  appears  in 
the  works  of  Sir  Thomas  Lawrence, 
John  Constable,  Old  Crom2,  Gains- 
borogh,  Nasmyth  and  Hogarth.  From 
the  continent  came  a  fine  Bouguereau, 
and  the  works  of  Schreyer,  Israels,  Ziem, 


Diaz,  Dupre,  Harpignies,  Corot,  Jacque, 
Rousseau,  Troyon,  Van  Marcke,  Dau- 
chez  Henner,  Sanchez  Penier,and  more 
artists,  the  limited  space  at  command 
in  this  article  forbidding  the  descrip- 
tion and  details  that  the  subject  well 
deserves. 

English  portraiture  of  the  eighteenth 
century  has  won  the  attention  of  Mrs. 
Arthur  J.  Meeker,  whose  choice  of  three 
portraits  by  vStuart,  two  by  Peele,  and 
others  by  Inman,  Trumbull  and  Copley, 
comprise  an  exceptional  gallery. 

The  late  James  Viles  collected  paint- 
ings by  Claude  Monet  at  the  height  of 
the  brilliant  career  of  the  French  Im- 
pressionist. This  group  of  rare  beauty 
hangs  in  the  family  residence  at  Lake 
Forest.  Mr.  Arthur  Aldis  has  a  small 
but  interesting  collection  in  its  begin- 
nings in  modern  art  in  his  home  at 
Lake  Forest. 

Paul  Schulze's  gallery  of  American 
paintings  has  reached  an  importance 
entitling  it  to  particular  regard.  Mr. 
Schulze's  home  in  Kenilworth,  Illinois, 
was  a  veritable  museum  of  paintings 
and  sketches  by  contemporary  painters. 
He  has  become  a  selective  collector 
rejecting  many  canvases  that  formerly 
interested  him,  to  found  a  gallery  in 
which  only  the  best  of  Ben  Foster, 
Gardner  Symons,  Redfield,  Henri,  Oct- 
man,  Bruce  Crane,  William  Ritschel 
and  contemporaries  appear  in  large, 
striking  canvases. 

The  late  Dr.  F.  W.  Gunsaulus  was 
not  only  a  collector  of  paintings  and 
art  objects  but  one  whose  enthusiasm 
stimulated  others  to  acquire  in  special 
directions. 

Among  active  collectors  Ralph  Cud- 
ney  is  known  for  a  keen  discrimination 
in  his  purchase  of  canvases  for  a  private 
gallery,  jealously  guarded  from  the 
public.  He  enjoys  the  elusive  and 
poetic.     The    landscapes    painted    by 


[171] 


ART  AND  ARCHAEOLOGY 


Blakelock,  Wyant,  J.  Francis  Murphy 
and  a  rare  figure  painting  by  Fuller 
have  histories  in  the  records  of  dealers 
and  museums.  They  hang  on  his 
walls  with  companion  pictures  of  a 
kindred  aristocracy. 

William  T.  Ciesmer  is  a  leader  among 
the  younger  collectors  constructing  in- 
dependent group?  of  the  best  works  of 
American  painters.  Unlike  the  first 
Chicago  collectors  who  went  to  Euro- 
pean art  centers  eagerly,  Mr.  Cudney, 
Mr.  Cresmer,  and  Mr.  Valentine  show 
faith  in  the  standards  of  American  art. 
The  six  most  important  canvases  in  Mr. 
Cresmer's  home  where  forty  well  chosen 
pictures  are  the  foundations  of  a  larger 
gallery,  are  "The  Winding  Path"  by 
J.  H.  Twatchman  (one  of  the  very  best 
Twachtmans),"  Clouds  and  Sunshine," 
by  Alexander  H.  Wyant,  "Morning 
Englewood,"  by  George  Inness,  "To  the 
Rescue,"  by  Winslow  Homer,  "Aloon- 
light-Enchanted  Pool,"  by  R.  A.  Blake- 
lock, and  "Edge  of  the  Swamp,"  by  J. 
Francis  Murphy. 

Mr.  and  Mrs.  L.  L.  Valentine's 
private  gallery  possesses  a  number  of 
small  jewel  like  canvases  including 
Blakelocks  as  well  as  a  score  of  paint- 
ings by  contemporary  Americans.  Mr. 
Valentine  is  an  eager  collector  and  his 
gallery  is  on  the  way  to  importance. 

Charles  W.  Dilworth  gives  his  atten- 
tion to  a  collection  of  American  painters 
owning  compositions  of  his  personal 
choice  painted  by  J.  Francis  Murphy, 
H.  O.  Tanner,  Ralph  Blakelock,William 
Wendt,  William  Ritschel  and  Paul 
Dougherty  and  others  of  the  period. 

Unique  to  the  west  is  the  practice  of 
women's  clubs  and  social  organizations 
in  establishing  art  galleries  of  the  works 
of  local  painters.  The  Municipal  Art 
League  has  a  growing  collection  of 
paintings   by   artists   of   Chicago,    one 


canvas  being  purchased  every  year. 
The  Chicago  Woman's  Club,  the  Arche 
Club,  the  Chicago  Woman's  Aid  and 
half  a  dozen  more  organizations  af- 
filiated with  the  Municipal  Art  League, 
have  private  collections  housed  in  their 
meeting  rooms  and  estimated  as  worthy 
in  art  and  of  considerable  value. 

An  extensive  survey  of  the  field 
recalls  notable  collections  that  left 
their  impression  on  artistic  tastes  in  the 
west,  and  galleries  of  paintings  in  their 
beginnings  in  private  homes  which  have 
taken  root  and  promise  much  for  the 
future.  In  view  of  the  place  of  the 
family  in  our  social  life,  it  is  permissible 
to  speak  of  the  R.  Hall  McCormick  col- 
lection of  paintings,  principally  of  the 
English  School ,  which  was  recently  dis- 
persed on  the  death  of  Mr.  McCormick 
but  of  which  there  remains  the  Sir 
Henry  Raeburn  portrait  of  "Dr.  Welsh 
Tennent  of  Tennent  House,  Fife"  a  fine, 
well  preserved  example  of  the  art  of  the 
English  master. 

The  Gunther  Collection,  made  by 
Charles  Gunther,  a  man  of  varied  in- 
terests in  a  life  time  included  much 
Americana  in  books,  manuscripts, 
prints,  antiquities  and  curious  articles 
of  historical  value  as  well  as  paintings. 
The  portrait  of  Maj.  John  Andre  by  Sir 
Thomas  Lawrence,  chosen  from  a  vast 
number  of  canvases  of  British  and 
American  origin,  hangs  in  the  rooms  of 
the  Chicago  Historical  Society  which  is 
slowly  but  surely  assembling  an  interest- 
ing gallery.  The  Newberry  Library  in- 
herited paintings  by  G.  P.  A.  Healy. 
The  Chicago  Club  has  its  collection  of 
portraits  of  its  officers  and  eminent 
members  by  equally  great  painters. 
Anders  Zorn  is  represented  here  by  one 
of  his  best  portraits.  The  Union  League 
Club  owns  over  200  well  chosen  can- 
vases by  living  American  painters. 


[172] 


FRIENDS  OF  AMERICAN  ART 

By  Lena  M.  AIcCauley 


THE  ORGANIZATION  of  the 
society,  "The  Friends  of  American 
Art,"  came  from  an  inspiration  of 
a  Chicago  artist,  who  beheved  that  the 
hour  had  arrived  for  a  practical  recog- 
nition of  the  achievements  of  our 
national  painters  and  sculptors,  by 
means  of  the  acquisition  of  examples  of 
their  works  worthy  to  be  preserved  in 
the  Art  Institute.  Thus  it  happened 
that  about  1909,  some  150  members  of 
the  Art  Institute  and  art  patrons, 
united  in  a  society  agreeing  each  to 
pay  $200  annually,  creating  a  fund  of 
^30.000  for  the  purchase  of  works  of 
art  deemed  suitable  for  the  gallery.  Mr. 
William  O.  Goodman,  a  trustee  of  the 
Art  Institute,  was  elected  president  and 
a  board  of  directors  including  con- 
noisseurs and  artists,  controlled  the 
activities.  As  a  result,  The  Friends  of 
American  Art  have  purchased  nearly 
100  canvases,  pieces  of  sculpture  and 
engravings,  constituting  a  collection 
that  in  a  measure  surveys  the  field  of 
production  by  American  artists  from 
colonial  days  through  the  120  years  of 
the  republic,  and  redounds  to  the  honors 
of  our  national  art.  Not  least,  the 
example  of  the  Friends  of  American 
Art  has  been  followed  by  museum 
associates  east  and  west  and  has  given 
an  impetus  to  the  formation  of  similar 
collections 

Since  the  enlargement  of  the  Museum 
by  the  opening  of  the  new  East  Wing, 
the  Art  Institute  has  been  able  to  keep 
the  Friends  of  American  Art  collection 
on  exhibition  continuously.  As  in  all 
human  affairs,  the  list  of  subscribers 
changes,  but  the  interest  continues 
unabated,  new  friends  taking  the  place 
of  those  who  have  been  obliged  to  sever 
connections,  while  the  gift  of  the  Good- 

[173] 


man  Fund  of  $50,000  provides  an  in- 
come which  when  added  to  the  annual 
revenue  of  the  organization  insures  its 
continued  purchasing  power. 

The  stranger  unaware  of  the  progress 
of  American  painting  is  amazed  at  the 
beauty,  individuality  and  strength  of 
the  canvases  hung  in  the  exhibitions. 
It  is  possible  to  study  the  best  periods, 
although  the  Colonial  and  the  work  of 
the  last  twenty  years  in  contemporary 
painting  and  sculpture  are  more  con- 
spicuous. The  chief  aim  of  the  society 
has  been  to  acquire,  so  far  as  its  re- 
sources allow,  a  collection  of  modern 
American  works  of  art  representative 
of  the  best  that  is  now  being  done  and 
also  of  the  present  standard  of  art  and 
taste.  In  addition  to  owning  works  by 
artists  of  established  reputation,  it 
seeks  to  encourage  younger  artists — 
to  recognize  them  early  by  purchasing 
their  works.  This  has  had  a  whole- 
some effect  on  the  production  of  the 
year,  painters  executing  more  import- 
ant and  larger  canvases  with  the  hope 
of  their  being  purchased  for  the  collec- 
tion. Although  the  majority  of  pur- 
chases are  made  in  Chicago,  there  is  no 
rule  to  prevent  other  buying. 

While  the  whole  spirit  of  the  Friends 
of  American  Art  is  the  encouragement 
of  the  contemporary  painter,  sculptor 
and  engraver,  it  is  believed  that  the 
assembly  of  the  best  of  early  American 
portrait  painters  will  add  value  to  the 
collection.  Thus  far  there  have  been 
acquired  attractive  canvases — Thomas 
Sully's  "Mrs.  Lingen,"  Gilbert  Stuart's 
"Maj.  Gen.  Henry  Dearborn,"  John 
Singleton  Copley's  "Thomas  Vawdrey," 
Henry  Inman's  "William  Inman,"  and 
Benjamin  West's  "Portrait  of  a  Man." 
"Psyche"  and  "Examination  for  Wit- 


Thomas  William  Vawdrey,  By  Juiin  Singleton  Copley. 


Mrs.  Charles  Clifford  Dyer,  by  John  Singer  Sargent. 


17  r 


"He  Who  Is  Without  Sin,"  By  Benjamin  West. 


nn 


ART  AND  ARCHAEOLOGY 


nesses  in  a  Trial  for  Witchcraft"  by 
George  Fuller  are  desirable  reminders 
of  the  early  nineteenth  century. 

In  the  majority  of  modern  pictures, 
the  names  of  the  National  Academi- 
cians and  standard  bearers  of  ideals  are 
affixed  to  the  canvases.  The  gracious 
figure  painting,"  Sunlight,"  by  John  W. 
Alexander  contributes  distinction  to  the 
gallery.  Ralph  Clarkson's  "A  Daughter 
of  Armenia"  is  a  stately  piece  of  por- 
traiture. Louis  Betts'  "Milady"  is 
notable  in  graciousness  with  a  record  of 
prize  winning  honors  at  the  National 
Academy.  And  the  signatures  of  J. 
McNeill  Whistler,  Winslow  Homer  and 
John  Singer  Sargent  on  their  com- 
positions have  an  unquestioned  value 
to  the  seeker  for  important  names  in 
the  catalogues. 

To  name  pictures  would  not  convey 
the  vision  of  the  walls  of  this  brilliant 
collection.  The  committee  acknowl- 
edges that  it  has  made  mistakes  in 
purchases,  errors  of  judgment  possible 
to  any  collector,  as  every  work  of  art  is 
dependent  upon  the  test  of  time  and  the 
rivalry  of  its  environment.  Yet  as  a 
whole  the  Friends  of  American  art  have 
succeeded  in  their  altruistic  aims  of 
encouragement  and  assembled  a  dis- 
play of  works  reflecting  the  progress  of 
the  times,  and  good  to  look  upon. 

Purchases  are  made  from  the  annual 
exhibition  of  American  Oils  of  every 
autumn,  the  Chicago  Artists  Exhibition 
and  special  shows  during  the  year. 
Among  the  painters  represented  are 
Frank  W.  Benson,  W.  Elmer  Schofield, 
John  H.  Twachtman,  J.  Alden  Weir, 
Robert  Spencer,  Ben  Foster,  George 
Elmer  Browne,  William  Ritschel,  J. 
Francis  Murphy,  Oliver  Dennett 
Grover,  Daniel  Garber,  Childe  Has- 
sam,  Charles  W.  Hawthorne,  Richard 
Miller,  Carl  F.  Frieseke,  Emil  Carlsen, 
Gifford    Beal,     William    Keith,    Leon 


KroU,  William  M.  Chase,  Frank  Duve- 
neck,  Robert  Henri,  John  C.  Johansen, 
Katherine  Dudley,  Frank  C.  Peyraud, 
T.  W.  Dewing,  Jonas  Lie,  Lawrence 
Mazzonovich,  Grace  Ravkin,  George 
Bellows,  Elliot  Torrey,  William  Wendt, 
Frederick  J.  Waugh,  L.  H.  Meakin,  M. 
Jean  McLane,  Elihu  Vedder,  Everett 
L.  Warner,  Lawton  Parker,  Gardner 
Symons,  W.  Elmer  Schofield,  Randall 
Davey,  Arthur  B.  Davies,  Mary  Foote, 
William  P.  Henderson,  James  R.  Hop- 
kins, Guy  C.  Wiggins,  Wilson  Irvine, 
Howard  Giles,  W^alter  Ufer,  Edgar  Cam- 
eron, Abram  Poole,  Elizabeth  vSpar- 
hawk  Jones,  Henry  Golden  Dearth, 
and  others,  making  a  truly  catholic 
gathering. 

"The  Solitude  of  the  Soul,"  an  im- 
pressive marble  group  of  larger  than  life 
figures  by  Lorado  Taft,  was  the  first 
purchase  in  sculpture  by  The  Friends. 
"  The  Sower, "  a  gigantic  male  figure  in 
bronze,  startling  in  its  superb  quality, 
by  Albin  Polasek,  is  an  important 
acquisition.  "  FightingBoys, "  a  bronze 
fountain  by  Janet  Scudder,  "Dancing 
Girl  and  Fauns"  and  "Indian  and 
Pronghorn  Antelope ,  "  by  Paul  Manship , 
(bronze)  and  "Eleanor"  (marble)  by 
Chester  Beach  are  in  the  class  of  the  well 
chosen. 

American  painters,  sculptors  and 
artists  in  various  media  have  sub- 
stantial encouragement  continually  be- 
fore them  in  the  many  collections  under 
the  auspicies  of  the  different  societies 
on  the  plan  of  the  Friends  of  American 
Art  which  had  its  beginnings  at  the  Art 
Institute  of  Chicago.  StiU  animated 
by  enthusiasm,  the  original  Friends  are 
adding  to  a  gallery  which  is  historical 
of  national  progress,  and  which  is  one 
of  the  most  inviting  as  well  as  the 
proudest  possessions  of  the  art 
museum. 

[178] 


■^'.r^it^i 


W 


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-  '  -  ,-    ■    -    -"    -  f-  .-  --  :-  ,-  ■-  ,-J^        ?    ^    ,  i^SL-  is  a  r  cr  d  c^. c_  L^ _v-. 


FIELD    HUStUU  OFNATUPA 


■tfrrr.tl 


THE  FIELD  MUSEUM  OF  NATURAL  HISTORY 


Bv  Fay-Cooper  Cole. 


WITH  the  opening  of  the  new 
building  of  Field  Museum  of 
Natural  History  another  great 
step  was  taken  toward  justifying  Chi- 
cago's claim  to  being  a  center  of  art. 
The  building  itself,  a  massive  marble 
structure  of  Greek  Ionic  type,  rises 
eighty  feet  above  the  park  and  is  sur- 
rounded by  a  forty  foot  terrace  of 
similar  material.  It  has  been  pro- 
nounced a  master-piece  of  architecture 
but  it  is  more  than  that  for  it  represents 
a  distinct  advance  in  construction  and 
lighting  of  exhibition  halls,  of  work 
rooms  and  laboratories.  From  the 
Museum  broad  boulevards  will  lead 
through  Grant  Park  on  the  north,  and  to 
the  outer  drive  on  the  south ;  Roosevelt 
Road,  when  completed,  will  pass 
directly  in  front,  while  on  the  east  is 
the  lake,  so  that  an  unrivaled  setting  is 
assured. 

As  one  ascends  the  broad  steps  lead- 
ing to  the  portico,  with  its  flanking  bays, 
he  is  at  once  impressed  with  the 
strength  and  beauty  of  the  car^-atid 
figures,  four  monumental  sculptures, 
similar  yet  absolutely  individual.  These 
are  duplicated  on  the  south  side  of  the 
building,  while  above  each  caryatid 
porch  is  a  horizontal  panel,  in  low 
relief,  representing  one  of  the  four  main 
departments  of  the  Museum. 

[179] 


Inside  the  bronze  portals  one  enters 
the  Stanley  Field  Hall  with  its  great 
white  arches  and  simple  but  effective 
decorations.  It  is  an  immense  hall, 
seventy  feet  wide,  three  hundred  long, 
and  is  lighted  from  the  roof  seventy- 
five  feet  above  the  floor.  Entrance 
from  north  or  south  is  through  an  arch 
on  either  side  of  which  is  a  tall  column 
supporting  a  symbolic  figure  suggest- 
ing some  activity  of  the  institution; 
Natural  vScience  and  the  Dissemination 
of  Knowledge  appear  at  one  archway, 
Research  and  Record  at  the  other. 

Another  notable  group,  not  yet 
finished  in  the  marble,  is  to  appear 
against  the  attic  of  the  portico.  Above 
the  four  columns  are  colossal  figures 
representing  Fire,  Earth,  Air,  and 
Water,  while  flanking  them  are  an  equal 
number  typifying  the  points  of  the 
compass.  Here  the  sculptor  has  had 
greater  freedom  in  the  characterization 
of  his  subjects  and  has,  perhaps, 
achieved  his  greatest  success,  yet  each 
figure  and  the  whole  group  fits  perfectly 
into  the  decorative  scheme.  Seldom, 
in  this  country,  has  the  opportunity 
been  presented  to  create  a  group  of 
architectural  sculptures  of  such  magni- 
tude, and  seldom  has  such  a  task  been 
entrusted  to  a  single  man.  To  the 
American  artist,  Henry  Hering,   must 


ART  AND  ARCHAEOLOGY 


be  given  the  credit  of  having  produced 
one  of  the  most  important  contributions 
to  the  sculpture  of  our  land. 

As  the  visitor  enters  the  east  ex- 
hibition halls,  which  extend  at  right 
angles  to  Stanley  Field  Hall,  he  dis- 
covers at  once  that  the  claims  of  the 
student  of  art  have  not  been  neglected. 
The  first  objects  here  displayed  are 
from  the  Eskimo  and  the  Indians  of  the 
Northwest  Coast  of  America,  and,  as  an 
introduction,  there  are  shown  three 
cases  describing  the  artistic  ideas  and 
accomplishments  of  these  primitive 
folk.  One  case  shows  typical  features 
of  Eskimo  art,  ranging  from  the  rather 
simple  forms  of  Hudson  Bay  and  Smith 
Sound  to  the  elaborately  carved  and 
etched  utensils  of  Alaska.  The  pattern 
boards  and  utensils  used  in  the  pro- 
duction of  the  totemic  art  of  the  Tlingit, 
Haida,  and  neighboring  tribes,  are  fully 
demonstrated,  and  then  follow  cases 
showing  how  this  art  is  adapted  to 
various  forms  and  types  of  objects. 
The  basket  ornamentation  of  the 
Tlingit  is  given  in  drawings  and  in  the 
basketry  itself,  while  the  story  of  the 
Chilkat  blanket  is  made  plain  even  to 
the  child. 

In  the  more  advanced  cultures  of 
classical  times,  of  Mexico,  ancient  Peru, 
China,  and  India  the  decorative  motifs 
on  pottery  and  fabric,  in  stone  and 
wood  carvings,  and  in  ceremonial  para- 
phernalia are  at  once  an  inspiration  and 
a  textbook.  The  collections  of  Egyp- 
tian and  classical  archaeology  are  the 
first  of  this  class  to  receive  attention. 
Here  are  offered  pottery,  bronzes,  marble 
and  alabaster  vases,  figures  in  bronze 
and  stone,  portrait  tablets,  charms  and 
jewehy  as  well  a  collection  of  mum- 
mies and  coffins  ranging  from  the  pre- 
dynastic  to  the  Roman  periods. 

In  the  Chinese  exhibits  is  shown  the 
transition  of  the  art  of  China  from  the 


formalism  and  geometric  symbolism  of 
the  early  archaic  period,  to  the  idealis- 
tic productions  which  characterize  the 
Han.  From  the  graves  of  the  T'ang 
dynasty  comes  a  large  series  of  clay 
figures  representing  the  warriors,  acro- 
bats, and  other  classes  of  that  era;  an 
invaluable  series  for  the  enthnologist 
but  equally  of  value  to  the  sculp- 
tor, as  an  evidence  of  the  high  devel- 
opment of  the  modeler's  art  of  that 
period. 

Adjoining  the  main  exhibit  is  a  room 
devoted  to  the  pictorial  art  of  China,  in 
which  are  to  be  found  rubbings  from 
stone  engravings  of  the  12th  century; 
paintings  from  the  Sung  period  done  on 
long  rolls  of  silk  and  depicting  such  sub- 
jects as  the  games  of  a  hundred  boys  at 
play,  or  a  journey  up  the  river  in  spring. 
Here  too  are  silk  tapestries  and  a  screen 
of  twelve  panels  done  in  feathers  and 
carving,  which  brings  us  up  to  the  i8th 
century.  It  might  seem,  at  first  glance, 
that  the  Museum  of  Natural  History  is 
encroaching  on  the  field  of  the  Art 
Institute,  but  a  closer  study  shows  that 
these  are  veritable  textbooks,  depicting 
the  life  of  town  and  country  in  the  China 
of  bye  gone  ages. 

A  similar  hall,  devoted,  to  Japanese 
art,  displays  a  painted  screen  of  the 
Tosa  school,  and  a  selection  of  prints, 
principally  Surimono,  cards  of  greeting. 

From  China  and  Japan  the  visitor  is 
led  into  collections  from  Tibet,  India, 
Java,  and  Africa;  past  cases  devoted  to 
textiles,  to  clothing  on  costumed  figures, 
to  jewelr>^  to  images,  paintings,  musical 
instruments,  and  finally  to  the  wonder- 
ful carvings  on  ivory  and  the  metal 
castings  from  the  ancient  city  of  Benin. 

The  Field  INIuseum  is  first  of  all  a 
museum  of  Natural  History;  but  as 
such  it  is  offering  its  rich  collections 
toward  giving  Chicago  its  rightful 
place  as  an  art  center. 

[180] 


ART  AT  THE  UNIVERSITY  OF  CHICAGO 

By  David  Allan  Robertson. 

Dean  of  the  Colleges  0}  Arts,  Literature  and  Science  and  President  of  the  Renaissance  Society. 


THE  architecture  of  the  University 
of  Chicago  has  been  of  interest  ever 
since  the  far-sighted  trustees  of  the 
new  foundation  decreed  that  there 
must  be  a  well  considered  building  plan 
and  engaged  Heiuy  Ives  Cobb  to 
draught  a  sketch  for  a  complete  in- 
stitution to  occupy  the  four  city  blocks 
which  in  1892  comprised  the  original 
site.  The  trustees  decided  to  have  a 
late  form  of  English  Gothic  expressed  in 
Bedford  limestone  and  tile  roof.  It  was 
Mr.  Cobb  who  designed  the  earUest 
structures,  the  residence  halls  for  men 
and  women,  the  principal  recitation 
building,  Cobb  Hall,  Kent  Chemical 
Laboratory  and  Kent  Theater,  Walker 
Museum,  and  Ryerson  Physical  Labora- 
tory. In  1897  he  planned  the  four  Hull 
Biological  Laboratories  which,  with  a 
graceful  iron  entrance  and  an  im- 
pressive stone  gateway,  enclose  Hull 
Court.  The  Decennial  Celebration  of 
1 90 1  was  marked  by  the  laying  of 
cornerstones  of  structures,  for  which 
Shepley,  Rutan  &  Coolidge  were  archi- 
tects. These  buildings  and  the  later 
designs  by  this  firm  have  been  marked 
by  a  delicate  adherence  to  the  traditions 
of  English  collegiate  Gothic.  Hutch- 
inson Hall  was  erected  after  careful 
measurement  of  Christ  Church  Hall, 
Oxford ;  the  Mitchell  Tower  was  studied 
from  the  tower  of  Magdalen,  differing 
only  two  feet  in  height — a  difference 
chiefly  due  to  the  absence  of  the  pointed 
finials  of  the  original;  and  the  Uni- 
versity Avenue  side  of  the  Reynolds 
Club  is  a  shortened  form  of  the  garden 
front  of  another  Oxford  college — St. 
John's.  Even  the  stark  Bartlett  Gym- 
nasium is  in  its  entrance  reminiscent  of 

[181] 


the  gates  of  Trinity  College,  Cambridge, 
and  the  east  tower  of  the  Harper  Li- 
brary is  like  the  tower  above  the  stair- 
case leading  to  Christ  Church  Hall. 
The  same  care  for  tradition  is  dis- 
coverable within  these  buildings,  es- 
pecially in  Hutchinson  Hall  and  the 
Reynolds  Club.  Greater  freedom,  but 
the  same  attention  to  tradition  is  to  be 
noted  in  the  Classics  Building,  Ida 
Noyes  Hall,  the  Harper  Library,  and 
Leon  Mandel  Assembly  Hall.  This 
last  was  an  especially  interesting  prob- 
lem, inasmuch  as  there  is  of  course  no 
precedent  for  an  English  Gothic  theater. 
The  richness  of  architectural  detail  in 
all  of  the  buildings  by  vShepley,  Rutan 
&  Coolidge  and  by  Coolidge  &  Hodg- 
don  merits  study  such  as  the  Uni- 
versity Guide  Book  affords.  The  same 
richness  of  accurate  detail  marks  the 
plans  for  the  Theological  Building,  the 
Bond  Chapel,  the  cloister  connecting 
these  two,  and  the  bridge  connecting 
Haskell  with  the  Theology  Building. 
The  same  firm  has  made  the  drawings 
for  the  Billings  Memorial  Hospital  and 
Epstein  Dispensary.  Another  build- 
ing begun  in  1901  was  Charles  Hitch- 
cock Hall  by  Dwight  H.  Perkins.  Ad- 
hering to  the  general  plan  for  the  Uni- 
versity, Mr.  Perkins  yet  gave  to  this 
restful  lines  and  used  Illinois  plant 
forms  in  place  of  the  usual  gargoyles 
and  other  decorations.  Because  Charles 
Hitchcock  was  so  closely  associated 
with  the  early  history  of  Illinois, 
Indian  corn  and  other  familiar  forms 
may  be  noted  as  a  meander  above  the 
main  door  and  in  the  low  stucco  en- 
richment of  the  library.  A  French 
touch    has    been    given    to    Emmons 


ART  AND  ARCHAEOLOGY 


Blaine  Hall  and  the  other  buildings  of 
the  vSchool  of  Education  by  James 
Gamble  Rogers.  Holabird  &  Roche, 
the  designers  of  Julius  Rosenwald  Hall, 
have  expressed  the  purpose  of  the  build- 
ing, not  only  structurally,  but  in  the 
stone  carvings  of  eminent  men  repre- 
senting aspects  of  the  earth  sciences  and 
in  the  representations  of  fossils  and  the 
use  of  restorations  of  Limnoscelis  and 
Lepidosauriel  as  gargoyles.  The  new 
Quadrangle  Club  will  be  a  domestic 
Tudor  brick  structure,  designed  by 
Howard  Van  Doren  Shaw.  The  crown- 
ing architectural  feature  of  the  Univer- 
sity is  to  be  the  chapel  with  its  auxiliary 
structures  occupying  an  entire  block  at 
Woodlawn  Avenue  and  the  Midway. 
The  chapel  has  been  entrusted  to 
Bertram  Goodhue  of  New  York,  whose 
preliminary  sketch  shows  an  imposing 
masculine  church  with  an  impressive 
tower  at  the  crossing,  a  tower  216  feet 
high.  The  spirit  of  Gothic  rather 
than  meticulous  devotion  to  tra- 
ditional measurements  is  to  be  found 
in  Mr.  Goodhue's  designs — notably  in 
theglorious  tower  and  windows.  Itmust 
be  obvious,  then,  that  the  University  of 
Chicago,  in  preparing  a  general  building 
scheme  and  determining  on  a  general 
type  of  architecture  has  yet  been  able 
to  secure  unity  with  variety — one  of  the 
few  American  Universities  to  use  the 
foresight  which  Thomas  Jefferson  ex- 
hibited when  he  projected  the  design  of 
the  University  of  Virginia. 

Within  the  buildings  of  the  Uni- 
versity are  opportunities  to  study  the 
arts  allied  to  architecture.  The  most 
notable  glass  is  in  Bartlett  Gymnasium, 
designed  by  Edward  D.  Sperry,  of 
New  York,  and  executed  in  15,000 
pieces  by  the  American  Church  Glass  & 
Decorating  Company — the  crowning 
of  Ivanhoe  by  Rowena  after  the 
tournament    at    Ashby.      There    is    a 

[1S3] 


Tiffany  window  in  Leon  Mandel  As- 
sembly Hall  and  in  Hutchinson  Hall 
and  the  Reynolds  Club  are  some 
heraldic  medallions.  The  walls  in  the 
Reynolds  Club  were  painted  by  Fred- 
eric Bartlett,  who  is  the  painter  also  of 
very  rich  presentations  of  medieval 
sports  in  the  main  entrance  to  Bartlett 
Gymnasium,  the  memorial  to  the  paint- 
er's brother.  Many  of  the  ornaments 
are  in  gesso  and  gilded  in  antique  gold 
leaf  after  the  manner  of  early  English 
and  Italian  decorations.  Air.  Bartlett 
designed  also  the  curtain  in  the  Reynolds 
Club  Theater — a  fete  in  a  medieval  town. 
In  the  theater  of  Ida  Noyes  Hall  the 
mural  paintings — a  record  of  the  Mas- 
que of  Youth,  performed  by  the  women 
of  the  University  when  the  Hall  '.vas 
dedicated — were  painted  by  Jessie  Arms 
Botke.  This  hall  contains  also  a  col- 
lection of  rare  oriental  rugs  and  other 
furnishings  deserving  study. 

In  addition  to  the  very  large  amount 
of  architectural  carving  there  are  sever- 
al works  of  sculpture.  Lorado  Taft  is 
represented  by  a  dedicatory  tablet  in 
Kent  Chemical  Laboratory,  the  Stephen 
A.  Douglas  memorial  tablet,  and  the 
memorial  to  Belfield  in  Belfield  Hall. 
Silas  B.  Cobb  in  Cobb  Hall,  George 
Washington  Northup  in  Haskell, 
Thomas  Chrowder  Chamberlin  in  Rosen- 
wald are  also  by  Mr.  Taft.  Daniel 
Chester  French  did  the  memorial  to 
Alice  Freeman  Palmer  in  the  Mitchell 
Tower.  The  bust  of  John  D.  Rocke- 
feller above  the  south  fireplace  in 
Hutchinson  Hall  is  by  William  Couper 
of  New  York.  Paul  Fjelde  of  New  York 
designed  the  bas-relief  of  Joseph  Rey- 
nolds in  the  Reynolds  Club.  The  bust 
of  Francis  W.  Parker  in  the  main  en- 
trance of  Emmons  Blaine  Hall  is  by 
Charles  J.  Mulligan. 

Portrait  painters  are  represented  in 
several  buildings,  but  chiefly  in  Hutch- 


The  Mitchell  Tower,  University  of  Chicago. 


ART  AND  ARCHAEOLOGY 


inson  Hall.  In  this  beautiful  room 
are  placed  the  portraits  of  trustees  and 
members  of  the  faculties.  The  founder 
of  the  University,  Mr.  John  D.  Rocke- 
feller, by  Eastman  Johnson,  occupies 
the  principal  place.  Gari  Melchers' 
portrait  of  President  Harper  hangs  to 
the  left  of  the  Founder's  picture.  Law- 
ton  Parker  is  represented  by  portraits  of 
Martin  A.  Ryerson,  the  president  of  the 
Board  of  Trustees  and  by  one  of  Presi- 
dent Harry  Pratt  Judson ;  Ralph  Clark- 
son  by  A.  C.  Bartlett,  E.  B.  WiUiams, 
H.  N.  WiUiams,  S.  B.  Cobb,  Leon 
Mandel,  Professor  T.  C.  Chamberlin 
(in  Rosenwald  Hall)  and  Dean  R.  D. 
Salisbury  (in  Rosenwald  Hall.)  Louis 
Betts  painted  the  portraits  of  Dr.  T.  W. 
Goodspeed,  Dean  George  E.  Vincent, 
Dr.  F.  W.  Gunsaulus,  Charles  L. 
Hutchinson,  LaVeme  Noyes,  and  the 
portraits  in  Ida  Noyes  Hall  of  LaVerne 
Noyes  and  Ida  Noyes.  The  portrait  of 
Professor  Von  Hoist  is  by  John  C. 
Johanson.  There  is  another  in  the 
Harper  Library  by  Karl  Marr  of 
Munich.  The  picture  of  Galusha  An- 
derson is  by  Frederic  P.  Vinton  of 
Boston  and  that  of  Dean  Marion 
Talbot  by  Walter  D.  Goldbeck.  In  the 
library  of  Hitchcock  Hall  the  portrait 
of  Mr.  Hitchcock  is  by  Wellington  J. 
Reynolds,  and  Mrs.  Hitchcock's  por- 
trait is  by  Henry  55.  Hubbell.  In  the 
trophy  room  of  Bartlett  Gymnasium  is 
a  portrait  of  A.  A.  Stagg,  Director  of 
Physical  Culture  and  Athletics,  by 
Oskar  Gross.  The  portrait  of  Mrs. 
Nancy  Foster  in  Foster  Hall  is  by  Anna 
Klumpke,  and  in  the  same  hall  is  a 
portrait  of  the  head  of  the  house,  Pro- 
fessor Myra  Reynolds,  by  William  M. 
Chase.  In  the  President's  office  is 
placed  temporarily  a  copy  of  John  S. 
Sargent's  painting  of  John  D.  Rocke- 
feller. 

Of  prints  the  most  interesting  col- 

[185] 


lection  is  that  of  the  lithographic 
portraits  of  English  and  French  men 
of  letters,  arts,  and  statesmen  by  Will 
Rothenstein.  The  collection  includes 
one  of  the  twenty-five  copies  of  the 
famous  "Oxford  Portraits" — the  only 
copy  sent  to  the  United  vStates.  This 
collection  of  about  one  hundred  prints 
was  selected  by  the  artist  for  a  dis- 
tinguished American  collector,  and 
makes  an  interesting  display  of  litho- 
graphic art,  as  well  as  a  series  of 
portraits  as  important  for  the  1890's 
and  the  early  years  of  the  present 
century  as  George  Frederick  Watts' 
paintings  are  for  the  Browning- 
Tennyson  period. 

The  museums  of  the  University  are 
primarily  for  teaching  purposes.  This 
is  true  not  only  of  the  extremely  im- 
portant paleontological  collections  in 
Walker  Museum,  but  also  of  those  in 
Classics,  Harper,  and  Haskell.  The 
Classics  museum  contains  the  Lowen- 
stein  collection  of  Greek  and  Roman 
coins,  some  terra  cotta,  glass,  and 
marble  fragments.  In  Harper  Library 
the  Erskine  M.  Phelps  collection  of 
Napoleonana  contains  portraits,  busts, 
medals,  orders  and  personal  relics  of 
Napoleon.  In  Haskell  Oriental  Mu- 
seum is  the  Babylonian-Assyrian  col- 
lection, and  a  very  important  Egyp- 
tian collection  of  over  14,000  original 
monuments  from  all  the  great  ejochs 
of  Egyptian  history — many  of  them  of 
great  artistic  importance.  These  have 
been  collected  by  Professor  James  H. 
Breasted,  Director  of  the  Haskell  Ori- 
ental Museum  and  of  the  Oriental 
Institute  of  the  University  of  Chicago. 

The  Department  of  the  History  of 
Art  was  organized  by  Frank  Bigelow 
Tarbell,  who  for  years  was  professor 
of  Classical  archaeology.  Professor 
Tarbell  died  in  1920.  Courses  have 
been  given   in   former  years  by   Pro- 


ART  AND  ARCHAEOLOGY 


fessor  Tarbell,  George  Breed  Zug,  now 
of  Dartmouth,  Richard  Offner,  and 
professors  from  other  institutions  who 
conducted  courses  during  the  summer 
quarter.  Lorado  Taft  is  professorial 
lecturer  on  art.  Since  Professor  Tar- 
bell's  death  there  has  been  no  instruction 
in  the  department.  An  administrative 
committee  comprising  Professors  Henry 
W.  Prescott,  W.  Sargent,  Gordon  J. 
Laing,  Ernest  H.  Wilkins  and  David  A. 
Robertson  has  formulated  a  plan  for  a 
balanced  and  fully  developed  depart- 
ment. The  purpose  of  this  department 
definitely  includes  cooperation,  rather 
than  rivalry,  with  the  Art  Institute  of 
Chicago — an  understanding  which  has 
strengthened  both  institutions. 

There  is  another  department  of  art  in 
the  School  of  Education  with  Professor 
Walter  Sargent  at  the  head  of  the  work. 
In  addition  to  Mr.  Sargent's  classes, 
courses  are  conducted  by  Antoinette 
HoUister,  a  pupil  of  Rodin,  and  by  Ethel 
Coe,  a  pupil  of  SoroUa.  The  works  of 
Mr.  Sargent,  Miss  Coe,  and  Miss 
HoUister  are  to  be  found  in  the  national 
exhibitions. 

Until  a  full  development  of  the 
Department  of  the  History  of  Art  is 
possible  the  work  of  a  society  or- 
ganized in  19 16  will  be  especially  im- 
portant. The  Renaissance  Society  of 
the  University  of  Chicago  was  formed 
to  foster  an  interest  in  the  arts  among 
members  of  the  University  community, 
especially  among  students.  In  1916,  in 
connection  with  the  Quarter  centennial 
Celebration  the  Society  arranged  for  an 
exhibition  of  French  impressionistic 
paintings.  From  the  collections  of 
M.  A.  Ryerson,  A.  J.  Eddy,  Mrs.  C.  T- 
Blair,  Mrs.  W.  W.  Kimball,  Dr.  F.  W. 


Gunsaulus  and  the  Art  Institute  of 
Chicago  came  choice  specimens  of 
Degas,  Forain,  Monet,  Renoir,  Picasso, 
Cazin,  Pissaro,  Sisley,  Le  vSidaner, 
Andre  and  others.  An  exhibition  of  the 
works  of  Albin  Polasek  was  opened  by  a 
lecture  given  by  the  sculptor.  Alfeo 
Faggi's  works  were  exhibited  in  1920 
and  presented  in  an  opening  lecture  by 
Richard  Offner.  The  members  of  the 
vSociety  have  been  guests  at  special  ex- 
hibitions in  the  Art  Institute,  in  the 
homes  and  studios  of  art  collectors  and 
artists.  Lectures  at  the  University  have 
been  given  by  Frank  Jewett  Mather,  Jay 
Hambidge,  Ananda  K.  Coomaraswamy 
and  other  critics  and  artists.  vSuch  ex- 
hibitions and  lectures  have  enlisted  the 
sympathetic  interest  of  numerous  pro- 
fessors and  students  and  have  won  an 
important  place  for  the  Renaissance 
vSociety  in  the  life  of  the  University 
of  Chicago. 

This  compilation  of  the  art  influences 
at  the  University  of  Chicago  emphasizes 
the  great  power  for  good  taste  exerted 
during  the  life  of  the  institution  by  two 
connoisseurs,  who,  as  trustees  from  the 
beginning,  have  given  freely  of  their 
ability  and  energy:  Martin  A.  Ryerson 
and  Charles  L.  Hutchinson.  The  record 
of  positive  good,  it  must  be  remem- 
bered, implies  also  a  record  of  evaded 
evil.  The  coat-of-arms  of  the  Univer- 
sity of  Chicago,  for  instance,  is  a  posi- 
tively good  heraldic  device ;  the  heraldry 
avoided  can  be  guessed  at  by  considera- 
tion of  the  seals  of  many  American  col- 
leges. For  the  choice  of  good  and  the 
avoidance  of  bad  the  University,  like 
the  City  of  Chicago  which  they  have 
likewise  served,  must  always  be  grateful 
to  these  men  of  taste. 


[186) 


Gymnasium  of  Northwestern  University,  Geo.  W.  Maner,  Architect. 


ART  AT  NORTHWESTERN  UNIVERSITY 


Bv  Stella  Skinner. 


NATURE  has  been  gracious  to 
Northwestern.  Her  campus, 
lying  in  a  natural  grove  of  oaks, 
maples,  and  elms,  borders  on  the 
shores  of  Lake  Michigan  for  nearly  a 
mile  in  extent.  An  ever  varying  pan- 
orama of  sky,  water,  ahd  trees  is 
spread  out  before  the  student  as  he 
passes  to  and  from  classes.  A  walk 
at  early  twilight  through  the  campus 
or  under  the  arching  elms  of  Sheridan 
Road  bordering  it  on  the  west,  with 
glimpses  of  the  moon  between  the  tree 
tops,  has  much  of  the  solemnity  and 
beauty  of  a  cathedral  service. 

Seventy  years  of  history  are  bound 
up  in  the  buildings  on  Northwestem's 
Evanston  campus,  each  of  them  typical 
of  some  epoch  in  the  University's 
growth.  At  the  center  of  the  group 
stands  University  Hall  in  gray  stone,  a 
modern  adaptation  of  Early  English  in 
style.  Some  would  have  preferred  this 
type  carried  out  in  subsequent  build- 
ings;  but,    while   unity   of   expression 


would  have  been  gained,  certain  in- 
dividual and  local  flavor  would  have 
been  sacrificed.  Furthermore,  the 
buildings  are  so  arranged  that  each  is 
more  or  less  isolated  in  its  own  grouping 
of  trees,  and  thereby  somewhat  inde- 
pendent of  the  others.  As  it  is,  a  very 
catholic  expression  prevails,  ranging 
through  the  fine  Romanesque  of  Gar- 
rett Biblical  Institute,  the  Venetian 
Gothic  of  the  School  of  Oratory,  the 
exquisite  Greek  Renaissance  of  Lunt 
Library,  the  French  Renaissance  of 
Harris  Hall  to  the  modern  rendition  of 
vSwift  Engineering  Hall  and  the  Patten 
Gymnasium. 

The  latter  is,  perhaps,  the  most 
unique  building  on  the  campus,  and 
serves  many  university  and  community 
enterprises.  The  extensive  indoor  track , 
under  an  arching  roof  of  metal  and 
glass,  not  only  affords  a  practice  field 
throughout  the  season,  but  may  readily 
be  turned  into  a  vast  auditorium  for 
community  gatherings.     Once  a  year 


[187] 


ART  AND  ARCHAEOLOGY 


it  is  transformed  into  a  thing  of  beauty 
for  the  annual  Festival  of  the  North 
Shore  Music  Association  which,  under 
the  leadership  of  Dean  Peter  Christian 
Lutkin,  of  the  School  of  Music,  ranks 
among  the  foremost  in  the  country. 
The  approach  to  the  gymnasium  is 
flanked  on  each  side  by  a  group  of 
statuary  in  bronze  by  Hermon  Mac 
Neil,  symbolizing  the  twofold  char- 
acter of  university  education,  physical 
and  mental,  the  latter  subject  especially 
fine  in  conception  and  treatment. 

Not  all  of  Northwestern's  activities 
are  confined  to  the  Evanston  campus, 
her  Schools  of  Law,  Medicine,  Dentis- 
try and  Commerce  being  located  in  the 
heart  of  Chicago.  Extensive  plans  are 
under  way  whereby  all  of  the  "down- 
town" departments  will  be  brought  to- 
gether on  one  ample  campus,  finely 
located  on  the  North  Side  in  Chicago. 
The  property  has  been  acquired,  and 
architectural  plans  are  under  considera- 
tion for  a  group  of  buildings  which  will 
be  an  honor  to  the  University  and  to 
Chicago. 

Northwestern  has  several  museum 
collections  of  interest:  that  of  the  Col- 
lege of  Liberal  Arts  contains  remark- 
able specimens  of  aboriginal  ceramic 
art  of  great  educational  value. 

The  Bennett  Museum  of  Christian 
Archaeology  located  in  the  library  of 
the  Garrett  Biblical  Institute,  is  the 
finest  example  of  its  kind  in  the  coun- 
try. Under  the  direction  of  Dr.  Alfred 
Emerson,  formerly  connected  with  the 
Art  Institute  of  Chicago,  the  ceiling 
and  side  walls  have  been  decorated 
with  mural  paintings  copied  from  ori- 
ginals found  in  the  catacombs.  Fine 
replicas  of  ivory  carvings,  glass  and 
metal  vessels,  of  sarcophagi  and  per- 


forated marble  screens  are  on  exhibi- 
tion, and  many  other  interesting  fea- 
tures which  cannot  be  enumerated  for 
lack  of  space.  This  museum  enjoys  a 
more  than  local  reputation,  and  visiting 
artists  and  lecturers  are  keen  in  their 
interest  and  appreciation  of  it^. 

At  about  the  time  of  the  World's 
Columbian  Exposition  in  Chicago,  a 
body  of  Evanston  women  organized  the 
University  Guild,  "to  promote  in  every 
way  the  development  of  art  in  the 
University  and  Evanston."  The  art 
collection  of  the  Guild  is  exhibited  in 
its  reception  room  in  Lunt  Library, 
which  also  serves  as  a  class  room  for  the 
Art  Department  of  the  University. 
The  Guild  collection  includes  valuable 
specimens  of  pottery,  porcelain,  glass- 
ware and  bronze,  many  of  them  ac- 
quired from  the  World's  Fair;  also  the 
nucleus  of  a  collection  of  prints,  engrav- 
ings, etchings,  textiles,  and  paintings 
in  water  color  and  oil ;  among  the  latter 
a  charming  sketch  by  Zorn. 

In  1908  the  Guild  inaugurated  art 
classes  in  the  University,  contributing 
generously  to  their  support  so  long  as 
vSuch  help  was  needed.  The  depart- 
ment has  steadily  expanded,  and  is 
influencing  a  greater  number  of  stu- 
dents each  year.  Lecture  courses  are 
given  in  Art  Appreciation  and  in 
History  of  Art,  also  in  Historic  Styles 
in  domestic  architecture,  furniture  and 
decoration.  Studio  practice  supple- 
ments the  lecture  courses.  The  depart- 
ment is  well  equipped  with  lantern 
slides,  photographs  and  a  good  working 
library,  which  is  growing  yearly. 

It  is  the  aim  of  the  art  courses  to 
relate  Art  to  Life,  to  interpret  it  as  a 
principle  permeating  life,  rendering  the 
commonplace  significant,  and  daily 
living  beautiful. 


1188] 


THE  MUNICIPAL  ART  LEAGUE  OF  CHICAGO 

By  KvERETT  L.  Millard. 


A  RECENT  contributor  to  the 
Atlantic  Monthly  wrote  that 
Chicago  was  the  city  of  ugliness, 
and  worse  still,  that  no  one  cared.  A 
few  notable  exceptions  proved  the  rule, 
but  Mr.  and  Mrs.  Average  Citizen 
were  satisfied  with  city  ant  hills  to 
work  and  to  live  in,  and  streets  of  utili- 
tarian dreariness  to  pass  along. 

This  number  of  Art  and  Archae- 
ology is  an  informing  ray  of  sunshine 
in  this  dark  picture.  We  are  all  too 
used  to  the  monstrous  congestions  of 
modern  civilizations,  but  the  subcon- 
scious popularity  of  beauty  is  finding 
expression  here  as  elsewhere,  or  this 
number  could  not  have  been  written. 

The  Municipal  Art  League  of  Chi- 
cago has  for  its  function  the  conscious 
development  of  civic  beauty.  There 
has  been  and  still  lingers  an  apologetic 
attitude  in  anyone  who  submits  beauty 
to  municipal  consideration,  and  a  feel- 
ing that  some  relation  must  be  shown 
to  the  pocketbook  before  anyone  cares. 
If  the  League  has  shared  in  the  work 
of  making  people  conscious  oi  their 
natural  pleasure  in  attractiveness  in 
their  man  made  surroundings,  it  is  ful- 
filling its  function.  For  twenty  years, 
it  has  sought  to  do  so  in  the  twofold 
field  of  civic  adornment  and  making 
popular  the  work  of  painter  and  sculp- 
tor. 

The  League  is  a  society  composed  of 
individuals  and  clubs  represented  by 
delegates.  There  are  275  members  and 
58  affiliated  clubs,  which  have  a  total 
membership  of  over  15,000. 

Under  the  leadership  of  Franklin 
MacVeagh,  a  devoted  friend  of  all  that 
betters  his  city,  the  League  was  the 


pioneer  in  Chicago  in  the  movement 
against  the  smoke  nuisance  and  the 
obnoxious  billboard,  and  it  has  never 
ceased  its  active  efforts  to  have  these 
two  nuisances  abated.  The  first  effi- 
cient smoke  prevention  law  ever  enacted 
by  the  City  Council  of  Chicago  was 
formulated  by  the  League,  and  the 
first  public  attention  drawn  to  the 
nuisance.  In  connection  with  the  Muni- 
cipal Art  Committee  of  the  City  Club, 
the  League  succeeded  against  strong 
opposition  in  having  the  present  bill- 
board ordinance  passed  in  1 9 1 1 ,  which 
was  quite  progressive  for  that  time, 
and  since  then  it  has  interested  itself 
in  its  enforcement  and  legal  interpreta- 
tion. The  United  States  vSupreme 
Court  has  sustained  the  validity  of  this 
ordinance,  in  the  matter  of  requiring 
frontage  consents  in  residence  dis- 
tricts, in  the  case  of  Cusack  vs.  City  of 
Chicago,  and  by  that  decision  has 
made  it  possible  to  prohibit  boards  in 
residence  districts.  This  represents  a 
great  step  forward  in  the  legal  protec- 
tion of  our  home  areas,  and  is  a  decision 
of  national  importance  in  zoning  as  well 
as  in  billboard  regulation,  which  has 
been  more  availed  of  by  some  other 
cities  in  cleaning  up  this  nuisance  than 
by  Chicago. 

The  League  has  shared  in  the  work 
of  securing  legislative  authority  for  the 
creation  of  our  state  and  municipal  art 
commissions,  having  drafted  the  ori- 
ginal Municipal  Art  Commission  act. 
The  powers  of  this  Commission  have 
been  since  broadened  by  statutory 
amendment,  making  it  mandatory  that 
the  city  secure  its  approval  of  the  de- 
signs   of    public    structures,    and    the 


[189] 


ART  AND  ARCHAEOLOGY 


personnel  of  the  Commission  has  been 
reorganized.  The  state  Art  Commis- 
sion has  done  effective  work  whenever 
called  upon  by  the  state  authorities  to 
pass  upon  matters  of  art  in  relation  to 
public  structures. 

The  League  has  taken  an  active  part 
in  the  agitation  and  legislation  for  zon- 
ing in  Chicago,  and  has  always  inter- 
ested itself  in  extending  the  park,  forest 
preserve  and  recreational  facilities  of 
the  city. 

We  conducted  for  two  seasons  a 
series  of  tours  of  the  Art  Institute,  for 
the  older  school  children,  a  work  which 
grew  to  such  size  and  importance  that 
it  has  been  taken  over  by  the  Art 
Institute. 

Last  year  the  League  completed  an 
endowment  fund  of  two  thousand 
dollars,  the  interest  from  which  goes 
for  an  annual  prize  for  portraiture  in 
any  medium  to  a  painter  exhibiting  in 
the  Chicago  Artists'  show.  Each  fall 
prizes  have  been  awarded  to  industrial 
art  workers  in  the  vState  of  Illinois  for 
examples  shown  in  the  annual  Indus- 
trial Arts  Exhibition,  and  each  spring 
prizes  have  been  donated  for  work  at 
the  Art  Students'  League  Exhibition. 

Each  winter  a  work  of  art  is  added  to 


the  Municipal  Art  Gallery  of  the 
League,  the  purchase  being  made  at 
the  annual  Exhibition  by  Artists  of 
Chicago  and  vicinity,  from  a  fund  sub- 
scribed by  the  clubs  affiliated  with  the 
League.  This  gallery  was  established 
in  1901,  and  now  contains  twenty-five 
paintings  and  one  bronze.  It  is  hung 
part  of  each  year  at  the  Art  Institute 
and  in  the  past  three  seasons  has  been 
hung  in  Harper  Library  (University  of 
Chicago),  Helen  C.  Pierce  School,  the 
City  Club  of  Chicago,  Eckhart  Park 
and  for  three  summers  at  the  Municipal 
Pier,  Chicago  being  the  first  city  in  this 
country  to  hang  a  collection  of  valuable 
paintings  in  a  great  public  recreation 
center  such  as  this.  The  formation  of 
this  gallery  by  the  League  has  set  a  pre- 
cedent whicia  has  been  followed  by 
other  organizations. 

The  affiliated  clubs,  by  their  view 
days  at  the  Art  Institute,  have  in- 
fluenced a  great  number  of  people  to 
acquaint  themselves  with  the  artists 
and  their  work.  The  League  is  a 
democratic  organization,  and  its  func- 
tion of  popularizing  and  extending  the 
influence  of  art  and  beauty  in  both  civic 
and  individual  life  has  proved  neces- 
sary in  a  great  city. 


THE  CHICAGO  ACADEMY  OF  FINE  ARTS 


The  Chicago  Academy  of  Fine  Arts 
at  No.  81  East  Madison  Street,  with 
an  annual  enrollment  of  seven  hundred 
pupils,  is  an  unendowed  Art  School  of 
the  practical  Arts.  Carl  N.  Werntz 
founded  this  school  in  1902  and  is  still 
its  director,  a  period  of  successful  serv- 
ice exceeded  by  few  of  this  profession. 

Under  his  direction  the  Academy 
aims  to  make  its  classes  as  much  like 
real  professional  life  as  possible.  It 
glances  at  the  stars  now  and  then,  and 
has  ideals,  for  it  is  the  only  school  of 
Art  in  America  whose  students  were 


awarded  the  painting  Prize  of  Rome 
three  times,  and  the  only  one  awarded 
a  Gold  Medal  for  the  unique  combina- 
tion of  Painting  and  Commercial  Illus- 
tration at  the  Panama-Pacific  Interna- 
tional Exposition. 

These  are,  however,  merely  inciden- 
tal to  its  main  business  of  training  thou- 
sands of  men  and  women  for  success 
in  a  most  needed,  practical,  and  paying 
profession  such  as  Illustration,  Com- 
mercial Art,  Interior  Decorator,  Car- 
tooning, and  the  new  Arts  of  the 
Stage. 

[1901 


Furniture  of  the  Pilgrim 
Century 

By  WALLACE  NUTTING 


TT  WILL  contain  1000  reproductions  of  photo- 
graphs of  furniture  made  in  this  country  from 
native  woods  in  the  period  1620  to  1720  with  de- 
scriptions— the  most  complete  record  available. 
As  it  is  a  very  expensive  work  to  print  the  prob- 
ability is  that  there  will  not  be  another  edition 
and  we  advise  immediate  consideration  by  all 
wishing  to  own  a  copy. 

Sample  pages  showing  paper,  text,  illustrations 
and  contents  of  this  sumptuous  work  will  be  sent 
on  request. 

PRICE  $15.00 


MARSHALL  JONES  COMPANY 

Publishers 
212  SUMMER  STREET,  BOSTON 


NOTICE 

Owing  to  the  rapid  growth  of  the  mailing  list  of 
Art  and  Archaeoi  ogy,  and  the  unusual  demand 
for  special  numbers,  our  stock  is  almost  exhausted 
of  the  following: 

V,  No.  I  (January,  1917); 
V,  No.  4  (April,  I'gi;); 
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INVESTIGATIONS 

— AT — 

ASSOS 

Drawings  and  Photographs  of  the  Buildings 

and  Objects  Discovered  During  the 

Excavations  of  1881,  1882,  1883 

BY — 

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TABLE  OF  CONTENTS 

History  of  Assos. 

Account  of  the  Expedition. 

Agora. 

Mos.-Mcs  Below  .•Xcor.'I. 

Theatre  Photographs  and  Plans. 

Greek  Bridge. 

Roman   Atrium. 

Acropolis — Plan. 

Turkish   Mosque. 

Gymnasium. 

Byzantine  Church. 

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ART  AND  ARCHAEOLOGY 

An  Illustrated,  Monthly  Magazine 
Published  by  THE  ARCHAEOLOGICAL  SOCIETY 

OP  WASHINGTON,  AFFILIATED  WITH  THE 

ARCHAEOLOGICAL  INSTITUTE  OF   AMERICA. 


ART  AND  ARCHAEOLOGY  PRESS,  Inc. 


Volume  XII 


NOVEMBER,  1921 


Number  5 


ART  EDITOR  „£Sa^**?^a!&v  DIRECTOR  AND  EDITOR 

WILLIAM  H.  HOLMES  -Jji^fJiNsfT^^^  MITCHELL  CARROLL 

EDITORIAL  STAFF  ^^''^^^^^^^^u  BOARD  OF  DIRECTORS 

Virgil  Barker  M^  ^  '^^£'^r^         V'^S,  ^'  Townsend  Russell,  President 

PF3VTON    BoswELL  #^/    f^^Ji^ON  \1sl  F^^N^  SPRINGER.  Vice-Presidenl 

Howard  Crosby  Butler  Af/t I          {Y^^^^%\/         'Vfflft 

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Albert  T.  Clay  M#  )  a\/lA''  'j^^TA          ^V  •'°'"'  ^'  ^*'""^'''  Treasurer 

Charles  T.  CuRRELLY  ^^           l^^aT  PRIO      *M^  James  C.  Egbert 

H.  R.  Fairclough  ^^        ^^^^RVM    '^/g  £:.r-o#i:io  as  President  of  the  Institute 

Edgar  L.  Hewbtt  ^h\*^         •"•^^T'            ^o  /^  „              ^ir           r, 

_  NCvV)    -                         <yAf  Robert  Woods  Bliss 

FiSKE  Kimball  Xiv  /^^        -         ^o^  /{/^  n^        t,    tr    -m 

'^v  ^;'q  .^,„„c»pO^V^^  Mrs.  B.  H.  Warder 

David  M.  Robinson  ^^^^ifi^SS^^*^  

Helen  Wright  ^^^^»*^*'*^  H.  B.  F.  Macfarland,  Coutisel* 

CONTENTS 

Eagle's  Nest  Camp,  Barbizon  of  Chicago  Artists Josephine  Craven  Chandler     195 

Six  Illustrations 

Artistic  Nature  (Poem) John  II.  D.  Btanhe     204 

Housekeeping  In  Primitive  Hawaii Ernest  Irving  Freese     205 

Seven  Illustrations 

The  Aesthetics  OF  THE  Antique  City Guido  Calza    211 

Three  Illustrations 

Sapptio  to  Her  Slave  (Poem) Agnes  Kendrick  Gray     217 

The  Debt  of  Modern  Sculpture  To  Ancient  Greece Herbert  Adams    218 

Currents  Notes  and  Comments 223 

Four  Illustrations 

1.  Sir  George  Frederick  Watts'  Picture  "Love  and  Life" 

2.  When  Critics  Disagree — The  Metropolitan's  French  Exhibition 

3.  International  Congress  of  the  History  of  Art  in  Paris 

4.  The  Adventure  of  a  Painting 

Book  Critiques 225 

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Copyright.  192 1.  by  the  Art  and   Archaeology  Press. 
•Died  Oct.  14.  1921. 


Black  Hawk,  by  Lorado  Taft,  located  on  the  bluff  just  above  Eagle's  Nest  Tree,  near  Oregon,  Illinois. 


ART  mwi 

ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XII 


NOVEMBER,  1921 


Number  5 


EAGLE'S  NEST  CAMP,  BARBIZON  OF  CHICAGO 

ARTISTS 

By  Josephine  Craven  Chandler. 


SINCE  the  great  precedent  at  Bar- 
bizon  men  have  gone  into  the  open 
to  paint,  and  the  movement  ac- 
claimed with  derision  has  come  into 
such  general  acceptance  that  not  only 
in  Europe  but  over  the  whole  of 
America,  from  Provincetown  to  La- 
guna  Beach,  artist  folks,  fused  into 
groups  by  the  affinity  of  taste  and  the 
sympathy  which  a  common  interest 
implies,  have  possessed  themselves  of 
certain  beauty  spots  and  there,  in 
seasons  hospitable  to  the  purpose,  have 
been  able  to  work  free  from  the  noise 
and  dreariness  of  city  streets. 

Seashore  and  desert  and  mountain 
have  proved  their  allurement,  but  of 
those  who  have  sought  the  forest  none 
have  been  more  fortunate  in  the  find- 
ing of  natural  loveliness  of  wood  and 
rock  and  river,  together  with  the  utili- 
tarian aspect  of  richly-fruited  fields, 
than  that  Chicago  group  of  painters 
and  sculptors  who  have  their  summer 

[195] 


camp  on  the  Rock  River — the  Indian 
"  Sinnissippi" — near  the  little  town  of 
Oregon,  in  Ilhnois. 

Though  a  small  community,  holding 
some  thirteen  acres  in  lease  and  boast- 
ing less  than  a  dozen  buildings,  cottages 
and  studios,  it  is  doubtful  if  any  similar 
group  has,  in  proportion  to  its  number, 
so  many  names  of  real  distinction. 
Lorado  Taft,  the  sculptor,  is  its  official 
head,  and  Ralph  Clarkson,  Oliver  Den- 
nett Grover  and  Nellie  Walker  make  up 
the  artist  body;  while  Horace  Spencer 
Fiske,  James  Spencer  Dickerson  and 
visiting  writers  lend  a  literary  atmos- 
phere to  the  place. 

Eagle's  Nest  Camp  is  located  on 
ground  which  may  claim,  in  its  occu- 
pancy, to  have  witnessed  the  whole 
gamut  of  civilization — from  savage  to 
artist — within  the  century.  And  yet, 
recalling  the  association  of  the  red  man 
with  this  place,  one  is  loath  to  think  him 
wholly  devoid  of  that  aspiration  which 


Home  of  Nellie  V.  Walker,  at  Eagle  Nest's  Camp. 


allies  him  to  the  higher  orders,  or  of  an 
ethic  quite  ignoble.  Margaret  Fuller, 
who  visited  this  region  in  1843,  wrote 
of  an  Indian  village  site  in  this  neigh- 
borhood: "They  may  blacken  Indian 
life  as  they  will,  talk  of  its  dirt,  its 
brutality,  I  will  ever  believe  that  the 
men  who  chose  this  dwelling  place  were 
able  to  feel  emotions  of  noble  happiness 
as  they  returned  to  it  and  so  were  the 
women  who  received  them.  Neither 
were  the  children  sad  nor  dull  who  lived 
so  familiarly  with  deer  and  bird.  .  .  . 
The  whole  scene  suggested  to  me  a 
Greek  splendor,  a  Greek  sweetness,  and 
I  can  believe  that  an  Indian  brave, 
accustomed  to  ramble  in  such  paths 
and  be  bathed  in  such  sun-beams,  might 
be  mistaken  for  Apollo,  as  Apollo  was 
for  him  by  West." 

It  is  doubtful  if  such  sentiment  found 
sympathetic  reception  among  the  resi- 
dents of  this  section  at  that  time,  for 
the  memory  of  the  Black  Hawk  War 
was  still  fresh  and  the  Sac  and  Fox 
tribes,  whose  reluctant  exodus  had  been 


but  recently  accomplished,  had  not  yet 
passed  into  romance;  the  Pottawato- 
mies  were  regarded  less  as  "  the  children 
of  the  forests  and  the  prairies ' '  than  as 
the  children  of  his  majesty,  the  Devil; 
and  one  may  guess  that  the  devout 
hope  of  the  pioneers  was  that  these, 
together  with  their  brothers,  the  Win- 
nebagoes,  the  Ottawas  and  the  Chip- 
pewas,  might  hold  inviolate  their  re- 
tirement beyond  the  Mississippi  where, 
in  the  language  of  the  treaty  effecting 
their  removal,  the  bear,  the  beaver,  the 
bison  and  the  deer  invited  them. 

The  praise  of  Margaret  Fuller  for  the 
loveliness  of  this  spot  may  be  said  to 
have  a  flavor  of  patriotism  in  its  highest 
sense,  for  she  continues: 

"Two  of  the  boldest  walks  were 
called  Deer's  Walk  .  .  .  and  the 
Eagle's  Nest.  The  latter  I  visited  one 
glorious  morning;  it  was  that  of  the 
fourth  of  July,  and  certainly  I  think  I 
was  never  so  happy  that  I  was  born  in 
America.  Woe  to  all  country  folks  that 
never  saw  this  spot,  never  swept  an 


[196] 


ART  AND  ARCHAEOLOGY 


enraptured  gaze  over  the  prospect  that 
stretched  beneath.  I  do  beUeve  that 
Florence  and  Rome  are  suburbs  com- 
pared to  this  capital  of  Nature's  art. 

"The  Bluffs  were  decked  with  great 
bunches  of  a  scarlet  variety  of  the  milk- 
weed, like  cut  coral,  and  all  starred 
with  a  mysterious  looking  dark  flower 
whose  cup  rose  lonely  on  a  dark  stem. 
This  had,  for  two  or  three  days,  dis- 
puted the  ground  with  the  lupine  and 
phlox. 

"Here,  I  thought,  or  rather  saw, 
what  the  Greek  expresses  under  the 
form  of  Jove's  darling,  Ganymede,  and 
the  following  stanzas  took  place.   .  .   ." 

The  stanzas  which  "took  place" 
make  up  the  rather  quaint,  early 
Victorian  effusion  called  "  Ganymede  to 
his  Eagle,"  and  the  sources  of  her  in- 
spiration are  not  far  to  seek,  for  she 
sat  at  the  place  on  the  bluff  side  where 
a  spring  of  crystal  water  gushes  up 
(named,  since,  in  honor  of  the  pcem, 
"Ganymede  Spring"),  while  just  above 
her  stood  the  old  cedar  tree,  its  roots 
firmly  clutching  a  great  rock,  its  gauntly 
twisted  arms  upbearing,  as  to  this  day, 
in  a  strangely  cruel  and  Chinese  simili- 
tude of  dragon's  wings,  a  phantom 
eagle's  nest! 

That  Lorado  Taft  shared  with  Mar- 
garet Fuller  a  sympathy  for  the  van- 
quished race  and  a  belief  in  its  nobler 
qualities  is  attested  by  his  tribute  to  the 
red  man  in  the  great  statue  which  he 
placed  upon  the  bluff  just  above  Eagle's 
Nest  Tree.  It  represents  the  gigantic 
figure  of  an  Indian,  wrapped  in  his 
blanket,  his  arms  folded  as  if  in  con- 
templation, the  head  a  little  lifted,  the 
eyes  fixed  upon  the  gracious  country 
spread  below  him.  The  conception  for 
the  piece  came  to  Mr.  Taft  through  a 
subjective  experience.  He  has  told 
how,  often,  at  evening,  when  the 
shadows  began  to  turn  to  blue,  he  and 


others  would  walk  along  the  bluff  and 
stop  at  that  particular  spot,  folding 
their  arms  as  they  looked  at  the  beauti- 
ful prospect.  "And  it  came  to  me," 
he  said,  "that  those  of  generations 
before  us  had  done  so,  and  the  figure 
grew  out  of  that  attitude."  The  sta- 
tue, which  was  executed  almost  en- 
tirely at  his  own  expense,  is  a  gift  from 
him  to  the  people  of  Illinois.  Though 
familiar  with  the  history  of  the  region, 
he  tells  us  that  he  had  in  mind  no  parti- 
cular individual  of  the  race  he  sought  to 
commemorate ;  but  so  indelibly  was  the 
genius  of  the  great  Indian  brave  fas- 
tened upon  the  country  he  loved  that 
by  common  consent  it  has  come  to  be 
called  Black  Hawk. 

The  statue  rises  fifty  feet  from  the 
bluff  and  may  be  seen  from  almost  any 
point  along  the  country  side — a  pro- 
foundly moving  and  significant  figure; 
and  beholding  the  effigy  of  the  noble, 
brooding  Indian  and  its  expression  of 
stoical  resignation  one  recalls  the  de- 
fense which  Black  Hawk  offered  shortly 
before  his  death,  for  his  action  in  going 
into  war  with  the  whites:  "Rock  River 
was  a  beautiful  country.  I  loved  my 
towns,  my  cornfields,  and  the  home  of 
my  people.    I  fought  for  it." 

It  is  a  bit  of  irony  consistent  with  the 
personal  history  of  the  two  men  that 
Keokuk,  the  ancient  enemy  of  Black 
Hawk,  also  should  be  immortalized  by  a 
member  of  the  Oregon  colony,  Miss 
Nellie  Walker.  The  statue  of  the  great 
chief  was  erected  by  the  local  chapter  of 
the  D.  A.  R.  at  Keokuk,  Iowa,  and 
stands  on  the  spot  where  he  is  buried. 
Keokuk,  who  was  a  Sac  chief,  was  a 
friend  to  the  white  man  and  always 
faithful  in  his  allegiance.  It  was  into 
his  hands  that  the  government  authori- 
ties gave  Black  Hawk  for  safe  keeping 
after  his  last,  fatal  uprising  against  the 
whites,  an  insult  over  which  the  latter 


[197] 


Road  to  Ganymede  Spring,  Eagle  Nest's  Camp. 


ART  AND  ARCHAEOLOGY 


brooded  until  his  death.  Keokuk  was  of 
of  noble  bearing  and  Schoolcraft,  in  his 
"Thirty  Years  with  Indian  Tribes," 
tells  how,  at  the  great  Treaty  of  Prairie 
du  Chien,  he  "  stood  with  his  war  lance, 
high  crest  of  feathers  and  daring  eye, 
like  another  Coriolanus."  It  is  with 
peace  pipe  rather  than  with  war  lance 
that  Miss  Walker  has  given  him  to 
posterity,  but  his  noble  posture,  fine 
carriage  of  the  head  and  the  graceful 
folds  of  his  blanket,  carried  over  the 
left  arm,  do  somewhat  suggest  the  great 
Roman  patrician  warrior. 

Miss  Walker  has  a  number  of  fine 
pieces  to  her  credit,  mostly  private 
memorials.  They  may  be  found  in 
Colorado  Springs,  in  Cadillac, Michigan, 
in  Battle  Creek  and  in  Chicago,  be- 
sides three  or  four  public  monuments, 
portrait  statues  principally;  but  it  is 
probable  that  she  has  nowhere  so  com- 
pletely given  expression  to  her  genius 
as  in  this  ideal  conception  of  Keokuk. 

Unlike  other  artists  of  the  Oregon 
group  Miss  Walker  has  never  been  able 
to  do  any  work  at  Camp  but  regards  it 
rather  as  a  summer  home  and  recrea- 
tion point.  It  is  amusing  to  think  that 
the  great  brooding  spirit  of  Black 
Hawk  forbids,  but  she  herself  lays  it  to 
the  physical  difhculties  of  moving  heavy 
materials  about.  Mr.  Taft,  on  the 
other  hand,  has  designed  and  modeled 
some  of  his  best  pieces  there.  Besides 
the  colossal  Black  Hawk  he  has  done 
The  Solitude  of  the  Soul,  one  of  his 
greatest  groups,  which  won  him  a  gold 
medal  at  the  Louisiana  Purchase  Ex- 
position, and  now  at  the  Art  Institute, 
Chicago;  Despair;  and  best  known, 
perhaps  of  all  his  sculptures.  The  Blind. 

Immediate  neighbor  to  Mr.  Taft  and 
Miss  Walker  at  the  Camp  is  Ralph 
Clarkson  whose  distinction  as  a  por- 
trait painter  is  inseparable  from  his 
distinction  as  a  man.    Mr.  Clarkson  is, 


in  the  broadest  sense  of  the  term,  a 
cosmopolite  and  his  wide  culture,  his 
refinement  and  sensitiveness  combine 
with  his  great  reserve  and  strength  to 
affirm  a  personality  that  is  strikingly 
reflected  in  his  art.  A  New  England 
man  by  birth — a  neighbor  of  the  be- 
loved Quaker  Poet  at  Amesbury,  Mas- 
sachusetts— his  work  under  Grudeman 
and  Crowinshield  at  the  Boston  Mus- 
eum, under  Dannant,  under  Boulanger 
and  Lefebvre  of  the  Julian  School, 
Paris,  all  contributed  to  the  mastery, 
but  little  to  that  individual  expression 
of  his  work  which  is  known  as  style. 
Something,  perhaps,  of  the  Japanese 
influence  which  laid  its  magic  on  Whist- 
ler and  the  whole  of  the  Impressionistic 
Movement,  touched  him — an  appre- 
ciation of  blacks  and  grays  and  a  recog- 
nition of  that  new  principle  of  composi- 
tion which  comprehended  the  inter- 
pretation of  the  spirit  rather  than  the 
form ;  but  the  most  important  aesthetic 
episode  of  his  life  was  doubtless  his 
visit  to  Spain  for  the  purpose  of  giving 
himself  to  the  study  of  Velasquez.  His 
debt  to  this  master  is  acknowledged  in 
many  subtle  ways.  His  subordination 
of  detail  to  emphasis  of  structure;  his 
occasional  use  of  the  "grand  line";  his 
interpretation  of  personality  by  means 
other  than  the  overstressing  of  char- 
acteristic— the  mere  Surface  rendering 
of  the  subject — are  all  tribute  to  this 
great  spiritually  developmental  period. 
The  constant  comparison  of  the  work 
of  Clarkson  to  Sargent,  a  comparison 
which  he  has  never  consciously  sought 
nor  coveted,  had  its  beginning  in  the 
episode  which  Mr.  James  William  Patti- 
son,  the  art  critic,  has  related.  It  is  an 
incident  connected  with  a  Portrait 
Exhibit  held  by  the  Chicago  Art  In- 
stitute. "A  certain  wall,"  says  Mr. 
Pattison,  "was  set  apart  for  the  show- 
ing of  Sargent's  works,  but  they  failed 


[199] 


ART  AND  ARCHAEOLOGY 


to  cover  all  the  line.  At  the  end  re- 
mained one  empty  space.  Nothing 
could  be  found  to  occupy  this  vacancy 
beside  the  wonderful  man  but  Mr. 
Clarkson's  portrait  of  E.  G.  Keith, 
Esq.,  because  of  its  directness  of  hand- 
ling, force  and  clearness  of  color.  It 
stood  the  test  of  comparison  so  well 
that  most  people  imagined  that  this  was 
another  Sargent,  thus  nearly  robbing 
the  artist  of  his  due  credit." 

When  this  portrait  appeared,  a  little 
later,  at  the  Corcoran  Art  Gallery  in 
Washington  it  was  the  subject  of  much 
interest  and  of  highly  favorable  com- 
ment from  its  critics,  professional  and 
lay.  This  exhibit  contained  a  notable 
range  of  contemporary  American  por- 
trait work.  There  were  the  five  can- 
vasses by  Sargent,  four  by  Chase, 
besides  portraits  by  De  Camp,  Vinton, 
Beckwith,  Melchers,  Wiles  and  Benson; 
yet  Charles  M.  Kurtz,  Ph.  D.,  Director 
of  the  Buffalo  Fine  Arts  Academy, 
declared  in  speaking  of  the  Keith 
portrait  in  his  "Academy  Notes,"  "It 
is  scarcely  too  much  to  say  that  no  finer 
portrait  than  this  had  been  painted  in 
this  country." 

Oliver  Dennet  Grover,  like  Mr.  Taft, 
is  a  native  of  Illinois,  but  the  statement 
should  be  amended,  as  Elbert  Hubbard 
once  did  his  acknowledgment  to  his 
birthplace  by  saying  that  he  has  "lived 
other  places."  Indeed  the  history  of 
his  professional  training  is  impressive. 
After  leaving  the  Chicago  Academy  of 
Design  he  studied  in  the  Royal  Acad- 
emy at  Munich,  with  Duveneck  in 
Venice  and  Florence,  with  Boulanger 
n  Paris  and  later  with  Jean  Paul 
Laurens.  He  is  a  painter  of  portraits, 
landscapes  and  murals.  Almost  every 
distinction  that  America  can  bestow 
upon  her  artists  has  been  shown  him 
and  the  list  of  his  honors  is  imposing. 
The  illustration  of  his  work  given  in 

[201] 


this  article  admirably  represents  him — 
his  Grand  Canal,  Venice,  owned  by  the 
Art  Association  of  Winona,  Minnesota. 
His  several  Italian  pictures  are  account- 
ed by  critics  as  among  his  strongest 
work,  though  he  is  perhaps  more  gen- 
erally known  through  his  canvasses  por- 
traying the  beauty  of  the  Canadian 
Rockies.  His  fine  color  synthesis  and 
the  subtle  but  insistant  employment  of 
rhythm  are  among  his  outstanding 
characteristics.  He  was,  for  five  years, 
a  teacher  in  the  Art  Institute,  Chicago. 

The  thesis  may  be  hazarded  that 
even  Max  Nordau  would  have  found 
in  a  study  of  this  group — all  artists  of 
proven  genius — no  "morbid  symptom." 
They  are  of  that  splendid  fraternity 
whose  shaping  force  has  made  the  Art 
Institute  a  greater  thing  than  a  mere 
museum  in  which  pictures  and  sculp- 
tures are  hung  and  kept.  "  These  men," 
says  a  writer  in  the  Chicago  Tribune, 
"have  builded  themselves  into  its  very 
structure  and  today  our  art  center  is  one 
of  the  greatest  community  houses  in  the 
world  with  a  widening  welcome  which 
ever  grows  more  cordial  and  more  in- 
dividual." 

"  Community  "  is  the  key -word  which 
describes  the  group  at  Eagle's  Nest 
Camp.  They  live — these  artist  folk — 
in  happy  country  fashion,  in  pleasant 
cottages  of  wood,  stone  or  mortar, 
looking,  always,  toward  the  river  which 
lies  in  lovely  hnes  below  them,  its 
current  frequently  divided  by  the  little 
verdant  islands  that  dot  its  surface. 
Their  meals  are  served  in  a  common 
dining-house  with  wide  windows  and 
commodious  porch.  Over  them  great 
forest  trees  spread  their  protecting 
arms,  weaving  soft  shadows  for  the 
peace  of  souls.  These  are  good  neigh- 
bors, too,  as  the  folks  at  the  little  town 
of  Oregon,  four  miles  distant,  will  tell 
you.     They  will  point  with  more  than 


Portrait  of  E.  G.  Keith,  Esq.,  by  Ralph  Clarkson. 


Portrait  of  Miss  Sallie,  by  Ralph  Clarksou. 


ART  AND  ARCHAEOLOGY 


mere  civic  pride  to  the  little  gallery  in 
their  public  library,  which  the  artists 
have  stocked  with  their  best  expressions 
on  canvas  and  in  clay  and  marble;  to 
their  Community  House,  largely  the 
gift  of  the  same  friends  to  the  town,  and 
to  the  memorial  to  the  soldiers  of  the 
Civil  War  from  Ogle  county  which  was 
designed  by  Mr.  Taf  t  without  remunera- 
tion as  a  contribution  to  its  patriotic 
expression. 

Also  there  are  play-times.  Aesthetic 
adventures  such  as  the  one  involved  by 
the  production  of  the  Maeterlinck  one 
act  drama,  The  Blind,  out  of  which 
grew  the  conception  seized  upon  by 
Mr.  Taft  for  his  famous  group  of  that 
name — the  artists  themselves,  wrapping 
fragments  of  tent  canvas  about  them 
and  posing  for  the  piece ;  pageants  and 
masques  which  commemorate  some 
event  or  passing  fancy ;  but  more  often 
delightfully  solemn  grotesqueries  such 
as  that  originated  in  honor  of  the 
famous  Orientalist,  James  Henry 
Breasted,  who  when  he  paid  a  visit  to 


the  Camp,  on  arriving  after  dark, 
found  his  way  through  the  dense 
forest  illumined  by  lamps  held  rigidly 
between  the  feet  of  Egyptian  mum- 
mies placed  two  by  two  on  either  side 
of  the  road,  seated  on  canvas  covered 
pedestals  and  exposing  starkly  im- 
movable profiles  to  the  view.  The 
Plymouth  centennial  was  not  inappro- 
priately observed,  the  Pilgrim  Fathers 
making  an  impressive  procession  and 
gravely  alighting  from  automobiles 
upon  a  neatly  burlaped  "Rock";  and 
almost  always  the  occasion  of  "breaking 
camp"  in  October  is  attended  by  some 
fantastic  ceremony,  invariably  ending 
in  a  visit  to  the  farm  home  of  Mr. 
Wallace  Heckman  and  the  solemn  pay- 
ment of  one  cent  by  each  and  every 
member  in  accordance  with  the  terms 
of  the  lease  which  this  gracious  land- 
lord imposes  on  his  tenants  ,  presided 
over  by  the  benign  spirit  of  Black  Hawk 
and  the  phantom  eagle's  nest. 

Oregon,  Illinois. 


ARTISTIC  NATURE 

Oh  yes,  U'hat  splendor  does  not  nature  hold 
When  earth  and  sky  are  met  in  harmony. 
And  river,  meadow,  rock  and  forest  tree 
Compose  a  form  whose  grace  can  not  be  told. 
Whose  charm  excells  the  charm  of  purest  gold. 
Whose  life  inspires  the  life  of  you  and  me 
And  makes  one  feel  that  nature's  artistry 
Is  far  above  ii^hai  mind  of  man  can  mold — • 
Could  man  but  knoiu  the  speech  of  nature's  tongue 
And  mold  his  thought  as  nature  molds  her  clay 
In  perfect  form,  and  write  a  rythmic  song 
And  sing  it  well  as  nature  sings  her  lay. 
Could  man  but  paint  what  nature  speaks  so  strong. 
All  life  would  love  and  live  a  perfect  day. 

John  H.  D.  Blanke. 


[204] 


HOUSEKEEPING  IN  PRIMITIVE  HAWAII 


By  Ernest  Irving  Freese. 


AwAiiAN   riE-t-MAl^lMQ  LQUlPriHT- 


<l^. 


FU5E-DALL^/?^/3J 
/O^CAEEYIMG  ne,E> 
/    ■.■iV£.^U-0/-//-- 


WGDDLM  Flie.E.-5TICK5, 


BAMBOO  FII5.E:-BL0WLe^ 
O/fH-PUM'-  Off/  ■ 


Fire 

THE  old-time  Hawaiians,  like  other 
primitive  peoples,  produced  fire  by 
friction.  However,  unlike  that  of 
the  American  Indian,  the  fire  of  the 
Hawaiian  was  generated  by  ploughing 
rather  than  by  drilling. 

The  plough  was  a  small  stick  of  hard 
wood,  bluntly  pointed  at  one  end. 
With  a  rapid  chisel-sharpening  motion 
this  stick  was  rubbed  to  and  fro  in  a 
furrow  formed  in  a  larger  stick  of  softer 
wood.  In  perhaps  a  minute  the  resul- 
tant dust  in  the  bottom  of  the  furrow 
took  fire.  The  tiny  flame  was  then 
caught  on  a  bit  of  tinder  or  on  the  end 
of  a  ball  of  twisted  fiber.  This  ball 
served  as  a  fuse,  or  slow-burning  match, 
for  carrying  the  fire  about  and,  so, 
for  kindling  other  fires.  A  section  of  a 
slender  bamboo  stalk  was  utilized  as  a 
blow-pipe  with  which  to  coax  the  preg- 
nant spark  into  flame. 

The  imii,  or  oven,  of  old-time  Hawaii 
was  always  out  of  doors.  No  cooking 
was  done  in  the  house.  This  oven  was 
merely  a  rock-lined  hole,  or  trench, 
beneath  the  surface  of  the  ground,  and 
of  variable  dimensions.  In  this  trench 
a  roaring  fire  was  built  and,  on  top  of 


this  fire,  another  layer  of  stones  was 
laid.  After  the  fire  was  spent,  water- 
laden  banana-stumps  were  crushed  flat 
and  placed  upon  the  hot  stones.  Then , 
the  raw  fish,  fruits  or  vegetables,  were 
wrapped  in  leaves  and  placed  upon  the 
flattened  stumps.  Immediately  after- 
ward, the  wrapped  food  was  covered 
with  layer  upon  layer  of  other  leaves 
and,  finally,  save  a  tiny  hole  left  for 
the  admittance  of  water,  the  entire 
spread  was  completely  buried  under  a 
half  foot  of  filled-in  earth. 

If  the  menu  chanced  to  include  a 
hog,  the  carcass  would  first  be  opened, 
cleaned,  and  stuffed  with  heated  stones, 
after  which,  the  operations  would  pro- 
ceed on  their  above-mentioned  way. 

The  theory  of  the  Hawaiian  oven  is 
perfect:  the  fire  heats  the  stones,  the 
dense  layer  of  leaf-and-earth  prevents 
the  heat  from  escaping,  the  retained 
heat  is  imparted  to  the  food  and  to  the 
poured-in  water,  the  water  generates 
steam,  and  the  food  is  cooked.  More- 
over, the  food  cannot  burn,  for  there  is 
no  fire — only  dampened  heat.  Even 
at  the  present  day,  many  Hawaiians 
prepare  their  food  in  this  manner.  I 
have  eaten  of  that  food.  Wherefore  I 
am  induced  to  remark  that  never  before 
have  I  tasted  victuals  more  deliciously 
baked.  A  steam-heated  oven — that  is 
the  imu  of  the  Hawaiians. 

Fire  was  also  used  for  drying  the 
grass  house  in  damp  w^eather.  For  this 
purpose  a  small  and  shallow  excavation 
was  made  in  the  floor  of  the  one-room 
house  and  curbed  around  with  stones. 
This  was  the  domestic  "hearth,"  fur- 
nishing warmth  and  light  when  occasion 
required. 


Note. — The  sketches  accompanying  this  article  were  made  by  the  author  from  historic  examples  now  existing 

in  the  Bishop  Museum'at  Honolulu  and  in  various  other  places  throughout   the  islands.     On  the   Puna  coast 

of  Hawaii  hefound  the  natives  adhering  very  closely  to  their  aid-time  manners  and  customs. 


[205] 


ART  AND  ARCHAEOLOGY 


m^ 


The  Hawaiian  Imu,  or  Underground  Oven,  was  out  of 
doors.  The  food  cannot  bum,  for  there  is  no  fire — 
only  dampened  heat. 

Torches  were  made  by  stringing  the 
meats  of  roasted  kukui  nuts  on  the  long 
mid-ribs  of  coco-palm  leaves,  or  on 
stalks  of  wiry  grass,  and  swaddling  a 
bunch  of  these  yard-long  strings  with 
dry  banana  leaves.  This  lama-kii,  on 
being  ignited,  produced  a  large  and 
brilliant  light.  Also  it  produced  much 
smoke,  and,  therefore,  was  used  mainly 
out  of  doors  for  night-time  dance  or 
revel. 

However,  single  and  much  shorter 
strings  of  these  kiikiii  nuts  were  some- 
times used  for  light  indoors.  The  top 
nut  was  lighted  first.  When  it  became 
nearly  spent,  the  candle  was  inverted 
to  set  the  next  nut  afire.  The  burned 
nut  was  then  knocked  off  and  the 
candle   reverted  .  .  .  and   so   on,    for 


each  nut,  at  about  three-minute  inter- 
vals. It  is  thus  seen  that  this  light 
required  almost  constant  attendance, 
and,  moreover,  that  there  existed  im- 
minent danger  of  the  grass  house  going 
up  in  smoke  because  of  carelessly- 
thrown  embers.  Hence:  the  stone 
lamp. 

The  oil  for  the  stone  lamp  was 
pounded  from  kukui  nuts  in  a  stone 
mortar  and  with  a  stone  pestle.  And 
the  stone  lamps,  stone  mortars,  and 
stone  pestles,  were  themselves  fash- 
ioned with  tools  of  stone!  The  lamps 
were  of  many  forms,  for,  usually,  each 
householder  was  his  own  lampmaker. 
The  wick  was  a  piece  of  braided  fiber. 
In  the  event  of  a  nut  famine,  the  fuel 
was  fish-oil  or  the  fat  of  hogs  or  dogs. 

Food. 

There  existed  no  food  in  primitive 
Hawaii  that  even  faintly  approached 
the  likeness  of  bread.  But  there  was 
poi  in  abundance.  Literally  speaking, 
poi  was  the  original  Hawaiian's  "staff 
of  life."     Even  today,  it  is  commonly 


The  making  of  Poi  was  the  Man's  Task. 


[206] 


ART  AND  ARCHAEOLOGY 


made  and  eaten  in  the  old-time  man- 
ner. 

The  making  of  poi  was  no  delicate 
task.  It  was  nothing  short  of  hard 
labor.  However,  this  burdensome  house- 
keeping duty  was  performed  solely  by 
the  men-folk  of  the  family.  The  women 
had  other  duties  equally  as  essential  to 
the  well-being  of  the  primitive  house- 
hold—as you  shall  see  after  I  am  done 
with  poi  and  men. 

Imagine  a  glue-like  pudding  of  such 
consistency  as  to  drip  slowly  and  stick- 
ily from  the  fingers.  Imagine  a  washed 
out  blue  blanket.  To  the  substance  of 
the  pudding  add  the  color  of  the 
blanket.  That  is  poi.  It  was  evolved 
by  performing  a  varied  succession  of 
operations  upon  the  native  tare  plant: 
First,  the  plant  was  exhumed  and  the 
root  amputated.  The  root  was  then 
roasted  in  the  underground  oven  and 
then  skinned.  Up  to  this  point  it  was 
still  called  taro. 

Next,  it  was  placed  upon  a  hardwood 
board,  and,  with  pestles  of  stone,  was 
diligently  hammered  and  crushed  out 
of  all  former  semblance.  Water  was 
then  added  as  lubricant.  Pounding 
and  kneading  were  again  precipitated. 
This  process  was  prolonged.  But  the 
result  was  not  yet  poi.  Nor  was  it 
taro.  It  was  now  pai-ai,  meaning  pai, 
bundle,  and  ai,  food:  hence,  bundle  of 
food. 

The  bundle  was  next  transformed  by 
being  immersed  in  a  water-filled  cala- 
bash wherein  it  was  allowed  to  ferment. 
And  then — after  fermentation — it  was 
poi. 

No  one  will  controvert  the  assertion 
that  the  making  of  poi,  especially  dur- 
ing the  pounding  stage  of  its  career,  was 
the  man's  task.  But  the  men  made 
play  of  it.  Often  as  not,  two  of  them 
worked  at  one  board,  jesting  and  sing- 
ing and  timing  their  stone-hammer 
blows  to  the  cadences  of  their  songs. 

Other  than  the  taro  plant,  the  Hawai- 
ians  raised  sweet  potatoes,  yams  and 

[207] 


^   or  6/7^  ^_^ 

UDO/7  Z^/dA 


\ 


\ 


/C^tX 


r      ; 


-^LAMRS 

■■/PU-/<(J/<tJ/-- 


nOUSDHOLD  UTLU5IL5 

^^^OLD-TIMFy  HAWAII 


PD5TLD 

GI^INDING 
LAMP-FUEL 


# 


sugar-cane  for  food.  The  people  were 
ever  skilled  in  the  ways  of  the  soil. 
No  home  was  complete  without  its 
taro  patch  and  garden. 

Fruit  and  berries,  in  this  favored 
land,  were  then  to  be  had  for  the  pick- 
ing: bananas,  cocoanuts,  mountain 
apples,  the  wild  strawberry,  the  goose- 
berry and  the  raspberry. 

Their  meat  diet  was  fish,  fowl,  hog 
and  dog. 

Salt,  collected  from  salt  lakes  or 
extracted  from  sea-water,  was  much 
used  for  food  seasoning  and  for  the 
preservation  of  pork  and  dog  flesh. 

Liquors,  distilled  or  fermented,  were 
unknown — until  the  white  man  came. 
The  old-time  Hawaiians  had,  however, 
a  plant  of  bitter  and  acrid  taste,  the 
awa,  from  which  a  narcotic  and  stupe- 
fying drink  was  concocted.  But  the 
drinking  of  this  was  mainly  restricted 
to  the  chiefs  and  priests!  And  now 
comes  the  tabu. 

The  Tabu. 
What  was  the  tabu?     It  was  the  Law. 


It  was  the  iron-bound  implacable  Law 
of  pagan  gods  and  pagan  kings.  Yet 
not  a  law  either.  The  violation  of  law 
is  merely  crime.  But  the  violation  of 
a  tabu  was  deadly  sin. 

What  was  the  tabu?  Just  this:  an 
exceedingly  complicated  and  vast  net- 
work of  regulations,  restrictions  and 
dire  penalties  that  hedged  the  entire 
daily  life  of  the  common  people,  and 
hung  a  fearsome  and  impending  doom 
about  their  credulous  and  cringing 
souls.  A  tabu  was  a  priestly  fiat.  A 
tabu  was  an  absolute,  inexorable  thou- 
shalt-not.  And  some  of  them  were 
these : 

A  man  could  not  eat  in  the  presence 
of  his  wife,  nor  she  in  the  presence  of 
her  husband.  No  woman  was  allowed 
to  eat  of  the  flesh  of  the  hog,  the  ^urtle, 
the  shark  or  the  sting-ray.  To  all 
womankind,  the  banana  and  the  cocoa- 
nut  were  forbidden  fruit.  There  were 
times  when  no  canoe  could  be  launched, 
no  fire  lighted,  no  household  duties 
enacted,  no  poi  pounded.  There  were 
occasions  when  no  sound  whatsoever 


[208] 


HE  Zi^PJ-/U/fl&y  EQUIP/AEHT 


WOODDN    AWVIL. 
■/O/i/DA- ALL/A- UjLI/ 


# 


e.OUMD   CLU& 


could  be  uttered;  when  even  the  dogs 
had  to  be  gagged,  and  the  fowls  shut  in 
lidded  calabashes,  for  twenty-four  hours 
at  a  time. 

That  was  the  tahnl 

Raiment. 

The  primitive  Hawaiian's  household 
was  full  of  sound,  signifying  something. 
Housekeeping  was  one  continual  round 
of  impact.  Hammers  of  stone  and 
clubs  of  wood  were  household  utensils. 
The  men  wielded  the  hammers,  the 
women,  the  clubs.  With  these  domes- 
tic weapons  they  attacked  their  raw 
materials  and  therefrom  extracted  the 
essentials  of  life.  Fire  was  chiseled 
from  a  stick  of  wood.  Lamp-oil  was 
ground  from  nuts.  The  roots  of  taro 
were  pounded  into  poi.  The  bark  of 
trees  was  scraped  and  hammered  into 
clothing.  Behold — ye  loafers  of  the 
modern  household — the  houskeeping 
duties  of  the  "pleasure-loving"  old- 
time  Hawaiians.  Chiseling.  Grinding. 
Pounding.  Scraping.   Hammering. 

Hawaiian  cloth,  tapa,  was  manu- 
factured from  bark,  preferably  of  the 


paper-mulberry  tree.  The  labor  of 
felling  the  trees  and  stripping  them  of 
the  bark  was  the  man's  task.  This  he 
did  with  an  adz  of  stone  and  cutting- 
edges  of  shell.  And  then  came  the 
women's  work. 

As  a  wooden  mallet  is  a  more  wieldy 
household  utensil  than  a  stone  hammer, 
just  so  was  tapa  beating  a  less  burden- 
some household  duty  than  the  pound- 
ing of  poi.  And,  as  the  making  of  poi, 
from  taro  patch  to  calabash,  was  the 
labor-share  of  man,  just  so  was  tapa 
making,  from  bark  to  garment,  the 
labor-share  of  woman.  Thus,  between 
man  and  mate,  there  existed  an  eco- 
nomic division  of  labor  in  the  primitive 
and  self-sustaining  household.  But  the 
division  was  more  than  economic.  It 
was  decreed  of  the  gods. 

The  process  of  tapa  making  was  pre- 
sided over  by  its  patron  goddess,  Lazi- 
haki.  Its  manufacture  was  carried  on, 
unseen  of  men,  in  a  separate  house, 
the  hale-kua.  No  man  was  allowed 
entrance  to  this  sacred  establishment 
of  woman;  the  penalty  was  summary 
and  violent  death.     It  was  tabu! 


[209] 


eAi_ADA5H 


IL 


WOODEN     POI-POUNDIMG    &OAidD 

■  ■  ■  /=>A/o/l-i.^Aiy-  ■  ■ 

Y\LW/-AMZ'£J  EQl/JPAmT- 


J 


With  cutting-edges  of  sea-shell,  the 
bark  of  the  felled  tree  was  sliced 
through  longitudinally  and,  so,  divided 
into  long  and  parallel  strips.  These 
were  then  carefully  peeled  from  the 
trunk  and  exposed  to  the  sun  until  the 
sap  in  them  had  become  evaporated. 
The  cortex  was  then  scraped  off  and 
the  remaining  fibrous  tissue  put  to 
soak.  The  tissue  was  next  laid  on  a 
smooth  stone  and  given  a  preliminary 
beating  with  a  round  wooden  club  for 
the  purpose  of  felting  the  fibers  to- 
gether. This  done,  it  was  again  im- 
mersed for  a  time  and  then,  amid  a 
sprinkling  of  water,  was  given  a  final 
beating  with  a  four-sided  wooden  club 
upon  an  anvil-shaped  log.  The  result 
was  tapa,  or  Hawaiian  "cloth." 

Some  of  it  was  of  so  fine  a  texture  as 
to  compare  favorably  with  later-day 
muslin.  Other,  and  more  common, 
varieties,  however,  were  much  denser 
and  tougher,  resembling  the  building- 
paper  of  modern  times.  The  individual 
strips  were  narrow.  Wider  strips  were 
made  by  either  welding  two  or  more 
together  during  the  beating-process,  or 
coarsely  stitching  them  together  after- 
ward. In  the  latter  case,  a  whale-ivory 
stilleto  was  used  to  punch  the  holes 
through  which  to  pass  the  bone  needle. 
Braided  cocoanut  fiber  was  the  thread. 


After  the  finished  tapa  had  been 
bleached  in  the  sun,  it  was  sometimes 
stained  and  colored  by  soaking  it  in 
dyes  extracted  from  the  soil  or  from 
roots  or  berries.  Various  simple  de- 
vices were  also  imprinted  upon  its  sur- 
face in  differing  colors  and  by  diverse 
methods.  Some  were  imprinted  there- 
upon with  a  carved  bamboo  stamp. 
Others  were  lined  off  with  a  bamboo 
marker  split  at  one  end  into  a  multi- 
tined  fork.  Still  others  were  painted 
thereupon  with  a  brush  made  from  the 
frayed  end  of  the  pandanus  fruit. 
Finally,  the  entire  surface  was  glazed 
with  a  species  of  native  resin.  And  the 
garment  was  finished. 

The  everyday  garb  of  the  women  was 
a  knee-length  skirt,  made  up  of  many 
thicknesses  of  tapa,  passed  several 
times  around  the  waist.  The  dress  of 
the  men  was  a  loin-girdle  of  tapa.  In 
addition  to  the  above,  a  Mhei,  or  man- 
tle, occasionally  gave  sumptuousness  to 
the  native  wardrobe.  This  was  a  sim- 
ple tapa  robe,  perhaps  two  yards  square. 
It  was  worn  by  either  sex.  A  sleeping- 
robe,  tapa-moe,  made  up  of  many  layers 
of  common  tapa,  completes  the  list. 
.  .  .  And  now,  your  true  old-time  Ha- 
waiian lies  down  and  dozes  in  the  sun. 

Fan  ka  hanal 


Los  Angelfs,  California. 


[210] 


THE  AESTHETICS  OF  THE  ANTIQUE  CITY 

By  Guido  Calza. 


WHEN  presenting  to  the  readers  of 
Art  and  Archaeology  these 
original  and  interesting  recon- 
structions of  antique  houses,  drawn 
from  the  ruins  of  Ostia  by  Prof.  Gis- 
mondi,  an  architect,  I  propose  a  ques- 
tion that  is  new  to  all  students  of  art 
and  of  archaeology;  that  is:  did  the 
Ancients,  the  Greeks  and  the  Romans, 
adopt  aesthetic  theories  in  building 
their  cities  ?  And  did  they  begin  by  first 
formulating  a  purely  aesthetic  plan  for 
the  disposition  of  their  public  monu- 
ments, now  in  sapient  disorder,  now  in 
sapient  harmony? 

This  is  an  interesting  study  and  ab- 
sorbing today,  when  we  are  witnessing 
the  growth  of  all  the  old  centers  of 
population,  and  the  building  of  new 
ones,  since  the  war  put  a  stop  of  re- 
building in  the  capitals  and  created  the 
need  of  new  cities. 

But  no  one  has  ever  before  attempted 
to  reconstruct  an  antique  Greek  or 
Roman  city  as  a  whole,  or  to  restore  its 
aesthetic  form,  either  by  consulting 
the  ancient  authors,  or  by  examining 
the  ruins  of  antique  cities.  So  that, 
when  a  new  quarter  is  being  built  in  a 
city,  or  a  new  monument  erected,  the 
critics  always  cry  that  building  is  a 
lost  art,  and  exalt  the  Acropolis  at 
Athens,  the  Forum  at  Pompeii,  and 
the  streets  of  Ostia  as  examples  of  c'vic 
aesthetics. 

Is  it  the  mere  charm  of  the  ruins  that 
lends  a  sensation  of  beauty  when  we 
visit  antique  cities,  or  is  it,  rather  that 
they  were  artistic  organisms,  not 
created  by  the  scientific  knowledge  of 
an  engineer  alone,  but  also  by  the  soul 
of  an  artist? 


Let  us  see:  the  plan  of  the  most 
ancient  centers  of  human  life — the 
terremare — was  a  network  of  streets 
crossing  each  other  at  right  angles  and 
dividing  the  huts  into  regular  blocks; 
and  was,  then,  very  similar  to  the  plan 
of  an  American  city,  where  the  funda- 
mental idea  is  to  obtain  a  convenient 
system  of  streets. 

But  these  prehistoric  centers  of 
human  life  were  created  at  one  time, 
by  one  impulse,  and  by  one  sole  tribe, 
and  in  a  position  chosen  by  necessity. 
It  was  the  same  in  those  Roman  colonies 
founded  by  soldiers,  who  transformed 
the  mihtary  camp,  modeling  the  new 
city  in  the  regular  form  of  the  cast  rum. 
But  cities  like  Athens  and  Rome,  that 
grew  little  by  little,  as  their  population 
and  their  political  importance  increased, 
could  not,  and  indeed,  did  not  have 
such  regular  plans.  The  difference  is 
that  we  think  the  regular  plan  of  our 
cities  detrimental  to  aesthetics,  while 
the  Ancients,  the  Greeks  as  well  as  the 
Romans,  thought  the  city  built  en  a 
regular  plan  beautiful,  and  preferred 
it  to  all  others. 

In  fact,  though  Athens  and  Rome 
were  famed  for  the  monumental  char- 
acter of  their  public  buildings,  everyone 
deplored  their  narrow,  tortuous  streets 
and  their  wretched  houses  huddled  to- 
gether without  order  and  without  rule. 
The  orator  Lysias  observes  that  the 
Athenian  houses  were  small  and  miser- 
able, and  that  the  whole  city  of  Athens 
was  badly  laid  out,  being  inferior  to 
Thebes,  where  the  streets  ran  in  straight 
lines.  Ivloreover,  the  courtiers  of  Philip 
of  Macedon,  who  were  accustomed  to 
the   regular,    systematic   plan   of    the 


[211] 


Fig,  I. — Reconstruction  "1  Un    1' 


M. 


the  Main  Street  of  Ostia. 


Grecian  colonial  cities,  derided  the  mis- 
erable appearance  of  the  city  of  Rome, 
whose  political  importance  was  never 
equaled  by  the  beauty  of  her  monu- 
ments, even  during  the  Empire. 

It  is,  then,  a  mistake  to  believe  that 
the  Ancients  did  not  like  the  city  built 
on  a  regular  plan;  they  always  pre- 
ferred it,  and  realized  it  wherever 
possible. 

The  architect,  Hippodamus  of  Mile- 
tus, won  fame  by  introducing  geometric- 
al rules  into  the  plan  of  the  Greek  city, 
so  that  it  had  regular  streets  and  regu- 
lar groups  of  houses,  such  as  may  be 
seen  at  Thurii,  Rhodes  and  Piraeus, 
which  were  constructed  according  to 
his  regular  plan. 

Yet,   although  we  have  unqualified 


admiration  for  the  ruins  of  the  Grecian 
and  Latin  cities,  their  aesthetic  aspect 
must  remain  unknown,  obscure,  and 
uncertain,  unless  we  succeed  in  recon- 
structing them  before  our  mental  vision. 
We  even  confound  in  one  sole  picture 
the  three  or  four  which  the  excavations 
have  brought  to  light — Priene,  Pompeii, 
Ostia,  and  Timgad.  It  is,  on  the  con- 
trary, necessary  when  comparing  Pom- 
peii and  Ostia — to  see  clearly  that  the 
same  difference  exists  between  the  city 
on  the  Tiber  and  the  Vesuvian  city  as 
between  any  modern  provincial  city 
and  any  mediaeval  one.  However, 
our  thoughts  turn  at  once,  as  they  have 
always  turned,  to  Rome.  But  how 
many  of  us  have  in  mind,  and  with  some 
degree  of  correctness  at  least,  the  ap- 

[212] 


ART  AND  ARCHAEOLOGY 


pearance  of  the  Eternal  City  during 
various  periods — during  the  age  of 
Cicero,  for  example,  then  under  Domi- 
tian,  and  later  under  Constantino' 
The  public  buildings,  the  imperial 
Fora  are  more  or  less  known  to  all; 
but  whether  the  Ancients  had  a  greater 
and  more  developed  sense  of  the  monu- 
mental than  we,  I  do  not  know,  or 
whether  the  aesthetics  of  the  city  is 
expressed  in  her  public  monuments 
rather  than  in  the  whole  mass  of  her 
buildings.  In  any  event,  even  though 
we  do  know  those  centered  in  the  Fora 
and  on  the  Palatine,  it  is  necessary  to 
bring  back  to  life  two  thirds  of  the  city 
that  we  do  not  know,  with  shops,  mar- 
kets, nymphaea,  gardens,  and  arcades. 
It  is,  in  fact,  necessary  to  restore  her 
residence  quarters  to  Rome  with  their 
streets  and  public  squares.  And  we 
must  not  look  for  their  type — as  has 
always  been  done — among  the  ruins 
of  Pompeii,  which  serves  more  adequate 
ly  by  restoring  to  us  the  typical  house 
of  the  upper  class — but  at  Ostia,  which 
shared  the  very  life  of  Rome  during  the 
great  re-building  period  of  the  Capital. 

The  readers  of  Art  and  Arch- 
aeology will  recall  some  beautiful  pho- 
tographs, published  by  me  and  taken  at 
a  height  of  five  hundred  meters  from  an 
Italian  dirigible.  But  now,  these  beau- 
tiful, interesting  and  faithful  recon- 
structions shown  here  have  given  new 
life  to  the  ruins  of  Ostia. 

Figure  i  reproduces  the  Decumanus 
Maximus,  the  main  street  of  Ostia, 
where  it  passes  the  theater,  which  just 
shows  the  profile  of  its  mouldings  in 
front  of  a  private  house.  This  char- 
acteristic house,  with  many  windows 
and  a  balcony  carried  on  consoles, 
fronts  on  the  street  leading  from  the 
Decumanus  to  the  Tiber,  and  adjoins 
the  enclosure  which  surrounds  the 
Theater  and  which  is  shut  in  toward 

*See  Vol.  X,  No.  4,  (Oct.,  1920)  pp.  148,  9. 

1213] 


the  Decumanus  by  two  houses;  one  of 
these  has  been  reconstructed  and  is 
shown  in  the  photograph.  There  are 
arcades  on  both  sides  of  the  Decuma- 
nus; one  is  insignificant  and  has  Doric 
columns;  the  other  is  of  greater  height, 
and  has  travertine  pilasters  decorating 
the  wall-space ;  and  on  the  upper  floor, 
a  colonnade  from  which  one  enters  the 
dwellings.  Shops  open  on  this  arcade, 
which  was  intended  as  a  public  passage, 
taking  possession  of  its  outer  arches 
also,  just  as  in  Piazza  Castello  at 
Turin.  This  abuse  is  not  new  and 
recalls  the  words  of  the  poet  Martial, 
who  praises  Domitian  for  placing  a 
check  upon  the  aggressiveness  of  the 
shop-keepers  and  street- vendors,  who 
occupied  the  arcades  and  streets,  trans- 
forming Rome  into  a  magna  taberna. 

Figure  2  shows  the  crossing  of  two 
streets,  the  Via  della  Fortuna  and  the 
Via  del  Mercato.  A  handsome  house 
fronts  on  the  latter,  displaying  orna- 
mental forms  and  motives  that  may 
well  be  called  mediaeval,  if  not  actually 
modern.  The  corner  house  has  an 
arcade  with  masonry  pilasters  on  the 
Via  della  Fortuna,  and  one  on  the  Via 
del  Mercato  formed  of  arches  supported 
on  heavy  travertine  consoles.  There 
are  shops  beneath  the  arcade  and  dwell- 
ings above,  fronting  on  the  street 
across  a  wide  terrace,  which  has  masonry 
columns  and  pilasters.  The  red  brick 
walls  are  plastered  over  here  and  there 
with  political  and  commercial  posters, 
which  were  renewed  every  time  they 
elected  new  deputies  at  Ostia,  or  which 
served  to  advertise  the  arrival  and 
departure  of  Rome's  merchant-vessels. 

The  effort  demanded  of  the  recon- 
structor's  imagination  here  is  minimum, 
because  the  very  ruins  of  this  house, 
that  has  its  whole  second  floor  perfectly 
preserved,  speak  to  us  in  a  clear,  vivid 
language. 


Fig.  2.     Reconstruction  of  the  Crossing  of  Two  Streets  at  Ostia,  the  Via  della  Fortune 

and  the  Via  del  Mercato. 


Fig.  3. — Reconstruction  of  a  Tenement  House  in  the  Center  of  Ostia. 


It  is  the  same  with  a  tenement-house 
in  the  center  of  the  city,  the  recon- 
struction of  which  (figure  3)  allows  you 
to  observe  its  plan  and  the  disposition 
of  the  rooms.  Two  houses,  exactly 
similar  in  plan  and  in  the  distribution 
of  the  apartments  are  united  in  this 
tenement;  the  lower  apartment  con- 
sisting of  twelve  rooms — seven  on  the 
ground  floor  and  five  on  the  mezzanine 
— is  entered  either  from  the  garden, 
which  you  see,  or  from  the  street,  which 
passes  the  opposite  facade.  The  two 
upper  floors  have  small  balconies  of 
masonry  carried  on  travertine  con- 
soles. This  extremely  simple  house,  in 
which  all  the  rooms  have  many  windows 
(one  has  six — three  above  and  three 
below) ,  is  cheerful  with  the  green  in  the 
garden  and  the  flowers.  Moreover, 
the  symmetry  and  variety  of  its  orna- 


ments make  it  far  more  attractive  than 
our  modern  houses. 

The  residence  quarters  of  Rome  must 
have  been  composed  of  about  this  kind 
of  house ;  but  we  were  unable  to  picture 
it  to  ourselves  until  the  excavations  at 
Ostia  brought  these  interesting  ruins  to 
light. 

Restoring  a  city  like  Ostia  with  such 
methods  enables  us  to  see  with  our 
mind's  eyes  its  regular  plan,  the  regu- 
larity of  which  never  becomes  rigid  and 
irritating  symmetry.  In  fact,  the  city 
is  cut  by  some  long,  straight  streets, 
where  detached  groups  of  houses  ad- 
vance beyond  or  stand  back  from  the 
lines  without  uniformity  of  proportion, 
which  is,  on  the  contrary,  the  case  at 
Delos,  for  instance,  at  Selinunte,  and 
at  Priene;  other  such  groups  bend  in  a 
curve,  effacing  themselves,  yielding  cer- 


[2151 


ART  AND  ARCHAEOLOGY 


rainly  to  some  local  necessity,  yet  offer- 
ing most  pleasing  aesthetic  effects. 
And  where  the  streets  were  straight, 
the  buildings  composed  against  admir- 
able backgrounds — the  sea,  the  Tiber- 
tine  jNIountains,  the  Tiber,  and  some 
country-places  on  the  Latium  coast^ 
vistas  that  were  used  advantageously  in 
laying  out  the  city,  so  that  Minucius 
Felix  might  well  call  Ostia  amoenis- 
sima  civitas. 

It  is  far  more  difficult  to  restore  the 
appearance  of  Rome  with  any  accuracy 
of  impression.  And  it  is  to  Rome  that 
our  study  is  especially  directed.  The 
Restitutio  Urbis  is  most  difficult,  be- 
cause only  the  monumental  part  of  the 
city  has  been  preserved,  and  also  be- 
cause of  the  very  character  of  the  city, 
always  varying  during  the  various  ages, 
when  necessity  and  an  imperious  will 
were  for  a  long  time  the  only  building- 
laws.  Moreover,  only  a  few  hints — 
and  those  often  useless — are  found  in 
the  Latin  writers.  Latin  literature 
lacks  that  critical,  aesthetic  description 
that  produced  a  Ruskin,  and  those 
historic-aesthetic  towns  that  make 
Mauril's  guides  to  the  Italian  provin- 
cial cities  most  attractive. 

Rhetorical  expressions  are  quite  use- 
less :  like  that  of  Aristides  who  remarks 
with  astonishment:  "Nowhere  else  can 
the  eye  take  in  so  large  a  city  as  Rome 
at  a  single  glance,"  or  like  that  of  the 
African  Fulgentius  who  says:  "quam 
speciosa  potest  esse  Hierusalem  caelestis, 
si  sic  fidget  Roma  terrestris!"  Or  like 
that  of  Themistocles  who  says  to  the 
Emperior  Gratian:  "The  celebrated 
and  most  noble  city  of  Rome  is  bound- 
less, it  is  like  a  sea  of  beauty  that  passes 
description."  All  this  corresponds  to 
the  impression  made  on  the  Emperor 
Constans,  who  observes  that,  although 
Fame  exaggerates  everything,  the  fame 


of   the  beauty   of   Rome  was   always 
inferior  to  the  reality. 

These  are  rhetorical  expressions,  and 
only  give  us  an  impression  of  measure- 
less and  immeasurable  grandeur,  which 
could  not  have  been  the  sole  character- 
istic of  Rome,  and  which  cannot,  in  any 
event  be  too  readily  accepted  today 
with  our  modern  conception  of  aesthe- 
tics— the  aesthetics  of  the  Eternal  City. 

Nor  are  we  more  fortunate  with  the 
writers  of  the  Golden  Age.  Let  us  put 
aside  the  epigrams  and  satirical  expres- 
sions of  Juvenal  and  Martial,  from 
which  we  learn  even  that  Rome  was 
not  all  beautiful,  not  all  gold  and  mar- 
ble, as  most  of  the  old  topographers 
have  described  her.  Let  us  also  put 
aside  Martial's  magna  taberna.  Sulla's 
'Romewas pulcherrima  atque  ornatissima 
in  Cicero's  eyes,  but  a  moment's  reflec- 
tion suffices  to  make  us  observe  that 
Cicero  has  again  shown  that  he  was  not 
an  art-critic.  Augustus  felt  the  dignity 
of  the  public  monuments  of  Rome 
vastly  inferior  to  her  political  import- 
ance. And  it  is  enough  to  read  Vitru- 
vius  to  realize  that  Rome  had  not  yet 
conquered  the  right  to  enter  an  archi- 
tectural manual  either  with  her  indi- 
vidual monuments  or  with  the  whole 
mass  of  her  buildings. 

I  do  not  intend  to  argue  by  this  that 
Rome  was  aesthetically  ugly  during  the 
last  century  of  the  Republic,  nor  even 
earlier  perhaps.  Nor  do  I  intend  to 
say  that  those  foreigners  were  right 
who  made  fun  of  the  miserable  archi- 
tectural fragments  of  the  Capital  of 
Italy,  which  was  in  the  way  to  become 
the  Capital  of  the  World.  On  the  con- 
trary, a  useful  hint  may  even  be  drawn 
from  them,  helping  us  to  understand 
what  the  Ancients  meant  by  beauty  in 
public  monuments.  For,  it  is,  in  a 
restricted  sense,  and  precisely  in  that 
sense,    that   we   now   understand   the 


[216] 


ART  AND  ARCHAEOLOGY 


aesthetics  of  a  city — the  aesthetics  of 
Rome,  still  magis  occiipata  quam  divisa, 
where  necessity,  and  imperious  will, 
and  individual  taste  substituted  a 
variety,  that  was  certainly  vivacious, 
for  the  solemn  rigidity  of  the  building- 
laws.  And,  moreover,  the  severely 
monumental  character  of  her  one  Forum 
had  already  made  itself  felt,  and  was  in 
striking  contrast  with  the  little  dwell- 
ings nearby,  and  with  the  great  quiet 
of  the  parks  and  gardens,  oases  of 
green  interspersed  among  the  houses. 
Rome  must  have  had  a  very  distinct 
aesthetic  character.  This  character- 
istic of  parks  and  gardens  that  con- 
tinued to  exist  until  the  end  of  Papal 
Rome,  this  even  excessive  disorder  in 
the  public  monuments,  where  no  har- 
monious whole  could  be  recognized, 
but  which  must  have  lent  an  original 
note — these  characteristics  were  trivial, 
and  could  not  have  been  pleasing  to  the 
Greeks  of  the  Macedonian  period,  those 
constructors  of  cities  laid  out  on  regu- 
lar plans,  in  which  was  the  beauty  of 
order,  the  character  of  discipline.  But 
they  would  certainly  have  been  pleasing 
to  us  moderns  who  beUeve, — wrongly 


then, — that  the  Ancients  considered  the 
city  an  artistic  organism.  The  An- 
cients, the  Greeks  as  well  as  the 
Romans,  certainly  displayed  a  more 
general  aesthetic  sense  in  their  civic 
monuments  than  we,  and  above  all,  a 
quicker  perception  of  values  in  the 
relations  between  buildings,  which  was 
more  often  intuitive  than  reasoned, 
more  often  unconscious  than  studied. 
But  a  careful  examination  of  the 
ruins  of  ancient  cities  and  the  study  of 
literary  texts — especially  of  Vitruvius — 
have  convinced  me  that  they  did  not 
have  aesthetic  theories  of  civic  con- 
struction. The  city  was  considered 
then,  as  it  still  is  today,  the  achieve- 
ment of  engineering  rather  than  of 
architecture.  Less  need  of  a  conven- 
ient and  rapid  street-system,  less 
rigidity  in  the  building-laws,  added  to  a 
more  ready  and  spontaneous  aesthetic 
sense,  certainly  served  to  diminish  the 
use  of  geometric  formulas  and  mathe- 
matical rules,  and  to  lend  a  more  varied 
and  aesthetically  pleasing  character  to 
the  antique  city  than  to  the  modern 
one. 

Rome,  Italy. 


SAPPHO  TO  HER  SLAVE. 
With  hyacinths  thy  tresses  bind, 

My  little  slave,  for  thou  art  free; 
Thou  knowest  not  the  chained  mind. 

The  heart' s  lost  liberty. 

The  sandaled  girls  of  Lesbos  sing. 
They  circle  on  the  lillied  sod — 

Join  thou  their  festal  reveling, 
Who  hast  not  felt  Love's  rod. 

Bondmaid  thou  art,  through  war's  mischance. 

But  kind  is  thy  captivity; 
Thy'flower-light  feet  unfettered  dance  .  .  . 

Pale  memory  prisons  me. 

Agnes  Kendrick  Gray. 


1217] 


THE  DEBT  OF  MODERN  SCULPTURE 
TO  ANCIENT  GREECE 


By  Herbert  Adams 


MORE  than  a  decade  ago,  Gilbert 
Murray,  then  as  now  an  in- 
teresting figure  in  the  field  of 
classical  learning,  acknowledged  in  vivid 
terms  his  perpetual  indebtedness  to 
Greek  poetry .  In  hi  s  preface  to  his  "  His- 
tory of  Greek  Literature,"  he  writes: 

"For  the  past  ten  years  at  least, 
hardly  a  day  has  passed  on  which 
Greek  poetry  has  not  occupied  a  large 
part  of  my  thoughts,  hardly  one  deep 
or  valuable  emotion  has  come  into  my 
life  which  has  not  been  either  caused,  or 
interpreted,  or  bettered  by  Greek 
poetry."  He  adds  a  word  about 
"the  one-sided  sensitiveness  of  the 
specialist." 

If  a  poetic  scholar  and  scholarly  poet 
like  Gilbert  Murray  owes  so  much  to 
Greek  literature,  is  not  his  contem- 
porary, the  modern  sculptor,  equally 
in  debt  to  Greek  plastic  art?  For  the 
sculptor  also  has  his  own  "one-sided 
sensitiveness  of  the  specialist." 

To  the  sculptor,  if  to  anyone,  the 
smiling  archaism  of  a  primitive  statue 
of  Apollo,  the  godlike  majesty  of  the 
so-called  Fates  of  the  Parthenon,  the 
splendid  swing  of  the  Victory  of  Samo- 
thrace,  should  bring  a  peculiar,  per- 
sonally directed  message.  He,  if  any- 
one, should  understand  the  endearing 
human  quality  of  the  Greek  stele,  with 
its  sculpture  of  homely  farewell,  and 
the  charm  of  the  Tanagra  figurines, 
caught  in  the  act  of  some  everyday 
occupation,  be  it  task  or  pleasure,  or 
both  combined. 

Doubtless  if  the  ordinary  sculptor  had 
the  gift  of  reasoned  introspection,  and  a 
command  of  speech  equal  to  his  mastery 


of  clay,  he  would  first  examine  himself, 
and  then  eloquently  acknowledge  his 
debt  to  Greece.  But  the  extraordinary 
sculptor  Rodin,  so  often  master  of  the 
two-thirds  truth  in  the  spoken  word,  has 
with  unmistakable  sincerity  paid  his 
tribute  to  Greek  art.  Rodin  is  com- 
monly regarded  as  an  innovator  in 
sculpture,  rather  than  a  classicist;  yet 
it  is  he  who  declares,  "No,  never  will 
any  artist  surpass  Phidias ! ' ' 

]3ut  suppose  for  a  moment  that 
Phidias  had  never  existed.  Suppose 
that  there  never  was  a  Parthenon,  or 
even  an  Acropolis,  or  indeed  any  trace 
of  the  Greek  peninsula  on  the  face  of 
the  earth. 

There  would  then  have  been  a  very 
different  sort  of  Roman  sculpture  from 
that  which  gave  us  the  statue  of 
Julius  Caesar  in  his  toga,  and  en- 
crusted with  anecdotes  of  conquest 
the  Arch  of  Titus.  Perhaps  we  should 
not  even  have  a  richly-sculptured  tri- 
umphal arch  to  bless  or  curse  ourselves 
with  today.  And  surely  the  Italian 
Renaissance,  had  there  been  any,  would 
have  been  quite  a  different  matter  from 
that  actual  rebirth  of  culture  which 
during  the  14th  and  15  th  centuries 
became  what  was  to  be  the  link  between 
classic  civilization  and  our  own.  For 
without  the  Acropolis,  the  Italian  Re- 
naissance would  have  had  to  manage 
some  backward  flight  into  Eg>'pt,  or 
into  the  most  Eastern  East,  or  into  the 
colder  climes  of  the  North;  and  as  a 
modern  consequence,  our  sculpture  to- 
day would  perhaps  have  an  Egyptian 
four-squareness,  or  a  Chinese  majesty, 
or  a  rude  Gothic  power. 

[218] 


ART  AND  ARCHAEOLOGY 


As  a  matter  of  fact,  the  imagination 
draws  back  wounded  from  the  vision 
of  modern  sculpture  stripped  of  its 
Mediterranean  heritage.  Had  Greece 
not  existed,  the  plastic  art  of  Rome 
would  have  been  in  a  sense  "all  dressed 
up,  nowhere  to  go."  The  same  is  true, 
in  a  less  degree,  of  the  sculpture  of 
Italy  15  centuries  later;  the  Gothic  arts 
and  crafts  of  the  Middle  Ages  were 
never  quite  at  their  best  under  Italian 
skies,  although  some  critic^,  including 
Rodin  the  sculptor,  regard  the  powerful 
and  tortured  spirit  of  Michael  Angela 
as  a  Gothic  survival,  or  perhaps  an 
expression  of  the  eternal  conflict  be- 
tween Hellenism  and  Christianity, 
rather  than  of  confidence  in  classic 
ideals  of  art  and  life. 

The  longer  the  world  lives,  and  the 
longer  we  live  in  it,  the  more  clearly 
we  see  that  absolute  originality  does 
not  exist.  Culture  does  not  happen 
spontaneously ;  it  is  born  and  reborn  in 
the  labor  of  generations.  And  the 
greatest  among  men  of  genius  are 
usually  the  swiftest  to  pay  homage  to 
their  predecessors,  and  to  prize  classic 
tradition  at  its  true  value,  not  as  some- 
thing that  enslaves  men,  but  as  some- 
thing that  helps  to  set  them  free. 

Some  of  our  modern  despisers  of 
ancient  culture,  in  their  efifort  to  gain 
for  themselves  what  they  call  "  the  in- 
nocent eye,"  would  destroy  all  tra- 
dition in  art,  except  perhaps  that  of  the 
more  degraded  tribes  of  mankind.  Thus 
we  find  the  admirers  of  Matisse  gravely 
applauding  his  assimilation  of  the  ways 
of  African  tribal  sculpture.  It  is 
probable  that  the  War,  with  all  its 
frightful  destruction  of  that  which  was 
priceless  in  art,  has  sharply  called  a  halt 
upon  those  sinister  forces  which  had 
been  advocating  the  annihilation  of 
recognized  beauty.  Often  a  kind  of 
fear,  the  fear  of  seeming  old,  the  fear 


of  not  being  new,  the  fear  of  not  being 
able  to  emit  "le  dernier  cri"  in  art  lies 
at  the  bottom  of  the  ultra-modernist 
onslaught  on  the  classic  spirit.  To 
those  who  are  thus  fearful,  a  rough- 
hewn  carving  from  the  jungle  is  of 
course  nobler  than  the  Hermes  of 
Praxiteles, — nobler  because  more  novel 
and  less  academic. 

Personally,  I  as  a  sculptor  feel  an 
interest  in  everything  that  was  ever 
modeled  or  carved  in  sincerity,  whether 
made  in  the  Kameroons  or  in  Con- 
necticut. But  I  hope  not  to  enslave 
myself  to  newly  discovered  tribal  ideals 
in  art,  any  more  than  to  the  long- 
known  standards  of  antique  civilization . 

Unfortunately,  the  road  to  our  de- 
sired goal  of  Democracy  is  strewn  with 
snares,  among  which  is  sometimes  found 
a  contempt,  real  or  assumed,  for  the 
higher  standards,  and  for  classic  values 
generally.  All  the  more  reason,  there- 
fore, for  true  seekers  after  Democracy 
to  remain  dauntless  in  the  face  of 
present-day  attacks  upon  classical 
studies, — attacks  which  are  among  the 
crimes  committed  in  the  name  of  De- 
mocracy. Our  literature,  already  suffi- 
ciently happy-go-lucky  and  indiscrimi- 
nate in  its  style  (I  speak  now  of  form, 
not  of  matter)  is  likely  to  deteriorate 
still  farther  because  of  the  temporary 
blacklisting,  by  some  of  our  colleges,  of 
Greek  and  Latin;  studies  which  tend  to 
enrich  and  to  clarify  the  language  and 
thought  of  a  writer.  Our  art  of  sculp- 
ture, however,  is  more  fortunate,  be- 
cause its  indebtedness  to  the  classic 
spirit  is  too  manifest  to  be  lightly 
ignored. 

A  visit  to  the  galleries  of  contem- 
porary American  sculpture  at  the  Met- 
ropolitan Museum  will  show  us  how 
powerfully  the  classic  spirit  still  prevails 
with  us.  For  instance,  the  figure  of  the 
wounded  wayfarer  in  Ward's  group  of 


12191 


ART  AND  ARCHAEOLOGY 


the  Good  Samaritan  is  modelled  with 
classic  enthusiasm  and  classic  balance. 
Consider  the  beautiful  planes  of  the 
chest,  and  see  how  the  group  of  muscles 
under  the  arm  expands  into  a  great 
flower  of  light  and  dark.  Ward  was 
our  virile  pioneer  in  American  sculpture. 
While  he  abhorred  the  servile  pseudo- 
classicism  of  his  day  and  generation,  it 
is  worthy  of  note  that  he  too,  like  Rodin 
and  like  Kenyon  Cox,  passionately 
prized  the  true  classic  spirit. 

"When  after  years  of  study,"  writes 
Ward,  "I  at  last  found  out  truths  in 
Greek  sculpture  which  I  once  had 
doubted,  the  joy  of  the  discovery  was 
intense." 

"If  it  be  great  art,"  writes  Kenyon 
Cox,  in  his  Illusion  of  Progress,  "it 
will  always  be  novel  enough,  for  there 
will  be  a  great  mind  behind  it,  and  no 
two  great  minds  are  alike.  And  if  it 
be  novel  without  being  great,  how  shall 
we  be  the  better  off?" 

"  I  do  not  try  to  imitate  the  Greeks," 
declares  Rodin;  "  I  try  to  put  myself 
in  the  spiritual  state  of  the  men  who 
left  us  the  antique  statues." 

These  three  artists.  Ward,  Cox,  and 
Rodin,  are  in  many  ways  opposed  to 
each  other ;  but  they  are  in  harmony  in 
their  reverence  for  Greek  art. 

Turning  to  the  work  of  sculptors 
coming  just  after  Ward,  we  find  the 
essence  of  Greek  beauty  and  Greek 
serenity  in  French's  masterpiece,  "The 
Angel  of  Death,"  and  the  essence  of 
Greek  majesty  and  Greek  mystery  in 
Saint-Gaudens'  Adams  Memorial.  Yet 
each  sculptor,  in  making  the  classic 
spirit  his  own,  has  richly  remoulded  it 
by  his  own  genius,  his  own  personality. 

The  great  school  of  German  critics 
of  the  1 8th  and  19th  centuries,  with 
true  Teuton  thoroughness,  had  by  their 
researches  made  for  the  world  an  image 
of  Greek  art  in  which  the  idea  of  Greek 


calm  was  heavily  over-stressed.  That 
image  did  good  service  in  its  day,  and 
withstood  hard  wear.  But  modern 
scholarship  has  made  a  ghost  of  it,  and 
we  of  today  acknowledge  in  Greek 
sculpture  a  mysterious  power  not  to  be 
summed  up  in  phrases  about  calm,  and 
balance,  and  beauty.  In  fact,  no  artist 
or  critic  has  ever  succeeded  in  explain- 
ing the  true  quality  of  Greek  plastic 
art.  For,  without  having  the  air  of 
being  in  the  least  elusive,  that  quahty 
forever  eludes  full  description.  It  is  a 
thing  of  the  spirit 

In  the  light  of  the  recent  extraordi- 
nary discoveries  of  a  pre-Hellenic  civil- 
ization in  Crete,  some  of  our  younger 
sculptors,  especially  those  who  have 
profited  by  the  opportunities  of  our 
American  Academy  in  Rome,  have  felt 
the  lure  of  the  primitive.  Under  its 
spell,  because  things  longest  buried 
often  seem  least  hackneyed,  these  young 
men  have  joyously  revived  the  naive 
and  very  real  attractions  of  what  may 
be  called  the  awkward  age  of  antique 
sculpture.  But  Paul  Manship's  Girl 
with  Gazelles  is  after  all  a  second 
cousin,  twice  removed,  to  Saint-Gau- 
den's  Amor  Caritas,  while  Sherry  Fry's 
Maidenhood  and  Mr.  French's  Angel 
have  a  common  ancestor.  It  must  be 
admitted  that,  as  often  happens  in 
families,  these  relationships  do  not  stick 
out  at  first  glance.  But  our  young 
Americans  were  not  the  first,  neither 
will  they  be  the  last,  to  play  the  game 
of  form  according  to  Crete.  In  fact, 
the  Germans  were  before  them  in  the 
field,  and  the  sculpture  of  the  Serbian 
Mestrovic  scores  heavily  by  the  use  of 
those  same  archaisms  so  lightly  seized 
by  our  Americans  of  the  Academy  in 
Rome,  those  renowned  young  playboys 
of  the  classic  spirit.  Others  also,  and 
in  other  ways,  have  edged  away  from 
the   shadow    of    Winckelmann's   calm 


[220) 


ART  AND  ARCHAEOLOGY 


into  a  place  in  the  sun,  notably  Rudolph 
Evans,  whose  Golden  Hour,  a  beautiful 
girlish  figure  with  Greek  drapery,  shows 
no  trace  of  mannerism,  new  or  old. 

The  research  of  modern  archaeolo- 
gists and  the  appreciation  of  modern 
sculptors  have  broadened  and  diversi- 
fied our  earlier  conception  of  the  Greek 
ideal  in  art.  Furthermore,  the  works 
of  the  humble  craftsmen  of  antiquity, 
men  who  shaped,  even  in  a  commercial 
way,  the  Tanagra  figurines  and  the 
Attic  stelai,  have  helped  us  to  a  better 
understanding  of  these  amazing  Greeks, 
a  people  who  for  all  their  grandeurs 
were  doubtless  as  near  to  the  dust  as 
we  ourselves,  because,  like  ourselves, 
they  lived  and  loved,  aspired  and 
stumbled  and  ate  daily  bread. 

I  have  spoken  of  that  kind  of  fear 
which  sometimes  drives  our  modernists 
to  extremes  in  their  rejection  of  the 
classic.  Greek  sculpture  knows  no  such 
fear.  It  may  indeed  be  as  calm  as  the 
Germans  said,  and  as  we  believed;  but 
to  my  mind,  it  is  above  all  courageous, 
courageous  with  a  courage  far  removed 
from  recklessness,  or  mere  audacity, 
or  last-ditch  despair.  It  is  a  courage  of 
logic,  of  conviction;  a  courage  that 
neither  desires  nor  pretends  to  perpet- 
uate things  exactly  as  they  are.  For 
the  Greeks,  in  their  delineations  of  the 
human  form  divine,  preferred  to  en- 
hance and  to  simplify  rather  than  to 
copy.  Thus  they  had  no  mind  for 
realistic  portraiture,  at  once  a  blessing 
and  a  curse  to  our  modern  art  of 
sculpture. 

The  Romans,  to  be  sure,  showed  a 
lively  curiosity  to  see  themselves  as 
others   saw   them,  wart   and   all,  and 


Roman  busts  abounded ;  and  the  Ital- 
ians of  the  Renaissance,  when  painting 
and  sculpture  vied  with  each  other, 
carried  portrait  art  to  a  still  higher 
pinnacle.  Their  gift  was  inherited  and 
added  to  by  the  Frenchman  Houdon, 
to  whom  our  art  owes  much;  since 
Houdon,  the  sculptor  chosen  to  make 
our  first  statue  of  Washington,  was  a 
rare  revealer  and  interpreter  of  human 
character  in  marble,  and  might  indeed 
be  called  the  1 8th  century  John  Sargent 
of  sculpture.  Perhaps  a  vigorous 
realism  in  portraiture  is  the  only  im- 
pressive trait  which  our  sculpture  has 
not  inherited  very  directly  from  Greece. 

In  order  to  improve  our  American 
standards  in  art,  our  American  Academy 
in  Rome  gives  to  those  carefully  selected 
students  who  earn  its  scholarships,  a 
three  years'  course  of  study  in  any  one 
of  its  separate  departments  of  painting, 
sculpture,  architecture,  and  classical 
studies.  Each  of  the  fortunate  stu- 
dents receives  $1000  a  year,  is  given  a 
studio  and  home,  and  is  enabled  to 
travel  in  Italy  or  Greece.  Painter, 
sculptor  and  architect  are  expected  to 
work  out  certain  problems  of  artistic 
creation  in  collaboration  with  each  other . 

The  influence  of  such  studies,  made 
under  ideal  conditions,  will  be  far- 
reaching  in  this  country.  Indeed,  that 
influence  is  already  manifest.  More- 
over, the  explorations  of  the  twentieth 
century  have  brought  to  light  rich  ad- 
ditions to  the  gifts  hitherto  bestowed 
on  the  world  by  Greece;  and  un- 
doubtedly the  future  will  place  our  art 
under  a  still  larger  indebtedness  to  the 
classic  genius. 

Neif  York,  N.  Y. 


[2211 


'Love  and  Life,"  by  Sir  George  Frederick  Watts,  in  the  National  Gallery, 
Washington,  D.  C. 


CURRENT  NOTES  AND  COMMENTS 

Sir  George  Frederick  Watts'  Picture  "Love  and  Life." 

An  interesting  story  attaches  to  the  final  placing  of  George  Frederick  Watts'  beautiful  and 
well-known  picture  "Love  and  Life"  in  the  National  Gallery  of  Art. 

The  picture  was  painted  in  1884,  and  was  shown  at  the  World's  Fair  in  Chicago  in  1893.  Later 
it  was  presented  to  the  United  States  Government  by  the  artist.  It  was  received  with  great 
enthusiasm  by  an  express  act  of  Congress  and  was  hung  in  the  Reception  Room  of  the  White 
House,  where  it  was  much  admired  imtil  a  protest  was  made  by  the  Women's  Christian  Tem- 
perance Union,  whose  members  were  apparently  shocked  by  the  nudity  of  the  figures,  though  it  is 
diflScult  to  understand  how  so  delicate,  so  exquisite,  so  ethereal  a  bit  of  nudity  could  shock  anyone. 

The  members  of  this  Society  evidently  considered  the  White  House  not  as  a  private  residence, 
but  a  public  institution  visited  by  many  persons  from  all  over  the  world  and  that  there  should  be 
nothing  on  the  walls  that  could  either  excite  interest  or  comment. 

It  is  strange  now  to  recall  the  fact  that  because  of  this  protest  President  Cleveland  had  the  pic- 
ture removed,  but  President  Roosevelt  during  his  administration  bravely  had  the  picture  rehung, 
in  1902,  and  the  lovely,  offending  thing,  really  occupied  places  of  honor  until  in  March  of  this  year 
it  was  sent  to  the  National  Gallery  of  Art,  where  it  should  have  been  placed  in  the  beginning,  so 
that  it  could  be  seen  by  more  visitors  to  the  National  Capital,  as  a  beautiful  work  of  art,  presented 
to  the  country  by  a  famo  is  and  brilliant  English  Artist! 

Love  is  depicted  as  a  strong  youth  but  tender  and  helpful,  with  angel  wings  that  enfold  the 
slender  fragile  figure  of  Life,  who  is  trying  to  climb  the  steep  and  rugged  path  with  faltering  steps. 
She  appealingly  approaches  Love,  the  guiding  and  inspiring  Angel  of  Life,  not  merely  the  con- 
queror of  death,  who  takes  her  by  the  hand  to  support  and  encourage. 

The  little  figure  of  Life  seems  almost  too  slight,  but  she  is  so  painted  for  contrast,  to  show  her 
need,  her  helplessness,  and  Love  bends  tenderly  over  her,  encouraging  her  to  surmount  the  steep 
and  arduous  path.  "She  is  not  to  look  down  at  the  difficulties  below  for  she  would  turn  giddy  and 
lose  her  footing,  or  shrink  from  the  abysses  on  either  side  of  the  narrow  way.  She  is  to  look 
upward  to  the  great  reward  and  so  receive  new  strength  to  persevere.  .  .  .  Her  contact  with 
Love  is  of  the  slightest,  enough  to  remove  her  self-distrust  and  inspire  her  with  confidence,  but  not 
enough  to  render  exertion  on  her  part  unnecessary.  She  merely  lays  her  open  palm  in  his  hand 
which  does  not  grasp  it  or  close  around  it.  .  .  .  She  was  to  be  strengthened  by  her  toil 
and  have  in  her  the  blessedness  of  her  own  experience.  She  must  be  crowned  with  the  crown  of 
life,  her  own  life  in  its  highest  manifestation.     .     .     ." 

Watts  painted  another  version  of  this  picture  in  1 894  which  he  presented  to  the  Luxembourg, 
which  is  not  a  mere  replica.  Still  another  picture  of  the  same  title  is  in  the  National  Gallery  of 
British  Art  in  the  "Watts  Room."  The  one  sent  to  America  was  finished  first.  Watts  was  in 
the  habit  of  spending  years  over  many  of  his  canvases,  exhibiting  them  and  then  long  after  taking 
them  up  again  and  completing  them,  so  it  is  practically  impossible  to  fix  their  dates. 

He  loved  classic  subjects  and  all  Greek  Art.  His  rendering  of  classic  myths  is  full  of  beauty  and 
living  interest.  He  is  quoted  as  saying — "  I  paint  ideas,  not  things.  I  paint  primarily  because 
I  have  something  to  say  and  since  the  gift  of  eloquent  language  is  denied  me,  I  use  painting.  My 
intention  is  not  so  much  to  paint  pictures  which  shall  please  the  eye,  as  to  suggest  great  thoughts 
which  shall  speak  to  the  imagination  and  to  the  heart  and  arouse  all  that  is  best  and  noblest  in 
humanity." 

He  considered  this  picture  of  "Love  and  Life"  as  representative  of  his  deepest  thought. 
Another  of  his  "Love  Series,"  pictures  Love  steering  the  Boat  of  Humanity,  through  an  angry  sea 
of  dashing  waves.  Love  at  the  helm  guiding  a  frail  httle  boat,  "Love  Triumphant"  and  "Love 
and  Death" — they  all  illustrate  the  power  of  Love. 

Owing  to  his  generosity,  examples  of  Watts'  work  appear  in  many  public  galleries  in  the  United 
Kingdom,  as  well  as  in  the  Colonies,  in  France  and  America. 

He  died  in  1904  at  the  age  of  eighty-seven,  in  full  command  of  his  powers  and  faculties  up  to 
the  last.  Helen  Wright. 

[223] 


"Sorrow"  (La  Doulcur),  by  Paul  Cezanne.     Lent  anonymousl}-  to  the  Metropolitan  Museum. 


ART  AND  ARCHAEOLOGY 

When  Critics  Disagree — The  Metropolitan's  French  Exhibition. 

A  new  phase  of  interest  suddenly  attached  to  the  daring  exhibition  of  French  impressionism 
and  post-impressionism  shown  all  summer  at  the  Metropolitan  Gallery  in  New  York.  It  was 
anonymously  denounced  as  a  "Machiavellian  campaign"  and  Bolshevist  progaganda.  The 
circular,  mailed  broadcast,  was  entitled  "A  Protest  against  the  Present  Exhibition  of  Degenerate 
'Modernistic'  Works  in  the  Metropolitan  Museum  of  Art,"  by  an  unnamed  "Committee  of  Citi- 
zens and  Supporters  of  the  Museum."  Who  these  critics  were  no  one  seems  to  know,  but  they 
gave  fresh  advertising  to  an  already  widely  discussed  show. 

"One  half  suspects  the  circular  itself  is  propaganda,"  ingeniously  suggested  Raymond  G. 
Carroll  in  a  special  report  to  The  Philadelphia  Ledger,  "devised  in  the  hope  of  starting  a  contro- 
versy and,  if  possible,  get  otherwise  sensible  folks  to  go  and  see  what  some  people  will  actually  put 
frames  around.  They  are  so  bad  as  paintings  that  once  seen  they  could  be  held  responsible  for 
almost  anything — a  crime  wave,  a  suicide  epidemic,  divorce — I  will  even  go  further — another 
World  War." 

Yet  the  Curator  of  Paintings,  Mr.  Bryson  Burroughs,  in  his  introduction  to  the  special  catalogue 
of  the  display  which  opened  last  May,  treated  the  works  in  all  seriousness.  He  wrote,  "The  im- 
pressionists were  the  virile  force  in  the  last  quarter  of  the  century  and  among  them  the  origins  of 
the  later  styles  must  be  looked  for."  Again  he  says,  "The  age  was  heartily  tired  of  the  output 
of  the  schools  of  art.  .  .  .  Disgusted  people  turned  away  from  it  all  and  discovered 
Cezanne.  .  .  .  His  fresh,  lovely  color,  his  haimting  sincerity,  his  readily  grasped  arrange- 
ments were  hailed  as  the  manifestations  of  a  regeneration  of  art,  and  the  aesthetes  found  delicious 
stimulation  in  his  wayward  distortions  of  natural  form  and  in  his  choppy  and  abrupt  brush 
strokes."     .     .     . 

But  our  anonymous  critics  of  the  circular  name  Cezanne  as  especially  offensive,  with  Toulouse- 
Lautrec,  Gauguin,  Van  Gogh,  and  others.  More  than  twenty  numbers  the  "Committee" 
designate  as  "particularly  disquieting  works,  showing  either  mental  or  moral  eclipse,"  or  as 
"simply  pathological  in  conception,  drawing,  perspective,  and  color,"  also  as  "either  \'Tilgar  in 
subject,  or  corrupt  in  drawing,  or  childish  in  conception,  drawing,  perspective,  and  color,"  and 
they  have  specified  them,  so  that  there  might  be  no  mistake.  "No.  iii,  'Girl  arranging  her 
Chemise,'  they  warn  us,  for  example,  "is  vulgar  in  subject,  ugly  in  face  and  form  and  weird  in 
color.     .     .     .     Much  more  might  be  said,"  they  conclude.     "But  the  above  will  suffice." 

When  one  recalls  the  opening  day  of  this  exhibit,  last  May,  it  seemed  to  be  a  vivid  success.  It 
was  an  invitation  affair,  and  the  cards  were  in  demand.  The  large  gallery  was  filled  with  New 
York's  art  critic  elite,  all  talking  at  once,  as  they  moved  slowly  around  the  hall,  their  eyes  fixed 
upon  the  gay,  mosaic-like  arrangement  of  the  pictures  on  the  walls.  The  old  favorites  were  there, 
Edouard  Manet  and  Claude  Monet,  and  then  these  new  ones,  so  many  of  them.  Already,  in 
Brooklyn  and  in  the  numerous  spring  exhibitions  of  New  York,  the  modern  French  art  had  pre- 
dominated, but  not  in  such  profusion,  such  completeness  of  variety.  The  catalogues  were  care- 
fully studied. 

Mr.  Bryson  Burroughs  had  written  with  enthusiasm.  His  own  spring  exhibition,  held  else- 
where, had  been  highly  praised.  His  work  is  original  and  mystical,  but  not  "peculiar."  As  a 
former  student  of  Puvis  de  Chavaiines,  he  may  be  presumed  to  know  quite  thoroughly  the  subject 
of  modern  French  art. 

Of  Gauguin  Mr.  Burroughs  said,  "Gauguin  was  the  romantic  of  the  post-impressionist  genera- 
tion, with  a  nostalgia  for  strange  countries  and  primitive  life.  He  also  was  an  insurgent  against 
the  diffuseness  of  the  Impressionists  and  confined  his  forms  in  a  frank,  simplified  line,  within 
which  he  laid  on  his  rich  color  in  large,  flat  masses.  .  .  .  He  was  a  symbolist,  according  to 
the  definition  of  1890."     .     . 

But  Gauguin  is  banned  by  the  anonymous  ''Committee,"  who  designate  among  their  numbers 
his  "  Hina-Tefatou,"  described  as  from  an  ancient  Maori  legend  related  in  Noa-Noa.  This  large 
canvas,  in  oil,  measures  44  inches  in  height  by  24  in  width,  and  is  signed  and  dated  "Gauguin, 
'93."  It  represents  the  goddess  Hina,  who  in  the  form  of  a  soft,  clinging  woman  gently  touches  the 
hair  of  Tefatou,  the  earth-god,  and  speaks  to  him:  "Let  man  rise  up  again  after  he  has  died.  .  .  ." 
and  the  angry  but  not  cruel  lips  of  the  god  open  to  reply,  "Man  shall  die."  So  the  catalogue 
describes  this  mysterious  picture. 

Another  condemned  woik  was  No.  2,  the  "Bather,"  by  Cezanne,  a  still  larger  picture,  66  inches 
high  by  41 1  wide,  painted  about  1865  and  used  as  a  wall  decoration  for  the  artist's  house  at  Aix. 
No.  3,  also  censored,  was  by  the  same  artist  and  aroused  much  interest  by  its  weirdness.     It  was 

[225] 


ART  AND  ARCHAEOLOGY 

entitled  "La  Doiileur,"  Sorrow,  and  represented  a  grieving  figure  by  a  dead  body,  the  whole 
painted  in  hea\'y  tones  of  dark  blue  and  black.  This  also  was  a  wall  decoration  of  the  artist's 
house,  which  suggests  his  own  feeling  about  the  two  compositions. 

One  picture,  rather  curiously  omitted  by  the  "Committee,"  was  No.  65,  the  "Girl  with 
Flowers,"  by  Matisse,  an  oil  canvas  moimted  on  a  panel,  measuring  17  by  24.  It  is  a  work  so 
extreme  in  stjde  that  one  might  almost  have  expected  to  find  it  heading  the  list  of  the  tabooed — ■ 
a  long-faced  girl,  with  strange  eyes  and  pufi'y  hair,  dressed  in  dowdy  shirt-waist  blouse,  and 
seated  by  a  table  with  a  flower  so  hastily  sketched  that  we  are  not  quite  sure  if  it  is  a  rose.  Per- 
haps all  the  works  of  the  exhibition  may  not  be  entirely  typical  of  the  artist's  best  work.  Bn,'son 
Burroughs  writes  of  Matisse,  that  he  "is  the  most  conspicuous  of  living  painters.  .  .  .  His 
drawing  has  the  audacity  and  spontaneity  of  drawings  by  untaught  children."  Yes,  the  latter 
statement  may  be  quite  true.  But  Mr.  Burroughs  attributes  to  Matisse  an  intellectual  quality 
also,  for  he  writes,  comparing  Matisse  and  Derain,  "The  fact  that  the  aims,  intellectual  as  well  as 
technical,  of  these  two  artists,  as  well  as  a  number  of  others  of  their  generation,  have  so  many 
resemblances,  proves  the  legitimacy  of  their  style,  if  such  proof  be  needed.  They  are  searching 
for  an  abstract  of  realism,  not  the  reality  of  the  special  appearance  at  a  particular  moment  which 
the  Impressionists  expressed  with  unapproached  skill,  but  a  wider  and  more  elusive  realism  that 
will  apply  generally — that  may  be  free  of  accidental  circumstances." 

There  were,  of  course,  in  this  exhibition,  pictures  which  could  not  fail  to  excite  admiration. 
One  of  these.  No.  98,  was  Odilon  Redon's  "Silence,"  a  mystic  study  of  a  lengthened  face  peering 
through  an  oval  aperature,  eyes  nearly  closed,  long  straight  nose,  two  fingers  on  the  lijjs — what 
secret  is  here  implied?     (See  cover  picture.) 

Altogether,  it  was  a  fantastic  exhibition,  but  is  not  a  dynamic  force  in  art  to  be  welcomed,  even 
though  it  lead  to  "explosions"?  A  static  force,  if  merely  negative  in  value,  may  be  condemned. 
And  shall  we  not  thank  both  parties  to  the  exhibit,  the  Metropolitan  and  the  unnamed  "Com- 
mittee," for  having  aroused  such  x-iolent  reactions,  such  active  criticism? 

One  word  more  is  of  interest,  the  reply  of  the  Museum  to  the  attack  made  upon  its  position  in 
the  matter.  Two  columns  in  the  Bulletin  are  devoted  to  it.  "The  Museum  welcomes  helpful 
criticism,"  we  are  told,  "from  citizens  and  supporters.  Had  the  authors  of  this  protest  intended 
to  be  helpful,  we  should  have  supposed  that  they  would  have  made  it  directly  to  the  Museum 
authorities  at  the  opening  instead  of  the  closing  of  the  exhibition,  and  that  they  would  have 
appended  their  names  so  that  the  Museum  could  judge  of  the  weight  which  should  be  accorded 
to  it.  But  the  officers  of  the  Museum  welcome  the  protest  even  though  it  comes  at  the  close  of 
the  exhibition,  though  it  is  unsigned,  and  is  addressed  not  to  them  but  to  their  fellow-citizens. 
They  welcome  it  because  of  the  opportunity  afforded  of  reiterating  their  explanation  of  the 
circumstances  in  which  this  special  exhibition  was  given  and  of  the  Museum's  purpose  in  holding 
it.  It  was  undertaken,  as  is  stated  in  the  introduction  of  the  Museum  catalogue,  in  response  to  a 
request  from  a  group  of  art  lovers,  members  of  the  Museum,  who  unlike  the  authors  of  the  protest 
were  not  anonymous.  They  were  Mrs.  Harry  Payne  Bingham,  Miss  Lizzie  P.  Bliss,  Arthur  B. 
Davies,  Paul  Dougherty,  Mrs.  Eugene  Meyer,  Jr.,  John  Quinn,  and  Airs.  Harry  Payne  Whit- 
ney."    .     .     . 

"Fine  advertising  for  a  Gallery,  this  modern  French  art,"  laughed  a  connoisseur.  "I  feel  just 
like  making  a  trip  to  New  York  to  see  it  for  myself.     No,  don't  you  quote  me." 

Gertrude  Richardson  Brigham. 

The  Congress  on  the  History  oj  Art  at  Paris. 

On  September  26,  and  in  the  amphitheater  Richelieu  at  the  Sorbonne,  Paris,  the  first  History 
of  Art  Congress  since  the  war  was  inaugurated.  Distinguished  representatives  from  most  of  the 
countries  of  the  world  were  there,  including  those  from  Argentina,  Belgium,  Bulgaria,  China, 
Colombia,  Denmark,  Egypt,  Finland,  Great  Britain,  Holland,  Italy,  Japan,  Latvia,  the  Grand 
Duchy  of  Luxembourg,  Morocco,  Norway,  Poland,  Portugal,  Roumania,  Spain,  Sweden,  Switzer- 
land, Czecho-Slovakia,  and  Jugo-Slavia.  The  United  States  of  America  were  represented  by  Mr. 
Robert  W.  de  Forest,  president  of  the  Metropolitan  Museum,  New  York,  and  by  Miss  Cecilia 
Beaux,  the  noted  artist,  who  paid  a  cordial  tribute  to  French  art  and  art  instruction  in  the  first 
meeting.  The  Washington  Society  of  the  Archaeological  Institute  was  well  represented  by  Dr. 
and  Mrs.  S.  Richard  Fuller.  Bulgaria  was  the  only  one  of  France's  late  enemies  which  was  invited 
to  participate. 

[226] 


ART  AND  ARCHAEOLOGY 

In  the  opening  session,  M.  Paul  L^on,  Director  of  Fine  Arts,  spoke  on  the  development  of 
Instruction  in  Art.  The  motive  of  the  Congress  was  well  expressed  by  M.  Andre  Michel,  member 
of  the  Institute,  professor  of  the  College  de  France,  and  president  of  the  French  Committee  on 
Organization  of  the  Congress.  "Each  people,"  said  he,  "through  their  great  artists  affirms  its 
intimate  faith,  reveals  its  manner  of  understanding  and  loving  life,  and  enriches  just  so  much  the 
patrimony  of  the  world."  The  object  of  the  Congress  was  to  assemble  the  foremost  exponents  of 
the  art  of  each  country  in  order  to  correlate  and  extend  its  study. 

The  Congress  was  then  divided  into  four  sections,  the  lectures  in  the  first  being  devoted  to 
Instruction  in  Art  and  Administration  of  Museums,  in  the  second  to  Occidental  Art,  in  the  third, 
to  Byzantine,  Near  East  and  Far  East  Art,  and  the  fourth,  to  the  History  of  Music. 

In  the  first  group,  four  Americans  lectured:  Dr.  Libby  on  "The  Role  of  the  Museum  in  Educa- 
tion" ;  John  Cotton  Dana,  Director  of  the  IMuseum  Association  of  Newark,  on  "A  Little  American 
Museum — Its  Efforts  for  Public  Utility" ;  Miss  Edith  R.  Abbott,  of  the  Metropolitan  Museum  of 
New  York,  on  "The  Role  of  the  Museum  from  the  Point  of  View  of  Instruction";  and  Miss 
Spiller,  on  "The  Administration  of  Museums,  from  the  viewpoint  of  theirutility  for  children." 

M.  Fierens-Gevaert,  Consen,-ator-in-Cliief  of  the  Royal  Museums  at  Brussels,  gave  in  the  second 
group  a  most  interesting  discourse  on  "French  Travellers  in  Belgium  in  the  17th  Century,"  and 
told  of  the  assistance  received  from  the  French  by  the  Flemish  from  the  time  of  the  imagists  and 
illuminators  of  the  14th  century  to  the  painters  of  feminine  elegance  of  the  fSecond  Empire. 

Among  other  engrossing  lectures  were  those  which  discussed  French  influences  in  Italy,  Norway, 
and  Sweden,  and  the  mutual  influences  of  other  countries.  During  the  succeeding  days  of  the 
Congress,  which  met  in  four  amphitheaters  in  the  Sorbonne,  art  and  music  were  studied  in  all 
their  phases,  and  hardly  a  monument  escaped  the  eloquent  discussion  of  a  devotee.  Those  of  the 
five  hundred  delegates  and  members  who  were  interested  particularly  in  one  of  the  major  topics 
followed  only  the  lectures  given  for  that  group  in  one  of  the  amphitheaters,  where  five  or  six 
discourses  were  made  at  each  session.  The  others  tip-toed  from  one  amphitheater  to  another 
in  order  to  hear  a  little  bit  of  everything,  thus  getting  a  mosaic  impression  of  all  the  arts. 

But  all  was  not  work  at  the  Congress.  Visits  to  museums,  private  collections  and  French  his- 
torical monuments  took  place  almost  ever>^  day  under  the  direction  of  the  Conservators  themselves, 
and  as  well,  there  were  numerous  receptions.  On  the  second  day  the  Louvre  was  visited,  and  a 
reception  was  given  by  the  Minister  of  Public  Instruction  and  Fine  Arts.  On  the  next  day  there 
was  a  reception  at  the  Hotel  de  Ville,  given  by  the  Municipal  Council  of  Paris.  On  the  following 
day  the  Cathedral  and  city  of  Chartres  were  visited,  on  the  next  Chantilly.  On  the  following 
afternoon  the  members  were  permitted  to  see  the  collection,  not  without  some  value,  of  M.  M. 
Durand-Ruel.  On  Sunday  there  was  an  excursion  to  the  famous  cathedral  of  Rheims,  now  more 
beautiful  in  a  tragic  way  because  of  its  disfiguration  received  during  the  war.  From  there  the 
battlefields  were  visited  in  the  sector  of  the  fort  de  la  Powfelle  and  of  Mount  Cornillet.  On  the 
same  afternoon  the  Baron  and  Baroness  Edmond  de  Rothschild  gave  a  charming  reception  to 
those  who  stayed  in  Paris,  in  their  magnificent  chateau  and  gardens  in  the  Bois  de  Boulogne. 

On  the  next  afternoon  everyone  attended  a  delightful  concert  in  the  Hall  of  Mirrors  at  Versailles 
and  visited  the  chateau.  An  automobile  excursion  the  following  day  took  about  two  hundred 
and  fifty  of  the  members  to  Fontainebleau  and  later  to  the  charming  Chateaux,  built  in  the  17th 
century  style,  of  Courance  and  of  Vaux-le-Vicomte.  The  latter  was  built  for  Fouquet  by  the 
architect  Levau  and  its  magnificent  park  was  designed  by  Le  Notre.  One  of  the  most  charming 
places  visited  during  the  week  was  the  home  of  Prince  Czartoryski  on  the  He  St.  Louis.  It  is  a 
private  hotel,  built  by  the  architect  Levau  in  the  17th  century  with  beautiful  gardens  overlooking 
the  Seine.     It  is  decorated  with  a  number  of  valuable  paintings  by  LeBrun  and  LeSoeur. 

The  last  lecture  was  given  the  next  morning  by  Signor  A.  Venturi,  professor  at  the  University 
of  Turin,  on  "The  Arts  in  the  Time  of  Dante."  He  told  most  interestingly  of  the  influence  of 
Dante's  writings  in  the  architectural  decoration  made  by  his  contemporaries.  That  afternoon 
the  private  collections  of  M.  de  Camondo,  and  of  Baron  Maurice  de  Rothschild  were  visited,  and 
a  reception  was  given  by  the  French  Committee  on  Organization  in  the  Louvre.  In  the  evening 
a  large  number  assembled  for  a  farewell  banquet  in  the  Cercle  Interalle^. 

The  enthusiasm  and  interest  of  the  members  of  the  Congress  grew  day  by  day  and  because  of  the 
large  number  of  appeals  that  were  made  to  the  French  Committee,  it  is  very  probable  that  another 
Congress  will  be  held  next  year.  There  is  a  general  feeling  that  this  Congress  has  been  a  great 
factor  towards  the  internationalization  of  the  arts  and  that  it  will  give  an  impetus  toward  a  larger, 
interest  in  the  study  of  art  in  all  the  countries  which  were  represented. 

Paris,  France.  Mitchell  B.  Carroll 

[227] 


The  Adventure  of  a  Painting 
Section   of  masterpiece  which   disappeared  in 
17th  century  found  in  collection  of  C.  A.  Ficke  in 
Davenport,  and  another  section  in  Hackley  Gal- 
lery of  Fine  Arts  at  Muskegon,  Mich. 


Recently  The  Democrat  published  a  press  dispatch  relating  the  recovery  of  a  "Descent  from 
the  Cross,"  painted  by  Rubens,  which  had  disappeared  from  a  cathedral  in  Belgium  during  the 
late  war.  Since  then  The  Democrat  has  learned  of  an  interesting  story,  relating  to  a  painting 
a  fragment  of  which  is  owned  by  Hon.  C.  A.  Ficke  of  Davenport.  In  the  middle  of  the  17th 
century,  Govaert  Flinck  and  Gerbrandt  van  den  Eckhout,  both  pupils  of  Rembrandt,  were  two 
of  the  foremost  painters  of  Holland.  Their  paintings  were,  and  still  are,  often  mistaken  for  those 
of  their  master.  One  of  these  artists,  and  it  is  not  certain  which  of  them,  painted  one  of  those 
heroic  sized  pictures,  measuring  approximately  eight  feet  square,  which  in  that  century  were  in 
favor.  It  represented  "Christ  being  shown  to  the  people."  During  some  war  of  revolution, 
perhaps  several  centuries  ago,  this  picture  disappeared.  In  order  to  conceal  it  more  securely, 
its  purloiner  cut  it  up  into  perhaps  four  pieces,  one  of  which  is  now  in  the  Ficke  collection.  This 
fragment  was  purchased  in  London  by  a  New  York  dealer,  and  iold  to  Mr.  Ficke  15  years  ago. 
It  depicts  people  pointing  to  some  object  not  appearing  in  the  fragment.  The  figure  of  the  youth 
near  the  edge  was  deprived  of  an  arm  and  a  hand  when  the  original  painting  was  cut  up  into 
pieces.  The  search  of  the  owner  of  this  fragment  for  these  missing  members  was  rewarded,  when 
in  a  catalog  of  the  paintings  in  the  Hackley  Gallery  of  Fine  Arts  of  Muskegon,  Mich.,  Mr.  Ficke 
found  a  reproduction  of  a  second  fragment  of  the  original  painting  (herein  reproduced  with  the 
fragment  owned  in  Davenport),  in  which  appear  not  only  these  missing  members,  but  also  Christ 
and  His  attendants  upon  whom  the  people,  shown  in  tlie  Davenport  fragment,  were  gazing 
before  the  original  was  dismembered.  The  other  fragments  being  of  minor  importance  doubtless 
are  permanently  lost.  Correspondence  between  the  owners  of  the  respective  fragments  estab- 
lished the  indubitable  fact  that  both  are  parts  of  one  large  original,  painted  either  by  Flinck 
or  Eckhout.  — Davenport  Democrat. 


[228] 


BOOK  CRITIQUES 


Daniel  H.  Burnham;  Architect,  Planner  of 
Cities.  By  Charles  Moore.  Boston  and  New 
York;  Houghton,  Mifflin  Company,  ig2i.  2 
Vols.     Illustrated  in  full  color.     $20.00. 

The  World's  Fair  at  Chicago  in  1893  brought 
together  an  assemblage  of  architects,  landscape 
architects,  sculptors  and  painters  never  before 
equalled  in  this  country  and  never  afterwards 
surpassed.  How  they  worked  to  produce  a 
unified  result  to  which  each  profession  contri- 
buted its  full  share  is  told  in  the  biography  of 
"Daniel  H.  Burnham,  architect,  planner  of 
Cities." 

The  associations  of  the  Fair  held  these  artists 
together  and  engendered  the  American  Academy 
in  Rome,  an  institution  which  through  its 
graduates  is  enriching  this  country  in  all  fields 
of  artistic  endeavor  and  is  steadily  improving 
American  taste.  Directly  to  the  Fair  is  to  be 
traced  the  new  plan  of  Washington  and  the 
plans  for  the  improvement  of  Cleveland,  San 
Francisco,  Manila  and  Chicago;  also  the  new 
impulse  in  Government  building.  These  art- 
ists had  their  struggles  with  indifference  and 
opposition;  they  had  also  their  times  of  en- 
joyment. 

They  studied  the  world's  precedents  and 
brought  home  the  lessons  learned  abroad. 
They  saw  the  masterpieces  of  the  old  world 
through  the  medium  of  our  own  needs.  From 
the  past  they  brought  ideas  and  ideals  of  form 
and  spirit  to  be  applied  to  American  problems. 
And  through  all  their  labors  ran  a  constant 
stream  of  enjoyment  and  satisfaction  in  ac- 
complishment. As  their  work  progressed  they 
were  called  into  the  service  of  the  nation  and 
that  service  was  rendered  not  for  personal 
reward  but  from  a  sense  of  public  duty.  More- 
over, being  pioneers,  they  marked  the  paths  for 
their  successors,  establishing  principles  that 
shall  last  for  all  time. 

They  were  even  called  to  Europe  to  take  part 
in  the  world-wide  movement  for  civic  better- 
ment and  to  suggest  methods  which  had  been 
tried  out  here  under  freer  conditions  and  found 
to  be  of  universal  application. 

Mr.  Burnham's  life  touched  the  lives  of  many 
men,  of  many  kinds  in  various  countries. 
Himself  a  successful  architect  and  man  of 
business,  he  had  also  the  soul  of  an  artist,  who 
strove  ever  to  accomplish  the  highest  and  most 
lasting  results. 

The  Union  Station  in  Washington  was  his 
work,  the  Lincoln  Memorial  in  its  present  form 
and  location  is  due  largely  to  his  persistency 
and  vision.  If  he  had  to  fight  with  the  beasts 
at  Ephesus,  he  had  his  abundant  rewards  in 
seeing  much  of  his  labor  realized.    As  Washing- 

[229] 


ton  grows  in  beauty  and  dignity,  comparable 
to  that  of  the  finest  European  Capitals,  as 
Cleveland  realizes  its  great  central  composition, 
as  San  Francisco  crowns  its  hills  with  stately 
buildings  related  one  to  another,  as  Manila, 
retaining  its  distinctive  character,  develops 
amenities  known  only  to  present-day  civiliza- 
tion, as  Chicago  becomes  the  finest  commercial 
city  in  the  wide  world,  the  curious  student  will 
trace  the  beginnings  of  these  productive  move- 
ments to  the  master  mind  that  dreamed  and 
then  in  part  wrought  the  dreams  into  forms  of 
satisfying  and  lasting  beauty  and  set  the  pace 
for  those  who  were  to  come  after  him. 

It  is  a  glorious  company  that  gathers  on  th  ese 
sumptuous  pages  illustrated  with  vivid  pic- 
tures of  the  results  of  their  labors.  Here  are 
Richard  Hunt  and  Charles  McKim  among  the 
architects,  Augustus  Saint-Gaudens  and  Daniel 
French  among  sculptors,  Blashfield  and  Millet 
among  painters,  the  Olmsteds,  father  and  son, 
among  landscape  architects,  Theodore  Thomas, 
the  musician.  Presidents  Roosevelt  and  Taft, 
Senators  McMillan,  Root,  Wetmore  and  New- 
lands,  President  Eliot  and  Professor  Charles 
Eliot  Norton — to  name  but  few  among  the 
many.  Each  has  his  place  in  the  army  of 
progress.  Here  may  be  traced  the  beginning 
and  the  development  of  the  classic  revival  in 
American  architecture  and  the  reasons  for  the 
new  impulse. 

Here  too,  are  discussed  the  problems  con- 
fronting the  artist  and  correct  methods  of 
solution.  Diaries,  letters,  the  recollections  of 
friends  and  fellow  laborers,  all  are  drawn  upon 
to  develop  the  story  of  achievement.  And  when 
all  has  been  said  the  whole  matter  may  be 
summed  up  in  Mrs.  Roosevelt's  happy  phrase — 
"I  find  the  book  very  human." 

For  the  most  part  Mr.  Burnham  is  allowed 
to  te'l  his  own  tale  in  his  own  fashion,  to  create 
a  self-portrait,  as  the  painter  would  phrase  it. 
Vital  portions,  however,  are  supplied  in  letters 
written  to  him  by  his  companions. 

From  the  abundant  materials  thus  supplied, 
there  is  developed  a  well-rounded  character  of 
a  great  American  designer  of  buildings  and 
cities,  a  man  of  the  largest  vision  and  the 
greatest  foresight,  one  who  believed  thoroughly 
in  his  own  country,  its  possibilities  and  poten- 
tialities. The  task  of  presentation  fell  into  the 
hands  of  Mr.  Moore,  who  was  closely  associated 
with  Mr.  Burnham  both  in  his  labors  and  also 
in  his  hours  of  ease,  who  was  familiar  with  his 
associates  and  thus  was  able  to  estimate  their 
influence  on  him,  and  who  has  done  the  work  on 
these  rarely  beautiful  books  as  a  labor  of  love 
and  a  tribute  of  admiration  and  affection. 

Helen  Wright. 


Furniture  of  the  Pilgrim 
Century 

By  WALLACE  NUTTING 


TT  WILL  contain  1000  reproductions  of  photo- 
graphs of  furniture  made  in  this  country  from 
native  woods  in  the  period  1620  to  1720  with  de- 
scriptions— the  most  complete  record  available. 
As  it  is  a  very  expensive  work  to  print  the  prob- 
ability is  that  there  will  not  be  another  edition 
and  we  advise  immediate  consideration  by  all 
wishing  to  own  a  copy. 

Sample  pages  showing  paper,  text,  illustrations 
and  contents  of  this  sumptuous  work  will  be  sent 
on  request. 

PRICE  $15.00 


MARSHALL  JONES  COMPANY 

Publishers 
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NOTICE 

Owing  to  the  rapid  growth  of  the  mailing  list  of 
Art  anu  Archaeology,  and  the  unusual  demand 
for  special  numbers,  our  stock  is  almost  exhausted 
of  the  following: 

V,  No.  I  (January,  1917); 
V,  No.  4  (April,  1917); 
VI,  No.  6  (December,  1917); 
VIII,  No.  5  (September-October,  1919) 

25  cents  per  copy  will  be  paid  for  any  of  these 
numbers   upon   delivery   at   this   office. 

ART  AND  ARCHAEOLOGY 

The  Octagon,  Washington,  D.  C. 


Peonies — Tulips — Narcissi 

In  Standard  and  Choice  Varieties 
Send  for  Lists 

Oronogo  Flower  Gardens 
Carter ville,  Mo. 


/.  /.  Lanhes.  Painter-Graver  on  Wood,  by 
Bolton  Brown.  Kansas  City.  Alfred  Fowler, 
ig2i. 

Even  to  those  who  know  nothing  of  Lankes 
the  name  of  Bolton  Brown  will  carry  weight; 
but  once  the  volume  is  seen  the  former's  work 
can  speak  for  itself.  The  straitened  simplicity 
of  the  medium  renders  it  difficult  rather  than 
easy;  and  Mr.  Lankes'  has  a  careful  regard  for 
its  own  specific  quality.  The  charming  dress 
of  this  brief  essay  in  appreciation  will  have 
its  especial  appeal  to  discriminating  lovers  of 
bookly  beauty. 

V.  B. 

College  Teaching — Studies  in  Methods  of 
Teaching  in  the  College.  Edited  by  Paul 
Klapper.  Yonkers-on-Hiidson,  New  York. 
World  Book  Company,   ig20. 

We  present  a  brief  announcement  of  this 
book  because  of  the  excellent  chapter  on  "The 
Teaching  of  Art,"  by  Holmes  Smith  of  Washing- 
ton University,  St.  Louis.  Starting  with 
Tolstoi's  definition:  "Art  is  a  human  activity, 
consisting  in  this,  that  one  man  consciously,  by 
means  of  external  signs,  hands  on  to  others 
feelings  he  has  lived  through,  and  that  other 
people  are  affected  by  these  feelings,  and  also 
experience  them,"  Professor  Smith  shows  that 
instruction  in  art  should  be  an  intimate  part  of 
a  liberal  education,  and  have  a  place  in  every 
B.  A.  course.  The  values  of  art  instruction 
consist  not  only  in  cultivating  taste  and  the 
appreciation  of  works  of  art,  but  also  in  illumi- 
nating the  study  of  the  progress  of  civilization, 
and  in  correlating  the  student's  work  with  that 
of  past  and  present  workers.  He  lays  down 
general  courses  of  study  for  both  artist  and  lay 
students,  and  insists  that  students  of  the 
history  of  art  should  have  some  knowledge  of 
design  and  technical  processes,  and  that  stu- 
dents of  the  technique  should  have  courses  in 
the  history  and  appreciation  of  art.  A  well- 
rounded  college  course  should  cover  four  years, 
grouped  as  practice  courses  in  freehand  drawing, 
color,  modeling,  design,  and  as  history  courses 
in  Ancient,  Mediaeval,  Renaissance  and  Mod- 
ern art. 

This  essay  is  most  heartily  commended  to  all 
teachers  and  students  of  art. 

M.  C. 

"When  Turkey  was  Turkey — /»  and  Around 
Constantinople,"  by  Mary  A.  Poynter.  With 
an  introduction  by  the  late  Sir  Edwin  Pears. 
New  York.  E.  P.  Button  &"  Co.  $j.oo. 
P  This  delightful  series  of  essays,  written  by  a 
clever  English  woman,  give  a  picture  of  Turkey 
as  it  was  before  the  World  War  and  will  grow 


Kindly  Mention  Art  and  Archaeology. 


[230j 


in  value  with  the  passing  years  as  the  resur- 
rected countries  in  her  former  domain  one  by- 
one  attain  self-determination,  even  if  it  be  only 
under  European  mandates.  Where  Mrs.  Poyn- 
ter  touches  on  archaeology,  as  she  frequently 
does,  it  is  without  giving  an  opinion,  but  she 
tells  the  story  so  well  as  to  illuminate  the  an- 
cient sites.  Thus  "A  Day  at  Old  Troy"  with 
Mr.  Calvert,  Schliemann's  predecessor,  as 
guide,  tells  why  the  former  chose  Hissarlik 
for  his  excavations  that  yielded  such  wonder- 
ful results,  and  the  chapter  on  "The  Sarcophagi 
Found  at  Sidon  "  brings  to  mind  that  Mr.  Eddy, 
an  American  missionary,  was  the  original  dis- 
coverer of  the  so-called  "Alexander"  Sarco- 
phagus, now  in  the  Constantinople  Museum. 
"A  Pilgrimage  to  Nicaea,"  now  called  Isnic, 
makes  live  again  "The  City  of  the  Creed  and 
the  Crusaders,"  and  in  passing  she  tells  what 
remains  of  Nicomedia,  once  Diocletian's  capi- 
tal, now  known  as  Ismid,  recently  captured 
by  the  Greeks  in  their  victorious  march  which 
we  hope  will  free  Greek  Asia  ISIinor  from  the 
Turk  forever. 

So  "Journeyings  in  Asia  Minor  in  1913" 
brings  us  to  Ankyron  where  Constantine  the 
Great  dies;  again  to  Ismidt  with  its  few  old 
broken  walls  and  ruins;  to  Eski-shehr,  near 
where  was  fought  the  great  battle  of  Dory- 
laecun  in  1907,  when  the  Crusaders  defeated 
Soliman,  the  Turkish  Sultan  of  Iconium;  to 
Angora,  ancient  Ankyra,  where  still  remains  in 
part  the  temple  of  Rome  and  Augustus,  with 
the  important  inscription  known  as  the  "testa- 
ment" of  Augustus,  a  city  now  the  last  stand 
we  hope  of  Kemal  Pasha;  and  to  Konia,  the 
Iconium  of  Paul's  journeys,  a  city  like  Da- 
mascus of  immemorial  antiquity,  and  always 
of  importance,  especially  in  Roman  times  and 
after  iioo  as  capital  of  the  Seljuk  Kingdom. 
We  have  passed  by  many  places  of  lesser  note, 
as  Baylik  Kepru,  the  site  of  ancient  Gordium, 
where  Alexander  cut  the  Gordian  knot,  as 
Ilghin  where  Aesop  was  born,  or  Valovatch 
site  of  Antioch  in  Pisidia,  where  Sir  William 
Ramsay  excavated,  but  why  say  more  for  the 
reader  will  secure  this  book  for  himself  and 
thus  revive  his  memories  of  the  ancient  glories 
of  Asia  Minor.  M.  C. 

Macedonia:  A  Plea  for  the  Primitive,  by  A. 
Gof  and  Hugh  A.  Fawcett,  with  illustrations  by 
Hugh  A.  Fawcett.  New  York,  John  Lane  b° 
Co.     ig2i. 

The  occupation  of  Salonica  by  the  Allies 
daring  the  World  War  riveted  the  attention  of 
thoughtful  readers  once  more  on  Macedonia, 
the  home-land  of  Philip  and  Alexander  the 
Great,  and  it  has  been  difficult  to  realize  that  a 
country,  which  at  one  time  boasted  sovereignty 
over  half  the  known  world,  had  fallen  so  low 


# 


;->• 


:fe 


THE  ENGIZAVIMGS 

FOR  ART  AND  ARCHAEOLOGY" 

ARE  THH  Exclusive  WORK  or 

THE  STANDARD  ENGRAVING  CO. 

THE  EXPRESSION  OF  YOUR  BOOK 
OR  ADVERTISEMENT  IS  FIRST 
REGISTERED  IN  PICTORIAL  ART 
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[231] 


Kindly  Mention  Art  and  Archaeology 


INVESTIGATIONS 

AT 

ASSOS 

Drawings  and  Photographs  of  the  Buildings 

and  Objects  Discovered  During  the 

Excavations  of  1881,  1882,  1883 

— BY — 

Joseph  T.  Clarke 
Francis  H.  Bacon 
Robert  Koldewey 
Edited   with   explanatory   notes,   by 
Francis  H.  Bacon 
Published  for  The  Arclmeolog'ical  Insti- 
tute of  America 
By  a  Committee  originally  consisting  of 
Charles  Eliot  Norton 
John  Williams  White 
Francis  H.  Bacon 
William  Fenwick  Harris 

TABLE  OF  CONTENTS 

History  of  Assos. 

Account  of  the  Expedition. 

Agora. 

Mos.Mcs  Below  Acora. 

Theatre  Photographs  and  Plans. 

Greek  Bridge. 

Roman   Atrium. 

Acropolis — Plan. 

Turkish   Mosque. 

Gymnasium. 

Byzantine  Church. 

Fortification  Walls. 

Street  of  Tomds — General  Plan. 

Doc  Inscription   from   M'iTiLENE. 

Inscription  from  Pashakieui. 

Coins  from  Assos. 

The  magnificent  volume  is  now  ready  in 
a  portfolio,  the  five  parts  together. 

Five  hundred  and  twenty-five  copies  have 
been  printed.  Subscriptions  for  the  remain- 
ing two  hundred  and  forty  copies  will  be  re- 
ceived at 

FORTY  DOLLARS  EACH. 

The  rate  to  original  subscribers  remains 
twenty-five  dollars.  The  book  will  not  be 
reprinted.     Cheques  should  be  sent  to 

WILLIAM  FENWICK  HARRIS, 

8  Mercer  Circle, 
CAMBRIDGE,  MASSACHUSETTS. 


under  the  heel  of  Turkish  oppression.  In  fact, 
Macedonia  as  a  center  of  historical  interest, 
had  been  lost  to  the  world  and  become  merely 
a  geographic  expression  to  cover  a  stretch  of 
territory  conspicuous  in  the  Balkan  caldron. 
Hence  Messrs.  GofT  and  Fawcett  have  rendered 
a  conspicuous  service  in  the  compilation  of 
their  volume  on  "Macedonia,  A  Plea  for  the 
Primitive," — the  first  detailed  description  of 
Macedonia.  Touching  only  incidentally  on 
political  matters,  these  two  participants  in  the 
British  occupation,  who  spent  over  three  years 
familiarizing  themselves  with  the  countr}^  have 
given  us   a   true  picture   of   Macedonia. 

The  authors  first  consider  the  physical  ge- 
ography of  Macedonia,  and  then  discuss  the 
Macedonian  peasant,  his  native  characteristics, 
his  dress,  and  villages  and  houses,  the  products 
and  industries,  the  folk-arts — textiles,  em- 
broidery, metalcraft,  pottery.  Special  chapters 
are  devoted  to  Salonika,  historical  and  de- 
scriptive, with  interesting  accounts  of  the 
modern  town,  the  cemeteries,  the  Greek 
churches,  the  Turkish  Mosques ;  to  the  marriage 
customs,  the  prevalence  of  malaria,  the  flora 
and  fauna  of  the  country.  Various  other  places 
of  interest  are  described  as  Kavalla,  Stavros, 
Dorian,  the  Struma  Plain,  and  Mount  Athos 
with  its  many  monasteries. 

The  style  of  the  authors  is  to  be  heartily 
commended,  especially  in  the  concluding  para- 
graphs of  many  chapters.  We  quote  the  fol- 
lowing closing  sentence  from  the  description  of 
Kavalla:  "Beneath  lies  a  microcosm  in  bas- 
rehef,  a  beautiful  mosaic  of  old  houses  and 
streets;  the  domed  roof  of  a  turkish  bath,  the 
courtyard  of  a  mosque,  the  large  crinkled  tiles 
of  a  many-gabled  house,  and  a  marble  fountain 
in  a  green  setting  of  trees;  mysterious  passages 
and  archways,  leading  one  knows  not  whither; 
a  group  of  natives,  a  black-shrouded  woman 
emerging  from  a  hidden  doorway,  overladen 
donkeys  clattering  over  the  stones,  half- 
hidden  faces  behind  latticed  windows — a  kaleido- 
scopic scene  enacted  amidst  the  mystic  glamour 
of  the  East.  With  such  a  picture  before  our 
eyes  we  seem  to  have  stepped  back  hundreds  of 
years  in  history  or  to  have  been  wafted  by 
dream-fairies  on  a  magic  carpet  over  an  en- 
chanted city."  M.  C. 

"The  Spell  of  Alsace"  by  Andre  H allays. 
Translated  by  Frank  Roy  Fraprie.  "The  Spell 
Series,"  The  Page  Company,  Boston,  Mass.  $j.oo 

This  is  one  of  those  attractive  travel  volumes 
published  by  the  Page  Company  similar  to 
"The  Spell  of  France,"  reviewed  in  a  recent 
number  of  Art  and  Archae;ology.  It  admits 
us  to  an  intimate  acquaintance  of  the  life  and 
history  and  natural  beauties  of  this  wonderland. 


Kindly  Mention  Art  and  Archaeology 


[232] 


^33 


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ART  AMD  ARCHAEOLOGY 

An  Illustrated  Monthly  Magazine 
Published  by  THE  ARCHAEOLOGICAL  SOCIETY 

OF  WASHINGTON,    AFFILIATED   WITH  THE 

ARCHAEOLOGICAL  INSTITUTE  OF  AMERICA. 


ART  AND  ARCHAEOLOGY  PRESS,  Inc. 


Volume  XII 


DECEMBER,  1921 


Number  6 


ART  EDITOR 
WILLIAM  H    HOLMES 

EDITORIAL  STAFF 
Virgil  Barebr 

PeVTON     BoSWELL 

Howard  Crosby  Butlbr 
Charles  Upson  Clark 

Albert  T.  Clay 

Charles  T.  Currelly 

H.  R.  Fairclough 

Edgar  L.  Hewstt 

FisKE  Kimball 

David  M.  Robinson 

Helen  Wright 


DIRECTOR  AND  EDITOR 

MITCHELL  CARROLL 

BOARD  OF   DIRECTORS 

J.  TowNSEND  Russell,  President 

Frank  Springer,  Vice-PresidenI 

Mitchell  Carroll,  Secretary 

John  B.  Larner,  Treasurer 

James  C.  Egbert 

Ex-officio  as  President  of  the  Institute 

Robert  Woods  Bliss 

Mrs.  B.  H.  Warder 


H.  B.  F.  Macfarland.  Counsel* 


CONTENTS 


Philip  A.  de  Laszlo Helen  Wright 235 

Five  Illustrations 

LoRADO  Taft,  Dean  of  Chicago  Sculptors Robert  H.  Moulton     .      .      .     243 

Eight  Illustrations 

The  Fountain  of  Time  (Poem) Emma  Schrader    ....     252 

Motherhood  in  American  Sculpture Frank  O-wen  Payne         .      .     253 

Six  Illustrations 

Madonna  and  Child  by  Luini  (Poem) Agnes  Kendrick  Gray  .     263 

The  Shepherds  and  the  Kings Georgiana  Goddard  King .      .     265 

Seven  Illustrations 

Notes  from  the  New  York  Galleries Peyton  Bosivell     ....     273 

Three  illustrations 


Current  Notes  and  Comments 
Book  Critiques 


279 

2S1 


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Courtesy  of  Brown-Robertson  Co. 


The  President  of  the  United  States. 


ART  an3 

ARCHAEOLOGY 

The  Arts  Throughout  the  Ages 


Volume  XII 


DECEMBER,  1921 


Number  6 


PHILIP  A.  DE  LASZLO 


Bv  Helen  Wright 


TO  PAINT  a  really  successful  por- 
trait is  to  perform  a  species  of 
miracle.  It  is  a  kind  of  magic,  that 
the  average  person  cannot  understand, 
but  he  can  admire.  Artists  must  have 
an  enthusiastic  and  appreciative  audi- 
ence and  even  if  one  takes  only  a 
humble  place  among  the  critics,  one 
can  be  very  evident   in  the  applause. 

Portraiture  is  perhaps  the  most  diffi- 
cult form  of  art  and  requires  beside 
perfection  of  technique,  the  ability  to 
portray  that  subtle  something  we  call 
personality. 

Truth,  harmony,  proportion,  deli- 
cacy, sincerity,  skill,  tact,  color — all  the 
terms  belonging  to  Art  should  enter  into 
a  successful  portrait. 

Mr.  Ruskin  said  that  "  it  was  possible 
to  represent  the  body  without  the  spirit 
in  a  portrait  and  the  spirit  in  its  ordi- 
nary and  inferior  manifestations.  That 
one  must  see  at  a  glance  the  whole  of  a 
human  being's  nature,  outside  and  in 
.     .     .     grace  or  strength,  softness,  or 

[235] 


whatever  other  quality  those  men  will 
see  to  the  full  and  so  paint  that  when 
narrower  people  come  to  look  at  what 
they  have  done,  everyone  may,  if  he 
chooses,  find  his  own  special  pleasure  in 
the  work." 

The  real  artist  is  the  man  who  has  the 
power  to  see  to  the  very  heart  of  his 
subject,  united  with  the  further  power 
of  compelling  his  chosen  medium  to  say 
what  he  sees  and  what  he  thinks  about 
what  he  sees. 

This,  Philip  A.  de  Laszlo,  the  Hun- 
garian artist,  seems  to  do  and  explains 
why  he  ranks  high  among  the  great 
pcrtrait  painters. 

No  modern  painter  has  had  a  larger 
clientele,  no  one  has  been  called  more 
quickly  to  execute  portraits  of  promi- 
nent and  dist  inguished  personages,  and 
in  many  instances  the  only  opportunity 
for  acquaintance  with  his  subject  was 
during  the  few  brief  sittings. 

Mr.  A.  L.  Baldry  says  of  him,  "Few 
artists  equal  him  in  the  power  to  present 


Courtesy  of  Brown-Roberlson  Co. 
Honorable  Charles  E.  Hughes,  Secretary  of  State. 


ART  AND  ARCHAEOLOGY 


a  vivid  and  convincing  likeness,  few 
approach  him  in  vigor,  certainty  of 
draughtsmanship  and  directness  of 
brushwork  and  fewer  still  are  so  con- 
sistent as  he  is  in  striving  for  harmony 
of  line  and  the  balance  of  mass  which 
are  the  foundations  of  correct  com- 
position." 

His  success,  a  pronounced  success 
and  popularity,  comes  not  only  in  his 
skill,  but  in  his  very  serious  effort  and 
years  of  hard  study  and  work,  to  which 
he  brings  the  greatest  enthusiasm  and 
interest.  "Every  new  canvas  is  to 
him  a  new  excitement,  every  fresh 
sitter  is  yet  another  revelation  of 
character  and  affords  yet  another  prob- 
lem of  drawing,  tone  and  colour  for 
him  to  work  out." 

He  approaches  each  piece  of  work 
with  the  most  intense  interest,  con- 
fident that  it  will  be  the  "perfect  thing 
of  which  he  dreams." 

He  has  painted  the  Pope,  priests, 
kings,  and  queens  (all  that  are  left),  a 
portrait  of  the  Kaiser  some  years  ago, 
statesmen,  soldiers,  and  with  equal  skill 
he  is  able  to  portray  the  simplest  types 
of  all  feminine  and  childish  loveliness. 

Philip  de  Laszlo  was  born  in  Buda- 
Pesth.  He  left  school  when  a  small  boy 
of  ten  to  earn  his  own  living  in  order  to 
be  able  to  study  art,  which  he  had 
chosen,  even  at  that  early  age,  as  his  life 
work.  Like  many  aspiring  young 
artists  there  was  opposition  by  his 
family,  but  he  was  apparently  confident 
and  quite  willing  to  do  anything  from 
grinding  colors  in  a  scene-painters 
studio,  drawing  for  newspapers,  color- 
ing photographs — anything  that  came 
to  hand  by  which  he  could  earn  money 
to  enable  him  to  study. 

Whenever  he  was  able  to,  he  at- 
tended the  Industrial  Art  School  at 
Buda-Pesth  and  later  received  a  scholar- 
ship from  the  National  Drawing  School 


which  made  it  possible  for  him  to  go  to 
Munich  and  Paris.  He  was  painting 
portraits  all  the  while  and  when 
scarcely  twenty-four  was  receiving 
commissions  for  portraits  of  notable 
persons.  Apparently  he  has  never 
stopped  and  the  amount  of  his  ac- 
complishment is  prodigious. 

It  is  that  clever  insight  into  human 
nature,  combined ,'  with  his  technical 
skill  and  a  rare  power  of  expression 
that  has  enabled  him  to  paint  so  con- 
tinuously. 

No  two  of  his  portraits  are  posed 
alike.  Each  seems  to  bring  out  the 
essential  characterization.  By  his 
mastery  of  technique,  he  can  give  his 
entire  attention  to  securing  the  perfect 
likeness,  unhampered  by  details  of 
drawing.  His  portraits  thus  give  the 
effect  of  great  naturalness  and  spon- 
taneity, of  being  painted  in  an  un- 
studied manner,  with  large  light  strokes 
with  no  parade  of  assertive  brush 
work. 

His  color  is  so  correct  in  his  painting 
of  flesh  tones  as  well  as  in  drapery  and 
costume,  whether  a  chancellor's  robe, 
a  general's  uniform,  or  a  woman's 
baU-gown,  that  it  does  not  obtrude,  it 
is  just  harmoniously  charming. 

His  portraits  of  men  are  distin- 
guished by  an  air  of  great  dignity,  vigor 
and  vitality,  those  of  women  by  ele- 
gance and  distinction  and  in  the  por- 
traits of  children,  of  which  he  has 
painted  a  great  many,  there  is  a  dainti- 
ness, a  deep  understanding  and  love 
for  the  appealing  charm  of  youth.  So 
it  is  not  always  his  technique  which  im- 
presses us  most,  but  his  gift  of  reaching 
the  character  of  his  models — which  is 
effectively  illustrated  in  the  very  dis- 
similar types.  This  gift  makes  a  born 
portraitist,  a  biographer  of  humanity. 
And  as  time  goes  on  these  vivid 
records  of  the  world's  great  men  and 


[237] 


Courtesy  of  Brown'Robertson  Co. 


General  Pershing. 


Courtesy  of  Brown- Robertson  Co. 


Honorable  Elihu  Root. 


ART  AND  ARCHAEOLOGY 


beautiful  women  will  be  historical  mem- 
oranda of  immense  value. 

Among  the  women's  portraits  the 
Countess  of  Ancaster,  is  one  of  the 
most  lovely,  a  beautiful  woman  in 
evening  dress,  seated  in  a  high-backed 
chair,  gracefully  posed  and  perfectly 
designed  with  a  keen  appreciation  of 
this  exquisite  loveliness.  Lady  North- 
cliffe,  quite  another  type,  painted  in  a 
large  hat,  her  hand  upon  her  chin,  she 
looks  out  with  very  seeing  eyes — one  of 
the  painter's  most  convincing  character 
studies.  Lord  and  Lady  Lee,  at  Cheq- 
uers, are  painted  in  a  beautiful  room 
with  harmonious  hangings  and  fur- 
nishings, a  most  decorative  arrange- 
ment with  a  sense  of  space  and  atmos- 
phere. The  portrait  of  the  Baroness  de 
Baeyens,  the  Dutchess  of  Portland, 
Countess  Irene  Dankelman,  a  most 
unusual  portrait  of  Mrs.  Haldane  Mac- 
Fall — one  could  continue  the  list  in- 
definitely. His  portrait  of  his  son 
"Jonnie"  at  his  first  Drawing  Lesson, 
is  an  exquisite  child's  portrait  as  is  the 
one  of  "Children  blowing  bubbles,"  the 
sweet  upturned  faces  another  evidence 
of  the  painters  love  for,  and  under- 
standing of,  children. 

Mr.  de  Laszlo's  own  portrait  is  in  the 
Uffizi  Gallery,  Florence. 

Among  the  many  honors  and  medals 
conferred  upon  him  to  mention  only  a 
few,  are  a  gold  medal  from  the  Barcelona 
Exhibition,  the  gold  medal  of  Hungary- 
Austria,  gold  medals  of  the  Salon  of 
1900,  medals  at  Munich,  Dusseldorf, 
Venice,  St.  Louis,  knighthood  of  the 
Legion  of  Honor  in  1904,  orders  from 
most  of  the  European  states,  and  in  191 2 
he  was  ennobled  by  the  Emperor  of 
Austria-Hungary.  He  has  become  a 
naturalized  citizen  of  England  and  has 
a  studio  in  London. 

During  his  recent  visit  to  this 
country,  Mr.  de  Laszlo  painted  a 
number  of  most   successful   portraits. 

[241] 


President  Harding,  which  is  for  the 
White  House,  the  Secretary  of  State,  for 
the  State  Department,  General  Persh- 
ing, a  gift  ot  John  A.  McFadden  to  the 
City  of  Philadelphia,  Honorable  Elihu 
Root,  for  the  Carnegie  Endowment  for 
International  Peace,  Honorable  Robert 
Lansing,  Dr.  James  Brown  Scott,  Mr. 
William  R.  Castle  of  the  State  De- 
partment, Mr.  C.  Powell  Minnigerode, 
the  Director  of  the  Corcoran  Gallery 
of  Art — and  many  others.  A  brilliant 
group  of  portraits,  brilliantly  painted, 
satisfactory  to  the  subjects  themselves 
and  to  their  families  and  friends — ^the 
great  test. 

On  one  of  the  occasions  when  the 
President  was  giving  the  artist  a  sitting, 
he  remarked  that  the  following  day  was 
the  anniversary  of  his  wedding.  Mr.  de 
Laszlo  said  that  he  would  like  very 
much  to  contribute  something  in  honor 
of  the  occasion,  and  asked  if  he  might 
not  have  the  privilege  of  making  a 
sketch  of  Mrs.  Harding  as  a  wedding 
gift. 

This,  of  course,  was  granted  and  the 
result  of  a  hurried  sketch,  was  most 
charming  and  both  the  President  and 
Mrs.  Harding  were  delighted  not  only 
with  the  portrait  but  with  the  kind 
thought  and  beautiful  gift. 

Mr.  de  Laszlo  will  return  this  win- 
ter to  paint  many  portraits  that  await 
his  facile  brush.  He  repeatedly  ex- 
pressed his  pleasure  and  pride  in  the 
opportunity  given  him  to  paint  the 
portraits  of  our  distinguished  President 
and  some  of  our  leading  statesmen  and 
said  he  esteemed  it  one  of  the  greatest 
honors  that  had  come  to  him. 

His  own  personality  is  so  delightfully 
kind  and  gracious,  that  he  wins  at  once 
the  confidence  and  friendship  of  those 
who  sit  for  him  and  that  naturally 
gives  them  their  best  and  happiest 
expression. 

Cily  of  Washington. 


"The  Fountain  of  Creation,"  Lorado  Taft,  Sculptor. 


LORADOTAFT,DEAN  OF  CHICAGO  SCULPTORS 


Bv  Robert  H.  Moulton. 


ALTHOUGH  Grecian  art  may 
furnish  a  model  for  all  time, 
the  reception  tendered  the 
work  of  American  sculptors,  and  es- 
pecially the  work  of  Lorado  Taft,  is 
conclusive  proof  that  the  sculpture  of 
the  nation  which  produced  Phidias, 
Praxiteles,  Scopas  and  Lysippus  has 
strongly  influenced  their  successors  in 
the  United  States.  Air.  Taft's  work 
is  typical  of  the  kind  of  modeling  in- 
volving depth  of  thought  for  his  art, 
technique  and  the  marked  individual- 
ity of  the  workman.  Critics  say  that 
the  pronounced  chastity  of  Mr.  Taft's 
work  evinces  the  superiority  of  the  new 
school  over  the  extravagant  thought 


that  has  marred  the  fame  of  many  of 
his  predecessors. 

Mr.  Taft  is  a  sculptor  of  power  and 
genius  who  has  worked  faithfully  at 
his  art  for  many  crowded  and  lausy 
years.  He  has  produced  in  that  time 
groups  and  single  figures  which  have 
made  him  recognized  as  one  of  the 
foremost  of  contemporary  sculptors, 
and  when  he  has  not  been  chiseling 
soul  into  marble  or  molding  high 
thought  into  clay,  he  has  been  lectur- 
ing on  his  own  art  and  on  art  in 
general. 

Yet  it  is  not  alone  as  a  lecturer  that 
Mr.  Taft  has  exerted  a  wide  and  last- 
ing influence  for  the  good  of  art.     As 


[243] 


'The  Great  Lakes"  Group.     The  descending  stream  is  started  by  high-standing  Superior,  then  caught 
in  turn  by  Michigan,  Huron,  Erie  and  Ontario.     Lorado  Taft,  Sculptor. 


Great  Lakes  Fountain  in  bronze,  South  side  of  Art  Institute  of  Chicago. 


an  author  he  writes  briUiantly  of  the 
aims  and  ends  of  his  craft,  and  as  a 
teacher  he  has  left  his  impress  on 
hundreds  of  students.  For  twenty- 
two  years,  from  1886  to  1907,  he  was 
instructor  of  modehng  in  the  Art 
Institute  of  Chicago,  and  many  of  the 
most  successful  artists  of  the  Central 
West  are  his  pupils — men  and  women 
who  have  already  taken  their  places 
worthily  in  the  ranks  of  professional 
sculpture.  From  1892  to  1902  he  was 
a  lecturer  in  the  extension  department 
of  the  University  of  Chicago,  and  for 
many  years  has  been  actively  identi- 
fied with  the  work  of  the  National 
Sculpture  Society,  the  Society  of  West- 
em  Artists,  the  Chicago  Society  of 
Artists,  the  Municipal  Art  League  and 
Municipal  Art  Commission  of  Chicago. 


He  has  delivered  more  than  two  thou- 
sand lectures  upon  art  subjects,  and 
though  he  now  maintains  three  studios, 
he  still  spends  a  good  share  of  his  time 
lecturing  in  various  parts  of  the 
country. 

Mr.  Taft's  work,  because  it  is  some- 
thing big  and  vital,  is  of  compelling 
interest;  but  the  man,  his  ideas  and 
aims,  are  equally  interesting.  It  is 
impossible  to  talk  five  minutes  with 
him  without  knowing  that  his  life  and 
his  work  are  one  and  the  same,  each  a 
part  of  the  other.  He  possesses  a 
striking  personality.  In  manner  he  is 
attractive,  urbane,  and  exceedingly 
modest  of  his  own  work.  These  quali- 
ties together  with  a  noble  and  un- 
selfish generosity  have  made  him  uni- 
versally beloved. 


[245] 


'The  Fountain  of  Time,"  Lorado  Taft,  Sculptor. 


For  his  work  in  the  world  Mr.  Taft 
had  a  sohd  and  enduring  foundation. 
There  is  nothing  fortuitous  about  his 
mastery  over  marble,  save  for  the 
genius  which  impels  him.  He  was 
not  a  poor  boy  who  patted  mud  into 
queer  shapes  in  the  intervals  between 
back-breaking  tasks  on  the  old  farm, 
nor  did  he  carve  away  at  blocks  of 
wood  by  the  flickering  light  of  candles 
after  the  family  had  gone  to  bed.  He 
was  the  son  of  a  professor  at  the  Uni- 
versity of  Illinois,  and  in  1879,  ^.t  the 
age  of  nineteen,  he  graduated  from 
that  college.  His  father  encouraged 
his  ambition,  and  in  order  that  he 
might  work  out  his  career,  sent  him, 
in  1880,  to  Europe,  where  he  studied 
in  Paris  and  Rome,  and  completed  his 
education  with  travel. 

When  he  returned  to  America  he 
entered  into  the  long,   hard  grind  of 


making  his  way — which  takes  years 
and  patience  and  courage  in  any  art  or 
business  which  is  worth  while.  But 
Mr.  Taft  had  the  qualities  for  this 
struggle  and  recognition  began  to  come 
his  way.  His  first  great  success  was 
the  commission  for  two  groups  at  the 
entrance  to  the  Horticultural  Building 
of  the  World's  Columbian  Exposition. 
These,  "The  Sleep  of  the  Flowers," 
and  the  "Awakening  of  the  Flowers," 
attracted  wide  attention  and  placed 
him  at  once  with  the  "big  men"  in 
American  art. 

Two  analogous  groups,  "The  Moun- 
tain" and  "The  Prairie,"  made  for  the 
Louisiana  Purchase  Exposition  at  St. 
Louis,  formed  his  most  conspicuous 
work  in  the  next  decade,  though  "The 
Solitude  of  the  Soul,"  exhibited  at  the 
same  exposition,  won  him  a  gold  medal. 
Its  importance  and  suggestiveness  to 


[246] 


Fragment  from  "The  Fountain  of  Time,"  Lorado  Taft,  Sculptor. 


thinking  minds  is  indicated  by  the  fact 
that  it  has  been  made  the  subject  of 
numerous  poems. 

His  next  important  work  was  the 
fountain  group,  "The  Great  Lakes," 
which  was  purchased  by  the  city  of 
Chicago  and  stands  in  front  of  the  Art 
Institute.  In  this  work  Mr.  Taft  offers 
a  unique  national  symbol.  It  repre- 
sents the  five  great  lakes  of  the  West, 
typified  by  beautiful  female  figures, 
joined  in  composition  by  a  sparkling 
line  of  water.  The  descending  stream 
is  started  by  high  standing  Superior, 
then  caught  in  turn  by  Michigan, 
Huron,  Erie,  and  Ontario,  the  latter, 
with  outstretched  arm,  finally  direct- 
ing the  flood  onward  to  the  sea. 

Best  known  of  all  Mr.  Taft's  work, 
however,  is  "The  Blind."  His  inspira- 
tion for  this  work  was  found  in  Maeter- 
linck's drama  of  the  same  name.  This 
masterly  group  represents  the  crucial 


situation  in  that  play;  where  a  com- 
pany of  sightless  men  and  women  who 
have  long  been  the  wards  of  a  venerable 
priest  realize  that  their  leader  is  dead, 
and  that  their  only  hope  for  guidance 
rests  with  the  little  child  around  whom 
they  crowd  and  grope.  There  is  a  note 
of  despair  in  the  group,  yet  the  domi- 
nant motif  is  faith  and  trust — the 
hope  that  "a  little  child  shall  lead 
them,"  which  is  so  gladly  accepted  by 
all.  The  conception,  the  grouping  and 
the  delineation  of  the  groping,  huddling, 
sightless  ones  is  marvelous. 

Of  late  years  Mr.  Taft  has  shown  a 
disposition  to  turn  to  sculptures  heroic 
both  in  spirit  and  in  substance.  He 
has  a  vigor  and  sweep  of  execution  as 
heartening  as  the  breezes  from  the 
Western  plateau.  He  is  a  man  of  big 
conceptions  and  ideas  and  he  works 
them  out  with  opulence  of  labor  and 
material. 


1247] 


"Black  Hawk,"  by  Lorado  Taft,  located  on  the  bluff  just  above  Eagle's  Nest  Tree,  near  Oregon,  Illinois. 


ART  AND  ARCHAEOLOGY 


In  one  of  his  comparatively  recent 
creations,  the  statue  of  Black  Hawk, 
commemorating  the  American  Indian, 
we  find  abundant  proof  of  his  leaning 
toward  massive  figures.  The  statue  in 
question,  which  was  unveiled  several 
years  ago,  is  of  noble  proportions,  being 
fifty  feet  high,  and  stands  on  the  high- 
est point  of  a  lofty  promontory  over- 
looking the  picturesque  Rock  River 
near  Oregon,  Illinois. 

Behind  the  building  of  the  Black 
Hawk  statue  lies  an  interesting  little 
story.  When  he  was  on  a  tour  of  Eu- 
rope several  years  ago  Mr.  Taft  dis- 
covered that  statues  made  of  concrete 
had  been  taken  from  the  ruins  of  the 
Roman  Palatine,  and  there  came  to 
him  his  great  idea  of  the  means  for 
making  an  enduring  statue.  With  the 
process  in  mind  it  was  not  long  until 
an  adequate  subject  presented  itself. 
For  many  years  he  has  had  his  summer 
home  and  studio  at  Eagle's  Nest  Camp, 
the  summer  seat  of  the  Chicago  art 
colony.  Standing  for  the  hundredth 
time  at  the  highest  point  of  the  cliff 
he  never  failed  to  remember  that  it  was 
from  here  that  Black  Hawk  was  finally 
driven  out  of  Illinois.  So  he  decided  to 
bring  back  the  famous  Indian  chief,  and 
now  in  concrete  he  again  surveys  his 
former  domain. 

This  statue  is,  in  more  senses  than 
one,  the  biggest  thing  that  Mr.  Taft 
has  yet  done,  big  enough  to  place  him 
right  up  in  front  among  our  most 
famous  American  sculptors,  living  and 
dead.  The  statue  is  immensely  simple, 
the  heavy  folds  of  the  blanket  sur- 
rounding the  figure  suggesting  the 
man's  body  without'  following  closely 
its  outlines.  The  dignity,  the  stoicism 
and  the  bitterness  of  a  vanquished 
race  are  there,  and  the  great  figure, 
gazing  across  the  river,  is  a  fit  memorial 
of  a  race  that  has  passed  from  power. 


This  work  was  a  labor  of  love  with 
the  sculptor,  his  gift  to  the  people  of 
Illinois.  He  not  only  created  it,  but 
paid  almost  the  entire  expense  of  its 
construction,  a  proof  of  gracious  pa- 
triotism which  few  artists  are  willing 
or  able  to  offer  to  the  people  they 
serve. 

Following  the  statue  cf  Black  Hawk 
Mr.  Taft  modeled  the  Columbus  Me- 
morial at  Washington.  The  memorial 
consists  of  a  semi-circular  fountain, 
seventy  feet  wide,  and  sixty-five  feet 
deep,  adorned  with  a  great  statue  of 
Columbus  and  other  appropriate  sculp- 
tures. It  stands  on  the  plaza  in  front 
of  the  Union  Station  at  Washington, 
and  was  designed  to  harmonize  in  its 
architectural  and  artistic  treatment 
with  the  station  and  its  environ- 
ments. 

No  more  fortunate  or  appropriate 
site  for  the  memorial  could  possibly 
have  been  selected.  Situated  at  the 
gateway  of  the  Nation's  capital,  it  is 
the  first  and  the  last  thing  to  greet 
the  eyes  of  the  millions  of  visitors  who 
annually  journey  there.  And  it  seems 
altogether  fitting  that  this  monument 
to  the  discoverer  of  a  new  world  should 
stand  in  the  capital  of  its  greatest 
country. 

The  principal  feature  of  the  rear  of 
the  fountain  is  a  stone  shaft  about 
forty-five  feet  high,  surmounted  by  a 
globe  of  the  world.  It  forms  the  back- 
ground of  a  statue  of  Columbus,  who 
is  represented  as  standing  on  the  prow 
of  a  vessel,  with  arms  folded  in  an 
attitude  of  meditation.  It  was  Mr. 
Taft's  purpose  here  to  make  us  feel 
the  apotheosized  Columbus,  and  while 
the  statue  is  severely  plain,  the  sculp- 
tor has  imparted  to  the  figure  a  gran- 
diose dignity  by  throwing  about  it  a 
great  cloak  after  the  fashion  of  the 
discoveror's  day. 


[249] 


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ART  AND  ARCHAEOLOGY 


Just  below  the  statue  of  Columbus 
is  the  figurehead  of  a  ship,  a  beautiful 
female  figure  of  ample  form  and  dig- 
nity, typifying  "The  Spirit  of  Dis- 
covery." The  ample  basin  of  the 
fountain  is  immediately  beneath  this 
figure  and  is  in  itself  most  interesting 
with  its  abundant  flow  of  water. 

On  either  side  of  the  stone  shaft  are 
massive  figures  portraying  the  sculp- 
tor's ideas  of  the  new  and  old  worlds. 
The  "New  World"  is  represented  by 
the  figure  of  an  American  Indian  reach- 
ing over  his  shoulder  for  an  arrow  from 
his  quiver.  The  "Old  World"  is  repre- 
sented by  the  figure  of  a  patriarchal 
Caucasian  of  heroic  mould  and  thought- 
ful mien. 

The  globe  at  the  top  of  the  shaft  is 
intended  to  suggest  the  influence  of 
Columbus  on  the  growth  of  popular 
knowledge  of  the  shape  of  the  earth. 
It  is  supported  by  four  American 
eagles,  which  stand  at  the  comers  of  the 
top  of  the  shaft,  with  wings  partially 
extended.  The  rear  of  the  shaft  carries 
a  medallion  representing  Ferdinand 
and  Isabella  of  Spain,  and  the  group 
of  figures  is  completed  by  two  enormous 
lions  which  occupy  the  ends  of  the 
balustrade  running  from  the  center  to 
the  sides  of  the  fountain. 

Mr.  Taft's  latest  work  has  been  in 
connection  with  an  ambitious  scheme 
for  beautifying  the  old  Midway  Plais- 
ance  of  the  World's  Fair,  and  has  occu- 
pied his  time  for  several  years.  The 
entire  plan  is  so  huge  that  years  longer 
will  be  required  to  carry  it  out.  The 
subject,  indeed,  is  so  big  and  relates  to 
the  ornamentation  of  a  territory  so 
large  that  additions  can  be  made  almost 
indefinitely  for  generations  without  los- 
ing the  value  of  the  work  done  in  the 
early  stages.  In  result  the  project  will 
carry  into  permanent  eff'ect  a  mile-long 
vista  of  water,  lawn,  trees,  and  sculp- 


ture such  as  has  never  been  approached, 
except  in  the  temporary  structures  of 
the  World's  Fair. 

At  present  the  Midway  is  a  grassy 
strip  a  mile  in  length,  and  about  i,ooo 
feet  wide,  connecting  Washington  and 
Jackson  parks.  It  has  always  been 
the  intention  of  the  South  Park  authori- 
ties to  extend  the  depression  of  the 
Midway  from  the  lagoons  of  Jackson 
Park  to  the  small  lakes  of  Washington 
Park,  thus  forming  a  waterway  from 
park  to  park.  Mr.  Taft's  plan  pre- 
supposes this  straight  and  formal  canal, 
which  is  to  occupy  the  present  depres- 
sion at  a  lower  level  than  the  street. 

The  canal  bisecting  the  Midway  will 
fill  the  present  central  depression  and 
will  be  about  loo  feet  wide.  It  will  be 
spanned  by  three  bridges  of  monumen- 
tal design,  to  be  dedicated  to  the  three 
great  ideals  of  the  race  and  to  be  called 
"The  Bridge  of  Sciences,"  "The  Bridge 
of  Arts,"  and  the  "Bridge  of  Religions," 
an  adaptation  of  the  "Pont  des  Arts"in 
Paris.  Along  the  higher  strip  of  land, 
some  distance  back  of  the  canal,  and 
on  each  side,  will  stand  the  statues  of 
the  world's  greatest  idealists.  Then  at 
the  two  ends  of  the  Midway  will  be 
the  great  fountains — that  of  "Time" 
being  at  the  west  end,  and  that  of 
"Creation"  at  the  east  end. 

"The  Fountain  of  Time"  for  the  west 
end  which  has  just  been  completed, 
was  suggested  to  Mr.  Taft  by  Austin 
Dobson's  lines: 

Time  goes,  you  say?     Ah,  no. 
Alas,  time  stays:  we  go. 

It  shows  the  human  procession  in  re- 
view before  the  great  immovable  figure 
of  Time.  Father  Time  is  represented 
by  a  rugged,  craglike  figure,  reviewing 
a  throng  of  hurrying  people;  the  long 
processional  group  shows  these  people 
indistinct,  but  all  hurrjnng  and  crowd- 


[251] 


ART  AND  ARCHAEOLOGY 


ing  toward  a  goal  they  cannot  see.  A 
warrior  on  horseback,  flanked  by  ban-, 
ners  and  dancing  figures,  forms  the 
center  of  the  composition,  which  fades 
oflf  at  the  ends  into  creeping  infancy  or 
the  bent  and  withered  figures  of  age. 
The  procession  seems  to  rise  from  a 
great  jet  of  water  on  one  side  and  sink 
from  sight  at  the  other.  Time  mean- 
while standing  firm  and  immovable. 
There  is  a  suggestion  of  joyous  onward 
movement  in  this  procession  and  of  the 
splendor  and  pageantry  which  life  has 
achieved  since  that  first  day  of  creation, 
which  the  other  fountain,  "Creation," 
which  is  planned  for  the  opposite  end  of 
the  Midway,  will  celebrate. 

"The  Fountain  of  Creation"  will  re- 
ceive the  waters  of  the  canal  at  a  point 
just  west  of  the  Illinois  Central  Rail- 
road. It  is  founded  on  the  myth  of 
Deucalion.  Deucalion,  the  Noah  of 
Greek  legendry,  and  his  wife,  Pyrrha, 
being  the  only  mortals  saved  by  Zeus 


after  the  nine  days'  flood,  stepped  out 
from  their  frail  boat  to  the  top  of  Mount 
Parnassus  and  consulted  a  convenient 
oracle  as  to  the  best  way  of  restoring 
the  human  race.  The  goddess  told 
them  to  cover  their  heads  and  throw 
the  bones  of  their  mother  behind  them, 
and  Pyrrha  divined  that  these  bones 
were  the  stones  of  Mother  Earth.'"  Mr. 
Taft  will  show  us  the  moment  when 
these  stones,  thus  cast  from  the  Titan's 
hand,  are  changing  into  men  and  wo- 
men, rising  out  of  the  clod  and  flood  and 
fog  into  life  and  light.  The  composi- 
tion will  begin  with  creatures  half 
formed ,  vague ,  prostrate ,  bli  ndly  emerg- 
ing from  the  shapeless  rock :  continuing 
at  a  higher  level,  with  figures  fully  de- 
veloped and  almost  erect,  but  still 
groping  in  darkness,  struggling,  won- 
dering, and  will  reach  at  its  climax  with 
a  group  at  the  summit  of  beings  com- 
plete and  glorious,  saluting  the  dawn. 

Chicago,  III. 


THE  FOUNTAIN  OF  TIME 

(Suggested  by  the  sculptured  luork  of  Lorado  Taft) 

Oh  Time,  with  age-long,  silent  watch  grown  old. 
What  marvels  thou  hast  seen,  what  wonders  known! 
'Twould  seem  thou  couldst  not  stand  unmoved  and  lone 
When  voice  of  God  made  gates  of  light  unfold. 
Or  morning  stars  creation's  glories  told! 
Thy  heart  should  break,  though  it  ivere  hard  as  stone. 
When  Man,  by  changing  winds  of  Fortune  blown. 
Shows  all  the  joy  and  grief  his  life  can  hold. 

Yet,  silent  and  implacable  thou  art. 
Thou  canst  not  feel  the  pulse  of  endless  life 
Thai  throbs  in  Man;  thou  art  of  earthly  mart, 
ff'hile  he,  by  birthright,  knows  that  toil  and  strife 
Shall  free  his  spirit  from  its  house  of  clay: 
Thou,  Time,  dost  measure  but  his  finite  day. 

Chicago,  III.  Emma  Schrader. 


[252] 


"Their  First-Born,"  by  Chester  Beach. 
This  is  probably  the  most  realistic  rendering  of  the  new-born  infant  ever  attempted  in  marble. 


MOTHERHOOD  IM  AMERICAN  SCULPTURE. 

By  Frank  Owen  Payne. 


THERE  is  probably  no  single  topic 
in  human  life  more  obvious  to 
the  dullest  perception  than 
motherhood.  Let  a  mother  holding  in 
her  arms  a  smiling  child,  come  into  a 
crowded  car  and  the  warmth  of  its 
naive  and  winsome  ways  will  instantly 
transform  the  gray  and  colorless  faces 
packed  in  that  steel  cage  into  radiant 
smiles.  And  one  can  think  of  many 
instances  in  which  motherhood  mani- 
festly makes  an  immediate  and  uni- 
versal appeal. 

It  is  odd  that  such  common  and 
familiar  experiences — incidents  which 
confront  us  at  almost  every  turn,  have 
so  seldom  been  represented  in  sculp- 


tural art.  Mediaeval  art  paid  atten- 
tion to  the  devotional  aspects  of  mother- 
hood and  found  its  highest  expression 
in  the  Madonna.  But  it  is  to  modems 
that  we  owe  our  best  and  most  realistic 
representations  of  motherhood  in  its 
secular  aspects. 

It  is  interesting  to  speculate  concern- 
ing the  probable  reasons  for  this  change 
in  the  artist's  view-point.  Is  it  owing 
to  the  fact  that  the  sculptor  has  usually 
confined  his  portrayal  to  princes  and 
potentates  and  the  ornamentation  of 
the  mausoleums  of  the  mighty?  May 
it  be  attributed  to  the  growth  and 
spread  of  democratic  ideas  which  have 
diverted  thought  from  such  themes  as 


[253] 


"The  Young  Mother,"  by  the  late  Beta  Pratt. 

How  charming  is  the  tremulous  intensity  with  which  this  young  mother  clasps  and  hushes  her  child 

through  a  sudden  rush  of  affection! 


ART  AND  ARCHAEOLOGY 


crowns  and  thrones  and  the  decora- 
tion of  noble  edifices  to  those  more 
homely  intimacies  of  daily  life?  Can 
it  be  due  to  the  development  of  the 
feminist  movement  and  the  consequent 
advancement  of  the  status  of  woman- 
hood? Or  is  it  merely  the  visible  ex- 
pression of  the  constant  struggle  to 
throw  off  the  shackles  of  conventional- 
ism that  an  era  of  realism  in  art  might 
be  inaugurated? 

Whatever  the  causes  back  of  such 
realistic  interpretation,  it  must  be  said 
that  it  is  not  with  the  devotional 
aspects  of  motherhood  that  we  have 
here  to  do,  nor  even  with  those  admir- 
able studies  of  women  with  children 
which  adorn  so  many  public  and  edu- 
cational buildings.  Such  pleasing 
groups  as  Daniel  Chester  French's 
Brooklyn  at  the  eastern  approach  of  the 
Manhattan  Bridge,  Isidore  Konti's  fig- 
ures accessory  to  the  McKinley  Monu- 
ment in  Philadelphia,  Lorado  Taft's 
study  for  the  Public  Welfare  Associa- 
tion in  Chicago,  and  Evelyn  B.  Long- 
man's groups  on  the  Allison  Memorial 
in  Des  Moines,  Iowa,  are  charming 
works  of  sculpture,  but  they  very  prop- 
erly make  no  attempt  to  portray 
motherhood  in  a  realistic  manner. 

Of  the  possible  ways  in  which  mater- 
nal instinct  may  express  itself,  perhaps 
four  may  be  classified  as  notable. 
These  are  the  delight  felt  by  the  young 
mother  over  the  mere  possession  of  her 
child,  her  happiness  in  the  closer  inti- 
macy with  her  child,  her  expression  of 
anxiety  due  to  danger  likely  to  befall  it, 
or  grief  at  its  loss.  In  these  representa- 
tions of  such  a  difficult  subject,  how- 
ever, it  is  a  singular  fact  that  most  art- 
ists who  have  succeeded,  have  not 
themselves  been  possessed  of  the  gift  of 
parenthood.  To  them  it  has  been 
granted  to  picture  what  they  have  seen 
in  others  or  what  their  imagination  has 


kindled  in  them  as  the  embodiment  of 
the  maternal  instinct.  It  is  not  to  be 
wondered  at  that  many  have  failed 
where  but  few  have  succeeded.  The 
latter  have  been  fortunate  enough  to 
catch  the  spirit  of  motherhood  and 
to   preserve   its   surpassing  loveliness. 

Realistic  pictures  of  mother  and  child 
may  best  be  seen  in  the  works  of  a  few 
American  sculptors  who  have  given  us 
very  intimate  moments  in  home  life, 
conceived  with  deep  feeling  and  exe- 
cuted with  such  consummate  skill  as  to 
merit  extended  treatment. 

Although  this  paper  is  devoted  es- 
pecially to  the  realistic  representation 
of  the  subject,  we  feel  justified  in  re- 
ferring to  what  is  perhaps  the  most 
brilliant  example  of  the  conventional 
manner  to  be  seen  in  American  sculp- 
ture. There  is  no  better  illustration  of 
the  change  which  has  taken  place  in 
the  technique  of  sculpture  during  the 
past  fifty  years,  than  is  afforded  by  a 
comparison  of  the  works  of  our  day 
with  such  statues  as  Latona  and  Her 
Children  by  Rinehart.  In  that  elabo- 
rate creation,  every  detail  of  draper^', 
every  minute  feature  of  anatomy — 
the  curl  of  the  hair,  the  decoration  of 
the  sandals — all  has  been  worked  out 
with  painful  precision.  The  result  is 
photographic  accuracy  with  all  the 
characteristic  stiffness  which  was  the 
concomitant  of  wet-plate  photography. 
Latona  and  Her  Children  is  an  ex- 
quisitely beautiful  statue.  Its  com- 
position is  faultless.  Its  technique  is 
marvelous.  But  with  all  its  grace  and 
beauty  of  line,  it  is  not  alive!  Latona 
was  posing  when  that  statue  was  in 
the  making.  Yet  this  is  what  was 
expected  of  a  sculptor  in  mid-Victorian 
times.  Latona  is  the  last  gasp  of  the 
school  which  was  represented  by 
Powers,  Crawford,  Greenough  and 
Randolph   Rogers.     It   is  reminiscent 


[255] 


ART  AND  ARCHAEOLOGY 


of  the  period  when  Miss  Hosmer  gave 
Zenohia  and  Story  gave  Salome  to  the 
world.  For  the  patience  and  the  skill 
which  could  execute  such  things,  there 
can  be  nothing  but  praise,  but  give  us, 
we  cry,  give  us  the  artistry  of  the 
present  with  its  actual  life  and  action 
rather  than  these  echoes  of  a  remote 
past. 

No  more  realistic  portraits  of  mother- 
love  have  hitherto  been  created  than 
the   works  of   Bessie   Potter  Vonnoh. 
What    George    DeForest    Brush    has 
done   with  his  inimitable   pencil,   she 
has  accomplished  in  plastic  material. 
There  is  the  same  patient  sweetness, 
calm  dignity,  and  all-pervading  charm. 
Like  George  DeForest  Brush,  she  works 
somewhat  after  the  manner  of  Holbein, 
looking  for  a  beauty  of  spirit  indepen- 
dent of  form  or  feature.     Her  mothers 
and  children  are  not  young  goddesses 
rollicking  with  plump  cherubim,   but 
grave   and   tender  women   who   have 
sacrificed  without  regret  somewhat  of 
their  youthful  freshness  to  the  children 
they  iaold  in  their  arms.    Mrs.  Vonnoh 
has    presented    these    creations    with 
feeling  and  perfect  sincerity,  in  almost 
every   phase  of  domestic  life.      Prac- 
tically every  museum  of  art  treasures 
examples  of  the  genius  of  Mrs.  Vonnoh. 
In    her    Motherhood    Enthroned    we 
have  the  picture  of  a  refined  woman 
surrounded    by    her    children.      It    is 
doubtless  a  portrait  but  it  may  well 
stand  as  typical  of  the  best  American 
motherhood.     Obviously  it  symbolizes 
that  moment  of  triumph  long  desired 
by  a  woman,  the  hour  of  peace  after 
struggle,  when  she  can  sit  quietly  in 
the   joy   of   her   realized   dreams.      In 
The    Young   Mother  we   see   maternal 
passion    expressed    in    fondness    with 
which  she  clasps  the  child.     And  thus 
it  is  with  all  her  work  on  this  theme, 
for  they  are  conceived  and  modeled  in 


a  way  that  gives  to  Mrs.  Vonnoh  an 
unique  place  in  plastic  art. 

We  can  not  imagine  Mrs.  Vonnoh 
as  taking  for  a  subject  the  mother  of 
the  children  of  the  slum.  Hers  are  all 
women  of  finest  quality — well  bred, 
cultured,  and  refined,  typical  of  the 
best  American  motherhood,  and  of 
their  children  one  might  say  with  the 
poet: 

"Thou  art  thy  mother's  glass  and  she  in  thee 
Calls  back  the  lovely  April  of  her  prime." 

It  is  with  something  of  a  shock  that 
we  turn  from   the  representations  of 
gentlewomen  depicted  by  Mrs.  Vonnoh, 
in  the  quiet  surroundings  of  home,  to 
those   more   rugged   and  less  favored 
types  which  have  been  made  peculiarly 
her  own  by  Abastenia  St.  Leger  Eberle. 
In  her  striking  studies  of  the  East  Side, 
there  is  no  environment  of  wealth,  no 
enthronement  in  tapestried  chairs,  no 
aristocratic  matrons  clad  in  purple  nor 
children  in  fine  linen.     But  here  in  no 
less  degree  are  the  beauty,  the  tender- 
ness, the  solicitude,  and  other  evidences 
of  the  supreme  attributes  of  mother- 
hood.    Miss  Eberle  has  seen  and  re- 
vealed to  the  world  the  beauty  that 
abides  in  the  alleys  and  lanes  of  great 
cities.      Such    themes    as    hers    have 
rarely,  if  ever  been  portrayed  by  the 
hand  of  inspired  art.     What  could  be 
more   tender   than    The  Little   Mother 
whose  frail  childish  shoulders  are  al- 
ready beginning  to  yield  to  the  burden 
of  toil  and  poverty?    Where  can  there 
be  found  a  more  realistic  picture  of 
human    life    regardless    of    blood,    or 
rank,  or  social  station  than  is  presented 
to  us  in  The  Bath  Hour? 

This  group  furnishes  an  excellent 
example  of  an  aspect  of  the  mother- 
hood theme  so  common  as  to  occasion 
wonder  that  art  should  turn  to  such  a 
subject  for  sculptural  portrayal.     In 


[257] 


'  -Molher  and  Child,"  by  Mrs.  Vonnoh. 

This  is  one  of  the  favorite  works  of  Mrs.  Vonnoh.     The  subtle  grace  of  posing,  the  handling  of  draperies,  and 
the  simplicity  and  dignity  of  the  composition  makes  this  statuette  a  masterpiece. 


ART  AND  ARCHAEOLOGY 


this  as  in  so  many  others  of  her  works, 
Miss  Eberle  has  taken  for  representa- 
tion one  of  the  homeHest  incidents  of 
every-day  Hfe.  It  belongs  to  the  same 
type  of  subject  as  the  famous  Rem- 
brant's  Woman  Trimming  Her  Nails 
and  the  peasant  scenes  made  forever 
famous  by  the  masterly  brush  of  Millet. 
Miss  Eberle  teaches  the  useful  lesson 
that  there  is  beauty  in  hum-drum  life. 
Having  perceived  this,  she  has  preserved 
it,  a  parable  in  bronze. 

The  Young  Mother  by  the  late  Bela 
Pratt  is  significant  not  only  for  its  in- 
trinsic charm,  but  because  it  reveals 
more  clearly  perhaps  than  any  other 
of  his  works,  the  personality  and  style 
of  the  author.  It  shows  first  of  all  that 
the  artist  was  an  accomplished  crafts- 
man. Viewed  from  any  position,  the 
silhouette  is  a  compact  and  expressive 
design  and  the  figure  is  full  of  moving 
grace  and  rhythm  in  its  masses  and 
lines.  How  charming  is  the  tremulous 
intensity  with  which  this  young  and 
experienced  mother  clasps  and  hushes 
her  child  through  a  sudden  rush  of 
affection!  It  is  a  sort  of  living  music 
that  breathes  through  this  figure  as  the 
light  plays  over  its  richly  modeled  sur- 
faces— a  song  without  words  in  the 
pressure  of  the  lips,  and  the  rock  of  the 
arms,  and  the  accompanying  turn  of  the 
whole  body. 

The  astonishing  versatility  of  Bela 
Pratt  can  not  better  be  illustrated  than 
by  comparison  of  this  superb  Young 
Mother  with  his  well  known  reliefs  in 
the  Boston  Opera  House  and  that  mas- 
terpiece of  portraiture  of  old  age,  the 
likeness  of  his  mother.  There  is  an 
amazing  range  of  ability  indicated  by 
these  studies. 

Three  more  subtle  phases  of  the  idea 
of  possessing  a  child,  are  the  creation 
of  another  American  sculptor.  The 
ecstasy  which  comes  to  the  prospective 


mother,  the  lavishness  of  her  love  ap- 
proaching adoration  so  often  displayed 
in  the  conduct  of  youthful  mothers 
toward  their  first  born,  and  the  wonder- 
ment of  young  motherhood  clasping 
the  babe  and  gazing  at  it  in  its  helpless- 
ness as  if  questioning  the  whence  and 
whither  of  human  existence — these  have 
all  been  depicted  by  the  chisel  of 
Gutson  Borglum  in  three  remarkable 
statues.  It  is  doubtful  whether  any 
other  artist  either  ancient  or  modern, 
has  ever  dared  to  portray  in  a  realistic 
manner  that  ecstatic  moment  when  a 
woman  realizes  for  the  first  time  that 
the  supreme  gift  of  maternity  is  to  be. 
hers.  Such  is  the  intention  of  the  sta- 
tue executed  in  Rodinesque  style  which 
the  artist  has  named  Conception.  His 
second  work  on  motherhood  shows  the 
mother  holding  the  infant  high  above 
her  head  as  if  presenting  it  as  an  offer- 
ing before  The  Lord.  The  Wonderment 
of  Motherhood  has  been  pronounced  one 
of  the  most  imaginative  works  of  its 
gifted  author.  That  such  creations  as 
these,  so  full  of  delicacy  and  poetic 
feeling  can  be  product  of  the  same  hand 
that  executed  The  Mares  of  Diomed, 
The  Equestrian  Sheridan,  and  the  god- 
like head  of  Lincoln  in  the  Capitol,  are 
proof  enough  if  other  were  needed,  of 
the  depth  and  breadth  of  the  artist's 
imagination.  But  manifestly  such  epic 
themes  in  marble  are  a  far  cry  from  the 
widely  human  appeal  of  motherhood. 
Among  the  younger  American  sculp- 
tors no  other  has  made  such  intimate 
studies  of  the  child  and  established  the 
proofs  of  his  own  delight  in  parenthood 
as  has  Chester  Beach.  On  the  mother- 
hood theme  he  portrayed  it  in  Their 
First-Born,  a  charming  recumbent 
group  in  which  we  see  a  youthful  father 
bending  over  the  bed  on  which  his 
young  wife  is  resting  with  her  new-born 
infant.      The   extreme    weakness    and 


[259] 


"Mother  and  Child,"  by  Lopez. 

This  work  after  the  style  of  a  Madonna  is  regarded  as  one  of  the  finest  works  of  its  sculptor, 
in  which  he  has  rendered  the  sleep  of  the  infant  is  inimitable. 


The  way 


ART  AND  ARCHAEOLOGY 


exhaustion  of  the  mother  and  the  proud 
soHcitude  of  her  husband  are  admirably 
depicted.  The  utter  helplessness  and 
immaturity  of  the  babe  are  striking  in 
their  realism.  We  venture  that  no- 
where else  in  all  the  realm  of  plastic  art 
has  such  a  newly  born  infant  ever  been 
realistically  portrayed.  Their  First- 
Born  reveals  a  moment  in  domestic 
affairs  almost  too  intimate  and  sacred 
for  portrayal.  It  is  conceived  with  ex- 
quisite feeling  and  most  delicate  senti- 
ment. It  affords  a  very  actual  glimpse 
into  a  sacred  moment  of  family  life. 
As  such,  its  beauty  can  not  be  ques- 
tioned. 

Although  modeled  somewhat  after 
the  fashion  of  a  Madonna,  and  there- 
fore not  so  realistic  as  some  of  the 
other  sculptures,  on  this  central  theme 
of  human  life,  as  a  work  of  consummate 
art  and  delicate  imagination  there  is 
no  more  superb  rendering  of  mother- 
hood than  the  exquisite  relief,  Mother 
and  Child  by  the  late  C.  A.  Lopez. 
Lopez  was  a  young  sculptor  of  great 
promise  whose  few  creations  are  among 
the  most  highly  prized  sculptures  done 
in  America.  This  beautiful  mother 
and  child  alone  would  have  placed  its 
author  among  the  foremost  plastic 
artists  of  our  day.  In  ''The  History  of 
American  Sculpture,"  Lorado  Taftsays 
"it  is  an  ingenious  and  original  hand- 
ling of  the  Madonna  theme — a  relief 
exquisitely  chiseled  out  of  a  rough  block 
of  marble." 

The  modeling  of  the  dimpled  little 
arm  and  hand,  the  perfect  portrayal 
of  sleep,  the  sense  of  weight  and  perfect 
relaxation  as  the  drowsy  head  rests 
upon  the  mother's  shoulder,  and  the 
realistic  rendering  of  delicate  flesh 
texture,  are  altogether  admirable.  This 
sculpture  is  indeed  great. 

While  one  reflects  on  the  natural 
joy  in  the  mere  passive  realization  of 


possessing  one's  children  and  by  being 
possessed  by  them,  and  of,  to  quote 
Wordsworth : 

"Little  nameless  unremembered  acts 
Of  kindness  and  of  love," 

there  comes  pressing  upon  us  the  re- 
verse of  these  thoughts,  the  fear  of  loss 
and  the  resulting  grief  in  desolation. 
Motherhood  At  Bay  is  a  tragic  aspect 
of  the  theme  which  calls  for  a  very 
high  degree  of  artistic  ability.  Mother- 
hood at  bay  by  John  J.  Boyle  is  one  of 
the  most  convincing  statues  by  that 
artist.  This  work,  called  The  Stone 
Age  in  America  representing  a  mother 
who  has  rescued  her  children  from 
a  bear,  is  one  of  the  most  striking 
and  realistic  in  Fairmount  Park,  Phila- 
delphia. A  somewhat  less  vigorous 
presentation  of  the  motherhood  theme 
is  The  Indian  Family  by  the  same 
artist  in  Lincoln  Park,  Chicago. 

The  World  War  brought  out  an  in- 
numerable quantity  of  sculptural  works 
chiefly  of  a  monumental  character. 
Miss  Jess  Lawson,  an  English  sculptor 
residing  in  this  country,  exhibited  a 
startling  composition  presenting  the 
alarm  of  a  mother  who  sees  the  ap- 
proach of  the  Hun  from  afar  and 
strives  to  protect  the  infant  at  her 
breast.  The  sculptor  has  done  a  clever 
thing  in  giving  us,  as  it  were,  a  glimpse 
of  the  horrors  of  war — arson,  pillage, 
rapine,  murder — without  actually  re- 
vealing any  of  those  atrocities  to  us. 
Motherhood  at  bay  has  seldom  if  ever 
been  attemped  by  American  artists 
although  it  is  a  phase  of  the  theme 
which  possesses  great  possibilities  for 
portrayal  in  sculpture. 

When  employed  in  monumental  art, 
the  grief  of  motherhood  has  usually 
very  properly  been  executed  in  the 
conventional  style.  But  there  are 
notable  instances  in  which  the  sculptor 


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ART  AND  ARCHAEOLOGY 


has  so  blended  the  conventional  with 
the  realistic  manner  as  to  produce  an 
effect  which  is  both  intimate  and  per- 
sonal without  sacrificing  the  monu- 
mental character  of  the  work.  Ezekiel's 
Virginia  Mourning  Her  Dead,  one  of 
the  most  noted  of  Confederate  me- 
morials, is  probably  as  good  an  example 
of  this  artistic  blending  as  has  hitherto 
been  produced. 

The  latest  of  all  the  representations 
of  motherhood  in  monumental  art  and 
one  where  the  sculptor  has  succeeded 
in  combining  genuine  maternal  feeling 
with  the  conventional  style,  is  the 
Pilgrim  Mother  by  Paul  W.  Bartlett. 
The  Pilgrim  Mother  has  been  designed 
to  commemorate  the  ter-centenary 
of  the  Landing  of  the  Pilgrims,  1620. 
Bartlett  has  seized  the  moment  during 
the  landing  when  a  woman  with  her 
children  has  been  brought  ashore.  She 
is  seated  upon  Plymouth  Rock,  her 
little  brood  of  children  about  her, 
awaiting  the  return  of  another  boat 
load  from  the  Mayflower.  The  forlorn 
condition  of  that  little  band,  the  reali- 
zation of  their  loneliness  and  desolation, 
the  very  essence  of  homesickness,  and 


yet  over  it  all  the  firmness  of  faith  and 
determination — all  these  are  personified 
in  this  superb  group.  Much  has  been 
written  concerning  the  Pilgrim  Fathers 
but  Paul  Bartlett  has  delivered  a 
worthy  and  lasting  tribute  to  the 
splendid  character  of  Pilgrim  Moth- 
ers. 

As  one  walks  through  the  galleries  of 
our  great  museums  and  pauses  before 
such  artistic  creations  as  the  works  of 
Pratt,  Beach,  Lopez,  Borglum,  Miss 
Eberle,  or  Mrs.  Vonnoh,  the  thought 
is  brought  emphatically  home  that  it 
is  one  of  the  distinguishing  functions 
of  art  to  foster  a  feeling  of  concord  in 
the  human  heart.  To  the  childless, 
there  must  come  emotions  of  pro- 
foundest  tenderness  for  the  children 
of  others,  memorable  in  Charles  Lamb's 
exquisite  fantasy,  Dream  Children.  To 
parents  of  every  age  and  of  every 
social  rank,  comes  the  realization  of 
that  fundamental  fact  that  through 
motherhood  all  men  are  of  one  blood, 
that  in  the  words  of  Confucius, 

"All  men  between  the  seven  seas  are 
brothers." 

Brooklyn,  N.  Y. 


MADONNA  AND  CHILD  BY  LUINI 

Even  the  Centuries  with  their  dusty  thongs, 

Know  not  to  scourge  you.  Artisan  of  Souls; 
Your  young  Madonna  and  your  saints  in  throngs. 

Shine  still  with  undimmed  robes  and  aureoles. 
You  with  your  vital  blue,  your  vivid  gold. 

Your  mode  of  mixing  pigments  into  truth. 
Learned  in  some  sure  and  secret  way  to  hold 

The  perfected  impermanence  of  youth. 

Behind  your  skill  of  line,  Luini,  lies 

As  much  of  soul  and  mind,  as  craftsman's  art. 
And  you  have  shadoived  there  in  Mary's  eyes 

An  understanding  of  her  two-fold  part. 
Virginal-innocent  tmd  Mother-wise, 

She  ponders  hidden  sayings  in  her  heart. 

Agnes  Kendrick  Gray. 


[263] 


THE  SHEPHERDS  AND  THE  KIMGS 

By  Georgiana  Goddard  King 


THEY  call  the  group  a  creche  in 
France,  in  Italy  a  presepio;  in 
Spain  it  is  a  nacimiento,  and 
every  church  and  ever>^  house  brings 
out  the  figures  and  sets  up  the  scene, 
each  year.  The  English  speaking  peo- 
ples have  neither  the  name  nor  the 
custom,  but  they  have  the  impulse,  as 
in  the  Middle  Age  they  had  doubtless 
the  practice.  Indeed,  I  am  told  that 
for  the  Christmas  feast,  in  Bethlehem, 
Pennsylvania  and  the  Moravian  coun- 
try around  about;  a  painting  of  the 
Virgin  and  Child  is  set  up,  outside  the 
church  in  the  open,  and  decked  with 
holly  and  evergreen. 

My  friend  Fanny  has  been  brought 
up  with  infinite  care,  free  from  super- 
stition, from  denominational  bias  even, 
that  she  may  grow  up  as  hearty  and 
strong  in  spirit  as  body,  clear-minded, 
reasonable,  and  truth-loving.  But  this 
year  Fanny  goes  to  school.  On  Christ- 
mas Eve  I  went  downstairs  with  a 
little  parcel  to  the  apartment  where 
her  family  lives,  and  Fanny  showed 
with  pride  the  creche  she  had  made 
impromptu  by  ransacking  the  nursery 
toy-box;  with  a  dog  bigger  than  the 
sheep  and  a  Babe-Jesus  bigger  than 
the  shepherd.  For  the  Three  Kings, 
she  had  dressed  the  dolls.  Her  mother 
smiled  a  little  regretfully,  to  see  how 
the  human  heart  is  stronger  than  the 
best  theoretical  education. 

Every  traveller  remembers  how,  in 
one  of  the  most  charming  of  the  fres- 
coes at  Assisi,  Giotto  shows  the  first 
creche  that  S.  Francis  made.  It  is  set 
behind  the  altar  within  the  choir- 
screen,  and  while  substantial  friars 
are  roaring  out  the  carols,  country- 
folk have  crowded  to  the  doorway  to 


gape  and  marvel,  and  the  Saint  is  on 
his  knees  arranging  the  mise-en-scene. 
The  incident  is  true.  He  filled  a 
feeding-trough  with  straw  and  bor- 
rowed a  real  baby  for  Christmas  Eve ; 
borrowed  too,  I  fancy,  the  gentle 
heifer  and  little  grey  donkey  that  lies 
so  quietly  on  either  side,  and  there 
Brother  Giles  and  Brother  Leo  and  all 
the  early  brethren  of  the  Order,  sang 
the  first  Christmas  Carols,  perhaps, 
that  ever  were  heard.  The  custom,  it 
is  said,  spread  from  Umbria  through- 
out Italy:  but  indeed  it  is  the  sort  of 
custom  that  would  spring  up  anywhere, 
like  daisies  and  chicory  by  roadsides. 

The  next  thing  known  for  certain  is 
that  when  the  Neapolitan  humanist 
Sanazzaro  had  written  his  amazing 
artificial  Latin  poem  on  the  Virgin 
Birth,  De  Partii  Virginis,  and  had  built 
and  dedicated  a  church  to  the  same 
Joyful  Mystery,  he  installed  in  the 
crypt  chapel  there  a  set  of  figures  of 
the  presepio.  This  was  polychrome 
sculpture  in  wood:  Mary,  Joseph  and 
the  Child,  with  the  shepherds  adoring; 
the  greatest  of  Neapolitan  sculptors, 
Giovanni  da  Nola,  made  them  for 
him,  and  the  only  novelty  was  in  the 
excellence  of  the  work  and  the  emi- 
nence of  the  artist.  The  Virgin  and  a 
few  other  bits  of  the  group  still  linger 
there,  in  the  crypt  of  the  Madonna 
del  Parto.  There  is  said  to  be  a  com- 
plete presepio  of  later  date,  in  the 
cathedral  of  Matera,  carved  in  stone 
and  coloured:  but  life-sized  figures, 
after  the  early  Renaissance,  are  rare. 

Aleanwhile  in  Portugal  the  same 
thing  is  found.  The  poet  Gil  Vicente, 
in  the  earliest  years  of  the  sixteenth 
century,  is    writing    Christmas    Mys- 


[265] 


ART  AKfD  ARCHAEOLOGY 


The  figures  of  the  Duke  of  MedinacoeU's  Naclmiento, 
packed  away  till  next  Christmas. 

teries  that  courtiers  can  act  on  Christ- 
mas Eve  before  the  king  and  his  wife 
and  mother.  In  the  play  of  the  Three 
Kings,  that  was  played  on  Twelfth 
Night  of  1503,  the  royal  parts  were 
taken  by  gentlemen  gorgeously  arrayed, 
and  those  of  shepherds  by  other  gentle- 
men in  frieze  and  sheepskins,  imitating 
countrymen  from  the  hills — there  is 
nothing  noteworthy  for  us  in  this;  but 
in  the  play  of  the  Sibyl  Cassandra, 
that  he  wrote  for  the  Christmas  follow- 
ing, while  the  shepherd  and  shep- 
herdess and  her  aunts  and  uncles  were 
all  acted  by  court  folk,  at  the  right 
moment  toward  the  close  a  curtain 
was  suddenly  withdrawn  to  reveal  the 
figures  of  Mary  and  her  Child,   and 


hidden  voices  sang  the  angels'  song. 
Just  so  at  Eleusis  two  millenniums 
before,  when  the  worshippers  were 
gathered  all  in  the  lighted  shrine,  a 
curtain  was  suddenly  lifted  and  the 
Mother  and  Child  were  revealed. 

From  the  fourteenth  to  the  seven- 
teenth century,  I  suppose  the  practice 
was  general,  in  England  and  through- 
out Europe,  of  showing  the  Christmas 
scene  to  the  congregation,  and  even 
where  Mystery  plays  were  acted,  they 
would  hardly  interfere.  The  Shep- 
herd's Play  at  Coventry  was  like  a 
dramatized  presepio.  The  groups  in 
churches  included,  besides  the  Holy 
Family,  all  the  shepherds  with  their 
offerings,  and  angels  making  the  an- 
nouncement where  they  watched  their 
flocks  by  night;  the  Three  Kings,  their 
attendants  and  their  gifts.  These 
might  be  multiplied  indefinitely.  Be- 
nozzo  Gozzoli's  fresco  in  the  Riccardi 
Palace  at  Florence,  covers  three  walls 
of  the  chapel  with  the  long  array  of 
riders,  outlandish  men  and  exotic  ani- 
mals. As  early  as  1335,  when  the 
Mystery  of  the  Three  Kings  was 
played  in  Milan  with  a  long  procession 
through  the  streets,  rich  jewels  and 
splendid  costumes  and  strange  beasts 
were  all  to  be  seen.  The  Mysteries 
supplied  a  sort  of  canon  of  tradition, 
set  a  standard  of  richness  for  emulation 
at  less  expense;  but  though  the  creches 
and  the  plays  reacted  on  each  other, 
they  never  were  precisely  alike.  At 
first  the  groups  in  the  churches  were 
simpler,  afterwards  they  became  more 
popular  and  anecdotic.  The  indispen- 
sable parts  grew  to  be  the  grotto,  the 
tavern,  the  announcement  to  shep- 
herds on  a  hill-side,  and  the  procession 
of  the  Kings. 

Particularly  in  Spain  and  in  Spanish 
Italy,  that  is,  in  Naples  and  Sicily, 
the  custom  was  kept  up;  instinctively 


[266] 


The  first  Wise  .\Liii.  Kuif,  Ga; 


wi..iii  Uic  collection  of  the  Duke  of  Medinacoeli). 


at  first,  then  as  a  popular  practice, after- 
wards as  a  matter  of  fashion.  From  a 
document  preserved  by  chance  we  know 
that  for  the  Christmas  of  1661  the 
Confraternity  of  the  Goldsmiths  joined 
with  the  Friars  of  S.  Paul's,  in  Naples, 
to  erect  a  presepio  "wherein  were  eight 
persons  in  all,  and  an  infinite  number  of 
jewels  which  wearied  rather  than  satis- 
fied the  view.  The  Viceroy's  jewels 
were  there,  especially  three  diamonds 
which  had  been  given  by  the  Emperor 
to  the  count  of  Penaranda;  the  sheep 
were  covered  with  pearls,  and  so  wera 
the  shaggy  coats  and  wallets  of  the 
shepherds.  The  quantity  of  emeralds 
shamed  the  true  verdure,  and  there 
were  some  adorning  the  crown  of  the 
Mother  of  God  and  the  diadem  of  vS. 


Joseph,  who  had  also  a  sapphire  on  his 
breast." 

In  the  sixteenth  and  seventeenth  cen- 
tury in  Naples  figures  were  made  by 
such  sculptors  as  Pietro  and  Giovanni 
Alamanni,  Pietro  Belverte,  and  Gio- 
vanni da  Nola.  By  the  eighteenth  cen- 
tury the  pious  custom  of  the  confra- 
ternities and  congregations  was  taken 
up  by  the  families  of  the  aristocracy 
and  rich  merchants.  With  the  removal 
from  church  to  palace  and  thence  into 
private  houses,  the  scale  altered.  The 
sacred  persons  and  the  shepherds  are 
smaller  but  more  numerous.  The  real- 
istic intention  grows  stronger.  Charles 
III  of  Bourbon  formed  of  them  a  large 
set  of  genre  scenes,  illogical  and  charm- 
ing, arranged  around  the  central  IMys- 


[267] 


rfmiiiiif'^ 

Shepherds  in  talk,  wiio  will  soon  hear  the  Angelic  Message  (from  the  collection  of  the  Duke  of  Medinacoeli). 


tery  of  the  Incarnation.  A  part  of  this 
collection  is  still  in  the  palace  at  Ca- 
podimonte.  He  set  it  up  with  his  own 
hands  every  year,  with  the  help  of  his 
queen,  Maria  Amalia;  she  took  delight 
in  dressing  the  shepherds.  His  son 
Ferdinand  I  and  his  grandson  Ferdi- 
nand II,  in  the  castle  of  Caserta,  kept 
up  the  custom;  the  costumes  were  real, 
rich  and  splendid,  the  shepherds  and 
animals  made  of  wood  or  terracotta. 
Nearly  all  the  great  eighteenth-century 
sculptors  of  Naples  made  these  figures : 
the  best  was  Giuseppe  Sammartino, 
who  died  in  1793.  He  was  especially 
happy  in  his  hovering  angels  that  hung 
by  a  thread  above  the  sleeping  shep- 
herds and  the  Mother  and  Child.  Fran- 
cisco and  Camillo  Celebrano,  and  the 
Vassalo  family,  were  also  famous  for 
special  episodes  or  figures,  and  were 
more  widely  known  for  their  shepherds 


and  animals  than  for  statues  and  other 
marble  sculpture.  Most  of  the  artists 
employed  in  the  porcelain  works  at 
Capodimonte,  had  a  hand  also  in 
these. 

Lastly,  when  the  age  of  revolution 
has  passed,  and  the  eighteenth-century 
life  has  disappeared  forever,  a  final 
stage  in  the  life-history  of  the  presepio 
is  reached.  The  scenes  are  neglected, 
scattered  and  broken  up,  and  after  a 
while  they  come  to  be  collected  again 
by  amateurs.  At  the  opening  of  the 
present  century,  Monsignor  Sanfelice 
di  Bagnuoli  had  a  collection  of  about 
300  pieces :  the  hanging  angels  by  Sam- 
martino, Celebrano,  and  Salvatore  di 
Franco,  the  host  of  the  tavern  by 
Policoro,  the  gamesters  by  Franco,  the 
violin-player  by  Gori.  The  finest  parts 
are  one  group  of  peasants  coming  down 
a  steep  path,  by  Somma,   Celebrano, 


[268] 


A  Servant  riding  his  Donkey,  as  Spanish  Peasants  yet  ride  (from  the  collection  of  the  Duke  of  MedinacoeU). 


and  Capelli,  and  the  beggar  with  some 
shepherds  awakened  by  the  Gloria  in 
excelsis  by  Sammartino  and  Celebrano ; 
these  have  artistic  merit  of  a  high  order. 
But  there  are  other  signed  pieces — so 
to  call  them — a  dog,  an  old  goat,  and 
a  donkey  by  Vassalo,  cows,  calves,  pigs 
and  other  animals  by  Schellino  and 
Ciccio  Gallo;  there  are,  further,  other 
bits  of  genre,  each  celebrated  and 
prized — butcher's  meat,  salads,  fruit, 
bread,  vegetables,  tiny  plates  of 
Abruzzi  pottery:  there  is  everything 
under  the  sun. 

For  all  this  there  was,  of  course,  a 
germ  in  vScripture,  though  small  as  the 
grain  of  mustard-seed.  The  assembling 
of  the  tribes  for  a  census  was  inter- 
preted as  a  great  annual  fair,  which 
gave  the  chance  for  all  manner  of  folk 
and  all  sorts  of  action:  there  being  no 
room  in  the  inn,  gave  the  chance  to  in- 


troduce the  inn  and  its  occupants  with 
the  landlord. 

The  Italian  presepio  has  sometimes  a 
rich  architectural  background :  a  wide  ar- 
caded  palace  front  and  staircase  behind 
a  market,  or  a  vine- wreathed  pergola, 
and,  behind  a  public  hall :  or  the  Adora- 
tion of  the  Kings  may  take  place  before 
the  broken  apse  and  gaping  arches  of  a 
ruined  Roman  temple,  in  accordance 
with  the  beautiful  mediaeval  symbol- 
ism ;  or  the  Virgin  will  be  enthroned  in 
what  seems  the  apse  of  a  baroque 
church,  crowded  with  angels  above  and 
worshippers  below.  In  poorer  house- 
holds or  in  the  declining  age  a  mountain- 
side sufficed,  of  cork  and  moss,  where  a 
water-fall  was  simulated  with  spun- 
glass. 

Every  European  museum  can  show  a 
few  dusty  Neapolitan  figures  in  a  glass 
case:  the  two  at  the  Cluny,  in  Paris, 


[269] 


ART  AND  ARCHAEOLOGY 


"A  Shepherd  with  h\^  I'liic."  moilurii  uork  from  Cata- 
lonia (after  a  photograph  by  E.  H.  Lowber). 

were  a  joy  in  my  earlier  years,  and  I 
came  across  one  very  like  to  these, 
though  probably  Portuguese,  in  an 
antiquity  shop  the  other  day  in 
Lisbon.  At  the  Bavarian  Museum 
in  Munich  is  a  Slaughter  of  the  In- 
nocents comprising  80  figures,  which 
was  made  in  i7oo;  and  the  Acad- 
emy in  Madrid  owns  another  piece 
on  the  same  theme  by  a  Madrid  ar- 
tist called  Gines,  which  is  fairly  brutal 
but  truly  dramatic  in  its  tragic  power. 
At  the  museum  of  S.  Martino  above  the 
city  of  Naples,  the  great  scene  of  the 
Adoration  fills  one  end  of  a  room, 
screened  off  from  the  spectators  by 
plate-glass  which  makes  it  impossible 
to  photograph;  the  picture  here  pub- 
lished shows  only  a  portion  of  it.  The 
costumes  are  various,  fanciful  a'^  those 
of  a  fancy-ball  or  an  old-fashioned 
opera,  and  here  they  seem  to  be  chiefly 
of  the  early  nineteenth  century,  but 
some  Neapolitan  collections  can  show 


beautiful  and  typical  sets  of  eighteenth- 
century  dress. 

When  Charles  III  of  Bourbon  came 
to  mount  the  throne  of  Spain,  in  1759, 
he  brought  with  him  his  artists  and 
his  ways,  though  he  must  have  found 
the  institution  already  established. 
What  was  presepio  in  Naples,  was 
nacimiento  in  Madrid.  The  difference 
in  names  is  nothing  and  that  in  the 
composition  is  slight,  but  the  temper 
is  a  little  altered.  The  easy-going 
Neapolitan  genre  gets  a  dash  of  bitter- 
ness. A  favourite  episode,  to  be  seen 
even  to  this  day  in  every  shop-window 
at  Christmas-time,  is  the  rejection 
at  the  hostelry:  the  tired  Mary 
and  Joseph,  hesitating  at  the  door, 
the  insulting  landlady  screaming  from 
a  window,  and  the  impudent  host- 
ler slouching  in  the  court-yard;  the 
whole  being  at  once  racy  and  touch- 
ing. 

Two  famous  groups,  yet  complete 
and  perfect,  that  have  long  been  pre- 
served in  Spain  but  are  supposed  to 
be  Neapolitan  in  origin,  are  those  of 
the  Marquis  of  Alcafiices  and  of  the 
Duke  of  Medinacoeli.  The  latter  was 
shown  by  the  Duchess  for  a  charity 
during  the  war,  and  I  am  able  to  pub- 
lish some  characteristic  details  as  well 
as  a  view  of  the  whole  packed  for  safe 
storage  into  a  glass  case.  The  group 
of  two  shepherds  conversing  is  like  a 
bit  out  of  the  old  comedies,  the  King 
too  is  a  generalized  type  quite  cos- 
mopolitan ;  but  the  boy  and  his  donkey 
might  be  seen  in  any  village  street  of 
Spain  today.  The  explanation  of  the 
strong  Spanish  flavour  in  this  as  in  so 
much  Neapolitan  work,  is  that  for 
several  centtuies  Naples  was  in  certain 
ways  literally  a  part  of  the  Spanish 
dominion,  not  only  politically  from 
time  to  time,  but  all  the  time,  psycho- 
logically and  socially. 


[270] 


ART  AND  ARCHAEOLOGY 


The  nacimiento  of  the  Duchess  of 
Parcent  that  was  exhibited  in  Madrid 
for  the  reUef  of  the  wretched  children 
of  Central  Europe,  is  supposed  to  have 
been  made  in  the  Spanish  Netherlands. 
The  aristocratic  convent  of  the  Des- 
calzas  Reales,  the  most  distinguished 
in  the  capital  and  perhaps  in  Spain, 
possesses  a  charming  set  of  figures 
with  a  painted  background  like  stage 
scenery;  under  a  sort  of  summer-house 
the  holy  figures  kneel,  soldiery  issue 
from  a  painted  city-gate  on  the  left 
and  descend  free-standing  and  palpa- 
ble; shepherdesses  with  rose-garlands 
and  gilded  crooks,  like  Watteau  dolls, 
are  escorted  by  swains  in  smocks  and 
little  caps,  from  the  right-hand  en- 
trance. The  great  Murcian  sculptor, 
Zarcilla  (i  707-1 783),  executed  a  monu- 
mental scene  of  556  figures,  which  is 
still  in  existence,  but  I  think  in  private 
hands.  This  could  have  been  carved 
about  the  middle  of  the  eighteenth 
century.  Elaborate  and  celebrated  com- 
positions once  belonged  to  the  Old 
Pretender  of  Spain,  D.  Carlos,  and  his 
brother  D.  Francisco;  they  were  ruined 
in  the  crash  of  the  royal  fortunes,  but 
at  Soto  de  Algete,  it  is  said,  are  still 
preserved  a  great  number  of  wooden 
horses  more  than  18  inches  high,  and 
with  them  the  tradition  that  there  a 
part  of  the  Christmas  Mystery  was  a 
bull-fight.  For  Isabel  II  and  the  Prin- 
cess Maria  Luisa  Fernanda,  well  within 
the  nineteenth  century,  the  figures 
were  sculptured  by  the  artist  Leon  Gil 
de  Palacio.  It  is  a  far  cry  from  the 
eighteenth-century  domesticity  of 
Charles  III  to  the  diversions  of  Isabel 
II,  but  it  is  pleasant  to  think  of  inno- 
cent child's  play  at  Christmas  in  the 
palace  between  the  little  princess  and 
the  too-beautiful  and  impetuous  queen. 

Already  it  has  been  said  how  the 
groups  of  figures  in  the  beginning  were 


Flamenco  or  Gypsy  Types,  originating  in  the  Abruzzi 
(after  a  photograph  by  E.  H.  Lowber). 


but  the  plastic  representation  of  the 
sacred  Mysteries  that  were  played  in 
the  churches,  and  has  been  suggested 
how  the  art  of  painting  may  sometimes 
have  borrowed  from  them  as  it  must 
have  lent  to  them  often.  But  a  closer 
affinity  may  be  seen  with  a  feature  of 
the  religious  life  peculiar  to  Spain,  the 
pa  SOS  or  groups  relating  the  Passion 
that  are  carried  through  the  streets  on 
men's  shoulders  in  Holy  Week.  All 
travellers  have  told  of  seeing  them  pass 
at  Seville,  but  every  town  has  its  own. 
A  famous  set  at  Murcia  was  carved  by 
the  sculptor  Zarcilla  in  the  eighteenth 
century;  the  greater  number  of  those 
at  Valladolid  in  the  sixteenth  and  seven- 
teenth, and  they  are  now  in  the  Mu- 
seum there.  In  most  towns,  throughout 
the  year  the  images  are  kept  in  chapels 
specially  their  own,  and  often  they 
are  highly  revered.  They  are  always 
large,  and  they  are  always  visible, 
whether  in  a  church  or  in  the  private 
chapel  of  a  confraternity :  in  these  two 
respects  they  differ  from  the  nacimien- 
tos,  little,  pretty  things,  packed  up, 
taken  out  for  a  fortnight,  and  put 
away  again  like  toys  too  precious  for 
every  day.  It  is  as  though  when  the 
plastic  impulse  had  produced  these 
two  branches,  one  for  Christmas  and 


[271] 


ART  AND  ARCHAEOLOGY 


one  for  Easter,  they  divided  and  grew 
quite  unlike :  the  Easter  figures  reahstic 
and  terribly  earnest,  emotional  to  the 
uttermost  point  of  endurance;  the 
Christmas  fanciful,  small  and  playful, 
fit  for  the  Child  whom  they  celebrate. 
Every  church  in  Spain,  indeed,  pos- 
sesses some  such  imagery,  to  bring  out 
and  arrange  in  chapel  or  aisle:  the  fig- 
ures are  usually  modern  and  often  com- 
monplace enough.  There  is  a  fair  on 
S.  Lucy's  day  in  Barcelona,  outside 
the  chapel  of  the  cathedral  dedicated 
to  S.  Lucy,  which  is  almost  given  over 
to  the  blind,  for  she  is  their  patroness; 
and  as  her  day  falls  on  the  14th  of 
December,  Christmas  is  in  the  air,  and 
every  booth  and  stall  is  piled  with 
nacimientos ,  very  humble  little  things 
for  the  most  part,  of  cork  and  moss  and 
pasteboard,  with  Noah's  Ark  figures, 
made  perhaps  by  the  poor  patient 
blind  men.  Every  shop  window  in 
Seville  or  Toledo  is  crowded  with 
images :  Kings  on  horseback  and  negroes 
on  camels;  other  Kings  standing  or 
kneeling  with  crown  or  coffer ;  shepherds 
in  every  attitude,  and  other  country 
folk  with  homely  offerings  of  bread 
and  fruit  and  milk  and  wine.  There 
are  sheep  and  dogs,  there  are  drovers 
and  laundresses.  Here  and  there,  I  am 
sorry  to  say,  there  are  pseudo-oriental 
types  and  costumes  that  reek  of  the 
Place  S.  Sulpice,  and  might  be  taken 
from  Tissot's  picture-Bible;  but  these 
are  few.  The  best  of  the  figures  are 
made  by  a  Catalan  firm  up  on  the  edge 
of  the  Pyrenees:  a  shepherd  with  his 
pipe,  a  woodcutter  with  his  faggot,  a 
herdsman  with  his  dog,  are  charming 
pieces,  shaped  from  wood  and  softly 
coloured;  others,  smaller  and  cheaper, 


are  cast  in  plaster.  Some  of  these  I  am 
able  to  show;  the  broken  toys  that 
served  to  amuse  a  sick  child. 

In  certain  of  them  the  types  are  very 
marked,  with  sheepskin  jacket,  short 
trousersandhighboots,  with  hanging  left 
locks  under  a  broad  hat.  When  ques- 
itoned  in  Madrid,  the  shop-keeper  said 
they  were  Andalusians;  in  Seville,  that 
they  were  flamenco  or  gypsy,  peasantry 
from  Granada ;  but  Granada  in  turnd"e- 
pudiated  them.  The  truth  is  probably 
that  they  are  peasants  from  the  Abruzzi, 
akin  to  those  that  in  our  grandfathers' 
day  in  Rome  lay  about  on  the  steps  of 
the  Spanish  Stairs,  waiting  to  be  hired 
as  artists'  models;  and  that  for  these 
nacimientos  the  type  came  into  Spain, 
— who  shall  say  how  long  ago? 

One  other  link  with  the  stage  should 
not  go  unmarked  before  this  brief  study 
is  ended.  On  the  East  Coast  of  Spain 
till  very  lately,  and  perhaps  still  in 
places  out  of  the  way,  you  could  see  a 
kind  of  puppet-show  of  the  Gospel 
story,  with  a  Relator  who  sang  or  re- 
cited, to  the  guitar,  sometimes  in  Span- 
ish, sometimes  in  the  Limousin  tongue 
of  that  region,  hymns  to  the  Virgin 
Maria  Sanctissima,  denunciations  of 
Herod  the  Tetrarch,  or  expostulations 
against  the  cruelty  of  the  inn-keeper, 
who  appeared  at  a  window,  little  lamp 
in  hand,  to  refuse  shelter  to  the  Holy 
Wayfarers.  Belenes — Bethlehems — 
these  shows  were  called,  and  the  mana- 
ger, the  belemero;  so  the  whirligig  of 
time  brings  about  his  revenges,  and 
what  was  once  a  Mystery-play  in 
church  is  now  a  puppet-play  in  the 
square.  So  Goethe  once  saw  Faust  in  a 
puppet-show. 

Bryn  Mawr  College,  Pennsylvania. 


[272] 


NOTES  FROM  THE  NEW  YORK  GALLERIES 

-By  Peyton  Boswell 

Winter  Exhibition  of  the  National  Academy  of  Design 

Art  knows  no  boundary  lines,  but  testators  and  juries  of  award  do,  and  this  accounts  for  the 
fact  that  Carl  Rungius'  painting,  "Fall  Round-Up,"  did  not  retain  first  prize  at  the  winter 
exhibition  of  the  National  Academy  of  Design.  Two  days  after  awarding  him  the  Altman 
prize  of  $i,ooo  the  jury  found  out  that,  while  the  artist  is  a  native  of  Germany,  Mr.  Altman's 
will  provided  that  the  two  prizes  bearing  his  name  must  be  given  in  each  instance  to  a  picture 
by  "an  American-born  artist."  And  therefore  Ernest  L.  Blumenschein,  whose  name  is  more 
Teutonic  in  flavor  than  that  of  Rungius,  though  he  was  born  in  Pittsburgh  in  1874,  was  awarded 
the  chief  honor  for  "Superstition." 

Then  there  had  to  be  a  general  rearrangement  of  all  the  awards  at  the  big  show,  which  opened 
its  doors  to  the  public  Saturday,  November  19th,  with  452  works  on  display.  But  first,  as  to 
the  merits  of  the  two  pictures.  "Fall  Round-Up"  is  so  thoroughly  American  that  a  beholder 
might  think  its  creator  had  lived  among  cowboys  all  his  life.  It  seems  to  exude  the  sweat  of 
horses  and  the  odor  of  leather  saddles.  Two  mounted  cattlemen  are  on  the  spur  of  a  hill  over- 
looking a  broad  valley,  wherein  dying  vegetation  gives  splotches  of  yellow,  with  maroon  sug- 
gestions of  cattle  appearing  in  the  distance,  and  a  blue  sky  arching  over  all.  It  is  deft,  it  is 
colorful,  but  Mr.  Rungius  was  born  in  Germany,  and  did  not  come  to  America  until  he  was 
twenty -five,  which  was  in  1894. 

Mr.  Blumenschein  is  a  member  of  the  "Taos  Society,"  with  headquarters  in  New  Mexico 
and,  in  an  ethnological  sense,  his  picture  of  "Superstition"  is  more  American  than  that  of  Rungius, 
for  Indian  life  is  its  theme.  An  old  and  toothless  Indian,  with  drooping  jaw,  holds  on  his  lap 
a  pottery  jar.  Out  of  one  hole  in  the  jar  rises  a  little  wraith  of  an  Indian,  and  from  another 
comes  a  wisp  of  growing  grain.  The  background  is  composed  of  broadly  indicated  Taos  mo- 
tives; crude  dull  reds  and  browns,  characteristic  colorings  of  the  Southwest,  predominate. 

The  second  Altman  prize  of  $500  was  originally  awarded  to  Mr.  Blumenschein,  but  when 
he  was  given  "first"  some  one  else  had  to  receive  "second."  Arthur  P.  Spear,  a  Boston  artist, 
who  had  been  awarded  the  Isidor  medal  for  the  best  figure  composition  by  an  American  artist 
35  years  of  age  or  under,  was  then  made  the  recipient  of  the  $500  for  his  picture  called  "The 
Sunrise."  It  is  a  fanciful  composition,  showing  three  air  sprites  afloat  in  a  nebulous  sea,  holding 
at  their  finger  tips  a  yellow  green  globe  which  turns  to  golden  red  where  a  section  of  it  appears 
just  above  the  horizon. 

The  Isidor  gold  medal  was,  in  turn,  awarded  anew,  this  time  to  George  Laurence  Nelson 
for  "The  White  Vase,"  an  old  Colonial  fireplace  scene,  depicting  a  young  woman  seated  at  a 
table,  with  flowers  in  profusion  about  her.     It  is  both  colorful  and  restrained. 

No  more  rearrangement  of  prizes  was  necessary,  and  the  others  will  stand  as  at  first  announced. 
But  future  juries  of  award  will  be  more  careful,  and  the  council  of  the  National  Academy  is 
now  considering  points  of  possible  trouble.  For  instance,  if  Rungius  had  first  seen  the  light 
of  day  in  Canada  or  Costa  Rica,  would  he  have  been  considered  "American-born?"  Perhaps 
only  the  Supreme  Court  in  Washington,  D.  C,  could  decide  that. 

But  art  lovers  will  be  glad  that  there  was  no  change  in  the  award  of  the  Carnegie  prize  of 
$500  to  Charles  S.  Chapman's  "Forest  Primeval,"  as  it  is  the  most  meritorious  of  all  the  prize 
pictures.  Broad,  massive,  with  elemental  strength,  it  is  yet  full  of  imaginative  quality.  Trees 
growing  against  a  background  of  immense  rocks  make  up  the  composition. 

A  still  life  of  admirable  decorative  quality  is  "The  Tang  Jar,"  by  Dorothy  Ochtman,  which 
won  the  Julia  A.  Shaw  memorial  prize  of  S300  for  the  most  meritorious  painting  by  an  American 
woman.  A  jar  of  cool  Chinese  blue  is  shown  against  a  warm  background,  complemented  by  a 
little  porcelain  figure  with  reddish  hues. 

Last  year  John  F.  Folinsbee  won  the  Carnegie  prize,  and  this  year  he  captured  the  J.  Francis 
Murphy  memorial  prize  for  the  best  landscape  by  an  artist  less  than  41  years  of  age.  "High 
River"  is  a  precious  bit  of  pearly  color. 

[273] 


ART  AND  ARCHAEOLOGY 

"John  Lane  of  London,"  by  Ernest  Ipsen,  a  portrait  of  the  well-known  publisher,  is  not"'only 
spontaneous  but  it  has  extraordinary  resemblance.  It  is  not  strange  that  the  Proctor  prize 
of  18200  for  portraiture  should  have  been  won  by  so  admirable  a  handling  of  line  and  color. 

Both  beauty  and  strength  dignify  the  George  Rogers  Clark  monument  by  Robert  I.  Aitken, 
which  won  the  Elizabeth  Watrous  gold  medal.  It  is  a  group  depicting  an  incident  in  the  North- 
western explorations  of  the  distinguished  Virginian,  and  is  the  original  sketch  of  the  monument 
recently  unveiled  at  Charlottesville.  "The  Prairie  Fire,"  by  Joseph  M.  Lore,  the  winner  of 
the  Helen  Foster  Barnett  prize  for  the  best  sculpture  by  an  American  under  thirty-five,  is  a 
gfroup  of  wild  and  spirited  horses,  frightened  by  oncoming  flames. 

The  late  Abbott  H.  Thayer's  "Portrait  of  a  Lady"  is  given  the  place  of  honor  in  the  Vander- 
bilt  Gallery.  It  is  a  large  canvas  representative  of  the  best  of  Thayer's  work.  The  Academy 
exhibition  will  last  until  December  19. 

Annual  Exhibition  of  the  New  Society  of  Artists 

Art  lovers  will  probably  find  more  real  enjoyment  at  the  third  annual  exhibition  of  the  New 
Society  of  Artists  (until  December  15)  than  at  the  winter  show  of  the  National  Academy.  There 
is  much  more  spirit,  verve  and  dash  to  it,  and  one  does  not  have  to  flounder  through  shoals  of 
mediocrity  to  land  upon  a  fair  vista  of  colorful  charm. 

If  last  year's  display  by  this  society  was  somewhat  of  an  artistic  failure,  this  year's  promises 
to  be  anything  but  that.  The  memlaers  seem  to  have  sent  their  best  work,  thus  keeping  the 
agreement  they  made  with  Mrs.  W.  B.  Force  when  she  undertook  the  management  of  the  show. 
Thirty-eight  painters  and  sculptors,  nearly  all  of  whom  are  well-known,  contribute  1 10  works. 

There  are  so  many  good  things  that  the  difficulty  is  to  choose  those  that  should  be  specially 
mentioned.  Eugene  Speicher's  "Southern  Slav"  is  striking  both  for  its  color  and  its  character- 
ization, and  his  "Young  Girl's  Portrait"  is  a  decorative  piece  that  charms  and  satisfies. 

Ernest  Lawson's  "Windy  Day"  is  full  of  the  exhilarating  atmospheric  qualities  for  which  he 
has  become  famous.  He  has  a  larger  canvas,  "Summer  Landscape,"  that  is  not  so  good.  Hayley 
Lever  has  four  pictures,  the  best  of  which  is  "Wind,"  almost  as  breezy  as  its  title. 

On  the  wall  nearby,  George  Luks  tries  to  take  the  joy  out  of  life,  and  strangely  enough  he 
calls  his  canvas  "The  Joy  of  Living."  The  subject  is  a  miserable  blind  woman,  and  as  all  things 
are  relative,  perhaps  she  does  find  some  joy  in  merely  not  being  dead,  but  the  spectator  views 
the  thing  with  no  feeling  of  exuberant.  Maurice  Sterne  sent  a  dark,  post-impressionistic 
South  Sea  subject,  with  native  figures  in  an  unusual  composition. 

Like  a  stark  wind  that  stirs  the  blood  on  an  early  winter  day  is  Rockwell  Kent's  "November," 
a  plateau  with  antelopes  running,  arched  by  a  cold,  prismatic  sky.  Robert  Henri  contributes 
three  pictures,  among  them  "Helen,"  a  nude,  whose  body  is  rhythmic  with  warm  and  pulsing 
flesh  tones.  George  Bellows  is  represented  by  "My  Mother,"  and  "Katherine  Rosen."  Leon 
KroU  has  a  noteworthy  canvas  in  "Spring,"  and  Gifford  Beals'  "Fishermen  at  Morning"  and 
Reynolds  Beal's  "Southern  Seas"  are  outstanding  works. 

Jerome  Myers'  "August  Night"  is  rich,  almost  antique,  in  finish.  Gari  Melchers  displays 
his  recently  developed  love  of  bright  color  in  the  large  "Easter  Morning"  and  the  smaller  "Mother 
and  Child,"  departing  in  all  but  choice  of  subject  from  the  modern  Dutch  formula.  Jonas  Lie 
is  dynamic  in  "Sycamores  in  Storm,"  with  its  naturalistic  hues  of  green  and  purple  gray.  William 
Glackens  seems  more  Renoir-like  than  ever  in  "Fruit"  and  "Child  in  Chinese  Dress."  Van 
Dearing  Perrine  has  a  decorative  set  of  three  Palisades  landscapes. 

Both  satiric  and  pictorially  strong  is  Guy  Pene  du  Bois'  "New  York  Girls,"  and  it  stands  out 
from  most  of  the  other  canvases  in  its  pictorial  effect.  Other  painters  represented  are  John 
Sloan  with  "East  at  Sunset,"  and  Maurice  Prendergast,  Joseph  Pennell,  Childe  Hassam,  Albert 
Sterner,  Robert  Chanler,  Paul  Dougherty,  Randall  Davey,  Frederick  Frieseke  and  Samuel 
Halpert. 

Edmond  Quinn  is  among  the  sculptors  who  have  sent  good  works,  and  the  others  are  Mahonri 
Young,  Gertrude  V.  Whitney,  Chester  Beach,  Stirling  Calder,  J.  E-  Fraser,  Gaston  Lachaise, 
Andrew  O'Connor  and  F.  G.  R.  Roth. 


[274] 


"The  Meet,"  water  color  drawing  by  W.  J.  Hays. 

Hays'  Water  Colors  and  Prints  at  the  Brown-Robertson  Galleries 

Color,  spirit  and  modernity  mark  the  water  colors  and  prints  of  William  J.  Hays,  at  the  Brown- 
Robertson  Galleries.  Modernity?  What  could  be  more  modern  than  a  fox-hunting  party 
with  automobiles  scattered  about  in  the  background?  And  the  horses,  dogs,  riding  habits  and 
landscapes  in  his  set  of  four  prints  under  the  title  of  "With  Hounds  in  Dutchess  County,"  are 
so  American,  so  up-State  New  Yorkish,  that  no  one  can  truly  say  that  the  artist  has  followed 
English  models  in  his  work. 

The  Millbrook  Hunt  is  the  theme  of  Mr.  Hays'  series,  and  the  successive  stages  of  the  hunt 
are  shown  in  prints  called  "The  Meet,"  "The  First  Flight,"  "Full  Cry"  and  "Run  to  Earth." 
The  little  village  of  Mabbittsinlle,  New  York,  is  the  scene  of  the  first,  and  the  countryside  nearby 
furnishes  the  settings  for  the  others.  The  sparse  second  growth  of  timber  in  the  final  scene  could 
be  identified  by  anyone  who  has  ever  been  in  Northern  New  York.  The  art  world  is  familiar 
with  English  fox-hunting  prints,  but  this  is  the  first  series  ever  brought  out  in  America,  and  it 
is  gratifying  that  the  pictiu-es  should  so  well  reflect  the  phase  of  life  with  which  they  deal. 

Oil  paintings  by  the  artist  include  "The  Edge  of  Cover,"  a  landscape  subtle  in  tone,  with  the 
figures  incidental.  Another  fox-hunting  set  is  shown  among  his  water  colors,  but  this  has  not 
been  reproduced  in  print  form  as  yet. 

The  Two  "Blue  Boys'' 

Henry  Watrous,  former  secretary  of  the  National  Academy,  suggests  that  the  two  "Blue 
Boys"  be  exhibited  side  by  side  in  identical  frames  without  any  mark  that  would  serve  to  betray 
which  is  the  one  from  the  collection  of  the  Duke  of  Westminster,  now  the  property  of  Henry 


[275] 


'The  Blue  Boy,"  by  Thomas  Gainsborough,  from  Uu-  collection  of  the  Duke  of  Westminster,  now  the 

property  of  Henry  E.  Huntington. 


"Portrait  of  a  Man,"  by  Frans  Hals,  purchased  for  Si5o,ooo  by  John  McCormack  from  the  Rcinhardt  Galkries, 
New  York.     From  the  collection  of  Count  Zamoyski,  Polish  Ambassador  to  France. 


ART  AND  ARCHAEOLOGY 

E.  Huntington,  and  which  is  the  Fuller-Hearn  picture.  The  latter,  which  has  been  for  some  time 
in  this  country,  has  been  the  subject  of  endless  controversy,  both  in  regard  to  its  merit  in  com- 
parison with  the  original  and  also  as  to  whose  brush  duplicated  the  famous  Gainsborough. 
Some  claim  that  both  were  painted  by  the  master  and  that  the  second  is  an  even  greater  achieve- 
ment than  the  first.  Others  maintain  that  it  is  the  work  of  John  Hoppner,  who  copied  the 
original  in  order  to  oblige  a  patron.  That  the  Westminster  "Blue  Boy"  is  the  work  of  Gains- 
borough has  never  been  questioned. 

It  is  said  that  the  painting  of  the  picture  was  the  result  of  a  dispute  between  Gainsborough  and 
Sir  Joshua  Reynolds  in  which  the  latter  insisted  that  the  dominant  tone  of  a  painting  should 
never  be  blue.  Although  it  is  not  known  with  certainty  who  is  the  subject,  it  is  thought  to  be 
Jonathan  Buttall,  son  of  a  wealthy  ironmonger,  and  the  year  in  which  it  was  painted  was  about 
1770. 

Reynolds'  "Mrs.  Siddons  as  the  Tragic  Muse"  which  was  purchased  by  Sir  Joseph  Duveen 
for  a  French  connoisseur  from  the  collection  of  the  Duke  of  Westminster  at  the  same  time  as 
the  "Blue  Boy"  is  to  be  presented  to  the  Louvre.  It  is  well  as  the  "Blue  Boy,"  will  be  exhibited 
in  this  country  sometime  in  the  next  few  months. 

Frans  Hals'  "Portrait  of  a  Man" 

Among  the  art  treasures  of  Eiu-ope  that  have  recently  made  their  way  to  American  owners 
is  the  "Portrait  of  a  Man"  by  Frans  Hals  which  has  been  purchased  by  John  McCormack  from 
the  collection  in  the  "Blue  Palace"  at  Warsaw  belonging  to  Count  Maurice  Zamoyski,  Polish 
ambassador  to  France.  This  portrait,  which  belongs  to  the  latest  period  of  Hals'  art,  is  in  the 
black  and  white  tones  with  which  he  developed  so  much  fluidity  of  expression.  The  subject, 
a  man  of  middle  age  who  might  have  been  one  of  the  painter's  boon  companions  in  the  taverns 
he  loved  to  frequent  and  which  were  his  ruin,  might  be  classed  in  the  group  of  portraits  that 
reflect  various  stages  of  merriment,  such  as  "The  Laughing  Cavalier"  and  the  "Portrait  of  the 
Artist  with  his  Second  Wife."  While  the  smile  in  this  instance  is  not  so  broad,  it  is  nevertheless 
clearly  suggested  and  is  an  example  of  the  artist's  ability  to  catch  the  expression  of  a  moment 
and  record  it  definitely. 

It  is  much  to  the  credit  of  Frans  Hals  that  the  finest  examples  of  his  work  date  from  the  period 
of  his  greatest  poverty.  He  had  supported  his  wife  and  ten  children  with  some  success  until 
1652  when  the  suit  of  a  baker  to  whom  he  was  indebted  made  him  penniless.  It  has  been  sug- 
gested that  the  painter's  predilection  for  black  and  white  tones  might  have  been  the  result  of 
the  costliness  of  lakes  and  carmines.  Yet  if  this  were  true,  it  resulted  in  making  a  virtue  of 
necessity  for  he  developed  a  mode  of  expression  in  which  the  suggestion  of  color  was  more  telling 
than  the  actual  use  of  it. 

Sir  John  Watson  Gordon's  "Contemplation"  at  the  Pearson  Galleries 

Sir  John  Watson  Gordon,  whose  "Contemplation"  is  among  the  old  masters  at  the  Fearon 
Galleries,  is  a  painter  who  has  not  been  given  his  just  due  in  view  of  the  fact  that  so  many  of 
his  portraits  have  been  erroneously  labeled,  "Sir  Henry  Raeburn."  This  has  been  the  result 
of  the  great  similarity  in  the  work  of  these  contemporary  Scotch  portrait  painters,  and  since 
neither  of  the  two  ever  attached  his  signature  to  a  painting,  it  has  been  impossible  in  many  cases 
to  distinguish  one  from  the  other. 

Gordon's  family  intended  him  for  the  army  but  he  chose  an  artistic  career  and  his  preference 
was  for  historical  subjects.  The  necessity  of  earning  a  living  turned  him  to  portraiture,  a  field 
in  which  he  was  so  successful  that  on  the  death  of  Raeburn  in  1823  he  became  the  chief  portrait 
painter  in  all  Scotland,  had  a  hand  in  the  founding  of  the  Royal  Scottish  Academy,  and  became 
its  president  in  1850,  receiving  his  knighthood  at  the  same  time. 

The  rich  shadows  of  "Contemplation"  are  only  a  foil  to  the  warm,  almost  radiant  flesh  tones 
of  the  subject  and  the  pale  golden  curve  of  the  leaves  of  the  book  on  her  lap.  It  is  marked  by 
that  solid  modelling  of  the  human  flesh  which  was  Raeburn's  contribution  to  art. 


[278] 


CURRENT  NOTES  AND  COMMENTS 

General  Meeting  of  the  Archceological  histitute  of  America 

The  twenty-third  General  Meeting  of  Archaeological  Institute  of  America  will  be  held  in  con- 
junction with  the  American  Philological  Association  at  the  University  of  Michigan,  Ann  Arbor, 
Michigan,  on  December  28-30,  1921.  The  Annual  Meeting  of  the  Council  of  the  Institute  will 
be  held  during  this  period.  Members  of  the  Institute  and  others  who  wish  to  present  papers  at 
the  meeting  are  requested  to  inform  Professor  W.  B.  Dinsmoor,  General  Secretary,  pro  tern., 
Columbia  University,  New  York,  N.  Y. 

The  American  School  in  France  for  Prehistoric  Studies 

The  American  School  in  France  for  Prehistoric  Studies  has  completed  its  first  term's  work  in 
Charente,  Dordogne,  Correze,  and  the  French  Pyr6ndes.  Professor  George  Grant  MacCurdy 
of  Yale  University,  Director  of  the  School,  has  returned  to  Paris  for  the  winter  term  and,  with 
Mrs.  MacCurdy,  is  at  Hotel  Mont-Fleuri.  Before  leaving  Angouleme,  Professor  MacCurdy 
was  elected  a  Corresponding  Member  of  the  Soci^t^  Arch^ologique  et  Historique  de  la  Charente. 

University  of  Pennsylvania  Excavations  at  Beisan 

Dr.  W.  F.  Albright,  Director  of  the  American  School  for  Oriental  Research  in  Jerusalem  re- 
cently visited  the  excavations  conducted  by  Clarence  S.  Fisher  for  the  University  of  Pennsylvania 
at  Beisan.  He  writes:  The  most  elaborate  work  has  naturally  been  carried  on  in  Arab  and  By- 
zantine levels,  uncovering  a  Byzantine  church,  Greek,  Arabic  and  Hebrew  inscriptions,  besides, 
a  set  of  bronze  utensils  belonging  to  the  church,  which  had  been  concealed  in  a  pit.  Just  below 
the  Byzantine  level,  however,  Fisher  found  an  Egyptian  stele,  which  had  been  removed  from  its 
original  place  lower  down  in  the  mount,  and  used  for  building  purposes.  It  is  a  stele  of  native 
basalt,  now  two  metres  high,  but  about  two  and  a  half  metres  in  height  before  the  top  was  sawed 
off.  The  twenty  lines  of  the  inscription  are  nearly  all  intact,  but  the  surface  is  so  badly  weathered 
that  very  little  can  now  be  made  out.  There  are  two  cartouches,  the  one  at  the  beginning 
contains  the  prenomen  of  Rameses  II. 

The  depth  of  debris  in  the  mound  of  Tell  el-Hosn  is  still  uncertain.  A  depth  of  twenty  metres 
from  the  top  has  been  reached  in  one  place,  bringing  to  light  Caananite  brick  walls,  and  burial 
places  from  between  1800  and  1500  B.  C,  but  the  character  of  the  core  is  still  doubtful.  The 
age  of  the  remains  is  identified  by  the  ceramic  deposits  found,  by  the  potsherds,  which  are  late 
First  Canaanite,  by  the  scarabs,  which  are  of  the  Twelfth  Dynasty  type,  and  by  potsherds  of  the 
Hyksos  type,  one  jar-handle  bearing  the  impression  of  a  seal,  which  seems  to  me  almost  certainly 
Hyksos,  though  the  cartouche  is  probably  not  royal. 

An  interesting  find  has  recently  been  made  at  Tell  Nebi  Mendeh,  the  ancient  Kadesh  in  the 
Orontes  of  a  stele  of  Sethos  I. 

Stonehenge 

A  good  deal  of  interesting  work  has  been  done  recently  at  Stonehenge.  It  is  suggested  that  the 
date  of  construction  is  more  recent  than  was  supposed,  and  an  examination  has  proved  that  some 
of  the  stones  could  only  have  been  lowered  into  position  from  above.  It  is  clear,  therefore,  tliat 
the  architects  of  Stonehenge  were  equal  to  the  task  of  raising  stones  weighing  five  or  six  tons  or 
more,  into  the  air,  and  setting  them  on  the  uprights  with  perfect  precision.  It  does  not  seem  to 
have  been  possible  to  do  this  by  means  of  levers,  or  inclined  planes  of  earth;  tlie  monument, 
therefore,  argues  much  greater  mechanical  efficiency  than  had  been  hitherto  supposed. 

The  latest  theories  as  to  the  date  and  interpretation  of  the  circular  group  of  monoliths 
at  Stonehenge  were  discussed  by  Wallace  N.  Stearns  in  his  illustrated  article  on  "Stonehenge 
Revisited,"  Art  and  Archaeology,  vol.  ix,  pp.  1 19-128  (March,  1920). 

[279] 


ART  AND  ARCHAEOLOGY 

The  National  Peace  Carillon  Proposed  by  the  Arts  Club  of   Washington 

Mr.  William  Gorham  Rice,  author  of  "The  Carillons  of  Belgium  after  the  Great  War"  (Art  and 
Archaeology,  August  192 1),  and  of  various  books  and  magazine  articles  concerning  tower  music, 
is  active  in  promoting  his  plan  for  a  National  carillon  at  Washington  as  a  National  Memorial  of 
the  Great  War.  During  the  j'ear  192 1  he  has  given  his  lecture  advocating  tliis  plan  about  twenty 
times.  The  Arts  Club  of  Washington  heard  him  last  February,  and  large  and  appreciative 
audiences  have  listened  to  the  lecture  in  New  York  at  the  Century  Club,  in  Philadelphia  at  the 
College  Club,  and  a  second  time  in  the  Foyer  of  the  Academ}^  of  Music,  in  Boston,  in  Cambridge, 
in  Albany  at  the  Historical  Society,  at  the  Fort  Orange  Club,  and  at  Chancellors  Hall  where  the 
lecture  was  before  the  State  officers  and  civil  service  employees,  at  Cortland,  New  York,  at  Matta- 
poisett,  Massachusetts,  and  at  several  other  places.  ]\Ir.  Rice  expects  soon  to  speak  at  Princeton, 
New  Jersey,  and  at  Vassar  College,  Poughkeepsie.  It  is  probable  also  that  he  will  give  an  address 
before  officials  and  others  at  Ottawa,  Canada,  during  the  winter,  where  it  is  proposed  to  install 
a  carillon  in  the  new  tower  of  the  Houses  of  Parliament. 

The  original  Carillon  Committee  of  the  Arts  Club  of  Washington,  which  originated  and  pro- 
mulgated the  idea  of  the  National  Peace  Carillon  has  just  completed  the  incorporation  of  the 
project,  and  the  new  Board  of  Trustees  will  be  announced  in  our  next  number. 

Biennial  Exhibition  of  the  ^Corcoran  Gallery  of  Art 

The  eighth  Biennial  Exhibition  of  contemporary  American  oil  paintings  in  the  Corcoran 
Gallery  of  Art  will  open  December  17  and  continue  until  January  22,  1922.  It  promises  to  be 
the  best  of  the  many  notable  exhibitions  held  under  the  auspices  of  the  Corcoran  Gallery.  The 
jury  of  award  consists  of  Frank  W.  Benson,  Chairman;  Gifford  Beal,  Charles  H.  Davis, 
Victor  Higgins  and  Joseph  T.  Pearson,  Jr.  A  complete  and  profusely  illustrated  review  of 
the  exhibition,  prepared  by  Mr.  Virgil  Barker,  will  appear  in  the  January-  issue  of  Art  and 
Archaeology.  Since  the  last  exhibition  ex-Senator  Clark  has  given  the  Corcoran  one  hundred 
thousand  dollars  to  perpetuate  the  three  W.  A.  Clark  prize  awards  amounting  to  $5,000  that 
have  become  a  conspicuous  feature  of  the  exhibition. 

The  Benjamin  West  Exhibition  at  The  Art  Alliance,  Philadelphia 

One  of  the  most  notable  exhibitions  of  art  ever  held  in  Philadelphia  is  that  devoted  to  the  works 
of  Benjamin  West  now  being  held  at  the  Art  Alliance,  Philadelphia.  No  such  collection  of  paint- 
ings by  West  has  ever  been  gathered  together  before  in  America,  and  the  collection  not  only 
reaches  the  highest  artistic  level  in  the  matter  of  West's  portraits  so  little  known  to  the  pubhc 
but  represents  a  money  value  reaching  into  the  hundreds  of  thousands.  One  gallery  is  given  over 
to  the  portraits  and  historical  paintings  by  West  and  the  other  to  engravings  and  sketches,  a  com- 
plete set  of  engraved  portraits  of  West  being  represented,  while  a  large  number  of  engravings  after 
subjects  by  West  will  be  shown,  and  nearly  one  hundred  and  forty  sketches  in  pencil,  ink,  sepia, 
and  pastel  are  also  one  of  the  extraordinars-  features  of  the  exhibition.  In  addition  to  some  of  the 
more  famous  portraits  and  historical  paintings,  the  second  oil  painting  ever  painted  by  West, 
which  represents  his  earliest  efforts  when  he  was  not  yet  in  his  teens,  is  shown  in  the  shape  of  a 
landscape,  with  boats,  people  batliing,  cattle,  trees  and  a  varied  perspective.  The  best  known 
collectors  of  the  country  hav'e  lent  their  famous  West  pictures,  and  Boston,  New  York  and  Phila- 
delphia are  represented  in  the  exhibition  with  examples  of  West's  art  never  before  shown.  One 
of  the  novelties  is  a  replica  by  West  of  his  famous  historical  painting,  "Death  of  Wolfe"  which 
was  accredited  by  no  less  person  than  Sir  Joshua  Rejiiolds  as  having  revolutionized  historic 
painting.  The  greatest  novelty  perhaps  being  West's  original  battle  piece,  the  famous  marine, 
"The  Battle  of  La  Hogue,"  painted  on  slate,  which  is  a  prototype  of  naval  battles  and  seascapes 
which  became  very  popular  in  the  nineteenth  century  and  which  suggests  in  color  effects  after- 
wards developed  by  Turner. 

In  view  of  the  issue  raised  recently  by  Cecilia  Beaux  as  to  our  lacks  in  the  matter  of  a  national 
school  the  fact  that  this  exhibition  shows  that  the  American  school  of  Portraiture  and  Historical 
Paintings  had  its  roots  far  in  the  past  is  not  the  least  significant  thing  about  its  timeliness. 

The  January  number  of  Art  and  Archaeology  will  present  a  re\'iew  of  the  exhibition,  with 
numerous  illustrations,  by  Har\'ey  M.  Watts,  of  the  editorial  staff  of  the  Public  Ledger. 

[280] 


BOOK  CRITIQUES 


Art  Principles,  with  special  reference  to 
Painting,  together  with  Notes  on  the  Illusions 
produced  by  the  Painter,  by  Ernest  Govett.  New 
York.    G.  P.  Putnam's  Sons. 

The  quality  of  this  book  may  be  accurately 
gauged  from  a  summary  of  the  succession  of 
ideas  set  forth  in  the  long  Introduction. 

After  a  definition  of  the  writer's  conception  of 
art  (1-2)  and  the  demolishment  in  a  single 
paragraph  of  all  previous  aesthetic  systems  (3), 
it  affirms  that  artistic  development  depends 
entirely  upon  freedom  of  thought  (4-6)  and 
that  "no  higher  reaches  in  art  are  attainable 
than  those  already  achieved"  (7).  ". 
the  decline  in  Grecian  art  resulted  purely  and 
simply  from  a  lessened  demand"  (10);  that  in 
Renaissance  art  "was  due  entirely  to  Raphael's 
achievements"  (11).  No  work  of  art  has  ever 
been  produced  by  inspiration  (14-16),  nor  is 
any  such  work  influenced  by  its  creator's 
character  and  temperament  (16-17).  Varia- 
tions in  an  artist's  works  are  due  to  lack  of 
balance  between  his  powers  of  imagination  and 
execution  (18-21).  The  genius  starts  life  with 
unusually  sensitive  nerves  or  imagination,  or 
both,  transmitted  by  inheritance  (21-23),  but 
more  is  due  to  hard  work  than  to  the  original 
endowment  (24).  In  painting  it  is  particularly 
easy  for  charlatanism  to  make  headway 
(26-28) ;  but  no  successful  movement  of  this 
nature  is  known  before  the  vSprezzatura  of  the 
later  seventeenth  century,  of  which  modern  Im- 
pressionism is  a  revival  (29-33).  This  move- 
ment, sacrificing  form  to  color,  "invites  us  to 
eliminate  the  understanding"  (34),  and  so 
"limits  .  .  .  art  to  the  feeblest  form"  (35). 
It  is  responsible  for  "the  crude  experiments  of 
Cezanne,  the  vagaries  of  Van  Gogh,  the  puer- 
ilities of  Matisse"  (37);  ".  .  .  .  the  leading 
critics  of  every  country  have  ignored  or  directly 
condemned  it  as  an  immature  form  of  art"  (38). 
It  erroneously  propagates  "the  broad  manner  of 
painting"  (38-40),  and  exalts  both  Rembrandt 
and  Velasquez  to  a  rank  which  they  do  not 
deserve  (40-44).  And  the  final  trouble  with 
Impressionism  is  that  it  attempts  to  place 
landscape  on  a  higher  level  than  it  really  is 
(44-50).  Altogether,  art  is  in  a  bad  way 
through  too  great  a  reliance  upon  mere  color 

(50- 
^Any  book  introduced  by  such  a  farrago  is  not 
likely  to  speak  very  much  to  the  point  on  the 
principles  of  art,  and  a  patient  reading  fuUy 
verifies  this  surmise. 

[281] 


All  the  fine  arts  imitate  nature  (Chap.  I). 
Except  in  music  and  architecture,  "the  higher 
the  aesthetic  value  in  a  particular  sphere  of  art, 
the  more  rapidly  is  the  beauty  therein  recog- 
nized" (Chap.  11).  Except  in  music,  "the 
higher  the  beauty  .  .  .  the  larger  is  the 
number  of  persons  recognizing  it"  and  "the 
supreme  test  of  the  aesthetic  value  of  a  work, 
is  general  opinion"  (Chap.  Ill) — which  two 
propositions  afford  a  superb  example  of  reason- 
ing in  a  closed  circle.  The  arts  of  poetry,  paint- 
ing, sculpture,  and  fiction  are  delimited  (Chap. 
IV),  their  edges  being  cut  as  sharp  as  if  they 
were  all  meant  to  fit  into  one  big  picture-puzzle 
called  art.  Then  paintings  are  classified  into 
seven  grades  of  worth  determined  by  subject- 
matter  (Chap.  V) ;  the  classification  begins 
with  "sacred,  mythological,  and  symbolical 
subjects,"  descends  through  the  level  on  which 
are  "landscape,  flowers,  fine  plumaged  birds, 
and  certain  symmetrical  animal  forms"  to  the 
depth  of  "the  simplest  formal  decoration." 
In  art  only  the  human  form  can  be  idealized 
and  "the  progression  towards  similar  ideals 
has  all  the  force  of  law"  (Chap.  VI). 

In  three  plates  the  author  attempts  to  prove 
this  last  assertion  by  substituting,  in  three 
famous  paintings  of  the  Madonna,  three  female 
heads  from  other  pictures.  The  most  striking 
substitution  is  that  of  the  girl's  head  in  Frago- 
nard's  The  Pursuit  for  the  head  of  the  Sistine 
Madonna  (plate  8),  and  the  visible  result  is  the 
best  possible  refutation  of  the  whole  argument. 

The  main  body  of  the  book  (Chaps.  VII-XI, 
inclusive)  consists  of  a  glorification  of  the  "old 
masters"  as  the  only  proper  guides  now  and 
evermore.  But  the  things  that  fill  these 
hundred  pages  are  not  the  principles  em- 
bodied in  their  works  so  much  as  recipes  based 
upon  trivial  details  of  their  practice. 

Thus  this  egregious  product  of  pedantry 
proceeds  its  weary  length,  vitiated  by  a  false 
conception  of  art  as  something  fit  only  for 
storage  in  museums  and  for  a  cataloguing  of  its 
surface  mannerisms.  The  author  professes  a 
diffidence  in  putting  forth  his  book ;  one  regrets 
that  his  diffidence  was  not  strong  enough  to 
make  him  withhold  it  altogether.  It  can  give 
no  pleasure  to  any  living  lover  of  living  art; 
only  a  reviewer  can  obtain  from  it  a  pleasure, 
which  he  would  willingly  forego,  at  censuring 
an  obnoxious  performance.  The  book  has 
nothing  to  say  about  art  principles  and  entirely 
too  much  to  say  about  art  nonsense. 

Virgil  Barker. 


Furniture  of  the  Pilgrim 
Century 

By  WALLACE  NUTTING 


TT  WILL  contain  1000  reproductions  of  photo- 
graphs  of  furniture  made  in  this  country  from 
native  woods  in  the  period  1620  to  1720  with  de- 
scriptions— the  most  complete  record  available. 
As  it  is  a  very  expensive  work  to  print  the  prob- 
aljility  is  that  there  will  not  be  another  edition 
and  we  advise  immediate  consideration  by  all 
wishing  to  own  a  copy. 

Sample  pages  showing  paper,  text,  illustrations 
and  contents  of  this  sumptuous  work  will  be  sent 
on  request. 

PRICE  $15.00 


MARSHALL  JONES  COMPANY 

Publishers 
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LIMITED 

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New  York,  136  Water  Street 


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Collection  of  700  INDIAN  ARROW 
HEADS  framed  under  glass 


ART  AND  ARCHAEOLOGY 

BOUND  VOLUMES    BACK  NUMBERS 


A  complete  set  of  ART  AND  ARCHAEOLOGY  should 
find  a  place  in  every  school,  college  and  public  library,  and 
in  the  homes  of  all  people  of  culture. 

ART  AND  ARCHAEOLOGY,  Vols.  I  and  II  complete, 
July.  1914-November,  1915,  nine  numbers,  may  be  ob- 
tained unbound  for  $3.00;  bound  in  cloth,  S5-50;  in  morocco, 
$6.50.  Vol.  III-IV  (1916),  V-VI  (1917).  VII  (191S),  VIII 
(1919),  may  be  had  unbound  for  $3,00.  bound  in  cloth, 
56. 00;  in  morocco,  $6.50  each.  Vols.  I-XII  may  be  ob- 
tained unbound  for  $25.00.  bound  in  cloth  for  $40.00;  in 
morocco.  $50.00.    Single  numbers,  unbound,  50  cents  each. 

.\RT  AND  ARCHAEOLOGY 
The  Octagon,  Washington,  D.  C. 


Furniture  of  the  Pilgrim  Century  1620-1720, 
including  Colonial  Utensils  and  Hardware. 
By  Wallace  Nutting.  Boston,  Marshall  Jones 
Company,  ig2i.     Pp.  58J.     Illustrated.    $ij.oo 

The  interest  in  early  American  wooden 
furniture  is  of  recent  growth.  Many  persons 
who  formerly  collected  Sheraton  and  Hepple- 
white  and  Chippendale  types  have  gone  still 
further  back  to  the  Dutch  period,  and  re- 
cently— perhaps  stirred  by  the  spirit  of 
patriotism — many  have  been  collecting  early 
American  furniture  taking  an  interest  in  what 
the  first  and  second  generations  of  settlers 
had.  So  the  present  book  is  very  timely  and 
will  prove  of  great  interest  to  all  who  have  a 
fondness  for  the  art  of  Colonial  times.  Noth- 
ing is  shown  here  that  was  not  or  could  not 
have  been  made  in  America  before  the  time 
of  the  Cabriole  leg  except  the  gateleg  table 
and  pine  cupboards.  The  book  is  by  a  man 
who  has  already  made  a  great  name  for  him- 
self for  preserving  Colonial  houses  and  their 
furniture.  The  book  is  beautifully  printed 
and  keeps  up  the  high  standard  that  we  have 
already  learned  to  associate  with  the  Marshall 
Jones  Company.  There  are  nearly  a  thousand 
illustrations  from  photographs  which  have 
been  taken  by  the  author  himself.  Most  have 
hitherto  been  unpublished,  and  a  very  large 
number  of  the  pieces  of  furniture  have  never 
been  illustrated  before.  The  book,  then,  is 
not  merely  for  commercial  purposes  but  is  an 
actual  contribution  to  archaeology  because  of 
the  many  new  examples  of  chests,  cupboards, 
chairs,  beds,  tables,  clocks,  utensils,  etc.  It 
certainly  will  create  a  love  for  such  furniture 
and  will  show  the  importance  of  preserving 
the  specimens  of  the  above  types.  Some 
museums  already  collect  such  things  but  Mr. 
Nutting  thinks  that  many  opportunities  have 
been  neglected  by  big  museums  and  hopes 
that  "a  grain  of  love  for  our  early  history  may 
sometime  sprout  in  the  powers  that  be,  that 
for  millions  expended  on  museum  material  a 
wee  fraction  may  be  allotted  to  the  unique 
belongings  of  the  settlers  of  America."  We 
are  much  indebted  to  the  author  for  the 
numerous  photographs  but  we  often  wish  that 
illustrations  of  the  originals  as  well  as  copies 
had  been  published.  So  the  original  Brewster 
chair  which  is  preserved  in  Pilgrim  Hall  at 
Plymouth  has  not  been  reproduced,  and  the 
copies  and  adaptations  reproduced  differ  in 
many  respects  from  the  original.  As  the 
title  of  the  book  limits  it  to  furniture  of  the 
Pilgrim  century,  the  author  could  easily  have 
included  more  of  the  original  furniture  and 
left  out  some  of  the  Puritan  furniture  which 


Kindly  Mention  Art  and  Archaeology. 


[282] 


INVESTIGATIONS 

— AT — 

ASSOS 

Drawings  and  Photographs  of  the  Buildings 

and  Objects  Discovered  During  the 

Excavations  of  1881,  1882,  1883 

— BY 

Joseph  T.  Clarke 
Francis  H.  Bacon 
Robert  Koldewey 
Edited   with   explanatory   notes,   by 
Francis  H.  Bacon 
Published  fur  The  Arclweological  Insti- 
tute of  America 
By  a  Committee  originally  consisting  of 
Charies  Eliot  Norton 
John  Williams  White 
Francis  H.  Bacon 
William  Fenwick  Harris 

TABLE  OF  CONTENTS 

History  of  Assos. 

Account  of  the  Expedition. 

Agora. 

Mosaics  Below  Agora. 

Theatre  Photographs  and  Plans. 

Greek  Bridge. 

Roman  Atrium. 

Acropolis — Plan. 

Turkish  Mosque. 

Gymnasium. 

Byzantine  Church. 

Fortification  Walls. 

Street  of  Tombs — General  Plan. 

Dog  Inscription  from   Mitilene. 

Inscription  from  Pashakieui. 

Coins  from  Assos. 

The  magnificent  volume  is  now  ready  in 
a  portfolio,  the  five  parts  together. 

Five  hundred  and  twenty-five  copies  have 
been  printed.  Subscriptions  for  the  remain- 
ing two  hundred  and  forty  copies  will  be  re- 
ceived at 

FORTY  DOLLARS  EACH. 

The  rate  to  original  subscribers  remains 
twenty-five  dollars.  The  book  will  not  be 
reprinted.     Cheques  should  be  sent  to 

WILLIAM  FENWICK  HARRIS, 

8  Mercer  Circle, 

CAMBRIDGE,  MASSACHUSETTS. 


he  brings  in.  However,  the  book  can  be  very 
highly  recommended  to  both  laymen  and 
scholars,  and  interest  in  it  ought  to  be  great 
at  this  time  when  we  are  celebrating  in  so 
many  different  ways  the  tercentenary  of  the 
landing  of  the  Pilgrim  fathers.  There  is  only 
one  regret,  namely,  that  a  book  so  luxuriously 
printed  on  such  good  paper  with  such  excellent 
illustrations  should  have  a  text  written  in 
such  English  as  one  does  not  expect  from  a 
graduate  of  Harvard. 
The  Johns  Hopkins  University.  D.  M.  R. 

Thought  and  expression  in  the  Sixteenth  Cen- 
tury, by  Henry  Osborn  Taylor.  Vols.  I,  II, 
New  York:  The  Macmillan  Company.  1920. 
$g.oo. 

This  is  the  fourth  work  in  the  masterful 
series  on  the  history  of  culture  by  the  author  of 
"Ancient  Ideals,"  "The  Classical  Heritage  of 
the  Middle  Ages"  and  "The  Mediaeval  Mind." 
He  avoids  the  term  Renaissance  usually  applied 
to  this  sixteenth  century  because  of  its  popular 
implication  that  the  culture  of  this  period  was 
of  an  original  character,  reverting  to  the  remote 
past,  rather  than  a  gradual  growth  out  of  the 
Middle  Ages. 

The  purpose  of  the  author  is  to  give  an  in- 
tellectual survey  of  the  sixteenth  century,  to 
set  forth  "the  human  susceptibilities  and  facul- 
ties of  this  alluring  time,  its  tastes,  opinions, 
and  appreciations,  as  they  expressed  themselves 
in  scholarship  and  literature,  in  philosophy 
and  science,  and  in  religious  reform."  There 
is  also  a  chapter  devoted  to  Italian  painting  as 
the  supreme  self-expression  of  the  Italians. 

Volume  I  discusses  first  the  humanism  of 
Italy  from  Petrarch  and  Boccaccio  to  Machia- 
velli,  then  Erasmus  and  Luther,  and  the 
political  and  intellectual  preparation  for  the 
German  Reformation;  and  finally  the  French 
Mind  from  Louis  XI  to  the  culmination  of  the 
I'Vench  Reformation  in  John  Calvin.  Volume 
II  is  devoted  in  large  part  to  England— the 
English  Refonnation,  the  Elizabethans,  Ral- 
eigh, vSidney  and  Spencer,  and  especially  the 
dramatic  self-expression  of  the  Elizabethan 
Age  which  found  its  acme  in  Shakespeare. 
Then  follows  a  section  on  Philosophy  and 
Science,  with  a  concluding  chapter  on  "forms 
of  self-expression:  the  sixteenth  century 
achievement." 

Throughout  his  work  Mr.  Taylor  emphasizes 
the  continuity  of  culture  and  the  vital  relations 
between  the  "Renaissance"  and  the  Middle 
Ages.  It  is  to  be  hoped  that  the  author  will  in 
the  near  future  make  a  fifth  contribution  to  the 
history  of  culture,  devoted  to  tliought  and  ex- 
pression in  the  last  three  centuries.— M.  C. 


[283] 


Kindly  Mention  .-Iri  and  .Irchueoloijy. 


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The  Women  of  the  Mayflower  and  Women  of 
Plymouth  Colony,  by  Ethel  J.  R.  C.  Noyes. 
With  a  Foreword  by  Anne  Rogers  Minor,  Presi- 
dent General,  National  Society,  D.  A.  R. 

Linotyped  and  Printed  by  Memorial  Press, 
Plymouth,  Mass.,  ig2i. 

In  this  charming  book,  written  as  one  may 
readily  observe,  with  painstaking  and  devoted 
care,  we  have  a  timely  and  much  needed  con- 
tribution to  the  literature  of  the  Plymouth 
Colony. 

As  Mrs.  Minor  writes  in  her  foreword, 
"History  has  dwelt  long  and  minutely  upon 
the  Pilgrim  Fathers  and  their  great  adventure 
but  has  passed  over  the  women  with  a  generali- 
zation and  occasionally  a  tribute." 

We  are  grateful  to  Miss  Noyes  for  making 
us  acquainted  with  the  Pilgrim  Mothers  from 
the  day  they  gave  up  their  English  homes  for 
twelve  years  sojourn  in  Holland,  thence,  true 
to  their  ideals,  seeking  religious  freedom  in  a 
strange  land  across  the  sea,  parting  from 
loved  ones,  setting  forth  on  that  never-to-be- 
forgotten  voyage  with  its  heart-rending  con- 
ditions of  cold,  hunger,  anxiety,  illness,  to  the 
landing  on  an  unknown  shore,  homeless, 
facing  new  hardships,  new  dangers  and  sorrows, 
on  through  the  years  of  toil  and  effort  to  the 
brighter  days  of  established  homes  and  a  due 
measure  of  prosperity  and  happiness. 

It  is  a  story  simply  and  discerningly  told 
from  first  to  last  and  will  appeal  to  all  who 
cherish  the  annals  of  the  heroic  women  of  the 
Mayflower  and  of  Plymouth  Colony.  It  will 
appeal  especially  to  all  who  have  participated 
in  the  ter-centenary  celebration  of  the  landing 
of  the  Pilgrims. 

There  are  now,  it  is  estimated,  more  than  a 
million  descendants  of  the  mothers  of  Ply- 
mouth. They  comprise  Presidents  of  the 
United  States,  jurists,  statesmen,  diplomats, 
scholars,  churchmen,  scientists,  artists,  ex- 
plorers, warriors  by  land  and  sea — men  dis- 
tinguished in  various  walks  of  life.  In  each 
generation,  and  wherever  need  has  arisen,  the 
author  points  out  that  the  women  descendants 
have  matched  the  spirit  of  the  men,  in  fidelity, 
resourcefulness,  and  patriotism,  and  in  her 
conclusion  says:  "In  studying  the  details  and 
circumstances  relating  to  the  immortal  voyage 
and  settlement  of  Plymouth — particularly  in 
relation  to  the  women,  vested  today  with 
supreme  interest  and  in  a  glamour  peculiarly 
their  own,  we  must  feel  that  that  nobility  of 
life  may  be  ours  as  well  as  theirs  and  that  it 
may  illuminate  the  difficult  life  of  today  and 
make  it  worthy  to  be  the  fruit  of  the  tree  of 
Liberty  they  helped  to  plant  in  tears  and 
smiles."  Carolyn  Carroll. 


Kindly  Mention  Art  and  Archatolofy 


[2841 


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